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


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
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.

Site Update: Course Syllabi and Assignments Added Under Teaching Section

Over the weekend, I added new pages under the Teaching menu option for the courses that I have taught, am teaching, and will teach. Each course page includes descriptions, syllabi, and assignments arranged chronologically by school:

If any of these materials might be useful to your course and assignment design, please feel free to adopt or modify as needed.

While assembling these pages, I discovered that some assignments and supporting materials were missing. Of course, it is best pedagogical practice to reflect and archive these kinds of materials for reference, improvement, and growth.

Teaching at City Tech, Fall 2014, Syllabi for ENG 1101 and ENG 3771

For my first teaching assignments at City Tech, I received two sections of ENG 1101 English Composition I and one section of ENG 3771 Advanced Career Writing (a professional and technical communication course for students in these majors: Legal Assistant Studies, Communication Design, Electrical Technology, and Telecommunications Engineering Technology). I created syllabi that meet and exceed the outcomes defined for these courses while carefully considering the material conditions of my students in and out of the classroom. You can find copies of my Fall 2014 syllabi here: ellis-jason-eng1101-syllabus and ellis-jason-eng3771-syllabus.

We are entering the fourth week today, so we are picking up momentum and getting good work done. Students in ENG 1101 are working on a brand new take on my “Writing the Brain” assignment, and the students in ENG 3771 are building job application portfolios while getting plenty of time to interact with one another and cooperate on the revision process. With a strong start, engaged students, and stimulating projects, I’m looking forward to what I believe will be a great first semester at City Tech.

Atlanta Science Fiction Society Talk on Teaching SF at Georgia Tech, Tomorrow

Atlanta Science Fiction Society logo.
Atlanta Science Fiction Society logo.

If you’re in the area tomorrow, you can catch my talk on teaching science fiction at Georgia Tech at the Atlanta Science Fiction Society meeting at the Sandy Springs Fulton County Library (395 Mount Vernon Hwy NE, Sandy Springs, GA). The meeting begins at 2:30PM, and my talk should begin around 3:30PM. I will bring copies of this handout to the meeting. My talk with focus on the history of teaching SF at Tech, my historical approach to teaching SF, and my emphasis on using SF as a way to develop student literacies in writing, new media, and haptics.

Recovered Writing, PhD in English, Teaching College Writing, Quiz, What do people do when they write? June 16, 2008

This is the fifty-fourth 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 third of four Recovered Writing posts from Teaching College Writing is my response to a quiz on an assigned reading on “What do people do when they write?” I can’t find the essay/handout that we were responding to, but I think that some of the thoughts that I put down regarding mechanics/surface vs. content/depth are interesting.

Jason W. Ellis

Professor Brian Huot

Teaching College Writing

16 June 2008

“What do people do when they write?” Quiz

1)  What can you say about the kinds of responses from students in the two groups?  Are the first group of responses for each grade level different than the second group–what are the differences or similarities for each group in each grade level?

The responses from students in the first group of each grade level are typically about thought, expression, and explanation, and the second group responses of each grade level are about practices and methodology.  Linking these responses back to the class, the first groups are aligned with function, and the second groups are aligned with form.

In the third-, fourth-, and fifth-grade responses, the first group overwhelming uses the following key words and phrases:  think, open their minds, and share…thoughts.  Also, they write for a purpose such as to relax, avoid boredom, or to communicate with friends and relatives.  The second group’s responses focus on practical matters and the mechanics of writing.  For example, these students talk about holding the pencil, sitting down to write, making letters, moving the hand and pencil, and wasting ink and pencil lead.

Again, the responses of the first group of ninth graders are generally about expression.  They “tell about things,” “get stuff across,” and “express their thoughts.”  The responses from the second group are, like the second group of third to fifth graders, about the physicality of writing.  For example, they “just write stuff down,” “hold a pencil and move their hands,” and “put the point of the pencil to the paper and start making words and letters.”  There are exceptions in both groups that could be interpreted as belonging to the other group if the groups are divided based on function and form.

