Emotions impact all aspects of tutoring work, including sessions with clients, tutor responsibilities, and tutoring philosophies. While emotions can make tutoring feel difficult, mindfulness strategies can be taught to tutors so they feel equipped to manage clients’ and their own emotions. While plenty of research on mindfulness theories exists, few studies integrate mindfulness into tutor education and examine the impact of mindfulness on tutoring. My study observes how teaching mindfulness strategies can support the emotional labor of tutoring and build emotional intelligence in tutors over time. I developed an emotional mindfulness training workshop for writing center tutors using mindfulness strategies proposed by scholars in writing center studies. I facilitated a training workshop with UNC Charlotte Writing Resources Center (WRC) tutors during the WRC tutor education course for new tutors and a WRC staff meeting for veteran tutors. Then, I followed the impact of this training on tutoring practices by collecting written journal responses from six tutors. In these journal responses, tutors wrote about client emotions, tutor emotions, and mindfulness strategies they used. Tutors use and evolve the mindfulness strategies outlined in the training to benefit both clients and themselves, while also using mindfulness strategies to reflect upon tutoring practices. As one of the first writing center studies that analyzes the impact of mindfulness training, my research offers a reference to writing center administrators and tutors on the positive effects of implementing mindfulness into regular tutoring practices.

From the recognized beginning of the “laboratory” movement in composition instruction, teachers have sought to employ new and more practical methods useful in developing student writing. Such trends continue today as new generations of students enter the academy and new challenges emerge. From such conditions, we might see how components within a system of activity work together to meet objectives and develop outcomes within the shared dialectic of an activity system. With this idea in mind, this article reviews writing center-related scholarship from the late 1880s through the early 1940s to trace emerging contradictions in laboratory teaching’s praxis. Through the evaluation of laboratory teaching’s textual artifacts using Cultural-Historical Activity Theory (CHAT), I present a narrative about the development of the earliest writing center praxes: The Formative Period. With this article, I look to narrate an epochal beginning for writing center activity and present the development of guiding principles we find in our writing center work today. Through the process of revealing historical impulses, this article offers a view of writing center praxes in their elemental stage: The Formative Period, early 1890s-early 1940s. Ultimately, this article will show how the writing center is an activity that, over time, has mediated old system contradictions and developed new methods born of self-reflection, debate, evaluation, and progressive mediation, which continues to evolve. As communities like writing centers re-create themselves—through pushing and pulling, conflict and resolution, tension and release—they birth new realities, which all begins with the Formative Period.

What do tutors think they teach in a given writing center session? What do the writers they work with claim they learned? This IRB-approved study looks at responses from 74 pairs of surveys completed by tutors and writers about what they taught and learned in particular writing center tutorials. Drawing on the distinctions variation theory makes between intended and lived objects of learning, this study analyzes the general response trends evident across these surveys by coordinating tutors’ and writers’ separate perceptions. The results suggest that writers identify learning as having taken place much more frequently and across a wider range of writing-related topics than tutors claim to have taught. While short-answer responses reveal occasional overlap between writer’s perceived learning and tutor’s intended teaching, the marked discrepancy between the two suggests that a teaching/learning causality does not accurately represent much of the instructive effort and outcome occurring through writing center tutorials. Knowing that writers claim to be learning even when the tutors they meet with don’t think they are teaching informs how tutors can perceive their effectiveness and how writing centers  can position themselves as alternative educational spaces.

As more writing centers move to include synchronous chat as a writing center consultation option, writing center researchers and practitioners must continue examining the affordances and constraints of the medium. In this article, we analyze four synchronous online consultation transcripts from one writing center’s pilot program to evaluate consultation patterns and arcs, approaches to teaching and tutoring, and the role of digital language, or netspeak (Crystal 19), in tutors’ feedback. We use this preliminary analysis to argue that writing center tutors can effectively use synchronous tutoring to meet the needs of diverse student populations, but these consultations might be more effective if tutors thoughtfully utilize some of the best practices of face-to-face tutoring. One finding suggests that tutors might engage student writers in online consultations more effectively by employing soliciting and reacting techniques more often than unintentionally using directive structuring practices, which can serve to limit dialogue with student writers (Fanselow 21; Davis et al. 29). Additionally, although netspeak can potentially establish common linguistic ground with writers, tutors should be aware of the disadvantages of using an informal tone and non-academic language in chat consultations; in fact, student writers might benefit from reading tutors’ chat feedback in Edited Academic Discourse. By employing the positive elements of face-to-face consultations in chat sessions, this medium has the potential for effective tutoring in a space where many students feel most comfortable. Our analysis may serve as a heuristic for others to use in assessing chat consultations, developing tutor training, and initiating future research on this consultation option.

Abstract Why do conversations regarding students’ right to their own language and antiracism in the writing center still invite insults and agitation? After all, these struggles for students’ rights to self-determination and their own language in composition are far from new. The narratives present within this writing move beyond mere analysis of how and why established institutions attempt to control, and, rather, put Laura Micciche’s theories of emotion and performance to the test. When teaching tutor training, readings regarding students' right to their own language and race potentially cause conflict and can, at least at first, elicit strong emotional responses. This article explores the value of such early emotional reactions to these readings. Can the tutors’ emotional performances, both in action and voice, eventually help to bring attention to, or subvert the backlash and attacks antiracism rhetoric tends to invite? Within its pages, Micciche’s Doing Emotion: Rhetoric, Writing, Teaching suggests that we perform emotional appeals rather than simply make them. Through performance, she claims, we present emotion, not as something that resides in people to be shared or withheld, but as encounters between people. This article’s narrative “reenactments,” then, are set to reveal the fears and desires behind the resistance I’ve both witnessed and encountered all while promoting what I deem to be a necessity for emotional performance in antiracism and writing center work.

My article reports on an annual series of workshops I launched as director of my writing center. This ongoing initiative, titled Workshops on Real World Writing Genres, aims to introduce undergraduates to genres they will practice in their prospective careers. It is part of a larger effort at the University of Toronto to support students as they think ahead to life beyond their degrees. Drawing on material from workshops covering print journalism, law, public policy, medicine, and fiction, the article reflects on how well our theoretical presuppositions about genre help us prepare students to apply in their professional lives those critical thinking skills we seek to foster in our teaching. By regarding all knowledge as socially situated, contemporary genre theory has raised doubts about the capacity of our students to transfer even knowledge from one context to another. Insofar as genre theorists focus on the social creation of meaning, their account of genre, like their account of knowledge, must, I argue, remain incomplete. An exclusive focus on writing as social practice reflects a problematic division of labor in the academy between the sciences on the one hand and the social sciences and humanities on the other. The notion of writing as radically situated has always posed a problem for writing centers, since we do not typically find ourselves situated in the same communities of practice as our students. The recent interest in transfer in writing center scholarship reflects a promising shift towards a vision of the disciplines as interconnected.