Peer review of writing: the mechanics of how

Tags

Accurate word choice, feedback on writing, structuring argument, talking about writing, writing fun, Writing motivation, writing retreat

By Susan Carter

Doctoral peer review of writing seems like wise practice to me. It widens the source of feedback: if students have any dissatisfaction with the way their supervisors review their writing, quite simply, they can supplement that elsewhere. The groups I run are generic, with people bringing writing from any discipline. Groups can be really productive within departments or faculties, or can be, like mine, centrally situated.

Setting up a group recently where there was some initial uncertainty about how to give helpful feedback to colleagues, I set out some criteria. Since no one could think of more to add, we set out with this as guidance:

Watch out for emotions. You will get the most from the session if you are open to critical feedback, but try to gauge how much advice works best for you as an individual. Then as a reviewer take care according to the sensitivity climate. Humans have a tendency to be critical rather than praising: we are trained as researchers to do this. Remember that in this case reviewers must talk about what works well as well as giving constructive feedback for improvement: begin with what works well and why before moving into what could be improved. Ending on a reaffirmation is often recommended too.

Being concrete and specific about what has worked well is important: group talk about exactly what we like gives pointers to improving writing. It has benefits beyond the emotional boost for the writer.

Writers can ask for specific areas to be given thought:

• Is the structure ok?
• Are you convinced by the X section?
• Is the Y section clear?
• Do I need to explain more about Z?
• Is this just too simplistic?
• Is this too obscure and hard to read?
• Do I sound authoritative in my use of theory?
• Could you watch for grammar or punctuation problems?
• Please suggest better words for any of my phrases.

As a reader follow the writer’s direction. You could also look for other stylistic qualities.

• Are there any times when the tone slips, for example, when language becomes too informal, or too stilted, or too obscure, or too naive?
• Are there any disjunctive colloquialisms? Any dead clichés? Or any words that you suspect may be problematic (e.g., ‘naturally’ if you are in a constructivist framework where nothing is assumed to be natural)?
• Is the tension right? Could the prose be tightened: is it too loose with many sentences yielding little of real value? Or is it too tight and dense to be understandable?
• Is the level of definition and explanation right? Are there any points when you need more explanation? Or are there places where there is too much spelt out so that this detracts from the flow of ideas?
• Are there repeats at word level or in sentence structure that would be better avoided?
• Are there any sentences that are too long and complex? If so, suggest a way of splitting giant mutant sentences into more than one.
• Are there times when emphasis seems inaccurate?
• Could you add any suggestions at times when ideas seem promising but not fully developed?

In peer review practice, I suggest that while staying aware of the emotional dimension reviewers should offer any suggestions that they believe would be helpful. Whenever a sentence is hard to follow, they should indicate this, and offer a way of clarifying it. It is so helpful when reviewers suggest how to restructure more logically, or find a more precise word, or ask questions that drive the author to see what is missing. The author has the option of rejecting suggestions, but will get something of value: a truthful view of their own work through another reader’s eyes.

That was where my criteria ended. As the group met for review over several sessions, we learned more about the mechanics of peer review.

This semester, several participants commented that it is really helpful getting feedback from someone who is not in their discipline.

A light came on for me when a reviewer said ‘I don’t know how to review this; the topic is so far out of my understanding,’ the biophysicist author helpfully suggested, ‘if you replace this big term with A and this one with B and this one with C, would it make sense to you?’ She’d articulated what I have found for years: if you ignore the content, and follow reading for logical progression, structure and grammar, you can give a great deal of useful feedback to writers without actually understanding the content fully.

In many ways this sort of feedback from someone who doesn’t understand is as important as feedback from insiders who do: the outsider reader is then reading the mechanics of language without being distracted by engagement with the content. Clarity is likely to result from a diligent unknowing reader. Another participant noticed that she really liked what she called experiential comment: times when someone said ‘at this point, I wondered why…’ or ‘here I am feeling that…’ and gave a real sense of the reader and their needs as they move through the writing.

