Workshop Day 2 Fulbright -Narrowing In: �Scholarly Writing. .pptx

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1. Day Two Narrowing In: Scholarly Writing. What are the parts?

2. Agenda Part 1: Genre + tone & style + practice. Part 2: Organization: What are the parts? 2

3. Genre: Know the Conventions (Rules) Writers learn a set of “moves” for each genre. 3

4. What is Academic Writing? 4

5. Tone Style 5

6. 6 “Perhaps you have forgotten. That’s one of the great problems of our modern world, you know. Forgetting. The victim never forgets. Ask an Irishman what the English did to him in 1920 and he’ll tell you the day of the month and the time and the name of every man they killed. Ask an Iranian what the English did to him in 1953 and he’ll tell you. His child will tell you. His grandchild will tell you. And when he has one, his great-grandchild will tell you too. But ask an Englishman—” He flung up his hands in mock ignorance. “If he ever knew, he has forgotten. ‘Move on!’ you tell us. ‘Move on! Forget what we’ve done to you. Tomorrow’s another day!’ But it isn’t, Mr. Brue.” He still had Brue’s hand. “Tomorrow was created yesterday, you see. That is the point I was making to you. And by the day before yesterday, too. To ignore history is to ignore the wolf at the door.” —John le Carré,  A Most Wanted Man

7. 7 I’ve never been one for inaction. Everything I’ve ever felt strongly about, I’ve done something about. I guess that’s why, unable to do anything else, I soon began writing to people I had known in the hustling world, such as Sammy the Pimp, John Hughes, the gambling house owner, the thief Jumpsteady , and several dope peddlers. I wrote them all about Allah and Islam and Mr. Elijah Muhammad. I had no idea where most of them lived. I addressed their letters in care of the Harlem or Roxbury bars and clubs where I’d known them. I never got a single reply. The average hustler and criminal was too uneducated to write a letter. I have known many slick, sharp-looking hustlers, who would have you think they had an interest in Wall Street; privately, they would get someone else to read a letter if they received one. Besides, neither would I have replied to anyone writing me something as wild as “the white man is the devil.” What certainly went on the Harlem and Roxbury wires was that Detroit Red was going crazy in stir, or else he was trying some hype to shake up the warden’s office. During the years that I stayed in the Norfolk Prison Colony, never did any official directly say anything to me about those letters, although, of course, they all passed through the prison censorship. I’m sure, however, they monitored what I wrote to add to the files which every state and federal prison keeps on the conversion of Negro inmates by the teachings of Mr. Elijah Muhammad. But at that time, I felt that the real reason was that the white man knew that he was the devil. Later on, I even wrote to the Mayor of Boston, to the Governor of Massachusetts, and to Harry S. Truman. They never answered; they probably never even saw my letters. I handscratched to them how the white man’s society was responsible for the black man’s condition in this wilderness of North America. It was because of my letters that I happened to stumble upon starting to acquire some kind of a homemade education. I became increasingly frustrated at not being able to express what I wanted to convey in letters that I wrote, especially those to Mr. Elijah Muhammad. In the street, I had been the most articulate hustler out there—I had commanded attention when I said something. But now, trying to write simple English, I not only wasn’t articulate, I wasn’t even functional. How would I sound writing in slang, the way I would say it, something such as, “Look, daddy, let me pull your coat about a cat, Elijah Muhammad—”

8. Use Formal Tone & Specific Language To answer these questions, we provide the following true classroom and workplace scenarios as data that has shaped our understanding and this paper. To understand these data, we implemented narrative inquiry and analysis (Creswell 2009; Holstein and Gubrium 2012) to our own practices and conceptual ideas about our teaching. Narratives, according to Holstein and Gubrium (2012), can occur naturally during conversations regarding specific events or phenomena, while narrative inquiry tends to focus on personal stories (Holstein and Gubrium 2012). Next, we applied Holstein and Gubrium’s dialogical narrative analysis to our experiences – specifically asking ourselves what is at ‘stake,’ both in these scenarios but also in the larger story these narratives tell about our classrooms and practices. This analysis was joined by months of ongoing conversation and reflection via WhatsApp and Skype. We also engaged in dialogue and critique with our colleagues and friends. Next, we dissected our actions and put together a plan to move forward, addressing the urgency to engage in the complicity of our whiteness. 8

