Rhiannon Scharnhorst Rhiannon Scharnhorst (recommended by Samantha NeCamp), Bedford New Scholar 2021, is pursuing her hybrid PhD in Writing Studies and Victorian Literature at the University of Cincinnati, where she expects to defend her dissertation Willful Objects and Feminist Writing Practices in May 2022. She teaches a variety of courses in writing, from first-year composition to advanced topics classes, including Writing with Style and Food in Literature. She has also served as the Assistant to the Composition Program, writing and designing the department's handbook, overseeing graduate student education, and hosting the annual graduate conference. Her research draws on feminist rhetorics to make sense of objects in writing studies, including typewriters, cookbooks, and other tools. She also writes about materiality, embodiment and writing practices of nineteenth-century women writers in Great Britain.   What is the most important skill you aim to provide your students? How to communicate effectively in writing, which starts with helping students unlearn limiting beliefs about writing. So often students enter the classroom believing they are “bad” writers because a previous teacher told them they were. They see writing as a performative act, done only as a test of grammatical intelligence or syntactical prowess in the classroom. Yet they are some of the most prolific writers I’ve ever seen.  In my classroom we spend a lot of time unpacking what makes writing “good” or “bad” (hint: it’s always contextual). A well-crafted text message can be just as “good” as a brilliant essay. Both require an awareness of the rhetorical situation, the affordances of the genre, and a lot of practice. I want students to leave with an understanding of writing as a recursive process, a tool for thinking and not just a record of intelligence logged onto a page. I want them to have the confidence to try things in writing that might not work out. Writing is a skill we cultivate through practice, not something that’s given to us by a muse or higher being.  How does the next generation of students inspire you?  They refuse to live by the status quo. If they see injustice, they work to correct it. They are willing to call out bad behavior, refuse to back down when something’s not right, and are actively trying to address some of the most pressing issues in our world today. I am constantly in awe of their resilience: what they’ve lived through with the pandemic, climate crisis, racial injustices, mass shootings just in the last year is astounding. Yet they continue to fight, continue to seek out opportunities for growth and change, and are all around some of the most resilient individuals I’ve had the chance to learn from. Their vulnerability and openness about their personal struggles with issues like mental health—struggles that I myself also experienced—are also inspirational. What with all those platitudes, I can’t forget to add they are also hilarious: rhetorically adept, unabashed, irreverent. I spend a lot of time laughing with them.   What do you think instructors don't know about higher ed publishing but should? Publishers like Bedford/St. Martin’s use their power to create texts that are inclusive and equitable by recruiting and publishing diverse voices and perspectives and by asking for feedback throughout that process through programs like BNS. I mistakenly assumed higher ed publishing was more of a top-down process than a real reciprocal relationship between publishers and teachers. Instead, the editors are just as invested in creating tools and texts that challenge the status quo. The texts are continually revised, updated, diversified. They seek out students and teachers who will give them honest feedback. They commit to doing better, being better, and invest their time in figuring out how to provide material that responds to in-the-moment concerns. Most importantly, they listen!  What have you learned from other Bedford New Scholars? The struggle is real, y’all! Hearing from other dedicated teacher-scholars across the country about their teaching practices gives me hope for the future of higher education. The diversity of approaches (labor contracts, trauma-informed teaching), the variety of modalities (visual essays, memes), the shared anxieties and concerns (extremism in the classroom, pandemic issues): all helped me appreciate and reassess my own standpoint as an imperfect teacher. In particular, we revised our diversity philosophies together after a week spent thinking and discussing how to bring antiracist practices into the composition classroom.  Out of those conversations was born my commitment to “failure”: that doing important work like creating equitable and culturally relevant curriculum requires a commitment to listening, changing, apologizing, improving. There is no perfection in teaching, only the continual recommitment to this necessary work. Thank you to everyone who read, shared, or listened as we co-created this space for change.      Rhiannon’s Assignment that Works: Autoethnography  During the Bedford New Scholars Summit, each member presented an assignment that had proven successful or innovative in their classroom. Below is a brief synopsis of Rhiannon’s assignment. For the full activity, see Autoethnography. Students don’t know how they write; by that I mean they don’t know what their writing process looks like on the page as it happens. In most cases, the students I teach in introductory composition courses have never considered writing as a labored, material process. This assignment asks them to record their screens while writing, as well as the environment they work in, the people they talk to, the objects they use, and ultimately their thought process as they write. They use this primary data to write an autoethnography, detailing what they witness in the screencasts as well as any conclusions they draw after coding their compiled data.  Usually, the material realities of their lives show up on the page, from what they use to write (computers, cell phones, pen and paper) to the spaces in which they write (kitchen tables, coffee shops, beds, buses). The writing process expands, spreading from time spent typing on a screen to conversations about the assignment with roommates. They begin to reassess their own practices, interrogating what works and what doesn’t. My hope is that the assignment sets them up for future writing success by bringing their awareness to the labor behind it. ... View more

I was finishing revisions of the most recent editions of Elements of Argument and The Structure of Argument as the presidential election of 2020 was nearing its end. As the books went to press, I could make no assumptions about how the election would turn out, but that was not a new struggle for me because throughout the process of writing about argument and selecting examples of argumentation for these and prior editions, I needed to try to not let my political biases show. (I have not always been successful.) On this platform, to a community of instructors in the classroom, I can say with candor that teaching argumentation during the era of former President Donald Trump was not easy. The lasting effects of his administration make it difficult still. We have long known about media bias. We have long talked to our students about how certain networks, certain newspapers, and certain magazines can have a conservative or a liberal bias. But beyond media bias, one thing that gave Trump his surprising power over his followers was his ability to convince them that only he was telling them the truth. He convinced them that everything else was fake news. The media could not be trusted to present balanced news; they could not even be trusted to present the facts accurately. How do you support an argument, or teach your students to, when no one is telling the truth? Only that kind of cult of personality could make it possible for millions of people to refuse to take a vaccine to protect themselves against a disease that has killed over half a million people in America alone. Some people have entered the hospital with COVID still arguing that it can’t be COVID because COVID is a hoax. Only on their deathbed have some accepted the truth and begged their families to be vaccinated. This level of refusal to accept scientific truth is new. What will people from the perspective of the future think about a generation of Americans who in large numbers chose to die rather than take a vaccine advocated by the government? We still have to teach our students the difference between fact and inference. We still have to teach them how to evaluate sources. Doing so remains difficult in today’s politicized environment. The same basic guidelines for evaluation still apply. We just have to get past the emotion, and for some, that is just not possible right now. Sometimes it may be a matter of doing the most we can do under the circumstances. I happen to be in one of the states where the legislature is eager to mirror Texas’s S. B. 8 in essentially taking away women’s right to control their own bodies by making abortion illegal after six weeks and making a woman’s neighbors bounty hunters to be rewarded for turning her in if she has an abortion. I wanted to write a letter to the editor opposing passing a similar