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

This post was originally published on November 25, 2021. I will be thinking of writing teachers and writing students everywhere this Thanksgiving, and giving thanks for all the magnificent colleagues and even more magnificent students I have had the honor and privilege of knowing over my very long career.  When I count my blessings, which I try to do every single day, teachers and students—along with my beloved grandnieces Audrey and Lila—are at the top of my list. I hope this day, even in the midst of a seemingly never-ending pandemic, will bring time shared with your loved ones, time to give thanks for and with them, and time for some relaxation and reflection. With thanks, and every good wish, Andrea Image Credit: "Happy Thanksgiving everyone!" by InaFrenzy, used under a CC BY 2.0 license ... View more

I contributed to a recent publication called Resilient Pedagogy. I was drawn to the call for proposals last year by the tone of the word resilient. Resilient comes from a Latin word meaning to leap or bounce back: like coils compressed and then released, we spring back into place after a time of tension or pressure. BOINGGG! The multiple shifts in teaching context during 2020 were certainly pressure points, and my co-authors in Resilient Pedagogy highlight the creativity and determination with which faculty responded to that pressure.  But as we near the end of 2021, I wonder: Have we sprung back fully? Or have the coils perhaps tangled a bit, thrusting us more sideways than back up? Has our resilience also exposed our breaking points? It’s not the most encouraging of times for faculty right now. Just look at some recent headlines from The Chronicle of Higher Education:  “Why I Quit,” “Morale is in the Ditch,” “Tenure Under Threat in Georgia,” “Florida Is a Five-Alarm Fire for Academic Freedom.” I’m in Georgia, where issues of safety, masking, self-governance, and tenure protections have only added to the stresses of pandemic teaching. I have colleagues who—two years into a tenure-track position—talk about burn-out. This Tweet, reshared throughout social media feeds, captures the frustration: our assigned work and those ill-defined “extra duties as required” far exceed 100% of our available time. We are tired. I am so tired I cannot “can’t,” much less “even.” A quick Twitter search for “tired of being resilient” led me to many who share this sentiment. We aren’t necessarily bouncing back. We’re coping, getting by, and—in some cases—withdrawing.  For me, resilience (even before the pandemic) is what occurs in an ongoing process of adjustment: strategy X is not working for students in class Y, so we tweak that strategy (or abandon and replace it). And on occasion, we redesign the syllabus from top to bottom. But what happens when that complete redesign, the total overhaul, is needed in EVERY course AT THE SAME TIME? In the past two weeks, I’ve had multiple no-shows for scheduled individual writing conferences, and over half of those who have made it to the office (or Zoom meeting) did not have the expected draft to discuss. In my introductory syntax and pedagogical grammar courses, students have scored well below our target benchmark of 80% on tests of key concepts. Something is amiss. There isn’t much time to think about adjustments, much less complete redesigns. Yet something has to give. As I hear some colleagues talk about quitting, I know I need to ask some tough questions. Question #1: Right now, do you enjoy teaching? At the moment, no—I don’t. Well, not as much as I used to. But I don’t want to quit. Question #2: Then what (realistically) can you do about the situation? I don’t want a recipe: “three (or five or ten) steps to recovering joy in the classroom.” We can’t fix what is broken with three simple steps. And yes, the material support and confidence of our university systems would go a long way to inviting resilience and restoring joy, but I cannot make such support appear.  So, I ask myself again, what can I do about it, realistically? Here’s what I’ve come up with, for my context: In those introductory grammar classes, I can flip the classroom. Each week, I’m recording six short videos (5-8 minutes), each addressing one key concept for students to review before class. During class, we are discussing, creating tree diagrams, and working through problems. No lectures. Students have been more alert the past two weeks, and have told me they love the short videos—quarantined students are keeping up, and the short content allows for easier test review.  In those same classes, I am offering opportunities for re-tests on critical material in the class, focusing on mastery more than the grade. I’ve seen students move from 50% or 70% mastery to 75% or 90%.  Their success—and growing confidence—brings me joy.  At the same time, I am sticking to deadlines (for my own sanity): in my first-year writing classes, draft submission times are absolute, at least if students want written comments and an initial grade. I will still discuss late drafts in conference, before the final portfolio submission. But I give written (or voice-recorded) comments only for drafts submitted on time. In short, I am guarding my time more carefully. For me personally, this has included recovering the practice of a weekly Sabbath—time set aside for worship in my faith-community, time with my family, and time for good reading (Dostoevsky and Dante). And I’m looking towards an extended time for vacation and personal research (recognizing the privilege inherent in this choice): I will not teach next summer. This isn’t a rulebook or 4-step program. It’s an easing of tension: I am not necessarily “springing back” at this moment. But the coils aren’t breaking, either. I would love to hear how my colleagues are managing resilience in these difficult days.  ... View more

Today's Tiny Teaching Story is by Heidi Rosenberg, a Senior Lecturer at the University of Wisconsin-Madison's Wisconsin Business School.   Teaching in the Time of COVID Shana says she’s all right. How can I help? Each student is a square within a square I hold. She nearly pulled her finger off—it got caught so typing is one-fingered. She moved to her own place. She was pregnant, then not. The father of the never-born-baby smacks. I email, it’s her birthday—“happy birthday.” I am the only one who said that.  Her family—This is why I moved out. I say, You didn’t move far enough. She has a scholarship, job, apartment. We come to terms. One thing she asks: how do I stay when there’s nothing?     Submit your own Tiny Teaching Story to tinyteachingstories@macmillan.com! See the Tiny Teaching Stories Launch for submission details and guidelines. ... View more

