 OK. All right, we're going to get started again. Welcome back, everyone. I wanted to show, because I know we threw a lot of references at you, so I wanted to just really quickly, before I get into what I wanted to share, show you. This is not a plug for Amazon. It was just the fastest, quickest place that I found the book. But this is the book. Oh, but it's hard to see. This is the book we mentioned, Reading for Meaning, by Janet Swoffer, Catherine Arons, and Heidi Burns. They've all three written things since then. But I like this book as a go-to for these reading matrices and ideas of really tangible things to do in the classroom. So it's an oldie but a goodie. So that's one that I would recommend. And it's super cheap, it looks like, because it's old, which is also nice. Somebody could snap up that one cent hardcover there. And then the other book I wanted to mention actually is to do a plug for a book that is co-authored by my co-director from Circle, Beatrice de Puy. And this actually grew out of a project that was sponsored by Circle that was on, basically, teacher education and multiliteracies approaches. And so it's by Kate Paizani, who's actually stepping in as the director of one of the other language resource centers of Carla, yeah. So she'll be one of our colleagues, Beatrice de Puy, and then Heather Willis-Allen. And this book is a multiliteracies framework for collegiate foreign language teaching, but don't let the collegiate part fool you. I've seen them present on this at Actful. And I think most of the examples they have for the classroom are actually really readily available to adapt for middle school and high school for sure. I think you'd probably have to do a little more thinking to bring them into elementary. But I think it's a great resource because it's really a teacher training guide. So it always has, at the end of the chapters, practical activities to help you think into the kinds of concepts they're introducing. And it's very compatible with the kinds of approaches and the methods that we've been talking about during the workshop. So those are just two resources if you want to follow up later. What we're going to do for the next little stretch before we set you on your way is I wanted to share, not that, I wanted to share, I'm going to focus on the beginning level. I gave you on the handout a couple of examples from beginning and a couple of examples from intermediate. But I have the sense from our conversations yesterday and today that the beginning is going to be more pertinent. So I'm just going to point at the intermediate one, but talk more in depth about the beginning level one. And first, I wanted to orientate you a little bit because the examples I gave you come from our first year curriculum for German. And they're from the first full chapter that we do, which is kind of the second chapter because the book has an introduction, which gives classroom vocabulary, saying hello, greetings, things like that. So it's the first full rounded out chapter of the book. So it's really early. But there is also a flight lesson associated with that. And it is in German, but like a lot of the materials from Joanna's textbook, the kind of teacher discourse around it is in English. So even if you don't speak German, I think you can kind of get an idea for the lesson if you went in there. So I just also wanted to show you where to find things like that. So if you're on the flight web page, the place that you go is example lessons. And you'll find these categories of play that we were working with yesterday. And under those, you'll find a whole lot of examples and hopefully more examples. And you might soon be finding your own examples placed under there. That's the afternoon workshop we'll be talking about those. But in this particular instance, I know one of the categories that falls under is genre play. So if I go under there, there's the lesson. And it's a lesson on personal ads. And to understand that choice, I want to just tell you a little bit about my curricular context. And then I'll show you a tiny bit of the lesson, and then we'll talk about the assessments. So I teach and I direct a language program where we have multi-sections. We have a graduate program. So our beginning level languages are taught by graduate students. So I have this coming fall seven or eight sections of Beginning German. So it's important in my context, because when I show you the grading rubrics, that's going to matter. Because the people who are teaching my beginning levels, I maybe have one or two experienced graduate students who've been in our program. If I'm lucky for two years, sometimes even a little longer if we have a couple PhD students teaching at that level. But most of the instructors who are teaching my beginning level course are brand new, novice teachers with absolutely zero teaching experience. So that means I have to break things down in certain ways that I wouldn't do if I myself were just teaching the course. It's a course which has, we're actually in the process of switching that. But until very recently, we've used a standard commercial textbook. It's one of the better textbooks, I would argue, but it still has its problems. And it falls into these traps that Carl kind of mentioned earlier of teaching grammar and culture in a really normative way and a fairly flat way. And it also, even though it's sold as a communicative language teaching textbook, ends up doing a lot of really discreet vocabulary and discreet grammar teaching, but also testing. The test bank, which we don't use very much, is mostly kind of falls back into discreet vocabulary items, translating the word into English, fill in the blank kind of activities. And so part of our challenge over the last few years has been to kind of take that textbook and take what we have and what's good of that because there are really important reasons why we use that textbook, especially with a big group of new instructors. It has a lot of support built in for