Reflections on Podcasting as a Writing Teacher

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Logo by Amy Chaney.

This year, my colleagues in the English department at Lexington Christian Academy and I have been clumsily, curiously, and excitedly putting out a weekly podcast: Prose and Context. This is a first foray into podcasting for all of us, and we’re definitely learning as we go. Our episodes explore a wide variety of topics all falling under the general category of pedagogy. We began with an introduction episode featuring our whole department, and, since then, we’ve taken turns hosting individual episodes. We’re currently on our 12th episode, and I’ve got number 13 locked and loaded for next week’s release date!

It has, as I said, been a huge learning experience for us all in different ways, and I won’t necessarily say that this podcast will be winning any awards, but I wanted to dedicate this post in particular to outlining some of the ways that I personally, as a teacher of writing, have found this to be a meaningful experience that has significant value for my classroom.

  1. Podcasting is writing. Teachers of writing should write themselves frequently and for real, personal purposes. We should be able to talk to our students about what we’re working on while they press on in their work so that they can experience learning and loving to write as a collaborative process that we are undertaking together. They should see that learning to write is not a destination; it continues throughout life. Podcasting is a new, fun way for me to demonstrate and share my identity as a writer with my students.
  2. Podcasting is writing in an unfamiliar mode for an unfamiliar genre. We ask our students to navigate unfamiliar writing situations all the time. It’s important to remember what it is like to be unsure of a genre or mode, to wrestle with the basics of a new kind of composition, and to inhabit the frustration and success of personal growth in our writing. When my students grapple with their work, my time spent on this podcast helps me relate. We should never forget the sensation of feeling lost in our first attempts to write in unfamiliar territory.
  3. Podcasting is public. Prose and Context is accessible via iTunes, our website, and our school’s online app. Students, parents, and basically anyone can find it anytime they want. It’s a very vulnerable feeling! But this is what writing SHOULD be! And it’s what our students should see it being. Our department does our best to create something professional and interesting and useful, and then we share it with our intended audience. The nervousness we feel when releasing episodes isn’t any more than the pressure a student feels turning in a paper, sharing a blog post, or contributing to a discussion. We need to remember and experience that vulnerability because it’s an inherent part of writing for any audience.
  4. This podcast in particular is collaborative. Group work. Does anyone love it? My students hate it. I myself was once a student who hated group work. I’ve come around to it now, though, and I currently have a profound appreciation and love for the ways in which real collaboration can produce something more complex, beautiful, and effective than any one team member could have ever accomplished alone. But it took me a long time to feel that way about collaboration, and I am still learning how to best incorporate that concept into my classroom. Navigating the creation of a podcast with 5 other adults of differing personalities, expertise, experience level, and rhetorical goals is a real challenge, but it’s also what gives our podcast depth, interest, and flexibility. For me to even begin to convince my students that collaboration matters or that there is a way to do it well, I have to live that truth, and working on this podcast has given me a wealth of experience and credibility to draw from.
  5. Podcasting creates opportunities to honor and engage student voices. One of the central goals of our podcast is to share ideas, theories, and experiences around what makes for strong, effective, and excellent pedagogy; we aim to share this with our primary intended audience: other teachers. Our department faculty has been extremely proactive about incorporating student voices into our podcast. That means inviting them to share their experiences, talk about their work, and offer recommendations. I think nothing mentors young, developing writers more than inviting them to write with you and compose something alongside you, and this podcast has allowed me to do that publicly with some of my students.

I could go on, but these are the major positives that I have taken away from my experience with the production of this podcast. While podcasting may not be the mode or genre for every writing teacher, my strong encouragement to composition teachers everywhere would be to consistently push yourself to write for real purposes, publicly, and in ways your students can access and perhaps even participate in. Try to write outside your comfort zone in a category or mode that is new for you. Teachers of writing, if we’re going to talk the talk, we’d better walk the walk.

