Writing Workshop Research Articles

New Chaotic Reality: Creative Writing Workshops for Long COVID Patients.

In a widely cited 2017 study, Robinson et al. (2017) found that 'emotionally expressive' writing makes physical wounds heal faster when compared to writing that did not engage the emotions. The Writing Long COVID project at Aberystwyth University engaged similar territory in a recent pilot study. Participants' writing activities explored how literary production can affect a person's experience of this new chronic condition, as well as contribute to our understanding of its symptoms. In this short essay, I show how we designed a course of short-duration online workshops that increased accessibility for people with Long COVID-related fatigue. I also argue that future Long COVID creative activities should let their timing, venue, content, and structure be influenced by the preferences of the Long COVID patient. The preliminary study suggests that the traditional parameters of the writing workshop, including its duration, could deter participation in potentially beneficial creative activities.

Effectiveness of the Scientific Paper Writing Workshop in a New Medical College of Northeast States of India

Background Academic paper writing is crucial for medical professionals, facilitating effective communication, critical thinking, and scholarly contributions in medicine. Proficient writing is vital as it influences knowledge dissemination, evidence-based practices, and medical research advancement. The objective of the current study was to assess the effectiveness of academic writing workshops for medical professionals.MethodsThe workshop conducted during SAPHCON 2023 spanned four hours and consisted of seven sessions on various aspects of academic writing and publication. Participants completed pre-test and post-test assessments to evaluate changes in their knowledge and comprehension. Statistical analysis using SPSS software was employed to measure the intervention's effectiveness.ResultsThe workshop involved 21 participants who completed both pre-test and post-test questionnaires. Of the participants, 25% were male, and 75% were female, with a mean age of 33.8 (SD = 6.3) years. The post-test analysis revealed an overall increase in the proportion of correct answers for most of the questions. The pre-test median score was 7 (IQR 6-10), and the post-workshop test median score was 10 (IQR 9-11), indicating a significant increase in the median score (p=0.02). Conclusions The post-test results showed a significant improvement in the median score compared to the pre-test, indicating enhanced knowledge among participants. The study's findings aligned with previous investigations, highlighting the workshop's positive impact on knowledge enhancement. Our study contributes valuable insights into the effectiveness of manuscript writing workshops in the Indian context, laying the groundwork for future research with larger sample sizes and diverse populations, and exploring long-term impacts.

Argumentative Writing Workshop for Conceptual Learning and Weekly Writing for Knowledge Application in Undergraduate Chemistry Laboratories

Argumentative Writing Workshop for Conceptual Learning and Weekly Writing for Knowledge Application in Undergraduate Chemistry Laboratories

Promoting educational equity among health science students through a project-based learning writing course at a Hispanic Serving Institution

Background: Overall, high rates of American high school seniors lack writing proficiency (75%) and historically underrepresented minority (URM) populations fare even worse (91% of African American, 89% of Latinx) (U.S. Dept of Education, 2011), which suggests that URM college students enter college with lower writing abilities (Bracco et al., 2021). Co-curricular writing instruction could help eliminate writing skill disparities. The Health Science Intensive Writing Workshop (HSIWW) aimed to increase students’ perceived confidence in their writing abilities, encourage and increase academic help-seeking behaviors and networking skills.
 Description of Practice: A project-based learning methodology proved the best fit because of its focus on real-world problems and assessments, and emphasis on collaboration and revisions of personal work. 
 Outcomes: Eight upper-division health science undergraduate students participated in the 5-day HSIWW. Descriptive statistics indicated increases in perceived ability, confidence in writing abilities, and academic help-seeking behaviors. 
 Conclusion: To the study team’s knowledge, the HSIWW was unique as a co-curricular, project-based course that used high-impact practices to teach public health writing skills to URM students in higher education. HSIWW’s findings suggest a positive impact on student achievement by improving student performance and scaffolding the academic help-seeking behaviors that help keep students on the path to graduation.

