Writing Consultant Training Binder
Fuller Writing Center Created: Fall 2010 Updated: Fall 2011 All Rights Reserved.
Table of Contents Consultant Responsibilities Consultant Responsibilities
Consulting Standards Minimalist Tutoring (2 pages)
Working with Non-‐Native Speakers Hierarchy of ESL Error
APA Compliance Review APA Compliance Board Contact List
Consultant Meetings, Notes, Ideas Writing Lab Newsletter: Putting your writing center experience to work
Consultation Policies / Consultation Report Forms Example of Online Consultation Final Contact Example of In-‐person/Phone Consultation Final Contact In-‐Person/Phone Consultation Report Form Writing Center Feedback Form Consultant Log
Consultant vs. Editor The In-‐Person/Phone Consultation Where Do I Begin? Online Consultation Abbreviation Chart (Shortened) Online Consultation Abbreviation Chart Punctuation Pattern Sheet SOT Referencing / SOP Referencing SIS Referencing Types of Conferences (3 pages) Inside the Tutoring Session (4 pages) What’s Your Type? / How to Informally Identify Student’s Types Personality & the Teaching of Composition How Can I Help? (Different Intelligences) Consultation Techniques The Rhetoric of Silence (2 pages) Active Listening and Feedback Direct and Indirect Consultation Collaboration vs. Collusion Helping Students Proofread From Topic to Thesis – DO NOT DISTRIBUTE (17 pages)
Tips for Working with ESL Writers Tutor’s Column: A guide to your first session with an ESL student Working with ESL Writers (3 pages) Specific Kinds of Writers (3 pages) APA Compliance Review Training (8 pages) Training Appendices (5 pages)
Writing Consultant Training Binder
Consultant Responsibilities
Consultant Responsibilities 1) Check email every day between 2pm and 8pm for new assigments. 2) Email writingcenter@fuller.edu whenever you will not or may not have internet access (vacation, travel) or will not be available for consultation (illness, intensive). 3) Be available weeks 4-‐5 and weeks 9-‐finals week of every quarter. 4) Copy writingcenter@fuller.edu on initial and final contact with each consultation. 5) Include these elements in each final contact: 1) reviewed file 2) positive remarks 3) biggest or most repeated error 4) time spent on the assignment 6) feedback form 6) When dealing with students, let them know ahead of time what they will be charged for (e.g., remind the student calling you for help with navigating Word that they will be charged for your help with their technical issues at the beginning of the call, as soon as you have determined the nature of the call). 7) Keep an accurate record of hours spent and services provided. Round to the nearest quarter hour. 8) Participate in staff meetings and trainings. 9) Abide by staff-‐wide standards of conduct and consultation.
Consultation Policies: Working with Students
1. Make the student feel welcome and comfortable. 2. Make sure the writer does the work. Do not write any part of a student’s paper. Use listening and questioning skills to help students recognize difficulties and come up with their own solutions. 3. Consider Higher Order Concerns before Lower Order Concerns. Read for meaning first before working on sentence-‐level matters. 4. Never criticize a professor or TA. Do not judge comments, grades, or assignments. Refer a student back to the professor for any problem with grades or for clarity on an assignment. 5. Do not evaluate a paper by suggesting a grade or saying it is “good.” Instead, use specific positive comments: “You have very specific details in the second paragraph.” 6. Consultations are confidential. Do not talk about a student you work with, either with praise or criticism. Do not mention that you are working with the student in the Writing Center if you should run into each other on campus. 7. You represent the Writing Center to the rest of the campus. Be professional and positive. Consultation Report Forms 1. Neatly fill out the top of the form and ask the student for any additional information needed. Please be as specific as possible for our records. 2. Course name/number and professor: Please give both the course name and professor to avoid any future confusion since multiple professors may teach the same course. 3. Brought: Ask the student what draft he or she has brought and whether there is any feedback from the professor or TA. Also list any books or resources the student brought. 4. Main concern: Ask for and record the student’s main concern. Encourage the student to choose ONE issue to focus on, though you will of course mention any other issues as they arise. 5. Sum up what you worked on and mark any resources or handouts you used or recommended to the student. 6. Suggestions for next step: At the end of the consultation, write what you did not have time to cover and what the student needs to do next. 7. Sign and record time and amount due: Sign and have the writer sign the form indicating that you both agree with the report of what you worked on. If consulting by phone, obtain verbal agreement and offer to attach a scanned copy of the form to the Final Contact. 8. Email the Final Contact to the student (copied to the Writing Center) by the end of the same day as the consultation. 9. Bring the form to the Writing Center within one week of your consultation. 10. Multiple consultations: If a student is working with you multiple times on the same paper, you will still need a Report Form and Final Contact for each appointment. If the student wants to make an appointment to meet with you for a different assignment, the student will need to fill out the online form and request to meet with you if you are available.
Example of Online Consultation Final Contact
Hello Paul, 1) Reviewed Document- Attached above. You should be able to see 'track changes' and comments in the right-hand column. 2) Positive Comment(s) - This is a good, concise history/overview of the councils. The issue of three persons of the same, one substance (ousia) --aka. homoousios-can be very confusing and you were able to explain each of the councils thoroughly, stating the differences clearly. 3) Areas of Improvement - I would spend some time tidying up the first page (see my comments). As far as the assignment is concerned, were you supposed to do any critical thinking/reflecting on the creation of the term "Trinity," or just sort of a chronological history? Also, I might think about including the theological terms throughout the paper more (homoousios -- same nature --Athananius and homoiousis -- similar nature) 4) Time Spent Reviewing - 1 hour You will receive an invoice with payment options for this service shortly. 5) Feedback Form - attached above. Our online feedback form is accessible at: http://goo.gl/CSLBm or on our blog at: http://fullerwritingcenter.wordpress.com. Blessings, Melissa Example of In-‐person/Phone Consultation Final Contact Hello Paul, 1) Reviewed Document (if applicable) - Attached above. You should be able to see 'track changes' and comments in the right-hand column. 2) Positive Comment(s) - This is a good, concise history/overview of the councils. The issue of three persons of the same, one substance (ousia) --aka. homoousios-can be very confusing and you were able to explain each of the councils thoroughly, stating the differences clearly. 3) Areas of Improvement - I would spend some time tidying up the first page (see my comments). As far as the assignment is concerned, were you supposed to do any critical thinking/reflecting on the creation of the term "Trinity," or just sort of a chronological history? Also, I might think about including the theological terms throughout the paper more (homoousios -- same nature --Athananius and homoiousis -- similar nature) 4) Time Spent Reviewing before consultation (if applicable) – 1 hour Time Spent Reviewing during consutlation – 1 hour You will receive an invoice with payment options for this service shortly. 5) Feedback Form - attached above. Our online feedback form is accessible at: http://goo.gl/CSLBm or on our blog at: http://fullerwritingcenter.wordpress.com. Blessings, Melissa
In-Person/Phone Consultation Report Form Student Name
G# School Date
Course name/number and Instructor
Type of assignment / info about assignment
Consultant Name
Conference began ____:_____ ended ____:_____
Brought
Main concern
We worked on Higher Order Concerns
We worked on Lower Order Concerns
Resources used
Suggestions for next step
assignment sheet ____ notes ______ outline _______ first draft ___ revised draft _____ final draft_____ professor comments ____ see back _____
understanding assignment ___ thesis ___ organization ____ unity ____ topic sentences___ paragraph order ___ development ___ adding examples ___ adding specific details___ transitions ____ see back ____
understanding assignment ___ getting started ___ thesis___ unity ____ style ___ organization _____ content/development ____ grammar ____ documentation _____ commas ____ proofreading ____ see back ____
sentence structure ___ pronouns ___ subject/verb agr____ tense shifts _____ spelling___ missing/incorrect articles ___ commas __ using quotations ____ using sources ____ proofreading skills ____ documentation ____ see back ____
dictionary ___ thesaurus ___ computer __ write first draft ___ revise organization _____ citation manual ____ FWC website ____ add examples/details/development_____ reference sheet ___ library resource____ see back____ student notes ___ assigned reading ___ check with instructor about: abbreviations ___ punctuation pattern___ see back___ make another appointment to work on: Writer signature I declare that the above information is Consultant signature I declare that the above information is accurate. accurate.
Writing Center Feedback Form Name (optional) _____________________________________ Date ____________________________ School (circle one) SOT SOP SIS Program _________________________ Service received (circle all that apply) Online editing Phone consultation In-‐person conference Editor(s) who provided service ___________________________________________________________ Date(s) of service ______________ ________________ ________________ _____________ How would you rate your experience? (circle one) Unsatisfactory Satisfactory Good Excellent Please describe any concerns or feedback for our improvement that you may have in the space below. Our online feedback form is accessible at: http://goo.gl/CSLBm or on our blog at: http://fullerwritingcenter.wordpress.com.
Consultant Log Consultant Name _______________________________ Date Range ______________________ Year________ Date Time Rush Activity (Student name / Type of consultation) Spent Job
Total Reg
Total Rush
Writing Consultant Training Binder
Consultation Standards
Minimalist Tutoring: Making the Student Do All the Work -‐Jeff Brooks, Seattle Pacific University from Murphy, Christina, and Steve Sherwood. The St. Martin Sourcebook tor Writing Tutors. New York: 81. Martin's Press, 1995,83-‐87. In presenting the philosophy of minimalist tutoring, Jeff Brooks argues that "the goal each tutoring session is learning, not a perfect paper." In contrast to those who tutor as a proofreader and editor, Brooks sees the tutor as a commentator and guide. He contends that "fixing flawed papers is easy; showing the students how to fix their papers is complex and difficult. " Like Stephen North, he believes that the tutor's job is to improve the writer, not the writer's text; "our primary object in the writing center is not the paper, but the student, " he states. For tutors to achieve the goals of minimalist tutoring, Brooks advocates a hands-‐off approach to students' papers—one that avoids editing the papers for errors in favor of emphasizing structure, organization, logical reasoning, and stylistic control. He explains the assumptions that guide this model describes the techniques and strategies of forms of minimalist tutoring that he terms "basic, " "advanced, " and "defensive." This essay first appeared in 1991 in Writing Newsletter (15, 6, 1-‐4). A writing center worst case scenario: A student comes in with a draft of a paper. It is reasonably well-‐written and is on a subject in which you have both expertise and interest. You point out the mechanical errors and suggest a number of improvements that could be made in the paper's organization; the student agrees and makes the change". You supply some factual information that will strengthen the paper; the student incorporates it. You work hard, enjoy yourself, and when the student leaves, the paper is much improved. A week later, the student returns to the writing center to see you: "I got an A! Thanks for all your help!" This scenario is hard to avoid, because it makes everyone involved feel good: the student goes away happy with a good grade, admiring you; you feel intelligent, useful, helpful—everything a good teacher ought to be. Everything about it seems right. The fact that this is bad points out the central difficulty we confront as tutors: we sit down with imperfect papers, but our job is to improve the writers. When you "improve" a student's paper, you haven't been a tutor at all; you’ve been an editor. You may have been an exceedingly good editor, but you've been of little service to your student. I think most writing center tutors agree that we must not be editors for our students and that the goal of each tutoring session is learning, not a paper. But faced with students who want us to "fix" their papers as well as our own desire to create "perfect" documents, we often find it easier and more satisfying to charge, to muscle in on the student's paper, red pen in hand. To avoid that trap, we need to make the student the primary agent in the writing center session. The student, not the tutor, should "own" the paper and take full responsibility for it. The tutor should take on a secondary role, serving mainly to keep the student focused on his own writing. A student who comes to the writing center and passively receives knowledge from a tutor will not be any closer to his own paper than he was when he walked in. He may leave with an improved paper, but he will not have learned much. A writing teacher or tutor cannot and should not expect to make student paper "better"; that is neither our obligation, nor is it a realistic goal. The moment we consider it our duty to improve the paper, we automatically relegate ourselves to the role of editor. If we can't fix papers, is there anything left for us to do? I would like to suggest that when we refuse to edit, we become more active than ever as educators. In the writing center, we have the luxury of time that the classroom teacher does not have. We can spend that time talking and listening, always focusing on the paper at hand. The primary value of the writing center tutor to the student is as a living human body who is willing to sit patiently and help the student spend
time with her paper. This alone is more than most teachers can do, and will likely do as much to improve the paper as a proofreader can. Second, we can talk: to the student as an individual about the one paper before us. We can discuss strategies for effective writing and principles or structure, we can draw students' attention to features in their writing, and we can give them support and encouragement (writing papers, we shouldn't forget, is a daunting activity). Assumptions All of this can be painfully difficult to do. Every instinct we have tells us that we work for perfection; likewise, students pressure us in the same direction. I have found two assumptions useful in keeping myself from editing student papers: 1. The most common difficulty for student writers is paying attention to writing. Because of this, student papers seldom reflect their write capabilities. Writing papers is a dull and unrewarding activity for most so they do it in noisy surroundings, at the last minute, their minds going constantly to more pressing concerns. It is little wonder that so much writing seems haphazard, unfocused, and disorganized. A good many errors are made that the student could easily have avoided. If we can get students to read a paper even once before handing it in, in most cases we have rendered an improvement. We ought to encourage students to treat their own writings as texts that deserve the same kind of close attention we usually reserve for literary texts. Our message to students should be: "Your paper has value as a piece of writing. It is worth reading and thinking about like any other piece of writing." 2. While student writings are texts, they are unlike other texts in one important way: the process is far more important than the product. Most "real-‐world" writing has a goal beyond the page; anything that can be done to that writing to make it more effective ought to be done. Student writing, on the other hand. Has no real goal beyond getting it on the page. In the real world when you need to have something important written "perfectly," you hire a professional writer. When a student hires a professional writer, it is a high crime called plagiarism. This fairly obvious difference is something we often forget. We are so used to real world writing, where perfection is paramount, that we forget that students write to learn, not to make perfect papers. Most writing teachers probably have a vision of a "perfect" freshman paper (it probably looks exactly like the pieces in the readers and wins a Bedford prize); we should probably resign ourselves to the fact that we will seldom find such a creature. Most students simply do not have the skill, experience, or talent to write the perfect paper. Basic Minimalist Tutoring Given these assumptions, there are a number of concrete ways we can put theory into practice. Our body language will do more to signal our intentions (both to our student and to ourselves) than anything we say. These four steps should establish a tone that unmistakably shows that the paper belongs to the student and that the tutor is not an editor. • Sit beside the student, not across a desk—that is where job interviewers and other authorities sit. This first signal is important for showing the student that you are no the person "in charge" of the paper. • Try to get the student to be physically closer to her paper than you are. You should be, in a sense, an outsider, looking over her shoulder while she works on her paper. • If you are right-‐handed, sit on the student's right; this will make it more difficult for you to write on the paper. Better yet, don't let yourself have a pencil in your hand. By all means, if you must hold something, don't make it a red pen!
