Mckenzie Bergan Mckenzie Bergan is a PhD student at the University of Connecticut studying gothic fiction, young adult literature, and the campus novel. She explores how students and instructors form their identities within educational institutions, both individually and in relationship to those around them. She is the Assistant Director of First-Year Writing and is writing a textbook with the Director of UConn's FYW program. In this role, she also plans professional development opportunities for instructors and helps plan and host the Conference on the Teaching of Writing. She has taught English 1007, Writing and Multimodal Composition over the past several years and in the summer. She is the co-host of the “Reading Shirley Jackson Podcast” and has published “Theorising the Uncanny Adaptation through Hamlet” in Adaptation.     What is the most important skill you aim to provide your students? The most important thing I hope to instill in my students is the ability to recognize and hone their own curiosity. For so many students, school becomes a series of check boxes, and they often don’t have time to linger on questions or ideas that excite them. And that’s not necessarily anyone’s fault! Of course, students become overwhelmed with all they are expected to do in order to gain entry into a university and to graduate from one, and educators have those same responsibilities, especially when so many students face gaps in access and instructional time from the pandemic. That's why I feel it is so vital to give students space to be curious, to recognize when an idea sparks something in them, and further, to give them tools to practice their curiosity. Google and Wikipedia are amazing resources that give us more access to information than anyone has had in the history of our world (!!!), but helping to guide them through the process of navigating those resources, how to be on the lookout for information, and how to process different information in intuitive ways are all skills I work on in the classroom. Further, exposing them to the resources they have through the university and how to use them while they can is central to my work in the classrooms.   What is your greatest teaching challenge? It might be cliche, but my biggest teaching challenge right now is how to engage with AI ethically. Not only is it a technology that will necessarily change the course of my teaching forever, but I struggle to navigate the ethical concerns I have about it, like the environmental impact it causes, and the lack of credit given to the writers and artists whose work AI uses to create its products. While I’m deeply interested in ways AI can be utilized in the classroom, I don’t feel comfortable asking students to play with AI or asking it to do the same thing multiple ways, as many class activities suggest, because creating one AI generated image is the same as completely charging your phone, according to the MIT Technology Review. In addition, AI draws from resources that it does not credit. How can I ask my students to think about ethical citation methods while using a technology that fails to follow the methods I teach? And yet, it feels like if I don’t embrace AI in my classroom, I’ll become a dinosaur and lose the opportunity to bring an exciting new technology into the classroom. It also obviously won’t stop students from using AI technology in a variety of ways. Is a “I’d rather you do it in the house” mentality a better way of teaching them how to navigate this development even with my ethical concerns? These are the questions that take up most of my teaching thinking at this point. And while they are difficult, it’s also exciting to be at an important turning point in the way we think about teaching, the composition classroom, and writing itself.   Mckenzie's Assignment That Works Below is a brief synopsis of Mckenzie's assignment. For the full activity, see the Freewriting Portfolio assignment prompt. For Assignments That Work, I shared my “Freewriting Portfolio” assignment. This assignment emerges out of a daily practice of freewriting that I do in my First-Year Writing classroom. For 10 minutes each class, students respond to a prompt I create. The prompt may be on the content of the class that day, a question about writing or composing, or a reflection on the project they're currently creating. Every student then shares one thing they thought about in the freewriting time, even if it’s just one sentence. I find starting the day with writing and sharing not only sets a concrete expectation of what class will be like, but it also helps to create a classroom community in which every student’s ideas are valued and heard. By the end of the semester, students have almost 30 freewriting responses. Our final project, the Freewriting Portfolio, asks students to create a multimodal collage of their freewriting artifacts. They must select 5 excerpts from their writing and then combine them with images that represent their thinking throughout the course. By combining visual and linguistic modes, students can reflectively think about their experience in the class in new ways. Students then create three footnotes that explain how their thinking has evolved throughout the course, and how their projects might have grown out of these preliminary meditations. It also asks them to consciously consider how they navigated their writing processes. I find reflective writing at the end of the semester to be very meaningful, and italso asks me to think about how I want to frame the course for future students. ... View more

Chloe Cardosi Chloe Cardosi is pursuing her PhD in Public Rhetorics and Community Engagement at University of Wisconsin Milwaukee. She teaches a variety of courses in writing, including FYC courses, business and technoscience writing, and rhetoric and culture. She has also served as the English 102 coordinator, assisting the Director of Composition in revising curriculum and supporting incoming Graduate Teaching Assistants in their transition to UWM’s English Department and composition program. Her research focuses on linguistic justice, public memory, and cultural rhetorics methodologies. As a first-generation student, she is invested in helping students of all levels and backgrounds finding their voices as writers, and making the space to amplify their work.   How do you ensure your course is inclusive, equitable, and culturally responsive? In addition to standard accessibility practices, my main goal for inclusivity in all of my course is fostering a sense of belonging in my students. As a writing teacher, I never want to lose sight of the fact of what an honor it is to work with students so closely and to interact with their voices and perspectives through their work. I believe that my job is not to teach students how to write, but to guide them to recognize how they already write, then get to work in refining their voices so they can compose work that matters to them.  This is a major reason why I welcome and encourage multiple modes of expression and community-engaged research in my assignments. I want students to know that writing is not a skill you learn to make it through a semester and earn a good grade based on whatever idiosyncratic expectations their instructor may have—it’s a tool that will help them express themselves and their ideas, connect with others, and accomplish things in the “real world.” How this tool is wielded depends on the student and what they’re trying to accomplish with their writing. Through the work they do in my class, I want students to see that writing can—and should—look different based on audience, purpose, genre, and so much more.   What is the most important skill you aim to provide to your students? I want my students to feel equipped to write for a variety of rhetorical situations. All too often, students are instructed that “Standard Academic English” is the end-all, be-all way to write, the “neutral” standard all other writing either adheres to or strays from. But let’s be real: “academic” writing is not neutral, and the idea that it’s the standard is a myth to uphold the idea of exclusivity in academia. From the beginning of my classes, I’m very clear with my students that more traditional, “standard” ways of writing in academia is just one way to write, not the way.  Don’t get me wrong: this isn’t simply an “anything goes” approach. I still expect students to compose projects with clarity, careful research, and effective rhetorical choices. This is simply a way to make room for other kinds of writing in the academy, and to instill confidence in students. To do this, I encourage a lot of experimentation when it comes to writing. I try to motivate students to work with topics and genres that excite them but are perhaps unfamiliar to them—like podcasts, TED Talks, creative work, or whatever else they’d like to try. I want whatever students compose in my classes to interest and excite them, and feel like it’s usable beyond the walls of classroom—which is why I use the assignment that I’ll describe below.   Chloe's Assignment That Works Below is a brief synopsis of Chloe's assignment. For the full activity, see the Research Remix assignment prompt. In my College Writing and Research classes, students spend the semester researching a topic or issue in Milwaukee (where our university is located) that matters to them. The second major assignment they complete in the course is a research report on this issue. The course then culminates in their final project: “remixing” their research report into a public-facing project that addresses a specific audience within Milwaukee. Based on the research expertise they’ve gained throughout the semester, students have to decide what information will be most useful to their chosen audience, and what genre is best for presenting that information. Essentially, this project should help students see how the same research can be employed differently to new genres and audiences.  After using this assignment many times over many different sections of College Writing and Research, I’d identify these as the main benefits: Community engagement: This project helps students to see themselves as participating members and stakeholders of the larger community of our city. Creativity: Students get to create an information product that feels more tangible and exciting to them than a more traditional research paper. Recognizing their identity as writers: In allowing/encouraging them to write about something that matters to them and make something they and their audience find useful, students will recognize that their perspective already has value. ... View more

