292. From Suarez’s Basement

Students often do not see themselves as having the potential to become the experts that will define their field. In this episode, Francisco Suarez joins us to discuss his podcast project which is designed to supplement class activities and to connect students with professionals. Francisco is an Assistant Professor of Communication Studies at SUNY Oswego and as the host of From Suarez’s Basement, a video podcast that was a recipient of the 2021 Communicator Award of Excellence by the Academy of Interactive and Visual Arts.

Show Notes

Transcript

Rebecca: Students often do not see themselves as having the potential to become the experts that will define their field. In this episode, we discuss a podcast project designed to supplement class activities and to connect students with professionals.

[MUSIC]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer…

Rebecca: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

[MUSIC]

John: Our guest today is Francisco Suarez. Francisco is an Assistant Professor of Communication Studies at SUNY Oswego and as the host of From Suarez’s Basement, a video podcast that was a recipient of the 2021 Communicator Award of Excellence by the Academy of Interactive and Visual Arts. Welcome, Francisco.

Francisco: Thank you for having me. This is awesome. I’m glad to be here.

Rebecca: Today’s teas are: … Francisco are you drinking tea?

Francisco: I’m drinking a delicious tea, it’s an imaginary tea. [LAUGHTER] I have this beautiful tea cup that I’m opening right now… sorry for the sound… that say Tea for Teaching, which is the name of the podcast. And yeah, having a delicious hot tea. [LAUGHTER]

John: And I am drinking a cranberry blood orange black tea from the Republic of Tea.

Rebecca: Oh, that sounds nice. I don’t think I’ve had that one. John,

John: We have plenty of it.

Rebecca: I’m sure I could stop buy and get some.

Francisco: How about you?

Rebecca: I have just an English breakfast today. I think. No. Yes. It’s been a long day already. Yeah, I think it’s Awake tea which, I think, it is English breakfast. It has a name called Awake, but it is technically an English breakfast tea. That was way more information than anybody needs.

John: We’ve invited you here to discuss your video podcast. Could you tell us a little bit about the focus of the podcast?

Francisco: Sure. First, thank you for having me. It’s always good to be between friends nd this is a very cozy environment actually. I have to say we’re having tea. Well, From Suarez’s Basement, you can imagine, [LAUGHTER] it was created in the basement of my house during the pandemic, I was trying to find something to do to don’t go crazy or make my family more crazy than we already were stuck at home and to put my creativity to work. So I decided to start a podcast that has to do with experts in the communication media and the arts, visual storytelling in specific because that’s what I love. And the idea was to create bridges between experts in those fields, and the audience, which is very much concentrating students and faculty. That doesn’t mean that the podcasts doesn’t have a general audience. So I started in the basement of my house, very small, like everything that we started with a small idea, and having grow very much, which I love it. And again, we have conversation with those experts that are working behind some of your favorite TV shows, or films, produced shows, artists, musicians, you name it, anybody who can bring me a good conversation, that’s where I’m interested in. You can sometimes have guests like me talk a lot or guests that don’t talk a lot… nothing… zero. But that’s how we start.

Rebecca: You mentioned that you started it during the pandemic to keep those around you from going crazy and yourself…

Francisco: Ah yes.

Rebecca: …not to go crazy. But clearly you had some other motivations…

FRANCSICO: Yes.

Rebecca: …probably around students and things. Can you talk a little bit about that?

Francisco: Yeah, of course, the part ofnot going crazy is the joke part. The serious part about the podcast is that I believe very much in the interaction of my students with the professionals in the field. I’m in love with education, I’m in love with the process of mentoring the students. So to give this opportunity to students to have conversation with cinematographers and set design, costume design, you name it, was always the intention, to create this connection between the students and those experts. Because you know, the funny part… we all are professors here… a lot of our students in those chairs, and they never realize that that person that you admire so much was once sitting in that chair, too. They see us so far away. It’s like, “Oh, my God, I’m going to talk to the set designer of Bridgerton.” It’s like, “Wow, this is amazing,” like, “but this person was you in some point in life.” So if we can create that connection, I think, that’s what is the beauty of the podcast is to see the students realizing that that person or the other end is no much different than you. So the motivation is to really keep my students engaged and optimistic about the future, especially when the pandemic hit, I think, we all were not very optimistic. But students in general were like, “Okay, what is a career’s going to be? Where I’m going to find a job?” So I say, if these people that are actually working in this industry can give some kind of wisdom to the students, I think they will feel a little more better, then things will get better. So that’s how we start but again, little by little it grows. So it’s all about education, connection, networking, and created a sense of belonging to industry. That’s what I like.

Rebecca:I know one of the things that John and I experienced when we started this podcast is we started with some of our local colleagues and started branching out and then we were continuously surprised by how many people would agree to come on to share their experience and expertise. And you’ve had some really wonderful guests on your podcast. Can you talk a little bit about what that experience has been like?

Francisco: Yeah, it has been fantastic. I cannot say who is coming in season five, but now I’m just recording season five, and have this amazing conversation with a Grammy Award winning singer, and I’m like I cannot believe I’m talking to this person. But not only that is a conversation that makes it so special, truly, truly special. So how that happened is like everything right? It’s true. When I started my first guest, and all my guests are important, but what I’m saying were people that I knew: friends, professors from here, from SUNY Oswego, until I start getting the point where my first big guess was the production designer for Game of Thrones. She’s not only produced Game of Thrones, and a lot of other TV shows and movies, so she was a big deal. And because of her, then other people start following her. I think, and this is important, because the podcasts have an educational component to it, that makes a big difference. When I send the emails to the managers or the agents of these experts, I’m always very clear this is not about just gossiping. I don’t want to know if you broke up with your boyfriend, or whatever. This is about, I wanted to understand that this is an educational tool. And I think that educational component have allowed these very prestigious guests to say, “You know what, I can take 20, 25 minutes of my time, and be sure that I can contribute to the education of the listeners of the podcast. So little by little have been growing and as soon as you get kind of a big one then other ones start following. But like I say, for me, the titles, if you want to call it titles, or awards are not necessarily the attractive aspect. Is this guest someone who’s going to give me a good conversation, and that I’m going to learn something new from it. So you can have Oscar winners and Grammy winners and Emmy winners and all these stuff, but in fact, I’m not going to say who, but I was very excited about this guest, I was like, “Oh my god, this is awesome.” Oh my, it was so difficult [LAUGHTER]… dry, dry, like yes or no answers. In fact, at some point, I was doubting to air the podcast, because it really wasn’t too much there. But again, I say, “Well, it’s a big name like it will bring other people into the equation.” So I did air it, you can guess. What I’m saying is that you never know what you’re going to get. But the process of getting these prestige experts are getting easier because of the educational component of the podcast, and because now the list is getting better and better.

John: One of the things we found following up on this was that we had a few big guests as you did that brought in a much larger audience, but one thing that really amazed us was how many people would agree. I found it much more difficult to get some of our own faculty and the people we know to join than people we’ve never met. That surprised me quite a bit in terms of how many people agreed to be on it. Do you get a lot of positive responses?

Francisco: Yes and no. I sent around 20 email, from those 20 emails, I get around three. So that’s the average more or less. It takes me 20 emails to get three of the possible guests. And then it’s a back and forth between agent, a manager, and then time commitment. So it’s difficult in that sense. But I get around three from 20 emails that I send. And then from people that are my friends, and now that the podcast is growing, the other ones are like “I can be in your podcast, like I would love to talk about this and that. I found people from the UK that are big, big, big in their field, I just interviewed the director of Ted Lasso, which is one of my favorite shows right now. He’s from Ireland, actually, the sweetest guy ever. And he was so humble, so easy to talk. So for some reason, some people from the UK seems to be very approachable in compare with maybe some people here in the US where it’s like, “Oh, he doesn’t have the time or she doesn’t have the time or they don’t have the time,” like “email us in three months.” And I do. In three months I’m going to be emailing you. It’s cool to see students like “How professor? How? You say “because I told you nothing is impossible.” Like that is the point. If you ask this question to yourself, and I say this to a lot of my students that want advice, “What do I have to lose?” And the answer is probably nothing. I don’t understand why you will not do it. So I don’t have nothing to lose to send an email to Tom Hanks. What is I can’t get? No he’s too busy. Which probably he is. But you will be surprised. Maybe the guy is like, “Well, yeah, sure I come 20 minutes to talk to this crazy Latino guy.” I don’t know, but I don’t have nothing to lose. Right? And that is the beauty of it, when students see reflecting themselves into the process, that issue is not much that you can lose.

Rebecca: How have you used your podcast in teaching and within your department?

Francisco: The teaching aspect is that if you go to the website, which is fsbasement.com, we have there a tab that is called teaching resources. What I do is I record both, I record video and I record audio, in the two formats. Those videos are being used already by faculty members not only in my department, but outside of SUNY Oswego, which is also very excited when I get an email from a professor from NYU, or from USA, or any other university to say, “Hey, you know, I’m loving what you’re doing, I got to show your podcast about production design or set design in my Set Design class, because the amount of knowledge studies combined in those 30 minutes is amazing. It really is.” My goal is hopefully to write a book, not necessarily about podcasting, but about the knowledge absorbed to those… we are now season five, so we’re going to have already like sixty episodes already produced. But I ask, for example, one of the questions I asked to the guests, that is a common question is about perseverance and rejection. And it’s so good to hear so many different guests talking about how to deal with rejection, and what it means to persevere in an industry that you most have that in you. So is a lot of knowledge there that for me, I want to be sure that the podcast doesn’t end just with the first air of the podcast. So professors of any university can go to the website, go into the tab of teaching resources, and they can found by category… if you teach cinematography is a bunch of videos there with cinematography; if you teach set design, there’s a bunch of video of set design. So it allows easy access to these interviews that are more or less a short masterclass, I think is great.

John: Do you use assignments with your classes based on the podcast? And if so, what types of learning activities do you use?

Francisco: And in fact, if you go to that tab, not only i give you the video, but I give you already what you can do in your class. So it’s basically you go there, and you have a whole day of lecture where you can watch the video and then you say, “Okay, you can do these activities based in what the video is about it.” So if you go there, you not only have the video, but you have activities or questions related to the video. You can do kind of a short quiz of okay, what do you learn through these videos? So the questions that are already there. The actual episodes have the questions that we did in the episode. So if you are a professor and you’re looking for a specific question about how to build a set in the desert, you probably will find it there. And you just can use that piece of information for it. So each of the episodes have an assignment, put it that way. It is a lot of work, because we need to pull apart the episode and be sure that what is here, where were the questions, what kind of assignments we can do is some bit of work, but I love it. That’s exactly what the podcast is about.

Rebecca: Well with all those nice assets that you have going with the podcast, I imagine that’s why you’ve decided to do seasons…[LAUGHTER] to help manage that a little bit.

Francisco: Here’s the thing. The market is telling you, I want my podcast delivery very much at the same day, same time, with this timing periods. Our podcast is bi-weekly. So is every two weeks that come out. But having seasons allow me to say okay, we need to get a break. Normally the break is during the semester, because I’m too busy with other stuff. And then I use summer and part of the fall semester to do everything I have to do with production, post-production, and then I accumulate, let’s say around 12 episodes. I try of course, as information is no by any specific time. So we don’t talk about things that happen necessarily in a specific week or month or things like that. So I can air an episode six months later if I want. But yeah, I like it. I like to talk like you can see. [LAUGHTER] So it’s perfect for me. [LAUGHTER]

John: We’re still on our first season….

Rebecca: Yeah.

John: …and a very, very long season. We did have a break last summer, literally actually, when a car ran over my leg and broke it. So we took four weeks off for that.

Rebecca: ….first four weeks ever, John.

John: …the only time we’ve ever missed publishing an episode. It’s nice to be back on track. At times a break would be appealing…

Rebecca: Yeah.

John: …but it’s still fun, so we’re still doing it.

Rebecca: There was a design education podcast that I listen to a lot that, it wasn’t video, but it has a similar kind of feel to your podcasts that I used to use all the time when I was teaching our capstone class. And I’d pull out like portfolio ideas and application ideas and like collate little snippets from various things and students really responded to of hearing someone else say the same things that I would have said anyways.

Francisco: That is always the case, right? It’s crazy. It is. it is. Listen, is no easy job. But for me the hard part is not the production process, is more the breaking noise process. Because of digital era, we are very lucky to be sitting here and having a great conversation and for me podcasts is the new mass communication, a way for people to be able to express themselves. I always say it’s not about quantity. It’s about quality. He doesn’t matter if you have 200 listeners to 2000. As long as 200 listeners come to you every week, that’s what you’re looking for. But the issue is, because of the digital era, there’s so much noise out there, unbelievable amount of noise. So I think I spend more time sometimes not even producing and getting the guests and all this stuff, is how I’m guarantee these awesome interviews I have with any of my guests can reach where I want you to reach. So the whole TikTok, on Instagram, and is quite a lot. Because again, there’s a lot of noise out there. So you need to figure out what is the best way to reach your audience, for sure.

John: You talked a little bit about how these podcasts can be used in classes, how have students responded in your classes to the podcast.

Francisco: Very good, I think very good for two reasons. First, because again, the main goal of the podcast is to create a bridge between the experts and the students. And the actual episode brings so much knowledge to the students. But I do see it’s something very special when students see his own professor struggling with a project and putting the time and the effort in that project. It’s almost like I’m walking the walk, I think it’s how you say here, right?

Rebecca: Um hm.

Francisco: I think that creates a student sense of okay, this guy is also trying to get to a goal to a specific dream that I have. So I think that create a very interesting relationship with your students. I don’t talk about how you do your podcast in the sense of my own experience, but not only the sense of what the theoretical aspect, or academic aspect of the podcast is, but by my own experience. So that creates a different type of relationship with your students. But they have been reacting very well. I put them… I don’t overdo it, because I feel also like, “Okay, this guy is like so full of himself. Now, he wanted me to watch every single episode.” But when it’s an episode for example, in my screenwriting class there’s two episodes there that for me are gold. One is with the writer of Only Murders in the Building, he’s a-co creator and writer of it. And he explained very interestingly, how to write for a crime show and how it works. And then the other one was, he’s a creator and writer of Inside Number 9, which is a British show. She’s fantastic and he had been the reason for so many years. And he gave a lot of good, good information about character development, what it means to develop your character first before you develop your plot. So I use those episodes as an amazing way for them to be able to get that information from these experts. So then I test them the next day, they have like a short quiz about it, just to be sure that they really watch or listen to the podcast. So they have been reacting quite well. One of the assignments I’m doing in my screenwriting class is that they need to write an episode of Inside Number 9, based on what they learned from the actual creator of the show. And that worked really, really well. It’s very interesting to see what they write. The whole premise of the show is episodical, so it means each episode is a different story. So they don’t match. But one of the things about the show is that it always takes place in one specific location. So there is no switching location. So it can be Inside Number 9 can be inside warehouse number nine, or inside aeroplane number nine. So all the plots take place inside that space, and that’s very difficult to do. [LAUGHTER] And they are brilliant. The stories are fantastic, so I 100% recommend that. What are you watching these days?

Rebecca: I don’t want much watch TV. [LAUGHTER] Not a good conversation. I don’t watch much TV. [LAUGHTER]

John: I don’t either, but Only Murders in the Building was a really good show.

deal.

Francisco: It was amazing.

John: I’m looking forward to the third season.

Francisco: Yeah, I’m very looking forward to it too. It’s very well written.

John: Meryl Streep is going to be on the third season.

Francisco: Yeah.

Rebecca: If the target audience isn’t like five year olds. I’m not watching it, you know. [LAUGHTER]

John: It might work very well work, hough, because you’ve got Steve Martin there and you have….

Francisco: Martin Short. Yes, yes, and Selena Gomez, which has been a revelation to me how good of an actor she is. But also love to see her interacting with these more mature actors. And it’s a great, great show. I am a TV junker because, well, first, that’s what I teach. [LAUGHTER] But I watch from reality TV to, you name it. And the beauty of it is that streaming media have allowed openness of storytelling that we didn’t have before. Maybe a little oversaturated at this point, but it still, I think, is in for our students here how at SUNY-Oswego or any students who want to pursue storytelling it’s a fantastic time because 20 years ago, maybe, the hallway was very narrow. You go to NBC, CBS, the regular networks. Now it’s like hunting season all these…Apple TV and Hulu are looking for new content and that allow our students who want to pursue that to have a better opportunity to tell the stories that we didn’t have before.

Rebecca: It’s certainly an exciting time to be in that field.

Francisco: It is, it is. I watch a lot of things and sometimes, I’m amazed. So much like washing many films, the production value. Well, Game of Thrones is a good example of a brilliant production design where I always say, in order for you to have a good visual storytelling, you need three aspects: good writing, good acting, and good production value. If one of those three aspects are no present fully in their full potential, you lost me as an audience. So writing, I started watching shows where something’s like, “Man, this is bad writing,” like the way their characters are talking feel very cheesy. Then acting, well, we know what acting does, right? You can really have a beautiful script. But if I don’t believe that you are rocking hard, oh, I’m out. And then production design, I’d say, “Well, if the dragon doesn’t like a dragon, I’m out.” So it’s the combination of those three things. And I think what I tried to teach in my classes is that… depends on the class, right? …if you are in the screenwriting class, you are concentrated in the screenwriting aspect, but if you are in the video production, isn’t only about how to frame, isn’t only about how to shoot, it’s the production value. And I love when students get out of their dorms because I say “I don’t want to see the lake, please don’t show me the lake, I see the lake too many times at this point and try to film your stuff outside your dorm room, so you feel real.” So of course, they need to work harder. And they need to go to downtown to a diner and ask for permission to record a dating scene in the diner and I say, “Well, that makes a huge difference.” It’s not the same to record a dating scene in Lake Effect Cafe here on campus grounds, going to an actual diner create a different reality. So anyway, that’s my approach. But that’s what I love so much watching TV to actually peek in those things.

Rebecca: Yeah, I can imagine students really digging the idea of getting to hear from a writer or a producer or a set designer, and then doing a project based on what they’re saying. Because it does provide that frame for something that feels real…

Francisco: Yes.

Rebecca: …and not forced, which I think a lot of students struggle with.

Francisco: Yeah, the other thing that I think is important is that I try to have co-hosts in the show. And I invite students to be part of the co-hosting, because they bring a completely different perspective. I could have my very fancy intelligent questions, I guess, but the students really have all the questions… actually sometimes surprised me. it’s like, “Wow, this is such a good question.” So bringing students is really important for me to have those co-hosts. And the beauty of it is, I do have three examples at this point, of students who have been co-hosting my shows, and these three students are now working for the guests, because that relationship is established because the guest was so impressed so impressed with the questions and the maturity of the co-host. I love it when someone says “Professor Suarez, you’re not going to believe it, I’m going to do an internship with blah, blah, blah. And then they call me and say “By the way, I’m actually not working full time as an editor. I have a student who’s doing a first set design called a set design assistant for some shows in NBC. But that bridge was because of the podcast. And that’s what it’s all about. In the website actually is the final tab of the website is something called mentoring program where students can sign up… somebody who is looking for a mentor. But also my guests can sign as a mentoree, so they can actually dedicate 40 minutes of a student meeting with some of these students. So it’s all about creating this community. And you’re a good example, the podcast is just a tip of the iceberg. It’s just a sense of communication. But it’s about creating a community of people who love education, who are in education and academia. And so I think that sense of community is very important for me.

John: We always end with the question, what’s next?

Francisco: What is next? That is a great question. I want to find other platforms to distribution of the podcast. That is very important to me. So more people that I can reach the better. I think that’s a goal we all podcasts have. Not for the sense of the quantity again is for the sense of the quality. Now, From Suarez’s Basement is a PBS WCNY radio station, which is great because it’s giving a huge platform of people listening to it. Of course, it’s in their regular Apple podcasts and Spotify, and those kind of regular things. But I would like to see if I can get all the kind of distribution, especially the visual aspect of it, to see if we can put those videos to work in another way. But more than that, my aspirations is to be persistent, to keep going. I think that is important. I think that this project, in the specific, are teaching me that if you put in the hard work and you keep going, it get back to you. And I think students in this day, or this generation in general, we are living in a time where immediate gratification is all about you post something, and you get 200 likes in two seconds. So they feel like, “Oh, if I don’t get 200 likes, or if I don’t get 200 followers, or I’m going to drop this, this doesn’t work.” And then I’m saying, “Oh, actually, that’s not how it works.” When you say what is next is to remind myself that this is a long trip. And I’m willing to go into that trip and see what cool things come on my way, awards or new guests or being here with you guys. But, what I what is next? I’m not sure. Hopefully, again, reach more audience and the podcast is used more and more by other universities. And the book, I want to write a book, again, not necessarily about how to podcast. There’s so many books already out there about podcasting and what kind of equipment do you need. I want a book that brings the experience of these experts into a text that, if you read it, you can learn very much from these interviews, for sure.

Rebecca: Well, thanks so much for sharing this great project with us.

Francisco: No, thank you for having me. This is fantastic. And I’m loving my imaginary tea here. [LAUGHTER]

[MUSIC]

John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts and other materials on teaforteaching.com. Music by Michael Gary Brewer.

[MUSIC]

277. Write Like a Teacher

Teaching faculty regularly help novices acquire new knowledge and skills. These same skills allow faculty to write effectively for audiences beyond their academic disciplines. In this episode, James Lang joins us to discuss his new book that is designed to help faculty write for broader audiences.

Jim is the author of six books, the most recent of which are: Distracted: Why Students Can’t Focus and What You Can Do About It, Small Teaching: Everyday Lessons from the Science of Learning (now in a second edition); Cheating Lessons: Learning from Academic Dishonesty; and On Course: A Week-by-Week Guide to Your First Semester of College Teaching. He is currently working on a new book, tentatively titled: Write Like a Teacher. A former Professor of English and the Director of the D’Amour Center for Teaching Excellence at Assumption University, he stepped down from full-time academic work in 2021 to concentrate more fully on his writing and teaching. Jim has served as a keynote speaker and workshop leader at over 100 colleges and universities, including SUNY Oswego.