The impetus generated by reviewing writing together is huge. One of the huge benefits of peer review is that it literalises the reader, someone who can slip out of focus if you are writing alone from a writerly perspective. In a writing group, the reader gives formative rather than summative feedback. It’s friendly. There’s sometimes laughter. Yet a lot is achieved too.

Several people in the group had significant breakthroughs with how to structure their work by talking through the difficulty they were having with sympathetic listeners hoping to help. In that group now, some of our time allows for problem talk and feedback. I suspect that in each case it wasn’t so much the feedback that caused the threshold crossing moment, but the act of explaining what was hard led the writer to solve their own problem.

 

 

 

 

Writing in the company of others; ‘Shut up and write!’, AcWriMo, boot camps, writing retreats and other fun activities.

Tags

AcWriMo, writing fun, Writing groups, writing retreat

By Claire Aitchison

I am watching the curious look inquisitively at this small group of people sitting outside in the sun tapping away at their keyboards. It’s hard to tell those who are intentionally part of our new ‘Shut up and write!’ from those who just happened, accidently, to lob here today. There’s the usual café sounds: orders being given and names being called out, cutlery clattering, cups meeting saucers and spoons. Some people look askance, others quickly soften their voices and look away – as if they have walked in on someone in prayer.

It’s 9.15am and people continue to join us. We are now eight definites and four fringe-dwellers: perhaps the outliers are hedging their bets; not sure enough yet to sit with us.

At the break we talk. Everyone is a doctoral student and immediately there’s an exchange about thesis topics, stage of candidature, software programs, the recent Boot Camp and other group writing opportunities on campus. Everyone wants to make writing normal business. Everyone needs to build writing into their lives so they can get their PhD done.

Then we settle down again to write. Together. In silence. It’s magic.

We have written before about group writing for doctoral scholars and academics including online writing groups, retreats and so on.  In this blog I aim to give an overview of the group writing opportunities that I’m aware of – and to invite readers to tell us about others.

WRITING MARATHONS are productivity-focussed events that usually involve measuring output (eg word counts) against time. Some examples include:

AcWriMo is perhaps the most widely known and popular. Started in 2011 by Charlotte Frost, AcWriMo is an annual online month-long ‘write-a-thon’ fashioned after the successful NaNoWriMo  (National Novel Writing Month). Writers participate via the host – PhD2Published; they determine their own writing goals and are supported by tonnes of social media including dedicated posts, twitter feeds and participant exchanges. You can read here about Cally’s experience with a more localised AcWriMo.

Boot camps work on a similar principle, except that those that I know of bring people together in the same physical space; they are mostly facilitated and very often centrally provisioned by University Grad schools or Writing Centres. Like AcrWriMo, participants set personal writing targets which they aim to meet in a set period of time, such as 2 or 3 days. This blog on the Thesis Whisperer gives a great account of how a Boot Camp works.

OTHER SOCIAL WRITING 

‘Shut up and write!’ is a mini writing sprint, rather than a marathon, that usually runs over an hour on a regular basis (eg weekly) in a convivial place. This kind of writing event is popular with doctoral scholars and academics because it’s a relaxed arrangement without hard rules or long term commitment. Participants simply turn up and get on with their writing, in the company of others, for two lots of 25 minute bursts with a five minute break in the middle.

‘Meetup’ writing groups. ‘Meetup’ is a global social networking phenomenon and recently, when invited by a friend to accompany her, I discovered yet another vibrant social writing avenue. Her group meets weekly at a pub in central Sydney where participants write, eat and drink together for 2 hours under the ‘cone of silence’. Thereafter, people mix and socialise as they see fit. I was amazed to discover that these writers included professionals of all kinds, scriptwriters, bloggers – and doctoral students.

Writing retreats are another kind of extended writing together opportunity favoured by doctoral scholars and academics alike. Whether they are highly structured (as described by Rowena Murray) or more organic (see Barbara Grant’s Guide), there’s growing evidence of the value of being able to retreat from the everyday demands and routines of academic life, to spaces entirely dedicated to writing. Susan has written about the pros and cons of writing retreats.

