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 email@example.com
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.
Continue reading ““I don’t know, let’s play”: Multimodal design support in the writing centre”
Vol. 3, No. 2 (Fall 2021)
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…”
Vol. 2, No. 4 (Fall 2020)
by Keith O’Regan
Keith O’Regan is the Graduate Writing Specialist at the York University Writing Centre. He has published on disparate fields such as Post-Graduate Writing Education, Film and Aesthetic Theory, and the Poetics of Escapism. His monograph, a comparative analysis of the poetic and theatrical work of Bertolt Brecht and William Blake will be published with Brill in the Spring of 2021.
Whether it be in the nature of the workshops offered, the limitations of a typical 60-minute appointment, or in the attention to the concrete tasks associated with short essays, current forms of writing centre support are not always best attuned to the needs of graduate student writers working on longer form projects such as masters’ theses or doctoral dissertations.
With increasingly stretched supervisory faculty, the writing mentorship graduate students receive beyond the writing centre can be limited, slow and delayed. This mentorship is sometimes structured as top-down paternalistic programs often organized around bureaucratic or financial incentives. Continue reading “Honest Discussions in Graduate Writing Cafés”