2.6 Developing print-based resources

The learning facilitator’s voice

Writing flexible learning materials is a different type of writing to that of writing a thesis or an academic paper. Most academic writing requires us to research a topic and then synthesise our knowledge into a well-developed argument. Writing for flexible learning requires us to find a different writing ‘voice’. Whilst we will, of course, be researching content, we will be writing as a facilitator of learning, hopefully offering our learners a more open and active learning process which requires them to find and negotiate their own knowledge and meaning from the materials we have gathered. Ellington and Race (1993:63) say that preparing open learning packages

… is not so much a matter of collecting together all the things students need to read – it’s about collecting together a set of things for students to do.

‘Information + action’ principle

Derek Rowntree (1994) has written a most useful book called Preparing materials for open, distance and flexible learning. Much of the material in this section refers to this publication.

Rowntree (1994:14) suggests that most materials written for flexible learning are built around:

Information + Action.

This ‘information + action’ principle stems from open and distance education theory and adult learning theory. Traditionally, print resources have been designed and written for external studies students who, by and large, are adults, many of whom are in the workforce.

• they have some control over their learning (choice in assignments and learning activities, opportunities to pursue issues of personal relevance, material that allows for choice in the depth of study and recognition of prior experience)
• they can test new information by linking theory to practice
• they are actively doing in addition to sitting and listening or reading
• they can observe, demonstrate and question – making use of their preferred style of learning and other personal skills
• they have opportunities to generate a personal view by evaluation and by linking with previous knowledge and experience.

Based on these principles, here are some guidelines for writing quality print materials.

Guideline 1: Decide on the type of study guide and why

Tell-and-test – Pages of unbroken reading, much like a thesis or a chapter in a textbook, or a transcribed lecture, with comprehension questions at the end. We have tended to avoid this type at Southern Cross University – it is rare that this kind of transmission learning is appropriate as students generally need to be able to critique and apply knowledge rather than just absorb it.

Tutorial in print – Most commonly used here at Southern Cross, this type is more akin to a tutorial than a lecture. It aims to create a ‘dialogue in print’ with the learner (as opposed to a monologue). This is what Rowntree (1994:14) has to say about tutorial in print:


The tutorial-in-print style is perhaps most appropriate when there is a ‘body of knowledge’ to be mastered. Here the aim is to help the learner take on board a new way of looking at things. The frequent activities help ensure that learners are keeping up … These activities focus on ideas and usually involve writing something down or tapping computer keys … The learning is assumed to happen while the learner is interacting with the package.

Rowntree (1994: 14)

Reflective action guide – Used in some units at SCU, this type does not present a body of knowledge, but rather helps learners towards a personal project, a negotiated contract, an independent learning project, a clinical project and so forth. As such, it assumes that the bulk of the learning will take place elsewhere (commonly the workplace). The aim of this type of document is to help learners plan and achieve their learning goals, teach skills, reflect and critically evaluate what it is they are doing, and evaluate their outcomes.

Examples from the field Appendix 7 shows examples of excerpts of these three types of study guide.

Guideline 2: Decide on your accompanying resources

Examples from the field Make sure that all copyright matters are resolved and that you are clear about what you have to do to register online materials for eReserve. Refer to Appendix 8 COPYRIGHT and YOU: A Guide for New Staff and check your compliance. All information pertaining to copyright requirements can be found at http://www.scu.edu.au/policy/copyright/.

As we begin to write, we need to establish a relationship between the study guide, our lecture notes and our accompanying resources which conforms to and supports the conceptual map of our unit. As we refer students to other resources – be they readings, video, audio, CD-ROM, workplace documents, work practices, popular media and so on – we need to explain what the learning value will be to the student. Here is an example of a good introduction to a resource:

Turn to Reading 3 by Holmberg (1995), which contains the above quote and discusses the fundamental considerations of course development. It provides important insights into how ‘the presentation of learning matter’ can best be constructed for distance learners. It’s quite long, and covers a lot of theory, but is well worth the read in order to really understand your course materials and, more importantly, your learning relationship with them.

(O’Brien, C., 1997)

Guideline 3: Guide your learners through the material

There are a number of simple devices we can use in our writing that will help learners find their way around written materials. We need to remember that whilst we may have a clear idea of what we have written and how we have structured and organised it, our learners may not have that same understanding. We need to assist them by making as explicit as we can the structure of our materials.

At the beginning             During           End

explanatory title contents list route map introduction/overview links with other materials list of objectives guidance on how to use the material headings (with a clear hierarchy) numbering systems instruction about what to do next verbal signposts graphic signals/icons summaries glossary conclusion

Guideline 4: Develop activities and feedback

Activities are an essential ingredient of study guides. Many academics wonder about their usefulness and would prefer to leave them out of their writing. Whilst it is true that some students don’t actually ‘do’ the activities, most students use them as prompts to their learning, or as clues about what it is we want to emphasise, or on what we want them to focus. They are important teaching tools in print materials and are to be encouraged.

