I have asked students to informally outline all of their projects this term. I am not strict about the form of the outlines. They can use jot lists, topic outlines, tree structures, or any kind of map that shows their plans. I never use strict sentence outlines myself, but I believe that all writers can benefit from at least jotting down the plans for their documents. As they begin work on their final project of the term, students will create visual outlines by designing their own graphic organizers as part of their work. Students are familiar with outlining and graphic organizers from their experiences before college. Both teaching strategies are widely used in K–12. After reviewing their prior knowledge on the topics, students are ready to create their own visual writing tools, as described in the activities below. Background Readings on Outlines One of the following textbook readings: Chapter 3, Writing Technical Documents, from Markel & Selber’s Technical Communication C1-d: Draft a plan, from Hacker & Sommer’s A Writer’s Reference 1d: Draft a plan, from Hacker & Sommer’s The Bedford Handbook 3f: Planning, from Lunsford’s The St. Martin’s Handbook Types of Outlines and Samples, from the Purdue OWL Outlines Demo, from The Writing Center at UNC-Chapel Hill Background Resources on Graphic Organizers ReadWriteThink Graphic Organizers Essay Map Compare and Contrast Chart Procedural Writing Map Graphic Organizers (Scholastic) Graphic Organizers to Help Kids With Writing (Understood.org) Class Activities Think, Pair, Share, and Compare This activity is a customized version of the active learning strategy Think-Pair-Share, which will help students recall their prior knowledge. Divide the class into two groups. Working independently, have individuals in one group think about and take notes on what they know about outlines while the individuals in the other group focus on graphic organizers. After students have had time to gather their thoughts, have them pair with someone who worked on the same topic. In their pairs, have students review their notes together and talk through their thinking. Draw the class together as a whole and invites pairs to share their thoughts on how outlines work and then to share their thoughts on how graphic organizers work. Note their ideas on the board. Once all of the ideas have been shared, ask the class to reflect on the information and then compare the two strategies (outlining and graphic organizers). Encourage students to draw conclusions about how the two strategies connect to writing. To strengthen their understanding of outlining and graphic organizers, ask students to read and review the background readings and resources listed above. Design Graphic Organizers Ask students to examine example graphic organizers (linked above) as a class or in small groups and to identify the features of the genre. In particular, encourage students to determine how shapes are used (like text boxes), how lines and arrows are used, and how labels and instructional text is used. Their prior knowledge about graphic organizers should allow students to gather this information in five to ten minutes. With this information about graphic organizers established, students create graphic organizers for the kinds of writing that they are working on. Ask students to consider what they know about the kind of writing by examining examples and background material about the genre. Students can create graphic organizers independently, or you can walk them through some basic steps by asking questions such as the following: What are the primary sections of the kind of writing you are examining? What are the typical features of those sections? What kind of information usually belongs in the sections? How do the sections relate to one another? Students can sketch out their graphic organizers on paper, and then use a tool like Canva to create final versions of their organizers. Note that Canva does have a number of existing graphic organizer layouts that students can use as models. Students can also create their graphic organizers in a word processor using the shapes and text box tools. Do limit the time students spend creating their graphic organizers. The purpose of this activity is to learn more about how a kind of writing works, not to spend hours on images and design. After students finish their graphic organizers, they can share them with the class for feedback as well as to create a library of graphic organizers that everyone can use. The organizers can be used both for writing projects and to organize the analysis of readings. Final Thoughts In my course, students are focusing on different kinds of writing, depending upon their majors and career goals. There is little to no overlap in the graphic organizers they are creating. With a more homogeneous class, students could design graphic organizers in small groups. They might work on the same task or on different aspects of the writing task, such as creating graphic organizers for gathering ideas, research, and beginning a draft. This activity uses active learning strategies to get beyond customary pen on paper (or text on screen) strategies. Do you have similar assignments that break out of the traditional writing activities? I would love to hear from you. Please leave me a comment below Photo credit: Page 01: Idea for a talk on white collar work tips for developer types by Michael Coté on Flickr, used under a CC-BY 2.0 license. ... View more

Today’s guest blogger is Tanya Rodrigue, an associate professor in English and coordinator of the Writing Intensive Curriculum Program at Salem State University in Massachusetts   Many of us will likely agree that orchestrating productive peer review sessions is incredibly difficult. Over the past fifteen years, I’ve tried every kind of strategy I could think of for supporting students in giving each other good feedback. I’ve created documents for students to use for written feedback with questions ranging from very specific to very vague. I’ve tried a number of different ways to “match” writers in terms of their abilities, the stage they’re at in the writing process, or the kind of relationship they have with each other. While I have had some success with these strategies in various classes at different institutions, I have never felt completely satisfied with the kind of feedback students give each other. Their feedback was either too vague, off the mark, or focused solely on grammar or mechanics.   I needed to try something different. So several years ago, I went on an internet hunt, searching for methods or information that might spark a new idea for peer review. I came across Peter Kittle’s article, “Reading Practices as Revision Strategies: The Gossipy Reading Model” and immediately felt excited. His peer review ideas had strong potential to help my students give each other good revision feedback.    In the article, Kittle describes an activity he designed with Rochelle Ramay for a professional development workshop on teaching effective reading and writing. The activity asked teachers to employ a particular reading strategy to help them revise their writing: Ramay and Kittle named the activity “gossipy reading.” Gossipy reading asks participants to get into groups of three to review one member’s piece of writing. Here’s how it works: the writer remains quiet, while the two other group members employ the “interrupted reading strategy,” stopping at moments where they want to “gossip” about the paper, or in other words, raise questions, make a prediction, call attention to particular details, or make connections. After the gossip session ends, the writer joins in on the “gossip” and leaves the session with good honest revision feedback. This activity, unlike many other peer review activities, positions peers not as “fixers,” but as audience members who are constructing meaning of a text in real time.   