<div dir="ltr"><div><font face="arial, sans-serif">Dear Colleagues:</font></div><div><font face="arial, sans-serif"><br></font></div><div><font face="arial, sans-serif">I'm excited to share a call for proposals for a special issue of <i><a href="http://journalofmultimodalrhetorics.com/cfps">The Journal of Multimodal Rhetorics</a>, "</i>Composing at the Intersections: Queer, Transgender and Feminist Approaches to Multimodal Rhetorics," edited by Ruby Mendoza, Constance M. Haywood, Floyd Pouncil, and myself. </font></div><div><font face="arial, sans-serif"><br></font></div><div><font face="arial, sans-serif">The full CFP is linked <a href="https://docs.google.com/document/d/1zDkT1xl28vUZC7DR8hc8lykf1Gmwv1NxhHfg-uge0Gs/edit?usp=sharing">here</a> and pasted below. Proposals are due using this Google Form by December 1st 2024. </font></div><div><font face="arial, sans-serif"><br></font></div><div><font face="arial, sans-serif">Please contact us at <a href="mailto:multimodalcomposingFall2024@gmail.com">multimodalcomposingFall2024@gmail.com</a>. We're happy to talk through any ideas and are committed to mentoring contributors! </font></div><div><font face="arial, sans-serif"><br></font></div><div><font face="arial, sans-serif">Thanks for considering!</font></div><div><br></div><div><span id="gmail-docs-internal-guid-07a63a7b-7fff-08a2-8813-60e88450362d"><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Composing at the Intersections: </span></p><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Queer, Transgender and Feminist Approaches to Multimodal Rhetorics</span></p><br><p dir="ltr" style="line-height:1.2;text-align:center;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Call for Proposals</span></p><p dir="ltr" style="line-height:1.2;text-align:center;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Ruby Mendoza, Constance M. Haywood, Floyd Pouncil, and Nick Sanders</span></p><br><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><a href="mailto:multimodalcomposingFall2024@gmail.com" style="text-decoration-line:none"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;text-decoration-line:underline;vertical-align:baseline">multimodalcomposingFall2024@gmail.com</span></a></p><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><br></p><p dir="ltr" style="line-height:1.38;text-align:center;margin-top:0pt;margin-bottom:0pt"><a href="https://forms.gle/6daFdDGJDhZ4oURr7" style="text-decoration-line:none"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;text-decoration-line:underline;vertical-align:baseline">Link to Submit </span></a></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">While thinking about this special issue, Ruby, Constance, Floyd, and Nick joked about the prevalence of Royster and Kirsch’s </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Feminist Rhetorical Practices</span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> that showed up across several syllabi during their shared times in graduate school. As scholars, we have come to understand the power and utility of utilizing rhetoric and composition to do work in the world. Multimodal composing, as a component of rhetoric and composition, when taken alongside queer, transgender, and feminist praxis, incites a focus from form to utility. Consider, for example, self-published activist pamphlets circulated by the Combahee River Collective (1977) during the 1970s in Boston, Massachusetts. You might also consider the communal and political activism embedded in the </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">The Black Panther </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">newspaper. More recently, consider events like ‘chalk walks’ on college campuses that address and engage issues of sexual violence. Or, you can take some time to consider how online publics frequently organize around </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">hashtags to establish communities and coalitions of folks that strive towards the same goal (whether that might be to organize/protest, support each other through healing and shared experience, or else).</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">We can clearly see these types of multimodal compositions as materially consequential: they compose disruption as social, civic action. As scholars and practitioners of writing and rhetoric, we believe that our disciplines' knowledge and practices are socially good because they do real, consequential work in the world. In addition to the work of designing a first year writing assessment, for example, writing and rhetoric via multimodal composition holds the capability to create avenues that produce grants on behalf of community activist organizations, decipher medical processes and produce new forms and processes to help the public access services, and even draw attention to community concerns via public art works. Again, writing and rhetoric </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">does</span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">work</span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> in the material world. </span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Additionally, we point toward scholars in rhetoric and writing who have called to embrace queer, feminist, and trans approaches as transformational and interventional practices for communities and institutions given our embrace of materially consequential multimodal composition.  Royster and Kirsch (2012), for instance, have called for “tectonic shifts” in feminist rhetorical studies that recast paradigms around critical imagination, strategic contemplation, social circulation, and globalizing the point of view. In this vein, Waite (2015), drawing on Enoch (2010), has challenged the field to reconsider its critical direction toward queer activist communities as intervention points in methodology and pedagogy.