Author Archives: Lucinda Price

Scholarship of Teaching and Learning around the web

Arm holding globe against hip in field with sunset

image by Ben White on Unsplash

This is the first of an occasional series rounding up interesting SoTL-related stories from around the web.

All of us who write about SoTL will find food for thought in Making Sense of Writing about Learning and Teaching (Healey, Matthews, and Cook-Sather, 2020). The authors of this open access book argue that we need to learn new ways of writing when we write about scholarship, and at the same time unlearn some of our disciplinary norms where these create barriers to inclusive communication.

The last year has seen many institutions try to get to grips with ‘pandemic pedagogy’, and this article considers the importance of inclusive design to keep students engaged when interactions are on screen rather than in person.

Staying with the subject of student engagement, Dr Jenny Scoles writes frankly about an unsuccessful intervention aimed at addressing student dissatisfaction with assignment feedback, and how students and teachers have very different perceptions of the role of feedback.

Over the past few years many universities have invested heavily in the production of MOOCS (massive open online courses), and the authors of this article explore how MOOCS can be embedded into module content, and the challenges of integrating them into face-to-face teaching.

And finally, from The Open University’s own Faculty of Business and Law scholarship blog, academic and barrister Jessica Giles proposes that interdisciplinarity might offer some answers to the question many of us have been asking ourselves in these turbulent times: how do I solve the worlds problems from my desk?

If you’ve come across any interesting online articles or blogs about SoTL do please post the links in the comments section below.

Heather Richardson Senior Lecturer, Staff Tutor & Deputy Director FASSTEST

Making the most of monitoring

There exists in the Open University (OU) a large set of largely unheralded workers who put themselves forward for one of the most important roles – the role of monitoring, which involves looking at a sample of another colleague’s marking and assessing it for standardisation to the marking criteria and quality of feedback. This group of workers monitored 36,000 assignments across the OU in 2019, 6 percent of the total received, including 3,735 from the School of Psychology & Counselling and nearly 1000 from one module alone (DE300 ‘Investigating Psychology’). Monitoring of assessment, for standardisation of marking and quality of feedback, is an essential feature of maintaining academic standards in an era of scrutiny of higher education provision (Bloxham and Boyd, 2012). In a distance learning institution, some students’ experience of communication with their tutor may only exist through feedback provided on assignments despite tutors’ best efforts to engage (Tsagari, 2019), so the importance of this feedback could be seen as greater than at campus-based institutions. The subjective judgements made by markers (Brooks, 2012), despite module team provision of detailed marking criteria, can also lead to standardisation issues, with assignments marked leniently or harshly. The monitoring process within the OU is vital to ensure discrepancies in marking and variabilities in feedback are picked up and addressed. The role is fundamental to the university’s principles and purposes of assessment – they ensure quality of teaching, to contribute to the professional development of tutors, and to validate assessment scores.

Monitoring as a dialogue

Monitoring in the past, though, has sometimes been associated with questions about the difficulties of monitors providing what is essentially a peer review and judgements on their colleagues. Concerns about training for monitoring led to a previous scholarship project in Psychology and Counselling at the OU in 2016 on ‘Monitoring: Good Practice’, which resulted in improvements to training for monitors and a dedicated website. An important feature of monitoring for the university is that it should be a dialogic relationship with the monitor and the tutor further discussing the process, perhaps working together to think more about successful application of marking criteria and discussing effective feedback. However, further evidence was needed to critically evaluate the prevalence and effectiveness of the ‘dialogic process’ aspired to by The Open University. To address this gap, a small-scale scholarship project was carried out, supported by FASSTEST, between February and July 2020 to explore monitoring from the experience of both monitors (n=24) and tutors (n=27) in the School of Psychology & Counselling. Content analysis of monitoring reports (n=46) across a range of undergraduate and postgraduate modules also looked for examples of good and poor practice.

Encouraging outcomes

Outcomes of the project were encouraging, particularly around the impact of monitoring on professional development for both tutors and monitors – the majority of both reported that their own practice had improved from receiving monitoring reports (21/27) and being a monitor (24/24). Monitors had gained from seeing how other colleagues assessed, and often as a result adopted (or as some suggested ‘plagiarised’) examples of good practice. Tutors, particularly those who were new to the university or to the module being monitored, reported benefiting from the feedback particularly around knowing they were applying the marking criteria appropriately.

