Period Space(s)

September 12, 2011 by · Leave a Comment
Filed under: FYC, History, Professional Writing 

Jesse Schell mentioned the following article on Facebook, and I think it’s something worth passing on.  I grew up told to put two spaces after a period.  Then, I came to think of the space as a rhythm indicator for prose; two spaces equal two resting beats.  I’ve long known one space had become the norm, but do we (including me) do it?  No, I don’t, and my students in English 101 today admitted being taught to use two spaces.  Only one student had been trained to use a single space.  Thus, even when it comes to the “simple” period, the standards depend on circumstances.  In taking a look at the article, we come to understand that typographical font with monospaced type would still require it.  E-documents would not.

Space Invaders: Why you should never, ever use two spaces after a period.

(Note how many spaces I used in my post.)

 

Writing Intensive Presentation

August 24, 2011 by · Leave a Comment
Filed under: Professional Writing, WAC 

Faculty may now designate courses “WI” (writing intensive) on transcripts by applying to the WAC Committee.  The following slide show is from the Faculty Forum. It provides some resources in defining the writing assigned as Writing-to-Learn (informal writing to help students master course content) and Discipline (WID) Writing that is more concerned with form, function, and formatting.

Designing Writing Intensive Classes

The template for applying will be available soon.

The Community College Writer: Exceeding Expectations

September 7, 2010 by · Leave a Comment
Filed under: FYC, Professional Writing, review, rhetoric, WAC 

Exceeding Expectations Howard Tinberg and Jean-Paul Nadeau’s recent study confirms many details faculty working with community college writers know, but their research also presents some surprises.  CC students do exceed expectations considering the “tidal wave of life” they face.  They desire a challenging study of writing–not watered down assignments or standards, but they require very clear procedures of what to do.  Tinberg and Nadeau find that their CC curricula is anchored in current-traditional rhetoric (definition, classification or division, narrative, description, and process) with a heavy reliance on skills-based instruction.  However, “a more complex picture of writing instruction emerges from the remaining genres represented in student portfolios: the memoir, film review, experimental lab report, journal (especially informal reactions to reading), writer’s autobiography, resume and cover letter” (62).  Revision beyond surface conventions is infrequent.  Many comments made on students’ papers don’t help them because they’re misunderstood, yet “85% of faculty reported seeing improvements in student writing as a result of faculty feedback” (40).  Most writing is completed for English classes, but inside and outside composition class, the writing assignments train students toward academic and professional writing goals.  One of the more interesting survey results in the study, I found, was that while nearly all faculty saw student writing as important for future employment, less than half of the students thought writing would be relevant to them beyond school.  Students want a writing experience different than in high schools, and so it seems where continued academic writing may fail to engage community college writers, vocational awareness and assignments based on those kinds of procedural rhetoric (genre based, critical-cultural studies purposes) might be embraced for its potential in practicing rhetoric-composition, instead of avoiding or categorizing it as merely skill-centered or remedial.

Awards from the Center for Plain Language

April 29, 2010 by · Leave a Comment
Filed under: invention, Professional Writing, rhetoric, WAC 

We shouldn’t defend bad language and writing, and it isn’t productive to blame or complain.  We should do something about it.  The Center for Plain Language, a fairly new nonprofit, is looking to improve how people and companies write for audiences through granting awards to the some of the “best and worst” writing; let me emphasized that the key marker here for granting the award is audience.  CPL explains that “The definition of “plain” depends on the audience. What is plain language for one audience may not be plain language for another audience.“  Writing should attend to people’s needs, however.   No doubt, this rubs people the right way because citizens are justifiably frustrated with bureaucratic language.

As I said, we shouldn’t defend unclear writing, but we should understand why it happens before taking action.  It’s not a lack of will.  Often, cloudy writing is an issue of authority.  If a writer or speaker is worried how others will respond (get angry, not accept, and/or penalize the statements made), he or she will become veiled or convoluted in his or her language.  Syntax and diction becomes obscure.  Writing for a boss or teacher who has authority over us then promotes long-noun phrases, nominalization, and/or searching through the thesaurus for a “unique,” if not always “the best,” word.  Politicians and legislators may be especially susceptible because they are sensitive to public or party opinion.  Lawyers use legalese, in part, to distance themselves from their audiences because the distance distinguishes them (and protect themselves) from others, implying status.  Thus, I’d like people to remember the next time they disparage “un”plain language that negotiating authority in writing is at least as important as language control and understanding audience.

As another example, consider academics, who are often accused of producing more jargon than knowledge.  Sure, sometimes, people–academic professionals or otherwise–don’t really have much to say and inflate their words to compensate.  Yet theoretical language and words do have their place. If the same words and grammar are used, judgments and conclusions tend to promote the same ideas and constrain innovation.  Since writing assists how one thinks and understands a subject or advances one’s analysis, theorizing and using new vocabulary is a messy, unclear process in expression.  But again, this happens because writing for one’s own purpose(s) can be important.  In addition, specialized language promotes bonding within a discipline.  If academics can recognize peers researching similar problems, for a time, speaking in specialized “tongues” assists comprehension of the solutions proposed.  We accept specialized tools for getting labor done more easily, and since we know language is a tool, why don’t we see jargon as a disciplinary tool?  Mostly, we are annoyed by it.  And we should be irritated when institutions disable us, not that the language isn’t universally transparent.  Language isn’t telepathy but always requires interpretation.

If you are interested in some “clear” examples of institutions faltering in their “official” words, check out the NPR story on CPL’s awards.

CCCC Report on Writing Majors at a Glance

The NCTE committee charged with compiling information on undergraduate writing majors has completed its report.  In sum, the CCCC article explaining the results observes there are two types of undergraduate writing majors depending on the college: Liberal Arts or Professional/Rhetorical; the former is founded in creative writing and literature, the latter in writing theory and praxis (418).  Nationally, the writing major is growing with 68 degrees at 65 unique schools documented.  Most are housed in English departments and are either quite flexible and/or interdisciplinary degrees.  Candidates are encouraged to double major.  None of this should is a surprise.  What is interesting, however, is where these points coincide in principle with Cayuga’s own writing concentration.  At Cayuga, many liberal students are interested in creative writing, and professional writing courses are linked to other majors such as business, mechanical tech, computer information, or telecommunications.  This difference is recognized by Cayuga students through their desire for personal-literary expression and writing that gets-things-done.

Overall, two curricular recommendations were made:

  1. The Writing Major might include a foundations/ introductory course such as those found in psychology, sociology, etc.
  2. The bachelors degree should have a capstone experience–i.e. a portfolio, internship, or other experience through which students might draw together and/or apply what they’ve learned about writing.

Finally, it was suggested more rhetorical history and research methods instruction be included in undergraduate writing studies.  Cayuga is addressing these concerns in several ways.  An honors English 101 has been offered successfully that focuses on an Introduction to Writing Studies (rhetoric and composition); plans are in process to offer such designated 101′s in the future.  Professional Writing, a new writing concentration course with an experiential component, will be offered Fall 2010.  Several new one-credit English 238 courses are scheduled for Fall 2010, one on Written (Rhetorical) Invention, another a revision workshop that would help a student’s writing portfolio for transfer or prospective interviews.  In total, Cayuga is making several steps toward meeting the recommendations in the CCCC Report on Writing Majors and looks forwards to continuing to offer a very reasonably affordable education for those interested in writing for careers and transfer.