Tag Archives: dreams

Word by word, composing myself

I write about 3-4,000 words a week. At least. Some weeks, more than that. How do I do it? Word by word.

And I don’t watch much television.

Most of the time, I don’t worry too much about what I’m saying. I just find the most intriguing thing rolling around in my brain, a puzzle that’s killing me, an idea I can’t tease out by thinking alone, the thing I’m compelled to write about, the irresistible factor that I must understand that is pushing me forward, or what I’m fussing about and… just splat it out on the keyboard: bleh. There it is. Not lovely. Not organized. But it’s out.

Most of the time, this writing is highly unreadable and deeply unattractive. Still. It’s there, and sometimes I can pick from it for other work I need for my life: teaching, essays, smarty-pants-work scenarios (where I need to be the smarty-pants). It’s worth doing even if I never use any of it. The fact that it exists is proof that I’m alive, and furthermore, it’s proof that I’m willing to keep changing (unless I say the same boring thing over and over and over and over and over again). I have a focus of a kind: I love writing and this blog is about me writing and being a writer and making writing happen, but I try to let change infuse who I am and allow me to grow in new and unexpected ways–though growth is uncomfortable sometimes (just like ugly first-draft writing). Writing just flat out makes me grow, damnitall. And then I’m in the middle of changing before I know it. I have a friend who says, “When you’re through changing, you’re through.” Right on, sister. I’d like to be far from through, thank you very much.

Most of the time, I just let the writing happen. Most of the time. And even though I do write a lot, sometimes I have to throw things away: e.g., a blog post I started that was about visioneering. I just couldn’t make it work out; I guess it wasn’t meant to be. I love Disneyland, grew up not far from it, visited 1,000+ times, and it says it’s the happiest place on Earth on the sign out front, but the connections I was trying to make between Disney’s imagineers and the visioneers of open educational resources, like Writing Spaces, wasn’t working. The good fight was not staying good. In between the time I started writing that post, and when I had to kill it, I watched RiP!: A Remix Manifesto, learned about the Mouse Liberation Front, and I got tainted, or turned left, or fine-tuned. (Watch this film and learn why the Victorians are everywhere, by the way. And when you do watch this, as you should, be sure to check out the MLF founder, Dan O’Neill, because, ripped from the Wikipedia page for Air Pirates is this possibly life-altering quote from O’Neill for those of us who consistently do stupid things: “‘Doing something stupid once,’ he said, ‘is just plain stupid. Doing something stupid twice is a philosophy.'” Ah. I knew I liked him right away.) I couldn’t keep writing the imagineers/visioneers story–it had to go. I still think Writing Spaces is visioneering done right, but Walt Disney can’t be part of that conversation.

Writing a lot, then, does not mean I’m good at it. It just means I do it a lot. Or doing it more than once might mean I have a philosophy. (I write; therefore, I am. Is that it?) And heaven knows, not all of my writing appears here or is fit to appear here. In fact, most of it doesn’t and isn’t. It’s hard to commit to writing for the public. I worry about typos and heinous errors in syntax and mistakes in fact and graceless moments when I might reveal too much about myself. Sometimes, I write just for me (hard for you to imagine that, isn’t it?) and then come to this space to think in a more accountable way because it is a public location. Still it’s a good place to work out the next level of some idea or thing I’m thinking about–or to compose myself–this is a place that forces me to be true to a writing effort.

Some of my writing is slow and wobbly; I can certainly go to the place where my text is sprinkled with meandering thought bubbles of nuance, similar to the thinking of Harvey Korman’s character in Blazing Saddles (1974), Hedley Lamarr, who utters, in an epiphanic moment: “My mind is a-glow with whirling transient nodes of thought, careening through a cosmic vapor of invention.” “Ditto” says his evil henchperson, Taggart (played with glee by Slim Pickens). I am sometimes my own Taggart, too. Ditto, I have told myself after I’ve written something I really like. Why not be my own supporter when I need to? Writers can be so hard on themselves. We should stop that and let the words out and see what happens. Sometimes I write a really fine sentence or paragraph. I need to remember that. Once I had a boss give me a little hug about the waist and tell me, “Sugar, that’s the best damn memo I’ve ever read about sexual harassment and why it’s so wrong.” I live for the ironic. It was a damn good memo.

