Category: Community Literacy

Our Commitment to Antiracism

Bronwyn T. Williams, Director

Black Lives Matter.

The University Writing Center stands with our staff, colleagues, students, and community members who are protesting for social and economic justice and against White supremacy. We condemn systemic racist and violent oppression of Black people both in our community and nationwide. We recognize and pledge to act against historical and ongoing inequitable treatment of Black people.

In our own work at the University Writing Center and in our community partnerships, we reaffirm our commitment to antiracist education. Like the University and the community, our consultants, staff, and the writers with whom we work, come from a wide range of backgrounds and experiences. Some experience the direct effects of racism in their daily lives, while others benefit from systems of white privilege. We recognize that, as an organization, we must do more than simply respect diversity. As we say on our Statement on Diversity, Inclusion, and Equity, we “commit to critiquing and speaking out against individual and structural oppression in an effort to create a safer, more just university for all students.”

We also see our role as an educational institution as reaffirming our ongoing commitment to antiracist education. As our statement says,

We approach this work by listening to voices that are experiencing racism and oppression and by continuing to work to educate ourselves about systems of power and inequality. We continue to work as a staff to educate ourselves, listen carefully, and reflect on issues of identity, language, and power so that we can respond as allies and advocates for writers in the UofL community. We understand issues of inclusion and diversity require ongoing, daily work that is never finished.

Such work requires listening to and reading the work of those whose voices can educate us on both systems of racism in our culture as well as the pain, injury, and inequality such systems perpetuate. Such work requires honest reflection and ongoing conversation about our roles in institutions shaped by ideologies of White supremacy.  The work is ongoing and we can and must do better.

In an effort to promote and continue antiracist education and activism, I am including links below to a few of the many resources that I hope people will find useful. My thanks to those who have done the work of putting these resources together.

Black Lives Matter Resources including teaching toolkits

Statement and Resources from UofL from Diversity, Equity, and Inclusion Directors

Prioritizing Antiracism inWriting Tutor Education: How We Teach Writing Tutors

Praxis: Special Issue: Race and the Writing Center

Anti-Racism Resources for Students, Educators, and Citizens

Scaffolded Anti-racism Resources

Black Lives Matter Louisville

Showing Up for Racial Justice

M4BL

 

Looking Back and Forward from International Mother Language Day

Tristan DeWitt, Writing Consultant Tristan DeWitt

This past Friday, February 21st, the University of Louisville Writing Center celebrated International Mother Language Day. This celebration offered me the chance to interact with students from different cultures and languages who are members of the university community, which opened my eyes to how diverse our campus is. If you are unfamiliar with this day, like I originally was, it has a fascinating history worth researching.

This observance was established by the United Nations in 1999 to promote multilingualism and language diversity across the world. The history behind this day has its roots in the Bengali Language Movement – a movement that emphasizes the stakes associated with multilingualism. On February 21, 1952, demonstration were head at Dhaka University, in what was then East Pakistan, against the adoption of a new state language at the removal of their mother tongue, Bangla. This event resulted in the killing of demonstrators who gave their lives to preserve their language. This event also lead to Bangla becoming one of the state languages of Pakistan. Until the writing center event this past week, I did not know the significance of this day, but I now have an entirely new perspective on the importance of multilingualism. As someone who grew up speaking English in America, the cultural significance of language was not something that often occurred to me, particularly not the impact that a loss of language can have on a culture.

As we celebrated on Friday, I realized that the relevance of this day within the university community and is crucial. As a university with over 700 international students and 200 scholars, recognizing and understanding the need for language diversity becomes even more significant, as language is foundational in preserving cultural tradition and diversity. The United Nations states that “When languages fade, so does the world’s rich tapestry of cultural diversity. Opportunities, traditions, memory, unique modes of thinking and expression — valuable resources for ensuring a better future — are also lost.” These characteristics of language highlight the importance in preserving an encouraging multilingualism, especially within our university community.

Instead of seeing language as a barrier, the university allows us the opportunity to learn from other cultures through a variety of ways. Even though International Mother Language Day has passed, there are still a number of ways to interact with a diverse range of cultures on campus. The University of Louisville offers a variety of ways for students to connect with and learn from other languages, ranging from classes to clubs, such as the American International Relations Club, which is open to all students interested in multilingualism. There are also clubs like the Arabic Language and Culture Club and the Chinese Club, as well as events like the French Film Festival (showing films until 3/7!), which focus on particular languages and cultures. By participating in these clubs and supporting more language diversity on campus, we can help to create an environment that fosters and celebrates a variety of cultures, viewpoints, and opinions.