This blog series is written by Julia Domenicucci, an editor at Macmillan Learning, in conjunction with Mignon Fogarty, better known as Grammar Girl.   Summarizing is integral to writing when using other sources. Students are probably most familiar with summarizing text sources--let’s use podcasts to practice the skill of summarizing other mediums! Podcasts are well-established, but their popularity seems to increase every day—and for good reason! They are engaging and creative, and they cover every topic imaginable. They are also great for the classroom: you can use them to encourage student engagement and introduce multimodality.  LaunchPad and Achieve products include assignable, ad-free Grammar Girl podcasts, which you can use to support your lessons. You can assign one (or all!) of these suggested podcasts for students to listen to before class. Each podcast also comes with a complete transcript, which is perfect for students who aren’t audio learners or otherwise prefer to read the content. To learn more about digital products and purchasing options, please visit Macmillan's English catalog or speak with your sales representative.  If you are using LaunchPad, refer to the unit “Grammar Girl Podcasts” for instructions on assigning podcasts. You can also find the same information on the support page "Assign Grammar Girl Podcasts." If you are using Achieve, you can find information on assigning Grammar Girl in Achieve on the support page “Add Grammar Girl and shared English content to your course.” If your English Achieve product is copyright year 2021 or later, you are able to use a folder of suggested Grammar Girl podcasts in your course; please see “Using Suggested Grammar Girl Podcasts in Achieve for English Products” for more information.   Using Grammar Girl Podcasts to Practice Summarizing Pre-Class Work for Assignment: Assign podcasts for your students to listen to. You can assign one podcast to the entire class, assign a few for students to choose from, or assign students to specific podcasts. While any podcast will work for this assignment, you might consider one or more of the following options, which discuss topics of some debate: Should Writers Keep a Journal? Can You Start a Sentence with "Which"? Can You Say "These Ones"? "Irregardless" versus "Regardless" The Emphatic "This" Introduce or recap the concepts of summarizing for your students, such as: Identifying the thesis or main idea Recounting the main points without including every detail Using your own words Using objective language Surrounding any language from the source in quotation marks Remind students about the transcripts available for the podcasts. Tip: In an Achieve English course, you can assign instructional content about summarizing. Look or search for Reading content about summaries or summarizing. Refer to the help documentation about adding Resources if you need help adding the content to your course. Assignment: Ask students to listen to the assigned podcast and write a summary of the podcast. Pair students up or place students in small groups. Ask each student to comment on where their peers’ summaries succeed and where they might need more improvement. Tip: If you are using an Achieve English course, consider creating a custom Writing Assignment that students can use to submit their summaries and conduct peer review. Refer to the article “Guide to Writing assignments for instructors” for help with Writing Assignments. Reflection for Assignment: Ask each student to review their peers’ feedback and write a paragraph or two about the feedback they received. Then, hold a class discussion about summaries. Were there any aspects of summarizing some or many students struggled with? What was the easiest part of summarizing? What sort of language is objective? What language might be analytical or a personal response? Did any students accidentally plagiarize, and, if yes, how can that be corrected?  Follow-Up Assignment: Each student revises their summary based on the feedback they received and the class discussion, and then submit it for a grade.    Credit: "Belief System alternate: Sound waves" by Chuckumentary is licensed under CC BY-NC-SA 2.0 ... View more

My recent thinking about this year’s new emojis, how they are used/abused, and especially the role they play in so much online communication led me eventually to several intriguing discussions of tone indicators, a letter or letters placed after a forward slash at the end of a phrase or sentence to indicate the tone (or feelings) intended. Also known as “tone tags,” such indicators are helpful in written communication, where body language or facial expressions can’t help convey tone and feeling. They have been especially useful for neurodivergent people who may not always understand tone or nuances of meaning. As you might expect (or know), they are widely used on social media like Twitter and TikTok. I was interested to look through a few “master lists” of tone indicators, only a couple of which I knew (my absolute favorite is /c for copypasta—look it up!). Here are some examples: /j = joking /hj = half joking /s or /sarc = sarcastic / sarcasm /srs = serious /nsrs = not serious /lh = light hearted As I thought about these “indicators,” I realized that they are not completely new. I knew, for instance, that Jonathan Swift had used special marks in the margins of his text, and that at one point an upside-down question mark had indicated a rhetorical question. (The illustrious British printer Henry Denham seems to have been the inventor of that one.). And I learned that a 17th century British philosopher, John Wilkins, used upside-down exclamation marks to signal irony. But the number and ubiquity of tone indicators in use today surprised me. While tone indicators are typically used at the end of a sentence, etiquette seems to call for including them at the beginning as well as at the end of a sentence when possible, and for never using them as a joke. Writing in Screen Shot, Malavika Pradeen says that [T]one indicators can be used anywhere over text be it personal chats, social media or even emails—absolutely anywhere the tone is ambiguous and hard to pick up on. But one disclaimer is to avoid using them as a joke. It defeats their entire purpose and strips a safe space from neurodivergent people.  So just what are these tone indicators? They're paralinguistic, certainly, but are they like punctuation marks? Or not just “like” punctuation marks but actual punctuation marks? How do our students understand their use—and how and when do they choose to use them? These sound to me like some very good research questions students might like to take on /srs. Image Credit: "Lighted Keyboard 1" by sfxeric, used under a CC BY 2.0 license ... View more