Despite my willingness to be my own cheerleader in writing, it’s still really hard work. It’s grunt work as much as it is: “Wow, I have something really important to say and this really marvelous way to say it… I’ll just sit down at the computer and the words will simply flow.” Inspiration can come to me but only occasionally. It’s not something I can rely on. Years ago, I read Anne Lamott’s Bird by Bird: Some Instructions on Writing and Life (1994) and still think it’s one of the best books ever written about getting over the fear of writing and about how it’s vital to just get the writing done, stick-a-fork-in-it-done. If you want to write, own this book. It’s worth having. The title comes from a report on a bunch of birds her brother had to do for school and put off until the last minute. (I’m only vaguely recalling here… be warned.) Their father tells him he must do the work; her brother asks how he will ever get the work done in time; the father replies, “bird by bird.” Bird by bird. That’s the only way.

And she’s funny. Writing advice from someone who’s funny: it’s priceless. Pay whatever it costs to own the book. (Or get see an excerpt on “shitty” first drafts from the WAC Clearinghouse.)

In as much as I can choose inspiration, I have been inspired by that as a writer and as a human: Lamott’s “shitty” first draft concept. I can indeed eat the whole elephant, but I can only eat it one bite at a time. So I write word by word. And sometimes it’s awful. I suppose one way I think is in phrases or clauses and string them together in sentences and sort of arrange those into paragraphs and occasionally link a few paragraphs together with transitions, and hope it all makes sense somehow, but mostly it all comes out in a big whoosh, word by word, stumbling and chaotic, occasionally airy and light. But usually I have to revise to the point that the writing becomes something new again, something fresh, something liquid that moves smoothly (I hope so) on the page or screen and peacefully into the eyes and hearts of readers.

My process is mainly about getting it out, down, away from myself, because any additional thinking I engage in might just muck up the works and keep the ideas in my head where they do no one any good, including me. In this way, writing also works as a way to “compose” or calm my wild, uncharted heart. (“Wild” because I am willing to let “free” rule my very being–it’s not always about being free, though, because free costs a lot sometimes. “Uncharted” because I do believe the world is made for those not cursed with self-awareness, and I am NOT one of them, but I can dream, and I can try to not focus too much on the inward. Ha. Like that’s going to happen to someone who writes a blog about writing and process and myth and the Victorians and Star Wars and open… and baseball. If you hadn’t noticed the Bull Durham (1988) reference, I bring your attention to it now: Annie Savoy about Ebby Calvin “Nuke” Laloosh and his gift of being not cursed with self-awareness.)

Focusing then, on the inward, I say, with no irony at all: “writing is definitely an emotional business for me.” Even when I write dry as dust administrative memos or reports–I’m very passionate about how they sound and what to include in just this way or that way to be firm or forgiving or to wheedle or to be just precisely grateful enough for the moment. Hard stuff, man, hard stuff, no matter how or when you write or for what audience. It’s just like Red Smith said, “There’s nothing to writing. All you do is sit down at a typewriter and open a vein.” At least he didn’t say artery, though I admit, my writing is arterial in so many ways: bleh. There it is: bloody chaos on the page.

It’s not hard getting words down for me, or getting words out; the hardest part is having the discipline to clean it up and make it pretty. I like pretty. Pretty feeds my soul. It nourishes the part of me that needs visual delight to go along with powerful words and language structure. And with practice I can write first drafts sometimes that work for a singular purpose–down and dirty emails, quick notes for teaching, a swift-kick-in-the-shins reminder of work that needs doing. These can be artful moments, too, even without revision. Art for art’s sake; I’m okay with that. Writing for writing’s sake, too. Learning for learning’s sake. I’m down with all the sakes. Even Pete’s. But it needs to mean something, too. A good crafting of prose can be as cleansing for the writer’s soul as sweeping out the cob webs by brain dumping. Revision gets at meaning in deeper ways, richer ways, fancy ball gown for the Academy Awards ways, and winning the Oscar for best original screen play ways.

