Kim Haimes-Korn is a Professor of English and Digital Writing at Kennesaw State University. She also trains graduate student 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 is a regular contributor to this Multimodal Monday academic blog since 2014. 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   I just returned from the 4Cs (Conference on College Composition and Communication), our discipline’s premier national conference in Baltimore. It was a great opportunity to interact with other engaged composition teachers and to explore new ideas. I was encouraged to see the number of presentations focusing on and featuring multimodal projects and pedagogy. Multimodal composition is firmly planted within our field.   This trip was particularly special because I had the pleasure of presenting and mentoring three of my graduate students on a panel at the conference. I met these students through my work in my Composition Theory and Pedagogy class in 2024, where I teach about the impact, processes, and practices of multimodal composition. These students, who are now Teachers of Record in their own FYC classes, have incorporated these approaches into their curriculum. I dedicate this post to our experience at the conference and share materials from our presentation.   Some Context: In his essay “Writing Is Not Natural,” composition professor Dylan B. Dryer calls to our attention to the fact that writing is, and always has been, an expression of technologies. The feather quill, the ballpoint pen, and yes, the very laptops our students use are all technologies in their own right. Writing has always been a way to embrace technology. As a cohort, we have bonded over the possibilities of this communication. We remix the ideas surrounding multimodality and sample this idea across different formats, believing that the best way to honor composition’s past is by embracing its future. Our students, as it turns out, often agree. We share a series of low-stakes assignments that celebrate multimodal technologies and practices. Follow links for Presentation Slides and Handout Writing itself is a remix as we cross disciplines and genres. Digital and multimodal composition brings together visual, audio, and kinesthetic modes along with the written text. We now consider design and audience experience as part of our rhetorical situation and train students to move around and explore options that lead to critical and creative thinking. Our classrooms themselves are intricate symphonies that harmonize through collaboration, composition, cadence, pitch, and rhythm. Music is a natural metaphor for what we do as composition teachers. The A-side of composition is reading and writing, but the B-side is the low-stakes multimodal assignments where the students experience learning through invention without a heavily weighted penalty, developing a soundtrack for their writing. Remixing the first-year composition course requires innovative scaffolding.  We share multimodal, low-stakes assignments that draw upon music, both literally and metaphorically. Through using music as a lens, students come to understand connections to events, emotions, ideas, and cultural influences. What follows are our individual ideas and the ways we use technology tools to promote critical and creative thinking. For the full details for each assignment, see the attached presentation slides and handout.   Kim Haimes Korn  - Curating Creative Playlists Curation is an important skill for students to understand the processes of collecting, selecting, interpreting, creating, and sharing in the FYC classroom and across the curriculum. Students curate research articles, images, and a variety of shared content. We tend to think about playlists existing outside of the classroom, but they can engage students in a range of important rhetorical and interpretive skills that promote research and critical thinking. Playlists can inform, tell stories, express themes, and communicate ideas. Kim shares some low-stakes assignments that engage students in curation and interpretation through playlists, such as the soundtrack of your life, cultural critiques, thematic threads, and place-based and generational research. See my full post, Curating Creative Playlists (2023) as part of the Multimodal Mondays blog.   Emily Crocker - Jamming With Canva and Mood Boards The power of visuals cannot be overstated, especially in an attention-based environment such as the FYC classroom. Much like how an album cover is vital to the promotion of a record, Canva serves as a design platform that allows students to deliver professional content such as videos, presentations, Instagram reels, wallpaper, and much more. Emily shares her Canva Mood Board assignment that remixes student research through collage. Students learn the benefits of visual design and data visualization through extending their research ideas in new ways. Heather Voraphongphibul - Composition Karaoke Students can delight in the aural qualities of traditional rhetoric as they aid in understanding audience awareness and rhetorical appeals. Modern recording technologies provide instructors with mediums that enhance the repetition, alliteration, and poetic waxings of rhetors that impact audience awareness and the skills of growing writers. Heather shares a Composition Karaoke lesson, using Voice Thread, that further pushes these remixing practices by allowing students to incorporate songs, sound effects, and other