Doing and Being-with in Caring Labor : Reflections from a Paid Caregiver Writing Workshop

Doing and Being-with in Caring Labor : Reflections from a Paid Caregiver Writing Workshop

Ursa Major

Research Article| May 01 2023 Ursa Major Leigh Lucas Leigh Lucas Leigh Lucas (she/her) is a poet and writer in San Francisco. She holds an MFA in creative writing from Warren Wilson and a BA in creative writing from Stanford, where she won an Urmy/Hardy Poetry Prize. She won the Association of Writers and Writing Programs’s 2020 Kurt Brown Prize for emerging poet and was a 2021 Pushcart Prize nominee. She has been awarded residencies at Tin House Summer Workshop, Sewanee Writers’ Conference, Community of Writers in Olympic Valley, and Kenyon Review Writers Workshop. Her poems appear in and are forthcoming from Smartish Pace, Frontier Poetry, and Poet Lore. Search for other works by this author on: This Site Google the minnesota review (2023) 2023 (100): 22. https://doi.org/10.1215/00265667-10320828 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Leigh Lucas; Ursa Major. the minnesota review 1 May 2023; 2023 (100): 22. doi: https://doi.org/10.1215/00265667-10320828 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll Journalsthe minnesota review Search Advanced Search The text of this article is only available as a PDF. © 2023 Leigh Lucas2023 Article PDF first page preview Close Modal Issue Section: Creative You do not currently have access to this content.

Pelatihan Menulis dengan Pendekatan Talk For Writing Bagi Guru Bahasa Inggris

The quality of students’ writing English is the reason for conducting Talk for Writing (TfW) workshop. This workshop aims to provide insight into how to teach writing in an interesting and fun way. English teachers in Merauke, South Papua, are the main targets for this activity, considering that teachers in this location rarely get refreshments for English teaching strategy. The method to implement this activity is carried out offline through several stages and namely, the lecture method used to introduce the concept of TfW. The second stage is a demonstration method showing a work process or stage of making a magpie that will be used in the TfW process. The third stage is the practice method. At this stage, the participants practiced creating a magpie and writing using the TfW approach. The final stage was an evaluation where the teachers received feedback based on the magpie and the writing they had made. During the workshop, the enthusiasm of the participants was very high. In addition, the knowledge and understanding of the use of TfW techniques have increased.

Multispecies, More-Than-Human, Nonhuman, Other-Than-Human

Life on Earth is sustained by interconnected more-than-human entanglements. In the era of the Anthropocene, many of these webs are unravelling due to climate change, biodiversity loss, toxicity and pollution, natural resource extraction, and water and soil depletion. In order to help address these challenges, The Anthropocene and More-Than-Human Writing Workshop Series, funded by the British Academy, brought together early career researchers from different disciplines to share ideas and knowledges. As part of The Anthropocene and More-Than-Human World Writing Workshop Series, Sophie Chao, presented her collaborative research project, The Promise of Multispecies Justice. Following this presentation, Catherine Price and Sophie Chao took the opportunity to discuss the terms multispecies, non-human, and more-than-human, amongst others. These terms are increasingly appearing in interdisciplinary scholarship in the space of multispecies studies, posthumanism, the environmental humanities and others. The epistemological assumptions and ethical stakes involved in using these terms are also considered. The conversation illustrates that in trying to define terms such as multispecies or the more-than-human, complexities are not explained away. Instead, these terms reveal how incredibly – and generatively – messy beyond-human worlds really are. The terms discussed are also fundamental to understanding and addressing the Anthropocene as an epoch of planetary unmaking.

