Support for anxious writers: The six stages of an undergraduate online writing retreat

Vol. 6, No. 2 Fall 2024

Sarah King, Writing Support Coordinator, Centre for Teaching and Learning, University of Toronto Scarborough


When I was an undergraduate, I found academic writing assignments highly stressful. Books would pile up on my residence room floor, as I researched but put off writing until the very last minute, ultimately pulling all-nighters and submitting half-baked ideas. I think that’s why I’m sympathetic to anxious students and perhaps why, in the dark, middle days of the pandemic, I devised a way to make the graduate writing group techniques of freewriting, goal-setting, and timed writing useful for undergraduates. I called these “writing retreats,” students greeted them with enthusiasm, and our writing centre is still offering them regularly. Continue reading “Support for anxious writers: The six stages of an undergraduate online writing retreat”

Creating a Translingual Writing Bank for Laurier Students and Faculty

Vol. 5, No. 10 (Summer 2024)

Christin Wright-Taylor, Manager, Writing Services, Wilfrid Laurier University

Elizabeth Clarke, Learning Consultant, Transition and Learning Services, Wilfrid Laurier University


During the keynote for CWCA/ACCR’s 2022 conference, Dr. Vershawn Ashanti Young (Dr. Vay) put out a call to Canadian writing centres to create a statement on translingual academic writing for students and faculty in their institutions. He also suggested creating a bank of translingual academic writing (TAW) to showcase the stylistic and rhetorical power of such writing, examples to light the way for students as well as faculty wanting to integrate diverse linguistic identities into academic writing.

Two years later, Laurier Writing Services has answered the call. We’ve created both a TAW statement and bank for our body of undergraduate and graduate students  published on an public-facing website. Whether or not our statement and bank are specifically what Dr. Vay had in mind, it is our attempt to achieve his vision: a clarion call for institutions to allow translingual academic writing in coursework and a guide for students on what translingual academic  writing could look like in their work.

The journey to this point reveals the kind of labour entailed in this work as well as the systemic and generic constraints placed on producing an artifact of this kind.

This article narrates the process by which we wrote the statement, gathered the TAW texts, and then adapted our content to fit the norms and conventions of “web writing” for a public-facing landing page.

The journey to this point reveals the kind of labour entailed in this work as well as the systemic and generic constraints placed on producing an artifact of this kind. Included in this article is the original TAW statement and sample bank created for the website, along with a link to the actual web page which is drastically revised to meet the conventions of web-writing and Laurier’s external communication norms.

The Audience and The Purpose
Since Laurier Writing Services is housed under Student Affairs, our statement and bank, first and foremost, needed to target students. As such, the statement would be housed on Writing Services’ website and positioned as a resource for student writing.

However, we know that faculty also access our student-facing resources to help support student writing. For example, faculty embed our online resources for syllabi assignments. They also access our student website to gain information on how to direct students to book appointments and attend workshops. For this reason, a secondary audience for our TAW bank was faculty. Within the institutional political structure, Writing Services’ focus is toward students. At the same time, the TAW statement and bank can provide faculty with fresh ideas for how they design and assess their writing assignments.

The primary purposes of the TAW statement and bank are to:

  • Inform students that Writing Services not only believes in their linguistic and cultural identity but will help them integrate that identity into their writing in tangible ways.
  • Direct students to book a writing appointment with Writing Services to receive guidance on how to integrate their linguistic identity into their academic writing.
  • Show students examples of translingual academic writing to inspire their own writing.

The Process
The process of composing and curating the translingual academic writing bank began with Christin, the manager of Writing Services. She reached across the university for collaborators, inviting insight and input from campus partners who support the Indigenous student body, the Black and Racialized student body, and the faculty.

Key partners in the collaboration of this work were Zeeta Lazore Cayuga, Indigenous Academic Student Success, who provided feedback on how students in her program might receive and interpret the translingual statement and bank; Alesha Moffat, Educational Developer and Instructor in Faculty of Education, who generously contributed her collection of translingual academic writing samples to the bank; Linn Huemiller, Web Content Specialist, who helped us fit our content to web writing conventions and who also helped us understand the user trends for our webpage; Elizabeth Clarke, Academic Equity Programs, who provided feedback on how students in her program might receive and interpret the translingual statement and bank.

