This critical phenomenological study sought Native American student perspectives on intention and desired faculty response following self-disclosure of personal challenges in college writing assignments and discusses implications for faculty and for implementing trauma-informed writing pedagogy with students who are historically marginalized.

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This article explores the Reading Apprenticeship framework as a support for instructors to orchestrate dynamic, contextualized literacy instruction that supports both student engagement and deeper learning about the discipline of writing studies.

In these instructional notes, I share practical strategies for using ESL students’ first language as a resource for English language and literacy acquisition. These strategies emerged from a bilingual writing program that linked ESL and Spanish writing instruction at Bronx Community College (CUNY). After discussing how I was able to circumvent the monolingual orientations of my institution and set up this program as a learning community cluster, I illustrate ways in which translanguaging can help ESL students take ownership of English for academic purposes.

This article describes the authors’ experiences incorporating a trauma-informed writing pedagogy during the pandemic that uses a writer mentor and poetry in composition to build confidence, manage stress, and foster community.

This article considers disabled students’ experiences with collaborative writing and offers strategies to improve the accessibility of collaborative writing assignments.

This article argues that two principles of a trauma-informed writing pedagogy grounded in clinical scholarship—instructor as buffering role model and psychologically safer classroom spaces—can support students affected by trauma and traumatic stress. Moreover, when these principles are embedded in course structures using concepts central to universal design, they can support all community college writing students facing adversity.

Over 1.4 million high school students enroll in college-credit-bearing courses yearly, and 80% of that instruction occurs on secondary campuses under the tutelage of high school teachers (US Dept. of Education). Since First-Year Writing remains a common choice among enrollees, Concurrent Enrollment (CE) classrooms present a unique space for inquiry and collaboration into the quality and rigor of CE writing instruction. This study investigates CE writing instructors’ definitions of “rigor” in the college writing classroom and explores the training and support provided to CE writing instructors representing two- and four-year higher education institutions in Ohio. Findings suggest that on-going discipline-specific professional development can lead to definitions of rigor in high school writing spaces that align to postsecondary standards. This study also demonstrates that disparity exists in instructor preparation and support, especially in regard to discipline-specific training that could help close gaps in writing instruction.

This essay shows how one English department used open educational resources and threshold theory to engage locally responsive writing instruction and increase access at a community college.

While Robert Brooke’s discussion of underlife focused on the autonomy of students, in this article I apply his conclusions to the behaviors performed and desires expressed by faculty members, specifically six tenured, two-year college English faculty members who conceptualize their work teaching writing in relation to both individual writing courses and one or more aspects of a writing program.

Four instructors describe why, how, and to what ends they have incorporated place-based and decolonizing approaches in entry-level writing courses.

As a means to facilitating the “rhetorical sovereignty” of her composition students at the Institute of American Indian Arts, the author describes the theory and practice of her efforts to develop a successful Native American writing pedagogy. Incorporating visits to local museums and galleries as a means to scaffold students’ research projects, the pedagogy she implements relies on visual American Indian rhetorics.

Applied Pedagogies: Strategies for Online Writing Instruction, edited by Daniel Ruefman and Abigail G. Scheg. Boulder: UP of Colorado for Utah State UP, 2016. Print. Foundational Practices of Online Writing Instruction, edited by Beth L. Hewett and Kevin Eric DePew. Fort Collins: WAC Clearinghouse and Parlor Press, 2015. Print. A Position Statement of Principles and Example Effective Practices for Online Writing Instruction (OWI) by the CCCC Committee on Best Practices for Online Writing Instruction. Conference on College Composition and Communication. Mar. 2013. Web.

Pulling data from a year-long case study into a Division II men’s basketball team, this article suggests how threshold concepts as currently conceptualized and implemented in first-year composition pedagogy and curriculum could more directly consider unique forms of literacies student-athletes bring into the classroom.

This article and its five authors investigate how writing programs, writing instructors, and the profession itself engage in the erasure of race—of blackness and brownness specifically—and perhaps most importantly in a hesitancy to address white privilege.

Reviewed are: Chasing Literacy: Reading and Writing in an Age of Acceleration, by Daniel Keller, Reviewed by Kathleen Alves Retention and Resistance: Writing Instruction and Students Who Leave, by Pegeen Reichert Powell, Reviewed by Christine Rudisel

In an interview conducted at his office at Lorain County Community College, 2013 Pulitzer Prize for Poetry finalist Bruce Weigl discusses writing pedagogy, veterans’ issues, and his experiences as a two-year college student and as a professor and poet.