Shownotes

  • Lang, J. M. (2020). Distracted: Why students can’t focus and what you can do about it. Hachette UK.
  • Lang, J. M. (2021). Small teaching: Everyday lessons from the science of learning. 2nd ed. John Wiley & Sons.
  • Lang, J. M. (2013). Cheating lessons. Harvard University Press.
  • Lang, J. M. (2008). On course: A week-by-week guide to your first semester of college teaching. Harvard University Press.
  • The Saratoga Tea and Honey Company
  • Articles by James Lang in the Chronicle of Higher Education
  • Sarah Rose Cavanagh (2023). Mind Over Monsters. Tea for Teaching podcast. Episode 272. January 18.
  • Julie Jensen
  • Sathy, V., & Hogan, K. A. (2022). Inclusive teaching: Strategies for promoting equity in the college classroom. West V

Transcript

John: Teaching faculty regularly help novices acquire new knowledge and skills. These same skills allow faculty to write effectively for audiences beyond their academic disciplines. In this episode, we discuss a new book that is designed to help faculty write for broader audiences.

[MUSIC]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer…

Rebecca: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

[MUSIC]

Rebecca: Our guest today is James Lang. Jim is the author of six books, the most recent of which are Distracted: Why Students Can’t Focus and What You Can Do About It, Small Teaching: Everyday Lessons from the Science of Learning (now in a second edition), Cheating Lessons: Learning from Academic Dishonesty, and On Course: A Week-by-Week Guide to Your First Semester of College Teaching. He is currently working on a new book, tentatively titled: Write Like a Teacher. A former Professor of English and the Director of the D’Amour Center for Teaching Excellence at Assumption University, he stepped down from full-time academic work in 2021 to concentrate more fully on his writing and teaching. Jim has served as a keynote speaker and workshop leader at over 100 colleges and universities, including SUNY Oswego. Welcome back, Jim.

Jim: Thank you.

John: Today’s teas are: … Jim, are you drinking tea?

Jim: Of course. Always.

John: …still David’s Tea or some new tea?

Jim: No, actually, I have two children at Skidmore. And there’s a tea shop there called The Saratoga Tea and Honey Company. I have to go to Saratoga Springs every few months, and I stock up on tea there. So I totally favor robust black teas, so I’m either drinking English breakfasts or Irish breakfast, Irish breakfast gives you a little more of a boost.

Rebecca: It sure does, it’s one of my favorites too.

John: And I am drinking a Tea Forte black currant tea, but with some honey from Saratoga Tea and Honey.

Jim: Ahh!

John: I love that tea shop. I go there at least two or three times a year. There’s lots of conferences up there.

Rebecca: Yeah. And I have Awake tea this afternoon, so I can be more awake this afternoon. [LAUGHTER]

Jim: I know that feeling.

Rebecca: We’ve invited you here today to discuss your new book project. Can you tell us a little bit about the project?

Jim: Sure. So this is my first book focused on writing, even though I’ve always been interested in writing and about how academics can reach wider audiences for their work. And the premise of the book is that the reading experience for nonfiction work, whether it’s an essay or book, should be a learning experience. And so we want to think about how do people learn from the page, as opposed to learning in the classroom or outside of the classroom in real life settings. And so the argument that I make is that those of us who teach, whether we are academics or teaching at other levels, we have either sort of education or experience or instincts that help people learn. And so this knowledge that we’ve gained from like a doctoral programs, or our teaching experiences, or we have good instincts about what to do in the classroom, and we can take that knowledge and put it into our writing practices in order to help create good learning experiences for people on the page. So that’s the core argument of the book. And what I try to do is bring together the many years I’ve been writing about teaching and learning, and sort of take the research I’ve done and arguments I’ve made about effective teaching, and to put them into this new context. And my goal really is for academics who want to try to reach out to broader audiences, whether that’s academics outside of their discipline, or even outside of academic readers altogether, and to help them achieve the goals that they might have about how to promote their work. And a big part of it is we have the opportunity to make the world a better place, if we can help readers understand the importance of the work that we do. So that’s kind of a sense of what’s kind of driving me into these arguments. I think it’s a good idea if they can, and they’re interested in doing that, reach out to readers outside of their discipline and I want to be able to help them to do that.

John: So much academic writing is written to a very narrow academic audience, which tends to exclude most people from reading the work that most academics do. And as you said, academics, especially those who are heavily involved in teaching, have skills in taking complex concepts and trying to relay them to an audience that does not have the same background. But most academics don’t tend to do that. And you seem to be in a really good place to write a book like this, given all the writing that you’ve done, your role as the longtime editor of The West Virginia University Press series on teaching and learning, as well as your role as a faculty member. So how did these roles come together to help you prepare for this book? 4:09:25

Jim: So obviously, I’ve had a lot of experience writing as a writer myself, trying to reach out to outside audiences beyond my discipline. And I think one of the things you just said is important. Most academics know how to write like, this is something we have to do to get degrees and promotion and tenure and all that kind of stuff. We know how to do it. But when we’re writing to other academics, they’re in our discipline, so we have a lot of shared disciplinary background information. And then we also can sort of assume a little bit more attention to our work, essentially, from disciplinary readers because I can push your attention a little further than I can someone who is outside of the discipline, so like, you’re willing to stay with me for a little bit longer to go a little bit more deeply into the core ideas. But a non-academic reader needs more information, they need some more background information. They need to be kind of guided along with kind of signposts along the way, to be told stories, kind of different forms of evidence. So all these things are things that we do in the classroom. And so I think one of the things I really want to be able to do with the book is to sort of empower people. And my work as a writer about education, I view that as empowering as well. I want to be able to show people, for example, in my book on Small Teaching, I want to show people, there’s a number of small things that you can do, that are going to make a difference. And I hope that’s an empowering message, and I hope this message will be the same for writers. You know how to do this stuff, you’ve been doing it for a long time, and you’ve seen that other people do it. So it’s a kind of a process of kind of taking your knowledge here and just applying it to a new context. Now, to get to your question, I’ve been trying to do that for a long time. And I have a column I’ve written for the Chronicle of Higher Education, I’m approaching 200 columns at this point. And then I also have always been interested in seeing where else my writing could go. I like to challenge myself as a writer. So I’ve reached out to places like newspapers and magazines, and probably have a couple of dozen essays published in those places. And some of my books also kind of reached out to broader audiences. So first of all, I was drawing from my own experiences. And that’s not just about the writing, but also the process, like what does it look like to reach out to an editor, for example, at a major newspaper and try to get your work in that forum. So with the writing, but also then the process of getting yourself published and promoting your work, the book kind of covers all that stuff. But also, I think the reason that I really kind of wanted to address this topic is because I edit a book series as well. And so I’ve acquired, I think, 15 books for that series. Now, I co-edit with Michelle Miller. But I did probably all those first 12 to 15 ones that I worked with the authors all the way through from the first getting that query email to getting it through being approved, revised, and then getting it out there and trying to help them with promotion. So like guiding multiple people through that process, which I love, it’s like one of my great joys in my life now is to help people get their first books published. I really learned a lot. And I kind of found myself saying the same thing to authors, like, “Here’s a few things that you need to do that can help make this book more successful.” And so with that knowledge, I kind of want to say, “Okay, I want to be able to put this stuff down.” I get all these hopeful email queries when people have a lot of hope in their voices, or even on the page. And, you know, they want to get their books published, and they’re stumbling on some very common obstacles. And so I wanted to be able to have this stuff available in print so I could not only share with those folks, people who are looking to publish with us, but anybody who wants to publish, whether it’s a book or even an essay. So I do try to cover both of those things as well, writing books, but also writing about essays or various kinds of media platforms: newspapers, magazines, websites.

Rebecca: It’s interesting, because no matter what discipline you’re in, you’re usually trained on how to publish in a very particular way. And then all the other ways seem very mystical.

Jim: Absolutely, that relates to the fact that we’re so very familiar with the sort of processes and the kind of arguments that we make in our discipline. But then we kind of just jump a little bit away from that and we’re kind of in a different world. That’s true, not only of the publishing process, but also the writing process. So like, one of the things I often have to explain to authors is you have a disciplinary tradition of evidence. So in your discipline, evidence looks like this, right? It’s numbers, or its experiments, or its literary texts, whatever it might be, but you’re trying to reach now beyond your discipline. And so those people are completely used to seeing evidence in this form. And it’s fine for them to just sort of stay in that place. But when you’re reaching out to other readers, in the same way as a teacher, you have to try to reach out to multiple kinds of learners, you have to do the same thing as a writer. So yes, I might write for an audience of people who are interested in writing in literature, but I have to be aware that some people are gonna say, “Okay, well show me the facts,” essentially, right, or the statistics, or what experiments have been done to sort of show this is really true? So like, as a writer who’s trying to reach people from multiple fields, or even outside of academic fields, I need to think about how am i varying my evidence? What kind of evidentiary traditions am I drawing from? So like, when you start looking at these kinds of things, you see, yes, the things that I normally do in my academic writing, I have the skills, and I just have to learn to kind of expand them a little bit and sort of move them around a little bit in order to reach some different kinds of folks.

John: We’ve been doing two reading groups a year here, and most of the books that we’ve worked on have either been books that you’ve written, or books in the West Virginia University Press series. And there’s some things I’ve noticed that tend to be common to all of those. And I’m curious to see if you’d agree, [LAUGHTER] but all of them are very solidly backed by evidence with appropriate citations, either in the footnotes or in the bibliographies. But they all tend to be free of disciplinary jargon and they tend to have a lot of use of narrative where they’re bringing in examples with actual faculty members from a variety of disciplines, showing the wide range of applicability of the techniques that are being discussed. Was that something you tended to focus on explicitly? And is that something you encourage faculty moving into these new areas to focus on?

Jim: Absolutely. I mean, those things are definitely core messages that I’m giving to authors. The first is having some kind of practical application to it. Now that should be a true teaching book, right? There’s to be some kind of takeaway for the reader. But no matter what you’re doing, I always try to emphasize to academic authors, there should be something that the reader can take away that’s concrete. It might be a new way of thinking about the world, but it could be new advice about something, how to do something differently in your life, join a movement, or make a change in something you’re doing. So having some kind of takeaway, I think, is really important. But again, when talking about the sort of evidence piece of this, the fact that stories are really important in this because stories, they’re not like a logicians perspective, maybe they’re not the best forms of evidence, but they still really help people understand the ideas, and so they put the ideas into sort of a place where I can try to relate them, and see like how my experiences compare to the experience in the story. And so one of the things that I often will see academic authors who have this sense, “I should give an example or two,” those examples are often very lifeless, they’re like a one sentence sort of very abstract description of something. And I try to say to people, “Look, if you’re gonna tell a story, tell it well, use images, give me a little bit of detail about it, the story is going to really resonate with me when it’s a story that I kind of enjoy reading and that I can somehow try to relate to.” I kind of came to this discovery for myself as a writer, because I typically tell some personal stories in my own writing, right? So Small Teaching includes a story about me ordering green tea at my local coffee shop. And so what I’ve discovered is that when I go to like conferences or workshops, people will remember that story. And they’ll use it to kind of reach out and make a connection with me. And so like, I’ve also had people say, “You told this story about teaching your daughter how to drive and then I was thinking about that when I was doing the same thing and I had the same ideas that you did.” And so it creates these opportunities to let people share their own experiences with the book or with the author. I try to tell people, you don’t have to share your whole personal life, but just occasionally, having stories like this, whether they’re about you or somebody else, they do help people see the material in a new way.

Rebecca: It definitely makes them far more readable and brings things to life. I’m curious about this book project and the timing, and why write this book now?

Jim: Yeah, so this book is sort of coming out of, first of all, the West Virginia University series definitely has been growing and so it’s really kind of exploded in terms of the number of titles that we’re putting out. And so seeing more and more of these kinds of issues coming up in the proposals in the books that we are seeing, and so I wanted to try to get these ideas out, as I’m going out through new manuscripts and working with new authors. That was a part of it. I also had a kind of big personal issue that came up with me over the last couple of years. And so that gave me a new sense of commitment to this kind of work, not only teaching for me, but also about writing. And you kind of feel like this kind of sense of that I wanted to start working with writers in a more formal way, both in this book, and then maybe going forward and also doing more developmental editing for academic authors who would like to expand their audiences. So this is like a moment where I’m trying to make a transition here. I still want to teach and I’m still going to write about teaching. But I do want to also think about moving more into the space of working with writers and writing about writing myself. And part of that was… the short version of the story, which is a long story. [LAUGHTER] In October of 2021, I was diagnosed with something called myocarditis, which is inflammation of the heart. And that often heals itself for people when they get it. But in my case, it went the other way, this happens sometimes. It kind of essentially destroyed my heart over a space of a few weeks, the time between I went into the hospital, just because I was having like an irregular heartbeat… otherwise, I was fine… and the time I was on advanced life support, it might have been two weeks. And so this sort of crashed into our lives. I was on advanced life support for a couple months. I wasn’t expecting to survive, but I did. And I got a heart transplant and I had a stroke during the surgery, which is a long surgery. I woke up from all that. And finally, initially, I couldn’t speak also because of the stroke I had. It was complete aphasia, so I had to learn to speak again with flashcards and speech therapy, and my wife would work with me every day. So after all of that, that kind of focuses your mind a little bit, it kind of helps you realize, okay, you only got so many years left on the planet, what do you really want to do in those years? And so it has helped me realize that I want to still continue teaching. I’ve made incredible connections across the world with teachers by writing about teaching, and I love to talk to academics. They’re the audiences I feel most comfortable with. But I feel like at this point, now I have something different to offer them, not just sort of advice about teaching, but also to help them become more successful as writers.

John: And now you’re sharing it with writers, not just the dozen and a half or so writers you were working with at West Virginia, but with writers all over the world. And I think that’s providing a really nice service.

Jim: Thank you.

Rebecca: It’s amazingly incredible, for sure.

John: We’re awfully glad you have recovered so amazingly well. And I remember seeing you post about that on Twitter after you were already in the process of recovering and I had wondered why you had gone into the background there and you hadn’t posted anything for quite a while and it was a bit of a shock. And I think when you posted that you got many, many people commenting.

Jim: Yes, yes, definitely. The community was very supportive, not only the community of my family and my friends here where I live, but also many people around the world, sent me messages and asked about how things were going and offered support and prayers and thoughts and all that stuff. It was very heartening.

Rebecca: You mentioned multiple times about kind of shifting gears a little bit or shifting focus. But to me, if we look at the things that you’ve been involved in, and the things that you’ve written about, you’re really staying true to faculty development. [LAUGHTER] It’s just faculty development with a slightly different focus, but certainly the kind of support that we’ve seen from you in different ways of faculty life.

Jim: Yeah. And actually, in my last years at Assumption, before I decided to step away from full-time academic work, I was moving in that direction as well, because I was responsible for our new faculty orientation as the director of our teaching center. I like to work with junior faculty to help them navigate the different channels of academic life, including service and research and teaching. And so because I had visited so many other institutions where I had often been invited to give workshops or lectures, and had visited many teaching centers and had opportunities to have dinner with lots of people around the country and talk about academic life, I felt like I was kind of gathering a lot of good ideas from all these different places. And I wanted to be able to bring those ideas back to my own campus. So I was always trying to give this information or these ideas or this advice to faculty I knew and were working with. And again, as I’m kind of just stepping away from those concrete roles on campus, although I’m still going to continue to teach on a part-time basis, I want to be able to keep expanding that work outside to other academics who could benefit, not only in their teaching, but also in their goals as writers too.

Rebecca: I think it’s helpful to hear stories as faculty think about different ways that their faculty lives unfold over time, and how that might evolve, as they shift focus on things and maybe want to focus more on teaching or want to focus more on research or more on writing as they develop over time.

Jim: Yeah, this was definitely something that characterized my career. I started as a normal tenure-track faculty member in English and I did that for quite a few years. And I was just kind of looking for a change, a lot like many people after you get tenure, and I was kind of looking for something new to see like, “Okay, I’ve kind of cleared that hurdle, what could I do differently now?” And then I became the director of our Honors Program. And that kind of captured my interest for a while. And then I got kind of interested in these kinds of semi- or part-time administrative positions. And so then became the director of our teaching center. And so I think it’s a good point, especially as we move along in our academic careers, we can look out for other opportunities, and make shifts and draw on different strengths over the course of our careers. So stepping away from full-time work was a big one. And I actually made that decision just about five months before I went to the hospital. So I had five months of like a “early retirement.” [LAUGHTER] But that was a big decision. But I still am very happy with what I’m doing now. And I’m sure gonna continue to look for other ways to challenge myself. And again, kind of keep that focus going on faculty development, though, because as I said, I just was at Williams College last week and giving some presentations there, went out to dinner with folks. And I was just kind of sitting there thinking, “These are my people.” Like, I feel very comfortable with the faculty. I love to have the fascinating conversations that learning about people’s… all the strange stuff they research and the very specific things that people write about and think about, the cool courses they teach. I just love those conversations. I love being in those rooms. And I kind of want to keep doing that work. And as a writer, it’s a huge audience, right? The amount of people in this country, for example, just alone, that are working in higher education, right? So I’m not limiting myself as a writer, I’ve got this huge audience that I can try to reach. And I just feel very comfortable writing to folks in those positions.

John: And you’re still serving as a teacher, just to a much broader audience than when you were in the classroom.

Jim: Yes.

John: In January, we released a podcast with Sarah Rose Cavanagh, and she talked about how you were working with her on a writer’s group. Is that a strategy that you’d recommend for faculty who are working on writing?

Jim: Yeah, writers’ groups are essential. All my recent books have emerged from writers’ groups. There’s different kinds of writers’ groups. So it’s worth noting the kind of taxonomy of these different kinds of ways to work with other people on your writing. The first is to sort of get a bunch of people who sit together and try to write in each other’s company, essentially, right? So that’s just: you make a time, identify a place, we come together and we kind of support each other, just sort of by being together essentially, right? So that’s one kind of writers group. There’s an accountability kind of group, that’s a second kind, where we’re gonna say, “Okay, everyone needs to have 2000 words by this date, everyone’s going to finish their articles by this date.” And then we’re gonna get together, we’re going to celebrate that or, for example, we’re all working on an article, we’ll get together every month and we’ll share things that we’re struggling with or the things that we’re doing well. It’s almost kind of like a little bit writer’s group therapy, essentially, we’re like supporting each other. The last kind is critique groups, and that’s what I’ve always been part of, where we actually send each other’s work in progress and we read it and then we get together and we give each other feedback. So to me, you can have any kind of writer’s group that you want to be in is going to be good, it’s going to support your writing, and that’s a good idea. Julie Jensen does a lot of work on writing, she argues that academics should not be in content critique groups, because you don’t need people outside of your discipline to be giving you feedback, because that’s going to happen as part of the peer review process. But if you’re going to write for readers outside of your discipline, then I think content critique groups are actually essential, because we’re gonna get from that is that people who are outside of your discipline, who don’t have the same background information that you do… “actually, I’m confused by this, like, you give me this big explanation, but there’s something that I’m missing here.” You’re not gonna get that from somebody in your discipline, because they’re gonna know what the background information is. So I think content critique groups are really important if your ambition is to write for people outside of your discipline. And so content critique groups, for me, they have the function also of accountability, because we meet essentially, once a month, and we have to have something for that meeting. We don’t put a hard number on it. But for me, it might be a Chronicle essay, or it could be current chapter. And I know that group meeting is not going to do anything for me, unless I’ve given something to the group. It’s helpful for me to give feedback to other people too, but I want it to be helpful to me, so I make sure that something is ready for it. So essentially, it’s an accountability group and we also talk about problems too. It’s like it does the other things, but I just think it’s really important for writers to have someone outside of their narrow field, give them their perspective on whatever you’re writing.

John: One thing has struck me as being common with each of those groups is that issue of accountability. We often refer to it in economics as a commitment device, that when you have that deadline, when you have to provide something at a certain time, or even if you’re just going to sit together and write at a certain time, it’s so easy to postpone things like writing and having that commitment makes it so much more likely that people will actually achieve their goal.

Jim: Yeah, absolutely, wespecially when you’re doing a longer project, like a book, you’d start the process with, like a deadline two years away, right? But the writers group, for me, gives me the structure, I need to actually finish it, because I know, “Okay, I want to get this chapter done, so that I can then get the next one done. And if I do all those things, at the end of the two years, I’m gonna have a book. Otherwise, there’s no hard deadlines, except for the one. And so to produce 80,000 words, for something that’s two years away, we’re not good at that kind of thing, [LAUGHTER]as humans, unless we really kind of put deadlines along the way. [LAUGHTER]

Rebecca: Are you implying that faculty needs structure? … and scaffolding too? [LAUGHTER]

Jim: Yeah, absolutely. Giving structure. And that reminds me, that’s another thing that I like, as a part of the book actually is thinking about the importance of structure, not only for writers, but also for readers. When you look at an academic article, for example, in social science disciplines, it’s got a set structure to it. It’s got the introduction, it’s got the literature review, the experiment, the method, that kind of thing. But if you’re in like a humanities discipline, and you’re looking at reading an article about like literary theory, it’s just gonna be like, sort of paragraph after paragraph after paragraph like just kind of a long series of paragraphs, which just kind of guide you from beginning to end. But when you look at work that is published outside of the academic world, it often has lots of sections, subheadings, little titles along the way, those things are really important to help a non-academic reader through complex material in the same way we do it in the classroom. We help students, we guide them through our slides, for example, our stuff on the board, or like dividing the class in three or four parts or something like that. Again, this is stuff that we kind of do instinctually in the classroom, because we know the students are gonna zone out. [LAUGHTER] So we kind of guide them through the material, we need to do the same thing in our writing, too. And I like to think about these as attention tools of writing. And so the use of breaking up the text, and that’s sometimes may mean just like sections and subheadings, and all that kind of stuff. But also like bullets, you don’t need to go crazy, but you want to make sure that you are breaking up the page, or the argument, with these structural elements.

Rebecca: Jim, you’re suddenly like an interaction designer. [LAUGHTER]

Jim: Okay. Wait, what do you mean exactly by that?

Rebecca: So, an interaction designer would say something like for usability purposes, you would do all the things that you just described, and they’re also accessibility principles. So they’re good for so many reasons.

Jim: Yeah. Okay, I like that.

Rebecca: It’s gold. [LAUGHTER]

Jim: I like that.

John: And right before I arrived here, I went over to our provost office to pick up a couple of big cartons of books by Viji Sathy and Kelly Hogan from West Virginia University Press for our reading group this semester. And one of their main arguments is the importance of structure in helping people make connections to help break down complex topics into these manageable chunks to help people understand things much better. And it sounds like this is, as you and Rebecca have both said, is really important in many, many different contexts.

