Friday, July 15, 2011

Dear Summer Institute

Dear Summer Institute,

            You say you wanna revolution?  We all wanna change the world.  The theme of revolution has been so completely woven into our summer institute.  We didn’t have words for it the first few days, but as the threads of our institute were woven together, we began to be able to name some of the development that was taking place.  For me, as a teacher, I am aware of just how closely our themes of revolution line up with our three strands of the teacher--writer, inquirer, and professional.  I think Melissa kicked off the revolution with her talk of social action, 

Rashid gave it a name through his demo, and each person contributed to it through their demos, discussions, and willingness to think. 

There is so much to talk about in this time, and I'm sure I could never ever cover it all or possibly even put words to my experiences here.  And our experiences here.  Because so much of what we did was corporate, shared, riffing off one another.    There's no way these thoughts can be segmented out, but to keep myself on track, I'll talk about the three strands and how it applies to my SI experience. 

Teacher as Writer

One of the areas that I’ve really been developing the most is through my development as a writer.  When we wrote our writing stories on the first day of SI, I started reflecting and the Murray cards pushed me to think about my stories.  I still am not “Writer.”  I think I’m a writer, but to claim the Writer identity is a scary thing for me.  

My digital writing history was a piece that pushed me to really reflect on why I "didn't" write for years outside of school.  On the first day I reflected, trying to figure out why I had always loved stories, but I never considered myself a writer:  Day 1 Reflection.   Here is where I started to push on the ideas that I saw weaving together of theater, reading, and stories.  I knew they were somehow all apart of my writer identity, but I couldn't quite put my finger on it yet.  

I branched out throughout the SI, pushing myself to write poetry--a genre that had previously scared me. For some reason it was too personal, too iffy.  However, during Rebecca's session about Scranimals, I pushed myself in writing a poem.  And it was something that was very personal, discussing my writing history and my mixed identity as a writer.  The Mustnotshouldbe Writer was shared on E-Anthology, and I was amazed at the number of comments that I got.  

My self-selected piece sprang out of the Murray cards.  By thinking back on my history as a storyteller, and my secret adventures in my "spot", I tried to push myself again to write outside my comfort zone.  I really struggled through the writing of this piece, because I was unsure of where to go.  It highlighted for me the anxiety that exists for me when I'm without boundaries.  I didn't know where to take this piece.  Using Cindy's revision strategies, I moved toward a double-voiced description.  

Seeing my stories with fresh eyes, re-visioning pushed me to see my writing with new eyes.  For me, this teacher as writer strand laid the groundwork for the revolution.

Teacher as Inquirer

Like I said earlier in this post, much of my writing history is connected to my acting history.  The improvisational warm-ups we did each day involved our body and minds.  The riffing circle was one that I particularly connected with, drawing on my theater experience with similar games.  It also allowed us to use each others' energy and ideas to create new moments of learning. 

 

These games pushed me to think about the performativity of the classroom and the links between theater and English.  This is an area that I am interested in pursuing beyond SI, and my discussions with Lil and others have enabled me to make use of my knowledge of theater (which I saw as separate from English) to enrich the classroom.  

My writing history also pushed me to see the links between storytelling as an actor and the written word of the classroom.  
As I'm inquiring about these things, I looked up several articles about performance, presence, and absence.  Similarly in the classroom, a teacher has presence in the classroom, and it is how they construct that presence (or lack thereof) that dictates the way that students respond to him/her and the classroom culture.  In this blog entry, I hashed out certain links that I was seeing and tried to make connections between my two worlds--realizing that they were one world that were all constructed by me.  

My grounding as a writer led me to my inquiry.  It grew out of my identity struggle as a writer, and SI caused me to reflect and to try to synthesize seemingly disjointed "Carrie" identities in a way that makes meaning.  

 Teacher as Professional


Thinking about the three strands of teaching, teacher as professional was the one that I was unsure about.  I didn't feel like much of a professional--I'm the baby of the group.  Would people really respect what I had to say?  Did I have anything to say?


Above is an illustration of me breathing out and breathing in with Sally about writing.  I was letting go of anxiety, fear of being the newby.  And this community welcomed me in, treating me as a professional and establishing the professional conversation which will be ongoing.  