The dialogic process between monitors and tutors, however, was less evident, with only half of tutors having further contact with monitors, usually because they did not feel it beneficial to follow up. As one tutor put it, ‘if you receive a great report, there is little more to be said’. Sometimes the dialogue was more about challenging the report and explaining and justifying the assessment by referring back to knowledge a monitor may not have – the tutor’s relationship with the student, for example, which could mean less feedback because of the student feeling overwhelmed when receiving too much.  It is recognised that discussions between markers and assessors can be beneficial in improving standardisation (Grainger et al, 2008) so the OU expectation and encouragement for the dialogue between monitors and tutors could result in improved assessment practice. Monitors worked hard to encourage further dialogue with tutors; reports typically were friendly and encouraging, and most monitors included email contact information with a ‘please contact me to talk further’ message within the report. The decision then is left to the tutor whether further contact takes place, and that will be something that workload and time management may well also impact.

As with any peer review process, there were a small minority of experienced tutors who did not feel monitoring was particularly beneficial after teaching a module for several years and sometimes questioned the judgement of monitors who were less experienced than themselves. Receiving a good rather than an excellent from a monitor was occasionally met with resistance. However, within any peer review or assessment system, there will always be emotive responses alongside cognitive benefits particularly when perceptions of experience are involved (Cartney, 2010).

A shot of a table from above with a laptop, cup of coffee, pens, a mouse and magnifying glass displayed

Photo by Ian Dooley on Unsplash

Content of reports

The content analysis of reports showed that a majority demonstrated very good practice – supportive, friendly, accurate and full of appropriate advice. Sometimes there was evidence of cut and paste errors, though, where monitors had perhaps taken information from a previous report or another similar report and inadvertently not changed the name. Whilst these were very few overall, there were some instances were tutors felt these errors undermined the value of the reports. Tutors also felt that sometimes monitors were not able to acknowledge the personal relationships tutors had with their students, which could explain a lower level of feedback, for example, for students who a tutor might judge to manage a limited amount of information in each set of feedback better (Forsythe and Johnson, 2017). There was also doubt that monitors looked back to previous reports to acknowledge what had been said before.

Being honest in peer review

It can also be difficult for a monitor to be completely honest in a report. Nearly all monitors acknowledged they had monitored a friend or close colleague, although the majority did not consider this to be an issue. The ability, though, to provide an unbiased critical judgement of a friend’s or colleague’s assessment practice could well be affected (Abidin et al, 2018). On small modules avoiding monitoring close colleagues can be problematic – with only two monitors on a module, inevitably they will end up monitoring each other. However, on larger modules this can be avoided. Notably, in other faculties on larger modules monitors are asked in advance to check their list and remove any colleagues they are familiar with to avoid this.

Professionalising the monitor role

Perhaps one of the most important findings of this research, though, relates to the status of the role of monitor. Nearly all monitors considered their role as important and valued by the university and colleagues, but very few felt they were an important part of a team, and most reported they had very little communication about their work. Half of monitors reported feeling isolated in their role. The monitor role also lacks the professional status that other roles (for example, associated with academic conduct) command. A more recognised professional status of the monitor, with better integration into Module Teams, could go some way to making monitors and tutors see the role as more valued.

Finally, changes in the monitoring system were implemented during the period this research was being carried out. These changes affected monitoring levels, and the way in which the report form is completed, are significant improvements and early reports from monitors and tutors suggest they find the forms easier to use. It was encouraging that many of the findings of the research were being addressed by monitoring process changes that were taking place at the same time. This validates both the research findings and the decisions of the Open University’s Monitoring Implementation Group, which have designed a new website and handbook.


Abidin, A.N.Z., Masek, A, Mohd Faiz, N.S. & Sahdan, S. (2018), Exploring the elements of integrity in peer assessment, MATC Web of Conferences, 150, 05002.

Bloxham, S. & Boyd, P. (2012) Accountability in grading student work: securing academic standards in a twenty-first century quality assurance context, British Educational Research Journal, 38, (4), pp. 615 – 634.

Brooks, V. (2012), Marking as judgement, Research Papers in Education, 27, (1), pp. 63 – 80.

Cartney, P. (2010), Exploring the use of peer assessment as a vehicle for closing the gap between feedback given and feedback used, Assessment & Evaluation in Higher Education, 35, (5), pp. 551 – 564.

Forsythe, A. & Johnson, S. (2016), Thanks, but no thanks for the feedback, Assessment & Evaluation in Higher Education, 42, (6), pp. 850 – 859.

Grainger, P., Purnell, K. & Zipf, R. (2008), Judging quality through substantive conversations between markers, Assessment & Evaluation in Higher Education, 33, (2), pp. 133 – 142.