Jim: Yeah, I believe their work about high structure is so important. And I’ve definitely kind of imported that into the chapter in which I discuss these issues. But the other thing to think about again, from like a reading perspective, so if I’m reading a work, for example, I’m not going to sit and read a book, a 300-page book by an academic writer in one sitting. So I need places to stop and come back. And so maybe I can’t get a 30-40 page chapter in. But if I have opportunities to stop, [LAUGHTER] close the book, and come back to it, and I can come back to a subheading, which is going to tell me, “Okay, that’s what next. Oh, right, that’s what I was just before, and here’s what’s coming.” These are opportunities to come away, come back, and be able to return to the argument, and not be lost when I return to it. And this is just probably always the way that we’ve read. But this is how we’re definitely doing it now, as we’re bombarded with so many different things that can interrupt us. So having those kinds of opportunities to pause and renew the reading experience are important.

Rebecca: But the use of subheadings, in particular, I find helpful as a reader to just get reoriented, especially when you’re coming from a different place. And then I need to transition to an entirely different place, just looking back to those couple of subheadings that came before can immediately get you into that place again really efficiently. So I love it when writers do that, for me as a reader.

Jim: If they’re done well, it will show you an overview of the whole argument, essentially. So I think those are really important to help guide the reader through what they call the through line. The through line is the thread that connects everything in the book, the overall argument, and the subheadings, kind of hanging off that through line. And so I think they really are important for academic writers to do for other kinds of audiences.

Rebecca: Heck, I would like it sometimes just with my own discipline… more subheadings, please. [LAUGHTER]

Jim: I agree, I agree.

John: This is a little bit different. But one thing that really bothers me when I’m reading a novel on my Kindle late at night. I always like to stop, if not at a chapter break, at least at a paragraph break. And I was trying to read last night and I had to skim through about six or seven pages on there before this paragraph ended, [LAUGHTER] and it helps to have those little breaks that are logical stopping points. And writers don’t always do that.

Jim: No, no, one of the points may be I’m trying to push you through some difficult materials, so I get that. But even if you don’t have the sub headings, for example, if you look at the articles in The Chronicle of Higher Education, they might not have subheadings, some of them do, but sometimes will just be a break. So like the paragraph ends, there’s like some whitespace, and then a new section starts, even that’s better than just the sort of constant unbroken series of paragraphs. And I also think it’s also just good for visual, your eye glosses over when you open to a page, and it’s just a huge block of text. That’s intimidating. And so the subheadings, the breaks, all those things, they give a break both for your eye and for your brain.

Rebecca: And even just encourage a moment of pause and reflection, like, “Oh, we’re moving to a new thing. Do I know what I just read? [LAUGHTER] …so I can move to the next thing?” I’m at that moment to double check.

Jim: Yeah, that’s true. They’re great transitions, too. And those moments of transition are often the times when we step back and say, “Okay, so I have this, and what am I curious about as we’re gonna go forward down here.

John: One of the things you mentioned earlier is that your book includes a discussion of the whole process of publishing. Because while academics do a lot of writing all through their academic careers, most academics have not been very heavily involved in publishing. And I don’t think most of them have many ways of getting that information unless they happen to know other people who have been successful in it. So having a book like yours, I think, would be really helpful in providing faculty with information that they just don’t have in their own experiences.

Jim: Yeah, so there’s a chapter which just focuses on guiding people from a query to publication. So like, what are the actual steps of this process? What are the kinds of things you will need in order to be able to get to that moment when you see your work in print? And so, essentially, I tried to boil it down to four things: three stages and then one sort of central recommendation about how to get this process started. The three things are essentially the query, the query is sort of the short email they’re gonna give. And for me, those are really important because they give me a sense of what’s the question or the problem that you’re addressing? What’s your argument? And why are you the right person to do it? So like, to me a query has got to do those three things, but not much more than that. It’s not like an academic job letter, where it’s five big paragraphs that covers two pages. No, I want to be able to read this thing very quickly and get a sense of who you are, what the project is, what’s going to be interesting, what’s unique about it, all those things. A query letter is like our handshake, where we’re going to kind of introduce ourselves to each other. The proposal, often, that’s all you need for a newspaper or magazine is a query and then the article or something. But for a book, you have to have this next stage of the process, which is a book proposal. And those are a lot of work. A book proposal might be 50 pages, because it’s going to include a overview of the book, which is usually like one to two pages, it’s going to have an author biography, which might just be a page or so, it’s going to have a chapter outline and that might be five or 10 pages. A chapter outline, not just a table of contents with like titles, but at least a paragraph or two for each chapter, and then a writing sample, which should be like at least like a chapter. So that we’re talking about like a 50-page document here. And it also should include… this is gonna vary from publisher to publisher… but it probably will also include a short analysis of the competition, so that you can use that as a way to show what is gonna be different or new or unique about your book. And sometimes publishers will also want like a marketing or promotion overview, like what are you going to do to help support the marketing and promotion of this book, for example. If you have a podcast, if you have a huge social media presence, if you are planning to attend a bunch of conferences in this field, you have connections, all those things can contribute to a sense of what kind of marketing or promotion you would be able to offer for your book. So that’s a big document. It’s really important when we see like student writing, for example, or those of us who teach student writing, sometimes the first page or two kind of gives you a sense of, okay, kind of the quantity of the students writing. Often, the same thing might be true for the proposal. From a couple pages, I can usually get a sense of how experienced the author is, is this project right for our particular series, what kind of writer they’re going to be, in terms of both of their writing, in terms of what kind of person they’re gonna be to work with. But as long as I get over those sort of initial couple pages and I’m still interested, then the proposal really has to show me that it’s going to work as a full book. Once you get past that, then it kind of just goes through the different processes of what’s going to happen to your book when you turn it in, essentially: the review process, copy editing, proofreading, working with a cover designer, the author questionnaire, which is a huge document that is going to help support what you’re going to be able to do support the book. And then also, often there’ll be a call with the marketing and promotion team, so kind of guiding people through that whole process. So those are the three stages I talk about in the book and try to give basic information and advice about that. But the thing I start with is, whenever possible, submit your work to a person. And what I mean by that is not just submitting to “Dear editor” or something like that, do a little bit of basic research on the publication and the person that is going to be sort of giving the initial review of your work. And there’s easy ways to do that, you can look on the web pages of the publisher, acquisition editors will typically have like a short description of what they acquire. You can also look at, like what other books they published. And one of the ways to do this is very simple. Most books will have an acknowledgement section, you can see who edited the book, and whether it was an agent. And so you see those two things. And if you look at books in your area, at the publisher you’re trying to target, you’ll be able to piece together a sense of “Okay, what kind of books does this editor tried to publish?” then you can sort of reach out to that person and say, “Look, I’m a huge fan of this book, which I know you edited and I feel like mine would fit well with this series that you’re overseeing,” whatever it might be. So try to get a little sense of the person that you’re writing to. You can be specific about why you are writing to that particular person at that particular publisher. And that’s something that we don’t have to do typically for academic disciplinary journals or something like that, right? We’re just sending it off to like a email box or just sort of being very objective, “Dear editor, here’s my work,” essentially. But as you’re reaching outside of your disciplinary journals, or academic books, you want to be able to be a little bit more deliberate about reaching out to a specific person.

Rebecca: What you’re describing also sounds a lot more relational, just generally.

Jim: Definitely, and I also make the argument in the book that it sometimes can seem like an adversarial relationship, sometimes between you as an author and an editor, because they’re like the gatekeepers. And they’re going to tell you, “No, we don’t have the money for that table to put in your book,” or an sometimes you can get frustrated as an author. But what’s really important to remember is, we are on your side, the editor always wants you to be successful. And so sometimes we might say things which are like, “You shouldn’t do this,” or “we don’t want to do this,” and “we can’t do that.” And that can be frustrating for an author. But I promise you, I am not like waiting there to kind of stamp an F on your query, [LAUGHTER]. I want you to be successful. Every query that comes in, there’s like a little sort of grain of hope that I’m hoping that this is going to be an amazing book, it’s going to change this person’s life. That’s the best scenario for me, I help someone write their first book, and it’s really successful. And so I’m hoping for that for everybody that writes to me. And I think that the same thing is true for editors. So always keep that in mind. These are the people that want you to be successful, and you have to treat them accordingly. Just be aware of that in terms of how you respond to them, react to them, and then you try to be like a good citizen of the book in the process.

Rebecca: So Jim, when can we get this book?

Jim: Yeah, so I’m finishing it right now, actually. I have one chapter left, I expect to finish it within the next month. So it’s probably be late 2023 or early 2024.

Rebecca: So I’m looking forward to it.

Jim: Thanks.

John: And as you mentioned before, that publishing process does take a lot of time.

Jim: That’s one of the places where it can seem adversarial to an author, right? Why are you taking so long to do this. I gave you a manuscript, why does it take a year to come out? But, I try to go through that stuff in the book. But there are good reasons. And all those reasons are is trying to help you make the most successful book

John: incentives are compatible between the author and the editor, because both parties benefit from having successful books.

Jim: Absolutely.

Rebecca: So we always wrap up by asking what’s next?

Jim: Yeah, so this book. It’s funny because I had the idea for this book. And I’d written the proposal for it partially, because I had also left my full-time academic position. I was thinking about these issues. And so I sent the proposal actually out before I got sick. And then I signed the contract in the hospital. actually. [LAUGHTER] So that kind of renewed my commitment to it. So that’s kind of been all I’ve been doing since then. But then once I finish that, and I just have already in my mind now, probably I’m going to write some kind of memoir of what I have experienced and what I’ve learned from that. My first two books actually were memoirs. And so I haven’t been in that genre in a while, but I think I had experiences now there’s probably memoir worthy at this point. [LAUGHTER] So yeah, that’s probably the next thing that will happen.

John: Well, we’re looking forward to reading all of them. So we wish you success on that. And it’s great talking to you again.

Jim: Likewise. Thank you.

Rebecca: Yeah, thanks, Jim.

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John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts and other materials on teaforteaching.com. Music by Michael Gary Brewer.

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272. Mind Over Monsters

During the last few years, college students have been reporting mental health concerns at unprecedented levels, straining the resources provided by college and university counseling centers. In this episode, Sarah Rose Cavanagh joins us to discuss the role that faculty can play in addressing these concerns.

Sarah is a psychologist, professor and Senior Associate Director for Teaching and Learning at Simmons University. She is the author of The Spark of Learning: Energizing the College Classroom with the Science of Emotion and Hivemind: Thinking Alike in a Divided World as well as numerous academic articles and essays in The Chronicle of Higher Education, Lit Hub, Inside Higher Ed, and Vice. Her most recent book, Mind Over Monsters: Supporting Youth Mental Health with Compassionate Challenge will be released in spring 2023.

Show Notes

  • Cavanagh, S. R. (2016). The Spark of Learning: Energizing the college classroom with the science of emotion. West Virginia University Press.
  • Cavanagh, S. R. (2019). Hivemind: The new science of tribalism in our divided world. Grand Central Publishing.
  • Cavanagh, S. R. (forthcoming, 2023). Mind Over Monsters: Supporting Youth Mental Health with Compassionate Challenge. Beacon Press.
  • Elizabeth Romero
  • Ryan Glode
  • Reacting to the Past
  • Jasmin Veerapen
  • Gary Senecal
  • Miller, L. (2020). Why Fish Don’t Exist: a story of loss, love, and the hidden order of life. Simon & Schuster.
  • Robert Sapolsky’s Publications
  • Auel, J. M. (2002). The Clan of the Cave Bear. Bantam.
  • Kelly Leonard
  • Felten, P., & Lambert, L. M. (2020). Relationship-Rich Education: How human connections drive success in college. JHU Press.
  • Viji Sathy and Kelly Hogan
  • Michele Lemons
  • James Lang

Transcript

John: During the last few years, college students have been reporting mental health concerns at unprecedented levels, straining the resources provided by college and university counseling centers. In this episode, we discuss the role that faculty can play in addressing these concerns.

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John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer…

Rebecca: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

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Rebecca: Our guest today is Sarah Rose Cavanagh. Sarah is a psychologist, professor and Senior Associate Director for Teaching and Learning at Simmons University. She is the author of The Spark of Learning: Energizing the College Classroom with the Science of Emotion and Hivemind: Thinking Alike in a Divided World as well as numerous academic articles and essays in The Chronicle of Higher Education, Lit Hub, Inside Higher Ed, and Vice. Her most recent book, Mind Over Monsters: Supporting Youth Mental Health with Compassionate Challenge will be released in spring 2023.

Welcome back, Sarah.

Sarah: Thank you. I’m delighted to be here.

John: Today’s teas are:… Sarah, are you drinking any tea?

Sarah: No, I always disappoint you. I am yet again drinking coffee.

Rebecca: Yet again, such a stable person in our lives with your coffee. [LAUGHTER] I have blue sapphire tea.

Sarah: That’s a pretty name.

Rebecca: Yeah, it’s tasty. And my new favorite.

John: And I am drinking spring cherry green tea here in the midst of winter in upstate New York. We’ve invited you here today to discuss Mind over Monsters. Could you talk a little bit about the origin of this project?

Sarah: For me, I think writing is more organic than it is planned, and so it felt a little bit like the book decided it needed to be written, rather than I decided to write the book. There was just such a groundswell of interest around young adult’s mental health, people talking about it, podcasts, books. And I am a college professor, I’m a psychologist, I am an educational developer. I’m the mom of an adolescent, and so I couldn’t help but be concerned and interested in this topic. And I also felt that, as someone who has struggled with anxiety my entire life, panic disorder in particular, that I had some small bits of wisdom from my lived experiences to share. And so it just all came together.

John: How prevalent are mental health issues among youth today?

Sarah: They’re pretty prevalent, unfortunately. Some people have even labeled it an epidemic. For instance, in 2021, three of the major American organizations dedicated to youth and adolescent mental health joined together and declared a national state of emergency, which was an unprecedented move. And they cited in particular the effects of the pandemic and the fact that already marginalized groups along lines of race and ethnicity, gender, and sexuality and income were bearing the brunt of the psychological effects of the pandemic. But also there’s a lot of complexities surrounding figuring out whether rates have truly changed or whether there’s also changes in stigma surrounding mental health, which are laudatory changes, we want people not to feel stigma, and to come out and reach out for treatment. There’s also changes in the thresholds of the diagnoses themselves, they shift every several years. And there’s also changes in people’s willingness to seek treatment, and also their decisions about the level at which they might need treatment. And so there’s some evidence that a lot of these complexities may be making epidemics seem worse than it is. But what is clear is that more young adults and especially college students are expressing more distress and asking for help with that distress. Counseling centers on campus are absolutely overwhelmed and students are expressing a lot of frustration with not receiving the level and the timing of care that they need in those settings, and so clearly, we need changes.

Rebecca: In a lot of public conversations, we’re hearing debates about needing to show compassion to adolescents who are struggling, but then also others who argue that youth is too coddled. Can you talk a little bit about what you would advocate for?

Sarah: And that’s a delightfully easy setup for me, [LAUGHTER] because in the subtitle of the book is “compassionate challenge and why we need to support youth mental health with compassionate challenge.” And I argue that this debate and tension between compassion and challenge is one of these false dichotomies that we human beings seem to adore. [LAUGHTER] Students clearly need compassion, and I think compassion has to come first. For me, what that looks like is establishing classroom communities and learning environments on campus that are characterized by safety and by a feeling of belongingness. You need to feel safe enough to take risks. And you need to feel that you’re supported not just by your instructor, but also your fellow students and the Student Success Office and all of the people on campus. But once we’ve established that grounding and that safe setting, then I think to truly learn and grow, we do need to take risks, we do need to step outside our comfort zones, and we need to be challenged. And I think that challenge can be very positive. I spend one of the last chapters of the book really digging into the science of play, and how play is all about being vulnerable and taking risks and play can be scary. And you can only play in settings where you, again, feel safe. And I think, finally, what I call compassionate challenge isn’t just important for teaching and learning. As I draw out in two interviews with clinical psychologists Ryan Glode and Elly Romero, compassionate challenge is also really key to addressing anxiety and symptoms of mental health. And I don’t think we’re going to be doing any therapy in the classroom, but learning environments marked by compassionate challenge are ones that are consistent with principles that help address and resolve anxiety, which again, involves facing your fears, and environments where you’re technically safe and there’s a facilitator there to help you manage those risks.

Rebecca: John and I were talking earlier about some of the things that I had observed in my own classroom in the last year with an increase in desire for perfection, like kind of perfectionism or anxiety around not being perfect and not being right and working with students in class and trying to find ways to help students work through that so that they could take risks or could show things in progress to get feedback so that they could continue to improve. Can you talk a little bit more about what that might look like in a classroom?

Sarah: Well, I think that a lot of that brings up assessment and grading. And I think why we see that perfectionism in the classroom is that students are very concerned about their grades, because they believe, to some extent rightly, that their grades are going to translate into future security, and to getting into the right graduate school or getting the right job. And we do this to students. In high school, we train them to be so focused on the grades in order to get into the correct college and I have a high schooler and her grades are constantly just streaming, coming in in real time to her phone. And then we’re surprised when students get to college and they’re too focused on their grades. [LAUGHTER] And so I think that helping students with that need for perfection is probably reforming our grading systems so that there isn’t that need, that that focus on perfectionism isn’t necessarily rewarded in the same way. And instead, we’re rewarding taking risks and doing something creative, and maybe failing and having multiple iterations of something and seeing that work can grow over time, which, I think, amplifies creativity

Rebecca: There’s a lot more focus on process than on the product, then.

Sarah: Yes.

John: You mentioned using play in classrooms, what would be an example of the use of play in the classroom?

Sarah: Well, I think you can directly play through using improv, and especially in the early parts of the semester when you’re all getting to know each other, a lot of icebreakers are very playful. And community building can be very playful. I think there are ways like the whole reacting to the past role playing approach in history. You can easily roleplay in literature classes. So I think you can directly play. I think that what play can also be is almost like a philosophy or a stance that you take, that what we’re doing in the classroom is not dire. And, related to the grading that we were just talking about, there aren’t large stakes, that what we’re doing here is this is kind of a sandbox, where we’re playing with intellectual ideas, we’re testing things out, we’re experimenting. And there’s a sense in which it’s lighthearted, even when the topics are not light hearted, I think that we can take this lighthearted stance with our students. And I think also mixing things up and not getting too into routines, can also be playful. And I feel like I have a lot of tricks in my teaching bag, different discussion techniques and ways of getting us up and moving and things like that. But there’s always a point, kind of through the three-quarter mark of the semester, where they’ve seen it all. And so I try to save one or two things for that point in the semester and kind of throw everything out the window and do something entirely different. And I think that that can be playful as well. And so I don’t think that play in the classroom is all about things that we think of as play proper, like improv and roleplay; it can also be all of these other techniques.

Rebecca: One of the things that I’ve studied in the past is play. And one of the things that’s interesting about play is that there’s rules and there’s structure. And so a lot of times we think that play is just chaos, but actually play almost always has rules. They might not be formal rules, they might be informal rules. But that’s a way that people can feel safe and able to play is that they understand what the structure is and what the rules are.

Sarah: Those are great points.

Rebecca: You think that it’s hard to facilitate because it might seem so foreign, but actually we’re all very familiar with play. And it is actually incredibly structured. We know that structured things can be really inclusive. And so you might be hesitant to try something that seems like it might be unstructured, but I think, lo and behold, play is actually structured.

Sarah: Yeah, and a lot of those classic improv activities have strict rules in fact and one of the rules is that there’s a kindness.So, even when animals play… you know, I watch dogs play a lot at dog parks, and it can get quite vicious looking, but the animals are safe, you don’t harm each other and that is a strict rule of play as well.

John: Some of this book is drawn from research you conducted as part of the Student Voices project. Could you tell us a little bit about that project?

Sarah: Absolutely. So this was a project that grew out of my last grant from the Davis Educational Foundation. I had done a quantitative study that I talked with you all about in the past. And we had some funds left. And I had an honor student, Jasmin Veerapen, who’s now at Columbia, getting her social work degree, and she needed an honors thesis project. And so we collaborated together and ran a qualitative follow up and interviewed students from 35 different very diverse types of institutions across the country. And it was not a project focused explicitly on mental health, but on emotions and learning. So for instance, the first two questions we asked of all of our participants was: What was the best learning experience you have had in college, and tell us all about it?” And the second was, “What was one of the worst learning experiences you had in college?” ..and their insights are all so rich, and I share a number of their wonderful stories in the book. It’s a great pleasure.

John: Would that be something that you’d encourage faculty to do in their own classes?

Sarah: Yes, it was very illustrative, a lot came out of that. And we actually had worked with a consultant, Gary Senecal, because this was my first qualitative research study, and so I didn’t really know what I was doing. And he’s done a lot of qualitative research, and so he was our consultant. And he helped us shape the questions. And I think he had a large role in shaping those first two questions, because they’re just open ended enough that students share very different things, but then they all coalesce, and so it was very informative. And I think many professors could learn a lot asking their students those questions.

Rebecca: You included many narratives throughout your book, some of your own personal stories and some of the stories of student voices from this project. Can you talk about why you decided to include narrative as a part of the book?

Sarah: Yes, when I think about the books that I most like to read, the nonfiction books that I most like to read, they have a really strong narrative component. So I recently read Why Fish Don’t Exist, which was one of my favorite reads out of the last few years. And I love Robert Sapolsky’s books, and I’m a story person. And I mostly read fiction. And so I really enjoy nonfiction that has a strong narrative component. So that was one of my motivations, that I wanted to write a book that was like the books that I like to read. I think that story, though, also is really compelling. I think that there are insights that are embedded in stories that things like quantitative data can’t always tap into in the same way. And I think in particular, for topics like this, and for emotions and for students’ perceptions of their own learning, I think that we need story.

