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anonymous

Taylor & Francis Online :: Supervision and scholarly writing: writing to learn-learning... - 0 views

www.tandfonline.com/...14623940500300491

shared by anonymous on 12 Nov 12 - No Cached
  • students’ difficulties with the academic genre should be considered to be the norm, rather than the exception.
    • anonymous
      anonymous on 12 Nov 12
       
      Step away from problematising writing and toward it being normal to seek help
  • mechanical errors r
  • errors in the microstructure of writing
  • ...77 more annotations...
  • inconsistencies in writin
  • macrostructure of writing
  • quality and clarity of purpose
  • substantive general writing errors
  • publication, authorship, training and fairness
  • plagiarism
  • formal writing courses and reading lists, writing activities, and peer writing groups
  • Ideally, the supervisor provides a writing role mode
  • fallacious to assume that supervisors are necessarily scholarly writers
    • anonymous
      anonymous on 12 Nov 12
       
      relying on spvrs to be writing mentors does not always work, may have own issues with writing/lack of confidence
  • apprenticeship model can be ineffective
  • a passive role in improving their writing
  • tudents and supervisors need to master a range of writing task
  • benefit of naming what will be attended to and framing its context accrues through the process of planning, action and reflection
  • implicit contractual relationship between my students and me
  • supervisor
  • provide feedback
  • conceptu
  • methodological
  • I conceived postgraduate students’ writing as similar to that of an academic co‐author.
    • anonymous
      anonymous on 12 Nov 12
       
      assumed they were more developed as writers than they actually were
  • initially corrected all errors
  • ttle emphasis to these errors in subsequent interactions
  • explored whether these were careless errors or whether the students had difficulty with particular aspects of writin
  • students assumed some responsibility for proofreading
  • cholarly writing in a thesis involves much more than a set of discrete writing tasks
  • heightened awareness of individual differences in students as writers
  • dependent writer
  • ‘writer’s block’ that could be overcome by breaking writing down into subtasks
  • copious notes
  • detailed note‐taking limited her interaction
  • brief summary of the key points on my written response to her drafts
  • action plan
  • writing block initially posed a major ethical dilemma for me because the ethical guidelines of authorship restrict the writing that should be undertaken by a superviso
  • not writing per se that underpinned Denise’s writing block but a lack of knowledge about the content and organization of a particular writing task.
    • anonymous
      anonymous on 12 Nov 12
       
      Writers block can come from lack of knowledge/confidence in the writing process, rather than lack of subject knowledge
  • confident writer
  • published during his doctoral studies
  • nadvertently engaged in unethical writing behaviour by including me as a co‐author without my permission
  • difficulties with all aspects of the macrostructur
  • epeat sections of writing from earlier chapters
  • replace repeated text with concise summaries or use cross‐referencing
  • tendency to rush through corrections, which often resulted in many issues identified on a previous draft remaining unresolved
  • writing was often submitted and returned electronically using the ‘comments’ and ‘track changes’ tools in Microsoft Word.
    • anonymous
      anonymous on 12 Nov 12
       
      use of technology to produce tracked drafts/version control
  • resistant writer
  • acknowledged herself to be a poor write
  • writing supp
  • oral and written feedback
  • email guidance, sessions where writing was modeled and her writing scaffolded, and handouts on writing style.
  • specialist assistance
  • r lack of commitment to improving the quality of subsequent drafts
  • argumentative stance towards writing feedback
  • my colleague and I decided that we were no longer prepared to supervise Rita.
  • imited writing progress
  • , Rita had failed to adequately demonstrate her writing capability as a doctoral candidat
  • sporadic writer
  • repeatedly failed to meet negotiated deadlines
  • supervisor, it was difficult to maintain interest in and respond to Sherry’s work because of the time lag between each piece of writing
  • enlisted an experienced supervisor to act as my mentor
  • forewarned
  • Sherry’s approach to writing was likely to result in a lengthy completion time and she needed to accept the responsibility for managing her writing tasks.
  • emotional excitement of writing up a thesis and the ensuing motivation
  • lacked
  • This trail of documentation
  • importance of
  • highlighted student‐centred writing issues
  • dentified broader issues that also needed to be accommodated in supervision
  • confidence in writing does not necessarily equate with capability.
  • uture directions
  • upport students
  • ncouraging them to participate in activities designed to support scholarly writing,
  • community of support for each othe
    • anonymous
      anonymous on 12 Nov 12
       
      rationale for peer support groups
  • Technology
  • virtual community of student writers
  • Ethical writing
  • cant attention in postgraduate training to ethical practices in writing
  • explore the ethical standards that are in operation in our local academic community.
  • underpinned by a performance‐orientation
  • ssues of concern related to students’ scholarly writing were identified.
  • eper understanding of the breadth of issues related to the supervision of postgraduate writing
Has Slone