sonorous approaches to convey meaningful messages. She has students research, rewrite, and record movie monologues through the lenses of genre, audience, and tone. Emily Chick - ReVision and Remix Remixing is revising through changing, blending, or altering to create something new. In this project, students remix the narrative essay through three modes: text, visual, and audio. Each part of this project extends students' creative and critical thinking skills. Students write a narrative, create a vision board, and generate a song using the Gen AI program Suno Music creator. This program offers features like personalized lyrics, discovering new artists, and curating playlists, making it a versatile tool for creative projects. Emily discusses the ways instructors can incorporate multimodal, low-stakes assignments through reVision and remix. ****************************************************************** As academic professionals, we often present at conferences to share our ideas and teaching practices, but this post gives us a chance to expand our reach and share with our readers here. As a long-time teacher of teachers, I appreciate the mentorship opportunities that these platforms provide.  bell hooks reminds us in Teaching to Transgress, that teaching is about experimentation and engagement in the classroom. Multimodal pedagogies offer many possibilities for learning and expression. We are reminded that integrated, low-stakes, multimodal assignments provide incremental scaffolding that helps students think critically and creatively on their way to their larger, major assignments. References: Dryer, Dylan B. “Writing Is Not Natural.” Naming What We Know, Linda Adler-Kassner, University Press of Colorado, 2015. hooks, bell. Teaching to Transgress. Routledge, 1994. ... View more

Kim Haimes-Korn is a Professor of English and Digital Writing at Kennesaw State University. She also trains graduate student 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 is a regular contributor to this Multimodal Monday academic blog since 2014. 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 Why is digital literacy important for teachers and students? In today’s rapidly evolving digital landscape, digital literacy is a range of essential skills that help us navigate the digital world where we spend a significant amount of time.  Our students are continually immersed in online situations, making digital literacies an integral part of our teaching and learning.  They must learn how to communicate, critically analyze online content, and creatively use digital platforms in meaningful ways. In their article, Digital Writing Across the Curriculum (2010), Hague and Payton define eight components of digital literacy: creativity, critical thinking and evaluation, cultural and social understanding, collaboration, finding and selecting information, effective communication, e-safety, and functional skills.” Even though students are engaged in these digital practices, we can expand our teaching to include practices in these skills along with the analysis of the cultural and ethical implications of digital literacy.  Components of Digital Literacy (Hague & Payton, 2010, p19)I try to incorporate all of these practices into my curriculum design and have recently focused on functional skills. I always say, “I don’t teach tools; I teach digital intuition.” The reason I say this is 1) Tools change, 2) I like to give options for platforms and tool choices rather than prescribing a particular one, and 3) Digital intuition is a critical literacy skill that students only develop through “mucking through” and figuring it out on their own. It also teaches them research and reading skills as they independently seek out solutions and solve their own problems through articles, forums, and documentation. While I feel strongly about this approach, there are exceptions to this stance when we find tools that are so versatile and offer many possibilities that they open up possibilities rather than limit them. Recently, I have directly integrated some tools into my assignments and deliverables and found that they have the potential to create collaborative discussion spaces for problem-solving and extending students’ digital intuition. Canva, a conceptual and visual design platform, is perfect for multimodal composing and enhancing a range of digital literacy skills. With its low learning curve and user-friendly interface, Canva requires minimal additional classroom instruction and is a vital resource for content creation. Canva’s mission is to “empower everyone in the world to design anything and publish anywhere.” Using visualization tools is also a marketable skill that students can take into professional contexts. This platform easily integrates with composition pedagogy throughout the writing process, from invention to drafting to delivery. And it’s free. Applications of Canva in the Classroom   Brainstorming and Invention While Canva is often thought of as a tool for creating polished content, it also offers embedded components that help students with brainstorming, drafting, and collaboration. I introduce it to create storyboards, concept and mind maps, and planning documents (proposals).  The whiteboard tool encourages real-time collaboration and visual brainstorming techniques. We can encourage Design Thinking as a problem-solving framework.  “Unlike other brainstorming methods⁠, design thinking uses empathetic observation to focus on human-centered needs first before diving into ideation.” Data Visualization Research is an important skill that we teach our students.  Data visualization brings research to life as students take their research data and create infographics, charts, and graphs, giving them visual ways to represent their work.  Canva provides an abundance of templates for students to create impactful visual arguments that transcend traditional text-only documents. Microcontent Our students interact with microcontent regularly as they surf the internet and participate in social media. Canva offers many possibilities for students to create microcontent for academic, personal, and professional purposes. Through community engagement and service-learning projects, I have students create content such as memes, reels/videos, posters, flyers, promotions, and newsletters for professional organizations. I teach students about the ethical use of images, but Canva offers thousands of copyright-free images that students can use in their work. Additionally, digital storytelling and comic strips provide creative avenues for expression. Presentations Canva provides a variety of templates for creating engaging presentations, such as pitch decks, proposals, and presentations.  Students can present research, collaborative projects, marketing plans, and media kits, among others.  Check out (and share with students) their beginners guide to Creating Engaging Presentations.  Students can also present their work and learning through digital portfolio templates to showcase their work. Educator Resources Canva has also done a good job of providing resources for teachers and students.  They have resources specifically for educators to create lesson plans, presentations, and pedagogical tools (see 10 Ways to Take Your Lessons to the Next Level with Canva). Teachers can create interactive polls and surveys to evaluate student engagement and learning. You will find an expansive educator community that shares pedagogical perspectives, classroom practices, and samples such as book covers, literary quote books, and narrative maps. **************************** Although this post focuses on Canva, many other tools are available for students to explore. However, Canva’s versatility makes it particularly effective for practicing a wide range of digital literacy skills within a single platform. For more ideas, The NCTE Definition of Literacy in A Digital World offers a specific breakdown of digital literacy skills and ways to apply them in the classroom. To this list, we also need to add strategies and ethical components of AI.  As students move into professional contexts, they will adapt and expand these skills with more advanced options and new rhetorical contexts. As the definition of digital literacy continues to expand, teachers play a crucial role in helping students navigate new technologies, create meaningful content, and engage thoughtfully in the digital world. ... View more

This series of posts is adapted from a keynote address given by Stuart A. Selber for the Teaching Technical Communication and Artificial Intelligence Symposium on March 20, 2024 hosted by Utah Valley University.   As we kick off the 2024 fall term, I want to offer something of a conceptual manifesto for how to think about artificial intelligence (AI) in the context of technical communication programs. I hope to provoke pedagogical and programmatic initiatives that are both productive for our students and responsible to our field. The manifesto includes five tenets, each of which will be explored in its own post: AI is evolutionary, not revolutionary AI both solves and creates problems AI shifts, rather than saves, time and money AI provides mathematical solutions to human communication problems AI requires students to know more, not less, about technical communication Teachers can use these tenets as talking points for their students and to frame curricular developments and revisions in their courses and programs. Which leads me to our focus for this week. Tenet # 1: AI is evolutionary, not revolutionary When I was working on my dissertation in the early 1990s at Michigan Technological University, hypertext was all the rage, and many scholars in our field considered it to be a revolutionary technology that promised to suddenly change the nature of textuality in central ways. I am thinking especially of scholars in the groundbreaking collections edited by Edward Barrett (1988, 1989) and Paul Delany and George Landow (1991). But what hypertext really offered us was a platform for enacting postmodern theories of writing and reading that were at least two decades old. In this respect, hypertext was more evolutionary than revolutionary in nature. Historian of science Michael Mahoney (1996) has argued quite convincingly that “Nothing is entirely new, especially in matters of scientific technology. Innovation is incremental, and what already exists determines to a large extent what can be created” (773). We see this reality in AI itself: How can an AI chatbot generate anything entirely new when its training data comes from the historical past? Technical communication teachers and program directors have managed to domesticate everything from microcomputers and mobile devices to production and communication platforms to course-management systems and the internet of things. We will also learn how to domesticate AI for our purposes and contexts. Historically, a popular