This blog was originally posted on February 10th, 2015. I began the multimodal composing course I’m teaching this term with an exploration of digital identity, working from an assignment shared as a Multimodal Mondays post. I asked students to compose a “Statement of Your Online Identity,” combining a digital image with a brief linguistic text. To help them get started, I asked students to think about the personas they developed online. Informally in class, we talked about the ways that they presented themselves online (for instance, on Facebook with friends, on LinkedIn with potential colleagues and employers, and on gaming sites with other gamers). While I felt students had the general idea, I wanted to give them a more structured way to gather thoughts about their identity. I found the perfect tool in a Digital Identity Mapping grid, from Fred Cavazza (blog in French): In the grid, students noted the different places they inhabit online, and then worked from the grid to find the aspects of their identity to focus on in their projects. To simplify their notetaking, I created a Digital Identity Mapping form in Google Drive. (Make your own copy by opening the link, then go to File → Make a Copy in Google Drive). I encouraged students to type the names of the various sites rather than tracking down the icons, as in Cavazza’s image. The icons make a pretty and colorful display, but I wanted students’ energy focused on their project, not on gathering icons. The Digital Identity Mapping form was a great supplement to the project. Rather than going with the first idea that came to mind, students had to think deeply about the different places and identities that they had developed online. As a result, students had more evidence to use as they developed their identity statements. They quickly went from having little to say to choosing among a variety of options. I’m definitely using that grid again to get students started on their projects. Could you use it in your course? Want to share some feedback on my project or share another tool I can use? Please leave me a comment below, or drop by my page on Facebook or Google+. [Photo: Digital Identity Mapping by fredcavazza, on Flickr] ... View more

Students in the writing and digital media course that I teach have started work on their final project, the “remix a story” project that I have mentioned in previous posts. For this project, students choose a story (fiction or nonfiction) and retell that story using digital composing tools. The goal is to get beyond primarily linguistic stories to create stories that engage multiple modes of communication fully. Many students will include social media as part of their remix. I have had projects that included things such as Twitter updates from Little Red Riding Hood and Facebook updates from characters in The Little Mermaid. As creative and fun as these projects are, they bring challenges: Facebook does not allow fictional sites, so students risk having their project removed if Facebook finds it. Creating logins for multiple characters can be at best tedious and at worst impossible for sites that allow only one account per email address. Project assets made with the real social media sites sometimes include extraneous information Students may need to know how to edit screenshots to remove timestamps, for instance. Students shouldn’t have to use their personal accounts for such projects. Their private social media stream should be private, not filled with updates from Little Red Riding Hood and the Big, Bad Wolf. To address these challenges, I point students to these online tools that allow them to fake social media updates. Facebook Fakebook, Fake Facebook Generators, The Wall Machine Twitter Fake Twitter Generators, LemmeTweetThatForYou, Twister Text Messages iPhone Fake Phone Texts, iOS7 Text Generator, SMS Generator,IFakeText SnapChat Snapr, Fake Snap Others iPad Message Generator, Sign Generators, Ticket-O-Matic, iFakeSiri There are additional tools at ClassTools.net and BigHugeLabs that could work, depending upon the story and remix goals a student has. I do talk about ethical use of the tools when I share the list in class. It’s not that I don’t trust my students, but many of the sites talk about pranking people with your fake creations. That isn’t our goal, and I want to avoid any mixed messages. I’m always on the lookout for tools to add the list. If you have a suggestion, please leave me a comment below, or drop by my page on Facebook or Google+. ... View more

This blog was originally posted on April 2nd, 2015. In my last blog I discussed the importance in critical thinking of precisely establishing what, exactly, one is thinking critically about.  As I continue to ponder the essence of critical thinking—both as co-author of Signs of Life in the U.S.A. and in my current role as assessment director for my university—I am experimenting with ways of conveying, to both professors and students alike, what, exactly, critical thinking itself is. My task is not made easier by the fact that a lot of what passes for critical thinking is really critical reading—as when a critical “thinking” assignment is to unpack the argument in an assigned reading.  Critical reading, of course, is an essential skill for college students, who must master it both for their collegiate careers and for their lives beyond, and it does bear a close relation to critical thinking, but it is not the same thing.  Critical reading, one might say, is the equivalent to establishing the whatness of someone else’s text; critical thinking goes beyond that—often to the expression of one’s own argument, but before getting to that argument (which is a rhetorical act) one has to do some critical thinking. I put it this way: critical thinking is a movement from what  to  . . .   so what then?  It enlarges upon the recognition of something (an argument, a phenomenon, a problem) and reflectively seeks a further significance, or, in the case of a problem, a solution. Let me take a simple example from the business world (I choose a business example because that is the world towards which most of our students are destined, and because business surveys consistently complain that new employees can’t think critically).  So, imagine that you are in the soft drink business, with an emphasis on selling sweetened sodas, but your sales are falling.  The reduction in sales, in this case, is your what, which is also a problem demanding a solution.  To solve the problem you need to do some critical thinking, and the first thing is to find the cause for your drop in sales.  This can involve testing hypotheses—for example, “Is it because our product doesn’t taste good anymore?”  Some research is likely to show that sweetened soda sales are down across the board, so taste probably isn’t the cause of the problem. So, a second critical question would be “Is there something wrong with sweetened sodas?”  