It’s never a stretch to hear writing teachers bring up social justice issues; it comes with the territory. Teaching writing means working closely with first-year students, which means facing the hard truths about why some college students manage to persist and others do not. When we read students’ writing and listen carefully to their ideas and experiences, the structural inequalities that pervade our communities and campus culture are evident everywhere. That said, I’ve never heard a conversation turn so swiftly from pedagogy to a full-on critique of capitalism as I have in a recent faculty discussion group on “ungrading.” I have written about this movement several times in this space: see here and here for recent posts. But the most recent discussion of “ungrading” practices on our campus, with colleagues from a variety of disciplines, reminded me that we might find pedagogical allies almost anywhere on our campuses, including in STEM fields. After all, most of us — and not just in Composition — pursue teaching not because we hope to sort and rank students based on an imagined meritocracy, but because we believe in the liberating potential of education. As Alfie Kohn reminds us, “a ‘grading orientation’ and a ‘learning orientation’ have been shown to be inversely related.” Further, grades train students to accept the very structural inequalities that our campus equity principles oppose, as Richard D. Wolff points out: It starts as schools train individuals to accept the grades assigned to them as measures of individual academic merit. That prepares them to accept their jobs and incomes as, likewise, measures of their individual productive merit. Under this framework, unequal grades, jobs and income can all be seen as appropriate and fair: Rewards are supposedly proportional to one’s individual merit. For this reason, I’d urge writing instructors — and all your pedagogical allies — to bring your insights to your university’s discussions about Diversity, Equity, Inclusion, and Justice (DEIJ). While I suspect most of us are sympathetic to DEIJ efforts, more of us could examine how the default to grade-driven pedagogy feeds precisely the opposite philosophy. Now, when so many of our campuses are rightly thinking through what it would mean to put our DEIJ principles into practice, is just the right time to insist that pedagogy is part of those discussions. Those of you reading this are the ones to raise your voices. Even if Twitter is not your customary platform, I’d encourage curious instructors to take 15 minutes to search #Ungrading on Twitter to listen to the wide range of thoughtful colleagues offering examples, testimonials, some stumbles and plenty of successes as they shift their classrooms away from grades and toward learning. I have found that every “But what about X?” objection to teaching without grades is being discussed already with innovation and creativity by our colleagues. Let’s learn from them — and from all of you — in time to try something new in our upcoming semesters. If you’re adventuring into ungrading, let us know how it’s going in the comments.    Image Credit: "3D-04-22-09-0002a interior design classroom" by jimf0390 is licensed under CC BY 2.0 ... View more

Gina AtkinsGina Atkins (recommended by Casie Fedukovich) received her MA in English with a concentration in Rhetoric and Composition at North Carolina State University in 2021 and is now pursuing her PhD at the University of Wisconsin - Madison. She teaches English 101: Academic Writing and Research and serves on the First-Year Writing Program Council as the MA Representative. She is also CRLA III certified. Her research interests relate to developing antiracist pedagogy, antiracist praxis, accessibility in the writing classroom, and linguistic justice.   What do you think is the most important recent development or pedagogical approach in teaching composition? History and research have shown that the perpetuation and teaching of academic writing has racist undertones that exclude various knowledges of underrepresented groups; as a result, it is not false to say that composition, especially academic writing is problematic. However, recent discussions about the field’s turn towards disciplinarity has asked scholars to examine this material reality regarding future sites of research and teaching. An interesting inquiry is not only how to teach writing in an anti-racist manner, but if antiracist composition even exists. And while this has caused some contention in the field, I am excited that scholars are looking into the field’s turn towards disciplinarity and how antiracist practices can, and should, be a core aspect of that turn. What is the most important skill you aim to provide to your students? In my writing classroom, I want to encourage students to expand their writing skills across various contexts of their choosing (e.g., academic, professional, or personal). I hope to impart that writing is a core communication tool that goes beyond merely essays, and that they can utilize their abilities, lived experiences, and linguistic knowledges to express themselves as writers. Several students come to the classroom having negative associations with writing and composition classrooms and I hope my classroom can mediate some of those anxieties and instead help students see that everyone writes, thus everyone is a writer. I also aim to expand student’s ideas of writing to see that it’s not just something they do in one or two English classes and never think about again; writing happens in computer science, in engineering, in business settings, and amongst friends and family. Through asking students to view writing as a ubiquitous communication tool, I want to encourage students to foster a culture and community of writing for themselves and with one another. What do you think instructors don’t know about higher ed publishing but should? Several instructors, including myself, see higher ed publishing as a capitalist structure that impedes accessibility to students and provides no material benefit to junior faculty seeking tenure. However, after working with and speaking with members at Bedford/St. Martin’s and the instructors who publish with them, I see the educational benefit of publishing is exactly because of the students themselves. For GTAs and junior faculty members, these textbooks can provide a great base for course preparation and for students, these textbooks can provide valuable and easy-to-digest information that is supplementary to their coursework. And as I said earlier, if we want to encourage a culture and community of writing, we need textbooks and other forms of educational materials that foster this.  