The Debate on Brexit and the Potential Impact on Academic Publishing

1 November 2016

Alongside the meetings and stalls at the Frankfurt Book Fair, which Tommi and I attended last week, there were also talks and discussions on topics of general interest to publishers. One that caught our eye on the Publishing Perspectives stage was entitled “Debate on Brexit and the Potential Impact on Academic Publishing” and I went along to hear the discussion. The panel comprised Richard Fisher, an academic policy correspondent, Richard Mollet from the RELX group and Andy Robinson from the publisher Wiley.

The general feeling among academic publishers is that the UK’s vote to leave the European Union is troubling and of great concern so the panel began with the discussants being asked if it is all doom and gloom as we suspect, or if there are in fact some silver linings to the situation. The panellists managed to come up with 4 positives, such as the short term currency gains which publishers with high exports are enjoying, potential beneficial changes in VAT laws, a renewed focus on emerging markets and UK research possibly being able to reposition and rebuild itself – particularly in some areas of science research, such as clinical trials, where the UK’s formerly strong output has fallen apart. We were also reminded that there were pockets of support for Brexit among some UK academics and that we need to respond to and work for the 52% who voted for the UK to leave the EU.

The panel on the Publishing Perspectives stage

The panel on the Publishing Perspectives stage

The above positives aside, the discussants identified several major concerns of Brexit for the publishing industry which were grouped into 3 main areas: people, funding and regulations.

The UK publishing workforce has a higher than national average percentage of workers from abroad and we do not know what the implications of Brexit will be for employment. The same goes for researchers at UK institutions and EU students, who bring growth for our economy as well as numerous other societal benefits. The panel mentioned anecdotal evidence of academics now refusing positions at UK universities and UK academics being taken off grant applications or side-lined within existing projects. Furthermore, the UK will now be relegated to the position of an observer rather than a participant on discussions around matters such as Open Access in academia.

Regarding the concern of funding, the panel felt that the sector needs to make a clear case to the government for research funding to be maintained and provided, especially as the terms of Brexit are negotiated and we are in a state of flux. Universities shouldn’t resort to pleading and requesting a special case, but rather they need to stress to the government the importance of the industry to our society and economy.

Finally, on the topic of regulation, the conversation moved to areas such as copyright law, data protection and medical trials, all of which are currently governed to some extent by EU law but which need not be in the future. We were reminded that the UK has traditionally had a good research reputation but, where Britain now goes the world won’t follow. Our decreased voice on topics of international concern is troubling.

The session was wrapped up with an optimistic view that British publishing is international in scope and outlook and that that is unlikely to change, especially in the humanities where relations are as much transatlantic and global as they are European. Brexit will no doubt have an impact on the industry but perhaps not as much as other concerns of 21st century publishing, such as mass piracy and green open access, but those are topics for discussion another time!

Laura


How to choose a good book title

8 July 2016

Picking a good title for an academic book is vital for getting your work seen by other researchers in your field. Good academic titles reveal not only the topic but also an idea of the specific approach, argument or area of discussion. This post provides a helpful guide to choosing a title for your academic monograph.

First of all, remember that keywords are crucial. Think about the key terms you use throughout your work and make sure they’re included in the title. Make sure these keywords are also used throughout the book, in chapter headings and in the book blurbs.

Think about what search terms people would use if they were searching for your book and make sure you include these. Start by googling your potential title. If there are not many results this might mean that the terms you are using are not in common usage and therefore are best avoided. However, if there are many results be sure to check that there are no other books, papers or journals with the same title as yours as this will only cause confusion. In short, you want to get an idea of whether people are already searching for the keywords you’re using. Make sure the results that come up in your search are in the right discipline.

There is a difference between the main title and the subtitle. Sometimes books are only cited by the main title not the subtitle so make sure you’re not hiding any key information in the subtitle. The subtitle can contain more specific information such as the region or the kind of approach used which is not essential to the overall topic of the book. The specifics of the context, the precise languages covered or the specific participants of the study can be detailed in the blurb and the book. This doesn’t necessarily need to be in the title of the book.