Eric Korankye Eric Korankye is a PhD English student specializing in Rhetoric and Composition at Illinois State University (ISU). He teaches Business Writing, First-Year Composition, and Advanced Composition, and also serves as the New Instructor Mentor in the ISU Writing Program, providing mentorship and pedagogical support to new writing instructors. As an international interdisciplinary researcher and teacher from Ghana, Eric is committed to designing and practicing social justice pedagogies in Composition Studies, Rhetoric, and Technical Communication, focusing on design justice, students’ language rights advocacy, legitimation of international scholarly knowledge, and working against intersectional oppression against students of color.   What do you think is the most important recent development or pedagogical approach in teaching composition? Composition in this technocultural age has been impacted by the emergence of digital tools, technologies, multiliteracies, and the (r)evolution of rhetorical genres for composing. These digital innovations unavoidably have several implications on composition pedagogies, especially in terms of integrating the use of online platforms for collaborative writing and multimedia composition, to meet the interconnected and interdependent needs of writers in our composition classrooms.  For teaching composition, this means more than instructors reexamining their teaching practices, but also actively 1) integrating innovative assessment practices for student writers’ multimodal composition artifacts, 2) (re)framing traditional perceptions about writing, genres of writing, and audiences of writing, 3) (re)situating privileged canons, theories, and practices in composition studies, 4) valuing occluded writing traditions, knowledges, and languages of student writers from minoritized backgrounds, 5) foregrounding composition courses on rhetoric and multiliteracies, and 6) navigating the affordances and constraints associated with emerging writing technologies such as artificial intelligence (AI) that have recently become topical in composition studies.  When these pedagogical practices are (re)inforced in the teaching of composition, student writers’ perceptions and approaches about composing will change, and in the long run, shape their own composing and learning practices in the classroom and apply them effectively in their worlds outside the classroom.    How do you ensure your course is inclusive, equitable, and culturally responsive? In contemporary times when the ubiquity of multiculturalism and multilingualism is gradually phasing out the previous homogeneous demography in most composition classrooms, it is important that composition classes move beyond homogenous conceptualizations to value inclusivity, equity, and culturally responsiveness. This shift can be achieved by designing and practicing anti-racist, anti-oppressive, and culturally-sustaining pedagogies which ensure that the course materials, readings, activities, assignments, language practices, and classroom cultures reflect a diverse range of voices, perspectives, cultural experiences, and ways of knowing.  Instructors need to incorporate texts from authors of different backgrounds and identities, especially BIPOC authors, and include course content that represents various cultures, traditions, histories, and experiences. This (re)alignment also means instructors’ valuing culturally relevant examples, contexts, case studies, and references that are relevant and relatable to students from diverse backgrounds. This can help students see their identities reflected in the course materials and establish connections to their own experiences.   Instructors need to continuously create a supportive–safe and brave–classroom environment which makes all students feel valued and respected. Instructors need to value students’ right to their own languages, encourage open dialogue, respect differing opinions, avoid biases and stereotypes, and create opportunities for students to share their experiences and ways of knowing.   Eric’s Assignment That Works Below is a brief synopsis of Eric's assignment. For the full activity, see Professional Outlook Portfolio Project Prompt. My “Assignment That Works” is the Professional Outlook Portfolio project, the second major project I assign in the ENG 145.13 Writing Business and Government Organizations course I teach at Illinois State University (ISU). In this Project, student writers will create a resume and a blog/website profile that match their education and work experiences. They will also search and find a job posting which they will respond to and write a cover letter for. After completing all these writing tasks, they will create an uptake document, explaining and describing their composing practices throughout the project.  This project has been designed to help student writers become more critical, creative, and capable as both consumers and producers of business writing (e.g., resume/CV, job posting, business/personal website, etc.). The goal is also to provide writers with hands-on experience in building a solid marketable professional outlook for their chosen career path and exploring various business writing genres.  In assigning this project, we read and annotate the project prompt together and ask questions. We workshop for project ideas in subsequent classes, and the feedback from student writers shows that the project offers them hands-on experience in creating business writing genres that they can use in real life.    ... View more

Katayoun Hashemin Katayoun Hashemin is an Iranian teacher and political activist who views teaching composition and creative writing as two sides of the same coin. After earning her M.A. in TESL/TEFL from Colorado State University in 2023, she committed herself to supporting her home country through its ongoing national revolution. She writes nonfiction essays about Iran to illuminate lesser-known facts and life experiences that many do not normally associate with Iran. Her goal is to broaden non-Persian speakers' understanding of Iran’s cultural, historical, and political heritage.   What is the most important skill you aim to provide your students? Many emphasize the importance of teaching students to read and think critically, but I believe that teaching students how to do so is even more important as there is usually more than one way to critical thinking and people’s approach and receptiveness to persuasion and being convinced varies highly with culture, personality, social priorities, identity and context. Therefore, I personally prefer to design activities and group work that reveal the processes of thinking and writing. By making these processes visible, students can compare and analyze their own and their classmates' approaches against each other. This comparison highlights similarities and differences in analysis and the level of detail required to become and emerge as a critical thinker and writer. Through these methods, students gain a deeper understanding of critical thinking and develop the skills necessary to apply it effectively in their writing. Additionally, it’s very important to teach students to become independent writers, who are capable of spotting inadequacies in their drafts by using self-assessment checklists and predicting and responding to the audience’s reaction. As an independent writer, I teach them to craft revision plans, prioritizing changes and setting specific, actionable goals to enhance their writing.   How do you engage students in your course, whether f2f, online, or hybrid? As a TESOL major, I've been trained to work with the SIOP (Sheltered Instruction Observation Protocol) model, which I find highly effective for engaging students in various learning environments. The SIOP model was first developed to make content like math and biology comprehensible for second language learners through hands-on activities and by aligning lesson objectives with actionable steps that guide the progression of relatable class activities that keep students involved. In a composition classroom, SIOP can be replicated by matching the two axes of content and language with rhetorical concepts and the act of composing, respectively. In other words, teaching rhetoric becomes the content, while the act of composing is the second language. In SIOP, the key to keeping students engaged is to ensure that the material is accessible and intelligible for them. Therefore, to make rhetorical concepts comprehensible for students, I introduce these holistic and abstract concepts by comparing their components with the rather tangible and familiar content of everyday activities. For example, in one assignment, I compare synthesis of academic sources to the process of baking a cake, where individuals need to decide what ingredients need to be mixed in what order to deliver an audience-friendly and convincing cake!   Moreover, I ensure that each lesson objective is paired with an action verb. This method not only clarifies the lesson's goals but also actively engages students in the learning process by specifying what they are supposed to perform and do, rather than just building theoretical knowledge. An activity designed around the objective “Today I will be able to convince my audience to approve my proposal” is more likely to engage students than a more general objective like “learning persuasive writing.” This combination of actionable objectives, and real-life analogies helps to engage students deeply and effectively in their learning journey.   Katayoun'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 Katayoun's explanation of her assignment, Synthesizing Sources: This assignment is meant to help students understand the meaning and process of synthesizing various sources for writing a research paper and apply it for crafting a thesis statement. Recognizing that grasping the idea of synthesizing can be challenging, I compare it to baking a cake! Just as a baker needs different ingredients to create a cake, students need to read a range of different sources to develop their own brand-new claim/argument. No baker can make five different types of flour into a cake, but they need milk, oil and other materials too! Moreover, a good pastry chef doesn't serve raw ingredients separately (that would make a horrible experience for the customers/audience!) but combines them in the right amounts and order to create a delicious cake that persuades customers to want more! The assignment uses numerous visuals to bring these steps to life and make the analogy as effective as possible. It concludes with students drawing a visual representation of what material each of their sources offer. This marks the beginning of the synthesis process for their own research. If all the visuals end up depicting the same scene, then perhaps the chef is using flour only and needs to consider using a range of different materials to make the research cake possible! ... View more

Bedford/St. Martin's is pleased to announce the participants in the 2024 Bedford New Scholars Advisory Board! Advisory Board members are:   Mckenzie Bergan Mckenzie Bergan (recommended by Tom Doran) is a PhD student at the University of Connecticut studying gothic fiction, young adult literature, and the campus novel. She explores how students and instructors form their identities within educational institutions, both individually and in relationship to those around them. She is the Assistant Director of First-Year Writing and is writing a textbook with the Director of UConn's FYW program. In this role, she also plans professional development opportunities for instructors and helps plan and host the Conference on the Teaching of Writing. She has taught English 1007, Writing and Multimodal Composition over the past several years and in the summer. She is the co-host of the “Reading Shirley Jackson Podcast” and has published “Theorising the Uncanny Adaptation through Hamlet” in Adaptation. Katayoun Hashemin Katayoun Hashemin (recommended by Lisa MacFarlane): Obtained her M.A. in TESL/TEFL from Colorado State University. Currently pursuing an MFA in Writing Non-Fiction at the University of New Hampshire, her focus lies in exploring Iran, Iranian identity, and the struggles of Iranians striving to liberate their country from totalitarian rule. Transitioning from teaching college composition at CSU to a similar role at UNH, she has been trained to craft interactive class activities, worksheets, material, and specific examples. Her approach, influenced by the Sheltered Instruction Observation Protocol (SIOP), aims to simplify complex tasks involving more than once content (i.e., rhetorical features and language use) into digestible pieces (scaffolding). In November 2022, she delivered a presentation titled Peer Review: Development of a Bidimensional Rubric for L2 Writing at the Co-TESOL regional conference. Hayden Kindrat   Hayden Kindrat (recommended by Roger Thompson) is pursuing his PhD in English Literature at Stony Brook University (SUNY), with a focus in American and Anglophone literature, science fiction, and environmental fiction and ideas (all in the mid-twentieth century). He has taught courses in Stony Brook's