Category Archives: Assignments

WAW Standing Group, CCCC 2018 Notes. Language Diversity and Academic Writing group.

During the WAW Standing Group meeting, our breakout group discussed:

The textbook: Language Diversity and Academic Writing by Samantha Looker-Koenigs

  • We recognized the diversity of scholars in the textbook as important. Some of us shared that our first attempts creating a WAW reading list for our students included mostly white men. More diversity of authors read in the classroom is needed.
  • The book includes excerpts rather than full articles because 1) Bedford had constraints about lengths, both for the textbook as a whole and for individual readings, and 2) because this allowed more readings to be included.

Literacy Narratives

  • This discussion began with a list of possible readings to use to frame the literacy narrative, especially one that addresses issues of language diversity. I, unfortunately, did not catch all of those readings. The two I did catch were Anzaldúa’s “How to Tame a Wild Tongue” and Alcoff’s “The Problem of Speaking for Others.
  • The latter reading is useful for moving away from issues of “linguistic tourism” in the class.
  • This idea of “linguistic tourism” framed some anxiety around asking students to engage in a literacy narrative that asks students to focus on their diverse language practices. Geoff mentioned hearing of an assignment where students were required to code-mesh, which included asking white students to use AAE. We all recognized this as a problem.
  • We discussed framing code-meshing for students using Canagarajah or Ashanti Young. In thinking about WAW approaches to language diversity, we discussed the necessity of helping students think about how academic writing already involves a meshing of codes, but that’s it important to recognize the difference in stakes for different language users.
  • It was shared by multiple people that literacy narratives often feel performative, with students engaging in transformation narratives articulating what they think the teacher wants to hear. Nick shared borrowing the “Theory of Writing” from Yancey et al.’s “Teaching for Transfer” curriculum as something students begin on the first day of class and repeatedly return to throughout the semester. This theory of writing asks students to explain what previous experiences informed their ideas about writing, so students engage in some of the same moves as a literacy narrative but in a more critical manner.

Approaches to Assignment Sequencing

  • Several approaches to structuring the course were discussed:
    • The way the textbook moves through thinking about issues of language and identity to academic writing.
    • Working backwards from that: starting with readings and discussion on the ways in which ideas of “good writing” are not stable but context-dependent. Once students recognize this, then moving to destabilize their notions of standard language.
    • Linking discussions of language diversity with discussions of the rhetorical situations. Students can begin by thinking about what type of language is appropriate for a text message and what type of language is appropriate for an assignment, and why.
    • Working towards discussions of language by beginning with discussions of nonverbal language (i.e. graffiti, body language, etc.) to think about how communication within culture and how those communicative norms change. This can then move to official signs (i.e. stop signs), as codes that are written for us, before moving to language as traditionally conceived. John Swales’ article on discourse is useful framing for this.
    • Beginning with a “language autobiography” rather than a “literacy narrative.” The first week of class is ungraded reflection where students talk about themselves as writers. Students then read the Thaiss and Zawacki article in the text book and think about how some of the things they’ve been taught to do in writing are indicative of the larger moves discussed here.

Writing about Business Writing: An Ethnography Assignment

 

Marianna Hendricks
The University of Texas at El Paso
mrdrum@utep.edu

Since 2010, I have experimented with integrating a WAW approach in my first-year writing courses. In 2012, I grew these efforts to include more business writing, both within first-year writing and in a dedicated course on workplace writing.

One way this has been successful is in the assignment below, the Workplace Writing Ethnography, which I developed alongside several colleagues at UTEP. This project stems from the commonly-assigned literacy narrative, or auto-ethnography, and extends the task of ethnography into exploring genres and conventions of a students’ target (or current) workplace. This is especially important for students who intend to enter a new career after college, as the project emphasizes analysis of the ways novices enter and integrate into a discourse community.


 

Workplace Writing Ethnography

Overview

The Workplace Writing Ethnography is different from the auto-ethnography. Rather than examine multiple writing practices for an individual (you), this assignment allows you to explore how written communication is structured within a single workplace. Ultimately, your objective is to: 1) get a sense of what genres are common within your chosen workplace, 2) profile conventions and “document cycling” practices (Paradis, Dobrin, and Miller, 1985) that are considered normal there, and 3) document (or propose) ways that novices could enter the written communication practices effectively and efficiently.

You will choose a workplace that you are either already in, or a workplace you would like to join in the future, perhaps as part of your career goals.

This assignment stems from class discussion of John Swales’ (1990) article “The Concept of Discourse Community,” where he gives six defining characteristics of discourse communities:

  1. A discourse community has a broadly agreed set of common public goals.
  2. A discourse community has mechanisms of intercommunication among its members.
  3. A discourse community uses its participatory mechanisms primarily to provide information and feedback.
  4. A discourse community utilizes and hence possesses one or more genres in the communicative furtherance of its aims.
  5. In addition to owning genres, a discourse community has acquired some specific lexis.
  6. A discourse community has a threshold level of members with a suitable degree of relevant content and discoursal expertise. (pp. 471-473)

Gathering Data

You will explore the six elements of discourse communities as they relate to the written communication within a particular workplace. When selecting your community, consider the guidelines listed below:

Locate a business or organization that is related to your future career aspirations. If you wish to study your current workplace, work with an upper-level supervisor to research beyond your current role.