law in Arkansas. But what would I have argued in this letter, and how? It would have been pointless to try to argue in favor of abortion in general. In fact, I don’t support abortion in general, but rather under specific circumstances. A letter is hardly enough to present the complexities of my views on abortion. Too often in such discussions, we tend to focus on the most sensational cases, such as when the girl or woman is the victim of rape or incest, but doing so suggests that abortion is acceptable only in the most extreme of cases, which is also not my view. I reflected on what exactly I was advocating. For now, specifically, it was that a similar law to Texas S. B. 8 should not be passed in my state. And it wasn’t even that I was arguing that never in the future should any abortion law be passed in my state. Rather, I was responding to the push from one of our state legislators to pass a law just like Texas’s right now, before the current legislative session ends. My case was strengthened by the fact that the state senator who is advocating the newest restrictive abortion law has sponsored two similar laws that have already been struck down in federal court. Even before the court’s decision on the more recent law, our Governor admitted publicly that he knew the law was unconstitutional. Two of the three dissenting justices who failed to block Texas’s S. B 8 stated bluntly that the law was unconstitutional, and Chief Justice Roberts said the constitutionality of the law could only be considered when a specific case comes before the Court. There are facts that support my contention that it would be unwise to force a law of unclear constitutionality through our state legislation at this time, when a specific case is due to be heard by the Supreme Court in a few weeks. Add to that the fact that some states and companies are already rethinking the wisdom of doing business in Texas, and there are reasons to stop and think and not simply let emotion rule the day. Our legislature, unfortunately, probably will not do that, but what I can do at this point is to know the facts and to know exactly what I want to argue should be done. Other battles will come later, but for now, that may be the most that can be done.   Image Credit: "Supreme Court of the United States"  by Phil Roeder  is licensed under CC BY 2.0 ... View more

It is with much sadness that I begin this inaugural blog of the 2021-2022 Bits blogging season, for this is the first of scores of such mini-essays that I have written here over the years that I have not been able to run past my late wife and fellow author, Sonia Maasik, whom I always relied on to make certain that I was not running off the rails in some way or another before hitting Send. I'm on my own now, and must serve as my own editor. Still, I know that Sonia would want me to continue. So here goes. As I have scrutinized American popular culture over this long summer, which began in post-pandemic hope and is ending in Deltaic disappointment and dismay, it has struck me that if there are any new television (or should I say "streamavision"?) series or movies that make the COVID-19 pandemic an explicit, or even metaphoric, theme or background, they haven't made much of a splash. Of course, the long lag time between creative concept and actual release may explain this (though it feels like forever, the pandemic is still less than two years old—perhaps insufficient time to conceive and produce a film or TV show), or perhaps the long run of The Walking Dead (which is, after all, centered on a pandemic), has exhausted the metaphoric possibilities. Then again, any day now there may be an announcement of a soon-to-be released COVID-19-related movie or TV series. We'll just have to wait and see. But if the pandemic hasn't stimulated (at least yet) any significant reflection in American popular culture over the past few months (its political manifestations are another matter entirely), America's culture wars most certainly have, and I find striking signifiers of this in HBO's Succession and The White Lotus, along with FX's just-released Y: The Last Man. At first sight, these programs would not seem to have enough in common to signify much of anything. The first premiered well before the pandemic hit, and is a rather obvious successor (pun intended) to such rich-families-with-business-empires-behaving-badly vehicles as Dallas, Knot's Landing, and Falcon Crest, while the second (which appeared just this summer) is a kind of Love Boat turned upside down, featuring the hapless hosts and patrons of a luxury resort in Hawaii. The third, for its part, brings an apocalyptic comic book series to television that featured a near-total extinction event of all Y-chromosome-bearing organisms. So what's the connection? The semiotic link lies in the way each series answers, in a different way, the question that, as Kathryn VanArendonk puts it in her essay "TV's White Guys Are in Crisis," "preoccupied" television all last summer: viz., "What should happen to men?". Not all men, mind you, but, rather, all the "white guys who used to be default protagonists on TV and in American life, all of the beleaguered dads, bad bosses, authoritative leaders, and wild-card mavericks, [who] are no longer the main characters." And Succession, The White Lotus, and Y: The Last Man offer three examples of just how the television industry has responded to this question. Coming first to TV, Succession's response relies on an old, tried-and-true Hollywood tradition of playing upon the fundamental ambivalence on the part of America's middle class towards wealth and privilege. At once fascinated by the rich (and hoping to join them one day), middle-class viewers have always been attracted to entertainments that cater to their desire to see how the really wealthy live (Lifestyles of the Rich and Famous ), while being reassured of their moral superiority to upper-class shenanigans.  This explains the huge success of the Dallas franchise and all its imitators, and it continues to be effective right up to the present. Thus, what Succession does is to play the class card by presenting upper-class white male characters who are at once the series protagonists and its antagonists: still the center of attention (though, of course, there are upper-class women in the mix as well), but morally inferior to their largely middle-class audience. The White Lotus, for its part, borrows from the more recent (but very well established) television tradition of the "dysfunctional" family sit-com, whereby the fathers who once knew best became the Al Bundys and Homer Simpsons that would change the face of TV comedy. Accordingly, the (white) fathers of The White Lotus (the double entendre of the show's title is inescapable) are, as VanArendonk puts it, "ridiculous," with the emphasis being on their whiteness. Race, then, as well as class, shapes the show's answer to the dilemma of how to portray white guys in an era of woke TV. Finally, Y: The Last Man offers the most complicated response to VanArendonk's posited question, this time focusing on gender rather than race or class by inviting its viewers to imagine a world without men, a world where women are in complete charge because there is only one man left on earth (along with his Y-equipped monkey). What makes it complicated is that the situation is not presented as some sort of post-masculine utopia; rather, the characters recognize that without men the human species faces biological extinction, which turns the whole story line into a desperate quest to keep "the last man" alive until some sort of reproductive solution can be found. For her part, VanArendonk proposes an alternative solution to the problem of the white male protagonist. As she puts it, TV "could just forget the Main Guy altogether, at least for a while (and it’s worth noting that most recent shows led by creators of color do not frame white masculinity as the fundamental obstacle for their characters) .  .  .  It would be so much more pleasant to erase his history, to eliminate his assumed protagonicity and make him like everyone else, a guy whose moment comes and goes, a team player." Or, to offer yet another alternative, maybe television scriptwriters could work on creating fully-rounded characters rather than caricatures.   Image Credit: "stress"  by bottled_void  is licensed under CC BY 2.0   ... View more