Here, you can situate sweetened sodas into a larger system involving public health, wherein sweetened sodas are receiving a lot of blame for America’s obesity problems.  You might jump at this point to a solution: “OK, we’ll crank out some new diet soda products”—which is exactly the sort of thing that has happened a number of times in the history of soft drinks. Except this time, further critical research will show that diet soda sales aren’t doing so well either due to a growing concern about health implications of artificial sweeteners.  So maybe another diet product isn’t the solution to your problem. But what about naturally flavored soda waters? I think you can now see what I’m doing here: essentially, I’ve reverse engineered something that has clearly taken place in a lot of soft drink manufacturing boardrooms recently, because America is currently awash in naturally enhanced flavored soda waters, with more varieties appearing practically every day.  That didn’t happen by accident.  It happened because a lot of business people went through a what to so what then? critical thinking process. In an era of information overload, when just about everyone is accustomed to receiving enormous amounts of information without thinking much about it beyond tweeting it here, or pinning it there, this simple, yet profound, movement from what to so what then? needs to be pointed out.  As I play with the idea (writing this blog is a form of playing with it) I am hoping to solve a problematic what that especially afflicts assessment: the fact that while just about everyone agrees that “critical thinking” is an essential university skill, no one can agree on what, exactly, critical thinking is.  Will I solve my problem with a what .  .  .  so what then? explanation?  I don’t know yet, but I have arranged a test of my hypothesis to see what happens. I just hope that it doesn’t end in .  .  .  you know, whatever. ... View more

This blog was originally posted on April 8th, 2015 Though we have diverse approaches to teaching writing, my experience suggests that one of the commonalities we all share is some sort of peer feedback. Whether we call it peer revision or peer editing or something else, there seems to be wide agreement that seeking feedback is an important part of making writing better. The creative writers in my department would perhaps call this part of the “craft” of writing.  We are more likely to call it part of the writing process.  Regardless, in this series of posts I want to riff a bit on that notion of “craft” by sharing some peer revision strategies I use that are “crafty.” These exercises are all class-tested and Barclay-approved.  I have some theories on why they tend to work so well, which I will share in a later post. For now, though…highlighters! In my office I keep a bag of inexpensive highlighters in every color I can find—at least thirty or so.  It was a modest investment at the office supply store but it’s paid wonderful dividends.  At least once a semester I bring that bag in for students to use during peer revision.  Here are some of the things I do: Have peers highlight the argument and each key sentence related to the argument in a paper.  Peers tend to read the paper with more care to locate these moments, giving them practice in doing the same sort of work when reading the essays of the class; authors see whether or not readers are able to follow their arguments, where particular moments of support might be missing, if sections of the paper are just “fluff,” and how what they wrote reflects what they wanted to say. Have peers highlight each quotation used in one color and all analysis of quotation in another; alternatively, have peers highlight all analysis one color and all summary another.  Authors can immediately see if there is a particular imbalance, if they just sprinkle quotations without working with them, and if particular parts of their paper are under-supported. When papers include multiple readings, have peers highlight work with each reading in a different color.  Authors will be able to see immediately if they tend to use one reading too much or another not enough. Have peers highlight each transition.  Authors will be able to see where they are missing or where they are so ineffective that readers can’t see the transition. Have peers highlight any patterns of error so that authors can see how frequently they make it. I’m sure you can imagine more uses for this general technique.  The key is that highlighting highlights particular parts of the paper, allowing students to visualize parts of it instead of just seeing lines of black that blur together. And, well, it’s fun too. ... View more

This blog was originally posted on March 18th, 2015. Last post I talked about why I choose to sequence assignments.  In the next several posts I’d like to offer some techniques I’ve found useful in designing sequences so that you can create your own. One of the methods I use is reading centered.  I start with a reading I really want to teach and then I build out the sequence from there.  Given the shape of our semester we can usually cover four readings.  I like to use the following pattern for assignments: Paper One on Reading One Paper Two on Reading One and Reading Two Paper Three on Readings One, Two, and Three Paper Four on Reading Four and one other reading of the student’s choice You might select a different pattern but I will say that having students work with more than one reading offers good opportunities for analysis, synthesis, and critical thinking. So, before the semester I will skim the table of contents and think about a reading I’d really love to teach because it’s interesting or has good ideas or would work well in the classroom.  The quick annotations in the table of contents of Emerging can help with this part of the process if you’ve not experienced a reading before. For example, let’s say I select Michael Pollan’s “The Animals: Practicing Complexity.”  From experience I know that students love this essay.  I love it because it deals with complex adaptive systems, which I love thinking about.  I know it works well in the classroom so it’s a good choice. My next step is to jot down all the ideas and themes in Pollan’s essay. Emerging offers a number of tools for this, from the tags in the table of contents, to the questions accompanying the reading, to the thematic table of contents, to the existing sequences, to the Instructor’s Manual.  All of these tools help me see what Pollan does and what readings connect easily to his. My list might look something like this: organic farming, food, holons, ecosystems, education, agribusiness, industry, nature, economics, systems, health, eating, animals. That last term, animals, is appealing to me. I’ve never taught a sequence with that focus so I think I will pursue it this time.  My next step is to use all the same tools to look for readings that have some connection to the idea of “animals.”  