My “Writing the Brain” Twitter Assignment Appears in Twenty Writing Assignments in Context, Ed. by Melissa Bender and Karma Waltonen

978-1-4766-6509-2My “Writing the Brain” assignment, which helps students understand how different media (Twitter, photography, posters, and essays) shape and change their messages, appears in Melissa Bender and Karma Waltonen’s edited collection, Twenty Writing Assignments in Context: An Instructor’s Resource for the Composition Classroom. Melissa and Karma put a lot of good work into curating this guide of innovative assignments. Each chapter includes an assignment, its rationalization, and examples of student work. I’m proud to have my assignment included with the engaging pedagogical work of its other contributors!

Twenty Writing Assignments in Context can be purchased from McFarland & CoAmazon (Kindle version available, too), or Barnes and Noble. More information about the book is included below.

Twenty Writing Assignments in Context
An Instructor’s Resource for the Composition Classroom

Edited by Melissa Bender and Karma Waltonen

Print ISBN: 978-1-4766-6509-2
Ebook ISBN: 978-1-4766-2729-8
21 photos, notes, bibliographies, index
288pp. softcover (6 x 9) 2017

$35.00

About the Book
Twenty original, classroom-tested assignments: This innovative collection of college writing assignments explores the practical applications of each lesson. Drawing upon current best practices, each chapter includes a discussion of the rationale behind the assignment, along with supplemental elements such as guidelines for evaluation, prewriting exercises and tips for avoiding common pitfalls. The assignments are designed for a range of courses, from first-year composition to upper-division writing in various disciplines.

Table of Contents
Introduction
The Rhetoric of Everyday Objects: An Assignment Sequence, Melissa Bender
Writing and Designing Informational Booklets for International Exchange Students, M. Ann BradyFraming the Personal Narrative: Composition and Documentary Film, Jodie Childers
Blogging Advanced Composition, Elisa Cogbill-Seiders, Ed Nagelhout, and Denise Tillery
Proposal Writing in Technical Communications, Barbara J. D’Angelo
Past Meets Present: Exploring the University Archives to Compose and Connect, Christine Denecker
Writing the Brain: A Multimodal Assignment Sequence, Jason W. Ellis
Making Financial Contracts User-Friendly: Conducting Research, Redesigning Documents and Proposing Changes in the Workplace, Sara K. Gunning
Geobiographies: A Place-Based Assignment Sequence, Jim Henry
The Discipline Resource Guide Website, Dalyn Luedtke
Global Urban Centers: A Rhetorical Analysis of Street Art, Gerald Maki
The Academic Discourse Project, Gracemarie MiKe
Political Cartoons and Multimodal Composition: The Visual Argument Assignment, Erin Dee Moore
Researching and Writing a History of Composition-Rhetoric, Lori Ostergaard
Critical Analysis of a Wikipedia Entry, Gwendolynne Reid
“In the Year”: Using Website Design for ePortfolios, Katherine Robbins
Workplace Document Analysis and Evaluation, Melissa Vosen Callens
The Partner Project: Advanced Argument, Karma Waltonen
Captain Discourse and Other Heroes:  Learning about Writing Research through Comic Books, Courtney L. Werner and Nicole I. Caswell
Critical Analysis of Student Ethnography, Abby Wilkerson

About the Authors
Melissa Bender is a lecturer in the University Writing Program and the assistant director of the Writing Across the Curriculum Program at the University of California, Davis. Her interests include professional writing, visual rhetoric, composition and international education. A former president of the Margaret Atwood Society, Karma Waltonen is a senior lecturer in the University Writing Program at the University of California, Davis, where she won the Academic Federation Excellence in Teaching Award in 2015.

A Brief Note on Steven Lynn’s Rhetoric and Composition: An Introduction

When I asked Dr. Courtney L. Werner, a friend and colleague at Kent State University where we earned our PhDs (find her blog here and connect with her on Twitter here), what I should read that captures the theoretical breadth and historical depth of her discipline of study–Rhetoric and Composition–I dutifully wrote down what she told me: Steven Lynn‘s impressive Rhetoric and Composition: An Introduction. I think that it has been about three or four years since I jotted down her suggestion, but I’m happy to report that I finally got around to reading it over the past few days and I’m certainly the better for it.

For those of you who might be like me–not really knowing anything about Rhetoric and Composition when going into graduate school, but wanting to learn more about this important discipline after learning of its existence–I recommend Lynn’s book as a thorough starting point.

Lynn begins his book with a chapter on the relationship and interconnectedness of Rhetoric and Composition. He guides his reader through seeing them separately and together while peppering his discussion with an exhaustive and concise (what a balancing act throughout the book) theoretical-historical context.

In the chapters that follow, he designs them around the five canons of rhetoric as an art: invention, arrangement, style, memory, and delivery. Each chapter combines discussion of the historically relevant development of the canon, its major contributors, its past and present scholarship, and applications for the classroom. The final chapter on delivery has a lot of helpful material for first time composition instructors, too.

During my time at Kent State, I am glad that I taught in the writing program and I am glad to have had the opportunity to learn from and share ideas with graduate students and faculty in the Rhetoric and Composition Program, including Brian Huot, Pamela Takayoshi, and Derek Van Ittersum. In retrospect, however, I wish that I had made it a point to join a Rhetoric and Composition seminar (for credit or to audit), because I see now how it would have enriched my scholarship and pedagogy in pivotal ways. If you are like me in this regard or still on your path to a terminal degree, I recommend Lynn’s book for learning Rhetoric and Composition’s ideas, debates, and scale as a student, incorporating its ideas into your daily practices as a teacher, and opening up new possibilities in your thinking as a scholar.