Use clear and concise language to describe the topic of the book. Don’t use obscure academic terminology or jargon which isn’t widely known in the field. Remember, booksellers are not always experts in your field so the title needs to be clear to those who only have a broad understanding of the topic. Equally, if you’re coining a new term or phase in your book, it might be best to avoid using this in the main title as it won’t be known to many people and they won’t use it as a search term to find the book. Avoid using a clever or funny phrase as a title. Although it might mean something to you, out of context it won’t mean anything to anyone else and it won’t accurately convey the content of the book. Many people think an alliterative or quirky title is more appealing but really this is not appropriate for an academic audience and it is best to just focus on making the content clear.

Remember that the book title is sometimes the only thing a potential reader will see before making a decision as to whether to find out more. Make sure it is attractive to researchers in your field without being misleading or ambiguous. There’s so much research out there you want to make yours memorable so that readers realise it’s exactly what they’re looking for.

Good book titles

Examples of good book titles

Good examples of academic book titles:

  • Complexity in Classroom Foreign Language Learning Motivation: A Practitioner Perspective from Japan – This displays the overall topic as well as the specifics of the author’s context.
  • Multilingual Perspectives on Child Language Disorders –This clearly depicts the area covered and the perspectives taken.
  • The Linguistic Landscape of Chinatown: A Sociolinguistic Ethnography – As well as a clear main title, the subtitle here clarifies the approach taken.

Bad examples of academic book titles:

  • Language and Society – This is too broad and does not show what aspects of language and society are being explored.
  • Discover, Discuss, Debate: Investigating Language Use in the Multilingual Classroom – Although the main title might sound snappy and appealing it actually tells you nothing about the book and in fact, the subtitle would make a much better main title.

Key tips

  • Use as many keywords as possible in the title, preferably ones that you have also used throughout the book.
  • Think about the search terms that potential readers would use when searching for your book and include those in the title.
  • You need to remember that sometimes all the information a potential reader will have about your book is the title. If that isn’t enough to sell it, you’ve missed your chance.
  • Don’t use obscure or incomprehensible language or technical jargon.
  • Don’t be vague, anything with multiple meanings that could be misconstrued or misunderstood should be avoided.

The Life of a Book – Post-production!

27 May 2016
Laura showing off some newly arrived books

Laura showing off some newly arrived books

Arguably the most exciting days in our office are the days when new books arrive. We love receiving such packages from the printer and having the final product in our hands, and we’re sure that our authors feel a sense of joy and achievement on receiving their copies. To some, this is seen as the end of a journey – the editorial and production work has been successfully completed and the job of publishing the work is done. But as a publisher, we’d be pretty useless if we saw this as the time to stop working with a book. In fact, for us in the marketing department, this is our moment to shine!

Elinor and I will have been busy in the run-up to publication setting things up ready for the book’s publication. This means that we will already have let all our distributors, wholesalers and sales reps know that the book is on its way; we will have ensured that the book has a complete listing on our website; and we will have provided the author with marketing materials, such as information sheets and discount flyers for them to give to any interested potential readers.

The ground has then been properly laid for us to start the immediate marketing of a book on publication. We announce that the work has been published to as many people as possible. We inform all industry members, such as wholesalers and sales reps, that the work is now available for their customers and try and reach as many customers as possible directly. This might be done by posting on listservs, such as Linguist List (Multilingual Matters titles) and Trinet (Channel View Publications titles), sending a newsletter to our email subscribers, sharing the news with our Facebook and Twitter followers and informing journal book reviews editors and authors of related blogs, for example.

All our new books are available simultaneously as print and ebooks, so there is also work to be done to get news of the ebook out. Sarah, our production manager, ensures that the book is available to purchase on a variety of platforms, and we ensure that it is also available on our own website. At this stage we also start to send out inspection/desk copies to those who have requested one from our website and we give the option of an ebook rather than a print copy. This means that course leaders get the text immediately and can start considering it for adoption on a course much quicker than the traditional way.