• Have the student read the paper aloud to you, and suggest that he hold a pencil while doing so. Aside from saving your eyes in the case of bad handwriting, this will accomplish three things. First, it will bypass that awkward first few moments of session when you are in complete control of the paper and the student is left out of the action while you read his paper. Second, this will actively involve the student in paper, quite likely for the first time since he wrote it. I find that many students are able to find and correct usage errors, awkward wording, even logic problems without any prompting from me. Third, this will help establish the sometimes slippery principle that good writing should sound good. I am convinced that if you follow these four steps, even if you do nothing else, you have served the student better than you would if you "edited" his paper. Advanced Minimalist Tutoring Of course, there is quite a bit more you can do for the student in the time you have. You can use your keen intelligence and fine critical sense to help the student without direction in the paper. As always, the main goal is to keep the student active and involved in the paper. I have three suggestions: • Concentrate on success in the paper, not failure. Make it a practice to find something nice to say about every paper, no matter how hard you have to search. This isn't easy to do; errors are what we usually focus on. But by pointing out to a student when she is doing something right, you reinforce behavior that may have started as a felicitous accident. This also demonstrates to the student that the paper is a ''text'' to be analyzed, with strengths as well as weaknesses. This is where the tutor can finally depart from the role of editor. • Get the student to talk. It's her paper; she is the expert on it. Ask questions—even "leading" questions—as often as possible. When there are sentence-‐level problems, make the student find and (if possible) correct them. When something is unclear, don't say, "This is unclear"; rather, say, "What do you mean by this?" Instead of saying, "You don't have a thesis," ask the student, "Can you show me your thesis?" "What's your reason for putting Q before N?' is more effective than ''N should come before Q." It is much easier to point out mistakes than it is to point the student toward finding them, but your questions will do much more to establish the sole owner of the paper and you as merely an interested outsider. • If you have time during your session, give the student a discrete writing task, then go away for a few minutes and let him do it. For instance, having established that the paper has no thesis, tell the student to write the thesis while you step outside for a few minutes. The fact that you will return and see what he has accomplished (or not accomplished) will force him to work on the task you have given him probably with more concentration than he usually gives his writing. For most students, the deadline pressure for their paper is the teacher's final due date. Any experienced writer knows that a deadline is the ultimate energizer. Creating that energy for a small part of the paper is almost the best favor you can do for a student. Defensive Minimalist Tutoring So far, I have been assuming that the student is cooperative or at least open to what various methods you might use. This, of course, is not a very realistic assumption. There are many students who fight a non-‐editing tutor all the way. They know you know how to fix their paper, and that is what they came to have done. Some find ingenious ways of forcing you into the role of editor: some withdraw from the paper, leaving it in front of you; some refuse to write anything down until you tell them word for word what to write; others will keep asking you questions ("What should I do here? Is this part okay?") Don't underestimate the abilities of these students; they will fatigue you into submitting if they can. To fight back, I would suggest we learn some techniques from the experts: uncooperative students themselves.
• Borrow student body language. When a student doesn't want to be involved in paper, he will slump back in his chair, getting as far away from it as possible. If you find a student pushing you too hard into editing his paper, physically move away from it—slump back into your chair or scoot away. If a student is making a productive session impossible with his demands, yawn, look at the clock, rearrange your things. This language will speak clearly to the student: "You cannot make me edit your paper." • Be completely honest with the student who is giving you a hard time. If she says, "What should I do here?" you can say in a friendly, non-‐threatening way, "I can’t tell you that—it's your grade, not mine," or, "I don't know—it's your paper." I have found this approach doesn't upset students as it might seem it would; they know what they are doing, and when you show that you know too, they accept that. All of the suggestions I have made should be just a beginning of the ideas we can improve our value to our students. I hope that they lead to other ideas and tutoring techniques. The less we do to the paper, the better. Our primary object in the writing session is not the paper, but the student. Fixing flawed papers is easy; showing the students how to fix their own papers is complex and difficult. Ideally, the student should be the only active agent in improving the paper. The tutor's activity should focus on student. If, at the end of the session, a paper is improved, it should be because they did all the work.
Consultant vs. Editor Adapted from Allyn and Bacon Guide to Tutoring p. 36 Responsibilities of Consultants Responsibilities of Writers Facilitate task Bring assignment, text, etc. Be flexible Bring motivation and openness Set priorities Be active, ask questions Be honest, yet diplomatic Complete assignment and retain autonomy Be respectful Be respectful Place equal importance on interpersonal skills and Transfer knowledge across tasks and disciplines English knowledge Have realistic goals Find something positive Revisit work / follow up Serve as a model for approaching the task Remain receptive to criticism while engaging in Help writers enter disciplinary conversation argumentative discourse Create an alliance Bring specific goals Be on time Create an alliance Negotiate responsibilities Be on time Shift ownership of task to the writer Be open to new discoveries Listen well Explain writing center mission Understand the assignment Help writer articulate goals Editors would: Focus on the text Take ownership of the text Proofread Give advice Read silently Look mainly for things to improve Work with an ideal text Make corrections on the page Tell writers what to do
But FWC Consultants will: Focus on the writer’s development and establish rapport Make sure the writer takes ownership Start with higher-‐order concerns and worry about correctness last Ask questions Ask the writer to read aloud Comment on things that are working well Trust the writer’s idea of a text Keep hands off and let the writer make corrections; help them learn correctness Ask them their plans for revision
The In-‐Person/Phone Consultation From the Presbyterian College Writing Center Tutor Handbook Our goal is to help students become better writers. • Students should be actively involved in the consultation and do at least half the talking. • Students should write corrections and suggestions on their own drafts and leave with a plan for improving the paper. • Consultants can help students develop confidence in themselves as writers by encouraging them with positive comments. Beginning the consultation • Get acquainted: begin with a friendly, relaxed atmosphere. Smile. Introduce yourself and ask the student's name. Call the student by name throughout the consultation. Converse informally as you fill out the consultation report form. • Have the student sit beside you at a round table, facing away from the door and any distractions. • Give the student your full attention. Setting the agenda for the consultation • Find out what the assignment is by asking the student to tell you about it first before asking for a written copy if available. Ask whether the writer understands the assignment. If there is a choice, ask why the writer chose a particular topic. • Find out where the writer is in the writing process. What has he or she done so far? • Ask: When is the paper due? How can I help you with this paper? What is your main concern at this point? If the writer brings a draft: Let the student know how we work: • Ask the writer to read the paper (or the first section you work on) out loud and explain the benefits: "Many students make changes as they read, and I'll follow along and let you know if anything is confusing." If a student objects, read it aloud yourself. Ask the writer to tell you what she wants you to look and listen for. With a rough draft read the whole paper before discussing it (if the paper is under 6 pages). On a later draft (or longer paper) discuss as you go along. • Sit next to the student, put the paper between the student and you, and read along silently as the writer reads the paper aloud. Try not to interrupt the reading. Praise the student for finding any errors, encouraging proofreading through reading aloud. • Try to point out one thing that the writer did well. What did you find interesting? Could you tell what the main point was? • Ask the writer questions: What works best in your paper? What do you like best or feel most satisfied about? What needs work in the paper? Which parts are confusing? • Ask yourself: What is this paper about? Does it fulfill the assignment? What works? What needs work? What needs help first? • Consider the writer's concerns and let the writer help set the agenda, but remember to try to consider Higher Order Concerns (HOCs) before Lower Order Concerns (LOCs). Decide what type of conference the student needs based on what the student has completed and when the assignment is due. Focus on certain problems during the consultation (4-‐ 5 issues). Encourage the student to return later to work on other problems you highlighted during the consultation. If the writer lacks a draft: Explore ways of generating ideas. See Invention Conference. Working on the objectives together • Tell the student what you plan to work on: "Because we have only one hour, we won't try to cover everything this time, but working on _ is what I think would most improve your writing today." Describe the student's role in the consultation: "You'll take notes and make any changes you want to on the paper."
• Do not write on the paper yourself. You might at times take notes for a student who is talking about ideas for a paper or model a sentence on another sheet of paper. • Use the tools of active listening and questioning to work on invention, revising, or editing strategies. Try not to do more than half the talking. See Listening, Questioning, and Body Language. • Share our resources with students. Help them learn to use their texts and their handbook. Give them appropriate handouts, explaining any exercise and working through it with the student. • Give frequent praise. Be specific rather than just repeating the same phrases. Instead of repeating "Good, that's right," say "You found all of your comma errors yourself today. Now you're learning to proofread." Be careful not to criticize wrong answers, but be sure students know where they need to improve. When you are unsure about an answer to a question, ask the Managing Editor or another consultant. Ending the session • Use the consultation report form to summarize what you've covered in the session and to suggest the next step. Ask the student to summarize what was covered during the session. Ask the writer's help in recording "Suggestions for the next step": What are you planning to do next on the paper? What will you revise? • Compliment the writer on what he or she has achieved in the consultation. Remind the student that the paper is not yours: "I can make some suggestions, but you'll have to work more on this on your own." Encourage future visits for any class and suggest the student make an appointment if needed. Record the student's name and the amount of time on your Consultant Log. Where Do I Begin? From "Peer Tutor Training," University of Houston-‐Downtown, 1996; Reigstad, Thomas J., and Donald A. McAndrew. Training Tutors for Writing Conferences. Urbana, IL: ERIC, 1984.; and Tutor Manual. Midlands Technical College, revised 11110/96. Do not expect "to detect and correct all problems, only to decrease their frequency and thereby improve the piece" (Reigstad and McAndrew 18), Often the variety of problems in a paper may seem overwhelming. However, certain problems have higher priority than others. Higher order concerns (Hoes), those that concern the ideas in a paragraph or an entire paper, should be discussed and revised first. Lower order concerns (LOCs), which involve sentences, phrases, or words, should be considered only after the higher order concerns have been addressed or if the writer insists on working first with lower order concerns. Do not become distracted by the LOCs and neglect the HOCs (18). Higher Order Concerns (HOCs) 1. Thesis or focus: Is there an overall point the writer is proving? 2. Audience and purpose: Does the writer have an appropriate audience in mind? 3. Organization: Does the paper progress in an organized, logical way? 4. Development: Are there places in the paper where more details and evidence are needed to support the point the writer is making? Lower Order Concerns (LOCs) 1. Sentence structure: Do any sentences sound awkward? Do the sentences move easily from one to another? Are the sentences easy to understand? 2. Punctuation, grammar, spelling, and usage: Is there a pattern of error in the student's writing that could be corrected through brief instruction? Do the errors distract from the content of the paper? 3. Proofreading skills: Does the student know what strategies to use in careful proofreading? What particular problems does the student need to look for?
Online Consultation Abbreviation Chart (Shortened) Abbreviation Meaning Example Awk
awkward expression or construction
The storm had the effect of causing severe damage.
Cap
faulty capitalization
We spent the Fall in Southern spain.
Pron problem with pronoun
My aunt and my mother have wrecked her car.
Rep
unnecessary repetition
The car was blue in color.
R-‐O
run-‐on sentence
Raoul tried his best this time that wasn't good enough.
Sp
spelling error
This sentence is flaude with two mispellings.
-‐ s
problem with final –s
He wonder what these teacher think of him.
S/V
subject/verb agreement
The problem with these cities are leadership.
VT
verb tense problem
He comes into the room, and he pulled his gun.
VTC
verb tense consistency problem
WW
wrong word
What affect did the movie have on Sheila?
Adapted from Capital Community College Writing Center: http://www.ccc.commnet.edu/writing/symbols.htm
Abbreviation
Online Consultation Abbreviation Chart Meaning Example
Ab
a faulty abbreviation
She had earned a Phd along with her M.D.
Agr
agreement problem: subject/verb or pronoun/antecedent
The piano as well as the guitar need tuning. The student lost their book.
Awk
awkward expression or construction
The storm had the effect of causing millions of dollars in damage.
Cap
faulty capitalization
We spent the Fall in Southern spain.
CS
comma splice
Raoul tried his best, this time that wasn't good enough.
DICT
faulty diction
Due to the fact that we were wondering as to whether it would rain, we stayed home.
Dgl
dangling construction
Working harder than ever, this job proved to be too much for him to handle.
-‐ ed
problem with final –ed
Last summer he walk all the way to Birmingham.
Frag
fragment
Depending on the amount of snow we get this winter and whether the towns buy new trucks.
| |
problem in parallel form
My income is bigger than my wife.
P/A
pronoun/antecedent agreement
A student in accounting would be wise to see their advisor this month.
Pron problem with pronoun
My aunt and my mother have wrecked her car. The committee has lost their chance to change things. You'll have to do this on one's own time.
Rep R-‐O
unnecessary repetition
The car was blue in color.
run-‐on sentence
Raoul tried his best this time that wasn't good enough.
Sp
spelling error
This sentence is flaude with two mispellings.
-‐ s
problem with final –s
He wonder what these teacher think of him.
S/V
subject/verb agreement
The problem with these cities are leadership.
VT
verb tense problem
He comes into the room, and he pulled his gun.
Wdy
wordy
Seldom have we perused a document so verbose, so ostentatious in phrasing, so burdened with too many words.
WW
wrong word
What affect did the movie have on Sheila? She tried to hard to analyze its conclusion.