Lynn, Steven. Rhetoric and Composition: An Introduction. Cambridge: Cambridge UP, 2010. Print.

Social Media Workshop on Professionalization and Pedagogy, May 12, 2015, 3:00-4:00PM

Twitter_logo_blueToday, I’m leading a workshop on social media as a tool for professionalization and as a tool for pedagogy. I am including some of the details from the workshop flyer below. You can download the flyer here: ellis-jason-socialmedia-workshop and my workshop notes here: ellis-jason-social-media-workshop.

Social Media Workshop on Professionalization and Pedagogy

Tuesday, May 12, 2015

3:00PM-4:00PM

Namm 321 Conference Room

Organizer: Jason W. Ellis | Email: jellis at citytech dot cuny dot edu | Twitter: @dynamicsubspace

Social media is an increasingly important communication tool for our students and us. We are integrating it into our daily practices, and it, like any new communication medium, is changing the way we think and connect with others.

As scholars, we can leverage social media to promote our research, share ideas with colleagues, and collaborate on projects and network building. As educators, we can guide and mentor our students in responsible and meaningful ways of using social media.

In this workshop, we will discuss several popular social media platforms that we can use in our professionalization and pedagogy, and develop rhetorically grounded strategies for using social media as scholars and educators.

Some of the professional strategies discussed will include: sharing and promoting our work, and establishing and maintaining professional networks. Some of the pedagogical areas addressed will include: composition, and professional and technical writing.

Please bring your questions, ideas, and experiences, or if you can’t make it, let’s continue the discussion online!

Discussion topics and other resources are listed on the reverse side.

Some Topics for Discussion:

  • Rhetoric and Multimodality (WOVEN: written, oral, visual, electronic, and nonverbal)
  • Audience(s)
  • Network Building (breadth versus depth)
  • Risk Assessment
  • Online Identity, Metadata, and Commodification of the Self
  • Managing an Emergent Online Identity
  • Social Media Assignments for Composition and Technical Communication
  • Personal versus Professional Spheres, or Is There a Division?
  • Assignment Ideas
  • Reflection Exercises

Some Social Media Platforms Discussed:

Resources Discussed:

Recovered Writing, PhD in English, Teaching College Writing, Final Exam, July 1, 2008

This is the fifty-fifth post in a series that I call, “Recovered Writing.” I am going through my personal archive of undergraduate and graduate school writing, recovering those essays I consider interesting but that I am unlikely to revise for traditional publication, and posting those essays as-is on my blog in the hope of engaging others with these ideas that played a formative role in my development as a scholar and teacher. Because this and the other essays in the Recovered Writing series are posted as-is and edited only for web-readability, I hope that readers will accept them for what they are–undergraduate and graduate school essays conveying varying degrees of argumentation, rigor, idea development, and research. Furthermore, I dislike the idea of these essays languishing in a digital tomb, so I offer them here to excite your curiosity and encourage your conversation.

Before I could accept my teaching fellowship at Kent State University, I needed to take the graduate seminar, “Teaching College English.” I was fortunate to have the opportunity to take this class from Professor Brian Huot. At the time, I thought my primary concern was putting together my first syllabus, but through the seminar, I learned the importance of meeting student needs, considering outcomes, meeting students on the page, helping students improve their command of rhetoric and multimodality with a portfolio, and considering student work holistically (something that I continue to do with the Georgia Tech WCP’s WOVEN modalities and programmatic rubric).

This final of four Recovered Writing posts from Teaching College Writing is my take home final exam. In these essay responses, I discuss theories of language and literacy, justifications for composition instruction techniques, and demonstrate a letter-writing approach to composition feedback.

Jason W. Ellis

Professor Brian Huot

Teaching College Writing

1 July 2008

Take Home Final Exam

I. What is your theory of language and literacy and how does it relate to first-year college writing instruction? Make sure you refer to relevant scholarship in the field to support your beliefs and assumptions about writing and its teaching.

My theory of language (the protocols and method of communication) and literacy (the ability to read and write, or more broadly, to communicate via language) is that they are acquired through immersive practices. In the first-year college writing class, freshmen students bring a certain understanding of language and literacy that they’ve acquired through school and socialization outside of school. It’s my goal to tap into my student’s various skill sets, to reach into their toolboxes of communication, and guide them towards the attainment of new tools that will allow them to communicate better.