Writing buddies and intimate circles of productivity Finally I’d like to include a plug for the common, but undervalued, practice of hiding oneself away with a colleague/s to write. I’ve been lucky enough to have spent weekends away with doctoral scholars in which we have shared writing, cooking, walking and talking. Pat Thomson’s recent blogs on working with her co-author Barbara Kamler describes the joy (and productivity) of this kind of companionship.

But back at the University of New South Wales’ ‘Shut up and write!’ I overhear a passer-by say (I’m not kidding, I promise!): ‘This is really good. I saw the Research Office advertising … I want to do it – but I don’t have time’.

But that’s the point, isn’t it? – ‘Shut up and write!’ and these other group writing activities are booming because they work especially for those who don’t have time. The popularity of writing in groups is evident everywhere – so if you haven’t already; get yourself into some kind of group writing activity and you will reap the rewards.

And we’d love to know about your own group writing adventures.

Other references:

Aitchison, C., & Guerin, C. (Eds.). (2014). Writing Groups for Doctoral Education and Beyond: Innovations in Practice and Theory. London: Routledge. http://www.tandf.net/books/details/9780415834742/

Grant, B. . (2008). Academic writing retreats: a facilitator’s guide. Sydney: Higher Education Research and Development Society of Australia (HERDSA).

Grant, B., & Knowles, S. (2000). Flights of imagination: Academic women be(com)ing writers. International Journal for Academic Development, 5(1), 6 – 9

Grant, B. M. (2006). Writing in the company of other women: exceeding the boundaries. Studies in Higher Education, 31(4), 483-495. DOI: 10.1080/03075070600800624 http://www.leadershipscolaire.uottawa.ca/documents/Grantonwritingretreats.pdf

 

Writing retreats aka binge writing: pros and cons

Tags

writing fun, Writing motivation

By Susan Carter

I am at a desk overlooking trees soaking up misty rain. This post represents a spasm of procrastination from the article that I’m writing on what is for me a new area of research interest.

Beside me I have an ambitious stack of reading for the week; I need to get my head round recent literature. In front of me, the laptop, currently showing my resurrected Endnote library—somehow I have lost a more recent version so need to move on and recreate. Around me, other women academics are also writing, including a couple of them finishing their PhD theses, and a couple who are newly graduated and now pumping out articles to meet their post-doc grants’ mandates.

It’s the third day of one of Barbara Grant’s writing retreats for academic women. I have read five articles and skimmed two journals—two books and another five journals sit waiting. I have also written 3,749 words, a bit boring and disjointed, but first draft material certainly enough sitting in a document. I know that by the end of a fairly blissful week I will have accomplished a draft of an article to fine tune later, and may have almost caught up with this batch of reading.

Robert Boice (1987), who is foundational in research on research writing, suggests that what he calls ‘binge writing,’ in days given just to writing, actually handicaps academic writers, because it encourages procrastination. He recommends instead making space for short bursts daily. I have to say that writing briefly and daily is how I usually meet my own publication deadlines. It works for me. It also means avoiding fetishizing writing or making it like a sacred ritual requiring trappings, place, silence, atmosphere…. Instead, I find it helpful to see it as part of the ordinary pattern of each day.

Boice has been influential: other academics supporting dissertation writing propose sustained daily short bursts of writing to produce what Joan Bolker describes as the dissertation written in 15 minutes per day. Alison Miller (2007), for example, produced a blog post citing Bolker and endorsing ‘the 15 minute rule.’ But there are many approaches to productivity, and it is maybe best to work across all of them.

So what do writing retreats give participants? The writing retreat offers a dimension I do not get in short snatches at my office desk. It’s the business-class luxury approach. Most conspicuously, it offers a quiet space allowing real thinking. This is the oasis that I keep ahead of me through all the times I write at a desk cluttered with folders relating to committee work, teaching work, reviewing work. I’m always able to write at my desk, but I cannot immerse myself in the same level of thinking. At the retreat, there is just a desk, my reading and laptop and no other demands.

