UofL Writing Center

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The Ultimate To Do List!

Rachel Rodriguez, Assistant Director to the Writing Center

         To-Do List

1. Embrace the fact that your first to-do list is only a draft. You won’t like your handwriting, so you’ll rewrite it on a clean post-itRachel Rodriguez

2. Write “write to-do list” on the to-do list

3. Adopt a skewed sense of the passage of time as you envision bewildering productivity, and amass a semester’s worth of tasks to accomplish that day. Feel great.

4. For good measure, add a few freebies, like “take out trash” and “return Redbox movie” so if the worst comes, at 11:48pm you could still get 2 things accomplished.

5. Think about the to-do list in the shower, while you’re stirring oatmeal, as you apply mascara. Add to the to-do list about 70% of the tasks that occur to you during this time, and save the rest for existential dread dream-material.

6. Break down large projects into small tasks for more check-off-ability. Long lists are impressive and convince you of your own work ethic, and checking off items frequently is vital for kindling the small fire of hope in your breast. If at all possible, this must be an eternal flame.

7. Once you’re satisfied with the list as it stands, transfer to new post-it in perfect handwriting and cross off #2.

8. Keep the list nearby as you work, like a little nagging buddy, like a cute kitten who wants to sleep on your laptop keys.

9. Watch about 28 minutes of kitten videos. Once you reach Sarah McLachlan, stop.

10. Check in on the list at lunch, and feel panic encroaching. Add “take shower,” “make oatmeal,” and “relax with virtual cats” to list, then promptly cross off.

11. Savor the delicious tug of the pen as it swipes across the items that no longer exist as things you need to do. They are behind you now, cities in your rearview.

12. After a good bout of work, sense the futility of your long list. Adjust as the boundaries of actual space and time demand. Start tomorrow’s draft list.

13. Much more satisfied, allow yourself to accidentally fall asleep in the warmth of the Saturday afternoon sun, which is of course, the best kind of sun.

14. Wake suddenly from a fathomless sleep and immediately add something incredibly pressing and completely clear to “current-you,” yet enigmatic for “future-you” to decipher. See #5. Example: “Beavers and Ducks!”

15. Work diligently.

16. Return the Redbox movie. You only rent movies anyway so you can return them. Both renting and returning are valid reasons to drive around outside and see humans.

17. At the end of the day, acknowledge the stragglers on your list. There will, of course, be several items that have managed to linger through multiple iterations of lists, perhaps even for weeks. These are things you are avoiding. Probably important emails to write, or meetings to schedule. Try to confront at least one scary thing, and reward yourself by moving all other avoidances to tomorrow’s list. At the top, of course, for added visibility and guilt.

18. Save perfecting tomorrow’s list for tomorrow, to give yourself an easy start.

19. Always end your to-do list on an even number of tasks. For luck.

20. Breathe.

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Writing as Hospitality: 4 Ways to Host Your Reader Well

Abby Wills, Consultant

Is it the way those freshly baked sentences melt in your mouth?Abby Wills

Is it the long, hair-frizzling hours it takes to make it?

Is it the satisfied, sleepy feeling after it’s gone?

I’m not sure either. But I do know that the act of writing is rarely done in isolation. When you write, you are almost always writing for someone. In a way, as the writer you are the host, and your reader is the guest, whom you must welcome into your home of paragraphs and feed with your long slaved-over words.

How does one host well? The practice of hosting is difficult enough when your guest is sitting face-to-face with you at your table, but what about when you don’t get to see your guest in person? What about when your guest is not coming to your house, but coming to your writing? How can your essay welcome, feed, and make conversation with your guest so that they feel like they have been hosted well and would be happy to come back?

This may seem an odd way to think about writing, but seeing your reader as your guest actually has practical implications. Here are four ways to host your reader well.

1. Know your reader.

It is embarrassing both for you and for your guest if you greet them at the door but can’t remember their name. On the other hand, if you ask your guest about their sick family member they mentioned to you once several days ago, then they will know you care since you remember such small details. Just as hosting well depends on your familiarity with your guest, writing well depends on your familiarity with your reader. Your reader—and therefore what they know, what they want to hear, what they are interested in, and what references they will get—will be different depending on whether you are writing a rhetorical analysis for class, an article for a medical journal, a personal statement for an application, or a short story for children. Knowing who you are writing for is the beginning of hosting them well with your words.

2. Know what your reader needs.

A good host is attentive to a guest’s needs. If the guest says, “I’m thirsty,” or “I’m cold,” or “I have a headache,” and the host doesn’t think to bring water, or a blanket, or medicine, the host has arguably failed in their host-ly duties. Although we can’t hear our readers speak as we are writing, a good writer/host will start to hear the needy reader’s voice in between sentences: “I need more information here,” “I want to know why this is important,” “I don’t understand the context of your argument,” “I don’t know where you’re going with this.” If you know your reader (see #1), you will know when they need more from their writer-ly host. And if you are an attentive host, then you will eagerly fetch that extra information your reader was missing–along with a blanket and some tea.