Wounds That Kill, Wound Us All, and: Break, 2020

Wounds That Kill, Wound Us All, and: Break, 2020 Sean William Carrero (bio) Wounds That Kill, Wound Us All Morning's dry tongue receives no forgiveness.I know as much about deathas chicken gizzards know how to be eaten,or how to put the wind into boxes,pierce a dark room with my body,and make and unmake myself again. I fold what I know about death into memory,as much as little David knows, how hediscovered his mother's divorce from lifea wound in the backyard after school. Sinfulbefore heaven, she dead. Warfare never truly restores order,but transforms everything else that stays alive. There was no one else to clipthe eldest's toenails, leavered lipstick on my pale face annuallyor get excited about the Wizard of Oz. No one else to keep us, our little familyfrom sewing blank seeds in the garden.No one to fight the cotton mouth there. This poison stains us instead of your lipstick.I know as much about death as chicken gizzardsknow how to be eaten as an appetizer annually. [End Page 152] I am the size of a centimeter on a yard stick,thrash my boy fists into the rug floor foreverfeel rugged anger brush my knucklesalive without her. I foldwhat I know about death, lessthan what my cousin saw firsthand,a human body against a backyard treea bullet pierced clean through her brain.A poem reads differently when that poet has died.I read you distorted after you have died. [End Page 153] Break, 2020 In the middle of thousands dyingI learn how to come back home.The first and last time I ordercurbside pickup it's steak dinnerfor an ex, her son, and me.What is learned from the monotonyfits inside a pigeon pea: my small car,teaches me how to come back home.The UPS man came so oftenhe knew us by name back then.All performance. All pageantryfits inside a pigeon pea,all of the tragedy in Hollywood, FLteaches me how to come back homefits inside a pigeon pea.I learn from monotonyhow to pack everything insidemy small car, drive across three states.In the galley kitchen, the belly of a whale,her son begins unpacking our steakdinner alone. Typically, he' d never do that.Familiar the way eyes blink to catchthe moon, just the gistof it in the sky's mouththe sky says moon be gone.She speaks on the phone.This is a ghost signal. Callit a shell pluckedfrom the beach stuffedin your silent pocket. A dancestep out of time. Grazestoo close to the devil's tail. [End Page 154] Sean William Carrero sean william carrero holds the Master of Fine Arts in Creative Writing degree from the Creative Writing Workshop at the University of New Orleans. Carrero's poetry appears in Angel City Review and Ellipsis Literary Journal. He is from Hollywood, FL. Copyright © 2023 University of North Dakota

Cyber Nuts and Bolts: Effective Participatory Online Learning, Theory and Practice

This article presents emergent findings from an empirical research study conducted during Covid lockdown with 52 undergraduate students at a UK university November 2020–April 2021. The research study, which adopts a teacher-practitioner stance, builds on a 2012–2019 programme of research (represented by publications including Barnard 2019) which explores the potentials and dangers that digital technologies hold for pedagogy and education. It is located in the field of Creative Writing and uses the discipline’s pedagogical practice of ‘workshopping’ as a case study. The Creative Writing workshop centres on the exchange of information and critically informed comment by participating students (generally in small groups), and, as such, has similarities with seminars in other disciplines. Hence it is hoped that this article will be of benefit both in the home discipline and more widely. The contention of this article is that, to maintain quality in the delivery of participatory online teaching, it is necessary to ensure an ongoing feedback loop between individuals’ bodily existence ‘IRL’ (‘In Real Life’) and the section of cyberspace that they carve out and inhabit collaboratively during virtual seminar groups. It considers how the cliché of the ‘digital native’ can inhibit learning and the role of affect in enabling productive online and engagement. In taking initial steps towards development of a pedagogy of affect in which a ‘neutral terrain’ is established that enables students to apply and develop close reading skills in an online environment, it presents a new theoretical position on what constitutes effective pedagogy in the context of participatory virtual classrooms.

