Like so many fellow citizens, I’ve been watching television and reading news reports—lately with horror and deep concern. In the midst of the Israel-Hamas war, college campuses have become small war zones of their own, with antisemitism and Islamophobia rampant, with university officials struggling to respond effectively. Extremism is at work almost everywhere I look, and divides seem never to have been deeper or wider. I had these deeply troubling thoughts on my mind when I stumbled on an article on “Why Campuses Need Centers for Pluralism” by Eboo Patel, founder and president of Interfaith America and author of We Need to Build: Field Notes for Diverse Democracy (2022). Patel sees the current divisions on campuses reaching a crisis point, where many students “are in extreme distress, feeling profound isolation, and a handful are even taking part in actions that border on physical violence. Some are no longer willing to sit in class together. One can only imagine the tension in the dining hall, the relationships that have crumbled and the number of student groups that are melting down.” Across the country, writing teachers don’t have to imagine such tensions; they are living with them every day.  We can, of course, look on such times as offering up teachable moments—or at least we can hope for such moments, when we can guide students in gaining more information about and understanding of the history of the Middle East, though doing so is not likely to resolve current tensions or change hearts and minds. Patel admits as much, before going on to say that, as one who has devoted his life to “proactively engaging religious diversity” he believes that being able to work with people with whom you disagree is the single most important value for a diverse community. Imagine if doctors who have different views on the war in the Middle East refused to perform heart surgery together. Or if firefighters who had different politics regarding gun control refused to fight fires together. Or if Little League coaches with different views on abortion refused to coach together. Patel argues that campuses should develop Centers for Pluralism, whose goal would be to prepare students, faculty, and staff alike to engage across differences, becoming “models of cooperation between people of different identities and ideologies and training grounds for leaders who can bridge divides.” He recognizes the difficulty of doing so, especially in the present moment, arguing that too many campuses have developed policies and practices that increase tensions rather than building pluralistic cooperation, so much so that campus offices that traditionally facilitated cooperative dialogue instead “actually help fan the flames that now threaten to engulf” the campus. One example of a "Center for Pluralism" in Ottawa, Canada Patel believes that the last ten years or so have seen the growth of a robust “pluralism field,” and he gives many examples of such groups at work (see his article in Inside Higher Education for names of these groups and links to them, as well as links to a number of campus-based pluralist projects). The need for Centers for Pluralism, Patel says, has never been more crucial, first because of the horrific Middle East war we are witnessing from afar but also from deep divides over issues related to gun control, reproductive rights, or the election of 2024. What we need, in Patel’s view, are leaders who can help people who disagree on X still work effectively together on Y or Z: “We want students to be protesting respectfully on the quad, but we also need them to be working together to find cures for cancer.”  Having spent much of my life advocating for and teaching collaboration and collaborative strategies, Patel’s argument resonates with me, and reminds me of the role writing teachers can play in creating the kind of classroom ethos that can accommodate differences and disagreements while also providing students opportunities to listen across those differences and to do so in a safe space.  Right now, as I hear of so many hate-filled acts taking place on and off campus, I know I do not have all the answers or the strategies necessary to find ways to listen to one another with the goal of understanding, especially when we do not agree. But I also know that I—like writing teachers everywhere—must keep on trying. As Wayne Booth once famously remarked, “The only real alternative to war is rhetoric”—that is to say: the kind of talking and mutual conversation that respects differences, listens actively, builds understanding, and, where possible, seeks common ground.   Image by Jozsef Varga via Wikimedia Commons ... View more

by Abigayle Farrier, Ph.D., professor of English at University of North Texas This is the fourth post in an occasional series affiliated with the Writing Innovation Symposium (WIS), a 2-day annual event hosted online and in Milwaukee, WI. Learn more below and in posts tagged “writing innovation” and “symposium.”  