3. Give your reader clear directions.

Just as a guest will feel uncomfortable if they can’t find their host’s house—or the bathroom, or the kitchen, or the coat closet—your reader will also feel uncomfortable if you do not give them the directions they need to get smoothly through your paper. The kind of directions you give depends on knowing your reader (again, see #1). If your guest has been to your house several times already, you don’t need to tell them where to hang their coat. Likewise, if your reader is already in your field of study, you won’t need to define terms they already know. However, if your reader is unfamiliar with your field, your topic, or your argument, they will need clear signs in order to follow where you want them to go. The considerate writer—like the considerate host—points the reader in the right direction.

4. Be interested in your subject.

What does that have to do with hospitality? Why would my reader care if I’m interested in what I’m writing or not? I’m glad you asked.

You are a guest at a dinner with family friends. Someone brings up your host’s favorite hobby. Suddenly your host’s eyes light up. She smiles. She starts telling a story. She gestures excitedly. She raises her eyebrows. She laughs. The other guests laugh. They listen attentively. They ask for the rest of the story.

When your friend really loves something, you can tell. When they are fascinated by something, you can tell. And if they are really, really interested in something—often you can’t help but be interested in it too. Just as the above host tells a story that excites her (and thus excites her guests), the hospitable writer ought to write about what truly fascinates him—because the reader will know if the writer was bored with his subject, and the reader will be bored too. For the sake of his guests, the thoughtful host will not prepare a dinner he thinks is bland; for the sake of his reader, the thoughtful writer will not write an essay he thinks is boring.

Why does this matter?

It depends. If you want your guests to be glad they came, to want to come back, to exclaim, “This meal is so good!”—then you will make the effort to know them, pay attention to their needs, give them good directions, and foster interesting conversation. If you want your reader to enjoy your writing, to read easily, and to understand your argument, then you will practice thoughtful writing as you practice thoughtful hosting—with your guest in mind. When a guest is hospitably welcomed into someone’s home, they remember.

Write Like You Mean It

Josh Christian, Consultant

            Advanced Composition appeared as an elective course in my student handbook at Campbellsville University, where I was an undergraduate. I enrolled my junior year, to try to get it out of the way for a freer, more calm senior year.Josh Christian (We all know about senioritis) But it was the only class on my schedule that semester I was concerned about, as I didn’t know what to expect. “Advanced Composition” read as if I was going to be plunged into the icy academic waters, left to sink or swim. So, sitting in the lecture hall on the first day of class, I was surprised when the syllabus listed a narrative as the class’s first formal assignment. First, I wondered about its elementary nature, how it seemed trivial for English majors. Then I began to panic. What was I going to write? How was I going to structure it? What ways could I approach such a broad topic? How would I know if I was writing it correctly?

If you are wondering, I didn’t die. I got through the assignment, and it was much easier than I thought it would be. But I do not believe I am alone in my panic, as in universities across the country, students are faced with such writing assignments in composition classes. And because of their lack of experience with writing narratives in an academic setting, they don’t know what to do.  The anxiety they are feeling is more than one writing assignment. No, it is evidence of something larger at play.

Throughout my high school and early academic experience, I was taught to write for the academy. I was to take myself out of the equation, permitted from using “I”. Instead I was told to be objective and to state my opinion but through an unbiased language. I was taught to not make a claim unless I could back it up. And if I did attempt to back up my claims, I needed to cite the material in-text and on a reference page of some sort. This was academic writing. The other kinds of writing, creative writing (stories, poems, plays, etc.) and journaling or messages sent to a friend, had their place but it just wasn’t in the academy.

You see, there had been a binary established, one in the making for generations before me. Academic writing sat on one side, while creative writing sat on the other. And like all binaries, there was a strict wall between them, especially early on, when all narrative or poetic elements were driven from a student’s paper until it became nothing more than thesis statements and transitional phrases. Don’t get me wrong, these elements of academic writing also have their place. But to drive the use of these elements out of any writing completely, is to take away a writer’s desire or ability to be creative, leaving stacks and stacks of student papers which otherwise could have been more thoughtful.

So, what do we do with such a binary? How do we, as students or faculty deal with it? How can we be excited about academic writing, if we can’t be creative? And how can we approach creative projects, like literacy narratives, if we haven’t historically been given permission to be creative before? Well, like any binary, we begin to defeat it when we question it. And when we begin to question the binary, it only helps if we are ready, as students and professors alike, to take back the mantle of “writer,” a title left for the literary authors who often mold the work we, as an academy, talk about.

            When we begin to identify as writers, we begin to take responsibility for our words. We begin to be more thoughtful about what we write because we have agency over our words, them becoming our own. So, make the choice that all writers have to make. When you read the assignment sheet, ask yourself where you can stand to be creative. How can you begin with an anecdote, using narrative elements? How can you push the limits of a rubric by thinking differently about a topic? How can you make what you are writing fun to write or read? Before you know it, your creativity will inform your academic work, and your academic writing will show you the necessity of research and argument. Dare to be a writer in your own right. And whatever you write, write like you mean it.Image result for bob dylan think different                                                                     (Apple, 1997)

So You’re Looking to Get Published?: A Quick-Guide Reference to a Few Publishing Opportunities

Adam Yeich, Consultant     

So there is a rather large and close literary community here is Louisville, especially within the university, and this is something I was very happy to find here when I moved from rural Northeast Ohio. There are a whole bunch of things I could postAdam Yeich in this blog concerning writing, but I wanted to focus on something that would be especially useful to the future endeavors of the writing community here and at large. It’s a topic I didn’t have access to or knowledge about accessing until well into my own academic and creative writing career: submission and publication.

