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Costello, Lisa A. Research Paper to Blog Post. TETYC, Dec. 2015. Posted 02/05/2016.

Costello, Lisa A. “Blogging a Research Paper? Researched Blogs as New Models of Public Discourse.” Teaching English in the Two-Year College 43.2 (2015): 180-94. Web. 31 Jan. 2016.

Lisa A. Costello advocates for a “hybridized assignment” (180) in which students compose a traditional research paper and blog posts on the same topic. She researched the effects of this assignment by analyzing writing samples from a first-year course at a “regional college in the Southeast” (185). Her materials included “rationale essays” in which students reflected on their choices in responding to the assignment and comments on anonymous evaluations (185). The assignment called for the research essay to explore a problem and a range of solutions and the blog post to advance a specific solution (183-84).

Costello designed this assignment to respond to her conclusion that her students’ research projects were addressed to her as the primary audience and that students seemed reluctant to express their opinions (181). One goal in the assignment was to provide a richer sense of audience and to encourage students to recognize and experience how including personal expression in their writing affected their rhetorical presence (182).

Costello cites Kathleen Blake Yancey’s call for attention to “new models of writing” (qtd. in Costello 180; emphasis original). Yancey also urges teachers to attend to the need for students to engage more deeply in public forms of writing, especially online writing, which, according to Costello, she characterizes as “everywhere” (qtd. in Costello 180). At issue is student ownership of writing and their awareness that their writing can have effects beyond the classroom (181). Costello argues that blogs can encourage this sense of ownership, especially by tying into writing that students already do by choice in various digital venues (181, 185). Her goal is to

help students create a bridge between the writing they “want to do” with writing they “have to do” by framing that writing as personal and a part of public discourse; it is writing that has real consequences. (181)

For Costello, the hybrid assignment exploits the advantages of the two genres. While blog writing can incorporate the personal as well as invite response, thus raising students’ stake in their work, it can veer toward unsupported personal opinion; to be expert enough on a topic to write with authority requires research and critical evaluation (184-85). Costello contends that writing the research paper first provides students with an increased sense of authority and confidence (186). At the same time, the possibility of a responsive audience resulting from a blog promotes an awareness of varied perspectives that may be missing from an academic research project that will only be seen by the teacher (185).

Costello incorporates these points into her three reasons for choosing blogs as an adjunct to a research paper: Unlike Facebook and Blackboard, blog sites permit a degree of customization that increases students’ sense of ownership; blogs promote interactivity that expands perspectives; and they support the plank of composition’s mission that values participation in civic discourse (182-83). She sees combining the “new form” discourse enabled by blogs with “‘old form’ research” as a way for students to develop and communicate “nuanced opinions” (183).

She further contrasts blogs with print options like brochures and chapbooks, which reach limited, defined audiences and do not offer the breadth of rhetorical demands inherent in blogs. Blogs, she states, provide participation that is “immediate and interconnected” (184). She sees the “potential” for “instant response” as immediacy, and notes the interconnectivity achieved when students incorporate links to their research in their blogs, knowing that readers can evaluate the information independently (184; emphasis original). Moreover, blogs, unlike other formats, allow for other tools to invite audience interaction, such as videos, polls, and games (185).

Costello notes that blogs may not generate responses, but she contends that even a print communication like a brochure with a specific audience can be easily ignored. She argues that students’ sense of a virtually infinite audience alerts them to the rhetorical possibilities embedded in their positions; calling that audience into being shapes students’ sense of a public to address (186, 187). Furthermore, she writes, the expanded audience increased the odds of a response (187).

She notes that some students still feared expressing their views to possibly hostile readers (186); a student who did receive a challenge to his position asked her to guide his response and had to be redirected to understand that “this continuing dialogue in the public realm was now up to him” (187).

Costello provides student writing samples in support of her claim that converting the research assignment to a blog post resulted in such gains as “stronger personal stance[s],” increased support for points, more direct and effective organization, and an expanded recognition of varied perspectives (188-90). Of one student’s blog post, Costello writes, “This entry underscores not only that the audience is present, but that [the student] is a part of that public that can effect change” (190).