And check out Prose and Context on iTunes if you want to see some teachers of reading and writing giving that whole “walk the walk” thing a go!

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When you lose a colleague

When you lose a colleague (and not just any colleague) when you lose a colleague that helped make you the educator you are and who inspired you to be better and who encouraged you when you weren’t your best and who noticed when you overcame even small challenges, when you lose a colleague that loved students more than herself and justice more than comfort, when you lose a colleague who was a friend and a guide, but also a fighter and a force, that’s when you realize how lucky you were all along to have worked beside the kind of teacher who turned everything she touched into goodness. That’s when you realize that the emptiness her absence leaves will last many lifetimes, but the goodness, wisdom, passion, and kindness that exists because she fiercely and carefully fostered it will persist in the people that she loved. And there is no lifespan to that.

Proud to have been a colleague and friend of Lori VanderKlay Johnson.

Composing with Sound, Post 4: Tools for Mixing Sounds

In my series on using sound composition in the English Language Arts classroom, my last post focused on how to go about collecting the sounds students need to create careful and intentional compositions. The next step after this is, of course, to put those sounds together in meaningful ways. For this, we need sound editing software. Luckily there are lots of excellent, FREE options available to us.

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The 3 best (and again, totally free) options I know of and have had success with are:

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Garage Band | A proprietary software put out by Apple for use with Apple products.

Pros:

  • It works smoothly with no bugs. I’ve never heard of a problem with Garage Band crashing.
  • The user interface is intuitive and easy-to-learn. It won’t take new users long to get comfortable.
  • It comes bundled with lots of pre-recorded material such as sound effects and music for students to use as they work. I personally don’t like this because I prefer to have my students go through the process of choosing and finding specific sounds, but the pre-loaded material definitely makes composing with sound a bit easier.

Cons:

  • This is made by and for Apple. It only works on Macs, so this can be limiting depending on what your students are using.
  • Sound editing options such as effects and processing options are more limited in Garage Band than in a more complex program like Audacity.

 

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Beautiful Audio Editor | An experimental web-based audio editor for desktop and mobile.

Pros:

  • Beautiful Audio Editor is SUPER easy to use. The interface is simple and intuitive. You can show a student how to drive it in 10 minutes, and they’ll have what they need to complete basic tasks.
  • The program is web-based, do you don’t have to download anything. You can download the app if you’d like, or you can just visit the site and work from there.

Cons:

  • It’s still in the beta phase, so it is buggy, particularly on projects that exceed 300MB or around 45 minutes in length.
  • It only works with Google Chrome or Mozilla Firefox.
  • The simplicity of Beautiful Audio Editor comes at a cost; it is a little limited in what it can do.

 

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Audacity | A free, open-source sound editing software that works on any operating system.

Pros:

  • Audacity has been around since 2000, so it’s not buggy. It’s dependable, and there are LOTS of tutorials out there, as people have been using it successfully for years.
  • It is very powerful and can do basically everything. A student who is nervous and hesitant will be able to create basic compositions, but a student with some background in sound editing can really have some fun.
  • Audacity is cross-platform. You can use it on any operating system. It will work on Windows, Mac, or Linux, so students can use whatever devices they have available to them without limitation.

Cons:

  • Audacity can be complicated to use. It has a lot of functionality for a free software, but that means that it can be overwhelming to users of all ages who are new to composing with sound. This also means that, in a classroom setting, you have to budget some significant time for training students on how to use it well and confidently.
  • Audacity does not come with any pre-recorded material like Garage Band does. So newbies who are looking to play around have to gather all their materials.
  • I have read some accounts of Audacity crashing on users, but I personally have never had this happen.

All of these options allow multiple tracks, which helps students play with layering and sound interaction. All of them are free and very reasonable to teach students to use. There are also always new options emerging, so it’s a good idea to pay attention to the tech blogs and top 10 lists out there.

