In writing, your voice is the way you “speak” to your audience, and it includes your word choices, your “tone” of voice, and what you intentionally or unintentionally reveal about yourself. Style is the way you use words to express yourself in writing. A second meaning of style is the system of conventions you adopt to format your writing for your subject area, such as the American Psychological Association (APA), Modern Language Association (MLA), Council of Biology Editors (CBE), or The Chicago Manual of Style (Chicago style). Voice and style are important matters in textbook publishing. By themselves, your voice and writing style can make or break your book. Making decisions about voice and style involves reflecting on your mission, understanding your audience, choosing how you will represent yourself and your subject, and monitoring your tone.
Q&A: Writing professors’ rights: Can the university claim the rights to your publication?
Q: Writing professors’ rights: Can the university claim the rights to your publication/royalties based on your employment at the time of writing the manuscript?”
A: Brenda Ulrich, Partner, Archstone Law Group PC:
“It’s an interesting issue. Under standard employment law the employer owns anything created by the employee in the scope of their employment. And certainly writing and publishing scholarly work is considered to be in the scope of a professor’s job duties. However, within academia there is what is often called the “academic tradition,” namely, that professors and academics own their own scholarship.
Crafting meaningful stories to bring research methods to life
Stories engage readers. We can use stories to show how the ideas or strategies we are discussing might play out in a particular social, cultural, or organizational context. I often write about research methods, and find that stories can help readers see how the pieces of a research design fit together. Stories can be presented in a fully-developed research case, or as an engaging example inserted within an article or book chapter.
For my first research book, Online Interviews in Real Time, I thought it was important to include stories. Online methods were new and few robust descriptions were available that showed how they actually worked. I found six researchers who were doing interesting online research, and interviewed them. I crafted a section for each chapter called “Researchers’ Notebook: Stories of Online Inquiry.” Readers could see how each of these researchers handled ethical dilemmas or sampling. The companion website linked to additional materials from the researchers’ work.
Several books later, I am getting ready to write a new edition for Doing Qualitative Research Online and again want to include stories in a “Researchers’ Notebook.” I know that more researchers are incorporating stories, so I wondered whether their lessons learned might help me prepare to move forward. In this post I will share a few tips and examples I discovered in three open access articles. In a future post I will look at digital and visual storytelling and how I can use these approaches in ancillary materials.
10 Classic and contemporary textbook features you may not be thinking about…but should
During his 2019 TAA Textbook & Academic Authoring Conference presentation, “Textbook Features You May Not Be Thinking About… But Should!”, veteran textbook author Kevin Patton shared details about both classic – not “old” – and contemporary textbook features for consideration when designing a learning experience for your readers.
Starting with an exploration of the textbook as part of a learning experience for the student, Patton advised looking at the pain points, how they can be addressed, and what already works in the classroom. From there, it’s a matter of finding the right design elements to deliver the content in a meaningful way for the students using your book. Below are ten features for consideration.
Analog contracts in a digital world
College level textbooks and their publishers have been in the news a lot lately, with all of the major higher education publishers emphasizing a shift to a digital first market strategy. The vast majority of publishing agreements for established textbooks were written in a world where print books were the dominating market offering. As the world shifts, there are certain contractual provisions to be mindful of when evaluating one’s royalty statements and in negotiations over amendments.
In reality, print sales still dominate, but publishers are trying to move away from the model, and the future of higher education materials is uncertain.
President’s Message: The shifting landscape of textbook publishing
As many of us return to campus for the fall semester, it may be time for both textbook and academic authors to take a look at what our institutions are doing regarding textbook purchases and costs. Is your campus offering Cengage Unlimited or signing up for Pearson’s Inclusive Access? With Pearson’s recent announcement this past July that it will also be “moving from ownership to subscription based access models”, several of the major publishers have now committed to digitally transforming their businesses into something more akin to Netflix than what authors have been used to (DVD purchases).