both the students and the teachers. But to kind of rethink the curriculum because what we found and it's something that's kind of echoed in a lot of the research is that students were kind of hitting a ceiling around the fifth semester where because they were getting all of the support, thinking back to the training wheels metaphors yesterday, they were doing fine, they were getting good grades, they felt kind of to an extent comfortable in those first couple of years. And then they didn't, they were struggling to go further. They were struggling to do the kinds of things that were expected of them at the higher levels because they were so used to this particular kind of support that they kind of fell over when they got into the real situations where the language got more complex. So we wanted to build in early that support system to get them asking those right questions and thinking about grammar, culture, language being more complicated than what the textbook was telling them so that they would be prepared as they moved forward to kind of really be long term learners and not to kind of hit that ceiling along the way. So our first step was to take what we had but redefine the objectives a little bit. So we looked at our textbook which would have sort of functional kinds of objectives but they were sort of vaguely defined but then would test grammar and say, what do we want students to do at the end of each chapter? So we came in with kind of can do statements, drawing a lot from the European Common Framework, little bit from Actful as well, and then going, because I wanted to bring in this multi-literacies approach, going to the website I mentioned yesterday which I wanted to show you now, you'll find this page pretty easily and they have a whole lot of resources but the page that I go to the most, this one that I love, especially for my new instructors is under learning by design and the knowledge processes. What they have is those pedagogical acts that we talked about yesterday, they call them knowledge processes. That's not my favorite term, that's a discussion maybe for lunch but these are these pedagogical acts that we were talking about yesterday, experiencing, conceptualizing, analyzing and applying but for each of them, they have those active verbs and for those of you who are familiar with it, a lot of them look a lot like something from Bloom's taxonomy, if you've been trained in that kind of method so they kind of resonate. Some people find that problematic. I love that because especially for working with my novice teachers, they get these, they can sit there and say, oh, I'm categorizing different kinds of pronouns. I'm categorizing words in different kinds of semantic fields, words that relate to clothing, words that relate to this. And so we can kind of intersect with the textbook and the way that it works. We can intersect with things that feel a little bit intuitive because these are a little bit more obvious, a little bit more opaque than some other kinds of terms but then we can use that to build into these kind of more multiliteracies objectives and ultimately to bringing in a lot of the flight kind of approach that we've been talking about over the last couple of days. So we started to reframe our whole curriculum along these lines and I have massive documents of how we've done that which I won't share, but if anyone's interested, I'm happy to share them at a later point because we had to create new tables of learning outcomes and how that matched up with the textbook. And so one of the things that we ended up doing though to realize those objectives is we then looked at, well, where are the weak points in the textbook? What does it do? What does it not do? And that's where we started to supplement with a lot of text that really fit into the flight approach and a lot of the lessons for beginning German that we have on the website or that are continuing to be added to the website come exactly out of this, of my graduate students and I working together to say, what is the textbook not doing? What do we need it to do? What can we create to have it do that? And a lot of those lessons end up really being along the flight approach. And so one of them comes from a chapter, it's kind of similar to what Joanna shared with the poem. It's the chapter that's called who I am and what I do. So it probably will be familiar to many of you from a beginning level class. The students are introduced to some vocabulary like student about their identity and they also learn to talk about hobbies and they also learn some very simple expressions for I like to X, I like to Y, I don't like to this. So a little bit of kind of expressing preferences and expressing opinions, but kind of on that personal, what do I do level? So the textbook has a variety of different dialogues and interactions and kind of really simple genres that they have to do this. And we started thinking together about, well, what are some other genres that maybe bring in this playfulness a little bit that will still allow the students to use vocabulary from the textbook and these very simple sentence structures from the textbook, but that will bring this playfulness in a little bit. And one of the graduate students who's the co-author of the activity, I'm gonna show you Chelsea Steinart, said, well, what about singles ads? Because singles ads are very short, they have to be, right? Because even they used to be in newspapers where you were limited by print, now they're online, but that tradition has sort of still held in a lot of spaces. So they're short texts, they're simple texts, right? You don't have a lot of space, but you have to do something really important and that is to convince another human being that you are an attractive, charming, appealing person whom they should contact because you want to date them, right? So they are very playful a lot of the time because you have in a very short text to convey a lot of personality. So we assigned ourselves the very