This article revisits the relationships among gender, service, and composition pedagogy through a qualitative study of active-duty military officers who teach first-year writing at the United States Air Force Academy, one of the five major U.S. national military service academies. The U.S. national military service academies are under-studied sites of writing; there is little published about the experiences of the active-duty officers who comprise a significant portion of the first-year writing teaching faculty at these institutions. Interviews with the officers about their first-year writing pedagogy are framed by an analysis of military leadership policy as well as scholarship on writing teacher development, feminist composition pedagogy theories, and critiques of the role of service in composition studies. This study describes the officers’ first-year writing pedagogy and argues that the experience of these officers, framed through the theories of military leadership and the military service ethos, introduces a new way to understand how the concept of service could operate in first-year writing pedagogy. The officers’ experiences also support arguments that service in composition classrooms is still problematically gendered: even within a military environment, female officers report that they have less freedom than their male colleagues to demonstrate an ethic of care towards their first-year writing students.

Writing Studies’ emphasis on knowledge-transfer and learning stems from our pedagogical focus and is motivated by the fact that much of our research is about and our teaching is directed at students who will be entering other disciplines. Much of the research in the field has focused on tracing transfer and learning longitudinally through students’ college careers. This paper contributes to this larger body of research by presenting an approach to researching transfer and learning that focuses on the situated, moment-to-moment interactions that occur when students learn, when their dispositions form, and when they experience transfer. Initial findings from a study conducted at an R1 public university following this approach reveal that within these moments, students engage in complex boundary-marking interactions that iteratively define the material and discursive world and students’ place within it. The boundary marked in each iteration then affects future boundary-work, a phenomenon this study calls micro-transfer . The initial findings reveal that any given moment can have a profound impact on the trajectory of a student through a class, and that boundaries themselves have different characteristics and micro-transfer depends upon these characteristics. This study presents an initial set of categories of boundaries based on their flexibility and permeability and the field in which they form that could be a foundation for future research in boundary-work and micro-transfer in writing studies.

Diana George is professor emerita at both Virginia Tech and Michigan Technological University . In this interview, Diana reflects on moving late in her career to revitalize a first year writing program and writing center at a different university. She also discusses her approach to publication; institutional capital; finding balance across teaching, scholarship, service, and administrative duties; and the importance of collaboration and supportive colleagues.

Collaborative learning theory points to knowledge construction as an outcome of peer interaction, justifying widespread implementation of collaborative activities (like small group discussion) that scaffold toward individual writing projects. This article offers a qualitative investigation into the process of collaborating with peers and the extent to which peer interaction facilitates knowledge construction. More specifically, I present two case studies from FYC courses, one of a debate activity that successfully facilitated knowledge construction and the other of a Google document activity that was not successful. The methodology—triangulating interviews, observations, and an analysis of student writing—presents a replicable strategy for measuring knowledge construction as a result of peer interaction in FYC. I analyze these findings in light of the Community of Inquiry Framework, arguing that the knowledge construction (cognitive presence) that resulted from the collaborative activities I observed was supported by the instructor emphasizing multiple perspectives in the activity design (teaching presence) and establishing a strong sense of community (social presence).

In this article, we discuss what it means to learn troublesome “threshold concepts” about writing that cannot be adequately grappled with in a single course or assignment. Here, two faculty members and a graduate of a writing major reflect on elements of the writing curriculum, the writing center practicum, and the learning dispositions and experiences the student brought to the program in order to consider what ongoing, deep learning of writing threshold concepts can look like, as well as how programmatic and pedagogical elements may afford and constrain such learning.

Genre has emerged as a central concept in writing studies, with numerous scholars advocating for its prominent role in writing instruction. Despite this interest in genre, however, research has not explored teachers’ understanding of the concept, which is critical to how they address genre in their classrooms. This study traces the evolving conceptions of genre among thirty-three new first-year writing teachers, examining their understandings--and, occasionally, tensions--at different points in time as they encounter the concept in their teacher preparation and with their own students. Through written reflections and focus group interviews, we identify key patterns in how the teachers define genre over time and some of the influences on those dynamic conceptions. Findings from this research have implications for teacher preparation and curriculum development in the context of U.S. college composition.