John: In addition to narrative, which is really compelling in your book, you also bring in a number of other disciplinary studies. Could you talk a little bit about some of the other disciplines and some of the other research your book relies on

Sarah: That’s a little, maybe, too far into humanities, I’m a little worried. I am a social scientist by training. And I’m very aware of the fact that there is disciplinary expertise. But I do bring in a lot of humanity’s work, in particular monster theory. So I read quite a bit of monster theory, which wasn’t even something that I knew existed before then, but that’s in there. I do something that I get from my mother. I used to make fun of my mother for always citing literature and stories as evidence for things. I would take an anthropology class and come home from college, and we would talk about it. And she would shake her head at me and say, “Well, that’s not how it happened, in Clan of the Cave Bear. [LAUGHTER] But I do a little bit about that. So I bring in some stories from novels and short stories that I think illustrate the points that I’m trying to make as well. And then I think, most compellingly, I bring in actual experts from their disciplines. So I interview a sociologist about her research on trigger warnings. I interview a Latin American Studies scholar about his work on vocation, which I found so fascinating. And I also interviewed a couple of clinicians, as I said, and Kelly Leonard who is a Second City improv person, and so I bring in those other disciplines through the lens of the people I’m interviewing.

Rebecca: Sometimes it’s really helpful to have these illustrations because statistics can go only so far in helping us understand what that actually looks like and feels like in our classrooms or in the experience that students are having because we can feel really far removed… or I’m feeling farther and farther removed [LAUGHTER] from students and it helps to hear things in their own voices. And we don’t always ask them enough. I wish we asked more.

John: …which is something really troubling to those of us who focus mostly on statistical analyses, and so forth. [LAUGHTER] But it’s true, a compelling story can be much more effective in convincing people of some concept than any number of studies that you might present to them.

Sarah: But we do have lots of citations for people like you, John. But I tried to bring both sources to the table,

Rebecca: …which is good, because you got both of us here.

Sarah: Mm hmm.

Rebecca: So can you talk a little bit about the intended audience of your book?

Sarah: Absolutely. My primary audience, I think, is people who are doing the work of higher education, so college instructors, staff like me who work in teaching centers, and student success offices, administrators, and so it does have a strong higher ed thread throughout. That said, I don’t think there’s a super bright line between especially late high school and early college in some of these concerns. And I think it could be useful for high school educators, especially those who might be advising students about the college selection process. I think that there is some insight and some sections, maybe, that could be of interest to college students themselves, and possibly their parents. But I would want them to know that it’s not a parenting book. I don’t want anyone to pick it up thinking it’s a parenting book. There’s long sections, again, on trigger warnings and institutions needing to actually carry out their DE&I statements. And someone picking it up thinking they’re going to get some pithy advice about parenting is not going to be satisfied.

John: Would this be a good focus for faculty reading groups or book clubs?

Sarah: I think so. [LAUGHTER]

Rebecca: We think so too. [LAUGHTER] Yeah, it looks like, yeah, it looks like some really wonderful topics that you’re exploring to think about all of higher ed in a lot of ways, and perhaps some reimagining that needs to happen.

Sarah: Oh, thank you.

Rebecca: Can you talk a little bit about what we, as educators or people working in higher ed, can do to create a more compassionate and challenging environment for our students? What are some actions we can take?

Sarah: Well, I think you have to do the compassion piece first. And I think that colleges really need to be examining, and I think they are examining, there’s lots of other people sharing this message of compassion and relationship, rich education, thinking of Peter Felton and Leo Lambert’s book. And I think that we need to embed compassion in the atmosphere in the classroom and the dorms. I think that we need to pay a lot of attention to community. I think that we need to shore up resources in counseling centers. I’ve been attending, as part of the research for this book, lots of webinars with people who are looking at this topic from a lot of different frameworks. And there’s a lot of interesting work being done on peer support, which I’m both interested in and also wary of. I think that peers are our natural first source of support. And that peer support could be really life changing for a lot of college students. But just like we shouldn’t be doing therapy in the classroom, I don’t think it’s the responsibility of college students to do counseling for their fellow peers. And they’re trained to spot warning signs and to do the kind of heavy lifting that a lot of counseling involves. And so I think that we’re going to need to dedicate more resources to trained clinicians in our counseling centers. In my interview with Ryan Glode in the book, who is, again, a clinical counseling psychologist, he really feels that counseling centers provide just sort of venting sorts of therapy, and that he’s a strong advocate of cognitive behavioral therapy and exposure therapy, and that students need much more individualized treatment and approaches. And so I think that that’s an interesting thing to explore. And the last thing I would say is, I always say this, but faculty need more support and time, because there’s been a lot of great essays coming out, the last couple of weeks even I’ve seen, about the fact that student success is really faculty success, and faculty are where students get more of their support than anywhere else. And we can try to reach out to them in many different ways, but they land in our classrooms, we know that we’ll see them in their classrooms, even if they’re not leaving their dorm much, they usually come to class. And so it’s an entry point. Mentoring is such a strong part of the college experience and so wonderful for growth and mental health. And so I think that for faculty to really apply all of this and have really close student relationships and really rich classrooms and all of these things, they need more time and more support. And so I think that the two places I would put my support is in the counseling center and then in supporting faculty, giving them the kinds of time and the kinds of support that will allow them to be the teachers that they can be when they have the time to do so.

Rebecca: Are there specific places where you found compassion to be lacking that surprised you in your research? We know that there’s a [LAUGHTER] strain on counseling centers, but were there some other places that really rose to really needing some attention,

Sarah: None of the students we talked to had trouble coming up with either a best or worst learning experience. And the good ones are really, really good. And the poor ones were pretty poor. And so there’s a lot of unevenness, I think, and I think that that, when I talk as I just did about, if you just give faculty more time, then they’ll blossom, and then the students will blossom, and sometimes when I have conversations with administrators about that, or see policies being enacted on different campuses, I can tell that there’s a wariness that if you give faculty time, they’ll just either do more research, or they will check out and that there’s a danger there and we need to work faculty harder. And I do see in talking to the students about their best and worst learning experiences, that the people teaching those worst learning experiences really need to step up their game a little bit. And so I think that there are those pockets out there that still don’t apply themselves to their teaching or look at it as an onerous responsibility. But the good teachers are really fantastic. And so maybe leveling that out a little bit, bringing the worst learning experiences up to the best learning experiences might be somewhere I recommend some attention.

John: One of the areas where people often see a dichotomy between compassion and challenge is in terms of deadlines in courses where material later in the course build on material earlier in the course, it’s really easy for students who are struggling to get further and further behind when they don’t have at least some sort of a deadline. Do you have any strategies for addressing that, besides focusing on the learning rather than on grades? What can we do to help ensure that students make regular progress while still maintaining compassion?

Sarah: Um hmm. I think this is the question of the moment. [LAUGHTER] And I can tell you, I just had a conversation with a reporter at The Chronicle who was writing a whole big piece on just this issue. And we at Simmons just met with our advisory council, who are a group of about 12 faculty who we check in with about what faculty needs are. And this was their number one answer, like clearly. So we’re going to do a panel in the spring at Simmons, where we have some faculty with very different perspectives. We’re hoping to draw out some of these tensions and have this discussion. And so I do think it’s an excellent question. And I think that a deadline is a good example of where compassionate challenge needs to be. I think that all of us need the structure of deadlines. I myself benefit [LAUGHTER] greatly from the structure of deadlines and schedules. And I think especially for college students in the early years, if they’re so-called traditionally aged students, some of the process of those first year or two of college is learning time management and in scaffolding them into good time management. And so I think that structure is very important. As Rebecca was saying earlier, it’s also an inclusive teaching strategy, Viji Sathy and Kelly Hogan have written extensively about that. But I think without compassion, deadlines are going to worsen student anxiety, and also it doesn’t make a lot of sense for contemporary life. And so some techniques that I’ve seen are things like using frequent tokens instead of just no deadlines or 100% flexibility with deadlines and things kind of pile up toward the end. You can have tokens where students can have a set number of missed assignments, or dropped assignments, or I need an extra week or two. I think that it’s important in whatever you do, if you are going to be flexible to be transparent with all of the students about it, because I think that some students will ask for flexibility and the other students won’t know that they can ask for flexibility. And a lot of that falls out along the lines where everything falls out and creates inequities. So I think that having some structure, but with some flexibility built in is probably the best way to go. I was interviewing a biology instructor for a different project. And she was telling me what she did is she had pretty close to unlimited flexibility within modules. So she had her whole semester set up in modules, but then you had to submit things within that module, because as you say, especially some fields, the information builds, and if you miss part, you’re going to be in trouble. And so I thought that was another interesting approach. But I agree that in particular when we’re thinking about mental health, that structure is better. And the last thing I’ll say is that at my previous campus, we had a panel of the Dean of first-year students, it was the head of our accessibility office, the head of our counseling center, and then a clinical counseling psychologist from our psychology department about issues surrounding student mental health. And one of the instructors asked about deadlines, and they were all unanimous, they said, deadlines are necessary. The worst thing you can do for a student high in anxiety is allow no deadlines or submissions whenever they like, because that will quickly get them into a negative place, and that they need that structure. So I think it’s a great example of the need for both compassion and challenge.

Rebecca: One of the things that I think about when I hear structure or certain kinds of support is routine. And you talked a little earlier about having some routine, but then disruptions to that routine. Can you talk about why some of the disruptions to the routine might be important, or why not having a routine all the time could be helpful for students?

Sarah: Well, I think the positives of routine are that they’re reassuring, for one thing. I think we all as human beings, it’s relaxing to settle into a routine, and it’s also lower in cognitive load. If you just know, okay, every Thursday, I have a homework assignment, every Tuesday I have a quiz, you don’t have to constantly be scrambling and figuring things out every week. And so I think that routines can be reassuring, and they can also be more transparent and easier to follow along. I think where the disruption is great is it re-energizes. So it’s great to be reassured and calm things down. But then that can get boring and kind of stultifying after a little while. And so once you have established the routine to mix things up once in a while, I think, can be re-energizing. And so I think that’s where a blend of the two can be really powerful.

Rebecca: You mentioned that you do this in your own classes. Can you share an example of one of the ways you mix things up in your own class,

Sarah: it’s not terribly exciting. But the one that I do this most clearly is in my motivation and emotion class. And in that class, we’re covering different topics and we’re reading research articles and doing presentations. And again, I try to mix things up, but I have a set number of things that I mix things up. And then usually right after Thanksgiving, I throw everything out the window and we just spend a week doing something different. And so we used to watch a movie together. And then we would write an essay about the motivation and emotion aspects and the themes that we’ve talked about all semester long, how it played out in those characters lives. And I was showing Lars and the Real Girl, I don’t know if it’s kind of an older movie now and stopped doing that for a while for a number of reasons. But then more recently, in this activity called “making the world a better place.” And I had a selection of psychological science articles, each one that tackled a societal problem, like climate change, or misinformation, and how we could use principles from recent psychological science research and to help improve this societal conundrum. And then we did small group work with snacks. And they would work on little group presentations all together that were very low stakes, and then present them to each other. And we would have a grant competition among them. But it was just this week where the routine was very different.

Rebecca: It sounds like almost a culminating point of the semester, instead of ramping up stress with a big project, it’s ramping down the stress with something that’s applied, but in a more low key way.

John: …but also valuable and fun.

Rebecca: Yeah, definitely. To me, it sounds like: “[LOUD EXHALE]”

John: We always end with the question: “What’s next?”

Sarah: Well, I have a new grant. Well, a semi-new grant. And it’s a National Science Foundation Incubator Grant with my co-PI, Michele Lemons of Assumption University. And it is examining assessment, feedback, and grading in undergraduate bio education in particular. And so we had a qualitative portion, we had a survey portion, and we had student interviews, and we’ve just wrapped data collection, So I have a lot of writing and meaning-making and analysis, and then a full proposal grant [LAUGHTER] to write. So on the research side, that’s what’s going on. And on the writing side, I don’t know yet. I have a few possible ideas. I’m in a writers group with Jim Lang, who I know you both know, and his new book, which is going to be fantastic… and you have to have him on the show… is all about how academics can successfully write trade books for a wider audience. And I’ve been enjoying the chapters as he’s been writing them. And I was reading his chapter on where to get your book idea, and I realized that I’ve written a couple of books now from my expertise, but I don’t have to stick with my expertise. I could do something super fun. And so I don’t know.

John: Not that your expertise isn’t fun or interesting. [LAUGHTER]

Sarah: Well, thank you. And anything I write will obviously have a strong psychology component, it’s just like in my bones at this point. But yeah, so stay tuned. We’ll see.

Rebecca: Sounds like some exciting things down the pike for sure.

John: We look forward to hearing more about that when you’re ready to share that.

Sarah: Oh, thanks.

John: Well, thank you. It’s great talking to you.

Sarah: Thank you. Always a pleasure.

Rebecca: Yeah, I always learn stuff from our conversations, so I’m looking forward to having you on again in the future.

Sarah: Oh, thanks. Same.

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John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts and other materials on teaforteaching.com. Music by Michael Gary Brewer.

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266. The Secret Syllabus

Students transitioning from high school to college, especially first-generation college students, are thrust into a new environment for which they are often under-prepared. In this episode, Jay Phelan and Terry Burnham join us to discuss strategies that students can use to successfully navigate the hidden curriculum of college.

Jay is a biologist at UCLA and the author of What is Life? A Guide to Biology. Terry is a finance professor at Chapman University and the author of Mean Markets and Lizard Brains. They are the co-authors of the international bestseller Mean Genes. They have also recently published: The Secret Syllabus: A Guide to the Unwritten Rules of College Success.

Show Notes

  • Hertweck, K. L. (2014). Mean genes: From sex to money to food: Taming our primal instincts, by Terry Burnham and Jay Phelan.
  • Phelan, J., & Burnham, T. (2022). The Secret Syllabus. In The Secret Syllabus. Princeton University Press.
  • Charles Plott
  • Vernon Smith
  • Brickman, P., Coates, D., & Janoff-Bulman, R. (1978). Lottery winners and accident victims: Is happiness relative?. Journal of personality and social psychology, 36(8), 917.

Transcript

John: Students transitioning from high school to college, especially first-generation college students, are thrust into a new environment for which they are often under-prepared. In this episode, we discuss strategies that students can use to successfully navigate the hidden curriculum of college.

[MUSIC]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer…

Rebecca: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

[MUSIC]

Rebecca: Our guests today are Jay Phelan and Terry Burnham. Jay is a biologist at UCLA and the author of What is Life? A Guide to Biology. Terry is a finance professor at Chapman University and the author of Mean Markets and Lizard Brains. They are the co-authors of the international bestseller Mean Genes. They have also recently published: The Secret Syllabus: A Guide to the Unwritten Rules of College Success. Welcome, Jay and Terry.

Terry: Hello.

Jay: Thank you. Good to be here.

John: Today’s teas are:… are either of you drinking tea?

Jay: I’ve never had tea in my life, I’m sad to say… or coffee. But in the spirit of caffeine, I’m having a Diet Coke.

Rebecca: A very popular choice on this podcast for sure. How about you, Terry?

Terry: British mother, a lot of tea in the house at times, but very little in my body.

Rebecca: [LAUGHTER] We’ve got tea deniers around here, John.

Jay: [LAUGHTER]

John: As usual.

Rebecca: I have a black tea blend today. It’s just called All India Tea.

John: That’s a new one. And I am drinking ginger peach black tea.

Rebecca: So we’ve invited you here today to talk about The Secret Syllabus. Can you tell us a little bit about how the book project came about?

Jay: Sure, I’ll start. I was thinking about this because earlier today I was looking at what I think of as maybe the origin document, and it’s from about 25 years ago, it was maybe 1997. It’s a document, it’s 136 pages long. And it’s this collection of emails and other student interactions that Terry and I had had over the years where students are sincerely trying to get stuff that they want. And they, more often than not, go about it in completely the wrong way. It’s either unprofessional, or maybe it’s rude, or maybe it’s just bizarre, or for whatever reason it’s not likely to get them the outcome that they want. And at first we’d laugh at them. But after a while you start thinking, “no, this is kind of tough for them.” It caused me to look back to the 1980s, where I had been a student. And I had been a very promising student coming in from high school. I had done well, and then I got to college, and I just was a terrible, terrible student. And I got bad outcomes. And it was all a big surprise to me, because it just was a different world than I had expected, and I was not equipped for it, sort of those two things together. Terry and I’ve talked about this and laughed about this a lot, but finally it came to a point where we said, “well, we should be doing something about this, we should at least try to help them.” And that was maybe how the ball started rolling, but it had a long, long gestation time.

Terry: Right, I would add to that… idea is to help students be more effective, when in this sort of promotional view… work half as much get better outcomes, and outcomes are not just grades, but grades are important. And as Jay noted, both of us came from great undergraduate schools and we both stumbled. We ended up getting masters from MIT and Yale respectively, then our PhDs from Harvard. And you might think that we had no troubles as undergraduates, and we did. So almost everybody has a problem adjusting to college, even if they end up doing fine. For me, I’m going to admit that I vandalized a lot of classrooms at the University of Michigan. So I sat in these classes with up to 400 people, I usually sat in the back. It looked to me like the professor was like a little puppet down there on stage, and I felt completely disconnected. And these old wooden desks that you would bring the arm down on, and I wrote on those in my days of discontent, “Frodo lives,” “Frodo lives.” I scratched it into the wood. I went back and taught there many years later, and there were still some of the desks [LAUGHTER] that said “Frodo lives” in there. And I took a semester off from school, and anyway, so almost nobody has a dip when they get to college, and it’s not for the fact they’re not smart enough. It’s because they don’t understand the world of college. And having noted, literally now thousands of students who have had the same problems that we had, and sometimes worse, thought we would write a book to help students.

John: So you came in with a lot of advantages and experienced trouble, but many of our students come in and don’t make it through. And that’s especially true for students from low-income school districts where they’ve had few resources and very little college prep in terms of the coursework they had or guidance in terms of how to be successful in college, and many of them are first-generation students. So we’ve got all these students who come in, they borrow a lot of money, and then they end up without a college degree and a huge burden of debt. Would a book such as yours help these students in learning to adjust to the new culture that they’re suddenly being thrust into?

Jay: Well, that is certainly the hope, I’ll tell you. I’m a first-generation student, and my parents are both very smart, and I think could have done college, but they didn’t. And when I grew up, we were extremely poor. I had never been out of Northern California. I’d never been on a plane when I applied to college, I had to apply just sight unseen, and all of that. And I think that was a factor maybe in why I struggled so much when I first got there was that I didn’t have a world of people around me that that was just part of their life, “Here’s what you do, oh,” or “here’s how you struggle,” or “oh, here’s the story about how I figured out how to take notes or I figured out what my major was going to be,” …any of those things. I had no idea that those obstacles even were laying ahead of me. I had succeeded in high school, but I had done that, I think, just through brute force method. I put in the hours studying, I didn’t know how to study, but I put them in, and I did well. I had very lame interpersonal skills with the teachers, but they were a little bit less lame than the other students at my school. Together that allowed me to get through and even to get the message, “Hey, you’re okay, you’ve got it figured out. College might be harder, but just use more of the same.” And I at least now I think coming from that perspective, it makes it a little bit easier for me to get inside my students’ heads and realize the struggles that they’re maybe going to have. Terry talks about sitting in the back of the classroom and vandalizing the desks. For me, I wish that I had gotten inside the classroom. But the idea that I was somewhere that nobody was checking up on me, I would walk to where the class was, and then I’d hang out outside, I talked to friends or I’d just sit out there, and it was this very empowering act that I was in charge. And that for me led to most of the problems that I wasn’t even in the classroom. And I had this idea then that the teacher was just going to smash me down to show me that they were in charge or something like that. It was all misguided, but I think a lot of that came from, as you say, John, that I had no background, this was completely foreign to me. And because of that, it’s hard enough certain obstacles to overcome them when you see them ahead. But when you don’t even know that they are in front of you, it gets really difficult.

Terry: The Secret Syllabus is a Princeton University Press book. So it went out for academic review. And there were a number of comments: “This book should be directed only at first-gen students, because that’s really where the problem is.” And our response was, “It’s probably more important for first-gen students if they’re able to understand it and we’ve written it in a way that they can use it.” So I have three daughters, one is a freshman in college, and the other two are, one’s in high school, one’s in middle school, and they get the knowledge from The Secret Syllabus directly from me. Now they don’t listen very often to that, but they at least have around them all the time both explicitly, like “how would you interact with your teacher on this topic?” And then in the air, in the gestalt of “how do I interact with the pediatrician?” and so forth. And so if you’re not in a household like that who knows how to navigate this world, where are you going to get the information? Well, one answer we hope, if we’ve done our job, is The Secret Syllabus. So even though it’s not explicitly targeted only for first-gen students, I think it actually has more use to a first gen student who doesn’t have access to a family member or a friend who knows the secret rules.

Jay: If I could add one thing, also the students, yes, who are not the first-gen students, or who have a world of experience college graduates around them, sometimes that sort of turns out to be a negative, because they might imagine that they’ve gotten the message “Oh, I don’t need this.” And in a lot of cases, it’s like, “Oh, yeah, Secret Syllabus. Yeah, something like that would be great for the remedial students.” And I think “what do you mean, the remedial students? You took when you were in high school, or even your first year of college, you took chemistry or history or English, or whatever, but who taught you how to study? Who taught you how to make a to-do list? Who taught you how to develop long-term career goals? Who taught you how to just plan your time?” all these different things, how to develop professional relationships, and a lot of these students who maybe have tons of advantages that causes them not even to realize that there is this whole secret syllabus of other stuff that they have no training in whatsoever. So they needed just as much.

Rebecca: I would actually recommend it as reading for faculty and administrators. Because when I was reading it, like yes, I actually knew these things. But like, I don’t typically explicitly state all the things because it’s the hidden syllabus [LAUGHTER] …these are all things that if we’re a part of the Academy, we have learned over time, but we don’t actually typically articulate necessarily or make explicit to others. And so reading this was like, “right, yes, of course, that is a rule that nobody knows about.” And so I could see a real advantage to having a faculty reading group, for example, around this book just to get insight into the missteps that students make simply because they’re not aware, and again around for administrators who may be in similar situations, like, thinking about policy, or easily blaming students, or easily blaming faculty for something, and just becoming more aware of all the unwritten rules around the academy seems really beneficial.

Terry: Amen.

Jay: That reminds me of a term that my wife, Julia, she’s an educational researcher, she knows all the official terms for everything, but expert blind spot; that you get so good at something that you don’t even realize that you know it or that you’re doing it. And it helps if you’re talking with other people, you can see it in them and at least call it out. So you’re right, you have a reading group, and you’re like, “oh, yeah, we do know that.” Or “we do have that whatever practice that we haven’t told people about.”