Kittle’s peer review strategy is brilliant for a number of reasons: it positions meaning making and peer review as a dialogical interaction, and writing as a social act; it capitalizes on the affordances of talk, both in its ability to function as a site of invention and its invitation to violate “rules” attached to standard written language (an idea I talk about in my posts on The Benefits of Group Conferencing and Using Talk for Learning); and it frames an often dreaded activity as gossip, an activity associated with friends, fun, and a bit of scandal.   I adopted Kittle’s idea and adapted it to create “Gossipy Peer Review.” My version is more structured and directive than Kittle’s yet still maintains the “gossipy” sentiment. I’ve had a tremendous amount of success in using it in my classes and so have many of my colleagues at Salem State University. Below is the handout I give students for the activity.   ________________ Gossipy Peer Review Assignment Step 1: Get into groups of three.   Step 2: Read the assignment aloud.   Step 3: One writer will volunteer their paper to be read aloud; the writer of the paper will remain silent throughout the process, taking notes on how his/her peers are discussing his/her paper.   Step 4: The other two members in the group will take on the role of reader or listener. Step 5: The reader will begin reading the writer’s paper and stop after two paragraphs[1]. The reader and listener will discuss the paragraphs. Discussion will entail one or several of these actions: Reader and/or listener will summarize the overall gist of the paragraph; Reader and/or listener will state what they understand or what is clear; Reader and/or listener will state what they do not understand or what might be “fuzzy” or “confusing”; Reader or listener will predict what they think is coming next or in other words, what they think the writer might do next; Reader or listener will ask a question about the writer’s intentions, ideas, claims, arrangement, structure, transition or anything else related to the essay; Reader and/or listener will talk about what’s “working” or not “working.”   Step 6: After the reader finishes the text, the writer will then have an opportunity to join in on the gossip. The writer may: Talk about what they heard their peers discuss; Help clarify anything the reader or listener did not understand; Tell the reader and listener what they think they need to revise and ask for feedback on their revision plan. What is the point of this exercise, you ask? The writer is literally able to hear how a reader, or in other words, the audience works to construct meaning of his/her text. The writer will get a glimpse into the thoughts the reader/audience has when engaging with the texts, getting a sense of how his/her ideas, claims, evidence, arrangement, structure, and approach is received by an audience. From this gossip session, the writer will be able to identify parts of his/her paper that he/she should keep, discard, clarify, elaborate on and/or add. In other words, the writer will get feedback for revision.   After this activity, each writer composes a revision plan that describes how he/she will revise based on the feedback received during peer review. [1] The number of paragraphs the reader will read will depend on the length of the draft. Longer drafts will demand the reader read more than two paragraphs. ________________ Challenges There are a couple of challenges that instructors might face in facilitating a “gossipy peer review” session. Some students are shy and may feel reluctant to speak in front of people they don’t know. Thus it’s a good idea to pair shy students with classmates they know or are seemingly comfortable around. Another challenge, which Kittle notes as well, is when students take the “gossiping” too far, perhaps moving from talking about one’s writing to talking about one’s annoying roommate. I would recommend instructors walk around the classroom and listen in on the gossip sessions to intervene when students get off track. ... View more

We know what composition curricula looked like as far back as Aristotle’s time. Students were taught to present their compositions orally, but the compositions themselves, even that far back, were introduced in an order that matched the development of cognition. The narrative and descriptive assignments we used to teach at the beginning of the first-year writing course are now relegated to the first twelve years of education, but there has long been the acknowledgment that these assignments are the least challenging cognitively. Then comes exposition, followed by argumentation. James Moffett, in works such as Teaching the Universe of Discourse, taught us to constantly cycle back through the easier modes of writing as we built into the increasingly challenging ones. He reminded us why some assignments are harder than others, relating each to time. A narrative looks at the past—what happened. Exposition looks at the enduring present—what happens. Argumentation looks at the future—what could or should happen. No wonder writing arguments is challenging. A part of argumentation is establishing that a problem exists; the other part is predicting how a suggested change would solve the problem. Having come of age as a teacher under Moffett’s influence, I tend to have students write three essays on the topic they choose to research. Having inherited Annette Rottenberg’s Toulmin method with Elements of Argument, I have to adapt that sequence to accommodate claims of fact, value, and policy. It’s not too much of a stretch to see that writing a claim-of-policy essay is the most challenging because of its future orientation, while claims of fact and value are less challenging. Students can accumulate a body of research and first write an essay supporting a factual claim about it, incorporating as few as two sources to start to establish their knowledge of the subject. Then they can support a value claim about it, going beyond the basic information to express an opinion. With those preliminaries behind them, they are better prepared to support a claim of policy—and to have worked out problems with documenting sources before the last assignment in the course comes along and it’s too late. An example: One of my students wanted to write about the use of thalidomide as a treatment for cancer. Anyone tackling that subject must know the history of thalidomide’s use. If nothing else, the writer must be aware of, and inform the reader, that in the 1950s and early 1960s thalidomide caused thousands of birth defects when it was taken during pregnancy. An essay supporting a claim of fact could establish why the drug, understandably, fell out of favor. An essay supporting a claim of value could argue that the use of thalidomide under carefully controlled circumstances is worth the risk. An essay supporting a claim of policy would turn this research into an argument in favor for or against the use of thalidomide. There would be similarities among the essays. They would draw on the same body of research. Whole sections of an earlier essay might be incorporated into a later one. And they would get more practice getting the documentation right. Too often in the “real world” we find out the hard way what should have been done. There is seldom an opportunity to write about the should-haves, to practice getting it right. It’s hard to write a policy against possible future outcomes. I think of the tragic death of a young student at the University of South Carolina who got into the wrong car, thinking it was her Uber. Along with his condolences, the university president sent USC students and parents a list of ways to avoid a similar tragedy. Students may have gotten similar warnings when they arrived on campus. Lyft and Uber are implementing new safety policies. However, the narrative of Samantha Josephson’s death and the generalization that it could have happened to anyone reinforced what should be done in the future. It’s clear now – too late – what claims of policy should be implemented.   Photo credit: “Summ()n – Exploring Possible Futures” by cea+ on Flickr, 2/7/12 via a CC BY 2.0 license. ... 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.   In this blog post, we’ll go back to some apostrophe basics.   Podcasts have been around for a while, 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 maintain student engagement, accommodate different learning styles, and introduce multimodality.   