Tsagari, D. (2019), Interface between feedback, assessment and distance learning written assignments, Research Papers in Language Teaching and Learning, 10, (1), pp. 72 – 99. Available online at

For further details please contact

Sue Nieland – Staff Tutor in Psychology and Counselling

Every picture tells a story: ‘Creative Interactions’

An experiment in creative learning

On a grey Saturday morning in March 2020, as the UK teetered on the brink of the first lockdown, a small group of students gathered at the Open University campus in Milton Keynes to take part in an experiment. Half of the group were studying Creative Writing, and the other half were students of Art History.

The experiment – a project called ‘Creative Interactions’ –   had been dreamt up by me (Dr Heather Richardson, Creative Writing) and Art Historian Dr Clare Taylor, ably assisted by two of our Associate Lecturer colleagues, Dr Helen Mosby and Dr Diana Newall. The plan was to find out what happens when the teaching techniques of the two disciplines are swapped around. Luckily for us the Open University has an extensive art collection, much of which is on display around the campus. This meant we were able to come face to face with artworks from all around the world over the course of the day.

Ekphrasis and visual analysis

Ekphrasis is a familiar phrase to many people studying Creative Writing and comes from the ancient Greek words for describing or speaking out. Put simply, ekphrasis is writing that describes a piece of visual art, and it’s cropped up in literature for hundreds of years – think of Keats’ ‘Ode on a Grecian Urn’, for example. Every Creative Writing tutor has some ekphrastic exercises in their toolbox, where we show the students an image and encourage them to let their imaginations off the leash. What we’re hoping for is an emotional response – a gut reaction – that will lead students to a creative response in the form of a story or poem inspired by what they see.

Art History tutors and students on the other hand engage with artworks in a very different way. Their first step when they encounter an artwork is to carry out a visual analysis, considering issues like composition, colour, and the materials used. Another important element is the historical or social context in which the work was produced. It’s all very different from the way Creative Writing students make use of visual art.

Of course, we wanted our student volunteers to get practical benefits from the workshop that would help them on their modules, so for the first part of the day they worked with the tutor from their own discipline and engaged with several pieces of art in the usual way for their subject. It was then that the experiment really began as the two groups swapped, with the Art History students working with the Creative Writing tutor, and vice-versa for the Creative Writing students.

Imaginative adventures

I sat in with the Art History students as Creative Writing tutor Helen Mosby led them through a series of activities while looking at David Tindle’s Mural Panel C. At first glance this looks to me like a lovely image of a summer day, viewed through partially open French windows. Helen drew our attention to the old-fashioned telephone, receiver off the hook, sitting outside the French windows, and we tried to imagine the circumstances behind it. Had someone been trying to make a secret phone call, out of earshot of anyone else in the house? Or had some emergency occurred which had led them to throw the receiver down and run off?

The Art History students pointed out the areas of shadow amongst the trees on the right-hand side of the painting, and the misty effect caused by the barely-visible voile curtains, and with our creative writing hats on we wondered if these suggested a darker or unsettling aspect to the stories we were inventing.

For the final part of the workshop we all came together to consider a triptych – an artwork made up of three pieces – with input and discussion from both disciplines, followed by a creative writing session.

Lined page filled with text

Participants response to one of the artworks


At the end of the workshop we asked the students what they had learnt. Unsurprisingly, both disciplines said they felt better able to carry out a visual and formal analysis of artworks. One Creative Writing student said, ‘Looking at artwork from an art historian’s perspective would lead to different stimuli’, while another said they had learnt ‘How to interpret art as a medium with a purpose’. The Art History students commented on the creative writing activities, with one saying, ‘Spontaneous creative writing is hard!’ while another acknowledged the benefits of writing without hesitation, stating emphatically, ‘I can write!’

The students reflected on how the workshop had enhanced their appreciation of both their ‘home’ and ‘other’ discipline, with Creative Writing students feeling that analysing the artworks in detail would help them with their descriptive writing, while the Art History students concluded that thinking of an artwork in terms of narrative or subject matter would add a new dimension to their interpretation.

What next?

After the workshop Clare, Diana, Helen and I agreed that the experiment had proved the value to students of a creative interaction between their disciplines. Our next step will be to roll out a virtual version of the workshop. Going online isn’t just about dealing with the ever-changing Covid-19 regulations, but also a way to ensure that more students get the opportunity to participate – not just those who live within travelling distance from Milton Keynes. And we plan to talk about ‘Creative Interactions’ at conferences and staff development events for Creative Writing and Art History tutors. Exciting things happen when two disciplines work together, and we’re going to make sure that story gets told.

For further details please contact:

Heather Richardson, Senior Lecturer, Staff Tutor & Deputy Director FASSTEST