"To take from an artist is to take greatness from this world." So says Matthew Cuban in the following video from a group of Los Angeles street poets about copyright and its importance to creativity and innovation in America. We are thrilled to partner with Macmillan Learning to create this inspiring project, which will debut on the LaunchPad for Media Essentials, Fifth Edition, this fall. We hope its message will resonate with faculty and students alike as they create, research, cite, and consume content across the digital world. A bit of background about this project: My name is Ruth Vitale and I run CreativeFuture, a nonprofit based in Los Angeles. I started this advocacy organization almost seven years ago because I have worked with creative people my entire professional life (first-time filmmakers, musicians, artists, writers, etc.) and know that what they do takes enormous effort, talent, and love. As I watched the digital landscape change around us, I could foresee a world in the very near future when they would be unable to make a living. Why, you might ask? It all comes down to the dawn of the internet and the explosion of global piracy that has directly impacted our creative communities’ ability to earn a living. Here are two things I know for certain: first, most people think that piracy is a victimless crime or, at the very least, a crime only against very wealthy individuals or corporations. And, the second thing I know just as certainly: the people who are truly hurt by piracy are the millions of Americans who work in the creative industries who are not rich and rely upon their paychecks to afford the basics – things like feeding their families and paying rent. In 2008, the Higher Education Opportunity Act (HEOA) mandated that colleges take meaningful action to curb piracy over their campus networks. One of the requirements of the Bill is an annual disclosure to students describing copyright law and how violating it goes against federal law and campus policies. Every school must provide all incoming students with these materials. Unfortunately, this important message tends to get wrapped up in a lot of legal language that does little but scare or repel students and faculty, while failing to convey why anyone should care about copyright other than being caught. That’s where CreativeFuture’s collaboration with Macmillan comes in. We partnered to ensure that this message will not be a boring legal letter, but instead a positive message that can inspire students to do better in their daily content searches online. The LaunchPad for Media Essentials will now give teachers the ability to easily distribute this video to all of their students. And, hopefully, that will spark the type of conversation that changes attitudes and opinions in the next generation of creators and consumers.   If we can only cut through the legalese, we can impart to students that copyright is a creative right afforded to all Americans, a legal structure that helps creative people to be compensated for their work. Without it, there would be no marketplace for creativity – just creative people and their hobbies. As I said, copyright infringement doesn’t just hurt big companies and their profits, it prevents creative individuals from making a living. And, while that one stream or download may feel like a victimless crime, there are billions of people around the globe thinking and doing the same thing. Piracy isn’t victimless. In fact, the piracy ecosystem threatens the livelihoods of people everywhere.   With this new video, Macmillan and CreativeFuture have set out to create a resource that explains to students, in a compelling and engaging fashion, why copyright matters to them personally and why it’s worth protecting. Video Link : 2476 The street poets who appear in this video are Angelena Aguilera, Aman Batra, Matthew Cuban, Kito Fortune, Tonya Ingram, and Alyesha Wise. They represent the types of individuals that the copyright system is designed to protect. These Los Angeles-based performers are passionate, hardworking creators doing what they love. As you will hear in the video, they sell “CDs and chapbooks out of the trunks of their cars” – and a $10 purchase of one of their works can mean the difference between “feast and famine.” This video is a window into their lives, showing us how they make a living. For artists like these, even a small act of copyright infringement can affect their ability to pay even basic expenses, let alone pursue their craft as a viable profession. And yet, despite the basic obligation of federal law to educate students about copyright infringement, piracy on college campuses is more the norm than the exception. For most students, learning about something as nuanced as copyright is about the last thing on their list of priorities when going to college. What’s more, many have little disposable income, making piracy an appealing alternative. Add to that a culture in which creative content online has been devalued by the prevalence of free, and it is no wonder that copyright infringement is an everyday occurrence. With the rise of online streaming, digital theft has become easier and more prevalent. For many young people born and raised in this digital world, such consumption is an expectation, not a violation.   We can hardly blame students for this mindset, but we hope our video can convince them that it has serious ramifications. Copyright safeguards the original works of writers, musicians, filmmakers, software and gaming developers, and other innovators whose collective contributions keep our country strong and competitive and our culture fascinating and diverse.   This is what led the U.S. Supreme Court to single out copyright as “an engine of free expression.” What could be more important than protecting the vibrant creative industries that not only entertain, inspire, and provoke us, but that export our democratic ideals around the world and often reflect the best of America? Indeed, copyright is more than the fuel of a mighty cultural engine – it is the foundation of one of our economy’s most essential pillars. The core copyright industries (film, television, music, radio, books, photography, newspapers, and software in all formats) collectively added an estimated $1.3 trillion to the U.S. GDP in 2017 – or 6.85% of its total value.   Not surprisingly, revenues of that magnitude generate a massive number of jobs – jobs that many students may one day have. Core copyright industries employed over 5.7 million people in 2017, while total copyright industries employed nearly 11.6 million workers. Piracy causes massive harm to these individuals and companies. In some cases, such as the music industry during the era of Napster, it can become an existential threat. So, it has become more important than ever to educate students about the importance of copyright and the harms that occur when people minimize it. By putting a fresh and real spin on this urgent yet frequently sobering topic, we hope that our video will, if even just for a moment, snap students out of the overwhelming clamor of college life and allow them to spend a moment thinking about how infringement affects the lives of real people. Users of the Launchpad for Media Essentials will be able to access this video and an accompany activity when the LaunchPad goes live in November. In the meantime, please watch and share the video as seen above in this post. We hope that you, an invaluable community of educators, will use our video in your classroom, regardless of how directly copyright seems to impact your coursework. If you teach a creative subject, or a subject that might lead someone toward a creative career, this video and the accompanying materials are essential. But, even in a field that seems unrelated, it is always important to remind our next generation of professionals, creative or otherwise, that copyright law has allowed American creativity to be a beacon of hope around the world.   All of us should be setting an example for the next generation of how to use the internet responsibly. We are pleased to offer this one small yet impactful opportunity to do so. We only ask that, at a minimum, you devote a moment or two of your valuable class time to draw attention to this compelling video resource. That, at the very least, “you think,” as the poets implore, “before stealing from [their] plate.”   Ruth Vitale is the CEO of CreativeFuture, a nonprofit coalition of over 550 companies and organizations and more than 240,000 individuals devoted to promoting the value of creativity in the digital age. She has held top posts at Paramount Classics, Fine Line Features, and New Line Cinema.   ... View more