English Department and Department of Writing and Rhetoric. He lives in Queens in New York City. Eric Korankye   Eric Korankye (recommended by Rachel Gramer) is a PhD English student specializing in Rhetoric and Composition at Illinois State University (ISU). He teaches Business Writing, First-Year Composition, and Advanced Composition, and also serves as the New Instructor Mentor in the ISU Writing Program, providing mentorship and pedagogical support to new writing instructors. As an international interdisciplinary researcher and teacher from Ghana, Eric is committed to designing and practicing social justice pedagogies in Composition Studies, Rhetoric, and Technical Communication, focusing on design justice, students’ language rights advocacy, legitimation of international scholarly knowledge, and working against intersectional oppression against students of color. Marisa Koulen   Marisa Koulen (recommended by Melanie Salome) is pursuing her PhD in English concentrating on Rhetoric, Composition, and Pedagogy at the University of Houston. She has taught a range of courses including First Year Writing I, First Year Writing II, and Advanced Composition. Marisa's teaching philosophy centers on acknowledging all students as writers and challenging them to critically engage in making meaning through social justice and advocacy writing. Her research explores the intersection of antiracist writing assessment and multimodal composition pedagogy. As a first-generation American and college student, Marisa is passionate about supporting students, especially those from marginalized communities, navigate the transformative power of education and literacy. Elizabeth Novotny Elizabeth Novotny (recommended by Holly Hassel) is a PhD candidate in Rhetoric, Theory, and Culture at Michigan Technological University. She teaches First-Year Composition and other writing courses, such as Advanced Composition and Technical and Professional Communication. She is also a Composition Graduate Assistant and assists the program director in delivering instruction in the graduate-level Composition Pedagogy and orientation for new instructors, as well as supporting curriculum development and administrative tasks. Elizabeth’s research interests include writing studies, pedagogy, rhetorical theory, and continental philosophy. For her dissertation, she is working on a project that examines the relationship between FYC student conceptions of rhetorical agency and their writing practice. Zachary Singletary   Zachary Singletary (recommended by Tracy Ann Morse) is pursuing a PhD in English centering on Rhetoric, Writing, and Professional Communication at Eastern Carolina University. He has taught a variety of courses including Business Writing, Writing & Style, Writing in the Disciplines, and FYW. He has also served as a Graduate Assistant Director of Writing Foundations, working with a variety of faculty and graduate students in the teaching and preparation of FYW & Writing in the Disciplines courses. This position has allowed him to develop assignments and projects for others at his institution to use in their own courses, which has influenced his research interests in the accessible design of pedagogical materials and accessible writing pedagogies in general. Chloe Smith Chloe Smith (recommended by Shevaun Watson) is pursuing her PhD in Public Rhetorics and Community Engagement at University of Wisconsin Milwaukee. She teaches a variety of courses in writing, including FYC courses, business and technoscience writing, and rhetoric and culture. She has also served as the English 102 coordinator, assisting the Director of Composition in revising curriculum and supporting incoming Graduate Teaching Assistants in their transition to UWM’s English Department and composition program. Her research focuses on linguistic justice, public memory, and cultural rhetorics methodologies. As a first-generation student, she is invested in helping students of all levels and backgrounds finding their voices as writers, and making the space to amplify their work. Mohi Uddin Mohi Uddin (recommended by Megan McIntyre) is an outgoing English M.A. student at the University of Arkansas. His specialization at the University of Arkansas is Cultural Studies with a secondary focus in Rhetoric and Composition. He will start his Ph.D. in Writing and Rhetoric Studies at the University of Utah in Fall 2024. His area of interests include digital rhetorics, cultural rhetorics, and writing pedagogy and theory. He teaches Composition I and Composition II as a Graduate Teaching Assistant. ... View more

Bedford/St. Martin's is pleased to announce the participants in the 2023 Bedford New Scholars Advisory Board! Advisory Board members are: Emily Aguilar   Emily Aguilar (recommended by Danelle Dyckhoff) is a Master's student in English at California State University, Los Angeles, where she is also a Teaching Associate. Her experience teaching first-year writing has amplified her approach to equity-based teaching, especially for ESL students and students with disabilities. She hopes to teach writing as an exercise toward liberation. In addition to her interests in pedagogy, she is interested in literary trauma studies, theories in modernism and postmodernism, speculative fiction, and literature of the incarcerated. Hannah Benefiel Hannah Benefiel (recommended by Kyle Jensen) is a Writing, Rhetoric, and Composition PhD student at Arizona State University. She writes about eating disorders, food as medicine, embodied technical communication, and religious trauma. Currently, she is working on her dissertation that frames eating disorder recovery texts as rhetorical education through the lens of rhythm, myth, and graphic medicine. She serves as the Assistant Director of Writing programs and teaches Professional and Technical Communication, Composition 1&2, and the First Year Composition TA practicum. Jacqueline Cano Diaz Jacqueline Cano Diaz (recommended by Joel Schneier) is pursuing an English MA in Rhetoric and Composition at the University of Central Florida, where her thesis work centers on the rhetorical aspects of clothing choice, particularly as a woman of color in academia. She teaches Composition I and Composition II as part of the First Year Composition Program. Her research primarily focuses on material and visual rhetorics through a feminist and queer studies lens. In addition to her thesis research, she has applied these interests to study alienation and identification in Halloween costuming and, most recently, literacy activities involved in birdwatching. Ronada Dominique   Ronada Dominique (recommended by Courtney Wooten) is pursuing her PhD in English concentrating on Writing and Rhetoric at George Mason University. She teaches FYC courses and served as the Graduate Writing Program Administrator, overseeing PhD mentoring and professional development and assisting with MA/MFA/Phd orientations. As a Black Millennial Mother in higher education, Ronada explores the representation of Black scholars in Writing Studies publications and how research impacts the Black Experience in higher education classrooms. Starting her PhD studies with a 3-month-old infant, Ronada understands the importance of representation and legacy and wants to ensure that those who are responsible for shaping the academic landscape of the future are equipped to do so. Samira Grayson   Samira Grayson (recommended by Kate Pantelides) is pursuing her PhD in English with a concentration in Rhetoric and Composition at Middle Tennessee State University. She has taught Expository Writing and Research and Argumentation (the first year writing sequence at MTSU), and currently serves as the University Writing Center’s program coordinator. Her research interests include writing center and writing program administration, spatial rhetorics and place-based pedagogy, feminist historiography and research methods, and notions of authorship in collaborative writing. She is a member of WPA-GO’s digital presence committee and was recently published in Peitho. Hannah Hopkins Hannah Hopkins (recommended by Diane Davis) is pursuing a PhD in the Rhetoric & Writing at the University of Texas at Austin. She is an Assistant Director of the Digital Writing and Research Lab and an Assistant Instructor for the Center for Teaching and Learning. Hannah teaches a variety of courses in writing and pedagogy, with a focus on digital rhetoric. Students in her special topics course "Rhetoric of Data Justice" create podcasts that explore data justice controversies. Hannah also teaches an introductory pedagogy course for graduate students. Hannah's research investigates storytelling with and about data, data centers, and networked technologies. Her current research engages ways that communities build power through, with, and against digital memory infrastructures, including recent work building solar-powered computers. Amanda E. Scott   Amanda E. Scott (recommended by Brian Gogan) is pursuing a PhD in English with a concentration in Creative Writing at Western Michigan University, where she currently serves as an Assistant Director of First-Year Writing. She's taught a variety of undergraduate courses, including developmental writing, first-year composition, technical writing, and editing, as well as graduate-level courses in publishing. Her research, which often explores the intersections between inclusive writing practices, ethical design, and social inequities, has appeared in Technical Communication Quarterly and the Journal of the Assembly for Expanded Perspectives on Learning. Christopher Luis Shosted Christopher Luis Shosted (recommended by Brooke Rollins) is currently enrolled at Lehigh University where he studies the intersection of rhetoric and literary studies. He teaches courses in the First-Year Writing Program at Lehigh focusing on introducing students to the conventions of academic writing and research as well as persuasive arguments as they exist outside of the university. Additionally, Christopher has also served as the assistant to the First-Year Writing Program working with the director to build protocols for programmatic assessment, educating new teachers joining the program through a year-long practicum, and drafting new iterations of shared syllabi. His research areas focus on applications of classical rhetoric to modern situations and the assessment of student writing along large and small scales. Christopher also currently serves as a co-editor of the Program Profiles section of Composition Forum. Kristen Wheaton Kristen Wheaton (recommended by Dr. Roxanne Mountford) is pursuing her PhD in English with a concentration in Rhetoric and Writing Studies at the University of Oklahoma. She teaches primarily First-Year Composition and is currently one of only three instructors leading the co-requisite course first introduced in Fall of 2022. In addition to her teaching role, Kristen is currently the Senior Assistant Director of First-Year Composition. Her research interests include resistance rhetorics, genre theory, ethos, and rhetorics of difference. Ashleah Wimberly Ashleah Wimberly (recommended by Elias Dominguez-Barajas) is pursuing their PhD in Rhetoric and Composition at Florida State University, where they hope to defend their dissertation on graduate instructor literacies in Spring 2024. They teach a variety of courses, including first and second year composition and upper-level courses in FSU's Editing, Writing, & Media program such as Rhetoric, Article & Essay Techniques, and Writing in Print & Online. Ashleah has served as a mentor to incoming graduate instructors and as an assistant to the Composition Program. In these roles, they've overseen the mentoring and training of graduate instructors, helped design and implement assessment protocols, and assisted the program director in various administrative tasks. Prior to their work at FSU, Ashleah also co-wrote a custom textbook for the University of North Dakota and assisted librarians in creating custom lessons tailored to the Composition program there. Ashleah's research primarily centers around pedagogy, with strong interests in literacy studies, identity, and accessibility. ... View more