I arched my eyebrows at the text I received, double checking that the sender was, in fact, my best friend from grad school – a fellow college writing instructor – and not one of my friends who teaches elementary school. It didn’t take long for my friend, Katelyn Thompson, an instructor at Kilgore College, to explain that she was giving her students a day to do arts and crafts. In the middle of their major research paper, Katelyn asks her students to take a break from writing and draw pictures that correspond to their topic, color outside the lines, and generally return to behavior we typically relegate to our elementary school days. “Kindergarten day” has now become a permanent part of her pedagogy, and she credits improved metacognition and student engagement to this strategy. A student collage As the semester continued, I often returned to the idea of crafting in the college composition classroom and found myself wishing I had asked students to create artistic renditions of their first paper, a personal narrative. Pairing an assignment that requires students to reflect on who they are and where they came from – a topic that often results in papers on their childhood – with an arts and crafts day seemed like a perfect fit. I was eager to implement this idea of composing with art supplies, but struggled to find another obvious opportunity in my curriculum. My class that semester, in the fall of 2021, was a Monday/Wednesday class that ended at 6:50pm. For many of my students, this was the first time they had been in-person since their junior year of high school. I sat alone in my deserted office hours, looking at the lesson plan I didn’t quite feel like teaching, and knew that attendance was unlikely to be high after a draining day back from the longest vacation of the semester. I suddenly remembered “kindergarten day!” In a rather frantic dash, I gathered up old magazines the department had sitting in stacks, grabbed all the scissors, tape, and glue sticks I could see, and found – by some miracle – exactly twenty abandoned folders that could serve as canvases. I hurried to my class, expecting to encounter approximately five students who had made it back on campus. To my surprise, fifteen pairs of eyes greeted me. “Welcome to kindergarten day!” My students watched with befuddled amusement as I put only two sentences on the board: “Using the materials provided, find at least 5 images and a couple of phrases that represent your writing, writing process, and/or who you are as a writer. Create a collage in the folders provided.” Over the course of the next hour, my students chatted energetically with one another as they created works of art that spoke to not only their work in our class but to who they are as people. One student captioned an image of an opened pill with glitter spilling out: “I uncap the mess that is my brain and see what sticks.” Another wrote, “(What happens halfway through)…Things Fall Apart” and “I was flying (by the seat of my pants)” as he blended article headlines with his own descriptors of his writing process. This activity – which was intended to be a low-stakes creative assignment, ended up generating thought-provoking and quite beautiful representations of students’ identities and their relationships with writing. A student collage As I concluded the class, I asked my students to come to the board and write their own “Why I Write” statement, inspired by Terry Tempest Williams, and the reflection motivated by their collage work. We all stood there in silence for a minute after the last person finished. I generally pride myself on having an inclusive, community-based classroom, but I had never felt anything quite like this before. What had begun as a filler activity on a down day had become the most meaningful activity we did all semester. There was now a connection between the members of my class that had not existed before. This experience left us with a renewed sense of the importance of writing, of composing, of connecting with ourselves and with others. Picture of the whiteboard with my students’ “Why I Write” statements Now, I teach this activity towards the end of every semester. Students reflect on how their writing processes have changed over the course of the semester, how connections – to their homes, their communities, themselves, and our class – shape their writing, and how writing has shaped and been shaped by their identities. To be sure, our in-person, hands-on activity contrasts sharply with the digital forms of communication that are now part of our writing lives, from online meetings to AI-generated writing. But perhaps there’s something we can all learn from a return to “kindergarten days.” What other hands-on activities are you incorporating in your writing classrooms? Do you integrate creative or artistic activities into your lesson plans? Have you found this to be successful in your own classroom? I would love to hear from other instructors who have incorporated similar activities – and those who have chosen not to.   If you’re interested in learning more about the WIS consider joining us in Milwaukee at WIS 2024! Read our CFP here. ... View more

Writing in Counter Arts and recently reprinted in Medium, journalist and digital media expert Jeff Hayward stumbled on an AI “test” offered by the Globe and Mail. Fourteen questions in all, asking a test taker to distinguish between images, voice/video clips, and texts created by humans and generative AI. Hayward was relieved, and just a little surprised, that he got all the questions in the first two sets correct: the AI generated images were somehow “just too perfect,” he said, and the voice/video cliffs felt somehow “off” to him—and his hunches paid off.  What really did surprise him, however, was the fact that he got all three of the questions about written passages wrong, thinking that the AI-generated texts sounded “more human” than those generated by humans. So an experienced working journalist, who spends time every day writing and studying writing by others, was taken in by AI. Yikes! The Globe and Mail quiz is behind a paywall, but I was able to take a look at it without being able to take it. My guess is that I would have been very lucky to get a third of the answers right—and be relatively unable to distinguish material generated by humans from those generated by generative AI. Double yikes! I’m wondering how our students fare at such tasks. And while the Globe and Mail quiz is available only to subscribers, here are a couple of other similar online quizzes that are accessible, the first from Buzzfeed and the second from the Statistics and Tech Data Library. You might want to try then out with your students. I, meanwhile, am trying to learn to get better at this kind of detection!     ... View more

