The WordPress Block Editor

Well, I am back in the “classic” editor again, after a long conversation with the very nice support people (“happiness engineers” I think they call them) at WordPress.com. The new editor, which under development was called “Gutenberg,” but is now called “The WordPress Block Editor,” simply didn’t work well for me.

The block editor has a different block for everything. The default is a paragraph block. Hitting “enter” in a paragraph block creates a new paragraph block. You can change the block type with a pop-up menu that has a block search function. Yes, there are so many different types of blocks that you need a search function.  Right now there are 39, but more are coming. If you know CSS, you can custom design your own. There are already people selling custom block designs.

When I asked “What if you want to write a poem? It would put each line in a separate block.” They said, “Have you tried the verse block?” and posted a link to the documentation for it. The answer to most questions was “There’s a block for that.” There are image blocks, gallery blocks, table blocks, video blocks, etc.

This design is potentially very powerful, especially if you want your post to function like a web page. However, it is not very comfortable as a writing environment, at least not for me. I think there are many others who would agree. If you paste text into the block editor, it gets blockified and you have a lot of reformatting to do. If you write in the block editor, you have to keep thinking about what kind of block the next block should be. And if you choose a “classic block” that functions like the classic editor, when you reopen the page to edit it, the block editor asks if you want to turn the “old format” into blocks. The block editor is programed to want to blockify everything. It is quite aggressive, by design. Automattic, the company behind WordPress, is trying to herd us all into the new vision.

They say that the classic editor will fade into the sunset in 2022, but I think it might stick around in some form long after that due to user insistence, in part because that expire by date has already been extended a couple of years. If it doesn’t, there is already a “fork” of WordPress called “ClassicPress,” that I could use if I decided to move this blog to a hosting site.

I began researching other platforms such as Joomla, Drupal, Medium, Wix, and Weebly. They all have pros and cons, but most were either more complex and powerful than I needed or too limited. I was almost ready to create an account on Ghost, which was created by former WordPress people. Ghost is said to have a wonderful writing environment and to be very fast and secure. However, I figured out that Ghost does not function as a host for files. I could write blog posts, but I could not upload teaching materials for teachers to download, which is one of the purposes of “Teaching Text Rhetorically.” Also, it would be more expensive.

For now, I am going to stay with WordPress.com and hope that the classic editor remains available.  I will also continue to research other platforms.

 

Blogging in WordPress

I have been writing several blogs in WordPress for about 10 years. In WordPress, you can create a free blog in five minutes. Supply a username and an email address and you are up and running. You don’t even have to pick a theme. The editor, now called the “classic” editor, was very much like a simple wordprocessor, so in many ways, you already knew how to use it.

It was so easy that I used to have students in my “Advanced Expository Writing” course create WordPress blogs. I have placed some screenshots of some excellent blog projects below. Clicking on the image should bring you to the blog.

A Student Blog for “Advanced Expository Writing”
Another Student Site: The Prickliest Pear
A Third Student Blog: Wordpannini

You may have noticed my use of past tense in the paragraphs above. That is because the WordPress community is in a bit of upheaval at the moment. The “classic” editor has been replaced by something called “Gutenberg.” The new editor, which I am writing in now, is “block-oriented.” Above this block are two paragraph blocks and three “image” blocks. The support page lists 39 types of blocks. Hitting enter, as I am about to do now, will end this block and start a new paragraph block.

The classic editor is still available, but I have been told that it will be gone by 2022. My experience has been that there is both subtle and not so subtle pressure to switch now, even though the new editor is unpopular with what appears to be a large majority of users. And there are still bugs. For example, I originally had the screenshots above in a “gallery” block that I wanted to have clickable images, but it put the urls in front of the pictures. When I asked WordPress support about this, they said pictures in gallery blocks can’t have outside links. However, they have a link button in the pop-up menu which asks for a url when clicked. The documentation doesn’t actually fit the reality of the block.

Different Metaphors (This is a heading block.)

However, I don’t want to go into the pros and cons of the new editor or the way WordPress is handling the transition. Because this is “Teaching Text Rhetorically,” I am interested in the rhetorical effects of the two metaphors of writing involved here. The classic editor produces a stream of text with inserted images and links. Gutenberg produces a stack of blocks of different types. Is Gutenberg better, worse, or just different?

The stack of blocks becomes a stream when posted. For the reader, it is a linear flow. Does it make a difference for the writer if it is a stack, perhaps similar to a PowerPoint slide deck?