My newfound theories of language and literacy come from a variety of sources. The first is Roger W. Shuy’s “A Holistic View of Language.” Shuy argues that form (the mechanics of writing) follows function (communication). This is a significant idea, because it points the way to findings such as those by Michael W. Williamson in his essay, “Common Sense Meets Research: The Debate Over Grammatical Instruction in Composition Instruction.” Essentially, rote teaching and practice of grammar and the forms of language do not good writers make. Engaging students as writers in topics that they find interesting are just as or better at building on and tapping into the student’s own innate knowledge and mastery of language. Additionally, this increases students’ enjoyment of writing. And it’s that enjoyment of mindful and effective communication that’s necessary to, as Mem Fox writes in “Notes from the Battlefield: Towards a Theory of Why People Write,” “ache with caring.” In order to jump start student caring about writing in the immersive environment, the teacher must enter dialog with the students as a collaborator that is willing to recognize and listen to his or her student’s voice and cultural context as suggested by James T. Zebroski in his, “A Hero in the Classroom,” and Carmen Kynard in her, “Y’all Are Killin’ Me up in Here: Response Theory from a New Jack Composition Instructor/Sistah Gurl Meeting Her Students on the Page.” Showing students that you’re “meeting them on the page,” or “listening to their voices on the page,” will not only show that you’re invested in them and their work, but it will invite them to invest in their own work as something of value, because it has an attentive audience. Additionally, expanding the audience beyond the student-teacher relationship is imperative for building student investment in their own work as well as the work of others. This is accomplished in the immersive classroom through group discussion and peer review. As teachers, we empower our students by teaching them not only how to write, but also how to read and respond to the work of others. For the student, peer review leads them toward an understanding that their work is not only intended for the eyes of a teacher and the subsequent marking and comments. Furthermore, the truly immersive writing class takes the student’s work beyond the confines of class into the real world through online posting of text and multimodal assignments or social assignments such as writing to representatives or the newspaper. This embeds writing with an importance beyond getting a grade, and the skillful, reflective teacher guides students through this realization by a carefully designed sequence of assignments connected by poignant or engrossing theme. Returning to Shuy, these exercises build students’ function of writing skills, but as Williamson argues in analog with Shuy, form follows function. Addressing grammatical issues has a place in the classroom if and when they become a non-self-correcting problem. My goal in the implementation of this theory is to guide my students, as writers, to be better communicators.

 

II.       Choose three of the following subjects for the teaching of writing and write one page for each that describes what they are and the empirical and pedagogical basis for using these techniques with students.

A. Multimodal projects are forms of communication beyond the traditional pen and paper essay. The emphasis is on the medium of communication rather than the rhetorical mode of communication, because various mediums of communication may all carry rhetorical communication. That is, a brochure, poster, audio essay, movie, or Flash animation all may be employed in making an argument and communicating some message. Additionally, borrowing from Marshall McLuhan and Quentin Fiore, “the medium is the message,” which means that choosing a particular medium is a rhetorical choice that carries its own meaning. As Pamela Takayoshi and Cynthia L. Selfe mention in, “Thinking about Multimodality,” the times they are a-changing. The twenty-first century digital world has expanded beyond the traditional writing assignment. The increase in computer usage and the lowering cost of audio and video technologies empowers individuals to engage other mediums for communication besides the written word. For these reasons, Takayoshi and Selfe insist that the definition of composition needs expansion to allow for multimodal projects, because the rhetoric underlying traditional composition and multimodal composition are the same–both use rhetoric to communicate a message. Additionally, students need digital literacy in multimodal forms so that they are better communicators in their private as well as professional lives. Furthermore, students enjoy working with new technologies, which is an effective means of engaging students in rhetorical practices. It’s important to note that, as Mickey Hess says in “Composing Multimodal Assignments,” there are other considerations to make as a teacher in developing multimodal assignments. Some of these include focusing on the rhetorical practices to emphasize in a particular assignment, allowing students the latitude to explore and figure out some things on their own, encouraging group work, and having students reflect on their work and the process in writing. Pedagogically, multimodal composition engages the same rhetorical communication skills developed in written composition–the medium has changed, but the function remains the same.

B. We’ve encountered a number of complementary theories of productive student-teacher relationships over the past few weeks. Essentially, all of these involve mutual respect between teacher and student, and a leveling effect that puts the teacher and student on a more level plane of dialogic cooperation. Instead of employing a top-down, monolog approach to teaching, it’s more effective, empowering (for student and teacher), and fulfilling to have a dialog between teacher and student. One example of this comes from Hull, Rose, Fraser, and Castellano in their essay, “Remediation as Social Construct: Perspectives from an Analysis of Classroom Discourse.” These authors use classroom and student-teacher conference transcripts to remind teachers that it’s easy to drown out student voices. We should encourage more student turns in discussion, and listen and engage what our students have to say rather than hijacking class and conference discussions. Another view of productive student-teacher relationships comes from Annette Harris Powell’s “Conflicting Voices in the Classroom: Developing Critical Consciousness.” Powell employs socially engaging texts in her classroom to develop discussion and raise student’s awareness of competing discourses, thus expanding her student’s critical awareness. Powell’s ideas come up again in James T. Zebroski’s “A Hero in the Classroom,” but in reverse. Zebroski argues that teachers need to consider the heteroglossia within our students’ papers in order to better evaluate the work and connect with our students. My favorite student-teacher relationship building pedagogical tool is presented in Gerriets and Lowe’s, “Building Relationships through Written Dialog.” I like the idea of carrying on a discussion via writing with my students regarding their papers, because it allows both participants time to consider what is being said. This is not to say that I feel spoken dialog isn’t effective, but I think a combination of written and spoken dialog is important, because the teacher, as Carmen Kynard does, meets the students on the page as well in spoken dialog.