If you’re interested in finding a club, a list of UofL organizations can be found here.

If you would like to become more involved in the community, here are a few places to start:

Americana Community Center

Kentucky Refugee Ministries 

La Casita Center

Interfaith Paths to Peace 

ESL Newcomer Academy 

 

The Inclusive Tutor: Addressing and Redressing Diversity in the Writing Center

Shiva Mainaly, Writing Consultant

What are the attributes and traits of an inclusive tutor? Why do we need an inclusive tutor?
How does an inclusive tutor differ from a non-inclusive tutor? Why is the question of inclusion so important to writing centers?

These are the questions that have compelled me to ponder.

We have sufficient records that our writing center has been visited by a large number of students year by year. Among those students who have visited our writing center, a considerable number of them are non-American, non-native speakers of English, resident students, visa students, students belonging to 1.5 generation, students on F1 and J 1 status. Some of these students are enrolled in undergraduate classes whereas others are enrolled in graduate level courses. These students embody different socio-cultural, linguistic, historical, and continent specific experiences.

The number of those students having unique cultural differences is on the rise. To provide care, support and guidelines, the writing center has been widening its scope. Since the writing center has already taken constructive steps to include students regardless of caste, creed, convention, color, disability and gender, it has been hailed as the hub where diversity, the differential, and disability are carefully accepted and constructive counseling is given keeping in mind the unique nuance, agency and concern of student writers.

To address constructively all those voices, expectations, dignity, agency and sensibilities of students, writing center needs inclusive tutors. Only inclusive tutors can handle with dignity the longings, concerns and curiosities of student writers. In the present time in which writing centers have been witnessing the flow of students both native and nonnative speakers of English, what writing centers need is inclusive tutors.

By an inclusive tutor, I mean the sort of tutor who demonstrates tremendous patience and a sense of acceptance when it comes to looking into the student drafts. Only those tutors who have the capacity to say ‘yes’ to their own weaknesses, frailties, flaws, feet of clay, shortcoming and limitations can accept the others as they really are. Here I am reminded of what Francis Fukuyama in his book Identity says “the longing to get recognition from others is the universal longing everyone is endowed with. It is this longing for recognition from others that drives us to forge and foment the question of identity”.

Below I have presented some attributes and traits of an inclusive tutor:

• The inclusive tutor does not get stuck on any identity category rooted in caste, creed, convention, color and gender when he or she starts tutoring in writing center.

 
• An inclusive tutor possesses tremendous power of acceptance. In no way, he or she deviates from the centrality of his or her power of accepting difference in any form.

 
• Language has the power to influence thought and vice versa. So, the inclusive tutor does not believe in the dichotomy of lower order concern and higher order concern.

 
• The inclusive tutor is always ready to address any concern of students be it grammar and punctuation or structural chronology of ideas without compromising with the foundational belief that writing center is not a grammar fixing center.

 
• The inclusive tutor acts in an innovative way. Labels, categories, stereotypes and banal modes of expressions are simply rejected by an inclusive tutor.

 
• The inclusive tutor knows when and how to switch deftly and smartly from non-directive modes of tutoring to directive modes of tutoring.

 
• The inclusive tutor believes and acts on the assumption that every student writer is a world in himself or herself. And the tutor navigates this world with consciousness.

 
• The inclusive tutor is driven by the belief that all forms of literacy are interrelated, supplementary, complementary, correlative, and symbiotically linked. Alphabetic literacy, visual literacy, digital literacy, community literacy, twitteracy etc. are all important in knowledge making process. The inclusive tutor makes use of anything that serves the best goal of tutor and boosts the institutional prestige and standing of writing center.

 
• An inclusive tutor forcibly believes that after each interaction with student writer, a new self is born in the life of inclusive tutor.

 
• The inclusive tutor is a mirror on which student writer finds the reflection of his or her own image, face.

 
• Writing is not a product of solitary endeavor. It is a product of collective efforts. This is the quintessence of inclusive tutoring.

Converting Anxiety to Enthusiasm in Community Writing

Haley Salo, Writing Consultant

Sharing writing can be challenging, especially when you’re joining an established community like a writing center or creative writing group.