Always Write: Cobett's "7 Elements of a Differentiated Writing Lesson" Resources - 10 views

www.corbettharrison.com/seven_elements.htm

shared by Has Slone on 09 Apr 12 - No Cached
    • Has Slone
      Has Slone on 09 Apr 12
       
      This is a neat way to start a writing class with the creating plot ideas....
  • One of the goals I ask teachers to set after my training is to find new ways to push students to analyze and evaluate as they learn to write.
  • As part of my teacher workshop on the writing process, we investigate multiple uses of student samples. One of my favorite techniques involves having student compare and contrast finished pieces of writing. During both pre-writing and and revision, this push for deeper student thinking both educates and inspires your students.
  • ...30 more annotations...
  • The handout has student writers analyze two fifth graders' published writing with a compare and contrast Venn diagram.
  • Revision is hard, and most teachers recognize it as an area of deficiency; the truth is, a lot of really great writing teachers I know still freely admit that revision is where they struggle the most.
  • revision shouldn't be the first of the seven elements to work on
  • When students like what they've written in rough draft form, they're ready to move to revision. My other six elements aim at helping students increase their pre-writing time so they both like and see more potential in their rough drafts
  • I believe in the power of collaboration and study teams,
  • Professional development research clearly cites the study team model as the most effective way to have learners not only understand new ideas but also implement them enough times so they become regular tools in a teacher's classroom.
  • Below, find three examples created by study teams during past workshops. I use them as models/exemplars when I set the study teams off to work.
  • My students learn to appreciate the act of writing, and they see it as a valuable life-skill.
  • In a perfect world, following my workshop,
  • follow-up tools.
  • I also use variations of these Post-its during my Critical Thinking Using the Writing Traits Workshop.
  • By far, the best success I've ever had while teaching revision was the one I experienced with the revision Post-its I created for my students
  • During my teacher workshop on the writing process, we practice with tools like the Revision Sprint (at right), which I designed to push students to use analysis and evaluation skills as they looked at their own drafts
  • I used to throw my kids into writing response groups way too fast. They weren't ready to provide critical thought for one another
  • The most important trick learned was this: be a writer too. During my first five years of teaching, I had assigned a lot of writing but never once had I written something I intended to show my students.
  • I have the following interactive plot element generator (which can be replicated with three coffee cans and index cards) to help my students feel in control of their options:
  • If you want to hear my take on graphic organizers in detail, you're going to have to hire me to come to present to you. If you can't do that, then I'll throw you a challenge that was thrown once at me, and completing the challenge helped me become a smarter designer of graphic organizers. The challenge came in two parts: 1) learn how to use tables and text boxes in Microsoft Word; 2) for practice, design a graphic organizer that would help students be successfully with the following trait-based skills:
  • "It was the best of times, it was the worst of times, etc," which is an interesting structure that students can borrow from to write about other topics, be they fiction or non-fiction.
  • Asking students to create daily journals from the perspective of other animals or even inanimate objects is a great way to borrow this book's idea.
  • it challenges students to analyze the author's word choice & voice skills: specifically his use of verbs, subtle alliteration, and dialogue.
  • Mentor Text Resource Page here at my website, because this topic has become such a big piece of learning to me. It deserved its own webpage.
  • Here are seven skills I can easily list for the organization trait. Organization is: 1) using a strong lead or hook, 2) using a variety of transition words correctly, 3) paragraphing correctly, 4) pacing the writing, 5) sequencing events/ideas logically, 6) concluding the writing in a satisfying way, 7) titling the writing interestingly and so that the title stands for the whole idea. Over the years, I have developed or found and adapted mini-lessons that have students practice these skills during my "Organization Month."
  • Now, let's talk differentiation:
  • The problem with focusing students on a product--instead of the writing process--is that the majority of the instructional time is spent teaching students to adhere to a formula.
  • the goal of writing instruction absolutely should be the helping students practice the three Bloom's levels above apply: analyze, evaluate, and create.
  • Click here to access the PowerPoint I use during the goal-setting portion of my workshop.
  • Improving one's ability to teach writing to all students is a long-term professional development goal; sticking with it requires diligence, and it requires having a more specific goal than "I want to improve writing
  • "Trying to get better at all seven elements at once doesn't work;
  • strive to make my workshops more about "make and take,
  • Robert Marzano's research convinced me years ago of the importance of having learners set personal goals as they learn to take responsibility for their own learning.
Patrick Higgins