C. Listserve or the email list is a tremendously effective tool in the writing classroom as I have evidenced in my own experience at other schools and in our Teaching College Writing class. Listserve allows the conversation to carry on outside of class by empowering students to communicate with their classmates in an “open” turn based environment. What that means is that students aren’t constrained to wait and talk. They write down their thoughts and send them out to the classmates, and in turn, read the responses of others to which they may respond again. All students may take part in the conversation on listserve, but it’s particularly liberating to students that are still developing group discussion skills–if their ideas are accepted online, they may be more willing to engage classroom discussion. Besides reinforcing group communication skills, they are effective for the writing classroom, because students are required to communicate in writing. This additional writing practice fosters “form following function,” as well as rhetoric skill practice (i.e., how to best explain myself to convince my classmates that I’m right or to convey what I mean to everyone else without causing a misunderstanding). Also, as a multimodal medium of communication, listserve introduces many students to online etiquette, which adds to their abilities as effective and respectful communicators in other mediums. In a tip of the iceberg kind of way, listserve also serves the requirements of the writing program for Tier I.

III. Respond to the attached paper. Be sure to create a specific student in a particular class who is writing in response to a specific assignment. You may include any information about the student you believe to be important in understanding the pedagogical moment of this essay. Your only restrictions are that you must respond to the student you created.

This student, who I’ll call Jim, is from a working class background. His mom and dad both work, and have at most a high school education. They want their son to succeed in life, and they see education as the key to that success. Therefore, they stressed his need for education without really explaining or fleshing out the reasons behind their belief that education is the key to a better life, and how could they without that kind of experience themselves? For Jim, this caused confusion as he went through school, because he could realize the tangible and immediate rewards of street education whereas school education provided less tangible payoffs. At the core of his being, he is someone that wants to embrace higher education and reap the good life for his efforts, but he’s looking for the hook, or reason, that will light his own fire to learn.

Jim’s paper, “Renaissance Man,” was written in response to my second writing assignment in Tier I College Writing. The assignment was to write a three page personal response to a film that you’ve seen. The response should weave together personal narrative to support or refute what the student saw as the argument of the film.

This is my response following Gerriets and Lowe’s written dialog method:

7/2/08

Dear Jim,

I enjoyed reading your essay on Penny Marshall’s Renaissance Man (did you know Marshall also directed Tom Hanks in the film, Big? If you haven’t seen it, that’s another one that you should check out, because it addresses many of the issues you raise about different kinds of education). I saw two major arguments in your essay–one is that education is not just book learning, but it’s also experience gained outside of school, and the other is that learning takes place when the individual has a motivation to learn. These are powerful ideas, and I can see some of the ways you weaved your own narrative about your parents’ expectation that you go to college and other pressures that they placed on you growing up with the examples that you chose from the film. I’d like to go more in-depth on these examples, and perhaps together we can formulate a plan to make this an even stronger paper.

After rereading your first paragraph, I get the sense that your theory has to do with encouraging students to learn in school. You claim that, “our school programs are missing a way to teach everyone…to find something that everyone is interested in.” I see where you’re coming from in that classes often lack a hook or a common idea that students are interested in learning about, or the reasons for learning aren’t always immediately apparent. That, perhaps, more should go into showing students how to be engaged learners or why learning is important and can be fun, rather than just telling students these things. Showing is definitely a more powerful rhetorical tool, especially when you’re writing, and I feel that you can do more of this to empower your own argument. If you decide to focus on this one idea to develop your own theory about learning in your next revision, I would suggest adding an example from your life when your parents put pressure on your to learn and perhaps their words didn’t work on you. Another way would be to talk about a specific example from school when the teacher didn’t spark your interest to learn. Show how that supports your theory, and then talk about Renaissance Man as reinforcing what you see as a need of education–a real reason or a more exciting reason to learn, to care about learning. Let me know if you go this direction, because I want to let give you an essay about this very topic by Mem Fox. When you read what she has to say, you’ll think you’re on the same wavelength!

There’s another thread in your paper that you might want to pick up if you decide not to go the reason route. That other way has to do with what you wrote on page 2, “People put too much emphasis in the idea that good grades equal an educated person, this is a false statement. Many people that have poor grades in school are more intelligent than a person who makes good grades in school.”   I read it as you making a distinction between school learning and “real life” learning. This is another thread with which to center your essay around that you have good examples from the film that you can draw on. Additionally, as I said before, it would be great if you could show the reader an example of this from your own life. What are some things that you’ve learned outside of school, and what are some things that you’ve learned in school? What value do you place on the different things that you’ve learned?

Think over these different approaches, and how you might focus your paper more on one or the other, and meet with me during office hours this week. We’ll sit down and talk about your plan. I’d like to hear about some of the stories and details that you can employ to show the reader more concretely what it is you’re talking about. See you soon!

-Jason

Recovered Writing, PhD in English, Teaching College Writing, Annotated Bibliography of Teaching SF Resources, June 29, 2008

This is the fifty-third post in a series that I call, “Recovered Writing.” I am going through my personal archive of undergraduate and graduate school writing, recovering those essays I consider interesting but that I am unlikely to revise for traditional publication, and posting those essays as-is on my blog in the hope of engaging others with these ideas that played a formative role in my development as a scholar and teacher. Because this and the other essays in the Recovered Writing series are posted as-is and edited only for web-readability, I hope that readers will accept them for what they are–undergraduate and graduate school essays conveying varying degrees of argumentation, rigor, idea development, and research. Furthermore, I dislike the idea of these essays languishing in a digital tomb, so I offer them here to excite your curiosity and encourage your conversation.

Before I could accept my teaching fellowship at Kent State University, I needed to take the graduate seminar, “Teaching College English.” I was fortunate to have the opportunity to take this class from Professor Brian Huot. At the time, I thought my primary concern was putting together my first syllabus, but through the seminar, I learned the importance of meeting student needs, considering outcomes, meeting students on the page, helping students improve their command of rhetoric and multimodality with a portfolio, and considering student work holistically (something that I continue to do with the Georgia Tech WCP’s WOVEN modalities and programmatic rubric).