9. Fun Game: Voice Exercises! 1. How has your personality been described? How would you describe your personality? Use adjectives! 2. How has your writing been described by others? How would you characterize your writing? 3. Do you see bits of your personality in your writing? Can you think of any examples? Voice Exercise 1:      If you writing style were a drink, what kind of drink would it be? A soda? Lemonade? A hot chocolate? What about food? Would your writing be a Tuscan salad or a roast chicken dinner? When you know your perfect writing voice is smooth like cognac or bright like strawberries, it opens up a whole new world of style.[1]   Voice Exercise 2:    Try a different mood. Everyone writes depending on the emotional state they’re in at the time of writing. Pick one mood and write 200 words.  This could be from happy to mad, to wishful or wistful…anything you want. You’ll hit on a mood that’s you, in the moment, and you’ll notice your words start to flow more easily.[2]  [1 & 2] James ( n.d ). Retrieved from http://menwithpens.ca/writing-voice/. 9

10. Academic or Scholarly Writing A genre of writing for specific audiences with specialized vocabulary, includes an argument and a purpose, original thought, a point of view, evidence, careful and critical review of the literature, and citations. You are joining an ongoing conversation. What’s your entry point? Joining the conversation Finding the entry point .

11. Developing an Academic Voice What to avoid: 11

12. Avoiding cliché s and colloquialisms (not easily translatable or transferable) 12 When I got my students to think science was wicked cool, their test scores went through the roof! When I asked for their spin on their improvement, they just said the test felt like a piece of cake to them after I had implemented the new curriculum changes.

13. Be Specific: 13

14. Other Tips: 14

15. Fix: Create an Academic Voice 15

16. Break 16

17. Academic or Scholarly Writing A genre of writing for specific audiences with specialized vocabulary, includes an argument and a purpose, original thought, a point of view, evidence, careful and critical review of the literature, and citations. You are joining an ongoing conversation. What’s your entry point? Joining the conversation Finding the entry point .

18. Types of Scholarly Articles Journals Publish. Investigate and Identify in Pairs. Original Study (research involved; peer reviewed) Retrospective Study (historical research, uses data or existing records). Case Study (in-depth study of a “case” or a phenomenon). Methodology Study (advance research through developing better methods). Opinion Article (also theoretical/contribute to discourse or debate). Review (summarizes and synthesizes existing research). Short Report (not a full paper, presents findings). Clinical Trials / Clinical Case Study (medical, patients with real cases, etc.) 18

19. Example: What are the parts? https://www.researchgate.net/publication/343690893_Step_into_the_discomfort_Reorienting_the_white_gaze_and_strategies_to_disrupt_whiteness_in_educational_spaces_Step_into_the_discomfort_Reorienting_the_white_gaze_and_strategies_to_disrupt_whiteness_in “Step into the Discomfort: (Re)orienting the White G aze and Strategies to Disrupt W hiteness in Educational S paces”  19

20. What Are the Parts? Title Abstract Introduction Statement of the Problem and/or Research Questions Methodology Literature Review Findings Discussion / Limitations Future Implications Conclusion References 20 20

21. Homework: Refer to your topic. What’s the conversation? Enter the conversation with original thought. Forward the conversation. Where can it go? What kind of scholarly text will you write?

22. Moving Forward: Breaking Down the Parts! Any questions?? 22

23. Extra Resources: Scholarly Writing https://academicguides.waldenu.edu/writingcenter/scholarly Writin g Concisely https://academicguides.waldenu.edu/writingcenter/scholarlyvoice/writingconcisely 7 Types of Papers https://www.servicescape.com/blog/the-7-types-of-academic-papers-and-journal-articles Strategies for Academic Writing https://americanenglish.state.gov/files/ae/resource_files/4.3_presentation_slides-_final_version_for_website.pdf Voice in Academic Writing https://services.unimelb.edu.au/__data/assets/pdf_file/0004/471298/Voice_in_Academic_Writing_Update_051112.pdf Malcolm X https://wp.lps.org/mpayant/files/2012/07/Coming-to-An-Awareness-of-Language-Malcom-X.pdf