Elizabeth’s contribution was so substantial that she agreed to become a co-writer for the project.

The Starting Artifact
Here is the original TAW statement and bank written by Christin and Elizabeth.

Your Language. Your Writing. Your Voice.

Prepared by Christin Wright-Taylor and Elizabeth Clarke

 

“I speak three languages, write in

Two, dream in one.”

~ Kamala Das, from “An Introduction”

Writing Services believes students have a right to use their own language and voice in academic writing. The staff are committed to developing writing strategies that not only consider the conventions of academic writing but also challenge and dismantle systemic barriers that students may face.

Nearly 50 years ago, the Conference on College Composition and Communication released a statement called, “Students’ Right to Their Own Language” (CCCC, 1974). This statement says students have the right to “Dig And Be Dug,” as Langston Hughes’s (2024) puts it. In other words, students have the right to bring their culture and language to academic writing and for that writing to be understood.

Writing Services acknowledges that academic writing has historically been Eurocentric, classed, and gendered, and that this has shut out students with diverse backgrounds.  As Geneva Smitherman (1995) writes, “the Unhip among researchers, scholars, and intellectuals … [argued] that even though the [language] difference of those oppressed by race, class, or gender were cognitively equal to those of the mainstream, they were socially unequal” (p. 21). In other words, racialized English has been stereotyped as “ghetto.” International English is called, “broken.” And working-class English has been branded, “unintelligent.” But these various forms of language and dialects are just as intelligent and capable as mainstream language, and many scholars have shown us the way:

Suresh Canagarajah (2015) says that “rather than developing mastery in a single ‘target language,’ students should strive for competences in a repertoire of codes and discourses” (p. 284). Paul Kei Matsuda (2006) says that “all [writing] teachers need to reimagine the [writing] classroom as the multilingual space that it is” (649). And Ilona Leki and Joan Carson (1997) say that “experiencing a deep interaction between language, personal interests, needs, and backgrounds” is important for students in terms of linguistic and intellectual growth (p. 64).

This may sound lovely, but institutions and faculty may not know about Smitherman, Canagarajah, Matsuda, Leki and the many bright ideas about language diversity in academic writing. As a result, institutions are behind in including diverse languages and voices, which hinders student expression and intellectual growth (Horner & Trimbur, 2022; Matsuda, 2006; Shor, 1997).

What should students do then? First, read the excerpts of writing below that demonstrate all the different ways other scholars and writers have brought their culture and language into academic writing. Second, book an appointment with Writing Services to learn how you can balance meeting the expectations of your writing assignment with integrating your language and culture into your academic voice.

*Special thanks to Alesha Moffat, Teaching, Excellence, and Innovation for contributing key samples of translingual writing.

References
Canagarajah, S. (2015). The Place of World Englishes in Composition. In S. Perryman-Clark, D. E. Kirkland, A. Jackson, & G. Smitherman (Eds.), Students’ right to their own language: A critical sourcebook (pp. 284–285). Bedford / St Martin’s.

CCCC. (1974). Committee on CCC Language: Background Statement. College Composition and Communication, 25(3), 1–18.

Horner, B., & Trimbur, J. (2022). English Only and U.S. College Composition. CCC, 53(4), 594–630.

Hughes, L. (2024). Motto. Poetry Foundation. https://www.poetryfoundation.org/poems/150987/motto

Leki, I., & Carson, J. (1997). “Completely Different Worlds”: EAP and the Writing Experiences of ESL Students in University Courses. TESOL Quarterly, 31(1), 39. https://doi.org/10.2307/3587974

Matsuda, P. K. (2006). The myth of linguistic homogeneity in U.S. college composition. College English, 68(6), 637–651.

Shor, I. (1997). Our Apartheid: Writing Instruction and Inequality. Journal of Basic Writing, 16(1), 91–104.

Smitherman, G. (1995). “Students’ Right to Their Own Language”: A Retrospective. The English Journal, 84(1), 21–27.

The Final Artifact
Here is the final product: a web page created as an external facing artifact for students and faculty. Translingual Writing: Your Language. Your Writing. Your Voice | Students – Wilfrid Laurier University (wlu.ca)

The Translation
As you can see, there is quite a difference in style and format from the original statement to the web page. Though we spent hours laboring over the original statement, and were quite pleased with its stylistic savvy, Linn, our web designer, shared that the statement read too much like an “essay” and didn’t support optimal SEO algorithms. She also helped us understand the rhetorical context of the web page, which needed to function as a “wayfinding” tool, something that students can reference for where and how to access our resources. Finally, Linn helped us frame the content to best fit the way that students interact with the website: by Googling key search terms, then skimming the web page for the information they want.