 Ashley's demo marked a milestone for me.  My group watched a video about child homelessness in Florida.  Lacy, Jen, Aileen and I got upset.  I cried. I got mad.  We slammed sticky notes.  And we started to think of what we could do together. And what it meant to be educators in a world where this was reality.  And what it looked like to challenge that reality.

We thought we wanted . . . a revolution.

Similarly, as we moved into thinking about our portfolios, the assessment weight dragged us down.  We performed a tableau about assessment, once again links our minds and bodies, and my inquiry and work as a professional.

This day was one that I felt drew us together as professionals.  We all shared this burden together.  And then threw the next few days, we worked to find a way to revolt.


In this moment, I imagined the possibilities for revolution and what it looks like in response to and in conjunction with evolution.  An evolution seems easier and a more likely thing to hope for, but a revolution seems more effective.  As professionals, we banded together and decided to revolt.  But what would that look like?  I blogged about the soundtrack to the revolution in my mind and it became a multi-voiced discussion, including Lacy, Melissa, and Tony.  We compiled lyrics and music all about revolution.  

Similar to revolution collaboration, we shared ideas for lessons and professional development, like Aileen's Image Grammar demo.

 Dorry and Jen's demos on Thursday I felt were the peak of our professional collaboration.  Dorry asked us how we wanted to change teacher perception and made us brainstorm practical ways to do that.




Jen's demo on assessment pushed us for practical solutions to the question of assessment.  Brainstorming a list together and hearing about the things that we can do instead of the things we can't, opened up a word of possibilities.  

Telling our teacher stories and hearing that they mattered affirmed our unity as a group of teachers.  Years ago, I had written about feeling backed into a corner by the educational system.  But I wrote a line that stands out in my memory to this day.  I developed the thought that I was glad that in that corner I was not standing alone--there were others who had my back and who were willing to battle their way out with me.  I imagined the three musketeers, covering each other backs and working their way out of "tight" spots.  As professionals, we are better united.  

We say we want a revolution.  So let's change the world.  

Thank you, fellow SIers.  :)  We rock. 


Thursday, July 14, 2011

Hashbrown Casserole

Hey guys!  Here is the recipe for the hashbrown casserole that I brought in this morning.

WARNING: There is nothing in this that is very good for you.  Consider yourself warned.

Ingredients:
1 pkg frozen hashbrowns (I prefer shredded)
2 cans of cheddar cheese soup
1 16 oz. sour cream
2-3 cups shredded cheddar cheese (I like sharp)
1/4 tsp onion salt
1/4 garlic salt
1/2 stick butter (melted)
1 sleeve of saltine crackers

To do:

1) Preheat the oven to 350.

2) Grease the bottom of a baking dish--you can use glass or a cake pan.

3) Dump frozen hashbrowns into the pan, breaking up any big chunks.

4) Mix cheddar cheese soup, sour cream, garlic salt, and onion salt together in a bowl.  When completely mixed, dump over top of the hashbrowns.

5) Sprinkle the shredded cheese on top.  You can use more or less depending on the taste, but I like things cheesy!

6) Crush up the sleeve of crackers (I find it easier if you crush them while in the sleeve).  Dump 'em on top!

7) Melt the butter and then pour it over top.  This hopefully helps the crackers not burn.

8) Cook for 35-45 minutes.

Yum!  It's one of my favorites! :)




Wednesday, July 13, 2011

Day 7

Today, I've had "Revolution" by The Beatles stuck in my head.  Check out my earlier post about it.

And I guess I'm thinking:  DO we want a revolution?  And if so, what steps are we willing to take?  What lines are we willing to cross?  Megan's post about what we could actually do to improve our situation as teachers was very thought provoking to me today and stayed at the back of my mind with all my thoughts about revolution.

Today, I did my demo, and I was fascinated to hear the discussion about identity formation and specifically how we form ourselves in online spaces.  Aileen's question: "If you create an image of something [or yourself] can you revise it?" really made me wonder about the permanence of identities.  If we are constantly performing our identities and recreating them, how permanent are our identities?  But at the same time, people are people and impressions last a long time.  Like Rebekah mentioned in class today, we perceive people the way that knew them first/best.

