Cautions:

• Map out paths before you start writing — can serve as an outline for digital project
• Attend to the metadata as content, regularly reviewing the visualizations that are produced as a mode of invention
• Be organized about tags, make sure there are no duplicates
• Create a standard set of tags for all authors to adopt

Conclusions

At times, we struggled with the creation of the navigation system, because unlike a print anthology, we had to deal with a variety of webtext choices unique to Scalar’s functionality.  We had to determine the sequence of the paths, the design of each page, the insertion of pictures and webtext, and the hyperlinks to each tag.  While the print anthologies we read, including but not limited to Karlyn Kohrs Campbell’s Man Cannot Speak for Her, Shirley Wilson-Logan’s With Pen and Voice, Joy Ritchie and Kate Ronald’s Available Means: An Anthology Of Women's Rhetoric(s), were organized in chapters separated by each author’s introduction and entries, we organized our digital anthology according to author within multiple paths and tags dedicated to each entry.

Indeed, Rich Shivener calls the author’s process of creating webtext “rhetorical affective workflow” to describe the chaotic sequence of events while writing webtext production.  He recalls the mix of confusion, fear, and stress when trying to juggle writing, design, and content. One design problem arose when we narrowed down tags for each page: nearly every page fit into the category of “feminism”.  Because our definition of “feminism” throughout the quarter was ever-changing, simply tagging every page with “feminism” felt limiting.  One solution to this issue was using the “Themes'' page (which consists of a glossary of the tags) as not only a strict list of definitions, but also a reflection on how these selections represent the tag.  We laid out the complications we encountered to acknowledge the “why” of the rhetoric behind tagging feminism.