Publishing is the aspect of creative writing that is perhaps most daunting, especially for newer writers and/or writers trying to get their work out into the world for the first time. The Internet is HUGE, so how do you go about finding places looking for submissions? How do you go about finding an agent for your novel? I’m going to provide the links to a few resources to help you find the right home for your short story/poem/personal essay or whatever writing form you call your own.

First, we have Newpages.com, which is a news, information, and guide to calls for submission from contests to literary magazines, and all kinds of publishing options in between. You can set the filter parameters to whatever genre the piece of writing you’re looking to publish fits (fiction, nonfiction, poetry, drama, art, photography, cross-genre, comics, reviews, interviews, and more), and then you can set the kind of publication you would like to publish in (book, chap book, magazine, anthology, literary website). This resource is a free guide to and compilation of calls for submission, including deadlines and costs for submission.

Link: https://www.newpages.com/classifieds/calls-for-submissions

A second resource is Duotrope. This is another guide to publication for writers and artists. This resource, according to their website, offers “submission trackers, custom searches, deadline calendars, statistical reports, and extensive interviews.” Duotrope is a more detailed and more user specific resource, so if that is of interest to any writers or artists out there, it is more than worth checking out. However, because of their status and reality as a more detailed and interactive resource, this one is not free. There is a free trial for users, but after that, anyone who finds it useful and wishes to continue using it will have two options for subscription. There is the $5/month subscription option or there is the $50/year option for those who know they plan to utilize the resource long-term.

Link: https://duotrope.com/

A third option I want to let you all know about is less directly about publishing and more directly about writing, though there are publishing opportunities that can extend out of this resource. The resource I am talking about is National Novel Writing Month, also known as NaNoWriMo. This annual event is best summed up by there website which describes the event as such: “National Novel Writing Month (NaNoWriMo) is a fun, seat-of-your-pants approach to creative writing. On November 1, participants begin working towards the goal of writing a 50,000-word novel by 11:59 PM on November 30. Valuing enthusiasm, determination, and a deadline, NaNoWriMo is for anyone who has ever thought about writing a novel.” I have a friend who participated in this event a couple of years ago, and she told me it was the single most productive month she ever had in the three years (at that point) she’d been working on her novel. It is definitely worth checking out, and the writing you’ll get done…well nothing else compares. The event sets you up to crank out words and pages like you never thought you could.

Link: https://nanowrimo.org/

Some last minute advice on seeking publication: Always read VERY carefully the guidelines the publisher has set for their submissions. Check their word count, page count, line count (for poetry), check whether they want blind submissions, check how they want the manuscript formatted if they specify, and make sure to include a proper cover letter if they request it. These publishers likely receive thousands of submissions when their call goes out. They have a limited budget for paying staff to read pieces and will take any reason to have a few less to read. Not following their specified guidelines could get you thrown into that “not getting read” pile.

I hope you find this helpful toward getting your work out into the world, because you have a voice and the world should hear what you have to say with it.

You Get What You Give: Making Success Happen in the Writing Center

Liz Soule, Consultant

Hey Writer,

So, you’re about to head into the writing center. You’re going to your first appointment (or maybe it’s your fifth) and you’re wondering: what can I do to ensure that I leave my appointment feeling empowered, confident and ready to tackle my writing? In other words, how can you make the most of your writing center consultation? Liz Soule

By committing to these three things, you can make certain your next writing center session is your best yet:

  1. Invest in the session: When you enter your consultation, try to center both your focus and your positive energy on it. Devote the entire 50-minute block to your writing. It might be challenging, but put distractions aside, and do your best to disengage from unrelated troubles for the time being. If you’re feeling frustrated with your writing, or uncomfortable with the session, attempt to embrace a positive mindset. You will make progress in these fifty minutes, even if you’re not sure how yet.
  1. Communicate your needs: Communication is absolutely vital in a writing center consultation. When you express your needs to your consultant, you offer us an opportunity to help you. Throughout your appointment, do your best to voice how you are feeling. If you’re not comfortable, or you think you may be hitting a wall, say so! Likewise, if something is working very well, it helps to mention that.
  1. Be prepared to take initiative: In a writing center consultation, you will ideally play the lead role: your concerns, needs and desires dictate what we work on. As consultants, we aspire to act as guides. Depending on your needs, we may offer you our perspectives, but for the most part, we will dedicate our time to understanding your intentions as a writer. This may require some give and take in our conversation. Although you should be prepared to take the wheel, know you’re not going at it alone: we’ll work together until we find the balance that works for us.

This consultation is a partnership. Just as you commit to taking initiative and communicating, we commit to seeking out and listening to your perspective. Likewise, we will invest, just as you will, in the productivity and power of your consultation.

I hope that these steps succeed in offering you a feeling of agency when you enter the University Writing Center. I’ll be there, in the back, excited to sit down beside you and get to work.