This second of four Recovered Writing posts from Teaching College Writing is a brief annotated bibliography of teaching science fiction resources. Professor Huot asked us to do research in our specific discipline and report back what we found. This kind of work has become an integral part of my professionalization as an educator (research+pedagogy) and reflective practitioner (how did this other person do that–how can I incorporate/modify/adapt their approach into mine–what worked/didn’t work and how can I make it better?).

Jason W. Ellis

Professor Brian Huot

Teaching College Writing

29 June 2008

Teaching Science Fiction Annotated Bibliography

Attebery, Brian. “Teaching Fantastic Literature.” Science-Fiction Studies 23:3 (Nov. 1996): 406-410.

Instead of focusing his course on Science Fiction, Attebery combines fantasy and SF into one course under the umbrella of the fantastic. Again, this is a literature, and not a composition course, but the important lesson to take away from his essay is that students with fantasy/SF backgrounds, which are not necessarily the same thing, as well as students without an inkling of experience with the fantastic all have something to bring to class discussion. Also, some fantastic literature carries more cultural or historic baggage than students may already be acquainted with, which may break down discussion, or require more lecturing or assigned reading in order to prepare students for engaging a particular text.

 

Bengels, Barbara. “The Pleasures and Perils of Teaching Science Fiction on the College Level.” Science-Fiction Studies 23:3 (Nov. 1996): 428-431.

Bengels builds on examples from Science Fiction and criticism, both on teaching SF, “to address the inherent and unique difficulties of teaching a body of literature that is changing even as we attempt to examine it…to convey the excitement and sense of wonder that continues to set science fiction apart from any other form of literature” (428). Most importantly, she suggests that, “There’s a special sense of community in the sf world that finds its way right into the classroom; new ideas must be bounced off one another, making for very exciting classroom discussions: new words, new worlds, new concepts all to be explored together” (430).

 

Csicsery-Ronay, Jr., Istvan. “The Seven Beauties of Science Fiction.” Science-Fiction Studies 23:3 (Nov. 1996): 385-388.

Csicsery-Ronay begins his essay with this striking line: “Like being hanged, teaching introductory sf courses to undergraduates focuses the mind wonderfully” (385). He is addressing the teaching of Gunn’s SF genre course, but he provides a great framework for introducing students to SF through a handout titled, “WHAT MAKES SCIENCE FICTION SCIENCE FICTION?” (386). This handout, perhaps given after having students read an emblematic SF short story, would be a powerful tool for opening discussion about what constitutes SF and what our students think SF is. Furthermore, he responds to what is implicitly said in Bengels, Gunn, and others when he writes, “My sf texts must also introduce students to important philosophical, social, and literary ideas that they might not encounter anywhere else, given the state of contemporary higher education” (386). This significant accusation reflects the potential of SF to engage students in ideas and critical thought that they would not otherwise encounter.

 

Elkins, Charles and Darko Suvin. “Preliminary Reflections on Teaching Science Fiction Critically.” Science-Fiction Studies 6 (1979): 263-270.

There are some very practical and insightful contributions by Elkins and Suvin in this Marxist essay regarding the teaching of SF.          The authors propose that, “The main and the highest goal of SF teaching–as of all teaching–ought, in our opinion, to be a specific form of civic education” (267). SF is great for inculcating critical thinking, because SF often turns accepted systems upside-down. Introducing students to this and discussing what’s in the text and what the text leaves out should raise their ability to see beneath the surface of the text. Elkins and Suvin go on to suggest that, “Teaching SF…involves description and assessment, interpretation and evaluation; teaching SF is an act of literary criticism fused with the communication of that criticism” (268). In this passage, the authors are not literary saying that SF is literary criticism in the academic sense of an analysis of Shakespeare, but rather, SF is a critical literature that engages social issues. This is the power of SF that is useful for generating discussion in the introductory college writing classroom.

 

Evans, Arthur B. and R.D. Mullen. “North American College Courses in Science Fiction, Utopian Literature, and Fantasy.” Science-Fiction Studies 23:3 (Nov. 1996): 437-528.

Evans and Mullen compiled this list of SF, utopian, and fantasy courses complete with descriptions and book lists from colleges and universities all over the world. It also includes lists of works, authors, and films most often assigned.

 

Finch, Sheila. “Dispatches from the Trenches: Science Fiction in the Classroom.” Extrapolation 41:1 (Spring 2000): 28-35.

Finch writes that SF is a uniquely appropriate genre for stimulating student involvement and discussion, because it serves all the functions of other literature with, “the added distinction of being…a literature of ideas to think about in a peculiarly new way, what Albert Einstein called Gedankenexperimenten” (29). The thought experiment aspect of SF is indeed powerful for generating discussion, because it presents a new view to a (perhaps) mundane subject, and it begs the reader to critically evaluate the thought experiment on the surface narrative as well as what lies beneath. Like Bengels, Finch declares, “SF is a literature of ideas,” which can be employed as a useful tool in developing writing students skills at responding to things that they might not have considered before (31).

 

Gunn, James. “Teaching Science Fiction.” Science-Fiction Studies 23:3 (Nov. 1996): 377-384.