Laura Hardin Marshall (referred by Paul Lynch and Nathaniel Rivers) is the Writing Support Coordinator at Webster University and a PhD candidate in rhetoric and composition at Saint Louis University, specializing in Rhetoric and Composition. Her research focuses on the response practices of writing instructors and consultants, examining what feedback we offer to students, how we offer it, and what students then do with that feedback as they work through their revisions and future assignments. She has taught courses on basic writing and college preparation, introductory and advanced composition, and writing consulting and has published articles on writing program and writing center administration. What do you think is the most important recent development or pedagogical approach in teaching composition? The overall move toward more diverse and inclusive conceptions of composition, language, rhetoric, and communication have made an enormous impact on teaching and learning—or it has the potential to do so when more instructors, administrators, and universities embrace it. Similarly, many composition instructors have re-envisioned the five-paragraph essay and more traditional thesis-driven composition. By moving away from more formulaic and/or academically traditional types of writing (which often put US- and white-centric conventions on a pedestal), we can help students conceive of writing in more diverse ways that meet their linguistic and rhetorical needs. It feels as though so much of composition instruction still centers certain “right” or “standard” ways of thinking and doing that only actually fit very specific and rigid situations, and we do students a disservice by limiting the scope of what they can do! As writing instructors we can do a much better job at being transparent about identifying and knowing how to work with (or against) the contexts and conditions at play when we choose what and how to write. By understanding context and timing, situation and audience, we can better know how diverse and versatile (and enjoyable!) writing can be. What is the most important skill you aim to provide your students? I like to emphasize rhetorical situations and kairos (having a sense of timing that is appropriate, intentional, and suitable for the given situation). When we write, there is so much more to it than developing and supporting a thesis, but students are often stuck in a very narrow mind frame. So many students seem to approach writing by thinking of it only as a thesis-driven, five-paragraph essay that’s been drilled into them year after year, and that style of writing is so often (sadly) devoid of creativity and context, often with an audience of one. They’re taught a form of writing that never sees the light of day. When we can point to other assignments and writing contexts that call for diverse ways of communicating, students can better see what composition is (or should be) truly about. They have to be able to see who they’re writing about or to (and the potential diversity of their audiences), in what locales and modes, at what time of day or year. I believe that when students can identify the wide variety of elements at play, they have a better understanding of the possibilities and choices that go into making composition work. What is it like to work with the editorial team at Bedford/St. Martin's? The Bedford/St. Martin’s editorial team was such a delight to work with! I initially thought most of the events would be focused around “selling” us on certain textbooks and/or instructional tools, which we would then be encouraged to adopt in our classes or programs. That couldn’t have been further from the truth! The editorial team was so clearly invested in learning what composition teachers and scholars want and need in the classroom. They cared about hearing about our experiences: what has worked, what hasn’t worked, what have we observed about student engagement, etc. I didn’t realize the care and intentionality that goes into developing educational materials that work for instructors and students, but the team very much demonstrated those qualities. They came through in each of the events they planned. It was such a pedagogically energizing experience! What do you think instructors don't know about higher ed publishing but should? I think many instructors—like me before this experience—don’t know how pedagogically informed higher education publishing is. I initially thought that commercial textbooks were developed and written by people who were far removed from actual classrooms and students. If nothing else, I assumed that most of the offerings would have mostly stodgy concepts and practices focused on a “current-traditional” sort of pedagogy, i.e., quite out of touch with current issues and practices. My experience as a Bedford New Scholar made it very clear that higher ed publishing is aware of and wants to tap into pedagogies that are more inclusive and functional for an every-changing student and instructor population. The offerings and the technological tools they develop are much more progressively student- and instructor-centered than many might imagine. And they’re so friendly and willing to be hands-on! I was surprised by how many resources were available to help instructors maximize how we teach and support students. Laura’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 Laura’s assignment. For the full activity, see Double-Entry Research Log. The double-entry research log serves to orient students to the wide range of tasks involved in academic research. The accompanying citation exercise helps illustrate that citation conventions—though seemingly arbitrary—have purpose and meaning for academic readers. (It also promotes regular and early citation.) It also gets students into the habit of thinking about and responding to the research they find. Students in the early stages of researched writing often think about quotes as evidence they can lob at readers without any follow up; they pass the “ball,” and then it’s up to the reader to run with it. With the double-entry log, though, students know they’re supposed to stop and think about the idea they’ve chosen, and we’ll talk throughout the semester about how they’ll do the same when they incorporate the quotes into formal writing. The screenshots help me as an instructor assist students in quoting and citing correctly; they’ll be used later when we discuss paraphrasing, too. Lastly, summaries help students understand the piece and practice conveying authors’ claims clearly, but it’s also a useful reminder of what each source is about, which can often become fuzzy the deeper into the research process we go.  ... View more

Antonio Hamilton (recommended by Kristi McDuffie) is pursuing his PhD in Writing Studies at the University of Illinois at Urbana-Champaign. He teaches first-year composition courses and is a member of the Rhetoric Advisory Committee. His research interest focuses on how writing is remediated and potentially restricted in online writing environments, such as Automated Writing Evaluation software and Language Models. He is specifically interested in writer agency when writing with these programs, and what forms or styles of writing are prioritized. His research draws on intercultural rhetoric, algorithmic knowledge, and rhetorical genre studies perspectives to assess how writing is digitally transformed. How do you engage students in your course, whether f2f, online, or hybrid? I think engaging students in my course is probably one of the most difficult things, especially post COVID-19. But it is definitely one of the most important things to establish at the beginning of the semester. For me, engagement is not just teaching relevant material or having exciting in-class activities but also doing my best to ensure that every student feels comfortable in the class. I try to do this by using the first few weeks of class to establish trust with my students individually and as a group. For the most part, the first few weeks of my course allow a decent amount of in-class brainstorming time. I use this time to go around and talk to each of my students and help them work through or develop their ideas for whatever the first major assignment is. I believe this encourages them to feel that my classroom is a safe and collaborative environment where the instructor regularly engages with everyone. Basically, if they see I am engaging with them, then hopefully they engage in the course and realize that engagement is a two-way-street. What is the most important skill you aim to provide your students? The most important skill that I aim to provide my students is independence and ownership of the work they produce. I believe that oftentimes, students are accustomed to producing work that is either strictly a regurgitation of their instructor’s thoughts or having the feeling that they are producing work for the instructor and not work from themselves. I try to make sure that students know that I care about their ideas, and I will always do my best to help them to achieve their goals. Doing this helps them build that independence and ownership of their work because it is intrinsically their individualized ideas. I try to avoid questions such as “What do you think I should do” or “Do you like this idea?” I always center it back to the student by responding “Is this an idea that you produce?” If it is, then I encourage them to stick with it! What have you learned from other Bedford New Scholars? Having the opportunity to meet, discuss and work with other Bedford New Scholars was an enlightening experience. Because of Covid, I think that we often think about what is going on outside of individual departments. For me, hearing what other graduate students are doing in their composition/rhetoric/writing related courses was reaffirming and motivating. It was assuring to hear that other scholars have the same classroom concerns, teaching goals, theory applications, etc. It showed me that what I am doing in my classroom is not so different than what others are doing around the country at their own institutions. I also was able to learn about new in-class activities and assignments, one of which I implemented in one of my courses this semester! Essentially, interacting with the other scholars allowed me to grow as an instructor myself. How will the Bedford New Scholars program affect your professional development or your classroom practice? Professionally, this was my first time participating in something that gave me the opportunity to interact with other graduate students, as well as getting a peek at what goes on behind the scenes with a major publisher. It was all quite enlightening and informative. In regard to the other graduate students, it reaffirmed the collaborative nature of our field and showed me that the sharing of ideas can potentially lead to connections down the line. This may sound simple, but I think that in the past, I would just listen. If I did not perceive what was being said as immediately relevant, I would hold on to those ideas. But something does not immediately need to be relevant for it to be important. In regard to my classroom, listening to and having conversations with speaker Dr. Wonderful helped me consider how to maneuver through potential difficult classroom conversations. I have worked on having a more self-aware classroom environment that tries to prioritize each student’s opinions and thoughts equally. This has always been something I try to do, but through hearing the other scholars and Dr. Wonderful speak about this, I feel that my approach is becoming more refined. Antonio’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 Antonio’s assignment. For the full activity, see Remediation Remix. For the Remediation Remix assignment, students are asked to remediate their research paper into a new genre. The assignment applies Bolter & Grusin’s (2000) concept of remediation. The goal is for students to think about the varied ways information can be communicated and asks them to consider accessibility. Additionally, they must think about how certain information may be more effectively communicated in certain genres. The students are asked to write a proposal that I provide feedback on, and then they go on to create the remediation. Accompanying the remediation is a rationale statement where they detail their choices and reasons to explain why they successfully remediated their research paper. I enjoy this assignment a lot because it shows students that writing and communication is not just bound to the traditional academic essay. ... View more