Liz Soule

Education is an Optimist’s Racket – Starting the Academic Year by Remembering What Matters

Bronwyn T. Williams, Director

My father, who spent his working life in schools, used to say, “Education is an optimist’s racket.” Certainly there has been news on every level around us that could lead people to feel exhausted and disheartened – and I have felt that as well. Yet a new academic year never fails to bring out the optimist in me. I find meaning and hope in all the new students on campus and the anticipation, by both those students and their instructors, in the learning that can happen in the weeks ahead. Looking around the University of

wc staff 2018

The University Writing Center Staff for 2018-19

Louisville campus, as the academic year begins, there is a lot that is notably new. It is heartening to hear new UofL President Neeli Bendapudi talk of her commitment to student learning and engagement, and, at the same time, see the opening of a new, modern building on campus that is also dedicated solely to student learning.

This year, like every year, University Writing Center  welcomed a new group of consultants who will spend the next year working with writers from across the UofL community. They have moved to UofL from across the country with a varied range of interests and backgrounds. Every group of consultants brings a new set of personalities, insights, and experiences to the University Writing Center. Every year the consultants form their own distinctive community of teacher/tutors here. Yet, this year, as in the years before, I am also confident that they will demonstrate a dedication to student learning that is equal to any on campus. What will not change is their eagerness to work with any writer on campus – student, faculty, or staff – on any kind of writing, at any point in the writing process. They will accomplish this in the same way as those that have preceded them, through collaborative conversations with writers. They will respond to the writers’ concerns, offer their own insights into how writers’ drafts could be made stronger, and help the writers formulate plans for revision. In doing so they will not only help the writers with individual drafts, but will offer insights to help them to navigate more confidently the writing challenges they will face in the future. I have no doubt the new consultants will find individual and distinctive ways to do this, but it will happen again in the University Writing Center.

Our commitment, to working with students ongoing dialogue, is central to what we do and will not change. We will continue also to teach without grading, to work with students as often as they want our help, to treat every writer with respect, and to base our pedagogical approaches on the most recent research in Writing and Literacy Studies.

Our approach to working with individual writers is not all that will stay the same this year. We will also continue to foster a culture of writing on campus in as many ways as we can. We will offer workshops on writing issues for classes and campus organizations.  Once again we will facilitate writing groups for Graduate Students and Faculty, Creative Writers, and LGBTQ+ Writers. For graduate students we will offer workshops on writing issues and our annual Dissertation Writing Retreat. We will sponsor events, from our annual Halloween Scary Stories Open Mic Night, to our celebration of International Mother Language Day. What’s more, we will continue our community partnerships with the Western Branch of the Louisville Free Public Library and Family Scholar House.

Education is not a panacea, but it matters now more than ever, in every way. I’m grateful to have another crack it this year. I wish everyone a year of resolute and passionate teaching and learning.

 

 

 

 

“Camaraderie and Great Ideas”: Reflections on the 2018 Dissertation Writing Retreat

Bronwyn T. Williams, Director

Last week I attended the University of Louisville’s commencement ceremony for doctoral students. As I looked through the program I noted the names of eleven of the graduates who had previously attended one of our University Writing Center Dissertation Writing Retreats. Several of them came up to me afterward to tell me again how valuable they found the experience of the writing retreat and the significant difference it made to them in their progress toward their degrees. As we talked about the jobs they were moving on to and their plans for future scholarship, it was gratifying to think that we had played some useful role in their graduate education.

This past week we once again were host to 14 Ph.D. students who participated in our spring Dissertation Writing Retreat. This is the seventh year we have held a week-long writing retreat in May during which the participants spending their days writing and having daily individual writing consultations with members of the Writing Center staff. Writing at the 2018 Dissertation Writing RetreatEvery day we also have small-group discussions about various issues of dissertation writing (Ways to Structure Chapters, Strategies for Self-Editing, How to Revise Work for Other Purposes, and How to Approach Literature Reviews). We also keep everyone well-fed throughout the week with snacks and lunch.

The writers who participated in this year’s retreat represented eight different disciplines at the University: Education, Engineering, Nursing, Rhetoric and Composition, Pan-African Studies, Pharmacology, Psychology, and Social Work. The best way to get a sense of the experience of the retreat and its impact on the writers who took part, however, is to hear from the participants and consultants themselves.

WRITERS

2018 Dissertation Writing Retreat: LunchTammi Alvey Thomas, Social Work. By far a fantastic experience! I would recommend this for anyone writing their dissertation. The staff at the Writing Center are extremely helpful and great to work with. Don’t miss out on this opportunity!  I left the retreat much more organized, focused and energized.

Imelda Wright, Nursing. I had the privilege of attending the Dissertation Writing Retreat in May 2018. It was well structured with plenty of space for the occupants to write at their own pace without interruption. There was adequate support and structure throughout the day to help with specific questions. In addition, a personal writing consultant was assigned to each participant daily to assist with content, technique, and overall structure of writing.

Overall, the retreat was terrific. It was enriching and productive to be in a space surrounded by like-minded people with similar goals to each other. There was a cohesive sense of camaraderie and great ideas were shared. In addition, I loved that lunch and snacks were provided; this allowed and encouraged participants to remain in the general vicinity during the day.