When A Pocket Guide to Public Speaking came out in its 6th edition last fall, its LaunchPad got so much more than just a refresh. It’s a totally revamped experience for your students! Let’s check out all of the new features... So that students can do all course work in one place, there is now an e-book built into LaunchPad for online reading. Or, if students do not have access to the Internet, they can read the mobile-friendly downloadable e-book. Having an e-book in LaunchPad for Pocket Guide also means that our LearningCurve adaptive quizzing now has interactive links to the readings, rather than simply page numbers, as in the previous edition. We have a whole slew of new video options in this edition! Each Part from the book has its own video in LaunchPad that shows the concepts from the chapters in action. In addition to a new full-length sample speech, “Going Carbon Neutral on Campus” in chapter 22, we also have the “Needs Improvement” version of the speech, so students can see a shining example and a what-not-to-do example of the same presentation, to allow for comparing and contrasting. As always, the speech video is cut into small chunks as well, to highlight particular aspects such as the introduction, source citation, and delivery styles. Lastly, LaunchPad for the 6th edition of A Pocket Guide to Public Speaking comes with our video assessment program powered by GoReact. Speeches can be recorded right into LaunchPad through the website or through a mobile app, and then can be assessed using time-based comments, markers, and rubrics. You can see our COMMunity post on video assessment here: https://community.macmillan.com/community/communication/blog/2019/02/05/tech-tuesdays-video-assessment-program If you’d like a personal tour of LaunchPad, sign up for a session with me, your Learning Solutions Specialist: https://www.macmillanlearning.com/Catalog/support.aspx ... View more

With a new co-author, a new chapter on Gender Communication, new Making Relationship Choices case studies, and new Video Assessment tools, Reflect and Relate, along with its corresponding LaunchPad, offers more interpersonal communication coverage than ever before. The resources available in LaunchPad truly do live up to the title of the book. Students work through reflection activities such as journal entries and self quizzes, and then relate to the material with our flagship offering – Making Relationship Choices case studies, featuring “The Other Side.” Making Relationship Choices activities immerse students into a situation they’re likely to experience in real life – Choosing Between Friends, Struggling with Family Transitions, and Dealing with Mixed Messages. Students are provided with a communication concept for background, then are presented with the “Case Study,” which lays out the scenario. Then, they are taken to “Your Turn” – 5 short answer questions that require reflection on the situation. Next, we see “The Other Side,” a video in which the other person involved tells his or her side of the case study story. As in many real-life situations, this video shows information which wasn’t available when crafting a response to the Case Study. The video reminds students that even when we do our best to offer competent responses, there always is another side to the story that we need to consider. Lastly the student is asked to take an interpersonal competence self-assessment to evaluate their previously submitted responses and is given a chance to think about what he or she might have done differently. New to the 5th edition are MRCs for Gender Communication and Workplace Relationships.   Also new to the 5th edition is our video assessment program, which provides students with the space to view, analyze, and practice interpersonal communication skills. Both instructor and students can record, upload, embed, or live-stream video to share with the class and analyze together. Multiple comment-delivery options are available including text, audio, and video to deliver powerful feedback. Customizable visual markers allow the user to pinpoint critical aspects of video being discussed. The possibilities are endless. Other resources available in this LaunchPad include Journal entries for topics such as Ineffective Listening Behavior and Self Quizzes that look at skills such as Evaluating Empathy. Our video library contains 60 clips that show communication concepts in action, such as “You” Language and Avoidance. Of course, we also have a full test bank, pre-made quizzes, and our popular LearningCurve adaptive quizzing has been completely updated. To learn more about LaunchPad, schedule a one-on-one session with your Learning Solution Specialist: Macmillan Learning Support Center  ... View more

As insults go, “fake news” has not yet reached the point of vacuity of, say, “your mother wears army boots.” Because of its excessive and less-than-strategic usage, it is edging into cliché territory. That is a knife that, though dulling, cuts both ways. That it’s being used to the point of triteness means that many are comfortable slinging that particular bit of slander about. This former journalist repudiates the ease with which the phrase is used to denounce or discredit critical or unflattering reportage. That the term is inelegant is a bit beside the point, I think, because those who are inclined to reach for it are not hunting for le mot juste. They are most likely scooping up verbalisms that they imagine are more cutting than cunning. Peers in classrooms and newsrooms have asked me on many occasions to weigh in on what “fake news” means and how to respond to or guard against it. My response has most often been that responsible reporting is its own defense. Bluster won’t quiet a bully whose purpose is to cow and not correct so I hardly ever broach the matter of silencing a crank. Dotting I’s and Crossing T’s, eschewing cut corners and holding firm on never publishing supposition or rumor is the truest armor of a news reporter. I have, however, given more thought on ways to help news consumers better identify reportage that falls short of traditional journalistic standards either because of incompetence or fraudulence. I call them the Three C’s of Fake News: Content. News consumers should first examine the content of the article or report. Consider these questions: What information is being shared and is the information attributed to a source that is named. If the source is unnamed, is it clear why the source is not being named – that is, is it clear to you what is at stake by revealing this information – termination of employment, bodily harm? Does the threat seem reasonable based on the nature of the information? If the information is challenging previous reports or popular thinking about some issue, is there evidence being offered as support or is the challenge more a matter of