Why Undergrads Aren't Writing Enough - Brainstorm - The Chronicle of Higher Education - 49 views

chronicle.com/...31800

writing composition higher education

shared by Patrick Higgins on 04 Feb 11 - No Cached
  • When it comes to writing-heavy courses, students don’t want to take them and teachers don’t want to teach them. When it comes to writing assignments in non-writing-oriented courses, students don’t like them to run too long and neither do teachers. Writing is just too much work for both sides. For every upper-division class in the humanities, 25 pages of finished out-of-class writing is a proper minimum. But for most students, that sounds like a daunting total—and an unjust one. For teachers handling three or more classes with 25 or more students, grading all those pages conscientiously (which means giving substantive feedback) keeps them up all night three weeks every semester. For those lucky teachers on a 2-2 load with 25 students or less per course, they feel the publish-or-perish mandate and all those pages of student prose turn into a road block.
    • Patrick Higgins
      Patrick Higgins on 08 Feb 11
       
      This is an interesting section.  My feeling is that there has to be a way to increase what's viewed as "writing."  Does writing have to live solely in the 20+ page paper?  Can not the cumulative total of writing be considered?  
  • When it comes to writing-heavy courses, students don’t want to take them and teachers don’t want to teach them.
A Strang

Welcome to Great Source iwrite! - 5 views

www.greatsource.com/...index.html

writing language Resources literature six traits of writing

shared by A Strang on 28 May 09 - Cached
  • A Strang on 28 May 09
     
    A variety of templates, tutorials, and graphic organizers introduce and explain the major forms of writing (narrative, persuasive, expository, research, response to literature) and help students develop practical writing skills - from coming up with a topic idea to publishing a polished work. Developed in collaboration with Microsoft for Learning Essentials, these tools offer solid instruction from the popular, research-based Write Source series of writing programs.
Martin Burrett

Dyslexia: When spelling problems impair writing acquisition - 11 views

ukedchat.com/...dyslexia-spelling-writing

dyslexia reading

shared by Martin Burrett on 28 Nov 17 - No Cached
  • Martin Burrett on 28 Nov 17
     
    "Dyslexia is a learning difficulty which affects the ability to adopt the automatic reflexes needed to read and write. Several studies have sought to identify the source of the problems encountered by individuals with dyslexia when they read. Little attention, however, has been paid to the mechanisms involved in writing. Sonia Kandel, Professor at the GIPSA-Lab of the Université Grenoble Alpes (CNRS/Université Grenoble Alpes/Grenoble INP) and her team [1] decided to look at the purely motor aspects of writing in children diagnosed with dyslexia. Their results show that orthographic processing in children with dyslexia is so laborious that it can modify or impair writing skills, despite the absence of dysgraphia in these children. The findings of this study are published in the November 2017 edition of Cognitive Neuropsychology."
Glenn Hervieux

inklewriter - 19 views

www.inklestudios.com/inklewriter

Digital Storytelling interactive writing

shared by Glenn Hervieux on 04 Mar 14 - No Cached
  • Damianne President on 04 Mar 14
     
    inklewriter is a free tool designed to allow anyone to write and publish interactive stories. It's perfect for writers who want to try out interactivity, but also for teachers and students looking to mix computer skills and creative writing.
  • Glenn Hervieux on 29 Mar 15
     
    "Inklewriter is a free tool designed to allow anyone to write and publish interactive stories. It's perfect for writers who want to try out interactivity, but also for teachers and students looking to mix computer skills and creative writing."
Jess Hazlewood