In the midst of a wave of the COVID Delta variant, I took a fall and ended up in the emergency room of a hospital, where I spent the night waiting for a bed in what turned out to be a closet in the outpatient wing: there was not a single bed available elsewhere. In spite of being overwhelmed with patients, the staff were kind, caring, and attentive, managing x-rays and CT scans and other test with patience and skill and transferring me within three days to a skilled nursing facility nearby. Once settled in the new place, I had a chance to look at the written records that accompanied me, and to remark on the thoroughness and accuracy of the reports, including descriptions of the fractures and notes about my allergies to pain medication: some fine pieces of writing, I thought! I spent the next three weeks in a rehab center, and being the rhetorician that I am, I paid close attention to all the communicating I saw going on around me, both spoken and written. And in this time of almost unbelievable division and hostility in our country, of the avalanche of misinformation descending on us on social media, and of the increasingly bitter attacks and counterattacks regarding the recall of our governor here in California—I learned lessons in kindness, dignity, grace, and forbearance. I’ll share just two of these lessons here. The building I was in was a big rectangle, and once I was in a wheelchair, I could wheel from hall to hall, where I watched staff at work. Other patients did the same, including one woman with advanced dementia, whose soft smile and voice greeted me often. She would wheel slowly by, often talking about things that seemed to deal with numbers, or economics, and addressed, it seemed, primarily to herself. I later learned that she had been a long-time math teacher. She was hardly ever in her room, preferring to roam about the facility—and she had a penchant for going into any door that was open or that she could open: one night I woke to find she had wheeled into my room and was sitting inside the door, singing to herself. So the staff could have trouble keeping track of this patient, and when they located her she would often resist going back to her room. As I watched this pattern repeat, I was impressed (and more than a little humbled) by the staff members’ ability to talk with her quietly, kindly, and always respectfully, suggesting that she might want to share a cup of hot chocolate, to listen to music, or to roll around with one of the assistants as a companion—and eventually, ever so gently accompany her to her room and, at night, help her with washing and undressing and getting into bed. The way the staff spoke—as well as what they said—impressed me deeply: it was a kind of communication, a lot of it nonverbal, that I think characterizes the best teaching, and it has a persuasive power all its own. As I came to know the place better, I realized that some staff were more highly skilled at this kind of communication than others, but oh how I wished that all of us teachers could have a chance to learn from them and to pass on some of their expertise to our students. And then there was a nurses’ assistant that I will refer to as Maria. I met her my first night there, as she was cajoling a patient into eating just a bit more of her dinner, but I didn’t get to talk with her until a few days later, when she came into my room as she said “early, ahead of her schedule, to ask a question.” She had seen two books by my bed—The Everyday Writer, which I’m working on revising, and a book of poems by Rita Dove—and she wanted to ask about writing, specifically about her writing. As her story unfolded, I learned that she had come to this country with her mother and siblings to join her father, then working in the fields, when she was a child. In those days they had all managed to come legally, and they settled in to working in four areas of California, in order of crop rotation. Maria did not go to school until she was 14, and then she found herself in a public classroom, with little English and a lot of anxiety. But she also had a lot of curiosity, which her English teacher noticed. One day, the teacher asked her to stay behind at the end of class and offered a deal: if Maria would work hard, the teacher would stay after school 2 to 3 hours a day to teach her English. Maria did work hard—very, very hard. One day, her teacher said she wanted to take Maria somewhere on the weekend but Maria demurred, saying she didn’t think her father would allow it. He agreed, however, and Maria found herself at a high school graduation, something she had never heard of and could scarcely imagine. She set her sights on such a graduation, and with the ongoing support of her teacher, she graduated with fine grades and got a good job. Eventually, she completed the college work necessary to become a certified nurse’s assistant. But all the while, she told me, she was “telling stories,” writing them in both Spanish and English, and dreaming of doing more. How many Marias have you known in your career? How many times have you met someone who had a teacher like Maria’s? How many times have you been that teacher? Maria’s story has once again taught me that the work we do matters. That writing matters. That language shapes our lives even as we shape it, and that it connects us to one another. I gave Maria The Everyday Writer and another book I had with me, Gloria Anzaldua’s Borderlands/La Frontera, and I’ve sent a few more books since I got home. She has written that she hopes to visit soon, and that she will bring some of her stories with her. And that she continues to write, every single day. In the wake of the 20th anniversary of 9/11, I have felt . . . discouraged. But even on a dark day filled with dark memories and darker grief, I remember the lessons I have learned from Maria, from the remarkable staff of the rehab center, and from so many students: the work we do has meaning, far beyond what we may ever know. Image Credit: "Posters of Muscular and skeletal systems anatomy chart in hospital" by shixart1985, used under a CC BY 2.0 license ... View more

For those of us who were new to online teaching when the pandemic began, the learning curve was steep. I am grateful to the Bedford Bits community for the insights and straight-up “how-tos” that helped so many of us navigate disembodied teaching.  Now, many of us are back in the classroom, remembering how good it can feel to teach and learn with our whole unmuted bodies. We worry about keeping this good feeling going if Delta, Lambda, or Mu drive us back online. My university has a mask mandate, so I have been luckier than many of my colleagues about safety in the classroom. While I’ve heard some grumbles, my first-semester students seem positively giddy to be back in person, and masks seem a small price to pay. I’ve been overwhelmed by the kindness students are showing one another, despite the polarizing behavior that keeps making the news. Students remind me, constantly, why classrooms can be a space of optimism and compassion. Eric D. Brown describes this well in his recent post about empathy and collaboration in the writing classroom .  ​​ I’ve realized it’s the extraverbal murmur of the classroom that I’d missed in Zoom’s “mute-yourself” environment. For example, on the first day of discussing a challenging excerpt of Mary Wollstonecraft’s 18th century writing on education and gender equity, the first student who shot up a hand to respond to “What did you think?” said, with operatic drama, “Two words: ‘Yas, Queen!’” After a beat, the room exploded in laughter and nods, and I energetically scrawled the comment in huge letters on the chalkboard, dust flying, while other students shouted out in agreement: “Oh, yeah -- Per. I. Od! You know?” “YES! Mic drop!” What joy to feel again that noisy buzz, the snap of electricity through the room, the gasps and hum of embodied learning. I’d love to hear how others are making the most of being back in in the classroom, even as we navigate masking, COVID testing, and classrooms that are often poorly ventilated and too crowded. Every day we can stay in person feels precious, and I’m embracing the unique tools of the physical environment. I invite students up to write on the board, empowering them to call on their peers and steer the conversation, watching them enjoy the power of holding the chalk and the figurative mic. I sent them on a scavenger hunt for academic resources around our campus, which is why I’m alone in the photo above. I guarded their backpacks while they took goofy group selfies with a librarian, visited the Writing Center, and located the Counseling Center, taking note of their services. When they returned to our classroom, gasping with the effort of running around campus, one group showed off by proving they knew everyone’s first, middle, and last names, and other funny personal details, cracking each other up with a friendly rapport denied them over the past year and a half. Despite all our social skills having atrophied over the last year, we are remembering the feelings of belonging and comfort that can come from talking with people we don’t yet know, as Joe Keohane describes in this recent article in The Atlantic.  What are you trying in your classrooms -- in person or online -- to help students stay motivated and connected to one another during the marathon of this pandemic?   Image Credit: Photograph of the author in her classroom, taken by the author.     ... View more