To that end, we added two sections to the web page as practical support for students: “Book an Appointment” and “Talk to Your Instructor.” The booking section directs students to book an appointment with our writing consultants to help them negotiate using their own language and culture in their academic voice. The “Talk to Your Instructor” section offers students a template e-mail they can use to broach a conversation with their professor about possibly taking a translingual approach to their assignment.

Finally, copyright and accessibility considerations informed the design of the TAW bank. We had initially imagined the bank to be interactive with the  writing samples appearing as tiles students could click on and navigate out to  writing samples. However, in order to make the samples accessible and to avoid infringing on the original texts’ copyrights , we chose to offer the writing samples as links to publication pages where students can read the translingual pieces in full.

Reflecting on the Process
After completing the translingual statement and bank, here are Christin and Elizabeth’s reflections on the process:

Make it a priority to collaborate on your translingual banks! Draw on partnerships across the institution to contribute to the content and to inform the process.

From Christin
Make it a priority to collaborate on your translingual banks! Draw on partnerships across the institution to contribute to the content and to inform the process. It was vital to get Elizabeth, Zeeta, Alesha, and Linn’s input on the translingual academic writing bank. Their voices and perspectives contributed something significant to the process and ultimately made the translingual statement and bank better than it would have been otherwise.

Also, creating this statement and bank was a series of compromises: formatting it as a landing page sacrificed stylistic choices, as well as authorship (i.e. our names aren’t on the statement anymore). The landing page format also minimized the research and scholarship behind the statement and bank. On the other hand, by placing the statement and bank on the student-facing webpage, we gained accessibility to the students, relevance to their searches, and a visibility that wouldn’t otherwise be possible through internal institutional platforms.

From Elizabeth
As a learning consultant who is a part of Academic Equity Programs and working within a predominantly white institution (PWI), it’s important to me to collaborate with other staff, faculty and community partners to support the enrichment of the work being done for students (the collective).

Christin reached out to me and asked if I could provide feedback on a one-page statement about supporting and empowering diverse students to write using their unique linguistic identity and how the statement read for me as a Black woman working within a university setting. I initially read the statement from several perspectives as a Black woman working within a university, working with different individuals and groups, and recognizing it would read differently to different people. I collaborated with another colleague, Shevaungh Thomas, Racialized Counsellor, and asked how it read for her. There, we discussed the intent, meaning and initial thoughts of the article and provided feedback for more clarity.

While sharing the feedback with Christin, the process turned into a collaborative piece of work, allowing us to bounce ideas and thoughts off one another to try to speak to different readers and invite them into the writing process. It was a neat collaboration for me, as I don’t necessarily always see myself as a writer, but further highlighted the importance of creating space for collaboration and diversity in writing centres in Canada, echoing Dr. Vershawn Ashanti Young.

Will It Work?
It is uncertain if the TAW statement and bank in this format will achieve Dr. Vay’s vision and our purpose. Will the students find this web page? Will it help them start conversations with their faculty and direct them to our resources? All of this is untested yet. However, another advantage to choosing to house this resource on a public-facing website, is that we will have access to analytics that can show us how many internal and external users access the site, how long users stay on the site, and how far down they scroll through the site. Our team will review these analytics periodically to see how and when users are engaging the translingual academic writing bank. In the end, this bank — in this format — may be a shot in the dark, but at least it’s a shot.

Celebrating writing: The annual Pizza Party Writing Workshop

Vol. 5, No. 8 (Spring 2024)

Stevie Bell, Associate Professor, York University

Despite how writing instructors like me might feel about writing, students don’t always feel as though it is the most fun aspect of their scholarly or professional lives. Several years ago, in pre-Pandemic times, I initiated a transition workshop for incoming, first-year students focused on sharing a love and enthusiasm for writing. My goal was to reframe writing for incoming undergraduate students as a rich site of interest and community at university. I wanted the Writing Centre’s most public-facing work, our workshops, to do as much as possible to promote prosocial, support-seeking behaviours among students as well as to change the remedial narrative about the Writing Centre.

