Virtual reality (VR) technologies are increasingly marketed to knowledge workers as productivity tools for focused, immersive work. Yet little empirical research examines the lived experience of sustained VR use for complex academic writing tasks. This study presents a 10-week diary study of a doctoral candidate using VR to compose her dissertation during summer 2025. Through weekly reflective entries, screen recordings, and artifact analysis, we examine the user experience dimensions of immersive academic writing. Our thematic analysis reveals six major findings: (1) technical infrastructure constraints dominated the writing experience; (2) embodied discomfort consistently limited sessions to 30–50 min; (3) affective dimensions shaped productivity; (4) learning curves remained steep throughout the study; (5) task type significantly influenced success, with structured administrative writing outperforming open-ended academic drafting; and (6) technical disruptions fragmented flow and made momentum recovery difficult. We argue that VR writing tools require task-appropriate design, realistic session expectations, and user agency to discontinue when needs are not met. These findings contribute user-centered evidence to technical communication scholarship on emerging composing technologies and offer practical guidance for graduate writing programs.

Writing and digital technologies have always been enmeshed with one another. Currently, the use of virtual reality (VR) systems and applications continues to grow across both professional and popular venues, leading to a number of questions researchers have yet to ask about how we might use these technologies for writing and writing classrooms. Based on a process-focused research approach encompassing headset recordings that captured over a year of various writing tasks in VR, this study reveals some of the ways virtual reality may be used specifically by researchers in writing and communication studies, especially in terms of invention and collaborative practices. Theories of virtual reality animate findings in three areas—invention, collaboration, and friction—and the findings raise questions about researching VR in writing-based classrooms.

<bold xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">Introduction:</b> Modern virtual-reality (VR) systems afford opportunities to study how writers adapt their everyday writing practices to virtual environments while adjusting to real-world materiality. Based on a multi-institutional study of writers’ activities, this tutorial offers recommendations for designing and conducting test sessions to capture the user experience of first-time VR users in simulated writing scenarios. <bold xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">Key concepts:</b> We situate VR within existing literature regarding design, human–computer interaction, usability, and the notions of presence, embodiment, and materiality. <bold xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">Key lessons:</b> We present five key lessons to consider for testing writing in VR. 1. Space matters when studying participants writing with technologies. 2. Some VR applications are exclusive to devices. 3. A focus on brief tasks anticipates what writers will encounter when they write with a VR headset for the first time ever or in a professional context. 4. For understanding embodied actions, researchers should also capture the first-person view of the participant wearing the designated headset. 5. Media-rich transcripts create records of what was spoken in the sessions as well as notating, through text and media, what actions were taken by participants. <bold xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">Implications for practice:</b> VR research depends on institutional infrastructure, embodied participation, and researcher intervention to adjust usability testing and mental models. These challenges provide exciting opportunities for TPC research and classroom projects that introduce VR.

Living Digital Media presents a compelling exploration of the intricate relationships between creators and their digital media productions. It emphasizes that creators are living digital media, meaning they experience a swell of emotions, from love to frustration, as they shape their creations.

Inventio in 5is a series in which recently publishedKairosauthors discuss their composing processes in videos of about 5 minutes.Season Onefeatures authors Shantam Goyal, Stacey Copeland, Richard Holeton, Nancy Small, and Stephen Paur.

This article offers infrastructural storytelling as a methodological approach attuned to the emplaced dynamics of digital infrastructure. Countering the clean progress narratives of sustainability reports in the technology sector, this approach follows digital infrastructure to two locations: San Francisco, California (Google) and Toronto, Ontario (Digital Realty). Infrastructural storytelling explicates how physical infrastructures produce uneven social, political, and economic realities by investing in some ways of life over others.

Communication and collaboration are essential parts of the game development process. However, during the global pandemic, the shift to remote work marked a sudden change in how developers could communicate and collaborate with one another, as usual ad-hoc conversations that happen in physical offices were nonexistent. Based on a partnership grant study with the International Game Developers Association (IGDA), this piece focuses on the results of a survey that examined developers' mental health and productivity during the COVID-19 pandemic. Our findings suggest that most game developers want a hybrid or fully remote position even after pandemic conditions subside. Failure to address the pandemic's impact on the game development industry risks ignoring a rich area of technical communication complicated by, and responsive to, hybrid workplaces.

In this essay, we argue that Twitch is an incredible platform for cultivating discourse-based interviews (DBIs) and has yet to be addressed in DBI research involving digital tools. To demonstrate that argument, we detail the methods behind collaborative research project between two undergraduates and a faculty studying game developers on the platform. Our collaborative approach to studying game developers on Twitch is framed as a 2022 update to Odell, Goswami, and Herrington’s landmark essay The Discourse-Based Interview: A Procedure for Exploring the Tacit Knowledge of Writers in Nonacademic Settings. After providing an overview of Twitch and recent scholarship, our essay describes three major challenges associated with cultivating DBIs from the platform: recruiting participants, managing files ethically, and scaling the project. Our focus on two interviews with one game developer reveals how a DBI on Twitch allows for participant agency. Based on that experience, we close with two recommendations for future DBIs that turn to Twitch: keep the project small, and go deep.

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This special issue of Technical Communication Quarterly engages comics, graphic storytelling, and creative methods of research and production in technical communication. The guest editors briefly overview intersections between comics and technical communication, then introduce the special issue’s contents and contributions to ongoing conversations in the field.