fun task of going online and finding German singles ads because we wanted to try to use authentic texts as much as possible. I don't know if I recommend that part of the curriculum form, it's a weird world. But we did find some that fit the bill. They kind of did the work we wanted, they were interesting, they were playful and they were gonna also resonate with some of the resources, linguistic resources that the students were getting from the textbook. So this is in German, I'll just walk you through it a little bit. This is the lesson on personal ads in German called Kontaktansagen. And so this is the kind of format of the typical lessons that we have and you'll see this later when we talk about the author documents. So it lists at first the texts and genres and practices while the texts they're doing, they're reading and responding to personal ads. They're designing a personal ad for a fictional character because that was another thing we wanted to do, the textbook, and this might be familiar to some of you, I think tends to over personalize. There's sort of an assumption that the students wanna talk about themselves all the time, which in terms of actually being playful and creative, sometimes can actually be an interesting sort of restriction because my students coming in in the first semester are usually freshmen. They're not, for those of you teaching high school, they're not that much older or more mature than your students and they're brand new students at college. So there's a lot of posturing. So actually sometimes giving them a distance to do what Cheryl Krugler is called creative personalization. You're personalizing for a fictional character is actually a really nice opportunity for them a lot of the time. And then they're gonna transform that text into a response, I'll show that in a second. And what they're doing is they're certainly, I'm gonna skip to this language use and language play. They're certainly working with the vocabulary and the grammar, but they're viewing these as choices. What word I choose to describe myself in a moment isn't just something intrinsic about me. It's about how I'm presenting myself in the world. It's how I'm trying to sell myself to another human being. And this is really, it's really creative in a lot of ways. They're also a little bit, we bring in multimodality because that choice of do you include an image or not? Do you ask for an image or not is kind of important in singles ads and interesting in terms of self representation. But they're also starting to look at this as an actual social practice. It's not some kind of abstracted thing we're having them fill out that's from the textbook and then the only person who reads it is me. Now they're not actually posting singles ads and going out there and finding people, but they're still tapping into something like this is an actual social practice in the world that circulates somewhere, that has meaning, has a function, does something in the world. And again, the objective here is not that they become proficient writers, readers, consumers of singles ads, but really that they're thinking about self representation as something that is creative, as something that isn't just about describing the kind of bland facts about I'm so and so tall and my hair is this color and I am so and so old, but is something that's very dynamic and has to do with how you present yourself in a given situation, in a given context. So I won't go through all of the steps because I wanna get into the assessment, but we give them just a few, six I think total, yeah, six singles ads. None of these actually were from websites with images so they don't have images and that was actually a deliberate choice for us to choose those for this step because we wanted them to look at the text. Sometimes we've had them read all of them more often than not actually we'd divvy them up so we have the class in six groups and each group gets one singles ad that they're working with at first because even though they're very short texts, again, this is the first chapter, this is very, very beginning level. So they're simple texts, but it's still a lot for them to kind of take on at that moment. And I'm just gonna highlight one because I know, I think no one in the room speaks German so I just wanna highlight one to give you an example of where the play comes in. This is the most playful so know this is an extreme case but it's my favorite one. This is a gentleman who describes himself as a warrior of the light who's looking for a spiritual elf. So warrior of the light and then this is one of the genre norms that they learn. The M is for he's a male and he's 38 years old and he's looking for an attractive arwin. Anyone get that illusion? Lord of the Rings, anyone? Okay. Who has a sense of nature, peace. For example, likes camping, likes bonfires on the sea and nature. He likes nature and he likes culture the same. He's open to the world, he's tolerant, or sorry, openness to the world, tolerance and pretty eyes would be nice. And he would be happy for responses and an image which is something that they notice really quickly is that a lot of the gender comes into this. A lot of them say, hey, we'd like this person who has tolerance and openness but send your picture, please. Which is one of the norms of the genre as well. So we look at a couple of these examples again. Some of them are less playful than this but a lot of them have metaphor, kind of German equivalence of what Joanna was showing this morning, right? Cause they're trying to convey a lot in a very short text. So we work with these. We have some structured activities, kind of basically reading matrices. Woop, where they first just break down, what's the age, how do they look, what are the hobbies and interests? Cause we've already brainstormed that these are the kinds of things you might put in a singles ad. And then we start to look at it more closely. What are some, we really look at what are some of the literate, what's