perception or viewpoint? Ask yourself why you should abandon what you have believed was true about the matter for something that is not demonstrably or verifiably true. Additionally, you should ask if other sources have reported similar findings or if the information being shared is an “exclusive.” Exclusives can indeed result from the industry and resourcefulness of a news organization, or it can be information that was dressed and planted – or leaked -- with the hopes it of passing inspection, especially when deadlines are looming or it’s a slow news day. Much mischief finds its way into the news hole that way. Construction. News consumers should also consider the news’ construction because clues to fraudulence might be found in its crafting. Consumers might consider if the article or report focuses on the authenticity or truthfulness of its information by citing sources by name, attributing all facts and opinions and letting what is disclosed speak for itself. However, if the article is crafted around innuendos and suppositions and masks facts in inferences and hedges conclusions, red flags should go up. These constructions are often marked by language like “believe,” “think,” or “feel” to refer to sources other than the writer. The article might contain large sections of unattributed information, leaving readers to wonder whose perspective or viewpoint is being represented. This could be a sign of fictionalization. News consumers can gauge the authenticity of a report by the number of times the writer uses the construction “source + said,” as in “Mayor Brown said on Monday ….” Reports that are thoroughly attributed and transparent are much less likely to be hawking fakery. Verification and corroboration are the pillars of responsible journalism. Articles that include personal experiences for which there were no other witnesses and thus cannot be verified are not necessarily fake; they should be weighed differently and the information assessed with the understanding it is the speaker’s account. Articles that refer to other reports should include citations or working links to the source material. Examining the linked material for political or promotional affiliations would be wise. Common Sense. And, finally, readers and viewers should consume news with healthy portions of common sense. Most simply put, news consumers should ask if the report makes sense based on common knowledge, previous reporting or even their personal experiences. Do some events seem too good, too appropriate or too convenient to be true?Just because an article does not make sense or smells funny does not necessarily mean the item is fake; it does mean one should handle the information with caution and scrub it using the guidelines above. If, in the end, the article writer’s position seems to be more combative or confrontational than informative, then the news consumer is likely not dining on news or at the very least competent reporting. It might be propaganda. And, as we all know, propaganda was “fake news” before fake news was cool. ... View more

Macmillan’s first edition public speaking text, Speech Craft, has a personality of its own. Fittingly, its corresponding LaunchPad reflects that personality, as the book’s author, Joshua Gunn helped develop several of the activities for it! As your Learning Solutions Specialist for Communication, let me walk you through these features as unique as the author himself. One of the most exciting New LaunchPad feature are Digital Dives, written by Joshua Gunn himself. Students often struggle to apply what they read to their actual presentations.  These were designed to help with that. Each chapter (except for chapter 12) engages students in topics at a deeper level through the use of podcasts, videos, and critical thinking questions, ranging from speeches given in the real world to real student speeches. They also promote Community Building by engaging students to think about the audience as a community. An example of a speech from the real world can be found in Chapter 9, on Style and Language. It focuses on the use Repetition and Rhythm, and asks students to first read the transcript of a eulogy given by Barack Obama and then watch a video of it. What students take away from this is that while writing repetition into a speech seems silly or pointless, seeing and hearing that repetition (and the rhythm of it – the way in which its repeated) helps students to realize it’s importance and impact.  Chapter 11 on Presentation Aids looks at understanding the slide in a classroom speech. Students get to looks at its role in a speech - which is meant to enhance your presentation, not give it for you or distract from it. See sample screenshots below:    Clearly, one of these is great, the other…not so much. So, students are asked the Questions: Which speaker presented their slide show more effectively? How could each speaker improve his or her delivery?        The author has also left his mark on our new sample speeches. The Car Cookery full length Informative Speech is actually a speech he presented, and in LaunchPad it is delivered by a student. And, we can’t forget about the instructors. Joshua helped design the chapter slides, and the instructor resource manual was written by Joshua’s mentor, Laura Sells.       Of course, the LaunchPad also contains all the other great LP content you’ve come to expect from Macmillan, including an ebook, outlining tools, LearningCurve Adaptive quizzing, and our new Video Assessment Program – Powered by GoReact.          If you’d like to learn more or get assistance setting up your LaunchPad course space, sign up for a demo with your LSS Specialist: http://www.macmillanhighered.com/Catalog/support.aspx ... View more

That ubiquitous rhetorical query “know what I’m sayin’”? – which actually shifts the real work of comprehension from the speaker to the listener – has become a motto for too many of the young people whose work I grade. Along with hours devoted to citing comma faults, run-ons and wacky elliptical sentence structures, I spend a great deal of time wandering through the thickets of convolution, imprecision and excess that are growing in my students’ heads. Exchanges with colleagues in communications and other disciplines indicate that, as I suspected, I am not alone. Is it just that K-12 educational priorities don’t appear to be articulating with post-secondary approaches and expectations? Is there also a cultural shift among young people underway? Is intuitionreplacing explication? The writing of my young charges is plagued with wordiness and disorganization.   WORDINESS   America’s third president is attached to the quote “The most valuable of talents is never using two words when one will do.” The pithiness of this remark models Jefferson’s stated principle, which might also be rendered, “say what you mean with precision and dispatch.”     My students’ overwrought renderings might point to a lack of proficiency or imprecision in word choices. But I feel it is more complicated than substituting “rapidly” for “very fast” or “because” for the dreaded prolixity of “due to the fact that.” All of these are encoding choices that all writers wrestle with.   I suspect my students’ problems are also rooted in idea formation, the step that precedes encoding in the familiar simple communication model. Students struggle with written expression partly because they are inexperienced wordsmiths but most often because they’re not sure what they want to say.   Sometimes while reading responses to prompts, I feel as though I’d walked in on a student mid-cogitation, before the idea had set and settled.   “What is going on here?”   