This is no April Fool The spring 2018 edition of Teach. Write. is launching later today, but I am a deeply Southern soul, so it’s off to church I go for Easter services. Then I will put the finishing touches on the journal and put it out there, so come back, y’all.
Busy grading and working on the new edition of Teach. Write. slated for publication on April 1, but been thinking a great deal about optimal number of students in online writing intensive classes. Below is a link to an article by Wayne D’Orio, an award-winning education journalist, writing for Inside Higher Education.
“Online class sizes: one size does not fit all.”
My favorite comment: “All sources for this story agreed that writing intensive courses demand fewer students.”
BTW—online literature courses are writing intensive if taught correctly.
Just wanted you to know that I posted midterm grades for all my students to see. Of course, because I have open grade books, all of my students have access to their grades at any time in the semester, not just at mid-term. Oh, FYI, by checking the gradebook, any student can see any major graded assignment (and most minor assignments) with a completed rubric or checklist explaining how the grade was calculated (often I include an annotated PDF file for additional accessible feedback as well).
If students complain that I do not give enough feedback, which I hear they are doing quite loudly and inaccurately, please direct them to the individual assignments where they can see all of the work I have assessed as well as any supporting documents. If they have questions or concerns, please encourage them to contact me rather than scrawl rather inappropriate things about me on the bathroom walls. This behavior is costing the college money and cutting into the maintenance department’s bottom line, I have been told.
Students can also, of course, ask me for explanations or help if they come to see me during my office hour or make an appointment. I have always made myself available to students who need help and will continue to do so, but I don’t always have time directly before or after class as I have many classes and other duties, as you know. Oh, occasionally, I am so sorry to say, I must also use the ladies room, though a student once wanted to follow me in there to ask a question. I told him he would have to wait in my office just a minute or two. I trust that was acceptable.
I have been offering the support mentioned above to all of my students for years now and continue to work hard on developing more online resources and updating ones from previous years. If students relate to you any confusing details in any assignments, also which I hear they are doing quite loudly, please feel free to have students record specific information about the assignment in question, including the assignment number, and have them email me that information so that I can make corrections. I can’t correct problems of which I am not aware, you see. I know some students have been saying I must be clairvoyant and have eyes in the back of my head, but I would like to squelch those rumors right here and now. I am not clairvoyant.
In addition, I have always offered an abundance of resources to my students, including thorough explanations and directions for all of my assignments. If students want to know how they can improve their grades, or have been absent from class to go on that cruise with their family, then please direct them to these resources. Of course, you may have to explain to them that there will be no extra credit awarded for opening a resource file. So sorry.
Please know that I care very much about all of my students receiving the highest quality college-level instruction I can give based on my 30 years of experience teaching composition and British literature. When I err, it will never be out of a lack of concern for any of my students but more likely born of fatigue, or short-term memory loss. I am pushing 60, you know.
Any confusing details or dates may even be a simple mistake as I must maintain six or seven online course shells, prepare materials for six or seven seated and online classes, and grade multiple assignments for 90 – 100 students each semester. Don’t forget those pesky contractual “other duties as assigned”–two committees (chair of one), attending national conferences, writing press releases, creating promotional material, planning major events, participating in student clubs and events. Oh, I know, I’m just whining now. Some of those things I choose to do so they don’t count.
Sure, I could make it easier on myself, do less and offer fewer opportunities for my students to practice writing, but I am still convinced after all these years that there is only one way students can effectively learn to compose, revise and edit at the level they need to—by doing it. I know it is shocking for some students to hear that they must write essays in a freshman English composition class (plus revise and edit them too), but my hands are tied, I fear…
by my conscience.
Thank you for your time.
The above piece is representative of work (creative non-fiction) that I would welcome for the spring edition of Teach. Write. Submissions are open until March 18.
The deadline for submissions to Teach. Write. has been extended until Sunday, March 18. I have accepted some terrific short stories, essays and poems from writing teachers around the US and even Australia and am excited about the upcoming edition; however, I would like to get a few more submissions to fill out the journal.
Therefore, if you are or ever have been a writing instructor in any capacity, including workshop leaders, elementary language arts teacher, secondary, college or university level, then I want to see your work!! Click here for the submission guidelines.
It continues to be my belief that submitting creative writing for publication helps us become better composition teachers, especially because it reminds us of the importance of revision and editing.
