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A bit more than two years ago, Fiona English and myself were asked by Julia Lockheart, the editor of the Journal of Writing in Creative Practice, whether we would be interested in guest editing a Special Issue on Genre and Regenring for that publication. A themed workshop and conference, as well as months of editing work later, not one, but two issues are now published (Volume 11: Numbers 1 and 2), by us jokingly referred to as the Chicken and the Egg issue respectively.

This seemed like a good point for us two co-guest-editors to reflect on the process, so here a conversation that we had one September morning, in case you are interested in our thoughts on the process, the idea of using two different forms of editorial (one traditional, one as an abecedary) and whether we would change anything.

Find out more about Issue 1 (the Chicken) here.

Find out more about Issue 2 (the Egg) here.

(This was a typed chat, and I have tried to get rid of typos but have not changed grammar or structure of the unscripted exchange.)

Cover image for the two Special Issues on Genre and Regenring

Alke: So, the two issues are out and I thought it would just be a nice idea if we reflect on what worked and what didn’t. Do you think we achieved what we wanted to do?

Fiona: I’m actually really proud of these two issues. The range and quality of the articles is fantastic – so interesting to read and so well written. The production side too is great. They look and feel good in the hand.

Alke: I agree, as the physical things, the journals worked out really well. Now for me this was one of the surprising things – that I always thought of the journals as a physical entity, but that is not how the publisher saw them, they see them as separate articles… that took me a while to realise. If we had thought about them like this, would we have done anything differently, do you think?

Fiona: Yes I know what you mean. The on-line article as stand-alone access makes the experience quite different. I don’t think we would have done anything differently in this particular case nor do I think we should have. The flow of the physical versions works really well and hopefully people will actually get to see this. However, if we do another thing like this we might think about it differently and provide a different kind of threading to preface each article. Maybe that’s something we could do in any case? If the publisher let us.

Alke: I’m not sure we should volunteer any more work on this, to be honest ūüėČ And I really like them as a collection – I think this is where the value of this lies, to see the different ways of using genre side by side, in a way. I seem to remember that one of the things we wanted to do at the beginning was give people the confidence to try out more and to take more ownership (shouting about?) the practice they were already doing, almost giving them a theory to be able to justify their playing with genre as a ‘serious’ thing – and I think that this collection does show that off, and hopefully does that.

Fiona: I agree – and I’m certain this has been achieved. I’m glad we pushed some people to write differently while leaving others to their own devices. It means that we have a range of genres which then means that readers can consider the affordances of each as they read. What do you think about setting up a kind of feedback forum? Getting readers’ responses to the different articles with regard to how the genres used impacted on their reading and on their attitude to the ‘knowledge’ being explored/developed.

Alke: I think that would be really interesting – maybe I could ask for that at the end of this blog post and also ask the contributors to add to.

Fiona: Yes great. It could also comprise an element of any seminar/party we might plan for the future.

Alke: I love it! A feedback party instead of a launch!

Fiona: It would be good to get feedback on people’s own attitudes to alternative genres for academic production and how they might be valid in the context of REF!!! And yes, a feedback party –

Alke: I think we might have found our angle for the follow-up event! Now, we also played with genre, not just in our own, separate contributions, but in the two editorials… which in a way are very different…

Fiona: Yes I’ve been thinking of the differences in experience doing them. The essential difference in terms of process is that one is a kind of narrative – it tells a story in a chronological order so to speak. The second works as a kind of glossary – explanation of terms of ref or rather concepts that are explored across the issues – and as such required a different kind of thinking – explanations and definitions rather than narrative. We had to say more about our frames of reference in the second one and more about the journal as a flow in the first. Is that right?

Alke: In a way, yes. I have to admit that I (maybe naively) had thought that the abecedary would be so much easier to do as a format than it actually was. In the end figuring out what to include and what not, and having the constraints of the alphabet was a really interesting challenge!

