This is a post about discovery drafts and WHY discovery drafts matter. When writing is viewed as a product and not a process, the benefits of discovery might easily be lost. Instead, writing becomes a matter of filling in blanks for the 5 W's + H: basic questions for fulfilling the writing prompt.  Who is the audience?  What is the prompt?  Where can information be found for correct citation style?  When is the writing due?  How long must it be?   WHY must I do this writing? The first found W’s do not include pronouns and the responses are generally straightforward. WHY is the existential question that leads to other questions: Because I said so? Because the course syllabus requires this writing? Because the department or program or school requires this writing? Because the workforce requires this writing? But WHY is this writing required–here and now?  Because writing is a means of discovering what is on my mind. As a writer with ADHD, WHY causes fireworks to explode in my brain, and the fireworks explode so fast that my prefrontal cortex can’t keep up, try as I might. I might try and try and try, but the sound of explosions fill  my ears, the fast-moving colors flood the tear ducts of my eyes. My mind is overloaded with anxiety about the polluted air that follows the fireworks, and I remember the orange sky choked with Canadian wildfire smoke a month earlier and that caused another air pollution alert. I lose focus. I don’t know where to begin. Fireworks exploding over apartment buildings near the East River with the NYC skyline in the background. Photo by Susan Bernstein, July 4, 2023   Orange sky over apartment buildings near the East River in NYC at 1:58 pm, June 7, 2023. Photo by Susan Bernstein   But those events happened months ago. Isn’t it time to move on? Isn’t time for normal, or at least a new normal, and maybe even the status quo? But must climate change be accepted as the status quo? WHY?  Enter the Discovery Draft–also called a Zero Draft or a Brain Dump–where the writer writes down whatever is in their head. In grad school, I remember being told that discovery drafts meant “just putting down anything to get started.” But, as an ADHD writer teaching students actively questioning WHY, I have since learned that focus remains crucial for getting started.  These revelations came at Halloween, a day of tricks and treats. On public transit, my co-commuters were in costume and so was I. My hair was green. I wore a witch button and a #FundCUNYnow rubber bracelet. I had candy and pretzels in my backpack for sustenance to nourish the writing process. I stopped at the campus gate to take a selfie and later noticed in the photo that the wall) holding up the gate was missing a brick. Below the missing brick was a “Do Not Enter” sign.  The purpose of the sign was to keep vehicular traffic from using an exit on campus that looked like a campus entrance. There were other entrances across the Boulevard and, since the end of random testing requirements for students, staff, and faculty, we no longer needed to show our IDs at the entrance.  Nevertheless, I began deconstructing the implications of that sign for people in the neighborhood, or those riding by in cars and buses along the busy boulevard. What was the impact of seeing “Do Not Enter” posted on a college gate? My brain felt feverish.  It was time to start writing–and it was time to share the Halloween Extra Credit Assignment. Halloween selfie by the campus gate in front of a Do Not Enter sign posted on a white brick wall. One of the bricks above the sign has noticeably deteriorated. Photo by Susan Bernstein, October 31, 2023 Halloween Extra Credit Assignment projected on a classroom smart board. The last line is whited out to protect instructor's email address and submission platform information. The assignment follows. Photo by Susan Bernstein October 31, 2023     🎃📝🎃 Halloween Extra Credit Assignment 🎃📝🎃 Write a discovery draft for WP 2. This is a preliminary rough draft that is separate from the more formal rough draft due later this week, and can be written in class. You can use the Discovery Draft for your WP 2 rough draft and for your WP 2 final copy. Your discovery draft should: Respond to the following prompt: Where do you find your inspiration for writing in English 110?: the Baldwin readings? Everyday life? The museum field trip? Another artist or artistic creation (including music)? All, some, one, or none of the above? Something else?Provide evidence from analysis of texts and artwork, everyday life, Use your intellect and imagination. Take risks with what you say and how you say it, which can include (optional and as appropriate):  Examples from personal experience. This is NOT required. You can make up fictional experiences if you would like. Figurative Language and/or Creative Genres (fan fiction,science fiction, metaphors, similes, and other poetic, spoken word, and other lyrical language).   Write at least 500 words in 2 hours– but try for 800-1000 words. Don’t worry about grammar, punctuation or spelling! Submit your discovery draft to your e-journal.   While they chose not to compose in experimental genres, students wrote about a variety of inspirations, in school and out of school: reading James Baldwin, the museum tour and workshop, social justice concerns, mental health considerations, and more that could be revised for their second writing project of the term. As is my aspirational practice, I wrote in-class with the students. I wrote to shift ADHD executive function overload to hyper focus on the present: the intersections of Halloween and pedagogical theory and practice.   My writing turned out to be the discovery draft for this Bits post about discovery drafts and why they matter. Discovery drafts matter because process matters, and process allows writers to find focus. I’m not talking about lockstep drafting of intro, body, conclusion. In a discovery draft, a potential introduction might be written at the very end. Potential body paragraphs might appear out of sequence. What I mean instead is writing out of order to discover and disentangle ideas, and taking what is found to create something new.    In other words, I still want to read and create writing that goes beyond 5 W’s+H, writing that focuses on recognizing the world not only as it is, but as it could be, writing that doesn’t sit in a writing that spurs me to action, and lifts me from despair–writing that attempts to discover a conclusion, but cannot find one, and reaches out for hope instead.   “The Possible’s slow fuse is lit By the imagination.” –Emily Dickinson. Photo by Susan Bernstein, October 3, 2023.     ... View more