That list might look something like this: Dalai Lama (genetic engineering with some discussion of animals), Hal Herzog (ethics and animals), and David Foster Wallace (ethics and animals again).  I broaden the list to include useful counterpoints; in this case what it means to be human: Brian Christian (humans and artificial intelligence), Patricia Churchland (genes and behavior), Francis Fukuyama (genetic engineering and what makes humans human), and Richard Restak (brains and technology).  Finally, I look for “universal” essays, ones with ideas that apply to just about everything: Kwame Anthony Appiah (how change happens) and Daniel Gilbert (how to be happy). Now I have a list of possible readings to use in the sequence.  The complete list looks like this: Appiah Christian Churchland Dalai Lama Fukuyama Gilbert Herzog Pollan Restak Wallace I know I am going to use Pollan.  I want to also use Wallace because he’s so fun to read.  Herzog is a natural match because his ideas work so well with the other two.  I sometimes choose a final reading from what seems to be left field, one that picks up on something entirely new and offers students completely new perspectives.  In this case, I might choose something about education.  But instead I am going to stick with the emerging theme and select Fukuyama, who talks about what it means to be human and why, for example, we don’t eat grandma. See the readings together, there’s a clear theme: the ethics of eating. Now I consider the order.  I’ll start with Pollan.  He has a few ideas but also a lot of narrative.  For my second essay I will want something with more ideas in it.  I’ll go with Herzog.  It’s brief but has a good central idea about ethics.  Wallace will work well as third since it’s so cohesive.  Fukuyama will end to open it up to larger issues about what it means to be human. Final step is to write the assignments.  I’ll write the first two, perhaps, and then see how they go, adjusting later assignments as needed. I wrote recently about the intellectual work of sequences.  I think it’s distinctly pleasurable work.  Hope you will give it a try. ... View more

This blog was originally posted on March 19th, 2015. A few weeks ago the Internet was lit up by one of the most earth shaking questions of our times:  Was a widely disseminated photograph of a woman’s dress an image of a blue- and-black or of a white-and-gold garment?  A lot of A-list celebrities weighed in on this weighty matter and the outcome was a lot of clicks on a lot of story links that certainly resulted in a lot of successful data mining. But while a semiotic analysis of the power of celebrity Tweeters could ensue from this story, (you may find the beginning of such an analysis here) that’s not what I want to explore.  What I want to look at is a far, far deeper problem that this amusing little episode points to.  I will call this problem the question of “whatness.” “Whatness” refers, if I may use a fancy term, to the fundamental ontology of something: what, basically, something is.  Sounds pretty simple, doesn’t it?  But as I contemplate the problem of defining, and teaching, the nature of critical thinking, I am increasingly coming to realize that it is precisely the difficulty in defining, much less agreeing upon, what something is that poses the greatest challenge to critical thinking, and to anything resembling social harmony. Let me try to put it in semiotic terms.  A semiotic analysis characteristically moves from the denotation of a sign to its connotation—that is, from a description of the sign (or its referent) as an object to an interpretation of the sign as a subjectively constituted cultural signifier.  This movement, which involves the situating of the sign into a system of associations and differences, is what semiotic analysis is all about.  But as the blue/black or white/gold controversy trivially indicates, deciding exactly what we are talking about can involve an act of critical thinking prior to that which takes us from denotation to connotation.  If this sounds unnecessary, consider the recent kerfluffle over whether or not Governor Rick Scott did or did not order state workers in Florida’s Department of Environmental Protection never to refer to “global warming” or “climate change,” whereby both thewhatness of the prohibition and the whatness of global warming and climate change are both put into question.  In other words, determining denotation gets us caught up in connotation as facts get tangled up in values so badly that it can be very difficult to decide just what one is talking about. I realize that we are looking here at a potential deconstructive mise en abyme—that is to say, an endless series of prior interpretations before we can get to the interpretation we wish to conduct.  But I do not want to counsel such despair.  Rather, I simply want to point out the need to think critically and carefully about the whatness of a cultural semiotic topic as an essential part of its analysis.  It would be nice to take facts for granted, but that, in this profoundly divided world, is something that we cannot do. [Image source: http://swiked.tumblr.com/post/112174461490/officialunitedstates-unclefather] ... View more

​This blog was originally posted on March 17th, 2015. What do you do when a class you are teaching has to be cancelled at the last minute? Maybe you are sick or your car’s battery is dead. Perhaps you are dealing with a family emergency or a foot of snow. Even the best planners among us sometimes find at the last minute that we cannot (or should not) meet students in the classroom. So how do you let students know? That question inspired discussion on the Writing Program Administrators Discussion list (WPA-L) last week. The conversation began with a question on how to deal with a student prank. A student wrote a “Class cancelled” message on the board, and others in the course, who arrived later, believed the message and left. The question was how to deal with the absences and missed work for the students who were pranked. The discussion list, as usual, replied with some great advice, and you can check the messages in the list archive to read more. For me, the conversation led me to two realizations: (1) I have been lucky, and (2) I need to add a policy to my syllabus. Luckily, I set a policy to avoid class cancellation confusion. On the first day of class, I tell students about the importance of checking email before they come to class each day, as that is how I will let them know if anything out of the ordinary has happened since we last met. If I’m sick or the like, I try to let them know the night before and give them an alternative assignment; but I do tell them about a morning last fall when I got up to go to school and found that my mother had fallen, so I had to send out a cancellation/new assignment just an hour before class met. I do not announce last-minute class changes in any other way. The conversation, however, made me realize that I need to add that policy to my syllabus. It’s common for a student or two to miss the first class meeting or to add the class after that first meeting. I’ve been lucky that none of those students ever became confused about class meetings. I’m not a fan of legalistic syllabus, full of policies, but I am convinced that I need to address this issue. How do you handle cancelling or rescheduling class meetings at the last minute? What strategies work for you? I’d love to hear from you. Just leave me a comment below, or drop by my page on Facebook or Google+. [Photo: Today Has Been Cancelled Pillowcase by Wicker Paradise, on Flickr] ... View more

