Language Learner Autonomy, by David Little, Leni Dam and Lienhard Legenhausen. The latter two authors were at the conference and as active members of the IATEFL LASIG they were busy letting delegates know about their new publication.
Language Teacher Psychology, edited by Sarah Mercer and Achilleas Kostoulas. Sarah Mercer had been the plenary speaker at last year’s conference and many delegates were already aware of this exciting new book. I especially enjoyed meeting friends and colleagues of the editors, who were happy to let them know the good news of the book’s popularity, sometimes by taking a photo of the book at the stand to send to them!
Having not been to this conference before, many of the delegates were unknown to me and it was great for us to be able to reach a new audience, especially one that is so teacher focused. I was, however, also pleased to see a few familiar faces in the IATEFL crowd, including Janet Enever, the series editor of our new Early Language Learning in School Contexts series and author Carol Griffiths, whose new book is so new that I had to bring copies straight from the office.
As well as being my first visit to IATEFL, it was also my first trip to Brighton. As someone who loves the sea, I thoroughly enjoyed getting a good dose of sea air on my way to the conference every morning and treating myself to fish and chips on the beach at the end of the busy week. I managed to explore a bit of Brighton on the one dry and sunny evening of the week and loved what I saw…Brighton is definitely a UK city I’d love to return to for a holiday (ideally when the weather is a bit better!)
The marketing process is managed by me as Head of Marketing and I am assisted by Flo who is Marketing and Publishing Coordinator. Together, we make sure that we publicise each book to booksellers, retailers and individuals as well as across our social media channels. We also produce print catalogues and regular email newsletters to promote our books and ensure we inform relevant organisations and groups. We receive all kinds of queries throughout the marketing process so I’ve attempted to answer some of the most common questions here.
When will you start marketing my book?
As soon as a book goes into production we begin the marketing process. This will be approximately 6 months before publication. We create an individual marketing plan for each title and incorporate both the commissioning editor and the author’s suggestions. You can read more about this process in Flo’s blog post.
Can I buy copies of my book at a discount?
Yes, as an author you are entitled to a 50% discount on all our titles, including your own book. We will also provide you with a discount flyer for you to send to all your friends and colleagues and take to any talks you are giving or conferences you’re attending.
The price of my book is incorrect on Amazon / My book isn’t available on Amazon. Can you fix this?
We can’t make changes directly to Amazon’s site but if there are any errors such as prices, publication date, title etc we can request for these to be updated as soon as possible. Unfortunately, we’re unable to prompt Amazon to place an order so sometimes your book may be marked as unavailable due to a delay in them ordering stock.
Will my book be on sale in my local Waterstones?
It’s possible that Waterstones will stock your book if it’s a university branch and the book is a course book at your institution. Otherwise it’s unlikely that your book will be available as they stock very few high level academic titles in their high street stores. However, the main sales of our titles come from other sources so please don’t be concerned if your local bookshop isn’t stocking your book.
Will you be marketing my book on social media?
Yes, definitely! We market all our books through our various social media channels. Campaigns are always more successful when the author is involved so we send our authors a detailed guide to marketing on social media at the start of the marketing process.
Can I post about my book on Facebook?
Yes please do! Although we market all our books through our own channels, it’s always far more effective for authors to utilise their own personal contacts to sell their book.
Can you send a review copy of my book to X journal?
We are happy to send review copies of your book to relevant journals and will be asking for suggestions at the start of the marketing process. Please be aware that some journals don’t have a book review section and therefore will be unable to review the book.
Do I have to fill in an author questionnaire?
Yes you do, and your commissioning editor will send it to you at the appropriate time. The information you provide on your author questionnaire is vital for helping us to understand how best to market your book and to reach the appropriate audience. It is also the best way of sharing any of your own existing contacts and any other ideas you have for marketing your book.
Will you be organising a book launch for my book?
We’re not able to organise book launches for every book but if you are organising an event, please let us know so that we can arrange for copies to be sent in good time, and if it’s local or we happen to be in the area, we may even be able to attend. Equally, if there is a conference where a book event is appropriate we would be happy to support you with marketing materials.
Will my book be featured in mainstream media?
