Teaching Research

Many of us have started the research portion of the semester, or we will soon. A few folks have reached out to me to ask about resources that I use to scaffold the teaching of research, so this is what I’m writing about for my post this week. 

Being able to locate, read, paraphrase, and synthesize research is…..hard. Most students will be developing this skill throughout the rest of college. I feel like I’m still learning how to synthesize sources. And in English 110, trying to get a handle on sources that exist across disciplinary lines can feel really hard, especially at the end of the semester.

Still, I love this part of the class. Students often get to explore some of their own interests, which are varied and fascinating. It also feels great to teach a “just-in-time” skill that so many of them are immediately using in other classes.

Teaching research also feels like giving students some cheat codes for reading more effectively and strategically: codes I sure wish I had had when I started undergrad and just attacked all of my printouts with a highlighter and then still showed up to class not understanding what I had read. Learning how to read research across a variety of fields—not just in the humanities—can prepare students to say “oh, I can handle this” when they get a really complex reading in one of their other classes. I feel that if students can walk away from this unit with more confidence about how to locate and read a scholarly source, and more of an understanding of what research is at the college level, we’ve accomplished the goal of this unit.

In what follows, I’ll first discuss my end-of-unit assignment (an annotated bibliography) and the sub-skills that I need to teach to get students to produce one. If any of these materials are useful to you, please and adapt them to fit your goals!

End-of-unit assignment


Different people have different feelings about whether to assign a “full” research paper or something like an annotated bib. I can see arguments for either one, and I know lots of people teach a full paper in our department really successfully. I personally do an annotated bib because I feel like the full paper can make the unit feel very packed: usually when we arrive to this point in the semester, we only have about a month left of classes. 

Here’s my prompt, which includes a video that I made explaining what academic research is, what journals are, what databases are, and some other stuff about researching at QC. A note about this: in previous semesters, I have experimented with flipping the research unit and the lens analysis unit, so this is why it says that research is happening in Unit 2. 

This unit is scaffolded around getting students to produce the annotations on this list. To do that, there are several things that they need to be able to do: come up with a question, refine that question, look for sources, be able to read the sources, be able to determine whether the sources are a good fit, paraphrase and summarize them, and format everything correctly.

Goal #1: students can write researchable questions.

We start generating curiosity about potential topics as early as the first unit. But I don’t call these “research questions” yet. I just ask students, usually in the reflection to a major assignment, to talk about what else they’d like to know about this topic. And students will often develop great questions that are not yet research questions but that might become research questions eventually.

Namely, they speculate about the future, like “what would it be like if all schools adopted bilingual education?“ Sometimes, they ask questions that are kind of easy to just, like, Google and answer, like “how many languages are spoken in Corona, Queens?”

By the time we get to the research unit they’ve got a lot of questions. To set them up for completing the library workbook exercise on “research” vs. “regular” questions, I have students return to these questions that they’ve generated so far. After the workbook is due, I’ll have them return to those questions again to label them: are they research or regular questions? If they’re regular questions, how can we make them more like research questions? These are the slides that I used last semester to help students develop (and refine) a research question. 

These days, I’m also bringing in our good friend chatGPT to help. Students will sometimes spend time in class generating research questions with this tool around their topic. I also model the way that I generate curiosity at the very early stages of the research process: Googling it, reading Wikipedia entries, looking at social media posts about it (if relevant), and just getting a general handle on the topic’s dimensions and what I think is interesting about it. While these are not “research” tools, they are tools that help me to broaden my understanding of the topic’s dimensions.

Goal #2: Students can develop researchable keywords

Students can get understandably frustrated when they get to the databases, type in some keywords related to their research question, and nothing comes up. Rather than adjusting their keywords, some students completely abandon their question. So once we have researchable questions, my goal is to help students develop a ton of keywords that might help them to get to the right information.

I might model this in class with something simple. Let’s say that my computer is making a weird “takeoff” buzzing sound, and I want to know why it’s doing that. But I don’t have the right language for it. What would I search? Together, we look at relevant Google articles, Reddit forums, Apple’s helpdesk page, and the comments section of articles. We might watch some videos on YouTube. All of this might lead me to the actual language that I need to find relevant information to fix my problem.

And this is pretty much what we do when we look for keywords. If we don’t understand what we’re really asking yet, and our research question is “How does texting affect people’s thought processes?” and our key words are “texting” and “thought processes,” we’re probably not going to get much back.

After we talk about this in class, the library workbook entry on developing keywords is really helpful here. Along with having students complete this library workbook exercise and complete the library workshop itself, I will often reiterate what the librarians teach students do to by having a few conference hour sessions or portions of the class dedicated to modeling the generation of additional keywords, and then modeling finding stuff in the databases.  

And AI tools can be helpful here too! And I don’t mind that students use it to help them find more keywords as long as they’re not using it to find sources (or as long as they’re vetting the sources that they do find independently): to me, this is using it as a helpful tool.

Goal #3: Students can locate relevant, scholarly sources to answer their question using the databases.

The library workshop is great for this! I do find that one workshop is not enough, though, and I’ve got to get them to practice with the databases a lot before they can remember the steps.

After the workshop, I make sure to model finding a source in class at least 3-4 other times. Not for the whole session of course! And not necessarily for the whole class. But taking out some time to say “OK, who wants to volunteer their research question?” (or having a question or two in my back pocket in case I get crickets) and then modeling how to generate additional keywords, and then eliciting from them how to get to the right database, and then eliciting from them what to put in the boxes can help.

I also try to do this to model my own nerdy research fascination! I will often go “ohhhh this source looks cool! Let’s see if it would work!” And I’ll click on it and we’ll talk about what we can see (e.g. Well, it comes from an academic journal, but it’s a little old. Could we check out some of the key terms and try those instead of the ones that we have? What else can we try?). Since we’ve already talked about how to vet a source, this is also a good place to practice / reinforce what we’ve learned about the CRAAP test or lateral reading skills. 

Goal #4: Students can (kinda, sorta) read scholarly sources across a variety of disciplines and (kinda, sorta) understand what they read well enough to determine if the source helps to answer their question.

Do I understand the research in an astrophysics journal? Definitely not. I don’t expect first-year students to read and understand everything they find in an academic database.

But reading a piece like How To Read a Research Paper Without Freaking Out  can introduce the basic sections that research in a lot of fields outside of the humanities uses. They read this (usually in class, because at this point in the semester, doing a lot of out-of-class reading is frankly not really happening), we talk about some of its advice, and then I show them a research paper with these “predictable” sections. Then, they spend a little bit of in-class time picking out some of the major claims from following the steps in this article. My goal here is to help them to not completely freak out when they see a 30 pp. jargon-filled academic text and to give them a scaffold to guide them through reading it. 

I love using “Students Perceptions of Plagiarism Policy in Higher Education: A Comparison of United Kingdom, Czechia, Poland, and Romania” for this (in these slides) because students are interested in it, it has jargon but is not TOO inaccessible, and there are pretty “standard” sections.

To reinforce all of this stuff, students complete the Reading Research Guide: an exercise that I give them once they’ve had the library workshop and we’ve read How to Read a Research Paper together, and once they’ve picked out their first source for the annotated bibliography project at the end of the research unit. This guides them, step by step (using the advice in How To Read a Research Article Without Freaking Out, through reading it to develop their first Annotated Bib annotation. 

Goal #5: Students can paraphrase and quote from a scholarly source

 Once students are able to understand the structure of at least some research, I want them to be able to paraphrase a study in an annotation AND to get sufficient practice in doing this, screwing it up, doing it again, screwing it up again, and finally succeeding at it. Paraphrasing is tough! It is not something that someone who had never done it before August is going to be amazing at by December! But students can get some practice and at least learn that paraphrasing is not replacing words from a sentence with your own words. If I can just communicate that this is not a good practice and have students start to try something else, this is a win. 

The Paraphrasing and Quoting Guide is another exercise that I developed to help students work on paraphrasing and quoting within the context of developing annotations for the Annotated Bib. And we practice this a lot, lot, lot in class, like like in this set of slides (start on slide 8) where I have them read a paragraph, and then I turn off the projector and make them tell their partner what they just read, and then we try to reconstruct the major ideas together as a class, and then we turn the projector back on to check (to model a process for paraphrasing). 

Or here’s a kind of dumb exercise I call Who Wore It Best, slides 8-16, where students compare two quote integrations and then workshop a “bad” annotation on their own, with a partner, and as a whole class. Basically, this is just a ton of modeling work.  

Goal #6: Students can distinguish between and choose valid, timely, relevant sources

This can actually come before the lesson on reading scholarly sources does, because students can vet some sources (in some ways) before they even know what it really says. For this purpose, I introduce the CRAAP test: a heuristic for figuring out whether or not a source is “good” to use. Here are some slides I’ve used to do this in class.  

After introducing the acronym and what it stands for, I show students a bunch of sources that are similar to the ones that they’re looking at in the academic databases. Then I set some “traps” (i.e. sources that look like they’d be fine to use since they came from the databases, but that actually have various problems with currency, relevance to the research question, and authority that students often encounter when they’re compiling an annotated bib with scholarly sources). Students have to figure out whether or not a source passes the CRAAP test.

I’ve also used this lateral reading exercise to introduce information literacy. I love Stanford’s information literacy exercises for first-year students, especially if you’re not only asking them to locate and select scholarly sources. These exercises teach the kinds of skills that many professional fact-checkers use. Whatever resources you use, the goal here is to help students to understand how to choose between sources.  

Goal #7: Students can conduct inquiry-driven research (or, at least, they kind of know what it is)

In my experience, most students come into the class with an orientation toward research that is not inquiry-based. Their goal is to find sources “prove” their position about an argument that they’ve already determined. Many imagine that this is the purpose for integrating quotes: I am finding an expert who agrees with me so that I can add credibility to my existing argument.

I don’t think this is a productive way to approach research. But it’s really hard to shift this orientation in four weeks. So I’m not sure that I’m doing it very well. But my long-term goal is to encourage students to develop a more inquiry-based researcher stance.

I think that I do this in small ways throughout the achievement of the other goals on this list. One way that this happens is at the beginning of the unit through the development of research questions. Asking questions like “Why are grades so bad at motivating students?” instead of a questions like “Is there an impact on motivation when a first-year writing student gets a failing grade early in the semester vs. later in the semester?” shows this orientation clearly. One of these questions assumes that grades are bad at motivating students, and the other is asking a question about whether or not there’s an impact. Helping students to understand the difference (usually by giving them some “leading” questions and then having them identify more inquiry-driven questions) can be helpful here.