John: One of the things you describe early in the book is sitting in the back of the classroom, feeling completely disconnected from the experiences that the professor was describing. And you also talk a lot about how students come in for office hours and ask questions that faculty find really annoying when the students are really just trying to get some help and they don’t know how to phrase it. They’ll come in and ask questions like, “I really don’t understand the material we’ve been talking about for the last two weeks. Could you explain it to me?” [LAUGHTER]

John: And it’s really frustrating for us, but clearly the students are reaching out. And reading your book reminded me a little bit about how they must feel in these types of circumstances where they’re feeling a little bit awkward asking these questions. They really would like some help, but they don’t quite know how to phrase it. And I think part of our responsibility is to help bridge that gap a bit. And reading your book, I think, as Rebecca said, would be really helpful for that.

Jay: That’s funny, I always laugh when someone will say that, “Oh, I miss class. Can you just quickly tell me what happened?” I’m like, “If there was a quick way to do it, class would have been quick, then we would have been done.” [LAUGHTER] But you’re right, though, you have to immediately stop yourself from mocking them or looking down and think, “this person actually just came to me, they want some help.” So office hours is an unusual thing. And full disclosure, I only have experience with it as a faculty member, because the total number of times I went as a student: zero, and I regret that very much. But as I was going through college and struggling, so many people would even say, “well, you got to go to office hours,” I would think to myself, “okay, I hear you. I’ve heard lots of people say that.” But in my mind, I thought, “well, it’s okay. I know I have the textbook. I can read it or someone’s notes. So I’m okay.” Because I was making this assumption that office hours was for me to say, “could you re-explain everything about photosynthesis again?” Or “could you solve this problem?” Terry always makes me laugh about the student who comes into the office and says, “I need help with problem number three, and number seven, and 11 and 14 and 21 and 22. Can you redo those?” And they sit there and I think, “okay, yes, we do know the answer to those. And that is something that can be done in office hours.” But the insight… that it took me about 20 years to have… is that office hours is the first time, maybe the only time, where you as the student control the agenda. You are able to talk about anything that you think is relevant. And for that reason, yes, you can have them re-explain a concept, except that there’s Khan Academy, and there’s videos and there are textbooks, and there are other people and there might be a teaching assistant for the class, that might not be the best use of the time, because you have alternative ways. On the other hand, you’ve got this instructor here who has some insights that could really help you. And we try to give very concrete examples of things you as a student could ask. You could say some questions designed to help you be a better student… ask something like, “hey, if you were a student in this class, how would you spend your study time?” Or “you’ve had a lot of students, if you could change students in one way, what would it be?” Or if it gets close to the exam time, you could say, “to you, what are the elements of an ideal exam question?” Or “how do you create a lecture?” Or did you struggle ever? Did you always know that you wanted to be a biologist” or an economist or whatever, and you ask these questions, and in my office hours, which is usually a group of people, they be around and most students are like, “wow, this is really good and unexpected… the conversation we have helping them with professional development” or whatever. There are always a couple students who let out these heavy sighs, like, “ugh” because they have their list of 26 questions they want you to restate. And I have to usually directly address them and say, “I can do those. But this is actually some useful information that you’re not going to be able to get anywhere else, and might help you out, so think about that.” And I’ve even started now, in class, I’ll say, “hey, in my five years as an undergrad, I went to office hours zero times, you should just go even if you have nothing to say, just listen, just come and say hi, and you can leave” that I think has lowered the threshold a little and I get a bunch of students they come they say “hi,” they stay for a few minutes, and they realize, “oh yeah, this isn’t just a cram session” or something like that.

John: And once they come that first time, they’re much more likely to come up to you other times and ask questions in the hallway or just stop by for brief visits. And it makes it a much more pleasant interaction, I think, for everybody.

Jay: Yeah, they realize that you’re human, you’re a regular person, that you like to laugh, you have outside of class things that you can talk about. And that really does, I think, demystify who you are, and maybe what motivates you and other things that are relevant.

Rebecca: One of the things that’s really interesting, I think about this particular book is that we often deal out advice to students all the time that’s kind of generic and probably not that helpful. But when you really think, it’s like, “you need to manage your time better, you need to study more, you need to whatever the thing is,” without much explanation. Can you talk about some of the examples of maybe bad advice that students receive and how maybe you’ve addressed and provided a different kind of advice in this book?

Terry: Well, the office hours one is an obvious example. But we already talked about that. So it’s probably not the best example to continue on. I might say, I don’t know if it directly addresses what you said, but if the student and faculty member, or instructor, can have a relationship, professional relationship, as opposed to a transactional view, that’s a better solution. So I’ll give one cautionary story, which will make me sound really mean. And then I’ll tell you another story. So the mean story is I have a student come and he says, “I’ll talk about my grade on my presentation.” I’m like, “well, do you want to learn how to do a better presentation or do you want a better grade?” “Uh, kind of both.” So he just wants a better grade, but he’s kind of mealy mouthed about it. So he sits there for 11 minutes and goes through it. And then as he’s leaving, he asks, “oh, and is there any chance to get a job?” and I’ve gotten hundreds of people jobs, life-changing jobs, and I said “just took 11 minutes of my time, I could have gotten your job in those 11 minutes.” But he goes, “what about now?” I said, “no, you had your time. Get out.” So conversely, I had another student who used to just come by and chat with me. And we would talk about anything but the class. And I remember he bought me, this was years ago, an Austin Powers lifesize mannequin to put in my office with a frilly cravat. And then towards the end of the semester, another faculty called me and said, “Oh, you know, this person is in trouble in this stats class, what do you think?” and I said, “I think they’re an excellent person, that they are really trying hard. And I would give them the benefit of the doubt.” And so I don’t think explicitly, the student was doing anything to try to manipulate me, but because he came by and talked to me, and I got to know him a little bit. Interestingly, he’s running for Senate… in an important race. I won’t say his name, but he’s running for Senate next week, the same person, so his effective techniques for interacting with people…. So I don’t think bad advice people give you, it is just not advice that you get. And when you treat the person transactionally, then they treat you transactionally. And so if the faculty member is a fair and honest person, you’re going to get whatever you deserve as a student from them, they’re going to look at your grade, I’m going to talk to my student about his 8 out of 10 on the presentation, but you’re not going to get the next level relationship benefits, which can extend to the career and so forth if you go down that path.

Jay: Something that I’d like to add to that… when Terry and I first wrote our book, Mean Genes, people would read it, and they’d be all excited about it. And they’d come to us, and they’d say, “you guys should be on Oprah.” And that was their advice to us about “here’s what you should do. Because I know you’re trying to sell books, you should be on Oprah.” We’re like, “Oh, let me write that down.” And you see advice like that in books, oftentimes, where it’s well intentioned, and it’s actually accurate… we should have been on Oprah. But it wasn’t helpful, because it’s like someone saying you should go to office hours, they’ve already heard that. You have to tell them why should they go to office hours. What are the questions they should ask? Or someone says, “you should get a faculty mentor.” Okay, they know that, but how should they do that? And I think that oftentimes, you’ll also see in these books where they start doling out advice, that it’s just patently offensive, because it’s so obvious. Get to class early, be prepared, read the assigned material, try not to cram for tests, avoid procrastination. You might think then that alright, whatever, that’s harmless… that advice, but I feel like advice like that actually does extract a cost because you’ve only got so many words in a book and you’re either going to convince someone, maybe someone who’s reading Strunk and White, how to be a better writer, and it’s this very concise, precise book, so you get the message. But if the message is buried within stuff that the person thinks is obvious, they’re likely to put it down, or they’re likely not to trust you as much as the author because clearly, you don’t understand the reader if you think that they need to be told “avoid procrastination.” We all know that. That was a big part of our goal in writing the book. We didn’t want it to be a giant book filled with either obvious stuff or not helpful stuff. We wanted it to be a high density of material.

John: One of the things you talk about along these lines in terms of providing tips that may be different from the advice a student’s had is in terms of planning your pathway through college, because you note a lot of students are told they should pick a major early, focus on that, and work very quickly towards that goal as efficiently as possible and get their Gen Ed out of the way, and so forth. Your advice is a bit different. Could you talk a little bit about some of the advice that you recommend concerning what types of classes students should take and how they should plan their career in college?

Jay: As students are making their way from high school to college, we’ve seen this common pattern where someone will have, I don’t know, maybe when they were in fifth grade, thought, “Oh, what are my options when I grew up? I could be an astronaut or I could be a racecar driver or a pop star or professional athlete or a doctor. And if you happen to hit on Doctor, which is maybe the only realistic hope among those for most kids, your family responds better, like, “Oh, yes, very good.” And as the kid who it’s nice to have, it seemed like your family now loves you slightly more than they used to, that seems great. And then you start to stick with it, “Oh, yeah.” And then I get these students, they’re at college, and there may be a first year and they’ll say to me, “I’ve wanted to be a cardiothoracic surgeon since I was 10.” They want that to convey their commitment to it and their maturity and all that. But all I can think of is “do you really want to let a 10- year old make this most important decision of your professional life?” I think that maybe you should come to college with a more open mind, because when you were 10, you didn’t know all the options. If you look at these lists, and anytime there are published lists of job satisfaction, I love going through them because all the top things on job satisfaction, you’ve never even heard of as a 10-year old, or even as a college freshman, whether it’s software quality assurance engineer, or physical therapy director, or risk manager or security director, whatever. So from that, it’s caused us to realize that it shouldn’t be a race… who can identify their career goal first? …and then have them make other students feel bad because they’ve gotten to college and they can’t articulate it. It’s like, “oh, what do you want to do?” And the other person just talked about all these great things they want to do. And you’re like, “I don’t know, it sounds like you’re behind. It sounds like you’re worse off,” except that when you get to college, you don’t know what linguistics is, or applied math, or anthropology, or in many cases, psychology, or these majors that are huge, rich worlds that might interest you. So we want to encourage students to resist that temptation to have a plan. Because it seems so good, because everyone is so relieved and happy. But instead, you can’t just be passive, you have to explore the options that are open to you. That’s part of what you should be doing there. You have to learn about possible career paths, you have to investigate fields that might be of interest to you, you have to reflect on what is it that makes you happy? And what is it that stresses you out, maybe not in as good a way? …and that should be your plan because if you can’t explore things in college, then when do you get to explore? You stick to your 10-year old dream, and then you have the midlife crisis at 35 when it’s much harder to change your plan. And I think that message has not gotten out as much. Often students will even say to me when I say don’t worry about articulating a plan, but be active in exploring it. And I say, “you might have been experiencing parental pressure for a long time.” And they’re like, “oh, no, no, I haven’t at all. My parents are actually really chill about what I do.” I have to respond, “your parents are chill about what you do, because you’re still a biology major and that’s what you were when you came in. And you’ve articulated the same plan. The only way you’ll know if they’re chill is I want you to send them an email or call them today and say, “Hey, I’m changing my major to English,” then see if they are, because you may have been responding to subconscious signals about how much they love you when you have a plan versus not having a plan. And if we could get that message out that this is the time to learn about what you like and who you are, and that you might be becoming a different person than you were when you were younger.” That has a lot of value, I think.

Terry: So I invite my alumni to come back. I teach at Chapman now, and I have all these students who have graduated and have good jobs. And one semester, one of my students said, “I’m going to come back and I will talk to you students and I want to go to lunch with them. I want to interview them and I want to hire some of them.” So I tell my students “here it is, this great opportunity. The firm is local, if you want to live in Southern California. They pay well. The person who’s coming graduated four years ago. You want a connection with somebody who’s not remote from you? What could be better?” I said it’s only going to be room at the lunch for six people. So sign up and I’ll randomize publicly who gets the sixth slot.” So the person comes, Alan, and I go to do the randomization in front of all the students. There’s 70 students in the class. I look at the list, the sign up list, there are three people on the list. So all three of them go to lunch. And one of the kids, Mitchell, I just invited him back. I gave a talk to all the new Chapman students, all 2000 of them. And I invited him as the guest speaker to talk about this story. He comes. And I said, “why are you here?” And he goes, “I’m not even interested in real estate finance, but I just thought it was a great opportunity to learn something and come to lunch and talk to somebody.” He now works for that firm since that lunch. He got an interview, he got an internship, he loved it. And now he loves his job there. And it’s just hilarious that people miss this opportunity. And then again, showing my mean side, [LAUGHTER] a year later another kid writes me and he said, “I was in that same class. And now I want a job with that company. I’m interviewing with them. Can you connect me?” And I’m like, “no, you had your chance to connect.” I mean, of course, I didn’t say no, but the reality was, it’s much less effective to connect when you want something than when you’re just going to go learn something. So you have to look for those opportunities. In my own case, I was riding my bike through Harvard yard when I was in grad school on my way to a microeconomics review session. And I saw a poster for a talk by Caltech professor Charlie Plott. And I thought it looked really interesting. It was about experimental economics. I’d never heard of the field before. I’m like, “Okay, I don’t know what this is. I’m probably going to get a worse grade on my micro test, but I’m going to go to this talk by Charlie Plott.” And I went and was like, “Wow, I didn’t know any of this stuff.” And then I ended up doing my PhD with another experimental economist, Vernon Smith, and how I ended up at Chapman and I did get a worse grade on the test too.

Rebecca: You want all the things [LAUGHTER].

Jay: Can I add one other story that Terry has told me about one of his students who came in wanting to be a doctor, and was all excited that he was able to get this internship shadowing a doctor. And he goes, it was an orthopedic surgeon, and he gets to go, follow her around, even go into the surgery, theater, and all that. And what he discovered was, even though she loved her job, she was great at it, he was bored to tears. He thought, “Oh, my God, this would not be good at all.” And in some ways that felt like a failure, like, “oh, no, I don’t like what I’ve picked.” But in other ways, think about the cost of realizing that now when you’re in college and the cost of realizing that when you are in your fourth year of medical school or you are 10 years into your career. So the idea of exploring also carries with it that you’re not just trying to get the things to add onto your resume. You’re exploring because you’re going to find some things you don’t like, and it’s low cost to get to rule them out at the earlier age. So people don’t always realize that, that trying something out might give you information about what you don’t want to do. And that that has maybe as much value as finding out what you do want to do.

Terry: Right. So here’s something else that’s interesting. These people that we’re talking about are not made up things, this is a real story. So that person who Jay just talked about who was my student, who wanted to be a surgeon, here’s his most recent posts from LinkedIn, he now works as a product manager in London. He literally just posted this “when I was 10, I thought that my goal in life was to shoot for the stars. But today I understand my destiny is to come into the office today, every day for the rest of my life. Why do I say that? Because I came into the office this morning, and it was the best feeling in the world.”

Jay: That’s so great.

Terry: Isn’t it? I just looked them up while you were talking, Jay. And yeah, they’re all real people. And these are real stories. And we have hundreds of them that we draw from to synthesize the themes there. And that theme is very clear, which is, for most people, picking your job when you’re young and sticking to it is a bad decision. And if you’re talented, there’s so many different things you can do in the world. I had another friend, which was funny, he was a very talented guy too. And he said he realized when he was about 25, he didn’t want to be anyone’s boss. He didn’t want to have a boss. So he end up becoming a journalist, one you’ve seen on TV many times, but he was like, you don’t know those things when you’re 10. He didn’t know that at 10, he figured out when he was 25. Like, “this is gross. I hate giving performance reviews. This is terrible, even worse to give them than it is to get them.”

Rebecca: Another thing I really like about your book is these stories that you include, and that they are based in reality. And it’s a nice way to bring students into the conversation. And a lot of the stories have this thread of needing relationships [LAUGHTER] or a chapter on seeking out good teachers when you’re choosing your classes. And a lot of times those good teachers lead to good mentors in other things. And as you’re telling these stories, I’m thinking about the internship that I went on that I discovered what I didn’t want to do, or the mentor who told me I should take advantage of some of those opportunities that I probably wouldn’t have done had I been left to my own devices without a little bit of nudging.

Terry: So what was it that you didn’t want to do?

Rebecca: Well, interestingly enough, I didn’t want to be a graphic designer in the traditional sense. I do teach in a graphic design program. But what I discovered is I wanted to do more experience design and interaction design, which I hadn’t really been exposed to. I didn’t want to do marketing and branding, which is what the internship was. I hated it. I hated every second of it.

Terry: And when you changed your mind, was it difficult internally or externally to change what you want to do and have to tell everyone a different story?

Rebecca: Yeah, I mean, I think the first thing afterwards, it was like, “I’m quitting this major.” I actually ended up finishing it. But I ended up curating some of the other experiences around it in a different way. Because at first I thought I was gonna have a graphic design major, and I was gonna have a business minor. This is what many students have this combination of things. And I quickly discovered that wasn’t going to work for me and I needed to explore some other things. And I went more on an exploratory path for a while to figure out some other things, really in a field that was just starting to come into being.

Terry: Yeah, and did it feel bad, though? Now it sounds cool. Like, I went exploratory and it felt okay then?

Rebecca: No, it was really nerve racking and I was really stressed out and I tried to go to the counseling center and I talked to every mentor I had about how it was having a crisis. I mean, it felt really bad initially. [LAUGHTER]

Terry: We also tell three stories in The Secret Syllabus of people who found their passion early and stuck to it and then were very successful in an area, Steven Jobs among them. And the myth that they project is that you’re a loser if you don’t know what to do when you’re young. And they have this idealistic: “there’s one job for you, there’s one passion for you.” And that is not true for most people. And it’s a destructive myth out there. Most people are more like your experience, Rebecca, or my student, where you’re not sure. And if you’re introspective, you learn and you find something different.

Jay: I think, as an instructor, and as a parent, and just as a grown up in the world it’s very hard to internalize the message that Terry just said, which is that something inside of us when we meet a kid who says, “Oh, I’m applying for college,” or “I just started college,” we ask questions like, “Oh, what do you want to study?” These are questions that I think can subconsciously convey the message that if you have a plan, it’s slightly better than if you didn’t have a plan. So you have to really undo that and ask more about what kinds of things interest you or as you were saying, Rebecca, [LAUGHTER] when you describe something that was a bad experience, I find that if I ask people: “Tell me about your worst job experience,” or ask students “tell me about your worst classroom experience,” that can be more educational than hearing 100 stories about someone who saw the path illuminated and followed it and now enjoys success. If we can shape discussions in that direction more, it can really help a lot of students who I think don’t want to acknowledge that they’re not sure or they don’t have a plan.

Rebecca: I recently had a conversation with a colleague about a conversation she had with a student that she was mentoring. And the conversation went something like this, “I can’t wait to meet your parents at graduation.” And the student says, “my parents definitely are not going to be excited to meet you.” We were talking about this and how that really reveals how there’s a disconnect about the pressures that might be happening at home or from other sources that are happening to a student that aren’t always visible to us as faculty or mentors. There’s so many other things going on. So although you may have convinced the student of a particular thing or suggested they do this activity, or maybe you’ve helped them discover a new major or something that might suit their passions, they’re also having this internal dialogue with themselves about how am I going to break this to my parents or whatever needs to happen. But I just thought that conversation we had this week was so enlightening.

Jay: I love that because I was finishing my PhD, and after having struggled for years and years, and really things were touch and go all the way till the end, I’m getting my PhD at Harvard, and my parents come, and neither of them had been on a plane before I went to college. And they come now to Harvard. And I’m feeling all great about this. And just as I’ve gotten the diploma, my mom says to me, “Do you think you could get into medical school now?” …and she was still clinging to this idea of when I was maybe in grade school that I could be a doctor because then that would have some job security and respect or whatever. And so if I’m not a doctor, it must be because I couldn’t get in and maybe the Harvard PhD will help. And I had to tell her like, “I don’t want to be a doctor.”

Terry: And Jay, did you know that I got into medical school?

Jay: I did know that. I can only imagine the pressure because I know your dad. Yes. That’s just brutal. If my parents heard that I had gotten into medical school and didn’t go, the disappointment would have been overwhelming.

Terry: I had an excellent job as a busboy in one of the finest restaurants in La Jolla that I went to instead of going to medical school.

John: For many years, I taught in a program for gifted high school students at Duke University in the summers. And at the end of the term, we met with parents and many of the parents had very definite career plans for their 15- or 16-year old children. And they typically asked, “do you think our son or daughter has a future in,” I was teaching economics classes, “in economics?” And I’d say “clearly, they’re doing very well at this and it’s one of many things that I’m sure they could be very good at.” What I normally would say is, “over half of the students who enter college change their major within the first couple of years.” And what I’d recommend is that they explore as many different courses as they could now and when they go into college, and parents who didn’t generally like that advice very much. As you’re talking, I was thinking of two of my former students who I’ve known, now twenty-some years later, one of them actually was one of the best students I ever had in an economics class. Then he ended up at Stanford, he changed his major to religious studies and as he put it, “path of least resistance,” and he became a musician, and he’s a very, very successful musician today. Another student, his parents had plans for him for medical school, and he was on a Freakonomics podcast because he’s now an economist who’s become an expert in some interesting areas in economics. And they didn’t intend for him to go on in economics, he was clearly ending up in medical school.

Rebecca: I’m wondering if a good audience for your book is parents. [LAUGHTER]

Jay: Possibly not, I have sometimes thought about that. I might, if they saw me in class, wearing a nice shirt and tie and I looked very formal about the whole thing. I might be the most dangerous, subversive element in their life, because I’m the one telling their kid your parents already had the chance to live their life, you get to decide now. If they truly believe that you are wise and mature and smart, as they say they do, they should trust you to make good decisions. But it does feel like yeah, the parents… in the long run, they might… but in the short run, they might fear this kind of thing because parents want the best. And sometimes that means a little bit of risk aversion.

Terry: I would say I am a terrible parent. [LAUGHTER] So I have three daughters. Two of them are sort of introverted, and one is super extroverted. And I’m always nervous about the extroverted one, even though she’d probably be very good at navigating the world. But I asked her today, I was driving her to school today, and I asked her, “do you ever read your history textbook?” She said, “Absolutely not. It’s so boring.” I’m like, “yeah, it is boring. The content is good, but presentation is terrible.” Yes, so once you study hard, and don’t go out very much. I’m like, Yes, things are gonna work out okay for them. And then my middle daughter who’s doing well and super outgoing and loves to talk to people. I’m just nervous about the downside for her. So I see the attraction of neurology or being a was it, Jay, a…?

