There is valuable scholarship on the importance of teaching narratives in the FYC classroom, but none does so through the frame of vulnerability. This paper explores, through an IRB approved case study, how composition teachers can best guide students to write powerful and well-crafted personal narratives to ignite students' own voices, histories,…

In US-based postsecondary education, first-year students commonly have their compositional ability consequentially assessed on the basis of standardized tests. As a result, students who score above certain thresholds on ACT, SAT, or AP exams often are placed into honors or remedial courses; receive credit remissions; and/or test out of general…

In a world that is fraught with a troubling political climate, Lu believes it is especially important that teachers provide guidance to students not only for their academic endeavors but also for their understanding of the complexities in language and the social implications of language varieties. With such belief in mind, she asks: How can…

In first-year writing (FYW), instructors want students to understand how reading texts in particular ways affects how and what they learn and, in turn, how and what they might communicate to their own readers. Because students tend to come to FYW predisposed to notice more visual aspects (e.g., headings, bulleted lists) than verbal aspects (e.g.,…

An essay's motive or research problem consists of the rhetorical moves illuminating why that essay matters--what puzzling elements of a primary source it resolves, which contradictions in the data it explains, or what gaps in the literature it fills. This article invites college instructors to dedicate some of their classroom time to teaching…

"Bordered Writers" explores how writing program administrators and faculty at Hispanic-Serving Institutions (HSIs) are transforming the teaching of writing to be more inclusive and foster Latinx student success. Like its 2007 predecessor, "Teaching Writing with Latino/a Students", this collection contributes to ongoing…

Students who enter college dreading their "required" courses are understandably skeptical of their ability to succeed in first-year writing. Their lack of preparation added to their skepticism results in students with too little confidence that their writing will ever resemble the models used in textbooks. As a tool of engagement,…

Each semester the author asks her first-year composition students to write a profile essay. The assignment, based on one in "St Martin's Guide to Writing," requires that students develop a thesis ("dominant impression" or "angle") about a place that they visit. The author is convinced that this essay is one of the most valuable and challenging…

When college composition teachers carefully consider the role and function of multimodal composition in their classrooms, they can enhance the teaching of writing and communication, engage and empower students, and better prepare students for the challenges and possibilities of life in our rapidly changing digital age. To meet this teaching…

In this article, the authors discuss what works for them in their first-year composition classes. In order to promote critical thinking and goal setting within her developmental writing and first-year composition classes, Susan Plachta begins their first class session by completing the standard introductions and syllabus discussions and finishes…

The author values peer feedback in her freshman composition class, largely because it helps students to develop confidence and ability in analyzing various texts, including, of course, their own. Like most instructors who use peer review, the author recognizes that although she is capable of, and quite comfortable with, offering students detailed…

There are not many English words for "anger." There's "wrath" and "ire," although no one uses "ire" anymore and hardly anyone "wrath." There's "frustration," "resentment," and "indignation," but they don't have the emotional intensity of "anger," a word that…

Describes a graphic technique using concentric circles to increase student comprehension of narrative essays. Argues that the method will help students identify events, relationships, and the significance of narrative essays. (RS)

Part I of this essay traces the evolution of my understanding of the exploratory essay as a discursive form and a genre for teaching writing. Part II explores my motivations for advocating a polarized definition of the essay and then concludes with a call to expand the purview of composition beyond first-year courses.

Cites essays by Joan Didion, John Berryman, and Martin Luther King in arguing that the essay, no matter how serious, can be considered as a fiction and a playful, exploratory and deeply interesting rhetorical game. Describes how these works were used to teach students that the essay is a living document calling for interaction. (SG)