In my opinion, the choice of which software to use comes down to complexity of the project and confidence of the teacher. Beautiful Audio Editor is the simplest, most basic of these options, but it is also the most limited and unreliable. Audacity is the most complicated, but it is also the most powerful. Garage Band seems to strike a balance between the options and may be a good starting place for classrooms that have adequate access to Mac devices.

Ultimately, the absolute best way to make the choice on which editor option is the best for you is to mess around with them! Create some smaller compositions of your own and see which editor makes the most sense to you and most closely meets your assignment needs.

Composing with Sound, Post 3: How to Acquire Sounds

As I work through this series of posts on composing with sound, I’ve touched on some of the reasons why sound is an important and often undervalued tool in the composition classroom. For this post, I’d like to focus briefly on some of the options our students have for acquiring the sounds they want to compose with.

The process of deciding what sounds students will use is a complicated network of strategic rhetorical choices. As the webtext I collaborated on for publication in Kairos outlines, there are 5 general categories of sound for composers to choose from:

  1. Music
  2. Sound Effects
  3. Voice
  4. Silence
  5. The interaction between these sounds

Our students have to acquire these sounds in order to make something out of them. Of course consideration has to be given to copyright laws and legality; however, the options for gathering sound assets are almost as limitless as the sounds themselves.

There are 2 basic options here.

  1. The most straightforward way to get the sounds your students need is often to have them create and record the sounds themselves. This might mean they write and perform a song or record sounds or voices from their daily lives, but they are the ones creating usable recordings from the sounds they hear. There are many different ways to do this well.
    • Most phones come equipped with simple recording capabilities. As an iPhone user, I love the Voice Memo app. This comes pre-loaded onto any iPhone and is wildly easy to use. You can name, export, and email recordings straight to your email where you can upload them for use in a sound composition. Below is a screenshot from my phone as I record using Voice Memo.
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    • There are lots of affordable microphones available for purchase ranging from $15 to a few hundred dollars.
      • I use an Excelvan Studio Condenser Microphone, which I got on Amazon for around $15. This baby plugs easily into my computer’s audio jack where I can record the sounds in any recording software I like.
      • A step up that is very well-reviewed is the Blue Snowball microphone which goes for around $50. This is nice because it’s a high-quality recording device that just plugs right into your USB outlet.
      • The gold standard for an easy-to-use recording device is also put out by Blue Designs: the Yeti. Also USB-equipped, this buddy costs around $130.
      • If your school has a MakerSpace, it’s worth checking to see if that space includes any recording equipment or if they’d be willing to purchase some for school use.
  2. The other option available to your students is to locate pre-recorded, already existing sounds that they are free to use. There are loads of these for free on the internet; however, this is where you need to caution your students to be careful to only use materials that they have permission and legal right to use and remix. Ethically using someone else’s creations adds a layer of complexity to the process.
    • For music, Soundcloud and ccMixster have a variety of options available for free use.
    • For sound effects, Freesound has a library of free-use choices.
    • For voices, students and peers of mine have in the past solicited help from online actors. Posting a request with an explanation of the project on social media or Reddit can often result in a voluntary actor recording themselves and sending your students the material they need for free! Just make sure your students make their plans for the recordings very clear to any participants.
    • One of the biggest resources for pre-recorded sound assets is to search through the Creative Commons search function; this way you can be sure that the materials your students are finding are free for use in their compositions.

Once the sounds have been chosen and acquired, the process of creating a composition out of them becomes the main focus. This involves layering, arranging, and editing to create the desired effects. Tools to help educators with this next step of the process will be the focus of my next post as I keep plugging along in sharing some of the options out there for using sound in the classroom!

Composing with Sound In the Classroom, Post 2: Why Bother with Sound?

Before I get too deep into some of the logistics in my discussion on using sound composition in the high school classroom, I’d like to generally explain why I think more teachers of writing should be capitalizing on this gold mine of a mode.