In this interview, Shirley Wilson Logan reflects on her major roles as a scholar, teacher, and an administrator. She describes her journey as chair of the Conference on College Composition and Communication, only one of a few black women to do so. Logan is also credited with launching the study of African American women’s rhetoric as a field, writing one of the early books on African American women rhetors. Logan discusses her motivations for writing this book, With Pen and Voice: A Critical Anthology of Nineteenth-Century African American Women , and makes connections between her scholarly focus and her work as both a teacher and an administrator.

This essay offers a review of Jay Dolmage’s Academic Ableism: Disability and Higher Education and Asao Inoue’s Antiracist Writing Assessment Ecologies: Teaching and Assessing Writing for a Socially Just Future with the intent of reminding composition instructors of the importance of intersectionality and accessibility. Each text encourages us to challenge traditional perceptions of success and failure thereby also interrogating imbalanced power dynamics between instructors and students particularly in regards to writing assessment and other pedagogical priorities. Finding ways to acknowledge difference, and affirm it, is vital to our collective success especially in the writing classroom.

This article offers the term “accommodation transfer” as a way to understand the rhetorical skills disabled students transfer alongside writing knowledge as they access college writing assignments and writing classrooms. This study is based on five qualitative interviews with disabled college students and draws upon both writing transfer research and disability studies. The author explores how participants adapted writing process knowledge and learned how to negotiate their accommodation needs with instructors across their academic careers. Specifically, these negotiations include assessing instructors’ stances towards disability and testing effective genres and vocabulary to communicate about disability with instructors. The article concludes with two suggestions for cripping teaching for transfer: embracing and teaching crip time for writing, and highlighting the relationship between mentorship and interdependence.

Expert readers’ responses to texts offer specific, meaningful insights useful in building English language arts models (ELA) for student writers. In the case of academic peer review, previous research has demonstrated that expert reviewers have specific expectations involving readers, texts, and processes. Identifying congruence between research on expert readers and the design of ELA models, however, has proven elusive—and detrimental to the advancement of student learning. One promising integrative direction is the study of two complementary ELA models, one emphasizing the role of meta-reading and the other of cognition. To explore the capability of an ELA model for writing studies informed by expert reader practice, we present a case study that has educative implications for the teaching of writing. Specifically, the study reports the observations of six expert readers reviewing manuscripts for an academic journal in writing studies. Following completion of an online survey of their reading aims as they reviewed manuscripts for publication, colleagues participated in a 30-minute semi-structured recorded interview about their strategies. The interview responses were coded using both meta-reading and cognitive models. Based on analysis of 529 reviewer comments included in the analysis, the findings support conceptualization of integrated, multi-faceted ELA models. While limited, our study has generative research and classroom implications for the development of writing studies pedagogy.

This article presents data from a 2013 survey of students enrolled in a longstanding rhetoric and composition Ph.D. program at the University of Louisville (U of L), a mid-sized public institution in the American South. The survey collected data regarding graduate students’ perceptions of language diversity in the context of their professional development as composition teacher-scholars. It interprets the data in relationship to what Yasemin Yildiz has described as the “postmonolingual condition” of 21st century Western social life: a field of tension between monolingualist ideology and increasingly visible multilingual practices. Drawing from student recommendations, it suggests ways this program, and others like it, can leverage students’ positive perceptions of and attitudes toward multilingualism to norm language differences in its mainstream rhetoric and composition graduate curriculum.

This program profile describes an initiative to meet the college reading and writing requirement for undergraduate students in a premedical program at St. George’s University (SGU) in Grenada, West Indies. Two courses were developed in response to concerns that the existing curriculum was not meeting the specific needs of premedical students. The existing courses were literature-based and provided minimal feedback or other opportunities for development. Additional concerns involved a varied range of abilities among students that was not being addressed, large class sizes, and lack of investment on the part of premedical students. Solutions include the incorporation of a task-based curriculum focused on the medical profession in order to increase engagement, division of students into small cohorts with small teacher/student ratios, integration of skill building into all activities, and implementation of process writing to allow for intensive feedback and student development.