The college freshmen groups are also split along lines of function and form.  The first group is largely about conveying, explaining, translating thoughts into words, and revealing thoughts, ideas, and emotions.  The second group of college freshmen is more closely aligned to the first than the other two grade levels, because there are some responses about expression and communication.  However, the majority of the responses concern mechanics (e.g., “usage and grammar”) and writing methods (e.g., “First you pick your topic, then you make sure you have enough information.  Then you rewrite and check the spelling and copy it down” and “They express their overall views on a given topic and later draw conclusions in a patterned coherent fashion”).  Also, there’s a response that describes the act of writing.


2)  Do you see any similarities across grade levels for each of the groups?  Are there certain characteristics for either group one or two responses?  What are those characteristics?

In general, the responses of the first group of each grade level are about the function of writing–i.e., communication and the expression of ideas, and those of the second group of each grade level are about the form of writing–i.e., the act of writing and methods of writing.


3)  Considering your answers to the first two questions, what variable (consideration, category, quality) did the researchers use to separate the different groups of responses within each grade level?

Considering our readings of the past week, and the writing concept that “form follows function,” it seems that the responses are grouped based on writing ability.  The first group in each grade level has stronger writers, and the second group respondents are weaker writers.  The stronger writers understand the function of writing, because they’ve internalized that through their acquisition of writing.  The weaker writers respond by describing the literal action of writing or process of using the plug-and-chug method of writing an essay in high school.  They are thinking about the surface level of writing rather than what lies underneath as did the first group respondents.

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.

How to Build a Sparring Lightsaber with Parts from Home Depot and Spare Parts (with thoughts on learning and haptics)

Photo courtesy of Ryan Cox.
Photo courtesy of Ryan Cox.

My cousin Ryan Cox is a longtime practitioner of a variety of martial arts including kung fu and tai chi. Ryan and his two older brothers–Ian and Jarret–grew up learning, sparring, and developing uncanny skill in hand-to-hand combat and weapons sparring. While Ryan and his brothers have developed rhizomic networks to enhance their abilities and pass on what they have learned to others, Ryan has went the most far afield when he traveled to Wudang Mountain to train with the kung fu monks who reside there.

Photo courtesy of Ryan Cox.
Photo courtesy of Ryan Cox.

When we were younger, I remember myself being the one drawn to the Star Wars mythos more than anyone else in my family, but now Ryan tells me that he was always interested in the Jedi, their mystique, and their lightsabers. In more recent years, he has learned a lot of the backstory of the Star Wars universe from books and video games. His knowledge in those realms far outstrips my own.

So, I was intrigued when he began talking with me about building his own lightsaber for demonstrating his swordmanship and possibly sparring if the “blade” were strong enough to withstand strikes. The guide that follows illustrates the first lightsaber that I built for Ryan in the fashion of General Rahm Kota’s. I used off-the-shelf parts easily obtained at Home Depot or any hardware store. Since I built this lightsaber, Ryan has modified it more, and I have built two lightsabers for myself–one that resembles Luke Skywalker’s Return of the Jedi lightsaber and one that resembles Darth Maul’s The Phantom Menace double bladed lightsaber. This guide focuses on Ryan’s “Mark I” lightsaber.

Pedagogically, I promote the idea that haptics, building, and making are integral parts to any kind of education. We are embodied beings who do things physically in the world–whether it be in real life or online. I enjoy building things in my own time as another way to think about things–in this case, Star Wars, science fiction, Jedi mythos, world building, canon vs. noncanon, and design considerations: rhetoric of technology, aesthetics, practicality, etc. In Ryan’s case, haptics, proprioception, and movement are integral to his learning and lived experience. I am looking forward to learning from him with this artifact that I designed and built. The modes are the same–physicality, materiality, and haptics–but our efforts converge from different directions for a kind of haptic, learning synergy.

I began the project by assembling the parts that I needed for creating the lightsaber’s hilt and belt clip. I carried an image of Rahm Kota’s lightsaber on my iPhone and went to the plumbing aisle of my local Home Depot.