I also model uncertainty and curiosity as often as I can. One of the library workbook exercises talks about how our research questions shouldn’t be questions that we already know the answer to, and they should be questions that take multiple sources to answer. I think that having students make direct connections across their sources and structuring an assignment around reflecting what they’ve learned (rather than producing another form of argumentative writing) can be helpful, too.

I think this can also happen as students’ research questions evolve based on what they learn and the resources that are available to them. In the Process Log portion of my annotated bibliography assignment, I ask students to trace the evolution of their project over the course of the unit.

But I still don’t think I’m nailing an inquiry-based approach. I also feel like when students spend the majority of the semester composing things that focus on academic argumentation, it can be difficult to get them to switch course, especially with only 1/3rd of the semester to go, at a time in the semester when we’re all pretty tired. So, if anything, this is an aspirational learning goal and something I’m still actively working through.

Thinking toward the next steps

Ultimately, in my mind, the research unit is a place for students to start what will definitely become a much longer, more discipline-specific process when they move into their major coursework and learn about research for their specific field. So, I think of this unit as a taste test: a quick introduction to the quirks of academic research that will allow them to develop a few skills that they can build on later.

I hope this helps, and I’m happy to talk through any of these resources or any part of this process as it is useful to you. I would also love to hear about things that you’re doing in your research unit that you find really successful, or places that you don’t think that you’re nailing it yet!  

The Midterm Reset

We’re about 8 weeks into the semester, so we’re almost exactly halfway through the term. In my experience, the midterm is always where things start to fall apart a little bit. Students lose motivation as they days get shorter, the weather starts cooling off, assignments get harder, and they start to take high-stakes, GPA-defining tests that don’t always go the way they planned. Most of us are fully immersed in lens analysis and source integration: challenging topics for everyone, and maybe especially for students who had negative feelings about writing before they even met you. If a student is going to disappear, stop turning in work, or start to despair (and this hasn’t already happened), it often happens now.

One thing that I like to do around this time is to share with students about my own first-year college story and how UTTERLY FREAKED OUT I was for my first-year midterms. My transition into college was rough, and I really struggled with feelings of belonging because I didn’t know how to study, I felt like I was not absorbing anything I was reading, I was far away from home and didn’t really know anyone, and I was convinced that everyone around me had everything figured out already. But I made it out of my first year, and then through a whole other decade of school after that. And now I work in one!

Recently, I’ve been thinking about how to better integrate stories of struggle (and eventual triumph) into my first-year composition course–both my own, and the stories of current students and recent graduates–because of the compelling research on belonging.

A recent national study found that minoritized and first-generation students at four-year universities are much less likely to feel like they “belong” in college than their two-year college counterparts. And another recent study on an intervention designed to increase students’ feelings of belonging suggested that simply showing students examples of people who didn’t feel like they belonged at first but whose feeling later changed can help students to persist when the going gets tough (as long as there are additional resources in place to continue reinforcing those feelings of belonging past the initial intervention, I should say).

Stories like the ones in the #WeBelongInCollege campaign offer models from real college students and recent graduates about struggles that they’ve faced as working students, multiply marginalized students, students with disabilities, first-gen students, and more. These can help to show students that lots of people who go on to be successful in college initially feel like imposters or face setbacks. During conference hour this week, I showed my students a few of these, chosen strategically to echo some of the concerns that students have shared.

I will often also use this as a springboard to remind them about how many people care about them on the campus and are committed to making sure that they succeed and have a good experience here. I’ll remind them about the resources that we discussed in the first few weeks of class: FYE, the Knights Table food pantry, the Petrie emergency assistance grant, the Writing Center, counseling services. I’ll remind them about where they can find the info for that stuff on our course site, and encourage them to take advantage of all of these free resources while they have the chance to do this.

In years past, depending on the class, I will sometimes also facilitate a conference hours session where we talk in a small group about study tips, time management tips, and just general “we are all struggling and this is hard for everyone, even people who seem like they have it all together” commiseration. I will often reinforce that “study tips” will not add time to anyone’s day or make you know things that you don’t know any faster, but getting into some good habits can still be helpful to make things feel less overwhelming. Here are my slides, in case these are helpful.

Sometimes I’ll also do something called a KQS evaluation: a really quick, no-prep list of things that students want to Keep doing, Quit doing and Start doing, and what they’d like for the class to Keep doing, Quit doing or Start doing. Taking the general temperature of the room can help me to integrate students’ suggestions before the end of the semester when we get our course evaluations. For more suggestions about ways to structure more or less elaborate mid-term evaluations than this, check out this handout.

The bottom line is that the midterm can be an especially great time to remind first-year students that failing or screwing up in the first semester is not irreversible or an indication that they should just give up, that lots of people have struggled and ultimately figured it out, and that lots of people all around the campus are rooting for them. This reminder can really help students who are already struggling to get back on track, and can give students a welcome reminder that you’re in their corner.  It can also be a great time to gather some preliminary feedback and to clarify, reset, or celebrate your own practices that are already working really well.

Giving feedback

When I first started teaching, I blocked out hours and hours for giving feedback. I felt negligent if I wasn’t commenting on things in enough detail. My feedback generally functioned as a justification for the grade that I was giving. All of this meant that I wrote way, way, way too many comments, and grading completely bummed me out.

Over the years, I’ve learned from people like the Writing Studies scholar Bill Hart-Davidson that a lot of teacher feedback, depending on how it’s deployed, doesn’t even make much of a meaningful difference in improving student writing outcomes. Why, then, was I spending so(ooooooo) much time doing it, especially when it was making me miserable?!

I haven’t figured out The Solution™️ or anything. Giving feedback still takes me time. Sometimes I still write too much and can’t get out of my own way. But a few shifts in how I’m spending that time have significantly made me hate it less. I think they’ve also made feedback more effective and comprehensible to students.

Here’s what’s changed.

I changed my grading system.

Inspired by the work of people like Peter Elbow and Jane Danielewicz, Asao Inoue, and several people in my PhD program at The Graduate Center, I started grading writing with a grading contract about 10 years ago. Grading contracts can look differently depending on the context, but my contract is labor-based, and this means that grades are determined by how much work students do that meets minimum requirements. Anyone who looks at the work should be able to agree that they have or haven’t met them (e.g. you either wrote 500 words or you didn’t; you either answered all of the questions on the peer review worksheet or you didn’t.) Assessments of essay “quality” remain separate from the student’s grade.

Working with contracts (or what I now call “grading agreements”) has been a journey. My first contract design was….bad. It was long, confusing, and haunted by the point system that had preceded it. It read like a condescending Terms of Service agreement (sorry, former students!)

I still change my contract a little bit every year, but I think it’s much clearer now. While I still have a point system to deal with the ambiguities of what happens when a student never comes to class but does all of the work, or always comes to class but never turns anything in, this version fits on a post-it note: come to class, do the homework, and do the process-oriented major assignments.

Using a contract grading system means that my feedback no longer functions as a justification for a grade. I don’t feel like I need to explain their grade to them. This means that I get almost no grade pushback: students know exactly how to earn an A in the class, and when they don’t, they generally accept that it was because they didn’t do something that they were supposed to do. My slow, gradual shift to this system has allowed for so many other possibilities.


We read (only and exclusively) to write.

What we read and how we read it are much more directly connected to my feedback approach than in the past. I used to assign readings to fill class time and to, nebulously, “do class discussions.” While I hope to choose readings that my students want to discuss, these days, my purpose in assigning any reading in my 110 is almost never to discuss the content.

Instead, we read so that we can talk about writing choices. In everything we read, we look for claims and how evidence is incorporated. We look for a thesis statement, or its equivalent, and how this changes in different kinds of writing. We look at transitions, word choices, and calls to action. We think A LOT about rhetorical choices based on audience and purpose. We reverse outline the heck out of just about everything. We do rhetorical analysis. We think about source use and how it changes based on the field or genre.

This means that we read (way, way) less. I assign about two major texts per unit that we spend several class periods analyzing thoroughly. We just keep coming back to them and taking them apart again and again and again.

Reading in this way helps us to build a vocabulary and a process for talking about writing. When students can recognize claims and evidence in a course reading, it becomes easier for them to do it in their drafts. When I can show them what a “so what” statement looks like, they can point one out in their peer’s draft. I can ask them to try out a particular technique from something that we saw someone else do. And reading in this way allows us to talk about edits in terms of choices for the audience rather than in terms of what “every” paper should “always” include. This helps me to give better, more understandable feedback that students can apply.

I make students do more of the heavy lifting.

Many students had learned from their previous schooling experiences, as I had learned from mine, that me telling them what was “wrong” with their work and giving them a grade was my job as a writing teacher.

In this passive arrangement, students waited for me to tell them “what I wanted” for them to “fix.” The assumption was that their writing was broken, and it was my job to diagnose it and prescribe it medicine. Especially within more community-based assignments where I wasn’t the audience, this meant that I was sometimes missing their point completely or taking over their project in ways that didn’t make sense for their goals.

These days, I ask students to take on more of the responsibility in guiding me toward what would be useful at a particular stage of the drafting process by requiring students to annotate their drafts with specific questions for me, setting up student-led conferences, and helping students to prepare for them.

All students get very quick, immediate feedback about what did and didn’t meet requirements (and I do mean quick: they get a ✅ emoji if it met requirements, a ⚠️ if it needs to be revised, and a ❌ if it is no longer eligible for revision), but I don’t respond to their comments unless they meet with me. Feedback happens during conferences.

Setting all of this up takes a ton of work, especially in the first unit. But it’s work that feels more valuable to me because I’m teaching students a durable set of editing techniques that they can keep using after my class is over rather than to write “the way I want.”

Asking students to take on this work puts their project back in their hands and makes me their collaborator: especially because the grade comes from whether they wrote questions rather than my opinion about the paper’s quality. It also prevents me from the kind of stream-of-consciousness Google doc commenting bonanza that I used to do unto them between seventeen meetings and trying to eat my lunch. Ultimately, this approach ends up taking less time, because they’re doing the work of identifying what they want to know. I’m just responding.