LaunchPad and Achieve products include collections of 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.   Podcasts about Apostrophe Basics Apostrophe Catastrophe 1 [8:12] Apostrophe Catastrophe 2 [5:50] Apostrophes: Is the Word a Possessive Noun or an Adjective? [4:37] Contractions [6:24]   Students can do a lot more with podcasts than simply listen to them. Use one of the following assignments to encourage students to engage further with the Grammar Girl podcasts.   Assignment A: Have students listen to a podcast on apostrophe basics, such as “Apostrophe Catastrophe 1” and then have them write a short response discussing and reflecting on the experience. (Remember that all Grammar Girl podcasts come with transcripts in LaunchPad—students can also read the podcast transcript to inform their response.) Have students consider the following questions: How is listening to information about apostrophes different from reading about them? How is it the same? What does the host do to connect with the listener? What new information did the student learn about apostrophes? Can they pinpoint any element of the podcast that helped them remember this new information?   Assignment B: Ask students to all of the suggested podcasts. Have them also read at least one transcript. In addition to the questions above, have them write a response considering the following: How do the podcasts compare? Does the information about apostrophes overlap, and if so, where? What is different about the coverage of apostrophes in each podcast? What content or information is conveyed through audio that does not appear in the transcripts? Is any additional information found in the transcripts that is not apparent from just listening to the podcast?   How have you used podcasts about apostrophes in your class? How else do you discuss apostrophes? Let us know in the comments!   Credit: Pixabay Image 2557399 by StockSnap, used under a Pixabay License ... View more

To continue our celebration of National Poetry Month, we're re-posting the following blog from Phillip Chamberlin professor at Hillsborough Community College. This post originally appeared on LitBits on October 23, 2018.    “I lost six friends and neighbors—all under 25 years old—to suicide. And since then, I’ve lost about five friends to heroin overdoses and suicide. It’s just like this cluster of death that surrounds me, surrounds my neighborhood. It’s kind of a desperate thing.” –John Ulrich, college student from Boston   The young man quoted above stands on his apartment building as he gazes into the lens of the camera. He’s about to recite his favorite poem, “We Real Cool” by Gwendolyn Brooks. His personal connection to the poem is obvious, as is his passion.  The rhythm of his performance varies greatly from that of the author's, but no matter—it’s a valid reading, and he’s moved by the poem, and so are we.   This video and many others like it are featured in the Favorite Poem Project, a project founded by Robert Pinsky, former Poet Laureate of the United States, that features compelling videos of ordinary people introducing and then reciting their favorite poems. The website describes the participants as being “Americans from ages 5 to 97, from every state, representing a range of occupations, kinds of education, and backgrounds.” Most of the people on camera are quite ordinary—they may have interesting stories, but rarely are they overtly eccentric. Because the participants are not famous poets or academics, they could perhaps be called outsiders. But that would be missing the point: In the world of poetry, there are no outsiders.   I teach at a community college that serves a population almost as diverse. Some of my students are younger than sixteen (as participants in high school dual enrollment programs) and some are older than sixty. Some have never had a day of employment, and others are changing careers. Some have disabilities. Some are multilingual. Some are already avid readers, and some avoid reading as much as possible. Some even write their own poetry. Others think they hate it.   In my experience, these Favorite Poem Project videos have had a welcome role in many of my courses, at least the ones that discuss literature (whether in depth or as part of a brief overview). In elective literature classes, which tend to be full of students already passionate about reading, they work. In prerequisite composition classes, which tend to include a population of students with a much wider range of skills and academic preferences, they also work. Whether I teach in traditional classrooms or in online environments, they work. Students invariably find something intriguing and relevant in these ordinary people, their favorite poems, and their interpretations.   Sometimes I assign specific videos, like the Jamaican-American photographer who finds himself surprised by his connection to New England poet Sylvia Plath, or the construction worker who finds inspiration and comfort in the words of Walt Whitman, or the law student who responds enthusiastically to the world view of Wallace Stevens. Sometimes I encourage students to select videos on their own.  Either way, assignments involve viewing, ruminating, responding, writing, and discussing.   In face-to-face classes, sometimes I assign groups of students to present a video to the class—that is, they respond to a response and continue the conversation. In online courses, these videos serve as the basis for at least one of our weekly discussions. Even when students don’t respond favorably to a video, something interesting happens: They begin to see poetry in a new light. And to be honest, sometimes I do, too.   Imagine where instructors could take these activities to make them even deeper, more involved, more challenging. Instructors could even ask students to create their own videos. (They would need to be brief enough to be digestible for contemporary audiences yet deep and meaningful enough to be worthwhile—a worthy challenge.) Or, instructors could ask students to base an extended essay project about these poetry fans and their responses. The essay project itself could have a multimedia component. The possibilities are exciting, and resources like the Favorite Poem Project will continue to keep poetry relevant for students from many different walks of life. ... View more

This will be a brief posting as I am out of the country right now, sailing along what used to be medieval trade routes and learning all about trading patterns, trading wars, and cultural clashes of nearly a millennium ago. So I am learning a lot about the economic climate that surrounded the literature of the time, which I know fairly well. And enjoying every minute of this vacation!   Perhaps somewhat incongruously, I brought along reading not about medieval trade but about very contemporary technological issues, in the form of Clive Thompson’s new book, Coders: The Making of a New Tribe and the Remaking of the World. I’ve been following Thompson’s work for a long time since he was an early writer in Wired, and I very much admire his Smarter Than You Think: How Technology Is Changing Our Minds for the Better, which seemed to me an astute and prescient read especially of how young people are using technology today.   I’m reading the new book slowly, enjoying jumping around in it (the chapter “The ENIAC Girls Vanish” is a favorite!) and then going back to re-read passages that stuck with me. In short, Thompson takes us inside the world of the people who have changed our world dramatically in the last couple of decades; coders, he says, are “the most quietly influential people on the planet.” Thompson’s detailed and intensive interviews with such coders helps us to see well beyond the stereotype of the young white male slouched over a computer and wearing a hoodie. Here we meet the architects (including, to my delight, a woman) of Facebook’s news feed, a revolutionary set of code that changed communicative practices forever, exploring the psychology and mindset of this group, with their near obsessive attention to efficiency and speed. He also reveals their (growing) concerns over ethical issues, including the need to engage many more people of color in this work. Thompson sees these concerns as pressing, but he is generally optimistic about the future of code and coding, noting the need for what he calls “blue collar coding,” that is the coding done by ordinary people to help improve their everyday lives.   I still have about a third of this fascinating book to read, but already I feel I understand the culture of coding in a more nuanced and helpful way. So I’ll keep reading as I sail along the trade routes of the middle ages. Happy reading to you too!   Image Credit: Pixabay Image 1839406 by Pexels, used under the Pixabay License ... View more