As the new semester begins, instructors across the country will begin the process of trying to convince their students to persist in the face of the inevitable “failures” that come from learning and practicing new ideas and skills. In doing so, many of us will turn to the work of Stanford psychologist Carol Dweck and her book Mindset: The New Psychology of Success. In that groundbreaking volume, Dweck opposes “growth” and “fixed” mindsets. The former “is based on the belief that your basic qualities are things you can cultivate through your efforts. Although people may differ in every which way — in their initial talents and aptitudes, interests, or temperament — everyone can change and grow through application and experience.” In contrast, a fixed mindset assumes that “your qualities are carved in stone.” You are who you are, and no matter what you do, you’re never really going to change. Dweck’s ideas have been adopted widely not just in education, but also in business, though not always as she might have wished. In an article in the Harvard Business Review, she points out three widespread misconceptions about growth mindset: “1) I already have it, and I always have. 2) A growth mindset is just about praising and rewarding effort. 3) Just espouse a growth mindset, and good things will happen.” Clearly, these are simplifications of the hard work needed to develop a growth mindset—the “passion and persistence of grit,” to quote Dweck’s fellow psychologist Angela Duckworth. As Dweck points out, having a growth mindset doesn’t just mean being “flexible or open-minded.” Instead, students with a growth mindset, to quote from Dweck’s “Brainology,” “believe that intelligence is a potential that can be realized through learning. As a result, confronting challenges, profiting from mistakes, and persevering in the face of setbacks become ways of getting smarter.” In other words, moving towards a growth mindset is an active and ongoing process. Dweck argues in the Harvard piece that “It’s critical to reward not just effort but learning and progress, and to emphasize the processes that yield these things, such as seeking help from others, trying new strategies, and capitalizing on setbacks to move forward effectively.” Moreover, institutions, as well as individuals, must “continually reinforce growth mindset values with concrete policies.” Ultimately, she claims, we are all “a mixture of fixed and growth mindsets, and that mixture continually evolves with experience.” In short, “A ‘pure’ growth mindset doesn’t exist.” The act of writing is full of challenges, course corrections, and constant minor victories and defeats—a veritable laboratory for creating a growth mindset. Consequently, college composition classes are particularly valuable sites for encouraging students to confront their setbacks head-on so they can unpack them and strategize ways to effectively address similar challenges the next time they arise. It’s possible to cultivate a growth mindset in everything we do in our college writing classes: from class discussions where equitable participation is paramount, to essay prompts that encourage growth mindset qualities like experimentation and introspection, to assessment and evaluation on written work that emphasizes constructive criticism and praise for risk-taking. In fact, I think we can begin fostering a growth mindset from the very first week of class, not long after the opening icebreakers and introductions. To nudge us in that direction, I’ve asked students to discuss the following conversation prompts with a partner, or in small groups: Think of all the people you know personally who have a growth mindset. Choose one of those people, describe that person, and give specific examples of how their growth mindset has helped them succeed. What traits do the people you’ve identified have in common with those of your partner(s)? How are they different? Make lists or a Venn diagram. Talk about which type of mindset you generally have — fixed or growth. Describe how that mindset has played out recently in your life. In which areas can you cultivate a stronger growth mindset to help you overcome the challenges you currently face? Developing a growth mindset is essential to student success, especially in accelerated composition courses, where some students may initially feel underconfident. You can do it, we need to keep telling our students, and we need to show them, step-by-step, how to achieve their goals.   ... View more

I am writing this blog while my FYC/corequisite students are composing the first draft of a literacy narrative. While most of them, like me, are tapping on keyboards, a few are scribbling in notebooks. Earbuds are evident, as are energy drinks and iced caramel macchiatos from the coffee shop upstairs. Some of us are masked; many are not. Every few moments, I hear a sigh—and I see a student staring at the screen. The process has begun. I am assuring my students that what happens today is not the end; they must trust that I am leading them through a process—a process which, though bewildering and murky now, will eventually lead to a text they can submit with confidence.  I am also assuring myself. I actually wrote the previous paragraph two days ago; this blog post hasn’t come together, and the vague idea I had hoped to flesh out remains “formless and void.”  So, I am trying again this morning, this time while the students are working in groups on their first peer review. I have asked them to read drafts aloud to their groups, so there is a humming across the room. I occasionally discern words: language, Spanish, soccer, try out, world. And while it isn’t really distracting me from finishing this blog, it isn’t helping either.  Basically, I’m stuck.  Where have I heard that before?  From my son, for one. He’s a high school senior in a fairly rigorous college-prep program; he loves the math and individual exploration components (he’s writing an extended capstone essay about the math he uses in video-game design). But he finds no internal motivation to power through his English assignments; he prefers to put the energy required for analysis into problems that are important to him. The value of poetry analysis and explication, despite my best attempts at persuasion, eludes him. So, he shifts to work on the latest iteration of a game code, de-bugging a program, solving a math challenge, or creating a digital design. The essays remain unwritten.  I came into his room a couple of weeks ago and found him staring (yet again) at a blank screen.  Well, not totally blank. He’d written the required header. The floor around him was littered with copies of the assigned poems, notes, and rubber bands, which are a kinesthetic coping mechanism: he shoots them at chess pieces that line the tops of window frames in his room, honing a shooting technique that improves the speed and spin of the rubber bands. (He attempted to teach this to me, but as a somewhat inept shooter, I ended up hitting myself in the face…) I offered to talk with him about the poems. That invitation became a four-hour marathon, first of listening to his frustration with the assignment itself, followed by a meandering path towards a thesis. I queried, “Are you saying . . . So, does that mean . . . Which entails this—is that where you are heading?” “No, that’s not it. I want to say…”  “Wow. I think you just said it. Write it down.”  A few moments later, he grimaced. “I’m stuck. I need a word that means…”  I offered a few suggestions. “Motivation? Cause? Source? Impetus? Force?”  He considered. “No, no, no… maybe. Let me think.”  So, I waited in silence. After a few minutes, he read a sentence back to me, nodding and pointing at the screen. “Yes. That’s what I want to say.” It had taken over 30 minutes for the concept to materialize in words. Throughout the process, he moved back and forth between his sense of the poem and a rhetorical approach to the assignment: “So, I’ve made that claim. Now I want to set up a justifying quote.” With his focus on the screen, he rarely saw my smiles. But four hours later, he had a couple of pages, and he thanked me. My son’s teachers know him. They know his giftedness, and they empathize with his writing struggles. They aren’t offended by his self-advocacy: “If I accomplish the purpose of the practice assignments after the first three, do I still have to do the fourth one?” He wants to know the why behind his assignments, and they are usually more than willing to tell him—and on some occasions, negotiate. And he’s got a mom with the schedule flexibility to sit with him for four hours and support him in the hard work of writing a paper he doesn’t like. He doesn’t have to race to a job—he can devote those four hours, finish a couple of other assignments, and still get a good night’s sleep.                                                                                            . . . I am watching my students again; they are taking this first peer review seriously. They are using the words I gave them: “Thanks for sharing. I hear you saying that…”  Some of these students will not have the advantage of four undisturbed hours to work on their literacy narratives. They may not know that they can ask me about the assignment purpose or negotiate some of the requirements with me. They may be squeezing the writing into short breaks at work, or in the waiting room at the doctor’s office, where they have taken a parent or sibling. Some come to the school after hours just to find a wifi hotspot.  As per my peer review instructions, I should ask myself this: what do I hear myself saying? I’m saying there is a writer in every student—even if that’s a “little w” writer, as a grad-school friend used to say. I have to remember how hard the process is, even for privileged learners, and find ways to support ALL my students to work through that process intentionally and effectively (even if I can’t give four hours to each one).  ... View more

