Still, despite the aforementioned benefits of incorporating multimodal assignments into secondary English education, some teachers may remain wary about the theoretical underpinnings of such pedagogies.   According to Pamela Takayoshi, Gail Hawisher, and Cindy Selfe (2007, p. 5), these teachers "might be encouraged to remember that the rhetorical principles currently used to teach written composition, are, themselves, principles translated from the study of oral communication."  Beyond the theoretical, still another concern of secondary English teachers may be the practicality of incorporating multimodal instructional strategies with their more traditional modes of instruction. To put it simply, "many composition teachers--raised and educated in the age and the landscape of print--feel hesitant about the task of designing, implementing, and evaluating assignments that call for multimodal texts" (Takayoshi, Hawisher, & Selfe, 2007, p. 2-3). Still, all teachers of composition must readily admit that, what Daly (2003, p. 34) calls "the language of multimedia" is affecting this generation of writers in profound ways.     

Consequently, for those teachers who are willing to try something new or for those who "understand the possibilities and the challenges posed by a curriculum that accommodates multimodal literacy practices" (Takayoshi, Hawisher, & Selfe, 2007, p. 3), a good place to begin is Selfe's recently published Multimodal Composition: Resources for Teachers. In this text, English teachers curious or eager to incorporate multimodal pedagogies will find both a theoretical justification for a multimodal approach to education as well as "a basic set of resources for teachers who want to experiment with multimodal composition assignments--particularly those that incorporate video and audio production--in their classrooms" (Takayoshi, Hawisher, & Selfe, 2007, p. 3). Picturing Texts by Lester Faigley, Diana George, Anna Palchik, and Cindy Selfe also provides both theoretical and practical instruction for incorporating multimodal composition assignments into English language arts classrooms.  

The key, no matter how small the gesture, is to just start. In the words of Yancey (2007), "Teaching student writers to navigate between digital and predigital technologies in their writing--and even to use new technologies to reflect on their writing process--makes for an ambitious, complex writing curriculum." It is a rewarding curriculum, too--not only for the students but also for the teachers who will ultimately learn and grown alongside those they instruct.