Design as a revision Strategy: Branding and Rebranding in Writing Program Administration


Norwich University

Northfield, VT


Dalyn Luedtke, Ph.D., LC 

THEMES IN DOUG HESSE'S PLENARY ADDRESS ON THE WPA AS WORKER:

  • ADMINISTRATION
  • COMMODIFICATION
  • CREATIVITY
  • WRITING
  • ART
 

Commodification and Branding


"My specific interest in 'branding' arises from my strong belief that we must distinguish a particular range of writing instruction as the best we can offer, and then strengthen the image of exactly that writing instruction. The best approach should merge a strong composition 'brand' with the profession's best informed desires; and the best owner of such a brand is CWPA. Ultimately, branding CWPA Composition could both improve public awareness of the best writing instruction and  make better writing instruction more common. "--Keith Rhodes (WPA Spring 2010)

Good Branding


  1. Investigate a brand's history.
  2. Create a motto that distills the product and the services.
  3. Connect with higher needs.
  4. Revise.
  5. Let the brand be fluid and collaborative.
  6. Be consistent and committed to your message.
  7. Don't let your brand become a commodity.
  8. Keep ethical discipline.
  9. Don't chase fads.

Branding as activism:


"Public interest organizations are more like politicians then we are, and we are more like merchants than they are. We deal in the public good, but we do so in relation to a specific set of services that we produce using hard-won expertise and then sell in a competitive market, earning our livings from what we produce.  We have a different stake in our 'deliverables' that either Nike on the one hand or public interest organizations like Wellstone Action on the other. We need to combine the expertise of both." --Keith Rhodes (WPA Spring 2010)

Adler-Kassner's Response:

"This sense of responsibility, I contend in The Activist WPA (as well as in this article, and, I hope, all other aspects of my life as a person and a professional) holds considerable promise as we consider how to approach critical questions associated with writing instruction, including how to represent our work and build alliances with others. This perspective is rooted not in a desire to sell a 'brand' of composition (no matter how collaboratively it is shaped), but in the need to work collaboratively, across perceived boundaries and barriers, to make a difference in the lives of those with whom we interact every day. While it may be construed to sound like 'marketing,' the idea of principle based responsibility is as different from it as the Canyon Live Oak is from the White Oak in the Midwest."--Linda Adler-Kassner (WPA Fall 2010)

Design: Thinking and acting like a designer

"“We want our students to always be aware of how writing and designing work together, to think of themselves as equal parts writers and designers.”--Arola, et al. (Writer/Designer 2014)

  • Multimodality (think outside the word)
  • Audience (expectations, use, background, etc.)
  • Focus on the experience of the design
  • Play
  • Embrace Constraints
  • Practice Restraint and Simplify
  • Document the Process
  • Revise and Play 

opportunities to think like a designer

Physical Opportunities:
  • Programmatic materials: Curriculum maps, minor flyer, course descriptions
  • Promotional materials: WC adverts, speakers/event flyers, course descriptions, internship opportunities, student job ads
  • Web Presence: Program site, Facebook, Instagram, Twitter, course sites


Why not let your Office of Communications handle it?
  • Differences in audience (external vs. internal)
  • Branding Priorities (university vs. smaller units)
  • Experiencing the Process


OPPORTUNITIES TO THINK LIKE A DESIGNER

Programmatic Opportunities:
  • Curriculum Development/Revision: minor/concentration, major, course development
  • Outreach: recruitment, activities, web presence
  • Mission statement and future planning
  • Meetings: action, decision making

Design=Branding+creativity+empathy


"A designer brings two essential perspectives to every problem: empathy and creativity. To invent a future that doesn't exist,  you really have to understand what people are doing today and completely reimagine it."--Bill Burnett, Executive Director of Stanford's Design Program

Contact:

If you have any questions or want to discuss opportunities for collaboration, please feel free to contact me. 

dalyn@norwich.edu

Design as a revision Strategy: Branding and Rebranding in Writing Program Administration

By Dalyn Luedtke

Design as a revision Strategy: Branding and Rebranding in Writing Program Administration

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