LEARNING PARADIGM SYLLABUS 1

Running Head: LEARNING PARADIGM SYLLABUS

Introduction to Creative Writing: A Syllabus from the Learning Paradigm, Part 2

Tracy J. Montgomery
Faculty Roles and Responsibilities
HIED 66660
Susan V. Iverson, Ph.D.
June 10, 2016

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Looking at a syllabus of a prospective course that I would to teach, and analyzing how it
does and does not fit with my personal teaching philosophy was eye-opening. When I attempted
to revise it to better fit the philosophy I expressed in my first essay, I realized that it was going to
be much more tasking than I thought. For the assignment, I asked myself numerous times, if I
was doing too much for this assignment, such as putting too much time into it? Thinking about it
too much? Making too many adjustments? As much as I thought the answer to be yes, I also
believe that this is where true learning took place, as I want to take my role as student seriously,
especially in preparation of a career where I will once take on a different role as discussed in this
course. I wanted to create a syllabus much more fitting to my philosophy, so, I took the time to
research other creative writing courses, comparing and contrasting again what I thought was
fitting to what I would want for such a course.
One of the first major, noticeable changes I made is the format. I felt as though the first
one did not look professional enough to be reflective of the collegiate level. I organized it to look
more professional and, in my opinion, reflect the organization that I plan to portray throughout
the class. Simple changes such as font change, use of headers, sub headers, and bullets, and
getting rid of random text boxes, made the entire document take on a different look. Buller
(2010) covers in great detail what an effective syllabus looks like, even physical appearances,
and the effects that it can have on the course as a whole, or how it may reflect the instructor in a
particular light (pp 109-111).
Aside from the simple, yet effective, changes regarding format, another minor addition
that is different from the first syllabus, is that I added a quote. I was inspired to do so, after
reading that By selecting a quotation that helps summarize your approach or an important theme
of your course, you send a message to your students (Buller, 2010, p.110). The quote I chose is
reflective of not only the course, but also me as an instructor. The quote is a bit humorous in its

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own way, in addition to optimistic, yet creates a somewhat calm tone. I wanted to do this for the
reasons just named, as well as create a specific tone right away, knowing that any course
involving writing can be intimidating for many college students. It is hopeful that this quote will
help set the tone for the rest of the syllabus, and relieve any anxieties that may have existed.
In addition to changing the format and adding a quote, I also changed the time of the
course from 3 50-minute classes per week, to 2 one-hour and 15 minute classes. Even though
Barr & Tagg (1995) would still attribute any such time constraints to reflect the Instructional
Paradigm more than the Learning Paradigm, I adjusted it to at least be more conducive to a
learning environment of diverse activities that tend to take more time than what can be
accomplished in a 50-minute section. In aims to lean more toward the Learning Paradigm than
the Instruction Paradigm, I want to do my best to create environments and experiences that
bring students to discover and construct knowledge for themselves, to make students members of
communities of learners (Barr & Tagg, 1995, p.4). I feel that 50 minutes is too short of a time to
allow any kind of community learning to take place, though not impossible. I just feel it is more
probable with longer class times.
Some of the other changes I made were in regards to course content and expectations.
Inspired by Anthony Ramstetter, Jr. (2013), who teaches Introduction to Creative Writing at
Miami University, I decided to add a weekly creative writing assignment, and one which students
could experiment with a variety of genres, in hopes that maybe they will one that they will make
some kind of connection, but most importantly, it aligns with my philosophy of experiential
learning. I also put more emphasis in the learning environment, but putting more weight into the
graded areas of participation, attendance, and the workshops.
In my first essay about the syllabus, I expressed my like for the workshop aspect, as it
reflects part of my philosophy about putting the student in a place of being the teacher,
showing more mastery of a subject. I considered the potentially negative consequence of such

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activities in class, in case I am depending on the student to instruct his/her peers about a subject
that I expect them to gain new knowledge. Especially in the case that the student fails to do an
effective job, the other students learning may suffer. I agree that this is a risk, so I revamped the
teaching aspect to be more of a facilitator that still needs to show mastery at some level, but
where the majority of the learning will take place in the workshop itself, letting the learning
unfold within the group workshop, instead of relying on just one person for learning to take
place.
I also took Bullers (2010) advice of adding a short, biographical statement to the
syllabus for multiple reasons. One reason, is so that they can get a little more of an idea about
whom I am as a person, portraying that I am attempting to work with them, and not over them. I
also did it because I believe its important for my students to see me as a real person rather than
as a remote and possibly aloof figure (Buller, 2010, p.134). But, as much as I want to add a
much more personable touch to my class, I must also consider Bullers (2010) advice regarding
how much personal information to share with students. Buller (2010) believes that, Preserving a
certain amount of distance helps you maintain your professional standing with the student and
reduces the likelihood of misunderstandings (p.143). This is why I believe its great to develop
personal relationships with a class at most levels, but to never be completely vulnerable. It is a
fine line to balance many times, but will get much easier to balance with time and experience.
From minor changes involving formatting, to major changes that deal with class material
and class expectations, I feel this syllabus is one that rightly fits my personal philosophy well.
References
Barr, R. B., & Tagg, J. (1995). From teaching to learningA new paradigm for undergraduate
education. Change: The magazine of higher learning, 27(6), 12-26.
Buller, J.L. (2010). The essential college professor: A practical guie to an academic career. San
Francisco, CA: Jossey-Bass.

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Hosking, Gail. (2015). Intro to Creative Writing [Syllabus]. Rochester, NY: Department of
English, Rochester Institute of Technology.
Ramstetter, Jr., Anthony. (2013). Introduction to Creative Writing [Syllabus]. Oxford, OH:
Department of English, Miami University.