The spring edition of Teach. Write. is still slated for an April 1 appearance, and I still plan to take copies of Teach. Write. for distribution at the Appalachian Studies Association Gathering in Cincinnati, Ohio. I will be attending the conference April 5-8 and reading from my story “I Have Not Yet Returned,” about a daughter grappling with her father’s mental illness. Three other writers whose work appears in the anthology Unbroken Circle: Stories of Cultural Diversity in the South, published last May by Bottom Dog Press, will also be performing.
In August, one of the editors of the collection informed authors that the book was selling well, being used as a text in a couple of college classrooms, and that readings were planned not only at the Appalachian Studies Association Gathering, but also in Knoxville, Tennessee, and at Marshall University in Huntington, West Virginia.
I am excited to be a part of the conference and am looking forward to attending other sessions about teaching and writing in the Modern South. For distribution at the conference, I will also take copies of both editions of Teach. Write. as well as information about my musical A Carolina Story. I was looking in the program and even see some opportunities to perform a song from my musical at several open mics planned around the city, so maybe I will brush off the old guitar and practice.
Then work up the guts to risk making a fool of myself to promote my art.
Oh, well, we’ll see how it goes.
Hope to see your work in my inbox very soon!!!
Economists and lawyers like using words like “nonpecuniary.” Perhaps to keep from falling into cliche; however, if the cliche fits…and when it comes to education, it certainly does–Education should not be all about money. Amazing thing is, even economists (those trusted above all others in our society these days) frequently do studies on the benefits of various aspects of our lives that do not involve money but make our lives better.
One such study, “Priceless: The Nonpecuniary Benefits of Schooling” appears in the Winter 2011 edition of the Journal of Economic Perspectives. Philip Oreopoulos and Kjell G. Salvanes, economists at Toronto University and Norwegian School of Economics respectively, explore the nonpecuniary benefits of schooling in a well-researched article (32 pages with 142 citations) that offers compelling empirically-based evidence that the more schooling individuals receive not only benefits them economically (p. 159), but also in a myriad of other ways, including
- higher employment prestige ratings (p. 163)
- higher job satisfaction (p. 163)
- higher O*Net (Occupational Information Network) achievement scores (p. 163)
- lower unemployment (p. 163)
- better physical and mental health (p. 167)
- lower divorce rates (p. 167)
- lower smoking rates (p. 170)
- very low arrest rates (16+ years of schooling) (p. 170)
All of the tables including relevant data show statistics before and after conditioning for income with the same result of increased rates in these various areas as education increases.
Oreopoulos and Salvanes do report some predictable negative effects of higher levels of education, including time constraints and increased stress (p. 171). However, these aspects of higher education are greatly mitigated by the numerous positive effects, including those mentioned above, as well as less tangible benefits, including improved parenting (p. 167), higher levels of trust (p. 167), increased patience (p. 170), and even higher levels of happiness (161).
The authors conclude that more qualitative research needs to be done concerning pecuniary and nonpecuniary benefits to higher education, but their research indicates, as these two lauded economists say far better than I could, that the non-tangible benefits of a higher education beyond a two-year degree exceed even the economic benefit:
In our opinion, the estimated returns are too large to support
the theory that most students are optimally trading off costs and benefits when deciding how much education to acquire. Some people are missing out on significant welfare-increasing opportunities (p. 181).
Many students may be myopic. Parents with teenagers can attest that
youth are particularly predisposed to downplaying or ignoring future consequences…. When teenagers and young adults make their choices about school attainment, it may be especially easy to see the immediate costs and harder to grasp fully the long-term benefits. Exploring these issues more thoroughly would shed further light on the overall education attainment decision-making process and help identify ways to make individuals recognize the large returns from schooling. Large amounts of money appear to be lying on the sidewalk. Of course, money isn’t everything. In the case of returns from schooling, it seems to be just the beginning (p. 181).
On a more celebratory note, I have mentioned in my blog before that I had a piece published in the anthology Unbroken Circle: Stories of Cultural Diversity in the South. Since publication last May, several colleges have begun to use the anthology as a text in courses on Southern literature and culture.
Several months ago, writers included in the anthology were asked if they would like to participate in a panel discussion at the 40th Annual Appalachian Studies Association Convention. I am happy to report that the proposed panel session was accepted by the association, so four of the 26 writers, including yours truly, as well as editors of Bottom Dog Press in Huron, OH will travel to Cincinnati to attend the conference. I will be reading from my story, as well as discussing the meaning and inspiration for it. Of course, I will be part of the Q&A after all writers have completed their readings.