What have you learned from other Bedford New Scholars? That course assignments can have the dual benefit of aiding student’s personal and academic goals and that the two goals don’t have to be mutually exclusive. For example, assignments can use gamification or even visual rhetorical practices to ask students to build critical thinking skills while scaffolding rhetorical concepts and student outcomes. I also learned that assignments can be creative in a way that pedagogically benefits us as instructors while enriching student’s experiences in the classroom as well. When I first started teaching, I dreaded having to think of my own assignments or making them specific to my classroom, but after learning from the other Bedford New Scholars, I see the excitement that can come from riffing on a previously seen assignment or brainstorming a new variation of one. While it may be a lot of work on the front-end, seeing how the creative assignments of others helped them grow as instructors really inspired me to look at course-planning in a new light.   Gina’s Assignment that Works During the Bedford New Scholars Summit, each member presented an assignment that had proven successful or innovative in their classroom. Below is a brief synopsis of Gina's assignment. For the full activity, see Teaching Stages of Revision and Peer Editing (The Ariana Grande Assignment). In my classroom, I have my student’s peer review one of my graduate papers to give them an introductory idea to how peer review will occur in our class. I originally chose to use one of my papers because as a GTA, I didn’t have my own repertoire of student examples, but I also recognized that providing vulnerability with my students made them feel more at ease about sharing their own writing later in the semester. It also helped that the paper was a definite first draft where students had the ability to see the hierarchy of feedback that was necessary for specific aspects of the paper. For example, I asked students to prioritize feedback related to the genre, development of the argument, and the organization of the paper since it was a first draft rather than simply focusing on spelling and grammar that would be more helpful for a later draft. Another unexpected bonus is that letting student’s peer-review my paper and point out obvious issues that come with a first draft helps them see the benefit of not procrastinating or turning in a first draft themselves. As a result, they can note that writing is a reflexive practice. ... View more

   Despite the controversy surrounding vaccine mandates, they are already being enforced in many places. Additional vaccine mandates affecting many more people will go into effect by January. The people who refuse to receive the COVID vaccine cite a variety of reasons, the most common probably being that no one has the right to force individuals to be vaccinated against their will. For a while, a popular refrain from people rejecting the COVID vaccine was that no one can require an individual to take an experimental drug. However, when a COVID vaccine was approved by the FDA for use beyond an emergency basis, that argument no longer applied. Some people, not surprisingly, feared getting the vaccine while they were pregnant. Tragically, some of the people who declined the vaccine died after contracting COVID-19, sometimes without ever having met their babies, even after the CDC encouraged those who are pregnant or breastfeeding to get vaccinated. Though some news networks continue to put out misleading information suggesting that the vaccine is not medically safe for specific individuals, those cases are, in fact, far less likely than the cases of unvaccinated people dying from COVID. According to the CDC, there have been only two serious types of health problems after vaccination. One is anaphylaxis, which is an allergic reaction that can occur after any vaccination. Medical personnel can administer medication immediately to treat this reaction, which is why those being vaccinated are asked to wait 15-30 minutes before leaving. The other is Thrombosis with Thrombocytopenia Syndrome, or TTS, which has occurred at a rate of 7 per million vaccinated women between 18 and 49 and even more rarely for women over 50 and men of all ages. There have also been a handful of widely publicized cases of myocarditis and pericarditis in young adults after the second dose of the Pfizer or Moderna vaccine, but the CDC states, “These reports are rare and the known and potential benefits of COVID-19 vaccination outweigh the known and potential risks including the possible risk of myocarditis or pericarditis.” Other claims, such as Aaron Rodgers’s recent statement that he has not had the vaccine for fear it will affect his fertility, are not supported by medical science. As for the government’s right to mandate vaccination, critics are correct that the federal government cannot mandate that the general population be vaccinated. State and local governments can, and historically have, in the name of public health. Additionally, the federal government has the power, which it has exercised, to require federal employees and active military to be vaccinated. The extent to which the federal government can require private employers to mandate vaccinations is still a matter for the courts to decide. The final resort for anti-vaxxers even before the first known case of COVID-19 was to claim a religious exemption. According to Immunize.org, in May 2021, 42 of the 50 states allowed religious exemptions for the vaccines required to attend public school. Between 15 and 17 allowed more vague  “personal” exemptions, depending on which and how many immunizations were involved. Consider the claims being brought before America’s courts regarding religious exemptions to the COVID vaccine, and the arguments behind them. Claim: I should not be required to take the COVID-19 vaccine. Support: It is against my religion. Warrant: I should not be required to do something that is against my religion. A claim is only as valid as its support and the warrant that connects the two. And, as NPR has wisely summed it up, “There’s a lot to unpack there.” I will try to unpack it in terms of the arguments behind the headlines in my next blog post.   Image Credits: 78521431 from Jon Tester is a public domain image. Cross by Mingo Hagen is licensed under CC by 2.0. ... View more