These parts included:

  • 6″ x 3/4″ galvanized steel pipe
  • 3/4″ coupling
  • Two 3/4″ to 1/2″ coupling (one for display and one for sparring with permanently installed “blade”–these two couplings are interchangeable)
  • “Close” 3/4″ pipe (approximately 1 1/2″ long)
  • 3/4″ cap
  • D-ring
  • Carabiner
  • Hose clamps

Roughly, these parts are assembled to create the lightsaber:


Other parts that I used for this build include:

  • 1/4″ white nylon rope (grip wrap)
  • 36″ x 1/2″ oak dowel rod (scrapped due to paint problem)
  • 48″ x 1/2″ paint brush rod (cut to 36″ and replaced the oak dowel rod)
  • Doorbell button assembly (for parts)
  • 80mm computer case fan (for electromagnet assembly)
  • JB Weld
  • Rustoleum Florescent Yellow Paint

To create the lightsaber’s handle, I screwed all of the handle components together except for the 3/4″ to 1/2″ coupling like this: 3/4″ cap | 6″ x 3/4″ pipe | 3/4″ to 3/4″ coupling | 3/4″ close pipe.


Then, I prepared the nylon rope to create the grip on the two pipe sections (6″ pipe and close pipe) by burning frayed ends to melt the nylon.


Beginning at the business-end of the lightsaber, I tucked a small piece of rope under the first wrap against the 3/4″ coupling to hold the rope in place and prevent unraveling.


At the top end, close to where the 3/4″ to 1/2″ coupling (or lightsaber emitter/business end), I created a loop with the rope under the last wrap, which I ran the last wrap through and pulled into the wrap, which hid the end of the rope under the wrap.



I cut the loose ends.
lightsaber-DSC02023Beginning on the other side of the 3/4″ coupling, I repeated these steps with the longer wrap of the 6″ pipe section. First, a small piece under the first wrap.


I pulled the rope tight around the pipe and pushed each wrap down to keep the grip as tight as possible.lightsaber-DSC02041

Mose tried to help with the process as much as possible.lightsaber-DSC02043

At the end of the 6″ long pipe, close to where the end cap goes, I placed the D-Ring and ran the rope through its eye to connect it to the handle.


As in the shorter section wrap, I created a loop and pulled the end of the rope through and under the last lines of wrap to hide the end and prevent the grip from unraveling.


Finally, I installed the cap. Before doing this, I wrapped the grip higher than necessary so that the the cap would compress the wrap when tightly screwed onto the 6″ pipe.lightsaber-DSC02052

Since Ryan would likely bang his lightsaber when sparring, I wanted to make it as practical as possible while giving it a technological appearance. First, I tried attaching a circuit board from an average doorbell button with two hose clamps.

lightsaber-DSC02053 lightsaber-DSC02055 lightsaber-DSC02057

While I thought this fit the rugged look that Ryan might like for his lightsaber, I thought that it would be more practical to use only one hose clamp and affix the doorbell components with JB Weld after removing them from the circuit board.


I liked this configuration best. The hose clamp protects the switch, lights (non-functional), and resistor.

Next, I wanted the display emitter on the deactivated lightsaber (3/4″ to 1/2″ coupling) to look “realistic,” so I pulled the electromagnet from an 80″ computer fan, crushed it with my channelocks, and inserted it into the 3/4″ end of the 3/4″ to 1/2″ coupling. Repurposing the electromagnet draws on a visual/physical rhetoric of technology in the same way that movie props and set design use this for world building, extrapolating, and establishing plausibility.

lightsaber-DSC02098 lightsaber-DSC02088

The next phase of the lightsaber build involved the other sparring emitter. I needed to rigidly attach a wooden blade to the second 3/4″ to 1/2″ coupling in the 1/2″ end of the coupling and paint it to match the yellow blade color that Ryan sought (signifying the Consular Jedi).

I began by taking an oak dowel rod and whittling one end enough to screw it into the 1/2″ end of the 3/4″ to 1/2″ coupling.

lightsaber-DSC01976 lightsaber-DSC01981 lightsaber-DSC01982 lightsaber-DSC01983

Then, I used JB Weld to permanently connect the coupling to the dowel rod.


I had to make sure that I did not put too much JB Weld on the tip closest to the 3/4″ pipe thread, which screw into the “close” end of the lightsaber when the blade needs to be drawn.lightsaber-DSC01989

I made sure that it was centered and straight.

Finally, I painted the dowel rod above the coupling with a primer and then with the florescent yellow.