some of the literatiness? What are some of the metaphors? What's some of the playful language? Do they take on character roles? How do they describe themselves? And one of the things we talk about here because this becomes important for the other activities is which ones do this a lot? Like our warrior of the light here? And which authors do this only very little? Maybe they just have one or two little metaphors that are actually fairly standard metaphors. And we think about that that's a choice too because if you're the kind of person who sells yourself as the warrior of the light, that might not be attractive to everyone, right? Maybe you want the kind of straight edged kind of normal guy who describes himself as being a sport cannon as in German, right? So thinking about how literary to be and how literary not to be is itself a choice, right? Maybe you just want the straight forward description and that itself is a choice rather than something that's just assumed. So we talk about that, we talk about which ones they think are most creative and then we give them a set of images. These are all open resources again to go back to what Carl was also flagging for us yesterday. And we say, imagine a person who's writing a singles ad who uses this image. So it's not just about being this person, this image itself is a choice, right? If I put the image of myself in the cafe during my gig while I'm playing my guitar, right? I'm portraying myself as a particular kind of individual. So what kind of profile would this person be likely to write? Would they use a lot of metaphor? Would they take on character roles? Would they describe themselves in kind of more neutral terms? What would they do? Would they be more playful? Would they be less playful? So they speculate on that in groups and then they compose a profile for that person. So if I chose the guy with the guitar, then I'm writing as the guy with the guitar, right? Me, man, 26 years old. This is what I like to do, this is who I am. And then the final step is they go back and they think, OK, let's pretend that you're the person who just wrote this profile. Let's say I'm guy with the guitar. And now you're perusing those singles ads that we read at the beginning. Would he respond to any of those, do you think? And if he would respond to them, what would he say? Because this is another moment of self-representation where a lot of them ask you to respond by text message, an even shorter form where you have to sell yourself because you want the person to write back. And so we asked them to think about in a text message, how would this guy respond to this particular ad? And so part of this is us having kind of the series of texts. So none of it is kind of abstract, just describe this person, but rather how are you positioning yourself, how are you presenting yourself so that they can see that these choices are always something that is embedded in a particular moment, in a particular interaction between people. And that allows us thinking back to those three levels from yesterday to bring in the textual, right? They're writing a short text. A text message is a very short text that often can have incomplete sentences. That's one of its norms, but it's still a text. But we're also bringing in this ideational experiential, right? This idea of what is a single's ad? What are you saying about yourself, right? That what are you expressing? What kinds of verbs do you use? But we're also bringing in the interpersonal. It's fictive. I mean, these are imagined people. There's a lot of speculation going on. It's creative work. But they're still thinking about these particular individuals in a given moment, how might they interact? And so it becomes a little bit more contextualized, even if that context is, yes, unauthentic, yes, fictive. But it gives them a lot more to work with. So that's the lesson. And so thinking about assessment, for us at this level, it usually takes two forms. And so one is what we might call formative assessment, and one is what we might call summative assessment. And these are both on the handout. And for us, the summative assessment is always something that's integrated into a lesson like this. So it's often what you might call a transformation activity. We were talking yesterday about the applying appropriately and applying creatively. Usually, for us, our formative assessment at this level is an opportunity for them to apply appropriately and creatively, trying to bring those two together. So the tasks that I just mentioned, where they imagine that they're a person from one of the images, and they themselves compose the singles ad, and think about how do they introduce themselves? Do they use metaphors and cliches, as some of the ads did? What role does the text play? Do they use an image? What role does the image play? This, for me, is a formative assessment. And then that SMS, the text message that they write, is another formative assessment. They're imagining they're the person in the ad, and they're ringing the singles ads. Which person suits you? Choose one person and write a text message. What do you say? How do you introduce yourselves? So the tasks are formative. But also the reflections. Because at this level, we always have a reflective element. Sometimes that's more informal. It's just in the classroom. Stepping aside, usually for a couple of minutes in English at this level and saying, why did you do it this way? Why did you do it that way? Us looking at their classmates' texts and comparing them and seeing all the different choices that are available and what different effects those have. At the higher levels where they can write a little bit more, we start to make those reflections a written component of the task. So then at the end, write a couple of sentences just about the choices you made kind of explaining them to us. Because that allows us to also check in to see, what are they doing? What did they mean to do? Is there for us any friction between them