Today’s guest blogger is Tanya Rodrigue, an assistant professor in English and coordinator of the Writing Intensive Curriculum Program at Salem State University in Massachusetts.
Instructors are currently tasked with the challenge of teaching students the 21st century literacies they need to live and work in the digital age. Engaging students with multimodal writing assignments is one way students can learn these literacies. Yet many instructors may be apprehensive about incorporating multimodal assignments into their curriculum: they may feel intimidated by technology, inadequate about their knowledge of media, or overwhelmed by the vast number of programs and platforms available to use for learning purposes. Even those who are comfortable working with technology may be unsure of how to incorporate it to best facilitate course learning goals or design thoughtful multimodal assignments.
In this blog post, I offer a reflective, recursive process that novice and experienced instructors can use to generate intellectual material needed to compose effective multimodal writing assignments. Follow the steps in the three stages below.
Stage #1 Preparing for Reflection
Identify the course in which you’d like to incorporate a multimodal assignment and list the course learning goals.
Decide the genre, digital tool, or digital platform you’d like to work with. The decision making process will vary among instructors. For example, an instructor who is new to teaching multimodal writing may choose a familiar genre like a podcast, while a more experienced teacher may choose an unfamiliar program with pedagogical potential like Storybird.
Decide on the nature of the writing assignment (low-stakes or high-stakes). If you are a novice, I recommend a low-stakes assignment.
Stage #2: Identifying and Reflecting on Affordances
This process invites instructors to identify and reflect on three affordances—practical, conceptual, and pedagogical—of a genre, digital tool, or platform, and look at them in relation to one another at various points during Stage #2 and #3. Below I list definitions for each affordance and questions for instructors to ask themselves during this stage of the process. I recommend beginning with practical affordances, yet I encourage instructors to remain open to shifting between and among the affordance reflection questions as it seems appropriate. The more connections made, the more intellectual material yielded.
1. Practical affordances are the available functions, options, features, and capabilities of genres, digital tools, and/or digital platforms. For example, a practical affordance of a genre like a slide presentation is its ability to be transformed into a video, while a practical affordance of a digital tool may be its ability to change format and font color.
Questions for genre: What are the characteristics, constraints, purposes, obligatory and optional moves of the genre?
Questions for digital tools and platforms: What is the purpose and what options are available to achieve this purpose? What features distinguish this tool or platform from others? What are the constraints and how might they impact pedagogical and conceptual affordances?
2.Pedagogical affordances are available pedagogical practices or opportunities inherent in genres, digital tools, and or digital platforms. Some may be immediately apparent, such as the ability to teach audience awareness via a comment option, while others can be made visible when reflecting on the following:
Questions for genre, digital tools, and digital platforms: How might this help students achieve a course learning goal(s)? What are its constraints, and how might they influence what I can and cannot teach? How might I use it for its intended purpose and how might I transform it to more appropriately work for my needs?
3. Conceptual affordances are available cognitive moves students can make during the composing process that ultimately lead to discoveries or meaning making. The instructor must imagine how students may engage with the genre, digital tools, and/or digital platforms and the kind of thinking and invention that may occur as a result.
Questions: What course goals may directly or indirectly call for teaching students invention acts such as listening, interpreting, analyzing, identifying, imagining, assessing, deciding, reflecting, and making connections? What kinds of invention acts are valued in your discipline and in this class in particular? What do you want to teach your students about invention, invention strategies, and process, and their relationship to composing and working with technology?
Stage #3: Mining the Intellectual Material
The invention work of stage #3 requires taking up stage #2 responses and making connections between and among them in efforts to compose a multimodal assignment that works to achieve course learning goals. The process can be used multiple times; with each time, the pool of raw material grows and can be mined for additional multimodal assignment ideas.
Below is a concept map that charts out the intellectual material generated from engaging with this process for a first year writing course using the digital tool, Storify.