The impish offspring of mischief and malice, comedy and cruelty, the Internet "meme" has emerged as a major player in contemporary political and popular culture. Just take the recent off-year elections in the United States—which were, in effect, a referendum on the presidency and party of Joe Biden—wherein an explosively popular verbal meme may well have played a significant role, especially with regard to the state of Virginia, which appears to have just "gone Brandon."  If you don't know who, or what, “Brandon” is, I didn't either until a few days ago when I finally decided to investigate what all those references in the news to the words "Let's Go Brandon" were about. Discovering that they involved a NASCAR driver and were being gleefully repeated by Republican officials, I assumed that somebody had gone off on some sort of political rant against the Democratic party and was now being celebrated as a hero of the populist right. I was wrong, of course, and if you still don't know what I'm talking about, I'll let NPR explain it for me. Here is the lowdown:      The origins of the meme go back to Oct. 2, when race car driver Brandon Brown won his first NASCAR Xfinity Series race and was being interviewed by NBC reporter Kelli Stavast. In the background, some in the crowd can be heard chanting, "F*** Joe Biden," though Stavast says, "You can hear the chants from the crowd, 'Let's go, Brandon!'" in her broadcast.     The problem was that "Let’s go, Brandon!" wasn't what the fans were chanting at all, so it did not take long for the whole thing to go viral, with many accusing Stavast of deliberately misrepresenting what the crowd was really saying to protect the President. "Fake news!" went the cry, as "Let's Go Brandon" became a rallying cry of the right, and a substitute for, well, you know. So now, in a country that can commodify virtually anything, you can purchase "Let's Go Brandon" ball caps, tee shirts, lawn signs, hoodies, and God knows what else. Aside from the fact that a lot of people are expressing, with gleeful malice, their partisan dislike for Joe Biden through the almost incantational reproduction of this meme, we can take away from the whole brouhaha a few important cultural-semiotic significations. The first is that satirical humor—long demonstrated by such popular cultural stalwarts as The Daily Show and Saturday Night Live—can be employed with potent partisan effect. Heaven knows how else anti-Trump America got through the MAGA era without SNL's inspired weekly parodies and impersonations. But the second takeaway—as a corollary to the first—is that satire is a two-edged sword and can be wielded by the right as well as by the left—as can be seen in the way that "Let's Go Brandon" became, in effect, an underground campaign slogan in the November elections, with Virginia in particular essentially “going Brandon.” But the third takeaway may be the most profound. This is the way that the "Let's Go Brandon" episode tells us how, in the age of the internet, nothing goes unnoticed, and that anything can be recontextualized, remixed, and mashed up into something that was never intended. NBC's Kelli Stavast certainly did not intend to become a kind of Republican campaign consultant without portfolio during her rather harmless interview with an excited young NASCAR driver, but that is what she has become, reminding everyone that the slightest slip up can always be magnified into gigantic proportions by the digital megaphone of the World Wide Web, and that the whole world is always, quite literally, watching.   Image Credit: "Red-hatted man watching the Red Arrows" by Ben Sutherland is licensed under CC BY 2.0 ... View more

On November 5, I had the great pleasure of attending a webinar on Mexican American rhetorics held by Stanford’s Program in Writing and Rhetoric (PWR), my intellectual home for the last 15 years of my career. The Program’s faculty director, Adam Banks, who had conceived the webinar, opened the program by announcing that PWR has been approved to offer a new “notation” in cultural rhetorics and that he and Zandra Jordan, the brilliant director of Stanford’s Hume Center for Writing and Speaking, would be team-teaching the inaugural course in the new program during winter term. A “notation” in Stanford-speak is a designation that appears on a student’s transcript indicating that the student has taken a concentration of related courses—something akin to a minor but allowing more latitude in completing the required work. PWR has offered a very popular and successful notation in science communication for several years, so the cultural rhetorics notation will join that one among PWR’S undergraduate offerings. What Adam and Marvin Diogenes have done in bringing these notation programs into existence is just short of miraculous, given the traditional marginalization of writing at the university (as at other so-called “ivy” schools), so to say I was delighted is an understatement. As I learn more about the notation and the new course that Adam and Zandra will begin teaching in January, I will write more about the substance of both, and perhaps about the more-than-lively conversation about “pluriversal” as opposed to “cultural” rhetorics going on online right now. In the meantime, the webinar on Mexican American rhetorics provided a great deal of food for thought. Professors Gabriela Ríos, Aja Martinez, and Jaime Mejía kept me on the edge of my seat during the two-hour session. In “One South Texas Chicana’s Theory in the Flesh,” Ríos spoke of “testigos de maíz,” telling us something about her childhood in the Rio Grande Valley; about her mother’s refusal to sign slips to allow her to go on always racist “field trips;” about pre-colonial stories like the one about how Crow became human; about her own growing awareness of what it meant to be indigenous, to be human, and to be mestizaje; about how these states of being correlate, contradict, or shift; and about how mestizaje might be made to encompass indigeneity without simply accommodating to white culture. All questions and issues for a Mexican American rhetoric. Aja Martinez presented “Encomium of a Storyteller: Grampa Alejandro’s Mexican-American Rhetoric,” introducing us to her grandfather and his use of stories that provide a counternarrative to the master tropes of white western U.S. mythology. Such counternarratives serve as a major Mexican American rhetorical method, along with family histories and traditions, testimonios, and cuentos. All part of Mexican American rhetoric(s). In his presentation, Jaime Mejía cited Adam Banks’s and Keith Gilyard’s On African American Rhetorics, suggesting that it provides inspiration for a much-needed volume that might be called On Mexican American Rhetorics. Indeed, the need for such a volume is pressing, given not only the role of Mexican languages and culture in the U.S. today but also the enormous richness of the topic and the exemplary body of work that scholars can draw on to illustrate and exemplify the principles and values and methods of such a rhetoric. Mejía’s title, ”Crossing Over and Crossing Back, Over and Over,” provided a key term a Mexican American rhetoric could build on. In his presentation, Mejía described his own multiple and layered crossings, from the Texas/Mexican borderland of his youth to his time in PWIs for graduate school and teaching to the significant crossing over he did in March 2020 when a routine trip to his “home home” in the valley turned into an 18-month stay during the pandemic. Living there during this time made him aware