  Dilara Avci (recommended by Dev Bose) is pursuing her MA in Teaching English as a Second Language at the University of Arizona. She has taught writing and literacy across diverse backgrounds and age levels, from elementary school to college. She is currently teaching First-Year Composition. Her research interests are the role of individual learner differences such as language aptitude and anxiety in writing and material design with a focus on digital literacies and critical pedagogy. She believes in the importance of sharing experiences and creating an inclusive learning environment and has been involved in a variety of Teaching-as-Research Projects, Faculty Learning Communities and conferences on writing and teaching practices.   How do you engage students in your course, whether f2f, online, or hybrid? I am a writing instructor and act as a choreographer at the same time. I perform on stage every day when I am in front of my students by grabbing their attention and energizing them for learning. Like a choreographer composing the sequence of steps and moves for a performance of dance, I compose my lesson plan and activities step by step. While doing so, there are many factors I need to consider such as the learner profile, several identities, diversity in the classroom, my students’ needs, individual learner differences, student learning objectives, and teaching during pandemic. To embrace all these varieties and engage my students, I try to integrate a number of activities and differentiated instruction by conducting a station-rotation model of learning in class activities, giving students options as part of assignments and creating opportunities for informal and formal reflection on students’ learning. Similar to a choreographer, I ensure that all the movements and steps in a performance (lesson) are systematically related to each other so that the activities are not in isolation but in a sweet harmony. Therefore, I benefit a lot from workshopping, genre-based instruction, one-on-one conferences, and technology-enhanced learning by integrating discussions, group work, and interactive slides with Nearpod, Padlet and Kahoot activities.  What is the most important skill you aim to provide your students? I care mostly about teaching my students a growing mindset, the importance of practicing and building confidence in themselves and in their skills. If my students learned only one thing from my course, it would be the knowledge of how to set goals and work to reach them. In the beginning of my courses, what I usually realized is that my students were quite stressed about whether they would pass or fail the course and focused too much on the grades. Throughout my courses, however, they learned that there is always room for improvement in writing and in life. In my opinion, this is necessary and it aligns well with the notion of “All writers have more to learn” stated by Adler-Kassner and Wardle (2015) in Naming What We Know. In that way, students may perceive “failure” as an opportunity to improve more, and instead of “viewing feedback or revisions as a punishment,” they embrace “writing as an ongoing process” (Adler-Kassner & Wardle, 2015). As a consequence of this growing mindset and rhetorical awareness, they know how to analyze a sample work, draft, revise, and create a better version of their writing/assignment in a planned way without giving up after a messy first draft.  What is it like to be a part of the Bedford New Scholars program? I have participated in several professional development opportunities but the Bedford New Scholars program has been distinct among those. In other professional development opportunities, we mostly talk about what amazing things we do in our classes and how we can even achieve better teaching and learning outcomes in future, which in a way pushes us to put ourselves “in the best shape.” However, the Bedford New Scholars program encouraged us to be who we are with our strengths and weaknesses, show our vulnerable sides in teaching and learning, and create sincere discussions on what we are challenged by and how we can work toward those issues. It is an inspiring learning community in which we have a great opportunity to meet other instructors in the writing program all over the United States, have conversations on teaching and learning without the fear of being judged or evaluated, and realize that we are not the only ones who sometimes struggle with planning, teaching, and giving feedback. We share similar concerns and face many challenges. How will the Bedford New Scholars program affect your professional development or your classroom practice? The Bedford New Scholars program helped me gain new perspectives in teaching writing, rhetoric, and argumentation. The summer Summit was especially helpful with mind-opening guest speakers, presentations by the Macmillan team and Assignments that Work sessions by other scholars. To illustrate how the program added new methods and perspectives into my teaching repertoire, I would like to share the following example: I was quite hesitant to bring sensitive issues into the classroom setting due to my learner background and the learning system I grew up in before attending the summer Summit. Dr. Wonderful Faison initiated a welcoming discussion on this topic and shared exhilarating readings that can be used as teaching materials. She was able to spark new ideas that we can experiment with regarding critical pedagogy with our students. I know that I will be using many things like this one I learned from being a part of this amazing learning community. Dilara’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 Dilara’s assignment. For the full activity, see Visual Literacy & Analysis. The second major project that my students complete in the ENGL 101 course is to design a digital poster or infographic. The unit focuses on multimodal elements, visual literacy, and how meaning is created through images, text, audio, illustrations, and design in a digital poster or infographic. In this in-class interactive assignment, the students are asked to choose a visual/image of an advertisement to analyze and explain its purpose, the target audience, what makes it a powerful visual, how certain visual strategies or techniques are used, and their reason for choosing the image. While implementing the activity in class, I benefited from Padlet, a technological tool that allows note-taking and sharing in the form of a post-it. Padlet allows students to add a visual and text and to read, like, and comment on their peers’ posts in a convenient way. I find this tool quite useful in creating student engagement and interaction in the class setting. Find Dilara on Instagram @dilaratunaliavci. References Adler-Kassner, L., & Wardle, E. (2015). Naming what we know: Threshold concepts of writing studies. University Press of Colorado. ... View more

Madhu Nadarajah (recommended by Nick Recktenwald and Tia North) is pursuing her PhD in English with a concentration in Cultural Rhetorics at the University of Oregon where she is researching the discursive practices within the Sri Lankan Tamil diaspora. She is currently serving as the Assistant Director of the Composition Program where she worked on redesigning the Composition Policy Handbook, helped with graduate teaching instruction, and facilitated the annual Composition Conference. She is also a Culturally Responsive Teaching Fellow in which she draws on her work in Cultural Rhetorics to provide anti-oppressive teaching principles for the wider Composition community in the classroom.     How do you ensure your classroom is inclusive, equitable, and culturally responsive? For me, community building exercises are crucial to ensuring the classroom is inclusive, equitable, and culturally responsive. Through community, students learn to trust the classroom space and become more comfortable having transparent conversations. One approach I take to help build community in my classroom is through the readings I assign. Part of my writing pedagogy is to inform students about the complexity surrounding writing studies. Many of my students are taking my class to fulfill their writing requirement and therefore are unaware about the history of writing in institutionalized settings. One reading in particular that helps students situate themselves within the history of writing studies is CCCC’s “Students Rights to their Own Language” (1974). While the article was published a little under fifty years ago, many of the concerns brought up still remain true for writing students, particularly that surrounding a student’s agency. By framing the classroom through readings like “SRTOL,” we began to have transparent conversations about voice, power structures, and community. What is the most important skill you aim to provide your students? A skill that I aim to provide my students is for them to have a greater awareness of their own rhetorical traditions. In my classroom, we define rhetorical tradition as not only a means of communicating, but also the cultural and material effects that have led us to these communicative practices. I want students to become aware of the rhetorical tradition they are bringing in, how they have come to gather those traditions, and how it interacts with the rhetorical traditions of their peers. Moreover, this awareness leads students to understand how their rhetorical traditions are part of the larger constellation of rhetorical traditions. In other words, how do these rhetorical traditions exist with one another? I believe this awareness of rhetorical traditions is an important skill for students that they can carry over to their other classes and to their lives outside of school. In particular, understanding the cultural and material effects that inform their way of communication allows students to intimately understand the weight of (physical and cultural) space.  One assignment that helps students understand their own rhetorical traditions is my “Social Literacy Assignment” (provided later in this post). I define a social literacy narrative as an exploration of a rhetorical moment that informs your awareness of a social issue (or issues) that directly impacts you and how that shapes how you communicate and interact with others. In this assignment, I also ask students to pay close attention to how subject-position cannot be separated from how you perceive and are impacted by the rhetorical moment you are reflecting on. I find this assignment (especially since I assign it early on) allows students to have a more nuanced understanding of the importance of rhetorical practices.  