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28 Barry L. Rev. 1 (2023)

handle is hein.journals/barry28 and id is 1 raw text is: : Genre Discovery 2.0 GENRE DISCOVERY 2.0 Katie Rose Guest Pryal* Abstract Ten years ago, I proposed the genre discovery approach for teaching new legal writers how to write any legal document, even ones they had never encountered before. Using the genre discovery approach, a writer studies samples of a genre to identify the genre's conventions so that they can write the genre. From the seed of Genre Discovery 1.0, the approach's potential has blossomed into a robust pedagogical system: Genre Discovery 2.0. Genre Discovery 2.0 is more effective than Genre Discovery 1.0 because it more explicitly integrates metacognition into its pedagogy. Metacognition, the concept that individuals can monitor and regulate their own cognitive processes and thereby improve the quality and effectiveness of their thinking, is not innate-it must be taught. The legal writing professoriate has embraced metacognition to teach our students to be conscious of their learning. Some legal writing professors have contributed strategies for teaching metacognition to law students. Most current metacognitive teaching strategies include overlays atop an underlying assignment. In other words, these strategies require two steps to teach metacognition: the underlying task itself and then the separate metacognitive task that overlays the main task. This learning process is inefficient because it requires multiple steps. It is also less effective because the metacognitive activity is divorced from the underlying assignment, requiring students to make a cognitive leap from one assignment to the other. The push for metacognition in legal education has come from the upper levels of legal education reform. This article shows that metacognition is the best way to prepare our students to be practice ready. * Adjunct Professor of Law, University of North Carolina School of Law, Chapel Hill, North Carolina. A.B., 1998, Duke University; M.A., 2000, Johns Hopkins University Writing Seminars; J.D., 2003, University of North Carolina School of Law; Ph.D. in Rhetoric, 2007, University of North Carolina Greensboro. Co-editor of THE COMPLETE SERIES FOR LEGAL WRITERS and co-author of THE COMPLETE LEGAL WRITER (2d ed. 2020), THE COMPETE BAR WRITER (2020), THE COMPLETE PRE-LAW WRITER (2022), A LIGHT IN THE TOWER: A NEW RECKONING WITH MENTAL HEALTH AND DISABILITY IN HIGHER EDUCATION (forthcoming 2023). I thank my co-author, co-editor, and writing partner Professor Alexa Z. Chew of the University of North Carolina School of Law for her invaluable assistance with this article. I also owe a long-standing debt to Professor Jordynn Jack of the University of North Carolina Department of English and Comparative Literature, with whom I started building my knowledge about rhetorical genre theory over a decade ago. Deepest thanks to the following colleagues who provided invaluable feedback on this article: Joe Fore, Ellie Margolis, Jennifer Romig, and Kirsten Davis. This article would not be possible without the input of students and professors who used THE COMPLETE LEGAL WRITER in both its first and second editions over the years and provided immensely valuable feedback on the genre discovery approach to me and my co-author Professor Chew, including in no order of precedence, Anne Ralph, Jennifer Romig, Rachel Gurvich, Sara Warf, Kevin Bennardo, Luke Everett, Craig Smith, Katrina June Lee, and many more. The following UNC Law colleagues provided support for my research: Mary-Rose Papandrea, O.J. Salinas, Leigh Osofsky, and Aaron Kirschenfeld.

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