Webinar recording: 101 Ways to Market Your Language and Literacy Program (#9)

May 23, 2012

In the eighth of ten webinars today on how to market your language or literacy program we focussed on the power of connections. We talked about

  • Building a system for effective follow-up.
  • What is the best way to follow up with someone – phone, e-mail or some other way?
  • How to use the “drip effect” without torturing the other person.

Here’s the recording of Webinar #9:

Please “like” the YouTube video if you find these recordings helpful!

Join us next week for Class #10. It will social media for marketing and building community. Get more details here.

Related posts:

101 Ways to Market Your Language Program (10 Free webinars) – Program overview and login instructions

#1 Webinar recording

#2 Webinar recording

#3 Webinar recording

#4 Webinar recording

#5 Webinar recording

#6 Webinar recording

#7 Webinar recording

#8 Webinar recording

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Share or Tweet this post: Webinar recording is up! Tips for Marketing Your Language and Literacy Program (#9) http://wp.me/pNAh3-1pB

Update – January 2018 – This blog has had over 1.8 million views thanks to readers like you. If you enjoyed this post, please “like” it or share it on social media. Thanks!

Sarah Elaine Eaton is a faculty member in the Werklund School of Education, University of Calgary, Canada.


Language Register and Why It Matters (Or: Why You Can’t Write An Academic Paper in Gangsta Slang)

May 22, 2012

Language register is the level of formality with which you speak. Different situations and people call for different registers. This is a concept I was talking about recently with some of my graduate students who dislike the idea of writing with a formal tone. They were commenting that they preferred to write in a conversational tone. Since our class is about learning to write up their academic research, I countered by saying that a manuscript submitted to a peer-reviewed journal was less likely to receive a favourable response from the editors if the tone was too conversational.

Some of them were unfamiliar with the concept of language register, so I gave them a quick overview based on Joos’ (1967) definitions:

Frozen or “static” register

At this level, language is literally “frozen” in time and form. It does not change. This type of language is often learned and repeated by rote. Examples include biblical verse, prayers, the Pledge of Allegiance, and so forth.

Formal register

This style is impersonal and often follows a prescriptive format. The speaker uses complete sentences, avoids slang and may use technical or academic vocabulary. It is likely that the speaker will use fewer contractions, but opt instead for complete words. (Example: “have not” instead of “haven’t”).

Writing expert Rita Mae Brown might argue that a writer or speaker is more likely to use vocabulary with Latin or Greek roots at this register. For example, the writer of a scientific article may be more likely to use the word “female” (Latin root) than “woman” (Anglo Saxon root).

This is the register used for most academic and scientific publishing.

Consultative register

This is the register used when consulting an expert such as a doctor. The language used is more precise. The speaker is likely to address the expert by a title such as “Doctor”, “Mr.” or “Mrs.”.

Some sources say this register is the formal register used in conversation.

Casual register

This register is conversational in tone. It is the language used among and between friends. Words are general, rather than technical. This register may include more slang and colloquialisms.

Rita Mae Brown might say that at this register, speakers are more likey to use vocabulary words with an Anglo Saxon or Germanic root. Her book “Starting from Scratch: A Different Kind of Writers’ Manual” has an impressive list of (pp. 63-65) English vocabulary words that have an Anglo-Saxon or Germanic root, and their Latin root counterparts.

Intimate register

The language used by lovers. It is also the language used in sexual harassment. This is the most intimate form of language. It is best avoided in public and professional situations.

Why it can be harder for English speakers to understand differences in register

Unlike French, Spanish, German and other languages, English does not have different pronouns for addressing others in different registers. For example, Spanish has “usted” for formal and consultative register and “tú” for casual and intimate register. I never quite understood why one would address dieties with the informal “tú”, but that seems to be what is used at the frozen register, too.

Nevertheless, modern English simply has “you”.

That wasn’t always the way. We used to have both formal and informal forms of “you” in English. “You” was the formal way to address another, not the informal, as many people believe.

“Thou” was informal. For example, Juliet addresses her lover informally with the famous line, “O Romeo, Romeo wherefore art thou, Romeo?” (Romeo and Juliet, Act II, Scene 2).

Over time, we dropped our informal “thou” and opted instead to use the formal “you” in all situations and with all speakers. So, we ended up with one way to speak to everyone.

That leaves Native English speakers who have never learned an additional language at a disadvantage when it comes to learning and understanding register. There can be an assumption that all situations and all people are created equal. Needless to say, that assumption is false.

According to researchers such as Craig Storti (2001), Canadians tend to be culturally informal. They are more likely to address their boss by their first name and use a casual register more than any other. This does not mean, however, that Canadians (or anyone else, for that matter) are exempt from learning other registers and knowing when and why to change registers.