The 2-hour Pizza Party Writing Workshop attracted 80-100 students that first September and each September thereafter until the pandemic transformed it into an online workshop called “The Lowdown.” The majority of our early September appointments that follow are booked by students saying that they met us at the Pizza Party/The Lowdown and are looking to continue the conversations they began there.

The in-person, on-campus Pizza Party Writing Workshop is designed to maximize engagement and relationship building between attendees and many of our writing instructors. It takes place in a large auditorium with round tables to facilitate small group activity sessions.

After a brief welcome and introduction, students join topic-oriented table activities each run by a writing instructor or two. The table topics typically include:

  • Decoding assignment instructions
  • Discovering structure
  • Developing thesis statements
  • Constructing paragraphs
  • Engaging with sources & avoiding plagiarism
  • Editing sentences

Currently, the workshop also includes a table with information and activities about working with “smart” or “intelligent” writing tools like Grammarly and OpenAI products. The number of table topics is limited by the length of the workshop, and we usually allot 10-minutes per table topic with another 3 minutes for students to rotate. A rotation of seven topics takes about 85 minutes.

For each topic table, the writing instructor spends 3-5 minutes providing some general information (noting that variations exist depending on discipline) as well as suggestions for how (or whether) to focus on the issue at various stages of the writing process. The goal is to introduce the topic and the dispel topic’s myths while inviting the students to dive deeper in 1-to-1 tutoring sessions. We use old-fashioned, tri-fold poster boards to supplement the verbal presentation. We used to provide a handout at each activity table as well, but we now offer a link to the supplementary website we built, The Lowdown on university-level academic writing, when the workshop was forced online due to the Pandemic.

via GIPHY

Then students are invited to engage in a short puzzle or gameful activity related to the topic (see examples on the supplementary website). These activities tend to prompt lots of collective teamwork and camaraderie. This is where we see bonds being formed between student attendees and with writing instructors facilitating the table activity.

Having completed a table activity, students win a ticket. They must earn a minimum of five tickets to get pizza. Eventually, the table activities are cleared away, and students continue their conversations over pizza. In this informal part of the event, writing instructors sit with students and have a chance to contribute to their conversations about transitioning to university life.

When the Pandemic hit, we were obviously unable to continue with the in-person or pizza elements of this workshop. We pivoted to an online workshop, renamed to “The Lowdown on university-level academic writing,” which ran in similar ways using Zoom break-out rooms. The online iteration of the workshop has excellent attendance, and is still the preferred modality of many students. We are looking into opportunities to re-launch the in-person pizza party.

For the online iteration of the workshop, we transformed our materials into the Lowdown website and changed some of the activities there to be do-able via Zoom. During the Pandemic, we began adding video resources to enhance the examination of these topics. This website is now capable of living as a stand-alone resource that can help first-year undergraduate students begin transitioning to university-level writing. Our plan, however, is to continue running The Lowdown and/or Pizza Party Writing Workshop to begin each year with a celebration of writing and talking writing in community. The primary goal is building personal connections between the writing centre and students.

If you’d like to chat about how to transform this workshop in your own context, get in touch!

With thanks to the many writing instructors at York’s Writing Centre who have contributed to the Pizza Party and Lowdown workshop as well as the resulting supplementary website.

GenAI and the Writing Process: Guiding student writers in a GenAI world (Part 2 of 2)

An abstract image of electrical waves running through a ring of wiring.

Vol. 5, No. 5 (Fall 2023)

Clare Bermingham, Director, Writing and Communication Centre, University of Waterloo

This is part two of two in this series. The part one can be found here. CWCR/RCCR Editor


How should writing centres advise students and instructors on the use of GenAI in their writing and communication processes? This question has been front of mind for many of us who manage and work in university and college writing centres and learning centres. And there isn’t a single answer.