Some idea must matter and be apparent when it’s over, for a clear message to be conveyed, short or long piece. But composing myself word by word is calming no matter the purpose, the audience, the genre, the length. I feel better for having done some clarity work. Yet, no matter what, I feel horror after it leaves me and goes into someone’s possession to be judged. Despite the stunning dress for the red carpet and the awards show business that I try to bring to a text in the revision process, I still feel naked sometimes. Ick. I want to be adored and told by the editor that despite the lone typo on page 14, “Your text is the best text ever–moved me and transported all our staff to the next realm of divinity toward nirvana, we had to share with accounting, now the CFO is mad in love with you, every one in the world will want to read this work, just as it is, because (we worship you five times a day) this is perfection.” You see how sick writers get in the head when the sweeping out of gunk doesn’t happen. It’s not really just like that; though, I must confess a weakness for CFOs at nonprofit companies, bean counters who care–hard to beat that.

This reaction might come from the damage of having a bad reader more than once. For instance, having a valued friend read what I thought was a masterpiece say: “I liked it, but you have a comma error on page 3.” Nothing else. Or the time I had a boyfriend read a short story that I dreamed was truly fantastic: “I liked it expect for the cussing. That’s not very ladylike.” Crap.

Even now, after years of writing for a variety of people and diverse audiences, friends and foes, employees and supervisors, family and lovers, I cringe a little bit over how, You, Gentle Reader (please be gentle), might find this text: 1) you see this post as almost self-indulgent crap (Bull Durham reference again); 2) you think I’ve been helpful because you suffer from writing fears and have just read Anne Lamott’s “shitty” first drafts and feel oh so much better about writing; 3) you love this post, love the blog, wish I’d write more often.

No matter what the reality is, I’m going with 3).

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Filed under Almost Self-Indulgent Crap, Writing and Identity

Taking it personally: baseball and writing

Right this minute I’m taking baseball and writing personally.

Once again Jim Bouton comes to me, as if in a dream–unexpectedly and precisely–to put words into my head that I suspect will never leave me alone until I write about them. I mentioned in an earlier post about the “gripping” end to Ball Four (1970) that 20+ years after reading it, still resonates with my heart, still shakes my soul, still sits in my mind and defines how obsession works for me.

I just finished reading his follow-up tome, I’m Glad You Didn’t Take it Personally (1971). It appeared before me one day, and I was there, and it was there, so I read it. I started it last week while I was eating dinner and kept at it a bit at a time until today when I decided I needed to get through the final half. The pages are vintage 1970s–big print, lots of yellowing where the white space used to be, some old font I adore, ratty dust jacket all falling to pieces–and a giant black and white picture of Bouton on the back cover looking terribly handsome and very like the ham he confesses to be.

Bouton’s lyrically, deliciously, funny stories are alive to me again… and I recall how important Ball Four was to me at a critical point in my life. He/it was a “one.” You know what I mean–one of those moments, one of those influences, one of those turnings-down-a-path that colors the rest of your life. Reading his book, being open to the revolution of it, being willing to be guided by a passion greater than mine at the exact moment I needed that… well, it is truly a grand call to adventure that I answered and how. I read Ball Four for the first time when I was re-reading Joseph Campbell’s Hero with a Thousand Faces (1948) a second or third time (and a lot of Samuel Beckett, too–what does that say about me?). Surely this can be no coincidence; surely the gods in Campbell’s book were looking out for me on that day in Chavez Ravine when a friend said, as we deliriously, happily, gleefully (always) watched the Dodgers, ate Farmer John hot dogs, and had a beer: “You like baseball so much, you really need to read Ball Four. I’ll lend you my copy when we get home.” And he did. Myth and baseball crashed at home plate. Baseball scored. Path defined. Path taken. Master’s thesis on baseball written… because my director asked to be my director when I said I was really doing a lot of thinking about baseball. He said, “I grew up going to Ebbets Field; I love the Dodgers; you should really do your thesis on baseball/rhetoric/mythology/sociolinguistics.” Or something like that. So I did. The director of my master’s thesis then showed me a doctoral program to go to, and forced me to apply (really, gave me the application, a pen, and said to get busy while he went to get us coffee), and the mything of my life went on and on. He was a “one,” too.

