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:
Type of session
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.
CWCA/ACCR 2022 Writing a conference proposal: A guide
Editor’s note: This is a Session Reflection. If you have a unique tutoring experience to share, submit your Session Reflection to Brian Hotson firstname.lastname@example.org
Stevie Bell is an associate professor in the Writing Department at York University and CWCR/RCCR co-founder
Writing 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.
Brian Hotson, Editor, CWCR/RCCR
Stevie Bell, Associate Professor, York University
Guest editor: Lauren Mackenzie
In 2008, the then CWCA/ACCR president participated in “setting up of the first writing centre” in India (Holock, 2009, p. 6) through the University of Ottawa. In a piece in the 2009 CWCA/ACCR Newsletter, Writing into India: Setting up the first Writing Centre in the country, Holock describes his experience at Parvatibai Chowgule College of Arts and Science in Gogol, Goa, India in a travel diary style recounting,
On Friday, June 27, 2008, we step off of our fifteen-hour flight in Mumbai, my boss and I, and immediately feel the weight of our endeavour. It is not only the heat and thickness of the air, but the realization that we have finally arrived to start work on Monday, in a country and an educational system that neither of us have ever been exposed to. (Holock, 2009, p. 6)
Stephanie Bell, Associate Professor, York University Writing Centre; co-founder, CWCR/RCCR
A clear-cut strategy for undermining the writing centre’s relationship with student writers is to become reporters, adjudicators, or punishers of plagiarism and cheating (Bell, 2018).
In its heavy-handed discourse around academic dishonesty, the institution draws a divide between itself and students. Students arrive on campuses to find themselves positioned as likely criminals, and their work is policed by AI that scans it for infractions. Ironically, the institution’s academic dishonesty rhetoric can so undermine the institution-student relationship that it fosters academically dishonest student behaviour (see Strayhorn, 2012). To fulfill their missions, writing centres must carefully navigate the issue of academic dishonesty and the institution-student divide it constructs. Continue reading “If you could say anything to faculty about academic integrity…”→