If you attended CCCC last month, you probably heard a land acknowledgment statement, which offered respect to the indigenous peoples upon whose lands the conference took place. For example, Asao B. Inoue began his #4C19 Keynote (video) with this statement: To open, I humbly make a land acknowledgment I would like to recognize and acknowledge the indigenous people of this land: the Lenni Lenape, Shawnee, and Hodinöhšönih (hoe-den-ah-show-nee)—the six Nations, that is, the Mohawk, Oneida, Onondaga, Seneca, Cayuga and Tuscarora (tus-ka-roar-ah). We are gathered today on Jö:deogë’ (joan-day-o-gan’t), an Onödowa'ga (ono-do-wah-gah) or Senaca word for Pittsburgh or “between two rivers”: the welhik hane (well-ick hah-neh) and Mënaonkihëla (men-aw-n-gee-ah-luh). These are the Lenape words for the Allegheny and Monongahela rivers, which translate to the “best flowing river of the hills” and “where the banks cave in and erode.” While a land acknowledgment is not enough, it is an important social justice and decolonial practice that promotes indigenous visibility and a reminder that we are on settled indigenous land. Let this land acknowledgment be an opening for all of us to contemplate a way to join in decolonial and indigenous movements for sovereignty and self-determination. I recently added a similar land acknowledgment statement to my course materials, thanking the Tutelo/Monacan people upon whose land Virginia Tech stands. Inspired by a graphic from Northwestern University, I also created the draft image (shown on the right), which I intend to add as a poster on my office door after I receive feedback on whether it is appropriate. I admit it has taken me too long to add these statements to my course materials. Angela Haas, from Illinois State University, shared the first land acknowledgment statement I ever heard at a Computers and Writing Conference session several years ago. I was impressed by the statement and wished I could add one to my own work. At the time however, I wasn’t sure how to construct a land acknowledgment statement, so I didn’t try. I was and am ashamed of my behavior. I let my privilege as a non-indigenous person serve as an excuse, telling myself it was better to say nothing than to piece together an acknowledgment I wasn’t sure was appropriate. I want to share some resources readers can use to add a land acknowledgment statement to their publications, events, and course materials. Check your campus for an existing land acknowledgment statement. Check with American Indian and Indigenous Studies student groups, cultural centers, and departments. If such resources do not exist, contact your office of diversity and inclusion. A research librarian at your school can also help. If you are working in Canada, such a statement is likely to already exist, so check with your colleagues. Take advantage of existing resources if you plan to write your own land acknowledgment statement. If a statement does not exist, use the Guide to Indigenous Land and Territorial Acknowledgments for Cultural Institutions from New York University and the #HonorNativeLand Guide from U.S. Department of Arts and Culture to get started. Again, a librarian at your school can also help you find relevant resources. Review land acknowledgment statements from other institutions. Check peer institutions your school uses for benchmarking purposes. Also look for examples from schools and cultural centers from your geographical area, which likely share the same tribal lands you do. These Example Land Acknowledgment Statements demonstrate the range of details and styles used in the genre. Learn how to pronounce the names of the indigenous peoples included in your statement. As Kyllikki Rytov pointed out on the WPA-L listserv, “[I]n terms of erasure, getting names right is paramount.” Land acknowledgments must include pronouncing names with respect. The #4C19 statement above includes parenthetical pronunciation information, which can serve as a model for your own statement. If you are unsure how to pronounce a name, check with local tribal members or with campus American Indian and Indigenous Studies cultural centers, student groups, or departments. Your library’s research staff can also help you find pronunciation information. Ask local tribal members or other experts to review your work. As I suggest in relationship to my image above, you need to check any land acknowledgment statements you create to ensure your words and images are appropriately representative of and respectful of the tribe(s) whose land you are acknowledging. If you have an American Indian and Indigenous Studies cultural center or department, ask them if they can give you feedback. Once you have a land acknowledgment statement, use it and encourage others to use it as well. Open your events with your land acknowledgment statement. Add a land acknowledgment statement to your research and other publications. Include a land acknowledgment statement on your course materials. Remember that a land acknowledgment statement is only the first step. It doesn’t immunize you against social injustice or colonial practices. Examine your reading lists to ensure they include indigenous authors. Include indigenous issues in your discussions. Invite students to explore indigenous readings and events in their work. Encourage them to add land acknowledgment statements to their own projects. Call out actions that demean native peoples. Make the arts, cultures, and concerns of native Indian and indigenous visible in your courses, research, and events. I hope these resources will help you add a land acknowledgment statement to your work. The documents from the second bullet point include details on why land acknowledgments are important. You can use these resources to help students understand why you use the statements and help them learn strategies to make their work diverse and inclusive. If you have a land acknowledgment statement you would like added to the Example Land Acknowledgment Statements document, please share it in a comment below. If you have other suggestions for acknowledging indigenous people, please let me know. ... View more

Senioritis blooms along with the forsythia, magnolias, and flip-flops, and is hardly restricted to seniors. This time of year, half the challenge of teaching seems to be convincing students to still give a … well, we’ll go with “hoot.” One remedy — and also a student-centered classroom ideal — is to structure the semester’s end so that students take increasing ownership of class time as the semester draws to a close. Students should be able to answer the “So, what?” question, not only for their own writing, but for their learning in the course, and for their time in the classroom. How have you structured the semester’s end to center student voices, and with what results?   