Yes, they can: Developing transcription skills and oral language in tandem with SRSD instruction on close reading of science text to write informative essays at grades 1 and 2

This randomized controlled trial with first- and second-grade students is the first experimental study addressing long-running disagreements about whether primary grade students should develop transcription and oral language abilities before learning to compose. It is also the first study at these grade levels to teach close reading (using science text aligned to the Next Generation Science Standards) to plan and write a timed informative essay. Theoretically and evidence-based multi-component writing instruction was developed, termed “Self-Regulated Strategy Development (SRSD) Plus.” SRSD Plus integrates evidence-based practices for transcription (handwriting and spelling) and oral language skills (vocabulary and sentence structure) with SRSD instruction for close reading to learn and then write informative essays. A total of 93 children in Grade 1 (n = 46, 50% female) and Grade 2 (n = 47, 51% female) in a high poverty school participated in the study (50% boys; mean age = 6.68; SD = 0.48). Students were randomly assigned to either teacher-led SRSD Plus or business-as-usual (writers workshop) condition within class in each grade. SRSD Plus was implemented with small groups for 45 min, three times a week, for 10 weeks. Outcomes examined included: instructional fidelity, spelling, handwriting fluency, vocabulary, sentence proficiency, discourse knowledge, planning, writing quality, structural elements in informative essays, number of words written, use of transition words, expository text comprehension, and use of source text. Results showed moderate to large effect sizes in writing outcomes, oral language skills (vocabulary and sentence proficiency), spelling, and discourse knowledge. Differential effects due to grade, gender, and race are examined, and directions for future research are discussed.

"Alternate Presents": An Interview with Daryl Gregory

"Alternate Presents":An Interview with Daryl Gregory Christina Connor (bio) and Daryl Gregory (bio) Daryl Gregory's publishing history includes a long list of awards and recognition that any writer of the fantastic would be thrilled to possess. Trained in the Clarion Writer's Workshop, Gregory has garnered acclaim since the publication of his debut novel, Pandemonium (2008), which won the Crawford award and was a finalist for the World Fantasy award. His bio is staggering: His novel Spoonbenders was a Nebula, Locus, and World Fantasy Award finalist. His novella We Are All Completely Fine won the World Fantasy and the Shirley Jackson awards, and was a finalist for the Nebula, Sturgeon, and Locus awards. He's an executive producer and writer for several of his novels being adapted for TV. The SF novel Afterparty was an NPR and Kirkus Best Fiction book of 2014, and a finalist for the Campbell and the Lambda Literary awards. His other novels are YA horror novel Harrison Squared, The Devil's Alphabet (a Philip K. Dick award finalist), and Raising Stony Mayhall (a Library Journal best SF book of the year). His short stories have been nominated for the Hugo and other awards. Many of them are collected in Unpossible and Other Stories, which was named one of the best books of the year by Publishers Weekly. He has also written for video games and comics. We are grateful to him for sitting down to discuss craft in this special issue of Studies in the Fantastic devoted to fiction. During our interview, I discovered that the key to his success is a devotion to continued professional growth. In this interview, Gregory explains his thoughts on the "big ideas" of the fantastic genre and shares [End Page 95] advice for writers, both those seeking to start their careers and experienced writers hoping to sharpen their skills. He discusses his own path to getting published, muses upon how writers can train, and shares his views on what part of professionalism matters the most in a writing career. (Spoiler alert: It's not social media!) The following interview was edited for length and form. Christina Connor: Why did you become a writer? Daryl Gregory: Growing up, I would read books and desperately want to do the same thing. I didn't realize that you couldn't be a writer, so I began writing my own stories. In fourth grade, I wrote my first novel; it was eight pages—my magnum opus—and it was remarkably similar to a book I had just read. I guess everybody sort of plays around with the idea of being a writer, but I never outgrew it. And so, I just kept writing. CC: Who are your writing inspirations? DG: It's funny. I have a few heavy hitters, but every book I write gets to pick its own parents. Each one is in conversation with a different set of novels that came before. So, my inspirations are whatever books that led to this one. My favorite book of all time is John Crowley's Little, Big [1981]—that book's always in my head. But when I was starting out, there were the books of Sean Stewart. He's sort of stopped writing novels and has a very successful career making games and virtual worlds, but his novels in the '90s were a huge influence on me because he set them mostly in the real world where magic was infused with daily life. I thought, "that's my jam; that's what I want to write." But as I said, there's just a wide array of writers whom I steal from and get influenced by, and the roster changes with every book. CC: Why do you write in the fantastic genre? DG: The fantastic was the first stuff that sparked my interest as a young reader: science fiction, comic books, fantasy. It all just lit me [End Page 96] up in a way nothing else did. Even after I became an English major and studied the canon, I always wrote the fantastic. My sensibilities matured (slightly), but a story must have something weird in it or it bores me...