Anna and Tommi promoting our books at AAAL earlier this year

Anna and Tommi promoting our books at the AAAL conference earlier this year

Once the initial marketing has been completed and the buzz may have quietened down, we continue to publicise the work through other avenues. Common ways of doing so are through our catalogue mailings, and additional flyers and materials we produce for our sales reps, series editors and authors to distribute. We also attend many conferences throughout the year and always have lots of our recent and relevant titles with us on display. On occasions when we can’t attend an event in person we frequently send display copies and discount order forms to continue to make potential readers aware of our books.

When a book reaches 6 months old we review its progress at an editorial meeting. We look at the sales figures and discuss how its early sales are looking. This is a useful stage to review a title as it is still young enough to be of interest to booksellers and so we give a title a marketing boost if we feel that we may have missed an opportunity. This is the time when we start to see the very first reviews of a book appear in journals and these continue to appear over the course of the next few years.

On a book’s first birthday we again review its progress and might even start to think about reprinting copies of the work if it has been particularly successful. We monitor our stock levels each month so we try and ensure that we are on top of demand and that a book is always available, but occasionally we’ll receive an unexpected order, perhaps if it is suddenly adopted for a course and we receive a bulk order from a university bookshop preparing for the start of a semester.

Chinese translations of several books from our Languages for Intercultural Communication and Education series

Chinese translations of several books from our Languages for Intercultural Communication and Education series

We continue to monitor sales annually and promote the book when appropriate for as long as there is demand for it – often for many years after publication. Occasionally a book will receive additional attention, such as from a foreign publisher wishing to buy the rights to translate it into a foreign language. This is a really exciting time and such news is always greeted enthusiastically both in our office and by an author who is usually chuffed to hear that their work is to be translated and published for a new audience. We have recently sold our books for publication into languages such as Japanese, Chinese, Bahasa Melayu, Arabic, Korean, Macedonian and Greek. Of course at this point, the book gets a second lease of life and it’s down to the foreign publisher to repeat the life cycle of a book as outlined in this post!

Laura


Open Access publishing: A positive step for research?

23 February 2016

The issue of Open Access (OA) has been an important and sometimes contentious subject in academic publishing for at least the past 10 years. Arising from a desire to see research (often publicly funded) made accessible to the widest possible audience, it has very worthy ideals. Although the main concentration of Open Access publications has been in the journals field, where the prices charged for subscriptions by larger publishers has been taking an ever greater part of the library budget, books are increasingly coming under pressure to be Open Access. In light of this, I thought it would be useful to clarify our position on OA and to discuss what I see as the possibilities and constraints of Open Access monograph publication.

OAlogo

Channel View Publications Ltd / Multilingual Matters is an academic book publisher, and we believe that, traditionally, it is our job to do the full work of the publisher. This includes full copyediting and typesetting of all the manuscripts that come our way, running all of the administrative processes involved in the editorial creation (and where necessary playing a part in the creation of the book), paying our authors and series editors a fair royalty on every dollar that their book earns, and financing a full and proactive global sales and marketing campaign. We also pay reviewers of proposals and manuscripts. We invest somewhere between 5,000 and 15,000 dollars in every book that we publish, the exact amount depending on the size and complexity of the book. In some cases the investment is even higher than this. We recoup that investment by selling copies of the book, and in the majority of cases we will not make a profit for at least the first 3 years of the book’s life, when staff and overhead costs are taken into consideration. Many of our books never make a profit, and when they do, those profits are overwhelmingly re-invested in future publications. We also believe in providing a healthy and happy workplace for our staff and paying them a living wage, a cost that is often hidden by some cheaper OA publishers, who rely on volunteers and academics working for free.