My markings tend to be less about “correcting” structural faults and more about “coaxing” or “teasing” out the passage’s purpose. Rather than jot “this is what you might say ....” on a section made muddy by verbosity, I highlight or circle the passage (I still prefer pen and paper grading) and insert in the margin, “What is it you’re saying here?” or “Rethink this section. Your point gets lost.” Thus putting the responsibility of comprehension where it belongs -- on the writer.   I often direct students back to their thesis statement – provided one has been crafted – and ask how the highlighted passage relates to what the statement promises. Does it add a dimension, elaborate on an earlier point, support an argument? In conferences student frequently admit they’re unsure.   “So why write so much?”   “I’m trying to meet the assignment word count” was too often the response.   An idea without substance or concreteness is easily lost in the woods, I’ll say. Certainty can hack through acres of wordy brush. “Go back and think some more.”   DISORGANIZATION   I frequently find myself following my student’s meandering prose into a thicket so dense I have difficulty determining where I am or how I came to be where I was. Lost.   Occasionally the brush has been made thick by compound, complex and compound-complex sentences that are overly burdened with subpoints, caveats, asides and parentheticals that don’t deepen the argument or expand the point. They simply radiate without clear direction or inclination. They are, as the kids say, “just some random stuff.”   Outlines are not an absolute cure for such disorganization – having an idea with layers that merit exploration is the true cure – but charting a course before pushing off from shore surely can’t be a bad idea if one intends to do more than just paddle around, if one intends to actually go from point A to point D.   Aside from forcing a sequencing onto ideas, outlining, to my mind, helps the writer-thinker determine if the trip is, indeed, worth taking. If, in fact, point A is substantively different from points B, C and D.  If there are no identifiable or palpable distinctions between the points then the journey would be “pointless.”   If, on the other hand, these points are related but different, and markedly so, then an outline would be useful in laying out the comparison, the pros and cons, the chronology, the evolution or the flow. That is, an outline would be a useful map from thesis statement to conclusion.   No, you can’t have “good writing” without “good mechanics.” But, more fundamentally, you can’t have “writing” without “thinking,” for as celebrated author David McCollough says, “Writing isthinking. To write well is to think clearly. That's why it's so hard.”  (My emphasis.) If our students are reminded of this and are coached through the fog of their hazy thinking they might actually find their writing more productive and enjoyable.   Know what I’m sayin’? ... View more

Video is a crucial feature across all Communication courses, and Macmillan wants to make it easy to implement, effective for students, and, hopefully, fun to use as an instructor! The Video Assessment Program - powered by GoReact - is a feature that we're going to revisit many times this year on Tech Tuesdays, so we'll start off with just a brief introduction today, and go into more detail as the semester goes on! The program allows both instructor and students to record video, from a laptop, video camera, or mobile device, directly into LaunchPad, where time based comments and rubrics can be used to leave feedback and provide assessment. Comments and grades appear right alongside the submitted video! As always, if you'd like to learn more about LaunchPad and/or the Video Assessment Program, feel free to sign up for a demo with your Learning Solutions Specialist: https://www.macmillanlearning.com/Catalog/event/training-demos/LaunchPad/Demos  Here it is in action! Video Link : 2372 ... View more

By Ernest L. Wiggins   Though a journalist by trade, I developed an abiding interest in persuasive communication during graduate school.  I have formally studied the intersection of media messages, group identity and social justice, focusing most of my attention on advertising. I routinely teach a course in mass media criticism, and 1/3 of class time involves the close reading of commercial advertising and cause / idea promotions. I am constantly searching for material that reflects contemporary popular culture. I recently discovered sexuality and gender roles front and center in ad campaigns from around the globe and not just as subjects of promotion. We are finding them as framing devices to convey other messages. For example:   Service with Pride Volt, Sweden’s print campaign sponsored by the Swedish Armed Forces for the 2018 EuroPride festival in Stockholm, features separate male and female models dressed in battle fatigues and gear, sans helmets, applying rainbow-colored camouflage paint to their faces. They are standing in front of a wooden fence or scaling wall, suggesting they are preparing for training.  The copy in English reads: “We don’t always march straight. But no matter where or when we march, we always stand up for your right to live the way you want with whoever you want. Read more about how we work to protect freedom and the right to choose the way we live at forsvarsmakten.se” The ad’s messaging works on several levels. Most obviously it is reminding viewers that male and female members of the LGBTQ community (those not marching “straight) serve in combat roles in the military. The copy also places personal liberty at the center of Sweden’s national identity and as part of the military’s defense mission. On another level, the campaign also serves as a recruitment tool targeting the LGBTQ community, particularly those skeptical of the army’s support. That the soldiers are shown applying the paint rather than posed with the paint already applied suggests individual agency, openness and decisiveness. This small motion challenges the notion of hiding among the ranks. Additionally, both models are facing the camera, eyes locked on the viewer, their bodies open, all of which suggests boldness and courage.  These are familiar themes at Pride Festivals around the world.   Iconic     The Havas agency’s E45 skin cream 30-second spot features British Olympic champion turned professional boxer Nicola Adams sporting her trademark partially shaved head, what might be described as gender-nonconforming outfits and athletic apparel.  She is shown engaging in her training regimen in various international locales as her voice-over says: “In my life, I never like to sit still. All the traveling, the training, the hard work, everything I do, it takes a toll on my skin. Some days it needs a little bit more. New E45 rich. It’s everything my skin needs. Just straight-up skin care.”   Adams, who publicly identifies as bisexual, is an LGBTQ icon in Great Britain. As a celebrated face and national treasure, Adams lends substantial gravitas to the endorsement of a product that is not targeted at the LGBTQ community, people of color nor women. Casting Adams as spokesperson acknowledges, yes, her renown but also her substantial appeal across a spectrum of potential consumers.  Additionally, Adams delivers the message that hard work and self-care are companions, challenging the perception among some that female athletes are indifferent to their appearance outside of the arena or the ring.   