This article describes and theorizes a failed writing program assessment study to question the influence of “the rhetoric of agreement,” or reliability, on writing assessment practice and its prevalence in validating institutional mandated assessments. Offering the phrase “dwelling in disagreement” as a queer perspective, the article draws on expertise theory and notions of ambience and attunement in rhetorical scholarship to illustrate the complexity, unpredictability, and disorder of the teaching and assessment of writing. Adopting a queer sensibility approach, the article marginally disrupts “success” as assumed by order, efficiency, and results in writing assessments and explores how scholars might reimagine ideas, practices, and methods to differently understand a queer rhetoricity of assessment and learning.

Drawing from their experiences teaching two different activism-focused writing courses, the authors consider the benefits, pitfalls, and potential dangers of activist writing pedagogy. Scott provides a retrospective on a rhetoric and writing course focused on the employment of digital rhetoric, while Katherine reflects on an activist-rhetoric course that culminated in the execution of an annual Take Back the Night rally. Despite the risk of “politicizing the classroom,” the authors argue that activist pedagogy, when thoughtfully implemented, can help students (no matter their political leanings) learn how to write, act, and think—necessary skills for a democratic society. Yet, while both authors support activist-focused rhetoric and writing courses, they also examine the ethical, pedagogical, occupational, and even legal issues that might arise from teaching such courses.

With the proliferation of digital media and other forms of technologically mediated communication, this article argues that critical multimodal pedagogical approaches to public writing—particularly through interrogating mundane, everyday texts—have the potential to engage students with advocacy and its role in shaping public discourse. In this article, we propose a pedagogy that views multimodal composition as advocacy. Because all texts are embedded with advocacy, encouraging students to recognize their own advocacy practices, and teaching them to carefully approach how they construct texts, we argue, may better prepare our students to be more social-justice minded public writers and rhetors in the future.

This multimedia article focuses on my experience as a professor working on a campus adjacent to Ferguson, Missouri. I discuss the ways that Ferguson and Black Lives Matter pushed me to intentionally and meaningfully connect my teaching, research, and the local community. Through narrative, video and audio excerpts and analysis of conversations with Ferguson community members, and pedagogical reflection, I argue for an understanding of public rhetoric and writing that is more inclusive of listening, archives, collectivity, and social justice. I also highlight the importance of building rhetorical theory alongside public rhetors in local communities, helping students understand that the rhetorical tradition is far from a historical relic. Instead, it is a work-in-progress, living and breathing all around them.

In this interview, Paula Mathieu explores the rhetorical tactics and contemplative practices necessary to cultivate hope in a period of political tumult. Drawing on her scholarship on the “public turn” in Composition Studies, a term she gave us in her vital Tactics of Hope: The Public Turn in English Composition , Mathieu discusses tactics and strategies for teaching public writing and supporting the work of public writing teachers at a time when community partnerships and service learning are more susceptible to critique in political discourse. Mathieu traces out a synthesis between mindfulness and public engagement and underlines the importance of seeing the contemplative as productive and reflective of public engagement.

In this interview, Susan Wells discusses the teaching of public writing and the work of public rhetoric as they respond to both shifting and recurring political and social contexts. Drawing on insights from her extensive and current work on public rhetoric, including her foundational essay “Rogue Cops and Health Care: What Do We Want from Public Writing?,” Wells discusses the possibilities public writing instruction holds for cultivating students’ public agency, while also exploring the boundaries between what can and cannot be accomplished in the public writing classroom.

This profile presents New Jersey City University’s Writing Assessment Program from its creation in 2002 to its elimination in 2017. The program arose as an attempt to raise the writing skills of the diverse, first-generation teacher certification candidates in the College of Education. Despite political missteps, the program gained greater administrative support in 2009, and in this second stage, the program capitalized on greater institutional support to use data-driven analysis to inform policy. In 2014, however, New Jersey moved to require the Praxis CORE, and the Writing Assessment Program became obsolete. This profile discusses the many ways in which a locally developed, student-centered, and instruction-driven assessment program can raise student skills and the losses involved in a shift from local to national assessment.