of how much “crossing over” was going on, both literal and figurative, and this lived experience brought him “closer than studying the borderlands through academic books ever could”: The dynamic rhetorical dimensions of crossing over are clearly working in many ways for most of the people living in the Valley, dimensions operating through people, their varied cultures, and their unique cultural discursive practices. My experience down there during this time showed me how much more difficult living among white people can be, as they often don’t possess the ability nor the desire to cross over. Mejía’s discussion of crossing over took me back to Maria Lugones’s concept of “world traveling,” a kind of crossing over into another person’s world that allows the traveler not only to understand but to love that world and to become new in important ways. (See “Playfulness, World Traveling, and Loving Perception,” in Hypatia, Summer 1987, pp. 3-29.) A volume devoted to surveying and outlining Mexican American rhetorics could make good use of the world traveling and crossing over tropes, along with a number of other moves and methods discussed during this thoughtful and provocative webinar. My hope is that these three panelists might undertake such a project—and the sooner the better. Having such a volume, along with Gilyard and Banks’s On African American Rhetorics and Lu Ming Mao’s Reading Chinese Fortune Cookie: The Making of Chinese American Rhetoric—my goodness, how I would love to teach a course using these three books and how I would love introducing today’s undergraduates to the nuances of each and of helping them learn more about the rhetorical strategies and methods of their own “home home” cultures and languages. For today, though, I am grateful for the steps scholars like Ríos, Martinez, and Mejía are taking to illuminate the contours of Mexican American rhetoric. Image Credit: "Mexican Blanket" by Ms. Phoenix, used under a CC BY 2.0 license ... View more

Courtney A. MauckCourtney A. Mauck(recommended by Rachael Ryerson) is a PhD candidate in Rhetoric and Composition at Ohio University. She expects to finish her degree in Spring 2022. At OU, she serves as Assistant Director of Composition and primarily teaches first-year writing courses. She also teaches junior composition courses themed around feminist game studies and has co-taught two graduate courses, “Teaching College English” and “Learning Transfer.” Additionally, she has received her certificate in Women’s, Gender, and Sexuality studies. Her research interests include digital rhetorics, multimodal composition, social media, game studies, learning transfer, and first-year writing pedagogy.   How do you ensure your course is inclusive, equitable, and culturally responsive? For me, I think the most important aspect of this is always being flexible and willing to learn or try new things. Of course, there are some common “best practices” when it comes to making the classroom a more inclusive and equitable space; however, there are certain issues or ideas that may be unique to a specific class or a specific group of students. For this reason, I always start my courses with a Welcome Survey where I try to gauge things like students’ prior knowledge coming into the course and students’ feelings about writing. Within this, I always ask: “Is there anything I can do, as an instructor, to make this class more welcoming or accessible for you?” In doing this, I am often able to learn both students’ accommodation needs and students’ expectations, fears, and/or concerns about the class and then can quickly adjust based on those responses. It is important to me that my students see the classroom as a collaborative space where they also have a voice.     What is the most important skill you aim to provide your students? I think the most important skill I aim to provide my students is confidence in their abilities as writers. Often students enter the writing classroom assuming that writing is an innate skill that they simply do not possess. So many students have told me “I’m just not a good writer” or that “Writing is just not my thing” and many other variations of the same. For many students, writing ability is viewed much like an achievement in a video game—once you unlock it, that’s it, you’re a writer now! Because of this, one of my main goals in the classroom is to help students see writing as a rhetorical tool that they can practice using for different purposes and within different contexts. They all already do writing in their everyday lives, they just need some help making those connections to rhetorical concepts and building their confidence in themselves.  What is it like to be a part of the Bedford New Scholars program? Being a part of the Bedford New Scholars program is an amazing opportunity. I think one of the most important experiences for junior scholars is having opportunities to connect with other junior scholars. The Bedford New Scholars Virtual Summit this year provided so many opportunities for me to connect with and learn from other scholars. Most importantly, the summit (and the program in general) brings together scholars with diverse research interests and academic backgrounds. The “Assignments that Work” presentations gave me the experience to learn directly from other teachers about new and exciting things I could be doing in my classroom. This is incredibly important to me. On top of that, the Bedford New Scholars program has allowed me to work on projects that align with my research interests, such as giving feedback on a textbook manuscript in order to ensure it aligns with the goals and values set forth by scholarship in antiracist pedagogy.  How will the Bedford New Scholars program affect your professional development or your classroom practice? During the virtual summit this summer, not only did I have the opportunity to learn from the other scholars, but I also had the opportunity to learn from the great team at Bedford/St. Martin’s. The summit itself was a great professional development opportunity. Learning about higher ed publishing and getting to see some of the textbooks and other resources that Bedford/St. Martin’s is producing (such as Achieve) has really impacted the way I think about the relationship between classroom practice and classroom resources. As a graduate student, things like textbooks and LMS are often decided for you. However, the Bedford New Scholars program has given me practical experience with designing activities and courses that fully integrate the textbook and additional materials that Bedford/St. Martin’s provides.      Courtney’s Assignment That Works: “Bad” Design Activity During the Bedford New Scholars Summit, each member presented an assignment that had proven successful or innovative in their classroom. Below is a brief synopsis of Courtney's assignment. For the full activity, see "Bad" Design Activity.  