Finding the right way to start a new piece of narrative writing often induces anxiety in writers. This paper will discuss beginnings as a problem for both practitioners and instructors, analysing different practices of how writers select a meaningful point in time at which to start a narrative. It will examine beginning as a theoretical problem and explore the importance of intersectionality when considering how writers and instructors conceptualise beginnings. It will then consider beginning as a pedagogical problem, and how much writing prompts, free and automatic writing exercises, and online writing communities, offer differing responses to this issue. Finally, the paper will discuss different ways that narrative beginnings can be conceptualized and approached.

Three U.S. writing project teachers from Louisiana, Missouri, and North Dakota reflect on their experiences with the National Writing Project’s writing marathon and discuss their collaboration to design, implement, and study a virtual writing marathon during the coronavirus pandemic. Interspersed with teachers’ writing from the marathon, the piece explains the features of the design and ends with four primary conclusions: 1) Writing should be at the center of our pedagogy, 2) A writing marathon can and should be adapted for online spaces, 3) Virtual writing marathons have lasting value, and 4) The success of the Virtual Writing Marathon rests on National Writing Project infrastructure and culture.

In this reflective article, a case study, we draw upon scholarship on a critical friendship (Schuck & Russell, 2005; Silva, 2003) that grew in 2020 as we worked to assist one another in creating NWP writing programs for teachers and youth. At the heart of our professional collaboration was our desire to maintain and cultivate community engagement (Deans, Roswell, & Wurr, 2010; Preece, 2017), while advancing racial literacies in digital spaces (Price-Dennis & Sealey-Ruiz, 2021) and as we worked with a framework for instructional equity (Muhammad, 2020). Weekly meetings led us to using Padlet for 189 hours of professional development, 9 programs with 511 youth, and 7 courses with 320 students. Padlet became a location for curation, especially as we worked to promote diverse, inclusive children’s and young adult texts as models for classroom teacher and student writers.

Concerns about teaching structured authoring, which is the use of software in technical writing to allow automatic textual reuse and reassembly, have been woven into the debate about what role technologies should play in preparing technical writing students for ‘real world’ needs since the late 1990s (see Brumberger & Laurer, 2015; Carnegie & Crane, 2019; Kimball, 2015; Rainey et al., 2018). Vee (2017) and others have argued that fundamental aspects of writing software code, many of which parallel structured authoring, are now required literacies. Indeed, as Gentle (2017) demonstrates, the difference between those writing code and those writing structured authoring continues to shrink. Helping to develop technical writers to understand this overlap remains a significant challenge. This article suggests that this challenge might be met by using an open-source interactive fiction authoring platform called Twine, which provides many of the building blocks of structured authoring while teaching fundamental aspects of coding. However, this approach is not without its perils. Through analyzing the findings of a two-year study, this article identifies potential avenues for success as well as potential pitfalls to be mindfully considered.

This study explores the bachelor’s thesis writing process from the perspective of emotions by using a holistic, narrative approach to individual development. Emotions are analysed in interconnection with implicit conceptions about academic writing and about oneself as a writer. The process of academic writing is described as a movement where balancing positive and negative emotions is one part of academic multiliteracy. The data of the study include visual, textual, and interview data from different phases of the bachelor’s thesis process. In the analysis, four types of narratives of thesis writing are created: growth, survival, project, and conflict narratives. The study offers a holistic perspective to academic writing and provides writing instructors and students with ways to identify emotions and implicit beliefs related to writing processes.

This article addresses the basis for the development of the screening tool Norwegian Early Writers Signal (NEWS). The aim of the study was to develop a tool for teachers in grades 1–3 to identify student texts in ‘the Warning Zone’, i.e., texts that signal insufficient overall text quality associated with students in need of extra instructional support. Text norms were elicited from a panel of 14 experts in a standardsetting seminar. The standard-setting procedure was a benchmarking-like approach in which panelists chose texts that according to their judgement were in the Warning Zone. Additionally, in an online questionnaire, data on experts’ expectation growth pattern for eight text quality aspects in grades 1–3 were collected. Furthermore, student texts in the Warning Zone were marked and then included in the screening tool to concretize the norms, showing that texts in this zone can take several shapes. The article discusses what steps can be taken to further validate and implement the NEWS tool.

The recent focus on threshold concepts in writing studies indicates the field’s growing commitment to engaging writing-based threshold concepts in the daily work of teaching and learning to facilitate writing transfer. However, although there is growing evidence of robust scholarly work in this area, research on the pedagogical importance of these concepts to the writing development and tutoring of L2 students is still in its nascent stages. To address this gap, this paper first presents findings from a research study that aims to understand how writing centre tutors addressed the needs of L2 students in tutoring sessions and the extent to which threshold-oriented language appeared in the content of the conference summaries. After discussing the findings, the paper proposes a threshold concept-based framework for tutoring L2 writers involving two established concepts: ‘writers’ histories, processes, and identities vary’ and ‘writing is informed by prior experiences.’ In addition, a new model of the conference summary as a reflective tool to promote writing transfer is presented along with a discussion of emergent writing centre-oriented concepts that reimagine the role of the tutor as an ‘expert-outsider’ and the L2 student as ‘informed novice.'

Culture in second language (L2) writing has been researched extensively, though mostly under the purview of contrastive rhetoric and focused on text and contrastive genre analysis (Connor, 1996, 2004, 2008; Kaplan, 2005). Research has also focused on problematizing culture in reference to L2 writing (Atkinson, 1999, 2003; Kubota, 1999). These foci indicate reader-instructor rather than student perspectives: how L2 writers themselves perceive cultural impacts on writing. This study undertakes to fill this gap, investigating L2 student perceptions of such impacts. Study participants (n = 36), students in an English for Academic Purposes (EAP) writing course at a Canadian university, took part in semistructured interviews and reflective writing. Data analysis identified six broad categories of cultural factors affecting student writing: (1) organizational structure as a fixed method; (2) supporting and writing arguments; (3) creating a stronger voice in writing; (4) adjusting to a new academic culture; (5) understanding clarity in academic writing in English; and (6) developing content: quality versus quantity. Findings underscore student perceptions of a monolithic, essentialist view of culture in academic writing. This is an important consideration when designing a student-centred L2 writing pedagogy that addresses student needs. Based on the findings, the article further explores implications for L2 writing instruction.

Stray dogs: Interviews with working-class writers edited by Daniel M. Mendoza. (Down & Out Books: Lutz, Fl., 2016), 147 pages. $6.99 (eBook)

Cognitive dissonance refers to an experience of incongruity between an entrenched understanding of a phenomenon or concept and a new piece of cognition. If unaddressed, dissonance can be at the heart of international students’ unresolved dilemmas, unspoken feelings, and unshared stories, facts and experiences. In response, pedagogy needs to tap cognitive dissonance that issues from cultural diversityinduced viewpoints, cognitive perceptions, and beliefs on the part of international students, enriching and equalizing the learning environment. Within the framework of postmodernism and social constructivism, this paper offers multiple strategies for the utilization of cognitive dissonance. It is based on three data sources. First, following approval from the Institutional Review Board (IRB) and the informed consent procedure, interviews instructors at a university in a mid-West American city highlight instructors’ experiences with and strategies pertaining to engagement of dissonance. Second, the author’s first-hand experiences of dissonance in the United States have been incorporated. Third, the existing literature relevant to the study has been used.