  1. Contact an upper-level supervisor of this business or organization. Briefly explain your project, ask permission to observe people on-the-job for at least 3 hours, and set up an interview with the supervisor following your observation.
  2. Observe members of the community during a shared activity, and take detailed notes of how they interact (what are they doing? what kinds of things do they say? what do they write? how do you know who is ‘in’ and who is ‘out’?).
  3. Request an interview with at least one lower-level employee in the organization.
  4. Collect artifacts and writing produced in the community. Consider requesting examples of emails, memos, business letters, web materials, brochures, mission statements, grant proposals, or procedures.

Record and/or take detailed notes during interviews with the supervisor and lower-level employee (we will develop research questions as a class beforehand).

Analyzing Data

After completing your observation and interviews, review your notes and the artifacts you have collected. As you read and re-read, try to answer as many of the following questions as possible:

  • What are the shared goals of this community? Why does the group exist and what does it do?
  • What mechanisms do members use to communicate? What are the purposes of these mechanisms?
  • Which of these mechanisms are considered genres? Which are primarily written?
  • Who are the normal audiences for these genres? What do they usually want to know? What do they expect to see?
  • What are some conventions for written communication in these genres? Is there a certain tone, specialized language, or standard way of saving or sharing information?
  • What kinds of “document cycling” take place in this community? Who provides feedback, and how often? When is a document considered final? How does it get there?
  • Who has expertise? Who are the newcomers? How do newcomers learn appropriate language, genres, knowledge?

Connect your findings with at least two of our readings. Consider whether your research seems to line up with what we read and discussed, or if your findings call some ideas into question.

Presenting Data

You will present your findings within a 5- to 7-page article, using a format commonly used to share qualitative research in academic journals. This article should be double-spaced, using a 12-point font in Times New Roman, Arial, or Calibri, and one-inch margins. Please include all of the following sections:

  • A title page, including a title, your name, class time, and contact information.
  • Introduction, providing an overview of your workplace and research questions.
  • Literature Review, using course readings and any other relevant sources to support the way you structured your inquiry, data collection methods, analysis, or findings.
  • Methods, providing details of how you collected and analyzed data, in a way that another researcher could reasonably replicate.
  • Discussion, making connections between what you found and what it might mean, especially to a novice entering the workplace or someone looking to improve current practices.

The final version of your article should follow APA format, including a title page with running head, in-text and reference page citations, page numbers, and first-level section headings.

Drafting and Peer Review

All students will have multiple opportunities to share working drafts of their article with peers and the instructor for feedback. Please come to class on peer review days with as much work completed as possible, and be ready to provide meaningful comments on “global” issues such as appropriate focus, helpful structure, clear descriptions, and sufficient detail. Students who wish to receive additional feedback may make an appointment with the instructor during office hours and visit the University Writing Center to meet with a tutor; however, do not come expecting an editing session.

rhetorical analysis prompt

This is a two-page handout I used in an upper-level course called “Theory and Practice of Expository Writing” at Hunter College. As you’ll see in the various (and rapid) deadlines, this version is from a compressed summer session, which met for four days a week for five weeks.

handout – prompt for academic essay, with scaffolding – summer 2012

This assignment entered in the second unit of the course, in lesson 11 of 20, and I was happy with the idea that students could use the readings from unit 1 and the first part of unit 2 to provide enough context that they would feel confident about their claims. That said, a good number of students opted instead to read further and to take on something new.

I’m happy to discuss anything about this assignment — including, possibly, critique — in the comments or by email.

Teaching Writing about Writing 4C15 SIG

Our CCCC 15 WAW SIG (gotta love acronyms) teaching group shared some really interesting ways to teach Writing about Writing.
We had a diverse group, from people teaching at a fully integrated WAW school to STEM WAW to WAW going rogue. Thanks to all of our participants. I walked away from the SIG with many, many great ideas!

Part of our discussion seemed to circle back on ways to get students “over the hump” of a difficult and rigorous writing curriculum. Here are some ideas we discussed:

  • Teach the literacy narrative first to ease them in.
  • Use children’s literacy TV shows to get them thinking about literacy (Reading Rainbow, Dora the Explorer)
  • Use the Digital Archive of Literacy Narratives (http://daln.osu.edu) as a resource.
  • Teach some reading strategies such as reading the first time very quickly for main ideas, reading headings and subheadings, skimming methods and data sections while concentrating on introductions and conclusions.
  • Understanding that this difficult materials is about treating students as adult/college level learners. We don’t “water down” anything for them.
  • Reminding them that they’ll be proud of their own hard work at the end of the semester.

We also discussed a variety of ways to think about WAW courses:
STEM WAW can focus on STEM genres, using a science accommodation assignment, reading Jeanne Fahnestock’s 1986 article, “Accommodating Science: The Rhetorical Life of Scientific Facts.”

Approach WAW thematically by deconstructing preconceived notions of writing that students bring with them.

  • What about a whole course on revision?
  • What if a first-year course focused on deconstructing the five paragraph essay? Think of White’s “Five Paragraph Theme Theme.”
  • How might we deconstruct the use of “I” in academic writing?
  • This could also be a course around one of our Threshold Concepts
  • Why not construct a course around major people in writing studies? Read and write about Donald Murray’s ideas and how they’ve changed over time. What other figures might work for this approach?

Please consider using this space to comment about other ideas or assignments that work for you!

Interview with a Writer (Betsy Sargent)

This assignment, developed by Betsy Sargent for WRS 101: Exploring Writing (U of Alberta), tasks students with the following:

You are going to interview an individual in that field or line of work about the writing they do every day and how they go about doing it. Interviews with individuals who have more work and writing experience than you do—or experience of a different kind—can generate rich material to help you, your colleagues, and your instructor get a better sense of the wide variety of writing that gets done in the world.

Image credit: “Job Interview” by nuggety247 on Pixabay, CC0 license.