In all my first-year writing classes, students are expected to compose multimodal projects. However, students can often be hesitant to engage in this kind of work in academic spaces, even when they have experience composing multimodally outside the classroom. For this reason, I have students first practice multimodal composing by purposefully designing a poster or infographic that is “bad” based on the design principles they’ve been learning in Writer/Designer (such as emphasis, alignment, or contrast). In groups or together as a class, we work together to discuss what makes the poster design “bad” and how we could make it more effective.  In practicing “bad” design, students are able to learn a bit about good design in a space where failure is a safe option. Because the activity is low-stakes, students are given an opportunity to practice using multimodal tools and producing multimodal texts without any expectations or fear over their grade. Usually the texts that students produce are quite comical and easily get the whole class engaged in a discussion about multimodal rhetoric and design. My hope is that this activity gives them the confidence boost they need to move forward with more complex multimodal projects.  ... View more

As we move closer to the second year of the Covid pandemic, it has become something of a truism that online education is not as effective as face-to-face instruction. A September UCLA Health study, for instance, reported that 93% of undergraduates surveyed “were having trouble coping with pandemic stressors.” Those challenges have been especially hard on first-year college students. Writing in Insider Higher Ed, Maria Carrasco cites an ACT report in which students refer to issues with technology, as well as “lack of motivation, difficulty retaining information and trouble understanding concepts without ‘hands-on’ experience as their biggest hurdles.”             There’s no doubt that online instruction presents obstacles for many students, whether it’s a lack of reliable internet access or an inability to make human connections through digital platforms. And yet e-learning, in some form or another, appears here to stay. As we come to terms with that fact, it’s worth identifying those areas where online education is most effective. In first-year composition, peer review of drafts is a particularly productive locus for communal digital learning.             Peer review has long been a staple of in-person composition courses, and for good reason. It’s a fairly low-stakes—usually ungraded—activity that allows students to stretch their wings as both writers and readers of expository prose. When it is going well, peer review encourages students to think on their feet and to offer insights that may not have occurred to their instructor. Presenting a draft to their classmates makes it clear to that student writing has a real, live audience.             And yet peer review in the face-to-face classroom can too easily veer into a conversational free-for-all, where talk about last weekend’s activities overshadows discussions of an essay’s organization and purpose. Unfortunately, even when students stick to the topic, their advice may counter to our process pedagogy (e.g., “This is great as it is—don’t change anything”). Moreover, monitoring and shaping the progress of five or more separate peer groups scattered around a classroom can also be too much for a single instructor to handle. Even in the smaller corequisite section, when it’s easier for the instructor to help maintain focus, too often, in my experience, entropy prevails.             In contrast, asynchronous online peer groups offer a more deliberative revision experience. Whereas the in-person peer review session may, despite the best planning, quickly go off-track, the online peer group is driven by the questions the instructor provides. Instructors have a written record of who has commented and what they have said. Helpful advice can be fostered and questionable advice can be addressed in a way that honors the commenting student’s thinking, yet guides it towards an approach more in keeping with the instructor’s pedagogy.             The asynchronous format also provides students with more time to respond. Too often, in face-to-face peer review, the glibbest person takes over the discussion, with shy students effectively shut out of the conversation. However, the most thoughtful peer comments tend to be the product of careful rereading and reflection, and online peer review enables students to sit with their observations rather than blurting them out in a competitive fashion.             Carrasco points out that “students from low-income families and…first-generation students had limited access to both technology and the internet,” and I in no way want to minimize the complications facing students trying to reach what Katz et al. call “remote learning proficiency.” Not surprisingly, students with difficulty accessing digital spaces are frequently among those most eager for in-person instruction. However, students who, for whatever reason, do find themselves in an online course, are better served by an asynchronous than a synchronous experience when it comes to developing “workarounds for spotty internet and malfunctioning devices.”             Once they are connected, online peer review allows students to comment on each other’s work in a far more robust manner than those of us who came of age in the analog classroom could ever have imagined. Whether it is employing a tool as basic as the Comments feature in a Google doc to annotate a passage, or taking advantage of sophisticated educational software like Achieve, the available technology is remarkable, to say the least.             My final peer review question for students is this: “Do you think the student writer enjoyed composing this essay? If not, what can the student do to make the essay topic their own?” I like to end by reminding everyone in the peer review group that—however many suggestions they receive from their classmates—ultimately, the writing they do belongs to them. ... View more