and to give some feedback, either peer feedback or instructor feedback on that? The summative assessments for us at these levels, we have unit tests. So they're chapter tests. So the summative assessments are embedded in the unit tests, which are also testing a variety of other things. And this is one place. I just want to flag this as being kind of a friction myself, because we've gone back and forth, the instructors and I, talking about exactly how to do this. Because one thing that we didn't want to do was enforce them being literary in these texts, interestingly enough. And especially for a genre like this, again, that choice of how literary you are or not is part of how you're conveying your personality. And so to say, you have to now write a text that fits like this, to me would be in direct opposition to exactly what we're trying to teach the students, which is that these choices are choices and that they matter, and you should come at them critically and with an awareness, and that that's what we're trying to develop, is them asking these questions of, what do I want to say? What do I want to do with this language? What choices can I make? And what effects might those have on the individuals I'm trying to interact with? And so if we enforce a particular way of writing, it felt wrong. At the same time, we felt like if we didn't somehow value or validate that, that that also kind of went into opposition with what we were teaching them. So what we've come up with, the tasks themselves are usually fairly open. You can see here an example, it kind of models or echoes what they had already done. In this case, they have some activities where they're presented with new singles ads, not the ones we already talked about, but new singles ads, and they end up doing a little bit of work with those, quite similar to what they did here. So we do a lot of matrices on the exams as well. First, kind of just identify, what's the age? How does this person look? What are the hobbies and the way that we did in the reading matrix earlier? But then in the tasks, they again introduce themselves to a person, pretend like they're checking the social networking site first. And first we have them tell a friend about somebody's profile that you saw, so describing another person and why you found them interesting. So it's kind of an imagined oral task. We've also sometimes done as an email task, so kind of a more oral or orate genre where they just have to describe, I saw this profile of guitar guy. I find him very attractive. This is why, right? And so they describe the other person. And then they have to introduce themselves. So this echoes exactly more or less what they did with the text message. They send one of the profiles, a text message saying, I saw your profile and I'm interested in you. But for the grading Rubik, ours is very, very, very simple. You'll see at the bottom there. And that is we give points for task completion and comprehensibility. At this level, we are really much trying to push proficiency. We give, we put vocabulary and grammar together in a category. And then we give points for creativity and complexity. And that means different things at different moments. Cause in the first chapter, complexity, when you're writing a text message, there's not a whole lot of complexity going on there necessarily, but we do, along the way, talk to them about varying syntax, varying word order. It's something we introduced quite early in the curriculum. Varying vocabulary, varying structures in other ways so that they're from the get-go not kind of writing cookie cutter texts. And we're also trying to break them of the mold of, sometimes if we tell them right four sentences, we get texts where it's four sentences numbered one, two, three, four. That's not a text. That's a set of sentences, but it's not a text. So we're trying to kind of break them out of that mold. So that would also fall into creativity and complexity, but it also gives us a space for the students who say, actually, I'm gonna try out. I'm gonna be the warrior of the dark and I'm gonna write my profile to give that person some recognition for that and to build that into the rubric. There are no descriptors. I will admit to that. One thing we found, you'll see this when I show it to you really, really briefly, when we start writing longer compositions at the intermediate level, we do have descriptors. At this level on the test, we found that, I mean, it's kind of ends up being, yes, from excellent down to inadequate, that when we had kind of a more specific set of descriptors, it actually didn't seem to help with the feedback to the students. It didn't actually have a huge impact on how people were grading, but it meant that the instructors were taking twice as long to grade things and they were overthinking every choice. Whereas when we kind of broke it down quite simple, I looked at the test. They weren't grading any differently, but their time was cut in half and they were having a much easier time saying, this is five points versus three points. And I don't know if this is only my experience. I've seen some evidence on English language composition grading that suggests similar things that when people have a very simple rubric that actually sometimes the feedback is better in the grading process is more effective. But I think that's something that probably needs a little bit more research and I'd be happy for feedback on that. Now that's, I have the freedom to make that choice. I'm not, nobody asks me to provide something more detailed, so I have that flexibility. Maybe I'll stop there before I show the intermediate one quickly. Does anyone have any comments or questions about that one? What you just said about having the rubric without the descriptors. I do that a lot myself because it saves me time. I have my categories and I go from one to five on every task on whatever it is. And I do have the big sheet with all the descriptors of what's completed the task, what's