2025 #30: More Than Words: How to Think About Writing in the Age of AI (Warner)

 

More Than Words: How to Think About Writing in the Age of AI by John Warner
My rating: 5 of 5 stars

One might draw parentheses around "in the Age of AI" when it comes to John Warner's excellent book. If there is one thing that is certain, generative AI has made it necessary to think about writing in general, as the assumed ubiquity of AI has implied definitions of writing that are certainly unsatisfactory from a pedagogical standpoint, and stand as evidence of the marketplace's power to (try to) shape our destiny. But this isn't just another example of capitalism's dominion. Many uses of AI ask us how much of our humanity we are willing to relinquish? The answer is demoralizing for many of us, yet Warner does provide a framework which he details in the last section of the book: Resist. Renew. Explore.

Warner starts, however, at the "beginning". He eschews "intelligence" as a synonym for "automation" --the real function of AI. I'll admit to a strong confirmation bias, but Warner puts AI through its paces to offer a well-considered and informative critique that I found incredibly helpful in quieting the bile that rises in my throat when it seems everyone has just obeyed our AI overlords in advance. He begins with an accessible explanation of what ChatGPT is and what it is doing when activated. While it is informative, it also serves to remind us that, at some level, we must understand how technology works rather than just allow ourselves to be uniformly awed (or galled) by its "magic." He is openly critical of the propaganda put forth by AI advocates who stand to gain financially (e.g. Sam Altman), but carefully debunks their claims rather than resorting to panicked invective.

Some of the chapter titles read like tongue-in-cheek clickbait, but it adds to Warner's overall sense of humor, which pops up throughout the narrative. To be sure, we are reading a very human writer.

Chapters 3 to 9 offer a more personalized view--almost a mini-memoir of Warner's own life as a writer-- but peppered with rather significant points about semiotics and rhetoric that are a heckuva lot more reader-friendly than most of what is written about semiotics and rhetoric. On a personal level, Chapter 6, "Writing is Feeling" touched me the most, and I think mileage will vary on that depending on the life experiences of the reader. I wasn't quite prepared for tears in encountering one of the most perfect meditations on grief I've ever read. I won't quote it here, but it is on p. 84 (hardcover). It underscores that this is very much a book about being human.

Chapter 7, "Writing as a Practice" felt a bit less useful and more of a (gentle) mouthing-off against the "one key thing" mentality that prompts us to enthusiastically adopt the shiny thing du jour. His diplomatic takedown of Gladwell and Duckworth's themes felt more gratuitous than other parts of the book, but that may be because I needed no convincing at the outset.

Writing teachers (and teachers that use writing) will find chapters 11 to 14 particularly useful, especially if they are interested in having conversations with their students about AI--or rather, about writing. The title for Chapter 16 privileges an anecdote that Warner uses to address one of the most important points of all: writing as intention.

Importantly, Warner encourages constant education, but measured by our own specialities and areas of focus. We cannot possibly read all the things about AI (my Substack feed overwhelms me every day), but it is important to push back at our own confirmation bias as well. I appreciated that Warner notes that he is almost "more obligated to read [Ethan Mollick] because I disagree with him.' (275). There's hope if we engage with thoughtful voices like Mollick, Marc Watkins, and others. Warner says we must foster community:

"Our communities inevitably must contain both those with whom we agree and those with whom we differ. As long as they are willing to see themselves as a member of the community with the well-being of the community in mind, they should be welcome." (275).

I'd like to print that out banner-size and hang it in a few places...

From the morally questionable beginnings of the founding of AI, the degradation of labor (and human-ness), to the careless implementation of automated grading, Warner is clear that we are leaning toward a Faustian bargain when it comes to AI. As a teacher, I was particularly struck by this:

"Writing is meant to be read. Having something that cannot read [AI] generate responses to writing is wrong. It is a moral betrayal of our responsibilities to students." (240) Far too often in discussions of AI I have heard "efficiency" used as a synonym for "pedagogy" and they are certainly not the same thing.