What is it like to be part of the Bedford New Scholars Program? The Bedford New Scholars Program provided me with an incredible opportunity to be in community with other graduate students who are also passionate about teaching and rhet/composition studies. Additionally, while we all had a background in rhetorical studies, our approaches to the field varied greatly. In turn, this offered me a great opportunity to collaborate and network. My favorite part of the Bedford New Scholars virtual Summit was the “Assignments at Work” session. This session was an opportunity for the Scholars to share and workshop an assignment or lesson plan. I received valuable feedback on my teaching assignment and I was able to learn about the exciting materials from the other instructors. The other parts of the Summit that I really enjoyed were the sessions led by the guest speakers, Dr. Andrea Lunsford and Dr. Wonderful Faison. Their individual talks were incredible and I learned so much about their pedagogical approaches. Moreover, the Bedford New Scholars Program provided me with a greater understanding of what higher-ed publishing looks like. We tend to view higher-ed publishing as these “big bad guys.” However, the Bedford New Scholars program has opened my perspective to how nuanced publishing really is. While publishing is definitely not without its faults, what I appreciated about the Bedford New Scholars Program is learning how Macmillan Learning prioritizes student perspectives in the development of their textbooks. How will the Bedford New Scholars Program affect your professional development or your classroom practice? The Bedford New Scholars Program is a collaborative and engaging experience. In particular, I learned a lot about the behind the scenes of higher-ed publishing. I think this new knowledge will help me tremendously in my professional development. One of my roles is that of an Assistant Director of Composition. Within that role, I often discuss textbook options and reflect on the newest trends in textbook content. The Bedford New Scholars Program gave me an inside look into the most current trends for writing textbooks and how that information was determined. I will be taking this new insight back into my role as we start to discuss the textbook options for the new academic year.   Madhu’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 Dilara’s assignment. For the full activity, see Social Literacy Narrative. My assignment asks students to write a social literacy narrative in the form of a letter. I typically assign the “Social Literacy Narrative” within the first week of the quarter in place of an “Initial Reflection” assignment. This is a great way for students to reflect and expand on their understanding of rhetoric, especially as it applies to their own space and place. The assignment asks students to consider the rhetorical moments that helped shape their awareness of social issues that directly impacted them and how that shapes the way they communicate and interact with others. It also requires students to reflect and interrogate how their subject-position plays an integral part in those rhetorical moments, especially as it informs how they communicate with other people and different communities. I offer four different examples of what I regard as a social literacy narrative so the students have an idea of how they should model their assignment. I have students write the assignment in the form of a letter because it is a style that allows for personal expression and is addressed to someone the writer specifically designates to be the recipient. Find Madhu on Twitter @MNadarajah9. ... View more

  Brittny M. Byrom (recommended by Michael Harker) is a PhD student in Rhetoric and Composition and serves as the Associate Director of Technology and Finance of the Georgia State University Writing Studio. Her primary research focuses on the intersection of theories of rhetorical empathy and beauty and justice. Her work in writing center research concentrates on developing balanced practices between tutor emotional labor and collaborative learning environments. Brittny began teaching in 2017 and began working in writing centers in 2015.     What is the most important skill you aim to provide your students? The most important skills I aim to provide students are self-reflection and critical analysis. I design my course with ideas of Rhetorical Empathy (Lisa Blankenship & Eric Leake) and justice (Elaine Scarry). My primary goal is to provide diverse materials and design engaging activities that help students communicate their reactions to content while making space for fellow students to communicate their own reactions. Understanding why we react in certain ways to certain material and discussing how we each respond to similar material differently demonstrates how to read and interpret texts from distinct perspectives and lenses. I believe such reflexive practices prepare students for productive critical analysis discussions. By knowing how we reached a conclusion and discussing different perspectives, students can more thoroughly and thoughtfully explain their arguments and the rationale backing up their stance.  The most common issue I have found students struggling with is figuring out what they want to say about a topic. They come with some facts and details; however, they struggle to say anything about the mound of evidence provided. I hope that by helping students develop self-reflection skills they can figure out what they want to say and why they want to say it.  How do you ensure your course is inclusive, equitable, and culturally responsive? Georgia State University serves a diverse population who come from a wide range of backgrounds. In order to engage students and create an inclusive classroom, I intentionally diversify the course’s reading list so it includes content creators of various racial and ethnic backgrounds, gender and gender identities, sexual orientations, religious backgrounds, socioeconomic backgrounds, and persons with disabilities. By having course materials representing different identities and backgrounds, students can—hopefully—find someone with whom they identify and someone they have never before encountered. Routinely adjusting the reading list and mindfully making space for diverse creators demonstrates the thoughtful practices and skills I want my students to develop. Given that my students are from diverse backgrounds—often folks from minority groups and systemically disenfranchised backgrounds—I acquainted myself with my university’s abundant student resources. I provide students with a list of additional resources in the syllabus and through our online learning system with up-to-date information, and we spend a day reviewing those resources. I practice the adage, “you cannot write when you have a leaky roof.” Life happens; hopefully, we can provide access to resources that support students’ needs. What is it like to be a part of the Bedford New Scholars program?  I have enjoyed being a part of the Bedford New Scholars program! As a fifth-year PhD student, I encourage incoming graduate students to create community among each other in our department; however, the longer I’m in my program the more I recognize the importance of meeting scholars outside of my university as well as meeting the publishers who work in our fields. While this recognition is obvious to seasoned academics—especially since these meetings are common activities occurring at academic conferences—many current graduate students have not had the opportunity to participate due to pandemic concerns. The connections we make as junior scholars are crucial for graduates completing their programs and heading into the job market.  Thankfully, the BNS program provides such opportunities while accommodating travel concerns. This program has provided me the opportunity to meet with fellow scholars who are as excited about teaching, join workshops with leading scholars in my field, and learn about the publishing process. Additionally, the BNS program afforded me opportunities to work on projects that align with my academic and teaching interests.  What have you learned from other Bedford New Scholars? During the “Assignments that Work” presentations, I learned creative ways to teach students common concepts. For example, Laura Hardin Marshall presented how she teaches MLA formatting using a menu. She designed two menus—one using typical menu formatting and one with that formatting removed—to demonstrate to her students the importance of formatting! It is easier to teach the importance and use of formatting by having students read through and respond to a common item that has a lot of detailed formatting that has had that formatting removed. Creative visuals such as Laura’s example are valuable teaching tools that aid students see the importance of the concepts that we instructors try to teach. Talking students through each step of MLA formatting is not as eye catching as a menu with no formatting. It is those interesting and visually jarring pieces that can lead to productive conversations about the day-to-day concepts students need to learn.  Brittny’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 Brittny’s assignment. For the full activity, see Photo Essay. I presented my “What is Beauty: A Photo Essay” assignment during the Assignments that Work workshop. The assignment requires students to identify something they consider beautiful—I typically theme my courses, and this particular class was themed on beauty—and they take photos of that person/place/thing. The main requirements are that students must take the photo themselves (screenshots do not count) and organize their photos and caption-style paragraphs in a narrative form. This assignment establishes the topic students will research for the rest of the semester, so clarity is essential. The goals of this assignment are to (1) get students thinking creatively about their research topics, (2) get students reflecting on what emotionally moves them and why, and (3) get students utilizing, often overlooked, campus resources such as borrowing camera equipment. I developed this assignment because I was tired of grading essays about perfunctory and, frankly, boring topics. In order to complete the photo essay assignment well, students are pushed to be creative and thoughtful about their noun that represents beauty since they will be researching that topic for the remainder of the course. My students enjoy the challenge! Find Brittny on Twitter and Instagram @brittnybyrom. ... View more