Jay: [LAUGHTER] A cardiothoracic surgeon? Yes, they don’t even know what that is. [LAUGHTER] I should validate. Yes, Terry is a terrible parent.

Terry: Yes.

Jay: And yes, his daughter is starting at Stanford this year. So that kind of terribleness.

Terry: One of the introverts?

Jay: Yes. [LAUGHTER]

Terry: The extrovert’s not going there, except to visit. [LAUGHTER]

John: You mentioned boring history books, one of the things that I really enjoyed about your book was how powerful the narratives are in it. And I think that’s something that perhaps we could all use when we’re writing books about our disciplines, or when we’re teaching these subjects, because storytelling seems to be really an important way of communicating information, and we don’t always use that in our classes.

Terry: It’s a failure of our ability to understand other people. So one of things I laugh about is, when I have my students comment on other students’ presentations, they are very good at finding the problems. And the problems are always exactly what you said, not enough storytelling, no eye contact, not engaging, not straightforward, not humorous. And so it’s easy for us to critique somebody else. But then when you’re doing the presentation, it’s hard. And if you do it for a long time, you get better at it. But your first instinct is not to tell stories, it’s to get the facts and get all the data. So I’ll tell you another story. So I had a student come back, Chad, he was the first Chapman student of mine to work at Goldman Sachs. And he came back to talk to my students. So I coached him before. And I said, “Chad, this is what you want to do. You want to tell a story. And then you want to tell a message.” And it came up and he was shy, even though he was now working at Goldman. And he told some stories, but he didn’t really do it in the way that I thought he should do it. So he told the story, which was funny, he said “at Goldman, everybody uses Excel all the time. But you’re not allowed to use the mouse because the mouse is slower than the keystrokes. And because you’re in this financial factory, it’s important to work as fast as possible,” and his boss would sit behind it and yell at him. “Don’t touch that mouse. Don’t touch it.” Overall I said, “Thank you for coming. I think you could still work, do a better job on your presentation skills.” The end of the year, I’ve given 36 brilliant lectures, [LAUGHTER] and I asked the students in the formal reviews, what was the best part of the class? Half of them said Chad’s presentation… [LAUGHTER] which was entirely story based, and God, I’m just the dumbest person in the world. People love stories.

Jay: I completely agree. And I think that’s what Terry and I bonded over in our very first first teaching experiences. I got asked to apply for some award at UCLA, but part of it was I had to write a teaching philosophy. So I thought, “alright, I’ve been here for a little while, I’m gonna write it down.” And I started listing all this stuff. And later on, I thought, and someone said, “you should try and publish this just in a teaching journal, all these ideas about teaching.” So I do, and I find the references for everything. So everything I do, if it’s about take-home messages, here’s the research that shows this is good. If I do this, here’s the research for this. And I had 10 of these things that were going to help people be better teachers. And the last one, I’m like, “I don’t have any evidence for this, but I just know that it’s good.” And it was “you got to tell stories, you have to reveal stuff about your own personal life, you have to somehow bind the material, the ideas, to your students’ lives.” And just as I was about to submit it, someone says, “I just heard the phrase ‘self disclosure’.” And I just hadn’t looked for that literature, because I’m not an education researcher. And I look and there’s a whole world and thank God all the evidence says that the extent to which you’re telling stories about your own life in ways that are meted out in the proper magnitude and that they are relevant to the stuff you’re talking about. It’s hugely successful. That is what the students remember. And so as long as you can do that, I think, yeah, Chad’s story, “use the keystrokes.” Every time, you can come up with an idea from your own life, if you can make it clear, so the student is going to be able to construct the knowledge later on in their own head, why they were saying that, that’s a huge win for the teacher.

Terry: So I tried this, I try to copy Jay’s stories. [LAUGHTER] So one of my early teaching experiences was Jay was the head teaching fellow for this biology course known as “Sex at Harvard.” And he would give his class, his section on Wednesdays, and I gave them mine on Thursdays. So it was the first time teaching it, and he had done it for many years and was great at it. And so I went to his section on Wednesdays, I took notes, and I would try to replicate. So he would tell these anecdotes, which every time would backfire for me. So I’ll tell the one, the one he is talking about stabilizing selection, why babies can’t be too small or too big, too small, because they’re not viable or too big, because pre-Caesarian you can’t get out of a mother. So he tells the story. “Oh, my brother Patrick, he weighed 13 pounds at birth. But now he weighs 600 pounds. No, he’s perfectly normal size.” So I try that anecdote the next day. Now, it’s saying it’s my brother, Patrick. And a very large person says I was kind of a big baby too. [LAUGHTER] And I’m like, “okay, be careful on the self disclosure.” So, it didn’t go well, anyway, stories, yes, they’re the best. You can’t forget them, right? You’ll never forget that Jay’s brother weighs 13 pounds.

Jay: [LAUGHTER] It is true, and he is normal size now.

Rebecca: We usually wrap up with the question: “What’s next?”

Jay: I’ll say what’s next for me. When I first got into teaching, I thought, “Oh, I get bored of things fast. I’ll do it for a couple of years, and then I’ll move on.” But it turns out that I’m endlessly fascinated by it. Because in order to improve, there is an almost infinite number of things that you can do. So for me, right now, I’m thinking a lot about the pandemic, in many ways, was just this horrible thing if you were a teacher, but we had these constraints that in a few cases, caused people, including me, to discover, “Oh, this is actually useful.” So for instance, the discussion window, and I would have these students who never in a million years would have raised their hands or spoke in class, and they’re typing stuff in the discussion. And other people are responding and they’re engaging. And I thought, “Wow, this is good. That’s what I would have done.” So I’m trying to figure out how to take the various things I learned from teaching in the pandemic. So how can I incorporate a chat window in class so that I get the same effect or things like these just richer learning activities, I had a lot of assignments where they had to go out with a camera and take a picture, just of something and talk about how it was relevant to whatever the lesson was, or these discussion boards were, instead of turning in a paper, they had to post it, and then everyone else got to comment on it. So suddenly, we had this community. So I feel like right now I’m trying not to return to some bad habits from teaching, but instead to say, “Wait, I have ways that I could be better.” So that’s sort of my hope, is that I’m very slow at incorporating new innovations, but I’m a steamroller. So if I could just figure out a few ways to get better now based on those experiences, I’d be happy.

Terry: And for me, Jay and I, our first project together was the book called Mean Genes, which we call a Darwinian self-improvement book. So how to be a better, more effective, happier person by understanding natural selection, biology, etc. And I still think about that all the time. So you probably know this famous 1973 study, to survey people’s self-reported happiness who win lotteries and other people who become permanently physically disabled because of accidents. And you survey their self-reported happiness and after about six months, they get very close back to where they were before the incident. Now, you don’t have the same people, There are methodological issues. But that notion makes sense from an evolutionary point of view, it’s probably the most important chapter in Mean Genes. And it’s to me the most important notion for your own life, which is that the setbacks aren’t permanent. Jay’s a steamroller. And things that seem like they’re terrible, they may very well be terrible, but your ability to recover from them is probably greater than you think at the time. And so for myself, as I said, I’m a terrible parent, I’m always initially disappointed if my kids aren’t brave, and they don’t do the hardest thing first. And I try to do the hardest thing first, every day, because it’s surprising. And the other day, I thought, we had rats in our garage, because we had rat poo in our garage. And so it depressed me, like this is just a horrible thing. So I got up early, I took every single thing out of the garage, I had the exterminator come, and six hours later, I find out there are no rats in the garage, he could tell immediately, it was at a minimum of 12-months old, and my garage was completely reorganized. So literally, from the time that I was the most depressed about my house that I had been in years to the time when I was happiest about my house was about six hours. And it came from not hiding from the rat poo, from addressing it. So what’s next for me is to continue investigation of human nature, how to do things along the lines that we talked about in The Secret Syllabus and in Mean Genes, which is how to make realistic changes in your life, to be a better person for yourself and for the people that you care about.

Rebecca: Well, thank you so much for joining us. I really hope that a lot of first-year seminars and other kinds of opportunities to get this book into students’ hands will happen.

Terry: Well, thank you. Thank you for having this podcast and for having us on.

Jay: Yes, I concur. Thank you very much. It’s been a lot of fun.

John: Thank you. It’s a great book.

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John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts and other materials on teaforteaching.com. Music by Michael Gary Brewer.

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214. Transformative Storytelling

From the earliest days of human society, storytelling has played an important role in transmitting and sharing knowledge. In this episode, Laura Colket and Tracy Penny Light joins us to discuss how storytelling can be used in higher ed to help us reflect on and understand the rich diversity and the commonalities that exist within our educational communities.

Laura and Tracy work together in the Department of Educational Services at St. George’s University in Grenada. Laura is an Associate Professor, the Director of the Master of Education Program, and the Associate Director of the Leadership and Excellence in Academic Development Division in the Department of Educational Services. Tracy is a professor in the Master of Education Program and the Director of the Leadership in Excellence in Academic Development Division. Laura and Tracy are co-editors of Becoming: Transformative Storytelling for Education’s Future, and together they founded the Center for Research on Storytelling in Education.

Shownotes

Transcript

John: From the earliest days of human society, storytelling has played an important role in transmitting and sharing knowledge. In this episode, we examine how storytelling can be used in higher ed to help us reflect on and understand the rich diversity and the commonalities that exist within our educational communities.

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John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted by John Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer…

Rebecca: …and features guests doing important research and advocacy work to make higher education more inclusive and supportive of all learners.

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John: Our guests today are Laura Colket and Tracy Penny Light who work together in the Department of Educational Services at St. George’s University in Grenada. Laura is an Associate Professor, the Director of the Master of Education Program, and the Associate Director of the Leadership and Excellence in Academic Development Division in the Department of Educational Services. Tracy is a professor in the Master of Education Program and the Director of the Leadership in Excellence in Academic Development Division. Laura and Tracy are co-editors of Becoming: Transformative Storytelling for Education’s Future, and together they founded the Center for Research on Storytelling in Education. Welcome, Laura and Tracy.

Tracy: Thanks so much.

Laura: Thank you for having us. We’re happy to be here.

Rebecca: Today’s teas are… Laura, are you drinking tea?

Laura: I am. I am drinking bush tea and if any of your listeners are from the Caribbean, they will know what that is. But it’s essentially like an herbal tea, lots of good stuff in here.

Rebecca: Awesome. How about you, Tracy?

Tracy: I am, Laura made me go get my tea just for this. So I’m drinking a tumeric and ginger tea.

Rebecca: Nice.

John: And I am drinking a Tea Forté black currant tea.

Rebecca: A good favorite. I’m back to my East Frisian today.

John: Very good. We’ve invited you here to discuss your new book. Could you tell us a little bit about the origins of Becoming?

Laura: So for me, this came from some assignments that I had given over the years for my students who were either wanting to become educators, were currently educators, had been educators for a long time, or were educational leaders. And I had just really seen the power of these different assignments. One of them was an educational autobiography statement, and another one was a teaching philosophy statement. And I started to see not just how powerful those were individually, but when those were written and reflected on in relation to each other, it became even more powerful. And so I knew that I wanted to somehow make this process more accessible to other educators more broadly. And then Tracy and I met and sparks flew, and we both had this shared passion for storytelling, for professional growth, and it really was just a perfect partnership. I’ll also mention that we also collaborated with our colleague Adam Carswell, who’s not here today because he’s running a school in the midst of all of this COVID craziness. And so he’s not here, but he was also involved in the book as well.

Tracy: Yeah. And similarly for me, I have been working with eportfolios for about the last few decades… and so reflection and storytelling…really just an innate part of portfolio pedagogy. And I remember one day, we were sitting in the office and thinking about the power of storytelling and sharing the different experiences that we’ve had with our different assignments. And we had this crazy idea that we should create a center and then I said, “And why don’t we just really aim high and write a book?” [LAUGHTER] So it sort of evolved from there.

Laura: The other thing that I’ll say, too, is that the origin of the title, Becoming, comes from a Paulo Freire quote. He says that, “Human beings are always in the process of becoming.” And I actually have that quote tattooed on my arm for over 10 years now. So when we were writing this, it seemed like that was a natural fit for the title. And speaking of Freire, we really were standing on the shoulders of giants as we created this book, because in addition to his significant influence, we also were influenced by people like Maxine Greene, who says “It’s simply not enough to reproduce the way that things are.” And bell hooks who reminds us that, and this is a quote of hers, “Professors who embrace the challenge of self-actualization will be better able to create pedagogical practices that engage students, providing them with ways of knowing that enhance their capacity to live fully and deeply.” And bell hooks’s book Teaching to Transgress actually had a big influence on me as I was imagining the assignments for my students that I mentioned earlier that became the foundation for this book, because in her first chapter she talks about her experiences as a student in relation to her approach to teaching which she calls “engaged pedagogy.” And so these scholars, and many more, really had a significant influence on the origins of this book. And ultimately, we see critical storytelling in terms of both uncovering our own stories, and also listening to and really hearing the stories of others. How that can help us to interrupt harmful patterns and practices in education and how this process can really be a spark for much-needed transformation in the field.

Tracy: It’s so interesting, I think that often we forget that our students have their own stories. And just encouraging them to know thyself. I remember one of my students created a portfolio and she had a page that was about “know thyself,” and I thought, “Oh, that’s so nice that that’s one of the things that she was taking away from the class.” But really encouraging our learners, and we work with faculty as well, to really dive deeply into who they are, what their experiences have been, and how that shaped who they are as either learners and/or educators or educational leaders is just really something to watch. And I certainly have had the experience working with faculty members who have these aha moments, they’ve never thought about their own stories or where their practices come from. And when they start to uncover those, they realize that they had a really powerful mentor or that they had maybe a terrible learning experience that caused them to shift their pedagogical approach. And it’s just such a nice thing to do in community… to reflect on stories as well as just to do for ourselves. And that’s really, I think, underpinning a lot of the work that we did with the authors in the book, and as we thought through the structure of the book itself.

Laura: I also want to mention our publisher DIO Press, and we chose them because we felt so connected with their mission as a progressive, socially-just publishing house, and it really aligned with what we were trying to accomplish with the book.

Rebecca: Can you talk a little bit about the intended audience of your book, and also how your contributors were selected?

Laura: Sure, I will take the audience question. And it’s really intended for educators and educational leaders at all levels, all contexts, subject areas, engaging in this work individually, or even in a group as well. I can give a couple examples of how we’ve been using the book already. One is in the Master of Education Program. Our students this term, in one of the courses I teach, Education in a Multicultural Society, I created a project around this book. And so the students began by choosing groups based on the different sections in the book. So one is “Claiming Identity,” one is “Border Crossing,” one is “Anti-Colonial Ways of Being,” one is “Social Class, Politics and Education,” and then the last one is “Changing Pedagogical Practices.” So they went into groups based on the sections and did a bit of a jigsaw activity around it. Everybody read the introduction and conclusion chapter, but then, in their groups, they read the chapters in their section, and then designed a workshop for the rest of their colleagues in the program around what they learned from the chapters in the book and the implications for being an educator in a multicultural society. So that was a really powerful learning experience for them. And we are also now using the book in a new faculty-learning community that we have started at our university, where the faculty in the community are using eportfolios to reflect on their past and present and imagined futures in relation to teaching and learning. And so we’re using this book in that inquiry community to go through this process with all the faculty who are involved, and so we’re excited to see how that turns out as well.

Tracy: And in terms of how we chose the authors. We really knew that we wanted to have educators and educational leaders from across social locations and from different cultural identities. And, of course—I don’t know if you’ve done this before—when you put out a call for book chapters, you know, you get what you get. And we were just really fortunate that we knew people who we forwarded the call to, they forwarded it to their networks. Similarly, people that I knew from the eportfolio community sort of shared. So, the people that ended up contributing just turned out to be from all different countries, with all different backgrounds, K-12 educators, folks in higher education, educational leaders. So it was just a really fortuitous kind of a thing, and the people who answered the call are the people who participated in the book process itself. So we didn’t set out to target any one group of people, we really wanted a broad set of perspectives for contributing to the book. And then in terms of how the sections of the book unfolded, as people wrote their stories they just sort of logically fell into these really lovely buckets. And we were able to group them, even though there are a lot of similarities across the chapters and a lot of shared experiences, which I think was really something that came out of the whole collaborative process that we engaged in.

Laura: Yeah, and I did want to say something about that collaborative process, because it was really powerful. When we first put out the call, this was before COVID, so their first round, their first draft of their chapters, were all written before COVID and then we gave feedback. And as they were working on revising their chapters, that’s when the pandemic hit us. And so, their revisions included reflections on what was happening to them at the time, which was really powerful. But we also, once everybody had a somewhat final version of their chapter, we shared them with everybody, and we asked them to read across the different chapters. And people were commenting on them and asking questions, and it led several of the authors to cite each other, to shift and change their chapter based on questions that were asked. One of the authors even included all the comments from the Google Doc in her final published documents so that the readers could see that collaborative process and see the ways in which the other authors in the book were contributing to the conversation. And so, again, this is during COVID, so we had Zoom calls with all the authors as they were reflecting on this process, both in terms of their experience writing and reflecting on their own stories, and also reading the stories of others and what a profound impact that had on them professionally. So even just that collaborative process of creating this book already was really profound.

Tracy: It’s so interesting, because I’ve edited a few different volumes. And normally, I have to work really hard to get colleagues to integrate thinking from other chapters into their own. It seems in other contexts to have been much more difficult. In this context, it was such an organic process, and people were so inspired and moved by one another’s stories, that it made it really easy for them to pick up on the threads that occurred in the different chapters. And so it felt like a real gift to us, especially in the midst of the pandemic, to be part of this community of incredible educators who really were working together in a very deep way to put this book together. So it was just really wonderful. I got goosebumps just thinking about that process itself.

John: You’ve talked a little bit about how this has been used in a Master’s class, and you’ve talked a little bit about the benefits to the participants. What are you hoping this book will achieve in the broader audience?

Laura: Sure. So when we started out with this project, it was really guided by three main goals. One was to compile a broad range of personal narratives about learning and teaching in order to better understand both the diversity in experiences but also commonalities. Another was to better understand the connections between peoples’ experiences as learners and their experiences as teachers and educational leaders. And then a third goal was to be able to offer a collection of narratives around teaching and learning to support the professional growth of educators and educational leaders. So now that we’ve completed this book, we can already see the ways in which we’ve accomplished these goals, but even gone beyond them. And we really see three layers of potential impacts. So first would be, for anyone just reading the stories, we hope that it will inspire some change based on seeing how powerful connection and belonging and relationships are in the learning process. So even if someone just simply reads the book, we know it will have an impact for them. But also, the book provides a structure and guidance and motivation for readers to be able to engage in the reflective process themselves. So if people do want to engage at a deeper level, they can follow up the reading by reflecting on and potentially even writing their own educational autobiography, along with their teaching philosophy statement, and consider the implications for their future practice in teaching and leadership. And so, lastly, and I think ideally, people could do this work collectively. And so, as we mentioned, we saw in writing the book, how powerful it was for people to be reading each other’s stories and to be collectively reflecting on this impact on their learning and reflection that was happening through the process… so both in terms of writing our own stories, but also reading the stories of others. And so we really encourage others to read this book as part of a group if that is possible. For us, writing and editing the book really underscored how pervasive trauma and shame are in people’s learning experiences, sadly. But also how powerful connections and a sense of belonging and caring relationships can be in reigniting people’s motivation to learn. And so it became really clear that the need to be seen is really an essential human psychological need. And yet so many of the authors in the chapters of this book shared examples, some of which were prolonged, in which they were not only not seen, but they felt, and this is a quote, “erased.” They saw their culture erased in history books, they felt their identities were being erased in discussions, they felt compelled to erase their home language in order to survive. And as Browning, one of the contributors to the book said, “I walked in a world that challenged my being.” And that is just such a powerful statement to me. And we know that this is also grounded in literature, too. It’s not just these participants’ stories but, for example, Brené Brown describes shame, this is a quote from her, “as the intensely painful feeling or experience of believing that we’re flawed and therefore unworthy of love, belonging, and connection.” And so while we as educators can’t control everything in our students lives, we do have the power to be able to help our students to understand that, even if they do experience shame, it does not mean that they’re flawed or not worthy of love and belonging and connection. And if we start to foreground empathy for our students and our colleagues, we can start to combat that shame. And so I think this is one of the big takeaways from the book that we hope people will be able to get from it by reading it.

Tracy: And I would say as leaders in our division, it’s really become part of the fabric of the work that we do with our colleagues as well. We want them to be able to articulate their professional missions. And we want them to have their work aligned with what is really important for them. We want that for our faculty colleagues, as well as our students. And so, I think weaving in this idea of reflection and storytelling and being true to ourselves and knowing that our past experiences can shape our future, but they don’t need to, especially if they have been negative or traumatizing in a way. And I think that’s really profound in this moment because we are in the midst of a pandemic, and I think we’re all collectively traumatized by that experience. And so, it’s going to have to play a role in the work that we do both with our faculty colleagues, and with our students moving forward. I don’t think we can just sweep it under the rug and pretend that we haven’t had these experiences. But I think to, again, have some empathy and understanding for how everyone is managing those experiences, how that impacts what we do in education, and how we can make things better as we move forward, I think that’s maybe one of the things that this kind of work can help to facilitate.

Rebecca: I think one thing that might be worth noting, as Laura pointed out about the idea of following along with reflection, is that there are built-in reflection questions into the book itself. So it’s not like it’s an unguided reflection, right? There’s plenty of guidance there that people might value.

Laura: Yeah, we really wanted to write this in a way that it could be a useful tool for the people who are reading it. You can just passively read it, but you can be much more actively involved as well.

Tracy: And I think that your point, Rebecca, about guidance and prompts is so apropos. I think oftentimes we say, “Have your students reflect on their learning.” Well, where do I start? What does that mean, do I just tell you what I did? How do I…? And we know in the literature that there is a real difference between surface-level reflection and deeper and meaningful reflection, and that that requires some scaffolds. Most people will start at the surface level, and then as we get practice, we become more thoughtful, more intentional about what it is we’re trying to do in the process of reflecting on our learning. And so one of the things that has been an outcome of this book project, and in the Center for Research on Storytelling in Education, is the recognition that we need to have activities and prompts available that academics can adapt, or leaders can adapt for use in their own context, and make it really simple. So we want to make sure that we have a repository of open educational resources that enables people to take up the practice of storytelling, but in a way that leverages the work that others have done already.

