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Building Expertise by Ruth Colvin Clark

When we find a great teacher, we prize them not only because what we learn improves our lives but also because good learning can be one of the most exhilirating things we experience. Unfortunately, a lot of teaching stinks. It’s boring, rambling, forgettable.

I’ve made a study of teaching. I’ve had to. For almost 20 years I’ve taught and designed courses in the private sector. And for many of those years my work has been in a revenue generating department. What that means is that if my classes are ineffective and dull, nobody signs up, revenue falls, and a lot of folks will stand around and wonder if it might not be better to just replace me with a potted plant. At least a plant would be something pleasant to look at, plus it would also clean the air.

Now not everything I do is stellar (I wish that were so). Sometimes in the quality, cost, speed triangle, quality is the thing that takes the hit. But the point is I have to be alert and try to miminize the schlock. But how do you do that? How do you develop and deliver effective and interesting education?

Luckily, the field of instructional technology (I’m not talking about computers, but principles of instruction) has come a long way in identifying what works and what doesn’t. This is important because teaching theories of the past (many of which are still used today) often relied on rules of thumb and anecdotal evidence. Their precriptions were often ineffective and sometimes counterproductive. What’s exciting is that in the last few decades researchers in this area have put techniques and principles to the test. We know better now than ever before how to structure learning that is effective and interesting. And I have yet to find a better explanation of the proven techniques and principles than Ruth Colvin Clark’s Building Expertise: Cognitive Methods for Training and Performance Improvement, 3rd Edition.  

Don’t let the “training” part fool you. We often associate “training” with learning procedures and simple tasks (which is what leads to the “we want to provide sex education, not sex training” obfuscation). But Clark isn’t using the term that way. Training here includes all types of learning.

What Clark does is not only share the techniques that build expertise, but also the psychological reasons and research-based evidence for those techniques. This isn’t nonsense based on personality or political correctness. It’s practical and proven.

Among other things, you’ll learn:

  • Why working memory is key to instruction and how to overcome its limits
  • How to motivate learners
  • How to structure learning
  • When to use lecture and when to put learners into action
  • What methods work best

You’ll learn when taking notes can actually be counterproductive and what you can do about it. Or how making your delivery more personable (and what that means) can actually improve attention. You’ll see why lots of practice isn’t always the best answer–sometimes your child will learn more if you do half of their homework questions for them.

You’ll find that there “Is no Yellow Brick road” in teaching. Instead, you’ll see that the effectiveness of any method depends on whether it’s suited to the specific situation. And Clark will explain what the key factors in any situation are so you know which methods to apply and the trade-offs you’ll make when you do.

If you’re a teacher in any setting–family, job, church, school, or recreation–or if you’re trying to teach yourself, this book (specifically the 3rd edition) will be a goldmine for you. I can’t recommend it highly enough.

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  • The Sing-Off, Sam’s Salmon, The Englishman Who Went Up A Hill

    One of the best TV programs this fall

    American Idol was good until the judges became irrelevant and annoying. Or maybe I was just tired of the format. I didn’t think I’d watch another singing show. But I tuned into the opener for The Sing-Off on NBC last week, and holy harmonies, Batman–it was wonderful.

    Ten of the best a’capella groups in the country compete for a $100,000 prize and a recording contract with Sony Music. Unlike American Idol, the groups represent a wide range of ages—from kids in high school to older adults—and backgrounds. They don’t use any instruments, just their voices, to sing incredible arrangements of modern songs with percussion, bass, and lovely vocals. This ain’t no choir music. And unlike American Idol, the judges actually have interesting and useful things to say. Also unlike American Idol, the judges eliminate the groups until three are left. Only then do the rest of get to call in and vote.

    We were glued to the TV watching each episode. The programs are all two hours long, but move like lightening. Our favorite groups at this point are Committed and The Backbeats.

    This whole show runs a total of three weeks, one episode each on Monday and Wednesday. It started last week, continues this, and finishes next week. Some of you might be depressed, feeling you’ve already missed it.

    Not so! You can watch all of the full episodes online at www.nbc.com/sing-off/ (with fewer commercials). Then tune in for the grand finale. I can’t wait. 

    Are you kidding? From a can?

    Canned tuna fish is one of those un-meats. It doesn’t taste like fish. It doesn’t taste like chicken. I guess the all-white albacore is okay. But tuna’s not one of those spectacular foods I crave.

    So you’d think, as I strolled the isles of Sam’s Club, that I would have passed up the canned Member’s Mark Atlantic Salmon. But one of my wild culinary urges, the ones that rarely pan out, overtook me.

    I purchased a pack of five, seven-ounce cans for $11.88. I brought the pack home put it on the shelf and didn’t dare open it. What was I thinking?

    Canned salmon? Canned meat?! When was the last time you had a steak out of a can?