Adapted from Capital Community College Writing Center: http://www.ccc.commnet.edu/writing/symbols.htm
Punctuation Pattern Sheet "An independent clause can stand alone as a complete sentence because it doesn't depend on anything else to complete the thought” (Harris 148). "A dependent clause cannot stand alone as a complete sentence because it depends on another clause in the sentence to complete the thought" (Harris 151). 1. Independent clause. 2. Independent clause, coordinating conjunction independent clause. and or but so for yet nor 3. Independent clause; independent clause. 4. Independent clause; independent clause marker, independent clause. therefore, however, nevertheless, consequently, furthermore, moreover, in contrast, 5. Dependent marker dependent clause, independent clause. If Because Since When While Although After 6. Independent clause dependent marker dependent clause. if because since when while although after 7. Independent clause: A, B, and C. 8. Clause/Phrase/Word, nonessential clause/phrase/word, clause/phrase/word. Example: Peter, one of the disciples, denied Jesus three times.
9.
There are several ways to use direct quotations: a) Indeed, the previous verses contain as much culturally-‐tied direction as do the verses in question: “[M]any who discuss 2:11-‐12 as warrant for limiting women in ministry do not even consider 2:9-‐10 in their discussion” (Articles 161). b) Instead of simply pointing out flaws, Claiborne challenges Christians to stop complaining about the church as it is and start trying to be “the church we dreamed of” (64). c) Luther writes, “That is God’s work alone, who causes faith to live in the heart” (35). d) Perhaps Gibbs’ best effort to describe nominality appears in the introduction: all those who, for whatever reason, want to be known as Christians, even though they may have lost contact with the church, have serious doubts concerning beliefs basic to Christianity, be living lifestyles which are incompatible with the values of the kingdom of God, or be failing to maintain an ongoing relationship with the Lord due to neglect of the means of grace which He has provided for our spiritual sustenance. (15)
10. Introductory material, independent clause. Use a comma after introductory words, phrases, and clauses: Long prepositional phrases (usually four words or more): Example: As a result of the difficulty of interpretation of this passage, some scholars have arrived at interesting conclusions about the appropriate way to deal with this text. Phrases with –ing verbals, -‐ed verbals, and to + verb: Examples: Creating a religious center around the empire also creates the margin. Greatly troubled by the events to come, Jesus went into the garden to pray. To discover the fullest meaning of the text, one must consider the context as well. Works Cited 6h Harris, Muriel. Prentice Hall Reference Guide to Grammar and Usage. 6 ed. Upper Saddle River: Prentice Hall, 2006. Numbers 1 to 6 adapted from Muriel Harris's Teaching One-‐to-‐One: The Writing Conference, 129-‐130, and Prentice Hall Reference th Guide to Grammar and Usage, 6 ed., 151-‐152. Adapted from Presbyterian College Writing Center http://web.presby.edu/writingcenter
SOT Referencing—Chicago Style with Footnotes (also called “Chicago Style A”)
Below are examples showing how to create footnotes and bibliographies for the most common types of sources. Note: Although this is the most common required format for papers in the School of Theology, some professors may prefer that you use Chicago Style B instead, with parenthetical in-‐text citations rather than footnotes (see the “SIS Referencing” handout). Ask your professor if you have any questions about what format you should use for your references. For further information, see The Chicago Manual of Style, 15th edition (particularly chapters 16 and 17). Books Footnote One scholar suggests that God has not only one thing in mind for our earth, but many.1 or Mouw suggests there are “multiple divine purposes in the world.”2 Bibliography Mouw, Richard J. He Shines in All That’s Fair: Culture and Common Grace. Grand Rapids: Eerdmans, 2001. Journal Article Footnote 3 Bibliography Stassen, Glen. “The Fourteen Triads of the Sermon on the Mount (Matthew 5:21-‐7:12).” Journal of Biblical Literature 122, no. 2 (2003): 267-‐308. On-‐line Source Footnote 4 Bibliography The Presbyterian Church (USA). “Presbyterian 101.” http://www.pcusa.org/101/ (accessed September 19, 2005.
1
Mouw, He Shines, 50. Ibid. 3 Stassen, “The Fourteen Triads,” 267. 4 The Presbyterian Church (USA), “Presbyterian 101.” 2
SOP Referencing—APA Style Below are examples showing how to create parenthetical citations and Reference List entries for the most common types of sources. For further information, use your Campus Pipeline account (look under the tab “School Services” and page to the bottom, where there is a link to Style Guidelines by Richard L. Gorsuch).
Books In-‐Text Citation
One scholar suggests that God has not only one thing in mind for earth, but many (Mouw, 2001, p. 50). or Mouw suggests there are “multiple divine purposes in the world” (2001, p. 50).
References
Mouw, Richard J. (2001). He shines in all that’s fair: Culture and common grace. Grand Rapids, MI: Eerdmans Journal Article In-‐Text Citation (Stassen, 2003, p. 267). References Stassen, Glen. (2003). The fourteen triads of the sermon on the mount (Matthew 5:21-‐7:12). Journal of Biblical Literature, 122, (2): 267-‐308. On-‐line Source In-‐Text Citation Use author and year if available, or whatever you put in place of author in Works Cited. (The Presbyterian Church (USA)). References The Presbyterian Church (USA). Presbyterian 101, http://www.pcusa.org/101/ (accessed September 19, 2005). Comments on Parenthetical Citations: Generally, use author’s last name, year and page number if used. With more than one author by the same last name, use a first initial and last name throughout. When an author has more than one work in the same year, attach a, b, c (etc.) to the year. (Wu, 2004a, 12). (Wu, 2004b, 81).
SIS Referencing—Parenthetical In-‐Text Citations (also called “Author-‐Date Style” or Chicago Style B)
Below are examples showing how to create parenthetical citations and Reference List entries for the most common types of sources. For further information, see Kate Turabian’s A Manual for Writers of Term Papers, Theses, and Dissertations (especially Chapters 8 and 11) or The Chicago Manual of Style, 15th edition (particularly Chapters 16 and 17).
Books In-Text Citation One scholar suggests that God has not only one thing in mind for our earth, but many (Mouw 2001, 50). or Mouw suggests there are “multiple divine purposes in the world” (2001, 50).
Works Cited Mouw, Richard J. 2001. He shines in all that’s fair: Culture and common grace. Grand Rapids: Eerdmans.
Journal Article In-Text Citation (Stassen 2003, 267).
Works Cited Stassen, Glen. 2003. The fourteen triads of the sermon on the mount (Matthew 5:21-‐7:12). Journal of Biblical Literature. 122 (2): 267-‐308.
On-line Source In-Text Citation
Use author and year if available, or whatever you put in place of author in Works Cited. (The Presbyterian Church (USA)).
Works Cited The Presbyterian Church (USA). Presbyterian 101, http://www.pcusa.org/101/ (accessed September 19, 2005).
Comments on Parenthetical Citations: Generally, use author’s last name, year and page number if used. With more than one author by the same last name, use a first initial and last name throughout. When an author has more than one work in the same year, attach a, b, c (etc.) to the year. (Wu 2004a, 12). (Wu 2004b, 81). When using the author’s name in the sentence, do not put the name in the parentheses. Comments on Reference Lists: Single space entries, but double space between entries. If two or more works by the same author are used, use the 3-‐Em dash (see below) and organize the works chronologically. Clark, Chap. 1997. The youth worker’s handbook to family ministry: Strategies and practical ideas for reaching your students’ families. Grand Rapids: Zondervan. _____. 2004. Hurt: Inside the world of today’s teenagers. Grand Rapids: Baker Academic.
Writing Consultant Training Binder
Consultation Training
Types of Conferences Types of Conferences and goals are from "Peer Tutor Training," Houston I. Invention Conference: for a student who lacks a draft Goals: Understand the assignment; define the task (including audience and purpose); discuss the issues; narrow the topic. Invention Strategies: Generating Ideas Unstructured Exploring I. Listing: Begin by asking the student to make a list of ideas or details about the topic. After she has written a long list-‐-‐ fifty items or a time limit often minutes-‐-‐have her go through the list to decide which can be used. Praise the student for quantity. Beverly Clark suggests that the student could also list questions about her topic. What does she want to learn? What puzzles her? Has she found anything unusual or unexpected? (22) 2. Brainstorming: Use pencil and paper or computer. Have the student come up with as many ideas as possible within ten minutes. The goal is quantity, not quality. Record each idea of the student's (the tutor or the student can take notes) no matter how crazy. Go through the list and sort later. Look for patterns or opposites. 3. Freewriting (described in Peter Elbow's Writing with Power): Suggest that the student write fast without stopping for ten minutes or more without worrying about grammar or mechanics. If the student gets stuck, have her rewrite the last few words over and over. Choose a topic and then write and discover ideas to use in the paper. Freewriting can be tried on a computer with the screen darkened to prevent editing. For writer's block, students can freewrite about something other than the paper topic: any other problem that comes to mind. Then switch them to the paper topic. Freewriting is also helpful in finding connections among details. It may be used to narrow focus. Look for key words, phrases, or questions that seem to have potential. Brainstorm or discuss those words, phrases, or questions. The writer should ask: "What have I said?” 4. Talking—Discussion: Ask some questions and listen to the student talk. Jot down his ideas or have him jot them down, Let the student imagine talking to the audience for his paper or being interviewed on the subject. He can try to teach the subject to you. He can imagine what readers he might have and what questions they might ask. 5. Freedrawing or Mapping: Beverly Clark suggests that the student doodle or sketch, use diagrams, or add circles and arrows to lists (27-‐8). Mapping uses the writer's key words put down anywhere on paper. Associated words are added to the sheet and connections can be drawn between the words with circles, lines, or other shapes. Structured Exploring: An heuristic is "a tool for systematically discovering information about a subject or a problem and asking fruitful questions about it" (Meyer and Smith 55). 1.HDWDVVW: "This acronym stands for Berthoff's sentence: How does who do what and why? It helps writers generate ideas by naming agent, action, manner, purpose "(Meyer and Smith 56). 2. Journalistic questions: Ask the student to answer these questions as completely as possible. Who? What? When? Where? Why? How? So What? 3. Double-‐entry listing: Drawing a line down a page and listing opposing ideas (not only differences, but relationships of many kinds) can help writers expand their ideas. Use this for cause/effect and comparison/contrast papers. Helping a Writer Find a Subject • Open freewriting • Twenty-‐things: Reigstad and McAndrews recommend that the tutor ask the writer to list twenty topics that he knows about. Then the writer checks ten as topics he knows enough to write about. The writer circles the three most interesting topics. Next the writer lists at least ten specifics or details about each. The writer usually decides to write about the topic with the longest list (20). Switch to focused freewriting or another strategy to find what to say about the subject.
ll. Planning Conference: for a student with notes or prewriting Goals: Organize the information; find the point, focus, or working thesis; outline, listing, clustering. Focusing on the Main Point: Help the student decide on a central focus. What question does she want to answer? What problem does she want to solve? Ask two questions about a tentative thesis: Is it worth proving? Is there enough evidence to prove it? Remind her of her reader. Her audience will most likely be her instructor and classmates. The audience will know the topic but not the thesis. The writer doesn't need to retell all facts or use chronological order but to argue the thesis with details needed to prove her points. Organizing the Ideas: Talk to a student to sort out her ideas. Ask questions: Why? How do you know? What connects these ideas? What idea would tie the paper together? Have the student tell her idea in three or four sentences. Try these strategies: I. Sorting Suggest that the student draw arrows between items on a list or circle words in freewriting and draw lines between them. 2. Issue tree. Ask the student to diagram her major points by building an issue tree to build categories or to generate ideas, makjng a flow chart, or making an outline 3. Clustering or branching: Ask the student to place the central topic in a circle in the middle of a page. Then ask her to discuss other aspects of the topic or ideas about it and see how they relate to the central topic. Place the new ideas in circles and connect them with lines to the central topic. III. First Draft Conference Goals: Thesis; organization; specific details; plans for revision The first question to ask yourself about a draft is "Does the paper have a clear focus and a central thesis?" If the answer is no. then the tutor helps the writer discover and state the thesis. If the answer is yes, the tutor makes a positive comment about the thesis and focus and moves to the next Higher Order Concern. Thesis or Focus Strategies: Ask the writer to write a one-‐sentence explanation or summary of what the paper is about. Ask the writer to explain the overall idea of the paper while the tutor takes notes. Using these notes, the tutor then tries to restate the idea. Finally, the writer writes the summary in one or two sentences. Audience and Purpose Strategies: Ask the writer these questions: Do you have an appropriate audience in mind? Can you describe them? Remind the writer of the reader, most likely the instructor and classmates. The audience will be familiar with the topic but not the thesis. The writer does not need to retell all facts or use chronological order, but to argue the thesis with the details needed to prove the points. 1. Have students complete this sentence: The purpose of my paper is to prove (show, establish) ___. 2. To connect purpose and audience, Irene Clark recommends having students complete these sentences: "Before my readers read my paper, they think about the topic. After my readers read my paper, they will think about the topic" (79). 3. Discuss these questions with the writer: Do you have a clear purpose for the paper? What is it intended to do or accomplish? Does the purpose match the assignment? What important point does your paper make? Can you point to a sentence or section in the paper where that point is established? 4. Why is the main point important? So what? Why would someone want to read this paper? ("HOCs and LOCs" Purdue OWL)
Organization and Structure Strategies: Does the paper progress in an organized, logical way? Help the student improve the organization. If the draft is effectively organized, praise the writer for the good organization. 1. Taking notes. Ask the student to through the paper and jot down notes on the topics of the various paragraphs. Look at this list and see if the writer can think of a better organization. 2. Glossing. Label the ideas or concepts in each paragraph with a gloss, a label. "A gloss can be a single word, a phrase, or a sentence" which names the concept of function in a passage (Meyer and Smith 95). The tutor can ask the writer to read a paragraph aloud and write a gloss in the margin. Tutors then could ask some of the following questions: -‐-‐ What have I said? -‐-‐ How many ideas are in this passage? What does/should this paragraph do? (95) 3. Looping is a variation on freewriting in Peter Elbow's Writing Without Teachers. The writer freewrites and then loops back to state ''the gist." Linda Flower uses the acronym WIRMI (for what I really mean is ... ) (Meyer and Smith 96) . 4. Outlining. Have the writer outline the paper while the tutor watches. Help with questions that guide the writer to more structured revisions. Does the organization make sense? Should any part be moved to another part? (Purdue OWL) 5. The "issue tree" (Flower In Meyer and Smith 97). Arrange ideas hierarchically with the most inclusive at the top and the others arranged as subsystems under it. Spot digressions and missing concepts. 6. Teach the use of transitions in writing to help students develop a tight organizational structure. These transitions, suggested by Irene Clark in Writing in the Center, may be helpful: • transitions that explain or introduce ideas: for example, for instance • transitions that compare: similarly, in the same way, likewise • transitions that contrast: however, in contrast, in contrast to, whereas • transitions that show cause and effect: thus, consequently, as a result, therefore (100) Development Strategies: "Does the paper have adequate development throughout?" is the question to consider. Are there places in the paper where more details, examples, or specifics are needed? Maybe the student needs to return to the primary text for another reading with his thesis in mind. Do any paragraphs seem much shorter and in need of more material than others? (Purdue OWL) Show the writer ways of finding or creating detail. (See Invention Strategies) • Try focused freewriting (Elbow 1973 9): ask the writer to write continuously for five to fifteen minutes, recording everything that comes to mind about an aspect of the paper that need expansion. Incorporate the most significant ideas from the freewriting. • Try oral composing. "Tell me what you think you might write; speak as if you were talking to yourself." Tutor tape-‐ records or takes notes on this talk for the writer. Again incorporate relevant ideas into the draft. Work with the writer in finding terms in the paragraphs that are general, rather than as specific as possible, or abstract, rather than concrete. Ask if the writer can find the specific details needed in each example or the concrete speech, action, or author's comment that gives evidence of an abstract idea. Ask specific questions about what you as a reader don't understand or would like to know. IV. Late Draft Conference: for a student with a revised draft Goals: Organization; development; paragraph problems; clear sentences and diction; finer points of writing strategies and style. Use strategies from the First Draft and the Self-‐Editing Conferences.