Channel View Publications Ltd / Multilingual Matters has always been committed to publishing important research in often under-researched and under-funded fields. We do our very best to publish books at a price that is accessible, whether that is by producing a paperback immediately on publication, or where that is not possible, producing a lower price ebook so that individuals might buy it. We will gladly collaborate with any author or appropriate funding body (and have done so in the past) to either produce and distribute subsidised versions, or to make books entirely Open Access, where we can reach an agreement on how to cover the costs of publication.

Tommi

Tommi contemplating Open Access!

What we will never do is compromise our editorial integrity. Even where we publish a book Open Access with an agreed publication fee, we will still commit to running the editorial process of peer review and manuscript revision with exactly the same rigour as if we were taking the financial risk of publication ourselves.

The main advantage of publishing Open Access, so long as it is done with a reputable and responsible publisher, is that you immediately remove all barriers of access to that publication, so long as the reader has access to a computer and a reliable internet connection.

The main disadvantage of publishing Open Access is that the author or funding body is taking on the financial cost of that publication which would traditionally be borne by the publisher. If the publication is done properly, this is not (and should not be) an insignificant sum of money.

Open Access publication, when done properly and adequately funded, can be a very positive step for research. We do not believe it is the right answer for all books or all fields of study. I have a fear that there will be babies thrown out with the bathwater, and that if all publications are moved to an Open Access funding model, it will only be a matter of time before university funding bodies faced with the next cash crisis are forced to make a decision between whether they fund the law school publications or the minority language revitalisation publications, and I don’t think any of us need a crystal ball to know which way that decision would go.

That said, we remain committed to working with our community to make all of our publications as accessible as possible, whether that is through Open Access or traditional models of publication where the customer pays. Our ultimate intention is that publication by Channel View Publications Ltd / Multilingual Matters continues to be a mark of quality, no matter how the publication is funded.

If you would like to discuss the possibility of making your next publication with Channel View Publications Ltd / Multilingual Matters Open Access, please send me an email at tommi@channelviewpublications.com and we will come back to you with an indication of how much this would cost and what we would offer.

Tommi


An A-Z of Publishing at Channel View Publications/Multilingual Matters

1 December 2015

If you follow our blog regularly you may well have noticed that throughout the latter part of 2015 we’ve published an A-Z of our company and publishing with us. The last post was published in November and we hope that you enjoyed learning 26 nuggets of information about us! For those who missed out, here’s a round-up of all the letters – just click the link to be taken to that word’s short post.

A-Z of PublishingA is for Approachable.

B is for Blog.

C is for Clevedon.

D is for Directors

E is for Ebooks

F is for Frankfurt.

G is for Grover.

H is for Hardback.

I is for Imprint

J is for Journals.

K is for Korea

L is for Living Wage Employer.

M is for Marston Book Services

N is for Newsletter.

O is for Office.

P is for Proposals

Q is for Quiz.

R is for Review Process

S is for Series.

T is for Twitter

U is for UTP Distribution

V is for Visitors

W is for Website

X is for Xuesong (Andy) Gao.  

Y is for Young Scholars.  

Z is for Zagreb, Zurich, Zwickau

We hope that you have enjoyed learning a bit more about our company. If you have any further questions about what we do or about publishing with us, feel free to email us and we’ll do our best to respond.


Happy Independence Day: The Value of Independent Publishing

4 July 2015

Channel View Publications/Multilingual Matters is proud to be an independent publisher. But what exactly is independent publishing and why is it so important?

There are many different definitions of an independent publisher, and starting with the definition offered by the Independent Publishers Guild in the UK, members range from the author who publishes his or her own work, through to companies as sizeable as Bloomsbury or Sage, or indeed Cambridge University Press. The corporate and ownership structures of these entities could not be more different. Some have charitable status, others are floated on the stock exchange, and others are owned entirely by the proprietor.