Our books do occasionally get picked up in mainstream media but these are exceptions, not the norm. However, if your book relates to a topical or controversial issue that is currently being covered in the media then it’s possible that it can be featured. Any media contacts you have or ideas for publications for us to approach are very helpful.
Can I have a free copy of my book for my mum?
Yes of course! On the author questionnaire you can list people who you would like to receive a copy of your book. We usually suggest that you list influential people in your field who will be interested in your work and may help promote it, but of course you can list your mum as one of your recipients.
Will all the contributors to my book receive a free copy?
What the contributors will receive is stated in the contributor agreements which are signed early in the editorial process. If you have any queries about this, please contact your commissioning editor.
Will my book be on display at X conference?
If you have listed the conference on your author questionnaire we will do our best to get some publicity there. Unfortunately we don’t have an unlimited budget and the costs of some conferences are so prohibitive that we’re unable to attend all those that we would like to.
Why isn’t my book going to be published in paperback?
The decision of whether to publish your book in paperback and hardback or hardback only is made by the commissioning editor and the rest of the team. Your commissioning editor is your best contact for this question.
Will my book be listed in your catalogue?
Yes all our recent books will be included in our main catalogue which is printed each year in September. Go to our website to join our mailing list to ensure you receive a copy.
The book begins with the author explaining why, from personal experience, she believes learning strategies to be important, and a number of other personal narratives from well-known people in the learning strategy field are also quoted. This second edition builds on the material in the first edition, but with a number of important additions. In particular:
The existing literature has been updated, since quite a lot has been written in the five years since the first edition was published.
The conceptual perspectives have been refined and extended. The issue of strategy definition has been tackled again, and some adjustment made in light of the ongoing debate. The underlying theory has also been re-examined and extended, along with issues of strategy classification. Issues of strategy effectiveness have been considered, especially in light of contextual, target and individual differences. And research methodology, which has attracted criticism in the past, has also been addressed, with suggestions added for data collection and analysis.
In the section dealing with quantitative perspectives, new studies have been added and the old studies have been re-analysed.
The qualitative section, which examines interview data obtained from students of different levels of proficiency, ages and genders, and varying learning strategy use has been updated and extended
The section on pedagogical perspectives has also been considerably extended, with further consideration of issues of strategy instruction. Most notably, strategies appropriate to different knowledge areas (vocabulary, grammar, pronunciation and function/pragmatics) and skills (reading, writing, listening, speaking) have been added and/or extended
In addition, the glossary, which received much positive appraisal in the first edition for its helpful definitions of key concepts, has been updated and extended.
So, why the Tornado Effect? The Tornado Effect hypothesises that learning is not a linear process: it is spiral, with one piece of knowledge or skill helping to support the next, and so on, in an ever-increasing spiral, much the way a tornado expands into a powerful force. As the section on pedagogical perspectives concludes: “If we could only discover how to harness the power of this Tornado Effect, what a wonderful teaching/learning tool we would have!”
For more information about this book please see our website.
We’ve been working with book cover designers Latte and Melanie Goldstein at River Design for over a year now, and we thought our readers might like to find out a little more from them about the book design process. In this post Latte answers some questions about book design and gives us an insight into his work.
How did you get into book cover design?
When I started up my own graphic design studio in Edinburgh, I was commissioned by a few local publishers to design some book covers and it really just grew from there. I now pretty much solely concentrate on book cover design work.
What kinds of books do you design covers for?
I design mainly academic and educational non-fiction book covers for subjects including history, politics, film, literature, philosophy, social science and business.
What does the design process entail?
The design process starts with the client’s brief. This usually provides information such as dimensions, format (eg. paperback, jacket, printed paper case) and information about the content of the book. The image is variable – sometimes clients supply images, sometimes we are asked to source them and sometimes a typographic cover is requested. The exciting bit is next! I usually work up a number of front cover roughs but then will select the 2 to 3 that I feel are the strongest. I use Photoshop but once I reach the stage of laying out the full cover, I transfer all the files to InDesign. I love designing and I love fonts so can quite happily spend hours experimenting with typography and creating artwork.
What’s the most challenging part of book design?
The most challenging part of book cover design is perhaps making sure that the tone of the cover design is right – appropriate for the book’s target market, conveying the correct message but at the same time visually dynamic. I do try to push the boundaries, but without getting carried away!