My writing process for this blog was generally to write in a text editor that had no formatting codes, copy and paste into the WordPress editor, and then format in that environment. Copy and pasting from Word or LibraOffice tended to bring in formatting codes that could be troublesome in WordPress. If I paste unformatted text into Gutenberg, all line breaks trigger new blocks and formatting is unpredictable. It seems better to write in Gutenberg than copy and paste, at this point. That is quite a different writing process, but I could do it, if I could trust Gutenberg not to lose my text.

What About Students?

I don’t think I will assign blog creation to students in WordPress anymore. I think Gutenberg is too daunting. I think I would have to spend a week teaching Gutenberg. But we shall see. Perhaps it will turn out to be more appealing to students than I think.

Business Letters and Formal Emails

Note: This post is based on a handout I use in my “Professional Writing” course. Download this post as a .pdf for classroom use here.

For hundreds of years, business communication depended on letters and memos. Today, these hard copy print genres have been substantially replaced in the business world by email. Although texting and other electronic platforms do play a role in internal communication between employees, email remains an important medium for business correspondence. However, emails that perform the same functions as old-fashioned letters and memos tend to mimic the characteristics of these older forms. The rhetorical principles do not change.

A formal business letter is a powerful tool. It shows the reader that you know how to get things done, that you can’t be pushed around, and that you are probably the kind of person who knows how to hire a lawyer if you need one. Sometimes you need a real letter. In addition, the rhetorical skills you learn in writing business letters translate easily into electronic genres.

The style and arrangement of a business letter are closely tied to audience and purpose. Before you begin to write, think about why you are writing and to whom. Who will read your letter? Are there multiple audiences? What are they likely to believe or value? What do you want your readers to do?

The following structure will work for nearly any situation. If you are writing an email you should omit the addresses and the signature, but you may want to type your name at the end.

letterchart-1

Your letter should be typed with no spelling or grammatical errors. You should try to be clear and concise. Initial letters about a problem should be polite in tone. Follow-up letters may be more blunt, but you should never insult your reader or make threats.

Going a Little Deeper

The simple format above will work in many situations. For an even more effective letter, in addition to your audience and purpose, consider the following:

What is my theme?—A theme is a general concept or focus for the letter. A theme is especially effective in persuasive and sales letters, although the theme of a complaint letter might be “bad customer service” or “deceptive advertising.” The theme of a sales letter might be “our products are fun to use,” or “reach your potential with our product.” The theme helps you decide what points to include and what you want to emphasize.

How direct should I be?—If the news is good or the message is one that the reader is likely to accept or approve of, the general rule is “Bottom Line Up Front” (sometimes abbreviated as “BLUF”). In such cases, you get right to the point first and provide supporting arguments and details later in the letter. However, if your reader is likely to be unhappy with the conclusion you will need to write a “convincer,” a letter that lays out the arguments and evidence for the conclusion before reaching the main point or recommendation. That way the reader can see why you reached your conclusions and won’t reject them right at the beginning.

What are my key points?—It may help to make a list of the key points you want to make in your letter. You may have more points that you can cover effectively. Your “theme” will help you select the most important ones.

What action do I want the reader to take?—This is very important and often neglected. Letter writers often assume that after the case has been presented, the required action is obvious, but there are often multiple possible responses. Some writers of complaint letters describe their unhappiness in excruciating detail, but leave the question of “What are you going to do about it?” unasked. In a complaint letter, do you want the reader to refund money? Replace the product? Change a policy? In other letters, do you want the reader to buy something? Call or email you? Offer you a job? Whatever the action is, be specific.

Summing Up

Remember these six basic questions for each letter, memo, or email:

  1. To whom am I writing?
  2. What is my purpose?
  3. What is my theme?
  4. How direct should I be? (Should my letter be up-front or a convincer?)
  5. What are my key points?
  6. What action do I want the reader to take? (Franco 51))

Writing Emails

Emails are easy to forward and distribute. They are also stored on servers, so they are not secure, and can be accessed by law enforcement and by hackers. That means that you never know where they might end up. There are a number of rules about emails, but the two most important ones are:

  • Never write anything in an email that you would be uncomfortable seeing on the front page of the local newspaper.
  • Think before you send.

Email is an evolving genre. It may, in fact include multiple genres serving different purposes and levels of formality. SEND: The Essential Guide to Email for Office and Home, published in 2007 by David Shipley and Will Schwalbe, was one of the first comprehensive guides to writing email. The main title is an acronym for what they think email should be: Simple, Effective, Necessary, and Done. The last word, “Done” is there to make you think about what is getting done. Is the problem solved? Or did it just get passed on to another person?