In my third post on the work being done by two-year college teacher-scholars who contributed to Teaching Accelerated and Corequisite Composition (Utah State UP, 2023), I spoke with Jill Darley-Vanis and Melissa Favara of Clark College in Vancouver, Washington. Jill Darley-Vanis has been teaching at Clark College since 2000. Her research, conference presentations, and published works focus on assignment design, transfer theory, and more equitable classroom practices. She has been published in Teaching English in the Two-Year College and in the book Transparent Design in Higher Education Teaching and Leadership. Jill has also presented at College Composition and Communication (CCC), First-Year Experience (FYE), Two-Year College English Association (TYCA), and the State of Washington’s Assessment in Teaching and Learning (ATL) conferences. Melissa Favara began teaching at Clark College in 2007. For the past decade, her teaching has focused on accelerated composition, both in the Integrated Basic Education and Skills Training (I-BEST) and Accelerated Learning (ALP) programs. She has presented on learning communities at the National Learning Communities Conference (NLCC) and on creating vulnerability spaces in the ALP classroom at the Modern Language Association conference. Melissa writes creative nonfiction that has been published in street roots, Metro Parent, McSweeney’s Internet Tendency, and elsewhere. Jill and Melissa’s chapter, “Reflective Practices in Teaching for Transfer,” argues for writing instruction that encourages “composition students’ awareness of writing as a portable skill,” one they can carry with them as they transfer from their first-year composition class to other writing-based courses. In Jill and Melissa’s practice, “a typical assignment sequence moves the student from analysis and writing about writing in different genres to producing work in new genres, those better suited for the given message and of interest to the student.” Jill and Melissa “put [their] heads together” for answers to my questions, so their responses are in a single voice. When I asked which elements of their chapter they felt were especially relevant for instructors of accelerated and corequisite composition, they replied that “reflection is central and center, particularly as it is the vehicle to change students’ perceptions of their own stories and their own potential.” They add that “in a moment of shrinking student populations and readily available work that pays well but may not provide avenues for further personal and intellectual development over time, the ability to reflect as a vehicle for change is all the more pressing.” Ultimately, they wanted their chapter to “provide faculty with not only theory, but also take-it-to-class plans for a learning sequence.”    As they looked back on “Reflective Practices in Teaching for Transfer” from the perspective of more than a year since its completion, they noted, “As we learn more and more about critical language awareness (CLA) and its intersection with Writing for Transfer (WfT), we see more and more pathways for change as well as challenges and layers for the shift that urgently needs to happen in the classroom.” Specifically, they believe: [T]here is an opportunity to think about positionality as a tie to WfT: genres are situated within various discourse communities in the same ways individuals and policies are situated within systems of power. We continue to see a need for further understanding and developments in what equitable opportunities for learning/educational justice look like in the classroom,” including “questions of Standard Language Ideology (SLI). They add: “Even what we understood five years ago now seems antiquated and simple. People of color are ‘taking back their narrative,’ as Toni Morrison says, so what does this look like in this moment, and how can we change the larger system to serve?” Jill and Melissa are both enthusiastic and worried about issues that preoccupy many of the other instructors I spoke with. They “are excited about the change that comes about in corequisite instruction, the way that students in the coreq group go from passive to active or from follower to leader.” However, they “are concerned about AI and what it wants to take from the individual: the process of writing allows the individual to experience and appreciate organizing thought and training the self as a thinker, so the temptation [of using AI] and its ubiquitous nature are real.”   ... View more

I’ve been following the journalism of Clive Thompson ever since I encountered his writing in the early days of Wired, and over the years I’ve learned not only from his Wired columns but from books like Smarter Than You Think: How How Technology Is Changing Our Minds for the Better (2013) and Coders: The Making of a New Tribe and the Remaking of the World (2019), and most recently from is columns in Medium, where he sometimes posts about his own writing process. In one post, for example, he wrote about his ongoing battles with procrastination and said that one way he helps avoid the worst bouts of it is by “parking downhill.” By that he means that when he is writing a draft, he always stops work “downhill,” that is at an “easy” place where he knows what is coming next. That helps the next day when he sits down to take up the task at hand again. This is a good tip, one I have often shared with students, many of whom are master procrastinators. In another post titled “One Weird Trick for Writing a First Draft,” Thompson says that once he has done his research and needs to begin writing, he will begin doing almost anything but that: “rearranging my desk, tackling old email, going down Wikipedia rat holes.” (Do you know the feeling? In fact, in drafting this blog post I am avoiding work on a foreword I have promised to write!) Thompson argues that procrastination is ultimately about fear—fear of getting stuck, that words won’t come, that the project is above and beyond his capabilities, and so on. My students share some of these fears, as well as others; and that fear stands in the way of their progress. But Thompson to the rescue. He says he has developed “four rules for writing first-draft prose,” and they are pretty interesting: Begin each paragraph with a hyphen Lower-case the first letter of every sentence Don’t put a period at the end of a sentence (though question marks and exclamation points are OK) Instead, end each sentence with two forward slashes// These “rules” help, Thompson argues, because they make his writing look provisional, unfinished, not really “official,” and therefore not so threatening of failure. As he says, he can “regard the sentences and paragraphs as a form of clay that I’m still just sort of generally shifting around . . . [it is] still under construction.” This kind of “under construction” writing doesn’t look “finished,” and so he is less tempted to spend time obsessing on revising a phrase, choosing perfect punctuation, etc. Instead, he can just keep on going. His provisional writing seems like “Lego bricks I’m combining and recombining to see what shape they might make.” He is also less attached to such provisional writing, so he finds it easier to toss it if it just isn’t going anywhere.  Thompson says he leaves his drafts in their “provisional” format until the day before they are due. “This frees me up,” he says, “on this final day to become an obsessive about word choice on a sentence-by-sentence level” and on tempo, rhythm, pacing. I think students will like the way Thompson thinks as well as his self-deprecating and witty openness about his own processes of composing. And they may even decide to try out some of his “tricks.”    Photo by Nick Morrison ... View more

