Now that I’m officially on sabbatical for the fall, I’ve been doing a lot more reading than usual. Rather than devote an entire post to reflections on each of these items, I thought I’d share some thoughts on them in smaller, bite-sized pieces.
Month: September 2020
Research in Fiction Writing: Thoughts on The Secret Miracle
After reading 10 popular books on creative writing in search of information on the role of research, I’ve now shifted my focus to a set of more “academic” books that are specifically about fiction writing. I say “academic” because, of all of the books on a very long list of recommended creative writing books that I found, these are the ones that are a) about fiction writing specifically and b) owned by the libraries at 20 institutions with highly respected creative writing programs at either the undergraduate or graduate level.
Today, I’m taking a look at The Secret Miracle: The Novelist’s Handbook, edited by Daniel Alarcon.
ACRL Framework: The “Scholarship as Conversation” frame is a problem
I’ve spent the last couple of months working on a book project related to some of my ideas about the contextual nature of research. The basic premise is that context matters in the research process, that information literacy instruction needs to do a better job of incorporating the importance of context into what we teach students, and that the ACRL Framework supports our doing this.
There are lot of ways in which making the case for that last part is easy. True, the Framework is a product of ACRL and therefore its main focus is clearly on academic and scholarly situations. But the word “context” comes up a lot in the Framework. Certainly more than it did in the ACRL Standards. And the Framework goes out of its way to acknowledge that research takes place in a variety of environments, not just academic ones. I’d have to look, but I’m pretty sure the workplace and personal research are both name-checked. Creative research not so much, but no surprise there given that creative research tends to be a big blindspot when it comes to scholarly discussions of information seeking in general. Despite this, I think Nancy Foasberg was right when, in an early comparison of the Framework and the Standards, she said that if the Standards largely ignored the importance of context, the Framework insists on it.
Then there’s the “Scholarship as Conversation” frame.
Research in fiction writing: Thoughts on The Art of Time in Fiction
After reading 10 popular books on creative writing in search of information on the role of research in the creative process, I’ve now shifted my focus to a set of more “academic” books that are specifically about fiction writing. I say “academic” because, of all of the books on a very long list of recommended creative writing books that I found, these are the ones that are a) about fiction writing specifically and b) owned by the libraries at 20 institutions with highly respected creative writing programs at either the undergraduate or graduate level.
Today, I’m taking a look at The Art of Time in Fiction by Joan Silber.
Misinformation: Who’s at fault, the creator or the user?
Note: This post contains spoilers for the American, Brazilian, and French versions of The Circle on Netflix because somehow I’m still talking about that show even though everyone else either doesn’t seem to know it exists or is long since over it.
Until recently, there was an exercise that I liked to use in my credit-bearing information literacy course where I asked students to read a news article about an incident that occurred in 2010: a fourth grade history textbook that was being used in Virginia classroom was found to contain egregious historical errors. Interestingly, the big headline at the time wasn’t about how different students in different states might learn completely different stories about the history of their country. Instead, they all focused on criticizing the textbook’s author (who was not a historian) for using the internet as her main source of information.
Specifically, the textbook stated that many slaves fought on the side of the Confederacy in the Civil War, a piece of information that is not supported by historical evidence but is promoted by groups like the Sons of Confederate Veterans, who created one of the internet sources that the author cites.
As part of the activity, I asked students to weigh in on who they thought bore the most responsibility for what happened: the textbook’s author for citing an inaccurate source, the publisher for publishing a book with inaccurate information, the school system for not properly vetting the book, or the Sons of Confederate Veterans for creating the misleading source in the first place. They were required to rank the choices from “most guilty” to “least guilty.”
The answers about who bears the most guilt changed a lot over time. For the first few years I taught this lesson, students generally placed the most blame on the author for doing her research on the internet. As doing your research on the internet become more acceptable, students shifted the blame to the school system for not properly vetting the book. Almost no one blames the publisher or the Sons of Confederate Veterans.
The true as the enemy of the good: Creative license and the ethical use of information
Image by Angeles Balaguer from Pixabay
I’ve been thinking a little bit lately about creative license and its implications for the ethical use of information.
Now, when information literacy instructors talk to students about the ethical use of information, we’re usually focusing on citation and plagiarism and academic honesty and issues like that because that’s what’s most relevant to the type of research that students do. Sometimes, in keeping with the “Information Has Value” frame from the ACRL Framework, we might dip into stuff about copyright or open access or Creative Commons. But for the most part we’re talking about giving proper credit to the sources you use for academic research.
Though it doesn’t come up a lot (at least in my teaching), I would think the ethical use of information also means representing the content of a source you’re citing accurately. There may be room for your own interpretation, of course, but in general it’s understood that you shouldn’t cherry pick bits and pieces of information from a source to suit your purposes or misrepresent the original author’s stance by taking a quote out of context or something like that. Because if you do those things, you risk doing real harm to the credibility of your work and your reputation as a scholar.
If cherry picking information would be frowned upon in scholarly, academic, and scientific research, creative license would be basically forbidden. Because creative license takes cherry picking a step further by allowing someone to twist or ignore information in order to suit their creative purposes.
Research in fiction writing: Thoughts on The Way of the Writer (…and a rant)
After reading 10 popular books on creative writing in search of information on the role of research, I’ve now shifted my focus to a set of more “academic” books that are specifically about fiction writing. I say “academic” because, of all of the books on a very long list of recommended creative writing books that I found, these are the ones that are a) about fiction writing specifically and b) owned by the libraries at 20 institutions with highly respected creative writing programs at either the undergraduate or graduate level.
Today, I’m taking a look at Charles Johnson’s The Way of the Writer: Reflections on the Art and Craft of Storytelling.
Studying Research 