Fiona: the abecedary was a challenge for sure – but a very interesting one as it forced us to foreground concepts and key issues and to use the alphabetic constraints to think of fresh ways for describing/defining them. In other words, the affordances of each genre ensured that we approached the same information differently and in the process of so doing produced different ways of articulating it. This made us rethink – always a good thing.

Alke:: Exactly. And I am really glad that we decided on taking on that challenge rather than going for something like a conversation (which we had also considered), especially because it made us think about the content more in terms of definitions, rather than just rehashing the narrative in a two-person narrative way!

Fiona: Yes – that’s very true. And it was fun too! Playing around trying to find a way of using all the letters – only one cheat with the X.

Alke: Thinking about it, I think we could have made ‘xerography’ work… the idea of copying stuff, or not, would have worked int the context of gains and losses!

Fiona: xerography – yeah – but then we’d not have had ‘eXpectations’ – though we’d probably have squeezed that in elsewhere. Gains and Losses – yes – that’s true. What do you think these were between the two editorials?

Alke: Well, the first editorial gives much more background info as to how these issues came about, while the abecedary only really mentions the workshop and conference in passing. But they were both really important events. And, as you say, the second one is much more about definitions, being clear about what we are talking about and mean, which is easy to gloss over in a way when you are writing a narrative.

Fiona: Yes I agree. The first one tells the story of how things came about and why and how the journal is organised. It makes an easier read, probably, as a whole because it does what people expect despite the informal tone we use. It is also more effective in profiling the different articles because they are introduced within a narrative structure. This is the story of how we got together and this is the story of how we got the contributions for these special issues and this is the story of how the issues have been organised. The Issue One editorial had to go first – the chicken before the egg otherwise readers would have been totally confused.

Alke: LOL

Fiona: t’ll be interesting to get feedback from the readers/contributors of Issue Two about how they feel about the editorial. They won’t have seen the first one.

Alke: That’s a really good point! I hadn’t even considered that!

Fiona: No nor had I until we started this discussion. (the affordances of a dialogic genre ūüėČ

Alke: ūüôā¬†¬† Would we change it if we had to do it again? Or better: is there anything we would change?

Fiona: That’s a good question. Did we point out in the Egg that we had done a different kind of editorial for the Chicken? I can’t remember. I think we saw them as two sides of the same coin and forgot that not everyone would read everything. Again, back to the thing about single article purchases too!

Alke: let me just check…We do mention it under ‘A is for abstract’ – sort of. Phew!

Fiona: That’s lucky – or rather not lucky – we took it into account. It’s amazing how quickly one (I, that is) forgets what one’s done almost as soon as you turn over onto the next page! I constantly have to keep checking back in things I’ve written to see what I said about something.

Alke: Well, I guess that comes with doing a lot of things. And once they are published, on file, so to speak, you don’t need to keep the details in your head, because you can just check back. but I think it is a really interesting point, that we didn’t just conceive this as a physical journal, but as a double issue, and didn’t really ever saw them as split up!

Fiona: That’s right!

Alke: maybe that means we misjudged our audience?

Fiona: Hum – yes perhaps. Not our audience exactly, but how our audience might read. This is food for thought. What we did with these two Issues could never be done via the on-line single purchase approach. We thought of these issues as if they were a book – a complete thing. That’s indeed what they are. The market forces behind the publishers, though, see/treat everything as stand-alone. It’s the same with modular university degrees. The idea that there is no need for an overall view/story but that things can just exist – contextless and floating out alone. In fact, the publisher’s approach militates against special issues!

Alke: I think you are right. In the book I just wrote they asked for each chapter to have its own separate bibliography so that the chapters could be sold separately (we decided to ignore that request for now…), but that changes the whole argument you can make and splits it into bite-sized chunks.Some things you want to say are bigger than that!

Fiona: Absolutely – this is a problem indeed and one which, in my view, leads to people picking up fag ends as the saying goes. In other words, piecemeal knowledge – knowledge with no context – in other words, not knowledge!