Limitations include the small sample size, the possibility that constraints on access to blogging platforms may affect participation, and the degree to which the blog format itself challenged some students (190). Some students’ sense, as one student wrote, that they were “vulnerable” as a result of expressing themselves to a blog public also affected the results (qtd. in Costello 191). Costello responds that despite the difficulties the assignment may have presented to some students, the act of venturing into a public forum “got them thinking about the implications” of presenting a position in such a space (191). She cites Howard Rheingold to argue that while possession of a tool does not guarantee efficacy in its use, awareness of the potential of a tool and practice with such tools increases agency in new media environments (192).

Although recognizing that not all students will adapt easily to the new rhetorical demands of blogs, Costello reports “[i]ncreased interest and engagement,” “increased commitment to their topics,” and “increased . . . complexity and depth” in their discussions of their topics (191). Students with practice in such rhetorical flexibility, she writes, “may be more likely to become active participants in their worlds” (192; emphasis original).


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Bourelle et al. Multimodal in f2f vs. online classes. C&C, Mar. 2016. Posted 01/24/2016.

Bourelle, Andrew, Tiffany Bourelle, Anna V. Knutson, and Stephanie Spong. “Sites of Multimodal Literacy: Comparing Student Learning in Online and Face-to-Face Environments.” Computers and Composition 39 (2015): 55-70. Web. 14 Jan. 2016.

Andrew Bourelle, Tiffany Bourelle, Anna V. Knutson, and Stephanie Spong report on a “small pilot study” at the University of New Mexico that compares how “multimodal liteacies” are taught in online and face-to-face (f2f) composition classes (55-56). Rather than arguing for the superiority of a particular environment, the writers contend, they hope to “understand the differences” and “generate a conversation regarding what instructors of a f2f classroom can learn from the online environment, especially when adopting a multimodal curriculum” (55). The authors find that while differences in overall learning measures were slight, with a small advantage to the online classes, online students demonstrated considerably more success in the multimodal component featured in both kinds of classes (60).

They examined student learning in two online sections and one f2f section teaching a “functionally parallel” multimodal curriculum (58). The online courses were part of eComp, an online initiative at the University of New Mexico based on the Writers’ Studio program at Arizona State University, which two of the current authors had helped to develop (57). Features derived from the Writers’ Studio included the assignment of three projects to be submitted in an electronic portfolio as well as a reflective component in which the students explicated their own learning. Additionally, the eComp classes “embedded” instructional assistants (IAs): graduate teaching assistants and undergraduate tutors (57-58). Students received formative peer review and feedback from both the instructor and the IAs. (57-58).

Students created multimodal responses to the three assignments—a review, a commentary, and a proposal. The multimodal components “often supplemented, rather than replaced, the written portion of the assignment” (58). Students analyzed examples from other classes and from public media through online discussions, focusing on such issues as “the unique features of each medium” and “the design features that either enhanced or stymied” a project’s rhetorical intent (58). Bourelle et al. emphasize the importance of foregrounding “rhetorical concepts” rather than the mechanics of electronic presentation (57).

The f2f class, taught by one of the authors who was also teaching one of the eComp classes, used the same materials, but the online discussion and analysis were replaced by in-class instruction and interaction, and the students received instructor and peer feedback (58). Students could consult the IAs in the campus writing center and seek other feedback via the center’s online tutorials (58).

The authors present their assessment as both quantitative, through holistic scores using a rubric that they present in an Appendix, and qualitative, through consideration of the students’ reflection on their experiences (57). The importance of including a number of different genres in the eportfolios created by both kinds of classes required specific norming on portfolio assessment for the five assessment readers (58-59). Four of the readers were instructors or tutors in the pilot, with the fifth assigned so that instructors would not be assessing their own students’ work (58). Third reads reconciled disparate scores. The readers examined all of the f2f portfolios and 21, or 50%, of the online submissions. Bourelle et al. provide statistical data to argue that this 50% sample adequately supports their conclusions at a “confidence level of 80%” (59).