CONSULTANTS

Edward English, Ph.D. Student in Rhetoric and Composition and Incoming Assistant Director of the University Writing Center. This year’s dissertation writing retreat was energizing and helpful for me on a number of levels. I’ve just finished the first year of my PhD in English Composition and Rhetoric and when the Spring semester ended, my mind and body craved anything unrelated to school. I immediately took solace in long naps and hours of Netflix, in addition to enjoying trips like visiting the Red River Gorge and having one too many mint juleps at a very odd rainy Derby.

After a couple weeks of this leisure, however, I needed something manageable to get me back into the momentum of productivity. The dissertation writing retreat ended up being a wonderful balance of summer fun meets academic growth.

Interestingly, though I was the consultant, offering assistance to two awesome Experimental Psych. PhDs, I felt like I was the one who learned so much. Not having even started my own dissertation, reading through others’ work helped familiarize me with the types of challenges and rewards I can likely expect when I start running this academic marathon. What’s more, my two consultees were eager to absorb whatever questions or constructive criticism I had to offer—giving this Comp. 1 & 2 writing instructor a powerful (and much needed) inflation to his teacher ego and the satisfaction of feeling like he was truly helpful. I’m looking forward to being a consultant again next year, and am thankful that I’ll have this dissertation writing retreat available to me when I’ll need guidance and instruction on how to work through my own piece.

Dissertation Writing Retreat 2018 - Consultation 2018 Dissertation Writing Retreat - Consultation

Layne Gordon, Assistant Director of the University Writing Center and Ph.D. Candidate in Rhetoric and Composition. Having helped facilitate the Dissertation Writing Retreat in 2016 and 2017, I came into this week knowing that I could look forward to the excitement and energy that’s created when a group of writers come together. Each year, it’s so motivating to see people enjoy the shared experience of using writing to work through their ideas and scholarly identities. What starts on Monday as a gathering of individuals, each immersed in their own projects and challenges, ends on Friday as an interdisciplinary community of writers. What I noticed this time around, though, was how productive this interdisciplinarity can be–and, selfishly, how helpful it was for me as someone who is also working on my dissertation. Both of the writers I worked with this week were genuinely interested in hearing about my dissertation progress and offered feedback and resources that were so helpful. I walked away from each consultation feeling supported and valued by the writers I was working with, even though we were in different disciplines with different methods, theories, and goals. I was really reminded this week of what reciprocity looks and feels like, and how much we (writers) all have in common when we are approaching challenging–and rewarding–writing projects.

Jessica Newman, Assistant Director of the University Writing Center and Ph.D. Candidate in Rhetoric and Composition. I’ve had the pleasure of helping to facilitate the Dissertation Writing Retreat both this year and last year. This year, as before, I was impressed with the writers as individuals (their commitment to sit down at 8 am each morning and write, and then continue to write) and as a community (supporting and learning from each other). But now that I am further in my own dissertation, the Retreat took on an even deeper resonance, and I appreciated the opportunity to myself take part—during group discussions, lunch and consultations—in the exchange of suggestions, ideas, commiseration and support. This sharing ranged from reviews of data analysis2018 Dissertation Writing Retreat - Consultation software to tips on how to use the vocabulary of your field to the often strong emotions evoked by writing those pesky lit reviews. I look forward to seeing the support, accountability and productivity from the Dissertation Writing Retreat continue in the Writing Center weekly Faculty and Graduate Student Writing Groups this summer and this fall.

Caitlin Ray, Assistant Director for Graduate Student Writing and Ph.D. Candidate in Rhetoric and Composition. As a consultant for the Dissertation Writing Retreat, I found that, in addition to helping writers, I personally got a lot out of the week. I was reminded of the power of talking about writing, working as a community of writers, and the importance of sharing research in an interdisciplinary context. My favorite parts of the week were the moments at lunch, or during workshops, when we got to chat about our research. Even when we were tired (or hungry) I still saw our eyes light up when talking about our research, and how often we found commonalities between research interests or methodology questions even when our fields were quite different from one another. I think that sometimes the frustration and daily grind of dissertation writing makes us forget that our research projects are really cool, and have the potential to make real impact on the world.

Rachel Rodriguez, Ph.D. Student in Rhetoric and Composition and Incoming Assistant Director of the University Writing Center. This week I had the opportunity to work with two writers from my own program, and our shared base of disciplinary knowledge helped us fast-forward into conversations about how knowledge is made and who “counts” as knowledge producers in the contexts of their research. Since both writers were focusing on the organization of their data chapters, we spent time playing with various options, envisioning how each schema might impact their overall message. I found myself getting really absorbed in the work they are doing, and our collective excitement made for a fun atmosphere where ideas could build off of each other as the week progressed. Getting a glimpse into both of their writing processes as well as strategies for goal-setting was personally rewarding, reminding me how attuned we are to our own way of writing, but how much we can learn by talking about how we write with others.