This blog was originally posted on March 6th, 2015. Language has made the headlines once again. We teach our students that word choice affects their arguments. President Obama has drawn criticism over the last few weeks, mostly from Republicans, for being what some critics consider overly cautious. He has chosen to carefully avoid use of the word “Islamic” in referring to ISIS terroristswho have horrified the world by beheading individual British, American, and Japanese captives, by burning alive a Jordanian pilot, and by beheading en masse twenty-one Coptic Christians. Doyle McManus has written clearly and succinctly about the wisdom of Obama’s choice in an LA Times article entitled “’Islamic’ extremists or ‘violent’ extremists? The president is mincing words and there’s a reason for that.” McManus quotes Ted Cruz (R—Texas): “The president and his administration dogmatically refuse to utter the words ‘radical Islamic terrorism.’ You cannot defeat an enemy if you refuse to acknowledge what it is.” McManus lets Obama explain in his own words why he is doing what McManus calls “walking on semantic eggshells”: “Al Qaeda and ISIL [Islamic State] and groups like it are desperate for legitimacy. They try to portray themselves as religious leaders — holy warriors in defense of Islam,” Obama said. “[They] do draw, selectively, from the Islamic texts. They do depend upon the misperception around the world that they speak in some fashion for people of the Muslim faith.” His main point: “We are not at war with Islam.” If the battle against ISIS is to be won, it will be with the help of Muslim-led countries that do not share the radical beliefs of ISIS. Cruz may be right that you must acknowledge your enemy to defeat it, but you do not want to lump together under the same label that enemy and those who share your horror at what is done in the name of religion. We teach our students that it may be necessary to stipulate the meaning of a term in the context in which they are using it. If communication is to take place, a reader or listener has to understand how a term is being used if there is to be any hope of reaching common ground, starting with agreement about what key words mean. Sometimes terms that seem to be cut and dried are the basis of heated argument. Is a child a child from the moment of conception? If not, when can that term be applied? Such questions affect legal and moral decisions. Is passive euthanasia equivalent to murder? Again, there are profound legal and moral implications. By choosing NOT to use the term “Islamic,” Obama is making a conscious decision not to group the brutal members of ISIS with the much larger group that is all Muslims. We teach our students that the destructive power of stereotypes is the fact that they lump all members of a group together, in spite of individual differences. Cruz stated, “You cannot defeat an enemy if you refuse to acknowledge what it is.” What Obama is refusing to do is to suggest that all Muslims are America’s enemies. Whatever our students’ politics, they need to understand word choice as part of rhetorical strategy. Source for photo: [Bird Eye, "Muslims in Mumbai protest against terrorism" on Flikr] ... View more

This blog was originally posted on March 5th, 2015. When I say I am a teacher of writing to a new acquaintance, I often get the response no doubt familiar to you: “Oops; better watch my language.” This stereotype of the English teacher as a nit-picker extraordinaire is widespread and seems to be deeply ingrained in the national psyche as “Miss Fidditch.” This character’s name seems to have been coined by linguist Henry Lee Smith in the early 1950s—though H. L. Mencken had earlier referred to “old maid schoolteachers who would rather parse than eat.” So the stereotype is surely an old one. I became familiar with Miss Fidditch, however, when I read a book on style, Martin Joos’s The Five Clocks: a Linguistic Excursion into the Five Styles of English Usage (1967). Joos’s book (along with a brilliant and witty introduction by Albert Marckwardt) left a lasting impression on me, introducing me to the notion of contextual appropriateness and convincing me that where English is concerned, there is never one solitary right way to proceed: everything depends on the rhetorical situation and the intended purpose. Joos describes five styles: intimate, casual, consultative, formal, and frozen or formative, the last the kind of language that needs to remain the same in all situations: a phrase from the Bible, for example. Apparently, Joos was inspired to write this book when he was teaching a grammar course to a group of teachers. When he asked them to respond to a short passage, they set at it with a vengeance, marking it up in every direction and finding it woefully lacking. Joos then had to tell them that it had been written by a Pulitzer prize winner (!). What he also no doubt told them was a lot about the importance of purpose and situation in style, from the intimate language appropriate to spouses or partners to the formal writing of the business world—and everything in between. You may have run into Miss Fidditch in the work of Ken Macrorie or Peter Elbow, for she makes appearances there. But it’s worth going back to Joosas well; his is an important work in understanding how to talk to young writers about style. Miss Fidditch was (is) no doubt a “comma queen,” a phrase that Mary Norris applies to herself in “Holy Writ: Learning to Love House Style,” which appeared in the February 23, 2015 issue of The New Yorker. Norris is a grand stylist herself, straightforward, witty, self-deprecating in just the right way, and friendly: she takes us on a journey through her life, from “foot checker” at a local swimming pool, to milk truck driver, dishwasher, mozzarella cheese packer, and eventually as a minor clerical worker in the editorial library of The New Yorker. There she has remained, working her way up from one job to the next and honing her love of style—and especially of the comma. She began reading everything as if she were copyediting it, and commas were her special territory: she could spot an errant one a mile away. But she learned to control her ardor, remembering that commas don’t bow to hard and fast rules but are situational and contextual. Backing up a bit, she tells us that The comma as we know it was invented by Aldo Manuzio, a printer working in Venice, circa 1500. It was intended to prevent