The rubric assessed features such as

organization of contents (a logical progression), the overall focus (thesis), development (the unique features of the medium and how well the modes worked together), format and design (overall design aesthetics . . . ), and mechanics. . . . (60)

Students’ learning about multimodal production was assessed through the reflective component (60). The substantial difference in this score led to a considerable difference in the total scores (61).

The authors provide specific examples of work done by an f2f student and by an online student to illustrate the distinctions they felt characterized the two groups. They argue that students in the f2f classes as a group had difficulties “mak[ing] choices in design according to the needs of the audience” (61). Similarly, in the reflective component, f2f students had more trouble explaining “their choice of medium and how the choice would best communicate their message to the chosen audience” (61).

In contrast, the researchers state that the student representing the online cohort exhibits “audience awareness with the choice of her medium and the content included within” (62). Such awareness, the authors write, carried through all three projects, growing in sophistication (62-63). Based on both her work and her reflection, this student seemed to recognize what each medium offered and to make reasoned choices for effect. The authors present one student from the f2f class who demonstrated similar learning, but argue that, on the whole, the f2f work and reflections revealed less efficacy with multimodal projects (63).

Bourelle et al. do not feel that self-selection for more comfort with technology affected the results because survey data indicated that “life circumstances” rather than attitudes toward technology governed students’ choice of online sections (64). They indicate, in contrast, that the presence of the IAs may have had a substantive effect (64).

They also discuss the “archival” nature of an online environment, in which prior discussion and drafts remained available for students to “revisit,” with the result that the reflections were more extensive. Such reflective depth, Claire Lauer suggests, leads to “more rhetorically effective multimodal projects” (cited in Bourelle et al. 65).

Finally, they posit an interaction between what Rich Halverson and R. Benjamin Shapiro designate “technologies for learners” and “technologies for education.” The latter refer to the tools used to structure classrooms, while the former include specific tools and activities “designed to support the needs, goals, and styles of individuals” (qtd. in Bourelle et al. 65). The authors posit that when the individual tools students use are in fact the same as the “technologies for education,” students engage more fully with multimodality in such an immersive multimodal environment.

This interaction, the authors suggest, is especially important because of the need to address the caveat from research and the document CCCC Online Writing Instruction, 2013, that online courses should prioritize writing and rhetorical concepts, not the technology itself (65). The authors note that online students appeared to spontaneously select more advanced technology than the f2f students, choices that Daniel Anderson argues inherently lead to more “enhanced critical thinking” and higher motivation (66).

The authors argue that their research supports two recommendations: first, the inclusion of IAs for multimodal learning; and second, the adoption by f2f instructors of multimodal activities and presentations, such as online discussion, videoed instruction, tutorials, and multiple examples. Face-to-face instructors, in this view, should try to emulate more nearly the “archival and nonlinear nature of the online course” (66). The authors call for further exploration of their contention that “student learning is indeed different within online and f2f multimodal courses,” based on their findings at the University of New Mexico (67).


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Combs, Frost, and Eble. Collaborative Course Design in Scientific Writing. CS, Sept. 2015. Posted 11/12/15.

Combs, D. Shane, Erin A. Frost, and Michelle F. Eble. “”Collaborative Course Design in Scientific Writing: Experimentation and Productive Failure.” Composition Studies 43.2 (2015): 132-49. Web. 11 Nov. 2015.

Writing in the “Course Design” section of Composition Studies, D. Shane Combs, Erin A. Frost, and Michelle F. Eble describe a science-writing course taught at East Carolina University, “a doctoral/research institution with about 27,000 students, serv[ing] a largely rural population” (132). The course has been taught by the English department since 1967 as an upper-level option for students in the sciences, English, and business and technical communication. The course also acts as an option for students to fulfill the requirement to take two writing-intensive (WI) courses, one in the major; as a result, it serves students in areas like biology and chemistry. The two to three sections per semester offered by English are generally taught by “full-time teaching instructors” and sometimes by tenured/tenure-track faculty in technical and professional communication (132).

