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In this short little section of a book review on "Overcoming Writing Blocks" that was published in 1979, Paster highlights 2 techniques of the 75 mentioned in the book. One is called the "spoke outline," which today we call mind mapping. The other is called "letter to a friend" in which the writer sets up a sort of letter that drifts the discussion toward what the writing assignment is and what the topic should be about--detailing how far work has gotten and any ideas that have come up in relation to the assignment. This 'letter' is completely disposable and it just meant to be used as a prompt for discussion in order to get ideas flowing in such a way that a writer can use to describe the assignment and work to another person. Many people these days just simply talk to other people about their assignment and spur ideas from discussing their topic, rather than writing an imaginary discussion in a letter that is never meant to be sent. Will look for the "Overcoming Writing Blocks" book to gather more of its 75 techniques.

In this excerpt of Oliver's book, Oliver discusses much of what Rose discussed on "how writer's block comes to be" in our text--therefore, I will not go over those points. My main agenda is to see what sort of techniques Oliver uses in his work to suggest how to move past writer's block. On pages 165-168 Oliver discusses the first approaches to writer's block and then three ways that can resolve writer's block. To approach writer's block, Oliver puts the responsibility on the teachers to figure out if their students with writer's block use too rigid rules when composing, and if so, encourage students repeatedly that "Writing is rewriting" and that editing should be done after writing is complete. These notions Oliver states are very close to "better said than done" tasks, since teachers can repeat such things over and over until they are blue in the face but that doesn't mean the students will take those words to heart and change their composing habits. Oliver then moves on to his three "resolutions" to writers block, strongly putting responsibility on the teacher initially. Oliver offers that teachers should have a 10-15minute discussion with their students, using probing questions to prompt ideas for writing. In turn, the students should jot down notes of the ideas that come to their minds. The point of this is to tap into relevant knowledge for their paper assignments. This sort of prompt questioning can then be used by students on their own time, alone or with friends--the teachers just lay the foundation of understanding for their students on how probe questioning can be useful when composing (shift in responsibility of overcoming writer's block from teacher to student after the excercise is learned and understood). Next, Oliver offers the excercise of freewriting to help open the flow of ideas. He recommends that teachers should give their students 10-15 minutes of non-stop freewriting on their writing topics. Students should refrain from pausing or editi

I watched this video in ENGL 030E workshop, and I am very interested in this video and the way the tutor use this video. The tutor show the video twice to students and assign them 8 minute quick write about what they have known from the video; after the quick write, the tutor let them discussion what they have gotten from the video in small group and share in the big group. In the big group discussion, some students mentioned that they "saw" words in the video. After discussion, the tutor show the video third time and asked students to write down all the words they have "seen" in this video. At the third, I figured out that the video shows different definitions of same words, like play, blow, run, etc., and the transitions between the words are done well. Through the process of thinking and discussing, the students noticed the words and the fluent transition. At the end of the discussion, the tutor collected the students' writings. The questions I raise from this video are that: 1. How to guide students to have such thinking rather than limited eyes. There will be more than two viewpoints to the same phenomenon, just like the different but interrelated definitions of the same word. At the beginning of the writing, the thought about the writing should be not limited in a specific topic or certain aspect, and writer can explore more ideas than they can. 2. How to start and use the invention strategies to avoid mechanical writing. Writing can be anything, not only the structure but also the idea. How to organize the essay, the structure, should be considered when the writing is certain; when having no idea of what to write, the free thinking and think deeper would be much more useful. It could be anything to inspire thoughts and ideas, like vocabulary, normal experience and so on. The video, the way the tutor delivers and the reading (Chapter 2 in Clark's book) make me think about how to really use the invention strategies.

This article goes into great detail about how the physical classroom should be designed. O'Hare makes two big distinctions between lectures and discussion-based learning, and how lectures do not encourage a community of active learning because students are not facing each other. However, when students are facing each other, it is much easier for a discussion to happen between the students. To make this possible, O'Hare discusses seating arrangements, lighting, blackboards/chalkboards, projectors, and desks that can properly satisfy student needs.

This is a technical discussion on dopamine, rewards, and time by neurologist Robert Sapolsky. His research has shown that the anticipation of reward is more pleasurable than the reward itself and this pleasure increases when the reward is not a guarantee, but a possibility. This kind of discussion may seem overly abstract and distant from the classroom, but understanding how motivation works, even on a neuro-chemical level, can help us to not only design our courses, but develop new approaches to generating enthusiasm and performance in the classroom. It is a good place to start when crafting (or re-designing) a teaching (and/or writing) philosophy. What are the rewards students associate with writing? What is our role in creating, maintaining, and providing access to those rewards? Do the rewards always have to be attainable? How do we frame these ideas for use in academic planning?