The importance of knowing when and how to move between registers

A speaker may move from one register to another with ease. For example, it is not uncommon for Canadian teachers to address one another casually in the staff room, and then adopt a more consultative register when speaking with a parent or school board trustee.

If one register is expected and another is presented, the result can be either that offense is taken (or intended) or a comic response. For example, on the TV show “Big Bang Theory”, Sheldon’s character often uses the higher consultative register with his friends, as well as everyone else. He sometimes seems “stuck” in the world of high-level vocabulary, unable to speak in the lower casual register that his friends use among themselves. The result is comedic. The audience laughs at his social awkwardness and inability to understand that he can (and should) adapt his speech to different contexts.

In contrast to Sheldon’s academic speech, some researchers have found that those living in poverty are more likely to be “stuck” at the casual register. They are less likely to have developed the skills at the consultative or formal language registers. Or if they do know how to use the higher registers, it feels inauthentic to do so, like wearing a suit that does not fit properly. As a result, those living in poverty may disregard the higher registers or simply refuse to use them in their speech and writing. This, in turn, may inhibit them from advancing in their work and ultimately, getting out of poverty. The same may also apply to professionals looking for advancement or aspiring scholars who wish to publish their work.

For professional and academic writing, the formal or at the very least, the consultative register, is appropriate.

Knowing what the various registers are, how to differentiate between them and when to use which one increases your chances of being accepted by groups and speakers in a variety of contexts.

References

Language registers – http://www.edmondschools.net/Portals/3/docs/LanguageRegisters.pdf

Language Registers – http://www.genconnection.com/English/ap/LanguageRegisters.htm

Understanding language registers as a means to more effective communication – http://slincs.coe.utk.edu/gtelab/learning_activities/30carc.html

Brown, Rita Mae. (1988). Starting from Scratch: A Different Kind of Writers’ Manual. Bantam Books.

Fisher, D. and Frey, N., Academic Language in the Secondary Classroom. Retrieved from: http://www.fisherandfrey.com/wp-content/uploads/2011/05/frey-academic-english-ell-handout-2.pdf

Kayne, R. A Framework for Understanding Poverty.

Concept 3: Sociolinguistics. King Abdul Aziz University, Dept. of European Languages. Retrieved from: http://bmdconsulting.com/ams/handouts/Concept%203%20Register%20&%20Style.pdf

Joos, M. (1967). The five clocks. New York: Harcourt, Brace, & World.

Storit, C. (2001) The Art of Crossing Cultures (2nd Ed.) Nicholas Brealey Publishing.

 

Check out these related posts:

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Share or Tweet this post:  Language Register and Why It Matters (Or: Why You Can’t Write An Academic Paper in Gangsta Slang) http://wp.me/pNAh3-1pr

January 2018 Update: This blog has had over 1.8 million views thanks to readers like you. If you enjoyed this post, please “like” it or share it on social media. Thanks!

Sarah Elaine Eaton is a faculty member in the Werklund School of Education, University of Calgary, Canada.


Today’s free webinar on marketing literacy and language schools: Effective Marketing Follow-Up

May 16, 2012

We’ll have Webinar #9 on Wednesday, May 23.

Today we’re having the ninth in a series of ten free webinars on how to market and promote literacy programs and language schools.

Each webinar highlight different ideas from 101 Ways to Market Your Language Program. Every week you get practical, low-cost ideas to help you promote your program. Best of all, you’ll get to connect with others on line who are also interested in the same topic, ask questions and interact.

The webinars are  30 to 60 minutes in length. Bring a pen and paper. I’m going to give you lots of ideas you can implement right away.

Webinar #9 of 10 – What to expect

Today’s webinar will focus on:

  • Effective follow up.
  • Building patience into your marekting.
  • Not giving up too soon.

Webinar time

Date: Wednesday, May 16, 2012

There are some time zone changes coming up around the world, so double-check these times against your local area:

Point of origin – 14:00 (2:00 p.m.) Mountain Time, May 16, 2012 Calgary / Edmonton

16:00 (4:00 p.m.) – Eastern Time – Toronto / New York

20:00 (8:00 p.m.) – Greenwich Time – London, England

22:00 (10:00 p.m.) – Eastern European Time – Athens / Istanbul

05:00 (5:00 a.m.) – following day – Japan Standard Time – Tokyo

How to log in

There is no need to register. These webinars are free and open to everyone. Seating is limited though, so sign on early.

To join the webinar, simply click here: http://meet11548754.adobeconnect.com/saraheaton/

Will it be recorded?