It can be difficult to navigate the established norms and find just the right niche for your writing. Yet, every writer in the community has gone through those same experiences. It’s also okay to shop around a bit. Each writing community is unique, and some may be more or less accessible than others.

When I was a teenager, I started looking for an online, forum based, play-by-post fantasy role playing game (we’ll just call it an RPG). I wanted a place to create my own characters and explore their lives with the characters of other writers. Much to my dismay, some of the communities had hundreds of members, book-length lore files, and thousand-word posts. You could even be kicked from the community for being inactive for a week or two. Nope! Too scary. I ended up joining a very low-key forum, specifically picked for its small community and short posts.

I didn’t say very much at first. I would sign in, post, and leave for the day. That was about all of the social writing interaction I could handle; I did not, in any way, want to be around when the other members read my post. But guess what: no one complained. The stories continued on their merry way. I did not, in fact, derail the writing community.

Encouraged by this turn of events, I started talking to the other members through the forum’s chat box. The chat box took the stress out of socializing because it was so informal. There was no sense of finality when hitting the submit button like there was with a regular post. It also humanized the other members; they stopped being their characters and became themselves, and gradually they became friends, too.

At this point, the RPG really became fun. The social relationships improved the stories we were writing. We got to discuss where we wanted the stories to go and how we were going to get them there. Or, we complained when our characters refused to cooperate. We also started to recognize each other’s writing styles and got to watch as everyone’s writing naturally improved. We never set out to become better writers, though. It happened naturally, through time, practice, and experimentation.

I’d like to say that this experience made it easy to join new communities later on, but it didn’t. However, that didn’t stop me from going through the process again. I continue to make friends and learn through all of the writing communities I’m part of. There will always be some degree of anxiety when entering a new group, and that’s okay. Just try to keep in mind that writing communities tend to be very open and welcoming; we all have the same anxieties and reservations.

(Literally) Meeting Writers where they are at Community Literacy Sites

Rachel Rodriguez,  Assistant Director of The Writing Center

My favorite tutoring session this year was a group session, where the two writers were working on drastically different projects.Rachel Rodriguez One writer was working on a paper in which she had to identify an area in her life where she possessed rare expertise, and our brainstorming led her to a past job as a phlebotomist and her unique knowledge on how to draw blood.

This brainstorming and outlining was often interrupted by the other writer, whose projects included buttoning, unbuttoning, buttoning, unbuttoning, and buttoning both her and my jackets, discussing why snowmen don’t need jackets and monkeys prefer bananas, and finding the perfect video on Youtube of children baking imaginary cakes. If you haven’t guessed yet, this “other” writer was about 3.

When you imagine a “typical” writing center session (does such a thing exist?) you probably envision a quiet setting in which two people are examining a draft, exchanging ideas, and conversing, with plenty of pauses to think, consider, and reflect. Sessions in community literacy sites tend to take on a slightly different hue. Community means many, ever-shifting, laughter.

At the Gladys and Lewis ‘Sonny’ Bass Louisville Scholar House Campus, writing sessions happen in an open space designed to look like a Starbucks, with computers and chic furniture. Large windows connect this room to a playplace so moms, many of whom live on-site, can keep an eye on their young ones. Every writer I have worked with at Family Scholar House is a mother, and every one is intensely and impressively dedicated to the pursuit of education.

At the Western Branch of the Louisville Free Public Library, tutors sit at a table at the center of the main floor – strategically within view of the entrance as well as the computer banks nearby. While cushioned by stacks of books, the sound of Fortnite is a constant buzz. Here, the typical writer may be a middle-schooler, hanging out with friends at the library after school but before heading home. Sometimes tutors cajole writers to take out their homework with the wave of a coveted piece of gum.

This is all to say that writing sessions at community literacy sites are all the things you might not expect: noisy, chaotic, dynamic. And this is precisely what makes tutoring there so fun!

A key skill in writing tutoring is flexibility, going with the flow, recognizing when a strategy isn’t working and changing it up, moving from poetry analysis to a biology lab report to an engineering dissertation in the span of a few hours. Community literacy stretches this skill to the max, expanding what we think of as a “session,” “writer,” and even “writing.”