Ann Charters edits The Story and its Writer: An Introduction to Short Fiction. The new Compact Tenth Edition is now available.   Are authors of new short stories capable of showing us today’s reality? Or do we now live in such endangered times that only ordinary people – not gifted young fiction writers such as Saïd Sayrafiezadeh and Lauren Groff – can testify to our predicament? In Sigrid Nunez’s short novel The Friend (2018), she presents both sides of the proposition that the existential reality of contemporary life can no longer be expressed through fiction. Since today’s world is full of victims, “we need documentary fiction, stories cut from ordinary, individual life. No invention. No authorial point of view” (p. 191). As Nunez understands, fiction as autobiography, or autobiography as fiction, has been with us for a long time in the work of international novelists such as Proust, Isherwood, Duras, and Knausgaard (p. 188). In the United States, Jack Kerouac’s On the Road (1957) is a ground-breaking example of what he called the “true-story novel,” or a narrative based on his own adventures. Kerouac (1922-1969) was an American experimental writer. His short story “October in the Railroad Earth,” in the tenth edition of The Story and Its Writer, is a description of how he worked a job on the railroad in San Francisco in October 1952. Kerouac’s story is true to the facts of his experience, embellished as fiction with his exuberant wordplay as he experimented with the writing method he called spontaneous prose. His “true-story” approach was taken up by many young journalists and fiction writers. It is now known as “autofiction.” “Autofiction,” a mixture of autobiography and fiction, is the approach taken frequently by college students enrolled in workshop classes in fiction writing. The danger is that young writers sometimes appropriate into their stories the experiences of other people, invading their privacy and crossing a moral line. An example would be the story “Cat People” by Kristen Roupenian, first published in the December 2017 issue of The New Yorker. You can read more about this controversial story in the revised chapter on the history of the short story in the new Compact edition. As Toni Morrison understood, “A person owns his life. It’s not for another to use it for fiction” (Nunez, 57). In my opinion, the form of the short story is flexible enough to continue to engage the imagination of young writers today. As Lydia Davis recognized, we live in an ever-expanding world of narrative possibilities, not only on film but also on the printed page. These include flash fictions like Davis’s story “The Caterpillar”; meditations like George Saunders’ “Stix”; and logic games like Margaret Atwood’s “Happy Endings.” Gifted young storytellers like Lauren Groff continue to take the traditional approach when they create a work of short fiction out of their sense of being victimized in our challenging moment of history. In her story “The Midnight Zone,” Groff dramatizes the struggle of many women to achieve their own high expectations of “doing it all” – fulfilling the conflicting roles expected of them. Did the accident befalling the mother alone with two small children in a Florida “hunting camp shipwrecked in twenty miles of scrub” actually happen to Groff? Read her story and decide for yourself. ... View more

by Jenn Fishman and Darci Thoune This is the first post in an occasional series affiliated with the Writing Innovation Symposium (WIS), a 2-day annual event hosted online and in Milwaukee, WI, by a group that includes Darci and Jenn. Learn more below and in posts tagged “writing innovation” and “symposium.”  Five years is and isn’t a long time, especially in higher education. According to the National Center for Education Statistics, nearly 60% of college students finish their undergrad degrees in 5 years, while the Survey of Earned Doctorates reports the median time to PhD isn't much longer: just 5.8 years. For all of us involved in the annual Writing Innovation Symposium (WIS), 5 years turned out to be just enough time for us to realize that we were really on to something—and to start putting it into words.  Since its founding in 2018, the WIS has been a regional event with national reach. Annually, in the dead of winter, the WIS lures writers and writing educators from all over North America to Marquette University in Milwaukee, WI, for two days of writing activity. As co-founder and Chief Capacitator, Jenn leads the cross-institutional steering committee that brings each symposium to life. In 2022-2023, that group was helmed by Darci, Jennifer Kontny, and Patrick Thomas; it also included Grant Gosizk, Jackielee Derks, Jenna Green, Kayla Urban Fettig, Kelsey Otero, Lilly Campbell, Maxwell Gray, Sara Heaser, Shevaun Watson, and Tara Baillargeon.    Marquette University hosts the Writing Innovation Symposium   When we look back and try to put a finger on what, exactly, makes the WIS the WIS, a few concrete details come immediately to mind, starting with our modest size. Usually, the WIS registers about 100. Participants come mainly from across academic ranks, roles, and disciplines, though non-ac colleagues tell us they feel right at home. The weather is also a contributing factor. Together, we have braved both ice and snowstorms as well as a polar vortex, which dropped the temperature to -23! Yet, it’s always warm and cozy in the University Libraries, where on-site we hunker down, while off-site attendees click in and out of Zoom sessions and Slack channels to join us. In so many ways, the WIS is Brigadoon, and for the 48 hours we gather each year, we form something that feels like community. In many ways, COVID-19 amplified this sense. The 2020 WIS was the last professional event many of us attended before the global pandemic was declared. Likewise, the 2022 WIS was the first in-person conference for a lot of us—and not just because it fit our budgets and schedules. Just as magnetic objects create force fields that attract particular elements (i.e., iron, nickel), the WIS draws writers and writing educators in a powerful way. By inviting everyone to base their contributions on work they have done—writing, writing pedagogy, research, writing administration—the WIS affirms the expertise that each participant brings with them. The WIS also primes attendees to learn from one another, and in doing so it affirms that everyone, from plenary presenters to the newest graduate teachers, has something to learn.  Symposium themes help focus our collective energy. We have worked to “Connect!” (2019), and we’ve explored some of the many connotations of “Just Writing” (2020). We’ve also come together to “Write It Out” (2022) and to fill in the blank: “Writing as _____” (2023). However, we direct our word play along with our most serious efforts, our plenaries are interactive, and our programs always include workshops as well as a session that features posters and creative, digital and analogue displays. Last year, we introduced flash talks into the mix, inviting presenters to distill their WISdom into five-minute presentations accompanied by a single artifact (e.g., handout, bookmark, cookie). Inaugural examples prompted rich exchanges about everything from “Writing in Times of Hopelessness” and “Writing as Empathic Design” to “Composing in the Pool,” “Reinventing the Writer’s Workshop,” “Writing as Resistance,” and “Writing as Power,” and “Writing as Weapon/Antidote.”  