You bet. I’ll record the program and post it within 24 hours or so. No charges or fees to watch these recorded programs.

What will future webinars cover?

Here’s what we’ll cover in our final program next week:

  • Week #10 – Social media for marketing.

All you have to do is block off Wednesdays in your calendar at your corresponding local time and then log in using the link above.

If you can’t make the webinar, and you’d like to ask a question about the topic, feel free to leave me a comment. I’ll do my best to answer questions that come in before the program during the webinar. You can watch the recording to get the answer to your question, or I’ll answer you back in the comment section.

Related post:

101 Ways to Market Your Language Program (10 Free webinars) http://wp.me/pNAh3-1j6

Recordings of past programs:

#1 Webinar recording

#2 Webinar recording

#3 Webinar recording

#4 Webinar recording

#5 Webinar recording

#6 Webinar recording

#7 Webinar recording

#8 Webinar recording

___________________________

Share or Tweet this post:  Today’s free webinar on marketing literacy and language schools: Effective Marketing Follow-Up http://wp.me/pNAh3-1ph

Update – January 2018 – This blog has had over 1.8 million views thanks to readers like you. If you enjoyed this post, please “like” it or share it on social media. Thanks!

Sarah Elaine Eaton is a faculty member in the Werklund School of Education, University of Calgary, Canada.


Webinar recording: 101 Ways to Market Your Language and Literacy Program (#8)

May 16, 2012

In the eighth of ten webinars today on how to market your language or literacy program we focussed on the power of connections. We talked about

  • The importance of building trust.
  • Relationship marketing.
  • How “building” is more important than “doing” in marketing.

Here’s the recording of Webinar #8:

Please “like” the YouTube video if you find these recordings helpful!

Join us next week for Class #9. It will focus effective marketing follow up. Get more details here.

Related posts:

101 Ways to Market Your Language Program (10 Free webinars) – Program overview and login instructions

#1 Webinar recording

#2 Webinar recording

#3 Webinar recording

#4 Webinar recording

#5 Webinar recording

#6 Webinar recording

#7 Webinar recording

__________________________

Share or Tweet this post: Webinar recording is up! Tips for Marketing Your Language and Literacy Program (#8) http://wp.me/pNAh3-1pd

Update – January 2018 – This blog has had over 1.8 million views thanks to readers like you. If you enjoyed this post, please “like” it or share it on social media. Thanks!

Sarah Elaine Eaton is a faculty member in the Werklund School of Education, University of Calgary, Canada.


How writers can learn to accept criticism

May 14, 2012

Sarah Elaine Eaton, speaker, presenter, keynote, technology, social media, Calgary, Canada, educator, education, professional developmentI teach a graduate level writing course for students enrolled in the Master’s of Education program at the University of Calgary. My students are from all over the world and are actively involved in the teaching profession. The objective of this course is to prepare them for professional writing as educators and scholarly academic writing. Their major assignment involves preparing a manuscript for submission to a reputable journal in the profession.

Some students have said that they cringe at the thought of their writing being rejected by an editor or criticized by a teacher. Most have never submitted a manuscript to a journal, with fear of criticism or rejection being a contributing factor. These tips are intended help novice writers learn to take criticism from instructors, peer reviewers and editors.

Start with the assumption that your work can be improved

The biggest mistake writers make is assuming that once they have submitted a piece of writing, that is finished… and perfect. This assumption sets the writer up for a frustration and anger when their work is returned with a request for revisions. Falling in love with your own writing is a dangerous thing.

It can be helpful to approach your writing from the point of view that a perfect piece of writing never (or at least only very rarely) exists. Assume that there is always room for improvement.

Expect rejection

There are many stories of famous writers whose work was rejected. Even great writers get multiple rejections. J.K. Rowling had Harry Potter rejected a dozen times, according to some reports.  Rather than assuming that your work will be accepted or accepted with minor revisions, instead expect that you will be rejected, not once, but numerous times. This will position you to be tenacious and resilient. Here’s a list of 50 iconic writers whose work was repeatedly rejected. Personally, I’d count myself lucky to ever be included on such a list.

Develop a thick skin

Some writers develop such a deep emotional attachment to their work that it can be unhealthy, or even destructive. It is healthy and productive to develop your writing until you are satisfied and proud of it. You have passed the point of healthy emotions when you are so fragile when anything but glowing praise leaves you feeling all crumpled up and hateful towards anyone who has offered you feedback.

I tell my students to think of TV shows such as Iron Chef. The chefs who make it to the top of their profession are deeply proud of their accomplishments, but they can also take criticism. They have a thick skin. Be your own version of an “Iron Writer”.

