29 Redesigning Student Writing Assignments – Gentry Glasscoe

Seminar Research Project: Redesigning Student Writing Assignments

INTRODUCTION

Writing is everywhere—a social media post, a blog, a menu, an advertisement, and even a text. So why do educators keep teaching students how to write essays? If students are going to be faced with multiple modes of writing in their everyday lives, then they need to be given opportunities to explore these various styles in their own writing. Therefore, writing instructors need to find ways of incorporating multiple writing purposes and styles within their curriculum. Some students may prefer to write a comic strip, and others may prefer to create a children’s book. However, it is the writing instructor’s job to circle these genres back to a given purpose. What are the overall objectives for the assignment and will these genres support those objectives? As Gardner points out in Designing Writing Assignments, “[Writing teachers] have to identify audience, purpose, and voice. [They] have to decide on the best structure and format. [They] have to determine the time frame and point out the resources that will help students complete the assignment. Clearly, composing writing assignments is no simple charge” (xi). For writing instructors to develop writing assignments that are both purposeful and meaningful, they need the necessary guidance and support. Therefore, this project explores writing assignments in multiple contexts and provides readers with a sample argumentative writing assignment that can be used as a template for various instructional opportunities, additional writing support documents and rubric will also be considered.

LITERATURE REVIEW

Analysis of the Literature

Argumentative Writing Concepts. Argumentative writing consists of various components. To successfully present an argument, writers must consider and address multiple aspects of the presented claim. One simply cannot state a claim and expect no response. A good writer anticipates all responses and addresses them accordingly.

Within The Uses of Argument, Toulmin claims that writers of argumentation should follow a set model when constructing their overall argument. Toulmin’s suggested model pushes writers to consider all the possible “what-if” scenarios. Therefore, Toulmin suggests using “data,” or support/evidence, to formulate a “claim” (90). Toulmin further suggests establishing a “warrant,” which shows the distinction between the “data” and the “claim” (Toulmin 91-92).

Lastly, Toulmin considers the use of potential “rebuttals” where one may need to defend their claim by using a “qualifier” to reach a “conclusion” (93-94). This model for argumentation can be outlined and prepped before the drafting process. Essentially, Toulmin’s model serves as the bones of a writer’s argumentative writing piece and should be carefully considered in the beginning stages of the writing process.

Problem-Based Writing. For students to feel their writing is worth more than a classroom assignment, students need to feel they are finding solutions to problems. Problem-based learning (PBL) allows students to take ownership and see answers. Not only will this form of learning/writing empower students, but it will help them develop their voice.

Beckelhimer et al. present the concept of problem-based learning in a writing classroom within their article, “Problem-Based Composition: The Practical Side.” They claim that the concept of PBL may not be “new” and “may call for adjustments,” but “the versatility of the approach can make it effective in even the most traditional of settings” (Beckelhimer et al.). To further support this claim, Beckelhimer et al. categorize their article by the various forms of writing and how PBL can be applied to each. For example, Lisa Beckelhimer discusses problem-based argumentative writing within the section titled “The Argumentative Problem.” This section states, “PBL allows us to teach the ‘fundamental concepts’ of argument such as thesis, audience, tone, evidence, and counterargument. But it also allows students to see the value of writing in the ‘real world’” (Beckelhimer et al.). Beckelhimer provides the reader with suggestions on finding those “real world” problems for students to incorporate into their writing.  Beckelhimer suggests, “scan[ning] local newspapers for current topics” or “us[ing] a service that produces problems. One of the best is the University of Delaware’s Problem-Based Learning Clearinghouse ( https://chico.nss.udel.edu/Pbl/ )” (Beckelhimer et al.). By using PBL when teaching argumentative writing in a composition course, students will “improve their critical thinking and problem-solving skills, which [will] lead to improved writing skills” (Beckelhimer et al.). Furthermore, PBL will “move composition away from a ‘formula’ based class in which students write various essays, sometimes with little or no connection to the content about which they’re writing,” and it will incite “group work in a course in which students are often working alone” (Beckelhimer et al.). 

