Palmeri Chapter 1 Response

This chapter delves into the topic of multimodal composition and argues, essentially, that a multimodal approach is really valuable in the thinking, planning, composing and revision stages of composition of all kinds. Palmeri particularly focuses on the importance of a multimodal approach in writing, since writing has historically been viewed and taught as a monomodal process.

Palmeri claims, “English teachers have much to gain by studying and teaching other forms of composing” (27). This is a point that is reiterated frequently and explored in depth in various ways throughout the chapter. Palmeri emphasizes on many occasions how helpful it would be for students if they were encouraged to think multimodally when composing. He argues that monomodal composition can hinder creativity and prevent students from composing to the best of their abilities.

Similarly, the author believes that “composers are better able to make remote associations if they draw upon and combine multiple creative traditions in composing their work” (31). Essentially, the author’s main purpose in this chapter is to explain how valuable it is for any and all writers/students/humans to be multimodal in many ways when it comes to composing, because multimodal thinking, composing, and revising allow for the most creativity and the highest possibility of successful expression.

I can’t say I have applied this theory to my own writing or “composing” in the past. Honestly, when I write, my planning, composing, and revising stages are pretty straightforward and monomodal in their writing-focused approach. However, I work at the HUB writing center on campus, and I have witnessed how multimodal tactics can be effective for other writers I have helped. Some people are much more auditory or visual than I am, for example, so speaking or drawing their ideas (as opposed to free writing them) can be very useful.