Recently, rhetorical genre studies scholars have challenged the field to de-center the study of genre as artifact to focus on the conditions that surround, inform, and constrain how those genres get used by writers: the genre uptakes. While prior research has begun to identify many of these consequential influences, these endeavors would benefit, I argue, from an emic, writer-oriented method that follows what writers perceive has impact on genres from a longitudinal and trans-contextual perspective. To that end, I extend previous research by introducing lifeworld analysis to the study and teaching of genre uptake. Lifeworld analysis, I argue, centralizes uptake, uptakes over time, and the background life from which uptakes are formed, as salient for literacy development. To support this claim, I present a lifeworld case study of one student (Ron), an electrical engineering major and participant in local and online maker culture, who I followed over four years of his undergraduate curriculum, from general education and discipline-specific courses into an online and local community makerspace. Ron’s case reveals the interplay between maker-consciousness and encounters with engineering and general education writing, highlighting how maker culture became a core scene of uptake for his performance of school-based genres. This lifeworld analysis shows the porousness and malleability of spheres of writing activity as well as the consequences of such perceived malleability for writers. Ron’s case grounds my introduction of an uptake awareness pedagogy: an attempt to help students recognize and strategically draw from expanded and often taken-for-granted temporal, spatial, and perspectival histories of their prior genre uptakes and those uptake histories.

This interview takes Sharon Crowley’s CCCC Exemplar Award as a kairotic moment to ask her to revisit her work and reflect on some valuable lessons she learned about what it means to be a teacher, writer, and rhetorician. The interview took place in Professor Crowley’s home near Tempe, Arizona in June 2015. The discussion below is a small part of that long and wide-ranging conversation, and it demonstrates well Professor Crowley’s care, her candor, and her critical acumen.

Multimodal pedagogy is increasingly accepted among composition scholars. However, putting such pedagogy into practice presents significant challenges. In this profile of Washington State University’s first-year composition program, we suggest a multi-vocal and multi-theoretical approach to addressing the challenges of multimodal pedagogy. Patricia Ericsson, the director of composition, illustrates how theories of agency are central to the integration of multimodality. Elizabeth Sue Edwards, a graduate teaching assistant, explores negotiating departmental standards and implementing multimodal assignments. Tialitha Michelle Macklin, also a graduate teaching assistant, discusses her journey from rejecting multimodal assignments to embracing them as an integral element of her pedagogy. And Leeann Downing Hunter, a non-tenure-track faculty member, approaches the challenge through the lens of adaptability. We believe that this multi-vocal approach to building a multimodal composition program offers: (1) a foundation for other writing programs to adapt and build upon; (2) an alternative to traditional approaches that rely on single theories and single leaders; and (3) a reconstitution of how the university works, integrating stakeholder voices from administrators to students themselves.

This program profile describes recent changes to the process for preparing graduate teaching instructors (GTAs) in North Carolina State University’s first-year writing program. The authors—one a non-tenure-track faculty member and the other a tenure-track faculty member—describe the philosophical, ethical, and practical concerns in scaling teacher preparation to accommodate rapidly growing cohorts of MA and MFA GTAs. By providing an example of cross-tier collaboration, the authors propose an approach to GTA preparation that takes into account that many of these novice teachers will begin their teaching careers as contingent faculty colleagues.

Occluded genres in academia work “behind the scenes” to support and develop an academic’s professional identity. However, while significant attention has been paid to occluded genres that support an academic’s identity as a researcher, very little scholarship examines how occlusion operates in genres of pedagogy, such as the syllabus, teaching statement, or assignment prompt. These genres promote and endorse an academic’s teacherly identity, not only by expressing a teacher’s authority and expertise in the classroom, but also by representing a teacher’s pedagogical philosophy, activity, and experience in other academic scenarios beyond the classroom. In this article, I explore the characteristics of occlusion associated with these genres as well as the implications faced when their rhetorical complexity is obscured by that occlusion. Ultimately, I argue for an increased awareness and study of the occluded contexts of pedagogical genres so that we may better understand how these genres facilitate the pedagogical activity and identities of teachers within academia.