The story of WIS continues to be written. Recently, twenty-nine of us talked about an article that appears in Community Literacy Journal 17.2, and we’re glad to be contributing to Bedford Bits. Macmillan has been a vital supporter of the WIS, hosting meals and sponsoring opportunities like the workshop on Tiny Teaching Stories that Chris Anson led one year. In 2022, working in collaboration with Laura Davidson, we launched the Bedford/St. Martin’s WIS Fellows Program. It provides WIS registration, travel monies, and mentorship opportunities to early career colleagues. To date, B/SM WIS Fellows include:  Abigayle Farrier (2023) Amy Patterson (2022) Holly Burgess (2023) Shiva Mainaly (2023) Ulisa Blakely (2022) Look for more from us as well as them in weeks to come—and consider joining us in Milwaukee at WIS 2024! Read our Call for Papers here.    Image via Wikimedia Commons ... View more

Last week I wrote about the gap between the expectations we have for students and the expectations they have for our classes and their participation in them. Since then, I had an opportunity to join in on a Program in Writing and Rhetoric pre-term staff meeting at Stanford, led by my inimitable colleague Marvin Diogenes. During this session, Marvin asked all of us to turn the dial back to the first day of our first year in college, to our arrival at whatever school we attended. For him, that was fifty years ago this week, his first day as a first-year student at Stanford.  Marvin asked us to make notes about what that day was like: what did we remember about the place and our place in it? What was happening on campus at the time? What was happening in the larger world that week or month? What favorite movie or song or band do we remember from that year? What activities were we signed up for and why? How did we allocate our time between school work and “other” things? He had about twenty of these prompts, all designed to take us back in time to our 17- or 18-year-old selves, to get our heads back into that space, if only briefly. He described leaving his home in Michigan pretty much for the first time, getting ready to head west to California. He remembered packing two suitcases and two boxes, which his brother-in-law helped load into the car—when Marvin, being his ever-cautious self, remembered he had not packed his winter coat. No room in the suitcases now, so he wore it instead, onto the airplane headed to SFO. In those days, current Stanford students turned up at the airport to welcome new frosh and usher them onto waiting buses for the ride south to campus. Marvin found himself on one of those buses, the only person wearing anything even vaguely resembling a winter coat. Feeling awkward and out of it, a “nerd” from small town Michigan, he imagined everyone on the bus looking at him with derision or contempt. Or worse. It was a moment when he felt a complete outsider, ostracized and very much alone. He asked us to look over our notes and to think about when and where we might have experienced such a “winter coat” moment, and just how that had felt. View of Wallenberg Hall on the Stanford University Main Quad Then, more to the point, he asked us to remember such a moment when we looked out at the faces in our first classes this term. The students, he said, might look unengaged. They might look distant and even suspicious. Or just silent. Those appearances, though, don’t reveal the whole student, not by a long shot. We can be sure, Marvin reminded us, that each of them has had or will have a “winter coat” moment that will affect them deeply, though we won’t be able to see that at all. I’ll remember this story for a long time. Especially when I am greeting new students. And I will try very hard not to make snap judgments and to question my own assumptions about the students I see. I had more than one winter coat moments in my first year, from the time I badly mispronounced a word that I had only seen written to . . . well, you get the idea. And the movie of my first year? Alfred Hitchcock’s Psycho, after which I did not feel comfortable in the shower for almost a decade. What was your first week of college like? And do you recall a winter coat moment?   ... View more

Ever since George Lucas mashed up Gene Roddenberry and J.R.R. Tolkien to create one of the most profitable movie franchises in cinematic history, fantasy has come to dominate the American box office—whether involving sci-fi space operas, sword-and-sorcery medievalism, extraterrestrials, superheroes, vampires, or zombies (just to name some of the most popular examples over the years).  So dominant has fantasy become that the question today isn’t whether any competing genre has emerged to challenge it but, rather, which sorts of fantasy are currently the most popular.  In the 1990s, for example, extraterrestrials seemed to be everywhere (The X-Files, Roswell), but they were eventually overtaken by vampires, who for quite some time looked like they would never be dethroned… until zombies came along, and then it looked like it was going to be all zombies, all the time, for all time.  But now superheroes rule the roost, with such one-time leaders of the cinematic super-pack as Batman and Spider-Man being currently eclipsed by Black Panther, Thor, Loki, Ant-Man, Shazam!, assorted Avengers, and a gang of Guardians that includes a highly precocious raccoon… just to name a few. The semiotic question accordingly becomes: what does the currently unstoppable hegemony of the superhero tell us? As is always the case in a semiotic analysis, we can begin to answer this question with the construction of a system of associations and differences. In the case of superheroes, that system begins with the invention of Superman in the 1930s, and extends forwards to every current star in the superverse (if I may coin a term).  What all these heroes have in common—and which is something that they share with such mythological heroes as Gilgamesh, Hercules, and Beowulf—is that they defend their societies from external threats and dangers.  The superhero, in short, offers the comforting reassurance that a fearsome world can be brought under control—that all, in the end, will be well, thanks to the superhero’s prowess and vigilance. But there is a significant difference between the dangers presented in the early Superman and Batman sagas—threats to American society that were generally posed by such masterminds of organized crime as the Joker and the Penguin—and the fundamentally cosmic threats that haunt the superverse today.  For today the danger is existential: the entire universe is at stake, and without a band of Guardians or Avengers standing between humanity and the super villains who threaten to destroy us all, we would be doomed to extinction. I think that the most likely (or abductive) explanation for the current preeminence of the existential superhero is to be found in the fact that we are not having a very good century.  