John: Do you think by having these stories from faculty, it might help reach faculty who don’t understand the importance of connections in a way that other types of narratives may not affect faculty as well. When they hear from colleagues out there about their own experiences, might that perhaps make a somewhat stronger connection with faculty to help them become more aware of the importance of connections and belonging in their classes?

Tracy: I think the academy can be a pretty isolating place for a lot of people. And we talk a lot about, you know, “What happens in the classroom, stays in the classroom.” It’s not uncommon for people to go in, shut the door, do what they’re doing, and then go back to their office, shut the door, work on their research. And I think what this highlights is that need for community and also the need to hear the stories that you’re not alone. And that was something we heard very often from our authors that they recognized in others’ stories, experiences that they had themselves had, maybe not even in the writing piece that they finished for the book. It surfaced those past experiences. And so, I think there’s a lot of value in hearing that you’re not alone, other people are experiencing similar things and we can work together to make the academy—we’re talking about higher education, but I would say this is true at all levels of education—a more welcoming place, a more inclusive and equitable place, so that we can all feel like we’re visible and that we can be heard and that our perspectives matter.

Laura: Yeah. We heard so many times in our conversations with the authors, something along the lines of “Wow, I didn’t realize that other people had had the same experience or had had a similar experience. I thought I was alone.” And again, these are people who have been in the field for years and years and years, and they’ve been keeping these stories to themselves. So the act of just opening up and starting to share ourselves and to really humanize this work is really, really powerful. So it helps to create connections, it helps to create more meaning in what we’re doing, and it just brings back life to what we’re doing.

Tracy: And it makes me think also, John, of the different stories we tell in education about what it is that we do. So I think what we’re seeing now is the use of storytelling in a lot of different contexts in education. I think about accreditation stories. So how do we make visible the learning that’s happening on our campuses if we’re speaking to accreditors? What do the stories look like if we’re talking to different stakeholders on the campus? And how can we create those spaces so we can actually have those shared conversations? So I think it has a lot of potential for a lot of different spaces when we’re thinking about education.

Rebecca: I’m glad that you brought that up, Tracy. I think one of the things that may not be obvious is perhaps what you actually mean by storytelling. So can I invite you to take a couple minutes and actually describe what you mean by storytelling in this particular book, what you’re trying to promote? I think we’ve kind of hinted at it here, but haven’t directly said it.

Laura: Sure, I can get started, and Tracy, I’m sure you can add, but we really think about storytelling in a broad sense. So in the book, specifically, we asked people to tell their stories of learning in relation to their stories of teaching. And so, we prompt them with questions around critical incidents that they might have had, or people or moments or experiences that had a particular impact on them. But also, in our practice, we engage in storytelling in all sorts of different ways. So one of the things we do, for example, is a three word story—and I got this from Tracy, who I believe got this from some of her former colleagues. But storytelling can be as simple as, “What three words describe yourself as an educator?” And you can stop there, but it ends up being a prompt for further discussion. And if whatever three words you choose, there’s a story behind each one of those words. And so there’s different ways to get people to engage with this. We’ve also gotten into digital storytelling, and people drawing pictures to represent it. So I think there’s a lot of different ways that you can represent your story. It doesn’t have to be a traditional story in the way we think of it. I think people can represent their story through art, through movement, lots of different ways. And so we definitely want to encourage that as well, and hear from readers of the book, different ways that they have told or are telling their stories.

Tracy: Yeah, I often used to encourage my students to tell their story. And I had an activity that I used with them that I adapted from my friend, Susan Kahn at IUPUI, that really comes from the work of Mary Catherine Bateson, where we want to develop these life stories and be able to tell the tales of the lives that we’ve lived. And I always created that opportunity for the students to represent their story in a way that made sense to them. So I did get collages, and I got traditional written stories. I’ve had students who’ve written songs and created videos. So we can tell the story in lots of different ways, and I think it’s the process. Then, of course, you have to think about the context in which you’re embedding the storytelling in and make sure that it fits and aligns with your outcomes, and all of the good things that we know we do with effective backward design. But really thinking about what would be powerful for the learners in our context in terms of storytelling, and then choose strategies that really suit that particular set of outcomes, and then the context in which we’re working. So I’m imagining that in a science class, telling the story will be different than the way my students do in my history classes, for instance.

John: Storytelling has been really important for most of human existence as a primary way of passing on information to future generations. But it hasn’t been used as extensively in recent years. Why have we moved away from that? And why, perhaps, should we do more of it?

Tracy: Yeah, when I saw that question, I kind of giggled to myself because in the eportfolio community, it hasn’t really gone away. In fact, it’s gotten more and more popular. Having worked with portfolios for about 20 years now, it’s always fun for me when I encounter folks on campuses who are like, “We’ve just discovered eportfolios, and we want to create digital portfolios.” So I think in some contexts, it has been around. And I’m Canadian, and certainly more recently, the power of storytelling is coming to the fore, particularly as we deal with reconciliation and indigenous cultures. And, of course, those cultures have a long tradition of storytelling. But going back to the earlier point, often we erased or intentionally didn’t acknowledge that those approaches were valuable. And certainly as a historian, the whole process of oral history is really becoming much more popular again. So I think the context really matters. It did go away in some contexts, and in others it was always there. But I think when I reflect on what happens in education, and I’m sure you’ve both experienced this, you know, you can be on a campus for a long time, and maybe worked on a set of projects, and then the context shifts, and now it’s a new flavor of the month, and we’re going to do this project. And then the context shifts again and it’s like, “Oh, we’re going to try this new thing.” It’s like, “Really? We did that 15 years ago.” But again, I think context matters. And so, going back to this moment of being in a pandemic, and all of the focus that we’ve finally been shining on social justice issues, equity, the way that students just don’t always experience inclusivity in the classroom, they don’t necessarily always feel like they belong. And I would say that’s true of faculty and educators at different levels as well. That this moment is giving us a real opportunity to leverage storytelling practices that, you’re right, have been around for a long time in service of more socially just educational experiences for everyone.

Laura: Another thing I’ll add, too, is that there’s a lot of power dynamics tied up into this, and the more that things become standardized and overly standardized, the less room there is for stories. Stories are still existing, but there’s sort of a grand narrative that the people who are in power, it’s in their best interest to keep that story alive. And so there’s a story about what it means to be a good student, or what it means to be a good school, or what it means to be a good teacher. And I think it’s really important for us to be able to push back against that and fracture that story and add more texture and bring those counter-stories in to question and critique that grand narrative.

Tracy: Yeah, I love that you said that Laura. One of my colleagues, Peter McLellan, has been doing some work on this in particular, and, “How do we train everyone to hear the story that is actually being told?” As opposed to, “How does it fit on the rubric that I’ve already predetermined I’m going to assess that story with?” And that does happen in eportfolios, especially. “Have the students achieved the outcomes in telling their stories in the portfolio?” And what he recognized is that with some of his international students, the rubric didn’t fit very well for the stories that they were telling and didn’t recognize or privilege the fact that they were coming from different places and had different experiences. So he really noticed a misalignment between the rubric and the stories that was really a detriment to the student. Like, you’re not going to get a good mark, because you haven’t basically fit into this box we have ascribed to students in our context. And so I think that there’s such opportunity to recognize where we are using those grand narratives, maybe unintentionally, to frame how we understand student learning. And let’s just jailbreak that altogether and try some new things where we really enable people to grow and learn in a context that really makes sense for them as unique individuals.

Rebecca: You’ve done this a little bit, but can you talk a little bit more specifically about ways that you can use storytelling in classes to advance student learning? So you’ve given an example, like in an education context, can we have a different kind of context to help our listeners see how it might fit for them?

Laura: I can give an example that could be used in any course, really, at the beginning of a course in terms of building community. So, like I said, I have students write their educational autobiographies, but it doesn’t have to be that document. It could be any kind of introductory letter, or who you are as a student, or what you’re bringing into the class, what you’re wanting to get out of the class. It could be any kind of introductory document that a student might create in order to build community in your class. But the thing that I do is I structure sort of a speed dating activity, where the students then have to share through the line. One, they can pick a word, a sentence from what they wrote, or just read directly from it, they can paraphrase, but they share something that they feel comfortable sharing from what they wrote. And they go down the line and listen to each other’s stories and listen to what each other have to say. It’s a really powerful way of building community in your class, regardless of the subject that you’re teaching.

Tracy: We’ve been using, as Laura mentioned, the three-word, or six-word, or professional mission-statement versions of storytelling with faculty. Particularly in terms of helping them to frame their experiences for their portfolios. And that’s been really powerful, because it helps faculty to really figure out how the evidence that they’re presenting does reflect the narrative or story that they want to tell about themselves as professionals. And so that’s been really helpful for students. So, I’m a history professor by training, and I used to just have my students attach a process document to their various pieces of work to tell me the story of, “What did you do to complete this assignment?” So it’s not about their story of learning, necessarily—although it is, because they’re telling me about the steps that they took—but it really helped me to then have a more personal connection to them, and places where they were really being very successful in their strategies, or places where perhaps they had a misconception or misunderstanding about what the process should be. And I always had them thinking about, “What does it mean to do history as an historian?” And so that just created these opportunities to have really interesting conversations with them about how they were finding literature in the library and research, how they thought they should be writing it up. And so, not a story of learning in the sense that we’ve been talking about previously, but a process where you can start to have that conversation and identify, “Oh, gee, a whole bunch of my students in my class don’t really understand how to use the library.” That’s an opportunity for learning in the context of that particular class. Imagine in physics, you could do the same kind of thing like, “Oh, you didn’t understand that the vector was going one way or another…” so you can tell I’m not a physicist. But we often talk about science in the context of medical education here, because we are at a medical school, and it’s really interesting that this applies in so many ways. Students can tell the story or document it on a video of how they’re learning to suture. And they don’t need to have a live patient, they can do it with a beanbag, or other kinds of things. And we’ve had great conversations with faculty here about, “Oh, that would be really helpful for me to know why they think they’re supposed to do it a particular way, and how I can sort of steer them in the right direction if they are doing something that really isn’t in alignment with the process that we’re trying to teach.”

John: The stories you selected for this volume are very inspirational. Could you give our readers just a couple of examples drawn from the narratives in the volume?

Laura: Sure. So this was really hard to just use a couple examples, because each and every chapter was really powerful. So we somewhat randomly chose a few to mention. The first chapter in the book was written by Browning Neddeau, and he is a member of the Citizen Potawatomi Nation. He’s also a gay Jewish man, and his chapter really illustrates the way in which our various intersecting identities can shape our learning experiences. So I have a quote from his chapter just to give you a couple examples of the stories he shared. So he says:

In kindergarten, I came home with a vest made out of a brown paper grocery bag and some poster paint prints. School taught me that this is how Native Americans dressed (past tense) and how Native Americans looked (also past tense). It was puzzling because many generations of my Potawatomi family were alive at the time, and none of us wore brown paper grocery bags with poster paint prints for clothing.

And he continues on to say:

In grade three, a paraprofessional/classroom aide in the school asked me to demonstrate Native American dancing to my peers. As I did, she encouraged me to look for bear tracks. This confused me because I was not taught that my people looked for bear tracks while dancing. I was taught that we stand tall to dance and are strong and pride-filled. I dance for my ancestors.

So his stories are incredibly powerful, but another reason I like his chapter is that there are really clear connections to his current teaching practice. So he’s now a faculty member at California State University, Chico. He is involved in teacher education, he has developed a curriculum that really honors Native American perspectives. And he’s also started a research project called the I See Me project where he works with undergraduate students who are considering a career in teaching. And he asks them to critically analyze their school curriculum to identify the places where they see themselves in the curriculum, the places where they don’t, and then supports them in developing a lesson that is more inclusive of their various identities. So he had a powerful chapter that’s definitely worth reading. Another one I would mention is Talar Kaloustian and hers is really interesting because she attended nine different schools across primary and secondary school in five different countries. And she’s not from the US, but a few of her schools were in the US. And so she offers a really important reflection on her experience as an immigrant trying to adjust to US schools. So I’ll share a quick quote from her too. She says:

Mine is a complicated educational autobiography: I attended nine schools, five different countries (six different cities) by the time I was 18. I lived through war, experienced constant interrupted schooling, faced multiple new languages that were not my native one, all while dealing with a family situation that would seem odd to many.

And then later on in her chapter, she talks about one of her experiences as she transitioned to the US. She said:

In LA, I enrolled in a local high school where the counselor at the public school saw that my transcripts were from countries like Lebanon and Saudi Arabia and India, she claimed that she was unable to confirm the integrity of these documents and promptly changed my status to ninth grade. I was almost 18 at this point.

And so again, she makes really clear connections to her current practice. She’s now a faculty member at the Community College of Philadelphia. She teaches English as a second language. And not only does she teach the language, but she really focuses on supporting immigrant students with adjusting to life in the US by forefronting kindness, because she noted, in reflecting on her past experiences and all the transition, that as challenging as it was, there was always somebody who stepped up and showed her an act of kindness that changed her trajectory. And she says in her chapter:

The opportunity to reflect on the key incidents of my own growth as a student, and the impact of this growth on myself as a researcher and a teacher, has led me to discover and learn about the critical role that kindness has played in my life.

Tracy: Yeah, and maybe one more. Our colleague, Antonia MacDonald, who is a literature professor here at St. George’s University, reflects on her experience growing up in a colonial education system in St. Lucia and then her desire for social justice and change-making in the Caribbean. But what I really love about her chapter is that, first of all, it’s incredibly insightful to read about her experience. I think everyone should know a little bit about that. And it’s something that we often have our students recognize that they aren’t really wholly aware that they’re part of a colonial system, or a post-colonial system. And so just surfacing that is really powerful. But she also reflects on her own desire to transform the Caribbean and to make it a more socially just place. That she recognizes her classroom isn’t a democracy, and that she does have power over her students. And so as much as she wants her students to become game changers, she’s really trying to surface that ability in them for themselves, as opposed to imposing her own views on them. And what I took away from her story was that notion that she’s really sensitive to the ethics of the work that she does, and how she doesn’t want to replicate that kind of a system whereby we just train students to think like us. And so really thinking throughout her chapter about the ways that she can engage her students to think for themselves and to themselves desire to make change, rather than her teaching them how to do it, so I really appreciate that in her story.

Rebecca: The collection together is so powerful, and so I hope people will engage and read through and it was interesting to think through our own stories, as you’re reading through other people’s stories to find connections, and to just maybe see your own story a bit differently than you did before. I was wondering if you could tell us a little bit about the Center for Research on Storytelling in Education before we close out today?

Laura: Sure. It’s a research organization that is dedicated to building a community of educational scholars who are focused on investigating and understanding how reading, sharing, listening to, analyzing our stories of learning and teaching, can help educators and educational leaders to create more equitable and more engaging spaces and practices for teaching, learning, and leadership. So this book project, we’re engaged in broader research around this, but this book project was a piece of it.

Tracy: Yeah. I’ll say for me, if I have one hope for the Center, it’s that we can bring the practice of storytelling to everyone and to make it easy for them to engage in storytelling with either their learners or with their colleagues, depending on where they’re situated. And we’re continually collecting stories so that we can share those stories with others. Because, as you said, there’s something really empowering about thinking about your own story in connection to other people’s stories and feeling like you are part of a larger community and that we do have shared experiences and lots of differences. And so how can we learn from both as we move through creating practices for students and for colleagues?

Laura: I’ll also share that we got a grant last year from Spencer to host a conference on storytelling and education, and the pandemic got in our way, but we actually reimagined it in a way that I think was even more powerful than what it would have been otherwise. So because we weren’t able to host an in-person conference, we shifted it to be an ongoing virtual conference series. And so every month we hosted a different workshop or session on different aspects of storytelling in education. One of my favorites is actually the last one we did on the science of storytelling, and I really liked it because that’s not my area. I know that storytelling is powerful because of my experiences and the experiences of others, but to get to collaborate with a neuroscientist around this to better understand what’s actually happening in our brains when we’re hearing stories and telling stories and why it is that storytelling is so powerful for learning. So it’s been a really exciting conference series that we have been engaged in over the past year.

Rebecca: Are any of the materials from that series available online?

Laura: Great question. We have created a website, so there is currently a website that exists. But the last chunk of our money from that conference grant we are using to create a much more engaging and dynamic website where we’re going to turn all of those conference sessions into asynchronous workshops that people can go and complete on their own time, on their own or with other people. So all of those sessions that we did will be available to everybody more broadly, along with additional resources. We’ve created a guide for storytelling and bringing storytelling into the classroom, so that’s available as well. And we’re looking forward to the launch of that new website. We should be launching it in December or January, coming up.

Rebecca: Great, that sounds exciting. We always wrap up by asking, “What’s next?”

Laura: That was a teaser, so definitely we’re excited about the website that’s going to be coming out. We are planning to continue collecting data on people’s stories of learning and data about the experiences of educators who go through this kind of inquiry work. We are continuing to search for more funding to expand this research and play around with it a little bit more, to do some fun things with the data that are a little bit more creative and artistic rather than presenting it through regular writing and publications. But, like I said, we created a digital story, we want to do some other things around sharing this work through art. So we have lots of exciting ideas coming up, we just keep looking for funding, and we have more book ideas as well. So, yeah, I think there’s definitely some fun things that will be coming in the next few years in relation to this. Tracy, anything you would add?

Tracy: Well, and I think at the heart of all of that work, it’s about building community of educators and educational leaders who are interested in this area and learning from them. It’s not about us disseminating, like, “Here’s what you should do.” But rather, we’ve been really keen to collect not only stories, but activities that others are using in their context so that we can really build community. There’s no question that teachers who are doing this work in K-12, we can adapt those activities for higher education. And I already mentioned that we’ve been adapting some of the activities for higher-education leadership. So I think that the sky’s really the limit. We hope people will join our community and come on an adventure with us and we want to learn from them as much as they might learn from the work that we’ve done so far.

Rebecca: Well, thanks so much for joining us. This was really interesting, and I think gives people a lot of things to think about and perhaps encourages them to tell some stories.

Tracy: Thanks for having us.

Laura: Thank you so much for having us.

John: Thank you, I really enjoyed reading your book.

Laura: That’s wonderful to hear.

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John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts and other materials on teaforteaching.com. Music by Michael Gary Brewer. Editing assistance provided by Anna Croyle.

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141. Pedagogies of Care: Students as Humans

This week we continue a series of interviews with participants in the Pedagogies of Care project. In this episode, Sarah Rose Cavanagh and Josh Eyler join us to discuss how we can enhance student learning by designing our classes to provide a strong sense of class community and using immediacy cues to maintain instructor presence.  Sarah is the author of The Spark of Learning: Energizing Education with the Science of Emotion and Hivemind: Thinking Alike in a Divided World, and numerous scholarly publications. She is the Associate Director for Grants and Research at the D’Amour Center for Teaching Excellence at Assumption College, the Co-Director of the Laboratory for Cognitive and Affective Science, and also Research Affiliate at the Emotion, Brain and Behavior Laboratory at Tufts University. Josh is the director of Faculty Development, and a Lecturer in Writing and Rhetoric at the University of Mississippi. Josh is the author of How Humans Learn: The Science and Stories Behind Effective Teaching.

Show Notes

  • Cavanagh, S. R. (2016). The Spark of Learning: Energizing the College Classroom with the Science of Emotion. West Virginia University Press.
  • Cavanagh, S. R. (2019). Hivemind: The new science of tribalism in our divided world. Grand Central Publishing. (We used her original title and not the one that the publisher assigned in the discussion.)
  • Eyler, J. R. (2018). How humans learn: The science and stories behind effective college teaching. West Virginia University Press.
  • Pedagogies of Care Project
  • Christopher Emdin
  • Costa, K. (2020). 99 Tips for Creating Simple and Sustainable Educational Videos: A Guide for Online Teachers and Flipped Classes. Stylus Publishing, LLC.
  • Kathleen Matthews
  • Cavanagh, Sarah (2017). “All The Classroom’s a StageThe Chronicle of Higher Ed. June 27.

Transcript

John: This week we continue a series of interviews with participants in the Pedagogies of Care project. In this episode, we explore how we can enhance student learning by designing our classes to provide a strong sense of class community and using immediacy cues to maintain instructor presence.

[MUSIC]

John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.

Rebecca: This podcast series is hosted byJohn Kane, an economist…

John: …and Rebecca Mushtare, a graphic designer.

Rebecca: Together, we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.

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John: We are very pleased to welcome back our two guests today: Sarah Rose Cavanagh and Josh Eyler. Sarah is the author of The Spark of Learning: Energizing Education with the Science of Emotion and Hivemind: Thinking Alike in a Divided World, and numerous scholarly publications. She is the Associate Director for Grants and Research at the D’Amour Center for Teaching Excellence at Assumption College, the Co-Director of the Laboratory for Cognitive and Affective Science, and also Research Affiliate at the Emotion, Brain and Behavior Laboratory at Tufts University. Josh is the director of Faculty Development, and a Lecturer in Writing and Rhetoric at the University of Mississippi. Josh is the author of How Humans Learn: The Science and Stories Behind Effective Teaching. Welcome back, Josh and Sarah.

Sarah: Thank you.

Josh: Thanks very much.

Rebecca: Today’s teas are… Sarah, are you drinking tea?

Sarah: I’m not. I’m quite thirsty because I was going to be drinking seltzer but I left it downstairs.

Josh: And I have some basic cold H2O here.

Rebecca: Yep, yep. We know how it goes with this with the two of you. [LAUGHTER] Uh hmm.

John: Just not cooperating, but probably half of our guests don’t, so that’s okay. And I’m drinking ginger peach green tea.

Rebecca: …and I have black currant today.

Josh: Nice.

John: We’ve invited you back today to talk about the project you created for the Pedagogies of Care project. In our three previous podcasts, we’ve talked to other people in the project. So, we’d like to hear a little bit about what you jointly contributed to this project. Could you tell us a little bit about that?

Josh: Sure, definitely. As you know, this is part of a larger project with West Virginia University Press authors. We wanted to kind of approach this topic of Pedagogy of Care from the social angle and in both of our books we talk about sociality and the overlap between sociality and emotions and I thought it’d be a lot of fun to collaborate with Sarah. We’ve talked about some of the same topics in different and complementary ways in both of our books. And we really wanted to bring some of that research to bear on how we create classrooms that honors students as human beings in ways that really advance the work of learning.