V. Self-‐Editing Conference: for a student who has already revised for Higher Order Concerns Goals: Help writers find and correct mechanical difficulties; teach self-‐proofreading techniques. Self-‐Editing Strategies: Sentence structure: Ask the writer to read aloud with the following questions in mind: Does the paper contain awkward or confusing sentences? Are sentences too short and choppy? Are sentences too long to understand? Are the sentences varied in length and structure? Point out problems with awkward or incorrect structure, with sentence length, and with sentence variety. Long sentences that got out of control can be broken into shorter ones. Choppy, short sentences can be combined. The emphasis is on the writer rewriting, have the student combine two sentences from the paper in several different ways. Use sentence combining exercises for practice if necessary. To increase readability, Irene Clark says: • The "doer" of the sentence should be in the subject position. The action of the sentence should be in the verb. Watch for ''there is" and ''there are." • In general, it is best to express action in a verb. Circle verbs to check for the overuse of "be" forms. Replace with active verbs. • Avoid the negative. • Prune sentences of empty expressions. (107) Read wordy sentences to decide on the key words. Which words are unnecessary? Self-‐Editing Strategies: Grammar, punctuation, spelling, and usage. Explain that errors can distract the reader from the content of the paper. Try to find a pattern of error in the paper, errors with a similar cause, or errors that would improve with limited teaching of grammar. Ask the writer to read the paper aloud to see and hear if there are 'any missing or wrong words or other errors. Note which errors the writer corrects and changes as he reads, which ones he corrects verbally but does not change on the page, and which ones he does not catch. Try to distinguish between real errors and careless errors. If the error occurs repeatedly, it is probably not just carelessness. Working with students on their own particular errors in their writing can help if tutors explain the error and then let the writer find similar errors in the rest of the paper. a. To work on errors the writer missed in reading the paper aloud, concentrate on a small section-‐a paragraph or a few sentences. First, as tutor, suggest Reigstad and McAndrew, spot the error but do not point it out. Rather, point to the sentence or cle in which the error is found and encourage the writer to :find it. Ask: "Do you see a problem in this sentence?" If the writer cannot identify the problem, point it out but d not offer a solution. Give the writer the first chance at correction. If the writer is unable to make a suggestion, offer alternatives (19). b. Because many students lack a knowledge of grammatical terms, use ordinary language or very specific examples of what you mean. For example, consider a sentence with a dangling participle or dangling modifier such as "While taking a shower, the phone rang." To explain this error in everyday language, ask the student who was taking a shower. The student will then see that no person is in the sentence and the sentence needs to be revised. c. Focus on causes of error. Comma splices (two independent clauses joined only by a comma), for instance, may result because a student does not know that however and therefore do not function as and and but do. The student may just have become entangled in a complicated sentence. Spoken dialect or another language may be interfering (58-‐60). Comma splices (run-‐ons), fused sentences, and sentence fragments are common errors. Teaching students to correct these errors may require that they have a limited knowledge of terms such as "subject," "verb," "dependent and independent clause." d. If commas are omitted, does the student not consider their use important or does she no know the rules for their use? Does the student have her own list of comma rules that needs to be modified? Frequent comma errors include omitting commas after introductory clauses or phrases, around nonessential (or nonrestrictive) clauses and phrases, and before the coordinating conjunction (and, but, or) joining two independent clauses.
e. Use the Punctuation Pattern Sheet to work with students on commas and semicolons (Teaching One-‐to-‐One 129-‐30). As you work with the student, circle the words he uses on the sheet or add to it. Then give the student his own individualized pattern sheet. f. For apostrophe errors, ask who is the owner. Add an 's after the owner. What is possessing what here? Try replacing the phrase where an apostrophe is needed with a phrase in which you use an of. The word after the of is the one that needs an apostrophe in the original sentence: e.g. the work of the student = the student's work. g. If pronoun reference is a problem, the writer could underline all pronouns and draw arrows back to the words they refer to, to make sure the reference is clear. Reading at paragraph sentence by sentence backward is a good way to find faulty pronoun reference, Even the writer will share your confusion with this, it .which, or he. Give the writer several ways to revise a sentence with this, and let him choose: replace this with a specific word, replace this with a gerund (-‐ing), or combine the sentence with a previous one to replace this. h. For spelling errors, have the writer proofread backwards sentence by sentence and I underline all words whose spelling he is unsure of. The Practical Tutor has more specific ideas for spelling help. Use spelling logs on the island for students who need to keep track of spelling errors. i. Remember to share what works for you and to refer the student to a handbook, preferably one she owns. Self-‐Proofreading Strategies 1. See “Helping Students to Proofread” for one suggested procedure. Explain that we don't proofread for students, but we will proofread with them and teach them how by going over the paper with them as they proofread. Remember to ask what errors the student is looking for. 2. Use a half-‐sheet of colored paper to cover all lines but the one being read. Many students reading papers backward sentence by sentence from the end of a paragraph to the beginning. VI. Post-‐Grading Conference: for a student with a graded paper Goals: Help writers interpret and respond to instructor's comments; discover strategies for revision for this and future essays. Try proofreading for only one thing at a time: for example, check every verb for present tense for an English paper. Remember the tutor principle about not criticizing a teacher's grading. Discuss the student's writing process for the paper. How much time did the student spend on prewriting? on revising? on proofreading? Discuss ways to plan future papers. Ask what the student wants to improve on. Go over grammar and punctuation errors carefully, looking for patterns of error to point out to the writer and making sure the student understands the error and its probable cause.
Consultation Techniques Listening One of the most important skills for a tutor is the ability to listen. Listening is not a passive but an active skill. You, as a tutor, will face the challenge of letting the writer do most of the talking while you attentively listen. To be an effective listener and communicator follow three basic rules: • If you wish to be understood, seek first to understand. Listen to content, feelings, and meaning. • Listen with your eyes and heart as well as your ears. A great deal of information will be communicated to you through eye contact, facial expressions, tone of voice, posture, gestures, and proximity of the students. • Always check to make sure you understand and that you are understood. Paraphrase or "say back" what you are hearing to verify your understanding, and ask the writers to do the same, or to demonstrate their understanding. Tips for Good Listening Skills • Maintain appropriate eye contact (not too much, not too little). • Create a comfortable physical relationship. Make sure you are aware of personal space boundaries. Avoid sitting on opposite sides of a table or desk. • Use facial expressions and vocalizations to show the speaker you are listening. • Adopt a comfortable posture and keep your body relaxed. • Use probes to encourage people. "Go on, please." "What do you mean by that?" • Don't ever assume or prejudge what is in the speaker's mind, and never anticipate what he or she will say next. • Don't be distracted by other thoughts or events in the environment such as noise. • Do not interrupt. Interrupting may give the impression that you aren't listening. • "Say back" or paraphrase what the speaker has said. "You told me that __ ." • If you think that the student is becoming emotional, tactfully ask or verify your impression by reflecting the student's feelings.: "Are you a little worried about this?" Then ask if it is appropriate to proceed. Paraphrasing what you hear—putting the writers' comments or questions in other words—can show them that they are being heard. A paraphrase or summary of the writers' comments is better than remarks that reinterpret or add to the writer's material. In this paragraph you said that… You told me that… When you listen to feelings, you don't just repeat the words of the speaker, but indicate also that you are aware of the feeling behind the statement. For example, if the student says, "I got a D on the paper. I just can't write," you might say, "You must be feeling discouraged. " Questioning • Use questions that require some thought. Don't ask the obvious. • Don't give too much information in the question. Don't put your ideas into the question. Phrase the question to elicit the writer's ideas. • Phrase questions carefully and understandably, and watch your tone of voice. Don't let the question sound hostile. • Ask only one question at a time. If the student does not understand the question, rephrase it and make it clear. Do not ask the same question again. Meyer and Smith in The Practical Tutor suggest using these types of questions to encourage a writer to develop ideas. Tell me more about… * I'm not sure what you mean by…; would you explain that a bit? Which one did you have in mind? * Where did that happen? * For example? * Like what? Can you give a particular example? * What exceptions can you think of? * When was this not true? (34)
Use ordinary language in questioning the writer. At times use the writer's own words and gradually begin introducing academic terms for the writing process. Change a question like "How can you support your topic sentence?" to everyday language: "Why do you think this? "What makes you think so?" or "Where have you seen this?" "What transitional device could link these two ideas?" could be rephrased as: "What's the connection between this and that?" or "Why did you say this before that?" "What is your thesis?" becomes "What's the main idea you want me to come away with?" (Meyer and Smith, 30). Instead of giving general advice and criticism of a writer's ideas, Meyer and Smith suggest asking neutral questions: "What evidence can you provide to support that idea?" "Tell me what makes you think so." Don't ask: "Are you sure?" or "Is it really?" These last two questions imply that the writer is wrong (31,36). Don't fear silence: use it. Wait for a response: thinking takes time. Allow ninety seconds. Responding Indicate which answers are correct or incorrect. Praise correct answers, but don't criticize wrong answers. When the student answers a question incorrectly, ask if he can explain the answer. If the explanation shows a misunderstanding of the question, rephrase the question. If the explanation shows a lack of understanding of the content, either direct the student to a source of information (the text) or ask a simpler question. Other Tools to Use in Conferences * Show how to do something and have the student practice: invention questions, outlines or tree diagrams, taking notes, proofreading strategies. * Model a strategy: explain, call attention to important features, ask student to summarize, ask the student to practice and offer feedback as he does (Harris, Teaching, 67). * Tell a general principle or information: "The paper is too general." Body Language Do to make the student feel comfortable and encouraged • Put aside other work • Sit closely side-‐by-‐side at round tables • Speak with "a calm tone of voice 11 (Midlands): a friendly, efficient, and informed tone that is not too warm. • Speak at "a moderate rate of speed II (Midlands) • Make good eye contact • Lean "slightly toward the writer" (34) • Occasionally nod your head, smile in approval, or gesture with your hands (Midlands) Don't (may make the student feel neglected or ignored): • Look "away from the student" (Midlands) • Lean back or away from the student • "Frown or scowl" (Midlands) • Yawn or close your eyes (Midlands) • "Speak too quickly or too slowly" (Midlands) • Fidget, doodle (Reigstad 34), play with a pencil, drum your fingers on the table • Check the clock (Reigstad 34) • Gaze into the distance (Reigstad 34) • Fail "to observe personal cleanliness" (Midlands) • Dress in clothing that may be distracting
Active Listening and Feedback From Writing in the Center, Clark, 1992. Although listening is paramount to effective tutoring, receiving feedback, verbal and non-‐verbal, is essential. Feedback lets the tutor know whether the writer is actively participating in the session. Paraphrasing what you hear—putting the students' comments or questions in other words—can show them that they are being heard. A paraphrase or summary of the writer's comments is preferable to remarks that reinterpret or add to the writer's material. Let me see if I can sum up what you just said. In this paragraph you said that… You told me that… Student: I just can't relate to this topic. Tutor: You don't know very much about the topic. This must worry you. Paraphrase the following comments, reading both sets of comments aloud. Student: It doesn't matter what I do. I won't get a good grade. Tutor: Student: I don't care anything at all about Abner Snopes. What a boring topic. Tutor: When you listen with empathy, you don't just repeat the words of the speaker, you indicate also that you are aware of the feeling behind the statement. For example, if the student says, "I got another 'C' on the paper. I just can't write," you might say, “You must be feeling discouraged." Write or role play a response to the following student comments: Student: The teacher hates me. Tutor: Student: The topic was too boring for me to work on. Tutor: Student: I'll never have to write much anyway. I'll have a secretary. Why worry about it? Tutor:
Direct and Indirect Consultation Adapted from Ryan, The Bedford Guide. pp. 17-‐23 and Hawthorne, Joan. "We Don't Proofread Here": Re-‐visioning the Writing Center to Better Meet Student Needs." Writing Lab Newsletter 23.8 (1999):1-‐7. Directive Consultation: What Can It Look Like? Providing (requested or not) a correction Providing a word or a sample sentence Directly answering a question about the student's writing Providing a variety of sample options that might work Modeling the writerly habit of brainstorming options and thinking them through to determine how each might shape the paper Showing the connection between precise language and meaning by offering sample wordings and demonstrating how meaning shifts Engaging in a back-‐and-‐forth discussion with the student where both of you generate ideas, meaning, and ideas for organization How do you know when directive consultation is appropriate? Helping students through even very minor editorial issues can be extremely slow and inefficient (and can feel patronizing) if directiveness is strictly avoided. The questions we ask and the agenda-‐setting we do can steer students in a particular direction. Writing center conferences are negotiated events between the student and the consultant. There is no "right answer" or "best conference" to use as a guide. If students leave the conference (a) with a slightly better paper, (b) as a slightly better writer, and (c) feeling comfortable with the center and likely to return so you can continue the work that was begun, you've had a "good enough" conference. Consulting Techniques/Strategies at Your Disposal Active Listening: • validate via "I hear you saying" • paraphrase to double-‐check understanding and show attentiveness • question to encourage more thinking, greater comprehensiveness: -‐OPEN questions for rapport building, generating more background information -‐CLOSED questions for gathering specific information • "I statements" to demonstrate reader reaction. need for more Information • body language to show interest. friendliness. approval Genuine Reader Reaction: • "I statements" regarding your expectations, understanding, reactions • requests for more information ("Why did you say this?") • requests for clarity" ("What do you mean here?") • questions to probe purpose. generate depth ("So what?") • questions to generate new perspectives. develop new connections» among ideas ("How are these ideas related?") • questions to generate follow-‐through ("What next?" or "What that mean?") Silence and Wait Time: • the pause that forces the student to think something through him/herself • if more wait time feels counter-‐productive, rephrase the and still leave the move up to the student • give the student more than a few seconds of think time by stepping away from the table • provide the student with still more think time by giving a small writing or listing task and coming back to look at it in 2-‐5 minutes
Collaboration vs. Collusion: What Every Tutor Needs to Know North Georgia College and State University Writing Center What is Collaboration? Webster's states that to collaborate means "to labor or cooperate with another." Peer tutoring is often defined as a collaborative art, because one student, the tutor, talks and works with another, the tutee, in order to help him or her learn. In collaborative tutoring, the tutor facilitates learning by doing such things as asking questions and offering feedback—but she or he does not make decisions or changes for the tutee. To do so would be to collude. What is Collusion? "Collusion" is defined by Webster's as "cooperation in fraud." Collusion occurs when tutors cooperate too much—that is, when the tutor moves from facilitating and guiding the tutee' s learning to doing the work and making the decisions about the work and/or the tutee. Tutors need to avoid colluding not only because it is a form of plagiarism, but also because it interferes with learning—and learning is the goal. What is Collaborative Tutoring? We want a tutee to do most of the work while we as tutors observe, listen, and support the student's efforts. For effective collaboration, composition theorist Jeff Brooks recommends practicing "minimalist tutoring," moving away from the position of an editor to the position of an observer and reflector. Brooks, Leigh Ryan, and Erika Lindemann offer the following techniques for collaborative tutoring. Verbal Communication * Let the writer read the paper out loud to you. Reading out loud, writers are able to hear and, with some guidance, correct usage errors, awkward wording, even logic problems. Reading aloud will also enforce the idea that good writing sounds good to the ear. * Get the student to talk. Be a facilitator and act as a reflector and mirror for the student's ideas. * Use active listening skills. Concentrate on what the writer has to say and take it seriously. The student is the expert on the paper. * Ask thoughtful questions. Ask questions that start with "why," "how," or "what." * If you have time during your session, give the student a brief writing task, then go away for a few minutes and let him or her complete it. This will give the student a deadline, which can be very effective in creating energy to work on the paper. Creating that energy for one part of the paper can have a great effect on the student's work.' * Do not correct mistakes for the writer. Instead, put check marks next to a row where you find an error and let the student identify the mistake. * Explain general rules to the student, rather than making corrections for them. Model one or two examples and then turn the work over to the student. * Respond as if you were the audience of the paper, rather than a professor or editor. Point out places you are confused and parts you find effective. * Concentrate on success in the paper. Always try to find something positive about the paper. It may be hard to do, but it is worth the try.