Writing Assignment Approaches. When designing writing assignments, teachers must consider more than just the main objectives and standards. Teachers must consider their students’ interests, goals, strengths, and weaknesses in order to keep their students engaged. If a teacher would quickly design a writing assignment overnight, without thinking about the students in their class(es), they may experience an extended writing process filled with challenges and boredom. Gardner helps teachers with this process by providing them the necessary support and resources to design, or redesign, their classroom writing assignments. Within Designing Writing Assignments, Gardner claims, “So much depends upon the writing assignments that we ask students to complete: they can set the tone for a course, address multiple goals in the classroom, and influence students’ engagement” (xi). As support, Gardner refers to a 2001 NAEP/National Writing Project study which identifies the following characteristics as essential to effective writing assignments:

The content and scope asked students to focus on critical thinking, rather than reiteration, by interacting with a text. The organization and development provided scaffolding that supported students’ writing process. The audience for the assignment focused on communication with an authentic group of readers regarding a topic on which the writer was an expert. A range of choices for students’ focus was balanced with support and direction so that students could engage in the process as equal partners, rather than be directed to complete teacher-driven tasks. (Peterson) (Gardner)

Therefore, the remainder of Gardner’s texts provides teachers with multiple suggestions for various genres, audiences, purposes, time frames, and research sources. These suggestions help support teachers on their journey to designing, or redesigning, their classroom writing assignments as they work towards developing more effective, meaningful, and purposeful writing assignments for their students.

Walvoord provides suggestions for instructors looking to improve their students’ writing in their course. Within Assessing and Improving Student Writing in College, Walvoord argues that “writing is more than grammar and punctuation” (1). Therefore, instructors should be exploring various ways to improve their students’ writing in their course(s). Walvoord suggests “focus[ing] on improving students’ writing on one assignment” (62). Rather than overwhelming oneself with trying to redesign and improve all course assignments at once, taking one assignment at a time can help instructors stay focused and feel less defeated in the process.  Walvoord also suggests “giv[ing] the assignment in writing, not just orally” (66). Therefore, Walvoord provides a list of “good assignment explanation” elements, which include:

Purpose of the assignment: What should students learn? Do: What should the student do in the assignment? Audience for the assignment. Criteria for grading. Process: What suggestions do you have for students about the thinking, researching, writing, and revising processes they could use? Due dates, including dates for any interim submissions of plans or sections of the paper. (66)

By doing so, students will have an assignment description handout they can refer back to at any point in the writing process. This will help students know what they need to do and when they need to do it. The more resources instructors can give students in the beginning, the easier it will be for everyone throughout the writing process.

Online Writing. In today’s world, learning to write online is inevitable. Therefore, it is imperative instructors plan and adapt their writing instruction for multiple formats right from the start. If students know how to find online resources and support throughout their writing process, then classroom instruction can easily be adapted for online use.

Within Preparing Educators for Online Writing Instruction, Hewett and Ehmann argue “how five commonly accepted pedagogical principles—investigation, immersion, individualization, association, and reflection—can inform the development and implementation of online instructor training” (xi). For instructors to be able to implement online writing strategies, they need to receive the necessary professional development, resources, and support. Therefore, Hewett and Ehmann provide online writing instructors with multiple suggestions for incorporating both synchronous and asynchronous writing instruction within their online course(s). Hewett and Ehmann define asynchronous as being “in non-real time, which means that each participant interacts or ‘speaks’ at different times in the teaching process” (68).  Nevertheless, synchronous means “real-time, conferences” which “take place on a variety of platforms, such as multiuser domains [MUDs], object-oriented MUDs [MOOs], whiteboards, and instant chats or messaging” (Hewett & Ehmann 116). Both synchronous and asynchronous communication can be used to teach students how to write online. For example, in an asynchronous writing format, Hewett and Ehmann suggest “read[ing] the entire piece of writing before commenting,” “ask[ing] probing questions,” “mak[ing] clear, straightforward statements,” and “suggest[ing] additional research” (76-81). In synchronous writing formats, Hewett and Ehmann recommend “ask[ing] opening questions that elicit information about the student’s writing concerns and that allow him or her to set the agenda,” “work[ing] with the problem that the student presents as well as relevant examples,” and “encourag[ing] learning through flexible teaching” (121-123). Whether communicating/instructing students synchronously or asynchronously, students need to know instructors are there to help and provide them with the necessary support. By using Hewett and Ehmann’s synchronous and asynchronous communication approaches, students can still feel supported whether the instructor is in their presence or not.