  Rachel Marks (recommended by Angela Rounsaville) is pursuing her PhD in Texts and Technology with an emphasis in Digital Humanities at the University of Central Florida, where she expects to defend her dissertation “On your Left!”: Exploring Queerness, Masculinity, and Race in the Marvel “Captain America” Fandom in May 2024. She currently teaches the first-year writing course Composition II: Situated Inquiry of Writing and Rhetoric and has taught Composition I: Introduction to Writing Studies in the past. She has also served as a consultant at the University Writing Center and as a student editor on Stylus: A Journal of First-Year Writing. Her research focuses on LGBT representation in popular media, fan interaction and critique on social media platforms, and how fans respond to representations of queer characters in the media. How do you engage students in your course, whether f2f, online, or hybrid?  I normally teach face-to-face classes, and I like to balance the time I’m lecturing with hands-on activities, particularly activities that get students thinking about their semester-long research projects. These activities include quick-writes or brainstorming activities, where students spend 5-10 minutes writing about their thoughts on a reading or on an upcoming paper. I also have group activities, where students can collaborate in order to apply something we’re learning in class to a real-world situation. One example is my rhetorical situation activity, where students evaluate the rhetorical situation in a video discussing the creation of Pandora at Disney World. While I do spend some time in each class lecturing, I try to hold student attention with visuals like slides, example papers, and videos relating to that day's topic. On days when we’re preparing for a major paper to be due, we have peer review sessions as well as workshops where students can receive feedback from their peers, discuss their papers, implement feedback, and ask questions. I also hold “one-on-one” conferences each semester, where in lieu of class, every student individually can bring in their work and discuss their research projects with me, getting feedback on their writing in real time.  What is the most important skill you aim to provide your students?  I want my students to gain a deeper understanding of how writing works in the world, as well as gain writing and research skills that they can take into their majors and career. I first want my students to realize that there is writing all around them, in everything they do, whether that’s posting on social media, applying for a job, or taking notes for classes. Then, for their research projects, they choose a community that they're involved in and study how writing and communication helps that community to function and meet its goals. I then have them take the research they collect from both their communities and our library database to create a research article in the style of an academic journal. This gives them awareness of both common academic genres and scholarly research, as well as everyday writing that occurs in their communities. Many of the students going through the composition program, particularly at my university, are in the sciences or in engineering and don’t particularly “like writing.” I want them to realize that writing is an important skill to have, both in and outside of the classroom, even if you aren’t in the humanities disciplines.  What is it like to be a part of the Bedford New Scholars program? This program is a unique opportunity to be able to hear from scholars and professionals in the composition and higher education fields that are outside of my university. So far, I’ve really enjoyed being able to collaborate with other composition instructors and share teaching ideas, work with the editorial team to learn more about instructional materials, and hear from composition pedagogy experts. Our Bedford New Scholars summit allowed us an open environment to talk about new teaching ideas and learn about interesting course materials, both textbooks and digital tools. I’ve been surprised at how much I have in common with other composition instructors in both the challenges associated with teaching as well as the rewards.  However, I’ve also appreciated how many different approaches to engaging students I’ve been exposed to that I wouldn’t have been otherwise.  How will the Bedford New Scholars program affect your professional development or your classroom practice? The Bedford New Scholars program has given me a greater appreciation for higher education publishing and the possibilities for interactive materials that can be incorporated into my courses. I plan to take better advantage of the variety of rhetoric and composition textbooks Bedford offers, as well as supplemental materials like classroom activities, assignment ideas, and multimodal texts like videos. This program has also encouraged me to think “outside the box” when it comes to my teaching and lesson planning. I have seen the kinds of assignments, lessons, and conversations with students that are possible and am excited to incorporate new ideas and approaches to my practice. The “Assignments that Work” workshop encouraged me to share my own assignment ideas with others to get feedback and also provided me with an archive of assignment ideas that I can potentially adapt for my own course in the future.  Rachel’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 Rachel’s assignment. For the full activity, see Peer Review Worksheet. My assignment that works is a worksheet used for in-class peer review sessions. For this, students bring in their rough drafts, swap papers with a partner, and give each other feedback while they are together and can collaborate. However, when I first did peer review in class, there wasn't enough structure—students didn’t know how to respond to their peer’s papers, so they would either comment on sentence-level errors or make generic comments like “good job” or “interesting topic.” They now complete a peer review worksheet which is based on the rubric for their major papers. For each section of the rubric, students say whether their peers completed that component, what they did well, and what they can improve upon or clarify. At the end, they give summative end comments with overall impressions of the paper and questions for their peers. This not only helps students focus on the goals of the assignment and the most pertinent parts of the paper when giving feedback, but also helps them review the requirements of the assignment for themselves. Lastly, since I base my feedback on the rubric, this peer review worksheet helps students give their peers feedback in a similar way.  Find Rachel on Twitter @RachelKatMarks. ... View more

Bedford/St. Martin's is pleased to announce the participants in the 2022 Bedford New Scholars Advisory Board! Advisory Board members are:   Olalekan Adepoju   Olalekan Adepoju (recommended by Andrea Olinger) is a doctoral candidate in the University of Louisville’s Rhetoric and Composition program. He teaches a variety of courses in writing, including first-year composition and intermediate college writing. He also serves as the assistant writing center director, where he works with international/multilingual students as well as graduate students and faculty writers. Currently, Olalekan is an executive committee member of the Non-native English-Speaking Writing Instructors (NNESWIs) in the United States. His research interests lie in writing studies, intercultural rhetoric, ESL teaching, and discourse analysis. He has continued to write about these interests and published in both peer-reviewed and non-peer-reviewed journals.   Dilara Avci   Dilara Avci (recommended by Dev Bose) is pursuing her MA in Teaching English as a Second Language at the University of Arizona. She has taught writing and literacy across diverse backgrounds and age levels, from elementary school to college. She is currently teaching First-Year Composition. Her research interests are the role of individual learner differences such as language aptitude and anxiety in writing and material design with a focus on digital literacies and critical pedagogy. She believes in the importance of sharing experiences and creating an inclusive learning environment and has been involved in a variety of Teaching-as-Research Projects, Faculty Learning Communities and conferences on writing and teaching practices. Noah Bukowski   Noah Bukowski (recommended by Scott DeWitt) is pursuing a PhD in Rhetoric, Composition, and Literacy, specializing in Disability Studies at The Ohio State University. Noah attempts to foreground accessible pedagogies and collaboration in all of his work on teaching writing. He has taught First Year Writing, Introduction to Disability Studies, and co-taught Introduction to Teaching First Year Composition as a Graduate Writing Program Administrator. Ever since his undergraduate degree and into graduate school, Noah has worked in the writing center as both a tutor and administrator. In 2019, Noah co-authored a chapter in Theories and Methods of Writing Center Studies with Brenda Brueggemann titled "Writing Center Research and Disability Theory." Noah is currently most interested in the work of finessing accessible pedagogies during the pandemic.   Brittny Byrom   Brittny M. Byrom (recommended by Michael Harker) is a PhD student in Rhetoric and Composition and serves as the Associate Director of Technology and Finance of the Georgia State University Writing Studio. Her primary research focuses on the intersection of theories of rhetorical empathy and beauty and justice. Her work in writing center research concentrates on developing balanced practices between tutor emotional labor and collaborative learning environments. Brittny began teaching in 2017 and began working in writing centers in 2015.   Antonio Hamilton   Antonio Hamilton (recommended by Kristi McDuffie) is pursuing his PhD in Writing Studies at the University of Illinois at Urbana-Champaign. He teaches first-year composition courses and is a member of the Rhetoric Advisory Committee. His research interest focuses on how writing is remediated and potentially restricted in online writing environments, such as Automated Writing Evaluation software and Language Models. He is specifically interested in writer agency when writing with these programs, and what forms or styles of writing are prioritized. His research draws on intercultural rhetoric, algorithmic knowledge, and rhetorical genre studies perspectives to assess how writing is digitally transformed.   Laura Hardin Marshall   Laura Hardin Marshall (referred by Paul Lynch and Nathaniel Rivers) is a PhD candidate at Saint Louis University, specializing in Rhetoric and Composition. Her research focuses on the response practices of writing instructors and consultants, examining what feedback we offer to students, how we offer it, and what students then do with that feedback as they work through their revisions and future assignments. She has taught courses on basic writing and college preparation, introductory and advanced composition, and writing consulting and has published articles on writing program and writing center administration.   Rachel Marks   Rachel Marks (recommended by Angela Rounsaville) is pursuing her PhD in Texts and Technology with an emphasis in Digital Humanities at the University of Central Florida, where she expects to defend her dissertation “On your Left!”: Exploring Queerness, Masculinity, and Race in the Marvel “Captain America” Fandom in May 2024. She currently teaches the first-year writing course Composition II: Situated Inquiry of Writing and Rhetoric and has taught Composition I: Introduction to Writing Studies in the past. She has also served as a consultant at the University Writing Center and as a student editor on Stylus: a Journal of First-Year Writing. Her research focuses on LGBT representation in popular media, fan interaction and critique on social media platforms, and how fans respond to representations of queer characters in the media.   Madhu Nadarajah   Madhu Nadarajah (recommended by Nick Recktenwald and tia north) is pursuing her PhD in English with a concentration in Cultural Rhetorics at the University of Oregon where she is researching the discursive practices within the Sri Lankan Tamil diaspora. She is currently serving as the Assistant Director of the Composition Program where she worked on redesigning the Composition Policy Handbook, helped with graduate teaching instruction, and facilitated the annual Composition Conference. She is also a Culturally Responsive Teaching Fellow in which she draws on her work in Cultural Rhetorics to provide anti-oppressive teaching principles for the wider Composition community in the classroom. Lupe Remigio Ortega   Lupe Remigio Ortega (recommended by Mary Fiorenza) is a dissertator pursuing her PhD in English, Composition & Rhetoric at the University of Wisconsin- Madison. She currently serves as the Senior Assistant Director of English 100, the first-year writing/freshman writing requirement at UW-Madison. In this position she works mentoring first-time English 100 instructors, which includes leading fall and spring orientation, teaching a first-year writing proseminar, and organizing and leading professional development workshops. Previously she has taught English 100 at UW-Madison as well as first-year writing at California State University Fresno and the first-year writing equivalent at Reedley College in Reedley, California. Her research focuses on transnational literacies, indigenous literacies (oral and spiritual), and the impact of migration on Mixtec literacy practices in the US and Mexico.   ... View more