Learn the difference between criticism and cruelty

It is true that some editors are just plain mean. However, the majority are not cruel. They may be straightforward and clinical, but do not mistake this for cruelty. Your editor is not paid to be your friend. Sometimes they are not paid at all, particularly if they are editing an academic journal.

An editor’s job is to help ensure that the final written work adheres to an established set of guidelines and standards. If your work doesn’t meet a minimum set of standards, they have to tell you. That’s their job.

If you submit enough manuscripts to enough editors, chances are that you will eventually run into a jerk or two. When that happens, take whatever feedback you find helpful and disregard the rest.

In general though, editors are generally a clear headed and insightful bunch. Many really do want to help. Most love writing and words as much as you do, maybe even more. The truth is though, they see so much crap and poorly written material that sometimes, they  just get exasperated. They are human, too. So, they may learn to be unemotional or clinical in their responses. Do not mistake an editor’s lack of bubbly enthusiasm as a personal vengeance against you.

Accept the challenge of improving your work

Let’s use the analogy of TV chefs again. But this time, think of a cooking show such as Top Chef, where chefs have to compete for the title of “Top Chef”. One by one, chefs are eliminated. Those who reach the finale all have two things in common. First, their end creation is superb. Second, when they are given advice and criticisms by their judges, their attitude is “Bring it on!” They not only accept the judges’ criticism, they embrace the challenge of improving their work.

Focus first on creating stellar writing. Second, when you are faced with an editor or peer reviewer who challenges you to improve on your masterpiece, smile sincerely and say, “I’m here to bring my A-game… So bring on the feedback!” Take your editors or reviewers’ comments the same way a Top Chef takes criticism from a judge.

Be humble and gracious

Say thank you to your editor or reviewer. Chances are very high that your editor has just as much, if not more, experience in publishing as you do. He or she has likely experienced everything that you are experiencing yourself, including rejection. Editors vary in their tone, style and personality. You may be offended by an editor’s straight forward approach to your work.

An editor does not have the same emotional attachment to the work that you do; and nor should they. Their priorities include getting the publication out on time, and possibly working with an entire editorial or production team. By recognizing that your editor has more on his or her plate than your manuscript and and by being gracious, you are likely to build a better professional relationship. Trust me, it always pays to be on the good side of your editor.

Keep a lid on your anger

It is normal to feel angry when we are rejected. What is not OK is to take your anger out on your editor, your peer reviewer or your professor. Even if you believe your editor’s comments come across as cruel or unjustified, they may not have been intended that way. Besides, what you can not control is what others say or how they say it. What you can control is your own professional conduct. Never, ever send an e-mail when you are angry.

Here’s a trick I learned: If you need to write an angry letter to “get it all out”, the trick is not to put the recipient’s address in the “To” section of the e-mail. Instead, put your own address. Send yourself the e-mail first. Let it sit in your inbox for a minimum of 24 hours. Then, read it again. If you still feel angry. Leave it in your inbox for another  24 hours. Do not send it to the intended recipient until you can read it over yourself and not be flooded with the same feelings of rage. It is likely that you will revise and soften the language of your message when you do.

Don’t be a diva

Do not fight with your editor or go all “diva” on them. That means, do not tell them how wrong they are or how sorry they’ll be that they didn’t publish your precious manuscript. Seriously, nothing comes across as more arrogant or disdainful. The bottom line is, if your work really is that good, it will speak for itself… eventually.

Be patient and resilient

Writing is a process. It takes time. Revising and rewriting are part of that process. Mozart may have popped out masterpieces without revising them, but few musicians or writers can lay claim to such genius. Be patient with your editors and with yourself. Learn the subtle balancing act of having simultaneous confidence in your work and humility in yourself. Most editors, peer reviewers and instructors have benevolent intentions. They are not monsters set to duel to the death with your ego. When you see these people as your allies instead of your enemies, the writing process becomes easier. As they say… every rejection gets you one step closer to a “yes”. Patience is part of the process.

Resources related to this post:

How to Take Writing Criticism Gracefully – by Hannah Rice Myers, eHow

How (and Why) to Take Criticism – by Monique van den Berg

Developing a Thick Skin: How to Accept Criticism – by Betty L. Meeshack

How to Happily Accept Criticism – by Angus Shaw

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Share or Tweet this post: How writers can learn to accept criticism http://wp.me/pNAh3-1oA

Update – January 2018 – This blog has had over 1.8 million views thanks to readers like you. If you enjoyed this post, please “like” it or share it on social media. Thanks!

Sarah Elaine Eaton is a faculty member in the Werklund School of Education, University of Calgary, Canada.