This expansion is good for tutors’ brains: we return to the UWC with a bigger sense of what is possible. After all, the University of Louisville doesn’t exist in a vacuum. It is part of a vibrant, complex community of individuals, families, and groups who in turn pursue a myriad of writing and reading endeavors. This may take the form of a comic book, rap lyrics, fan fiction, or a personal memoir. The University Writing Center is one of many writing centers that takes as a central tenet the idea of meeting writers where they are, and community literacy projects take this to a new level, literally seeking out writers where they live and play and gather, to listen to their needs and offer up our knowledge of audience, genre, and style. This literacy matters to the UWC, and this academic year, our volunteer tutors have contributed 477 hours towards these sites, with a few weeks to go.
Two former Assistant Directors of the University Writing Center, Dr. Layne Porta Gordon and Dr. Amy Nichols, have both stressed the importance of continuing to “show up” for our community (check our Layne’s post here, and Amy’s here), and I’m proud to continue to move our initiatives forward. Personally, I’m looking forward to a summer of tutoring at Western Branch, where I hope to encounter many writers like my friend so deft at buttoning.


I think it’s fair to say that the denouement of most writing tutoring sessions isn’t having a 3-year-old fall slowly into a heavy sleep on your lap, while talk with your writer of ethos and evidence-based claims is punctuated by the chatter of a tour group of local business people. But that’s precisely what made this my favorite session of the year, and I can’t wait to see what next year has to offer!

How I Write: Ron Whitehead

Our “How I Write” series asks writers from the University of Louisville community and beyond to respond to five questions that provide insight into their writing processes and offer advice to other writers. Through this series, we promote the idea that learning to write is an ongoing, life-long process and that all writers, from first-year students to career professionals, benefit from discussing and collaborating on their work with thoughtful and respectful readers.

“I have long admired Ron Whitehead. He is crazy as nine loons, and his poetry is a dazzling mix of folk wisdom and pure mathematics.” – Hunter S. Thompson

Ron and Rainbow copy.jpg

Ron Whitehead is a poet, writer, editor, publisher, scholar, professor, and activist. He grew up on a farm in Kentucky and later attended The University of Louisville and the University of Oxford.

First recipient ever of The English Speaking Union’s Joshua B. Everett Scholar Award to study at the University of Oxford’s International Graduate School. As poet and writer he is the recipient of numerous state, national, and international awards and prizes including The All Kentucky Poetry Prize, Ariel/Triton College Poetry Prize (Judge, Lisel Mueller), The Yeats Club of Oxford’s Prize for Poetry, and many others. In 2006 Dr. John Rocco (NYC) nominated Ron for The Nobel Prize in Literature. He was inducted into his high school’s (Ohio County High) Hall of Fame, representing his 1968 graduating class. Louisville Mayor Greg Fischer recently presented Ron witha City of Louisville Proclamation thanking for him for his lifetime of work in and support of the arts.

Ron has edited and published the works of such luminaries as His Holiness The Dalai Lama, President Jimmy Carter, Hunter S. Thompson, Thomas Merton, Jack Kerouac, Seamus Heaney, John Updike, Wendell Berry, Andy Warhol, Yoko Ono, BONO, Allen Ginsberg, William S. Burroughs, Rita Dove, Douglas Brinkley, Robert Hunter,
Amiri Baraka, Lawrence Ferlinghetti, and hundreds more.

Location: Louisville, KY & Clarksville, IN.

Current projects: March 1st: THE DANCE by Ron Whitehead & The Glass Eye Ensemble featuring Sheri Streeter (sonaBLAST! Records & Howard & Nancy Wilson release), 10 tracks, online & CD, full art, music, film, photography, live performance Installation at The Tim Faulkner Gallery.

July 16th & 20th: WHIRLPOOL by Ron Whitehead & The Storm Generation Band and Shakespeare’s Monkey featuring Dean McClain (possible sonaBLAST! Records), online & CD, release concerts on 7/16 at The Bokeh Lounge/Evansville and 7/20 at Gonzofest/Louisville Free Public Library.

July 20th: RIDING WITH REBEL JESUS by Ron Whitehead & The Storm Generation Band featuring Sheri Streeter (possible sonaBLAST! Records), 7-track EP, online & CD, live performance at Gonzofest/Louisville Free Public Library. Album cover art by Somerset folk artist Jeremy Das Scrimager.

Last weekend of July: THE VIEW FROM LAWRENCE FERLINGHETTI’S BATHROOM WINDOW: Beat Poems & Stories by Ron Whitehead (Underground Books/NYC), Ron will be UB’s featured poet at annual New York City Poetry Festival, Governor’s Island/NYC.