Reviewed are: Collaborative Learning and Writing: Essays on Using Small Groups in Teaching English and Composition, edited by Kathleen M. Hunzer, Reviewed by Signee Lynch Remixing Composition: A History of Multimodal Writing Pedagogy, by Jason Palmeri, Reviewed by Stephanie Vie Communal Modernisms: Teaching Twentieth-Century Literature in the Twenty-First Century Classroom, edited by Emily M. Hinnov, Laurel Harris, and Lauren M. Rosenblum, Reviewed by Mike Piero Understanding Rhetoric: A Graphic Guide to Writing, by Elizabeth Losh, Jonathan Alexander, Kevin Cannon, and Zander Cannon, Reviewed by Kristen Welch

This article describes working with a deaf student in a basic writing course and explores what teaching deaf students can teach us about composition studies.

Reviewed are: Genre: An Introduction to History, Theory, Research, and Pedagogy by Anis S. Bawarshi and Mary Jo Reiff, Reviewed by Kara Poe Alexander Beyond Post process, edited by Sidney I. Dobrin, J. A. Rice, and Michael Vastola, Reviewed by William Duffy Code-Meshing as World English: Pedagogy, Policy, Performance edited by Vershawn Ashanti Young and Aja Y. Martinez, Reviewed by Gregory Shafer Autism Spectrum Disorders in the College Composition Classroom: Making Writing Instruction More Accessible for All Students edited by Val Gerstle and Lynda Walsh, Reviewed by Gary Vaughn

This article traces the history of the five-paragraph theme and the views about it, along with arguing for its elimination in writing instruction in favor of problem-based, “rich-task” writing experiences for students.

Legos Build the Way to Successful Process Analysis Writing, Michelle Rhodes (New Voice) Native American Elder Stories Make Descriptive Essays Easier, Pamela Tambornino (New Voice) Teaching Writing Style and Revision, Eric Bateman Dialect and Language Analysis Assignment, Amanda Hayes (New Voice) A Scaffolded Essay Assignment on Poetry, Jane Arnold (New Voice)

The third goal of Zen practice, helping others achieve enlightenment, suggests that we should help students learn about their own composing practices and histories as part of their instruction, but we cannot help others until we learn to help ourselves by reflecting on our own processes and histories, becoming enlightened, and liberating ourselves.

Reviewed are: Teaching Writing Online: How and Why by Scott Warnock, Reviewed by David J. Cranmer Teaching Writing Online: How and Why by Scott Warnock, Reviewed by Amy Cummins Generation 1.5 in College Composition: Teaching Academic Writing to U.S.-Educated Learners of ESL , edited by Mark Roberge, Meryl Siegal, and Linda Harklau, Reviewed by Todd Ruecker Learning from Language: Symmetry, Asymmetry, and Literary Humanism by Walter H. Beale, Reviewed by Eric Bateman

Reviewed are: Two Million Minutes, Directed by Chad Heeter, Reviewed by Eric BatemanOriginality, Imitation, and Plagiarism: Teaching Writing in the Digital Age, Edited by Caroline Eisner and Martha Vicinus, and Who Owns This Text? Plagiarism, Authorship, and Disciplinary Cultures, Edited by Carol Peterson Haviland and Joan A. Mullin, Reviewed by Benie Colvin Basic Writing in America: The History of Nine College Programs, Edited by Nicole Pepinster Greene and Patricia J. McAlexander, Reviewed by Kathrynn Di Tommaso

An Introduction to Game Studies: Games in Culture, by Frans Mäyrä Reviewed by John Reilly Lazy Virtues: Teaching Writing in the Age of Wikipedia, by Robert E. Cummings Reviewed by Kip Strasma

Composition and/or Literature, edited by Linda S. Bergmann and Edith M. Baker, and Integrating Literature and Writing Instruction by Judith H. Anderson and Christine R. Farris, reviewed by Jason Pickavance; Local Histories: Reading the Archives of Composition by Patricia Donahue and Gretchen Flesher Moon, reviewed by Keely R. Austin; Take 20: Teaching Writing by Todd Taylor, reviewed by Jeffrey Klausman.

This article explores the use of scoring rubrics in the context of deteriorating material conditions of writing instruction.

The responsibility of a writing teacher is, finally, to teach his or her students to pay attention—to their own lives and to the world in which they live.

“When Readers Disagree”, Kip Strasma, Review Editor; “Teaching Writing with Latino/a Students: Lessons Learned at Hispanic-Serving Institutions” by Cristina Kirklighter, Diana Cardenas, and Susan Wolff Murphy, Reviewed by Kip Strasma; “Engaging Grammar: Practical Advice for Real Classrooms” by Amy Benjamin with Tom Oliva, Reviewed by Kimme Nuckles; “Educating English Language Learners: A Synthesis of Research Evidence” by Fred Genesee, Kathryn Lindholm-Leary, William M. Saunders, and Donna Christian, Reviewed by Mercè Pujol.