Greetings to teachers of writing everywhere. I am back from a summer hiatus and looking forward—albeit with a cautious lump in my throat—to a new school year. Stanford faculty, staff, and students will be back in person, with some substantial exceptions, but vaccinated and masked. The university has all kinds of contingency and backup plans, and I will not be surprised if they have to use them. So we begin another year of unknowns! I’d so love to hear from you about what your teaching is like throughout this fall semester and about how you and your students are doing. I’m wishing you all a safe, rewarding year of teaching! Image Credit: "Counting down the days" by hjl, used under a CC BY-NC 2.0 license ... View more

Emerging's fifth edition is here, and it contains some great new readings to help you encourage students to grow as citizen-actors in the world, who will deal with - and maybe even solve - many of the issues facing the world today. See this video blog about a reading that challenges our conception of the human vs. natural world divide, questioning our notions of human uniqueness and notions of the political sphere.  ... View more

Hyoung Min Lee Hyoung Min Lee (recommended by Dr. Claire Carly-Miles), Bedford New Scholar 2021, is pursuing her PhD in English at Texas A&M University. She teaches Writing About Literature as a graduate teaching assistant. She has also taught Rhetoric and Composition and worked as a grader for Technical and Business Writing. She is interested in teaching 20th- and 21st-century American literature with a focus on diversity and social justice. Her research interests include theories of race and biopolitics and 20th- and 21st-century American literature, especially African American literature.   How do you engage students in your course, whether face-to-face, online, or hybrid? A method that has worked especially well for me since the global pandemic changed the way classes are conducted is to assign students discussion posts as well as response posts to their peers’ discussion posts prior to each class meeting. I make sure to directly reflect students’ discussion posts when I design my class materials. What I find to be an effective approach I take here is to cite students’ discussion posts in my course materials and give recognition to students by putting students’ names before introducing their questions. I would often highlight especially helpful parts within a discussion post and ask the student whose post I cited to elaborate further on their discussion question or begin to respond to their own question for the class. I found this to be an effective way to increase participation without the recourse to random cold calling, which can make some students feel uncomfortable, especially in online settings. I can confidently say that this method worked well for including even the less vocal students to become important contributors to class discussion.  What is the most important skill you aim to provide your students? I try to equip students with revision skills and the habit to keep revisiting one’s own writing. I try to provide students ways to approach writing as a (collaborative) process rather than a product to be quickly written and be done with. As a teacher who has acquired English language skills as a second language, I understand what it means to approach writing as a process; I continue to strive to be a better writer of English prose by revising, editing, and asking for my peers’ suggestions and advice because I cannot take my written communication skills (in English) for granted. To show that writing is a process for anyone who tries to write well, I ask students to write rough drafts for major assignments and provide them with a chance to revise their paper after receiving comments from me, their peers, and themselves. I aim to provide students an understanding that patience, resilience, and collaboration are significant for writing well. My goal is to see students’ increased awareness of their writing and decreased fear of writing by embracing writing as a process.  What is it like to be a part of the Bedford New Scholars program? Having majored in literature, it has been a new and challenging experience for me to be a part of the Bedford New Scholars program with many scholars whose expertise firmly lies in rhetoric and composition. Although there were moments I was worried about my lack of expertise in the field of rhetoric and composition, my experiences of having taught first year composition and writing about literature courses have allowed me to join in the rich conversations that took place in the program. Among many things, this program surely deepened my interest in anti-racist pedagogy. For instance, Dr. Uzzie Cannon ’s lecture offered during the Summit week was an amazing opportunity to learn more about DEI (Diversity, Equity, and Inclusion) in teaching composition as well as other Scholars’ insights into social justice pedagogy. These opportunities to learn also greatly benefited me when I received an offer to review a textbook from a DEI perspective as a Bedford New Scholar. I learned so much by being a part of this wonderful program. It has been an honor for me to be a part of it. What have you learned from other Bedford New Scholars? I have learned so many valuable lessons from other Bedford New Scholars, especially during the Summit week. Having the chance to learn about other Scholars’ “assignments that work” was an amazing opportunity to grow as a scholar and teacher. I was especially impressed by the ways these creative assignments incorporated multimodality by, for instance, making students approach writing not just through traditional writing on a paper but through creating video and audio responses. As someone who is not tech-savvy but wants to move out of her comfort zone to become a better teacher, many helpful suggestions other Bedford Scholars provided for me on incorporating multimodality more in my classroom gave me confidence that I could improve my own assignment and make it more interesting. I also learned so many helpful assignment building ideas with a focus on DEI and ways to make writing fun through incorporating gaming and photography in a composition classroom.   Hyoung Min Lee’s Assignment that Works During the Bedford New Scholars Summit, each member presented an assignment that had proven successful or innovative in their classroom. Below is a brief synopsis of Hyoung Min’s assignment. For the full activity, see Creative Literature Response. I have designed a small writing assignment, a creative literary response assignment, to increase diversity and help students engage with literary texts more freely (without suppressing too much of their creative writing voice) before they submit more formally structured essays in my course on writing about literature. While assigning a creative response is a common method that many teachers have used to increase student engagement with a text, I have designed this assignment to function as a bridge between students’ creative interpretation of a text and formal analysis of the text. In preparing four prompts for the assignment, I tried to encourage diverse ways of student engagement with the texts. For instance, students who feel comfortable writing a response structured closely to a conventional literary analysis essay can choose to respond to a prompt that asks them to write from the reader’s perspective about interesting literary aspects while other students who want to approach the assignment more as a creative writing task can choose the prompts that ask them to imagine themselves as a character and write from the character’s perspective. From my teaching experience, after asking students to read each other’s posts and comment on them via Google Docs, students expressed how the practice of reading their peers’ creative literature responses offered them “new perspectives” on the texts we read in class.  ... View more

Eric D. Brown Eric D. Brown (recommended by Kyle Jensen), Bedford New Scholar 2021, is pursuing his PhD in Arizona State University’s Writing, Rhetorics and Literacies PhD program, where he studies writing technologies, writing pedagogy, and writing program administration. He has taught First-Year Composition, Persuasive Writing and Public Issues, Writing for the Professions, and Business Writing. Eric is also Assistant Director (AD) of Writing Programs, where he aids the director in growing the scope of Writing Programs and creating professional development for faculty. As Assistant Director, he also co-runs the National Day on Writing, ASU’s annual Composition Conference, and is an editor of Writing Programs’ bi-annual newsletter, Writing Notes .   How do you engage students in your course? I’ve found that one of the best ways to engage students in my courses is to show them that the writing process doesn’t have to be a lonely endeavor and that writing is hard, even for those of us who are “good” at it. I enact this approach by positioning myself as an expert on writing (what it is and how it works) but one that fails and stumbles through the writing process, just like they do. And I’ve found that students are particularly engaged with this idea when I write “live” for/with them. For example, I’ll write an email or an assignment sheet with them, talking through my thinking/rhetorical strategies and asking for advice and ideas from them. Regardless of what writing task I take on for/with them, they see me struggle to get started, stumble with wording, sidestep through typos/spelling mistakes, and go back and rework the text. In sum, they can see that “the struggle is real” when it comes to writing, showing students (who are often fearful of college writing) that even experts struggle with writing, that writing is collaborative, and that revision is essential to any writing situation.  