Playing with Clichés                     MullenLowe’s series of spots for Aruba Tourism Authority turns around the male-centric marriage proposal trope – and acknowledges that it’s doing so -- to cut through viewers’ gender-role expectations in service of a unique promotion. In each 60-second ad, a male-female couple in their early to mid-30s is show vacationing together – strolling along a beach, dining al fresco, sunning on a sailboat. The woman tells her companion she has enjoyed their time and wants to take their relationship to the next level. She presents a boxed ring (a solid band) and presents it to her companion, whose face then, in slow motion, bursts into a broad smile and tears. They embrace and the moment dissolves into a love weepy song and the pitch. “Let’s keep the cliché of proposing in front of the sea. Let’s end the cliché of men doing it. Win a trip to Aruba to propose to your boyfriend. Arubahesaidyes.com”   While being played for laughs, and targeting women viewers, the ad, commendably, asks audience members to consider the social convention at the heart of the commercial’s narrative: Why does the man have to be the one to propose? But, not so commendably, in one instance the campaign overplays the man’s reaction to the point of grotesquerie (see above), leaving viewers to wonder if this is how the ad creator views a woman’s response – as ridiculous. In each of the spots, the female character includes in her build-up to the presentation of the ring a status report of a relationship that might appear static– we’ve lived together for five and half years,we’ve been together for seven and half,you can’t live with your parents anymore. Again, if the ad messenger is turning around familiar scenarios, then the messenger is suggesting that marriages liberate adult women from their parents. While it is likely that this accurately represents the reality for at least some women in the targeted audience, the commercials’ narratives would indicate the ideal customers for this promotion have status and means and are not lodging with Mom and Dad.   These campaigns take refreshing views of sexuality and gender roles and put them to use in selling products and / or ideas while challenging viewers’ conventional notions and expectations.  Each strikes me as affirming (perhaps even celebrating) the richness of human diversity.   Links:   Volt: https://www.adsoftheworld.com/media/print/swedish_armed_forces_we_dont_alw ays_march_straight_2   Havas:https://www.youtube.com/watch?v=yjjkFY7sRs4   MullenLowe:https://www.youtube.com/watch?v=iunRM1FZUPE   ... View more

Dr. Ortiz is an author of Choices and Connections, and has taught for over 30 years, beginning in 1983 at Clovis Community College (NM). He joined the Scottsdale Community College faculty in 1989, where he teaches courses on human communication, interpersonal and small group communication, and digital storytelling. In support of student learning, Dr. Ortiz is heavily involved in the use of classroom assessment tools, service learning, collaborative learning methods, and the use of online technology. Below, read more about one of his teaching methods, the use of trigger scripts. Competing with the commotion of memes, Spotify playlists, viral videos, and Instagram postings that consume our students’ attention, teachers must somehow design lessons that invite interest in our subject matter. Among the various ways we can catch and hold student attention is to use instructional activities that they will find intellectually stimulating and relevant to their lives (Bolkan & Griffin, 2018). A strategy that I’ve found helpful for engaging students is the use of trigger scripts for introducing a lesson. A trigger script is a vignette that conveys a communication-based dilemma, and a resolution or conclusion is not provided. Trigger scripting evolves out of the work of performance studies scholars who use excerpts from literature for the expressed purpose of promoting audience discussion about social issues (Valentine & Valentine, 1983). Vignettes can be crafted out of literature; or in my case, I’ve simply employed my imagination and creative writing aspirations to fashion trigger scripts. Here’s one example, which I’ve entitled, “I’ll be 2 hours late”: You’re out running errands when your romantic partner text messages you that s/he’ll be about two hours late coming home from work. You decide to stop at the mall to kill some time. About 30 minutes later, you pass by a patio bar and see your partner with three other co-workers having drinks. One of the co-workers is someone that you have long suspected is attracted to your partner. How would you feel? What would you do? I use this trigger script as a basis for starting a lesson on communication competence and its characteristics in my introductory interpersonal communication course. When I present this in class, I always give students time to think and write a response to the two questions before moving them to small discussion groups. I give the small groups two ground rules: (1) You’re not trying to agree on the right answer, and (2) Don’t go “Dr Phil” on anyone (i.e., avoid judgment).   The energy in the room is palpable during the small group discussion, and it reaches a crescendo when I debrief the entire class. Students state that they would feel deceived, jealous, outraged, and some mention that they’d be unfazed because they trust their partners. The discussion then leads us to examine what it means to be effective, appropriate, and ethical in forming a communicative response to this situation. We also begin exploring concepts of perspective-taking and behavioral flexibility. In addition to writing your own trigger scripts or excerpting them from literature, you can draw vignettes from film and television programs. A television program that is a ready made trigger script is the ABC program; What would you do? I use an episode that pertains to a disruptive baby in a fine dining restaurant for introducing the unit on conflict. I start the lesson by posing the dilemma orally: You’re at an upscale restaurant (I ask them to name an expensive one in the city) to celebrate a special occasion. A baby at an adjacent table starts to get fussy, eventually crying loudly. How would you respond? Student responses range from ignoring the disruption (avoidance) to giving the parents a menacing stare (passive aggressive). We then watch the episode in class (c. 8 minutes). The trigger script serves as a springboard for a classroom discussion about the various styles of responding to conflict, including a consideration of the personal, cultural, and relational factors that impact how we respond to conflict. Although I use trigger scripts for classroom instruction, the strategy certainly can be adapted for online teaching by using discussion forums. Whether it’s in the classroom or online, the management of student attention is increasingly tough to do, but it’s an important prerequisite to learning. The judicious use of a trigger script is a practical way of engaging students to see the the personal relevance of the topics we teach.             References Bolkan, S.  & Darrin J. Griffin, D. J.  (2018) Catch and hold: instructional interventions and their differential impact on student interest, attention, and autonomous motivation, Communication Education, 67:3, 269-286, DOI: 10.1080/03634523.2018.1465193 Valentine, K. B.  & D. E. Valentine, D. E. (1983) Facilitation of intercultural communication through performed literature, Communication Education, 32:3,303-307, DOI: 10.1080/03634528309378546 ... View more