I am really excited about the corporate aspect of our portfolio for SI.  The thinking we have done together has really influenced my independent take on things (if it's even possible for that to exist).  I think collaborating will enhance our views of the learning done in the time we've had together.

As I continue to think about my inquiry, I'm really into the performance aspect again of things that we've done this week.  Thinking today of the Circle of Oppresion, there was so much performance.  For instance, since I started in the center of the circle, I wanted to find my way out.  Once I had found a way out of the circle, I imagined myself to be motivated by the fact that I didn't want to re-enter the circle.  I wanted to avoid it at all costs--I knew what it was like to be on the inside and I didn't want any part of that--the need to seek approval from others and risk rejection.

In theater, we often talk about keeping up with the "inner dialogue" of the character--very similar to what Lil had us do today with the story of Charles.  You explore the characters thoughts that are going on under the surface of the character's lines or the narrative.  Though we call it stream-of-consciousness in the world of English, it serves the same purpose as inner dialogue in theater--letting you know what the character is thinking and moving beyond the surface level to character motivations and choices.

I'm still pulling pieces together.  And I was fascinated by our discussion of shaping identities today.  Thanks for really digging in with me and pushing me to reflect.  Awesome work, team! :)

You say you want a Revolution?

This morning, Sally asked us to reflect on our beef with the educational system.  We spent some time this week ranting and thinking about possible solutions.  And then Sally asked us--did we want an evolution or a revolution of the system?  She asked us to think about the potential of each in the world of school.  We imagined the possibilities and trying to figure out what these things would look like in the school.


And the whole time, this was all I could think:


"Revolution" by The Beatles


You say you want a revolution 
Well, you know 
We all want to change the world 
You tell me that it's evolution 
Well, you know 
We all want to change the world 
But when you talk about destruction 
Don't you know that you can count me out 
Don't you know it's gonna be all right 
all right, all right 

You say you got a real solution 
Well, you know 
We'd all love to see the plan 
You ask me for a contribution 
Well, you know 
We're doing what we can 
But when you want money 
for people with minds that hate 
All I can tell is brother you have to wait 
Don't you know it's gonna be all right 
all right, all right 


You say you'll change the constitution 
Well, you know 
We all want to change your head 
You tell me it's the institution 
Well, you know 
You better free your mind instead 
But if you go carrying pictures of chairman Mao 
You ain't going to make it with anyone anyhow 
Don't you know it's gonna be all right?






Jim Sturgess singing "Revolution" in Across the Universe

Tuesday, July 12, 2011

Day 6

Today I continued to mull over the performance aspect of the writing classroom.  The tableaux this morning was truly awesome.  I loved how we each performed our own thing but were inspired by others and were connected to them physically, through touch.  We had some parameters, but otherwise, it was mainly open to our interpretation of the word Lacy gave us.

The weight of assessment was really heavy as we performed our tableaux.  I know I was concerned about how to assess, and the idea of being assessed weighed heavily on me as we started to work on our portfolio yesterday.  We composed this picture of what assessment looked like to each of us individually, but also corporately, and I could feel the energy in the room.

Again, the performative quality of the writing comes through and the performative quality of teaching shines.  There is so much we have to perform each day and there is power in the choices that we make as teachers, writers, and performers.

Also, I'm very excited about our collaborative final portfolio.  I am really connected to the idea that we each get to write our individual reflection, detailing the specific ways we feel as though we have grown in our writerly identities.  But also, I love the idea that people could talk back to us about our reflections and just about our journeys together.  I could imagine that on this corporate website, we each have a page labeled with our name in a menu on the side.  Each page would then have two parts:  My reflection about me and then everyone's response to the learning that this person has been a part of with them.  For instance on my page, I'm envisioning a "Carrie about Carrie" page and then a section entitled "SIers talk back/about Carrie."  We could also have pages for the different sections ("analytical thinker" "questioners" etc) which we could post under and respond to each other.  Make sense?