But Warner is also pragmatic: "There is no wishing away AI at this point, meaning it must be grappled with and done so in a way that preserves our humanity." (128) He allows for the limited use of LLMs in processing text (not reading, not writing): "Only humans can read. Only humans can write. Don't let anyone tell you otherwise.." (123)

AI has made it necessary (possible?) to critique our values when it comes to a lot of things, but especially writing. Most educational systems are founded on valuing product over process, so we can't be that surprised when we find that students are using ChatGPT to "cheat." Efficiency is key in the systems we uphold. If we want to truly have our students embrace the "messiness of learning", we have to stop honoring that which privileges standardization and the mechanization of education. The second part of Warner's framework is "renew" and he makes a more-than-convincing case that we can refuse to assimilate into some sort of algorithmic Borg, and instead embrace the human processes of reacting, observing, analyzing, and synthesizing as cause for celebration, rather than erasing them in the name of efficiency.



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2025 #12 Every Day I Write the Book: Notes on Style (Kumar)

 

Every Day I Write the Book: Notes on Style by Amitava Kumar
My rating: 4 of 5 stars

Kumar captures the quirks as well as the slings and arrows of writing in academia through a mish-mosh of anecdotes, short essays, and what feels at times to be scrapbooking (in a good way). The book is divided into nine parts: I) Self-Help; II) Writing A Book: A Brief History; III) Credos; IV) Form; V) Academic Interest; VI) Style; VII) Exercises; VIII) The Groves of Academe and IX) Materials.

Those interested in a writing "guide" can just skip to Appendix A: "Ten Rules of Writing", but as the strikeout text on the book's cover implies, this is not a guide (in the traditional sense) nor a report on style. Instead, it is a memoir (in parts) of a writing life, interspersed with nuggets of widsom, dry humor. Fans of Anne Lamott's Bird by Bird may recognize Kumar's small pencil and folded index card that he carries in his pocket, and indeed many of his recommendations align with Lamott's, albeit with a slightly less sardonic tone.

While one would expect Kumar to be "well-read," he shares his knowledge pragmatically, without pomp, and always with clarity of meaning. We don't just get a vast bibliography shared through an eclectic set of "notes", but actual motivation to read those essays and books. There's an earthiness and honesty in Kumar's voice, that manages to critique academia while still acknowledging his own role within. A few bits felt more self-indulgent than instructive, although sometimes the shortest offerings packed a punch, such as the final note of part III: "Credos remain meaningless abstractions unless put to use." (68). He reminds us that one can read endlessly about writing, but to be a writer, one must... write. And let's face it -- reading about writing provides comfort, as if filling our brains with what we ought to do is a substitute for actually doing it (and is a better alternative to binge-watching television).

Struggling academic writers would be well-advised to keep this book close at hand, as even picking one bit of it at random might help jolt you out of a slump. It can also be read in small doses, rather than cover to cover, and I might even suggest out of order, depending on your need at one moment (although there's a certain joy to the sections Kumar offers, and fun little surprises such as the wit about credos mentioned above).


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FTL2025 3B challenge Every Day I write the BooK-----> Kindred by Octavia Butler

2025 #2: Bird by Bird (Lamott)

 

Bird by Bird: Some Instructions on Writing and Life by Anne Lamott
My rating: 5 of 5 stars

I've read many books about writing. I honestly cannot remember how or why this audiobook wound up on my list, but I'm so glad it did. While much of Lamott's advice is geared toward writers of fiction, the book is invaluable for anyone who writes (or frankly, reads). And if you want to get caught up in the eccentricities of broccoli as metaphor, that's fine, but...please, allow yourself to enjoy the comedy. Some of it is fairly irreverent and may not land 100% in 2025 social mores, but most of it is a lot less offensive than a lot of what comes flying out of the mouths of stand-up comedians. If you've understood life's absurdity through grieving someone close, you'll get it. Lamott's reading is perfect--think Lily Tomlin's character "Frankie" without the woo-woo stuff. And in between the quips and the sometimes a-bit-too-long tongue-in-cheek tirades, lo and behold--there are some sound lessons about "...being militantly on your own side," and how you don't want to "look at your feet to see if you're doing it right--just dance!". Lamott learned through trial and much error perhaps the biggest lesson of all: "being enough was going to have to be an inside job." Mic drop.