Gunn’s essay primarily concerns his own approaches to teaching SF as a genre course, and he makes the claim that of all of the SF courses available at various schools, “They seem to be as varied as the colleges and universities at which they are taught, and a number seem to address the question of what science fiction is and how to read it, that is, they are genre courses. But I would argue that there should be more” (377). In regard to his own various approaches to teaching SF, he identifies three course themes: 1) “the great books,” 2) “the ideas in science fiction,” and 3) “the historical approach.” He doesn’t address SF in the introductory writing classroom, but I believe his “ideas” theme is appropriate for generating discussion and leading into student essay topics without the course taking on a literature-laden mood.

 

Mullen, R.D. “Science Fiction in Academe.” Science-Fiction Studies 23:3 (Nov. 1996): 371-374.

This is a short history of the introduction of SF into the American college classroom. It includes early course descriptions and book lists.

 

Ontell, Val. “Imagine That! Science Fiction as a Learning Motivation.” Community & Junior College Libraries 12:1 (2003): 57-70.

This essay overflows with numerous examples of SF and fantasy stories, TV shows, and films, and how they may be used to engage our students’ attention and imagination. In addition to all of Ontell’s fabulous lists and contextualizations, she points out how the fantastic is an important learning tool: “Whether the students are in the elementary grades, middle school, high school, or higher, it is the function of teachers and librarians to provide the tools that enable them to question intelligently. Science Fiction provides many vehicles for inculcating those tools in a variety of subjects by stimulating the imagination and thus motivating students to learn” (57). In the writing classroom, building our students’ ability to “question intelligently” is essential to their success as readers and stronger writers.

 

Samuelson, David N. “Adventures in Paraliterature.” Science-Fiction Studies 23:3 (Nov. 1996): 389-392.

Samuelson provides a plethora of author and work successes in his classes. Also, he notes the usefulness of group presentations on particular works or authors to share with the class, and he lauds the use of a “cumulative journal” or portfolio in the classroom.

Recovered Writing, PhD in English, Teaching College Writing, Assignment Design: Team-Based Competitive Blogging with Portfolio Integration, July 1, 2008

This is the fifty-second post in a series that I call, “Recovered Writing.” I am going through my personal archive of undergraduate and graduate school writing, recovering those essays I consider interesting but that I am unlikely to revise for traditional publication, and posting those essays as-is on my blog in the hope of engaging others with these ideas that played a formative role in my development as a scholar and teacher. Because this and the other essays in the Recovered Writing series are posted as-is and edited only for web-readability, I hope that readers will accept them for what they are–undergraduate and graduate school essays conveying varying degrees of argumentation, rigor, idea development, and research. Furthermore, I dislike the idea of these essays languishing in a digital tomb, so I offer them here to excite your curiosity and encourage your conversation.

Before I could accept my teaching fellowship at Kent State University, I needed to take the graduate seminar, “Teaching College English.” I was fortunate to have the opportunity to take this class from Professor Brian Huot. At the time, I thought my primary concern was putting together my first syllabus, but through the seminar, I learned the importance of meeting student needs, considering outcomes, meeting students on the page, helping students improve their command of rhetoric and multimodality with a portfolio, and considering student work holistically (something that I continue to do with the Georgia Tech WCP’s WOVEN modalities and programmatic rubric).

In this first of four Recovered Writing posts from this seminar, I am sharing a project with support for portfolios. Since I wrote this project, technology and teaching have come a long way, but the ideas in this assignment can be repurposed in many different ways.

Also, I enjoyed looking at the attached screenshots of WordPress circa 2008. I miss the earlier design for WordPress.

Jason W. Ellis

Professor Brian Huot

Teaching College English

1 July 2008

Competitive Team Blogging with Portfolio Integration

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BoingBoing crew photo by Bart Nagel, http://boingboing.net/2006/07/30/astronauts-reveal-bo.html

Introduction and Pedagogical Concerns

The five, seemingly innocuous persons in the photograph on the title page are the eccentric collaborative technoculture team of the insanely popular BoingBoing.net blog–“A Directory of Wonderful Things.”[1] They are Mark Frauenfelder, David Pescovitz, John Battelle, Cory Doctorow, and Xeni Jardin. BoingBoing.net began as a ‘zine in the 1990s by Frauenfelder, and later oozed online and evolved into the A-list blog that it is today. Through its various mediums–print, website, and blog–it has been a collaborative effort encompassing the various talents of different persons with complementary skills, abilities, and loves. Additionally, the collaboration of the “Boingers” is not only very synthetic, but also technically required in order to generate the copious content posted to their blog every day. Without this on-going large textual corpus, the popularity and repeat viewership of BoingBoing.net would not have been possible or sustainable.

I believe that BoingBoing’s collaborative blogging model has something to offer our students in an ever-increasingly technologically mediated world. Also, the writing aspect of blogging, which has been talked about in the literature by numerous persons, is a useful tool in the freshman composition and college writing classroom. Another important aspect of the blog is the archival aspect of blogging that lends itself as complementary to a portfolio centric writing classroom. However, team blogging necessitates some aspect to engender caring on the part of students in order to distinguish it as something more than merely writing online. This is achieved by forming groups to create a themed blog based on their major or interests, and requiring each team to report to the class as a whole on the “success” of the blog in terms of viewership and comments. This friendly competitive atmosphere will motivate students to work above-and-beyond in order to have better statistics than their rival groups. Therefore, team based blogging should be considered as another viable multimodal model for college writing courses, because it fulfills a number of important developmental tasks promoted by the Kent State Writing Program.