Non-‐Verbal Communication * Let the writer hold the pen. If you are right-‐handed, sit on the student's right; this will make it more difficult for you to write on the paper. * Sit beside the writer, not across a desk. This positioning will show the tutee that the tutor does not want to be in charge of the work. * Increase the physical distance between you and the paper. Doing so makes it less tempting for you to write on the paper. * If you find a student pushing you too hard into editing his or her paper, physically move away from it. Sit back into your chair or scoot away. How does this apply to me? * Students will not learn if you do the work for them. They must understand how to use strategies and techniques on their own. The ultimate goal is to improve the writer's process and not simply the paper at hand. * Thoughtful comments will encourage communication between the tutor and tutee, which will enable learning. Bibliography Brooks, Jeff. "Minimalist Tutoring: Making the Student Do All the Work." Writing Lab Newsletter 15 (February 1991): 1-‐4. Lindemann, Erika. "Responding to Student Writing." A Rhetoric For Writing Teachers. 3rd Ed. New York: Oxford University Press, 1995.216-‐245. Ryan, Leigh. "Inside the Tutoring Session." The Bedford Guide for Writing Tutors. 2nd Ed. Boston: Bedford Books, 1998. 14-‐26.
Helping Students Proofread "Can you proofread this paper for me?" Dossin, Mary "Helping Students Proofread." Writing Lab Newsletter 11.2 (Octo 1986): 3-‐4. Several years ago our current head tutor automatically turned away anyone who came with such a request, in fact-‐in irritation at students who expected a "quick fix" of their: papers and in response to complaints from instructors whose students had, after receiving tutoring help, turned in letter-‐perfect papers that were a quantum leap above their previous barely-‐adequate efforts-‐she eventually said that tutors could give no help an papers-‐in-‐progress. The problem is a real one, but the response is inappropriate, I feel, for the real mi is in the approach of the tutor rather than in the request of the student, who has at least shown an awareness of his need for help with his writing and of where to come to get help. An untrained or poorly trained tutor will automatically take a teacher-‐centered, pencil-‐in-‐hand approach when asked to proofread a paper. I train my tutors to respond to requests in a way that puts the pencil in the writer's hand and the responsibility for the paper on his shoulders. Here, step-‐by-‐step, is how we do it: 1. Though the student has specifically requested proofreading rather than feedback high order concerns, I usually at least acknowledge these with a statement like the following: "You feel you have met the requirements of the assignment and that the content and organization of the paper are O.K. What you want from me is feedback on possible errors in your paper.” The statement makes it clear that writing is more than a matter of correctness and tutors help with other areas. It places responsibility for content on the student. 2. "I'll be glad to read your paper, tell you what problems I see, and show you how to find these in your writing. First, will you please read your paper aloud to me?" (If it’s long, just the first page or two." 3. After the reading, I make one or more of the following responses, as appropriate: ''Did you spot any errors as you read aloud?" "What types of problems/errors do you tend to have in your writing?: "What comments do your instructors usually make on your papers?" 4. At this point, I read the paper (again, if it's long, just the first two pages or so) with the student sitting next to me and looking on. If I spot one of the errors he has mentioned, I stop and say, "Yes, this sentence contains one of the errors you said is problem for you. Can you spot it?" 5. I give feedback to the student on common errors, either confirming or modifying student's own assessment. Together we decide on the major errors we will look for, not more than three types at a time.)
6. I introduce the student to the proofreading method I learned from Rita Pollard at 1984 New York College Learning Skills Association conference=probably the single most useful practical tip on helping writers that I've ever received. Basically, the student proofreads the paper backwards, sentence-‐by-‐sentence, marking off one sentence at a time with 5X8 index cards (we keep a supply on our writer's resource table) or half sheets of colored paper. We do the first few sentences together, with the student manipulating the cards and reading each sentence aloud. I sit there quietly next to him, leaving a big silence for him to fill. If he needs prodding, I'll ask him to name the errors that we're looking for and then] ask him whether he sees any in this particular sentence. If he has trouble remembering, I'll ask him to list on the card [or paper] the errors we're seeking and then to write example of each as we find them in his paper. 7. After we've done a few sentences and spotted a few errors together, I turn the student loose to proofread the rest of the paper on her own. Some choose to continue right in the writing center, checking with me if they run into a problem or when they are done. Others prefer to go home to complete the proofreading work. 8. After the student has sweated over his proofreading, I don't hesitate to point out remaining errors that he may have missed—if he wishes me to do so. I may also mention other criteria of writing quality that could have been addressed and encourage the student to come in earlier next time if he would like help in those areas. Some students—particularly those who would prefer to drop the paper off on their way to class and pick it up an hour later—are disappointed to discover that we won't function as a pit stop for papers. Most, however, seem to feel they have received the help they needed, and some are delighted to find they are gaining control over this important part of the writing process. And we feel that we have had a chance to demonstrate our usefulness to the student without taking over the task—and without turning her away at just the moment when she has realized and expressed her need for writing assistance.
Writing Consultant Training Binder
Working with Non-‐Native Speakers
Tips for Working with ESL writers Wendy Swyt, Writing Instructor, Highline Community College General Tips: • Validate where you understand the student's point in the essay -‐ don't just focus on where you don't. If you've ever attempted to communicate in a second language, you'll understand the panic/frustration a student might feel when attempts at communication result in a confused frown—and the pleasure/relief when someone signals, "Hey, I understand." • Sometimes, it might be more helpful to read the paper (or portions of it) out loud for the student—some ESL students can "hear" problems in grammar or spelling better this way • Foreground your role as a "tour guide" of written English: "In Academic Written EngJish, say this…or use this grammar construction." This approach can remind you both that the student is learning certain conventions and rules of a language, and you are there to offer assistance as a guide. It moves you both away from the idea of error as mistake— you messed up—you could be stupid—boy, do you look dumb. • Native speakers have a hard time understanding what their instructor has written in the margins -‐ for ESL learners, this might be even more of a struggle. Make sure the student understands teacher comments. Have the student paraphrase what they think the teacher is asking. • Remember than learning a language is a process—the students will not complete that process in one tutoring session—again, you can't help them "fix" everything in one session. • Studies have shown that it is harder to remember information exchanged orally in a second language. Make sure the student leaves with some visual aid to remember the advice—your note on a piece of scrap paper or a handout. Even better, have the student take notes to help her remember the exchanges made during the conference. For patterns of grammatical error that are pretty easy to identify: tense, subject-‐verb agreement, run-‐ons, fragments, articles. 1. Get a sense of how aware the student is of her error patterns—ask what issues she needs to focus on. Another great strategy: tell the student to read the paper out loud and to stop when she gets to an error—this will inform you quickly about the student's recognition of her own errors. If she reads past them, you know you need to work on error recognition as well as correction. 2. Focus on patterns of error (verb tense problems, subject verb agreement, missing articles) start with the pattern that most interferes with your comprehension as a reader. For example, run-‐ons might make the paper much harder to read than missing plural "s." In a narrative essay, verb tense errors might make the chronology of the essay very confusing. In some essays, missing articles might be the most irritating and distracting. 3. Establish the patterns that you will deal with in that session: "Let's address the tense errors and articles in this session." This is important—many students see themselves as having BAD GRAMMAR (as in, 'My grammar is just one big nebulous lump of bad errors '). Tackling specific patterns can give the student a sense of focus, hope and control. All is not lost! 4. Pick one error in the student's paper that fits the pattern. a) Write out the correct version of the sentence on scrap paper. Ask the student to describe what he or she sees as the difference between the incorrect and correct version. Then ask the student if she can generalize a rule from your example, or better yet if she can identify a pattern that she can look for when she edits. (You might refer the student to a pertinent handout or handbook page for an explanation if she really can't figure out the rule inductively.) b) Pick out another error, and ask the student to correct it. c) Have the student identify one or two errors on his/her own and then practice correcting them.
5. If you see places where the student has correctly used the verb tense, article, etc, point them out, again, to demonstrate to the student that it is not hopeless. He is achieving some level of success. 6. Let the student know if there are other serious errors that you don't have time to cover in session. This is extremely important. A student might think that you have helped her 'fix' the paper and then feel shock, betrayal, and anger when she gets a bad grade from the teacher: "That tutor helped me, and I still got a bad grade!" For usage errors: Have the student underline phrases where she is not quite sure how to "say it in English." Suggest two or three different ways to say it and let the student pick which one she'd like to use. (The object here is to make the student take responsibility.) Suggest to the student that she do this with other native speakers in the future—underline and seek several opinions on how to say it. You might also have the student write another sentence using the phrase or word as a way of learning it. If a student is struggling with vocabulary in a certain place in the essay, give her several words that she might use and let her pick. Again, give the student choices, not answers. Sometimes students can say it better than they can write it. Underline places where you are confused and have them tell you what they mean. Copy their words down on a piece of scrap paper.
Writing Consultant Training Binder
APA Compliance Review
APA Compliance Board Contact List
*** Please copy writingcenter@fuller.edu and christinetzeng@fuller.edu on all communication concerning APA compliance. *** Current APA Compliance Board members: 1. Jonathan (prefers to be called Jay) Wellman -‐ <jnwellman@gmail.com>, 2. James B. (prefers to go by J. B.) Robinson -‐ <jbrobinson3@gmail.com>, 3. Rebecca Kulzer -‐ <rebeccakulzer@fuller.edu>, <rebeccakulzer@yahoo.com>, 4. Matthew Borba -‐ <matthewborba@fuller.edu>, <matthewborba@sbcglobal.net>, 5. Kathryn (Katie) Labriola -‐ <kathrynlabriol@fuller.edu>, 6. Grace Liu -‐ "Grace Liu" <gracelkc@gmail.com>, 7. * Andrew Wong -‐ <alwong83@gmail.com>, 8. * Briana Van Scoy -‐ <bkvanscoy@fuller.edu>, * Andrew and Briana are currently taking a break. APA Compliance Board Director: Dr. Sarah DeBoard Marion: sdmarion@fuller.edu
APA Compliance Review Training Created Spring 2011
Writing Center Review Policy For papers at any stage of the thesis and dissertation process (except dissertations that have already been defended), please find as many of the errors as you are able within a reasonable amount of time (according to the student’s request) and make the changes in comment boxes. For dissertations that have already been defended, please find ALL errors and make the changes directly in the text of the document (using Track Changes). Any content issues you notice, you may make suggestions in comment boxes for the student to run by the advisor for approval. These content issues will include awkward or unclear language, verb tense, and the use of "research language" as described in the APA manual.