What’s your favourite aspect of the job?
Every book is different so every cover design is a unique challenge, requiring a completely new set of ideas and a new approach. This is what I enjoy the most…there’s nothing more exciting than getting stuck into a new brief!
If you want to see more of River Design’s work, check out their website and Instagram.
I am lucky to have been involved in many materials projects with scholars who have taught me a great deal about this field: Brian Tomlinson, Alan Maley, Hitomi Masuhara, Rani Rubdy, Martin Cortazzi, to name a few. From 2000, as a student at Leeds Metropolitan University in the UK, until the present day, as a lecturer at Monash University in Australia, I have worked together with these scholars in evaluating course materials, writing textbooks, conducting research and publishing the outcomes.
Knowledge, however, does not come only from the expert. Sometimes those with less experience but with a passion for materials development, such as teachers, students and colleagues, can also have a say. These practitioners sometimes make insightful comments about things that I have never thought of. By interacting together, they exchange views, question practices, reject routine, and support or challenge one another.
Having worked closely with both experts and practitioners, I can’t help thinking that these two groups could learn from one another, and help reduce the sense of hierarchy between them. For example, sometimes studying an updated theory can help teachers improve classroom tasks; at other times, observing teaching practice or listening to a teacher’s perspective can make theorists rethink their ideas.
It was this thinking that inspired my new book, Creativity and Innovations in ELT Materials Development, which began to take shape three years ago. In my own experience, this is a rare occasion on which I have managed to bring together well-known theorists and new researchers; experienced textbook writers and teachers who are users of those textbooks; and lecturers in materials development and their students.
The unusual combination of contributors has produced a range of fresh ideas about how to make English textbooks less boring and mundane. It must be said that a certain degree of negotiation among co-authors was needed to ensure that messages were clearly articulated. But in the end, the book is full of good ideas presented in a neat package with an array of helpful suggestions that are worth trying. Some examples include: what makes technology work best in a textbook, how to choose online resources with an effective learning impact, and in what ways can students be guided to become more creative.
I would encourage teachers, when going through chapters in the book, to visualise how ideas can be adapted to suit their tastes. I would also encourage readers to take notes and challenge what we say with your insights and questions. As they say, sometimes rules are made to be broken. Sometimes recommendations are made to be argued with. In this way, there should no end to what we can do to bring about optimal teaching and learning impact. I would very much like to see more debate around the topics that we raise, so that the field never settles, but remains active, in the same way that riding a bicycle requires the rider to be constantly moving forward to keep their balance.
The CAUTHE conference headed back to Australia this year and I was happy to discover that in February, Australia’s Newcastle has very little in common with the UK’s Newcastle (no offence Geordies!). Thanks to Tamara Young and Paul Stolk of the University of Newcastle for organising a great conference – the NeW Space building is amazing!
This year’s CAUTHE was marked by the sadly rare occurrence of having an all-female line-up of keynote speakers. These were kicked off by Annette Pritchard, with a brilliant presentation that looked at gender and the advent of AI. This was followed by great talks by Sara Dolnicar on peer-to-peer accommodation and Cathy Hsu on future directions for tourism research. I also enjoyed a number of interesting papers on a variety of topics, including selfies, gay tourism and dating apps, online reviewing, the value of storytelling, authenticity and Juliet’s balcony, the role of novelty and surprise, aesthetics and beauty in tourism, the increasing influence of far right populism on tourism, and air rage!
The conference finished with the annual hilarious Great Debate (should it have been a draw though?!) and a lovely gala dinner and fun CAUTHE disco at the Honeysuckle Hotel.
I got to explore some of Newcastle during the conference, which despite the major works going on, seems like a great place to live and work.
I was lucky enough to have a few days of holiday either side of the conference in which I managed to take in the Big Bash semi-final in Adelaide (still excited), a short trip to Sydney and a visit to Melbourne (sadly England did not to do as well in the cricket as Adelaide Strikers!) which included dinner and karaoke with many lovely peeps from La Trobe and William Angliss – thanks again Elspeth Frew for organising! 🙂
Already looking forward to next year’s conference in Cairns!