Shipley and Schwalbe outline eight deadly sins of email, but most of their sins involve not thinking clearly about why you are writing and who your audience will be (13). Emails tend to be written quickly so sometimes they are vague, unintentionally insulting (or intentionally so), or too informal. It is usually a bad idea, perhaps even cowardly, to say things in emails that we would be uncomfortable saying directly face-to-face. If you write an email in anger, wait to calm down before you send it.

Shipley and Schwalbe note that

The subject line is the most important, most neglected line in your email. . . . Always use them. Make sure they say something informative. Make sure they don’t sound like spam. Make sure they reflect not only the first item in your message (‘your lunch order”) but it entire content (“your lunch order and your court date”). (80-81)

Although email is often more informal than a letter, Shipley and Schwalbe recommend being more formal unless you know it is ok to be less formal. A good rule might be, “When in doubt, be formal.” “Dear” is always an appropriate opening and everyone is either Mr. or Ms. unless they are already using first names with you. There are situations in which it is ok to go without a salutation entirely, such as when you are responding to many people.

The body of the email should state the topic in the first sentence. If you have a request or a recommendation, it should go there as well. Highlight the main points, using short paragraphs to make for easy reading. In business situations, it is usually best to keep an email to one topic. If you have another topic, write another email with a different subject line.

Closings: Phrases that are appropriate in letters, such as “Yours truly,” and “Sincerely,” will work in formal emails as well. Sometimes a simple “Thanks,” works well too.

Grammar, Spelling and Punctuation: You should take care not to make mistakes in emails to professors, officials, employers, customers, etc. In somewhat less formal emails, exclamation points (Hooray!!!) and emoticons 🙂 can be used to lighten the tone.
Be careful about the chain! One of the most common mistakes that new employees make is sending an email to a customer that has a chain of internal emails attached to it off screen. The recipient may scroll down and read messages that are inappropriate for that audience, causing embarrassment, loss of business, or even lawsuits.

Works Cited

Franco, Leonard and Paul M. Zall. Practical Writing in Business and Industry. North Scituate, Massachusetts: Duxbury Press, 1978.

Shipley, David and Will Schwalbe. SEND: The Essential Guide to Email for Office and Home, New York: Knopf, 2007.

Download this post as a .pdf for classroom use here.

Teaching Story Craft

When I first started teaching the science fiction class at the university, I struggled with what sort of paper I could expect from the students.  Because it was a G.E. course, I had a lot of aspiring engineers and scientists in the class and very few English majors.  I couldn’t expect them to know how to do close reading or apply literary theory.  My solution was to teach them story craft.   First, we talk about how science fiction starts from a “What if?” question, imagining a world with a fundamental change of some kind, often regarding new technology.  Then we talk about character, setting, plot, and style. As I continued to teach the course, I added some material about the difficulties of exposition, point of view, and verb tense.  Then I added some discussion of different ways of representing dialogue.

My original intention was to teach these concepts so that they could write more insightful critical papers.  However, it soon became clear that many students wanted to use these techniques to write their own stories.   I thought it was cool that engineers wanted to write stories, so I began offering a choice of assignments, a critical paper or a short story.  In current versions of the course, about 90% of the students choose to write a story.

I created a four-page handout with advice about the basics of story craft.  You can download it here.

I warn them about some of the typical mistakes new short story writers make.  The most common problem is to have two and a half pages of exposition about the world and the character before anything happens.  In every published story we read, I read the first sentence or two aloud and ask, “What expectations do these sentences create?  What does the writer imply about the character and the world?  How does this grab your interest?”  And I ask them, “How many pages of a story would you read if it is all description and nothing is happening?”  They admit that they would get bored.  But they still write these stories.

The other common problems usually involve weaknesses in characters or worlds, a lack of conflict or motivation, or too much influence from current TV, movies, or video games.  We might have a highly developed character that is some version of the writer, with not much of a world and no real conflict.  Or we might have a highly detailed and well-planned world with cardboard characters.

I don’t worry too much about these problems.  They are beginners.  It is probably the first science fiction story they have ever written and it may be their last.  Still, learning the craft and applying it causes them to read stories with greater awareness.  They learn to tell good writing from bad, as long as it is not their own.  And I always get some good stories.  I can tell because I forget I am grading and get engaged with the story as a story.