The Page of the Stage

So, as my inquiry is developing over these two weeks, I'm thinking more and more about the links between theater performance and writing instruction.  So much of what we do in school is a performance--we are performing for grades, for teachers, for parents, etc.  This was part of my reaction yesterday whenever we started talking about our portfolios.  Though I know it's an attitude of positive excitement here, it still feels like school, and school can be scary.

I am wondering about the performativity of the classroom and the way this links with theater.  Many of the warm-ups that we have been doing this week are very similar to improv theater games.  In theater you use your body and your mind to interpret and create a story, and I have been enjoying how we have been doing the same in our SI.

Both theater and writing are creative acts. You write from yourself, writing yourself into being, constructing an identity.  From theater you create this character, who, in some way, is partly you.  The character can be as different from you as night and day, but you are pulling from your life experiences and the people you know, so you are writing another part of your life/story through that character.  You're writing selves.

A major portion of the construction on stage has to do with it's performative nature.  Think about all the different inflections of voice.  With the theater, you have lines written for you, but how you interpret them is very different.  For instance, we do a theater activity where we are given a simple sentence.  Then we ask students to accent the words differently each time they read it and to examine the different meanings.  Like as follows:

I didn't say that you said that. (But Sarah said you did)
I didn't say that you said that. (I really didn't!)
I didn't say that you said that. (But I thought it!)
I didn't say that you said that. (I said something else)
I didn't say that you said that. (I said that Rachel said it)
I didn't say that you said that. (But I think you were thinking it)
I didn't say that you said that.  (I said that you said this)

Each of these variations obviously has different meanings (some of which I interpreted after the sentence).  Much is also made of how the body is used to present the information as well.  Body language is a huge part of theater.

I'm also thinking about the parameters placed on both. With writing in school, we often have a prompt or a form that we're supposed to write in.  On stage there's a script that you're constrained by.  However, in both writing and theater, there's license for interpretation.  Writers construct their lives and their worlds through their writing on the stage.  Teacher and director both oversee what is going on and help to define the parameters of the show/piece.

Just a few connections I'm drawing.

Monday, July 11, 2011

Ranting and Writing

​This morning began our second week of Summer Institute.  First, Lil had us write about some things that really irked us about school.  Then we circled up in the middle of the room, as we have almost every day since SI began.  This morning's warm-up was a rant.  We stood in a circle as Lil and Lacy explained the rules.  Everyone would face outward in the circle except when they felt moved to rant.  Whoever was ranting had to continue to do so until the next person jumped in to start their ranting topics.  

Our rants ranged from everything to parents' rights about students' education to breast milk to money to buy Daybooks for our students.  Though we had our backs turned to the center of the circle, I felt that we really supported one another as we each jumped in venting about how we felt about the topic at hand.  Then once the activity had been brought to a close by a lovely demonstration of a teacher robot complete with motions and voice ("Feed me pacing guides.  Yum yum.") we began to brainstorm about how the activity could be used in our classes.

​I suggested that we use it for students to talk about a reading that might have been difficult for them, allowing them to get their ideas going as they pondered what they had read.  We also talked about how it could be a great way to let students just talk about what they have a passion for, showing them that they are the experts on something.  
After some ranting, Aileen began her demonstration based on Harry Noden's book ​Image Grammar.  ​After walking through some major concepts of the book, Aileen had us do some sample activities of working with appositives, adjectives out of order, etc.  She also made us a handy little foldable that will remind us of what we learned.
When Aileen's demo was over, we launched into a pretty awesome discussion about the way we discuss grammar.  One of the comments that came up was how frightening some of the terminology was to use--things like absolutes and participles.  However, it was easy to see how they enhanced writing and were easy to play with once we got over the terms.  
Aileen's demo led us nicely into Tara's demo about Writing Circles.  We chose a social studies topic that we were interested in and then began to work in groups.  As a group we picked a large idea that we would focus on.  Then, each of us wrote individually and we responded to each other's pieces.  Then each group shared out one of the pieces.  One group wrote about the Casey Anthony trial, one about the devastation from Katrina, one about revolution, one about conflict, and my group wrote about poverty.  As we wrapped up the demo, the discussion turned to genres--whether they were merely "containers" to pick and choose from or the other aspects of them we had to consider when using them as writers.  
After lunch we discussed articles from 4 different authors about assessment.  We moved into groups, examining the articles with others who had read the same one.  Then Sally "jigsawed" us until we had someone from each article group talking to each other.  We channeled our authors, arguing with one another and looking how our views intersected and pressed on each other.  
The last thing we worked on was beginning work on our portfolio for SI.  I can't believe SI only has 4 days left!   But it's exciting to go ahead and start looking at all the learning that has taken place.  
A lot of questions were raised today, and some good conversations were had.  More to come as I reflect later this evening about my inquiry. :) 

Why is the personal problematic?