The following resources are available for your reference: 1) Moodle Course: SOP Research & APA Portal (http://moodle.fuller.edu) a. You should be able to add yourself to this course. b. Useful tips from the course have been included below. Refer to the course for further information. SOP Requirements for Manuscript Checking A faculty member will have responsibility for the oversight of manuscript compliance. For master’s projects, this will continue to include approval of the statistical methodology of the project. Several student assistantships have also been created to assist with manuscript style compliance checks. Reviewers will review manuscripts and note the first instance of an error, both in the text and on the student checklist. Once four different errors are noted, the reviewer will stop reviewing the manuscript and return it (and the checklist denoting errors) to the student for additional work. The student is then responsible for correcting all the errors that were noted, both where they were noted and throughout the entire document. The student will also carefully check the unreviewed portions of the manuscript for all additional errors. Revised manuscripts may then be resubmitted up to two times for review. Should a manuscript fail its third review, the student will be required to consult a copyeditor for assistance. The student will bear the financial responsibility for this assistance, and copyedited manuscripts must be resubmitted for review.
Using the APA Manual If you are not familiar with the APA Manual, please follow this link for a free 20-‐minute tutorial: http://flash1r.apa.org/apastyle/basics/index.htm If you are familiar with the APA Manual, please review these two descriptions below: 1) Charts from another website: http://www.jolenemorris.com/forstudents/APA6_changes.pdf 2) From the APA Style Website: http://www.apastyle.org/manual/whats-‐new.aspx What's New in the Sixth Edition of the Publication Manual? Book has been updated to acknowledge and incorporate advances in computer technology. New discussions of the creation, submission, and storage of supplemental data. New guidelines for referencing electronic sources. New and expanded reference examples for a variety of on-line sources. Redesigned APAstyle website, expanded to provide tutorials, on-line courses, and other resources for learning APA style. Book has been reorganized and streamlined for ease of use. Organized to describe the writing process from idea to publication, it begins with background
information on ethical issues in publishing, then moves on to manuscript structure and content, then writing style and rules, then graphics and references, then guidance on working with the publisher. Sample paper section has been moved up and featured to better exemplify manuscript structure and content. Like discussions have been moved to one place in the book, with discussions of function followed by instruction on form. Focus has been broadened to include readers in the behavioral and social sciences. Information specific to APA has been moved to the web, where it is more broadly accessible and can be updated frequently. New examples throughout the book have been drawn from publications in education, business, and nursing as well as psychology. Chapter-by-Chapter changes Chapter 1: Writing for the Behavioral and Social Sciences Ethics discussion significantly expanded: New section on data retention and sharing New section on self-plagiarism Expanded section on duplicate and piecemeal publication New discussion of determining authorship, focusing on student contributions Expanded section, “Protecting Rights of Research Participants” additional expanded guidance on assuring confidentiality Expanded guidance on conflict of interest New “planning for compliance” checklist Chapter 2: Manuscript Structure and Content New section on uniform standards for reporting research. Journal article reporting standards incorporated into new discussions of abstract, methods, statistical results, and discussion. Three modules added with standards for describing experimental manipulations. Flow chart added to describe how subjects move through study. New section on meta-analyses. New section on supplemental material. New sample papers featured that illustrate key new rules of APA style. Chapter 3: Writing Clearly and Concisely New heading structure established to simplify retrieval and ease reading comprehension. Fully revised guidelines on reducing bias in language. New section on historical and interpretive inaccuracies in language. Use of “subjects” vs. “participants” revisited, with “subjects” fully accepted for use. Gender—guidelines for avoiding bias updated (e.g., question the use of such constructions as “opposite” sex). Definitions and preferred usage for terms “transsexual” and “transgender” updated. Race—avoid language that reifies race, avoid use of “minority” for “non-White”. New sentence added for those of Middle Eastern descent. Chapter 4: The Mechanics of Style Punctuation—return to two spaces after the period at the end of the sentence recommended for ease of reading comprehension. Numbers—requirement to use numerals for numbers below 10 grouped with those above 10 has been dropped. Numerals vs. words—exception has been added for using words when discussing approximations of
days and months (about five days). Decimal fractions—new guidelines for reporting of p values to two or three decimal places. (However, p values less than p<.001 should be reported as p<.001). Statistics in text—new guideline added to include not only statistics but also associated effect sizes and confidence intervals. Form for reporting confidence intervals delineated. Chapter 5: Displaying Results Expanded general guidance on determining the purpose of data displays and designing to achieve that purpose. New section on confidence intervals in tables—guidance on reporting results of statistical significance in tables. All new tables, focused on kinds of data being displayed. New table examples added (hierarchical multiple regression, multilevel model); ANOVA table removed. New section on principles of figure use and construction. New section on presenting electrophysiological, radiological, and biological data. New cautions about ethical ramifications of manipulating data in photographic images. [Note that this chapter may be distinguished as much by what has been removed as by what has been added. No longer here: Long text passage describing kinds of graphs (scatter plot, line, bar, etc) Section on line art v. half tone Much reduced section on preparation of figures] Chapter 6: Crediting Sources Chapter now groups rules for quoting and guidance on getting permissions with standards for citation. Citations—new passage added on what to cite and recommended level of citation. New guidance on in-text citations of material quoted from electronic sources with no page numbers. Reference list New discussion on citing the archival version or version of record. New expanded information on electronic sources and locator information, with an emphasis on the DOI. New guidance on what to include for publication information, with focus on electronic sources. Chapter 7: Reference Examples All new reference examples—electronic formats incorporated with print formats for each form. Examples drawn from wider range of journals in social and behavioral sciences. New examples for new media, including data sets and software, internet message boards, archival documents and collections, wikis, and podcasts. Chapter 8: The Publication Process New discussion of peer review. New discussion of editorial decision-making process by which manuscripts are accepted or rejected. Author responsibilities—new section in getting assistance on scientific writing in English. Guidance on complying with ethical, legal, and policy requirements condensed in one place. Condensed information on publisher policy requirements.
Guide to Avoid 1st person and Use 1st person Correctly
It is a common misnomer that you cannot use the first person in APA style. It is not that you cannot use the first person or the first person plural that is the issues; rather, it is how you use it. Students are often confused by the feedback correcting their usage of the first person, which frequently makes this issue more confusing. This page will provide some very brief notes on the correct usage of the first person.
What is the first person? In grammar, the first person refers to the author or authors when using a pronoun referring to the author(s) of that article (click here for more information on pronouns). For example, "I" or "me" is a first person pronoun that could be used to refer to the author in a paper with one author. Similarly, "we" is a pronoun that could be used to refer to the authors when there are more than one author. "We" is an example of the first person plural. What is the First Person Plural? The last example in the above section is an example of the first person plural. Essentially, this is a first person pronoun referring to more than one person. "We" and "us" are the first person plural. Using the First Person Correctly APA style allows for the first person to be used only in reference to the author or authors of the article. In other words, you can use "I" to refer to yourself if you are the only author of the paper. You can use "we" to refer to the authors when there are more than one author of the paper. The Catch So what's the catch? Just because you can use the first person in scholarly writing does not mean you should overuse it. Good, scholarly writing tries to avoid using the first person too often. This can easily make a paper sound narcissistic and focuses the individual excessively on the author instead of the content. With that said, there are types of writing for which this might be more appropriate. For example, a position paper or reaction paper would use the first person more frequently. Additionally, many feminist and cultural approaches to writing which are more embodies rely more heavily on the first person. The First Person Plural -- Additional Caveats "We" and "Us" are examples of the first person plural. This is often used to refer to humankind or people in general; however, APA style discourages this. The first person plural incurs all the same challenges as the first person along with some additional problems. The first person plural is clear on who is being referred to: the author. However, with the first person plural, it is often unclear less clear about who the pronoun is referring to. Despite the problems in clarity with the first person plural, it is commonly used in popular and even scholarly writing. It is common to find the first person plural in books, but not common to see authors getting away with this in journal articles. In general, it is best to reserve using the first person plural to situations in which you are referring to the authors in papers with multiple authors. However, if you choose to use it outside of this occasion, it is important to always ask if it is clear who the first person plural is referring to. For example, anytime you use the word "we" the reader should clearly be able to identify who the "we" is referring to. When to NOT use the first person plural: The first person plural is not to be used to refer to people or humankind in general. It is only to be used to refer to the authors. This is probably one of the most common feedback statements I give on papers that I grade. The more general usage of the first person can become confusing, particularly if used in a paper where the first person is also used to refer to the author(s). Anytime you find yourself using the first person in this general sense, try to reword it to be more specific about the person or group to which you are referring. Example: Incorrect: Correct: We all fear death. All people fear death.
General APA Guidelines from OWL: http://owl.english.purdue.edu/owl/resource/560/01/ General Format Summary: APA (American Psychological Association) is most commonly used to cite sources within the social sciences. This resource, revised according to the 6th edition, second printing of the APA manual, offers examples for the general format of APA research papers, in-text citations, endnotes/footnotes, and the reference page. For more information, please consult the Publication Manual of the American Psychological Association, 6th edition, second printing. Contributors: Elizabeth Angeli, Jodi Wagner, Elena Lawrick, Kristen Moore, Michael Anderson, Lars Soderlund, Allen Brizee, Russell Keck Last Edited: 2010-12-02 01:45:24 Please use the example at the bottom of this page to cite the Purdue OWL in APA.
General APA Guidelines Your essay should be typed, double-spaced on standard-sized paper (8.5" x 11") with 1" margins on all sides. You should use 10-12 pt. Times New Roman font or a similar font. Include a page header at the top of every page. To create a page header, insert page numbers flush right. Then type "TITLE OF YOUR PAPER" in the header flush left. Major Paper Sections Your essay should include four major sections: the Title Page, Abstract, Main Body, and References. Title Page The title page should contain the title of the paper, the author's name, and the institutional affiliation. Include the page header (described above) flush left with the page number flush right at the top of the page. Please note that on the title page, your page header should look like this: Running head: TITLE OF YOUR PAPER Pages after the title page should have a running head that looks like this: TITLE OF YOUR PAPER After consulting with publication specialists at the APA, OWL staff learned that the APA 6th edition sample papers have incorrect examples of Running heads on pages after the title page. This link will take to you the APA site where you can find a complete list of all the errors in the APA's 6th edition style guide. Type your title in upper and lowercase letters centered in the upper half of the page. APA recommends that your title be no more than 12 words in length and that it should not contain abbreviations or words that serve no purpose. Your title may take up one or two lines. All text on the title page, and throughout your paper, should be double-spaced. Beneath the title, type the author's name: first name, middle initial(s), and last name. Do not use titles (Dr.) or degrees (Ph.D.). Beneath the author's name, type the institutional affiliation, which should indicate the location where the author(s) conducted the research. APA Title Page Abstract Begin a new page. Your abstract page should already include the page header (described above). On the first line of the abstract page, center the word “Abstract” (no bold, formatting, italics, underlining, or quotation marks). Beginning with the next line, write a concise summary of the key points of your research. (Do not indent.) Your abstract should contain at least your research topic, research questions, participants, methods, results, data analysis, and conclusions. You may also include possible implications of your research and future work you see connected with your findings. Your abstract should be a single paragraph double-spaced. Your abstract should be between 150 and 250 words. You may also want to list keywords from your paper in your abstract. To do this, center the text and type Keywords: (italicized) and then list your keywords. Listing your keywords will help researchers find your work in databases. APA Abstract Page Please see our Sample APA Paper resource to see an example of an APA paper. You may also visit our Additional Resources page for more examples of APA papers. How to Cite the Purdue OWL in APA Individual Resources Contributors' names and the last edited date can be found in the orange boxes at the top of every page on the OWL. Contributors' names (Last edited date). Title of resource. Retrieved from http://Web address for OWL resource Angeli, E., Wagner, J., Lawrick, E., Moore, K., Anderson, M., Soderland, L., & Brizee, A. (2010, May 5). General format. Retrieved from http://owl.english.purdue.edu/owl/resource/560/01/
SOP Student Guide to APA Review the 30-‐page student guide to using APA format (which is written as an essay USING APA format, so it is also a good sample): http://moodle.fuller.edu/file.php/2918/APA_206th_20GERA_20Journal_20Final.pdf.