Even now I can tell you how every “one” in my life has helped me fulfill some aspect of my hero’s journey (I use the term hero to apply to my life only in the sense that I am on a long ol’ journey that periodically, and oddly, seems to follow the form of the true hero’s journey–not sure how it happens–is it because I always see what I’m looking for?). Lots of “ones” have inspired me, and not just Jim Bouton in baseball. I would include Gary Carter who hit for the cycle, at 37 years old, one night when I was at Jack Murphy Stadium watching him catch and hit like he was fifteen years younger–I would definitely include him as a “one.” He was beautiful, and 37 seemed so ancient and wise to me then; I was stunned by his performance and wondered, post-Ball Four, if this was the last time I might see him do that, if he was at the end of his career, if he would find that baseball had gripped him rather than the other way around. (He was just 37–can you imagine?)

Shoot, I can’t tell you much of anything about Gary Carter. I have no idea where he played or how long or the kind of career he ended up having (though I recall he was a great player–I’m sure he’s a Wikipedia entry–I hope he’s in the Hall of Fame). But I remember that night, sitting on the first base side, and him wheeling around to third for a triple… he was all kinds of lovely. I was so happy, I jumped up and down, and hugged my friend, and we yelled, “GARY GARY GARY.”  Who did he even play for in that game? I so don’t care. It was edifying to watch his hero’s journey and know that was what I was witnessing. If it was toward the end of his baseball journey, then it was a special moment; if not, it was still a special moment–who gets to do that in such a celestial sphere, surrounded by the most athletically talented in the world at their chosen sport? Not many. Playing major league baseball is breathing rarefied air indeed.

At the end of I’m Glad You Didn’t Take it Personally, Bouton talks about a former manager who suggested there are “three ways to get out of this wonderful game” [baseball]: “He said you could drink your way out, you could eat your way out, or you could f*&% your way out.” Bouton then writes, “You can also, I believe, write your way out” (219). I’m drinking the best coffee this Sunday morning, entirely enjoying the reading of this book that takes me back, not only to Bouton’s early 1970s, but to my early 1990s, and I get to this passage at the end, and I think:

Holy 8-ways-to-get-on-first-base moly.

I get that.  I’ve never had to work out how to retire from baseball, but I have had transitions that mocked my effort to understand my motivations, that grieved me greatly, that made me question what I was doing and what all around me were doing.  I’ve often thought about how to get out of something and into the next phase of my life. Not that I think the manager was right about everything. But then I think:


Yep. I have always written my way into and out of things. Not always productively, though. The manager was right in one way–there are always several ways for a body to screw up. And I’ve probably chosen questionable paths plenty of times, on purpose and not. Bouton is right, though, too. He wrote his way to another part of his journey. And writing is a mighty powerful thing to do. Bouton, who calls former players things like perspicacious (thank you, James Alan Bouton), is once more right here to clarify my thinking for me. He’s a “one” still. Much of this book is about his writing his way through the transition out of baseball, into full-blown authorial celebrity, and into broadcasting, and processing the aftermath of the huge success of Ball Four. I not-so-secretly adore him and wish Elizabeth Gilbert had been around for him to hear/read when he was in his early 30s wrestling with the changes he was undergoing and writing about in both books (she had a freakishly successful book, too–though it wasn’t about her writing her way out of baseball but out of a serious relationship funk). Her talk on Ted.com really gets at the core of what Bouton writes about: 1) showing up to do your job (in baseball or whatever) no matter what; 2) how genius occasionally comes to you (but can’t be counted upon, like the knuckleball which seems to go to its knuckleball “space” whenever it feels like it and only sometimes shows up for the game); and 3) how writing is a weird business (whether it’s a vocation or avocation or a profession–messing around with words can mess you up).  Perhaps in a perfect universe-colliding moment they will run into one another and recognize their similar geniuses (which only some times show up for work), and I will get a mental text on my mental smart phone that this happened and be full of myself for thinking it was a good thing that came true.

