Professors Sophie Sparrow, Gerry Hess, and Michael Hunter Schwartz, three leaders in the teaching and learning movement in legal education, have collaborated to offer a new book designed to synthesize the latest research on teaching and learning for adjunct law professors. The book begins with basic principles of teaching and learning theory, provides insights into how law students experience traditional law teaching, and then guides law teachers through the entire process of teaching a course. The topics addressed include: how to plan a course; how to design a syllabus and select a text; how to plan individual class sessions; how to engage and motivate students, even those tough-to-crack second- and third-year students; how to use a wide variety of teaching techniques; how to evaluate student learning, both for the purposes of assigning grades and of improving student learning; and how to be a lifelong learner as a teacher.

This pioneering book is the first to identify the methods, strategies, and personal traits of law professors whose students achieve exceptional learning. Modeling good behavior through clear, exacting standards and meticulous preparation, these instructors know that little things also count--starting on time, learning names, responding to emails.

Professors Michael Hunter Schwartz, Sophie Sparrow, and Gerry Hess, leaders in legal education, have collaborated to offer a second edition of their book. Applying the research on teaching and learning, this book guides new and experienced law teachers through the process of designing and teaching a course. The book addresses how to plan a course, design a syllabus, plan individual class sessions, engage and motivate students, use a variety of teaching techniques, assess student learning, and how to be a life-long learner as a teacher. New chapters focus on creating lasting learning, experiential learning, and troubleshooting common teaching challenges.

Becoming a New Instructor guides new instructors through the planning, preparation, and execution of their first class, whether it is in person or online. Like any good mentor, this book provides clear, simple instructions and makes best-practice recommendations. Becoming a New Instructor provides a step-by-step guide to writing a syllabus, a simple explanation for how to calculate grades, and many additional suggestions from an experienced teacher about how to run a class. Chronologically arranged from conceptualizing the class through putting together the syllabus, planning in-class time, running the class, and assigning grades, this book will answer any new instructors’ questions. Adjuncts and graduate students charged with teaching a college course will find this succinct guide invaluable. Special Features Include: An entire chapter on teaching online, plus "Concerns Specific to Online Instructors" throughout that connect chapter content to online teaching and CMS platforms Examples of best practice, checklists, sample assignments, syllabi, and rubrics that guide readers in creating materials for their own courses Guidance specific to the needs of adjuncts and graduate students teaching a course for the first time.

Class ends. Students pack up and head back to their dorms. The professor, meanwhile, goes to her car . . . to catch a little sleep, and then eat a cheeseburger in her lap before driving across the city to a different university to teach another, wholly different class. All for a paycheck that, once prep and grading are factored in, barely reaches minimum wage. Welcome to the life of the mind in the gig economy. Over the past few decades, the job of college professor has been utterly transformed—for the worse. America’s colleges and universities were designed to serve students and create knowledge through the teaching, research, and stability that come with the longevity of tenured faculty, but higher education today is dominated by adjuncts. In 1975, only thirty percent of faculty held temporary or part-time positions. By 2011, as universities faced both a decrease in public support and ballooning administrative costs, that number topped fifty percent. Now, some surveys suggest that as many as seventy percent of American professors are working course-to-course, with few benefits, little to no security, and extremely low pay. In The Adjunct Underclass, Herb Childress draws on his own firsthand experience and that of other adjuncts to tell the story of how higher education reached this sorry state. Pinpointing numerous forces within and beyond higher ed that have driven this shift, he shows us the damage wrought by contingency, not only on the adjunct faculty themselves, but also on students, the permanent faculty and administration, and the nation. How can we say that we value higher education when we treat educators like desperate day laborers? Measured but passionate, rooted in facts but sure to shock, The Adjunct Underclass reveals the conflicting values, strangled resources, and competing goals that have fundamentally changed our idea of what college should be. This book is a call to arms for anyone who believes that strong colleges are vital to society.

Did you know you could teach from home and earn a six-figure salary? Thousands of people make a great living teaching online courses from home, and the more classes they teach the more they earn! If you want into this exciting profession, this guide will show you how to get started, find great jobs, and earn more than you thought possible.

In the spring of 1932, I had finished a two-year run in Threes A Crowd, a musical revue in which I appeared with Clifton Webb and Libby Holman. The following September I was to go into a new show. I had no contract; merely the producers promise. When I returned to New York to start rehearsals, I discovered that there was to be no show. It had been a hot summer. Many people hadn’t been able to keep things. One of the things the producer hadn’t been able to keep was his promise. With the advance of refrigeration, I hope that along with the frozen foods someday we will have frozen conversation. A person will be able to keep a frozen promise indefinitely. This will be a boon to show business where more chorus girls are kept than promises. With no immediate plans for the theater, I began to wonder about radio. Many of the big-name comedians were appearing on regular programs. In the theater the actor had uncertainty, broken promises, constant travel and a gypsy existence. In radio, if you were successful, there was an assured season of work. The show could not close if there was nobody in the balcony. There was no travel and the actor could enjoy a permanent home. There may have been other advantages but I didn’t need to know them. The pioneer comedians on radio were Amos and Andy, Ray Knight and his Cuckoo Hour, the Gold Dust Twins, Stoopnagle and Budd and the Tasty Yeast Jesters. With the exception of Amos and Andy, who had been playing smalltime vaudeville theaters under the name of Sam and Henry, the others were trained and developed in radio. All of these artists performed their comedy routines in studios without audiences. Their entertainment was planned for the listener at home. In the early 1930’s when the Broadway comedians descended on radio, things went from hush to raucous. The theater buffoon had no conception of the medium and no time to study its requirements. The Broadway slogan was “Its dough—lets go!” Eddie Cantor, Jack Pearl, Ed Wynn, Joe Penner and others were radio sensations. They brought their audiences into the studios, used their theater techniques and their old vaudeville jokes, and laughter, rehearsed or spontaneous, started exploding between the commercials. The cause of this merriment was not always clear. The bewildered set owner in Galesburg, Illinois, suddenly realized that he no longer had to be able to understand radio comedy. As he sat in his Galesburg living room he knew that he had proxy audiences sitting in radio studios in New York, Chicago and Hollywood watching the comedians, laughing and shrieking “Vass you dere, Charlie” and “Wanna buy a duck” for him.