The intersection of the call for civic engagement and the call for student scholars at the center of writing pedagogy, along with the daunting challenge of introducing beginning students to the demands and rewards of academic writing, is an ideal location for a revival of Ken Macrorie’s I-Search paper.

This essay explores the conflict between teaching writing and one’s own writing practice.

In this article, we offer practical suggestions for teaching writing to diverse groups of students who represent the fields of composition studies, basic writing, and ESL.

Composition teachers can reconcile the conflict between effective writing instruction and educational reform mandates by making timed writing assignments part of the writing process.

This article examines the ideological assumptions and practical consequences of recent state and federal attempts to standardize writing instruction at the secondary level, and it suggests alternative forms of assessment and classroom research available to teachers of composition in high school and college.

Examines six shifting boundaries: time and space, authorship, writing skills, medium, availability, and the senses.Addresses what the new perimeters might mean for teaching writing at the college level, for student writing, and for instructional management. Considers the challenges of plagiarism.

Considers how the introductory business writing course is appropriate for the development of critical literacy, especially for students at second-tier, working-class colleges. Notes that the opposition between labor and management offers rich opportunities for the critical examination of corporate rhetoric, opportunities that are as relevant in business writing class as they are in other courses.

A Group of Their Own: College Writing Courses and American Women Writers, 1880–1940, by Katherine H. Adams; Everyone Can Write: Toward a Hopeful Theory of Writing and Teaching Writing, by Peter Elbow; Teaching Composition as a Social Process, by Bruce McComiskey.

Notes that teaching composition in a technical college presents a number of challenges. Considers how employers are calling for the hands-on training to be combined with more communication and critical thinking skills so that employees have a broader education that allows them to switch speeds or tasks. Describes activities and course components for technical college writing instruction.

Notes how early junior college compositionists sought to socialize a largely working-class student body into a middle-class sensibility. Argues that educators must make time to create historical narratives of two-year colleges as a valuable precursor to fighting for institutional reforms within institutions. Analyzes the manner that curriculum builders in the 1920s and 1930s constructed first-year writing courses at junior colleges.

Describes the design of a standard first-year composition class in which the author used online discussion forums. Discusses how these design choices helped create a dynamic community of readers, writers, and learners in a writing classroom. Discusses pedagogical goals, and course design. Discusses several reasons why this approach works so well, and offers some cautionary notes.

Suggests that despite culturally induced aversions, aromas do have a role to play in writing instruction. Suggest there are many examples in literature of authors’ treatment of the olfactory sense. Argues that emphasizing smell as a writing stimulant and encouraging olfactory analyses of literary works can serve as valid ways of introducing students to alternative and challenging approaches to writing.

Argues that networked classrooms offer a number of opportunities for effective writing instruction. Argues that shared discourse in the networked-computer classroom has three levels forming a continuum of interactivity: students sending messages “at,” “to,” and “between” each other. Offers classroom examples of each level of discourse.

Investigates English-as-a-Second-Language (ESL) students’ native literacy-learning experiences, via written learning autobiographies of 26 students from at least eight different countries. Discusses writing instruction in students’ native languages; most satisfying writing assessment in their native languages; and differences between writing in their native language and English. Draws five conclusions for ESL instruction.

Reviews three books: Turns of Thought: Teaching Composition as Reflexive Inquiry, by Donna Qualley; Gypsy Academics and Mother?Teachers: Gender, Contingent Labor, and Writing Instruction, by Eileen E. Schell; Reflection in the Writing Classroom, by Kathleen Blake Yancey.

Presents brief guidelines for developing writing assignments based on the author’s description (a politicized representation) of postmodern cultural studies. Discusses a composition assignment in which students critique the formal and the hidden curriculum of a class they have taken in the recent past, and in which they also become writing members of the institutions and communities they critique.

Argues that student self–assessment and reflection need to be central components of writing instruction and that the response sequence between teacher and student should routinely include them. Offers examples of this sequence with two students, and presents nine specific classroom strategies that put self-assessment and reflection at the center of the writing process.

Describes how instructors at two different colleges in Montana (a tribal college and a distant community college) collaboratively teach composition courses (using the same reading and assignments, and doing peer revision for each other). Describes how this approach breaks through cultural, ideological, intellectual "containments;" engages in academic discourse; and enters into new discourse communities.

Peter Elbow reiterates his philosophy of teaching writing, including to start with personal and experiential writing, to look more at how the writing does and doesn’t work rather than the "quality" of the writing, to use lots of freewriting.

Offers suggestions for teaching dyslexic students from a graduate student who teaches composition and is himself dyslexic. Recommends the following strategies: one-on-one help, study skills assignments, individual strategies, step-by-step process, oral discussion, topics of interest to the student, and questions to build confidence.