This article reviews how college freshmen's self-perception influences their transition into college life and their academic success. This relates to my research question because I am curious about how freshman transition from a typical high school mindset to a successful college lifestyle. The article discusses the many different factors that influence college freshmen's self-perception and reviews the data that has previously been found on this topic. Then the authors explain how they completed their study and discuss their findings. In the introduction of this article, the authors explain that one of the largest factors for academic success and a positive transition was a freshman's reasons for attending college. If a student had long-term goals and felt that their university was going to be a positive aspect of their life then they were more likely to be successful. I thought that this was interesting because I'm not sure how many of the freshmen in my Engl 30 section have this type of mindset. In the discussion section, the authors review their findings that students' perception of their intellectual ability and ability to make friends was a major influence on their success. Students who have a positive perception of their intellectual ability are more likely to be successful academically and socially. This was interesting to me because some of the students in Engl 30 might question their intellectual ability since their test scores were low. Lastly, the authors mention that students' perception of instructors and/or mentors as sources of support was a positive factor towards a successful transition. This made me think that maybe my Engl 30 students do not see myself and the mentor as sources of support because they are struggling in class, but if we could change that than maybe they would do better and be more successful.

I found this guide quite interesting since it broke down several areas of a composition course suggesting what could be down in each instant of the classroom curriculum. > I focused more so on peer groups and peer revision. (starting at pg. 12) The article mentions that students could bring in multiple copies of their paper so the entire class can read it (in groups and/or individually) and further discuss it in its entirety together. > I really enjoyed this idea especially since I've practiced it in some of my classes here at Chico. However, the only drawback would be of course the expenses and extent of resources the student/teacher/school has. However, this practice could help with distinct revision instead of quickly overlooking an assignment (peer revision is sometimes not taken seriously by students for them to care enough) on the projector slide and/or taking home a fellow peer's paper home to "revise." Also in revising as a group rather than pairs helps students actually gain different perspectives and open doors to their own knowledge received and practiced within the exercise. Along with such a revision process... can come about peer discussions. Sometimes, teachers forget to put into practice discussions following peer reviews. This allows students to further understand where the comments are coming from and how they can take away information to their advantage in revising the assignment.

This is a webpage from UCLA's Office of Instructional Development. It talks about the different things an instructor can do to encourage class discussion and make students feel comfortable enough in their class environment to share their ideas. The webpage mentions tips like really getting to know the students, calling on them by name and having them refer to each other by name, breaking students up into groups of 3-4 people, and how to handle disagreeing with your students when they do share. Other than how to stimulate discussion, the webpage also covers asking effective questions and the cycle of feedback.

This article by Mark Warschauer titled, "Technology and Writing" discusses the effects of various technological integration into writing pedagogy. The article discusses Computer-assisted classroom discussion (CACD), e-mail, web-page authoring, among other aspects of integration. Then Warschauer writes about current debates in the field in regards to online communication, exploring if it changes the realm for better or for worse.

Thinking of invention in chapter two of our text lead me to think about the ways in which we write to express self. This article discusses how the world of texting, instant messaging, blogging and other such types of writing help to open our minds to our inner thoughts. We are free from the rules and regulations of a stereotypical classroom and are also allowed to share and respond to others writing. The internet and cell phones have opened up a huge new space for writing. Some think it's hindering and destroying language, while others believe its radically changing it for the better. I want to start my journey here and reach my own personal conclusion through further research and discussions.

Becker's article discusses the various models researchers have used to blueprint the cognitive process writers use during revision. The discussion associated with these models came from Becker's inquiry on why novice writers have negative attitudes towards the revision process in comparison to more experienced writers. The goal of this research was to make explicit the most effective and efficient cognitive strategies teachers could use to help novice writers improve their revision process. Most of the models consist of evaluation skills and long-term memory associations. I find this article useful for teaching writing in the sense that it has potential apparatuses that teachers can use to motivate students to revise their work. Because revision is an important and sometimes complex part of the writing process, these models may serve useful or may serve as templates for other models to arise when applied to teaching. The important thing here is finding ways to encourage students to revise their work and examine what processes students use to motivate them to revise rather than have students assume their work is already perfect.