I’ve shifted my expectations about the purpose of conferences.

The purpose of a conference, to me, is for students to think about their ideas out loud with another person rather than as time to get a list of things to change. They can also be great for building relationships.

After helping students to prep for conferences and having them practice identifying places in their draft or in the assignment requirements that they really want to discuss, I tell students that I’m going to ask them where they want to start when they arrive, and that they’re not allowed to say “wherever you want.” They need to point out specific places in the draft that would be helpful to have another pair of eyes. They practice this, first, during the peer review.

Usually, by the time they get to the conference, students have the preparation to focus on really specific goals and they come to the conference with really defined questions. I spend many conferences looking at their writing with them in the way that we look at all other writing in class: taking it apart with them, confirming what I’m seeing, asking questions, reverse outlining.

Occasionally, a student wants to use their conference time to talk about something unrelated to the class. Sometimes they don’t prepare. Sometimes they weren’t in class when we did all of that preparation. Sometimes they still say “wherever you want.” I’ve learned to be OK with this, because helping a struggling student to navigate the gauntlet of their first year in college does help them with the writing in the long term, even if it doesn’t improve the most immediate draft. I’ve found that when I approach conferences as a space that students lead, it increases their overall investment in the class.

I don’t give feedback on stuff I didn’t teach (unless students ask).

Sometimes students use sources incorrectly in the first essay that the write in English 110. However, using multiple sources in Assignment 1 is not the goal. We don’t talk about source use at all, and I don’t expect that all or most of my students will know how to do it by the end of September. So I don’t give feedback on it, unless that’s what a student wants.

I try to really focus on a certain set of skills in each unit, and to mostly give feedback on their achievement of those skills. If I didn’t teach something in Unit 1, I don’t expect students to know how to do it.

The exception: sometimes students ask me “hey, am I integrating this source correctly?” in an annotation. That student already had practice with sources in some other class, or they wouldn’t be asking me that question. I am happy to give feedback on sources in this case, because that student is ready for that information.

I will also flag source use for students if they’re doing something really egregious (e.g. copying and pasting a whole paragraph from Wikipedia) when this means that a student has failed to meet a requirement (e.g. use 500 of your own words).

But I’m still screwing some stuff up.

I am still not great at giving useful feedback on low-stakes work. I write too much (even positive stuff). It takes a long time to establish a mutual vocabulary that we can all use to talk about writing, and it takes time for students to get good at asking questions about their drafts. This means that, in the first third of the class — a part that is crucial to establishing good relationships and norms — I’m sometimes reverting to my old habits and overwhelming students with too much stuff. I tend to keep dumping too many ideas on them when they’re still in the early stages of drafting because I want them to know that I’m reading and paying attention to their work.

I’m trying to do better! In Unit 2, I’m planning to try out this method that I saw Fia Christina Borjeson and Carl Johan Carlsson present on at the 2023 Conference on College Composition and Communication in some of the low-stakes work.

Borjeson and Carlsson mark students’ work with a color coding system (which we’d want to adapt in case students are colorblind, but any code would do). For example, they mark all of students’ evidence (or attempt at evidence) in green. Then, during the class session, they give feedback to the whole class showing some specific examples from a model text of how evidence should be structured and incorporated. Everyone with a green highlight in their paper looks at the example that the instructors give. Then, they decide whether they need to make revisions. Students without green marks would know that they need to add evidence. Then, students make their own revisions, and with other members of the class, reflect on what they did and why they did it.

I like this, because it shows students that we’re reading what they write, while also turning the responsibility back over to them to figure out what is (or isn’t) going well in their draft. We’re not doing it for them. We’re simply communicating “here’s where I think you’re doing X — does yours look like this?” or “I don’t see where you’re doing X yet.”

Do you have a feedback method that is working well for you and that both saves you time and also maximizes student learning? Let us know about it in the comments!

A classroom activity for introducing genre conventions

This idea was submitted by Amanda Torres on the #110 Slack channel. We are moving it here to preserve it past the 90-day limit!

Hi everyone, I wanted to share an activity I did this week that seemed to go over pretty well with my 110 sections. We played a modified version of “Heads Up” as a way to introduce genre, media, and conventions of genre. In Heads Up, players hold up a card to their forehead without previously reading it, and it is up to their teammates to provide clues to help the player guess what is on the card.

I made 5 cards with variety of genres and media that I felt might appeal to freshmen (superhero movies, KPop songs, beauty TikToks, crime dramas, and role-playing video games), but of course, you can choose any that you’d like. Five students were asked to volunteer to come up to the front of class, pick a card a random, and hold it up for the class to see.

The remaining 15 students were broken up into 5 groups of 3, and each group was responsible for coming up with 3 clues to help an assigned classmate standing up at the front of the room to guess their card. The stipulations for the clues were:

  • Avoid giving specific examples of the genre/media
  • Avoid using words from the card as part of the clue
  • Try to provide clues based solely on the conventions of the media/genre, such as who is the audience, what are its common themes, how is it accessed, etc

After 5 minutes of coming up with clues, I asked each group to list their clues while I wrote them on the projector screen. Once all clues were shared, the players at the front of the class were given a chance to guess their cards. If they guessed correctly, they continued on to Round 2. If they didn’t guess correctly, they were asked to sit down and switch places with someone in their group.

After the first round of guessing, I asked the class what media seemed to be missing from Round 1’s cards. Many students noted there were no examples of written media or literature, which transitioned into Round 2: guessing 5 cards that had 5 different genres of writing (tweets, recipes, diary entries, fantasy novels, and cultural criticism/cultural commentary). We followed the same process of coming up with clues based on conventions and guessing the cards. Cultural criticism/commentary was an especially challenging one, but I wanted to include it as a way of ~ foreshadowing ~ “Monster Culture (Seven Theses)”, which we will start reading soon.

The game ended after Round 2, and students noticed that essays weren’t included in the examples of written media, which transitioned neatly in to a conversation and lesson about the conventions of an essay, the conventions of academic writing, and how essays function as a genre and medium (and how they have their own subgenres, as well).

The students seemed to find the activity fun. It gave them yet another opportunity to learn one another’s names, and now we have a shared understanding of terms like “genre”, “media”, and “conventions” moving forward.

Talking about generative AI with students

Over the summer, my Tik Tok algorithm suddenly discovered that I’m a writing teacher and began showing me hundreds of professional development videos. One part of me was, like, “Tik Tok, could you not.” And the other part of me was fascinated by the amount of great pedagogical content that middle and high school English teachers were making available to strangers on the internet.

One video that I found really impressive was @bee_in_the_library’s thoughtful lesson plan on opening up conversations with middle schoolers about how it’s acceptable, and not, to work with generative AI in her classroom.

I loved how this lesson explains some of the nuances of working with these tools that seemed to me to be missing from the wide variety of syllabus statements that have been circulating since last spring. Don’t get me wrong: I think statements are also very important. You can read mine here. But, to me, statements are a limited genre. They don’t really help us to get into the conversational weeds. They also function as a one-way speech rather than an invitation to a messier, ongoing dialogue.

Part of me just wants to ignore having these kinds of conversations with students. I think it’s because I feel like I’ve had to pivot and adapt more in the past three years than in my entire teaching career. Starting conversations around generative AI feels like (yet….another!!!!!!!!) thing I now how to think about cramming into an already packed semester.

But another part of me feels like facilitating conversations around generative AI present a great opportunity for my own growth. Last semester, in my early experimentation with incorporating generative AI-focused assignments into my class, I was so impressed by the thoughtful ways that so many students were already thinking about the problems and possibilities of tools like chatGPT. Some had never heard of it. But unsurprisingly, many were already thinking very critically and carefully about privacy, labor, the implications of this technology for their future within the workforce, and the ways they could partner with this technology without giving away too much of their own voice in the things that they write.

I think this was why @bee_in_the_library’s video spoke to me so much. Her materials seemed playful, generative, practical, and a great starting point for starting or facilitating more conversation. They don’t assume that students aren’t already thinking about the same questions that we are.

With her permission, I adapted her original slides and handouts for a more English 110 friendly context. She has agreed to let me share them with you, but she’s asked that we don’t make her original materials public. Because my materials are adapted versions of hers, I am linking them here under a password protected page. The password is the same as the one that you use to access the QC English Department materials. If you need it, just reach out.

I’m writing this post on September 1st, and I taught this lesson yesterday. Along with a few tasks that I took out of the samples (e.g. it’s still the beginning of the year, so we’re still doing some icebreakers and name games), it took roughly one class period.

If you’re not trying to spend an entire class period on this, I think that the activity where students have to make a mark on the continuum from “cheating” to “not cheating” took us about 20-25 minutes in total, and it really opened up some interesting avenues for further conversation. We ended up discussing a bit about the writers’ strike and the use of AI tools in the creation of film and television scripts, as well as some of the implications for these kinds of tools on the future of the workforce, which were exciting directions that I was not expecting to emerge. I also spent a bit more time than these slides would make it seem modeling for them how (and why) to disclose their usage to me, noting that this was less about surveilling them and more about understanding ways that these tools support their writing so that I can help other members of the class or future students. We’re figuring this out together.

Overall, I feel more confident that students and I are on the same page, and that we can enter into this semester partnering with each other as we explore the use of these tools: when to use them, how to use them, whether to use them, and when to make a different choice.

Please feel free to adapt these yourself for your own context (crediting @bee_in_the_library, since she was the one who made the originals) if you find them useful. And let us know how you’re talking about AI with your students this fall!

Facilitating Online Discussions with Multilingual Learners in Online Learning Environments

hola sign

Michelle Soule
Adjunct Lecturer, English

Checklist for Online Lesson

Many undergraduates taking English 110 and 130 are multilingual students who use multiple languages. Some grew up in households where a language other than English was used, while others grew up in both English and non-English speaking places. English instructors have observed that these students can have a distinct experience in the classroom, particularly in online learning environments. There are reasons for their late submissions, quiet nature, and lack of engagement (Rhodes): they need more time to process the language, as they do double the work (Wattar) to process the language and consider content. They are also worried about their classmates judging their writing. In an online writing class, everyone’s writing is on display even more than usual.