Proponents of mindfulness will value Lamott's observations such as: "You get your intuition back when you make space for it and stop the chatter of the rational mind." That seems key to a lot of art and creativity, not just writing. Truly, one of my favorite read-by-the-author audiobooks (sharing company with Anthony Bourdain reading Kitchen Confidential and Stanley Tucci's reading of Taste), and Lamott keeps you laughing while you nod your head in affirmation of the book's wisdom. If you find yourself in a slump (of any kind), give it a listen. Lamott's tell-it-like-it-is isn't doom-and-gloom, but instead very life-affirming. I've got a post-it note on my monitor now that reminds me: "bird by bird!"

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Follow The Leader Challenge 2025 1A ---> Discarded Image by C.S. Lewis

2020 #8: Tutoring Second Language Writers (eds. Bruce/Rafoth)

Tutoring Second Language Writers by Shanti Bruce
My rating: 4 of 5 stars

This anthology, edited by the same team as ESL Writers: A Guide for Writing Center Tutors is an excellent collection of essays--all of which have use for anyone who teaches L2 learners. There is a strong leaning toward incorporation of diversity, equity, and inclusion principles in various essays that consider the complexity of "competency", multiple frameworks, and "accommodationist" principles (Carol Severino, 2006). Some of the offerings are short, but potent, such as Jose L. Reyes Medina's "Some Things I Did to Help Myself Learn to Write." Others, like Rebecca Babcock's "Examining Practice: Designing a Research Study" and case studies in Puerto Rico, as well as working with specific identities (such as Jocelyn Amevuvor's "Building A Cultural Bridge Between Ghana and the United States in the Writing Center") have more striking relevance in the writing center context. Those who are new to the concept of multi-faceted identity and how that informs a student's experience will appreciate Ben Rafoth's "Second Language Writers, Writing Centers, and Reflection," which, taking its cue from Harris and Silva (1993), recognizes the "diversity of concerns" of the L2 student. Likewise, Michelle Cox outlines the different facets of identity: those which we are born with, those we inherit, those we create, and those constructed for us as key to understanding how to address the multiple challenges of teaching a non-monolithic group of students who are nevertheless categorized as "ESL" (see her essay "Identity Construction, Second Language Writers, and the Writing Center."

As a teacher, the set of the essays that make up the fourth part ("Academic Expectations") was most useful. Valerie Balester reinforces the idea that understanding multiple identities is key to providing an equitable and inclusive experience for L2 students: "In truth, no single approach works, and applying a single approach to all L2 writers/speakers regardless of their needs, desires, or learning preferences, simply because we assume learning English grammar means learning English rhetoric, would constitute Othering." (200-- See Balester, "Tutoring Against Othering: Reading and Writing Critically"). Beyond philosophical considerations, Balester also provides helpful and concrete ways to use meaning to discuss local (lower-order) concerns in a student's writing. While Jennifer Craig's essay "Unfamiliar Territory: Tutors Working with Second Language Writers on Disciplinary Writing" addresses working with students outside one's own discipline, it is very helpful in understanding the challenges of building a general language proficiency and a disciplinary lexicon at the same time--not to mention writing conventions, tone, and style. Primyupa W. Praphan and Guiboke Seong's "Helping Second Language Writers Become Self-Editors" reconsiders "error correction" and its role in the tutoring experience. The authors also help clarify distinctions such as pragmatic errors vs. grammatical errors and recommend a set of strategies for before, during, and after a tutoring session. These principles are easily applied (and should be) to anyone who is assessing/reading L2 learners' writing. This last essay is particularly important as there are several alarming examples (throughout the book) of instructor/professor commentary on student papers that is ego-maniacal, counter-productive, and glaringly unhelpful in its Othering or complete cultural incompetency. In the context of the book the authors see the Writing Center as a place that mitigates this ignorance/bias on the part of the instructors, but teachers would do well to curb these practices at the outset.