This article by Dr. Janette Hughes talks about the import role poetry plays in literacy development and how multi-media uses of poetry in the classroom can further enhance and engage a students learning process. For the sake of how in depth both of these subjects are, I'm only going to discuss what Dr. Hughes says about poetry and literacy development in this article. "Paying attention to the language and rhythms of poetry helps build oral language skills…..Children with well-developed oral language skills are more likely to have higher achievement in reading and writing" (Hughes). Poetry has an elitist stereotype to it, and tends to be something kept out of middle school and high school classrooms for the most part. Some English classes may briefly touch on some of the cannons of poetry, but only focus on a traditional notion of reading the context and finding the one single meaning. As Hughes states, "The dominant model of poetry teaching, particularly for older students, has been to teach poetry through print text and to focus on finding one meaning to be dissected. In contrast, poets emphasize the importance of hearing the poem read aloud, engaging with it, and probing for deeper meaning through discussion with others" (Hughes). I feel that engagement in poetry provides tools applicable to understanding every type of text. The brevity in poetry forces your mind to work in more analytical ways, and a facilitation of this analysis with other students provides a type of engaging learning experience that can be applied to any type of text for any class. This article really fascinated me, and left me with many more questions and ideas I would like to explore regarding poetry in the classroom.

Although this article discusses getting past writer's block for creative fiction writing, I still think that some of Smolens ideas are worth mentioning. His major focus is time. Smolen suggests that writers should give themselves a minimum amount of time to write in a session--just to get ideas flowing. In addition, he suggests that writers ask themselves questions about their environment. Where do they write and what makes their writing focused or distracted because of where they write? What sorts of noise occurs that promotes or reduces the flow of ideas when composing? After each timed writing session, Smolen states that writers to leave their paper and go walk around or visit a new environment for a minimum amount of time. This will help bring in new "fresh" ideas that may help the writing process during the next session. I think Smolen's suggestions of balancing your time between writing and taking constructive breaks can be useful for moving past writer's block, especially giving yourself timed writing sessions and breaks. this gives an external structure on how to compose that may be beneficial to those who feel that they should sit all day, staring at a blank computer screen, hoping to get past their writer's block if they sit there long enough.

I ran across this article last year while browsing through journals in the library and thought it was humorous. I thought of it again when we read Bartholomae. In this article by Philip Eubanks and John D. Schaeffer, the authors first set out to define what bullshit is, then discuss the ways in which bullshit is an aspect of academic rhetoric. The humorous (and most likely intended) irony is that all the while they are writing in a very traditional academic style which is, in and of itself, often associated with the very claims of bullshit they are examining. The main idea is that it matters not whether the content of the bullshit itself is true or false, but that bullshitters misrepresent themselves and their intentions (375). Eubanks and Schaeffer examine various types and purposes of bullshit, as well as various reasons one might engage in bullshitting, including representing a 'constructed self', gamesmanship, pleasure, reputation and superiority. "To sum up, prototypical bullshit has to do with a purposeful misrepresentation of self, has the quality of gamesmanship, and . . . is at least potentially a lie"(380). In the second half of the article, the authors examine academic writing, determining what features make it prototypical and how those features might be construed to be bullshit. One important aspect is the use of jargon, which seems to many non-academic readers to merely confuse for the purpose of elevating the author's status. "Often academic writers could be clearer but prefer to serve up something that sounds like bullshit" (382). They point out that students imitate this style in their own writing, and are rewarded for it. In addressing the issue of audience, the authors make a statement that is very reminiscent of Lave and Wenger's communities of practice in Situated Learning: "much academic publication, especially by young scholars, aims to qualify the author for membership in a group of specialists" (382). As we discu

This article discusses the different types and the effectiveness of Credit Based Transition Programs or CBTPs. CBTPs are programs that allow high school students to take college level courses and earn college credit. Some of the programs even help the students apply and transition into college life. CBTPs are very widespread and common because in the "2002-2003 school year, 71% of public high schools reported students took courses for dual credit". The debate now, which the article focuses on, is whether or not to make CBTPs more accessible to middle and low achieving high schools. Since these programs have proved to be very beneficial and highly used, policy makers are currently discussing how to implement them in the majority of public high schools. Implementing CBTPs programs in middle and low achieving high schools would give more students the opportunity to go to and succeed in college.

This is a video I found on YouTube discussing freshman composition. The video's main focus is to get the students' perspective on the class and to discover what it is that they are wanting to get out of the class and how they view the class in general. The students that were interviewed explained how it is hard to be themselves in their writing and they get caught up in trying to make their writing cater to what the teacher wants. One student, discussing her writing, says she feels she has to "alter it to fit the teacher" and that in class, they aren't writing for themselves but writing "for the teacher." The video goes into detail about the purpose of freshmen composition, it gives examples of all sorts of paper assignments and guidelines that the teacher wants to be followed. Students were then interviewed on their perspectives and noted that the guidelines were helpful and kept them on track. Others felt it could be a little stifling and hard to be themselves in a paper. The video went on to explain how writing is different from any other class because it is an example of the students' own identity, their ideas. There's a sense of vulnerability to it that is not seen in other classes like math or history for example. I found this to be interesting, I wish the video had gone into a little more depth but I liked seeing the freshmen's perspectives. It would have been better if more students were interviewed too. Definitely something worth checking out though!