confusion by separating things. In the Greek, komma means “something cut off,” a segment. (Aldo was printing Greek classics during the High Renaissance. The comma was a Renaissance invention.) As the comma proliferated, it started generating confusion. Basically, there are two schools of thought: One plays by ear, using the comma to mark a pause, like dynamics in music; if you were reading aloud, the comma would suggest when to take a breath. The other uses punctuation to clarify the meaning of a sentence by illuminating its underlying structure. Each school believes that the other gets carried away. (Paragraph 21, if I counted correctly in the article, which you can find here.) A corps of commas ready to serve comma queens and comma commoners alike Later, Norris tackles the question of the use of commas in a series (often referred to as the “Oxford  comma”), coming down on the side of those who advocate putting that final comma in, before the final item. I’ve always told students that putting that last comma in is easiest because then they can be consistent, not having to stop and think whether they need it there or not. Norris agrees, as indeed does New Yorker house style, and she gives some goofy examples to prove the point that leaving that last comma out can indeed sometimes produce confusion, consternation, or worse: “We invited the strippers, J.F.K. and Stalin.” (This has beenillustrated online, and formed the basis of a poll: which stripper had the better outfit, J.F.K. or Stalin.)“This book is dedicated to my parents, Ayn Rand and God.” The example I always use is “She ordered several sets of colorful socks:  banana yellow, turquoise, magenta, orange and lime.” Did she order four sets—or five? The comma makes the difference. Later in the essay, Norris tells readers of her fascination with comma usage in the work of James Salter, who uses a comma where she ordinarily would not put one, as in this sentence: “Eve was across the room in a thin, burgundy dress that showed the faint outline of her stomach.” Eventually, Norris runs across a number of such usages in Salter’s work, enough to let her know that they are intentional uses of the comma. She frets about this for some time and eventually writes to him. He gives a response that underscores how individual comma usage can be and especially how tied to purpose and situation it is: As I had suspected, with the comma in “Eve was across the room in a thin, burgundy dress that showed the faint outline of her stomach,” [Salter] was trying to emphasize the contours of the stomach under the dress. “It wasn’t a thin burgundy dress,” he wrote. “It was a thin dress, burgundy in color. I wanted the reader to be aware of the thinness.” Across the decades of my teaching career, I’ve met students whose comma use ranged from the “sprinkle in a few for effect” to as carefully chosen and deployed commas as the ones in Salter’s fiction. And I have certainly talked with students about the need to choose all punctuation with an eye to what is appropriate and effective in their particular rhetorical situation: which one of Joos’s five clocks they are telling time by. But I don’t think I have spent enough time demonstrating to students the full range and power of the lowly comma. Maybe I can be a “comma queen” without turning into “Miss Fidditch”! [Image: a row of commas by Moira Clunle on Flickr] ... View more

This blog was originally posted on February 19th, 2015. You may have seen an article in the New York Times called “Writing Your Way to Happiness.” This essay corroborated earlier research that has connected writing with improved health, though the author here focuses on if and how writing can lead to behavioral change and “improve happiness.” A number of studies indicate that writing can indeed lead to such changes. As the author puts it, “by writing and then editing our own stories, we can change our perceptions of ourselves and identify obstacles that stand in the way of better health.” I found the article fascinating, and encouraging, although the behaviorist leanings of some of the studies reported on left me less than thrilled. But closer to home, I have seen the benefits of life writing/revising at work. Bronwyn LaMay’s (brilliant) dissertation reported on an ethnographic study she had done of students of color who attended a very tough high school. She followed one class for an entire year, during which they read Toni Morrison’s Song of Solomon and wrote about love in their own lives. Bronwyn is working on a book that describes the study and her students, and I’ll be reviewing and recommending it to you as soon as it is available, because the results were truly remarkable. Bronwyn led her students in reading—word for word, line for line—Morrison’s book, and talking about the kinds of love represented there—and about the way that some characters attempted to intervene in the plot lines of their lives. Slowly the students began to apply this concept to their own lives: what stories or plot lines could they see their own lives taking—and how might they write their way toward interventions and changes in those stories? They tackled this question with energy and passion and commitment. Recently, Bronwyn and I had a chance to introduce the same questions to a group of students participating in Stanford’s Project WRITE, which brings students from East Palo Alto high schools to campus on Saturday mornings during the winter for writing workshops of all kinds. The one Bronwyn and I led began with a simple question: what is love? We showed the group some things Toni Morrison has to say about love (“actually, I think all the time when I write, I’m writing about love or its absence”) and some quotations from Bronwyn’s former students, like this one: As I was growing up all I heard around me was “I love you,” “te amo,” without showing it. My definition of love when I was growing up was somebody hurting you physically and emotionally, but that was just a way of them showing their loved ones love. The students then wrote on their own in short spurts about their definitions of love, and during discussion we asked them what kind of a story these definitions told about their lives. Once we got there, the students were hooked: they talked to and often over one another, and then they wrote. And wrote some more. We left them with the assignment to carry on this piece of writing during the week and to return to the workshop the following Saturday. I was certain they would come prepared as never before. As Bronwyn points out, students in their high school years are focused (inevitably and as they should be) on themselves, on who they are and who they might be. Writing that guides them in exploring these questions is the kind of writing I think of when I hear about “writing your way to happiness.” Writing alone can’t change the cold hard facts of many young people’s lives. But it can begin the work of interrogating those facts, of interpreting them and shaping them. And revising their lives in the process. ... View more

