Increased attention to genre in writing studies has brought a proliferation of new terms and concepts for capturing the complexity of writers’ knowledge about genres, including genre knowledge, genre awareness, recontextualization, conditional knowledge, and metacognition. Definitions of these concepts have at times conflicted, and their interrelationships are often unclear. Furthermore, scholarship has tended to overlook the role of multiple languages in writers’ genre knowledge. In this article, we first trace the use of related terminology and demonstrate the need for theoretical clarity. We then propose a theoretical framework that articulates key layers of genre knowledge and their interrelations, presuming a multilingual writer. Finally, we share examples of how this proposed framework may be used in teaching and researching genre knowledge. Ultimately, we aim to contribute to ongoing theoretical, empirical, and pedagogical explorations and applications of knowing and learning genres.

The concept of voice has long attracted the attention of teachers, but more recently has also been the focus of a growing body of research aiming to understand voice as self-representation in writing. Adopting a socio-cultural orientation to voice, studies have revealed much about how textual choices are used by readers to build images of text-authors; however, such research has been limited to contexts in which the author’s actual identity is unknown by the reader. Research has offered limited insight into how an author’s embodied self figures into readers’ voice construction, or how voice construction is connected to readers’ assessments of text—with or without knowledge of the author’s identity apart from the text. This article takes up these issues by exploring how readers’ exposure to videos of two second language (L2) student-authors influenced voice construction and evaluation of the students’ papers. Through primarily qualitative and intertextual analysis, the study concludes that voice construction, extra-textual identity, and assessment are related and interacting constructs, though these relationships are neither straightforward nor predictable. Methodological, pedagogical, and theoretical implications of this conclusion are discussed

Exploring language practices, beliefs, and management in a first-year writing program, this article considers the obstacles to and opportunities for transforming languagepolicy and enacting a new multilingual norm in U.S. postsecondary writing instruction. It argues that the articulation of statements regarding language diversity, co-developedby teachers and program administrators, is a valuable step in viewing and constructing the classroom as a multilingual space.

Studies of blind manuscript review have illustrated that readers often form impressions of or speculate about unknown authors' identities in the manuscript review task. In this article, the authors extend that work by examining the discursive and nondiscursive features that play a role in readers' active construction of author voice. Through a survey completed by 70 editorial board members of six journals in applied linguistics and rhetoric and composition, the authors identify quantitative and qualitative trends in reviewers' practices regarding voice construction. Findings indicate that many readers do build impressions of an author's identity when reviewing anonymous manuscripts and that the rhetorical nature of the review task may lead readers to attend more to some discursive features than to others.

For many researchers, grant proposals are a high-stakes genre crucial to their work; this pivotal genre does not exist in isolation but as part of a complex reticulation of genres that interact to form a genre system. This article explores the genre system of academic research funding in terms of the following questions: (a) What is the nature of the genre system of grant funding? (b) What are the roles and functions of that system? and (c) What does exploration of the system reveal about genre knowledge and how writers develop such knowledge? Findings suggest that grant writing is fundamentally a social activity, that the intertextual networks of the genre system serve to navigate writers through that system and to build the writers’ knowledge of the system, and that knowledge of a genre system may differ in important ways from knowledge of an isolated genre.