"Where's the Writer" TETYC March 2014 - 43 views

DIIGO_FILE_HOME/1dj8a/b5ju

shared by Jess Hazlewood on 03 Sep 14 - No Cached
  • “Responders Are Taught, Not Born”
  • We contend that student writers will see greater value in peer response if they develop tools that allow them to participate more actively in the feedback process. With teaching suggestions like those above, writers can learn how to re-flect on their experiences with peer response. They can also learn to identify their needs as writers and how to ask questions that will solicit the feedback they need.
  • We like to limit each mock session to no more than seven minutes of back and forth between respondent and writer.
  • ...33 more annotations...
  • class suggests that the writer’s question
  • This becomes a teachable moment. When the respondent asks for assistance from the class, this break in the session becomes an opportunity for the class to assist the writer and the respondent. The writer appears stuck, not knowing what to ask. And the respondent appears perplexed, too.
  • we follow Carl Anderson’s suggestion to teach students how to ask questions about their writing through role-playing.
  • dynamic list that students freely update throughout the semester on the class classro
  • organize the questions within categories such as tone, content, evidence-based support, style, and logistics
  • The end result is a robust list of questions for writers to ask of their respondents.
  • in-class discussion about effective and less effective questions for writers
  • raft three to five questions they have about the assignment to ask of their peers as they prepare to write or revise their assignment. When appropriate, we can direct our students to the course text, where there are
  • : pointing, summarizing, and reflecting
  • Students’ comments often point to their struggle to position themselves in peer response.
  • “What would it take for you to be in-vested as writers in peer response?” Students’ typical responses include the following:>“I need to know what to ask.” >“I don’t know what to ask about my writing, except for things like punctua-tion and grammar.”>“Does the person reading my work really know what the assignment is? Bet-ter than I do?”>“I’m not really sure if I’m supposed to talk or ask questions when someone is giving me feedback about my work, so I don’t really do anything. They write stuff on my paper. Sometimes I read it if I can, but I don’t really know what to do with it.”
  • it is important to offer activities to ensure that both respondents and writers are able to articulate a clear purpose of what they are trying to accomplish. These activities, guided by the pedagogies used to prepare writing center consultants
  • devote more attention to the respondent than to the writer, we may unwit-tingly be encouraging writers to be bystanders, rather than active participants, in the response process.
  • , “Feedback: What Works for You and How Do You Get It?”
  • highlight the value of both giving and getting feedback:In 56 pages near the end of this book, we’ve explained all the good methods we know for getting feedback from classmates on your writing. . . . The ability to give responses to your classmates’ writing and to get their responses to your own writing may be the most important thing you learn from this book. (B
  • we question whether textbooks provide emergent writers with enough tools or explicit models to engage actively in peer response conversations.
  • While such questions are helpful to emerging writers, who depend on modeling, they lack explanation about what makes them “helpful” questions. As a result, emerging writers may perceive them as a prescriptive set of questions that must be answered (or worse, a set of questions to be “given over” to a respondent), rather than what they are intended to be: questions that could advance the writer’s thoughts and agenda.
  • this information is limited to the instructor’s manual
  • llustrates the difference be-tween vague and helpful questions, pointing out that helpful questions
  • You will need to train students to ask good questions, which will help reviewers target their attention.Questions like “How can I make this draft better?” “What grade do you think this will get?” and “What did you think?” are not helpful, as they are vague and don’t reflect anything about the writer’s own thoughts. Questions like “Am I getting off topic in the introduction when I talk about walking my sister to the corner on her first day of school?” or “Does my tone on page 3 seem harsh? I’m trying to be fair to the people who disagree with the decision I’m describing” help readers understand the writer’s purpose and will set up good conversations. (Harrington 14, emphasis added
  • uestions” when soliciting feedback (like the advice we found in many textbooks), she also provides explicit examples for doing so
  • he most explicit advice for writers about ask-ing questions and, in effect, setting up good conversations is buried in an instruc-tor’s manual for The Allyn & Bacon Guide to Writing. In thi
  • “Getting Response” chapter later in the book, they will benefit from the textbook authors’ instructions that they should in fact use questions that will help them solicit their feedback
  • dependent on what parts of the textbook they choose to read
  • point writers to a specific set of questions that they should ask of their respondents. Such instructions take a notable step toward shifting the locus of control from the respondent to helping writers engage their peers in conversation.
  • there is no mention that writers might use them for purposes of soliciting feedback.
  • we see an opportunity for modeling that is not fully realized.
  • we argue that Faigley offers respondents specific examples that empower them to actively engage the process and give feedback. We contend that emergent writers need a similar level of instruction if they are to be agents in response.
  • textbook authors offer few examples for how to get specific feedback
  • Peter Elbow and Pat Belanoff ’s first edition of A Community of Writers published in 1995, in which eleven “Sharing and Responding” techniques, d
  • we worked to understand how textbooks highlight the writer’s role in peer response.
  • We wanted to know what books tell writers about asking questions
  • lthough we do not discount the importance of teaching respondents how to give feedback, we argue that writers must also be taught how to request the feedback they desire.
  • Jess Hazlewood on 03 Sep 14
     