Today’s guest blogger is Kim Haimes-Korn, a Professor of English and Digital Writing at Kennesaw State University. 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 In my classes, I have always recognized the importance of observation and inference as students move back and forth between narration and exposition as they write. This is even more important for digital writers as they learn to read and render situations through multimodal composing. Observation and inference are generally practiced in scientific or social science settings to understand evidence, predict behavior, and generate conclusions, but students benefit from this understanding in composition classes as well. Click to view Observation and Inference Activity slide show.According to Key Differences, observation is “the act of carefully watching a person or object when something is happening.” Observation generally involves the senses and objective perceptions of what is presented. It is hands-on, in-the-present and requires “[attentive] monitoring of the subject under study.” Inference making is “termed as an act of deriving rational conclusion from known facts or circumstances.” It is generally subjective and involves making assumptions based on observations and often involves secondhand information. This is where we theorize, guess, and make connections. Since inference making is subjective, we often find that we can make many inferences based on a single observation. In a common example, we can observe that the grass is wet (senses) but we can make multiple inferences such as: it rained, sprinklers were on, it is in a flood zone, or a dog recently stopped by (among others). Or, we might notice that someone has a lot of food in their refrigerator and make the inference that they are a good cook or preparing for a vacation or that they are really hungry. Basically, these assumptions could all theoretically be true based on what we observe in front of us but could also generate alternate inferences that could be considered true too. In this assignment, I ask students to understand and apply the concepts of observation and inference and immerse themselves in a place where they take images of their observations and generate plausible inferences. They set up a visual, double-entry journal of sorts in which they include their images (observations) along with inferences to make meaningful connections. We then create a collaborative slide show to share their ideas through multimodal examples.   Resources The St. Martin’s Handbook – Ch. 9g, Thinking Critically about Visual Texts The Everyday Writer (also available with Exercises) – Ch.7f, Think Critically about Visual Texts EasyWriter (also available with Exercises) – Ch. 8, Reading and Listening Analytically, Critically, and Respectfully   Steps to the Assignment Help students define the terms observation and inference (see Key Differences article as a starting place). Once I have shared working definitions, I show the class a collection of my own images for an observation and inference making activity in which they call out inferences to practice this cognitive process. I encourage multiple responses to demonstrate the theoretical nature of inference making and ask students to cite evidence from their observations that lead to their conclusions. Next, I challenge students to find a location (outside of class on their own) to collect observations in the form of images (usually around 20). I encourage them to use their senses and get specific as they take pictures of objects, landmarks, people, buildings, landscapes, and other things that involve sensory observation. Then they choose 10 images and create a page in which they include the image (observation) and a short paragraph describing their inferences (meaning, assumption, idea). I also ask them to include an overview statement in which they speak to some of their connections and ideas (observations and inferences).   Once back in class together, each student chooses a strong example from their collection and submits the image and an explanation of their inference to a collaborative Google slide show. (This should just take a few minutes if they are prepared ahead of time.) We share and review them as a class and talk about examples.   Reflections on the Activity A humorous example of how inferences can change with context.I use this activity to get students to understand that the concepts of observation and inference- making are forever present in our lives and in processing our worlds. As digital storytellers, content creators, and writers, we recreate these experiences for our audiences through moving back and forth between observation and inference. I generally have students complete this activity early in the term as it creates a foundation for curation and creation in all the projects throughout the semester and sets the tone for critical reading, writing, and multimodal composition. ... View more

I’ve just been reading about the 37 new emojis accepted by the Unicode Consortium’s Unicode 14.0, including “melting face” and “biting lip,” two that seem particularly apropos for these pandemic-haunted, divisive times. Looking at all the new options, I realized that I didn’t know much about where emojis came from, or how they are related to emoticons—if at all. It was time for a little browsing on the internet, where I quickly reminded myself of the distinction between the two. As no doubt everyone but me knows, emoticons—typographical representation of facial expressions—have a long history, but they seem to have entered the age of the internet sometime in 1982 when Scott Fahlman, a Carnegie Mellon professor of computer science, suggested using :-) and :-( to signal the difference between a joke and a serious statement in online communication. Later, these representations became known as “emoticons,” a portmanteau word combining “emotion” and “icon.” Now that I think of it, I do remember having some fun seeing what expressions could be generated with just my computer keys. Emojis, on the other hand, can be traced back to a late 1990s Japanese communications company, and their name is based on a contraction of e and moji (roughly “pictographs”). Inspired by manga, interface designer Shigetaka Kurita created the original set of 176 emojis, now part of the Museum of Modern Art’s collection.   In one way, emoticons and emojis are contemporary forms of punctuation, signaling emphasis and expressing and underscoring emotions. In any case, certainly they are a staple of online communication today. But here’s my question: are writing teachers now advising students on when and where and how to use these marks? Is an emoji worth a thousand words? When might that be so—and when might it not? It’s at times like these that I hate being retired. Just a couple of years ago, I could have walked to class and gathered information from my students on the spot. Stanford now is a four hour drive away—and I haven’t been on campus since the pandemic began. But I can contact students virtually, so I am going to start asking them in detail about their use of emojis and emoticons—and do some more reading and research on these increasingly ubiquitous marks. In the meantime, I would be very grateful to hear from anyone who has done some of this research or who has advice for writers about their use. Please share! Image Credit: "Emoji Art & Design Show at Eyebeam" by Scott Beale, used under a CC BY-NC-ND 2.0 license ... View more