THANKS FOR ALL WHO MADE THIS POSSIBLE

It is important to acknowledge the people who did the hard work of organizing the Retreat – Cassie Book, our Associate Director, and Robin Blackett, our Administrative Assistant, and Assistant Directors Layne Gordon, Jessica Newman, Caitlin Ray, and Christopher Stuck as well as the other fantastic consultants (themselves Ph.D. students) who worked with the writers: Edward English, Rachel Rodriguez, and Rick Wysocki. And thanks to Dean Beth Boehm, of the School of Interdisciplinary and Graduate Studies, for again sponsoring and supporting the Dissertation Writing Retreat.

Creating a Culture of Writing: Looking Back at 2017-18 in the University Writing Center

Bronwyn T. Williams, Director

All the signs point to the fact that the academic year is coming to a close. Writers are focused on finishing their final papers, faculty are focused on finishing their grading, even the puppies have returned to the Library to help people reduce their stress. Yet, even as everyone pushes to complete the final tasks of the semester, it’s important to take a moment to mark the accomplishments and events that took place in the University Writing Center during past year.

Our central accomplishment of the past year is the one that is simultaneously the most common, but one that is never routine or taken for granted.  Once again our consultants have worked, in individual appointments, with more than 5,000 students, faculty, and

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University Writing Center Staff, 2017-18

staff on writing projects ranging from literacy narratives to lab reports to dissertations to scholarship applications. Hour after hour, day after day, they have worked collaboratively with writers to help them with their concerns about the drafts in front of them, but also to help them become stronger, flexible, and more confident writers. The positive and productive work that takes place here, and the transformative effect it can have on writers, comes from the thoughtful and dedicated work of our staff. Yet I also want to thank all the writers who trusted us with their work and all the faculty who supported our work by recommending us to their students.

In addition to our ongoing work with writers at UofL, however, we also work to create and sustain a culture of writing on campus and in the community. Here are a few examples of what we done in the past year toward that goal.

Workshops, Writing Groups, and Dissertation Writing Retreats: We have reached more than 750 students at UofL through workshops about writing that took place both in and out of classroom settings. Our popular Creative Writing, LGBTQ+ and Faculty and Graduate Student Writing Groups continued to provide safe, supportive, and productive spaces for UofL writers. Also, in addition to our annual spring Dissertation Writing Retreat in May, we held our first Dissertation Writing Mini-Retreat in January. We will be continuing all of these groups and workshops, so be sure to check our our website for information and dates.

Writing Events: New writing-focused events this year included a faculty roundtable discussion about “Engaging Diverse Voices in Writing and Reading,” an open-mic night

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Our celebration of International Mother Language Day

for the Miracle Monocle Literary Magazine, and a reading in the Axton Creative Writing Reading Series. At the same time we once again held our Halloween Scary Stories Open Mic Night, participated in the Celebration of Student Writing and Kick Back in the Stacks, and celebrated International Mother Language Day.

 

Video Workshops on APA, MLA, and Using Sources Effectively: We revised our video workshops on APA and MLA Citation Styles and on Using Sources Effectively and avoiding plagiarism. These are available on the University Writing Center YouTube page and join our other extensive online resources of Handouts and Writing FAQs.

Writing Center Blog and Social Media: Our blog not only brought ideas about writing and writing center work to the UofL community, but also connected to writers, teachers, and tutors around the country, and our presence on Twitter, Facebook, and Instagram continued to grow and connect with writers and writing scholars.

Community Writing: As we have written about several times on the blog this year, our community work with Family Scholar House and the Western Branch of the Louisville

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Our work at the Western Branch Library

Free Public Library continues to grow and evolved through a collaborative and participatory partnership involving these organizations, UofL students and faculty, and the University Writing Center staff. This work was recognized recently with the College of Arts and Sciences Community Service Award.

Thanks to the Best Writing Center Staff around: These accomplishments are the result of the tireless, creative, and thoughtful work of the staff of the University Writing Center. It is their inspired work that allows us to support UofL writers and create a culture of writing on campus and off. They also make this a fun place to work. Thanks go to Associate Director Cassandra Book, Assistant Directors, Layne Gordon, Jessica Newman, Christopher Stuck, and Caitlin Ray; consultants Brent Coughenour, Emily Cousins, Nicole Dugan, Reid Elsea, Taryn Hall, Beau Kilpatrick, Rachel Knowles, Isaac Marvel, Mitzi Phelan, Tim Phelps, Keaton Price, and Mary-Kate Smith, and student workers Brianna McIntyre, Jency Trejo, and Dhyani Vashi.

Farewell: Finally, we are marking the retirement this year of Robin Blackett from her job running the front desk – and so much more – of the University Writing Center. For more797d0bac-b9e7-4c00-9800-bd15814a225c than 12 years Robin has not only been the first person everyone meets when they come to an appointment, but she has personified the ethos of care and attention to student needs that we value here. Robin has greeted writers with warmth and professionalism, reassuring people who were often feeling upset and anxious, that they would be able get support for their writing at the University Writing Center. Robin has been integral to our success and growth over the years and, though we wish her well in new adventures, we will miss her dearly.


We will be open during the summer, starting May 7, from 9-4 every weekday. Meanwhile, take a look at our website and we hope to see you soon.