From the events of 9/11 to the ever-increasing threat of environmental collapse posed by global warming (not to mention the after effects of the Great Recession and the COVID-19 pandemic), things are not going well, and for the first time in their history Americans seem to be losing their traditional, and heretofore unshakable, optimism.  The current crop of superheroes accordingly reflects a growing uneasiness, a sense of implacable doom. But popular culture mediates, as well as reflects, social distress, offering for the price of theater admission a comforting reassurance that all, in the end, will be well.  An Avengers: Infinity War, in which half the universe is destroyed, is followed by a sequel, Avengers: Endgame, in which the dead are brought back to life.  When necessary, the hypothetical existence of multi-verses can be trotted out, along with time travel and other sci-fi expedients, to revive the dead and restore normality.  Thus, in spite of how terrible everything looks in reality, today’s superheroes offer not only entertainment but a kind of existential salvation.  Which, of course, is why such tales are called fantasies.   Photo by Craig McLachlan (2019), used under the Unsplash License. ... View more

In 2018, increasingly alarmed at the polarization and the vitriol characterizing too much of our national discourse, Tim Shriver (Chair of the Special Olympics) and some colleagues founded UNITE “to find ways to help ease divisions in our country.” The group soon began to focus on language as one major means of creating and exacerbating divisions, and by 2021 they were developing what they came to call the Dignity Index, a set of measures for determining the degree of contempt (or its opposite, which they call dignity) in political discourse, especially between or among people who disagree. Convinced that contempt causes division and that dignity eases it, they hypothesized that putting a spotlight on language that conveys contempt or dignity might reduce contempt and help ease the tension and division so evident in public discourse.  UNITE put their Index to work during the 2022 midterm elections in Utah, training scorers to rank political speeches. They found that “voters from opposite ends of the spectrum were able to agree on scores” and came up with three key findings: first, the Index attracted a lot of attention from people who wanted to learn about it and become trained in using it; second, while people tend to come to the Index thinking of it as a way to judge the speech of others, they soon begin applying it to themselves and their own speech; and finally, when people spent time with the Index, they came to recognize contempt as a major problem, and one that they have some agency in helping to solve.   The group went on to launch “Students for Dignity” at the University of Utah and other universities and to develop additional training materials and courses for others who want to learn how to use the Index to bring about change in communication and ultimately to “embrace a dignity culture.” You can read their 2023 report, "The Dignity Index: Utah Pilot Project Technical Summary," here. One passage from the report seems worth quoting in full: During Dignity Index development, UNITE team members reported something unanticipated: as the expression of dignity rises in conversation, so did curiosity, humility, vulnerability, and the ability to see the good in others and the flaws in oneself. Observations such as these underscore the premise that treating others with dignity and easing divisions and solving problems are the same set of skills. This suggests the Dignity Index could be a helpful tool in easing political division and supporting productive public dialogue. I was especially interested in the report’s description of what some students had to say about using the Index. One student said: “We started to apply the guide in our own lives. We were reflecting on it, we understood it, and we trained on it and talked about it." This comment that suggests that we teachers of writing might use the Dignity Index in our classes, preparing students to use it and then working with them as they apply it to discursive exchanges they are studying in class, to political speeches, and to their own language use. As I’ve studied the report and tried to learn more about the development of the Index, I have wondered about the choice of “dignity” as the best term to encompass the kind of open, respectful, care-full language they are advocating. I expect that for many students, “dignity” and “dignified” connote a kind of distanced stuffiness that resists the definition the UNITE team implies. I wonder if they considered and debated other possible terms, such as “respect” (which comes with its own set of connotational problems as well) or “good regard.” I think “respect” might serve as a better antonym for “contempt” for students today. But in the meantime, whatever terms are chosen, an index that has been tested as thoroughly as this one has and that allows us to take a close look at how our own speech and/or writing veers toward contempt or toward dignity warrants our attention. Check out the eight levels on the contempt-dignity continuum here.   ... View more

    The most recent politician to declare their candidacy for president in 2024 is Robert F. Kennedy, Jr., one of America’s best-known anti-vaccine activists. Earlier in his career Kennedy established a reputation for himself as a prominent and respected environmentalist. When he shifted his focus in 2005 from toxicity in the environment to the alleged toxicity of childhood vaccines, however, he caught the attention of parents who distrusted vaccinations and believed that they were linked to autism in children or other medical problems. This case is an intriguing example of how Kennedy’s notoriety persuaded parents to accept his claims and refuse the substantial body of research that proved vaccines are safe. Rolling Stone published his article “Deadly Immunity” in 2005 where Kennedy warned that children were being harmed by the preservative thimerosal in childhood vaccines. The truth was that by 2001, thimerosal had been removed from all childhood vaccines. Kennedy went beyond using fraudulent data to misrepresent his sources. An article published in Scientific American, which analyzed his misuse of sources, details how he took quotations from authorities out of context to misrepresent what those authorities said and ignored basic rules for documenting research. Even Kennedy’s family eventually went public in an attempt to distance themselves from his faulty scholarship and extreme views. Their open letter is reprinted in the most recent edition of Elements of Argument. His niece and two of his siblings state, “We stand behind him in his ongoing fight to protect our environment. However, on vaccines he is wrong. . . . He is part of this campaign to attack the institutions committed to reducing the tragedy of preventable infectious diseases. He has helped to spread dangerous misinformation over social media and is complicit in sowing distrust of the science behind vaccines.” Kennedy’s famous name seems to lend him authority and therefore, people