In addition to teaching research and writing skills, First-Year Composition classes are well situated to help students develop strategies for managing stress and increasing well-being. I describe an assignment sequence in which students interview others from three generations about topics related to happiness and well-being, analyze shared transcripts, and present their findings in two genres. Beyond providing instruction in research methods, academic writing, and multimodal composing for non-academic audiences, this sequence supports the five elements of authentic well-being outlined by positive psychologist Martin Seligman: positive emotion, engagement, relationships, meaning and purpose, and accomplishment. These assignments and related course content foster emotional literacy by prompting students to approach happiness and well-being as academic subjects and to develop practical strategies for implementing what they’ve learned.

Sarah DeBacher and Deborah Harris-Moore offer their experiences with teaching in the aftermath of traumatic situations. DeBacher, who taught at the University of New Orleans in the aftermath of Hurricane Katrina, and Harris-Moore, who taught at UC Santa Barbara following a mass shooting, explore the difficulty of teaching writing in the wake of traumatic events.

Empathy is attracting increased attention within and beyond the academy. In this essay I review relevant theories of empathy and their place within rhetoric and composition. I propose two approaches to teaching empathy: as rhetoric and as disposition. A rhetorical approach incorporates a necessary critical awareness of empathy’s enticements and limitations, while a dispositional approach cultivates empathy as a habit of mind. I argue that writing pedagogies of empathy as rhetoric and disposition are ideally suited to combine the cognitive and affective, critical awareness and practice, to inform not only our engagements with texts but also with one another.

This article critically analyzes under-acknowledged influences on the recent turn toward emotions, happiness, and well-being in higher education generally and in writing studies specifically: positive psychology (the science of happiness) and positive education (teaching well-being). I provide an overview of their primary features and complicate their assumptions, values, and goals. I also highlight their overlap with and implications for writing studies, including connections and shared concepts between writing and well-being, the central role of writing in positive psychology and positive education pedagogies, and the potential for writing studies to critique and influence well-being education. I argue that embracing emotion as a key component of our pedagogy and scholarship introduces ideological commitments that may challenge and even undermine our personal and professional beliefs. Positive psychology and positive education deserve our sustained attention, and any consideration about emotions in composition will need to confront these movements’ influential version of teaching well-being.

In the U.S., international enrollment trends have increased the pedagogical imperative to address multilingual graduate student writers’ linguistic needs/growth in the process of their developing disciplinary expertise. In the context of this internationalization effort, what can two disciplines—Applied Linguistics and Composition—constructively offer in terms of a pedagogical approach to address such growing institutional demands? With regard to the various ways in which these disciplines approach the teaching and learning of disciplinary expertise, what might a research-informed English for Academic Purposes (EAP)/Rhetorical Genre Studies (RGS) curriculum arc look like and how might multilingual graduate writers respond to such an integrated pedagogical trajectory? Further, to what extent might such a curriculum be able to balance evolving student needs and institutional expectations for students’ linguistic development? This program profile examines the potential of Tardy’s 2009 model for building genre knowledge among a specific student population: first-year multilingual international graduate students enrolled in a "bridge" program at George Mason University. In addition to describing the practical work of enacting Tardy’s model at the program and course levels, the authors detail the results of a related study aimed at exploring students’ development of genre knowledge over the course of the bridge year. Results point to the complexity of designing and implementing an EAP/RGS-informed course structure which values the intersectional nature of disciplinary knowledge development and suggest the need for such an approach to explicitly foreground the visibility of language teaching, learning, and assessment in order to ease student anxiety around both language and genre development.