Selections from SOP Handbook: Style Guidelines for Written Assignments All research papers are to be written according to the style guidelines outlined in the current edition of the Publication Manual of the American Psychological Association. This requirement does not apply to informal response and reflection papers. Each course syllabus should clearly state those assignments, which must be written in APA style. Students are reminded to employ APA and Seminary guidelines for nondiscriminatory language in all written assignments. PsyD and PhD Dissertation Style Guidelines All dissertations are to follow the APA style guidelines. All documents and manuscripts submitted for consideration during the dissertation process are to be typed or printed in true letter-quality type, double-spaced, with a “ragged” right margin. In rare cases where a style other than APA is to be used, the Committee is to designate the style and a copy of the style sheet or manual is to be provided to the Research Secretary when the dissertation is checked. The required font is Times/Roman or Courier, 12 point if using proportional print, 10 or 12 point if using non-proportional print. Ink jet or laser printing is expected. MA and MFT Master’s Thesis and Dissertation Style Guidelines: Master’s Thesis MAFS and MSMFT students have an option to register for 8 units of master’s thesis. The thesis is completed under the supervision of a faculty advisor who agrees to fulfill this role at the student's request, and is normally a regular member of the Marriage and Family faculty. The thesis is considered complete when it has been reviewed and approved by the faculty advisor and a second reader from the Marriage and Family faculty. The student is responsible for obtaining the final signature of the faculty advisor before binding. (See Appendix I, "Master's Thesis Signature Page.") One copy of the completed and bound thesis must be submitted to the faculty advisor and one to the Associate Director of Academic Affairs, who will secure the signatures of the Associate Dean and the Dean. These copies must be presented in a suitable binding (Velobinding: Simple heavy black paper cover with black plastic binding strips). The bound thesis must be presented to the Associate Director of Academic Affairs no later than the last day of classes of the quarter in which the student intends to graduate to avoid delay of graduation. The thesis may also be submitted for publication or presentation at a convention at the recommendation of the faculty advisor. MFT Dissertation Style Guidelines All dissertations are to follow the APA style guidelines. All documents and manuscripts submitted for consideration during the dissertation process are to be typed or printed in true letter-quality type, double-spaced, with a “ragged” right margin. The required font is Times/Roman or Courier, 12 point if using proportional print, 10 or 12 point if using nonproportional print. Ink jet or laser printing is expected. All SOP Assignments: Guidelines for Authorship Assignment The cooperative work of students and faculty often leads to the publication of articles and book manuscripts. Many decisions must be made during the research process, including the development of the research idea and hypotheses, selection of methodology, and final writing and editorial decisions. The research is understood as a creative process, and the person who has made the greatest creative contribution should be listed as the primary author. Time, effort, professional status, or even ownership of the data, while critical to the research in other ways, do not in themselves determine authorship. More detailed guidelines and illustrations are available from the Director of Research. In general, it is best to discuss issues of authorship among all parties before undertaking such collaborative projects. All SOP Assignments: Nondiscriminatory Language The joint faculty of Fuller Theological Seminary is committed to the full equality of women and men and to the training of women as equal partners with men for all areas of Christian ministry. Students are encouraged to use language which includes women and men and to avoid exclusive language which might express or encourage discrimination within the church or society. PREPARING YOUR MANUSCRIPT FOR MICROFILMING This section offers suggestions to help you get the best results when your dissertation, master's thesis, or research paper is published by UMI Dissertations
Publishing-ProQuest Information and Learning and your abstract is printed in one of their publications. However, please remember that these are suggestions and should be followed only when they do not conflict with directions from your dissertation committee at Fuller. Prices quoted by ProQuest-UMI Dissertations Publishing on January 2000 are as follows: $68.00 without copyright and $113.00 with copyright. PREPARING THE MANUSCRIPT Manuscripts are microfilmed exactly as they are received. They are neither edited nor retyped. Thus, your manuscript must be attractive and error-free. Negative microfilm of your manuscript will be on permanent file at Bell & Howell so that scholars may order 35mm microfilm, 98page format microfiche, or paper copies (approximately 6" x 9") reproduced from the microfilm. PAPER Use any good quality and weight of bond paper recommended by your institution, but be sure the print on the following page will not show through. FORMAT The original, or a high quality copy, is to be submitted for microfilming. An increasing number of manuscripts are being formatted electronically on word processors, personal computers and main frames. The important reminders to be observed in all cases, so that the best reproduction quality can be achieved, are that the type size should be l0-point or larger, and the print should be letter quality with dark black characters that are consistently clear and dense. CHARTS, GRAPHS, TABLES Illustrative material drawn in black ink will reproduce satisfactorily. Remember that microfilming is a black-and-white photographic process. Colors appear as slightly varying shades of gray. Thus, lines on a graph should be identified by labels or symbols rather than colors. Similarly, shaded areas--such as countries on a map--have better contrast if crosshatching is used instead of color. OVERSIZE PAGES Charts, graphs, maps and tables that are larger than the standard 8 1/2 x 11 inch page size may be used in your manuscript. If so, they should be carefully folded into the manuscript or rolled and placed in a mailing tube. All oversize pages will be photographed by sectioning the material beginning at the upper left hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page will also be filmed as one exposure and will be available, for an additional charge, as a standard 35mm slide or in black and white paper format. PHOTOGRAPHS All photographs should be professional quality black and white. Color photographs should be reprinted in black and white by a photo lab. Most photographs will reproduce acceptably on positive microfilm or microfiche but will lack clarity on xerographic copies made from the microfilm. For an additional charge, all photographs will be available in black and white standard 35mm slide format. CORRECTIONS Make any necessary corrections neatly. In an unbound manuscript, simply substitute a new page. In a bound manuscript, insert a new page by cutting off the old page about a half inch from the binding and rubber-cementing the revised page to the stub; trim away any paper extending beyond the other sheets. XEROGRAPHIC COPIES AND COMPUTER PRINTOUTS If a xerographic copy of the original manuscript is sent to UMI, it should reflect the same high quality as the original. It should be checked for missing and/or crooked pages as well. Xerographic copies made from "poor quality" copies occur more frequently in manuscript appendices, and when they do, they cannot be reproduced properly in microform. Computer printouts with small and indistinct print along with very narrow margins are illegible in microform. TITLING Your work will be a valuable research tool for other scholars only if it can be located easily. Modern retrieval systems use the words in the title--and sometimes a few other descriptive words--to locate your work. It is essential that the title be a meaningful description of the content of your manuscript. Avoid indirect inferences, and be sure to use word substitutes for formulas, symbols, superscripts, subscripts, Greek letters, etc. STYLE Manuscripts typically have three main parts: preliminaries, text, and references. Usual Order and Content 1. Preliminaries a. Title page, followed by the copyright notice if statutory copyright in the work has been or is
to be claimed. For original music, place © notice on the first page of music.* b. Preface, including acknowledgments c. Table of Contents, with page references d. List of Tables, with titles and page references e. List of Illustrations, with titles and page references *Essential components of the copyright notice are: copyright symbol ©, full legal name of author, year in which copyright is secured by publication. The copyright notice may appear as follows: © Copyright by John Arthur Brown 19-- All Rights Reserved 2. Text a. Introduction b. Main body, with the larger divisions and more important minor divisions indicated by suitable, consistent headings. 3. References a. Appendices b. Bibliography (if the appendices are bound as a separate volume, the bibliography should be bound with the text in the first volume.) NUMBERING THE PAGES Each page in your manuscript, including all blank pages, should be assigned a number at the top right hand corner of the page. The following plan of page numbering generally is accepted: a. For the preliminaries, use small Roman numerals (i, ii, iii, iv, etc.). The numbering begins with ii; the title page counts as page i, but the number does not appear. b. For the remainder of the manuscript--including the text, illustrations, appendices, and bibliography-use Arabic numerals (1, 2, 3, etc.). The numbering begins with 1 and runs consecutively to the end of the manuscript. SECURING A COPYRIGHT If you decide to register your copyright, be sure to insert a copyright notice in your manuscript in the proper place. (See model given above.) If you want ProQuest to file, on your behalf, an application for registration of a claim of copyright on your manuscript, you must indicate this on the agreement form you complete for ProQuest and submit the required fee. This service includes payment of the registration fee and preparation of the application and deposit copies required by the Copyright Office. If your work has already been registered with the Copyright Office, be sure to include this information on the agreement form. USING MATERIALS COPYRIGHTED BY OTHERS As the author, you must certify (by signing the ProQuest agreement form) that any copyright material used in your work, beyond brief excerpts, is with the written permission of the copyright owner, and that you will save and hold harmless ProQuest from any damages which may arise from copyright violations. Copies of permission letters must be attached to the agreement form. PREPARING THE ABSTRACT The abstract, not to exceed the specified number of words for each publication program, is expected to give a succinct account of the work. An abstract of this sort contains: (1) Statement of the problem, (2) Procedure or methods, (3) Results, (4) Conclusions. Your abstract must be prepared carefully, since it will be published. Abstract copy must be typed on one side of the paper only and should be double-spaced. Symbols and foreign words and phrases must be printed clearly and accurately to avoid error or delays. Mathematical formulas, diagrams, and other illustrative materials are not recommended for the printed abstract. QUICK CHECK LIST 1. Is every page of the manuscript numbered correctly? 2. Is your name, in full, on the title page of the work, the abstract, and the agreement form? Is the name identical on all three?
3. Does the title meaningfully describe the content of the work? Are words substituted for formulas and symbols? 4. Is the title on the abstract and the title page the same, word-for-word? 5. Is a subject classification indicated on the agreement? 6. If your advisor's name is to appear on the abstract, is the name typed accurately? Is the advisor's title clearly indicated? 7. Are all charts, graphs, and other special illustrative materials legible in the manuscript? Are they in the order and position in which they are to be microfilmed? 8. If the work is to be copyright, is there a copyright page in your manuscript and is all the appropriate information completed on the agreement form? 9. Are permission letters attached to the agreement form? 10. Does the abstract adhere to the maximum word length? (350 words for Dissertation Abstracts International; 300 words for Research Abstracts; and 150 words for Masters Abstracts). GUIDELINES FOR HSRC PROPOSAL SUBMISSION INSTRUCTIONS FOR INITIAL REVIEW: You will submit TWO things to the HSRC: 1) Your entire proposal, in the format you would submit to your dissertation committee (if available; otherwise, submit an abstract, short introduction, hypothesis and detailed methodology); 2) a separate section that organizes information into the seven categories listed below. Each area below should be clearly indicated in the section you submit to the HSRC, and, while each area should be addressed, not every item within each area will apply to each research project. If an area does not pertain to your study, briefly address the reasons why the area is not applicable. Do not submit more information for this section than is needed to explain your study, but be clear in your purposes and methodology, including all information that pertains to the treatment of human subjects in your proposed research. Please use the active voice when appropriate, including the correct tense (i.e.: “I will be collecting data from…”, etc.). If you have questions or problems, please contact the HSRC Committee Manager, Marta Cenac, at (626) 584-5544 or visit her office (room 326 of the SOP building). ATTENTION: If your project is being done in conjunction with another institution such as a school or large clinic AND is being reviewed by an Institutional Review Board at that institution, you may be eligible for a project waiver from this committee. Please contact Marta Cenac for further details on how to meet the requirements for the waiver (contact information above). 1. Overview of the Research Study – (Limit this section only to 250-500 words) This section should describe the research in clear language using lay terms. Included should be: a brief discussion of the prior research (literature) and/or logical rationale forming a foundation for this study; the research question(s) being asked. Enumerate and state clearly each specific hypothesis. If the proposal involves a clinical intervention, this section should indicate such with a detailed explanation. 2. Characteristics of the Research Subjects This section should describe the subject pool (such as number, gender mix, ages, and ethnic background). If applicable, the proposal should address the rationale for using vulnerable populations (such as: pregnant women, children [anyone under the age of 18], mentally or emotionally disabled individuals, the physically challenged, prisoners, the elderly, or any other group likely to be vulnerable). If applicable, the proposal should provide rationale for specifically excluding particular groups. 3. Methodology & Procedures Describe the detailed methods to be used (location of the study, proposed timeline, subjects, instruments, and procedures – describe using detail similar to if you were submitting a journal article). Also included should be copies of instruments (such as questionnaires or tests not frequently used in psychological research or practice), or a discussion of the instruments to be used if the actual instruments are not available or cannot be attached, and the protocol for administration. Remember, the overall purpose of this section is to describe the role human subjects have in your proposal.
4. Sources of the Research Material This section should identify the detailed sources of research material obtained from individually identifiable living human subjects in the form of records or other data. The proposal should indicate whether the material will be obtained specifically for this research or whether the study will make use of existing data previously collected. If data are to be obtained from other sources than the subjects themselves the proposals should include the protocols for securing the consent of the subjects for the use of their records (if the data contains identifiers) and the approval of the custodian of the records for the release of the data (if not publicly available). If access to a school, facility or institution/organization is required to conduct the research the proposal should describe: the school, facility, or institution/organization to be used; how the study has been presented to the authorized representative(s) of that school, facility, or institution/organization; and how permission for access has been obtained and documented. Also, please describe your involvement with this project, i.e., is the data to be obtained as part of a larger project? 5. Subject Recruitment and Informed Consent This section should describe how subjects will be recruited for the study (copies of advertisements, notices, and other materials should be included). The proposal should be explicit in its description of the informed consent process. All forms, notices, scripts, and other materials relating to recruitment and informed consent should be included. The proposal should describe: what will be said to, or read by, the subjects to explain the research (using lay language) to the subjects; how potential risks of the research will be explained to the subjects; what questions will be asked to assess the subject understanding of the research and its risks; when consent will be obtained; who will obtain the consent of the subjects; and how consent will be documented. If applicable, the proposal will explain how fully informed consent would interfere with the objectives of the research and explain the process to be used for assuring subjects that they will not be placed at risk without compromising the integrity of the study. If applicable, the proposal will explain how consent will be obtained from subjects belonging to a special class of subjects and/or re-obtained over prolonged periods (and, if appropriate, how assent [assent is defined as: â&#x20AC;&#x153;a childâ&#x20AC;&#x2122;s affirmative agreement to participate in researchâ&#x20AC;?] will be obtained). 6. Potential Risks (including confidentiality) This section should describe any potential risks -physical, psychological, social, legal, or other -- and assess the likelihood and seriousness of each risk. Special considerations should be given to: the use of private records; a possible invasion of privacy; the manipulations of psychological or social variables; probing for sensitive or personal information; the use of deception in an experimental protocol; the presentation of materials which the subjects might consider offensive, threatening or degrading; and any other possible physiological or psychological impact. When appropriate the proposal should describe alternative treatments and procedures that might be advantageous to subjects particularly at risk for that particular study. The proposal should describe the precautions to be taken to minimize the risks to the subjects, including risks to confidentiality. The proposal should assess the likely effectiveness of these precautions. When appropriate, the proposal should discuss provisions for insuring necessary medical or professional intervention in the event of adverse reactions or effects, short or long-term, to the subjects. The proposals should discuss what provisions will be effected to maintain confidentiality, including: where subject data will be kept, how long it will maintained, how individual subjects' data will be identified, and how access to the data will be controlled and protected. When appropriate, a process for debriefing the subjects after their participation in the study should be included. 7. Anticipated Benefits of this Research This section should discuss why the risks to the subjects are reasonable in relation to the anticipated benefits to the subjects and in relation to the importance of the knowledge that might result. When appropriate, the proposals should describe any direct benefit to the subjects themselves, including any inducements before their participation or rewards after their participation. ITEMS TO ATTACH (if applicable): 1. Informed Consent form and/or methods of obtaining assent (for children) 2. Written permission to use clinical data (not publicly available) 3. Written permission from an authorized representative to engage in research at another institution
(schools, hospitals, etc.) 4. Copies of all uncommon instruments (if available) 5. If an outside entity is involved, a statement on company letterhead that the owner (entity) of the data in question is NOT a covered entity under HIPAA definitions; OR, the data being provided to you is "de-identified" (see attached definitions); OR, provision of legal adequately authorized by the subject. Note: this authorization may be part of the consent document or may be a separate document. FOR CONTINUING REVIEW INSTRUCTIONS: Continuing review of research is conducted at intervals appropriate to the degree of risk, but not less than once a year. In conducting continuing review of research not eligible for expedited review, all HSRC members should at least receive and review a protocol summary and a status report on the progress of the research. The status report should include documentation on the following: (i) the number of subjects accrued; (ii) a summary of adverse events and any unanticipated problems involving risks to subjects or others and any withdrawal of subjects from the research or complaints about the research since the last IRB review; (iii) a summary of any relevant recent literature, interim findings, and amendments or modifications to the research since the last review; (iv) any relevant multi-center trial reports; (v) any other relevant information, especially information about risks associated with the research; and (vi) a copy of the current informed consent document and any newly proposed consent document. At least one member of the IRB (i.e., a primary reviewer) also should receive a copy of the complete protocol including any modifications previously approved by the HSRC.