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

Jennifer Duncan has been teaching English for twenty years, first at Chattanooga State Community College in Tennessee and now at Georgia State University’s Perimeter College in Atlanta, GA where she is Associate Professor of English.  For the last ten years, she has focused exclusively on online teaching concentrating on creating authentic and meaningful learning opportunities for students in composition and literature courses.     As I talk to writing teachers about incorporating AI into their writing instruction, a recurring theme keeps crashing the conversation like a super villain in a spandex suit: the enigmatic concept of voice. How do we protect and nurture individual voices in a world where AI is poised to make us all sound like Ultron?  How do we prevent a linguistic snap from erasing marginalized voices? How do we keep all of the creative universe from becoming one enormous Marvel franchise of caped conformity? For me, the question is simpler: How can I even get my students invested in finding the power of their voices instead of just obeying the “rules” of writing to get a “good grade?” In a world where every freshman has an Insta-identity, will they care enough to craft and curate their writing as carefully as their online persona?  Surely no one wants their writing to be labeled “basic,” right? Since AI is a weapon that threatens to destroy the soul of writing, I started experimenting to find out if I could use it as a tool instead. My experiment was elementary: I asked ChatGPT to explain how voice works as a rhetorical tool. It’s the type of question my students might ask if they wanted a textbook-style answer, and it produced a pretty textbook explanation. Now, as Ultron would say, “It’s time for some mind games.” Next, I asked ChatGPT to explain the same concept to me using the voice of Peter Elbow⁠—again, pretty standard.  Then, I asked it to teach me in the voice of Ms. Rachel, the preschool education YouTuber.  Sure enough, I got a lesson sprinkled with upbeat images (literally, she told me that a vivid image is “like putting sprinkles on a cupcake”) and an affirmation that my writing voice could show readers who I am and make my message stand out.  To counteract the unicorns and rainbows, I next instructed ChatGPT to explain using the voice of Winston Churchill. As expected, there were a lot of “dear friends” and comparisons between the “realm of rhetoric and warfare.”  A clear voice could “mean the difference between victory and defeat.” Of course, I proceeded to spend way too much time “doing the voices” until I finally drew the line at Super Mario’s “Let’s-a talk about-a rhetorical voice, woohoo!” Nevertheless, the experiment provided a potential game plan. If my students could look at these examples and identify the speaker, could they also identify the tone, word choice, sentence structure, and assumed audience that created each “voice”? This could be the first step in having them start to make the rhetorical choices that could uncover their own voice⁠—their origin story. Photo by Shantanu Kumar via Pexels I know it’s a silly assignment; I told you that I asked ChatGPT to impersonate a video game plumber, so I’m obviously not trying to outsmart anyone here. I am trying to leverage what AI does well⁠— imitation⁠—to lead my students to find and celebrate their own unique voice, or as ChatGPT Shakespeare would put it, to “write the verses of their own poetic soliloquy.” The experiment also opens up the possibility of larger conversations about both language and AI. Ask ChatGPT Jay-Z to talk about rhetorical voice and you won’t hear from an innovative artist who has crafted a voice, persona, and brand that is globally recognizable; you’ll get some pretty bad 90s rap lingo and some truly awful stereotyping. Why? Congratulations⁠—you’ve just motivated students to talk about the bias of AI generated language as well as the models upon which it was trained. It’s also a chance to talk about WHY protecting diverse voices is even more important in the post-AI world. In doing all this, will we uncover all the answers? Of course not, but maybe students will realize the importance of having these conversations with other humans and not depending on AI Iron Man to answer for them. ... View more

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

Here at UNG, I am always teaching writing: first-year composition/corequisite, ESOL pedagogy, introduction to linguistics, an intermediate and advanced grammar sequence, and applied linguistics for language instructors.  As my colleagues in composition and rhetoric know—and as Elizabeth Wardle has argued forcefully—“there is no such thing as writing in general.”  Consider the following course project in my sophomore-level grammar class, often an English major’s first encounter with a disciplinary style that is fundamentally different from the expectations of high school, FYC, or literature survey courses.   What’s the assignment?  Students pick a sentence containing a syntactic or lexical structure deemed incorrect—or at least contested—according to some grammar or usage guides.  Students then identify the issue, describe the structure, research it in dictionaries and style guides, and ultimately collect data from media sources, corpus databases, and tools such as the Google N-gram viewer.  From this data, they make an argument concerning the usage and status of the structure.  