What is it like to be a part of the Bedford New Scholars program? In sum, it’s pretty awesome. As a Bedford New Scholar, I get opportunities to work with Bedford/St. Martin’s on a variety of projects: feedback on textbooks, input about developing technologies, and opinions on readings for students, to name a few. It’s really great to not only get some insight into the higher ed publishing world but to contribute to that world. Meeting and interacting with the other Bedford New Scholars is also a notable highlight of the program. The virtual summit this summer gave me the chance to not only meet and interact with other new scholars, but I was able to work on projects with them and talk about what is most important to me with them: teaching. Sharing my work and sitting in on presentations for the Assignments that Work part of the summer summit was generative, as well as fun. I got a ton of great ideas for assignments to try out, and I was able to see my fellow New Scholars’ unique approaches to teaching and writing. What do you think instructors don’t know about higher ed publishing but should? I don’t think instructors know how willing and excited publishers like Bedford/St. Martin’s are to work with them, and I think this “not knowing” can lead to a view of higher ed publishing as “The Man.” While this was certainly a perception I  held in my early days as a graduate student (and before that as an adjunct), I have become persuaded otherwise. I have found higher ed publishers like Bedford/St.Martin’s to be highly invested in instructor input, experience, and in the workings/makeup of the writing programs instructors teach in. Before working with Bedford/St. Martin’s, I would not have imagined that my ideas, feedback, and support would be important to higher ed publishers, but I’ve found the opposite to be true. Furthermore, I have found that higher ed publishers like Bedford/St. Martin’s are more often than not pedagogically focused--they want to know what research is influencing our teaching, what we are doing in the classroom, why we are doing things the way we are, and how they can support that work.  What projects or course materials from Bedford/St. Martin's most pique your interest, and why? My writing program just shifted to using a common textbook (which we created with Bedford/St. Martin’s) , and Achieve is offered with the textbook. I’m excited to learn more about Achieve and use it with my students. I was able to use some of Achieve’s peer review functions this summer during the virtual summit, and I really liked many of its affordances. My institution’s current LMS has a very clunky peer review system, and I’m particularly looking forward to switching to one that allows me to shape and tweak peer review goals and that has an interface I think will be intuitive for my students. I also know that Achieve has some annotation functions, and I’m excited to use them with my students, as well.   Eric's Assignment that Works During the Bedford New Scholars Summit, each member presented an assignment that had proven successful or innovative in their classroom. Below is a brief synopsis of Eric’s assignment. For the full activity, see Remediation. One of the goals of my 101 courses is to expand for students what writing is and how it works. My “Remediation” assignment works toward this goal, as it asks students to reshape their writing for new audiences and to funnel their ideas through a new medium or genre. In sum, students are asked to take an already completed written project (usually the first major project, which asks them to explore a literacy) and funnel its ideas through another medium/“translate” it into another genre. For example, students might take their project and (re)shape it into a podcast or blog post. Remediation gets students thinking about the ever-shifting relationship among writer, audience, and text (i.e., the rhetorical situation), but also asks them to focus on how the mediums/genres in which we communicate our ideas to others consist of different kinds of media that very much are “writing.” Students are excited to expand their notions of what “counts” as writing, and one of the assignment’s selling points is in how it asks students to not only consider how certain mediums/genres appeal to certain audiences, and not others, but to consider how their writing does so as well. ... View more

Michael A. Reyes Michael A. Reyes (recommended by Danielle Dyckhoff), Bedford New Scholar 2021, earned his MA in English with a concentration in Rhetoric and Composition at Cal State LA. He teaches in the First-Year Writing program at Cal State LA and Cal Lutheran, and leads creative writing workshops in LA public schools and organizations. His research interests are in critical affect theory, decolonial rhetorics and pedagogy, contemporary poetry and poetics, and anti-racist and formative assessments.   Is there an instructor or scholar that helped shape your career in rhet/comp? How? On the first day of class, I review a document titled “Mr. Reyes’s Metaphors, Myths, and Muses,” which is a bullet point summary of what has shaped me and my teaching. I save the syllabus for later in the week, and instead introduce the class and myself in such a way.  Students quickly notice that I draw from non-academic sources: the art of ordering at an In-N-Out drive-thru, Tik Tok trends, Bruce Lee, the art of spilling the “tea,” basketball, Simone Biles, Jerry Seinfeld, poetry, and so forth. I make the argument that we can benefit from  pluriversal knowledge production. However, I first arrived at this through my foundations in decolonial studies and critical affect studies: Walter D. Mignolo and Sara Ahmed. I’ve learned a lot from their scholarship. To see lessons in reading and writing in our most intimate and natural lives is more fascinating and long-lasting to me. So, I detached a bit from scholars as the only knowledge-holders. I invite students to hopefully find, feel, and think against hierarchies and essentialisms.   What is your greatest teaching challenge? My challenges in teaching are what I value most. I’m in this profession because each semester I love to recalibrate everything I know to be true and working in my classes. I think this serves me and my students. I don’t want to be static, ever. This is my biggest challenge right now during this moment of chaos: to sustain a strategy of mindfulness and intrinsic motivation. I like myself best when I’m in this mindset. In other words, to live by what the poet Maya Angelou says, “ Success is liking yourself, liking what you do, and liking how you do it.”    What is it like to co-design or work with the editorial team at Bedford/St. Martin's? Being part of the Bedford New Scholars Program, I’ve had the opportunity so far to review two critical reading and writing textbooks, and have a say in the direction of subsequent editions. Both were different processes, and I loved my role in each one. I was given an e-book and a survey. I was asked to note areas that could align more closely with diversity, equity, and inclusion, as well as areas that are most useful for my classes. Aside from reviewing, I loved that I was introduced to texts and praxis that I wouldn’t have considered if I weren’t in the program.   What projects or course materials from Bedford/St. Martin's most pique your interest, and why? Achieve ’s peer-feedback platform is fascinating to me. I was introduced to it during the Bedford New Scholars summer institute, and it answered some questions I’ve always had about peer-feedback. How can I visually represent the writing and revision process workflow? What peer-review platforms exist for the visual learner?  The peer-feedback platform provides a real useful diagram that students work through. Along each checkpoint, students accomplish tasks that work towards completing the entire diagram. Students can visualize their growth and goals. I struggle with making peer-review dynamic and organized. This platform is on to something.     Michael's Assignment that Works: During the Bedford New Scholars Summit, each member presented an assignment that had proven successful or innovative in their classroom. Below is a brief synopsis of Michael’s assignment. For the full activity, see Photo Essay. As I developed my version of the Photo Essay, I had the following goals: To segue into traditional academic discourse. To use students’ more natural media reading experiences and visual rhetoric expertise. To use the image/non-discursive to represent abstract concepts in traditional academic discourse. To make the rhetoric of style a more prominent feature in the writing process. With this in mind, I asked students to compose an essay that contained only photos. Students shot and arranged a minimum of 10 photos, using the photojournalism techniques of Rule of Thirds, Leading Lines, Symmetry and Pattern, POV, Depth, and Framing. Each photo needed to represent a specific part of a college essay (i.e., introduction paragraph; thesis statement; body paragraph topic sentence, context, quote, analysis, transition; or conclusion paragraph). The order of the photos was up to the student. Some considered that their argument was better served with a linear, delayed thesis statement structure to build suspense, and some with a more nonlinear structure that clarified the thesis statement in the first few photos to build deep reflective thought. I would ask students to later provide a rationale for their respective argumentative structure during a follow-up assignment.   ... View more

