Multimodal Mondays: Crosslinked Reflections for Multimodal Composition

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Kim Haimes-KornToday’s guest blogger is Kim Haimes-Korn, a Professor of English and Digital Writing at Kennesaw State University. Kim’s teaching philosophy encourages dynamic learning and critical digital literacies and focuses on students’ powers to create their own knowledge through language and various “acts of composition.” She likes to have fun every day, return to nature when things get too crazy, and think deeply about way too many things. She loves teaching. It has helped her understand the value of amazing relationships and boundless creativity. You can reach Kim at or visit her website: Acts of Composition.

Compositionists have always valued reflection. The collaborative collection, Naming What We Know: Threshold Concepts for Writing Studies (2015), identifies reflection and metacognition as one of the important threshold concepts for teaching writing. Kara Taczak, in her threshold essay, defines the difference between cognition and metacognition. “Reflection is a mode of inquiry: a deliberate way of systematically recalling writing experiences to reframe the current writing situation. It allows writers to recognize what they are doing in that particular moment (cognition), as well as to consider why they made the rhetorical choices they did (metacognition)” (78). Writers experience the most effective learning when they shuttle back and forth between these concepts that ask the questions: What did I do? and Why did I do it?

It is especially important for multimodal composers to reflect upon their rhetorical choices because it involves non-linear and multidimensional thinking. “The need for metacognition assumes special importance when writers find themselves required to work in unfamiliar contexts or with forms with which they are unfamiliar” (Taczak 78). When students are immersed in multimodal writing projects, they are working on discreet tasks but reflection and metacognition asks them to take a step back and look at a range of skills and a body of work. It also encourages writers to realize the value of the work they have produced, build on prior knowledge and transfer skills to other contexts.

We often assign reflective assignments at the end of the term that ask students to review their work in our classes and articulate their learning through touching back on the writing and projects they have completed over the term. I use many kinds of reflective activities throughout my classes but I find these final course reflections the most rewarding (for both students and teachers) as they demonstrate learning and create conscious awareness.

In traditional classes, students can refer back to and cite specific examples from their work, including quotations. When I assign a final reflection in a multimodal classroom I ask them to crosslink (internally) to their work and create an interactive document in which the reader can immediately access their coursework by clicking through to the finished documents. I have students compose these reflections on their blogs but you can also use any type of electronic document (Word, Google Doc) that allows for hyperlinks.

Background Readings and Resources


Steps of the Assignment:

  1. Prompt students to review and annotate their work, noting areas of success and struggle along with rhetorical choices they made along the way.
  2. Ask them to reflect, in writing on these rhetorical choices and support their ideas with examples, references, and quotations from their texts over the course of the term.
  3. Crosslink to particular examples that support their ideas and allow readers to immediately access their work.
  4. Ask students to include visual representations (images and captions) that represent their experiences as writers in the class and demonstrate digital literacies and multimodal competencies.

Reflections on the Activity

Evaluating writing is one of the most difficult things we do as writing teachers. I find that these final reflections provide closure and give context to student work while revealing the processes and rhetorical choices students make along the way. I always hope that students take certain ideas and practices from my classes, and this assignment shows me that they have a conscious awareness and can identify these lessons for themselves. They give me a solid overview that is substantiated with artifacts generated as part of the experience.  

Work Cited:

Adler-Kassner, Linda, and Elizabeth Wardle. Naming What We Know: Threshold Concepts of Writing Studies. Utah State University Press, 2015.

About the Author
Andrea A. Lunsford is the former director of the Program in Writing and Rhetoric at Stanford University and teaches at the Bread Loaf School of English. A past chair of CCCC, she has won the major publication awards in both the CCCC and MLA. For Bedford/St. Martin's, she is the author of The St. Martin's Handbook, The Everyday Writer and EasyWriter; The Presence of Others and Everything's an Argument with John Ruszkiewicz; and Everything's an Argument with Readings with John Ruszkiewicz and Keith Walters. She has never met a student she didn’t like—and she is excited about the possibilities for writers in the “literacy revolution” brought about by today’s technology. In addition to Andrea’s regular blog posts inspired by her teaching, reading, and traveling, her “Multimodal Mondays” posts offer ideas for introducing low-stakes multimodal assignments to the composition classroom.