When making decisions about how to support students with GenAI, we, as writing centre leaders and practitioners, must account for our local contexts, the knowledges and stages of the students we tutor, and the learning goals or outcomes for particular learning situations or tasks. Our guidance for undergraduate students will be different than for graduate students. And multilingual students may have different needs than those whose home language is English. In this blog post, the second in the series about guiding students through this new landscape, I share questions and ideas to help writing centre colleagues take an inventory of their centres and institutional needs and prepare their tutors for encounters with GenAI in students’ work. Continue reading “GenAI and the Writing Process: Guiding student writers in a GenAI world (Part 2 of 2)”

Hello! I am your AI academic writing tutor: A quick guide to creating discipline-specific tutors using ChatGPT

Vol. 5, No. 2 (Fall 2023)

By Brian Hotson, Editor, CWCR/ACCR


On August 31, 2021, OpenAI posted to their website, Teaching with AI, described as a guide “to accelerate student learning” using ChatGPT. This guide provides prompts to “help educators get started with” ChatGPT. These include prompts for lesson-planning development, creating analogies and explanations, helping “students learn by teaching,” as well as creating “an AI tutor.”

Prompts in ChatGPT are text inputs to generate responses—essentially asking ChatGPT questions. A simple prompt, such as “Write an outline for a five-page essay on sedimentary deposits of soil,” generates responses that are helpful, providing a guide to essay writing on a specific topic. However, by using a complex prompt, ChatGPT can be set up to answer questions in a specific way, turning it into an effective, discipline-specific writing tutor. Continue reading “Hello! I am your AI academic writing tutor: A quick guide to creating discipline-specific tutors using ChatGPT”

Productive and Ethical: Guiding student writers in a GenAI world (Part 1 of 2)

An abstract image of electrical waves running through a ring of wiring.

Vol. 5, No. 1 (Fall 2023)

by Clare Bermingham, Director, Writing and Communication Centre, University of Waterloo

Here is Part Two. Editor.


How institutions and course instructors are managing generative AI (GenAI), such as ChatGPT, Bard, and Dall⋅E, has been the focus of both scholarly and public-facing articles (Benuyenah, 2023; Berdahl & Bens, 2023; Cotton et al., 2023; Gecker, 2023; Nikolic et al., 2023; Sayers, 2023; Somoye, 2023), but few articles or resources have addressed students directly. And yet students are subjected to the suspicions of worried instructors and administrators caused by GenAI, and students are left to deal with the resulting surveillance and extra pressure of in-class assignments and monitored final exams (Marken, 2023). This is a critical point where writing centres can and should intervene. Our work is primarily student-facing, and we have the ability, through one-to-one appointments, to have conversations with students about what they are experiencing and what they need. Continue reading “Productive and Ethical: Guiding student writers in a GenAI world (Part 1 of 2)”

The Voyage Out and The Voyage Home: Learning to trust the freewriting process in writing appointments

Vol. 4, No. 4 (Summer 2023)

Christin Wright-Taylor, Manager, Writing Services, Wilfrid Laurier University


This term, I seem to be meeting with more students who struggle to start the writing process. I tallied my writing appointments so far and found that 32% of them have been dedicated to helping the student generate writing for their assignments. For me, this has been an increase over previous terms. I’ve enjoyed these appointments, but I’ve also found myself hesitating on the precipice of a guided freewriting prompt, wondering: Do these work?

I can report that, yes, they do!

However, the experience of guiding my students through this formative, messy, unruly part of writing has made me reflect on what I often forget about the act of writing: it requires trust. Trust in me as the writing consultant, and both our trust in the process.

Continue reading “The Voyage Out and The Voyage Home: Learning to trust the freewriting process in writing appointments”

ChatGPT snapshot: University of Saskatchewan

Vol. 4, No. 5 (Spring 2023)

Liv Marken,
Learning Specialist (Writing Centre Coordinator)
Writing Centre
University of Saskatchewan


In April 2023, I asked writing centre practitioners to answer 5 questions on ChatGPT and their centres’ responses. Over the next month, I’ll post the response. If you have a perspective to offer, please use this form, and I’ll post it here. Brian Hotson, Editor, CWCR/RCCR


What actions, policies, resources, or information has your institution put in place for ChatGPT?

It has been an exciting but challenging term because there has been uncertainty about who would take leadership on the issue. There wasn’t any official guidance issued, but on our academic integrity website, an instructor FAQ was published in early March, and soon after that a student FAQ. Library staff (including me and my colleague Jill McMillan, our graduate writing specialist) co-authored these with a colleague from the teaching support centre. Continue reading “ChatGPT snapshot: University of Saskatchewan”

Writing a conference proposal: A step-by-step guide

Vol.4, No. 4 (Spring 2023)
Brian Hotson, Editor, CWCR/RCCR
Stevie Bell, Associate Editor, CWCR/RCCR

This is an expansion of the CWCR/RCCR post, Vol. 3 No. 3 (Winter 2022).