This post is part of the Campfire Session series from Corequisite Composition Summer Camp 2021. You can find all recorded sessions and resources from Camp here . By Tracie Grimes, M.A. Professor of English, Bakersfield College As educators, we go miles out of the way to feed the need for help when students struggle to find their academic writing voices. However, many times the words we so carefully craft, words that we just know will add college/university-level skills to their writing toolbelts, seem to fall on deaf ears.  It is a delicate dance finding that “sweet spot” of constructive criticism; one that gives them the suggestions/corrections they will see as helpful and want to use rather than critiques that send them cringing into the corner of our classrooms.  In today’s arena of teaching spaces filled with underprepared composition students, it is difficult to give students usable, non-threatening feedback that provides them with a clear idea of what they need to do and how they can do it to be successful. Susan M. Brookhart, in her book How to Give Effective Feedback to Your Students , tells us a good start is one that takes into consideration the following: The topic in general and your learning target of targets in particular Typical developmental learning progressions for those topics or targets Your individual students (12)  “Try to see things from the student’s-eye view…Which aspects of the learning target would the student benefit from improving next?” (Brookhart 12). Putting ourselves in the shoes of our students not only helps us empathize with someone who is on the receiving end of constructive criticism, it helps us understand more about the importance of the relationship between feedback and how it is used by students (Pitt and Norton 499).  Studies from 2010 conducted by Richard Bailey, Mark Garner, and D. R. Sadler tell us what most of us already know: Students are not using our feedback. “Part of the difficulty arises from changes in thinking … about what the exact purpose of feedback is, how students engage with feedback and how they use it to improve their future assessed work” (Pitt and Norton 499). Given the fact that we are spending so much time giving feedback largely ignored by students, finding ways to connect our commentary to learning goals becomes an important consideration; it  gives students concrete rationale for why they are being asked to complete the assignments. When students see the connection between a task and a learning goal, a “shared understanding between teachers and learners” is established, which can motivate students to take their learning to the next level (Bailey and Garner 188). For example, a dialogue journal in which students and professors create short entries on a Google Doc in which student entries focus on something specified in an SLO, such as integrating evidence from a credible source into a paragraph, and citing the source using MLA style. Every week, the professor then responds to what students write, providing comments on what the student is doing correctly, and what the student could do to make his/her writing stronger. This type of formative assessment provides student-centered feedback using a constructivist paradigm of teaching and learning (Brown and Glover), and, when returned to students within a timeframe that allows them to make corrections before the final draft is due, can be seen as more useful by the students. Getting students to actually use our feedback is another challenge. Their choice to use feedback depends largely upon their reaction to what we say, and that reaction appears to involve a number of contributory factors. First and foremost is their understanding of the feedback they receive. Many times, students report that they do not understand the feedback given, which is why they do not use the comments to make revisions. For example, when a student sees a comment such as “awkward phrasing,” he/she may not completely understand what is meant by “awkward,” or how to correct it. A clear comment, such as “The writing here is a bit awkward and difficult to read because the phrase ‘for example’ is repeated several times. Try rearranging your sentence to get rid of the repeated phrase or keep the sentence the same and try plugging in different words in its place. If you’re at a loss, do a quick search for ‘other words, for example’.” This explicitly states what the problem was, why it was a problem, and what steps could be taken to improve. Another example comes from a writing tutor, “Right now, your thesis can be improved by addressing the prompt directly with the same keywords. It is tough to see that you are answering what it is asking. A strong thesis would likely mention some ways that cyberbullying affects bystanders to act positively and negatively. Yours mentions some positive reactions, but it does not clearly mention negative bystander reactions, only that it does not occur in social media.” Critiques about something as personal as writing can be hard pills to swallow, but administering the dose is no walk in the park either. Researchers are seeing more and more comments such as, “They may read it and not understand it. The challenge for us is trying to make it as easy as possible to understand. People outside education don’t use words the way we do” -Nursing (Bailey and Garner 193), or “Some [students] are motivated and conscientious and make changes. Others don’t really care and are satisfied with less” -Social Sciences (192). The stakes are high as we search for ways to engage our students with accessible, usable feedback. However, by offering clear direction about what our students need to do and how they need to do it in the form of information that “takes them … to the next level” (Brookhart 12), we may also find that our words become the catalyst for change in the way students respond to feedback. Works Cited Bailey, Richard, and Mark Garner. “Is the Feedback in Higher Education Assessment Worth the Paper It Is Written on? Teachers’ Reflections on Their Practices.” Teaching in Higher Education , vol. 15, no. 2, Apr. 2010, pp. 187–198. EBSCOhost , doi:10.1080/13562511003620019. Brookhart, Susan M. How to Give Effective Feedback to Your Students . Assoc. for Supervision and Curriculum Development, 2008. Brown, E., and C. Glover. “Evaluating written feedback on students’ assignments.” Innovative assessment in higher education , ed. C. Bryan and K. Clegg, Taylor, and Francis, 2005. Reinholz, Daniel L., and Dimitri R. Dounas-Frazer. Personalized Instructor Responses to Guided Student Reflections: Analysis of Two Instructors’ Perspectives and Practices . 2017, doi:10.1119/1.5002683. Sadler, D. Royce. “Beyond Feedback: Developing Student Capability in Complex Appraisal.” Assessment & Evaluation in Higher Education , vol. 35, no. 5, Aug. 2010, pp. 535–550. EBSCOhost , doi:10.1080/02602930903541015. ... View more

This post is part of the Campfire Session series from Corequisite Composition Summer Camp 2021. You can find all recorded sessions and resources from Camp here. How Story Forms the Foundation for Teaching Composition and How Visual Images Can Shape Our Students as Writers By Linda Maria Steele, Dean College I remember my very first teaching gig straight out of graduate school at University of Texas, Dallas. I received a fellowship and worked as a Teaching Assistant, which led to my teaching job at Richland College in Dallas. I was hired as an adjunct the semester after I received my Master’s degree from UT. I was offered three sections of Composition. I was full of hope, energy, and enthusiasm. But early on, I wasn’t always clear on how to get students to actually apply the tools I was teaching them and help them become better writers. Developing effective skills as a writer is such a personal task and one tool doesn’t work the same way for each student. Tools are great, but they have to be explored and practiced in practical terms if they are going to be useful and help students grow as writers. It has been close to 20 years since that first teaching gig. Looking back after all of those semesters teaching Composition, I now have a deeper understanding of how important story is as the foundation for our students as writers. Students who grasp how to effectively incorporate story in their essays have a much easier time later on when the types of papers they write become more layered and complex. Story teaches them how to connect with their ideas and what they value, connect with their readers, and gain an understanding of how to structure an essay. I have also come to appreciate the benefits of incorporating visual images into our courses