In addition to the handout linked above, I have a couple of templates for  character development and world building.  These can be used by new writers to think more deeply about their characters and the worlds they inhabit.  It is also interesting to divide the students into small groups and have some of them design a character while others build a world.  Half-way through the activity, you merge the groups and see what happens when one group’s character is thrown into another group’s world.  This requires some adjustments, as when one group’s fish-like being ends up on another group’s desert world with three suns.

This course is one of my favorites to teach and a big part of that is watching them learn to analyze and write science fiction stories using these concepts.

Update (11/24/18): In the spring I will be teaching this course for the first time on semesters.  I think this will give the students more time to develop their stories, so I expanded my story assessment rubric.  I plan to have the students use this rubric to evaluate the professional stories we read, and then I will use it to grade their stories. I have already converted it for use in Blackboard, but the version available in the link above is in .docx format so that teachers can modify it.

Science Fiction Epistolary

This started out as an assignment for my English 301 “Professional Writing” course.  I was teaching memos, emails, letters, reports and other common workplace genres.  The actual assignment said:

Office Blog (A weekly blog post on Blackboard consisting of an email, memo, or letter related to an ongoing situation or problem in the fictional workplace you imagined. After you post, comment on at least one other student’s post.)

I made this assignment because I wanted English majors to have an opportunity to write a lot of business-oriented documents while also developing their creative writing skills.  Because I had not used this sort of epistolary assignment before, I decided to write the assignment myself as a science fiction story called “Missing Intentional Manifestation Unit.”  See what you think.  Also available as a .pdf.


Missing Intentional Manifestation Unit

Deity Supply Enterprises
We Bend the Universe to Your Will

To: Teleportation Department
From:  Shipping Department
Subject: Missing Intentional Manifestation Unit
Date: Elapsed second 1,000,41699,01404 K

Around about elapsed second 1,000,41617,01139 K we shipped a selection of 12 Low-Power Intentional Manifestation units to Teahouse Demi-God Training Dojo,  in pocket universe 71B.  Records indicate that the shipment went out via standard interdimensional wormhole vortex.  However, one of the units did not arrive at its intended destination.  The fluxproof wrapper apparently disengaged during transit.

This is annoying and potentially dangerous.  The unit in question conforms to user expectations, reads the user’s intention and manifests it in whatever surrounding environment within which it is activated.  Such units are not approved for use by beings below Deity Five certification and are completely illegal in cultural environments below Tech 3. We must trace this unit and retrieve it.

Please initiate interdimensional trace procedures and report back ASAP!


Data Trace

Deity Supply Enterprises
We Bend the Universe to Your Will

To: Shipping Department
From:Teleportation Department
Subject: Missing Intentional Manifestation Unit
Date: Elapsed second 1,000,51655,01504 K

Data tracing indicates that that at the time of shipping a Delorean (Tech 3.2) Enforcer-Class warship was having a skirmish with a RRisconic Entity (Tech 0) in an adjacent dimension.  The warship’s probability disruptor may have affected transport. Warship destroyed. (RRisconic Entities have no tech, but they don’t need it and are very powerful when angered. Deloreans can be idiots when something gets in their way.)

The Intention Manifestor does not have a reading in any commonly traveled dimension or pocket universe.  It is probably floating in an uninhabited bubble of space-time.  Will continue trace, just to be sure.

Happy Fangledors!  May your simpkins return to roost!


Apologies

Deity Supply Enterprises
We Bend the Universe to Your Will
Pocket Universe 93012, Portal 42, Array 4, Plane of Being 39
Stardate 5435542

Teahouse Demi-God Training Dojo
Moon of Tunis
Pocket Universe 71B

Oh Most Gracious and Benevolent Beings:

We were so sorry to hear that one of the Intentional Manifestation Units you ordered was lost in transit.  Our entire shipping staff is inconsolably rolling on the floor in grief.  Once we have finished our lamentations, we will get right to work producing a replacement unit and shipping it your way, double-protected against flux storms and unfortunate probability adjustments.  We will make sure it is a deluxe model equipped with enhanced benevolence and happiness potential.  Customer satisfaction among both deities and their believers is our highest priority!

Our trace indicates that the unit in question was deflected in transit by a probability disruptor in an adjacent dimension. There is a slight possibility that the unit is stuck in a warp loop and will eventually manifest in your location. If this happens, please notify us as soon as possible.  Do not attempt to use the unit.  It will undoubtedly need calibration and may not work as designed.