As teachers, we only have our students in our rooms for a precious little amount of time, and the expanse of skills and knowledge we want to impart to them is truly bottomless. The process of paring down our lessons and units to no more than what is absolutely necessary and no less than what is irresistibly engaging for our students is the impossible task given to every educator. With this conundrum at hand, what makes sound composition worthy of our valuable and fleeting time together?

In response to this question, I have compiled the following list which is certainly only introductory; however, my hope is that it will serve as an entry point for educators considering incorporating sound into their curriculum.

  • I have blogged before about the importance of composing in a variety of modes. Equipping our students to be fluent, creative, and explorative in whatever modes are available to them is an integral piece of developing them into literate scholars in our current world. Sound is one of those modes!
  • Sound saturates our students’ lives. Music, podcasts, speeches, radio, and our own classroom instructions are all strategically constructed sound compositions designed to accomplish specific rhetorical goals in a targeted audience. It is important that we not miss opportunities to help our students become more aware of some of the genres and rhetoric swirling around them in these compositions by teaching them how sound works as a tool for making meaning.
  • Sound as a mode in the classroom is unusual and unexpected, which means it automatically places students outside their comfort zones. This is where they can most easily escape convention and imitation in order to find creativity and unique voice. This also promotes genre awareness as students work in a mode that invites the use of fixed, established genres as well as genre-invention.
  • Inclusive classrooms are authentically accessible for a wide range of students of different physical, cognitive, and linguistic ability levels. Using sound composition diversifies the accessibility of your classroom, creating more points of access into your material for more students.
  • Students often come to sound composition with a pre-established and somewhat instinctive understanding of how sound works. Based on their experience using and experiencing sound compositions, they will find themselves prepared to use sound strategies in ways that prompt real reflection on audience awareness, rhetorical goals, and genre decisions.

Traditionally, classrooms that explore non-alphabetic modes of composition employ the use of imagery, physical movement, video, or sculpture. While all of these modes are essential, I rarely find sound among them. This is exciting to me as an educator because it means we have this massive, untapped resource at our fingertips! My goal for the next few blog post is to offer some easy, free, and practical tools to help educators bring sound composition work into their classrooms.

Composing with Sound in the Classroom: Post 1

Anyone familiar with me or my work as a teacher or a scholar knows that I have the biggest soft spot in the world for any kind of compositional work involving sound. I’ve blogged for NCTE about it with some of my colleagues; I was part of a collaborative piece exploring sonic rhetoric that was published in the online journal Kairos; I incorporate audio options for my students in major assessments; and I try to bring sonic rhetoric into my classroom whenever humanly possible. I could (and will at a later date) go on, but my point here is that I believe composing with sound is a dynamic, inherently engaging way of teaching students to think creatively and carefully about the ways they make meaning in their work.

Despite the staggering wealth of opportunities for meaningful exploration and play that sound composition offers, I don’t often see it used in composition classrooms. I believe there are a variety of reasons for this, including but not limited to…

  • a general lack of appreciation for the value of multimodal composition
  • intimidation surrounding working in an unfamiliar mode and/or genre
  • uncertainty concerning how to authentically integrate the content into coursework
  • perhaps most significant, anxiety regarding the required technology

With this list in mind, I’d like to take my next few blog posts to address some of these common hindrances to sound composition in the classroom. While using sound to teach composition may sound complicated or confusing, my experience has shown it to be the exact opposite. There are actually VERY accessible, intuitive, and user-friendly solutions to many of these concerns, and I’m excited to share some of my experience with using sound in the classroom in the hopes that this might encourage other educators to take the risk and give sound composition a try with their students! I can absolutely promise that you and your students will LOVE the things you discover when composing with sound.

 

 

In Defense of Student Profanity in the Classroom

I’ll be the first to admit that classroom profanity is an issue that most likely impacts me more poignantly than the average high school teacher, as I work in a private Christian school. The contemporary Christian tradition frowns fairly heavily on profanity in most if not all contexts. And, to be fair, I appreciate the intense thought and care that goes into the way my school approaches some aspects of language as a result of this sensitivity to profanity. However, I’d like to take a moment to assert my very deep and passionate belief in the importance of creating educational spaces that allow and perhaps even invite student experiences and interactions with profanity.