Alke: In fact, I think if at the beginning of this process somebody had told me to edit a collection of separate but related journal articles, I don’t think I would have been up for that! It is that context that makes it interesting and useful!

Fiona: Me neither. The whole pleasure of it was to put together a unified piece of work not lots of separate pieces of work.

Alke: So hopefully people will read both issues and not just pick out the odd article!

Fiona: I do hope so.

Alke: Anyway, anything else we would change?

Fiona: I don’t think so. For me the contributors have done a fantastic job in honing their articles not just in terms of academic content but in style and voice more so than in most other journal articles. I think they also saw themselves as working as part of a whole too. I mean they understood what they were writing to be a contribution to an overall story too. I think we got the range and balance right too across each issue.

Alke: Yes, I agree. I wouldn’t change the content. However – and this totally shows my roots as a designer – if I had realised how easy it was to change the cover image, I would have asked for two different ones: one of the furoshiki laid out, so you could see it whole, and one of it wrapped up, rather than combining those two ‘states’ into one image. but then maybe that would have put too much focus on that one artefact? Anyway, just a tiny thing with hindsight ūüėČ

Fiona: Yes – that would have been good. And I don’t think it would have put too much onto the one piece. I think it would have perfectly represented regenring. But tant pis! They are still beautiful objects these two issues.

 

Find out more about Issue 1 (the Chicken) here.

Find out more about Issue 2 (the Egg) here.

 

If you have read both, one or just parts of these special issues, please comment on this post with some feedback about the above topics or others!

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One of the reasons that this blog has been fairly quiet over the last few months, is that Fiona English and myself are in the process of co-guest editing two special issues of the Journal of Writing in Creative Practice. We are really excited about the mix of content, which represents a number of genres as well as discuss using genres in teaching and learning. (Of course I will let you know when the issues are actually out, one of them is going to print soon, the other is about to enter the typesetting stage.)

a preview of the cover image for the forthcoming journal issues

So when we heard that EAP in the North were running a workshop on Exploring Genre(s) specifically in the context of the creative arts, we thought this was an excellent occassion to visit the University of Edinburgh and chat a little bit about our expertise in this and check out what other people are doing.

It was such a lovely event, and I was reminded of our own ReGenre conference last year (indeed, one of the attendees of that event was here giving us an opportunity to catch up), because it was run in a way to allow for lots of sharing and discussion along the way.

Alex Collins from the University of Edinburgh showed us how he engages art history students with core skills via workshops that are backed up with his online Art History Toolkit (check it out here, but be aware that he might ‘wipe’ content in preparation for the new term to then populate it again as the term progresses – though he is currently looking at other ways of running this, and I really do hope it’ll become a permanent resource for all of us to dip into – there is lots of good stuff here, not just for art history students!).

Clare Carr was talking about some of the different genres music students at Durham University are being asked to write in – and wondered whether assignment setters need to be more precise about how they brief and also describe the genres they are actually after. The term ‘essay’ means many things to many people!

This linked in perfectly for an exploration of what an ‘essay’ is or could be – and the Dress-up Doll of Formality exercise I introduced delegates to. After some fast and furious discussion and outfit drawing on the tables, the sharing with solutions of the group was rich (and we are hoping to get the produced images up on the EAP in the North website). This short taste of regenring was a great lead into a quick overview of Fiona’s work – and of course us talking a bit about the forthcoming special issues.

After a short refreshment break, Clare Maxwell was talking about writing genres specifically within Design in her work at the University of Leeds, genres that are very often located in the overlap of academic, vocational and creative work – but sometimes difficult to locate in publications of designers (that old theory/practice divide is still coming up it seems). One of the issues of discussion following on from Clare’s talk was the role of ‘I’ in writing – and the necessity of authors to be aware of what it does.

