What advice would you give others considering creating or using a writing MOOC?
Advice for Creating and Using a MOOC
In Kate Fedewa, Jeffrey T. Grabill, Kristen Heine, Julie Lindquist, and Jennifer Royston's (2014) "Thinking Like a Writer" MOOC, the authors worked to create a course that would incorporate "design features [that] would give participants an opportunity to reflect on the resources for learning and writing that would be useful to them in their educational or professional careers, help make visible the ways of thinking and practicing common among effective (and more experienced) writers, and emphasize the affordances of the revision processes for evaluating and generating writing" (p. 165). The authors worked to create "activities that supported engaged, inductive learning. The lessons [they] constructed were taught not through lectures or content-heavy videos, but through guided moments of invention and reflection, focused around the student’s own writing. [They] believed that the experience-based pedagogical model allowed for a student-led learning progression" (p. 165). The experiences of Fedewa, et al. point up the fact that developing MOOCs requires consideration of design and instructional aspects not required for face-to-face classrooms. The varied experiences of the interviewees highlight the need to consider these aspects when developing a writing MOOC.
Kay Halasek: The most basic advice I would give to someone who is considering offering a MOOC is make sure you have institutional support. That’s both financial support for course releases as well as the technology support for the delivery of the MOOC [or] for the programming you might need in addition to what might be available through Coursera or Udacity or WebEx or Canvas [or] whatever platform you’re using. Institutional support and support in money and human resources and technology are critical. I would also suggest hav[ing] access to a team of individuals who bring with them a variety of interests and areas of expertise.
I think you have to go at it with the idea that it isn't traditional education; it's providing information and some interaction and educational experience for people, but it's not what we would usually consider working with students. We did get to know students. Some students, not all students. We did get to know some who were really involved in the discussions. I think you need to make sure that interaction is built in, that you expect students to be interactive. Sometimes students even get into traditional online courses, and they don't realize that they're supposed to be talking to each other, that you're going to require them to talk to each other. They've never taken a class online, [and] they don't know that. It's kind of funny.
*Jeff Grabill, Bill Hart-Davidson, and Mike McLeod are co-inventors of Eli Review, a software service that supports peer learning.
Denise Comer: Mostly the advice that I give is to be a little bit thick-skinned.
Pat James: I would go with Denise Comer's advice to have a thick skin, to be prepared for those people who are going to come in and be a problem. Some people live to do that, and so you always have people in there who are negative. The students will take care of it themselves; they'll vote the posts down . . . . We had one student who created an album of thank-you letters for us. In the first one, we had 140 thank you letters in an online album that were just stunning.
Jeffrey Grabill: The surprise for us was that our experience was grounded in the first-year writing program language and norms, which is a North American phenomenon. Everybody knows that, but we were too stupid to figure out that we needed to change our language. We had a lot of people there that didn’t know what a writing class was or what a writing class should do. They certainly didn't know what composition was. We used some language, and we had a set of expectations for workflow and practices for students as learners that were literally foreign to the learning experiences of people from other parts of the world. That actually proved to be a little bit of impediment for a while until we unpacked that a little bit for people and started to walk away from our own language. Our stupidity was a surprise because we shouldn't have been surprised by the fact that learners from different parts of the world, from different educational systems with different kinds of needs would come with different kinds of languages and expectations. We just fully couldn't. We just didn't account for that in a particularly useful way.
Bill Hart-Davidson: One [challenge] is that when/if you stay dedicated to a learning model of peer learning and you want to scale up. You do have to think very, very carefully about how you're going to ensure that you don’t lose anyone along the way, about how these networks work. One of the things they were able to do in Eli* is they could watch who was supposed to get peer feedback from someone else. They could see if there was anybody out there who wasn't engaging because they weren't sending feedback, or they weren't receiving feedback, or both, and they could ping those people. That is something that, in the MOOCs where I was a student, I could hide. If I wasn't engaging, no one could see that. They would just not know I was there. But here, because of the way they set that up, they could see where there was expected activity and where there was none. I think that is the biggest single hurdle if we are looking to translate the type of pedagogy we tend to do in writing classes to a MOOC environment.
Steve Krause: I think that MOOCs are still kind of having a challenge making [teacher–student interaction] happen. It seems to me that if I were a MOOC developer, one of the places that I would look would be the fan fiction community. There's always fan fiction websites. I'm not really a fan fiction person, but I've had students do projects on these. There's always different fan fiction websites where you can submit a story, and you can get peer review. There are people that want to specialize in editing things, and there's other people that specialize in these kinds of characters, and other people that put things together. You’ve got this community of people who are posting things in fan fiction kinds of websites who are deeply invested in their stories and deeply invested in the process. What the site basically does is give them a place to go to share that passion. In other words, the whole point of a fan fiction website is that it is the virtual place to go where you can get interaction, feedback, and make connections with other writers. That to me is where MOOCs could potentially succeed—where students [are] writing with each other. The tricky thing is that typically students in a course like freshman composition are a lot less motivated than students that are writing Harry Potter slash fiction or something like that because they don't have as much invested personally in their research paper about whatever versus writing their Harry Potter stories.