Cross-posted at Musical Miscellaneous Mayhem

2019 #8: ESL Writers: A Guide for Writing Center Tutors (Bruce/Rafoth)

ESL Writers: A Guide for Writing Center Tutors by Ben Rafoth
My rating: 5 of 5 stars

This is an invaluable resources for ANYONE teaching L2 learners at the college level. I finished this book over a year ago, but have returned to it many times as a reference.

There are several essays that have been most helpful to me in my writing classes and as a writing center instructor. Leki's "Before the Conversation: A Sketch of Some Possible Backgrounds, Experiences, and Attitudes Among ESL Students Visiting a Writing Center" is invaluable reading for instructors who are working with L2 learners for the first time. The review of different types of second language acquisition in Tseng's "Theoretical Perspectives on Learning a Second Language" has helped me recognize individual challenges. Matsuda and Cox challenge instructors (readers/tutors) to be more aware of different reader stances: assimilationist, accommodationist, and separatist. The authors recognize that context can require some malleability and movement between the categories, but propose that the assimilationist stance is seldom helpful or effective. Staben and Nordhaus provide useful strategies for getting students to take a more holistic approach to the editing process (rather than "please fix my grammar"), and this pairs well with Linville's essay "Editing Line by Line" as well as Deckert's essay that both dig in to word- and sentence-level errors and how to explain them. Bouwman's contribution, "Raising Questions About Plagiarism," underscores the importance of *teaching* paraphrasing, and provides helpful questionnaires that can be used with ELLs.

Kevin Dvorak's "Writing Activities for ESL Writers" has been for me, the most valuable essay in the anthology. I use his "25-minute draft" exercise in my Writing About Music classes with my grad students, as well as in Writing Center. This has been invaluable in getting students over the hump of "getting started" with a term paper. I also occasionally use his "Alphabet Exercise" to help students think about topics for their papers.

Part 3 is dedicated more to writing centers and international experiences, but is a valuable read for anyone who wants to have a more global awareness of how language is used and taught.

2017 #2: Engaging Ideas (John C. Bean)

Engaging Ideas: The Professor's Guide to Integrating Writing, Critical Thinking, and Active Learning in the Classroom by John C. Bean
My rating: 5 of 5 stars

This book is an essential read for anyone teaching in higher ed in any discipline that can involve writing. It will serve as a primer for some, a review for others, and a reference for all. With wide margins for annotation (for a meta experience see Chapter 8 "Marginal notes approach), this book will encourage and invigorate you to incorporate writing and and critical thinking in meaningful ways. John C. Bean offers different approaches, and while not all are created equal, he manages to strike a balance between "my way or the highway" and just a survey of methods. He offers different types of marking rubrics and plentiful examples. Both idealistic and pragmatic, Bean has managed a guide that balances pedagogical theory/philosophy (Piaget, Rogers, Elbow, Perry) with good old-fashioned "how to". The book diagnoses problems with writing (such as the "data dump" or the "and then" paper) and looks at the teacher's role in creating "cognitive dissonance" to present knowledge as dialogical, not informational. I have only one question that went unanswered. Bean is a big fan of "rewrites". One aspect he doesn't address is those students who may decide to do less than is required the first time around because they know they'll have the chance to rewrite. For me, that is different than "revision." But I value the fact that Bean's book raised this question for me. This is an indispensable book that I will return to time and time again.

2015 #13: Going on Faith-Writing as a Spiritual Quest

Going on Faith: Writers on a Spiritual Quest by William Zinsser
My rating: 5 of 5 stars

Trust William Zinsser to bring together four novelists (David Bradley, Frederick Buechner, Mary Gordon, and Hugh Nissenson), a poet (Allen Ginsberg), and a religious historian (Jaroslav Pelikan) -- "men and women from various points of God's compass"-- for a lecture series that was originally published in 1988 as Spiritual Quests: The Art and Craft of Religious Writing (now out of print). Ten years later, he broadened the book by adding three more writers to the pool: Diane Ackerman, Patricia Hampl and Hillel Levine. For those who have read Zinsser's books on memoir writing and his wonderful chapter on interviewing in On Writing Well: The Classic Guide to Writing Nonfiction, his influence is felt in each of these three essays, without compromising the voice of the author. Zinsser wanted to "preserve the oral integrity of the book as a collection of talks" so he recorded each of the three authors and then "edited the transcript[s] into narrative."