Multilingual learners need to be considered when planning, designing, and teaching, especially in the online learning environment. This needs to start by considering multilingual learners as an asset (not a deficit) to the class (Wattar; Rhodes). They should not be “penalized” and don’t need to be “fixed” (Horner and Kopelson, qtd. in Alvarez). Instead, we must create an environment where “written accent” is accepted (Rhodes) and not corrected on discussion boards, chats, blogs, Persuall, etc. This can be communicated explicitly in the syllabus. I can recall with horror the first time I saw a student reply to another’s post with suggestions on grammar and syntax, completely ignoring the student’s thoughtful response to that week’s reading.

When choosing course materials, consider all your students’ cultural knowledge and background (Miller-Cochran). Instructors can distribute a pre-class survey to learn students’ backgrounds. This survey could also include questions about students’ experiences with languages and online learning. Incorporating a mid-semester check-in survey to see how things are going from the students’ perspectives (Wattar) allows instructors to adjust the course to facilitate better participation and learning.

The complex debate continues as to whether to record synchronous class sessions. Since most online writing classes involve a variety of activities and (hopefully) lots of interaction, many of us decide not to record our classes. However, multilingual learners could benefit from the chance to review essential information presented during synchronous meetings. One solution is to pre-record “lecture” and “instruction” sections of class along with closed captioning (“Supporting”). Other ideas include assigning one or two students for each session to post a recap along with insights and reflections on a shared platform such as Slack or the class LMS (Learning Management System).

Another issue is how best to facilitate online discussions. For synchronous sessions, you can ask students to wait to post chat responses simultaneously after everyone has had time to process prompts and compose their thoughts. Even better—provide prompts for synchronous discussions in advance. Sometimes I will go through that week’s Perusall annotation assignment and choose a handful of notable responses to further discuss in class (with the students’ permission). Students can utilize asynchronous online discussion boards in low stakes writing assignments to develop ideas and arguments to prepare for more “linguistically demanding pieces such as essays” (Bauler).

We can include opportunities for students to share their cultural and linguistic background with each other. I have observed many awestruck students as they discover that some of their peers are literate in five languages. Students can explore the course theme and share concepts and language associated with the theme. For example, many 110 instructors use the theme Creativity. I have discovered through class discussions that cultures value creativity differently (its usefulness vs. novelty) and in different contexts (the workplace, education, etc.). Recently I added an activity where students translate words, proverbs, or quotes about creativity from a chosen culture and share insights with their classmates. They also find an example of a creative product (a work of art, poem, song, invention) from that culture and share insights using their modality of choice (a text, image, PowerPoint, video, live presentation) on Slack or in Break-out Rooms on Zoom.

There are many other ways to facilitate multilingual learners in the online writing classroom. We should provide plenty of opportunities for them to discuss and write about their multilingual writing experiences (Wattar) and demonstrate their “savvy rhetorical strategies” during class discussions (Miller-Cochran) as well as critically reflect on their writing (Alvarez). We can also create a collaborative learning environment by utilizing break-out rooms and assigning multimodal projects (“Supporting;” Rhodes). We also must allow spaces where students can converse in languages other than English (Miller-Cochran).

The most fundamental thing instructors can do is focus on best teaching practices, as many ‘tips’ for teaching multilingual learners are simply good teaching:

  • Model how to do things (Wattar)
  • Give instructions in multiple modes (Miller-Cochran)
  • Use annotated examples of writing (at various levels) (“Supporting”)
  • Provide stem sentences and templates for students to use for different writing contexts and assignments
  • Allow time for students to consider their responses asynchronously
  • Give students options of modality for assignments
  • Assign many low stakes assignments for formative assessment opportunities

Incorporating best practices into your online writing teaching will help multilingual learners-and all your students for that matter- engage in discussions and get more from your classes. When multilingual students are engaged, everyone will benefit from their cultural and linguistic knowledge and experience. In addition, this kind of learning environment helps develop literate global citizens who will make a difference in the world.

Annotated Bibliography

  • Alvarez, Sara P., et al. “Multilingual Writers in College Contexts.” Journal of Adolescent & Adult Literacy, vol. 62, no. 3, Wiley Subscription Services, Inc, 2018, pp. 342–45, https://ila.onlinelibrary.wiley.com/doi/10.1002/jaal.903
    Sara Alvarez (CUNY-QC Dept. Of English) explains the shift in mass literacy to writing and how writing is gaining importance in the workplace.  This shift means that college writing instruction needs to be reexamined to reflect the real world.  Alvarez puts this into the context of multilingual writing students and points out that they have a lot to offer to this new paradigm. Considering these students as an asset while implementing new writing pedagogy will benefit everyone.  This new paradigm of writing instruction would include assignments where students analyze, share, and reflect on their linguistic and writing experiences.
  • Bauler, Clara V. “Crafting Argumentation: Two Multilingual Writers’ Discursive Choices in Online Discussions and Persuasive Essays.” Cogent Education, vol. 6, no. 1, 2019. ProQuest, http://queens.ezproxy.cuny.edu/login?url=https://www.proquest.com/scholarly-journals/crafting-argumentation-two-multilingual-writers/docview/2353192574/se-2, doi:https://doi.org/10.1080/2331186X.2019.1598922.
    Dr. Clara Bauler of Adelphi University explored how multilingual writers use asynchronous discussion posts to develop ideas for formal writing assignments.  By trying out ideas and arguments with their peers, students successfully chose the strongest arguments for their formal writing. She found that students “creatively made [appropriate] discursive choices” depending on the writing context. In this way, multilingual students also practice appropriate formality and tone for different writing contexts.
  • Miller-Cochran, Susan K. “Chapter 9 Multilingual Writers and OWI – Wac.colostate.edu.” Edited by Beth L. Hewett Hewett and Kevin Eric DePew, Foundational Practices of Online Writing Instruction, WAC, 21 Feb. 2015, https://wac.colostate.edu/docs/books/owi/chapter9.pdf.
    This chapter is from the book Foundational Practices in Online Writing Instruction. This chapter is from Part III: Practicing Inclusivity in OWI.  Susan Miller-Cochran (North Carolina State University) offers many tips and strategies for teaching multilingual learners in an online writing environment.  She emphasizes the need for students to know of and utilize the resources available to them on campus. She reminds instructors to not underestimate the rhetorical strategies multilingual learners already possess and of the importance to allow spaces where students can converse in languages other than English.
  • Rhodes, Robin. “Pedagogical Considerations for Multilingual Students in Online and Hybrid Contexts.” St. Lawrence University, June 2021, https://www.stlawu.edu/offices/world-languages-cultures-and-media/pedagogical-considerations-multilingual-students-online-and-hybrid-contexts#annotations:group:8j7xoxDq.
    This site from St. Lawrence University (NY) is written by Robin Rhodes, the Director of International Student Academic Support. It considers the point-of-view of the multilingual learner participating in an online writing class. It focuses on the writing aspect of online learning environments and offers tips and strategies to instructors. This website uses the term ‘written accent’ and the importance of establishing an accepting classroom environment with a focus on the expression of ideas, not aspects of English that take ‘many years to acquire.’  This site also focuses on the ‘asset not deficit’ aspect of multilingual learners.
  • “Supporting Multilingual Students Online.” CCAPS, 2022, https://ccaps.umn.edu/esl-resources/faculty-staff/teaching-online#annotations:group:8j7xoxDq.
    University of Minnesota has a great website dedicated to supporting multilingual students online.  They provide useful tips and strategies for instructors who are new to teaching multilingual students in an online environment (or need some reminders of good practice). Tips include pre-recording lectures with closed captioning, including collaborative projects to build rapport among students, and making sure students are aware of the resources on campus available to them.
  • Wattar, Dania. “Chapter 5: Supporting Multilingual Students in Online Discussions.” Designing for Meaningful Synchronous and Asynchronous Discussion in Online Courses, Kim MacKinnon et al, 28 Feb. 2022, https://ecampusontario.pressbooks.pub/designingforonlinediscussion/chapter/chapter-5-assessment-for-as-of-learning-in-online-discussion/#annotations:group:8j7xoxDq .
    This open-source textbook was written at the beginning of the pandemic by a small professional learning group at the University of Toronto. One of the chapters is, “Supporting Multilingual Students in Online Discussions.”   The chapter, written by Dania Wattar (University of Ontario) is very well-designed and learner-friendly, moving through scenarios, analysis, practical tips, and reflection. The ‘Pause and Consider!’ questions throughout the chapter are also helpful. Ideas include giving a pre-semester language survey, providing explicit multimodal instructions, using models, including cross-cultural and trans-languaging assignments, and establishing a classroom atmosphere where multilingualism is an asset to the class.

Trauma-Informed Pedagogy

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Farrah Goff
Adjunct Lecturer, English

Checklist for Online Lesson Plan and Lesson Plan

A global pandemic, inflation rates at the highest they’ve been in 40 years, and mass shootings, oh my. With all that’s happening in the world, how can we not all be a little bit traumatized? When I first approached this topic, I was mostly thinking of my students and of headlines like the one from Boston University noting depression and anxiety levels peaking for college students. However, through discussions with my fellow colleagues, it became abundantly clear the collective trauma that resides within our (virtual and in-person) classrooms?

We’re English instructors! Writing instructors! We are not therapists! (I agree)! So, the question became, what falls within our scope as compassionate educators of subject material and universal communication practices to include? What is too demanding, out of scope, and just too much? This is where trauma informed practices can be utilized to not just support students, but support ourselves as instructors as well, and some can be done in as little as five minutes!

Trauma Informed approaches to teaching can start from that very first class, and even in the email before the very first class, with your syllabus. Our syllabi can be used as a means of managing class expectations, something that many are struggling to do. There is a feeling that surrounds instructors of needing to provide instant responses, and always being on call. In your syllabus, I highly recommend including a section about contacting you. This section can clearly outline expectations and help students know how to reach you, but also what to expect in terms of response time and hours you will be checking your email. Here is a sample:

  • Contacting Me: It’s okay to ask questions! You can reach me via email at (your email here) I am available Monday – Friday 10:00 a.m.–6:00 p.m. to meet with you virtually and answer your questions. I usually respond to emails within 24 hours. I am not available on weekends. Please review assignments before the weekend so that there is time for me to respond to your questions during the times when I am available.

This is a trauma informed practice in that it clearly sets your boundaries and gives students something concrete to refer to. While it won’t always be effective at preventing students from sending that email at 1:00am and hoping for a response, it may help you feel less obligated to respond immediately.