September/October: David Amram & Ron Whitehead, KENTUCKY BOUND: The Cabin Sessions, produced by Vince Emmett and Stephen W. Brown, online & CD, more info to come.

Currently reading: Volume 2 of Winston Graham’s Poldark Series plus several other titles.

1. What type(s) of writing do you regularly engage in?

Poetry and prose.

2. When/where/how do you write?

Two writing studios: one my wife created for me at our home in historic Clarksville, the other at my writing hermitage, 919 Cherokee Road, which was built for me by Howard and Nancy Bruner Wilson eight years ago. I write an equal amount at both
locations plus I write wherever I am. I travel often, near and far.

3. What are your writing necessities—tools, accessories, music, spaces?

Pen, paper, tablet.

4. What is your best tip for getting started and/or for revision, (5). and what
 is the best writing advice you’ve received?

Young folks (of all ages) often ask what they should do to become better poets and writers:

14 Suggestions for Aspiring Poets and Writers

1) Join a writing group. Outgrow it as soon as possible.

2) Dig deep into your childhood. Write the best and the worst memories. Embrace your past. You’ll find your voice by fully embracing your past. Be an autodidact. Teach yourself. The School of Hard Knocks is The Best School of All! Learn everything you can about everything you’re interested in. Learn things you don’t even want to learn things that are uninteresting but are related to your poem your story. Read everything you can get your hands on.

3) Take classes classes classes on literature, poetry, prose, and on writing.

4) Master grammar and scansion, the terrible mechanics of prose and poetry.

5) Be a master skeptic. Doubt and question yourself and everyone else.

6) Be a master believer. Believe in yourself and nearly everyone else.

7) Submit submit submit your work to every publication under the sun and moon.

8) You’re gonna get rejected. A million times. Get used to it. Suck it up. Develop your will power. Quit whining. Be strong!

9) Gather your poems and stories into book manuscripts and send them to publishers and when you’re rejected publish your own work.

10) Read read read your work out loud in private in public at open mics read read read your work out loud to dogs cats birds people to anyone and everyone.

11) Entertainment is central! Captivate your audience! Do you want to be bored by someone reading their poem their story?! Put all the energy you have into your reading. Sing your work. Even if you can’t carry a tune sing your work out loud. Listen for the rhythm. Get rhythm. Build music into your poem your story. Poems and stories are dancing songs.

12) Listen. Listening is the greatest art of all. We’re all dirty potatoes floating in the same tub of polluted water. The more we bang into each other by openly honestly sharing the stories of our lives the more we come clean. By listening to others and to yourself as you read your work out loud you will become a better writer a better editor.

13) On the darkest stormiest night of the year take everything you’ve learned and get in a car and drive as fast as you can along the coastline with a deep cliff falling down to the pounding ocean and throw everything you’ve learned out the window while screaming as loud as you can “Farewell!” “Goodbye!” then go your own way and start anew. Be your own original voice.

14) Language is an experiment. Always has been. Always will be. Have fun. Never give up!

Ron Whitehead’s official website is http://www.tappingmyownphone.com

The Places and Spaces of Writing

Katie Frankel, Writing Consultant

Sometimes, when I know I need to write – either creatively or academically – something possesses me and I think that writing in my bed is a good idea.Katie FrankelEven if it’s the middle of the day, I usually put on pajamas, because you’re supposed to wear pajamas in bed and I can write in pajamas just fine.

I crawl into bed, fluff my pillows, and set my laptop on my lap. If I’m determined to get some serious writing done, sometimes I’ll even open a Word document.

My dog sees me in bed so he jumps into bed, too, and snuggles up next to me. He is so cute. I set my laptop aside and grab my phone to take an adorable picture of him. While looking over this picture I start looking at other pictures, and the next thing I know, I am three years deep watching iPhone videos of my niece. I’ve now been in bed for half an hour and not gotten anything done. I’m kind of tired, and since I’m already in bed, a little nap wouldn’t really hurt, would it?

Does this writing process sound familiar to you? If it does, it’s probably time to reconsider the places and spaces where your writing is taking place. Today, I present to you a few suggestions of different writing locations that may allow you to be a more efficient writer.