I ask students to complete five checkpoints as the project develops.  By the third checkpoint, most students realize how different this paper will be from previous academic assignments.  Some of them panic. Most of these students are English majors who have strong sense of their own style and confidence about writing in familiar forms—arguments and literary analyses.   They have not, however, written extensively about language, nor have they worked with the types of sources required for this paper, much less primary data sources.  So, while we are learning about grammar, we are also learning how to write like grammarians—or linguists.  In addition to checkpoints, I require peer review sessions with our writing fellows, the writing center, or our supplemental peer instructor.   I ask students to submit final drafts with annotations to show how they incorporated feedback from peers, and I also ask them to reflect on my feedback and submit a response. I urge them to think about how they have grown not only in their understanding of syntactic concepts but also writing concepts—and what they will take with them going forward. We use the following handout as students begin drafting their papers.  On the left side are concepts that are common to all writing situations—and despite the novelty of this assignment, students do have experience from which to draw.  On the right side are specific realizations of these concepts in the context of writing about grammar.  But we can also use this sheet to consider other assignments they will encounter—and to think about how to adapt their writing to fit new contexts.  We are always teaching writing, indeed. ... View more

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

Elizabeth Catanese is an Associate Professor of English and Humanities at Community College of Philadelphia. Trained in mindfulness-based stress reduction, Elizabeth has enjoyed incorporating mindfulness activities into her college classroom for over ten years. Elizabeth works to deepen her mindful awareness through writing children's books, cartooning and parenting her energetic twin preschoolers, Dylan and Escher   Last semester I created a blog post about a final exam meditation for students on the YouTube channel, Present-Minded Professors (created by me and my colleague Kate Sanchez, who is also an English professor at Community College of Philadelphia). I received feedback from some that the meditation was calming and empowering and had some great results. I learned from others that the meditation felt much too long. One student exclaimed “it’s time to give us the test!” Another student tapped his pencil nervously then chomped on his pencil eraser until it fell off into his mouth. Contrary to mindfulness activities in a classroom where an exam is not being given, there was not an opportunity to process and validate what students were feeling. Two of my colleagues emailed me to let me know they had had similar experiences, and I noted on YouTube that the average watch time for the meditation was 1 minute and thirty seconds—many professors had just played the beginning of the meditation for students. Students are often anxious to get started on their exams, which is the origin for the need for a meditation; however, amping anxiety before a test can, of course, be counterproductive if we cannot provide all the tools to help students cope with the anxiety in the moment. My work with mindfulness has taught me that it is important to walk the line between helping students know that all emotional experiences are valid and helping them compartmentalize, when needed, for the task at hand. One of the challenges of being an academic who, like many of us, is in love with the power of language is learning that sometimes the deepest experiences can come from the briefest handful of content. Here is a shorter meditation for students before taking exams. In the new meditation I have included some affirmations and the sound of a few chimes to create relaxation and help students to center their bodies and minds. I am excited to share this meditation with students before they take their exams this semester, and I would encourage you to play it or, if you are inspired, create your own short meditation. If you’re able to record your meditation in advance, the ability to amplify your voice on a SmartBoard may help students pay the most attention. I wish you peace and presence as we move through the semester! ... View more

­Multimodal Mondays: Can I Use That Image? Understanding Visual Attribution Practices Kim Haimes-Korn is a Professor of English and Digital Writing at Kennesaw State University. She also trains graduate student writing teachers in composition theory and pedagogy. Kim’s teaching philosophy encourages dynamic learning and critical digital literacies and focuses on students’ powers to create their own knowledge through language and various “acts of composition.” She likes to have fun every day, return to nature when things get too crazy, and think deeply about way too many things. She loves teaching. It has helped her understand the value of amazing relationships and boundless creativity. You can reach Kim at khaimesk@kennesaw.edu or visit her website: Acts of Composition Overview Digital and multimodal composers use images across their projects to create engaging visual content. It is so easy for students to search the internet and include images in their texts, but we want them to ask the question, Can I use that image? This is particularly important amidst conversations relating to intellectual property and ethical dilemmas related to image use. I find that students often use visuals without considering if they have permission to do so and feel as if they have free reign with anything that is out there. Many times, students do not even realize they are violating copyright. With multimodal composition, we encourage students to incorporate images and curated content in their digital work, so it is vital that they develop the knowledge and skills to make strong, ethical choices. Since there are so many changes every day in relation to digital content – it is both the wild west and a moving target -- I think it is a worthy effort to teach students ethical image use and thoughtful citation practices.  