approach to the curricular integration of technology has been to “forget technology and remember literacy,” to reference what my dissertation director Cynthia Selfe (1988) wrote in the late 1980s. What continues to be powerful about this sentiment is that it reminds us that what we already know about teaching and learning will go a long way toward helping us address artificial intelligence. This is why the AI position statement from the Association for Writing Across the Curriculum re-affirms best practices grounded in decades of writing research. So too does the AI position statement from the MLA-CCCC Joint Task Force on Writing and AI. There is a trap, however, and that is relying too heavily on one-way literacy models as a foundation for AI initiatives. Many people simply transfer their existing assumptions, goals, and practices into AI contexts. Although it is comfortable and sensible to begin with current ways of knowing and working, such an approach is ultimately limiting because it is non-dialogic: Not only does the model assume that AI is neutral, but it fails to recognize that AI can encourage us to reconsider taken-for-granted assumptions, goals, and practices. So, in addition to addressing the possibilities and problems of AI, we should also see this liminal moment as an opportunity to revisit the status quo and consider how AI might encourage us to reinvent certain aspects of the field, including writing processes and the roles and responsibilities of technical communicators. On the broadest level, one of the more valuable aspects of AI might end up being that it can defamiliarize the familiar, as sociologist Zygmunt Bauman (2005) might put it, at least for the foreseeable future, so that we can look anew with fresh eyes at how we construct our professional world.   References Barrett, Edward, ed. 1988. Text, Context, Hypertext: Writing with and for the Computer. Cambridge: MIT Press. Barrett, Edward, ed. 1989. The Society of Text: Hypertext, Hypermedia, and the Social Construction of Information. Cambridge: MIT Press. Bauman, Zygmunt. 2005. Liquid Life. Cambridge: Polity Press. Delany, Paul, and George P. Landow, eds. 1991. Hypermedia and Literary Studies. Cambridge: MIT Press. Mahoney, Michael S. 1996. “Issues in the History of Computing.” In History of Programming Languages, Volume 2, edited by Thomas J. Bergin and Richard G. Gibson, 772-81. Reading: Addison-Wesley Professional. Selfe, Cynthia L. 1988. “The Humanization of Computers: Forget Technology, Remember Literacy.” The English Journal 77 (6): 69-71. ... View more

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

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

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

I live on the coast of California about 150 miles north of San Francisco in a community called The Sea Ranch. It has quite a history, of which I was completely unaware when—after love at first sight—I bought a lot here in 2000 and eventually saved enough money to build a home. Now I am a ‘full-timer” here and over the years have come to know a lot about this place. It was the home of the Pomo people before a “settler” received a Mexican land grant in 1846 for the property. In the early sixties, an architect surveyed the ten miles of coastal land before a group purchased the property and engaged a distinguished group of young architects to design a community whose watchword was to be “living lightly on the land.” Graphic designer Barbara Stauffacher Solomon, known for her supergraphics, designed the Sea Ranch logo, which you can see below, as well as large and very striking interior paintings for several of the original buildings.  And here’s where fonts come in. As they wrote materials about The Sea Ranch, the founders settled on the very modern, very “in” Helvetica font. As I got to know more about The Sea Ranch and became friends with one of the original architects—the fabulous Donlyn Lyndon—I got curiouser and curiouser about this favored and pervasive font and learned of its rise to prominence as “the most famous” Swiss Style typeface. Launched in 1957, the neutral sans serif design was meant to be versatile and unobtrusive—to go unnoticed. But noticed it certainly was, soon becoming the go-to font for many brands, from Target to Apple’s Macintosh, from Yankee Stadium to the side of NASA’s space shuttle. Wow. Learning a little bit about this history, about the rise and fall and rise of Helvetica, of the wars between those who loved and those who loathed it, made me think of asking students what they know about fonts and why they choose them. I have them work in pairs to choose a font they admire and then see what they can find out about its history, about who created it and why, and about where and by whom it is used. Then we use their findings to launch a discussion of different font “personalities” and to write up little bios of a couple of fonts, describing them, giving them nicknames and character traits. We have some fun along the way, and students become much more conscious of the design choices they are making, often without even thinking of them. So the next time you give an assignment, ask students to pay special attention to the font they choose—and to append a memo to you at the end of the assignment explaining their choice. I always find these explanations fascinating! Image Credit: "helvetica 50" by _Nec, used under a CC BY 2.0 license (top); Photo by Andrea Lunsford ... View more