This blog was originally posted on February 13th, 2015. Because my son Jonathan is a film scholar, I am probably even more aware than most that this is awards season. The Academy Awards ceremony each year is for our household what the Super Bowl is for others. Jonathan recently posted on Facebook that in his lifetime he has seen 2,502 movies. The fact that he knows that speaks volumes about his obsession, along with the fact that he was watching classic silent movies before he could read the subtitles. I came naturally to use the movie review as a means of teaching the claim of value, but my approach can be adapted to other types of evaluative writing as well. First, I ask my students to bring in or upload examples of movie reviews that are essay length. My goal is to let my students discover the conventions of the genre. I put them into groups to share the reviews and ask them to come up with a list of rules for writing movie reviews. An example would be that one never gives away the ending. More useful is the observation that a good review is focused—it has a point more specific than that the movie is good or bad. After the group work, we work as a class to come up with a master list of rules, and I ask them to share some of the best examples of claims that they discovered. They can use the list of rules as they write their own reviews and can model claims for their own writing on the best examples we have discovered. Second, I find it useful to check students’ claims before they write their essays so that I can head off problems such as claims that are too broad or that are not actually claims of value. Third, I have them write their review for a specific publication. It makes a difference if a review would appear in Parents magazine rather than Rolling Stone. They can adapt their content and their language to their audience, and I can evaluate their writing accordingly. Through this process I am trying to teach them an important point about all evaluative writing—that a work of art, or anything else, is evaluated according to a set of standards.  Readers are not going to agree with a review if they do not agree with the standards the writer uses to judge it. It is widely believed that the Academy Awards are slanted to the perspective of “old white guys” because of the make-up of the organization. They are more conservative, for example, than professional critics, who err on the side of rewarding risk taking. Whatever the audience, whatever the standards being used to judge a work of art, it is ultimately the responsibility of the reviewer to build a convincing case, using specific references to the work, that it meets or does not meet a clearly established set of standards. [Photo source: Loren Javier, "Academy Award..."] ... View more

This blog was originally posted on February 13th, 2014. Dear Readers: Here’s a question for you:  How do we reinvent ourselves, semester after semester, to keep our teaching fresh and new? This is a question I’m pondering as I mentor new teachers, their passions palpable, their enthusiasm unbridled; they can’t imagine a more perfect calling than teaching writing. I ask them to reflect on what brought them to education, and I find myself asking, after thirty-some years of teaching, what has kept me here? How do I find those corners in myself, year after year, that rhyme with my students—and subject matter—and that keep me passionate about teaching? Flashback to my first teaching experience: I imagined teaching to be nothing more than bringing my love of Walt Whitman to students, eighth graders brimming with the rhythms of Chicago’s urban life. I thought the only way to love Whitman was to read poetry outdoors, to luxuriate in the grass, marveling at the conjugation of the color green.  My students, though, had no desire to celebrate leaves of grass.  They had plenty to say, their bodies electric, but I wasn’t listening to the call of their stories. Looking back, I realize how much of the year was a song of myself, more soliloquy than an exchange of voices, more my performance than theirs.                                                                                                    Nancy Sommers, circa 1978 It took a decade or more for me to understand that teaching requires both humility and leaps of faith—and, most importantly, the willingness to listen to and learn from students—a back and forth exchange that comes from helping students to give voice to their own ideas, and not impose passions, literary or political, on them. What I learned from my students, when I started listening, is how to write— a preposterous claim, I suppose, since I’m the one who is supposed to be the teacher.  But their struggles to revise and my difficulties responding to their drafts revealed my own limitations as a writer and provided a subject to write about. It started with revision, watching students sabotage their own best interests as they moved words around, their successive drafts weaker than their first.  I started researching and writing about my students, their questions and challenges, curious about why some prospered as college writers while others lagged.  My students gave me a subject and, in doing so, invited me to join them on the page, not as the critic in the margins of their work, but as a fellow writer, compassionate and less judgmental. These days I consider myself as much a writer as a teacher, although there are plenty of years in which the balance between teaching and writing is lopsided, the teaching taking precedence, and I need to write my way back to balance the equation. Humility comes from teaching writing as a writer; and a loss of certainty comes, too.  I am less likely to impose my interpretation upon a student’s draft and more likely, as a fellow writer, to recognize vulnerability, especially when students are asked to put their first drafts aside and start anew. Each semester I am inspired by my students’ stories, their writing struggles and successes as they compose essays about complex subjects that matter to them.  Helping students develop as thinkers and writers is a calling, one that is renewed each semester by students. I can’t imagine work more important than this. Dear Readers: Whether you’ve been teaching writing for two years or thirty-two, how do you keep teaching fresh and new?  Share your stories and ideas below. ... View more