These activities and assignments help students to critically evaluate found sources for ethical image use. Background and Resources Introduce Terms and Definitions Introduce students to the concepts of Copyright, Fair Use, and Public Domain. I show them this short video, Creativity, Copyright and Fair Use produced through Common Sense Education, a site that prepares students for digital citizenship and does a good job of introducing these terms and provides a wealth of resources.  This helps situate and contextualize the larger conversation in relation to intellectual property. Conduct Image Searches Through Google I have students conduct image searches through Google search functions by asking them to generate keywords related to their subjects. They can pull these keywords from previously written texts, research, or just brainstorm subjects they are considering.  The next step is to show them how to find out if these images are copyright free and available for open use. Google has a built-in tool that filters image results to search for Creative Commons licenses. When we conduct a search, the engine generally brings up all articles and references. We can click on images in the search bar menu to bring up images only and narrow the search to include only copyright free images. After we enter our search term into the Google Images search bar, click on Tools and we see a drop-down menu under Usage Rights that allows us to choose a type of license. It gives the options of “All,” “Creative Commons”, or “Commercial and other licenses” (See Google Support document, Find Images You Can Use and Share for specific instructions).  Once we choose Creative Commons it filters out and narrows down the options to those that are copyright free. We could stop right there but there is an additional step that helps us learn more about the details of the usage rights for that particular image. If we click on the tag “License details” or “Learn More” we can find out more information about the terms of use that defines how they can use that image such as “free to use with attribution.” Understanding Types of Images: Sunset: End of another day? or transition? or happiness? How do images communicate meaning -- literal or representative? It is important that students understand the difference between literal and representative images. Literal images capture experiences or objects in their most basic sense without metaphor or interpretation.  These images are usually direct references to ideas or concepts and generally not subject to varied interpretations. Representative images are abstract and often symbolize something and include metaphor or interpretation. They are usually indirect and are subject to multiple, possible interpretations.  So, we can think of our search for a sunset to represent an actual reference to the sun setting (literal image) or we can think of it as a metaphor for transition (representative image) or a feeling such as happiness. We can also ask students to use search terms that start out as abstract such as freedom, love, success, or racism, to see what kinds of images surface with these terms. I like to have students do these kinds of searches in both the invention (for idea generation) and drafting phases (for image inclusion) of their composing processes. Captions Contextualize the Image Captions bring images and text together to communicate interrelated meaning. We can’t just insert an image and expect it to speak for itself. It is our responsibility to create context as the writing of captions is more than just identification (“This is a sunset”) and should instead be considered an integral part of the writing and connect to the written ideas. “Providing captions for images allows you to contextualize the relevance of this visual content as it relates to your research” (Purdue Owl). We can extend information, explain details, ask provoking questions, and present additional engaging content for readers to consider. We can also include linked reference information to connect the image to its original source or, in the case of referenced images provide citation details. Check out and share this article on How to Write Good Captions. We should also ask students to consider captioning images for digital accessibility through alt text tags. Copyright free resources It is important that students know about the abundance of copyright-free resources available to them. I introduce them to Creative Commons, Public Domain, and other third-party resources that offer copyright free images for use in blogs, articles, and other educational work such as Unsplash, Pexels, or Pixabay among others. These resources also allow users to explore deeper with instructions for attribution and license details. Just exposing them to these resources creates awareness and invites them to be part of larger communities of image makers. Steps to the Assignment Although these prompts can be used in isolation for random terms, it is best to have them connected to particular projects to make them more meaningful.   