On your syllabus, you may also choose to make a space for “additional services”. This can include items such as the Language Lab, the Writing Center, tutoring center and more. In this section, I also strongly suggest adding something about the counseling center on your syllabus. I also have added a small section about additional support through NYC Well as well.

  • The Counseling Center: The mission of Counseling Services is to enhance students’ academic, intellectual, personal, and social growth. Special attention is given to students’ health and well-being, with the aim of alleviating the effects of painful experiences, enhancing self-understanding and understanding of others, and fostering students’ pursuit of their goals. Counseling Services also presents workshops, training, and educational consultation to the college community. They can be reached by phone at 718-997-5420 and by email at counselingservices@qc.cuny.edu. Phone calls and emails are responded to every weekday from 9 am to 5 pm More information is available at this link: https://www.qc.cuny.edu/cs/
  • Additional Supports: NYC Well is your connection to free, confidential mental health support. Speak to a counselor via phone, text, or chat and get access to mental health and substance use services, in more than 200 languages, 24/7/365.
    You can reach them by texting “Well” to 65173, by calling 1-888-NYC-WELL (1-888-692-9355), or by accessing their free chat services on their website available here: https://nycwell.cityofnewyork.us/en/

Outside of the syllabus, two practices that can be easily built into your course. One of which is including trigger warnings on reading assignments. Just the other day as I was teaching The Yellow Wallpaper in my English 162W class, I had several students say they wished I had included a trigger warning. We took a pause from the class to process this and then made a list together of possible trigger warnings for me to include attached to the reading for next semester. These trigger warnings can easily be added to documents and saved for future semesters. Additionally, Mahavongtrakul advocates for setting earlier submission deadlines so that students do not budget their time to stay up until midnight submitting assignments. I have started implementing the 9:00pm deadline in my own courses this semester and have been pleasantly surprised by the results.

A final five-minute practice that I found not only beneficial for students, but for myself is one I learned from a training I attended with the lineage project and CUNY in March. The practice included a short two-minute check in that can be performed at the beginning of class that reminds students that they are here and present for the next 110 minutes of class. I found this practice to be grounding, not only for students but also for myself. As instructors it may be difficult to switch between the many hats we wear throughout the days, so taking a few minutes at the beginning of class to walk through this check-in activity also helped me to prepare for the next hour or so of teaching.

Perhaps the most pivotal part of trauma informed teaching practices is to remember that healthy boundaries in the classroom support both instructors and students. You may be surprised to note what trauma-informed practices you already practice, and then remind yourself of the items that are outside of your role and ability to provide. It is okay to have empathy and care for our students, but we are not trained counselors (or at least I’m not). There are ways to support our students with their learning goals while also ensuring we care for ourselves and are not in a never-ending loop of grading late assignments in our desires to be flexible or accommodating. We can implement systems in our classroom that better support ourselves and our students while also not overhauling certain systems that already work or creating endless hours of further work for our loads. Most importantly, we can continue to utilize our writing instruction as a means of teaching students to be critical thinkers and effective communicators.

Annotated Bibliography

  • Evans, Jesse Rice. “Open Access Pedagogy: A Manifesto.” Anti, 20 Nov. 2020, https://antiableistcomposition.wordpress.com/2020/11/13/open-access-pedagogy-a-manifesto/.
    Similar to the call for action from UCLA – this manifesto highlights the importance of access as a means of anti-ableism. In doing so, we must think of hybridity and online learning as enhancing this means of access. It relates to larger conversations of how we utilize our virtual and in-person classroom spaces as a way to fight against the inherent ableism that is often present within societal expectations. This manifesto outlines some key points that I think are at play in my trauma informed approaches – at the most basic recognizing the universal experience of trauma we all are experiencing.
  • Hybrid access now: Statement by UCLA Student Coalitions. Disability Visibility Project. (2022, February 23). Retrieved June 14, 2022, from https://disabilityvisibilityproject.com/2022/02/06/hybrid-access-now-statement-by-ucla-student-coalitions/
    This manifesto outlines the needs of students at UCLA and their request for continued online/hybrid access to classes. While the shift to online instruction at the onset of the Covid-19 pandemic was a form of emergency instruction, Covid-19 is still a very real concern. This statement highlights the concerns of students who are unable to return to in-person instruction modes due to health concerns. In addition, it speaks to the inherent ableism and racism in the assumption that in-person modes of instruction are best for all students and are easily able to be returned to. This call for action, further highlights the need to continue to create space in both in-person classrooms and virtual classrooms to support students.
  • Mahavongtrakul, Matthew, and Kaeleigh Kayakawa. “Trauma-Informed Pedagogy.” UCI, https://dtei.uci.edu/trauma-informed-pedagogy/.
    This is where the majority of my approaches come from here. It is important to note that this article is very student centered in the suggestions it offers for taking trauma informed practices into the classroom. What I have highlighted from this as key are the items that are easiest to accommodate such as trigger warnings, earlier deadlines so that students don’t work until midnight, and setting clearer boundaries and expectations. Some of these approaches fall outside of the scope of expectations that we should have for ourselves and also fall far outside the emotional labor instructors should be expected to perform.
  • McAlpine, Kat J. “Depression, Anxiety, Loneliness Are Peaking in College Students.” Boston University, 17 Feb. 2021, https://www.bu.edu/articles/2021/depression-anxiety-loneliness-are-peaking-in-college-students/
    This article outlined the rising mental illness concerns for students. A mental health researcher conducted a study of students at Boston University, a large urban university, during the 2020 pandemic and found over half of students were experiencing symptoms of anxiety and depression. The article begins to call for ways professors and instructors can help mitigate these symptoms and better support students. She inherently is calling for trauma informed teaching practices without labeling them so explicitly. The article fails to account for faculty’s own struggles and difficulties. I would also love to see how the professor followed up this study to see how a comparison with students at the beginning of the pandemic compared to now, two years later.
  • Shroeder, Ray. “Wellness and Mental Health in 2020 Online Learning.” Inside Higher Ed, 1 Oct. 2020, https://www.insidehighered.com/digital-learning/blogs/online-trending-now/wellness-and-mental-health-2020-online-learning.
    This is another article that felt pivotal as I approached this project as it took into account the toll of the sudden shift to online learning. I think it is helpful to understand how quick changes in course expectations (and course modalities) can be a negative experience for students (and instructors). It also highlights the general mental health concerns of many students in college during this time. This is in juxtaposition to other articles listed in this bibliography which have neurodivergent and other learners calling for increased online course modalities. Thus, allowing readers of these works to try to navigate an understanding between very different viewpoints.

Teaching Accessible Multimodal Writing in Online Learning Environments

Woman gesturing focus with hands

Rachael M. Benavidez
Adjunct Lecturer, English
Assistant to the Directors of First Year Writing

Checklist for Online Lesson and Lesson Plan for Detailed Textual P-A-S Outline

The integration of multimodal assignments in First Year Writing (FYW) courses draws on the development and practices that facilitate entering the conversation of academic writing using multiple forms of semiotic expression. As a FYW instructor with technological experience and who is interested in instructional design, the idea of multimodal composition assignments in an online or hybrid environment is a given.

However, in encouraging the development of multimodal assignments, it’s necessary to demonstrate what multimodal assignments bring to the conversation of academic writing and the ways in which they engage students—with minimal technological expertise (on our part and theirs). Before I discuss pedagogy, I’m going to review some rationale and best practices from the experts that influenced my thinking.

What is Multimodal Composing?

Multimodal composing involves multiple modes of communication. In their 1996 Harvard Educational Review article, “A Pedagogy of Multiliteracies: Designing Social Futures,” the New London Group argue that “multiplicity of communications channels and increasing cultural and linguistic diversity in the world today call for a much broader view of literacy than portrayed by traditional language-based approaches” (60). They define five modes of communication or “metalanguages that describe and explain patterns of meaning”: linguistic, visual, spatial, gestural, and multimodal (78).

The delivery of those modes can take different forms and is more informally explained in “An Introduction to and Strategies for Multimodal Composing” by Melanie Gagich (67-72):

linguistic mode: alphabetic text or spoken word … emphasis is on language and how words are used (verbally or written) (68); visual mode: what an audience can see, such as moving and still images, colors, and alphabetical text size and style (67); spatial mode: how a text deals with space … also relates to how other modes are arranged, organized, emphasized, and contrasted in a text (69); gestural mode: gesture and movement … apparent in delivery of speeches in the way(s) that speakers move their hands and fix their facial features and in other texts that capture movement such as videos, movies, and television (70); aural mode: what an audience member can or cannot hear (71)

Note that the graphic employs three of the five modes and a fourth if a screen reader is reading the alternate text.

“Doing” Multimodal Writing

As with the graphic, the “traditional” FYW essay in MLA format employs linguistic, visual, and spatial modes. The words on the page communicate, the visual style and formatting of the text is set according to MLA of 12-point type, and the text is spatially organized by double-spaced text with specific formatting i.e. emphasis to identify a source citation as a book or an “article,” and page citation (##). In other words, we’re already employing multiple modes.

Many FYW instructors incorporate multimodal analysis into our courses, such as essays that require analysis of multiple forms of media. For example, in my own FYW courses, students analyze cultural representation in a film and cultural bias in an advertisement.

However, in order for students to go beyond analyzing the choices of others, we must instruct them in how to actively make their own through the experiential practice of multimodal composition and multiple modes of expression to convey semiotic meaning.

Why Multimodal Composition?

In “Thinking About Multimodality,” Takayoshi and Selfe provide points on their reasoning for multimodal assignments, the first of which is:

“In an increasingly technological world, students need to be experienced and skilled not only in reading (consuming) texts employing multiple modalities, but also in composing in multiple modalities, if they hope to communicate successfully within the digital communication networks that characterize workplaces, schools, civic life, and span traditional cultural, national, and geopolitical borders” (3).

FYW teaches students how to enter the conversation of academic writing, so the work of our courses goes beyond the course’s required essays. Technological tools that will be valuable to students in future courses—and beyond college— in the form of multimodal assignments are a form of social justice that prepare students for global citizenship.

Diverse Ways to Engage Students

All FYW instructors seek ways to actively engage students in their academic writing practices and the work of the course. Teaching FYW online offers instructors the opportunity to take advantage of the expansive and diverse set of tools to compose in multiple modalities in order to go beyond the textual essay.