Here, I’ll share some strategies I’ve used:   Task students with designing a final class teach-in, and invite friends and family I often invite students to plan a final class day as a “teach in” that we open up to friends and family (to raise the stakes of a real audience). We think of it as an idea-engagement event, in which every student has to participate in some way. They might read aloud a short, provocative passage of their writing, share some resources on a course theme, offer civic action tools related to the course, or even provide a playlist of songs related to the course theme. This teaches students to engage with multiple ways of learning designed to explain their key insights to a fresh audience, and to offer specific action steps in response. For these “teach in” events, my students have designed bookmarks with key ideas as takeaways, set up photo “booths” with informational props and frames to share out on social media, created civic action kits for writing to representatives about topics, designed temporary tattoos and bumper stickers, printed out recipe cards with activist steps, provided course-themed coloring pages, and on and on. I often provide a bit of food and a bigger space for the final day, to make it feel like a celebration. Students can name the event, advertise on social media and with flyers, and in general turn the last class day — so often a let-down or a hurried final presentation day — into a celebration of intellect and engagement that they can look forward to and own.   Upping the Ante in Peer Writing Workshops If a final-day celebration doesn’t fit into your writing classroom schedule, you might also be more mindful about handing over student ownership of peer writing workshops. In From Inquiry to Academic Writing, my co-author, Stuart Greene, and I offer specific guidelines for writers and readers of early, later, and final drafts. As students approach the final draft of an essay, I often require them to set the agenda for the peer-group discussions, so they can take ownership of what writers need in the final stage of the revision process. Handing students the chalk (or the marker) at the front of the room and having them crowd-source the questions that should drive the day’s workshops gives them ownership of the revision process (which is, after all, what we hope they’ll take from our classes), and gives you as the instructor some crucial insights about what they’ve gleaned about the writing process. Once they’ve set the agenda on the board, students can use their peers’ guidance for their writing groups, with each writer benefiting from the peer group’s focus on each draft, one at a time.   If your students need a bit of prompting, here are some guides for student peer-group discussions of later drafts: Working with later drafts To what extent is it clear which questions and issues motivate the writer? What is the writer’s thesis? How effectively does the writer establish the conversation — identify a gap in people’s knowledge, attempt to modify an existing argument, or try to correct some misunderstanding? How effectively does the writer distinguish between their ideas and the ideas that are summarized, paraphrased, or quoted? How well does the writer help you follow the logic of the writer’s argument? To what extent are you persuaded by the writer’s argument? To what extent does the writer anticipate possible counterarguments? To what extent does the writer make clear how the writer wants readers to respond? What do you think is working best? Explain by pointing to specific passages in the writer’s draft. What specific aspect of the draft is least effective? Explain by pointing to a specific passage in the writer’s draft. And here’s what we suggest for final drafts: Working with final drafts For writers: What is your unique perspective on your issue? To what extent do the words and phrases you use reflect who you believe your readers are? Does your style of citation reflect accepted conventions for academic writing? What do you think is working best in this draft? What specific aspect of the essay are you least satisfied with at this time?   For readers: How does the writer go about contributing a unique perspective on the issue? To what extent does the writer use words and phrases that are appropriate for the intended audience? To what extent does the style of citation reflect accepted conventions for academic writing? What do you think is working best? What specific aspect of the essay are you least satisfied with at this time?   Ultimately, students will remember their ownership of ideas and their confidence in transferring ideas from your course into other classes and beyond. Like any effective piece of literature, our courses should offer our students a clear answer to the question, “So what?”   How do you do this in your own courses? What do you hear back from your students about the skills they leave with, and use?     Photo Credit: April Lidinsky ... View more

Many years ago, during the panic-riddled days prior to my dissertation defense, an experienced friend encouraged me to see the defense procedures as a celebration of scholarship, something to be savored, not a hurdle to be feared or dreaded. While I was not able to embrace that perspective fully (especially the night before), I sensed a shift from “grilling” to intellectual debate after just a few minutes into the defense, and that shift came with a growing sense of confidence: I was ready. I had done the work, and I had something worthwhile to say. Those who attended listened, questioned, and affirmed.   My first-year writing students have reached the final two weeks of the semester. As they are finishing projects and final reflections, I can see distress rising – many of them are taking three, four, or (in some cases) five other classes, and they have families, work, or even high school rites of passage that compete for their attention. As I conferenced with students this week, I listened to their stories, fears, and questions. I realized they need a context in which to finish well; I need to make the final two weeks a reminder of what they have accomplished and to celebrate the progress they have made.    What specific steps create that context for finishing well? I look back and remember what contributed to a positive ending on my dissertation: time to do the work and reminders of how that dissertation fit into the larger picture of my education and training. For my students, time means our class meetings will be devoted to the projects they are working on: workshops, small group and one-on-one conferences, and peer review. And the big picture includes feedback, reminders of how concepts we’ve circled around all semester are relevant to these final projects. When a student asks me, for example, if I think her opening move makes sense, I first affirm the value of her question as evidence of her growth as a writer. When a student asks me how to cite an interview he conducted with another professor, I remind him that his view of source material has changed since we began, and then we think about resources for MLA citation rules. Another student tells me her thesis for the final project “just doesn’t feel right yet,” and I commiserate with her—while applauding her choice to listen to that intuition. Our workshops will provide a platform for her to talk through why her thesis draft is not working for her. Our talk about writing over these two weeks, while centered on their specific drafts and needs, will touch on the threshold concepts that have framed the entire course.   In one of my classes, students will write a final reflection letter during the final exam slot, and in the other, students will present their final projects in a poster session. While they have not finished their educations, they have completed a significant first step.   Our final sessions will be a celebration of finishing well.    What do you do to help your students end well? ... View more