The Coffee Shop

If you’re not a coffee shop goer, you’re probably already discarding this suggestion, but hear me out. I once was not a coffee shop writer either, believing that I needed privacy and silence to work, but mostly knowing that I didn’t want to pay the five-dollar-a-cup entrance fee. However, I have found that the coffee shop can be a great workspace. I like to write at coffee shops because I can usually sit with a friend (accountability partner), there’s some background noise that isn’t to the degree of being overwhelming, and food and coffee is there if you need it. If you don’t want to frequent coffee shops to write in because you don’t want to always spend money, then save coffee shops as an occasional writing space where you can also treat yourself (maybe for writing the last part of that paper?).

The Library

Sometimes, being surrounded by other students who are determined to make dents on their school assignments is helpful to me as I try to stay focused and write my own papers. Because the Ekstrom Library at UofL is so big, whether you want to be surrounded by constant noise or complete silence, you can find a place to sit and write on one of its four floors. And, if you’re doing research, the immediate accessibility to the stacks is certainly helpful. A major bonus working at the library affords students is that if you would like some additional help, you can stop in at the University Writing center on the first floor.

Your Home

Last but not least, your home can actually be a great place to get some writing done if you have more self-discipline than I do. Some people are actually more productive at home, and prefer to make various areas of their home their writing workspaces. Try writing at your desk, or kitchen table, or even sitting outside on your porch, if you have one. The benefits of working at home include not having to leave the house or interact with others, being able to stay in your pajamas, and having a constant source of food.

Leave a comment describing your favorite (or least favorite) writing space. And, if you have a dog, leave a comment if he’s a better assistant than mine.

 

How I Write: Dr. Chris Brody

Our “How I Write” series asks writers from the University of Louisville community and beyond to respond to five questions that provide insight into their writing processes and offer advice to other writers. Through this series, we promote the idea that learning to write is an ongoing, life-long process and that all writers, from first-year students to career professionals, benefit from discussing and collaborating on their work with thoughtful and respectful readers.

Dr. Chris Brody is Assistant Professor of Music Theory at the University of Louisville School of Music, where he coordinates the first-year sequence in music theory and aural skills and teaches graduate courses in music analysis. In addition to his work teaching and researching music theory, he is a classical pianist and performs often.

Dr. Brody’s research is on music from the 18th and 19th centuries, centering on Baroque music and the concept of musical form. His articles are published or forthcoming in outlets including Journal of Music Theory, Music Theory Online, A-R Music Anthology, and BACH: The Journal of the Riemenschneider Bach Institute.

Location: Louisville, Kentucky

Current projects: Several articles—in various stages of progress—on music theory and music analysis

Currently reading: Always fiction, lately a lot of nineteenth-century novels on audiobook during my daily commute.

1. What type(s) of writing do you regularly engage in?
I mainly write academic articles and talks in my specialty of music theory. These are different from writing for a broad readership, since a whole background of knowledge and terminology can be assumed. I think the basic challenges of being clear and engaging are the same as in all writing, though.

2. When/where/how do you write?
First, I’m a big fan of the UofL Writing Center’s Tuesday evening Faculty and Graduate Student Writing Group—it’s so nice to spend a couple of focused hours each week writing in the company of others. Otherwise, I write when my teaching schedule permits. The further along I am in a project, the easier it is to squeeze little bits of work into spare moments; starting a new project takes bigger blocks of time and mental space.

3. What are your writing necessities—tools, accessories, music, spaces?
For me, distractibility often comes from routine and familiarity. I often find I can enter a more focused mindset by introducing any tiny element of novelty into my routine. Sometimes this means writing on my iPad or longhand when I ordinarily use my laptop, or even just using a different font (seriously). At other times it means finding a new place (on or off campus) to sit and work, away from my office or my living room. I do prefer quiet, and you will never catch me writing in a coffee shop! Since I write about music, I can’t always have music playing while I’m writing, but I sometimes listen to Music for Eighteen Musicians or anything else beautiful and repetitive.

4. What is your best tip for getting started and/or for revision?
I love to outline and never write anything, of any size, without an outline for it. For some kinds of writing, the article can literally be written by replacing bullet points one by one with sentences or paragraphs. Even when I don’t write directly from the outline, it’s indispensable for organizing my thinking.

5. What is the best writing advice you’ve received?
Robert Paul Wolff makes an analogy between humanities writing and storytelling that resonates with me and the kinds of things I write. Wolff tells his students that they’re ready to write a dissertation (or an article, etc.) when they can tell him their argument as, essentially, a story with beginning, middle and end. We often argue for the value of having someone else read your finished writing; this pre-writing phase is also a great stage of the writing process at which to involve trusted colleagues, talking through the “story” of your argument until it flows smoothly and convincingly.