Writing Center Staff Achievements

The University Writing Center is also an active site of scholarship about the teaching of writing. Staff from the Writing Center were engaged in a number of scholarly projects during the past year in rhetoric and composition, literature, and creative writing.

Cassandra Book, Associate Director of the University Writing Center, presented at the Southeastern Writing Center Association Conference (SWCA) and SWCA also awarded her the Gary Olsen Travel Award Scholarship. She also presented at the Conference on College Composition and Communication. She also successfully defended her dissertation prospectus.

Layne Gordon, Assistant Director for the University Writing Center, presented at the National Women’s Studies Association Conference. She also successfully defended her dissertation prospectus.

Jessica Newman, Assistant Director for the University Writing Center, presented at the national Conference on Community Writing. She also had a piece, titled “Mariella,” published in the Miracle Monocle and won the Miracle Monocle Award for “Ambitious Student Writing.” She also successfully defended her dissertation prospectus.

Caitlin Ray, Assistant Director for Graduate Student Writing, published the article “On Your Feet!”: Addressing Ableism in Theatre of the Oppressed Facilitation.” in  the Pedagogy and Theatre of the Oppressed Journal. She also presented at the 2017 Medical Rhetoric Symposium, the Conference on College Composition and Communication, the Chicago Disability Studies Conference, and the Rhetorical Society of America Conference. She was also selected to be a Rare Disease Legislative Advocate and attended events in Washington, D.C. during the National Institute of Health during Rare Disease Week. She also successfully defended her dissertation prospectus.

Brent Coughenour had stories accepted for publication in The White Squirrel and the anthology Kentucky’s Emerging Writers. He also served as a graduate student intern for the Miracle Monocle literary magazine and began a creative writing podcast with fellow consultant Nicole Dugan. He will be the Assistant Director for the Creative Writing program next year as well as an English Graduate Organization Peer Mentor Coordinator.

Nicole Dugan served as a graduate student intern for the The Miracle Monocle literary magazine and began a creative writing podcast with fellow consultant Brent Coughenour. She will be an English Graduate Organization Peer Mentor Coordinator next year.

Reid Elsea presented at the Louisville Conference on Literature and Culture. Next year he will be the Morton Endowed Chair Research Assistant and the co-president of the English Graduate Organization.

Taryn Hall was accepted to present at the national Popular Culture Association/American Culture Association Conference and will be an English Graduate Organization Peer Mentor Coordinator next year.

Beau Kilpatrick will be an English Graduate Organization Peer Mentor Coordinator next year.

Rachel Knowles will be a co-president of the English Graduate Organization next year.

Mitzi Phelan completed her MA with her Culminating Project, “The Beloved Black Body: Investigating Toni Morrison’s use of Biblical Rhetoric to Rewrite Christianity on the Black Body.”

Tim Phelps was awarded the Department of English Scholarship Award for Excellence in Creative Writing, and the Sara-Jean McDowell Award for Excellence in Fiction.

Keaton Price completed her MA with her Culminating Project, “Disguised Language in John Milton’s Paradise Lost“.

 

 

College: What Your Guidance Counselor Didn’t Tell You

Mitzi Phelan, Consultant

I’m watching the professor’s mouth move. I’m nodding and smiling at appropriate times. My body language is positioned as engaged and interested. I nod appropriately as my classmates ask interesting questions relevant to the topic. My body is here, but my mind is not. So, you ask, where is my mind? At the moment, it is furiously engaged in Mitzischeduling. Somehow, this is the last week of October. I have a 12 page conference paper and presentation due Wednesday night. The good news: I have a stack of superb scholarly journals related to my subject matter. I also have a stack of 8 books checked out from the library that will lend a wealth of intellect to the research I am working on. The bad news: I have only read one of the journals and none of the books. So somehow I am going to need to synthesize all of that material into that conference paper in a very short amount of time. This is only one of the three papers that I need to make serious progress on before this semester ends in a few short weeks. So, am I mentally engaged in this class right now? No. I’m not. Do I want to be? Yes, absolutely. The information being discussed is vital to my chosen field. Also, college is expensive. It is costing me not only financially but time-wise as well. I miss evenings of going home and just hanging out with my family without a pending assignment looming over me. It is frustrating at times to find myself and my life dictated by due dates and deadlines. So what, you may ask, does this have to do with you? If you have never had an experience like the one described or felt the pressure of college closing in, then nothing. If you have, then everything.

College is challenging, and not just in the clichéd way people have always talked about. It takes commitment and dedication to be academically successful. But if we are completely honest, commitment and dedication is not drawn from an endless supply inside us. It usually is funneled from another place. Therefore, a high GPA usually means that some other area in a student’s life had to go on the back burner. The area that loses attention is different for everyone; for some it’s their social life that suffers, for others it’s leisure time, perhaps sleep. Many times the areas being sacrificed are not even an conscious decision by the student, they are just “getting things done.” But, at some point, this deficient area will make itself known.

My area made itself known when I realized that I had taken too much on and was overwhelmed with deadlines. The moment I described above was any eye-opener for me. I had to take a breath and self-evaluate. I became aware that I was frustrated with the lack of time I had with my family so I was procrastinating getting started on assignments. This led into a cycle of more frustration and more deficiencies in other areas of my life as I was overworking myself to stay successful academically.