This blog was originally posted on March 16th, 2015. Today’s guest blogger is Jeanne Law Bohannon. When I begin a new semester, I try to make time to reflect on my pedagogy and its implications/opportunities for student-scholars across my courses and across disciplines.  This semester, I have actually done it! You may recall that last fall I blogged on a Multimodal Monday about Video Game Vlogcasting. I wanted to take that assignment and re/mix it for a different audience and purpose. Because I practice at a large state university, the core classes I sometimes teach feature a majority of students who are NOT English majors.  In fact, fall semester of last year is the first time I have ever had an English major in a literature course — ever.  Like other 2000 level literature courses, American Literature 1860s – present at my university is one that attracts students based not on subject, but on scheduling.  Finding a balance between getting students to write authentically about content and going bust on Bloom’s taxonomy is a challenge for all of us.  I have found that digital writing assignments pique student interest and challenge them to employ skills that elicit critical thinking and measurable rhetorical performances.  Hosting a vlog/podcast (we call them vlog/pods) on a subject that they have already successfully written about in traditional academic form (for us, Annotated Bibliographies) gives students a composition opportunity that also engenders creativity and digital literacy. Assignment A DIY vlog/podcasting assignment that encourages students to apply researched texts to digital environments and create their own auditory and visual representations of previously researched materials. Assignment Goals and Measurable Learning Objectives Apply an annotated bibliography to a digital literacy Employ multimodalities as rhetorical delivery devices Analyze meaning through critical production of digital texts on-screen Background Reading for Students and Instructors Acts of reading and viewing visual texts are ongoing processes for attaining learning goals in democratic, digital writing assignments. Below, I have listed a few foundational texts. You will no doubt have your own to enrich this list. The St. Martin’s Handbook: Chapter 2, “Rhetorical Situations”; Section 6a, “Collaborating in College”; Chapter 7, “Reading Critically” The Everyday Writer: Chapters 5-11, “The Writing Process” Writing in Action: Chapter 4, “A Writer’s Choices”; Section 7h, “Collaboration and Communication”; Chapter 9, “Reading Critically” EasyWriter: Sections 1c-1g in Ch.1, “A Writer’s Choices”; Section 1h, “Collaborating”; Section 3a, “Reading Critically” Bohannon’s Multimodalities for Students Before Class: Student and Instructor Preparation The vlog/pod project works well on its own or bridged with other assignments.  In my course, we produced vlog/pods based on Annotated Bibliographies that students had written on a subject covered in our readings.  All of our readings came from marginalized authors and performers, and students chose among those subjects for their two assignments.  However, you may want to use this project as a stand-alone; either way works.  If you want more information on the Annotated Bibliography assignment, click here. I run this project mid-semester.  Prior to starting this project, the class discusses multimodalities of texts that we produce across digital discourses. We read Bohannon’s Multimodalities for Students, MIT’s Podcasting 101,PC Magazine’s “What is a Vlog?”, Class Blog Space, and Bohannon’s YouTube Channel to prepare us to produce. In Class and/or Out Much of the readings for this assignment are already embedded in coursework.  Those of you who have taught core literature courses will have your own content requirements.  Some of us even have this content prescribed by our departments or colleges. Either way, this assignment gives instructors and students some creative freedom to create their own content. If you teach in a computer lab, then you are LUCKY!  For those of us who don’t, we can work around it. In groups of two or three, students read resources and write outlines for their vlog/pod transcripts over three class periods.  I require them to post their final transcripts with their uploaded vlog/pods. Since students are working with individual topics, they group themselves around genre or time period.  They brainstorm, workshop their storyboards/outlines, and edit in class.  Production happens outside of class.  Many universities have vlog/podcasting studios available to students; check with your IT folks to see if your students have access to a studio.  My students have successfully produced vlog/pods using, iMovie,QuickTime, Movie Maker, and Garage Band on their own. After they draft, edit, and produce their vlog/pods, students either upload them to my YouTube channel or submit their work directly into our course LMS. You may want to give your students a choice for either public or private (class only) vlog/pod dissemination.  I have found that most students are excited for others to see their work, but it’s nice to have a choice. Next Steps: Reflections on the Activity At the next class meeting(s), students discuss and show their vlog/pods to the class, arranged by genre and time period.  We bring popcorn (maybe not a good idea if you’re in a computer lab) and sodas and make it a red-carpet event by inviting friends and colleagues.  You can either show vlog/pods in class or arrange for a larger venue on campus.  Next time I run this assignment, I am going to book our library multimedia room, which holds more people and has a place for setting up food and drinks. Truthfully, though, this assignment requires students to balance traditional academic invention and public, digital text productions. In my experience I have found that learning success closely follows authentic student engagement, including democratic and digital textual productions informed by student choice. Students are far more likely to engage in any course, composition, literature, or otherwise, if they feel that they can exert their agency to affect writing and learning outcomes.  For us as instructors, a vital part of our teaching is our ability to let go of our authority and guide students towards enduring understandings of content, which theyresearch, design, and produce. When we re-focus our efforts around digital, authored performances in these environments, we facilitate rhetorical growth for our students, helping them develop informed voices as they become fluent in multiple discourse communities. Try this assignment and let me know what you think. Please view/use the project guidelines (edit as you need) and view student samples here: Vlog/Pods from AmLit 2132 Also, please leave me feedback at Bohannon’s AmLit 2132. Guest blogger Jeanne Law Bohannon is an Assistant Professor in the Digital Writing and Media Arts (DWMA) Department at Kennesaw State University. She believes in creating democratic learning spaces, where students become stakeholders in their own rhetorical growth though authentic engagement in class communities. Her research interests include evaluating digital literacies, critical pedagogies, and New Media theory; performing feminist rhetorical recoveries; and growing informed and empowered student scholars. Reach Jeanne at: Jeanne_bohannon@kennesaw.edu and www.rhetoricmatters.org Want to collaborate with Andrea on a Multimodal Monday assignment? Send ideas to leah.rang@macmillan.com for possible inclusion in a future post. ... View more

