Response: How might we think about multimodal composing when considering universal design in our teaching, and what kinds of methods have you used/seen that prioritize accommodation?
To ensure inclusiveness when I introduce multimodal writing to the memoir group, I will begin the workshop series by defining a basic “multimodal writing” vocabulary (modes, frames, Kress’s “modules of meaning”), and after showing a few simple examples of multimodal texts, I will suggest we compose “flash memoirs” (850 words, a new form of essay), that will become the basis for our individual multimodal writing projects. Everyone is already comfortable writing essays; the flash memoir is a twist on the familiar that will be fun for all.
After finishing the flash essay (handwritten, typed, or word processed), each writer will decide between composing a digital or a non-digital multimodal text. I will provide access to digital resources for all who want to use them, and make sure that those who choose to compose non-digital multimodal texts will have whatever materials they want. I will support the writers in group workshops and one-on-one as needed.
Nothing is more important than making sure every writer is successful and happy with their project.
In every meeting of the writing group, we pass out printed copies (in 14-point type) of each essay read aloud. This practice accommodates vision and hearing impaired group members. When I present brief classes (15 minutes at the end of our essay readings), I always provide printed copies of what I say, so everyone “hears” the same thing; no-one has to take notes; and it’s easy to find any bit of information that slips our minds after the meeting.
My video on multimodal writing will feature some form of captioning, since there are several deaf group members. Everything I say will be communicated on the screen and the video will be accompanied by a handout for everyone’s convenience.