April is National Poetry Month! We've asked some of our LitBits bloggers to discuss how they approach poetry with their literature and creative writing students. This week's guest blogger is Krysten Anderson, Assistant Professor of English at Roane State Community College In an effort to use more collaborative learning activities in my classroom, I have redesigned much of my Composition II course.  The poetry unit has benefited the most from these new classroom activities because so many students are baffled by poetry, even if they find certain lines beautiful.  It’s weird!  How do you even read it?  Why does it look like that?  I’m so confused!  If you’ve ever heard those cries of frustration, then you, too, know that most students wouldn’t pick poetry as their favorite part of English class.  Now that my classes are working on their poetry paper, I’m hearing less of “I have no idea what to do!” and more of “This was easier than I thought,” which suggests that the in-class activities have made an impact.  Most recently, my students spent a day “walking through” six different poems in our Poetry Gallery:    "Oxygen" by Mary Oliver "The Lungs" by Alice Jones "Home-Baked Bread" by Sally Croft "The Joy of Cooking" by Elaine Magarrell "The Author to Her Book" by Anne Bradstreet "The Writer" by Richard Wilbur. The concept of a “gallery” in a writing classroom isn’t new: almost any assignment can be modified to accommodate different “viewers,” who walk around the classroom, stopping to look at a paragraph, a paper, an image, or a poem, in this case, and leave comments on or next to it.  It’s a good way to get students out of their seats, which helps shake-up the regular classroom routine, but it also gets them to think about (and write about) lots of new ideas, all in the span of one class period. For this activity, I recommend using four to six poems.  (I used six, but having fewer would have allowed more time at the end of class to discuss them.)  Print them out, and tape them around your classroom.  Tape two or three sheets of paper next to each poem, so students have a place to leave their comments.  To organize students, I used a random number generator app and then put them in six groups, enough to match the number of poems we used.  Each group had two to three people, so it would be easier to have discussions about each poem.  The groups came up with team names that they used to distinguish their answers on each piece of paper.  They also took turns writing down their responses. To begin, each group was assigned a poem as a starting point.  After five minutes or so, or once everyone was finished, they rotated clockwise.  I put questions on the overhead projector, and groups used these to form their responses to each poem: The poem’s meaning: What is the poem about when you read it for pleasure? What is it about when you read it for meaning? The poem’s language: What’s an unfamiliar word that your group would have to look up? If you know every word in the poem, what’s one word that seems important to the poem’s tone, theme, or meaning? What’s your group’s favorite phrase? What makes it beautiful, strange, or interesting? Once everyone had read and responded to each poem, the rotation brought them back to their starting point.  The groups looked over all the notes everyone had left and then circled their favorite responses to each question.  Each group had a chance to discuss their poem, but everyone was welcome to offer up their own interpretation. I selected the six poems based on a shared theme (breathing, food, and writing) with another poem on the list, so students could begin making comparisons and thinking about how each poet treated a similar subject.  Interestingly enough, one student observed that each of the six poems, to her at least, seemed to be about our souls: What do we need?  What hurts us?  What fulfills us?  Her comment sparked a class-wide discussion, in which other students began pointing out subtle references and examples they hadn’t otherwise thought of, such as Alice Jones’s nod to the spiritual nature inherent in breathing, thanks to the word “transubstantiation. All in all, this interactive, discussion-based activity worked well to conclude our readings for the poetry unit.  As my students have begun working on their close-reading of a poem, I have noticed that many of them have selected the poems we spent time discussing and analyzing in class, even if they initially thought one of them didn’t make sense, like “The Joy of Cooking.”  Contrary to previous semesters, this group of students seems to enjoy the puzzle-solving nature of poetry, which gives me encouragement to keep finding new ways for them to interact with this baffling, beautiful literary form. ... View more

Every now and then, while driving to work, I've turned on the radio and have come in on the middle of a hauntingly beautiful, if rather grim, acoustic song sung by a gravely-voiced singer who seems to be singing about heroin addiction, or something of the sort. Knowing nothing about the song I've kind of assumed that it was about the nation's opioid epidemic and left it at that. But one phrase from the song really got my attention, and I finally entered the words into a search engine a few days ago to see what I could find out about it. Okay, you know where I'm going now. I've used it in the title for this blog. The song is "Hurt," as recorded by Johnny Cash in 2002. But I was quite surprised to learn that it was written a decade earlier by Trent Reznor of Nine Inch Nails, whose own recording of it in 1994 is on a different sonic plane entirely, and even more nightmarish than Cash's dark retrospective. Wow, country meets industrial pop. There's nothing new, of course, in an artist from one musical genre covering a song from another. After all, that's one way that music evolves: through a continuous mixing and fusing of different styles into new forms. And it isn't that Johnny Cash hadn't done this sort of thing before – this is the country icon who teamed up with Bob Dylan back in the days when Merle Haggard was still "proud to be an Okie from Muskogee," and country music fans tended to be openly hostile to just about everything that folk and folk rock stood for. Whether he put it in such terms to himself or not, Cash's collaborations with Dylan tapped into a common system of tangled roots from which country music and folk/folk rock emerged: the lives of the poor, the downtrodden, and the oppressed. Within this tradition lies the outlaw, a defiant (and often idealized) figure who breaks the rules in despite of society's laws. And so Johnny Cash went to Folsom Prison in 1968, thereby jump-starting his flagging career, and (along with Waylon Jennings, Willie Nelson, and David Allan Coe), establishing outlaw country as a thriving musical sub-genre. It's important to note that country music isn't the only popular musical form with an outlaw tradition these days. Rap, particularly in its Gangsta' incarnation, has its own outlaws, and its own taproot into the lives of the people. "Country rap," a rather uneasy and tentative fusion of country and hip hop, has even emerged to explore the possibilities of this common ground. Given the highly fraught state of social relations in America today, I don't really expect that country rap will make much of a difference politically, but to get to where we want to go, it is always useful to know where we came from.   Photo Credit: Pixabay Image 687631 by Ana_J, used under the Pixabay License. ... View more

Those who read these posts know that I’m wont to talk about style and about its crucial importance to writers today. Responding to one of my posts, Tom McGohey wrote: Took me years, but I eventually discovered that the key to integrating style in a meaningful way was tying it consistently to student writing throughout the semester, in daily informal reading responses and class exercises, and in papers. From day one, we discussed rhetorical situations and strategies. In particular, I emphasized ethos, and how style contributed to ethos, and how that in turn contributed to the impact of a piece in a particular rhetorical situation. With every reading assignment, we spent some class time examining how style and ethos affected their response to a writer and the advantages and drawbacks of a style. When and why did the writer employ this style in particular passages? All along, I encouraged them to consider their own style/ethos on the page and how they might make more conscious use of it. I encouraged them to imitate a writer’s style they really liked during in-class writing exercises. Tom reported that such careful integration of style paid off and that “on the whole, students liked doing all the style work. It gave them a sense of control over their prose, and seeing an immediate payoff in their writing, even if it were just one small area like shifting from passive to active voice or punctuating a long sentence perfectly, spurred them to pay more attention to style.”     