Tommi at work

Tommi at work

When we publish a book, we put our name to it, and we commit a not insignificant investment of time and money into a book. So whoever controls the purse strings, and the physical resources of the publishing company has a good deal of say over what does and does not get published. It is my belief that a truly independent publisher is a publisher where the people actively involved in making the publishing decisions also have control over the physical resources of the company, and so if they decide to publish a book, there is no outside committee or owner, or shareholder body that can stop the publication.

Why is this so important?

Independent publishing has tended to be at the vanguard of both academic and literary publishing. We publish books for reasons that are not necessarily profit driven, and most independent publishers will have stories of the reckless endeavours they have embarked upon with nothing but a sincere belief that the publication should see the light of day. Often these books go on to be bestsellers, but equally there are those that were valiant failures in a commercial sense, but might have made a significant change in the field. Where independents first tread, the corporates often follow.

In fiction publishing you only need to look at the Stieg Larsson books that were published in translation by an independent British publisher and publicised by leaving copies in taxis and buses around London to see the impact that an independent publisher with a belief in their list can have. This was followed by a boom of interest in Nordic Crime fiction in translation, and the corporate publishers were quick to follow suit. In the academic world it is often the independent publishers who will publish in new and untested fields, and only once the ground is proven do the corporate and large university presses move into these areas. We are able to publish in these areas precisely because we are independent, and if we believe in something then there is nobody to tell us not to do it. None of this is to deny the importance of larger, less flexible publishers, they are able to commit resources into projects of scale like handbooks and encyclopaedias that we certainly would be hard pressed to take on, but without the independent publisher to break the ground in the first place with a risky but interesting monograph, or an edited volume of global scope with chapters by all the people who are pushing the envelope on a certain issue, it is unlikely that those other projects would ever take off. Imitation is the sincerest form of flattery!

The Channel View team

The Channel View team

Similarly, the independent publisher who publishes out of a sense of belief in an area will most likely still be around long after the corporate publishers have moved on to whatever the latest fashion is, and when politically and economically the tide turns against certain fields of study, we will often stick by them because we believe in them.

A major advantage of working with a smaller independent publisher, whether you are coming into contact with us as a customer or as an author, is the stability and transparency of any contact you have with us. It is highly likely that you will have dealt with the same people last time you contacted us, and we will have a detailed knowledge of your past projects, or if there were any special handling requirements for your orders, we will probably know them already.

We do not change staff every 6 months, and we don’t have a revolving door internship policy. When we take on interns, it is always with the hope that they might stay with us long term.

Finally, with most small independents, you are never more than a phone call away from the senior management. Problems do occur in all businesses, and whilst we do our very best to make sure that they are as few and far between as possible, anytime you do need to talk to us,  all you need do is pick up the phone and ask to be put through. You will always find someone with the authority to make a decision, and we will almost always be very happy to talk to you, so long as you don’t call on the day that we are all rushing around getting ready to leave for the Frankfurt Book Fair!

Tommi


What is copyright and why is it important?

4 February 2015

Here at Channel View Publications/Multilingual Matters I wear several different hats and one of these is Rights Manager. When I have my Rights Manager hat on, one of my responsibilities is to deal with all our incoming permissions requests. I also offer guidance to our authors who need to clear material for inclusion in a forthcoming publication. Before explaining how we deal with copyright, it makes sense to first explain briefly what copyright actually is.

The general rule is that “He who writes it down has the copyright”. You do not need to register your copyright; in order for something to be copyrighted it simply needs to be recorded in a permanent way, be that in the form of a book, a website, a recording, illustration or any other format. Even if the material is freely available or does not have the copyright symbol (©) alongside it, the person who originally created it will own the copyright. The copyright symbol is very useful for identifying who the copyright holder is.

Copyright differs from plagiarism and should not be confused with it. Copyright infringement is the copying of material without permission, whereas plagiarism is the copying of ideas either without attribution or with a false attribution.

Permissions table

© Laura Longworth

The copyright lies in the expression of ideas, not the ideas themselves. This means that ideas can be copied (of course only with acknowledgement of their origin to avoid plagiarism) but the layout, be that, for example, the exact wording or presentation of information cannot be copied without permission or substantial adaptation.

