Russell Carpenter

​​DESIGN FOR COMPOSITION offers a range of creative, multimodal projects aimed at improving student proficiency and awareness of how we create visual, verbal, vocal, and multimodal messages. With an emphasis on learning by doing, these projects give students an active introduction to modes, composition processes, and design concepts essential for twenty-first-century literacy. Design for Composition is unique in focusing on creativity as a heuristic, as a part of the composing process, and as a tool or skill that can be applied across a wide range of making.. Each chapter introduces students to different multimodal projects (visual, tactile, auditory, verbal, physical/embodied, or a combination), layered with different levels of creative engagement. ​​DESIGN FOR COMPOSITION provides students with experiences in composing and communicating that are creative, fun, and relatable. Each creative project comes with its own chapter and includes samples, steps in the process, suggested tools, collaboration guidelines, context discussions, and reflection questions.DESIGN FOR COMPOSITION: INSPIRATION FOR CREATIVE VISUAL AND MULTIMODAL PROJECTS is printed in full color, presented on high-quality 70# acid-free paper, and includes a bibliography, index, and project checklists.Sohui Lee is Associate Professor and Faculty Director of the Writing and Multiliteracy Center at California State University Channel Islands. She is co-editor of The Routledge Reader on Writing Centers and New Media (2013) and Disruptive Stories: Amplifying Voices from Writing Center Margins (Utah State University Press, forthcoming 2024). She also worked as associate editor at WLN: A Journal of Writing Center Scholarship (2017-2021) and has published over thirty articles and chapters in peer-reviewed journals. Russell Carpenter is Assistant Provost and Professor of English at Eastern Kentucky University. He serves as editor-in-chief of the Journal of Faculty Development and has written or edited a wide range of books and articles, including Engaging Millennial Faculty, Studio-Based Approaches for Multimodal Projects, Writing Studio Pedagogy, and Sustainable Learning Spaces.

As a platform for discussing workplace effectiveness and workplace differences, generational differences help provide context. Unfortunately, generational differences in higher education can be a difficult subject to explore. For one, there is a broad spectrum represented by generations in higher ed. Comparatively, the retirement age of faculty is older than the traditional workplace and the starting age of new faculty is older as well because of the time it takes to complete degree requirements. This creates a unique and complex environment. It is important though, especially as we start to see a wave of millennial faculty, that we appropriately address how faculty demographics will change and how that will impact the higher education environment at large. For the purposes of this volume, the reader needs to think strategically about how to engage millennial faculty in what has been a typically anti-millennial infrastructure. The authors would ask that you be patient with this volume; it has been developed as a practical resource. Pause as you fume at generalized generational differences and remember that not everyone fits into one box: every millennial is different, every boomer is different, etc. Still, we hope this volume will be helpful, no matter your feelings on generational differences, as you look to serve and support all faculty.

When asked, "What's your elevator pitch for higher education?" Cornell University Professor of Economics Robert Frank offered an explanation that underscored the significance of critical thinking: "When you meet somebody who's well trained in critical thinking, it's immediately apparent to you. We're living in a world now where people can doctor photographs. They can shout fake news. They can spin a conspiracy theory. If you're not equipped to think skeptically about the arguments people make to you, then you're ever more at risk in the environment we inhabit now."Critical thinking has become the central topic of many higher education conversations. And just as Elvis pushed for "a little less conversation, a little more action," so has academia. The purpose of this book is to provide a venue for that action, to allow our colleagues from across the country to share what works for them.Simply put, the academy must become better at instilling critical thinking so that for graduates it becomes a habit of mind.In this book, the twelfth in our "It Works for Me Series," you will find the selections are more evidence-based and focused than when we began twenty years ago, and our contributors seem to be applying more critical thinking to their own writing.

High impact practices are a twenty-first-century phenomenon, but if you've read any of the authors' books, you know, for instance, that for many years they have been collaborating, instructing undergraduates how to research like full professors, and teaching writing intensive courses-in short, employing some high impact practices, even though, back then, they were merely effective teaching strategies.What impresses the authors the most about HIPs is that they have been rigorously assessed, and no doubt remains that they work, resulting in deeper learning. Moreover, what started as a top-ten practices list has already grown to eleven with the demonstrated efficacy of the e-portfolio. And that list will surely grow as more and more research is performed.For this title, there is one point the authors would like to stress: No law exists that prevents you from using more than one HIP at a time in a learning experience. In fact, as their PLC experience proved, piggybacking the HIPs makes them even more effective, or, as Mae West said, "Too much of a good thing can be . . . wonderful."

This book is intended to aid you in the climb from your formal education experience to the real world of the scholar. Through a combined total of over 150 years of experience in scholarly productivity, the authors have discovered some key steps toward becoming a scholar. In the pages that follow, they will share these steps through explanations, examples, and exercises.Since the authors have also edited several publications in the past, and one currently serves as editor of the prestigious Journal of Faculty Development, we had decided to include a special section in this book to further aid you in scaling the scholarship mountain. "From the Editor's Desk" Post 'Ems are timely observations made in reference to important concepts introduced in the text. Each comment is designed to call attention to a specific point, establishing its place in the successful ascent to scholarly productivity.