With the welcome return of Elinor Robertson to our office next month after spending a year on maternity leave, we have taken the time to have a reshuffle of some of the main responsibilities within the business, and have a look at our job titles to make sure they truly reflect the work of each team member here at Channel View Publications/Multilingual Matters. With a small business it is natural that we all wear many hats, and so it is nearly impossible to get a single job title to accurately cover all aspects of each person’s work. What is more important is that when we present ourselves to our contacts outside the company, our job titles reflect the level of responsibility that we carry, so that our contacts know who to talk to about any given issue.
Elinor Robertson will be returning to her job in charge of all matters relating to marketing. As the most senior person for marketing, her new job title will be Head of Marketing. Because she will be coming back part-time, she will be passing on her role as Commissioning Editor for our series Aspects of Tourism, Aspects of Tourism Texts and Tourism Essentials to Sarah Williams so that she is better able to dedicate her time to marketing all of our books globally.
Sarah Williams will take on all commissioning for the Channel View Publications imprint, and with her job as the most senior contact for all production-related issues, her job title will be changed to Head of Production. Sarah manages our freelance production contacts and liaises with all of our suppliers, as well as setting our production strategy and quality values, so carries the responsibility for ensuring that our books are always of high quality, whether they are print books or ebook resources.
Flo McClelland, Anna Roderick and Tommi Grover will keep their current job titles as their jobs are not changing so dramatically:
Flo McClelland is our Marketing and Publishing Coordinator and runs all our social media accounts. She also works with our designers and authors on book covers and with Elinor in the marketing department on all matters relating to marketing and publicity. Flo will be coordinating the work of our incoming Publishing Intern (more to follow later) and you will also come across Flo more often at conferences in the future, so please make sure you say hello if you see her!
Anna Roderick is our Editorial Director and is in charge of editorial strategy for the business. The subject areas we publish in, and the editorial tone of the business, are a constantly-evolving work; although we naturally stay true to our core beliefs, it is important for us to branch out into new fields and it is Anna who searches out these areas and discovers the inspiration for our future publications. She also commissions everything that isn’t commissioned by someone else, and attempts to make the rest of the editorial department do their admin. Together with Tommi she is half of our board of directors, and shares the legal responsibility for the business.
Tommi Grover is Managing Director, and has day-to-day responsibility for all matters relating to finance and the legal side of running the business. He oversees the running of all departments to make sure where possible that each of the heads of departments have adequate resources and skills. Tommi will continue to attend major conferences and book fairs and has commissioning responsibility for our Linguistic Diversity and Language Rights, and CAL Series on Language Education book series.
We recently published Femininities in the Field edited by Brooke A. Porter and Heike A. Schänzel. In this post the editors explain why the book is necessary and what they hope will be achieved from its publication.
Gendered actions have been receiving quite a bit of press lately, and rightly so. While much of the press has been focused on power inequalities, some attention has been given towards gender equalities. With the academy far from being viewed as gender equal, our motivation for the book is to explore how femininities shape fieldwork experiences in the social sciences, specifically in tourism. Research in the field has long been considered as a masculine act in a masculine space, with the idea of the lone-researcher at the forefront tracing back to anthropological endeavours. For many researchers, this narrow construction can be intimidating. Yet, for any researcher in the field, we argue the undeniable influence, both positive and negative, of gender on fieldwork.
A main aim of this book is to describe gender as a variable worthy of attention, in the field, in the analysis, and in the reporting of any piece of research. Through fifteen self-reflexive analyses (including two by men), our contributors reflect on past fieldwork experiences through a gendered lens. Tourism research was the common thread for all contributors, but the experiences are diverse and without doubt, transdisciplinary. From tales from marine mammal research in the high seas to the party-filled streets of Mallorca, each contributor provides an explicit account of how gender affected their fieldwork. The diversity of the contributions became most apparent to us when it came time to choose a cover. We simply could not find an image that could effectively convey the book’s contents. After nearly twenty correspondences, we ditched the idea of an image and decided on a multifaceted illustration. The colourful graphics depict the diversities, and the expressions convey many of the heartfelt emotions revealed in the book.
This book is meant to be a tool for researchers at any stage in their career, for supervisors and mentors, and for committees involved in the fieldwork process. It is both a tool of reference and a path forward.
For more information about this book please see our website. If you found this interesting, you might also like Ethnographic Fieldwork by Jan Blommaert and Dong Jie.