In the UK, copyright lasts for 70 years after the death of the last surviving author, only after this time period can works be copied without permission. Other occasions when permission may not be required in order for material to be republished include:

  • Fair use – this is when the amount copied is an unsubstantial amount of the whole original work, an example would be a 100 word quote from a 300 page book not requiring permission to be cleared. The value of the whole original work should be taken into account: while 2 lines of a poem might seem like an unsubstantial amount, if the poem is only 6 lines long then permission is definitely required to republish!
  • Some items, such as a nutritional table on food packaging, are not copyrighted as there are only so many ways that such information can be displayed. A unique or novel way of displaying it would however be copyright protected.
  • A photograph you have taken is not necessarily your copyright. For example, if you have photographed an advertisement and the advertisement forms the main focus of the image the designer of the advertisement/company advertising will still be the copyright holder as by photographing you have made a copy and not a unique expression of the idea.
  • Some materials are termed “orphan works”. This is when, despite considerable efforts, the copyright holder is unable to be found or contacted. When orphan works are used without permission a record should be kept of the ways in which reasonable efforts have been made to contact the copyright holder.
  • In academic publishing it is common for material to be reproduced without permission if it is in the form of a review or scholarly criticism. Accreditation to the original author should, of course, be given.
  • If the work is available with a Creative Commons license then it may be usable without permission. There are different types of Creative Commons licenses, each one offering a different degree of flexibility. The meaning of each license can be checked here: creativecommons.org/licenses

The advice we give is to make sure that you have permission to publish what you publish and if in doubt, check! We’re always happy to answer any queries you might have, however small they may seem. Look out for my next post explaining how I deal with queries as they come in.

Laura


Midsummer at the Sociolinguistics Symposium

8 July 2014
The opening reception

The opening reception

Last month Tommi and I attended the 20th biennial Sociolinguistics Symposium which took place in Jyväskylä, Finland.  We were very much looking forward to the conference and visiting Finland at this time of year, as the 24 hour daylight makes “Juhannus” (Midsummer) a really special occasion. Tommi, being an English-Finnish bilingual, knows the country, language and culture well and was able to explain all the traditions of “Juhannus” to me, as well as translate many footballing terms as I attempted to follow the World Cup on Finnish TV!

Our stand was well-placed in a lovely, airy atrium where the coffee breaks were held. It was a really lively space as the delegates streamed in between sessions to socialise over the coffee and Finnish culinary treats.  I was pleasantly surprised by the Finnish food that I tried during our stay and particularly enjoyed Karelian pies (rice pies), Rieska (potato flatbread) and Reindeer stew.

Author Lyn Wright Fogle signing a copy of her book

Author Lyn Wright Fogle signing a copy of her book

As well as co-manning our stand Tommi ran a lunchtime workshop on publishing an academic book and took part in the roundtable entitled “Academic publishing and access to knowledge: A discussion on current trends, challenges, and possible futures”.  Such events are great ways for us to engage with the delegates and hear their thoughts, questions and concerns about academic publishing.

As usual, we brought a wide selection of our latest books with us and the delegates snapped up the special conference discount that we always offer.  The bestselling books of the conference were Identity and Language Learning (2nd Edition) by Bonny Norton, Jan Blommaert’s two books Ethnography, Superdiversity and Linguistic Landscapes and Ethnographic Fieldwork (with Dong Jie), the new 4th edition of Colin Baker’s best-selling book A Parents’ and Teachers’ Guide to Bilingualism and Flexible Multilingual Education by Jean-Jacques Weber.  The latter two books are both part of our trial bookmark scheme which you can read about here.

The Midsummer bonfire

The Midsummer bonfire

To make the conference extra special, the organisers arranged for the delegates to enjoy traditional Finnish Juhannus celebrations by running a lake cruise to a Midsummer party on an island.  There we enjoyed a kokko (bonfire), buffet and humppa dancing. Much fun was had by all before we travelled back in the extraordinary midnight sun! Thank you to the conference organisers for putting on such a fun evening and doing an excellent job at hosting the conference.  We are already looking forward to the 21st Sociolinguistics Symposium.