"We find that writing teachers have been as much or more interested in who they want their students to be as in what they want their students to write" (Faigley 396).

Throughout SI, I have been struggling to put my finger on why I find some types of writing super difficult.  Not that they are hard to writer, per se, but they are hard to let myself write for I don't know how I am being perceived or what people will think of the self I have constructed.

Megan left me a great comment on my blog post from Friday.  She noted that writing seemed extremely personal to me and maybe the reason that I felt comfortable with school writing was that it, perhaps, didn't hit so close to home in terms of emotion and identity.  

Over the weekend, I read Lester Faigley's article "Judging Writing, Judging Selves."  Faigley writes the quote that I placed at the beginning of this blog post early in his article, discussing the different in the evaluation of composition classrooms over the years.  And I think Faigley's article ties into the reason certain types of writing were more difficult for me.  

Growing up with a very prescriptive understanding of language and composition, I just knew there was only one way to write a "good" paper.  So, I wrote my good academic papers with a respectful level of distance and reserve.  

But once I started becoming more familiar with teachers who required a process-based approach, I began to get nervous.  Assignments seemed too "up in the air" with not enough criteria to help me really understand what they were grading me on.  Writing what "I wanted to write" seemed scary.  I felt that the writing I was being asked to do was personal in a new way--for once I was even allowed to use "I" in my paper.  And when I looked back over my draft I saw myself stamped all over the pages.

You would think that would cause me to be excited--I was finally able to truly invest in my pieces of writing in a way that was personal and showed their value.  However, this was more terrifying to me than the academic personna I had taken on previously.  I knew who "Academic Carrie' was (doesn't that sound like a bad Barbie?) and was sure she would be accepted.  But I did not really know about this new, risk-taking personal writing Carrie.  She was vulnerable, constructing her identities and sharing her real thoughts, unedited by school.

This new Carrie liked the person that she was/constructing but she didn't know how others would perceive her.  Could the world of school handle her? Or would they buy into her writing because it rang more true.  What if she had chosen to construct the wrong self?  What if she had read the wrong writings and simply was creating herself in a way that just didn't fit?

Faigley's article helped me to identify not only how teachers assess their students' writings in different ways based on the identity they want the students to construct, but also why certain students may find higher levels of anxiety with some types of writing than others.  After all, students may not be sure that they are a poet, an essayist, or a writer at all.


Saturday, July 9, 2011

Day 4 Reflection

I cannot believe our first week of SI has come to a close and that we only have one left.  The thinking we have done is really pushing me, and I am pushing back in order to make meaning.

This morning, Jessie's poetry demo really got me thinking.  There are some things that I've never identified with in the field of English, and poetry is one of these things.  I enjoy poetry.  I read it and it is beautiful.  But I don't write it.

I guess part of this is that I am still uncovering pieces of my writer identity.  I don't really remember writing poetry in school ever except for in the 6th grade.  I won a poetry contest and that was cool.  But for some reason, poetry is difficult for me.  Maybe it's because it is so personal.  Maybe it's because there's not necessarily a formula (although I suppose you could argue that some forms can feel like such).

As I finished up my digital project today, I realized just how interested I am in composing beyond the written word.  The literacy and rhetoric of performance fascinates me.  And based on my experiences, it really is something I would like to continue researching.  I feel like in terms of acting, it's often talked about as "tapping into" this person/character that's already out there existing beyond yourself.  However, from a rhetorical standpoint, it is clear that an actor makes choices about how to portray a specific character and how to construct their personalities, their actions, and even the way they decide those things.  Performance is a way of composing as clearly as writing is.

