By Stephanie White
Stephanie White is an Instructional Developer at the University of Waterloo Centre for Teaching Excellence. She consults with instructors about teaching writing and communication and assists with teaching development programs for graduate students and postdoctoral fellows. Stephanie holds a PhD in Composition and Rhetoric from the University of Wisconsin–Madison, where she taught composition, tutored in the Writing Center, and served as TA Assistant Director of Writing Across the Curriculum.
Stephanie White, back when she would spend hours writing
and taking selfies to procrastinate in the Wisconsin Historical Society library.
I’ve been reading Adam Gopnik’s ageless Paris to the Moon off and on over the last year, savouring it in small portions like a bottle of good Scotch. Gopnik’s descriptions of life in Paris for a non-Parisian family, originally published as a series of New Yorker essays called “Paris Journals,” are warm and acute. They’ve made me think again about the “outsider” perspective, about why travel writing is so powerful and why anthropologists rarely study their home cultures. And they’ve made me consider my own perspective as a Canadian returning home to Ontario after spending twelve years in the U.S. So I thought I’d invite you to read my own journal entry here about life as a Writing Across the Curriculum (WAC) consultant in a university culture where WAC is rarely mentioned.
I just celebrated my one-year anniversary as “Instructional Developer, TA Training and Writing Support” at the Centre for Teaching Excellence at the University of Waterloo in Waterloo, Ontario. My manager took me to lunch to celebrate, and we marveled that it had only been and had already been a year since I left a teaching position in the English department here at UWaterloo to take on this role. The shift to an alt-ac career wasn’t something I saw coming, but when I read the job description for a newly created position with a focus on writing instruction, I couldn’t resist applying and was thrilled to be offered the job.
I now spend my days helping run two different graduate student teaching development programs, supervising graduate-student workshop facilitators, and facilitating TA training in departments across campus. At the same time, I teach workshops and consult with instructors, departments, and even whole faculties (what you’d call colleges in the U.S.) about designing, teaching, and responding to written assignments. Continue reading
Author photo. Image taken by Jennifer Brindley.
By Rachel Herzl-Betz
Rachel Herzl-Betz is the T.A. Coordinator of Outreach for the Writing Center at UW-Madison, where she has been a tutor since 2012. She is also a PhD candidate in Literary Studies, with a focus on Victorian Literature, Disability Studies, and Rhetoric.
This August, when I began my work as the Outreach Coordinator for the Writing Center, I found myself fascinated with an unexpected challenge. Every year, tutors from our Writing Center have the pleasure of giving presentations and creating collaborative writing lessons for more than 150 classes, student groups, workshops, and events across campus. As the new coordinator for these efforts, I assumed that I would be caught up with new genres of writing and discovering new campus buildings. Instead, I found myself wondering at the wobbly line between creation and adaptation.
Rob Emmett at the Kohler Dunes, Wisconsin with Elisabeth, 2010.
By Rob Emmett
Writing centers can launch lives in new directions, across continents and oceans. The years I spent working at the Writing Center while in graduate school in Madison certainly set me on a path to my current work at the Rachel Carson Center for Environment and Society (RCC) in Munich, Germany. The RCC is an interdisciplinary, international center for research in environmental history and allied fields that aims to raise the profile of this work in public discussions of environmental issues, in the spirit of our namesake, the influential author of Silent Spring. The project is exceptional in many ways–one being that its directors, Christof Mauch and Helmuth Trischler, represent Munich’s oldest public university (LMU Munich) and the research division of the Deutsches Museum, respectively. For the last year I have served as Director of Academic Programs; I support the center’s research fellows, develop collaborations in environmental humanities with other centers, and teach in our international environmental studies program, among other things. Continue reading
By Taryn Okuma, The Catholic University of America.
Taryn Okuma is Director of the Writing Center and Clinical Assistant Professor of English at The Catholic University of America (CUA) in Washington, D.C. She received her Ph.D. in Literary Studies from UW-Madison in 2008. While at Madison, she served as the Co-Director of the English 100 Tutorial Program for two years and worked at the Writing Center for four years.
I feel fortunate to be posting after Kristiane, whose thoughtful discussion of transfer with Caroline Levine provides valuable insights to the connections between the work that we do in writing centers, writing across the curriculum, and literature classrooms. I, too, have been thinking a great deal about the intersection of instruction in writing centers and in classrooms. Although we have a moderate amount of traffic at our center, I’m also very aware that we are only seeing a small percentage of the students who could benefit from visiting us. One of the questions that I come back to again and again as a WC director is, “Why aren’t more students visiting the Writing Center at CUA?” And as an English professor, I ask, “Why aren’t more of my students visiting the WC?”
By Mitch Nakaue, The University of Iowa.
As a deeply introverted person, I’ve always been interested in the power of writing center work to incite talk. As a graduate student at UW–Madison, I learned to cultivate an expressive and even outgoing classroom teaching persona, but found myself much less drained by one-to-one discussions with students. Writing center teaching, which I began in 2004, capitalized on my preferred mode of interaction: focused and detailed exchanges with one person. And to my surprise, writing center teaching wasn’t draining; in fact, it produced a buzz. I think many of us are familiar with the buzz — the euphoria we feel when the thirty or sixty minutes fly by in a whirlwind of student and tutor collaboration on the development or revision of a piece of writing. Indeed, we might even gauge the success of a tutoring session by how much was said. We talked the whole time!