One thousand face palms in your direction,

Bloog Glaxon
Shipping Minion 85th Class
Deity Supply Enterprises

Continue reading “Science Fiction Epistolary”

Where Does Writing Go?

Do you want to be a writer?  Do you want to get paid?  Is it even possible in an environment of internet publishing that has brought traditional newspapers and magazines to their knees?  You might want to look up Dr. Sarah Mesle, visiting professor in English at UCLA, Senior Humanities Editor of the Los Angeles Review of Books (LARB), and co-editor of avidly.org, who gave an informative talk on publishing in the digital world to students, mostly English majors, at Cal Poly Pomona, last Wednesday, May 14, 2014.

Dr. Mesle said that the purpose of the Los Angeles Review of Books is to “revive and re-invent the book review.” Avidly.org, which she started with Sarah Blackwood, and which exists as a “channel” of LARB, “specializes in short-form critical essays devoted to thinking and feeling about culture.”   Articles on both sites tend to be written in first person and take a subjective gonzo-style approach.  For example, a piece on Avidly called “Silly Theory” by Jordan Alexander Stein describes his friends in grad school learning about theory by making jokes about it (The illustration for the piece is a parody of the the Obama “Yes We Can” poster that says “Yes We Lacan”).  Dr. Mesle’s latest piece on LARB is about the latest episode of Game of Thrones and is called “Ten Things I Hate about My Favorite Show.”

I am jumping ahead in the presentation, but Dr. Mesle discussed the importance of developing a voice, a persona, perhaps, though she did not use the word, a “brand.”  However, Dr. Mesle noted that she presents herself differently in different contexts.

 


Here is her photo from UCLA:                       Here is her photo from LARB:

1   2

Dr. Sarah Mesle at UCLA                         Dr. Mesle at Los Angeles Review of Books


 

Dr. Mesle had lots of solid advice for students aiming at publishing careers on the Internet.  She said

  • Know your readers, know your effect.
  • Basic strategies don’t change in different registers.
  • Writing isn’t magic.  It’s a craft.
  • Believe in your voice.
  • Keep it in perspective.

The first two points are basic rhetorical concepts of audience and purpose.  It is true, but not obvious, that whether you are writing a sermon in the high style or assembly instructions in the low style, or conversation in a dialect, rhetoric applies.  The latter three points are good advice for those who are intimidated by writing itself and by the blank screen.  You don’t have to be a genius.

The next set of points were about a particular stance toward the world and toward text.  She says

  • Be interesting (and college is where you go to learn to be an interesting person).
  • Learn to be interested.
  • Learn to love sentences and stories.

One could dispute the assertion about college, but the rest is hard to question.  To write, you must be interested in ideas, people, and things.  Knowledge brings interest, interest leads to more knowledge.  Language is the medium of learning, and of expression.  And without doubt, the world is made of stories.

The last point she added to this set was “Grammar matters.”  Don’t submit material or post it to your own sites with obvious, or even not so obvious, grammatical mistakes.  That doesn’t mean you can’t play with language, use dialect, or break so-called rules.  Just make sure you know what you are doing and understand the effect on the reader.

Dr. Mesle advised students to read the Internet and read their own reading.  In other words, pay attention to how what you read affects you.  What makes you excited? What makes you bored? What do you learn from that?

She also said that she wishes now she had taken a design course and a programming course.  Writers who publish on the Internet are probably going to be involved in visual design as well, and maybe even coding.  At any rate, those who know these things will be more marketable.

Dr. Mesle closed with some ideas about getting published.  These were

  • Pick the low-hanging fruit: Easy places to publish.
  • Start your own site (Learn WordPress).
  • Pay attention to what succeeds and why.

She noted that posting to Twitter is good practice because it forces you to be concise.  It is hard to be funny in 140 characters. She also recommended writing captions for the New Yorker cartoon contest for the same reason.

Finally, she had some suggestions for pitching a piece to a website:

  • Try to get an introduction to the editor (This helps you get out of the “slush pile” of unsolicited manuscripts).
  • Write your email in the style of the piece you are submitting (It also helps to be familiar with the style of pieces that are usually published on that site).
  • Tell the editor your audience and effect.

At the end we had some discussion about what she means by “effect” here.  Is this the purpose?  Is this what Aristotle calls “pathos,” the effect on the audience?  Is it the effect of the persona of the writer has on the audience, an effect of ethos, or a kind of schtick? I think it is a bit of all of these.

It was an interesting and useful talk that left the students in attendance with much to think about.