Takayoshi and Selfe also argue:

“The authoring of compositions that include still images, animations, video, and audio—although intellectually demanding and time consuming—is also engaging” (4).

In order to develop engaging and dynamic assignments, we need to consider how Online Writing Instruction (OWI) allows to do that work. In “Grounding Principles of OWI,” Beth L. Hewitt asserts that:

Online Writing Instruction (OWI) Principle 3: “Appropriate composition teaching / learning strategies should be developed for the unique features of the online instructional environment” (Hewett 55).

In other words, what are the benefits of teaching FYW online in terms of the use of technological tools that may not be available to us in an in-person (only) learning environment? How do they engage students in ways that actively involve them in their writing?

Developing Multimodal Writing Assignments

The Researched Argument Essay Presentation Assignment

In the Fall 2021 semester, I worked with FYW Associate Director Christopher Williams to develop a multimodal assignment for my College Writing I course, Critically Reading and Responding to Media for Essay 3: Researched Argument. In the Spring 2022 semester, I developed a similar assignment for my Writing About Literature course. Selections from student assignments are provided as samples at the end of this post.

For the essay assignments, students use a variety of contextual, theoretical, and argument sources to produce an insightful argument that answers an interpretive question that they raise about the exhibit(s). In addition to textual analysis, the multimodal aspect of a PowerPoint presentation requires students to identify images that make relevant, rhetorical connections in order contextualize and to develop their analysis. They also had the option to record voiceover and make a video but chose to do the PowerPoint only. A future endeavor, perhaps.

Focus Assignments on Course Goals and Writing Practices

When working with Chris on developing the multimodal assignments, he asked a few guiding questions:

  • What specific academic writing practices does a PowerPoint facilitate?
  • What does it bring to the assignment that a ‘traditional’ essay doesn’t in terms of engaging students and reaching course goals?
  • How much time will you need to spend on teaching technology (instead of writing)?

His questions are essential to any FYW course multimodal assignment.

OWI Principle 2: “An online writing course should focus on writing and not on technology orientation or teaching students how to use learning and other technologies” (Hewett 51).

The PowerPoint presentation that I assigned focused on course learning goals through developing specific writing practices. A few examples:

Close reading: Students have closely read, annotated, and identified quotations from primary and second sources; audience and motive: Students write academic bios that discuss their motive for writing about the topic and to carefully consider their audience; effective paragraphing: The presentation is a visual PAS (Present, Analyze, Synthesize) outline that facilitates essay organization and effective paragraphing according to what paragraphs are doing; functions of sources: The structure of the PowerPoint provides guidance on how to integrate primary sources (exhibits) and secondary sources (theoretical, contextual, and argument); elements of argumentation: the analysis sections are structured with separate slides for each element of argumentation: claim, evidence, and analysis. Separate slides are provided for secondary source quotations; analysis: Analysis slides are free of images, and students are required to fill the slides with their analysis of the exhibit quotations, so the visual rhetoric of the slide emphasizes students’ ownership of their writing; revision(of course): The visual outline of the presentation facilitates scaffolding so that students writing for development.

The assignments that we develop must facilitate focus on specific writing practices that facilitate students’ ability to reach course learning goals—that’s what we do here.

Ease of Use—For Instructors and Students

Since our focus is teaching writing practices, rather than tech support, ideally, how to use the tool for the assignment can be conveyed in a brief lesson of twenty minutes (or less).

OWI Principle 10: “Students should be prepared by the institution and their teachers for the unique technological and pedagogical components of OWI” (Hewett 72).

You will need to work with students to structure their work and to spend some time on the technological tool, so consider technological skills—yours and your students’. I’m familiar with PowerPoint and could easily develop a template that focuses on writing practices and show students how to use it in a brief lesson. That lesson allowed me to clearly convey to students how use of the PowerPoint develops their writing practices and walked them through the process.

Accessibility and Equity—Assignments and Materials

Teaching online and multimodal assignments addresses diverse learning styles by providing multiple means of engagement, representation, action and expression (Universal Design for Learning or UDL). Our materials and assignments should be accessible to all of our students.

OWI Principle 1: “Online writing instruction should be universally inclusive and accessible” (Hewett 44).

American with Disabilities Act (ADA) Compliance

As we consider tech tools for assignments, it’s essential that our materials to be accessible, i.e. close captioning for videos, documents that are readable by screen readers, and transcripts for audio only files.

Equitable Access to Technological Tools and Media

As we consider tech tools for assignments, the tools and media that we select must be widely available at no costs to students. I chose PowerPoint because Microsoft Office 365 is included in student tuition, which means that no student needs to purchase any software or fancy equipment to complete the assignment.

Always Return to Course Goals and Writing Practices

When making decisions about tech tools and modes of expression, the main questions that we want to constantly return to focus on the writing practices. Ultimately, FYW instructors want students to be critically aware of their own rhetorical choices. When thinking through the myriad of tools, we must always come back to the specific writing practices that the multimodal assignment helps students to develop. In many ways, we apply the same strong pedagogical strategies that we do for any assignment.

Backward Design, Sequencing, and Scaffolding

Principles of backward design (Wiggins and McTighe) are essential to developing assignments that carefully consider course and assignment goals and scaffolding that facilitate student practice. The questions that you pose of how the multimodal assignment facilitates the development of writing practices will be unique to the assignment that you develop.

Develop essay progression assignments that facilitate student ability to complete the multimodal assignment and provide practices for and engage students in diverse forms of semiotic literacy.

For example, in the second essay progression, students:

  • Identified and color coded the elements of argumentation in their analysis paragraphs.
  • Practiced effective paragraphing by developing a PAS outline of their essays.
  • Distinguished the function of a primary versus a secondary (contextual) source.

In third essay progression, students developed a detailed PAS outline, identified source quotations, and developed a complete Works Cited page. The progression introduces additional secondary source types (theoretical and argument), but students are building on previous knowledge. In other words, the only completely new concept being introduced with the third progression multimodal assignment was visual rhetoric.

Starting small is absolutely okay. A multimodal assignment can be a single, scaffolded step or two in the essay progression sequencing. Instructors might also consider how to integrate visual rhetoric into low-stakes assignments and/or earlier progressions. Prior to working on the multimodal assignments, it’s essential to introduce students to specific writing practices and strategies to allow them to practice them before working on a high-stakes multimodal assignment.

Provide Models

Develop multimodal materials. I’m not in any way proposing that every FYW be an instructional designer, graphic designer, or filmmaker. What I am proposing is that instructors carefully consider the multimodal rhetoric of their course materials. Many of the tools suggested are useful in creating materials, are free, and are easy to use.

Model assignments. While I have model textual essays, in the first semester that I taught the multimodal assignment, I didn’t have a model presentation, so I worked on my own presentation at the same time as the students. It had an added layer of value: when I asked students what challenges they were having in developing their essays and was answered with silence, I was able to speak about my own. My reflection sparked conversation when students realized that the challenges were “normal” at the specific point in the (non-linear) writing process.

Evaluation

As with any assignment, it’s essential to clearly state how students are being evaluated on aspects of multimodality—in addition to the academic writing practices that are typically included (thesis, analysis, organization, citation, etc.). However, it doesn’t have to be and shouldn’t be complicated. Additionally, we need to be flexible and shouldn’t expect students to be technological experts. Mainly, the evaluation of the aspect of modality must be directly connected to academic writing practices.

Consider How the Mode of Expression Works with the Course Theme

Most FYW courses have a theme that propels the course. For example, themes in the Queens College FYW program include Monsters, Language and Literacy, Visual Culture, including photography, art, and film, Creativity, and Cultural Identity. The course theme provides a foundation for determining multimodal assignments, tools, genre, and media.

In April 2022, I co-presented on a Pedagogy of Kindness Panel entitled “Alternative Assessments: Ungrading and Assignment Scaffolding” with Lecturer in English Lindsey Albracht and Associate Professor of History Kara Schlichting. Professor Schlichting provided examples for remixing the “traditional” essay into visual art, such as a poster or comic, a museum exhibit plan, or a PSA. Her remixing ideas translate to FYW assignments and that draw on the course theme.

For example, the QC FYW Visual Art syllabus theme encourages instructors to arrange a class trip to a Queens or New York City museum. A multimodal assignment that asks students to visually dissect the elements of a work of art in a poster form allows for a deeper analysis of the work. Analysis of public artwork might also be actualized as TED Talk to employ multiple modes of communication. A more advanced assignment might ask students to curate a public exhibition and explain their choices. Another version of the Visual Art theme explores the graphic novel, so students might create their own.

There are numerous possibilities, but what I’m suggesting is that the modes of expression reflect the theme of the course in order to convey semiotic meaning, which facilitates students’ ability to make connections to learning and their own rhetorical choices.

Involve Students in Assignment Options

Professor Schlichting encourages class discussion to determine options for modes of expression. Suggest a few options and have students discuss how and why their choices are the most appropriate as a metacognitive exercise and as another way to actively engage them in the course.

Tools and Resources to Engage a Writing Community

There are numerous free tools that are easily integrated. The QC Center for Teaching and Learning is a great resource for finding tools, but here are a few suggestions that will hopefully help you to engage a writing community and develop specific writing practices.

  • Integrate visual rhetoric and/or aural modes into course blogs. Blogs are integrated into LMS’s, which means that instructions are already available to instructors and students. Work with students
  • Integrate video tools humanize discussion boards to actively engage in a writing community. FlipGrid and VoiceThread are tools that allow students to post video links to the LMS. Make sure to start the conversation with your own video as a model. The tools are also great for peer review.
  • SoundCloud is a free audio tool that is also a great tool for peer review and for translation assignments. It allow you to provide verbal assignment to accompany textual instructions.
  • Canva provides free templates for visual assignments, such as infographics, brochures (PSAs), social media posts, posters, and presentations. It’s relatively easy to use.
  • Everyone is familiar with YouTube, which is free with a Gmail account. Instructors and students can post public, private, or unlisted videos. Make sure to consider accessibility with close captioning.
  • Openly licensed materials, such as images, texts, and video provide a lesson in citation and fair use and also in thinking through students’ public scholarship. The QC Library’s Digital Scholarship page offers numerous suggestions.
  • PowerPoint goes beyond text and images. Narration can be recorded and include video of the presenter. The file can be saved or exported as a video and uploaded to YouTube.

