Kit Irwin

May 1, 2007

I. "MY SYNTHESIS PRODUCT SHOWS THAT..."

A. I can convey who I want to influence/affect concerning what (Subject, Audience, Purpose).

I came up with a list of suggestions for how fiction writers can use the power of their unconscious to improve their fiction writing. A list of suggestions is something that appeals more to the conscious mind that loves rules than the unconscious so perhaps a different method aimed at the unconscious would be more effective in influencing fiction writers.




B. I know what others have done before, either in the form of writing or action, that informs and connects with my project, and I know what others are doing now.

Keith Oatley is a cognitive psychologist and fiction writer whose work came closest to what I am exploring. His novel, The Case of Emily V, was the first book I picked up to read after finishing my synthesis and I plan on trying to connect with him in the future, if only to send him fan mail.




C. I have teased out my vision, so as to expand my view of issues associated with the project, expose possible new directions, clarify direction/scope within the larger set of issues, and decide the most important direction.

I started the program wanting to do something that would help me become a better fiction writer, the combination of the cognitive psychology with my prior writing experiences and classes led me to the vision of a short story as being two stories – the inner emotional story for the unconscious and the outer plot-driven story for the conscious mind. In my synthesis, I expanded my vision to include the writing process and more. I want to explore how the unconscious connects to the revision process.


D. I have identified the premises and propositions that my project depends on, and can state counter-propositions. I have taken stock of the thinking and research I need to do to counter those counter-propositions or to revise my own propositions.

I was a big fan of Robert Boice’s book, How Writers Journey to Comfort and Fluency, and for the recommendations in his book that I didn’t think were well supported by evidence, I sought to discover whether current research backs up his ideas or contradicts them (I only found more evidence to support his claims). I struggle with not extending the implications of a study too far, like when I started wondering if teaching creative writing might be unethical after reading a number of the studies that showed subtle extrinsic rewards hurt creativity.



E. I have clear objectives with respect to product, both written and practice, and process, including personal development as a reflective practitioner. I have arranged my work in a sequence (with realistic deadlines) to realize these objectives.

I had a clear vision of the overall structure of the synthesis in three pieces: cognitive psychology, writing process, fiction specific expertise. The struggle is balancing some of the odd pieces that I wanted to incorporate – my humor, my drawings, some memoir, graph of age at death, quizes – against readers’ opinions to remove them and determining when I should be swayed by their opinions and when to stay true to my original instincts.




F. I have gained direct information, models, and experience not readily available from other sources.

I have incorporated my own writing experiences and knowledge gained from conversations with published writers into the synthesis. To see how to proceed next, I should seek advice from experts like Pam Painter and Nancy Zafris and I struggle asking for help.


G. I have clarified the overall progression or argument underlying my research and the written reports.

I convinced myself of the importance of the unconscious. Since so much of what turns out to be important for fiction writing is counterintuitive, I wonder for how long my readers and I will remain convinced by my correct arguments.




H. My writing and other products Grab the attention of the readers/audience, Orient them, move them along in Steps, so they appreciate the Position I've led them to.

I’ve done my best to make my writing interesting, easy to follow. Since people want information presented to them in different ways, it’s a struggle for me to format the information in the way that is recommended by these steps, since orientation can turn into annoying repetition if not done well.


I. I have facilitated new avenues of classroom, workplace, and public participation.

I brought some of my expertise with revision into the synthesis class by doing a demonstration of cutting and pasting. I want to teach creative writing and struggle with how to best market my services.


J. To feed into my future learning and other work, I have taken stock of what has been working well and what needs changing.

I brought some of my expertise with revision into the synthesis class by doing a demonstration of cutting and pasting. I want to teach creative writing and struggle with how to best market my services.

II. DEVELOPING AS A REFLECTIVE PRACTITIONER, INCLUDING TAKING INITIATIVE IN AND THROUGH RELATIONSHIPS

1. I have integrated knowledge and perspectives from CCT and other courses into my own inquiry and engagement in social and/or educational change.

Knowledge about expertise was covered in Critical Thinking, Creativity, and Cognitive Psychology, and integrated into my synthesis. Since I’ve always had an interest in psychology, I was surprised to learn in Cognitive Psychology how much of my knowledge was incorrect and made me aware of how I need to be constantly reassessing what I believe to be true.

2. I have also integrated into my own inquiry and engagement the processes, experiences, and struggles of previous courses.

In Critical Thinking, since I was struggling with a career change, I investigated heuristics, which led me to judgment, which led me to intuition and the unconscious. From the Practicum, I learned how important it is to take notes as you go along which I still struggle to do.


3. I have developed efficient ways to organize my time, research materials, computer access, bibliographies, etc.

I learned about RefWorks in Practicum and I love how it helped me to organize my references. Clutter is a battle that I constantly wage (or ignore and pretend isn’t there); I will continue the fight.

4. I have experimented with new tools and experiences, even if not every one became part of my toolkit as a learner, teacher/facilitator of others, and reflective practitioner.

Elbow’s essay on methodological belief broadened my ideas about what critical thinking should be. As a teacher, when a student has a poor attitude, I struggle with how much is my responsibility to fix the problem and how much is a student’s.


5. I have paid attention to the emotional dimensions of undertaking my own project but have found ways to clear away distractions from other sources (present & past) and not get blocked, turning apparent obstacles into opportunities to move into unfamiliar or uncomfortable territory.

In the supportive climate of CCT, it was easy to take risks and try new things. Without the support of the CCT community, I need to develop my own support network.


6. I have developed peer and other horizontal relationships. I have sought support and advice from peers, and have given support and advice to them when asked for.

The fellow students in CCT were a joy, wonderful to work with. I have trouble asking for help and will continue the struggle to do this more.


7. I have taken the lead, not dragged my feet, in dialogue with my advisor and other readers. I didn't wait for the them to tell me how to solve an expository problem, what must be read and covered in a literature review, or what was meant by some comment I didn't understand. I didn't put off giving my writing to my advisor and other readers or avoid talking to them because I thought that they didn't see things the same way as I do.

I had a vision of what should be in my paper and welcomed the comments of Carol and Peter. I am struggling with how much input I should get on my fiction, and who the best readers would be for me at this point.



8. I have revised seriously, which involved responding to the comments of others. I came to see this not as bowing down to the views of others, but taking them in and working them into my own reflective inquiry until I could convey more powerfully to others what I'm about (which may have changed as a result of the reflective inquiry).

My synthesis became better and more focused after each revision. Revision was much easier for my synthesis than for my fiction writing and I need to figure out how to bring what for one type of writing to another.


9. I have inquired and negotiated about formal standards, but gone on to develop and internalize my own criteria for doing work—criteria other than jumping through hoops set by the professor so I get a good grade.

I wanted my synthesis to include a lot of images, my drawings, my humor, and some odd things my instinct told me should be in there, and I put them in despite reservations that they might lessen my grade. This is still something I struggle with in my fiction writing.


10. I have approached the CCT synthesis course and the CCT program as works-in-progress, which means that, instead of harboring criticisms to submit after the fact, I have found opportunities to affirm what is working well and to suggest directions for further development.

In several courses, I made suggestions to the teachers who were very receptive. I am often more critical of myself than of others and struggle to control the negative feelings at times.