The tough thing about unilaterally barring classroom profanity is that profanity is a delightfully and infinitely complicated and nuanced entity. It can encompass certain words that are considered taboo or inappropriate, or it can more generally refer to concepts or ideas that shouldn’t be discussed per cultural norms. Some profanity, particularly racial epithets, can be taboo without technically counting as swears. All profanity is highly cultural. As this BBC article points out, there are curse words in some languages that quite simply don’t exist in others or invoke none of the shock value. The reality is that none of these words carry intrinsic, profane meaning; they are only loaded with the cultural value that we have charged them with. The whole idea of profanity is fundamentally subjective, which means that it’s going to be a tough thing to take an objective attitude towards.

Because profanity is profoundly subjective, each educator has to decide for themselves how best to integrate it into their classroom. With that in mind, please allow me to propose just a few of my reasons for considering profanity an important and necessary presence in the composition classroom.


1 – Swearing is actually a high-order language device that requires a fair amount of skill and rhetorical awareness to wield well. I often hear protests in some way or another implying that those who swear are limited in their vocabulary or fluency. The belief here is that swearing is the poor man’s resort when no other course of action can be devised. In reality, as Emma Byrne points out, “swearing is often impressively strategic, and a fluency in crass language typically correlates with verbal fluency in general.” Whether to offend, amuse, empathize, or express deep pain, swearing is a very complicated tool relying on highly nuanced linguistic and social skills. An effort to give students flexibility and fluency with communication through language should, at the very least, expose them to the wealth of linguistic and cultural power harnessed through profanity.

2 – Swearing is a powerful tool for expressing pain. Curse words are intensely expressive and cathartic. When teaching our students how words can be used to emote effectively, I’m not sure how one can entirely overlook profanity. Richard Stephens of Keele University conducted a study that suggests that individuals can withstand more physical pain when swearing than when not, pointing to the power that swearing has with regards to human suffering. I teach my students to use their words to express and release emotion. For some students, giving them the option of using profanity to do that can be extremely meaningful. It is equally if not more important for my students to understand this power in profane words used by people around them. This is an important element of empathy and hearing the pain of others through their words.

3 – Profanity is already saturating their existences. It feels a little like denial to me to avoid student profanity in the classroom. Our students are immersed in profanity constantly. I feel negligent when I choose not to equip them with the experience, tools, and awareness they need to meaningfully process the roles and uses of profanity in their environment and to exert the control they need to make kind and ethical choices with their words.

4 – I’d be remiss if I didn’t address the added complications surrounding swearing and gender. I am very conscious of the fact that women who swear often face a double standard. Societal expectations pressure women more than men into politeness, morality, and good behavior. While cultural stereotypes of male swearing usually suggest strength or rogue rebellion, female swearing is often perceived as distasteful, immoral, and unattractive. This is a manifestation of deeply problematic social standards, and, as a feminist who promotes female agency in my classroom, it is important for me to undermine this. My students should choose for themselves the role of profanity in their self expression, but their gender should not be the reason they do so.


Words matter. All words matter. My goal with my students is to teach them that their communication, with words and otherwise, needs to always be intentional, careful, and kind. Their purpose should never be to tear down those around them, but should only be to build goodness in a broken world. Words are one of the many tools we use to do this. It is my belief that profanity is a part of using and understanding the power of words. My students should know the power of profanity to devastate and dishonor, but also to connect, understand, and communicate.

Do I think my students should swear all the time? No. But not because swearing is bad. My students should be very conscious of whether or not they swear, when, where, and/or how they swear because profanity is powerful and prevalent. How they want to wield that power is outside of my control, but I’ll be damned if they’re going to head out into the world without some understanding of and experience with it.