What is striking is how many of the authors are quick to challenge the idea of being "religious writers" or even "spiritual" writers. For some, they set out on a different path altogether, and the process became spirit. My favorite moments included Hillel Levine's description of meeting the history of Japanese diplomat in Lithuania who was responsible for saving thousands of Jewish lives in the summer of 1940. Hillel found that "what was heroic about Sugihara was his ordinariness...the power of his moral leadership was so great that he was able to evoke goodness in other people" (81). Frederick Buechner opens with a story of a strand of blue thread, a tie clip, and the evocation of his own name that soon blossoms into an excellent essay on faith and fiction. He says, "In both faith and fiction the people you meet along the way, the things that happen to happen, the places--the airport bar, the room where you have a last supper with some friend--count for much more than ideas do. Fiction can hold opposites together in a story simultaneously...and so can faith, which by its very nature both sees and does not see" (51).

All of the lecture-essays are excellent, and I do recommend reading all of them in order. Together they form a narrative as a whole, as provide a thoughtful sustenance for those who write and read.

2015 #11 On Writing Well

On Writing Well: The Classic Guide to Writing Nonfiction by William Zinsser
My rating: 5 of 5 stars

My copy of this is dog-eared, and with good reason. If Zinsser's words came in pill form, I'd take it daily, because this text has changed the way I write--not just essays and articles, but EVERYTHING. Charged with humor and a no-nonsense attitude, On Writing Well is probably one of the most enjoyable reads in this genre, especially as Zinsser practices what he preaches. I've shared multiple chapters with friends and students, and I'd love to see this book become standard reading in any writing course. Writing, as Zinsser tells us, is hard. But hard doesn't mean impossible. I strongly recommend this book to anyone who writes ANYTHING for a living--emails, website copy, blogposts, grant proposals, magazine articles--anything!

And for those who found sexism in the original edition, I highly suggest reading the most recent edition. Sadly, there will be no further revisions from Zinsser who died in May of this year (2015), but I think his guidance is relevant as long as humans continue to communicate via the written word.

2015 #9: Writing Without Teachers (P. Elbow)

This is a classic and it is easy to see why. I have been familiar with Elbow's ideas (e.g. "the doubting and believing game") for quite sometime, but had received much of the information secondhand. For their time, the ideas in the book were revolutionary. In today's culture of "flipped classrooms" and the like, I hope that he finds more sympathetic reception for his ideas. A "teacherless writing group" isn't necessarily realistic within most college curricula, but I think every teacher who grades papers needs to read this book. The book could also be called "Reading for Teachers"--although admittedly some of this information is subtextual. It is rather dreadfully unfair when you consider what happens in most undergraduate classrooms with "term papers"---and indeed most written assignments. Students have very little chance to muck out their ideas and the motivation for doing so is almost always external (going for the grade). Elbow advocates personal freewriting as an inroad for students to find an investment in their own writing. But he also--and this was my takeaway--admonishes the overly critical, doubting attitude that has swallowed up academia and intellectual culture. It is possible to uphold critical thinking as a value, but that can include the "practice [of] getting the mind to see or think what is new, different, alien" (173). By *believing* in other perceptions and experiences, we widen the scope of our ability to "make a gestalt" as Elbow says. While I'm still inclined to grade papers because I think assessment is too systemic to chuck it out the window at this point, I think I can integrate a lot of the ideas of the teacherless writing group into my classes--more so than I already have--and even more importantly, into my reading and grading.

The slightly ironic aspect of the book is Elbow's defiant use of repetition and metaphor to address his detractors. He writes on the defensive at times, and the new edition makes clear why this is, but it can feel a bit tiresome when one is playing the believing game with his book. At the same time, it is "meta" in some respects, because Elbow is clearly playing the doubting and believing game in his own prose. So his "invisible" detractors are sometimes advocates and sometimes naysayers. The most fascinating part are the windows into his own process--particularly the second appendix of the twenty-fifth anniversary edition where he shares some of his messy freewriting that eventually found voice in the book.