Unfortunately, I misread the spray paint cans and ended up with a mess when the florescent yellow would not stick to the dried primer (I mistakenly picked up white primer + paint instead of simply primer).

Luckily, I had a paint brush handle in the garage that was long enough to serve the same purpose even if it might be made out of pine instead of oak.


I cut the paint brush handle down to 36″.


Set it up for painting with the remaining florescent yellow paint.


Many coats later, it was a bright yellow befitting a Consular Jedi!

After the paint dried, I screwed the metal end of the brush into another 3/4″ to 1/2″ coupling and bonded the blade to the coupling with JB Weld.

lightsaber-DSC02094 lightsaber-DSC02095 lightsaber-DSC02096

After everything had dried, I mated the blade with the lightsaber handle.

lightsaber-DSC02102 lightsaber-DSC02103

I was happy with the outcome of the lightsaber in deactivated mode, too.

lightsaber-DSC02092 lightsaber-DSC02091 lightsaber-DSC02086

I gave the lightsaber to Ryan as a birthday present. I included this explanatory diagram that explains how the saber is more than simply parts (e.g., the rope is from the same bundle that Ryan and I used when we cut trees down in my yard last year).lightsaber-DSC02085

Since I build this lightsaber, Ryan removed the nylon rope grip and improved it with three layers of bank line or tarred twine. The result is quite impressive aesthetically and practically!

Photo courtesy of Ryan Cox.
Photo courtesy of Ryan Cox.

I will post future posts on the lightsabers that I have built for myself and examples of our sparring (when we have the time for Ryan to teach me some things).

UPDATE: Readers asked me to post photos of my other lightsabers–one inspired by Luke Skywalker’s lightsaber in Return of the Jedi and Darth Maul’s double-bladed lightsaber from The Phantom Menace. When I built these sabers for myself, I didn’t take as many photos of the process as in the lightsaber above for Ryan, but these photos should illustrate the basics of how to build similar DIY lightsabers.

Luke Skywalker ROTJ Lightsaber and Stand

IMG_4671This was the first version of Luke’s lightsaber. I am working from memory as I do not have the lightsaber in front of me to give the exact specifications. I believe that working from the left to the right: 3/4″ to 1/2″ reducer, 1/2″ threaded pipe 1″ long, 1/2″ to 3/4″ bushing, 3/4″ coupler, 3/4″ pipe 7″ long, 3/4″ coupler, 3/4″ to 1/2″ bushing, flat washer with eye bolt affixed (epoxied into bushing). The orange lightsaber control attached to the first coupler is from a computer motherboard heatsink (sawed in half with a hacksaw) and epoxied to the coupler. The wrap is nylon rope.

IMG_4761In the next iteration, I replaced the nylon rope wrap with rubber o-rings that I ordered online (pack or 40 or 50). To install the o-rings, remove the last coupler on the right and roll down the o-rings one-by-one.

To display Luke’s lightsaber, I used smaller pipes attached to a wood base (two different sizes of lumber screwed together through the metal base connected to the pipes).

Darth Maul’s Double-Bladed Lightsaber

IMG_4672I built this Darth Maul inspired lightsaber as a way to figure out an easy way of having a two bladed saber that can split into two separate lightsabers. My solution was to use quick disconnect air hose fittings.

IMG_4673In order to make this work with the larger pipes used for Darth Maul’s lightsaber, which appears heftier in Episode I, I had to use two bushings to reduce down to the smaller size of the air hose fittings.

IMG_4593Here is the double-bladed lightsaber connected.

IMG_4594Here is the double-bladed lightsaber disconnected into two separate sabers. I didn’t build blade attachments for this saber, so I couldn’t test how much pressure/stress could be applied to the quick disconnect coupler that holds everything together. I suspect that this kind of assembly can only be used for show rather than demonstration of saber techniques (as I had constructed the two sabers above). With further modification, I believe that someone could sheath the quick disconnect coupler with metal so that the saber appears more solid from end-to-end instead of having this smaller, weak point in the middle as this demonstration saber appears.

I hope these extra photos and explanation help. Good luck with your builds, and please share any photos that you post online of your sabers in the comments below!