Baseball and writing for me then, is about showing up to do the work even when my genius won’t come out of the wall. Coming back to this blog when I think I can’t write anything of import. Going ahead into the game, going ahead with the words, with the charts, with the writing, with the thinking, with the cartoons, with the dreams, with the “play ball”–even when there’s no chance I’ll get a hit. It’s about taking what I do personally. Like this writing. It’s so personal, and yet, it’s seriously public. The minute I published one word here, it was forever cast in stone in some Library-of-Congress-time-machine-internet-capturing-conspiracy-net that keeps everything forever. It became history that I’ll never get away from, at word one. And what’s especially shocking to me is that I never would have taken this writing seriously (personally) until someone said to me: “You should really blog. Just do it–it’s a good place to work out what you’re thinking.” Good suggestion. So I did. I recognize a call to adventure when I see it now (like working as part of the team that does things with Writing Spaces, an open educational resource). It’s all part of understanding how to be a fully realized human, and recognizing the journey I’m on that gets me to a place of quiet, peace, unity, and words that sing. Sounds sort of cornball, but there it is: me taking it all personally and connecting things and ideas and finding my way to something I didn’t have before writing today. Now I have this. This piece of writing, this thinking, this moment of bliss that is being followed (“Follow your bliss”) thanks to Jim Bouton, Joseph Campbell, and a host of other co-conspirators on my journey who I guess would prefer to remain “players to be named later” or not at all. Because of them (and me), I followed my bliss. And how fine is that? Very fine.

I wish, wish, wish, just a bit of this hero’s journey vibe will rub off on my teaching so my students will know that what feels like colossal errors now are just speed bumps in their lives slowing them down, for sure, but not stoppage forever. I hope they get that. I’m a living embodiment of overcoming colossal error–in fact, I’m not even close to over that part of life–it’s just easier to forgive myself now. Is that maturity? If it is, I’m afraid it’s being wasted on me. It should be dusted on the young so they will have grander journeys, so they will change the world in better ways than I have, so they will recognize earlier in their lives the importance of their existence. Or, damnitalltohell, is that the point of the journey? That it isn’t until later on that we get what it all means and why it takes so long to get it and then, only then, we are driven to attempt to teach the young and feel everlasting-have-mercy-on-my-soul frustration when they don’t seem to listen!? Aha.

Irony of ironies.

So my words of wisdom to my young friends might be: baseball and writing, learning and the hero’s journey, mythology and baseball (Luke accepts the call to bat, Obi-Wan is the 1st-base coach, Luke is on his own for stealing or getting to second, Yoda is the 3rd-base coach, Darth Vader the pitcher, Luke is the boon-bringer as he comes home to score)–see the ball, be the ball, hit the ball, run like hell. Doesn’t it all just make the MOST sense?

I write here when I’m full to the brim and have to say what I need to say.  Does that mean what I think? Could I possibly be my own boon-bringer? If that’s the case, I’m rocking it. My writing here has led to celebration, satisfaction, loads of fun, and, what’s more, productive thinking for school, work, home, and everything/everywhere in between. Perhaps my writing is gripping me now instead of me gripping it. Is that possible?

Wouldn’t it be nice if baseball gave me all that? Maybe it just did.

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Filed under Magic and Writing, Writing and Identity

Writing, dance, and math

Why don’t I teach dance, writing, and math together?  All three do the same thing: communicate.

Writing: expression.

Dance: expression.

Math: expression.

And there we have it.  Patterns, planning, movement, revision, stories, practice, rehearsal, communication, symbols, letters, signs, meaning. Word problems. Story problems. Honestly. Who writes about this intersection? Where would a logical place for such speculation be found? Here. Because I’m doing it right now. But where else? There must be interdisciplinary journals I’ve never dipped into whose authors write about the connections between math, dance, and writing. Perhaps a chapter in an open educational resource like Writing Spaces might be appropriate, if such linkage could illuminate something vital about writing for college students. Do we need to explicitly draw the lines between movement studies, writing studies, and mathematics? We might do well to shed disparate learning environments in colleges/universities.