Competitive team blogging with portfolio integration for the College Writing I classroom is a pedagogical tool aimed at achieving several important goals: providing students a space and theme they are interested in, increasing student investment in a work that they “own” outside the context of the classroom, and improving teacher response by emphasizing explanation over marginal remarks, and embracing multimodal compositional practices by shifting student portfolios from physical media to the Internet.

The theory behind competitive team blogging is that students will care more about the creation, maintenance, and contribution to a collaborative work focused around something that interests them than artificial, individual assignments to be handed into the teacher. Their care for their blog and their writing posted to it will come with an audience larger than the class, department, and school. Reminding students of this broader audience, combined with their real-world data showing the origin of the viewers, should motivate them to work harder on this than assignments for a teacher-only audience.   Additionally, team blogs allow for all written work done by the student to be contained in an archive that’s always present, which encourages students to look back at past work, and more easily prepare revisions based on their own considerations and those provided by their team and the class as a whole.

This document on the implementation of competitive team blogging with portfolio integration contains a step-by-step methodology, a worksheet of topics to cover regarding collaborative blogging, a student handout on blogging and team blogging, and illustrated instructions on creating a collaborative blog with WordPress.com.[2] Additionally, this teaching tool is intended as a guide for teachers, and is aimed at that audience. Each teacher who implements team blogging should tailor its employment to his or her class. Obviously, this pedagogical tool would be much more difficult for someone with a 4/4 teaching load as opposed to a 1/2 teaching load. However, I encourage alterations to this project that makes it practical and meaningful for you and your students.

Methodology

  1. Introduce your students to your methodology and the reasons behind it. Be up-front and open with your students regarding competitive team blogging with portfolio integration. For example, tell them that they’ll be doing “team blogging” all semester, and maintain an emphasis on their contributions to their blogs throughout, and stand firm on the place of team blogging in the classroom. I don’t mean that you should not be a reflective practitioner, but the core idea of team blogging should be maintained and other alterations to lessons and assignments should be made if need be. Additionally, some students may or may not blog, and they may not be accustomed to extended teamwork. You’ll have to teach your students how to do these things, as well as teach them about other aspects of online content creation and commenting (these may be extended throughout the course).
  2. Gather student information. It’s expedient for the teacher undertaking the semester-length team blogging exercise to assign members to each of the groups. This is easily accomplished during the first week of class by requiring all students to email the teacher a numerated list of at least three interests or hobbies as well as their major. The teacher should tell the students the purpose of this exercise, and allow friends to request making their own team as long as they provide a convincing explanation for their team’s focus.
  3. Form teams. Following the gathering of student interests, form the class into four or five teams based on similar or complementary interests. Explain to the class that this will form the basis of their collaborative work over the course of the semester. Allow the students time to get to know one another, exchange contact information, and decide on the final theme and title for their team’s blog.
  4. Develop team roles. Have students review and write critiques or reports about popular collaborative blogging sites such as Gawker, Boing Boing, etc. before class. In class, open discussion about the purpose of blogs and the way in which collaborative blogs handle content creation from a number of authors. This means, guide them through understanding the roles of webmasters, editors, and content contributors. Finally, have the teams pick their first round of roles, which will alternate periodically throughout the semester in order to allow each member a chance to wear a different hat and experience different responsibilities.
  5. Create blogs. Devote a class in the computer classroom to guide the students through creating a collaborative blog with a free service such as wordpress.com (see Appendix 1 for instructions).
  6. Integrating blogs into the writing classroom. Non-graded individual assignments should be tailored as posts for the student’s team blog. If your class isn’t always in a computer classroom, require students to type up and post their handwritten class work before your next meeting.
  7. Building team competition. After four weeks of blogging, prepare your students for weekly group presentations. These presentations should be about five minutes in length for each team, so that no more than half a class is devoted to them. These presentations should include the following information: the editor’s choice of best post, the group’s choice of best post, site traffic numbers, and other interesting information such as incoming links and search terms visitors to their blog used to find their posts. Other ways of increasing competition is to offer prizes at the end of the semester for the best blog, and this can be decided by the teacher or by the class through the use of ranked voting (i.e., the class rates each team as either 1st, 2nd, 3rd, etc, and the team with the least amount of votes–meaning higher ranking–wins). Cheap prizes such as KSU keychains or t-shirts may be given to the winning team, or the teacher may solicit local businesses for donated giftcards.
  8. Team blog as portfolio. The fearless teacher combines portfolios with team blogs. This would entail having students post all of their assignments, including the required graded papers, to their team’s blog. The teacher may use the comments on those posts to leave feedback, encouragement, and critique on each student’s graded post. Additionally, students will have the opportunity to revise their papers in a new posting, which they must link back to their original post. At the end of the semester, each student must write a post that includes links to their last revisions, which in turn will link back to their earlier drafts. This nesting should facilitate easy evaluation of the portfolio assignments.
  9. Reflective Assignment. For your students’ reflective assignment, they should reflect on the blogging process as well as the writing process that you model for them throughout the semester. They will realize that they will have produced an extraordinary amount of material individually and even more so cooperatively through semester-long blogging, which will add to their developing sense as a writer.