We then broke off into small groups, where some people had brought ideas to share and discuss. In the group I joined, Anna Rolinska laid out her plans for a Pre-Sessional English for Creative Disicplines course at Glasgow School of Art, which was fascinating, with all of the group then sharing ideas, which hopefully gave Anna some more inspiration. I hope she will write a little post on this later in the year.

Most of us ended up in the pub for a drink and more chat afterwards. On top of everything else, it was a gorgeous day – Thank You to Alison Thomas and her team for organising such a fabulous event!

The setting for the workshop was this lovely campus, need I say more?

(Last) Call for Papers – final deadline 15th August 2017
For a special issue of the¬†Journal of Writing in Creative Practice¬†guest edited by Dr Fiona English and Dr Alke Groppel-Wegener,¬†we are currently looking for submissions that celebrate the practice of genring and regenring. Even though the journal title includes ‘creative practice’, these examples do not have to come from a creative practice background (as we would argue that genring and regenring could be seen as a creative practice by itself). You also do not have to have been present at the workshop and conference we have been running on this subject – if you are doing any sort of genring and/or regenring we would love to hear from you!
We would suggest the following formats:
Examples focusing on the process of (re)genring
We want to showcase a selection of genring and regenring practice, based on a template Рsee my recent post on this blog giving a bit more information on the template here (and email me (Alke) on tactileacademia[at]gmail.com for what information is needed if you want to contribut an example).
The examples should be focused on the process of (re)genring and should concentrate on one outcome genre only. They are not about the assessment, module or unit, but about the genre itself.
Case Studies
Between 2000 and 3000 words, these should be description and analysis of examples of your practice. These should be wider in scope than the examples.
Full Papers
Between 5000 and 7000 words, these should contain theoretical discussions that take the subject beyond the examples and case studies.
Reviews
Have been to an event linked to genre, genring or regenring recently? Want to review an outstanding example you have come across? These are usually between 500 and 2000 words.
As this issue is celebrating reGenring we are, of course, open to genres other than the academic paper. However, please keep in mind when planning your submission that we are constrained by the format of the journal, and the JoWiCP in particular.
This means:
  • landscape orientation of pages (we can probably somewhat play with their standard layout, but only with good reason)
  • pictures need to work in black and white as we cannot guarantee them being printed in colour (although in the online version they would be in colour). Please ensure that you have ownership, or have obtained copyright clearance for any image submitted.
We would suggest that submissions that don’t follow the traditional academic paper genre are bookended by an academic abstract (about 150 words) that explains the chosen genre and the reasons for choosing it and a conventional bibliography. We will be using Intellect publishers style guide, which you can download here.
We will also need an author biography of 50-100 words with all submissions.
All articles submitted should be original work and must not be under consideration by other publications.
Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.
Final deadline for submissions (via tactileacademia[at]gmail.com) is 15th August 2017.

We have now confirmed our other speakers for the morning of the reGenring conference.

Julia Molinari will ask ‘What Makes our writing academic?’

In this talk, I would like to explore in what sense a text that does not follow established conventions of English Academic Discourse (EAD) can be considered ‚Äėacademic‚Äô? I will argue that such a text can be academic not in virtue of its textual features or of its modes, but in virtue of the extent to which it fulfils an academic purpose and practice. I will draw on theories of multimodality (A. Archer & E. Breuer, 2016), of higher education (Barnett, 1990, 2012, 2013; Besley & Peters, 2013) but also of the philosophy of sociology (Winch, 1990) to argue that since creativity, imagination and argumentation are amongst the purposes and practices of a higher education, then we need to look beyond language ‚Äď understood as just one of many modes ‚Äď to more fully fulfil the range of our academic aims.

David Hindley and Lisa Clughen will present on ‘Student perceptions and experiences of academic blogging: some reflections on the use of blogs as a way of fostering greater student engagement, collaboration, and ownership of learning’

This paper takes the standpoint that academic blogging offers precisely the type of inclusive writing genre and inclusive environment for writing development that Elbow (2014) advocates. It is informed by a mixed-method research project which analyses the use of blogs as a formative part of the assessment within a final year undergraduate module, Contemporary Issues in Sports Practice.