‘Tis the season, conference season. For those who have not written a conference proposal, it can seem like a daunting project. The thought of it can cause many to not submit at all. It can be difficult to know where to start and what to write, while following a conference’s CFP format and theme. We’ve had both successful and rejected proposals. As conference proposal reviewers and conference organizers, we’ve read many proposals and drafted several conference calls-for-proposals, as well. Here are some of the things that we’ve learned from experience. We hope this guide will provide you with some help to get your proposal started, into shape, and submitted. Continue reading “Writing a conference proposal: A step-by-step guide”

Writing centres and ChatGPT: And then all at once

Vol. 4, No. 1 (Spring 2023)
Brian Hotson, Editor, CWCR/RCCR


A couple months ago, I asked OpenAI‘s ChatGPT to write blog post on writing centres and academic integrity. This week, I asked the new version of ChatGPT to write this piece again. For the old version of GPT, I used this prompt:

Write a five-paragraph blog post about the state of writing centres in Canada, with citations and references. The first paragraph is an overview of Canadian writing centres for 2022. The second paragraph is an overview academic integrity issues in Canada in 2022. The third paragraph is an overview of how academic integrity affects Canadian writing centres. The four paragraph provides a preview of possible academic integrity issues in Canada in 2023. The fifth paragraph is a summation of the first four paragraphs.

Continue reading “Writing centres and ChatGPT: And then all at once”

Writing a conference proposal: A guide

an auditorium filled with people with two presenters

Vol. 3 No. 3 (Winter 2022)

Brian Hotson, CWCA/ACCR 2022 Conference Co-Chair
Stevie Bell, CWCA/ACCR 2022 Conference Co-Chair


If you’ve not written a conference proposal, it’s hard to know where to start and what to write, all while following the conference CFP format. This guide (links below) will provide you with some help as you get your proposal started, into shape, and then submitted. This is a step-by-step guide, leading you through each part of the CFP:

  • Title
  • Detailed abstract
  • Proposal description
  • Type of session
  • References

Provided are instructions on how to structure each section using examples, leading to a final Proposal Description sample. Use it for your own proposal and share it with your colleagues and tutors.

Writing a conference proposal: A guide

2022 CWCA/ACCR Conference CFP – Reckoning with Space & Safety in the COVID Turn

If you need support, please contact the conference co-chairs,
Stevie Bell, stepbell@yorku.ca
Brian Hotson, brw.hotson@gmail.com

“I don’t know, let’s play”: Multimodal design support in the writing centre

the word "Play" in green against a brown backdrop

Vol. 3 No. 2 (Winter 2022)

Editor’s note: This is a Session Reflection. If you have a unique tutoring experience to share, submit your Session Reflection to Brian Hotson cwcr.rccr@gmail.com

Stevie Bell is an associate professor in the Writing Department at York University and CWCR/RCCR co-founder

A sticker with the word "essay" that looks like its meltingWriting centre tutors may be seeing an increase in multimodal writing projects (DWPs) now that students are primarily producing and submitting their work online―at least this is the case for me. Today’s students have the opportunity to use colour, sound, gifs, and video elements to enhance even traditional essays, and these elements are becoming not just common, but often expected. Students are also being assigned creative projects that require them to focus on becoming design-savvy producers of multimodal texts, using design elements and theory that isn’t always in their writing toolbox

Where on campus can students seek help with multimodal projects? In my opinion, writing centres are well positioned to extend the work they do supporting students as they use writing as a tool of thinking and communicating to include multimodal processes that do not prioritize alphabetic/linguistic modes. Writing centre tutors already know the structure of argumentation, the rhetoric of academic writing, and styles and formats required for writing at university or college levels. They also know how to think along with students, as well as to think in and through the tasks, challenges, and blocks that students come to the centre to work through.