Keep Posing Questions

As you think about multimodal assignments, keep posing questions on how their integration supports learning goals and writing practices and engages students in multiple forms of semiotic expression. I think that you’ll find that your students aren’t the only ones who are engaged by multimodal assignments.

Sample Multimodal Assignments from My (Amazing) Students

College Writing I Course: Islamophobia in the Media a Post-9/11 World

College Writing I Course: Islamophobia in the Media a Post-9/11 World sample multimodal assignment

Writing About Literature Course: Chinua Achebe’s Things Fall Apart (1959)

Writing About Literature Course: Chinua Achebe’s Things Fall Apart (1959) sample multimodal assignment

Annotated Bibliography

The following annotated bibliography was developed with the purpose of developing multimodal assignments for FYW courses that facilitate reaching course learning objectives through strong pedagogy, the development of strong writing practices, and equity in access to learning.

It is organized in two sections: Pedagogical Best Practices, which are important considerations in any teaching modality; and Online Writing Instruction (OWI) and Multimodal Assignments, which considers foundational practices for teaching writing online that facilitate thinking on how online instruction works in conversation with multimodal assignments.

Pedagogical Best Practices

  • Bowen, Ryan S. “Understanding by Design,” Vanderbilt University Center for Teaching, 2017. https://cft.vanderbilt.edu/understanding-by-design/.
    Backward design is essential to developing assignments and scaffolding lesson plans. Ryan Bowen provides an overview of Wiggins’s and McTighe’s essential principles of “Backward Design” on the Vanderbilt University Center for Teaching website, including benefits and stages. The site also includes a brief video of Wiggins discussing the “planning framework” of backward design. A template for applying the principles is available for download and assists instructors in thinking through the stages of backward design, beginning with the goal(s) and culminating with the lesson plan. For further reading, see Wiggins, Grant, and Jay. McTighe. “Backward Design,” Understanding by Design, ASCD, 1998.
  • Cazden, Courtney, Cope, Bill, et al. “A Pedagogy of Multiliteracies: Designing Social Futures,” Harvard Educational Review, Spring 1996, Vol. 66, No. 1, pp. 60-92.
    In the scholarly article “A Pedagogy of Multiliteracies: Designing Social Futures,” the New London Group argue that “multiplicity of communications channels and increasing cultural and linguistic diversity in the world today call for a much broader view of literacy than portrayed by traditional language-based approaches,” one that counters the “formalized, monolingual, monocultural, and rule-governed forms of language” (60). Their argument on multiliteracies centers on the intersectionality of cultural and linguistic diversity and multimedia technologies and the ‘othering’ discourses that limit educational opportunities. While the article may seem somewhat outdated, it laid the groundwork for how we understand multimodal assignments and defined five modes of communication or “metalanguages that describe and explain patterns of meaning”: linguistic, visual, spatial, gestural, and multimodal, that modern writing instructors apply to multimodal assignments (78). The article also speaks to the emerging understanding of multimodal writing as a form of social justice.

Best Practices for Teaching Online

  • “Universal Design for Learning Guidelines version 2.2.,” CAST, 2018. http://udlguidelines.cast.org
    Universal Design for Learning (UDL) principles are fundamental to any course to ensure equity in learning. The Guidelines are a “framework to improve and optimize teaching and learning for all people based on scientific insights into how humans learn” and address the ways in which instructors provide multiple means of engagement, representation, and action and expression. Each of the three criteria is defined in terms of how options for access, building, and internalizing work toward specific goals. While it may not be realistic for instructors to apply all of the criteria, UDL provides target points for reflection for instructors as they develop courses, materials, and assignments.

Online Writing Instruction (OWI) and Multimodal Assignments

  • Gagich, Melanie. “An Introduction to and Strategies for Multimodal Composing,” Writing Spaces: Readings on Writing, Volume 3. WAC Clearinghouse. 2020. https://wac.colostate.edu/docs/books/writingspaces3/gagich.pdf.
    Gagich defines multimodal texts and provides examples using the five modes of communication asserted by the New London Group (linguistic, visual, spatial, gestural, and multimodal). With attention to the rhetorical situation of the multimodal text and what it’s “doing,” Gagich provides strategies for creating and scaffolding multimodal assignments. Instructors will find the article useful in terms of creating multimodal materials and developing assignments.
  • Hewett, Beth L., & Kevin Eric DePew (Eds.). (2015). Foundational Practices of Online Writing Instruction. The WAC Clearinghouse; Parlor Press. https://doi.org/10.37514/PER-B.2015.0650
    Foundational Practices of Online Writing Instruction is indispensable in developing OWI programs and courses. My focus is on two specific chapters that provide principles for teaching the courses and for teaching multimodal assignments.
  • Beth L. Hewett’s Chapter 1 “Grounding Principles of OWI” in Foundational Practices of Online Writing Instruction adds to the discussion of the CCCC Committee for Effective Practices for Online Writing Instruction: “A Position Statement of Principles and Example Effective Practices for Online Writing Instruction (OWI.” The chapter examines fifteen OWI principles important to understanding fundamental similarities and differences between in-person and online courses. For each of the principles, a discussion of the rationale provides guidance for proactive implementation in hybrid and online writing courses. Aimed at instructors and FYW programs, it focuses specific attention on accessibility and equity in terms of student access (and faculty labor and professional development) and will be useful in understanding how to develop pedagogy that supports student learning online.
  • Kristine L. Blair’s Chapter 15 “Teaching Multimodal Assignments in OWI Contexts,” in the same publication provides strategies for migrating textual essay assignments into multimodal assignments. Blair’s focus is on the “whats, hows, and whys of transforming OWI from a text-centric composing space for our students to one that integrates multimodal elements for students and instructors in as viable, accessible, and introductory a way as possible” (480). Blair examines assignment modes and discusses how they function in terms of writing practices. Instructors will likely find her article particularly useful in terms of thinking through how potential low-stakes assignments might work in their courses.
  • Selfe, Richard J., and Cynthia L. Selfe. “‘Convince Me!’ Valuing Multimodal Literacies and Composing Public Service Announcements.” Theory Into Practice, vol. 47, no. 2, 2008, pp. 83–92. JSTOR, http://www.jstor.org/stable/40071528. Accessed 20 May 2022.
    Richard Selfe and Cynthia Selfe discuss “why teachers need to adapt an increasingly broad understanding of the roles that different composing modalities play in contemporary communication” (83). They begin by addressing arguments that will convince writing instructors of the value of multimodal assignments (85-86). They provide a multimodal PSA assignment sequence and explain their strengths as multimodal assignments. Additionally, they provide examples and questions for students and instructors, making it more easily adapted for a FYW course.
  • Takayoshi, Pamela and Cynthia L. Selfe. “Thinking About Multimodality,” Multimodal Composition: Resources for Teachers, edited by Cynthia L. Selfe, Hampton Press, Inc. 2007, pp. 1-12.
    In their influential discussion of multimodal composition, Takyoshi and Selfe provide five specific points for understanding the importance of multimodal composition and address questions and concerns of composition instructors who may be wrestling with the usefulness of multimodal composition, such as ‘Are we really teaching writing with multimodal assignments?’. Instructors will find the chapter useful in terms of answering those how and why questions but also in terms of provoking broad questions on how they might approach developing multimodal composition assignments for their own courses.

Multimodal Transmediation to Strengthen Analytical Writing in the Online Classroom

manga image of girl sipping coffee

Amanda Torres
Lecturer, English

Checklist for Online Lesson

The shift to remote learning incited by the COVID-19 pandemic asked instructors to radically reconsider our pedagogicalpractices for an online space. This move was met with valid worries and hesitation about what would be lost from theclassroom learning experience with less emphasis on what would be gained from the digital learning experience. Fortunately,one of the many affordances of online learning is the ability to incorporate multimodality for projects and classwork.Multimodal assignments integrate different modes of activity, encouraging students to participate and engage with materialmore deeply. For writing and literature instructors, specifically, multimodality can introduce new practices for close readingand text-based analysis enabled through collaborative production of visual media online. Transmediation, or applying“understanding from one sign system and moving it into another in order to generate meaning” (qtd. in Batchelor 69) can be an especially generative practice to facilitate close reading, collaboration, analysis, brainstorming, and revision.

As transmediating is a process of deriving meaning through creation, it is a flexible practice that invites creation of allkinds of media from comics to podcasts to video essays. One of the most approachable modes of transmediating in anonline classroom involves asking students to draw, whether multi-paneled comics or simple sketches. Although students might be hesitant about their art skills, it is not necessary for one to be a gifted artist to perform transmediation. Thispractice also does not require a technological familiarity with any external programs or applications as it is possible to drawon the whiteboards of many video conferencing apps, such as Zoom or Blackboard Collaborate. It would be easiest to drawon the whiteboard with a touch screen-enabled device, but it can also be done with a mouse. If the whiteboard seems toolimited for art that is more involved than a sketch, such as a 4-panel comic, there are websites like Pixton that only requireregistration with an account. Pixton is a comic and storyboard creator for educators, and it provides a variety of presetbackgrounds, characters, comic sound effects, and other art assets for students to choose from to put a comic together instead of drawing one.

