This article presents findings of an interview study with twenty rhetoric and composition scholars. Findings focus on the responsibilities of reviewers, editors, and writers in scholarly peer review. The authors make several recommendations for improving peer review practices and call for a field-wide discussion of and research about the topic.

In this article we argue that mobile, design, content, and social media technologies have fundamentally redefined the role of the writer in the workplace. Rather than the originator of content, the writer is becoming a sort of multimodal editor who revises, redesigns, remediates, and upcycles content into new forms, for new audiences, purposes,…

This article outlines a three-part pedagogy capable of responding to the risks, rewards, and headaches associated with public rhetoric and writing. To demonstrate the purchase of this pedagogy, I revisit one of the oldest and most misunderstood public rhetoric and writing assignments: the letter-to-the-editor assignment.

Visual rhetoric fuels composition as rhetors refinish filmed moments to show others what they "see" in them. My work examines projects that model strategic discourse in public spaces. It offers ideas for achieving full and guarded disclosure when clarity is but one of several communicative goals. (Contains 30 notes.)

Edward P. J. Corbett reviews the accomplishments of his six years as editor of "College Composition and Communication." (DD)

Writing is not the result of thinking but rather a way of thinking, and it is distinct from editing, which involves making one's writing conform to agreed upon rules. (DD)

Describes tagmemic theory and examines its value to the teaching of composition, concluding that it is most useful in helping students learn how to edit. (DD)

Questions the use of the first-person "I" as a mode of expression by academic writers in scholarly journals. Describes the author's experience in this regard as editor of the journal "College English." Considers the editorial difficulties presented by various forms of first-person writing. (HB)

The revision of written work should be thought of by students as a creative process, just as the editing of a film is a creative process. (JH)

Suggests that editing courses serve a campus-wide need for fostering better student-writers, and that editing skills provide non-English majors workaday and executive-level writing habits for jobs in commerce, industry, and the professions. Asserts that English departments should also develop internship programs for student editors. (MM)

One approach for encouraging students to develop their sense of audience is for them to record an interview, transcribe it, and then edit the written form for different audiences and rhetorical purposes. (HOD)

Notes that George Orwell's "Shooting an Elephant" is frequently encountered in textbooks that ignore the existence of the original audience. Argues that textbook editors thereby misinform students by failing to show how writers recognize and write to particular audiences, and how writers' specific audiences determine many of the authors'…

Describes the writing problems of "real world" professional users of word processing, which include editing instead of revising and rethinking, a reluctance to rewrite, and word-inflation. Suggests strategies for working with students to avoid these problems, focusing on functional writing used by professionals in various fields. (MM)

A middle ground, between picky concern for correctness and mushy libertarianism, must be found on which to base effective freshman composition courses. (JH)

If we want monority students to be able to speak out effectively for their rights, we must teach them, without destroying their own voices, to use language that cannot be labeled substandard. (JH)