Introduce terms and definitions for Fair Use, Creative Commons, and Public Domain. Have students choose keywords from their writing or brainstorm on their subjects to provide search terms. Ask them to enter keywords into a Google search -- include both literal and representative terms.   Filter images for usage rights. Have them dig deeper and identify license details to find out what they need to do to use the image.  Caption the image with meaningful connections and citation if necessary. Insert the captioned image into their digital content. Remind them to position the image near the text to which it is connected.  Reflection on the Activities Students often see images on the internet and assume if something is out there, that they have the right to use it for their own purposes. This myth is supported through meme culture that relies on the repetition and distribution of undocumented images. In this world today issues of intellectual property and AI necessitate that students understand and have access to these tools to make informed choices. This seems like common knowledge, but I find that most students do not know how to conduct this kind of deeper search that outlines citation practices and the best methods for attribution. This kind of awareness is important for ethical image use and helps us communicate that we are thoughtfully using images in good faith.   ... View more

by Holly Burgess, Ph.D candidate, Marquette University This is the third post in an occasional series affiliated with the Writing Innovation Symposium (WIS), a 2-day annual event hosted online and in Milwaukee, WI. Learn more below and in posts tagged “writing innovation” and “symposium.”  On January 7, 2023,  Tyre Nichols was murdered by officers of the Memphis Police Department. Tyre Nichols was a father, son, photographer, friend, skateboarder, and so much more. His life mattered. Twenty-one days later, the police footage of Nichols’s death was streamed via the media. On January 28, 2023, unable to sleep, I debated whether to write to my students about Tyre Nichols. I began to draw comparisons between Tyre and myself; we are both twenty-nine years old, Black, and enjoy Memphis. As an avid Elvis fan, I’ve visited Memphis, TN, three times in my life; Graceland became a sacred place to visit and spend time. I remember the first time my mother brought me to Memphis for my fifteenth birthday; I was excited to be in a predominantly Black city. Residing in Wisconsin, I was raised in a predominately white suburb, my heart yearning to be amongst Black people and culture. When we left the gates of Graceland, I cried. Looking back, I realize why Memphis is so special to me—Memphians treat you like family and welcome you in with their southern hospitality. I knew Tyre Nichols’s death would leave Memphis in civil unrest, hurting and longing for change. I knew that my students would also be hurting. I emailed my two English classes my thoughts about Nichols. I told my students that I would open space for them to discuss their feelings and grief regarding Nichols. I drafted a call-to-action to the English Department, demanding they release a statement about Tyre Nichols’s death. My call-to-action resulted in other Black students and faculty members expressing their demands to the department, which led to the formation of a Diversity, Equity, Inclusion, and Belonging (DEIB) steering committee that aims to: promote Black faculty/students' work, creating more Black-oriented events like celebrating Black History Month, hiring and retaining Black faculty and students, creating more curriculum based upon African American literature, culture, and rhetoric. While these initiatives are a great first start for confronting the anti-Blackness that lies in society and academia, one thing I learned is that even in times of trauma and hurt, white colleagues assume that Black faculty and graduate students have all the answers, that we have ready-made lesson plans about how to teach police brutality, institutional racism, and violence in our classrooms. The fact is that we’re people first, and we are hurting. We’re not immediately ready to develop and steer curricula based on our identities and emotions. We need time to process the grief as a community before we are tasked with guiding white academics who wish to do better. In February, I attended the 2023 Writing Innovation Symposium (WIS) at Marquette University. This year’s theme of the WIS is Writing as ____, wherein the presenters were tasked with filling in the blank. I chose to fill my blank with “Writing as a Black Scholar.” At the WIS, I presented a poster titled “The People Are Rising”: Revolution and Violence in African American Social Movements and Literature.” My poster was an overview of my forthcoming dissertation; I have created a literary genealogy of four generations of Black social movements. I trace how each generation reacts and responds to police brutality and violence. During my poster presentation, a few audience members were interested in my dissertation and academic work; however, most wanted to make a spectacle about my statement on Tyre Nichols and my accidental activism within the English Department. My name was now attached to Tyre Nichols and the departmental change that it sparked rather than my dissertation or scholarly work. I’m a Black Ph.D. candidate and know the cost of activism. Accidental activism results in white colleagues looking to you for readings, guidance, lesson plans, and workshops; it places a heavier burden on you to steer a department into anti-racist pedagogy and social progress. I have been dubbed the “girl in the Tyre Nichols email” rather than an emerging Black scholar. I recognize why more experienced BIPOC faculty members feel jaded about the prospect of change within English departments. It requires extra work from them, a minority tax. Social progress relies on BIPOC faculty rather than white colleagues self-educating. I’m unsure what can be done to change the English literature canon or anti-racism, but I can suggest incorporating more Black authors and texts into your classes—reaching beyond the standard of James Baldwin and Toni Morrison. Incorporate Black musicians, poets, and rappers, and your students will thank you.   If you’re interested in learning more about the WIS consider joining us in Milwaukee at WIS 2024! Read our CFP here. ... View more