Untitled (from Ghostdaughter)

Untitled (from Ghostdaughter) Zefyr Lisowski (bio) Keywords Zefyr, Lisowski, sickness, pain, poetry, Massachusetts, disability The process of becoming sick may be familiar to you,or it may not. First, I had unexpected pain. This is notto be confused with previous unexpected pains.Actually, the unexpected pains had continued back foras long as I can remember. This is how it happened: I was dating an Aries at thetime. Her body was covered in vast mappings oftattoos, and I'd trace my tongue across them. I'd burymy nose in the musky center of her scent. My fatherhad died a summer ago. Once, on my way back from her house, I feltsharpness in my wrist. I thought it was an issue withmy bike. I thought my handlebars were improperlyadjusted. I felt this as I biked through the deep park betweenher place and mine. This was what I did to calm myselfdown in periods of more profound agitation, whenmy grief suddenly built itself up. I would get on mybike and bike through the park. I would look at themoon. This was the summer I lost all my work. It tumbledout of my canvas bag that I toted my jobs around inand suddenly I had no money. I thought of our bodiestwining together like branches in assembly. [End Page 604] Overwhelmed with time, I took a day off to rest, thenextended it to a week. Then a month. The Ariesmoved back to Massachusetts at the end of thesummer, and we would text our little jokes back andforth. My body, it takes the things that are given to it. In the park, I dreamt of a phantom self, movingthrough walls without pause or pain. I dreamt of a mewith all the freeness that I had become accustomedto. I spent all night there, but it still entered mydreams as well. This is how it happened: first, my wrists felt ill. Then,my legs. Then, everything. [End Page 605] Zefyr Lisowski zefyr lisowski is a poetry co-editor at Apogee Journal and the author of the Lizzie Borden queer murder chapbook Blood Box (Black Lawrence Press). Her poems and essays have appeared Catapult, The Offing, and elsewhere, and she has received support from Blue Mountain Center, Tin House Summer Writers Workshop, and more. She grew up in the Great Dismal Swamp, NC. Copyright © 2022 The Massachusetts Review, Inc.

Academic Writing Workshop at One Junior High School in Merangin

The purposes of this community service program were to motivate the teachers to publish and to share our experiences in academic writing, especially writing academic journal article(s). The participants of this workshop were 51 teachers in one of junior high schools (SMP) in Merangin. The workshop was done synchronously and divided into several sessions, including material presentation (concept of academic writing, steps in writing the paper academically, and component of academic writing especially journal article); question and answer; practice (analyzing the paper and formulating the problems); and feedback survey sessions. Based on the result of this program, it is recommended to have similar programs to motivate SMP teachers publish their articles.

