All of us at the Writing Center at the University of Wisconsin-Madison are delighted to share two new podcasts from our theory and research series, featuring Katrin Girgensohn, a faculty member and Director of the Writing Center at European University Viadrina in Germany and one of the leading writing center scholars in Europe. During 2011-12, Dr. Girgensohn is a visiting scholar at the Writing Center at the University of Wisconsin-Madison. This presentation was taped during a meeting of the Madison Area Writing Center Colloquium on November 16, 2011.
Unfortunately, the photograph with which I would have preferred to begin this post doesn’t exist. Instead I’ll have to help you reach the right place to recreate the picture for yourself mentally. I’m John Bradley, interim associate director of the Writing Center; thanks for following my lead. I’ll get to the point along the way, I promise. (more…)
By Amanda Detry and Molly Rentscher.
Each new semester in the Writing Fellows Program presents a range of exciting opportunities and challenges. Having served as Writing Fellows for the past few semesters, we have collaborated with many faculty members and worked with students of all writing levels and abilities. Amid such diversity, however, every writing appointment is shaped by two core values. First, Writing Fellows help students see revision as an essential part of the writing process. Second, Writing Fellows believe in producing good writers—not necessarily good writing—by offering students tools and examples for improving their work. (more…)
During the snow storms last week, I trekked through the layers of fresh Wisconsin slush to the Social Sciences building. I made my journey upon an invitation to meet with a Sociology faculty member, prepared to discuss co-teaching a session on poster presentations. While watching flaky descents of snow through his window, we chatted for almost an hour about how we might help his students emulate the department’s prize winning posters. Of course, we didn’t actually need nearly that much time to discuss the session. We were both so eager to explore the challenge and craft of visual design and to understand one another’s approaches to teaching this genre that our conversation stretched beyond our original plan. By the end of our meeting, we both left with an enhanced understanding of how our respective fields (Sociology and Composition and Rhetoric) approach visual design in posters, and we had collaboratively developed a strong lesson plan for teaching research posters for his department’s graduate student professional development group.
I’ve long argued that writing centers at research universities should prepare interested doctoral students to lead strong, innovative writing centers and WAC programs when they move into their faculty careers. And that we should do this in systematic and sustained ways. Being a dedicated, successful, experienced writing tutor is of course a necessary part of that preparation, but that alone is not sufficient. Professional development for future writing center directors is something our Writing Center at the University of Wisconsin-Madison takes seriously—my colleagues and I are proud that this past year, in 2011 alone, seven more of our PhD alums, at various stages of their careers, were offered positions as writing center directors or assistant directors around the country, joining many other distinguished UW-Madison alums who direct writing centers.
This question—of how research universities can prepare graduate students to become writing center directors as part of their faculty careers—has been an important topic of discussion when the writing center directors from the universities in the Big 10 conference meet once a year (I’m always hoping that some athletic competition will break out during meetings of Big 10 writing center directors, but, alas, none yet). We’ve talked several times about what we can do—intentionally and systematically–to prepare our grad students to lead strong writing center and WAC programs. As an outgrowth of these discussions, at the 2010 IWCA conference in Baltimore, several members of the Big 10 group spoke about the opportunities we have and the challenges we face as we prepare graduate students to be future writing center directors.
As a visiting scholar from Germany at the UW-Madison Writing Center, I sometimes feel jealous of all the things going on here. Having a writing center with 110 people working as writing fellows, writing consultants and as leadership staff, and, even more important, experiencing how the writing center is valued here at the university, seems to be paradisiac. In Germany, where I direct a writing center at European University Viadrina, writing centers are still new phenomena and far away from being well staffed and valued. And that is exactly the reason why I am here: I got a research grant from the German Research Foundation (DFG) to conduct an explorative study on successful implementation of writing centers. The writing center at UW-Madison is the ideal home base for this, since it has such a variety of programs, like a very successful WAC program, and this amazing institutional standing. Nevertheless, as I said in the beginning, sometimes it makes me feel jealous to see this. Or frustrated, because I cannot imagine that there will ever be a time when we will have a fixed and sustainable budget, sufficient staff and adequate acknowledgement from our institution. To deal with these feelings it helps me to remember that the UW-Madison writing center has not only its current hard working staff, but it has been built up by 43 years of people working here. And so do writing centers in the US generally: several decades have passed since most universities established writing centers, and the first writing-center-like institutions date even back to the 1930s. Comparing my own writing center with this one here in Madison, or comparing writing centers in the US with writing centers in Germany, is like comparing the achievements of a small child with those of an experienced, grown-up person. All these achievements needed their time and today’s writing centers profit from history. (more…)
By Danielle Warthen. As a writing instructor who’s also been a writing tutor in the UW-Madison Writing Center for the past five years, I’d say that, hands down, the most common comment I hear from students new to the Writing Center when we begin our sessions is: “I’m a bad writer.” It’s often said in an apologetic tone, as if the student has already decided that this session will be yet another disappointing illustration of being “bad at writing,” and I should prepare myself for some sort of intellectual letdown. These words are often meant as a benevolent warning to me, I suppose as a way to help me manage my expectations. The student is telling me not to expect a “good writer” who’s going to be a breeze to collaborate with–this is going to be hard work for both of us, with questionable returns, because . . . well, they’re bad at it.
By Rebecca Lorimer and Elisabeth Miller.
The 2011 Midwest Writing Centers Association Biennial Conference will take place here at the University of Wisconsin-Madison October 20th-22nd. This year’s theme, “On the Isthmus,” gestures quite literally to the conference’s location, but also to the quality that makes this conference unique: just as writing centers bridge disciplines, locations, and widely diverse writers, so does this conference connect writing studies professionals across institutions, interests, and multiple points of view.
The students in Professor Rebekah Willett’s first-year course on the Internet and Society are crouched over their desks and laptops, some scribbling, some typing, some doing so fervently, some reluctantly. All are working to formulate a couple of sentences that synthesize two paragraphs of text they have in front of them. I’ve just walked with them through the idea of putting texts into relationship with one another when writing a synthesis-driven assignment, and I’ve suggested thinking of this synthesis as giving a bird’s-eye view of the lay of the land, of describing how one text relates to the texts around it. I’ve explained that, with synthesis, we’re telling readers where multiple texts overlap, in what ways they connect, or how they are on completely opposite sides of the map. I’ve also emphasized the importance of using specific examples from the text to talk about these relationships. I’ve given the students these directions as a guest in their classroom, as an expert from the Writing Center come to bestow my great wisdom about writing upon them (if you’re skimming this post, please note the sarcasm in this sentence). Yet, as a number of students finish their sentences a little too quickly, their professor doesn’t hesitate to jump in.
By Rachel Carrales.
The summer before last, I spent a month traveling through France, Italy, and Spain. It was a whirlwind trip, and I was only able to spend a day or two in each city I visited. It was so fast, in fact, that I find myself remembering only snippets of things: the fat, cuddly pigeons in Florence, the combination of 14th century architecture and graffiti in Toledo, and the palm trees in Rome. One of the things that stands out in particular, though, is my trip to the Louvre. I was finally able to see all of those paintings that I’d studied on slides in dark, crowded lecture halls as an undergrad, and while there was something thrilling about that, seeing brush strokes and colors up close, feeling intimately connected to a painting, my favorite moment was seeing a statue of the Goddess of writing.