Sarah: And I would just contribute that there it was a lot of fun to collaborate with Josh on this, and also that it was his idea to team up. And I might not have done it because I was feeling kind of lazy. [LAUGHTER] And so, when we first started talking about the possibility of some of the authors contributing to this project, I didn’t know if I would join in, but then when Josh invited me, how could I say no?

Josh: And I just want to note that nothing is further from the truth then Sarah being lazy. [LAUGHTER]

John: Without giving away too much about your contribution to the project, could you tell us a little bit about what your focus is in this?

Sarah: Sure. I think, as Josh noted, we really focused on emotions and sociality, because that is kind of the touchpoint between our two bodies of work, and we really wanted to communicate in a pretty brief format. As you’ve probably heard from the other contributors, the intention was that these be easily digestible, short, accessible pieces that different Centers for Teaching Excellence or educational developers could use in their own work with their own faculty. So, we wanted to just briefly touch on the fact, and convey the message, that is really important for educators to realize and communicate in their own classrooms that they themselves are a person with their own unique style and flair, that they know that their students are people and see them as individuals, and that you tend a little bit to the community of your classroom. And so those were some of the major points that we wanted to convey in a very brief format.

Josh: Yeah, and I think that’s absolutely right. And it’s also true that we wanted to model a little bit about what we were talking about. So, we wanted to keep it light, we want to inject a little bit of humor. We wanted to make it more of a conversation, to capitalize on ways that faculty can do that in their classrooms as well.

Rebecca: We’ve talked a little bit before about how faculty don’t always think about tending to that community piece as much as we need to, especially in this moment. Can you talk a little bit about the kinds of adjustments the faculty might need to make to attend to that community piece a little bit more?

Josh: You’re right to pinpoint this moment particularly, because especially if you started out teaching face to face, and then having to suddenly shift into an online format, that can be jarring, especially in terms of how you continue the community you developed in the face-to-face environment, and how you also heighten and maximize it. And they’re just different things that you need to do. One is, and we do mention this in our project, communicate with students as often as possible, let them hear from you, let them see you through video as much as you can. And to focus on what I think really matters most about social interaction, and that’s collaborating with other human beings. And there are lots of great ways to do that, even asynchronously,but you have to look for them and spend some time, I think, figuring out how to implement them effectively.

Sarah: And, I think, on my campus, we’ve been talking to students in a couple of the different offices on our campus, like the Student Success office has been polling students and interviewing students about their experiences this spring. And one of the things that we heard from a lot of our students was that they missed the in-the-classroom experience, not even seeing us and learning from us, but the interactions with the other students. And that one of the things that they thought that some faculty did really well in the remote switch, and some did less well, was create opportunities for them to engage with each other still. And to have that experience, whether it is in breakout rooms in Zoom or on the discussion boards for collaborative projects that they’re working on, where they still got to interact with each other and their fellow peers.

Josh: One of the things that, I don’t think we mentioned it in our project, but social media, which is where all the four of us have interacted, that’s asynchronous social interaction. I mean, I may see a tweet from eight hours ago that I’m responding to and so, definitely ways to make it meaningful. But as Sarah was saying that there’s so much of what students value is talking to each other and being with each other.

Rebecca: Wait Josh, you don’t interact with me at 5 am [LAUGHTER]? That’s when I do most of my tweet interactions. [LAUGHTER]

Josh: Right. I do a lot of late tweets as well. [LAUGHTER] I’m not an early morning tweeter.

Sarah: I follow an unusual number of people from the United Kingdom for some reason. But I always noticed this, that the whole ton of my social network will be posting about going to bed and a bit late, what? Or the day being done.

Rebecca: It’s funny how that jars our experience a little bit. I wanted to follow up on something that you started with Josh, which was the moment of starting in person and moving to online, whereas in the fall, we might have the opposite experience, where we might start online and move to in person. Can you talk a little bit about some of the strategies that faculty could consider to establish that community when it wasn’t already established from that in-person engagement.

Josh: A couple of things about that. I think that some of the strategies we were just talking about, forging community in the online spaces early, and often, will be key. I also think that one key difference between now and the sudden emergency shift is that our institutions have a lot more time to be able to at least try to solve the problem of access to technology, which opens the door for more synchronous elements that we couldn’t necessarily do because of equity issues. I know rural Mississippians, this is something we were thinking a lot about at my university, how do we get students the capabilities? But now we’ve had some time and I think it’s possible to do a little bit more synchronously, keeping it optional, hopefully, again for equity reasons, but more ways to do that. Now when we move to face to face, I think this is really important. It’s not going to be the same face to face that it used to be, right? I really have been talking to a lot of people about the psychological impact of faculty walking into a classroom for the first time in a mask, seeing students in masks and trying to manage community and the social dynamics of the classroom in a very new and emotionally fraught situation. And honestly, when I think about that setting, I turned to Sarah’s book immediately because it’s a good guidepost for how we might navigate that.

Sarah: I don’t know if you all saw this, but on social media there are a lot of people were talking about Purdue, I think it was, University was talking about putting up Plexiglas between the professors and the students. So, not only masks, but actual physical barriers, perhaps. And I think those are very wise points that Josh made, this is going to be a new normal, as everyone keeps saying, not back to normal.

John: One of my favorite responses to that was Robin DeRosa’s, who suggested that it’s basically making the person two dimensional. It’s like they’re on a screen, on this two-dimensional surface. And then she suggested, maybe there’s other things we could do if that’s how we’re going to do it. So, it was a nice suggestion.

Josh: I also think that virus particles can travel over Plexiglas. It’s a strange solution to me. I don’t know.

Rebecca: …not to mention, it reinforces hierarchy. And so, if you’re trying to establish a flattened space…

Josh: Right.

Rebecca: …where you have more of a community that certainly is not going to work, if one person is behind a wall, and somehow everybody else doesn’t deserve a wall.

Josh: Right.

Rebecca: I don’t know if I want a wall, but…[LAUGHTER] Speaking of odd equity issues.

Sarah: And I think that faculty are also going to have to be very intentional if we start online, as online faculty probably have always been intentional about getting to know our students, about designing parts of the online community where students are recording videos or talking about their likes and dislikes. It’s very easy to get to know your students in that interstitial five minutes before class and at the end of class where you just chat a little bit, and the online environment doesn’t have that built in. And I think that we’re going to have to build it in very intentionally,

John: I’ve actually found, because the two classes that I was teaching that were not online were face to face. And there was a little bit of a cushion there, when with one of them, it looked like we were going to go remote. And then the other one, the decision had just been announced that that was going to happen in a few days. So I asked them, in both cases, and they at least claimed initially that they all had technology and good WiFi connections, and they preferred remaining synchronous. So, my classes continued to meet synchronously, although more activity shifted to online activities and we cut down on some of the actual contact hours a little bit in both of the classes. One of the things that happened was I’d log in a few minutes early and invite students to stay after the session ended. And there were a whole lot more interactions before the class started and at the end. As long as you build in opportunities for that interaction before and after class, it can work pretty nicely and you no longer have that podium in the way between you and the students as you might in a large lecture hall.

One of the things that’s common to the approaches you take in each of your books relating to teaching and learning is you focus on the importance of focusing on the human beings in the classroom and not the student per se, that students are not just recipients of knowledge, the role of emotions is really important, the connections they have a really important. Could you talk just a little bit about the importance of focusing on the people in the classroom?

Sarah: Yes, I think that part of that is something that we’ve gotten across a little bit already in our conversation is just attending to a sense of community and that human beings are so social, and so motivated by our own sociality. But, I think a new point I’d like to make is that we also need to think about, in the classroom, the idea of co-creation and what Chris Emdin calls “co-generating dialogues” and the idea that we are all learning together and that we are all creating this learning environment and the learning that occurs in that learning environment together, both the instructor and the students, and that they are learning from each other as much as they’re learning from us. And we’re learning from them. And so I think that they should have some say in shaping the work of the classroom and shaping the direction of the discussions that are occurring. I’m a big believer in autonomy and choice in terms of the format of some of the assignments, the structure of some of the course…the topics even. And I think that when you think about the classroom as a social setting, that brings that to the surface, that idea of co-creating the learning environment.

Josh: Building off of that we’re all humans in this room. And if anyone’s ever had the experience in the classroom, where a student came up with a point that you’d never thought of before and you have that kind of epiphany, or there’s something that moves the students and you in the classroom, it’s just so clear that the classroom is a vibrant, human space. And I also really truly believe that teaching is one of the most human professions, that there’s a real vulnerability in a student saying, “I need to learn something, will you teach me that thing?” And the same is true for the person in front of the classroom to admit when we don’t know something, or to admit that we’re wrong, or to work through something that we haven’t really thought completely about. And so I think that that makes the classroom such a place that’s alive with activity. And so I think that, you know, our sociality is part of that, but it’s one piece of this larger equation.

Rebecca: Related to this idea, I’ve heard a lot of students concerned about the social experience of being in college that’s beyond just the classroom and how that feeds into their classroom participation and being a member of a community, and really faculty too, like those spontaneous moments where you interact with someone that you weren’t planning to because you bumped into him in the hallway or you see them somewhere on campus. Can you talk a little bit about some of those differences and ways that we might help, not really compensate for that, but just kind of care about that those things are missing and that there’s a loss of that and maybe facilitate or create new opportunities that would be different, but something that would allow for some community in a different way to form.

Josh: That’s a really pertinent question because I see a lot of discussion about “What is the value of being all together on a college campus? What does the face-to-face experience really mean and why does it matter?” And a surprising variety of thoughts about that question. So I think that we really need to be thinking about opportunities for students to engage and collaborate and talk together about things other than just the courses that they’re taking. We might learn lessons from the coaches on our campuses who are doing this very thing. They’re bringing their teams together. Sometimes they’re reviewing films, sometimes they’re just having community building events online, you know, watching a movie together and there are ways that even a college’s residential life staff could engage groups of students in doing something like that. I mean, we’ve seen for years faculty doing live film viewings with their students using hashtags and things like that on Twitter. I think Facebook now has a watch together feature so that you can all watch and make comments. So yeah, I think there are lots of opportunities that we just need to explore a little bit.

Sarah: Yeah. And my campus is exploring a lot of this and not necessarily the faculty groups, but the residential life and student success groups, and I know athletics, and they’re all trying to brainstorm “What are ways that we can create those moments?” And they’re trying to explore Zoom parties and the co-watching and town halls and everyone bring breakfast. [LAUGHTER] It’s really tricky because I think it’s a lot easier to do the teaching and learning bit online and I think that we have a lot of leaders in online learning who have developed wonderful techniques and there’s lots more we can explore. I think that’s the harder piece at residential colleges. Lots of students are commuting and don’t have a lot of those experiences. But, those who are at residential colleges, that’s what they’re there for. And they’re not used to having to be home with their parents or in these other scenarios. And they’re really hungering for that face-to-face connection. And I think that we have to come up with some creative solutions, such as the ones that Josh noted, but I think it’s a trickier business than the teaching and learning, actually.

Josh: I agree.

Rebecca: I think one thing that strikes me about the role that a faculty member could play in something like that is if something comes up in discussion, where you could connect a student to other students that are even in other classes that you have, or other faculty or other members of the bigger college community, that might be a way to help them make more of those spontaneous connections [LAUGHTER] that they’re not gonna make in another way, it’s almost they’re facilitated, but we might need to be a little more on our game about trying to help people make those connections.

Sarah: That’s great.

Rebecca: I know I got a random email from a colleague I hadn’t seen in a long time, just saying like, “Oh, I haven’t seen you in a long time.” And it was really nice. It felt spontaneous actually. [LAUGHTER] It wasn’t expected. So, I think if we take those moments and try those things, both with our colleagues and with students, it might help a little bit to make people feel connected, but also spark something exciting in a moment of excitement or a moment of care.

John: I was fortunately able to see the video before it being officially released. And I really enjoyed the format, the humanity that you display, and the really nice storytelling that provides some nice sense of narrative and some nice connections. Could you perhaps share one or two of the recommendations you provide for faculty in addressing the near future of teaching?

Sarah: One point that I tried to get across is this concept of immediacy and immediacy cues and this was something that I was struck by when researching The Spark of Learning, that there were so many different research studies and the research, really they were in different topics. They were investigating extensive student learning: did the students enjoy the course? Did the professor enjoy the course? Self ratings?… all these different variables. But, for so many of them, the professor using or not using immediacy cues was really important and what immediacy cues are are just simple, often nonverbal, ways of communicating that you are present and in the moment… so, things like eye contact, gestures, varied vocal tones. And I think a lot of these immediacy cues are easier to do face to face than they are online. But, I think when you translate immediacy on to online environments, a lot of it, and Josh mentioned this already, is frequency of responsiveness, just dipping into that online community a lot and responding to students, I think, is a way that, even though you’re not in the shared space with them, you’re demonstrating that you are present and that you are available to the students.

Josh: One of the other things we were talking about was the nature of care itself as kind of the intersection between our social natures and emotions, and that this crisis has really revealed in ways that I don’t think we’ve talked about very well in higher ed, how important it is to create a caring learning environment. It’s not easy to talk about emotion in higher ed. As soon as you broach the subject, suddenly, people are like, “Woah, that’s not my job. I’m just the expert.” And of course, that’s not true. But, I think that this circumstance really brought to the fore how important it is. And it’s also really important to note that caring is affective labor and has been disproportionately done by women and faculty of color. And so, this moment is an important moment to underscore that this is part of the work of teaching, it should be shared by every single person who steps into a classroom. And so I think that was another thing that we tried to wedge in to a lot of what we were saying.

John: Going back to the concept of immediacy, one of the things that your video demonstrates is, if we are teaching remotely or teaching online, how videos can be used to create a nice sense of instructor presence. Because watching the video, you’ve got a nice sense of humor there, you’re making points effectively, and people are seeing you there, which provides a little bit of a connection, not necessarily the same one as in the classroom, but much more so than if it was just an email being sent to the class. And I thought that was really nice modeling of perhaps how we could do that effectively.

Sarah: Thank you.

Josh: Thanks, John. I very rarely hear that I have a nice sense of humor. So, I appreciate that.

John: I didn’t mention the name. [LAUGHTER]

Josh: Right. Oh wow… Just cut me…

Rebecca: This is supposed to be the Pedagogies of Care, John…[LAUGHTER]

Josh: Right.

John: That came through for both of you and I think it was done really well. And one thing I’d like to recommend is Karen Costa’s book on 99 Tips for Creating Simple and Sustainable Videos.

Sarah: If you didn’t, I was going to plug that book as well. I have actually two copies because I got mad at Amazon because it didn’t ship me it fast enough, and everyone else had their copy. And so I ordered another copy direct from the publisher, which is probably what I should have done anyway. So I have two copies on my bed stand.

John: I have it both on Kindle and in front of me, actually, I had to look over to my computer just to get the title right.

Josh: Yeah, it’s a great book, it’s important to have by the side of the computer at this point.

Sarah: And I think it’s going to require a lot of learning. I just wrote an essay that I don’t know if it will go anywhere, [LAUGHTER] about the fact that we expect our students to be lifelong learners, and we talk a lot in committees, especially about liberal arts education, and that we want our students to be agile and think lightly on their feet and be able to respond with new learning when there are crises or technological or societal changes. And I think we instructors need to do a little bit of that right now. And so I am going to be exploring new technologies and digging through Karen’s book and I’m not someone who knows a lot about video or recordings or any of that, but I am going to spend a good part of my summer trying to learn new things so that I can be a more effective teacher because we’re probably going to be disrupted in one way or another for a while.

John: Now is not the best time to talk about the wonders of living through a pandemic, but it does provide a nice example of faculty modeling the process of learning, because certainly this spring, everyone had to learn some new skills, no matter how proficient they were with either online or face-to-face teaching, their courses were not designed for the sudden shift. And there were some major adjustments, and it did remind students of the fact that we’re all learners in this together in ways that might not always be transparent to students.

Sarah: Love that.

Josh: Yeah, that’s true. And I think students get a lot of credit for being good sports about it, and being patient with that learning process, especially with faculty who were honest and open about the fact that we were learning as we were going.

Rebecca: I wanted to follow up a little bit on the modeling of videos, because one of the things that both of you are excellent at is telling stories and not all faculty are as proficient or have as much experience as storytellers, or even think of themselves as storytellers. But, I think it’s a really good way to connect people together is through story. Can you talk a little bit about advice that you could give faculty on how to use story as part of their teaching methods?

Josh: Well, I guess one piece of advice is that faculty know their disciplines inside and out. And they’re always stories behind the major discoveries, the major players, the “true Hollywood story” of the discovery of x, right? And faculty know that. And so that’s not a personal anecdote. So, they don’t want to reveal that and it’s not content that they have to generate. It’s deeply embedded in the material they’re already teaching. And so I’ve worked with Kathy Matthews at Rice and she’s a beloved teacher and scholar there and she was just so brilliant about teaching through story. She’s a biologist, and when she talked about DNA, it was several class periods of hearing about all the stories that went into Watson and Crick and Rosalind Franklin and all the things that led up to that. And students loved it. And they learned a lot through it, so we can find the stories that we already know, that’s a part of the lore of our discipline, and share those.

Sarah: I love that. I agree. And I think that one of the things that we faculty have, besides knowledge of these stories, is almost stories about the information that we’re sharing and how it all fits together. And that’s one of those big things, of course, that distinguishes novices from experts, is being able to see that overall pattern. And I think that when you tell that information in stories, whether it’s the big discoveries or something else, that the students can see those connections, it’s more easy for them to access that web of knowledge. And I think that my upper-level neuroscience class, I sometimes joke, is more like a gossip column. In a lot of fields, there are these huge arguments always going on and controversies. And I really try to people those, and I’ll put up people’s pictures from Twitter, [LAUGHTER] and describe those. And when those arguments are a little bit personalized, and they have faces, I think that it’s really engaging for the students to think about who they agree with more and things like that, rather than if it were just static knowledge. Also, one thing that I’ve been doing a lot of thinking about, is the fact that we also engage in our own story, and almost the semester is a story, and that it’s important to get in there and interrupt the story a little bit. We were joking in the beginning of this interview, that I’m a bit of a control freak. And I think that one of the things that I fight against, in terms of my own teaching, is I really like everything to follow a smooth pattern, but I think that more learning occurs when you interrupt your own story and kind of throw everything to the winds and pass things up. And, again, let the students help co-create the story of the semester. And so I think that’s another way that I see storytelling and teaching weaving together.

Josh: Yeah, I love the idea and I completely agree. The semester has a narrative arc, each class period has a narrative arc to it, and capitalizing on a good beginning, middle, and end is a really powerful teaching strategy.

John: And I think this is something you addressed in your book.

Josh: Part of the Sociality chapter is about how storytelling is one of our first teaching behaviors, and something that I think we see in Sarah’s work a lot too. And she was just talking a little bit about this, that we process information better when we make it into a story. And I think that that’s a really important way of thinking about learning.

Rebecca: I think it’s just a good idea to keep stories in the front of our minds as some faculty who maybe are used to telling stories in person shift to being online where they might write in a more sterile way, where it might be a little more cut and dry depending on their discipline, and that they might need to weave some of that personality into what they might write or share or videos or whatever they make in an online environment that might not seem so obvious.

Josh: Right. In fact, they could imagine that the videos that they produce are the stories and that they can get the content and the facts through some other means.

Rebecca: As you both know, we always wrap up by asking: what’s next?

Sarah: Well, as I said earlier, what’s next for me is a lot of learning. So, I’m going to be exploring the world of online teaching. I’m working on the committee at my college to get our faculty all trained, they have a lot of varying experience with online environments. And we’re going to try to have the fall semester be even better than the spring semester. And in terms of me personally and things I’m working on, I’ve been working on a new writing project that has a lot to do with storytelling and interruptions and also improv in the theater.

Rebecca: You’ve got me intrigued. [LAUGHTER]

Josh: That sounds fun. Coincidentally, I’m on the same committee that’s Sarah’s on, but at my university.

Sarah: So much fun, isn’t it? [LAUGHTER]

Josh: It is. So, we’re deep in the weeds of helping prepare resources for faculty regardless of what kind of environments they’ll be in. And so, in that realm, one of the things I’m really focused on is getting some programming for trauma-informed pedagogy up and running at the end of July and August. So, just at the moment that people are designing their courses and thinking how I’m actually going to do this, they’re also thinking about that. Personally, I am still in the middle of writing a book on grades and grading and so still trying to plug along with that as best as you can, in a situation like this. So, keeping on with that.

Rebecca: It’s nice to have projects to kind of work on a little bit at a time, given that large amounts of time seemed completely impossible to me at the moment. Both of these projects sound really exciting. So, I’m looking forward to hearing about those. I know we’ll have you back to talk about them when their…. [LAUGHTER]

John: We will invite you back, at least. We hope you’ll come back. [LAUGHTER]

Rebecca: I don’t know if you can stand us another time.

Josh: It’s always fun.

John: I am curious, though about the improv, though. Could you tell us just a little bit about that?

Sarah: Yeah. Well, I wrote a piece for The Chronicle years ago now on the interconnections of teaching and acting. And that’s actually a big part of one of the chapters in Spark of Learning is the extent to which teaching is a performance profession. But, this work’s a little more focused on the student perspective and the student mental health crisis and the lessons and growing that improvisational forms of learning can offer for students who might be struggling with those issues.

Rebecca: Sounds deeply needed right now.

John: It sounds fascinating, and a book on grading is something that a lot of people want, especially after what’s happened this spring, looking at alternatives to grades and the motivational issues associated with grading. I’m looking forward to both of these,

Josh: This became a little bit more relevant than I thought it would be. [LAUGHTER]

Sarah: Yeah! Relevance is good when you’re talking about writing.

Josh: Yeah, it is. [LAUGHTER] That’s right.

Rebecca: Well, thank you, as always, for joining us. It’s always great to hear your perspectives and think through things with both of you.

Sarah: Thank you.

Josh: Yeah. Thanks for inviting us.

John: Thank you. It’s great talking to you again.

Josh: Have a great day.

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John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.

Rebecca: You can find show notes, transcripts and other materials on teaforteaching.com. Music by Michael Gary Brewer. Editing assistance provided by Ryan Schirano.

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