This blog was originally posted on February 5th, 2015. Flying across the country a few weeks ago, I read Diogo Mainardi’s The Fall: A Father’s Memoir in 424 Steps (you can hear an interview with the author here). It’s a slim book—166 pages—so I had time to read it twice through, which I did with pleasure and gratitude. While the story of Mainardi’s son Tito’s botched birth in a Venice hospital, which left him with cerebral palsy, is gripping from first to last, what fascinated me most about the book was its structure: it is divided into 424 brief passages, some as short as a four-word sentence (“Tito has cerebral palsy,” which opens the book), others as long as half a page. Why 424 steps? As Mainardi reveals, “four hundred and twenty-four steps” is “the farthest that Tito has ever walked” without falling. In these 424 brief passages, Mainardi introduces readers to his family and most of all to Tito in a way so full of love that I was quickly drawn in and wanted to linger there with them long after my plane had touched down. I wanted to hear about more and more steps, get to know Tito even better (the photos of Tito that accompany the text are breathtakingly beautiful). But The Fall is more than a father’s memoir and a love song to his first son; it is also a tightly woven meditation on the web of associations that circle Tito, from the Scuola Grande di San Marco’s façade, designed by Pietro Lombardo in 1489 which now stands at the entrance to Venice Hospital—scene of many mistakes, including the one made during Tito’s birth—to Ezra Pound’s praise of Lombardo and the “stupid aestheticism” that Mainardi had shared with Pound before Tito’s birth. The web gets more dense and full of cross-references as the steps proceed. This 424-step-long meditation on disability and on love got me thinking about Winston Weathers, whose book An Alternate Style (1980) introduced us to the Grammar A of school discourse and the Grammar B of, well, everything else. One of the alternates Weathers showed readers was a simple list; another was a series of what he called “crots”: bits or fragments of text. But it also reminded me of David Shields’s much more recent Reality Hunger, a manifesto made up of brief snippets of text, many of them copied verbatim from other people’s work without acknowledgment. This musing led me to consider whether the time is ripe for this particular kind of fragmented or fragmentary writing (my experience with social media writing makes me say “yes!”), and also made me want to experiment with this form, and to engage students in experimenting with it. So now I am imagining a writing assignment that would begin: “Create a series of very brief passages, all related to one topic and arranged so that they reach a climax or make a very telling point by the end.” I’d start out with low stakes—just a few pages and meant for in-class sharing rather than a formal grade. But now I’m thinking that many others may be way ahead of me and have perfected such an assignment. If you have, please share now! In the meantime, check out Mainardi’s book and get to know the amazing Tito. [Image: The Fall: A Father’s Memoir in 424 Steps by Diogo Mainardi. From Other Press.] ... View more

This blog was originally posted on February 2nd, 2015. In the United States comics generally appeal to those who already know how to read and write, but in other contexts sequences of images with relatable characters and stories convey important information to the illiterate about how to avoid danger or pursue opportunities. For example, Mudita Tiwari and Deepti KC of India’s Institute for Financial Management and Research are distributing comic books about financial literacy in the slum of Dharavi in Mumbai to discourage women from relying on vulnerable hiding places in their homes to squirrel away cash. As a co-author of Understanding Rhetoric, a comic textbook, I was particularly interested to see their financial literacy tools for women, which emphasized graphic media for storytelling and sequential art as a means of communication. As they explained to the annual conference of the Institute for Money, Technology, and Financial Inclusion, before adopting this approach they found that the lack of information about banking alternatives was compounded by apathy toward generic information that “didn’t click.”   To provide meaningful context, they developed an interactive story-telling approach using comic books that starred two major characters: Radha, who is always struggling with financial adversities, and Saraswati, her sensible money-managing friend.  Researchers actually used real-life stories to compose the narrative. Financial Literacy for Women Entrepeneurs The literacy problem in India is serious, because the country has 287 million illiterate adults, or 37 percent of all illiterate adults globally (UNESCO Education for All Global Monitoring Report).  However, many countries have large populations of illiterate adults, and in the United States, public health efforts have enlisted comic books for decades (Schneider, “Quantifying and Visualizing the History of Public Health Comics”).  Even in the supposedly conservative 1950s, Planned Parenthood used comics to get out the word about family planning. Selene Biffi was asked to write a public health comic book for Afghanistan by the United Nations.  The experience inspired her to found a nonprofit organization that makes graphically appealing storytelling-oriented print materials for the developing world, Plain Ink.  According to their website, rather than donate books manufactured in the West, their organization supports “the use of local skills in the countries where we work” and strives to “find the best authors, illustrators, printers and distributors to collaborate with” to “create employment and contribute to local economic and social development.”  A story on the organization in Fast Company includes some sample pages, which show children making a lid for a well and a sign warning of contaminated water.  These panels need to communicate information efficiently, simply, and without ambiguity. Composition instructors can create interesting audience-oriented assignments for students that ask them to create comics for audiences lacking fundamental literacy skills, perhaps as part of a larger research project exploring a topic, such as ways to ameliorate disease or the effects of natural disasters.  As an example, faculty could show recent pamphlets with visual instructions about containing the Ebola epidemic. Explaining complex phenomena with simple illustrations can also provide the provocation of a grand challenge to classes exploring different communication modalities.  For example, how could global warming be explained to non-literate people or discoveries about the benefits of breast feeding using only pictures?  The peer-reviewed research may use relatively advanced scientific models, but the issues you assign should be ones that affect rich and poor alike. ... View more