    It couldn’t be good.

    Of course, my sensible hesitations only last so long. I broke down one afternoon when the cupboards were bare. I saw the salmon and thought that it might go well with a salad and baked potato.

    I opened the can. It was pink, like the trout I used to catch and immediately fry when I went camping as a boy. I tasted it. And it tasted like .  .  . fish. Real fish. The light delicious taste of those trout I caught so many years ago.

    I enjoyed a wonderful meal that day and have had several repeats since. Boneless, skinless filets in water, packed with omega-3 fats, all grown on fish farms in Chile. 

    Great movie set in Wales

    I enjoy Hugh Grant as an actor. I loved him in Sense & Sensibility with Emma Thompson, one of my most favorite movies ever. And so I was curious about another movie with Grant that received two thumbs up from Siskel and Ebert. It’s called The Englishman Who Went Up A Hill And Came Down A Mountain.

    The setup is unusual. In 1917, with the war still raging in Europe, two English cartographers visit the small South Wales village to measure what is claimed to be the “first mountain inside of Wales.” The villagers are proud of their “mountain,” but become alarmed when the Englishmen measure it and find it’s not a mountain but a hill. The villagers are determined not to lose their status. Especially not to two Englishmen. What follows is good humor, drama, and a bit of romantic comedy. I think you’ll fall in love with the characters. It’s a wonderful tale. And it’s on DVD.

    As a little bonus, here are the opening lines, given to us by two narrators.

    “Narrator: For some odd reason, lost in the mists of time, there’s an extraordinary shortage of last names in Wales. Almost everyone seems to be a Williams, a Jones, or an Evans. To avoid widespread confusion, Welsh people often add an occupation to a name. For example, there was Williams the Petroleum, and Williams the Death. There was Jones the Bottle, and Jones the Prize Cabbage… which described his hobby and his personality. Evans the Bacon, and Evans the End of the World. But one man’s name was a puzzle, and it wasn’t until I was 10 years old that I asked my grandfather about the man with the longest and most enigmatic name of all.

    “Grandfather: The Englishman Who Went Up a Hill but Came Down a Mountain? Now there’s a long name for you. And a long story. You are not going to fidget, are you? For this is a story… an epic story. Yes, epic.”

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  • Merry Halloween!

    Poetry is a species of literature that struggles to flourish in written and spoken environments.  We forward the occasional insightful, funny, or sentimental poem in our emails. Once in a while speakers will quote a few verses. But we don’t share that form of poetry like we do the poetry in songs. Music is the environment in which poetry thrives.  People say you can’t make money writing poetry—tell that to lyricists and song writers.  I have three poems (songs) that I think you’ll enjoy.

    First is “God Rest Ye Merry Gentlemen / We Three Kings” by Barenaked Ladies and Sarah McLachlan. This is one of the Brown family’s most favorite Christmas songs. It’s such a favorite that we can’t help but listen and sing along all year round. The Bare Naked Ladies put a mix of these two classics to a punchy beat with an acoustic guitar, but then they change the mood part way in by bringing in McLachlan’s haunting, beautiful voice. It is an upbeat, wonderful arrangement.

    The next song is another remake of a classic: “I Heard the Bells on Christmas Day” by Casting Crows.  While the song is updated with modern instruments (drums, piano, guitar), this isn’t a raucous arrangement. It starts with a simple lovely melody and a solo male voice. It moves into a swell with a sweet child chorus that repeats the most important refrain in the song: “peace on earth, good will to men.” There are no bells in the song, but it makes me wish I was back in Europe so that when the bells in the towns there did peal, I would think of the message of this song.

    Now, I know some of you are thinking, “Christmas. In October? Are you kidding me?” So to appease these strict seasonalists, I present “Calling All The Monsters” by China Anne McClain. The perfect groove Halloween song–upbeat and catchy. And you simply must watch the music video that goes with it. It’s good fun that hearkens back to the Michael Jackson “Thriller” music video but is much more playful.  

    All of these songs can be purchased on Amazon for less than a buck each. If you want to preview them, you can on YouTube. Links below. Merry Halloween!

    So what are some of your favorites?

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  • SODG out to first round of possible blurbers

    “Blurbers” is so much more fun than “endorsers.” Stacy has sent the manuscript of Servant of a Dark God out to the first round of people who said they would give the story a go. If they find they’re in the audience, they’ll write up a blurb for it. This is all in preparation for the launch meeting in December when my editors go to bat for me and sell the book to the salespeople inside Tor.

    While I hope the potential blurbers will all find themselves in the story’s audience, I do not assume it’s a given. If they’re not, I’m still a happy man (although a bit disappointed). There are many wildly successful tales that I myself am not in the audience for.

    I expect we’ll get reactions back in a month or two. I’ll post here the results.