who distrust vaccines rely on him to defend their beliefs. Those who are not familiar with his earlier writing about childhood vaccines may remember his recent opposition to the COVID-19 vaccines. An AP article in the Chicago Sun-Times summed up his extremism: “Kennedy has repeatedly invoked Nazis and the Holocaust when talking about measures aimed at mitigating the spread of COVID-19, such as mask requirements and vaccine mandates. He has apologized for some of those comments, including when he suggested that people in 2022 were worse off than Anne Frank, the teenager who died in a Nazi concentration camp after hiding with her family in a secret annex in an Amsterdam house for two years.” Michael T. Osterholm, the director of the Center for Infectious Disease Research and Policy at the University of Minnesota, also stated in an article by the New York Times: “His conduct ‘undercuts 50 years of public health vaccine practice, and he’s done it in a way I’ve never see anyone else do it. He is among the most dangerous because of the credibility of who he is and what his family name has brought to this issue.’” Will the fact that Kennedy continues to spread misinformation about vaccines in the face of indisputable scientific facts affect his presidential bid? Only time will tell, but in order to move past the violent division that the country has experienced over the past few years, America needs a president that leads with integrity. "39 RFK Jr"  by Felton Davis is licensed under CC BY 2.0 ... View more

Today's Tiny Teaching Story is by Jeffrey L. Jackson, a writing instructor at SUNY Cortland. "Tell us what you're feeling," a student asked me. She was the only one willing to speak. The rest of the class sat in silence as I cried in front of them. The video clip of a little boy calling his father a liar left me defenseless. The father fought to protect his son from financial hardship. The boy saw through the lies and reminded me of my own struggles as a young parent years before. I shared that with my class and realized for the first time, I had completely let my guard down in front of my students. ... View more

Elizabeth Catanese is an Associate Professor of English and Humanities at Community College of Philadelphia. Trained in mindfulness-based stress reduction, Elizabeth has enjoyed incorporating mindfulness activities into her college classroom for over ten years. Elizabeth works to deepen her mindful awareness through writing children's books, cartooning and parenting her energetic twin toddlers, Dylan and Escher.     My colleague Kate Sanchez and I are currently working on a new YouTube channel, Present-Minded Professors, which contains meditations, activities and other musings to help educators and students build awareness skills for academic success. Kate and I like to think of mindfulness as a process of noticing what is going on in the body and the mind, and we feel that this awareness can especially help students be more present for their final exams and therefore do their best work. Here is a guided meditation for final exams to play for students. It contains a brief introduction to the practice and a meditation focused on getting one’s mind and body ready immediately before taking an exam. You can pull it up on YouTube on your phone at high volume, or you can play it on a SmartBoard. If time is a consideration, pick a short piece of the meditation to play for students, or simply give students the link to the meditation so they can listen before they come into the exam room. Do what feels comfortable for you! I always find it hard to do anything “extra” during exam time, but if you have metaphorical bandwidth, the text of the meditation is at the end of this blog post. You can feel free to modify it to suit your needs and your voice and then lead your students in the meditation. As Kate and I build our YouTube channel, we would also love your feedback, especially about topics for the videos you would like to see! Feel free to comment below or in the comments section of Present-Minded Professors on YouTube. Wishing you a meaningful end-of-semester!   A Meditation for Final Exams Hello everyone. This is Elizabeth Catanese from Present-Minded Professors.  I’m here right now to provide you with a brief meditation to help prepare your mind and body for the final exam you are about to take. Please engage with this meditation in whatever way feels helpful to you. You do not have to be good at meditation to benefit from this practice. Please see all directions as suggestions. For example, when I suggest that you close your eyes, do so only if that feels possible and comfortable. The goal of this meditation is to get your body and mind ready to take the exam. Maybe you have some extra anxious energy that is not serving you. Maybe you are a bit too calm for the task ahead. When I was taking exams, I used to be so anxious that my palms would sweat and my legs would bounce up and down. We all handle exams differently. Through this meditation you will become aware of where you are. How you are feeling is okay.  Let’s begin!  Take a deep breath and exhale. If you are comfortable doing so, close your eyes. Take a moment to notice how you feel in this moment. You may be excited and anxious. You might feel ready and annoyed that that test is not in your hands right in this moment. Simply notice. How you feel right now is valid.  Take another deep breath and exhale. What does your body need right now? If you think it would help, wiggle your fingers. Stretch your arms above your head. Notice how you feels. Is there a way you could move your body right now that would help it feels it’s best? Do so now.  Take note of the energy in the room. Relax your body for a moment and in your head give good wishes to those around you.  Take another deep breath. And exhale. As the final part of this practice, please come up with an affirmation to say to yourself if you get stuck during your exam. Say it in your head a few times. For example, I often say “I am brave and capable.” And many people like “I can do this.” Take a moment to think of one unique to you.  At this point, there is no more studying left to do for this class. It is time to show what you remember, what and how you think. I would like to extend my congratulations to you for getting this far. To get to the point of a final exam takes a lot of hard work and effort. I see and applaud your effort. Your progress is beautiful. Take a final deep breath and exhale. If you feel comfortable, open your eyes.  It is now time to take your final exam. ... View more