The Writer’s Notebook: Building Your Toolkit

Quaid Adams, Consultant

Writing is hard and can be daunting. Let’s get that out of the way first and foremost. Just like with math or science, some people excel at writing and can pump out dissertation length pieces with ease.Quaid Adams  While there are others who find themselves barely being able to string words together to make what they think is a “good” sentence, let alone, a longer piece of writing. I get it. Truly, I do.

Even though I am a graduate student in English, there are days that I struggle to write. Whether that is due to me not really having a direction to go in a new piece or hitting the dreaded wall of writer’s block in the middle of something I have already started. Or even not really feeling like writing that day because there is so many other things going on in my life that I cannot focus long enough to write something well.
Everyone’s story with writing is different and there can be real beauty in that. However, there is one thing I am sure of, there is no such thing as a bad writer.

Regardless of what former teachers, family, or friends have said in the past, you are a writer, neither good nor bad, but a writer who is ever changing and learning. We all are. We can all bring different things to the table and can share amazing stories given the opportunity, some of us are just a bit more reserved about it than others. Writing, whether academic or creative can be an outlet for so many things and can not only serve as a form of expression, but also as a form of therapy and a way to bring clarity to this crazy world. One tool that I have found that incorporates all of this is by beginning to keep a writer’s notebook.

What is a writer’s notebook? The answer to that is simple; it can be whatever you want. However, you may think this freedom makes it sound like a journal or a diary in its makeup. While it does share similarities, the writer’s notebook functions as more of a reactionary platform versus one of description. In his book, A Writer’s Notebook, author Ralph Fletcher describes the writer as someone who reacts to their world and differentiates them from ordinary people who notice things but do nothing about it. He goes on to describe the writer’s notebook as, “a place to write down what makes you angry or sad or amazed, to write down what you noticed and don’t want to forget, to record exactly what your grandmother whispered in your ear before she said good-bye for the last time” (4).

The writer’s notebook is a sanctuary for the writer and its pages are there for them to explore and express themselves through. Writing a paper for class and having too many ideas? Make a list or a web to get your thoughts organized. Lost in a daydream about some far-off fantastical place? Write it down in detail as a starting point for a larger piece of writing. Walk up on one of those campus protest about something you are feeling strongly about but can’t express yourself out loud, write about those feelings. It is your notebook to do with as you please. You can write pages on a single topic or just scribble an idea or something you overheard in the margins of the page to come back to later. Make it look professional with hard-leather backing or make it bright and colorful. Whatever reflects you as a person and whatever is going to make you use it.

I know, I know. It sounds kind of hokey and like just another piece of writing you have to keep up with in your already busy schedule, but hear me out. Writers get better at writing by doing it. Using the writer’s notebook to do this in an environment where you are not being graded or judged allows you to write without fear of repercussions or without an impending deadline looming. It also allows you to have complete creative control of whatever goes into your notebook. Not unlike a tradition journal in this sense, it also allows to you observe and react to the world around you, and as a way to channel your emotions into your writing.

However, the difference here is that while you may be using it as a means of therapy, these feelings and thought are also neatly tucked away into your writer’s notebook, ready for you to pull inspiration from someday down the line. So while you are benefiting from it now by relieving stress or the emotional trauma of Qdoba being out of steak for the burrito you’ve been craving since noon, you may also benefit from it in the future when you need inspiration for another project. The notebook can utilized in terms of academic and creative writing as well. Say an idea pops into your head about a story you might like to write or a topic for a research paper miraculously appears, write it down. Even if you don’t return to it anytime soon, its still written down and ready for you to pull from whenever you need it.

This brings up another important use for the writer’s notebook; reflection and editing. Your notebook is a glimpse inside your mind, spilled out onto a piece of paper. The only difference is that while thoughts are fleeting and can be easily forgotten, what your write in your journal is a tangible representation of your feelings and thoughts which can be visited whenever necessary. Reflection and editing is a vital step in any writer’s journey through a piece. It allows us to better understand ourselves and the work we have done to actually sit back and reflect on its importance to us and to whatever it is we are working on at the time. Through your writer’s notebook you can do just that, without constantly worrying about grammar or spelling errors. You can write what you are experiencing or whatever jumbled thought flits through your mind. Just write it, let it stew, and come back to it on a rainy day, or never again if you don’t want to. Sometimes it is good to get things out of our head and it is ok to never look back at it again. However, it is there should you want to.