excellent, what's, I think lacks competence or whatever our descriptor happens to be. And so the kids can refer back to that but it does save you time. And then if I'm ever having a question when I'm reading something, well I don't really know if this is a five or a three or a four or whatever, then I can go back and look at those descriptors. But it also helps if a parent has a question because usually it's not the kids who have the question about their grade, it's the parents. So that is something that we have to fall back on. So you're not alone in that, it does happen to us too. Occasionally a student will come back to ask for their grade. And then also we're in a kind of bifurcated power situation where they might go to their instructor and that's what I will tell them to do but they might also bring it to me at some point. So I need to be able to understand the choices. So they do give feedback in the margin about why they took off where. But it's made the process of grading for those novice instructors I think a lot faster and effective. Do you care if they're using textual language or do they have to spell out the foreign language and normal? That's a good question. So we give them a couple of examples and then we give them a link to a site and we tell them that that's part of what you can play with. The thing about German texting languages that a lot of them are actually the same as English. So part of it is it's kind of a cognate. It's saying hey, notice how a lot of these actually work the same way that they do in English. They've taken like LOL even though that doesn't work in German. People just know that that's laughing out loud. But then some things are also quite different. And those are a really simple set of resources. We can give them that if they're gonna have peer-peer interactions, if they go study abroad, which we encourage them to do, although a small number do, if they have German speaking friends, that's something they can use right away. It's not academic language, but it's real language and texting language also has a lot of playfulness. It's something we come back to later in the curriculum as well. I'm gonna point out very quickly the intermediate one but I think that that's less relevant for a lot of your context. So I won't spend a lot of time on it. But what we do, and this is on page five of the handout, our fifth semester curriculum, which we call intermediate advanced, it's kind of an odd course because most of our courses are three credits, which means they meet four days a week for 50 minutes. This course is a six credit unit course. So they meet five days a week for twice that, I guess a hundred minutes, and they have two instructors. It's kind of a beast and it's our course where we really bring majors and minors into the fold and say, okay, now we're revving things up. You're serious about this because we have a two year language requirement for most of the majors at our university. It's also a course that sometimes students who take high school German for four years do test into. So we get somewhere usually between two and four high school students who test into that every year. And the way we structure that course is on a kind of loose genre approach. So the first genre is description, then we do narrative, and then we do argumentation. And so for each of those units, we read a variety of different kinds of texts that are describing people and places then that are narrating in various contexts and we tie that a little bit into historical narration. And then very simple forms of argumentation like film reviews, book reviews, simple position papers. And so I say that so that you can see when you look at the example here, it's in the middle unit, which is on narrative. And part of, a lot of what we focus on is really standard narratives, kind of very familiar kinds of narrative, both literary and a lot of personal recounts. But we do do a couple of units that are more looking at multimodal and looking at digital narratives so that that's also something we can connect with it. And so one of the flight lessons is a lesson that's on cultural illusion, humor and memes. So it's this case that was at a university in Germany where a door broke and the response was for them the administration to put a sign on the door that said the technician has been informed. And then it created this whole phenomenon whereby people kept printing off internet memes. Everyone knows what an internet meme is, right? Where you have the image and then you have a short text. So people started printing them off and pasting them around the door. So you end up with this entire collage of internet memes and then that spawned an entire Facebook page which is devoted to this door at a university in Germany which still continues today. Part of the lesson now is we have them go to the Facebook page. But what's interesting about it is that when it got posted on the internet it was framed as a meme story. And so it's a story that someone compiled by taking a series of the photos and kind of showing how first there were two and then there were like 100 and then they all get taken down and then the dean posts something saying we had to take these down because it was against fire code. And then people start posting memes about it being about fire code. And there's all this entire response and it's framed as a narrative. So we look at, well what does it mean to tell a narrative in pictures? And what's narrative about this compared to the other kinds of narratives that we've done? And then they also have to try to recount the story which is a way of us, again, formatively assessing the kinds of narration that we've been practicing, that we've been working on, that we've been building on but also seeing that tension between telling the story in words and telling the story in images they don't afford the same things, right? You can do different things in images, you can do different things in words. So they pay attention to that and then we