This article situates one possible future for rhetorical genre studies (RGS) in the translingual, multimodal composing practices of linguistically diverse composition students. Using focus group data collected with L1 (English as a first language) and L2 (English as a second language) students at two large public state universities, the researcher examines connections between students’ linguistic repertoires and their respective approaches to multimodal composition. Students at both universities took composition courses that incorporate rhetorical genre studies approaches to teaching writing in conventional print and multimodal forms. Findings suggest L2 students exhibit advanced expertise and rhetorical sensitivity when layering meaning through multimodal composition. This expertise comes in part from L2 students’ experiences combining and crossing various modes when they cannot exclusively rely on words to communicate in English. Through this evidence, the researcher argues the translingual practices of L2 students can bridge connections and help develop pedagogical applications of multimodality and RGS, primarily by helping writing instructors teach genres as fluid and socially situated. In addition, the researcher presents a methodology for analyzing the embodied practices of composition students, which can further expand how genres are theorized and taught in composition courses.

This program profile demonstrates how the first-year writing program at Oakland University has engaged contingent faculty in research, assessment, and program development over the years, employing evidence-based practices to improve individual classroom instruction and to redesign the entire first-year curriculum. The authors describe their efforts to develop an inclusive model for research and professional development, a model that seeks to empower the faculty to join disciplinary conversations about the teaching of writing. Overall, the profile contributes to existing scholarship on large college writing programs by illustrating how faculty may collaborate to develop and assess curricula, to conduct and publish research, and to build a program that shifts the conversation from what individual instructors may believe about writing instruction (“I think”) to what the department may collaboratively know about best practices (“we know”).

With distance education on the rise, a new program at the University of New Mexico provides an innovative way to teach first-year composition in a fully online format. The program, called eComp (short for Electronic Composition), insists that instructors receive formal and educational training before working in the model. In addition, the curriculum taught within the first-year writing courses attends to multimodal literacies, and students receive help with their drafts from various sources, including instructional assistants who are tutors embedded in each course shell. This profile describes the program, including the scholarship that informed its design, the pilot project, and results from a small-scale assessment. Furthermore, we discuss future expansion of the program. This program description can serve as a model—in whole or in part—for other English departments when structuring a successful, integrative online program that emphasizes teacher training and multimodal literacies.

This article presents an argument for the “re-turn” of essayist literacy in multimedia and multiliteracy contexts. For its democratic, pedagogical, and intellectual potential, essayist literacy is too important to be removed from composition curriculum, but it needs to be re-imagined within a diversity of essay traditions, including the turn toward multimedia writing undertaken in diverse writing classrooms. This article analyzes the findings from a study of one such ‘re-imagined’ essayist literacy unit/assignment in a composition course designed to focus on multiliteracies at a research university in the Northeast United States.

Drawing on the stories and words of GTAs themselves, this article works to complicate our narratives of GTA resistance within practicum courses by situating this resistance in the larger process of identity formation and graduate school. I explore the way that GTAs’ dual roles as students and as teachers intersect with teacher preparation, particularly practicum courses. Finally, I offer suggestions for teacher preparation programs that stem from my study, my experience, and the scholarship in the field.

Attention to stories compositionists tell about teaching and learning reveals some of the ways that teachers orient to disability in the classroom. This article argues that these “anecdotal relations”—relations that are created and disseminated through narratives people share about disability—can frustrate productive negotiations with disability in the classroom. Two anecdotal relations receive particular attention in this article: disability as personal and disability as threatening. Critically recasting these anecdotal relations may offer potential for creating writing classroom spaces that welcome disability.

In this interview, Dr. Thomas Newkirk discusses his work in the field of Composition Studies over the past several decades. Newkirk argues for a vision of composition that maintains the connection between teaching and scholarship and re-affirms the significance of the field’s historical service-based mission of providing high-quality writing instruction to students across the age-span.

In 2004, the University of Kansas (KU) launched an interdisciplinary Graduate Writing Program as part of a larger initiative to reduce time to degree rates and increase degree completion rates. Serving both domestic and international students, this program employs a rhetorical genre-based approach in a series of courses organized around the genres of graduate school and beyond. In these Graduate Studies courses, students become ethnographers of the research and writing practices of their disciplines while writing their own texts and developing their professional identities. In addition, the Graduate Writing Program fields a Summer Writing Institute and offers workshops for students. The program supports departments and faculty members through consultations and workshops on such topics as how to mentor graduate writing. This profile—part program description, part theoretical construct—outlines the history and structure of the program as well as the academic and cultural challenges that graduate students and their mentors face. It argues that rhetorical genre studies is ideally suited for teaching graduate writing and supporting students as they create their professional identities.