I really enjoyed Sally's workshop on the Socratic Seminar.  Sally, Aileen, Rashid and I really got into a great discussion about The Declaration of Independence.  Sally gave us questions that really caused us to think, but were open-ended, inspiring discussion.  It was great to see how the class atmosphere we have established enabled me to really speak my mind (such as saying that I probably wouldn't have signed the declaration if I was a person in 1776).  This classroom culture is vital, and I've been reflecting on what has made our classroom successful over the past few days.  I'm sure I"ll blog about that more later.

This afternoon was awesome.  The E-Gallery crawl was amazing.  It was fascinating to see what technologies each person had chosen to implement, but it was also very eye-opening to read each other's stories and understanding how we make meaning based on our histories as writers.  I am already thinking of ways to expand and revise my Prezi.

So, thinking ahead toward my demo next week.  Super excited about it.  I'm waffling between two ideas before finalizing, but I am excited about both.  We shall see.

Friday, July 8, 2011

A performer, but a writer?

Here is the link to my Prezi demo about my writing history:

http://prezi.com/yuh715psehpy/a-performer-but-a-writer/

Enjoy!

Poetry

Inspired by Jessie's demo about "Ars Poetica."



I don't know about the idea of Poetry
                                    MetaphOrs and similes in British accents
                     Why am I so scarEd of the unknown?
                                     I try to Tease out meaning
                           But become fRustrated at the unblinking words
                                           whY?

Thursday, July 7, 2011

Day 3

Today was a day filled with lots of possibilities for the Summer Institute.  Stephanie did an awesome demonstration this morning about how to use Storify and the ways she uses it within her class.  As she presented, I imagined this as a great way for students to write their final reflections for ENGL 1101.  They could include twitter/blog posts, videos that we watched in class, portions of papers, etc.  It was fascinating to see all the different forms of media that can be used in Storify and the stories that can be told.  After Stephanie's demo, we talked about the ways to craft a story and to look at purpose within the context of Storify.  It was really exciting to think about the multiple ways Storify could be used.    


Later on, Melissa did her demo about writing into social action.  She started with a video of some of her kids talking about social action.  It was really inspiring to hear these kids and their beliefs that they are able to make a difference in the world.  As one of the 6th graders said, ""It takes one person to change something little and more than one person to change something big." These students awareness of the collaborative nature of meaning making was overwhelming.  They understood the power of a single voice, but also the strength that was added when those voices joined together.  I loved it.  LOVED it.  


When we started out writing our own social actions pieces, I kind of struggled.  There are a lot of things that I am passionate about in terms of social issues, but it was hard for me to narrow in, pick one and really think it through.  I'm sure that would have been remedied by having some more time, and Melissa did a great job in the short time that she had.  But it did give me a peek into the different ways that students might struggle to make meaning of or delve into a specific project.  


As I think about technology, I realize even more my lack of knowledge.  Not necessarily my lack of knowledge in how to use the technology but my inability to find the technology until it is already "old".  It's something I definitely want to incorporate in my classroom frequently.  I just have to come to grips with the fact that I'm a learner too, face my anxieties, and do it.  


I'm thinking.  And thinking. And rethinking. And revising. And Re-visioning.  

Wednesday, July 6, 2011

Day 2 Reflection

Today, I wrote a poem.  And I don't write poetry.

Now I'm not saying that I've never written poetry.  With enough coercion (and the threat of a grade hanging over my head), I wrote poetry for school.  I even won a poetry contest in 6th grade.  I was excited.

But today we were asked to do things that terrify me.  1) Draw and 2) Write Poetry.

And we had to do both.

However, I'm actually really proud of the poem that I wrote.  It's not earth shattering.  It has a very, very childish feel to it and a simple rhyme scheme.  But it was honest.  And I liked that.

It's amazing to me (as a teacher) the level of anxiety I still have about certain aspects of composing.  Poetry and drawing actually make me physically nervous.  My junior year of college we had to do body biographies and show them to someone via skype in our class, and I literally begged my professor not to make me share it.

And I'll have students that feel the same.  Students that it takes everything in them to get up and riff.  To speak out in class, to answer a question.  The riffing circle highlighted others' anxieties within the class and the responding even more.  We all have areas about which we are uncomfortable.  We all have "trouble spots."  And we as teachers can enhance or minimize students' anxieties.