Combs et al. detail iterations of the course taught by Frost and Eble, who had not taught it before. English graduate student D. Shane Combs contributed as a peer mentor. Inclusion of the peer mentor as well as the incorporation of university-wide writing outcomes into the course-specific outcomes resulted from a Quality Enhancement Plan underway at the university as a component of its reaccreditation. This plan included a special focus on writing instruction, for example, a Writing Mentors program that funded peer-mentor support for WI instruction. Combs, who was sponsored by the English department, brought writing-center experience as well as learning from “a four-hour professional development session” to his role (133).

Drawing on work by Donna J. Haraway, Sandra Harding, and James C. Wilson, Frost and Eble’s collaboratively designed sections of the course were intent “on moving students into a rhetorical space where they can explore the socially constructed nature of science, scientific rhetoric, and scientific traditions” (134). In their classes, the instructors announced that they would be teaching from “an ‘apparent feminist’ perspective,” in Frost’s case, and from “a critical gender studies approach” in Eble’s (134-35). The course required three major assignments: field research on scientific writing venues in an area of the student’s choice; “a complete scientific article” for one of the journals that had been investigated; and a conversion of the scientific article into a general-audience article appropriate for CNN.com (135). A particular goal of these assignments was to provoke cognitive dissonance in order to raise questions of how scientific information can be transmitted “in responsible ways” as students struggled with the selectivity needed for general audiences (135).

Other components of students’ grades were class discussion, a “scripted oral debate completed in small groups,” and a “personal process journal.” In addition, students participated in “cross-class peer review,” in which students from Frost’s class provided feedback on the lay articles from Eble’s class and vice versa (136).

In their Critical Reflection, Combs et al. consider three components of the class that provided particular insights: the collaboration in course design; the inclusion of the peer mentor; and the cross-class peer review (137). Collaboration not only allowed the instructors to build on each other’s strengths and experiences, it also helped them analyze other aspects of the class. Frost and Eble determined that differences in their own backgrounds and teaching styles impacted student responses to assignments. For example, Eble’s experience on an Institutional Review Board influenced her ability to help students think beyond the perception that writing for varied audiences required them to “dumb down” their scientific findings (137).

Much discussion centers on what the researchers learned from the cross-class peer review about students’ dissonance in producing the CNN.com lay article. Students in the two classes addressed this challenge quite differently. Frost’s students resisted the complexity that Eble’s students insisted on sustaining in their revisions of their scientific article, while students in Eble’s class criticized the submissions from Frost’s students as “too simple.” The authors write that “even though students were presented with the exact same assignment prompt, they received different messages about their intended audiences” (138).

The researchers credit Combs’s presence as a peer mentor in Frost’s class for the students’ ability to revise more successfully for non-specialized audiences. They argue that he provided a more immediate outside audience at the same time that he promoted a sense of community and identification that encouraged students to make difficult rhetorical decisions (138-39). His feedback to the instructors helped them recognize the value of the cross-class peer review despite the apparent challenges it presented. In his commentary, he discusses how receiving the feedback from the other class prompted one student to achieve a “successful break from a single-form draft writing and in-class peer review” (Combs, qtd. in Combs et al. 140). He quotes the student’s perception that everyone in her own class “had the same understanding of what the paper was supposed to be” and her sense that the disruption of seeing the other class’s very different understanding fueled a complete revision that made her “happier with [her] actual article” (140). The authors conclude that both the contributions of the peer mentor and the dissonance created by the very different understandings of audience led to increased critical reflection (140), in particular, in Combs’s words, the recognition that

there are often spaces in writing not filled by right-and-wrong choices, but by creating drafts, receiving feedback, and ultimately making the decision to go in a chosen direction. (140)

In future iterations, in addition to retaining the cross-class peer review and the peer-mentor presence, the instructors propose equalizing the amount of feedback the classes receive, especially since receiving more feedback rather than less pushes students to “prioritize” and hence develop important revision strategies (141). They also plan to simplify the scientific-article assignment, which Frost deemed “too much” (141). An additional course-design revision involves creating a lay article from a previously published scientific paper in order to prepare students for the “affective impact” (141) of making radical changes in work to which they are already deeply committed. A final change involves converting the personal journal to a social-media conversation to develop awareness of the exigencies of public discussion of science (141).