I’ve had much the same experience with students over the decades, finding that taking time to get a sentence just right, to use an analogy to striking effect, to attend to the rhythms of prose, eventually got student writers excited: they too can “make sentences sing.”  So I wrote back to Tom thanking him for his comments and in return he generously shared an assignment he gives, called “Stylish Writing.” Here’s Tom’s prompt: Rhetorical Situation: You’ve been invited to submit an essay to a professional journal titled Stylish Writing explaining your own development as a “stylish writer.” This journal is read by practicing writers who take a great interest in the craft of writing and who like to learn from other writers about the joys and frustrations of struggling to write well-crafted sentences. With your essay, you will be entering a larger conversation about the role and importance of style in writing. Tom goes on in the assignment to give students a series of questions to help them begin to analyze and describe their own writing styles and to link their stylistic choices to the establishment of ethos and to the rhetorical effects achieved by those choices. Throughout the assignment, he encourages students to experiment, to take risks, and to have FUN.   This is just the kind of playful but serious assignment students can really shine on. Indeed it may be one you might like to try, or modify, in your own classes. Tom has generously allowed me to share it here. If you have an assignment that engages students with style and stylistic choices, please send it along!   Image Credit: Pixabay Image 1209121 by Free-Photos, used under the Pixabay License ... View more

Last week, I shared a series of active learning strategies focused on design principles, related to a research poster project that students are working on this month. That activity inspired me to consider how I could rethink active learning strategies to discuss design and visual rhetoric. The result is my new versions of three activities, suited for analysis of a visual document design or a visual artifact (such as a poster). For each task, I explain how the original learning task is used, and then I follow with the prompt that I created for my twist on the strategy. Active Learning Tasks Muddiest and Clearest Points Original: Muddiest-point and clearest-point tasks ask students to reflect on recent information from the class and identify the relevant ideas or concepts. The muddiest point is the idea or concept that the student understands least while the clearest point is the idea or concept that the student understands most fully. The Twist: Examine the image or document and identify the muddiest point and the clearest point in the visual design. For the muddiest point, identify the place in the visual where the image, the text, or other aspects are hardest to identify and understand. It might be a place where the image is blurred, faded, overexposed, or in shadows. It could be a place where an element is small, cropped off or otherwise incomplete. Once you identify the muddiest point, consider what it contributes to the overall image or document and why it is minimized in comparison to other aspects of the image or document. For the clearest point, look for the opposite place, where the image, the text, or other aspect is clearest and easiest to identify and understand. It might be a place that it larger, sharply focused, brighter, or highlighted in some way. Once you identify the clearest point, consider what it contributes to the overall image or document and why it stands out so clearly in comparison to the other aspects of the image or document. Four Corners Original: This active learning strategy relies on the physical layout of the classroom. The teacher sets up a station—with a discussion topic, problem to solve, or issue to debate—in each of the room’s four corners. Students are divided into four groups and rotate through the stations, or they visit only one station and then share the corner’s discussion with the full class. The Twist: Focus on the four corners of the image or document you are examining. Label them as Top-Left, Top-Right, Bottom-Right, and Bottom-Left. Think about what appears in each corner—text, color, drawings, photographs, shadows, and so forth. In addition to considering what appears in each corner, reflect on aspects such as the size of the elements. Take into account how the content of the four corners relates to the rest of the image or document and how the corners relate to one another. After your analysis of the four corners, hypothesize what the corners contribute to the overall visual design. Background Knowledge Probe Original: Background knowledge tasks can take various forms, from freewriting about a previous lesson or experience to a scavenger hunt. The teacher either asks a question that will trigger students to recall prior knowledge about the topic, or the teacher can set up situations that require prior knowledge to complete a task. This strategy tells the teacher what students already know, so she can avoid reviewing information unnecessarily. Further, it helps students recall concepts and ideas that a new lesson will draw upon. The Twist: Take the idea of a background knowledge probe literally. Examine the image or document, and focus on the background of the design. How does the background differ from the rest of the image or document? Does it complement the foreground? Does it provide a contrast? Is it a simple, blank canvas, or does it add information to the message? Based on your examination of the image or document, explain how the background contributes to the overall visual. Final Thoughts Like the active learning strategies that I shared last week, the three active learning strategies above ask students to look at the design of an image or document from different perspectives. By focusing on a specific area of the visual message, students isolate how the various parts of the visual contribute to its overall message. Do you use active learning strategies in the classroom? How do you ask students to examine the way that visual design contributes to a message? If you have classroom activities to share, I would love to hear from you. Please leave a comment below to tell me about your strategies.     Image credit: See Writing Differently 2018 7 by COD Newsroom on Flickr, used under a CC BY 2.0 license. ... View more

How can we encourage students to dive beneath the surface of complex readings? Each term I puzzle over this question and experiment with different responses. This year, the answer has been a puzzle itself: the jigsaw discussion. I first encountered jigsaw classrooms almost twenty years ago, when I worked with a public elementary school as a teaching artist in creative writing. At the elementary level, the intent of the jigsaw is to enhance group learning. Each group works with a specific concept, and each group member focuses on a particular aspect of that concept. The idea is that students will cooperate in assembling the pieces of an intricate puzzle as they practice skills for cooperative learning. This semester, I introduced jigsaw discussions for different purposes in College Writing 1 and College Writing 2. For College Writing 1, we worked together to analyze the film Black Panther. We had already practiced close reading through encounters with James Baldwin’s essay “The Artist’s Struggle for Integrity” and Dr. Martin Luther King, Jr.’s final speech “I’ve Been to the Mountaintop.” In order to create a synthesis essay, students needed to be able to find the interconnections. Part of the process of close reading of a popular film is to push past its popularity toward a deeper understanding of the many historical and thematic contexts of any cultural artifact. As I explained to the students, this was my intention for reading Baldwin and King, and watching Black Panther together for the same assignment. Our first attempts to draw deeper thematic interconnections proved difficult. In particular we struggled