College Composition & Communication - Volume 76, Issue 4, 2025

This study explores student engagements with hybrid writing courses, revealing their experiences and perceptions of a modality that blends in-person and online instruction. Hybrid learning as a format is often overshadowed by its association with fully online instruction. After a number of writing courses on our campus were redesigned for hybrid delivery, we conducted interviews and focus groups with students taking those courses. What we found, among other things, was that students largely saw hybrid writing courses as striking a balance between the flexibility of online learning with opportunities for human contact and the social presence afforded by in-person class meetings. Even more intriguing, though, was how students talked about the purposes of—and relationships between—the online and in-person components of their hybrid courses. In other words, it was not just the case that students appreciated hybrid learning, but also that clear patterns emerged in the meanings and values they ascribed to the constituent elements of these courses and the perceived cohesiveness of instruction across the modes. This study ends with implications for the design and implementation of hybrid writing courses, and it emphasizes the need for further scholarship that recognizes the unique affordances and challenges of this instructional modality.

Exploring multimodality and transfer from the perspective of transduction (a multidisciplinary term that describes a change in form as something moves from one state to another) reveals conceptual overlap between the two concepts. Transfer is fundamentally multimodal because anything moving from one “place” to the next must change its form (or modality) in some way. Multimodality also inherently involves a transfer from one context to another. Each concept requires that existing content or knowledge be changed in some way to account for new situations. Multimodality and transfer do not describe a one-to-one duplication, but a transduction, changing form from one context to the next.

The majority of what we compose, we compose for others. Because audience impact is central to the success of writing and designing, peer review tests how our compositions work in the world. Accordingly, we have built decades of scholarship establishing best practices for sharing our work with others, especially as new technologies emerge. This article argues for the introduction of eye tracking as a tool that can supplement peer review, offering an expansion of what counts as feedback that fosters greater access and agency for students throughout the writing process. The method for incorporating eye tracking to expand traditional peer review modalities moves students from passive research subjects to active users of eye-tracking data. In doing so, students can examine how audiences experience their work, helping to frame revisions of their multimodal compositions and consider what story they most want to tell.

Extracting a writer’s profile from a broader literacy study aimed at documenting extracurricular literacy practices among the Latinx population in Northwest Arkansas, this article presents a case study of a Peruvian woman’s lifelong use of literacy to enhance her personal agency in the face of personal, social, and civic demands. The article presents the writer’s profile as an indicator of the various literacy demands faced by the Latinx community and suggests that a critical consideration of such demands may lead to improved understanding and theorizing of writing through a lifespan writing research lens. Such a reorientation to writing may have a beneficial impact on first-year college composition courses by cultivating pedagogical practices oriented toward socioculturally diverse student populations and nontraditional students in college-level writing courses.