Supplemental Material for Writing and Formatting Tables: More information and examples may be found via this link: http://moodle.fuller.edu/mod/resource/view.php?id=7997 Supplemental Material: Mechanics of Style 4.40 Style for Metric Units Supplemental Material: Writing Clearly and Concisely General Guidelines for Reducing Bias Gender Sexual orientation Racial and ethnic identity Disabilities Reducing Bias by Topic 3.15 Disabilities The term disability is not a static one but is the result of a person–environment interaction. The less supportive the physical and social environment, the greater the amount of disability (e.g., steps, discrimination; Institute of Medicine, 1997).1 3.12 Gender Transgender persons who present part time as members of the gender opposite to the sex to which they were assigned at birth may identify as one or more of a number of identifiers, including drag kings (female-to-male persons), drag queens (male-to-female persons), or cross-dressers (persons of either birth sex). The adjectives female and male can be used to refer to the birth sex of transgender persons, but the nouns woman and man refer to gender identity or gender expression (e.g., a male-to-female transsexual can be referred to as a biologic male but should be called a transsexual woman, not a transsexual man). Do not use quotation marks for ironic comment on words that have been assigned based on gender identity or gender expression rather than birth sex (see section 4.07); this is regarded as pejorative. There is a relatively new term that is likely to become more common in the literature. The term is cisgender— which means male born male, or female born female. It implies that the person does not have a transgender history.
An issue specific to transgender authors relates to how to cite an author who has transitioned. First, it is important that the citation remain in the name in which the source was published—otherwise people will not be able to find the source. Second, when referring to the author, it would be best to avoid pronouns. So instead of saying “He said that . . . ,” say “According to Dickey. . . .” Pronouns can become confusing in the transgender community, and if at all possible, it is best to avoid them altogether. Many transgender persons use the gender-neutral constructions ze and hir to refer to she/he, her/him, or her/his to avoid the confusion of gender-bound pronouns. 3.13 Sexual Orientation Another term to be familiar with is queer. Although once a pejorative term, young people have reclaimed it and often use it as an umbrella term for lesbian women, gay men, and bisexual women and men (Horner, 2007). It is appropriate to use the term queer. Sexual behavior does not always agree with sexual orientation; some men and women engage in sexual behavior with others of their own sex but do not consider themselves to be lesbian or gay or bisexual. Likewise, some women and men engage in sexual behavior with members of the other sex but do not consider themselves to be heterosexual. People who identify as bisexual often have a preference for one gender over another gender. When that manifests in either same-sex or other-sex partners, these individuals will identify as bisexual. Whereas the terms lesbian and gay refer to identities (“a gay man”), the terms heterosexual and bisexual refer to both identity and behavior. However, when referencing sexual behavior, it is clearest to refer to the sex of the partners engaged in the activity. Same-sex, male–male, female–female, and male–female sexual behavior are appropriate terms for specific instances of sexual behavior, regardless of the sexual orientation of the partners (e.g., a heterosexual man who engages in a same-sex sexual experience). Research is often conducted to assess attitudes toward lesbian women, bisexual men and women, and/or gay men. In the past, discriminatory attitudes toward these populations have been termed homophobia or biphobia. Although these terms are still used, more accurate terms such as homonegativity and binegativity are currently used. Another important principle for researchers is to avoid collapsing bisexual individuals into the lesbian women and gay male sample. Bisexual individuals are not the same as lesbian women and gay men. When writing about the sexual orientation of transgender persons, authors should clearly specify whether they are referencing sexual orientation to biologic sex or to gender identity or gender expression. For example, a male-to-female transsexual who is sexually oriented toward men would be described as having a gay orientation with reference to biologic sex, but a heterosexual orientation with reference to gender presentation. In scientific literature, sexual orientation is commonly referenced to biologic sex, but many transgender persons feel strongly that their sexual orientation should be referenced only to their gender identity or gender expression and consider the alternative disrespectful. Grammar and Usage 3.19 Agreement of Subject and Verb Collective nouns (e.g., series, set, faculty, or pair) can refer either to several individuals or to a single unit. If the action of the verb is on the group as a whole, treat the noun as a singular noun. If the action of the verb is on members of the group as individuals, treat the noun as a plural noun. The context (i.e., your emphasis) determines whether the action is on the group or on individuals.
2) APA Website Link: www.apastyle.org a. It has a search feature that should allow you to find specific information on citing and referencing with pdfs of the manual page(s) in question. That may be enough for you to go on. b. We have two APA manuals in the Writing Center library, so if you need a paper copy, you can come by and use it in the office or "check it out" to use for an assignment and bring it back (no more than 48 hours at a time). c. We also have a copy of the Concise Rules of APA Style available in the Writing Center library.
3) Help with DOIs: http://www.crossref.org/SimpleTextQuery/ (on the Moodle course) 4) Checklists (on Moodle course) PH.D. STUDENT CHECKLIST: DISSERTATION TIMELINE • Complete Master’s Project, gain approval from research secretary, bind, & submit to Associate Director of Academic Affairs-Clinical (Ph.D.) (Appendix B and C) • Submit Master’s Project for presentation and/or publication (Ph.D) • Select Dissertation Topic, chair, and committee members • Research dissertation topic & formulate research questions/hypotheses and procedures • Write dissertation proposal • Review & Revise proposal with advisor/chair • Copy Student Handbook Appendix D • Set Proposal Colloquium date, time, and location • Write proposal abstract, also including time, date, location, chair, and committee • Submit 18 copies of proposal abstract to CAA (1 week before colloquium) • Distribute full proposal to committee members and Office of the Associate Dean (1 week prior) • Present proposal at Proposal Colloquium • Submit completed copy of Appendix C to CAA • Gather data • Discuss data with chair/advisor • Set Data Colloquium date, time, and location (Ph.D) • Obtain Data Colloquium “Blue Sheet” from CAA (Ph.D) • Distribute Data to committee members (1 week before colloquium) (Ph.D) • Present data at Data Colloquium (Ph.D) • Submit completed “Blue Sheet” to CAA (Ph.D) • Complete analysis of data and write dissertation • Review dissertation with advisor/chair • Schedule Oral Defense date, time, and location • Obtain petition from CAA if Oral Defense is within one year of proposal colloquium • Submit date of Oral Defense to CAA and reserve room with SOP Receptionist • Print 25 Final Oral announcements • Distribute final dissertation and integration paper to Committee Members 2 wks prior to Oral Defense • Deliver announcements to CAA one week prior to Oral Defense • Print dissertation “Signature Sheets” (Appendix E) on 100% white cotton paper • Reserve overhead projector (if needed) from ATC • Attend and participate in Final Oral • Make any necessary revisions to dissertation • Bring full dissertation to Research Secretary for proof-reading • Make 4 copies of final dissertation using 100% white cotton paper • Submit these 4 copies for binding • Bring 3 bound copies to the CAA (1 for Library, 1 for SOP, 1 for chair). Keep one copy • Bring 1 unbound copy (regular white paper) to CAA with an original signature sheet, extra title page and abstract, and the microfilm agreement form and money order to the CAA.
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PSY.D. STUDENT CHECKLIST: DISSERTATION TIMELINE Select Dissertation Topic, chair, and committee member Research dissertation topic & formulate research questions/hypotheses & procedures Write dissertation proposal Review & Revise proposal with advisor/chair Copy Student Handbook Appendix D Set Proposal Colloquium date, time, and location Write proposal abstract, also including time, date, location, chair, and committee Submit 18 copies of proposal abstract to as Associate Director of Academic Affairs-Clinical (CAA) (1 week before colloquium) Distribute full proposal to committee members and Office of the Associate Dean (1 week prior) Present proposal at Proposal Colloquium Submit completed copy of Appendix C to CAA Submit proposal to Human Subjects Review Committee and get approval Gather data Discuss data with chair/advisor (Hold optional Data Colloquium at the discretion of the Advisor) Complete analysis of data and write dissertation Review dissertation with advisor/chair Schedule Oral Defense date, time, and location Obtain petition from CAA if Oral Defense is within 6 months of proposal colloquium Submit date of Oral Defense to CAA and reserve room with SOP Receptionist Print 25 Final Oral announcements Distribute completed dissertation and integration paper to Committee Members 2 weeks prior to Oral Defense Deliver announcements to CAA one week prior to Oral Defense Print dissertation “Signature Sheets” (Appendix E) on 100% white cotton paper Reserve overhead projector (if needed) from ATC Attend and participate in Final Oral Make any necessary revisions to dissertation Bring full dissertation to Research Secretary for proof-reading Make 4 copies of final dissertation using 100% white cotton paper Submit these 4 copies for binding Bring 3 bound copies to the CAA (1 for Library, 1 for SOP, 1 for chair). Keep one copy Bring 1 unbound copy (regular white paper) to CAA with an original signature sheet, extra title page and abstract, and the microfilm agreement form and money order to the CAA. CELEBRATE!
CHECKLIST FOR FINAL APPROVAL OF MASTER’S PROJECT STUDENT____________________________________________________(PhD, PsyD) PROJECT TITLE_________________________________________________________ ______ (1) Signature-Cover Page meets Department standards (see sample page). ______ (2) Title Page, running head, page headers, and margins meet APA style requirements (left margin indent 4 cm or 1 1/2”). ______ (3) Appropriate sections and APA heading levels in project. ______ (4) Font is 10 or 12 point classical Times/Roman or Courier. ______ (5) Citations in text and Reference section are APA style. ______ (6) Statistics and research design have been reviewed by Dr. Gorsuch. ______ (7) APA Style points have been reviewed by Research Secretary. ______ (8) Approval letter received from HSRC. _______________________________________ ________________________ Research Secretary’s signature Date ______ (9) Black velobinding is required. See Associate Director of Academic Affairs for bindery information. ______ (10) Signature of advisor is obtained by student on the approval page. ______ (11) Associate Director of Academic Affairs receives bound project for Associate Dean’s and Dean’s signatures. _______________________________________ ________________________ Associate Director of Academic Affairs Date Department of Clinical Psychology CHECKLIST FOR FINAL APPROVAL OF DISSERTATION STUDENT______________________________________________________ ___ Ph.D./Psy.D. DISSERTATION TITLE:_________________________________________________________ ______ (1) Approval Sheet ______ (2) Table of Contents list and pages match with text ______ (3) Appropriate sections in dissertation (cf. IV C in Dissertation Guidelines.) ______ (4) Paper: 100% cotton rag (check watermark) ______ (5) APA style (or appropriate style: specify____________________________________ ______ (6) Left margin indent 4 cm (1 1/2") ______ (7) Abstract or summary suitable for Dissertation Abstracts ______ (8) Submitted for publication or requirement waived, attach memo from Director of Research if waived ______(9) Approval letter received from HSRC ______________________________________ Research Secretary's Signature ______ (10) Black binding ______ (11) Finished size: 22 x 28 cm (8 1/2" x 11") ______ (12) Gold Lettering ______ (13) Title and author's name on spine ______ (14) One unbound copy attached ______ (15) Four copies submitted to binder (attach copy of bindery form, or bound copies delivered; 1 to Psychology, 1 to chair, 1 to library, and 1 for student). _________________________________ _______________________ Associate Director of Academic Affairs Date Department of Clinical Psychology
DISSERTATION PAGES AND ORDER Cover page [no number or page header] Signature page [no number or page header] Acknowledgments [no page header, number as preliminary page at bottom, start at ii] Table of Contents [no page header, number as preliminary page] List of Tables [no page header, number as preliminary page] List of Figures [no page header, number as preliminary page] Title page for article [number page header, starting at 1] Abstract Article: Introduction (Do not label), Method, Results, Discussion References [only references for the article] Tables Figure caption page Figures [no number, but count in numbering sequence] Abstract for Dissertation Abstracts International Appendix A: Literature Review [titled just “Literature Review”] o References [only references for the Lit. Review] Appendix B: Institutional Review Board(s) Approval Letter(s) Appendix C: Plan for submission for publication Letter of Submission Appendix D-?: Extra Data, Questionnaires, etc. Appendix ? (last appendix): Vita [double-spaced] Compliance Checklist of Common Errors – Dissertation Version (appended to training document) Compliance Checklist of Common Errors – Master’s Version (appended to training document)
5) APA Compliance Workshop Packet a. Formatting issues i. Hanging indent ii. Word Templates (available on Moodle course) iii. Single space between sentences (Fuller requirement) b. Documenting issues i. Capitalization ii. DOI numbers iii. Italics (do not use underline) iv. Punctuation (space after every period) v. In-‐text citations c. Content issues i. Quote vs. paraphrase ii. Verb tense (past tense for research) iii. Anthropomorphism (use of 1st person) iv. Parallelism v. Seriation vi. Voice (avoid passive voice)
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