    I can’t remember the last time I was this anxious. Yesterday I read Scott Card’s review of K.J. Parker’s stuff.  All his business about great writers. And I’m thinking, holy heck. I’m a nothing. Just a little dude with this nothing book. And then I thought, what if none of these readers find they’re in the audience for the book? It’s one thing to send out a manuscript. You can always change, improve. But this is it. This is the book. It either soars or plops in the mud.

    But then I read Mette Ivie Harrison’s first article on writing for IGMS and thought—you know what, I tell the stories I tell. While others may aspire to “greatness,” that’s not something I care to strive for. I want to write stories that entertain and move. And while I can learn how to write and tell better stories, they’re always going to be John Brown stories. If they plop, they plop. And I just have to forget all the greatness-everybody-must-love-me nonsense and write John Brown

    I met Mette at Card’s boot camp in 2002. We’ve read each other’s manuscripts every once in a while. I respect her ideas, loved MIra, Mirror, and am grateful for that article. If you’re a writer, I recommend it to you highly.

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  • Ack! It’s English class

    Lorrie McNeill gives her middle school students a wide choice of reading in Jonesboro, Ga.

    Junior High and High School English = grammar, spelling, and reading Cliff Notes.

    Wrong.

    It all depends on the goal. The NY Times recently published an article about a whole other approach to language arts. Nellie is one of those who is trying this new approach with her 7th and 8th graders.

    She’s had experienced similar fears, similar results, and similar comments from parents as the teacher featured in the article. Most importantly Nellie has kids reading more than they’ve ever read in their lives, writing more than they ever imagined they could. And it all derives from a change in the goal—make lifelong joyous readers and writers versus teaching the students to be able to recite facts about a given set of works.

    Of course, the students still learn literary concepts and grammar, but only as it supports and relates to their writing for publication, whatever form that publication may take (family newsletter, review in local or school paper, letter to favorite author, pro, etc.)

    She’s loving this program and has been amazed at some of the stuff these kids produce and the progress they make when natural motivation kicks in.

    NEW YORK TIMES
    BOOKS | August 30, 2009
    The Future of Reading: A New Assignment: Pick Books You Like
    By MOTOKO RICH
    The experimental approach is part of a movement to revolutionize the way literature is taught in U.S. schools.

    http://www.nytimes.com/2009/08/30/books/30reading.html?emc=eta1

    And for you who might think society might fall if we let them choose their books, consider this…

    WALL STREET JOURNAL
    LIFE & STYLE, AUGUST 29, 2009, 5:04 A.M. ET
    Good Books Don’t Have to Be Hard: A novelist on the pleasure of reading stories that don’t bore; rising up from the supermarket racks
    By Lev Grossman

    http://online.wsj.com/article/SB10001424052970203706604574377163804387216.html

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  • Become A Story Idea Machine

    Now’s your chance

    It’s here. I finally figured out how to:

    • Hold the Novel Writers Academy courses
    • Give you one-on-one guidance (not canned videos)
    • And still accommodate my writing schedule and commitments

    The course that’s open for applications is called Create Story Ideas That Beg to Be Written. It’s purpose is to transform you into a story idea machine.

    And you can be there in six weeks. Before the end of the year.

    I will be working with only a small set of people. I can’t accommodate more and give you the one-on-one feedback you need. And so you need to apply to get in.

    The deadline for applications is midnight, October 27th. So contact me now to get the application instructions.


    A cracking good story idea requires five critical elements. Until you have all five, you’ll struggle to plot. You’ll write a few scenes and run out of gas. You’ll feel like the story just isn’t going anywhere. And that’s because it isn’t. It can’t. A story isn’t a story without all five elements.

    However, once you develop these five things, your story will suddenly roar to life. There are a few other elements that are important as well, but these five things form the core of the story setup. 

    In this course you’re not going to merely learn about all of those story elements. You’re going to go deep and learn what can only be learned by actually doing the work and developing story idea after story idea with personal one-on-one feedback from someone who knows what they’re doing.   

    When you finish, you won’t just know story theory. You will be a story idea machine. And you will be that because you have put in the work. The right work.  

    Again, this is not a course full of lectures and videos. This is a course where you’re going to work. And develop the insights and skills that only come from doing the work.

    You’re actually going to:

    • Come up with story setup after story setup after story setup
    • And improve them with one-on-one feedback. 

    It’s going to:

    • Eliminate years of you wandering about in the story wilderness trying to figure things out on your own. 
    • Put you miles ahead of other writers who have no idea what’s really at the core of story. 

    You are going to learn how to develop killer story ideas on purpose instead of on accident. Which means you’ll be able to do again and again. Reliably. Like clockwork. 

    Course details

    Here are the details. 