Last month I was invited to give a talk on publishing with Multilingual Matters at the Irish Research Network in Childhood Bilingualism and Multilingualism. The one-day meeting was organised by Francesca La Morgia and took place at Trinity College Dublin (TCD). The research network aims to ‘establish links among researchers, policy makers, teachers, early childhood educators, educational psychologists, speech and language therapists and anyone who could benefit from gaining knowledge and sharing experiences that can advance the understanding and improve practices in the area of childhood bilingualism’.
The day began with a keynote speech from Prof. Enlli Môn Thomas who is the co-editor, together with Ineke Mennen, of our book Advances in the Study of Bilingualism. Enlli talked us through research being undertaken on bilingualism in Wales and discussed what has been done and has, or has not, worked in some areas. It seems that often the attitudes toward Welsh are relatively positive, in that people understand why it’s important and what the benefits of being bilingual are, yet their linguistic behaviour does not always reflect these views.
The next part of the morning comprised presentations from Prof. Nóirín Hayes from the Children’s Research Network for Ireland and Northern Ireland and Maureen Burgess of TCD who spoke about funding sources and opportunities. Making up that trio of presentations was mine on publishing, which I hope was of interest to those who are looking to publish the outcomes of their work and want to learn more about the publication process and what it entails.
One of the key aims of the network is to connect those working in different spheres but with similar interests or goals, to share knowledge and to think about useful collaborations. As such, the afternoon began with short presentations by delegates so that we could get an idea of who was working in which specific areas. We then split off into workshops and I sat in on one led by Ciara O’Toole on language disorders in bilingual children and bilingual education. In the group were speech language therapists, teachers and researchers and it was interesting to hear everyone pooling their ideas and expertise to come up with some aims for the group and goals to achieve before the next meeting.
The day then drew to a close with each working group reporting back to everyone else and it was nearly time for me to return to Bristol. But not before I took a moment to visit two of TCD’s most famous things: The Book of Kells and Old Library – absolute ‘musts’ for a publisher on a trip to Dublin!
It is often said that language teaching opens windows to the world. Learning a new language is even sometimes said to further our development as world citizens. But when we look closely at textbooks (and other materials) used in language learning, what images of the world emerge?
I have always been interested in explicit and implicit cultural representations in textbooks, and one of the earliest examples I remember from my own experience is a chapter in a textbook for French produced in the 1970s (used in Denmark where I lived and still live): The book dealt with the (very dull!) daily life of a middle-class family in Paris consisting of a father, a mother and their children, a son and a (younger) daughter. In the chapter in question, there was a drawing of a small square near the family’s house. There were no people, but a dog and a cat were standing on the gound. The accompanying text ran approximately like this (in French): ‘The dog and the cat do not fight, for in France dogs and cats are good friends’. The microcosmos of the square thus suggested a country characterised by harmonious relations between groups that might very well be in conflict in other countries.
In Representations of the World in Language Textbooks I analyse cultural representations in six contemporary language textbooks (used in Denmark), one for each of the languages English, German, French, Spanish, Danish and Esperanto. I have chosen to take the idea of the ‘world’ literally, that is, while I examine representations of the respective target language countries, I also examine representations of the world at large, the planet: Which regions of the planet do the textbooks refer to, directly or indirectly? Do they take up global issues, such as climate change, or inequality? Do they touch on transnational processes, such as migrations, or the worldwide use of IT?
My professional background is both in languages (sociolinguistics, multilingualism, language education) and in cultural studies (international development studies, intercultural studies, studies of migration). Therefore, it is important for me to emphasise that the analysis of cultural representations in textbooks is greatly furthered if one is aware of which theories of culture and society one draws on. In the book I distinguish between five theoretical approaches:
Citizenship education studies
Each of these approaches gives rise to a number of analytical questions concerning the cultural and social universe of the textbooks.
Among the numerous results of the analyses of the six textbooks is that the enormous continent of Africa, encompassing a large number of countries, ethnicities, issues and inequalities etc., is almost invisible – with some exceptions. So one may say that the textbooks examined, with all their qualities, are certainly not windows to Africa.
Karen Risager, Professor Emerita, Intercultural Studies, Department of Communication and Arts, Roskilde University, Denmark, email@example.com