The writer’s notebook is a multi-faceted tool for any and all writers, be they from academia, or just the poets and writers that wander the world making it a little better with each written word. It has something for everyone to benefit from regardless if you think you are a good writer or a bad one. Through the use of this resource, we as writers can have safe place to store our ideas, our feelings, and musings, if for no one else but ourselves. So pick up an empty notebook today and just start writing, it doesn’t matter about what, just write. You may be amazed at what actually comes out on the page.

                                                                           Works Cited

          Fletcher, Ralph. A Writer’s Notebook. HarperTrophy, 2006

If interested in further reading on the topic, I highly suggest picking up a copy of the work cited above, Ralph Fletcher’s, A Writer’s Notebook. Below is the link from Amazon:

So You’re Looking to Get Published?: A Quick-Guide Reference to a Few Publishing Opportunities

Adam Yeich, Consultant     

So there is a rather large and close literary community here is Louisville, especially within the university, and this is something I was very happy to find here when I moved from rural Northeast Ohio. There are a whole bunch of things I could postAdam Yeich in this blog concerning writing, but I wanted to focus on something that would be especially useful to the future endeavors of the writing community here and at large. It’s a topic I didn’t have access to or knowledge about accessing until well into my own academic and creative writing career: submission and publication.

Publishing is the aspect of creative writing that is perhaps most daunting, especially for newer writers and/or writers trying to get their work out into the world for the first time. The Internet is HUGE, so how do you go about finding places looking for submissions? How do you go about finding an agent for your novel? I’m going to provide the links to a few resources to help you find the right home for your short story/poem/personal essay or whatever writing form you call your own.

First, we have Newpages.com, which is a news, information, and guide to calls for submission from contests to literary magazines, and all kinds of publishing options in between. You can set the filter parameters to whatever genre the piece of writing you’re looking to publish fits (fiction, nonfiction, poetry, drama, art, photography, cross-genre, comics, reviews, interviews, and more), and then you can set the kind of publication you would like to publish in (book, chap book, magazine, anthology, literary website). This resource is a free guide to and compilation of calls for submission, including deadlines and costs for submission.

Link: https://www.newpages.com/classifieds/calls-for-submissions

A second resource is Duotrope. This is another guide to publication for writers and artists. This resource, according to their website, offers “submission trackers, custom searches, deadline calendars, statistical reports, and extensive interviews.” Duotrope is a more detailed and more user specific resource, so if that is of interest to any writers or artists out there, it is more than worth checking out. However, because of their status and reality as a more detailed and interactive resource, this one is not free. There is a free trial for users, but after that, anyone who finds it useful and wishes to continue using it will have two options for subscription. There is the $5/month subscription option or there is the $50/year option for those who know they plan to utilize the resource long-term.

Link: https://duotrope.com/

A third option I want to let you all know about is less directly about publishing and more directly about writing, though there are publishing opportunities that can extend out of this resource. The resource I am talking about is National Novel Writing Month, also known as NaNoWriMo. This annual event is best summed up by there website which describes the event as such: “National Novel Writing Month (NaNoWriMo) is a fun, seat-of-your-pants approach to creative writing. On November 1, participants begin working towards the goal of writing a 50,000-word novel by 11:59 PM on November 30. Valuing enthusiasm, determination, and a deadline, NaNoWriMo is for anyone who has ever thought about writing a novel.” I have a friend who participated in this event a couple of years ago, and she told me it was the single most productive month she ever had in the three years (at that point) she’d been working on her novel. It is definitely worth checking out, and the writing you’ll get done…well nothing else compares. The event sets you up to crank out words and pages like you never thought you could.

Link: https://nanowrimo.org/

Some last minute advice on seeking publication: Always read VERY carefully the guidelines the publisher has set for their submissions. Check their word count, page count, line count (for poetry), check whether they want blind submissions, check how they want the manuscript formatted if they specify, and make sure to include a proper cover letter if they request it. These publishers likely receive thousands of submissions when their call goes out. They have a limited budget for paying staff to read pieces and will take any reason to have a few less to read. Not following their specified guidelines could get you thrown into that “not getting read” pile.

I hope you find this helpful toward getting your work out into the world, because you have a voice and the world should hear what you have to say with it.