and how both story and visual images can further shape our students as writers. For years, I’ve asked students to read essays with a strong focus on story with a message, introduced them to the dramatic arc, and told them how important it is to write their story with a strong beginning, middle, and end. It wasn’t until I met with a student about a first draft that the need to apply these tools really hit home. The student—I will call her Jessica—chose to write about a dramatic event that had a large impact on her life. She wrote about how the previous year, her house caught fire and burned to the ground. An event with the potential for a compelling story with a point. As dramatic of an event as this was, Jessica was not quite understanding how to tell or write the story in a dramatic way. Jessica’s first draft left out important details and had no clear organization. The essay was difficult to follow. When I gave her feedback and asked her to tell me the story in her own words, she mentioned that she ran back in the house at the very last minute to try to rescue her beloved pet guinea pig named George. I pointed out that one of the problems I saw in her draft was that she didn’t create any tension in the story. And that it seemed to me the guinea pig was an important and interesting detail to include. I reminded her of the dramatic arc we talked about in class and how it is the tension that makes story so interesting and allows us as readers to find meaning—elements that make for a good story. I suggested that she might want to try to highlight, for dramatic effect, whether or not her beloved pet, George, made it out alive. And how that detail was something that would spark interest and curiosity in her reader. I also suggested that she look for any visual images she had of her pet or the house she lost. I suggested by focusing on the images, she might get clearer on what she really wanted to communicate on the topic as she rewrote her draft. The tools we share with our students are valuable. But we also have to seek new ways to get them to understand how to use and apply them in their writing. A tool is only effective to the degree that we find practical ways to put them in practice. When it comes to teaching composition, the task for our students is less about memorizing new material and more about practicing and engaging with themselves as thinkers and writers. Jessica’s final draft was really well written. The final draft began with an introductory paragraph that hinted at the possible loss of her beloved pet. We didn’t learn until the last line that her guinea pig did, in fact, get out in time. The guinea pig served as the tension the story needed. Not only did she write an interesting essay with a strong story arc—she witnessed for herself just how important using the tool of story is to her progress as a writer. Through her willingness to revise, she found a way to tell the story in a way that was interesting and made a meaningful impact. I’d love to hear your thoughts on the way story forms the foundation for developing as writers and how visual images can shape and support our writing skills. ... View more

This post is part of the Campfire Session series from Corequisite Composition Summer Camp 2021. You can find all recorded sessions and resources from Camp here. By Christina Di Gangi, Dawson Community College The Problem: Bridging the Gap between Informative and Analytic Writing In teaching terms, I am a career literature generalist with almost sole responsibility for my college's co-requisite writing model. From my vantage point, I understand that my students struggle to bridge the gap between informative and analytic writing. Close reading is ‘back’ in part due to the CCSS (Common Core State Standards)—but while students may know how to find extensive information on a given topic, they do not always start college fully equipped to write a more analytic research paper using peer-reviewed research writing. This gap becomes especially pressing if the research paper is taught in the first-semester writing class, with students going on to write papers in their major immediately thereafter. My job is to get students up to speed. For this reason among others, reading research articles is a major focus in our co-requisite model writing labs. One Potential Solution: Inquiry Charts or I-Charts (Hoffman, 1992)  In completing ancillary graduate coursework on reading to facilitate my teaching of our co-requisite-model courses, I learned about James V. Hoffman’s 1992 Language Arts article, “Critical reading/thinking across the curriculum: Using I-charts to support learning.” Inquiry charts, or I-Charts, are graphic or cognitive organizers that K-12 students can use to map information from prior knowledge—“activating prior knowledge”—along with their reading from informative sources: This lets students build connections in ways that simply restating information from pre-selected readings does not. Hoffman proposes a model where students work together in class before moving to individual practice, but the graphic organizer concept is flexible and adaptable. Before and during reading, students have space to enter information they already know about a topic, and then space to combine this prior knowledge with additional detail and meaning from other sources that they read. The I-Chart struck me as a flexible tool. Since my first-year writing students face the challenging task of improving their facility with peer-reviewed research articles while at the same time learning how to put together a college-level research paper , I wanted to design a cognitive organizer for them that would help them both to read the research articles that they had selected and then to place those articles in level-appropriate research papers of their own.  I note that instructors can prepare students to use a cognitive organizer like the I-Chart within the natural flow of class, as they teach students to search, organize, analyze, and write about research topics. Within our co-requisite model, I find that students benefit from preparatory instruction both on isolating the content of research articles and on writing about individual research articles before moving to a longer paper. Two preparatory techniques that I would highlight are quizzes and short reviews: For quizzes, I have students practice isolating the methods and findings of abstracts, then of whole short research articles. I pick level-appropriate articles and have them annotate their copies as well as practice writing analytic clusters and paragraphs using page numbers and quotations from the articles.  Writing short reviews of single research articles helps students improve in that genre but also prepares them to write a summative research paper in my class, basically a review of research. Using the I-Chart to Plan and Draft Beginning College Research Papers Preparatory work on isolating the features and key points of peer-reviewed research articles prepares students to complete an I-Chart or similar cognitive organizer, which they can then use to structure and complete shorter and longer research assignments. Students can practice using multiple articles to complete an I-Chart in groups before moving to individual practice; they can then apply the technique to the topic of their own paper, whether that topic be pre-assigned or self-selected. Once the table has been completed, students have a visual that should suggest to most how writing about their chosen articles can be organized in a longer framework such as a research paper. In my first-semester writing class, students are specifically asked to organize their final research papers as a survey of current research using six or more research articles. Again, this is a very flexible technique. I have students write a three-source midterm, more of a ‘sandbox’ for the final paper than a full-length research paper, and then write a final paper using six or more peer-reviewed sources—but the I-Chart can easily be adapted to the needs of your particular class. For example, students could use the I-Chart to organize thoughts about a set of theme-based readings before they get into research writing; if they were more advanced, they could write about six articles for a draft around midterm and expand the number of sources for their final project. Some students may even want to change the organizing categories to suit their thought process a little better, which has certainly worked for students of mine in the past. As I emphasize to students, the goal is to track their personal analysis of the peer-reviewed research sources that they are using, then to place them in the context of their future thinking and writing—rather than to have a beautifully completed chart. An added bonus is that students can learn to detach their analytic process from trying to produce beautiful writing—they can focus on organizing and showing their thought process before they turn to redraft and polish their work.  Given all of these benefits, it is my hope that this use of a graphic organizer to facilitate analytic reading and writing for beginning college students is an honest use of a technique from the teaching of reading, a field from which—in terms of my own teaching, certainly—I still feel that I have much to learn. ... View more