Finalised programme to follow soon, in the meantime, don’t forget to check out our other speaker here and the Call for Practice here (which is still open). Book your place here before it is too late!

Cover of Unflattening

I am happy to announce that Dr Nick Sousanis, author of the wonderful Unflattening, is going to be one of our invited speakers in the morning of the ReGenring conference at Nottingham Trent (see here for the Call for Practice). The title of his talk will be ‘Unflattening: reimagining scholarship through comics’ . Instead of an abstract, have a look at this page of Unflattening

Page 64 of Unflattening by Nick Sousanis

Also joining us will be Dr Fiona English, author of Student Writing and Genre, who will facilitate the end of day discussion. There have been some really interesting responses to the Call for Practice, and we can expect examples of genred and regenred work in form of comic books, radio plays, posters, poems, blogs, exhibitions, magazines and videos – don’t forget to let me know if you want to share some practice in the afternoon session yourself!

More info on our other speakers coming soon, don’t forget to book your (free) place here.

After the successful workshop where we explored Genre as a Pedagogical Resource in November, I’m happy to be able to announce the follow-up event: a conference on reGenring Academic Writing and Assessment, hosted by the Trent Institute for Learning and Teaching (TILT) at Nottingham Trent University in conjunction with Writing-PAD.

workshop participants making their own nametags in November

workshop participants making their own nametags in November

We will start the day with invited speakers in the morning (not quite finalised who yet, but I’ll keep you posted!) and give over the afternoon to a sharing session – and for this we need YOUR examples of practice! The idea is to have this fairly informal and give everybody who registers their interest some space to show off some artefacts or practice, that could be via posters or by bringing examples. We are also planning to put together a special issue of the Journal of Writing in Creative Practice (guest edited by myself and Dr Fiona English), so what you bring could be linked to an article you want to write for that (although it doesn’t have to be).

If you are playing with genre in your teaching or assessment practice (in any discipline) and you want to share some of this with us, please email Alke at tactileacademia@gmail.com with a brief description of what you are doing and what sort of artefacts you would like to bring to show. Please use ‘reGenring’ as the subject title of the email and indicate whether you would be interested in contributing to the special edition of the journal.

For more information on the conference and to book your place, please click here.

writing-pad-logo

Come and join us on November 8th 2016 at Middleport Pottery in Longport (near Stoke-on-Trent) to find out about using genre as pedagogcial resource. The first in a series of Writing-PAD events this academic year focusing on genre(s), this day introduces a theoretical framework for exploring genres and their affordances, including a recent example of how this can work as pedagogical practice. Via a tour of this very special venue, we will not only explore a valued English Heritage site, but also use this as a starting point for playing with the idea of genre and regenring in our own teaching practices. The day will also include the launch of the recently published book Writing Essays by Pictures by Alke Groppel-Wegener.

Cost £145 : Includes the whole day, with refreshments on arrival and in the afternoon, a delicious buffet lunch, a special tour of the venue and your own copy of Writing Essays by Pictures.

Book via Eventbrite: https://www.eventbrite.co.uk/e/thinking-through-genre-exploring-genre-as-pedagogical-resource-tickets-28084047141?aff=eac2

(Draft) Programme:

10-10.30 Registration and Refreshments

  • Let’s start the day as we mean to continue by making our own name-tags – regenring a tiny part of conference/symposium tradition into something more expressive.

10.30-11 Welcome

11-12  Genre as Pedagogical Resource by Dr Fiona English

  • Fiona introduces a theory that could frame genre as pedagogical resource, updating thoughts from her book Student Writing and Genre.

12-12.30 Writing Essays by Pictures by Dr Alke Groppel-Wegener

  • Alke shares the story of the development of her recently published book Writing Essays by Pictures, an example of regenring the traditional study skills textbook into a picture/work-book.