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Pigg, Stacey. Mobile Composing Habits. CCC 12/14. Posted 3/2/2015.

Pigg, Stacey. “Emplacing Mobile Composing Habits: A Study of Academic Writing in Networked Social Space.” College Composition and Communication 66.2 (2014): 250-75. Print.

Stacey Pigg reports on an ethnographic case study of student “composing habits” (257) as they use technology to pursue their academic work in public spaces. Pigg observed activity at two spaces, a Wi-Fi-equipped off-campus cafĂ© and an on-campus “Technology Commons” (258-59). Observations were followed by interviews of twenty-one students with diverse majors and at different academic levels; interviews and video-recordings of their processes were transcribed and coded (257). Pigg presents two of her participants in detail, one at the cafĂ© and one at the commons.

Pigg’s study emphasizes the material aspects of such use of social space to accomplish focused work outside of the classroom. She argues that all students need an external space where they can distance themselves from distractions such as TV, pets, and family and extend their classroom learning, thereby bolstering the academic state of mind that leads to success (270). She explores how the use of public spaces by the two students she features allows them to develop work and mental habits that support their academic goals.

Pigg reviews research that argues that technology has changed the relationship between people and space. Technology expands space by making available knowledge and contacts outside of the immediate surroundings. It also enables control of space by making it possible to use varied spaces as “sites of academic learning” (252), and by providing means of limiting access to social interactions, as public places become specifically adapted to individuals’ focus on their screens. In such spaces, writers can choose their desired degree of social interaction as well as interaction with their devices.

Pigg is concerned that lack of access to spaces outside of the classroom where learning can take place will disrupt the “stability” of a student’s academic experience and degrade “persistence,” which the WPA Framework for Success in Postsecondary Writing establishes as key to academic success (269-70). The harder it is for students to continue their learning outside the classroom, the less exposure they experience to the learning strategies Pigg identifies in the two subjects she portrays in detail.

For example, writing and learning, as embodied processes, become associated with memory and imbued with personal resonance: the extended extracurricular engagement with classroom material allowed by the two students’ merging of public spaces with the virtual access enabled by their computers and other devices encourages increased time on task as well as the use of virtual locations like an outline template to insert information into personally meaningful frameworks (263, 268). The two students’ preferred spaces allow the creation of routines that enhance productive “stability” (267) as “they returned to familiar places that had yielded positive results over time” (263).

Pigg emphasizes that her two subjects are not necessarily typical (269); rather, they illustrate how materiality can become an active force in learning, as the material components of scenes in which writing takes place assume an “agentive” function, playing a role in how the writing unfolds (255). Simply urging students to develop study and time-management skills is inadequate when material conditions do not lend themselves to the kinds of learning strategies that make use of the new configuration of space enabled by technology (270). Factors such as a good laptop and easy physical access to spaces outside of the classroom privilege those who have them. Moreover, such spaces need to be not only physically easy to access, but also psychically available, because not all spaces are equally welcoming to all students (262). Writers must be able to appropriate space to accommodate notebooks, books, and computers (268). Environments where studying is the norm also facilitate academic focus (260).

Pigg contends that most scholarship of writing processes has addressed the cognitive, internal aspects of composing and the effects of the devices themselves (254, 268); the effects of student processes may visible, but with the changing landscape, the processes themselves may be lost (271). She argues that increased study of how the negotiation of space and technology interacts with literacy practices can enable compositionists to become more active in efforts to construct appropriate spaces where all students can establish a fruitful version of what Kazys Varnelis and Anne Friedburg call a “mobile sense of place” (qtd. in Pigg 253, 270-71).