</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">However, as Patterson and Spencer (2020) point out, the lumping together of these identity categories flattens experience and enables institutional sites to “co-opt the language of justice in order to preserve an oppressive status quo”. They critique that scholarship engaging trans experiences often reinforce either the “inclusion as visibility” trope in corporatized DEI initiatives or insist upon harmful and appropriative ideas about trans people. Similarly, we see these performative gestures illustrated in what Sara Ahmed (2012) calls “non-performatives”, where the act of naming is guised as action, but is actually inaction. From this vantage point, claiming something as queer, or feminist, or trans, ascribes the notion that institutional logics need not change. Instead, they can change as little as possible. This idea of non-performatives harkens back to Johnson (2001), who takes “quare” as an opportunity to identify “a critical gap in queer studies between theory and practice, performance and performativity”. He insists that by focusing on the intersections of queerness, we can move “beyond simply theorizing subjectivity and agency as discursively mediated to theorizing how that mediation may propose material bodies into action.” Accordingly, we believe queer and transgender research should critique institutional cistematic oppression through decolonization as a social justice primer to amplify and liberate communities–again, in material, consequential, real ways. As Mendoza (2024) establishes, recent proposed legislation policies directly impacts queer and transgender bodies, and attempts to control and govern through cistematic oppression. Meaning, actionable multimodal rhetoric and writing is necessary to achieve civic change through community led practices by and for queer and transgender people across identity markers and at their intersections</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Given this historic and contemporary backdrop, we invite contributors to engage intersectional multimodal composing as actionable and disruptive practices to the material and ideological structures of heterosexist, white supremecist systems and also as community-accountability (Gumbs, 2012) for those impacted by these systems. Because we see multimodal rhetoric and writing far beyond the auspices of post-secondary writing instruction, we call for others who are doing similar work in the field to help draw attention to the utility of our work.  For example, Angela Haas (2007) speaks to this in her work around </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(31,31,31);font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">wampum/beading as indigenous multimodal practices, emphasizing the importance of writing and rhetorical theories that push back against colonial erasure and make space for the preservation of particular histories, lineages, and stories. </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(31,31,31);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Furthermore, </span><a href="https://hyperallergic.com/341239/the-quintessentially-queer-art-of-collage/" style="text-decoration-line:none"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;text-decoration-line:underline;vertical-align:baseline">queer artists’ use of collage post-Stonewall</span></a><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(31,31,31);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> and through the AIDS epidemic as meditations on identity and survival</span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(31,31,31);font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> (Small, 2017). Our work is consequential and we want to highlight that in this special issue.</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Accordingly, </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">we wanted to mention glimpses of queer, feminist, and trans multimodal composing in our lives. When discussing this special issue, Nick spoke of participating in Chalk Walk, a public composing project that promoted awareness of sexual violence literally at the center of a university campus. This project forced the reader to shift their orientation to the presence of writing in the physical world. Floyd mentioned facilitating the creation of a </span><a href="https://drive.google.com/file/d/1oWcMS7BIPDvkY9nq1NedeY1xuP-sYar2/view?usp=sharing" style="text-decoration-line:none"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;text-decoration-line:underline;vertical-align:baseline">publicly-sourced cookbook</span></a><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> that invited community members to tacitly and implicitly support Black employees/staff/community members in association with ongoing monthly meetings that drew Black community members and their allies together at a local community college–serving as a beacon for intersectional coalition building among folks in the area. Ruby touched on the </span><a href="https://www.digitaltransgenderarchive.net/" style="text-decoration-line:none"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;text-decoration-line:underline;vertical-align:baseline">Digital Transgender Archive</span></a><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> as an online resource that houses transgender histories and is accessible to all. Similarly, Constance’s research engagesaround queer and BIPOC-led social media content/space(s) that advocate for pleasure and rest within multiple-marginalized communities so that they might reimagine and/or further develop their relationships with said practices. </span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Overall, our vision for this special issue includes multimodal compositions, articles, manifestos, examples, and/or book reviews that represent the work being done in multimodal rhetoric and composition. This issue will serve to converge the work being done across disciplinary landscapes and illuminate the how of queer intersectional multimodal rhetorics. In particular, we seek contributions that mobilize intersectional contributions that specifically challenge and change the publics, institutions, and communities to labor toward concrete transformation and liberation. We believe by contributing to this collection we forward the necessary ongoing engagement with multimodal composing as forms of materially consequential scholarship and conversation.</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">We are excited to welcome a variety of genres and submission types for this special issue, including, but not limited to:  </span></p><ul style="margin-top:0px;margin-bottom:0px"><li dir="ltr" style="list-style-type:disc;font-size:12pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline;white-space:pre"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Digital Multimodal Compositions: </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:400;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Compose, arrange, and/or curate a digital composition, such as collages, hashtags, public arts, activist pamphlets etc., that addresses intersectional multimodal rhetorics as concrete change making.  </span></p></li><li dir="ltr" style="list-style-type:disc;font-size:12pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline;white-space:pre"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Counterstories: </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:400;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Critically story an experience with intersectional multimodal composing as actionable and disruptive practices.  </span></p></li><li dir="ltr" style="list-style-type:disc;font-size:12pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline;white-space:pre"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Artifacts & Reflections:</span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> Share an example of an intersectional multimodal composition that impacted community, coalition, or institutional change. Compose and audio record a short reflection providing context, impact, and/or lessons learned.  </span></p></li><li dir="ltr" style="list-style-type:disc;font-size:12pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline;white-space:pre"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Dialogues: </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:400;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Reflect on intersectional multimodal composition that impacted community, coalition, or institutional change as a script or audio recording. </span></p></li><li dir="ltr" style="list-style-type:disc;font-size:12pt;font-family:Arial,sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline;white-space:pre"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" role="presentation"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Mini-Inquiries: </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:400;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Select a historical artifact and examine how it engages intersectional multimodal composing as actionable and disruptive practices to the material and ideological structures of hetrosexist, white supremecist systems     </span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">  </span></p></li></ul><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Proposal Submissions</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Please submit your 400 word proposals here by December 1st 2024: </span><a href="https://forms.gle/oDbMh6BeiqzqJcH38" style="text-decoration-line:none"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;text-decoration-line:underline;vertical-align:baseline">Composing at the Intersections</span></a><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">. In your proposal form, you will be asked to include your name, contact email, title of contribution, the overall focus and or/argument of your proposal (as well as its relation to the special issue), and the proposed genre/form of your contribution. Additionally, given the nature of this special issue, we ask that in your proposal you address the 3 Ps (Positionality, Power, and Privilege) as articulated by Walton, Moore, and Jones, (2019) insofar as it relates to your submission. Please contact us collectively at </span><a href="mailto:multimodalcomposingFall2024@gmail.com" style="text-decoration-line:none"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;text-decoration-line:underline;vertical-align:baseline">multimodalcomposingFall2024@gmail.com</span></a><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> if you have any questions now or throughout the process. Additionally, for anything submitted, authors should hold the rights to the work.</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">We are excited to receive your contributions and will be in touch soon!</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Editors: Ruby Mendoza, Constance M. Haywood, Floyd Pouncil, and Nick Sanders</span></p><br><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"><span style="width:100px;display:inline-block"></span></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">References:</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Ahmed, S. (2012). On being included: Racism and diversity in institutional life. In </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">On being included</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">. Duke University Press.</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);vertical-align:baseline">Combahee River Collective. (1977). Combahee river collective statement. In Beverly Guy-Sheftall (Ed.), </span><span style="background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);font-style:italic;vertical-align:baseline">Words of Fire: An Anthology of African-American Feminist Thought </span><span style="background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);vertical-align:baseline">(pp. 304-316). The New Press. </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Digital Transgender Archive. (n.d.). Retrieved from </span><a href="https://www.digitaltransgenderarchive.net/" style="text-decoration-line:none"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;text-decoration-line:underline;vertical-align:baseline">https://www.digitaltransgenderarchive.net/</span></a><span style="background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);vertical-align:baseline">.  </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Enoch, J. (2010). Composing a rhetorical education for the twenty-first century: TakingITGlobal as pedagogical heuristic. </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">Rhetoric Review</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">, </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">29</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">(2), 165-185.</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);vertical-align:baseline">Gumbs, A. P. (2012). We have always known: Embodying community accountability. </span><span style="background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);font-style:italic;vertical-align:baseline">FeministWire. </span><a href="https://thefeministwire.com/2012/09/we-have-always-known-embodying-community-accountability/" style="text-decoration-line:none"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;text-decoration-line:underline;vertical-align:baseline">https://thefeministwire.com/2012/09/we-have-always-known-embodying-community-accountability/</span></a><span style="background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;color:rgb(0,0,0);vertical-align:baseline"> </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Haas, A. M. (2007). Wampum as hypertext: An American Indian intellectual tradition of multimedia theory and practice. </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">Studies in American Indian Literatures</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">, </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">19</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">(4), 77-100.