Why is school such an anxious place?

The Mustnotshouldbe writer

The mustnotshouldbe writer cannot find her place
She think's she's doing great until grades smack her in the face
This is what she was supposed to do since she was very small
But the mustnotshouldbe writer feels only a foot tall.

She sits and stares at letters that mean far below the best
Though this is her destiny, she might just give up next
She struggles with identity and what herself to call
The mustnotshouldbe writer maybe isn't one at all.

Tuesday, July 5, 2011

Day 1 Reflection

I am learning more about digital spaces for composing.  While I'm generally decent with figuring out the technology, I never know where to look for the technology.  By the time I find it, it's already "old"--but isn't that the way technology always is?  How do I stay up and coming with the technology?

Today I've thought more about why I seem to always link theater with writing.  It seems that whenever I do a Murray card activity, the place that I come up with or the activity is always related to theater in some way.  I wrote about it for Lil's class and I wrote about it again today.  For me, today an interesting link was made for the first time.  I've always wondered why I didn't write my stories down growing up.  However, now I realize with some reflection that I simply chose to "write" in a different way--through composing radio shows with Daniel or acting out skits with my cousins.  Being on stage was a way for me to tell stories, and it seems that I valued that oral culture highly, while resisting the urge to participate in writing (a "school" activity) outside of the domain that I saw it in.

I'm known with some of my friends as a storyteller.  Perhaps it's partially because crazy things happen to me.  Perhaps it's because I have a tendency to be melodramatic or embellish.  But for whatever reason, I have this crazy litany of stories that I end up telling my friends.  They're all true (with some slight exaggerations), but friends will ask me to tell those stories.  In fact, some of my friends know them so well, they could recite them themselves.  The oxygen monitor after my first surgery.  The carafe from IHOP.  The drug dealing nurse.  All stories, all mine, all spoken and never written.

This is all very interesting to me and it's something that I feel is rooted deep at the heart of myself a storyteller and meaning maker.

Crafting Authentic Voice

Tom Romano's Crafting Authentic Voice was an interesting read for me. Many of his ideas felt reminiscent to me of Harry Noden's Image Grammar, which I read my senior year of college.  I feel as though Noden based many of his ideas on Romano's (I'm sure he had read him at least) and so Romano's choice of topics felt very familiar.

Romano's style of writing was hard for me to get into at first.  He weaves narrative, teaching suggestions, and commentary on writing styles.  Sometimes the transitions were so abrupt that I had to stop, go back, and reread his words to make sure I understood his point.  However, his content was proven true in his style.  The more I read, the more I became accustomed to Romano's voice and the more I felt that I truly grasped the concepts he was presenting.  

Romano splits the book into five different sections:  1) The Delight and Dilemma of Voice, 2) Qualities of Voice, 3) Trust the Gush, 4) Crafting Authentic Voice, and 5) Voice and Identity.  Each sections tackles specific aspect of how we as writers and readers perceive voice and in turn learn to craft our own voices (as Romano believes that we each have multiple voices that we use for a variety of purposes).

In "The Delight and Dilemma of Voice," Romano talks about how we define voice and how we can even recognize what voice is.  Since voice is such a slippery concept, Romano uses many examples to show concrete examples of voice.  I suppose the delight comes from the fact that when you hear voice, you can recognize it instantly.  However, because voice is so individualized, we come to a dilemma when trying to instruct students about how to develop it.  How do you instruct students to sound more like themselves?  How do you avoid imposing your personal voice upon others? 

"Qualities of Voice" addresses what makes someone's voice sound like him or her.  Romano points out that students need to be able to choose their own topics.  Obviously, if students are invested in their topics, they will be more authentic in their writing.  As Romano says, "Writing begets seeing, seeing begets writing" (34).  When you write about what you know, you can make it real and when you make your writing real, you can accurately reflect the world in your writing.  