A plastic bag of multicolored paper scraps rests on a table next to a sketch book with a small black journal on top. Photo by Susan Bernstein, October 19 2023   “This light held the power to illuminate, even to redeem and reconcile and heal.” - James Baldwin,  “On the Painter Beauford Delaney” (1965).    Writing Project 2: Application/Multimedia   In WP 2, you will apply Baldwin’s ideas about art and artists to your own work with creating multimedia. First you will summarize and interpret Baldwin’s ideas to connect “Artist’s Struggle” to two new readings, “On the Painter Beauford Delaney” and “What’s the Reason Why?” Then, you will create a multimedia project and apply Baldwin’s ideas to your own work. The second piece was part of a New York Times symposium featuring best-selling novels of the early 1960s, including Baldwin’s 1962 novel Another Country. We will hold one class meeting at the campus art museum for a tour and an art-making workshop. Anything you experience/create at the museum can be part of Writing Project 2. Paintbrush hovers above paper plate with acrylic pain in rainbow colors. Photo by Susan Bernstein, October 19 2023   In the midst of a rainy downcast autumn, I reconsidered how to revise the prompt and supporting activities for Writing Project 2, Application/Multimedia. From the beginning of the course, students had a keen interest in Baldwin’s work, wanting to know more about his life, his activism, and his work as an artist. For Writing Project 1, we considered Baldwin’s beliefs about the purposes of art, especially on how the artist has a responsibility to use their suffering “to help you suffer less.” We also focused on Baldwin’s “imprecise words,” about how art is something that “lives behind the words.”  For Writing Project 2, we added two new pieces (see the works cited list at the end of this post), “What’s the Reason Why?,” in which Baldwin briefly discusses the influence of jazz on his writing process. In the second piece, Baldwin pays tribute to his lifelong mentor, the painter Beauford Delaney  Through him, Baldwin learns how to see light as a “miracle” and that “great art can only be created out of love.” Working with a colleague at the on-campus teaching museum, we conceived of an experiential learning field trip during which the students would first tour the current exhibit, Ubuhle Women: Beadwork and the Art of Independence, described by the museum as: [A] new form of bead work, the ndwango (“cloth”), developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The plain black fabric that serves as a foundation for this exquisite beadwork is reminiscent of the Xhosa headscarves and skirts that many of them wore growing up. By stretching this textile like a canvas, the artists use colored Czech glass beads to transform the flat cloth into a contemporary art form of remarkable visual depth. After a brief introduction to the exhibit, the students engaged in viewing the artwork on their own, then met again for a group discussion to process their thoughts and interpretations. During the last part of the field trip, students participated in an art-making workshop to experiment with multimedia material in order to connect the exhibit to Baldwin’s writing.  As a participant observer, I noticed that the main theme of the field trip seemed to be connection. I wrote the following entry in my journal: If I try to process this field trip at the moment, it’s images of interacting that I hope to remember– students interacting with: Insights from Baldwin’s writing. My colleague’s questions about what they saw and how they interpreted what they saw. The art-making materials: paint, crayons, multicolored paper scraps, glue, and paper. The art of the Ubuhle women, the glistening beads on black fabric, flowers, spirals, suns, trees, and images of home in their own artwork.  Yet most of all, I remember the students’ interactions with each other, sitting on the floor of the museum writing and thinking, visiting the upstairs gallery, observing the images, asking questions and sharing perceptions. Later, the students sat together making art inspired by the exhibit, talking quietly, laughing softly, working with intention at the long tables placed in the museum lobby.   I paced the floor, observing the transformation of the lobby space, walking with a few crayons and a sketchbook in hand, thinking of sunbursts, of future possibilities, of present moments, drawing streaks of light and dark colors across the page. Crayons of many colors in and out of boxes. Photo by Susan Bernstein, October 19 2023     Works Cited Baldwin, James. “The Artist's Struggle for Integrity.” ​​The Cross of Redemption: Uncollected Writings​, Vintage International, 2011, pp. 50–64. Ebook pages,63-70. https://bibliotecadaluta.files.wordpress.com/2017/08/james_baldwin_randall_kenan-the_cross_of_redemptio.pdf   Baldwin, James. “On the Painter Beauford Delaney” Collected Essays. Library Of America. (1998). Edited by Toni Morrison.  pp. 720-721. Ebook pages 728-729. (Collection open source). https://archive.org/details/JamesBaldwinCollectedEssaysLibraryOfAmerica1998/page/n125/mode/2up?view=theater. Baldwin, James. “What’s the Reason Why?.” ​​The Cross of Redemption: Uncollected Writings​ , Vintage International, 2011, pp. 48-49.  Ebook page 62. https://bibliotecadaluta.files.wordpress.com/2017/08/james_baldwin_randall_kenan-the_cross_of_redemptio.pdf    ... View more