Brendan HawkinsBrendan Hawkins(recommended by Elias Dominguez Barajas) is pursuing his PhD in English with a concentration in Rhetoric and Composition at Florida State University. His research, teaching, and faculty development interests and experiences span rhetorical genre studies, histories of rhetoric, online writing instruction, and general education composition classes. He serves as a College Composition Program assistant director where his primary responsibility is mentorship for first-year teachers. How do you engage students in your course, whether f2f, online, or hybrid? When I started teaching online, I made weekly activity sheets that described the goals for the week as well as the readings and activities students would do. I have adopted a similar practice for my face to face, onsite teaching as well. I keep a running Google Doc with my lesson plans typed up for students to see. I project it on the whiteboard and use it as a reference point for class. It is a simple practice, but it helps students who are unable to attend that day (because I’ve essentially taken notes for them already) and it helps me both visually and verbally indicate where we are in the day’s plans. This move is a simple act of transparency that I try to implement throughout my teaching. What is the most important skill you aim to provide your students? I aim to help students understand the complexities of genre and how the concept functions in their everyday decision-making processes. They typically think of “genre” as a classification system but don’t realize the role it plays in not only how they understand but also how they respond to situations, particularly those in the writing classroom. We examine the contexts in which genres typically happen and how those genres shape how folks act and interact with each other. My favorite example is the small, unassuming genre of menus. If students can see how texts—produced and received as genres—function and interact with other texts and people(s), I think students are set to be effective communicators in a variety of situations, both curricular and extracurricular.  What is it like to be a part of the Bedford New Scholars program? I’ve enjoyed the chance to meet other instructors from across the U.S. Conferences are hard to attend (especially when they’re cancelled for pandemic-related safety concerns), so being part of Bedford New Scholars was a great way to meet other folks in the field and share ideas about teaching and about the ways we use instructional materials. How will the Bedford New Scholars program affect your professional development or your classroom practice? It’s a vague and/or cheesy answer, but I have lots of notes from the summer summit that I plan to revisit ahead of my next semester of teaching. I appreciate the time to sit and listen to how other teachers approach their teaching. It’s also great to hear about other courses and about other institutions, since I—as many other folks might—get tunnel vision when thinking about my own institution’s curricula and policies.   Brendan’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 Brendan's assignment. For the full activity, see Rhetorical Analysis Activity. We have a common syllabus for our 1,000 and 2,000-level courses, which means our major assignments are the same across all sections. Therefore, I chose to share an activity I do with students that helps them build genre and rhetorical knowledge they’ll need both in these courses—particularly the 2,000-level course—and in their other classes. I provide the framing for the day’s activity (Figure 1) in a Google Doc I share with my students, which we use all semester for our lesson plans, notes, and activities.   Figure 1. Screenshot of the day's Lesson Overview.   The lesson I’m sharing is a two-part lesson that asks students to (re)define key rhetorical terms we had been covering ahead of a rhetorical analysis project. Rhetorical definitions often remain too abstract for students to sese how these aren’t just terms but actual practices. As Figure 2 demonstrates, I ask students in the first activity to define the rhetorical term assigned to their group and then describe how it functions within the speech we were analyzing.   Figure 2. Grid students use for small group activities.   As they completed the activity, students were able to both define and apply the definitions. I was able to move from group to group (via Zoom breakout rooms in this case) and challenge the ones who provided a vague or brief answer and help those who were struggling. We then turned to practice rhetorical skills in another way. Students struggled in their previous activities to determine the difference between summary and analysis. The second half of the day’s lesson, depicted in Figure 3, asks students to summarize a section of the speech we were analyzing and then provide a separate analysis or evaluative statement about that part of the text. By the end of the activity, we were able to use students’ answers to the activity to build a rough outline of a rhetorical analysis we could write on the speech.   Figure 3. Excerpt of grid used for the day's second activity.   ... View more

Emily GresbrinkEmily Gresbrink(recommended by John Logie) is pursuing her PhD in Rhetoric, Scientific and Technical Communication at the University of Minnesota - Twin Cities. She expects to complete her degree in 2024. Emily currently teaches University Writing, housed in the First-Year Writing program. Her research interests encompass technical communication, the rhetoric of health and medicine, pandemics, rhetorical analysis, archives, bioethics, and mentoring. She also serves on the University of Minnesota’s College of Liberal Arts Assembly as a Graduate Student Representative, co-chairs the graduate student mentoring subcommittee for the Council for Programs in Technical and Scientific Communication (CPTSC), and works with the mentoring committee for the Online Writing Centers Association (OWCA). How does the next generation of students inspire you? I am always inspired by the creative approach students take to assignment prompts. Giving them something open-ended like a discussion post and getting a range of answers is reflective of different career paths and scholarly goals, but also of the way students think and process their work. I love seeing how students think, and how those thought processes come out on paper and multimodal assignments. Sometimes I get caught up in my own process of writing that I have been comfortable with for so long, and it’s refreshing to see how a younger scholar might approach a similar task.  I am also inspired and invigorated by the commitment to real-world change, intervention, and action my students bring to and from the classroom. Academia exists within a bubble, and it can be hard to take what we learn out of the classroom and interject it into the world. But I see and hear the ways that students want to make a difference — say, “I can use my voice to be more confident when I write about issues I care about” — that keeps me coming back to the classroom, easily. This next generation of students is going to be a paradigmatic shift in the way things are done in the world. It’s so exciting. What is the most important skill you aim to provide your students? So, hear me out: Ratatouille (2007) was really onto something when Chef Gusteau said, “Your only limit is your soul. What I say is true — anyone can cook.” I tell every one of my students that on the first day of class, and sometimes people are like … “Why is this instructor talking about a Pixar movie?”  But genuinely, I feel that way about writing — anyone can write. The skill I aim to provide my students, then, is individual practices: that is, how to tease out writing in a way that works for their position, their minds, and their bodies. Not everyone will like the pen-to-paper approach and some will like podcasting or audio forms of writing. That’s okay; let’s run with more audio-based feedback and writing remixes. Someone else might be a very technical, document-based author. Great; let’s lean into editing techniques, document design, and get them where they want to be. Letting students make safe mistakes, find what works for them, and get into the cuisine and chef skills they like (to keep the cooking metaphor alive) will help them create a writing piece (culinary masterpiece?) that fits their style.  What would your blue-sky courseware look like for a composition course?  That is a good question. I am a major fan of all-in-one tools, especially ones that include textbooks, assignments, peer review tools, calendar apps … the less clicks and stops my class has to make in their busy lives, the better it is.  I liked being able to play around with Achieve’s peer review tools this summer during the Bedford New Scholars summit. That had a slick interface. There was not a confusing exchange of emails, cross-platform integrations (email suites to LMS), and it was all in one place. And you could edit and share feedback right in Achieve, which was nice. I also really like having a good textbook to ground the coursework and discussions throughout the semester. I have previously utilized 50 Essays in a section of first-year writing and my students liked the variety of essays they got to read over the course; having everything in one place for them made it easy instead of carrying around a lot of books or having to sift through a bunch of files. Oh, and having e-book availability is great too!  What is it like to be a part of the Bedford New Scholars program? Oh, it is super fun. We met for a week in June and clicked right away. Every one of the other scholars in the group brings so much to the table that is unique and fulfilling to composition and pedagogy. I remember leaving our virtual event in June feeling so refreshed and ready to teach again. I am still thinking back to that week even now and calling into the ideas and topics we talked about during that time.  It is valuable as well to see and engage with how publications, textbook development, and production works as well. Sometimes as emerging scholars in graduate studies, we do not get to see that; we just work with the texts. But being able to collaborate with the folks who make the books we use is interesting — we can ask questions about publication, pedagogy, development, and the backside of what makes a book. It’s genuinely really fascinating to understand, and it has given me a greater appreciation for textbook development.    Emily’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 Emily's assignment. For the full activity, see Literacy Narrative. My assignment that works is a literacy narrative. I utilize this assignment when teaching first year writing. This is the first assignment my students and I work together on, and it is often the favorite of the whole semester. Briefly stated: A literacy narrative in this context is both a reflection and narrative — it’s a free-flowing piece of writing that allows students to dive into their identity as writers, but also lets them settle into a practice of writing and revision that they will use throughout their semester and beyond. They get to choose their own story under the direction of one prompt: writing about a time where writing impacted them.  This assignment works because it is a space for students to make productive mistakes and find their footing. Students have liked to ease into the writing process with a space to talk about themselves — they are experts in their own lives and experiences! — rather than a hard research topic. And there is some sort of catharsis about writing about writing. I cannot tell you how many students write about the trauma of ACT or SAT exams and how this class could serve as a reset for that unpleasant experience.  ... View more