This article examines two-year college peer writing tutors’ preparedness for the emotional labor of writing center work. Through stories, this multivocal piece shares the experiences of nine current and former peer tutors from a writing center at a large midwestern technical college and challenges the narrative of two-year colleges as remedial spaces.

In Technical Communication for Environmental Action, editor Sean D. Williams provides a compilation of scholarly chapters that discuss the urgent necessity for creating efficient communication strategies to address environmental challenges, particularly climate change. In this book, technical communication can be seen as a relevant framework condition for the successful fight against climate change, providing information that can be understood by the majority of society and then implemented by business, industry, and governments.

In this symposium, five editors ofTeaching English in the Two-Year College(TETYC) discuss the past, present, and future of the journal and the profession.

This paper explores how I navigated the complicated terrain of opposition research during the dissertation phase of my doctoral program. Drawing from ethnographic research conducted on a pro-life organization, I illustrate that care-based ethics (Held, 2006; Tronto, 1994) is not just for vulnerable and agreeable participants but is valuable and appropriate for researching powerful groups whom we oppose. Furthermore, I argue that rhetorical listening (Glenn & Ratcliffe, 2011; Ratcliffe, 1999, Ratcliffe, 2005) is not just a valuable methodological approach to research, but also a form of reciprocity, especially critical when studying groups we oppose. Such an approach promotes the mutually beneficial goals of respect and understanding.

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.

This essay is a symposium of sorts that collects observations and comments from Mark Reynolds Best Article of the Year Award Winners and offers insights into how successful authors view TETYC as a professional journal.

TETYC’s Instructional Note genre has evolved and begun to contribute to an ongoing scholarly conversation by contributing new knowledge, not merely passing along teaching lore.

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A veteran writing teacher asks the question—What keeps teaching fresh and new?—and discovers, in the process of writing a teaching narrative, how her teaching voice and writing voice intertwine, both in the classroom and on the page.

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The Virtual Workplace Ethnography is a first-year composition assignment that positions students as knowledge makers by requiring them to apply a theoretical lens (“Working Knowledge”) to a video representation of a workplace. The lens provides multiple terms for analysis of workplace behaviors in context, providing a scaffolding for apprentice ethnographers that allows them to take an informed stance on their research. The “virtual” aspect addresses the complex ethical issues raised by ethnography by substituting a fictitious setting for an actual site. The essay explores the challenges of the assignment, offering examples of student texts and student metacommentaries on the work. The essay argues that this assignment addresses longstanding concerns about the challenges of making meaningful writing assignments in FYC and concludes by exploring the potential of the assignment in distance education.

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By examining in turn a son’s craft project, a family photograph, and an image of tectonic plates, the authors demonstrate how objects can elicit rhetorical invention.

Contributors to this symposium recall and reflect on changes of mind they have experienced, noting the relationship of these to larger concerns of English studies as a profession.

The use of Self-Designed Points as part of a point-by-point grading system can encourage students to exercise more initiative about their own learning in a first-year composition course.

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This is the second installment in the Re-Visions series “an occasional series for which I invite essays that reconsider important work previously published in the pages of CCC. The full text of Nancy Sommers’s “Responding to Student Writing” (CCC, May 1982, 148–56) is available at www.inventio.us/ccc.

This is the second installment in the Re-Visions series’ an occasional series for which I invite essays that reconsider important work previously published in the pages of CCC. The full text of Nancy Sommers’s “Responding to Student Writing” (CCC, May 1982, 148–56) is available at www.inventio.us/ccc.

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The author finds that letting students see his own struggles with reading encourages them to feel greater confidence and eases the way for productive interventions in the process.

These essays are based on a session called “Stories from the Field” at the 2004 meetings of the Conference on College Composition and Communication.

Many two-year English faculty are already engaged in the Scholarship of Teaching and Learning.

Why do some students prosper as college writers, moving forward with their writing, while others lose interest? In this essay we explore some of the paradoxes of writing development by focusing on the central role the freshman year plays in this development. We argue that students who make the greatest gains as writers throughout college (1) initially accept their status as novices and (2) see in writing a larger purpose than fulfilling an assignment. Based on the evidence of our longitudinal study, we conclude that the story of the freshman year is not one of dramatic changes on paper; it is the story of changes within the writers themselves.

This article makes an argument that audiotaped response to student writing is particularly useful in teaching two-year-campus students. The argument is grounded in a historical overview of response literature in TETYC, student surveys, and a case study of one undergraduate student.

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Notes that finding a way to integrate grading and responding in a manner that promotes learning through revision is one major challenge for composition instructors. Argues that instructors must find a way to shape their classrooms shifting the emphasis from “getting it right the first time,” to learning to see writing as an activity that evolves and improves through revision.

Reviews five books: Grading in the Post-Process Classroom: From Theory to Practice, ed. by Libby Allison, Lizbeth Bryant, and Maureen Hourigan; Alternatives to Grading Student Writing, ed. by Stephen Tchudi; The Theory and Practice of Grading Writing: Problems and Possibilities, ed. by Frances Zak and Christopher C. Weaver; Teaching ESL Composition: Purpose, Process, and Practice, by Dana Ferris and John S. Hedgcock; “M” Word, by Jane Isenberg.

Cynthia Lewiecki-Wilson, Jeff Sommers, Professing at the Fault Lines: Composition at Open Admissions Institutions, College Composition and Communication, Vol. 50, No. 3, A Usable Past: CCC at 50: Part 1 (Feb., 1999), pp. 438-462

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Compares 20 years of teaching college writing (and reading countless drafts of student papers) to an immigrant father’s working 40 years in the family store in Terre Haute, Indiana (and selling 350,000 coats).

Asks if there is a place for portfolio assessment in the literature classroom. Finds that portfolios help students use writing to engage literary texts in multiple and productive ways, and offer opportunities to examine effects of the reading process over the course of the writing pieces. Argues for a particular kind of portfolio focusing on a single literary work.

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