Topics of Discussion Regarding Collaborative Blogging

  • How is online content created? It isn’t “automagically” generated by machines. Real people, with real investments in what is being communicated, are behind the text that you read on your favorite blogs.
  • Online etiquette and protocol. Encourage openness and cooperation and warn against flaming. Even though our blog writing exists out in the Internet cloud, a human being created it, and we must respect the person behind that content. It’s okay to disagree and constructively argue with a writer about his or her content, but it’s not okay to attack the person behind the writing.
  • Team roles. Talk about the differences between the roles of editor and contributors. Encourage group cohesion and support. The editor’s role is not to discourage team members, but instead to encourage them. Additionally, all team members should comment on and provide support for the other members.
  • Intergroup roles. Members of each group should be required to comment on the postings of the other groups. These comments need not be about the content of the postings, but more importantly the ideas and argument communicated by the post’s writer to an online audience.
  • Citations and plagiarism. As in traditional writing, all works and sources should be cited in blog posts. WordPress has a quoting feature, and BoingBoing.net has a good model to follow regarding proper attribution.

Handout for Students

Team Blogging

So, what’s blogging exactly?

Blogging is the maintenance of an online journal, available for all to read, that reflects on your life or a particular subject. For example, I’m a blogger. I maintain a blog about Science Fiction at dynamicsubspace.net. Each day, I write something relating to SF, teaching, or my personal life. Another example is boingboing.net, which is billed as “A Directory of Wonderful Things.” It’s run by several bloggers who post about interesting, political, and fun things that they find on the Internet.

You’re Blogging Now!

Team blogging is the basis for the most popular blogs on the net. Boing Boing, Slashfilm, Gawker, Valleywag, Slashdot, and many others write enormous amounts of content for their readers, because the task of writing is distributed amongst a number of contributors and administered by an editor. Over the course of the semester, each of you will get to experience the different roles in team blogging by developing your own blog in groups. Your team blogs will have a theme or subject that all members will tailor their writing towards. Also, everyone will post their assignments on the team blogs for your peers and I to read and respond to. I want you to own these blogs, so make as much of them as you can for a particular audience with an interest in your theme. To make things more interesting, everyone will have a chance at the end of the semester to vote on the best blog, and that team will get a prize!

I guarantee you that at the end of the semester you won’t believe how much you’ve each written, and how much you’ve progressed as writers. Furthermore, your blogs will explode with content that will interest many more people than students and myself.

Creating a Collaborative Blog with WordPress.com

  1. Sign Up Now! Direct your web browser to wordpress.com and click on the large icon labeled, Sign Up Now!
    image003
  1. Have one student create the blog’s administrator account using the Gimme a blog! option, and then have each team member go through the signup process with the Just a username, please option.image005
  2. Login to WordPress.com using the blog’s administrator account. The pages that follow are from my blog’s Dashboard—dynamicsubspace.net.image007
  3. Click on My Dashboard (upper left). This is the heart of the blog where all management takes place. Now, click on Users (right) to invite the individual team members to the blog.image009
  4. The Manage Users area allows for adding contributors to the blog. At the bottom of the page, have the teams invite each member by their registered email address. Add everyone as Editor so that they can serve that function when called on, as well as contribute to the blog.image011
  5. Now that the housekeeping stuff has been taken care of, have the students log out of the administrator account, making sure to write down that information in a safe place, and log in with their own accounts. Once logged in, have them click on Write and begin exploring the text editing capabilities of WordPress.image013
  6. The Blog Stats are essential for team reflection on the progress and audience of their blog. Returning to “My Dashboard” and clicking on Manage, and then Blog Stats yields a wealth of information about the blog’s readers. This information should be utilized in the weekly team update reports. The graphic below shows the number of visitors over time.image015
  7. Blog Stats continued. These stat boxes show referrers to the blog and the most visited posts on the blog.image017
  8. Blog Stats continued. These stat boxes show search engine terms that lead visitors to the team’s blog, and clicks made by readers from their blog to external sites.image021
  9. Blog Stats continued. At the bottom of the statistics page are raw numbers of views and posts, and incoming links to their blog from other websites and blogs.
  10. Design considerations and other explorations. Encourage your students to try out different themes (My Dashboard > Design > Themes) and other design considerations that reinforce their rhetorical choices.image023
  11. Have students reflect on their own work as well as the work of others in class and on the Internet at large. Who knows, maybe they’ll develop the next “Boing Boing” success level team blog!image025

 

 

ENGL1101 Project 2 Videos: Storytelling Animals Telling Us Stories Based on John Medina’s Brain Rules

In their Project 2: Storytelling Animals Assignment [download here], my current ENGL1101 students made these videos that layer storytelling with educational content based on one chapter from John Medina’s Brain Rules. During the production of the videos, each team collaboratively wrote an outline, wrote a script, drew storyboards, shot footage, edited their footage into these videos, and uploaded them to YouTube. Individually, each student wrote an account of their composition process and a reflection on how their project achieved WOVEN (written, oral, visual, electronic, and nonverbal) multimodal synergy. The title for the assignment comes from Jonathan Gottschall’s Storytelling Animals, which the students read and discussed in parallel with project 2. The students had already read all of the chapters in Medina’s Brain Rules before beginning Project 2. Now, on with the show!

Section G1

Team: Tech Titans | Brain Rules, Rule 2: Survival

Team: The Mean Girls | Brain Rules, Rule 4: Attention

Team: All the Girls in ENGL1101 | Brain Rules, Rule 11: Gender

Section P

Team: Alpha Hawk | Brain Rules, Rule 7: Sleep

Team: Team Dose | Brain Rules, Rule 12: Exploration

Team: Team Whooch | Brain Rules, Rule 1: Exercise