Laura


AAAL conference and doughnuts!

15 April 2014

My first conference for Multilingual Matters was AAAL in Portland. I had been reliably informed the AAAL crowd were a very pleasant bunch and that Portland was a gastronomic delight, so when I left the house at 3.30am on a Friday morning I was hoping it was all going to be worth it! I wasn’t disappointed.

Fresh faced and eager to get started!

Laura, Tommi and Kim: Fresh faced and eager to get started!

The conference itself was great, very well organised and we saw many of our authors and editors during the event. We’re told it was AAAL’s best ever attendance, with 1,700 delegates and a high number of delegates from Australasia and Asia. Our books sold very well indeed, with Bonny Norton’s 2nd Edition of Identity and Language Learning taking the top spot. Other popular books included Multiple Perspectives on the Self in SLA edited by Sarah Mercer and Marion Williams, Ethnography, Superdiversity and Linguistic Landscapes by Jan Blommaert, and Language, Migration and Social Inequalities edited by Alexandre Duchêne, Melissa Moyer, and Celia Roberts (the second volume in our new Language, Mobility and Institutions series). Tommi gave a talk on how to publish your first book to between 50-100 people, and wasn’t too scared, and took part in the colloquium on the future of academic publishing in applied linguistics and was terrified, but both went very well! We had very nice comments about both sessions, with lots of insightful questions from the audience.

Maggie Hawkins and Tommi enjoying the Bacon Maple Doughnut

Maggie Hawkins and Tommi enjoying the Bacon Maple Doughnut from Voodoo

Portland was a joy. We ate incredibly well, with the foodie highlight being soufflés with our lovely colleagues from the Center for Applied Linguistics. We managed to squeeze in a trip to Voodoo doughnuts, a must-do in Portland, as well as a visit to Powell’s bookstore – a whole city block with more than a million new, used, and out of print books. It didn’t take long before we found some of our own books in there!

The ethos of Portland - and we loved it

The ethos of Portland – and we loved it

While we didn’t have long to explore the city, we loved what we saw. From resistance banknotes to bars filled with pinball machines – Portland was a total treat and we can’t wait to be back one day!

Kim


New Books on Academic Writing

19 November 2013

A Scholar's Guide to Getting Published in EnglishThis month we are publishing A Scholar’s Guide to Getting Published in English by Mary Jane Curry and Theresa Lillis. This book provides advice to academics needing to publish their work in English when it is not their native language. Nowadays, researchers all over the world are under pressure to publish in English and this book offers guidance to scholars to help them explore the larger social practices, politics, networks and resources involved in academic publishing.

John Flowerdew from the City University of Hong Kong says the book provides “an excellent overview” of the principles and procedures involved in scholarly publishing. The volume is based on 10 years of research and is written by experts in the field. Both Curry and Lillis have published widely in the field of academic writing.

Risk in Academic WritingWe are also publishing another book on the topic of academic writing next month: Risk in Academic Writing edited by Lucia Thesen and Linda Cooper. This text brings together the voices of teachers, students and authors to examine the idea of risk in the world of academic writing.

Professor Sue Clegg from Leeds Metropolitan University calls it “a powerful, challenging, engaging, and moving collection” and Claire Aitchison from the University of Western Sydney says it is a “must-read.”

Both these books complement our existing publications on similar topics including Plagiarism, Intellectual Property and the Teaching of L2 Writing by Joel Bloch and Ethnographic Fieldwork by Jan Blommaert and Dong Jie.

Plagiarism, Intellectual Property and the Teaching of L2 WritingEthnographic FieldworkAll these titles are available on our website at 20% discount. If you would like any more information about any of these titles or if you’d like to receive a copy of our latest catalogue please email us at info@multilingual-matters.com.


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