“Sharing” is a ubiquitous yet largely unexamined term in composition scholarship and practice. Scholars and teachers use the term widely to talk about practices such as peer review, collaboration, and student-teacher conferences, all of which have been used to support the relevance of composition as a social and communal act. Yet, as this article demonstrates, sharing has been aligned historically with assumptions and values that emphasize individual productivity at the cost of exploring the affective and ethical costs of social engagement and interaction. This article investigates tensions in the historical practices of sharing that create openings for alternative ways to understand and value the complex encounters writers undergo when they interact in the space of the writing classroom. Specifically, the article explores how sharing might be revised in composition studies to draw attention to the affective, corporeal, and ethical consequences of interpersonal contact.

This essay considers the long-standing challenges, in both practice and theory, to collaborative writing in the first-year classroom. I argue that Hannah Arendt’s concepts of plurality and natality are useful frameworks for thinking constructively and practically about teaching argumentative writing through collaboration. I explore these concepts in terms of foundational scholarship on written collaboration, such as Candace Spigelman’s work on writing groups and intellectual property, as well as recent considerations of evolving technological resources (Howard). Ultimately, thinking through Arendt, I offer examples from my own classroom practice, and also generate a series of questions designed to support instructors’ incorporation of collaborative writing and thinking across their own diverse contexts. My goal here is not to suggest that there is a singular “best practice,” but rather to demonstrate the ways in which Arendtian concepts can foster complex and scaffolded pedagogies of collaboration in the first-year classroom.

Through an examination of four current trends in composition instruction, this article presents a new lens for envisioning composition instruction that integrates the best aspects of the writing across the curriculum, genre-based curriculum approach, ecocomposition, and writing across communities theories of writing instruction. The "literacy landscape" proposed herein explicitly values the integration of student learning “incomes” within the composition classroom and derives from the author’s experience teaching within a large composition program that employed aspects of the genre-based curriculum, and both WAC approaches. The literacy landscape is envisioned to act both as a lens for imagining a more comprehensive approach to administering composition programs, as well as to teaching composition.

Once controversial or cutting-edge, freewriting has recently become “part of every writing teacher’s repertoire” (Bizzell and Herzberg in Elbow 393). On par with outlining or webbing, freewriting seems to be a go-to practice in a writing teacher’s tool kit. This downshift into uncritical acceptance presents an apt moment to reconsider how we implement freewriting practices in the college writing classroom. Toward this reexamination, this essay problematizes the pervasive assumption about freewriting that it is above all else easy, effortless, quick, and free from judgment, hesitation, and doubt . The essay suggests that this assumed ease remains one of the thorniest and obscured problems in the practice of classroom-based freewriting and hypothesizes that the mode required to freewrite is not necessarily natural or automatic for student writers, but rather requires training, conversation, and reorientation. In order for freewriting to be an effective means of stimulating critical and creative thinking, teachers of writing need to consider not only how we can add in analytical and reflective thinking about freewriting texts, but also how we can get students to do productive, questioning, and exploratory thinking within freewriting itself. Above all, facilitators of freewriting can benefit from assuming the difficulties of thinking through freewriting.

In this Retrospective, we revisit our 2007 College Composition and Communication article in order to clarify our primary argument, address some questions and critiques that have arisen, and consider anew the value of composition courses that study writing. We review our core argument that engaging students with the research and ideas of writing studies, building declarative and procedural knowledge of writing, improves learning transfer. Now, using the example of Jan Meyer and Ray Land’s notion of threshold concepts, we argue for the field to better name its knowledge and conceptions and to decide what portion is suitable for first-year students. We clarify the distinction between this broad underlying goal and our personal approaches to accomplishing it, emphasizing the diversity of approaches that have come to embody the study of writing in first-year composition. While maintaining that writing studies lacks recognition of itself as a field and of the value of its specialized knowledge to writing instruction, we revise our original argument to show how writing instructors from other fields and with other expertise can build familiarity with writing studies research without extensive, specialized study. Ultimately, we continue to advocate teaching our field’s knowledge in first-year composition, while expanding our sense both of how to prepare instructors to do so and of the value of such teaching.