with the concept of analyzing a scene from a film as one might a chapter of a novel. A film, the students reminded me, is not the same flat surface as a novel. There are sounds and visuals to consider, music and costumes, plots and characters. I wondered if jigsawing could help. Rather than trying to analyze a scene as a whole, we would break the scene into different categories, and from those categories draw deeper meaning and thematic interconnections to our readings of Baldwin and King. The students requested that we do this jigsaw as a whole class discussion, and asked me to take notes on their ideas. The first appendix shows the questions we asked, and the students’ responses. In College Writing 2, our task was slightly different. In order to better understand the historical contexts of Lorraine Hansberry’s 1959 drama, Raisin in the Sun, I invited students to read scholarship on the Great Migration and housing segregation in the northern United States. One of our readings was the introduction to Farah Jasmine Griffin’s 1996 scholarly work, Who Set You Flowin?: the African-American Migration Narrative. Nearly all of the students were approaching literary scholarship for the first time. Besides their introduction to a new genre, students would be dealing with unfamiliar references to literary sources. For this jigsaw, we decided to break the class into groups of 2-4 students. Each student group was assigned to summarize two pages of the ten-page introduction. We opened a google.doc with blank spaces for each set of page numbers. When the jigsaw was complete, we had a concise summary of the article that we could analyze and discuss together. Students could experience for themselves the process of breaking down a complicated reading into its component parts, then reassembling the parts into a whole. The second appendix shows the directions for this assignment and a sample of one group’s brief summary (see example here). In my college writing courses, students come together in the classroom through many varying intersectionalities of life experience, languaging, and college preparation. The conflicts and alliances that bring communities together-- and pull communities apart-- also play a role in how arrive in the classroom. Even with very hard work, it can be challenging to find common ground for class discussions across a multiplicity of identities, abilities, and needs, much less to learn to dive beneath the surface features of complex readings. Jigsaw discussions can help to experience the synergy that comes from the many voices present in the room. *Spoiler Alert* If you have not seen the film Black Panther, you may want to skip Appendix 1. ... View more

April is National Poetry Month! We've asked some of our LitBits bloggers to discuss how they approach poetry with their literature and creative writing students. Today's featured guest blogger is Cristina Baptista, American Literature Teacher at Sacred Heart School in Greenwich, CT. We all know those first few words of The Waste Land: I don’t think T. S. Eliot had in mind that what may make April—National Poetry Month—“the cruellest month” for teachers is the struggle to keep things fresh. I teach high school juniors; by the time they reach my American Literature course, National Poetry Month is no surprise. As elementary students, they listened to teachers read from illustrated books of accessible poetry. As middle schoolers, they wrote simple rhymes, carrying them around on Poem-in-Your-Pocket Day.   Students are often eager to write poems—but writing, feeling-through and feeling part of poetry are not the same.   Nowhere are possibilities of poetry clearer than when pen is physically pressed to paper (or finger to keyboard) while the mind roves over a startling combination of images, headlines, and phrases. The aforementioned childhood exposures to poetry are simply a preamble, a whetting of the cleaver-like intellect, as Henry David Thoreau calls the mind.   For Emily Dickinson, poetry was a chance to “dwell in Possibility.” So, as I refresh my National Poetry Month assignments, I’ve considered the potential of allowing students not just to write or read but to dwell in the possibilities of poetry, to use their words not as a direct line to an audience but as a series of lines thrust large and widely into a world, into spaces, times, and ideologies beyond them. I want students to understand that poetry is a constantly living organism, an ongoing conversation—and they are very much an essential part of it.   For my high schoolers, I’ve found the most edifying possibilities include being able to find one’s self in a poem—particularly one that is playful, unexpected, and a puzzle-piecing together of sundry parts. I like to think of a poem as a Frankensteinian creature that isn’t quite sure what it wants to be yet and, thus, a very adequate reflection of the young writer. And it’s okay: students, like poems, are works-in-progress, not final pieces. People are this.   Therefore, one of the most effective National Poetry Month writing assignments I’ve created involves words, images, and history (personal and national or global). It is an assignment designed to engage students with themselves and their world alike. It is also an essential practice at lateral thinking, a key method of nontraditional problem-solving used by scientists, technicians, and poets, among others, to force the mind to make connections where, on first appearance, there are none to be made.   We start with a few timed exercises, as well as some at-home preparations. In advance of the in-class writing, I ask students the class before to bring next time:   a newspaper headline, from the current week, that caught their attention an image from their birth year (note: this is not a baby picture but, rather, an image from a work of art, a screen-capture from a film, or a photograph that was significant and/or in the news the year they were born)   Then, in class, I time out five minutes of free-associative writing. First, they have to write anything that comes to mind when they see their selected headline (even better if they’ve never actually read the story attached to it). Then, I time them for another five minutes and they have to write a response to their selected image.   Next, I go around the room and distribute, at random, a line from a famous poem, something we’ve read in class that year. It could be a line from Anne Bradstreet, Langston Hughes, or Tony Hoagland. For another five minutes, I ask them to write freely—the only caveat that they have to start with the line they were given.   By now, we will have discussed Gertrude Stein and free-association; they will understand the value of “messy,” Cubist-style work more disassembled than assembled. They will see the value of poetry not as answer but as a point of departure.   After these exercises (about 15 minutes of writing without overthinking or intervention), I ask students to reread what they’ve written. Can they identify any surprising links among their three separates exercise responses? Does a particular word or theme keep emerging? Does something surprise them?   Now, using these ideas, assemble a poem. Revise freely (or not), but combine the three task responses. This work vitally force students to find timeless connections, recurring patterns of human behavior, interests, desires, and tendencies throughout their lifetimes and beyond. They are given a week to keep working, at home, on their poem. It is not long before I have students remarking, “I never knew I felt so lonely until I picked this image and saw how it fit with the line from Georgia Douglas Johnson,” or “how strange I keep talking about the color ‘orange,’ as if that means something to me. Maybe it does.”   The best part of this exercise? I do it, too. It gives me space to write and the students enjoy when I share my work alongside theirs. It makes them feel like we are all in this moment of assimilation together, all backstroking our way through some beautiful yet unpredictable waters, part of a growing conversation about human experience. And there’s nothing cruel about that. ... View more