There are many, many purposes for activities and we need to think carefully when we set activities about what it is we actually want our students to do. As always, think about the objectives and the assessment tasks, and align the activities accordingly. In Section 3: Teaching there is a table of activities for face-to-face teaching based on Biggs’ (1982) SOLO taxonomy. This table can assist when creating activities for print materials also.

• reflection on the material
• application of what has been learned
• application of critical judgment
• interaction with the material
• interaction with peers
• self development (research, investigation, writing, evaluation, analysis, interviewing, observation, self assessment etc.)
• the capacity to relate theory to practice (vocational/workplace-oriented)
• the building of knowledge toward the completion of assessment tasks.

Examples from the field See Appendix 9 for some examples of different types of activities.

Guideline 5: Write in a reader-friendly style, in the active voice

• Write in a ‘tutor’s voice’ rather than a ‘lecturer’s voice’ – be friendly and conversational. Find a tone that is inclusive and personal, without losing academic rigour. Ask questions and create a sense of interaction between you and your learners.
• Write sentences in the active voice rather than in the passive voice. The active voice creates a different tone and makes writing more lively, more dynamic and more readable. For example: ‘Write sentences in the active voice’ is more engaging than ‘Sentences should be written in the active voice’.
• Write simple rather than complex sentences. We can still communicate complex ideas in simple sentences. Generally it is easier to read and understand short sentences that flow smoothly and develop logically.
• Consider your language – If we use technical terms or jargon which students don’t understand we are not writing with inclusivity in mind. If technical terms are necessary, and you think that students may not understand them, re-introduce them as often as appropriate.
• Write in a way that is gender-balanced and racially sensitive. This is not easy as it requires a critical analysis of the material from which we draw, as well as reflection on our own assumptions about gender and race.

Examples from the field Appendix 10 shows an example of a formal piece of text converted into a reader-friendly version. (Rowntree, p. 140)

Guideline 6: First draft to final draft

Most writers like to get feedback on their first draft. This is particularly important if we are new to writing, or if the unit is new or has been redesigned. Most commonly an educational designer and/or a colleague will read and offer feedback on the first draft. If the unit is new and/or is being reviewed then we need a content expert to read the material. Once there is a final draft with which everyone is happy, all the materials can be handed over for production.

In general terms the process you need to work through is this:

1. Develop a sample of all the resources, e.g. everything you will use for one topic.
2. Circulate to relevant stakeholders (usually educational designer and academic reviewer).
3. Adjust resources accordingly based upon feedback.
4. Complete first draft of all resources and circulate to educational designer and reviewer, or colleague.
5. Submit all readings for compilation into Book of Readings.
6. Register Book of Readings Table of Contents to eReserve for copyright check, and for inclusion in eReserve and RapidPrint.
7. Complete second and/or final draft of all written materials and submit to Educational Designer and content reviewer for final feedback.
8. Submit materials to courseware developer
9. Complete A/V resources.
10. Complete MySCU site.
11. Be familiar with and apply Privacy legislation and policy: http://www.scu.edu.au/policy/privacy/.

Guideline 7: The manuscript

When handing the study guide over to a courseware developer, and/or when working with an educational designer, there will usually be some guidelines about the manner in which the manuscript is presented. For example, your educational designer will want a printed draft, double spaced, with an electronic copy in Word as well.

Do not format the manuscript! This means no tabs, columns, tables, headers, footers, bolding or any other formatting features. Courseware developers will already have a template into which the document will go, so any formatting done at the draft stage will only have to be undone.

It also helps both the educational designer and the courseware developer if, inside the document, an indication is made when an icon is to be used, and when icon-related text begins and ends. For example lay out the document something like the following example.

Reading
Refer now to your text, Chapter 7, for a detailed analysis of tourism in the Pacific.
End reading

Ask yourself Have I clearly stated my objectives for each ‘chunk’ of my material? Have I advised learners about how to use the material? Is my writing ‘user-friendly’, have I used the active voice? Is my material presented in shortish, manageable chunks of learning? Have I used fewer words than usual per page? Have I included plenty of helpful examples? Have I made reference to the learner’s own experiences? Have I used illustrations and graphics wherever possible? Have I used headings wisely to help learners find their way around the material? Have I made links to other materials where appropriate? Have I included activities to engage the learners in active learning? Have I offered feedback to help learners check their progress? Have I sought feedback on my first draft?