When I was a grad student at Ohio State University, one of the professors in the department insisted that the sign announcing our department be changed from “English Department” to “Department of English,” and I remember the debate that ensued on the ramifications of that grammatical shift and the high dudgeon many colleagues worked themselves into over it. I also remember at the time thinking what an odd name it was in any event. Though I had read William Riley Parker’s 1967 essay “Where Do English Departments Come From?” and understood the lineage that had shifted, at Harvard, from rhetoric, briefly to folklore, and then to literature, and particularly literature in English, the name still seemed odd to me, given what I knew about the Department I was currently studying in. “English” did not seem parallel, to me, with the Departments of German or Spanish or Chinese. In my department, students studied and wrote dissertations on literature in English and sometimes literature in translation, certainly, but also on the history and theory of rhetoric, on folklore, on creative and other forms of writing. So “English” just seemed an odd name to me.    University Hall at Ohio State University   So odd, in fact, that in the 80s I advocated for changing the name of our departments, arguing that our name should reflect the work that we actually do. My arguments went . . . nowhere. Nevertheless, as the years wore on and as scholars of rhetoric and literacy/writing studies began to grow in number, some departments began to change their names (Oregon State, for example, went from “English” to “Writing, Literature, and Film” and new departments, separated from English, grew up around the country, with names like “Writing and Media Studies” or “Writing and Rhetoric Studies” or “Rhetoric, Media, and Social Change,” “Writing, Rhetoric, and Professional Communication,” and so on, names that signal more clearly what the department studies and values than does the single and vague word “English.” In “The Colonialism and Racism of the ‘English’ Department,” Elizabethada A. Wright doesn’t consider this slow evolution away from “English” and doesn’t cite William Riley Parker’s work or a number of others, such as Gerald Graff or John Guillory or Robert Scholes, who examine and question the formation and practices of “English.” But that is not the focus of Wright’s critique, which centers on the hegemony of English and of its colonializing tendencies. In this regard, I was expecting to encounter the work of James Slevin, whose Introducing English includes a searing indictment of the earliest attempts to force “English” on native inhabitants.  Nevertheless, I take the point of Wright’s article seriously, and I think all of us—especially all of us in departments of “English” should be at work right now examining how when and why our departments came by that name, articulating the mission that name suggests and comparing it with the missions that other, alternative names could carry forward. We would also do well to be asking our students what they think of the name of our departments – in what ways the name seems appropriate and adequate to what they are studying and learning in their classes and what alternative names they might suggest, along with their rationales for doing so. What’s in a name? A very great deal. Years ago, my colleague Nicholas Howe said if he could form a department of his own, he would call it “The Department of Interesting People.” I am still not sure what my department title would be, but I know it would aim at using language together to create a better future. And it would NOT be “English.” What would your department name be—and why?   The image in this post is in the public domain. ... View more

One year ago, I wrote here about the threat of a Constitutional crisis. In doing so, I cited a speech made by Thurgood Marshall, the first African American to serve on the Supreme Court, on the occasion of the 200th birthday of the Constitution in 1987. Marshall wrote, “I plan to celebrate the bicentennial of the Constitution as a living document, including the Bill of Rights and the other amendments protecting individual freedoms and human rights.” He continued, “Along the way, new constitutional principles have emerged to meet the challenges of a changing society. The progress has been dramatic, and it will continue. The men who gathered in Philadelphia in 1787 could not have envisioned these changes. They could not have imagined, nor would they have accepted, that the document they were drafting would one day be construed by a Supreme Court to which had been appointed a woman and the descendent of an African slave. ‘We the People’ no longer enslave, but the credit does not belong to the Framers. It belongs to those who refused to acquiesce in outdated notions of ‘liberty,’ ‘justice,’ and ‘equality,’ and who strived to better them.” Since the 2020 elections, across our nation, dozens of laws have been proposed—and most of them have been passed—that acquiesce in outdated notions of liberty, justice, and equality. Often these laws have been passed with their proponents knowing full they will not withstand a constitutional challenge. They do, however, reveal the biases of those who support them. They also reveal why Marshall was right in stressing that the Constitution was and must remain a living document. For example, there is endless debate about what rights to gun ownership are established by the Second Amendment, an amendment written before bullets as we know them had even been invented, let alone semiautomatic weapons. When Marshall wrote of “new constitutional principles [which] have emerged to meet the challenges of a changing society,” he had in mind, among others, the Thirteenth and Fifteenth Amendments, which ended slavery and the denial of the vote based on race, respectively. During his lifetime, he saw progress toward a more just and equal nation. Had he lived into the twenty-first century, he would have been horrified to see us moving backward. Last week Marshall would have seen a glaring backward movement in the area of racial justice as he watched with the rest of the nation what happened in Tennessee. The Tennessee state legislature expelled Rep. Justin J. Pearson and Rep. Justin Jones, two young black representatives because they took part in a peaceful protest against the gun violence that most recently took six lives at an elementary school in Nashville. These representatives were removed from political office after being duly elected by their constituents, leaving those constituents temporarily without representation. Representative Gloria Johnson, a white Democrat, participated in the same protest but was not removed from office. Ironically, quiet racial gerrymandering of voting districts is what brought into power state legislatures that are able to get by with such blatant injustices. While both Rep. Justin J. Pearson and Rep. Justin Jones have been reinstated, the backlash from their expulsion will unravel in the weeks to come. Our Constitution assumed men of honor would be the ones enforcing it. Unfortunately, as the Constitution evolves we may have to legislate standards of integrity as well. For the better part of 200 years, Americans used the power of the vote to say no to politicians involved in a scandal or espousing blatant racism—except in the South, where that remains a problem. Our Founders didn’t think they needed to be made explicit. Perhaps today they do.   "Constitution"  by EpicTop10.com is licensed under CC BY 2.0 ... View more