    • 6-week course 
    • Starts: November 2
    • Ends: December 19
    • One week off right in the middle for the US Thanksgiving holiday 

    The focus of the class is not on learning about story, although you will do that. The majority of your time will be spent on developing stories. 

    You can’t become a carpenter by watching videos and reading books about it. You have to get out on the work site, cut wood, and pound nails. You have to make the mistakes all beginning carpenters make, get feedback, and improve. The same goes for writing. And you’re going to work in this class. You develop 21 story setups. In fact, you develop more because the 21 are just the ones you turn into me. And with each one your skills, insights, and abilities grow.  

    In the beginning, your setups will be bare bones. By the end, they’ll be fully developed setups that beg to be written. Setups you can use to immediately write the first draft  of your novel, whether that’s in outline or chapter form. 

    Here’s what you do each week. 

    Week 1. November 2-7

    • Uncover the secrets of what’s really at the heart of story and how to generate ideas. 
    • Define your genre requirements
    • Create story setups 1-3

    Week 2. November 9-14

    • Uncover the secrets to compelling characters 
    • Create character sketches
    • Create story setups 4-7 

    Week 3. November 16-21

    • Uncover the secrets to formidable obstacles
    • Create story setups 8-11 

    Week 4. November 30-December 5

    • Uncover the secrets to interesting casts
    • Create story setups 12-15

    Week 5. December 7-12

    • Uncover the secrets to managing multiple storylines and series
    • Create story setups 16-19 

    Week 6. December 14-19

    • Create story setups 20-21. These are your capstone projects where you apply everything you’ve learned and take it to the next level

    As you can see, in this class you develop story idea after story idea after story idea. I didn’t detail it above, but each week you will also be lifting the hood on your favorite stories and actually seeing how they work. Story after story after story. In this class, you are marinated in the work of developing characters, THOMs, goals, obstacles, settings, casts, and more. And because of that, each week will not only bring an explosion of insights, but new skills and abilities.

    Every week you get two private, one-on-one, live sessions with me where you get encouragement and feedback on what you’ve developed. And then we’ll work as a group, applying the principles and brainstorming even MORE ideas for each other’s stories. 

    At first you might feel a bit shy and worried about your ideas and abilities. But you’ll soon get over that. By the end of the course you’ll be one of those people that can generate terrific ideas easily. And you’ll be able to do that because you will have put in the work to become a different writer.  

    Apply now!

    The normal cost of the course is $899. But because this is the first time I’ll be running through it, and we’re likely to run into a few kinks that need to be worked out, I’ve dropped the price to $599. I personally guarantee my course. You’ll be totally oh-my-gosh-I’m-so-happy-I-took-that-class satisfied, or I’ll give you your money back. No questions asked.

    Now’s your chance to stop spinning your wheels. I can’t tell you how much I wish I’d had something like this when I’d started:

    • The secrets about the true core of story.
    • The secrets about how to come up with ideas. 
    • Actual work with personal one-on-one feedback. 
    • Laser focused on what actually matters, not a bunch of ridiculous writing rules. 

    When you finish, you will be a story idea machine. 
     
    You won’t know plotting. That’s a different course and set of skills. You won’t know how to write chapters. But you’ll know how to create the engine that powers all the rest of that. You’ll know how to create the core that makes awesome plots and chapters possible. 

    If you want to take this course, click the button below and contact me. I will tell you exactly how to apply.

    I’m not going to be able to accept everyone who wants to take the class. I have a very strict limit on the number of students I can work with. So you need to get your application in before the deadline of midnight, October 27th.

    Don’t wait!

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  • How many copies do average authors sell?

    I posted earlier about the sales number for best-selling authors. What about the average author?

    Here’s Patrick Nielsen Hayden, an editor at Tor Books, in an interview on io9.com about the future effects of e-text on publishing:

    io9: Does it make a difference to you if an author has an online reputation? Does that go into your decisions to acquire books?

    PNH: Obviously it makes a difference if an author has a public online profile of some sort, even just down to the level of having a moderately popular blog. Most books sell 5, 10, or 15 thousand copies. Most are midlist books. With those people, even a modest online presence can make a difference in sales.

    The whole interview is interesting. In fact, he says something that I think is important to note about what today’s novelists and, to a lesser degree, short story writers are actually providing:

    One thing I’m sure of is that we’re [Tor Books] going to be in linear immersive narratives that produce the reading trance. We won’t be moving towards a “choose your own adventure” thing. People will do those things, but those are different art forms. There’s something about immersive text that you can read in order – it’s persisted through many technological changes. This fiction stuff works pretty well. It’s been around a long time

    I think he’s right. The EXPERIENCE you get in the reader’s trance, similar to the one you get in a movie, is a strong experience. The media used to convey that experience doesn’t really matter as long as it makes it easy to get into the trance.

    Check out the whole interview.

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