"Trust the Gush" was probably my most favorite section within the book.  In Chapter 19 entitled "Many Voices," Romano explains his belief that each writer does not have a singular, unitary voice.  Instead, we have many voices that we use for a variety of purposes.  Each writer writes into a conversation with a specific goal in mind.  Specifically, Romano's discussion of form and how it can inhibit or highlight content resonated with me.  "Writing, at its core, is a matter of finding and making the shapes of ideas" (63).  Viewing writing as a crafting process.  We don't just shape ideas; we make shapes that fit our ideas. 

In "Crafting Authentic Voice," Romano takes a more pointed look at the specific processes used to craft the language.  Choosing active verbs, cutting out unnecessary wording, and using specific placement of words are just a few of the focuses that Romano takes while also examining the big picture of writing.  In each of the chapters, Romano provides specific activities to be used within the classroom.  However, the practical applications do not overpower the thinking that Romano asks his readers to engage in. 

Tom Romano's Crafting Authentic Voice was an interesting read for me. Many of his ideas felt reminiscent to me of Harry Noden's Image Grammar, which I read my senior year of college.  I feel as though Noden based many of his ideas on Romano's (I'm sure he had read him at least) and so Romano's choice of topics felt very familiar.

Romano's style of writing was hard for me to get into at first.  He weaves narrative, teaching suggestions, and commentary on writing styles.  Sometimes the transitions were so abrupt that I had to stop, go back, and reread his words to make sure I understood his point.  However, his content was proven true in his style.  The more I read, the more I became accustomed to Romano's voice and the more I felt that I truly grasped the concepts he was presenting.  

Romano splits the book into five different sections:  1) The Delight and Dilemma of Voice, 2) Qualities of Voice, 3) Trust the Gush, 4) Crafting Authentic Voice, and 5) Voice and Identity.  Each sections tackles specific aspect of how we as writers and readers perceive voice and in turn learn to craft our own voices (as Romano believes that we each have multiple voices that we use for a variety of purposes).

In "The Delight and Dilemma of Voice," Romano talks about how we define voice and how we can even recognize what voice is.  Since voice is such a slippery concept, Romano uses many examples to show concrete examples of voice.  I suppose the delight comes from the fact that when you hear voice, you can recognize it instantly.  However, because voice is so individualized, we come to a dilemma when trying to instruct students about how to develop it.  How do you instruct students to sound more like themselves?  How do you avoid imposing your personal voice upon others? 

"Qualities of Voice" addresses what makes someone's voice sound like him or her.  Romano points out that students need to be able to choose their own topics.  Obviously, if students are invested in their topics, they will be more authentic in their writing.  As Romano says, "Writing begets seeing, seeing begets writing" (34).  When you write about what you know, you can make it real and when you make your writing real, you can accurately reflect the world in your writing.  

"Trust the Gush" was probably my most favorite section within the book.  In Chapter 19 entitled "Many Voices," Romano explains his belief that each writer does not have a singular, unitary voice.  Instead, we have many voices that we use for a variety of purposes.  Each writer writes into a conversation with a specific goal in mind.  Specifically, Romano's discussion of form and how it can inhibit or highlight content resonated with me.  "Writing, at its core, is a matter of finding and making the shapes of ideas" (63).  Viewing writing as a crafting process.  We don't just shape ideas; we make shapes that fit our ideas. 

In "Crafting Authentic Voice," Romano takes a more pointed look at the specific processes used to craft the language.  Choosing active verbs, cutting out unnecessary wording, and using specific placement of words are just a few of the focuses that Romano takes while also examining the big picture of writing.  In each of the chapters, Romano provides specific activities to be used within the classroom.  However, the practical applications do not overpower the thinking that Romano asks his readers to engage in. 

"Voice and Identity" finishes out the book with Romano's reflections about how finding voice in writing is connected with developing identity as a writer.  Writing and writer. Identity and voice. These aspects of the writing process continue to reflect and refract each other.  Romano highlights their constant interplay and the way that these entities push on each other. 

Overall, I would highly recommend Romano's Crafting Authentic Voice.  Combining practical activities with thoughtful commentary and personal experience, Romano creates a work that is both reflective and forward-thinking.

Overall, I would highly recommend Romano's Crafting Authentic Voice.  Combining practical activities with thoughtful commentary and personal experience, Romano creates a work that is both reflective and forward-thinking.