Wendy Osterweil and Eli Goldblatt
By Eli Goldlbatt, Temple University.
Eli Goldblatt graduated from the University of Wisconsin-Madison in 1990 and taught at Villanova University from that year until he moved to Temple University in 1996. He is currently professor of English and Director of First Year Writing at Temple. He was faculty co-director of the Writing Center at Temple from 1999 until 2005. Through New City Writing, the outreach arm of the writing program, he has helped to support Tree House Books, Temple Writing Academy, and other projects in collaboration with community partners in North Philadelphia. Among other scholarly publications, he is the author of Because We Live Here: Sponsoring Literacy Beyond the College Curriculum (Hampton P 2007), and Writing Home: A Literacy Autobiography (S. Illinois UP, 2012). His books of poetry include Journeyman’s Song (Coffee House, 1990), Sessions 1-62 (Chax Press, 1991), Speech Acts (Chax Press, 1999), and Without a Trace (Singing Horse Press, 2001). In addition, Goldblatt published two children’s books, Leo Loves Round and Lissa and the Moon’s Sheep, both from Harbinger House in 1990.
My wife, Wendy Osterweil, is a printmaker, often screen printing on fabric in multiple layers and then quilting back into the shapes and colors. She also teaches art education in a fine arts college, where she prepares young artists for a variety of urban and suburban K-12 classrooms. In our many, many talks about teaching and the arts over the years, she links the art she most admires with the teaching she seeks to foster: work that shows the human hand. Together, we have come to think about teaching as an art done “by hand,” and I’d like to share with you some thoughts about this conception for writing instruction. Continue reading
By Lauren Vedal. Lauren Vedal was a tutor at the UW-Madison Writing Center from 2004-2009. She is now the Writing Specialist in the Humanities at Bates College in Lewiston, Maine, where she provides one-on-one writing consultations for students and support for faculty who want to better incorporate writing instruction into their courses.
Shame and Writing
I’ve been thinking about shame and writing. As writing tutors, we consider writers’ shame not infrequently. Writers sometimes explicitly express shame about their “bad writing,” and there is shame implicit in the vulnerability of sharing one’s writing-in-progress. But I’m interested in taking another angle on shame—shame as it relates to earnestness.
John Duffy, Director of the University Writing Program, University of Notre Dame
By John Duffy. John Duffy is the Francis O’Malley Director of the University Writing Program, an Associate Professor of English at the University of Notre Dame, and a proud former tutor in the University of Wisconsin-Madison Writing Center.
Most people who have taught in a writing center, or who have given the work any serious thought, are usually skilled in explaining what a writing center is not. That is, those of us charged with helping students, faculty, or the occasional inquiring dean understand writing center teaching often begin with negative definitions, listing the various things that a writing center isn’t and specifying those actions that writing center tutors don’t undertake. And so, we may say, that while a writing center is many things, it assuredly is not:
- a grammatical chop-shop, a place for quick fixes of broken, bruised, and badly battered sentences
- an editorial dry cleaners, a site for dropping off papers that will be prepped, pressed, starched, and readied for the busy writer
- a House of Miracles, the linguistic equivalent of Lourdes, a shrine at which writers will be miraculously cured of their perceived faults, futilities, and failures
Julie Nelson Christoph, Director of the Center for Writing, Learning, and Teaching at the University of Puget Sound
I’ve considered myself a “writing center person” for over twenty years now, ever since I anxiously took my first college paper to my undergraduate writing center and left with a few concrete ideas for revision and the sense that I might actually be able to do the whole college thing. I eventually became a writing tutor in that same center, and then later went on to teach in the writing center at Madison. And, in January of this year, I became the director of our writing center at the University of Puget Sound. I’ve always loved the community in writing centers, the chance to break down hierarchies and have real conversations about writing. But those interim years as a full-time English professor—in charge of my own classrooms, teaching writing through assignments I’d designed and working with students whose work I’d be grading—had led me away from the core principles of writing centers. And I knew it. Continue reading
Professor Joyce S. Steward (1917-2004), founder of the Writing Laboratory at the University of Wisconsin-Madison
By Brad Hughes, Director, The Writing Center, Director, Writing Across the Curriculum, UW-Madison.
In this blog post, I would like to honor the legendary founder of the Writing Center (originally called the Writing Laboratory) at the University of Wisconsin-Madison and one of the most influential pioneers in the modern writing center profession—Professor Joyce Stribling Steward. Professor Steward founded the Writing Laboratory at the University of Wisconsin-Madison in 1969 and directed it until her retirement in 1982. Among her many accomplishments, she—
- pioneered writing center methods that emphasized respect for individual student-writers and that tailored instruction to individual students, starting where students are and working collaboratively with them
- conceptualized and designed a writing laboratory for writers at all undergraduate and graduate levels, writing in all disciplines
- expanded writing center programs beyond individual tutoring to incorporate workshops in the center as well as outreach in courses across the curriculum, at the graduate and undergraduate level
- published, in 1977, an article about writing laboratories in an MLA journal for English Department chairs, The ADE Journal
- co-developed and led a week-long summer institute about developing writing laboratories, held at UW-Madison in 1981
- co-authored, in 1982, one of the first books about writing centers, The Writing Laboratory: Organization, Management, and Methods
- influenced the development of many other writing centers around the United States through her publications, by hosting visitors from many colleges and universities, and through her invited lectures and consulting around the US
- developed and taught the first course on women’s literature at the University of Wisconsin-Madison