</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Johnson, E. P. (2001). " Quare" studies, or (almost) everything I know about queer studies I learned from my grandmother. </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">Text and Performance Quarterly</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">, </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">21</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">(1), 1-25.</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Mendoza, R. (2024). Toward a queer and (trans)formative methodology for rhetoric of health and medicine: Institutional critique. </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">Rhetoric of Health & Medicine</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">, </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">7</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">(1).</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Patterson, G., & Spencer, L. G. (2020). Toward trans rhetorical agency: A critical analysis of trans topics in rhetoric and composition and communication scholarship. </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">Peitho</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">, </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">22</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">(4). </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Royster, J. J., & Kirsch, G. E. (2012). </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">Feminist rhetorical practices: New horizons for rhetoric, composition, and literacy studies</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">. SIU Press.</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Small, Z. (2016). The quintessentially queer art of collage. </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">Hypoallergenic. </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Retrieved from </span><a href="https://hyperallergic.com/341239/the-quintessentially-queer-art-of-collage/" style="text-decoration-line:none"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;text-decoration-line:underline;vertical-align:baseline">https://hyperallergic.com/341239/the-quintessentially-queer-art-of-collage/</span></a><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"> </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline"> </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Waite, S. (2015). Cultivating the scavenger: A queerer feminist future for composition and rhetoric. </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">Peitho Journal</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">, </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">18</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">(1), 51-71.</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">Walton, R., Moore, K., & Jones, N. (2019). </span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;font-style:italic;vertical-align:baseline">Technical communication after the social justice turn: Building coalitions for action</span><span style="font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;font-size:12pt;font-family:"Open Sans",sans-serif;vertical-align:baseline">. Routledge.</span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><br></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Timeline:</span></p><div dir="ltr" style="margin-left:0pt" align="left"><table style="border:none;border-collapse:collapse;table-layout:fixed;width:468pt"><colgroup><col><col></colgroup><tbody><tr style="height:0pt"><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">December 1, 2024:</span></p></td><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Abstracts Due</span></p></td></tr><tr style="height:0pt"><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">December 15, 2024:</span></p></td><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Notice of Decisions</span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> </span></p></td></tr><tr style="height:0pt"><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">February 15, 2025:</span></p></td><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Drafts Due</span></p></td></tr><tr style="height:0pt"><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">April 15, 2025:</span></p></td><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Feedback to Authors</span></p></td></tr><tr style="height:0pt"><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">June 15, 2025:</span></p></td><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Revisions Due </span></p></td></tr><tr style="height:0pt"><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">August 1, 2025: </span></p></td><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Copy edits & proofing </span></p></td></tr><tr style="height:0pt"><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-weight:700;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">September 31, 2025:</span><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline"> </span></p></td><td style="border-width:1pt;border-style:solid;border-color:rgb(0,0,0);vertical-align:top;padding:5pt;overflow:hidden"><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><span style="font-size:12pt;font-family:"Open Sans",sans-serif;background-color:transparent;font-variant-numeric:normal;font-variant-east-asian:normal;font-variant-alternates:normal;vertical-align:baseline">Publication </span></p></td></tr></tbody></table></div><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><br></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt"><br></p></span></div><div><br></div><div><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div style="color:rgb(34,34,34)"><font face="arial, sans-serif">Nick Sanders, Ph.D. (he/him)</font></div><div style="color:rgb(34,34,34)"><font face="arial, sans-serif">Assistant Professor </font></div><div style="color:rgb(34,34,34)"><a href="https://www.oakland.edu/wrt/" style="color:rgb(17,85,204)" target="_blank"><font face="arial, sans-serif">Department of Writing and Rhetoric</font></a></div><div style="color:rgb(34,34,34)"><span style="font-family:"Roboto Condensed","Helvetica Neue",Helvetica,Helvetica,Arial,sans-serif;font-size:12.8px">O'Dowd Hall, Room 316</span><font face="arial, sans-serif"><br></font></div><div style="color:rgb(34,34,34)"><font face="arial, sans-serif">Oakland University </font></div></div></div></div></div>