    Writer's role in soliciting feedback during peer edit. Suggestions for modeling and training.
Tracy Tuten

Tech Learning TL Advisor Blog and Ed Tech Ticker Blogs from TL Blog Staff - TechLearnin... - 60 views

www.techlearning.com/31582

learning storytelling publishing sme

shared by Tracy Tuten on 20 Aug 10 - Cached
  • Mixbook (or Mixbook for Educators) is a photo-based creation platform that offers hundreds of layouts and backgrounds to choose from along with customizable frames and text to make your book beautiful. Just pick a layout, drag-and-drop your photos into the photo slots, and edit to your heart's content.
  • Though the site's examples suggest using the books to gather wedding, travel, and baby albums, this program can absolutely used to create stories around historic photographs and artifacts, original art, to produce a class yearbook, to share an oral or personal history or journey, to tell the story of a field trip.  Mixbook for Educators now offers a secure collaborative environment for sharing their ebooks, as well as discounts on printed products, should you choose to print.  (A similar option is Scrapblog.)
  • Storybird, a collaborative storybook building space designed for ages 3-13, inspires young writers to create text around the work of professional artists and the collection of art is growing. Two (or more) people create a Storybird in a round robin fashion by writing their own text and inserting pictures. They then have the option of sharing their Storybird privately or publicly on the network. The final product can be printed (soon), watched on screen, played with like a toy, or shared through a worldwide library. Storybird is also a simple publishing platform for writers and artists that allows them to experiment, publish their stories, and connect with their fans.
  • ...4 more annotations...
  • Myth and Legend Creator 2 shares a collection of traditional stories from England and around the world to hear and read. The site offers historical context for each story, story time lines and maps, ideas for use of the story in the classroom, and student work inspired by the story.  The Story Creator--with its libraries of backgrounds, characters, props, text bubbles, sound and video recording tools, and options to upload--provides students easy opportunities to create their own versions of traditional stories.
  • The Historic Tale Construction Kit is similar in that it helps students construct stories around a theme, in this case stories set in the middle ages with movable, scalable beasts, folks, braves, buildings. and old-style text.
  • Tikatok is a platform devoted to kid book publishing at a variety of levels.  Children have the option of exploring a collection of interactive story templates called StorySparks prompts, personalizing an existing book with their own names in Books2Go, with their own names, or starting from scratch in Create Your Own Book. Tikatok’s Classroom Program allows teachers to share lesson plans, view and edit students' work online, encourage collaboration, and track writing progress.
  • Big Universe is both an online library and a publishing and sharing community for grades K through 8.  Using Big Universe Author, students may create, research, and collaborate on books using a library of more than 7000 images and interactive tools.
  • Tracy Tuten on 20 Aug 10
     
    Digital publishing tools for creating story books
marlene hardin

BoomWriter | Read, Write, Compete... And Get Published! - 123 views

boomwriter.com

writing collaboration publishing edcampphilly

shared by marlene hardin on 28 Nov 11 - No Cached
  • chad even on 28 Nov 11
     
    Boom Writer blends creative writing and social media technology to provide a competitive writing platform that is integrated into the national education curriculum. The goal is to give schools a platform for a more engaging creative writing process, give teachers a tool that focuses their students on creative writing techniques and all the students have fun in the process. With a slick and easy to use interface, Boom Writer is a worth while tool for writing in the classroom.
Martin Burrett