In my journalism classes, I used to teach using the building-block method. I would set up my class in chunks: present the material, assign a story, require follow up reports and peer reviews, and have students turn in an assignment. This process took about four weeks. Then I would do it again with new material, a new kind of story, and more follow-ups that resulted in another story. At this rate, I was lucky if my students could write four stories a semester.   The building-block method is good for perfecting old material before moving on to new material, but it went against my teaching philosophy for writing: "practice makes perfect."   Learning by Doing   Short deadlines and multiple priorities are hallmarks of the newsroom. No one has time to help anyone else because they’re so busy themselves. You don’t get a long, leisurely introduction to the job. You just do it.   Journalism, like public speaking, takes practice, practice, and more practice. You can’t teach someone how to feel when they’re interviewing an intimidating figure. You can’t teach them how to know when someone’s lying to them. You can’t teach them to know when the story just isn’t going to work out.   So how can you give your students lots of practical experience in doing what the pros do? Turn your classroom into a newsroom.   To replicate the newsroom, turn the first three weeks of the semester into Journalism Boot Camp, covering newsworthiness, the inverted pyramid, research, interviewing, and anything else you feel it's necessary to cover in a class setting.   After that, assign stories with deadlines and send the students out for reporting. The time they spend reporting takes the place of class time. By the end of the semester, students will write around 10 news stories.   But, what about all that grading?   Imagine 20 students per class, 10 assignments per semester. That’s 200 assignments to grade per class. What if you teach four classes? Now you’re up to 800 assignments. And that doesn’t include the labs, quizzes and tests that require attention.   That’s why the class is like a newsroom. In my class, students get four assignments at a time and can turn them in in any order they like. There’s a catch: when they turn in an assignment, they must make an appointment with me the next week to edit it. Since they are out working on stories, my class time is freed up for individual appointments. Each student gets 10 to 15 minutes of my undivided attention as I edit (grade) their assignment.   Most of my grading is done on the spot, in the classroom, with the student. No more sending back assignments with feedback they never read. No more wondering if they understand my feedback, or even care. Now I get to look them in the eye.   Collaboration   I do bring them back into class for a week near midterms and again near the end of the semester. They discuss how their stories have gone. They talk about what went well and what didn’t, much like reporters do in the newsroom. Students share how they handled situations that others found troublesome. They take suggestions from each other and offer their advice.   Students have even set up outside groups to discuss assignments and how to approach them. Our “newsroom” has become more collaborative.   The best part is that by the end of the semester they’ve gained a great deal of confidence, and I really enjoy grading their work.   Marti Gayle Harvey is a Lecturer at the University of Texas at Arlington, where she teaches journalism.  ... View more

USING GROUPS TO TEACH WRITING Some see writing as a solitary process. Some teach it as a solitary process. However, teaching writing as a group activity lets students explore how others approach learning the craft, allowing them to come up with their own approach. The writing process generally goes from thinking of a topic, collecting information, crafting a message and revising it. When done in a solitary environment, feedback is important but lagging because of grading time. When done in groups, feedback is immediate and, since it comes from peers, it seems more like a conversation than a lecture. HOW IT STARTED I use a form of flip teaching. It consists of students being introduced to a concept through online content by reviewing materials for a basic understanding. When students come to class they work on a low-points, graded lab, applying the concepts to a concrete example. Finally, a classroom discussion among the groups allows for a review of the lab allowing the teacher to guide the discussion making sure concepts are covered and understood. I found that the lab portion needed more pizzazz. Some students would finish labs early and just sit there waiting on everyone else. Others pulled out their phones. The room was quiet, and students were bored. I was, too. One day I put them in groups of three, mainly because I could cut down my grading, but it also kept the room from sounding like a crypt. They had to talk to each other. HOW DID IT GO? I had them work on changing a story from passive to active voice. This is one of the hardest concepts for young writers. They must determine if the subject is doing something or if something is being done to it. The exercise was a hit. I caught them explaining concepts to each other. They got immediate feedback. The lab results were much better, too. They “got it” much faster. And they laughed. They laughed at each other. They laughed at themselves. Mostly they laughed when they tried something and it didn’t work. Eavesdropping on their conversations convinced me that they were having fun. They were learning. SO WHAT? I came to the conclusion that they learn better from each other than they do from me. One reason is that group work allows for highly differentiated learning styles. Visual, auditory, reading/writing and kinesthetic learning styles adapt spontaneously to group work. If someone needs to hear it, there is always someone in the group willing to let them read it to them. If someone needs to do it, they can “break it down” for the other group members. Visual learners will understand the structure and reading/writing learners are usually the scribes of the group. Another reason that group work works is because it is fun. Especially if it’s nothing more than a low-points lab. They get to explore concepts, don’t have a lot to lose if they’re wrong, and they get to do more than sit around on their phones waiting for the rest of the class to finish. ... View more

We’ve all worked on a team at some point, but have you ever been told you would be on a team and cringed at the thought because of a previous bad experience? As we have more opportunities to work with teams, we realize that there are people who we would LOVE to work with again at some point, and there are others who we would prefer to leave in the past. Whatever your experience, it is safe to say that every project that involves group work teaches us a lesson about relationships. As a teacher, I sometimes use class time to observe and discuss group dynamics. A student once said to me, “team work makes the dream work,” and yes, it does! At least, it does if there is cohesion, trust, engagement, and reliability. What happens when the team doesn’t work? Will you remember who worked their tails off? Will you remember those who still have their tails because of the lack of effort? Sure, you will; the memory of the efforts or lack thereof will always be there. Present behaviors can have a future impact, whether we realize it or not. Pareto’s Law, also known as the 80/20 rule, is a theory that explains that 80 percent of the output from a given situation or system is determined by 20 percent of the input. Speaking in terms of employee performance, this theory suggests that 20% of the people do 80% of the work. Have you ever experienced that? If not, you might at some point. My point is this: work ethic matters because people are watching, and no job comes with the security of lifetime employment. Whether you realize it or not, you are subconsciously observing people and they are observing you. You know just from your own observations whether or not you would want to work with a particular person again. You remember those who are great, those who are less than great, and forget those who fly under the radar and get lost in the middle. Let’s be honest – you’re not going to recommend someone forgettable for a job anytime soon. Establishing solid relationships and putting your best foot forward are important because when things go awry in an organization and labor cuts need to be made, you need others who can vouch for your work ethic. You need people who will say, “Send me your resume so that I can forward it to…” As an educator, I put my best foot forward because I know my students are watching me just as I am watching them. I know which ones are dependable and reliable; I also know the ones who are not. I enjoy writing recommendations for those who try, and I write recommendations for those I would hire. I do not feel comfortable recommending someone for a position I would not hire. And who knows? My students might be in a position to hire me one day, so I better be the best possible leader for them. The key takeaway here is that present behavior impacts future opportunities. Through the power of observation, opportunities can be created or lost. Strive to be in the 20% of the workforce that gets remembered for your impact, and your future self will thank you. Professionally yours, ... View more