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

I am pleased to announce that I am currently working on the 11th edition of Signs of Life in the USA, and for this reason will be taking a sabbatical from my Bedford Bits blog posts this year.    The new edition will be paying particular attention to the ever-worsening political and cultural divisions in this country and the ways in which our popular culture both reflects and contributes to them. I am choosing this focus because of the urgency, especially in the light of the January 6 insurrection at the U.S. Capitol, of the topic, and the necessity for careful critical thinking at a time national crisis. You can find a number of indications of the kind of topics the book will address in my posts over the last couple of years.   This will be the first edition of Signs of Life without the direct co-authorship of Sonia Maasik, but her presence will remain throughout the text, most profoundly in the way her spirit is guiding me on every step of this publication journey. The book will be part of Sonia's legacy and is dedicated to her. ... View more

by Darci Thoune and Jenn Fishman This is the second post in an occasional series affiliated with the Writing Innovation Symposium (WIS), a 2-day annual event hosted online and in Milwaukee, WI, by a group that includes Darci and Jenn. Learn more below and in posts tagged “writing innovation” and “symposium.”  As Jenn and I explored in our last blog post on the Writing Innovation Symposium (WIS), putting our finger on how this modest symposium makes so much magic is challenging. But with some reflection it’s easier and easier to see that part of what makes the WIS special is collaboration—and we mean collaboration on every level. Yes, there are the regulars who serve on the Steering Committee and those who faithfully travel to Milwaukee when she is at her least hospitable, but there are others as well. We’re thinking about the graduate students and early career folks who join us as active participants in a symposium that works with and against the expectations of a traditional conference. As we entered our 3rd year of the WIS we wondered how we could manifest more of this—more support for a wider range of participants and more opportunities for them to be meaningfully involved in the WIS magic making. As writing administrators, we’re accustomed to being scrappy and opportunistic when it comes to funding. Knowing that we wanted to find more ways to support (in travel funding, in mentoring, in networking opportunities) WIS participants from a wide range of perspectives, experiences, and backgrounds, we approached the amazing Laura Davidson at Bedford/St. Martin’s with a wild request--namely, would they support the travel expenses of two to three WIS Bedford/St. Martin’s (WIS B/SM) Fellows? Our hope was that a WIS B/SM Fellow’s Program would especially prioritize participation by first-gen, BIPOC, and multiply marginalized undergraduates, graduate students, contingent faculty, and early career scholars. We were delighted that Laura (and the rest of the B/SM team) enthusiastically jumped at the opportunity to work with all of us involved in the WIS. This program has become a source of reliable funding and support for--at this point--five WIS B/SM Fellows. Over the first 2 years, the Fellows have been an illustrious bunch. In 2022, the inaugural fellows were Amy Patterson and Ulisa Blakely, who both joined us remotely. Amy Zoomed in from Boston where she was a postdoctoral associate at Northeastern University, teaching multilingual writing and advanced writing in the disciplines. Ulisa, at the time, was a graduate student at Northeastern Illinois University, studying multimodality, technology, and literacy. The following year, we welcomed three fellows, although only two were able to attend. The 2023 cohort included Holly Burgess and Shiva Mainaly, who were able to attend in person, and Abigayle Farrier, whose attendance onsite and online was foiled by the winter storms that turned much of Texas into a no-fly zone just as the WIS was getting underway.  In addition to supporting our WIS B/SM Fellows with travel funding, Laura’s team also offered an opportunity for the WIS B/SM Fellows to contribute to the Bedford Bits blog. Our first two incredible blogposts are forthcoming from Holly and Abigayle. In Holly’s upcoming post, “Writing as a Black Scholar: Teaching Black Activism, Hip-Hop, and The Cost of Activism,” we learn about the many ways one Black teacher does activist work in and out of the classroom at a primarily white institution. In Abigayle’s post, “Today Is Kindergarten Day!” we are encouraged to remember that writing is a hands-on activity and that we sometimes need to create spaces in our classes for students to play. In both posts, we’re inspired to reflect on our identities and our relationships in our programs and in our classrooms. With the continued support of the superheroes at Macmillan, we look forward to the submissions from this year’s WIS B/SM Fellows. Interested in becoming a WIS B/SM Fellow? Follow this link for the WIS 2024 CFP! We also invite you to learn more about the WIS via the latest issue of Community Literacy Journal, which includes look back at the symposium’s first five years, coauthored by 29 WISters including Holly and Abigayle. If you’re interested in learning more about the WIS consider joining us in Milwaukee at WIS 2024! Read our CFP here.   ... View more