Pandamian - The Easiest Way To Publish A Book Online - 70 views

www.pandamian.com

publishing books ebook stories story

shared by Martin Burrett on 25 Nov 11 - No Cached
Kate Pok liked it
  • Martin Burrett on 25 Nov 11
     
    A wonderfully simple site for writing and publishing books online. Make chapters and save your work as draft until you are ready to publish. http://ictmagic.wikispaces.com/ICT+%26+Web+Tools
Martin Burrett

CreateSpace: Self Publishing and Free Distribution for Books, CD, DVD - 47 views

www.createspace.com

English literacy writing publishing

shared by Martin Burrett on 30 Jun 11 - Cached
  • Martin Burrett on 30 Jun 11
     
    Bring the power of the Amazon book store to your children's stories. Use this great online publishing tool to show off your children's writing and even produce paper copied. http://ictmagic.wikispaces.com/English
Mark Gleeson

Plan-Write-Publish digitally | Helen on ICT - 81 views

mypad.northampton.ac.uk/...plan-write-publish-digitally

digital storytelling digital_literacy writing

shared by Mark Gleeson on 04 Oct 12 - No Cached
  • Mark Gleeson on 04 Oct 12
     
    Practical writing process ideas using a range of Web 2.0 tools 
  • Maria del Rocio Costa on 05 Oct 12
     
    Great ideas!
Martha Hickson

inkle » inklewriter - 29 views

www.inklestudios.com/inklewriter

writing creative_writing english

shared by Martha Hickson on 08 Jul 12 - No Cached
  • Martha Hickson on 08 Jul 12
     
    free tool designed to allow anyone to write and publish interactive stories. It's perfect for writers who want to try out interactivity, but also for teachers and students looking to mix computer skills and creative writing.
Stacy Olson

Entri | Free & Simple Collaborative Document Sharing Tool - 2 views

entri.co

collaboration writing entri

shared by Stacy Olson on 20 Feb 12 - No Cached
  • Stacy Olson on 20 Feb 12
     
    Entri is a free collaborative tool for writing and sharing documents. Say you are writing an article for your blog and you want to share with your readers before you publish it to get feedback and allow changes.
festaniec

Profile Publisher - ReadWriteThink - 6 views

www.readwritethink.org/...profile-publisher-30067.html

facebook profile interactive writing readwritethink profile_publisher publisher tools resources

shared by festaniec on 30 Sep 12 - No Cached
  • festaniec on 30 Sep 12
     
    Profile publisher - practice setting up profiles for social media sites
Beth Panitz

FableVision Publishing School - 61 views

www.fablevision.com/...index.html

publishing writing resources

shared by Beth Panitz on 14 Apr 11 - Cached
  • Beth Panitz on 14 Apr 11
     
    How-To Guide to Online Self-Publishing
Roland Gesthuizen

What Is a Book? The Definition Continues to Blur: Tech News and Analysis « - 45 views

gigaom.com/...e-definition-continues-to-blur

eBook publishing book journalism magazine Amazon

shared by Roland Gesthuizen on 22 Apr 11 - No Cached
  • a whole series of ongoing attempts to reimagine the entire industry of writing and selling books. If you’re an author, it’s a time of incredible chaos, but also incredible opportunity.
  • a market where Amazon is already publishing what it calls “Singles,” or short book-length publications that virtually anyone can produce.
  • author Barry Eisler, after publishing a number of books through the traditional route, said recently he’s going to start self-publishing, because he will have more control over the process and will keep more of the revenue.
  • Roland Gesthuizen on 22 Apr 11
     
    "It used to be so easy to define what a book was: a collection of printed pages bound inside a cover (hard or soft) that you could place on a shelf in your library, or in a store. Now, there are e-books, and blogs that turn into books, and long pieces of journalism that are somewhere between magazine articles and short books"
  • Roland Gesthuizen on 22 Apr 11
     
    Good article that notes the increase of self-publication with eBooks that can be purchased from Amazon
D. S. Koelling