Continue reading ““I don’t know, let’s play”: Multimodal design support in the writing centre”

Commitment to Antiracism: CWCA/ACCR Statement of Commitment to Antiracism

Background

The CWCA/ACCR Statement of Commitment to Antiracism is a living and active document. It will guide and inform the Board and its committees in all activities, such as strategic planning, conference organizing, resource creation, and membership recruitment. Following the statement’s publication on our website today in January 2022, the Board and the BIPOC Caucus will work together to implement an action plan and measures for tracking progress, for updating and revising the statement, and for supporting individual members and member schools in doing this critical work.

The Statement of Commitment to Antiracism is the result of significant cooperation and collaboration by various individuals and groups within CWCA/ACCR. The Statement was originally crafted out of a similar statement by the British Columbia Writing Centres Association (BCWCA). It was composed and revised over a period of approximately 12 months from January to December 2021, engaging Board members and general members of the organization.

Following the draft shared with members at the 2021 Annual General Meeting, racialized members of CWCA/ACCR formed the BIPOC Caucus and undertook the task of revising the Statement to make it more inclusive and to recognize the different roles that members have in doing this work. Their work has been instrumental, and CWCA/ACCR is indebted to these members for their commitment, vision, and labour. As a result of their work, the published Statement is more fully representative of our organization, and it details CWCA/ACCR’s commitments to and responsibilities for fostering and supporting antiracism in our organization and in member writing centres.

The CWCA/ACCR Statement of Commitment to Antiracism is the lens that will filter and focus all activities of our organization now and in the future. It reminds us that writing centre work is never neutral; that language is never standard; and that our practices of teaching, tutoring, and coaching must be equitable and informed by antiracism theories and practices to be effective. It impels us to examine our organizational culture, our membership, and our leadership, and to make intentional and sustaining changes to our systems and processes, and to our mentorship and leadership pathways.

I invite you to read the Statement of Commitment to Antiracism and consider how you can help move it from text to action:

  • What elements of this statement resonate with you?
  • As a current or future member of CWCA/ACCR, how can you participate in this work in your own writing centre/writing program? In your institution? In your teaching or research? In any of the initiatives or action items in the statement?
  • What support do you need from CWCA/ACCR to engage in antiracist research or practice?
  • What can you contribute to CWCA/ACCR’s efforts to transform this statement into action?

Please contact me if you wish to share your ideas, your interests, or your personal commitment. I look forward to joining with all our members in conversations about antiracism in CWCA/ACCR and in our member writing centres at the 2022 conference.

Clare Bermingham, PhD
President, CWCA/ACCR

Read the full CWCA/ACCR Statement of Commitment to Antiracism.

Supporting students for interview assignments

Vol 2., No. 1 (Spring 2021)
Brian Hotson, Co-Editor, CWCR/RCCR.


Google slides for presenting this material as a workshop.

Interviewing gives students greater intimacy with an event or subject in a way not otherwise possible with secondary research. In interview assignments, students connect first-hand to an individual’s accounts of, for instance, their participation in a protest event or reflections on their career in ways that support their understanding of course content. Interviewing is a process that is very much like writing; it involves stages of researching, outlining, writing, rewriting, and editing. For this reason, writing specialists and tutors situated within locations of writing support have much to offer students as they prepare for and write about interviews. Continue reading “Supporting students for interview assignments”

Resource | A Presenter Prepares: Preliminary Research, Editing, and Practice

By Dr. Joel Benabu
Vol. 1, No. 3 (Winter 2020)


Dr. Joel Benabu’s research interests include English Renaissance drama (Shakespeare’s writing practices for the stage, specifically), theory of drama and performance, and Ancient and early modern rhetorical theory. At the Robert Gillespie Academic Skills Centre (University of Toronto Mississauga), he has helped hundreds of students to hone their critical thinking and writing skills: “My writing pedagogy is less about imparting information and more about giving students the tools they need to excel in their academic writing. This can be achieved most effectively by building a diverse and robust skill set and confidence over time.”


Introduction
This in-class exercise asks students to identify and then categorize a range of actions a presenter might take at different stages in the development of an oral presentation (OP). I believe that the exercise facilitates good learning because it translates a complex, and, for many students, an opaque task into a set of practical, goal-oriented activities. Furthermore, the exercise helps to instill the notion in students that composition of any kind is a process (a distillation of sorts), over which greater control can be exercised through careful research, revision, and practice. Continue reading “Resource | A Presenter Prepares: Preliminary Research, Editing, and Practice”