2015 #8: Teaching With Writing (Toby Fulwiler)

Teaching with Writing by Toby Fulwiler
My rating: 4 of 5 stars

While somewhat dated (the book was published in 1987), Fulwiler's book is full of good lessons and exercises for teachers who wish to engage more with writing in their classes. It is essentially a teacher workshop in book form, and each chapter has pre- and post- journal writing exercises.

The handouts that are included at the end of each chapter are particularly helpful. I will be using many of them in my classes next semester. The handout on "Following Directions" at the end of Chapter 8 is fantastic as it serves as a reminder that prompts are as important as the assignments we receive. The handout breaks down the nuanced differences between words like "analyze", "compare", "contrast", "justify", etc. for our students and in turn makes us more conscious about what we ask them to do.

Admittedly, Fulwiler's scenarios are a bit rosy at times, and he doesn't address working with ELL students in any kind of meaningful way. Many of these activities fail when there is not a uniform level of English ability in the classroom. Chapter 7 on "Research Writing" spends a lot of time on conducting interviews as a major source of research. That's likely to be more helpful in some subjects more than others, and the chapter really doesn't offer ideas for motivating students to do other kinds of research, although it recognizes that as a major problem. Fulwiler also encourages collaborative editing and proofreading among students outside of class, saying "Such cooperative work does not amount to cheating; virtually all serious writers rely on outside editorial help." There's the problem, however--it isn't really "outside" when you're talking about students in the same class. It can open the door for plagiarism, even if it is not intentional.

Overall, however, Fulwiler's book is still a very relevant resource for any teacher in any subject who wants to integrate writing as a tool for learning, not just evaluating.

2015 #7: They Say, I Say by G. Graff and Cathy Birkenstein

They Say/I Say: The Moves That Matter in Academic Writing by Gerald Graff
My rating: 4 of 5 stars

I share the concerns of those who dislike the idea of templates, but I can see their usefulness, at least in part. There are a lot of valuable ideas in this little book, however, and I think it can be a great resource for teachers who can then tailor the exercises to achieve similar goals. For example, my department feels strongly that students should NOT use first person for scholarly research writing (in disagreement with the authors of the book). That doesn't mean that the book is useless. I've gone through and highlighted the examples that are in third person. I found certain sections a bit questionable (e.g. "Mix Academic and Colloquial Styles") but the authors write very much in the spirit of suggestion, rather than dogma. The book provides some very admirable and engaging ideas as to how one might tackle the mega-question: Why does writing matter? Getting students to enter a dialogue with unseen respondents is difficult, but this book presents several exercises (many of which are not dependent upon templates) that can help students engage with writing as part of a much larger conversation, rather than a single assignment for a teacher or professor.

50BC09 #2: How To Write A Lot

How to Write a Lot: A Practical Guide to Productive Academic Writing by Paul J. Silvia


rating: 3 of 5 stars


Paul Silvia's book is a humorous bit of sound advice on how to produce plentiful bits of academic writing. His basic premise centers around the creation of a writing schedule that is immutable and permanent. Whether you spend four weekly hours or ten, Silvia contends that the consistency will produce results far faster than if you should wait for inspiration to strike.

It wasn't without some guilty recognition that I read Chapter 2, "Specious Barriers to Writing a Lot". However, Silvia keeps the tone pragmatic, rather than condemnatory, and suggests various methods of tracking one's progress and "carrot-on-a-stick" rewards.



While I am sure Silvia's methods will work (I've had success thus far), I do wonder about academics who have children. The needs of children do not often fall into a schedule, and I can see that parents might find maintaining a strict writing schedule more difficult. I do know a few colleagues who would find Silvia's approach an oversimplification of what it takes to write.


I recommend this book because it is a quick read and contains some valuable and consolidated insights into writing productively. I think he is overly negative about the act of writing (some of us DO enjoy writing), but addresses it as a necessary evil for those who may not be so inclined. While it is geared toward post-graduates and faculty, it certainly would help anyone engaged in writing a dissertation, particularly in the humanities or social sciences.