Today's Tiny Teaching Story is by Jordan Hill, composition instructor in the Global First Year program at Florida International University. A recently-selected Fulbright Scholar, he will soon move to Italy to research a short story collection. Idioms I tell my class of international students that a certain American literary character is “an odd duck.” They stare at me with tilted heads and confused smiles. I imagine what they must be imagining—Jay Gatsby as a strange waterfowl. I clear my throat. “Sorry, everyone,” I say. “An ‘odd duck’ is an idiom. An expression.” How can I explain this? “An odd duck is sort of like a black sheep.” Again, the quizzical faces. Too late, I register my second, unintentional idiom. I sigh and explain what happened. They laugh, and I try again.   Submit your own Tiny Teaching Story to tinyteachingstories@macmillan.com! See the Tiny Teaching Stories Launch for submission details and guidelines.   ... View more

Kim Haimes-Korn is a Professor of English and Digital Writing at Kennesaw State University. She also trains graduate student writing teachers in composition theory and pedagogy. Kim’s teaching philosophy encourages dynamic learning and critical digital literacies and focuses on students’ powers to create their own knowledge through language and various “acts of composition.” She likes to have fun every day, return to nature when things get too crazy, and think deeply about way too many things. She loves teaching. It has helped her understand the value of amazing relationships and boundless creativity. You can reach Kim at khaimesk@kennesaw.edu or visit her website: Acts of Composition.   Overview Writing in digital spaces asks us to rethink the nature of writing. Our students compose through non-linear writing and interactive formats. Site maps are used in interactive design to help users find our sites and content and enhance SEO (search engine optimization).  Although this is important for those composing in online formats, I use site maps in my classes as part of the planning and revision processes.    It is often difficult for students to get their minds around non-linear writing. They are used to writing in a vertical format, where readers read from top to bottom and left to right. Generally, the author controls where the reader goes through linear progression. With webtexts and interactive writing, the audience takes on a participatory role through which writers and readers work together to understand meaning and readers have choices about where to go next, thus creating documents that are read deep vs from top to bottom. Celia Pearce in the Ins and Outs of Interactive Storytelling, provides a good working definition for these terms: “In the context of interactivity, linear is defined as any body of content (i.e., information) that is meant to be seen or heard in the same order every time it is experienced.” She continues, “Non-linear, on the other hand, is defined as any body of content that is structured such that its final delivery is variable. Each time it is seen or heard, it can be presented in a different order, based on input from the user, or (as I prefer to call it) the player.” Teaching students to write in this way is a challenge as it asks them to include multimedia and multimodal components, embedded links and incorporate design cues that allow readers to move around and participate in the narrative. See my previous post on Foundations for Non-linear Writing for including these components.   I use site maps in my courses to help students see the connection between their ideas and the ways that form and content work together. My students are not web designers and my goal at this point is not to have them understand SEO and other back-end strategies for location and distribution of their work (although this is important down the line if they continue in these areas).  Instead, I use them as planning and revision documents that help them conceptualize the structure of non-linear writing.    Here are two examples of how I use them in my classes:    Sitemaps for Interactive Writing I have students write interactive feature articles that require many branching directions and pathways. For these articles, the site map helps students organize their work and shape the writing through identifying embedded links, exploratory paths, and multimodal components. Here is a sample from a Sense of Place interactive article:  Talia Dodenhoff’s Site map for Sense of Place Interactive Feature Article (2022)   Sitemaps for Organizing Online Portfolios  I use online portfolios in many of my classes. One class in particular encourages students to curate a collection of artifacts that represent their marketable skills. This portfolio assists them on the job market as they shape a professional identity and allows future employers to understand the connections between their work and their abilities.  Students in this context need to understand the connections between their artifacts through categorizing and organizing.    For both of these examples, students need to create a hierarchy of pages and elements and detail the connections between components. Here is a sample of a site map for an online portfolio: Isabel McNamara’s Sitemap for an online portfolio (2022)   Steps to the assignment:  Give students context through discussing linear and non-linear composition.  Explain the concept of site maps and talk about how they are similar and different from outlines and other processes of linear writing. Students are generally familiar with outlines, so this is a good place to start.  I usually show them a couple of examples to get an idea of the visual sitemap.  Have students to review their work and list the components included in their articles and in their portfolios. Ask them to specifically name their ideas rather than rely on generic naming. Encourage them to talk about hierarchy and to look for categories and connections between their ideas and components.    I introduce a site map generator tool/app that allows them to create the maps in real time and through fluid design that can change as the projects progress. I like Gloomaps because it is simple and free but there are many other free tools and apps for site map design. This app helps you create a map that is available for 14 days unless it is revisited and will renew each time for dynamic interaction as students revise and refer back to it as an organizing document. Students can also save their sitemaps to their computers in PNG or PDF formats. Here is a short instructional video on the site that demonstrates the building process.  Share sitemaps in peer groups or project for the whole class to get feedback.   Have students revisit the sitemap several times during the process and revise it based on new ideas and directions.        Reflection on the Activity  This activity goes far to help students understand that they are not just dropping a paper online and that they must think differently in these contexts. It allows them to engage in dynamic, fluid design that trains them to be strong interactive composers. It emphasizes a visual planning and revising through new conceptual lenses.      Works Cited:  Pearce, C. (1994, May 1). The ins & outs of non-linear storytelling, ACM SIGGRAPH Computer Graphics. DeepDyve. Retrieved March 27, 2023, from https://www.deepdyve.com/lp/association-for-computing-machinery/the-ins-outs-of-non-linear-storytelling-QwtZIQstxb  ... View more