do some work with also graphic novels after that. So it kind of bridges into that a little bit. So this flight lesson where they work with the memes, the formative constructions that are built in are things like doing this recount where they have to consider what to leave out, what to mention, what they have to add that isn't there and present in the story that's on the internet. And also to think about this multimodality when you're moving between modes. But when it builds into the summative assessment, the summative assessment for this is that they write a story. And so this is another one of those spaces where the foreign language is in the littering the everyday, it's not directly assessed in the summative assessment for us in the curriculum. They are allowed and encouraged to use images with their story but it's not required because again, part of what we're trying to do is give them these resources, this kind of palette of ways in which they can make meaning and to see these different choices and the different effects they have. So I wanted to highlight this because sometimes I think it looks like the flight goes away in the assessments. And I don't have examples with me. If you look at what the students produce both in the activities around the singles ads on the exam and in the kinds of stories that they tell and choose to tell, we've continually seen exactly these aspects of literariness, these kinds of play that we bring into the lessons, coming into the kinds of things they're writing even when it's not being forced, even when it's not part of what we're directly assessing. And so that to me is anecdotally an indication that at least a number of students are seeing these resources, taking advantage of them and kind of building the ways in which they can express things in our case in the German language. So sometimes the assessment can be also coming in a little bit from the side and that if you're not directly assessing the literariness that doesn't necessarily mean that exactly those kind of tasks that you want them to do, that that literariness isn't part of what's supporting that kind of command of the language that we've been talking about over the last couple of days. And it's something we do see in their essays. For those, this is way too much probably for anyone to soak in, but if anyone wants a version, I'm just gonna flag it. For that, of course, we do have descriptors. The essays are all in three drafts. They write a first draft where the focus and attention, and this is on the back page on page six. And the first draft, the focus and the attention is always on task completion and comprehensibility and structure and coherence. We wanna see if the assignment is to write a narrative. What we're first looking at is, did you write a narrative? Is it a cohesive, coherent narrative? And our attention is really on that kind of macro structure. And then on the second draft, we assess style and word choice. That's not something that was assessed on the first draft, but we do give feedback on it. So they're not getting points counted off for incorrect word choice, for not being idiomatic. But we give them that feedback. So then when they revise the second draft, part of what they're doing is taking in that feedback and making sense out of it. We don't correct it, we give feedback, sometimes peer and sometimes instructor feedback. And then on the third draft, style and word choice comes in again with more points because they've already had feedback, but they've received feedback now for grammatical accuracy and complexity. And then that is where they also get points on the third draft. So the idea is that we're always building the feedback into the process before they write. And this came out of actually a study that one of our graduate students did several years ago, looking at this kind of modified process writing approach. And one of the things he found is that when we gave all of that feedback at the beginning, the students only focused on grammatical accuracy. And so we would get back essays that weren't narratives or weren't very coherent narratives or that jumped all over the place, that weren't using things that we wanted them to use linguistically like temporal and causal connectors that used all these linguistic resources for telling a story that at the intermediate advanced level, we want them to start to have command over. They weren't even using those because their focus was on adjective endings and had they declined this the right way and things like that. And so by forcing the text first, we've kind of shifted their attention on that. And then we come back to accuracy at the end. It still matters. We're saying, when you proofread your essay in English or in German, you need to come back at the end and make sure there are no typos in that you've declined things correctly. But first you have to have a text to work with. And so that's kind of our way of pushing them to a little bit more challenging writing at that level. And so we do have a very detailed kind of set of descriptors for what all the different points mean for that, which I can share a translation of if anyone wants it later. But I know this is a little bit beyond what a lot of you are teaching. But what we'd like you to be doing is going back to those lessons that you started yesterday. And depending on where you are, you might be doing slightly different things, but going back into them, starting to think about objectives. We had you inside the lesson, sort of looking at the trees, come back out to the forest for a second. What are the objectives of this? How does this fit into your curriculum? And that might also push you to go back into the lesson again and kind of move back and forth between those levels. Also starting to think about what possible assessments you might couple with that lesson in your curriculum if you're at that point. If you're not at that point, it's okay if you're mostly focusing your attention on the lesson at this point.