Writing Studio Pedagogy (WSP) breaks from the tradition of teaching and responding to writing in traditional ways and moves the teaching and learning experience off the page and into engaging spaces in multiple ways, which can enhance the composing process. Through this collection, scholars interested in rethinking approaches to teaching, writing pedagogy, and innovative learning will find new ways to challenge their own understandings of space, place, and collaboration. WSP involves an attention to space and place in the development of rhetorical acts by focusing on the ways in which they enhance pedagogy. This book takes a unique opportunity to return to pedagogy as the foremost priority in any learning space. Educators might preference WSP for its emphasis on student-centeredness by creating productive interactions, intersections, and departures that arrive from prioritizing learning. WSP acknowledges the centralized role of students and teachers as co-facilitators in learning and writing. These threads are intentionally broad-based, as the chapters contained in this book speak to the complexity of WSP across institutions.

Writing Studio Pedagogy (WSP) breaks from the tradition of teaching and responding to writing in traditional ways and moves the teaching and learning experience off the page and into engaging spaces in multiple ways, which can enhance the composing process. Through this collection, scholars interested in rethinking approaches to teaching, writing pedagogy, and innovative learning will find new ways to challenge their own understandings of space, place, and collaboration. WSP involves an attention to space and place in the development of rhetorical acts by focusing on the ways in which they enhance pedagogy. This book takes a unique opportunity to return to pedagogy as the foremost priority in any learning space. Educators might preference WSP for its emphasis on student-centeredness by creating productive interactions, intersections, and departures that arrive from prioritizing learning. WSP acknowledges the centralized role of students and teachers as co-facilitators in learning and writing. These threads are intentionally broad-based, as the chapters contained in this book speak to the complexity of WSP across institutions.

From The Authors: Is the term "innovative faculty development" actually redundant? In our way of thinking, faculty development-mostly because of its youth-necessitates innovation. In fact, any new field depends upon creative thinking and its implementation into innovation to progress.In our academic careers, despite a background in traditional studies in English, we have helped develop three new disciplines-pop culture (especially comic book theory), creative writing, and now faculty development. Our careers have coincided with the rise of these three fields.But here we want to focus on faculty development. While the more formal structure we think of as faculty development began around 50 years ago, way back in 1810 Harvard University granted its first sabbatical, and many claim that action as the first instance of faculty development. In Creating the Future of Faculty Development (2006), Sorcinelli et al. posit that faculty development has evolved through five ages: The Age of the Scholar (1960s-mid 70s), The Age of the Teacher (mid-to-late 70s), The Age of the Developer (1980s), The Age of the Learner (1990s), and The Age of the Network (21st century).Obviously such constant change necessitates innovation. It must be done, and within the pages of this work, we're going to demonstrate how. The book's first section contains essays addressing the fundamental theories underlying creative thinking and then its application to faculty development, while the following sections treat practical concerns. For these pedagogical essays, we often include a set of ancillaries to aid the reader in reflecting about and implementing the strategies presented. While we have created an extensive approach to innovating faculty development, we encourage you to take a risk and attempt a few of them at first. If those innovations succeed, feel free to keep borrowing more and more from our suggestions. They work for us.

This title is intended as a follow-up to Achieving Excellence in Teaching: A Self-help Guide (2014). In Chapter Three of the latter, the authors posited deep learning the major goal of higher education. This book elaborates on the concept of deep learning and offers a rationale for why K-12 students have difficulty with college teaching-overcoming the learning gap. To help concerned instructors instill deep learning in their students, the book provides the Excellent Eight, specific strategies based on recent research and experience.BACKGROUND TO DEEP LEARNING / 101. Introduction / 302. Deep Learning vs. Surface Learning/ 703. The Making of Academic Surfers: Characteristics of Today's Entering College Students and Culture That Hinder Deep Learning/ 1504. The Learning Gap/ 25EIGHT EXCELLENT STRATEGIES FOR DEEP LEARNING: Using BRIDLE/ 2705. STRATEGY I: Climbing Bloom's Staircase/ 2906. STRATEGY II: Presenting for Deep Learning / 3707. STRATEGY III: Facilitating Retrieving for Deep Learning/ 4508. STRATEGY IV: Fostering Metacognition for Deep Learning/ 5309. STRATEGY V: Developing Critical Thinking for Deep Learning/ 6310. STRATEGY VI: Employing Deep Reading for Deep Learning/ 7311. STRATEGY VII: Creating Spaces for Deep Learning/ 7912. STRATEGY VIII: Motivating Students to be Deep Learners/ 85HONING YOUR SKILLS9313. Conclusion/ 9514. Appendix A: BRIDLE: A Systematic Plan for Self-Improvement in Promoting Deep Learning / 9715. Appendix B: A Selected, Partially Annotated Bibliography / 10316. Appendix C: ARTS, A Student Learning Skills Inventory / 109About the Authors/ 111

We hope readers will consider these threads when reviewing the teaching tips in this collection:1. Teaching metacognition demands intention and modeling of the strategies.2. Using metacognition in the classroom requires establishing the students as willing and interested learners in the first place.3. Teaching students how to apply metacognitive strategies also means that we are teaching students to learn about the learning process.4. Teaching metacognition encourages students to become active, critical, and creative learners.In short, metacognition offers a way for you to rethink instruction while also, as the authors learned at their own institution, reconsidering the relationship between teaching and learning. As you read, however, we encourage you to think differently about the ways you apply metacognitive strategies in your teaching and the ways you ask students to incorporate these concepts in your assignment, course, and service or administrative work on campus. No doubt you'll develop your own effective metacognitive strategies, and referring to this title will go a long way in the right direction.