12.30 – 1 Discussion

1-2      Lunch

2-3.30 The Pottery and beyond

  • Explore Middleport Pottery via a special tour and then use this experience to start thinking about ways of genring teaching practices.

3.30 – 4.15 Linking Theory and Practice

  • Fiona and Alke start us off using the Writing Essays by Picture books as an example to explore gains and losses of this particular regenring process to demonstrate an example of using the theoretical framework established at the beginning of the day. We will then move into the discussion of the outcomes of your genring activities.

4.15 – 4.45 Discussion of the day

4.45    End

The Speakers

Dr Fiona English is Honorary Senior Research Associate at UCL Institute of Education with a background in linguistics and language and literacies in education. Much of her research has been concerned with student writing and academic literacies, with her book Student Writing and Genre using a social semiotic perspective to explore the relationship between genre and the production of academic knowledge. More recently she has published Why do Linguistics?: Reflective Linguistics and the Study of Language with Tim Marr.

Dr Alke Groppel-Wegener is Associate Professor of Creative Academic Practice at Staffordshire University and a National Teaching Fellow. Having trained as a theatre designer but ending up teaching study skills, she became frustrated with the traditional ways of teaching academic practice, which has led her to develop her own approach being inspired by the creative processes of art and design and collated her strategies as Writing Essays by Pictures: A Workbook for students. She blogs at www.tactileacademia.com.

The Venue

Middleport Pottery is home to Burleigh Ware, which is still made on site using traditional craftsmanship. (And there is a shop where you can get your own Burleigh Ware, too). It was restored with the help of the Princes Regeneration Trust, has become a top visitor attraction and the home of The Great Pottery Throwdown.

It is a short walk from Longport Train Station, a 5 minute train ride from Stoke-on-Trent, and we would encourage participants to use public transport.

Please note that this is an old site and some of the areas are cobbled and might present a problem for people with mobility issues. It is advised that you wear sturdy shoes (no high heels) for the tour, and that you let the organiser know of mobility issues in advance, so that she can discuss your needs.

The Series

This exploratory workshop is the first in a series that will stretch through the academic year and culminate in a special issue of the Journal of Writing in Creative Practice.

Through discussion within the Writing PAD community, we know that very often lecturers, and particularly practitioner/teachers, are doing a lot of interesting things in their teaching, but they seem to lack the confidence to share this work, specifically within the academic conventions of publication beyond a description of what they are doing.

To address this, we have decided to pick the focus of Genre, Genring and Regenring for this academic year, and are organising a series of events that will provide support for this issue and culminate in one (or possibly two) special issues of the Journal of Writing in Creative Practice, guest edited by Fiona English and Alke Groppel-Wegener.

The other events in planning are:

  • a first follow-up in February 2017 which explores the traditions and conventions of academic writing. There will be speakers in the morning, which are still to be confirmed, but we are talking to Julia Molinari, Lisa Clughen and Julia Lockheart, who will explore academic writing as a genre ‚Äď and discuss the changes it is going through. The afternoon will be given over to a sharing session/exhibition where delegates have the opportunity to show off examples of their genre-ing and regenring practice, either as artefacts or in a poster format. The will allow the opportunity for people to share best practice, but also to get feedback and ideas for potential research designs in order to explore their practice more and on a more theoretical level. This event will probably be held at De Montford University in Leicester.
  • A second follow-up in the form of an academic conference, either at Easter time or early May 2017. Here people can share their practice in an academic format, and those presentations could use the feedback from the conference to inform papers for the Special Journal edition. This might be hosted at Nottingham Trent University or Staffordshire University.
  • If there is interest, there are plans for a writing retreat to facilitate the writing of the papers, possibly at Nottingham Trent University.

We are currently investigating funding to keep costs down, but it might be the case that we need to break even on this. You will not have to attend all these events to be considered for the special issue, but as we are trying to build up a mutually supporting network, it would be nice if you could come and join us at as many as possible.