Last month, Macmillan Learning welcomed to our New York office economist and author Betsey Stevenson to discuss choices, communication, and her time working as the chief economist of the U.S. Department of Labor from 2010 to 2011. When I first saw the announcement for Betsey’s talk, “The Power of Communication,” I'll admit I was a little skeptical. What does an economist have to say about the power of communication? Yet as I listened, I found not only that she had a lot to say on choices and communication, but that her words of advice could apply to anyone trying to make solid decisions and get ahead in their respective fields, even if those fields had nothing to do with numbers and data. Betsey began her talk by highlighting the three key principles she has followed throughout her life and career: 1) have no regrets, 2) communicate, and 3) do your best. These may sound simple and easy enough to follow, but as Betsey could attest to, they're anything but, and will be challenged repeatedly throughout one's career. In Betsey’s case, the first principle, have no regrets, was tested when she had to choose between her ongoing career in academia and accepting an offer from former President Obama to be an economic adviser for the Department of Labor. Thinking like a true economist, she realized that the key to making a choice without regret is to know and understand the costs and weigh them against the benefits. Life is full of risks that we take every day without thinking about it (getting into a car, for example), but it's when the risks are unfamiliar that the choices become harder. As Betsey said, the key to making a choice is to "Make the best decision I can with the information I have at the time." By doing that and carefully weighing the risks, you can make a choice you're comfortable with. Then, regardless of what happens, if you start to feel regret you can remind yourself that you made the best choice you could at the time. Sure, it's not as easy as it sounds, but it's the best way to move forward confidently with your choice, and in Betsey's case, it worked out in her favor, with her enjoying her time as a chief economist and later finding a teaching position at the University of Michigan. After jokingly acknowledging that economists aren’t always the best communicators, Betsey then shared an important tip for communicating: "don't think about you, think about your listener. What do they want, think, and need?" Even if you aren’t the best speaker, if you can think of your audience, emphasize with them, and get in their head, you can communicate effectively. For example, if you start to explain something to someone and they say, “I’ve got it,” stop explaining. They’re telling you that they already understand, and you can both move on in your discussion. Her last bit of advice was to do your best. When making choices and communicating, it’s important to think about the information you have, weigh the costs and benefits, make the best choice you can, and then be adaptable to whatever changes you’ve chosen to make. “Your brain is out to get you,” she said, with psychological traps like procrastination, which you can beat with lists, tiny tasks, tiny rewards, and acknowledging progress being made. Other psychological traps to avoid include overconfidence, assumptions, and not taking the time to process information. As an economist, author, and speaker, Betsey Stevenson gave us some excellent advice during her Macmillan visit, and hopefully this advice can be useful to you throughout your career, and with your students. For more from Betsey, check out her talk, “Making Economics More Inclusive," or her panel on “Economic Empowerment." ... View more

In this day where issues like fake news, civility, and civic engagement are constant topics of discussion and debate, journalism’s role as the “fourth pillar of democracy” is growing in importance, with technology propelling the industry into the future of communication. Communication studies remains one of the most popular college majors, with journalism falling under the same umbrella. Even for those not studying it, student journalism brings value to any educational institution because it instills values of discipline, dedication, critical thinking, and effort. Those who actively participate gain a transferable skill set that will lead them to success in any career path. And for students who choose simply to read the student newspaper, they become informed citizens on current events and the community around them. Real Work Environment. The only scholastic club or organization that truly simulates a real work environment is a student newspaper. Student writers develop skills in analytical and critical thinking, leadership, teamwork, multitasking, and a sensitivity to deadlines -- the same attributes that are typically highly sought after by employers. Participants practice managing their responsibilities, leading and working in a team, and even desensitizing themselves to and growing from criticism. Through their different roles in the student newspaper, students boost their résumés and portfolios through writing, photo, and video samples, as well as layout and design skills, editing techniques, public relations, and even social media strategies. Students can explore these different areas of journalism to find their niche and test out the field in a safe environment, all before they even graduate. For those who work on the student paper but don’t ultimately pursue a career in journalism, these experiences are not lost in the future. In addition to the previously mentioned skills, the importance of clarity and economy of words will transfer into any field. Effective communication is invaluable in relationships as well as professional life. Communication Etiquette. Student journalists learn the values of fact checking, correcting their errors, exercising transparency in their writing, questioning opposing viewpoints, and perhaps most importantly, carefully considering the impact of their words. These same principles translate into students’ lives in both the real and virtual world, providing a guideline for ethical communication online and in person. Students are forced to take ownership of their words, actions, and decisions no matter the outcome. Learn from Successes and Failures. Faculty advisors tend to take on a laissez faire approach, giving student journalists the liberty to make their own decisions. Students are treated as professionals as they are held accountable for any errors in judgment, reporting, or criticism and are forced to regularly make decisions regarding ethics, privacy, and the truth. It hurts to get a disappointing grade on an assignment, but it’s far more embarrassing to experience negative public feedback on a misprint, glaring typo, or accidental empty space. Synthesis of Classroom Learning. Student newspapers provide a practical synthesis between classroom learning and real world experience. In conjunction with their classes, students have the opportunity to apply what they’re learning in the moment.                          