Right this minute, I’m not sure what to do with this idea, so I’ll just keep wondering and wandering. If I take just a moment to envision the implications of all three subjects in one space, I can envision writing workshops in which math and movement are linked with writing projects in 2D, 3D, video, audio, numbers, words, paper.  I’d need a really big room with lots of space and computers and smart boards and cameras and lots of natural light. And an ash floor for moving around, lots of support and give–I love to dance on ash wood floors. And loads of mirrors. Dancers need to see dancing. Lots of paper, too. All kinds. And we’d need pens, crayons, chalk, paint, charcoal, pencils, ink, and a whole lot of “I don’t care how messy it gets.”  Younger students, older students, any students. We’d tell stories with everything we have.

Right this minute, as I’m writing, I’m listening to music. And, you may need to sit down for this one: phantoms dance in my mind’s eye with each note of every song, always, haunting me, calling me to move again, to see how words and numbers and counting and movement all come together, 5, 6, 7, 8.  Always someone is dancing when I hear music. Sometimes it’s me dancing, but mostly it’s someone else I choreograph for, someone else who dances now. When I was a dance major, I was required to take choreography. The course was called “composition” because we composed stories for our bodies to tell. I think we must have counted to 1 billion through the semester.  We composed.  We moved.  We moved others.  We counted, we moved, we composed.

Sharp intake of breath.

(That felt self-indulgent as I am just now working out the depth of the bonds in my mind between math, dance, writing, and, really did feel like I should inhale on the screen, for my own sake, and in case no one noticed THAT, I needed to reinforce the fact that I am just now working this all out here by drawing attention to the textual inhalation in a lengthy parenthetical–wish I could figure out how to use footnotes in a blog–I love Infinite Jest.  So. Skip ahead if you like because this next reference is so odd that it might make you, Gentle Reader, want to click away, though it does directly connect to baseball, mentioned later on: would Crash Davis, a faded/fading/starmaker/mentor/catcher in Bull Durham, call blogging self-indulgent crap like he did the works of Susan Sontag? It does seem self-indulgent, especially right this minute. But crap? I rather like to think blogging is a way to selectively unclutter my mind and explore ideas about writing which might lead to professional and personal happiness. Blogging: an online highway to happiness. Self-indulgent? Maybe. Crap? Hell no. Who cares what Crash Davis thinks anyway? He’s fiction.)

Back to my anaphora: “right this minute” (See how footnotes would have been so great here. I could have attached a footnote to the phrase at it appears a third time below and avoided another break in your reading, and my writing, and still kept this terribly pithy reference to rhetorical figures of speech in here somewhere–my favorite figure of speech is anaphora. The Wikipedia authors on the term say Charles Dickens was well-known to use anaphora. Of course. Of course it’s my favorite figure of speech.)

Right this minute, as I write, as I listen, as I dream, while I may be indulging myself in words and thinking, I know this, too: I miss quadratic equations. Oh, differential calculus, why did I let you get away? I loved you so much.

One day, long ago, when I used to say silly things like, “I love to read, but I can’t write,” I pasted a nine-page calculus problem on my dining room wall to figure out where I’d gone wrong. Something had been bugging me about the problem or formula–I don’t even remember it now–and I couldn’t find a solution for hours, perhaps days. On the wall, everything changed. I saw three things: a dance, a story, and the answer. The wall nearly came alive; the math certainly did. It was art, it was text, it was formula, it was freedom, it was the future.

I never said “I can’t write” again. I solved problems with numbers, text, movement–it was, for a time, all the same to me. I knew everything was story, everything was moving, numbers were everything. Math taught me how to think and wonder; dance taught me how to move, how to achieve control and exuberance together; writing teachers/tutors taught me how to be patient and persistent…all of which I needed to communicate through the symbols we call letters, arranged in words, arranged in sentences, in paragraphs, in essays, in books, on the web.