Plagiarizing Yourself - Advice - The Chronicle of Higher Education - 31 views

chronicle.com/...124781

shared by D. S. Koelling on 05 Oct 10 - No Cached
msovoice liked it
  • Her presentation contained a slide that said academic dishonesty included plagiarizing yourself—i.e., taking a paper you had written for one course and turning it in for credit in another course. That, she explained, constituted a dishonest representation of your work for a course. "Unless," one of my colleagues chimed in at that point, "you're an academic, and you're presenting the same idea at a bunch of different conferences. Then it's clearly not dishonest."
  • counterargument
  • So does the injunction against plagiarizing from yourself fall into the category of one of those hypocritical rules that we like to impose on our children: Drinking soda every day would be bad for your health, honey, but it's fine for me? If a categorical difference exists here between what we do and what we forbid our students to do, I confess, I have a hard time seeing it.
  • ...4 more annotations...
  • "Are we allowed to use ideas from our writing exercise to help us write this paper?" she asked. "Of course," I said. "That was the whole point of the writing exercise—to get you a head start in thinking about how you want to approach your paper." "OK," she said. And then after a brief pause: "Because at orientation they told us we weren't allowed to use our own work twice." "Ah," I said. "That doesn't really apply in this case. And anyway, I don't really mind, in this course, if you take a paper that you've written for another course and revise it for an assignment in here. You just have to make sure that what you turn in fulfills my specific assignment. Other professors might feel differently, though. So I would always ask before you tried to do that."
  • So why deprive our students of the opportunity to learn those same lessons, by recycling a particular paper from one course to the next?
  • I can foresee one more objection: What's to prevent a student from recycling the same paper from course to course to course? Students who did so would lose the valuable opportunity to practice their writing—and writing, like any other intellectual or physical skill, requires lots of practice. But—practically speaking—the opportunity to reuse a paper might arise only once or twice in a student's career, thanks to the diversity of our course assignments and disciplines.
  • First, do you see a problem with allowing students to revise a paper or presentation created for one course and turn it in for another one, assuming they can make it fit the assignment for the new course? Does this count as plagiarism? Second, are there any courses or programs that build such a process into the curriculum—requiring or encouraging students to take work from one course and adapt it for another? I encourage readers to offer their ideas. Of course if you have published or presented elsewhere on this subject, you should still go ahead and share your recycled idea. I will leave it up to you to decide whether to feel guilty about that.
Miguel Rodriguez

A Textbook Example of What's Wrong with Education | Edutopia - 0 views

www.edutopia.org/muddle-machine

shared by Miguel Rodriguez on 24 Jul 09 - Cached
  • A Textbook Example of What's Wrong with Education A former schoolbook editor parses the politics of educational publishing.by Tamim Ansary var addthis_options = 'delicious, digg, facebook, google, reddit, stumbleupon, twitter, more'; Print Forward addthis_pub = 'glef'; Share Comments(38) Comment RSS Click to enlarge pictureThe Muddle Machine Credit: Monte Wolverton Some years ago, I signed on as an editor at a major publisher of elementary school and high school textbooks, filled with the idealistic belief that I'd be working with equally idealistic authors to create books that would excite teachers and fill young minds with Big Ideas. Not so. I got a hint of things to come when I overheard my boss lamenting, "The books are done and we still don't have an author! I must sign someone today!" Every time a friend with kids in school tells me textbooks are too generic, I think back to that moment. "Who writes these things?" people ask me. I have to tell them, without a hint of irony, "No one." It's symptomatic of the whole muddled mess that is the $4.3 billion textbook business. Textbooks are a core part of the curriculum, as crucial to the teacher as a blueprint is to a carpenter, so one might assume they are conceived, researched, written, and published as unique contributions to advancing knowledge.
    • Miguel Rodriguez
      Miguel Rodriguez on 24 Jul 09
       
      I have worked as an editor for an educational publisher myself and, let me tell you, a lot of this sounds really familiar!
Marc Patton

Publishing with iBooks Author - O'Reilly Media - 2 views

shop.oreilly.com/...0636920025597.do

Teacher_Resources Apple_Education iPad_iPod_iTouch

shared by Marc Patton on 21 Nov 12 - No Cached
  • Marc Patton on 21 Nov 12
     
    iBooks Author is the first tool of its kind. Never before have publishers, authors, and content creators had a tool for making dynamic, interactive ebooks in a WYSIWYG environment. This book is intended to get you up and writing in iBooks Author.
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