This article seeks to present a model of critical factors that influence writing transfer by exploring and extending conversations happening in the field. The article identifies five critical and interconnected factors that support writing transfer: connection, perception, reflection, disposition, and fortification. These factors emerge from an integration of writing transfer scholarship and data from a longitudinal study of student writers. In that study, six participants were followed for seven years (from first-year composition past graduation and into the workforce) and asked to explain their experiences and perceptions of writing. I offer these five factors to spark a broader conversation about how multiple overlapping influences contribute to writing transfer and to encourage further research into how these factors interact and reinforce one another.

This empirical study of a virtual writing marathon (Write Across America) theorizes a dynamic online ecosystem in which the five realms—virtual place, design, writing, sharing, and emotion—interact in the process of writing. The study has implications for students and for the professional development of writing instructors.

This study surveyed and analyzed feminist methodologies in four composition journals across ten years. Our findings offer a number of important checks upon methodological and epistemological conversations in composition research, particularly how the methods we choose demonstrate our attention to social justice, the materialities of research practice, and the situatedness of knowledge claims.

Empirical research on composing processes is virtually absent in our field. What do contemporary writers actuallydowhen they compose? I argue that we need a return to research on composing processes, as writers are every day weaving together the social and cognitive through writing. One writer’s composing process think-aloud suggests how some writers today weave together cognitive and cultural processes of meaning making in ways unimagined at the time of the last composing process research.

Report on a longitudinal study of transfer, investigating dispositions in two participants’ internships. Prior knowledge helped one student overcome negative attitudes toward school. With less experience and disruptive dispositions, the second student was less successful. Thick descriptions of their experiences are followed by implications for supporting transfer in internships and for future research.

This article uses rhetorical genre theory to discuss methods for writing studies research in light of increasing participation of Indigenous scholars and students in disciplines throughout the academy. Like genres, research methods are embedded in systems of interaction that create subject positions and social relations. Using rhetorical genre theory to understand methods as the cultural tools of research communities, we argue that methods can be enacted as flexible resources in the interest of advancing ethical knowledge. In the context of Indigenous epistemological activism, researchers can then take a contingent stance toward method, a stance we name “principled uncertainty.”

Challenging histories of male-dominated composition instruction during the nineteenth century, this article recovers composition practices at the Cherokee National Female Seminary, locating the practices at the intersections of gender, race, and colonization. Through Indigenous storytelling and archival research methods, the author asserts that our cultural locations landscape our writing histories.

“Guidelines for the Ethical Treatment of Students and Student Writing in Composition Studies” signals our increased awareness of the ethical obligations that attend our scholarship and research. Our adoption of research methods from other fields, particularly the social sciences, has heightened that concern. We must now consider the ethical obligations we assume when we teach those methods to students at the beginning of their academic careers.

This essay reports on the first two years of the Stanford Study of Writing, a five-year longitudinal study aimed at describing as accurately as possible all the kinds of writing students perform during their college years. Based on an early finding about the importance students attach to their out-of-class or self-sponsored writing and subsequent interviews with study participants, we argue that student writing is increasingly linked to theories and practices of performance. To illustrate the complex relationships between early college writing and performance, we explore the work of two study participants who are also coauthors of this essay.

Why do some students prosper as college writers, moving forward with their writing, while others lose interest? In this essay we explore some of the paradoxes of writing development by focusing on the central role the freshman year plays in this development. We argue that students who make the greatest gains as writers throughout college (1) initially accept their status as novices and (2) see in writing a larger purpose than fulfilling an assignment. Based on the evidence of our longitudinal study, we conclude that the story of the freshman year is not one of dramatic changes on paper; it is the story of changes within the writers themselves.

Drawing upon their longitudinal study of four undergraduate writers and focusing on the progress of one of them, the authors question assumptions that confuse skills assessment with the measurement of academic and personal development. They argue for a broader view of writing development and a teaching approach that fosters it.