As a teacher, writer, administrator, researcher, theorist and philosopher, Louise Wetherbee Phelps has contributed to the construction and design of the discipline of composition and rhetoric at all stages, from its foundation in the 1970s to the eclectic dwelling in which we reside today. Louise is shaping the future of the discipline as well, mentoring and educating the next generation of scholar-teachers. She is invested in teaching and committed to cultivating stimulating intellectual engagement in composition and rhetoric. Louise’s former students often refer to her as a matriarch of the field, recognizing that her work has been foundational and highly influential. She has worked to bring recognition to rhetoric, composition, and writing studies on a local, national, and international level in such efforts as creating a stand-alone undergraduate and doctoral program at Syracuse University and securing our status as a legitimate discipline. Recently retired after a career spanning more than 30 years at Syracuse University, Louise has yet to slow down. In fact, she might be busier now than ever before. This interview takes you on a tour of the multiple, converging pathways Louise has traveled throughout her career as well as the new pathways she is forging in retirement. She discusses her work as a consultant, professor, and writer as well as the state of writing studies in the U.S. and in international contexts. She also provides insight into what constitutes a scholarly identity and how we might understand more holistically our own academic work and the work of others.

Even as veterans of the Iraq and Afghanistan wars seek higher education, civilians tend to know little about war and military culture. While this lack of knowledge makes veterans’ adjustments more difficult, it has a more pernicious effect on civilians themselves, as it limits civilians’ ability to act as informed, responsible citizens before, during, and after war. Writing teachers can help ameliorate this problem by incorporating war writing into their syllabi. Accordingly, this review essay provides an overview of the civilian-military gap, reviews memoirs by Army veterans Shannon Meehan and Kayla Williams, and suggests pedagogical approaches to teaching war writing.

This program profile describes the motivation to create a “veteran friendly” course offered within the composition program at City College of San Francisco. The author provides a discussion of the course and considers the challenges and successes he has faced over the three years of teaching it.

In this article, I summarize an interview-based, qualitative research study conducted with ten Marine student veterans on their experiences with college composition courses, focusing particularly on the how the participants’ previous interactions with teaching, learning, and writing in the Marine Corps have impacted their perceptions and expectations of teaching, learning, and writing in the first-year composition classroom. Specifically, I focus on the way in which relevant conclusions from the study regarding Marine student veterans’ prior rhetorical knowledge and experiences complicate the novice-to-expert paradigm at work in many first-year composition courses. The piece concludes with suggestions for repurposing this paradigm to one that encourages faculty to make room for prior rhetorical knowledge while identifying areas where student veterans may need support.

This article addresses two central research questions: (1) Are there possible detrimental implications to teaching multimodal composition in first-year composition? (2) If so, what is pedagogy’s role in mediating these outcomes? Guided by these questions and focused on the responses of eighty seven first-year composition students, a mixed-methods research approach is engaged through surveys, pre/post-semester questionnaire data, transcribed interviews, and writing-about-writing essays. Uncovering the 39.6% of students who—through this research—are discovered to feel constrained rather than liberated by technology and who believe that technology amplifies their place in the literacy hierarchy, this article articulates the identity politics inside the multimodal composition classroom and introduces the term “hypermediated fractures” into the pedagogical conversations surrounding feminist pedagogy and the teaching of digital literacies in first-year composition.

In this conversation, Villanueva reflects on his major goals as a scholar, teacher, and an administrator. He argues that his main concerns emerge from negotiating his various "insider" and "outsider" roles and personal experiences that have been shaped both by cultural meanings and cultural theories. Ultimately Villanueva rejects being called a "boss compositionist" and instead reiterates his commitment to being a student of rhetoric.