Are there texts on the intersections of these three disciplines out there and I missed them? Totally possible. Instead of exploring this topic by searching a marvelous library database this evening, I am reading two frivolous texts as I recover from my week: a book on the history of cocktails and a collection of short stories by Edwidge Danticat. (She might quibble with me about calling her writing frivolous–it’s not at all–but it sure occupies that space as I have a lot of other work I should be doing that I am purposely, and successfully, avoiding by reading those two books and writing here. Damn. Am I frivolous? What if I am? Damn again.)

Are writers writing about dance, math, and writing? Could be. Where are the dancing mathematician writers? You are my people.

I desperately wanted to study more about all three together in my master’s program in grad school, but I got sidetracked by bad knees, Samuel Beckett, then baseball. No kidding. The rhetoric, sociolinguistics, and mythology of baseball–not a bad thing but not THIS. Not writing, math, and dance. When all three meshed, I felt like there wasn’t anything I couldn’t do–a mind, body, spirit thing, perhaps, maybe, might could be.  Might could be it’s still a mind, body, spirit thing.

Math, writing, dance: even when I don’t consciously think about them, they weave together always, a tapestry of meaning wrapped snug around me like a smooth, thick, well-worn cloak in winter warming me to the core as I begin to think my education was never about getting a degree.

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Filed under Interdisciplinariness

Why I’m mad for free

I’m gushing over Writing Spaces, and I don’t care who knows it.  I can love a book about writing damn it.  Well, it’s a book that could be a book but doesn’t have to be a book…and this might be the most fabulous part about Writing Spaces.

At my university, we’re using Writing Spaces texts to help teach writing… in classes where writing is the subject.  Success so far.  Teachers of writing classes from FYC to basic writing to junior-level writing courses are reporting that students like what they are reading and are finding the chapters helpful in many ways.  Teachers are looking forward to the second volume coming out in December.

We have shared the WS link with our WAC/WID colleagues who are just this year undergoing training for incorporating writing into content classes across the curriculum/disciplines.  We feel that multiple essays from Vol. 1 will prove to be indispensable to our colleagues and their students.  I’m really excited to think about mathematics instruction using these essays–in our basic writing program overhaul this spring, I want to use some of these essays in conjunction with experiments in linking basic math and basic writing instruction.  These essays will also help us teach our basic writers to be teachers of basic writing to each other and younger children via video tutorials.  We hope to connect with local and international elementary-aged students through our online writing/learning portal.  The reading component will be based on long-time successful partnerships between college students and elementary students (like those of Write to Succeed’s Writing Partners program I and some grad school friends started in the late 1990s).

We are also using WS, Vol. 1 in a dual-enrollment course so high school students are reading texts intended for the college student writer.  Next semester–no publishing house text, only a handbook and WS, Vol. 1 and 2.  Students like reading about writing and reading essays written for college students.

This spring we’ll also use selected chapters to support a new series of informational/teaching sessions on college writing for our community: students and parents come to campus for AUM Writing Night.  They are escorted to different rooms: students read, think, and write with writing teachers.  Parents brainstorm how they can be effective supporters for their children who will be learning how to be college writers with more writing teachers.  Everyone gets something to write about; everyone gets a little refreshment; everyone gets to “take” home an open educational resource “textbook” they can study to truly get ready for the coming college writing years.  Based on the initial feedback from the dual classes, we suspect this will be a fantastic series.

Next summer, I’ll be using WS, Vol. 1 and Vol. 2 to teach an NSF grant-supported Bridge Course (along with a handbook).  I can easily ask my students to read some chapters before actually entering the program.  I think it’s going to be spectacular.  One task: determine which pieces they will take with them to college to use, why, and name that collection of their own design.

Do you honestly think I wouldn’t use WS Vol. 1 and 2 in my grad writing across the curriculum class next summer?  I have to do it.  And my students will love it because they will take their learning and these essays from my classroom to their classrooms where they’ll teach: science, math, education, health, geology, social studies, psychology, and whatever.

Our illustrious Learning Center writing tutors are beginning to use Writing Spaces for prescriptions. Being able to recommend a reading to students to help in their research phase, or invention phase, is a powerful tool for consultation.  Happy, Happy LC.

I used to dream of a project like this.  And here it is.  Some dreams do come true.

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