The conference is during our spring break in April, so my intention is to take along some copies the new edition of Teach. Write. to share with editors and publishers, so there isn’t a better time to submit to the spring edition. Submissions are open until March 1.
Before I was a full-time instructor, over twenty years ago, I presented at my first national conference–the National Conference of Teachers of English. It was in Denver that year, and I paid for the conference myself because I craved professional development, even though I was a lowly adjunct, only teaching three or four large college classes each semester.
In a round table session, I presented an exercise that I had created for my developmental English courses called “The Art of Writing.” The students took a reproduction of a famous piece of art (I had many pictures for them to choose from) and told them to brainstorm about what they saw, using a handout I gave them.
One side of the paper was marked “Concrete,” where they wrote what they saw in the picture or what they could imagine that they could experience with their other senses. On the other side of the paper, I wrote “Abstract,” where students wrote words and phrases that represented how the painting made them feel or what memories, or thoughts in general, the painting helped bring to the surface.
After they brainstormed, the would develop some sort of prose writing based on the art and their brainstorming, combining the concrete with the abstract. I used as an example a short piece I wrote that was based on the iconic painting American Gothic by Grant Wood. Here is the painting and the creative piece I wrote based on it:
I remember marrying him. We stood together in the country church, farmer’s son and farmer’s daughter, too poor for ought else–too much a part of the land anyway. My family sitting on those hand-hewn, hard-backed pews, witnessing.
That night I didn’t utter a word or a cry. Closing my eyes, I imagined I was lying in the distant fields of my home, daises tickling my face and hands and feet.
I worked hard, learning not to expect any praise for the clean floors or hearty food. My greatest joy, to get all of the chores finished in time to head for the fields, to hold the soil of our land in my hand, to feel its moisture and smell its mustiness.
He did praise me once. After three daughters, who were mine to raise, to teach, to find husbands for, I bore him a son. I sweat and strained and screamed no less, but somehow it was different, and he thanked me. Then, my son was gone, no longer mine. So soon he learned not to cry. So soon he became a man.
Now, in that same country church, as my youngest daughter gives herself to a farmer too poor to leave and too much a part of the land anyway, I sit in a hand-hewn, hard-backed pew, witnessing.
I quite like this little character study, which went on to be published by the way, but more importantly, the piece inspired my developmental students for over a decade. Some of my students’ writing was published in our yearly literary magazine–one even winning a cash prize as the top fiction piece in that year’s journal.
Another student picked a famous photograph of an American flag on a front porch and wrote an amazing creative non-fiction piece about the meaning of liberty. That student was attending our school under the GI Bill, having served during Operation Desert Storm. I’m telling you, he had a heck of a lot to say about liberty that the younger people in the class needed to hear.
Were they inspired to write or did the assignment just help them feel free to use their creativity? Did the painting give them something to write about, a story already there that they just fleshed out? It was more than likely a combination of things, but whatever it was, many of my students, developmental students, did their best writing when writing about art.
In recent years, the state where I teach has discouraged creative writing or the study of literature in writing classes, especially in developmental classes. The trend is towards more “practical” writing, utilitarian, without flair or heart or life. Surprise! I am bucking that trend. I don’t use my art assignment any more, but my students engage with and write about music, film, theater, literature and art, and their writing is better for it. They are better for it.
In 1938 Winston Churchill, said, “The arts are essential to any complete national life. The State owes it to itself to sustain and encourage them….Ill fares the race which fails to salute the arts with the reverence and delight which are their due.”
Maybe the State, as well as college administrators and curriculum developers, should listen to him.
If you are, or were, an English composition teacher, do you have a writing prompt that you have used in class and would like to share like I did at the conference? If so, I would love if you would submit it to my literary magazine Teach. Write.
In the magazine, I have a feature called “Write Your Own” where you do like I did and write your own creative piece using a prompt that you have once given your students. Accompany your piece with a brief explanation of the prompt or the purpose for the assignment.
I am also accepting general submissions of poetry, flash, short stories, and essays through March 1 for the spring edition. Click for complete submission guidelines. I look forward to reading your work!
Happy New Year!!!
And Merry New Semester!
A few months ago I was interviewed by flash fiction author Jim Harrington for his blog “Six Questions for…” which is focused on picking the brains of writers and editors to aid fiction writers in composing, revising, and marketing their work. Many thanks to Jim for the feature and for his interesting and informative blog.
The interview is now appearing on Jim’s blog. Hope you will take a look, and if you are now or have ever been a teacher of writing in any capacity, then please consider submitting to Teach. Write. Submissions for the spring edition are open until March 1.