Summary

 Based on the previously discussed books and articles, it is clear writing assignments is no easy task. Many factors play a part in how instructors decide to design course writing assignments. As shown in Gardner’s Designing Writing Assignments, “so much depends upon the writing assignments that we ask students to compete” (xi). Therefore, instructors must carefully consider their purpose, delivery, and individual students when designing the writing assignments for their course(s). Walvoord brought in another aspect of writing assignments within Assessing and Improving Student Writing in College. To effectively communicate the details for an upcoming writing assignment, instructors should also consider developing a writing assignment description handout. This way students can easily refer back to the writing assignment description and expectations throughout the writing process. In order for students to feel heard throughout their writing experience, they must feel included and supported at all times. If instructors can keep these things in mind when creating and implementing a new writing assignment, their students will begin to feel less overwhelmed and more engaged in the overall process.

Even though the research primarily focused on post-secondary education, the same themes and principles apply all throughout education. By incorporating multiple student choices, genres, and topics for writing assignments, students will feel included and heard in their writing experience. In return, students will become more engaged and motivated; they may even become more willing to try new writing techniques if they know they are writing in a way that personally interests them. As noted in Tomak’s student interview, “Materials must serve the needs of us” (Tomak 8). In other words, the students’ interests and needs must always be at the forefront of every instructors’ writing assignment decisions.

Hewett and Ehmann’s work merits attention as it pushes the writing instructor to consider online writing assignments. In our modern world of technology, instructors must adapt to the various ways individuals communicate. Since most modern-day individuals primarily conduct their writing tasks online, instructors must be ready and willing to adapt their writing assignments to fit this evolution in writing and communicating with today’s world.

CONCLUSION

All teachers have created those on-the-spot writing assignments, those writing assignments that seemed to flop, or those writing assignments that just seemed to drag on. Designing writing assignments is no easy task, and it shouldn’t be. In order for a writing assignment to be successful, the instructor must think of their students’ needs and interests. A writing assignment that worked with the previous group of students, may not work with the current group of students. However, if writing instructors can find multiple ways of incorporating student choice(s) within their writing assignment and throughout the writing process, then students can decide how they can best present their voice. As a result, writing instructors will see more engagement and motivation from their students, and students will feel they are heard.

Portions Intentionally Omitted Due to Page Restraints

Beckelhimer, Lisa, et al. “Problem-Based Composition: The Practical Side.” CEA Forum, vol. 36, no. 1, Jan. 2007. EBSCOhost, search.ebscohost.com.proxy.east.uits.iu.edu/login.aspx?direct=true&db=eric&AN=EJ109 7373&site=eds-live&scope=site.

Gardner, Traci. Designing Writing Assignments. National Council of Teachers of English, 2008. Hewett, Beth L., and Christa Ehmann. Preparing Educators for Online Writing Instruction:

Principles and Processes. National Council of Teachers of English, 2004.

Kumar, Rita, and Brenda Refaei. “Designing a Problem-Based Learning Intermediate Composition Course.” College Teaching, vol. 61, no. 2, Spring 2013, pp. 67-73. EBSCOhost, doi:10.1080/87567555.2012.741079.

Mongillo, Geraldine, and Hilary Wilder. “An Examination of At-Risk College Freshmen’s Expository Literacy Skills Using Interactive Online Writing Activities.” Journal of College Reading and Learning, vol. 42, no. 2, Jan. 2012, pp. 27-50. EBSCOhost, search.ebscohost.com.proxyeast.uits.iu.edu/login.aspx?direct=true&db=eric&AN=EJ972 859&site=eds-live&scope=site.

O’Brien, Shirley Peganoff, and Dory Marken. “Student Perceptions of Scholarly Writing.” Open Journal of Occupational Therapy (OJOT), vol. 4, no. 3, Summer 2016, pp.1-17. EBSCOhost, doi:10.15453/2168-6408.1253.

Taylor, Aimee N. “Writing Right Where We Are: Exploring Diverse Institutional Contexts in First-Year Rhetoric and Composition Courses.” Midwest Quarterly, vol. 59, no. 4, Summer 2018, pp. 372-385. EBSCOhost, search.ebscohost.com.proxyeast.uits.iu.edu/login.aspx?direct=true&db=hft&AN=131064 496&site=eds-live&scope=site.