Perfectly Designed for Connections: Zine Making in Denver Shelters

Perfectly Designed for ConnectionsZine Making in Denver Shelters Alison Turner (bio) “My name is Tamara but I would rather be called The Windtalker.” —The Windtalker Some of today’s most prolific writers face barriers that obstruct their access to an audience in the present and the opportunity to leave written work for the future. Writers sleeping on the streets and in parks might get caught in rain or snow that destroys the contents of a notebook; writers staying in shelters might find a bag of belongings that included a folder of poems missing when they wake up or return from an errand. Writers living in tents might find it difficult to establish a writing routine without quiet, privacy, or a hard surface to write on. Many of these writers have nuanced understandings of the importance of their own writing and confidence in who they want to read what they write, if anyone; others have been told their entire lives that their ideas don’t matter, and they are beginning to believe it.1 In the summer of 2021, fifteen writers living or working across three different shelters in the Denver area contributed to a collective zine called Perfectly Designed for Connections (PDFC). Several of these contributors regularly participated in one of the weekly writing groups that I facilitated in these shelters from 2020–21, while other authors and artists submitted anonymously or separately from the groups. With funding from Lighthouse Writers Workshop, a nonprofit that supports literary arts in Denver, seventy-five copies of the zine’s thirty-five pages were printed in black and white and distributed throughout the community. A digital version is forthcoming that will show the work in color and include an audio album of several authors reading their work. [End Page 153] Click for larger view View full resolution Fig. 1. Cover art for zine. Image drawn by Poetic Justice. [End Page 154] Zine making is rooted in marginalized communities such as these Denver shelters, though it grows increasingly into mainstream communities—from NPR listeners to students in undergraduate classrooms. While I celebrate this increasing reach of zine making, these mainstream contexts generate an academic discourse that prioritizes zine making in academic contexts and risks further marginalization of communities relying on zines to reach an audience. In part 1 of this essay I provide brief histories of and contexts for zines in the United States, including their increasing movement into mainstream contexts and the limited accessibility of zines being made in shelters. In part 2 I show how the benefits of zine making that scholars explore in academic contexts are relevant to shelter spaces but less important than an urgent need for audience. I cite excerpts from PDFC as section epigraphs and within the discussion to show the range of invoked audiences, real or imagined, that this one text holds and to call attention to the continuing urgency of zine making for writers like The Windtalker, cited above, and their contributions to the imagined archive of American literature and its readers. Zine Making, from Sci-Fi to NPR “I recently went to [a local shelter] and saw the list of people that have passed away this year, in the streets. My heart went out to them. What was their last meal. . . . What were they longing for in life.” —Anonymous Zines are low-cost, low-barrier publications—created by an individual or a collective—often with a limited print run. Scholars observe three phases in the trajectory of zine making in the United States, including, as a way for “science fiction enthusiasts” to share stories in the 1930s (Creasap 156); as a vehicle for fan-driven discourse among punk communities in the 1970s; and as a venue for the riot grrrl community in the 1990s to “confron[t] sexism in punk rock music subcultures” (Creasap 157; see also Gray 2–3).2 Zine libraries around the country collect limited print editions, and there are several publicly available online catalogs, including Zine Wiki, which [End Page 155] compiles more than five thousand articles about particular zines and zine making (“Main Page”). Click for larger view View full resolution Fig. 2. Art submitted to the zine Perfectly...

Strange Rain

Strange Rain Okwudili Nebeolisa (bio) Bored of the monolith the house had become,I stepped out of it, barefoot, even ifit was still drizzling, silver saberscollapsing from the sky. This was the wrong time.Rain in the last week of Novemberin Kaduna? Where was the twisted tongueof harmattan lashing at the houses’ eaves? The sun, departing, washed me in oily light —I didn’t use to think this was strikingenough to forsake my chores to watch it.But now, it reminded another part of meof the promise to grow sage next year,something to force me to forget the grief I had been made to experience this year.The dog pawed out of the house and joined mein fathoming the fathomless sky.For the first time she was not troubledby the quiet. Just look at her, matured,as she joined me in worshipping the silence,the brown dough of her face resting on my feet. [End Page 389] Okwudili Nebeolisa Okwudili Nebeolisa is an MFA candidate at the Iowa Writers Workshop. His poems have appeared in the Cincinnati Review and the Threepenny Review, and are forthcoming in Image. Copyright © 2022 The University of the South