If you are finding yourself falling into the these cycles of frustration that tend to happen at this point of the semester, I have some pointers that might can help. First, just breath. You’re going to be fine. Second, prioritize: what is the most important thing you need to be working on right now? Identify it and start chipping away at it. Instead of waiting till the night before a paper is due, start four days before it’s due and write a fourth of the assignment every night. Also, use resources; if you are having trouble starting an assignment, email your ideas to your professor. If they don’t like your ideas, they’ll tell you. Then you’ll know what NOT to write about. I encourage you to visit the Writing Center too. It is surprising how often just talking out an assignment with someone can make it come together so much more easily. Lastly, make peace with the fact that you aren’t going to “get” everything. There are going to be lectures that your mind spaces out on and there are going to be reading assignments that you just can’t get your head around. The funny thing about college is, it’s not until about the time you are nearing graduation that you realize that everyone is struggling as much, if not more, than you.

I leave you with the words of one of the writers I worked with last week: “Be kind to yourself.”

“Learning to Dwell” or Locating Yourself in Academia

Nicole Dugan, Consultant

I tend to dwell, most often in a 7th grade memory in which I dramatically fell in the lunchroom and watched the contents of my tray fly up into the air before landing on top of me. I can feel the heat rising to my face and hear the guffaws of my friends, the slow clap that built as I picked myself up. It’s been over ten years since this happened, but my Nicolebrain likes to periodically revisit this moment. This seems to be the sort of mental dwelling most of us do, and we are usually trying to escape that memory rather than relive it a hundred times. Embarrassing memories from 7th grade are not the most pleasant places to dwell, and we don’t think of them as useful. However, dwelling can be productive if placed in the right context.

Dwelling as I illustrate above, cognitively dwelling or ruminating, is most often perceived as negative. Our brains run down paths that we seemingly cannot control, but the act of dwelling can be a positive and useful tool in the writing process. In terms of creative writing, the people, moments, ideas, places that repeatedly pull our attention can become inspiration for stories and poetry if we’re willing to put it down on the page. In one of our previous posts, Tim talked about having the “willingness to embrace the discomfort of labor” in order to persevere through the challenges of writing and creativity. Writing is indeed a labor, regardless of how long one has practiced it. Yet, from an outsider’s perspective, many writers seem to glide through a process that is so intimidating and uncomfortable to most of us.

Cognitive dwelling is not only a momentary jaunt down memory lane, but also a potential kind of residence. In Geographies of Writing, Nedra Reynolds explores the ways that space and spatial practices interact with the process of writing, and she spends a chapter on “learning to dwell.” Those that seem to have the upper hand in navigating the writing process appear this way because they “know where the bullies hang out and where the best curry is” (Reynolds 163). They have, as Reynolds would say, inhabited writing long enough to time the best routes and avoid traffic. The realm of academic writing can be a scary place, and this is often because we are surrounded by people who have lived there much longer than we have. When I moved to Louisville at the beginning of August, I had to find my new favorite place for greasy breakfast food (still haven’t found it) and which Kroger I like best (the one on New Cut Rd.) before I felt like I actually lived here. Entering academic conversations requires writers to have this same kind of insider knowledge, and “dwelling doesn’t happen when people feel excluded or that they don’t belong” (Reynolds 163). Deciding what to write about, finding resources, putting together an outline, and writing the first draft is like navigating a city where you don’t know which roads are one-ways or where you can pull a U-turn. However, Reynolds would argue something else: The writer of a text is an “owner or dweller,” while readers are “visitors or transients” (166). You, as the writer, are creating a map for the people who are reading your paper or personal essay; whether the reader gets lost or successfully finds the destination is completely in your control. This means you get to decide the rules, even if you’re fulfilling an assignment.

Dwelling begins before you create the physical text, even before the research. An idea sparks, and you spend the next few hours, days, or weeks, depending on the project’s timeline, turning it over in your head. Will it work for the assignment? Is it researchable? Is it even a good idea? I do my best writing when I can take something I’m already passionate about and turn it into a project. In a way, I take parts of the places I already dwell in and put them into an academic context. Like Beau discusses in his post, your hobbies or the music and television shows you like can help you feel more comfortable with writing. Even better, you can pull down the perceived barrier between those things you love and your academic writing. We often separate our lives, feeling like the different places and communities we inhabit are in boxes rather than a cohesive map of our identities. If we want to become successful inhabitants of academia, allowing the parts of our identities that are seemingly incompatible with academia gives us a way in, a chance “to orient [ourselves] when in an unfamiliar place” (Reynolds 168).

We all dwell, on those embarrassing memories, the television show we binged this past weekend, or a looming deadline. In order to dwell in the manner of inhabiting a space, we have to locate ourselves within the bigger picture or place ourselves in that picture. It’s not always a matter of “finding” your voice in your writing, but allowing the voice you’ve always had to make space in the work you’re doing in the classroom.

 

Works Cited

Reynolds, Nedra. “Learning to Dwell: Inhabiting Spaces and Discourses.” Geographies of Writing: Inhabiting Places and Encountering Difference. UP Southern Illinois, 2004, pp.139-177.

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