Free Speech. Independent reporting arms citizens with information, investigation, analysis, and community knowledge on the local, national, and international level. Although vital to good journalism, independent reporting is endangered today due to the prevalence of aggregates and online news, coupled with the decline of robust print reporting. This watchdog principle that is integral to democracy can be reinforced in student journalism by teaching students the need to inform the public through reporting that is objective, truthful, contextual, and readable. Building Professional Relationships. Student journalists are forced out of their comfort zones and into the real world to report stories. They learn to effectively interview sources, report clearly and accurately, and remain professional throughout the process. In addition to the confidence that journalism builds, students can also develop a network from the sources they meet, peers they work with, and faculty members who guide them.   Students overwhelmingly describe the experiences they gained from working on their schools’ newspapers as positive. While student journalism requires dedication, it is extremely rewarding -- often in the form of a job after college. It can also be fun for students to befriend like-minded people, and empowering to get their work published and see the influence they have on their universities. ... View more

Let’s talk persuasion. In my days as a campus recruiter, I was often called upon to meet with prospective student athletes (and their families) to give them helpful information about the university admissions process. At some point along the way, one of the coaches informed me that 100% of the athletes with whom I met signed with the university. I was delighted, yet somewhat shocked, to hear that information since I truly was not trying to be persuasive in my conversational approach – I was simply being informative yet sincere. I bring this up because our words (and behaviors) inspire action (or inaction), whether we realize it or not. Fast forward a few years into the classroom, and I am influencing students to essentially buy into course concepts every day. I find that whatever seeds I plant into the minds of my listeners typically get regurgitated. For example, if I tell my students that a project is relatively easy, they buy into that idea and provide me feedback that it was, in fact, easy. If I tell students that same project will be difficult or challenging, they face it with fear and a sense of being overwhelmed. What happens when people get overwhelmed? They shut down. Language matters. How we frame ideas matters. As educators, we need to set a persuasive tone and use influential language that is filled with possibilities and opportunities so that our students flourish. We regularly draw upon Aristotle’s persuasive appeals when teaching imperative lessons, but is there anything in particular we can do to help our ideas stick? Let’s change the narrative to being “positively influential” Sometimes, people attach a negative connotation to the word persuasion. When I think back to my days in recruitment and my present-day classroom discussions, I never felt like I was “persuading” anyone. When I overthink my persuasive tactics, I worry I might come across as “rehearsed” or “sales-y”; I prefer to use the phrase “positively influential”. The best way to plant positive seeds is to do it in such a way that people do not even realize they are being influenced. It is important to note that being influential is both language-based and behavior-based. In your approach to be influential, consider employing some of these ideas to drive home ethos, logos, and pathos even further: Use confirming language. Young, moldable minds believe what we tell them to believe. Confirming language such as, “I really liked your contribution to today’s discussion,” lets students know that you are listening to them and that you truly value their input. This has a great impact on their own identify and can affect their academics, how they communicate with others, and ultimately, how they influence others. Paula Denton, EdD and author of The Power of Our Words: Teacher Language that Helps Children Learn and Founder of the Responsive Classroom, notes, “teacher language influences students…It shapes how students think and act and, ultimately, how they learn.” While Dr. Denton’s focus is on interactions within an elementary setting, it is safe to assume that language matters well beyond grade school years. Dr. Denton suggests that by being direct, by conveying our faith in students’ abilities, by focusing on actions, by keeping things brief, and by knowing when to be silent, we are fostering a respectful and positive community. Speak to your listener’s needs. People buy into ideas when it benefits them. Make the information matter to those who are in your presence. It is up to your audience to determine if your message is communicated effectively. Nancy Duarte speaks about the power to change the world in her TedxEast Talk; more specifically, she notes, “It's easy to feel, as the presenter, that you're the star of the show. I realized right away, that that's really broken. Because I have an idea, I can put it out there, but if you guys don't grab that idea and hold it as dear, the idea goes nowhere and the world is never changed. So in reality, the presenter isn't the hero, the audience is the hero of our idea.” Be an Equal. It is important to be able to command a classroom so that we do not lose sight of our desired objectives, but one of my mentors once advised, “you gain power when you lose the power trip.” I have found this approach to work great in a classroom. Be Honest. Even if people ask you hard questions, be honest in your approach to providing information and answering questions. People appreciate honesty and would rather not be persuaded through a false hope; false hope leads to disappointment and distrust. Be Responsive, Timely and Follow Through. Do what you say you’ll do. If your listener has a question with which you do not have a firm response, you may offer to get back to them. Always get back to them in a timely manner. You will build respect and trust. Be Genuine and Kind. Providing information in a genuine and sincere way comes across in various ways. From the tone of our voice to our gestures to our facial expressions to eye contact, these nonverbal behaviors are typically not rehearsed when we are speaking in the moment, authentically. Being authentic creates a sense of trust. Tell a Story. Offering a story helps seal a relatable appeal. One of my mentors once told me, “if you start getting some glazed eyes in the audience, tell a personal story to reel them back in.” People remember stories because they can visualize them, and it also reassures them that you are also a human. Whether we are inside or outside of the classroom, from what we say to how we say it, we are planting seeds in the minds of those who are giving us their attention. Words and behaviors are powerful tools and we should use them in such a way to help create successful contributors to society. If we do a great job as educators, we will see those seeds flourish into something phenomenal. Professionally yours, Jennifer Mullen ... View more