Improving Students’ Writing Ability in Descriptive Text through Writer Workshop Strategy at the Seventh Grade of SMP Negeri 2 Lahewa in 2021/2022

Writing is the process of using symbols like letter of the alphabet, punctuation and spaces to communicate thoughts and ideas in a readable form. To write clearly it is essential to understand the basic system of a language. In learning writing, most of students could not achieve the 70 MCC. There were problem faced by the students in studying writing especially in descriptive text at the seventh grade of SMP Negeri 2 Lahewa in 2021/2022 namely: the students were lack of vocabularies, the students were unable to describe the object and the students were unable to identify topic, main idea, content from descriptive text. Thus, to overcome these problems, the researchers conducted a research by using Writer Workshop Strategy at the seventh grade of SMP Negeri 2 Lahewa in 2021/2022. So, to achieve the purpose, the researchers used Classroom Action Research (CAR). This research has been conducted in two cycles, which each cycle consisted of two meetings, and each meeting consisted of four steps, they were planning, action, observation, and reflection. The result of the data in Cycle I showed there were 2 students (8%); 5 students (20%), 3 students (12%), 10 students (41%) and 4 students (16%). While in Cycle II there were 15 students (62%) got score among 86-100, 5 students (20%) got score among 71-85, and 4 students (16%) got score among 56-70. Based on the result, it is concluded that Writer Workshop Strategy improved the students’ writing ability in descriptive text at the seventh grade of SMP Negeri 2 Lahewa in 2021/2022.

Reflections: Lessons Learned from the Recent AACE-Sponsored Scientific Writing Workshop.

Scientific writing is an important skill for cancer researchers. The training and mentoring of researchers in their early careers can positively impact both their short- and long-term goals in sharing science and consequently improving cancer care for their societies. In this reflection, we outline top ten lessons that we learned from the scientific writing workshop held in September and November 2021 by the American Association for Cancer Education (AACE). We hope that this reflection might inform early-career cancer researchers about the importance of writing in science and strengthen the skills they need to develop in order to get their research published.

Training Surgeon Scholars: Grant Writing Workshops During Residency.

Surgical residents may have limited experience with grant writing even though it is an important skill for academic physicians. We describe a novel curriculum on the conduct of research and grant literacy delivered at a single otolaryngology training program over 5 years. This workshop series included preparing a draft grant and conducting a mock grant review committee. In a survey of past participants (71% response rate), 91% found the workshops useful for grant writing or reviewing, and many used or planned to use the draft grants for real grant applications. The average number of American Academy of Otolaryngology–Head and Neck Surgery Foundation CORE grants submitted and successfully funded increased among residents at this program in the 4 years after the introduction of the workshop series as compared with the 4 years before. Further improvements continue to be made to the curriculum based on resident feedback.

Exploring young children’s argumentation as a heuristic intertextual practice

Argumentation is a fundamental communicative ability that children develop over time through formal schooling and daily practice with peers and family members. Literature on children's argumentation appears to have focused on their social interactions out of school, clinical environment, or informal pedagogic contexts. Even though there are research inquiries into children’s argumentation in formal academic learning, many have been focused on argumentative writing in math or science classes. Much less is known about teacher-led argumentation and the youngest children's emerging argumentation in language art classes, where argumentation is formally and systematically introduced and learned. This paper reports a year-long ethnographic study on argumentation in a first-grade English language art classroom in the United States. Ethnographic discourse analysis was conducted to analyze two key literacy events from the daily reader's and writer's workshop. It is supplemented with qualitative analysis of the researchers' field notes and the students' artifacts. Our findings highlight the inherent intertextual nature of children’s argumentation and a critical role the teacher played in eliciting and steering the children’s argumentation construction through strategic instructional conversations (especially accountable talk). Our findings also revealed teacher-led children’s intertextual argumentation as a powerful heuristic process and tool to enrich students’ learning. The paper concludes some classroom argumentation teaching practices based on the research findings.