What matters more than the aesthetics of student-generated art is the process of play and discovery that happens throughdrawing. Drawing comics, whether individually or collaboratively, is a particularly well-suited practice for exploration of atext or abstract ideas. For instance, in her essay, “Illustrating Praxis: Comic Composition, Narrative Rhetoric, and CriticalMultiliteracies,” Kathryn Comer explains how drawing and creating comics invited her students to consider how narrativesare constructed and how to make mindful, structural choices in revision. Furthermore, comics “rely on more than justlinguistic and visual modes of communication; they combine words and images with gestural, spatial, and even audiomodes into a truly multimodal experience” (Comer 76). This means that all students can participate in the creation of acomic, including students who are visually impaired or students who do not have the technological requirements to access ashared whiteboard. In a journal titled “Digital Transmediation and Revision”, Katherine Batchelor regards the playfulnessof drawing as a mode of inquiry, which “recognizes that deeper understanding can be obtained by students’ self-drivenunderstanding through multiple ways of knowing. Through these instances of inquiry, students are better able to inquire about themselves as writers, ways in which they want to think about revising, and more importantly, how they want to position themselves during semiotic acts of transmediating” (72). Therefore, writing and literature instructors can employ transmediation inmultiple contexts in online learning, such as:

  • asking students to transmediate a complex literary or nonfiction passage into a digital whiteboard sketch andthen having them compare their sketches in
    • Reflection prompt: How did they “see” the passage differently?
  • asking students to collaboratively transmediate a passage into a multi-paneled This encourages students tonot only consider drawing the main “action” of the passage, but to also consider how their diverseinterpretations of the text inform the comic’s setting, background, characters (or lack of characters), facialexpressions, body language, captions, speech bubbles, onomatopoeic sound effects, and narrative pacing. Consequently, students are implicitly being tasked with discussing and deconstructing the text together.
    • Reflection prompt: How did a writer’s rhetorical and literary choices impact their artistic choices?
  • asking students to transmediate a creative writing piece into a drawing, comic, collage, presentation, or video.
    • Reflection prompt: What did they observe about their writing and its narrative choices or structure through the process of transmediating it into another medium?
  • asking students to transmediate a peer’s writing (whether it is creative writing, an analytical essay, or an argumentative essay, etc) into a drawing, comic, collage, infographic, wordmap, cluster word web, or presentation
    • Reflection prompts for the student writer: What aspects of their writing/ideas were emphasized the most through transmediation by their peers? What does this reveal about how their audience “sees” theirwriting and main ideas? Did they “see” something that the original writer did not?
    • Reflection prompts for the peer reviewer: how did your peer’s rhetorical, analytical, or structural choicesimpact your creative choices? What did they perceive as the writer’s main ideas or the main threads oftheir argument? What did they want to “see” more of in their peer’s writing?

Activities like these can facilitate online collaborative writing with the goal of deepening close reading and analysis. Moreover, asking students to collaborate on transmediating their assigned reading or their own writing creates a culture of mindful peer review and an enhanced approach to revision. Since writing is a means of discovery, transmediation fosters a sense of play and creativity within the writing process, as Batchelor demonstrates in her essay. Although Batchelor’s experience is in teaching middle school students, her proposals apply to college students, as well – especially first-year writing students. Many first-year writing students enter English 110 and English 130 with the assumption that “the first draft is the final draft”; they are therefore reluctant to engage in a slowed-down writing process that involves planning, outlining, drafting, and revising. Subsequently, transmediation (in both online learning and in-person learning) presents an opportunity to incorporate multimodality throughout the entire writing process, which can help to recontextualize revision as a playful and creative form of discovery rather than a tedious chore. Ultimately, transmediation invites students (and instructors!) to reimagine the processes that go into crafting writing and the active engagement necessary to motivate students to be readers and writers with agency.

Annotated Bibliography

  • Batchelor, Katherine. “Digital Transmediation and Revision.” Voices from the Middle, vol. 23, no. 2, 2015,library.ncte.org/journals/VM/issues/v23-2/27621. Accessed 17 June 2022.
    In this article, literacy professor Katherine Batchelor establishes how transmediation or “understanding from one signsystem and moving it into another in order to generate meaning” is a constructive process for revision (69).Transmediation allows students to “re-see” their writing, whether it is analytical or creative. The process oftransmediating a work of writing into another modality (comic, slideshow, animation, video, etc) invites deeper revisionand a sense of play as a mode of inquiry. Batchelor describes how a transmediation project worked out in a middle school class to create science fiction short stories, but the core practices of her project could easily work for college-level writingin an online setting. She even suggests online tools for multimodality, such as iMovie, Glogster, Pixton Comics, Animoto,GoAnimate, and Prezi.
  • Comer, Kathryn. “Illustrating Praxis: Comic Composition, Narrative Rhetoric, and Critical Multiliteracies.” Composition Studies, vol. 43, no. 1, 2015, pp. 75–104. JSTOR, http://www.jstor.org/stable/43501879. Accessed 17 June 2022.
    In this article, composition professor Kathryn Comer investigates the affordances of composing comics and graphicmemoirs as pedagogical tools for “rhetorical experimentation and multimodal literacy development” (75). She argues howcomics present a unique opportunity to place several different modes of communication in conversation. Likewise, thecreation of comics asks students to carefully consider their rhetorical awareness of narrative and audience. She providesexamples of how comic composition succeeded in her graphic memoir class, which invited students to reflect on theirexperiences as comic readers and comic writers. Moreover, producing multimodal texts like comics required students totreat revision with more attention as they were more aware of how their narratives needed to be constructed for themedium. Comer reports how incorporating the comic assignment increased student attendance and participation andcreated more opportunities for workshops and peer revision. This source is both theoretically and pedagogically useful for instructors. The practice of composing comics can translate very well to online learning, where students can either usedigital whiteboard functions to draw comic panels (regardless of personal drawing ability) or upload photos with comic-like captions, as Comer shows.
  • Laksimi Morrow, Sakina. “Collaging Point of View.” Visible Pedagogy, vp.commons.gc.cuny.edu/2020/01/27/collaging-point-of-view/. Accessed 17 June 2022.
    In this blog post, urban education doctoral candidate Sakina Laksimi Morrow describes a collage project that took place inher pedagogy workshop. She explains how collages “[ask] for an interplay between intuition and thought – reconstructingnew meanings, finding other meanings from the raw material” (Laksimi Morrow). Multimedia digital collages can be incorporated into online learning for students to createmeaning from difficult texts or to discover new meanings within their own writing.
  • Losh, Elizabeth, et al. “Rethinking Revision.” Understanding Rhetoric: A Graphic Guide to Writing, Bedford/St.Martin’s, 2014, 217 – 244.
    In this chapter, writing instructors Elizabeth Losh and Jonathan Alexander explore why revision is necessary in writingand how to do it effectively. Losh and Alexander address a common misconception about revision and explain itsdifferences from editing sentence-level errors. Their definition of revision is grounded in breaking down the word itself:“re-vision: it’s about seeing a composition anew, with fresh eyes – seeing your own work as if you were another reader.It’s about considering possibilities as well as problems” (219). To support this claim, Losh and Alexander providemethods of radical revision and examples of famous pieces of writing that were revised for the better. Since this chapteris a comic from a larger graphic guide, it serves as an example of a multimodal text in addition to presenting a necessarycase for the significance of revision and peer review in the writing process. It can be a valuable source for bothinstructors and students to navigate the conversation around essay revision and multimodal projects (like creating a comic).Losh and Alexander are essentially making a case for transmediation, similar to Katherine Batchelor.
  • Reimagining First-Year Writing at the University of Connecticut. U Conn, Sept 2018, express.adobe.com/page/bR1G4L0VYEufK/. Accessed 17 June 2022.
    The First Year Writing program at the University of Connecticut spearheaded an initiative called Writing AcrossTechnology (WAT) in 2018. This department website outlines how WAT will inform the FYW program, primarily througha stronger emphasis on multimodality in writing classes. The goal of the WAT initiative is to “ask students to composemultimodally, exploring linguistic, aural, visual, gestural, and spatial modes of meaning-making.” To achieve thisgoal, the website provides a sketch of the kinds of meaning-making moves that should be scaffolded into FYW courses,including collecting and curating, engaging and entering a conversation, contextualizing, theorizing, and circulating. The site also shares a detailed list of learning objectives and resources for instructors such as a course planning tool and toolsfor technology and engagement. Instructors will benefit from this source’s concrete and accessible approach to multimodal learning. Multimodality can flourish in the online classroom where it can be implemented in all steps of thelearning and writing process.
  • Shaw, Gwen. “Triple-Entry Journals: Engagement and Reflexivity.” Visible Pedagogy, vp.commons.gc.cuny.edu/2017/03/28/my-triple-entry-journal-assignment-engagement-and- reflexivity/. Accessed17 June 2022.
    In this blog post, art history doctoral candidate Gwen Shaw describes an assignment she designed called the “triple entryjournal,” which asks students to sketch a work of art. After sketching, students are asked to freewrite formal analysis of the piece, paying particular attention to the artist’s choices, especially those that stood out to the students as they were sketching.Lastly, students reflect on the insights they developed through sketching and analyzing to derive meaning from the work of art. This activity can be completed online for composition assignments that require visual analysis or for close reading assignments that could ask students to sketch what is happening in a literary passage.
  • Teaching Multimodal Composition. Sweetland Center for Writing at U of Mich, lsa.umich.edu/sweetland/instructors/teaching-resources/teaching-multimodal-composition. html. Accessed 17 June 2022.
    This guide from the University of Michigan’s Center for Writing outlines resources and pedagogical practices for teachingmultimodal composition. It provides a basic framework for structuring multimodal projects in the compositionclassroom and tangible advice for achieving pedagogical goals. The practices listed in this guide can serve instructors inan online class with their easily adaptable suggestions for producing multimodal texts.

Q: What would help?!

We’re all juggling so much this semester: As we’re learning all these new platforms, we’re finding new ways to use them to advance the pedagogical goals we bring to our classes, now and forever.

And then there is the fire that’s raining from the sky on so many fronts.

The English Department knows that these stresses fall disproportionately on our part-time colleagues, and we want to diminish that effect however we can. First Year Writing has some ideas about how to do that, as you’d expect.

We’re also wary of inviting you to more workshops and things when you already have so much to do.

So we want to hear from you. What would help?

As you ponder this question, it might be useful to know, too, the the department has a new committee on online teaching, and First Year Writing will be in touch with its members as they set their agenda for the semester. We want to foster a department-wide discussion that will prove beneficial to part-time faculty.

What would you like to discuss, and how would you like to discuss it? What resources could the department provide to support you through this @%@#*! time?

Here are some things we’ve discussed:

  • Set up discussion boards for all of the various platforms (Google Classroom, Blackboard, Academic Commons, Zoom, Slack, etc.) where faculty could go to share ideas and ask/answer questions.
  • Make more use of this site as an asynchronous discussion board to talk about whatever’s on your mind.
  • Hold office hours to meet with you synchronously about whatever’s on your mind.
  • Organize workshops (which could be synchronous or asynchronous) with faculty who have expertise in one or more of the platforms.

Which of these ideas appeal to you, if any– and what other ideas should we consider?

You have also have just the germ of an idea, and we’re interested to hear that, too. That is, you may know you want something without knowing quite what it is that want. In that case, you might also use the space below to describe the kind of support you’d like to have, and we can try to figure out how to provide it.

We are in solidarity with you, and we’re eager to hear what you think, Please tell us in the comments below!