And there is the social dimension of writing with others. Having others around working and obviously deep in thought is somehow energising, as though we mutually thrive on each other’s absorption in their writing. Inger Mewburn’s ‘shut up and write’ taps into the energy of critical mass, an energy that is somehow prompted by writers working together in a shared congenial space.  The tapping of fingers on other people’s keyboards motivates Inger.

Encouraging doctoral students to write daily makes sense; if there are sometimes writing retreats established for them, they are likely to find clarity of thinking, energy from others—and likely to shift their writing forwards. Do you have experience or thoughts about writing retreats?

Boice, R. (1987) A Program for Facilitating Scholarly Writing, Higher Education Research and Development, 6:1, 9-20.

Bolker, J. (1998). Writing your dissertation in fifteen minutes a day : a guide to starting, revising, and finishing your doctoral thesis. New York: Henry Holt

Grant, B. M. (2006). Writing in the company of other women:exceeding the boundaries, Studies in Higher Education, 31: 4, 483–495.

Speaking the writing: using voice recognition software or ‘training the Dragon’

Tags

voice recognition software, writing fun

By Claire Aitchison

Like many others, the trouble with my hands (neck, and shoulders) began while I was doing my doctorate. Poor ergonomics at work and at home didn’t help, and eventually, when I had no choice, I turned to the Dragon. (Dragon is a brand of voice recognition software). Being a Dragon user is a bit like belonging to a secret club, like Alcoholics Anonymous for example. Most of the time you wouldn’t know who was, and who wasn’t a user, however Dragon users can often identify each other by examining writing produced in unguarded moments.  E-mail is the best place for identifying a Dragon user. For example Dragon users must be the only people on the planet who write ‘email’ as ‘e-mail’. Seeing this spelling is a dead giveaway – not only that the author is a Dragon user, but that they’re lazy to boot, since they never got around to resetting the default spelling.

Voice recognition software is fantastic and many people like me could not write (or work) without it. In fact when it works it is pure magic. You simply talk into the microphone and the words appear on the screen in front of you. Hands free.  Amazing! When you’re writing a thesis or a long article it really comes into its own, because it progressively learns the vocabulary and expressions of the project and error is minimal.

The downside is that it takes time to learn.  Although new programs are impressively fast, the early stages involve you training the Dragon – and it training you!  Don’t bother to take up Dragon in the final stages of writing your thesis or dissertation. Dragon can also change the way you write. Someone commented on my first Dragon made article, that my style had altered.  Dragon trains you to think aloud. These days my Dragon and I, now mostly understand each other, but not always.

Dragon users are sometimes mistaken for drunks because of their random and quite extraordinary writing peculiarities. Some personal examples include:

• Speaking about the evolution of theses over the period of candidature Dragon wrote ‘the air pollution of faeces’.
• Dragon wrote ‘felt some degree of our knees’ when I said ‘felt some degree of unease’

Last Friday I gave a handout with the reference to the wonderful book Becoming an academic writer: 50 exercises for paste, productive and powerful writing.  People may receive half written emails from Dragon users because if you use the word ‘send’ or anything that sounds like that as you dictate your e-mail, it disappears before your rise! (that should be ‘eyes’).

Dragon users have a multitude of such stories. My favourite one comes from someone in a writing group years ago. This student had been working late into the night to complete her chapter to send to her supervisor. She was still ‘training the Dragon’. Deeply into a paragraph on Foucault, she wanted to go to the bottom of the page to check a footnote, and so she said ‘Go to the bottom’. This is a standard instruction which should take the cursor to the bottom of page. That didn’t happen and so she repeated the instruction quite a few times with increasing volume – ‘go to the bottom go to the bottom go to the bottom you bastard’. And then she gave up. When she received her chapter back from her supervisor weeks later there was a polite note in the margin. “I don’t understand what you mean here”.