PPT-Writing and Publishing

Ranga Rodrigo Contents Research and publishing Where to publish Publication process Peer review Structure of an article Writing style Typographical software What Is Research Searching through Google and finding out something that I or my colleagues do not know about . Shaping the Future. Kevin L. Smith. Duke University Libraries. Turn and face the strange. “Changes” and opportunities. Dramatic realignment in academic publishing?. Denied by many publishers. Survey shows faculty satisfaction. LUC 2013 • October 3-4, 2012 • Baton Rouge, LA. Your Presenters. Megan Lowe, University of Louisiana at Monroe. Coordinator of Public Services/Associate Professor. Founder and Editor of . Codex: The Journal of the Louisiana Chapter of the ACRL. Tips & Resources. November 8, 2013. Arti Sharma, M.Ed.. Educational Technologist . IS & T. artis@bu.edu . 617-353-6349. Who is here?. Name . Department / Organization. What are you hoping to get from this session?. LLA 2014 • March 26-28. ,. 2014 • Lafayette, LA. Your Presenters. Megan Lowe, University of Louisiana at Monroe. Coordinator of Public Services/Associate Professor. Founder and Editor of . Codex: The Journal of the Louisiana Chapter of the ACRL. Debbie Fraser. Why publish?. Fame and fortune??. Personal satisfaction. Academic requirement. Building a resume. Making a contribution to your . field. Fame and Fortune. Fortune no- with the exception of commissioned work, most journals do not pay for articles. . with Tony Nester. The Different Approaches to Publishing. 1. . Traditional Publishing- . through established brick-and-mortar houses such as Double Day, Penguin, Chelsea, Harper-Collins, etc…. 2. . Surveys – entry, 2-3 times, final. Please give feedback. Support each other. Check the LinkedIn group for Zoom meetings (in case you miss an email). Housework . Give you the tools and process for writing a book. Sarah H. Baker. w/a Sarah . Storme. , S.H. Baker, . and Lydia Parks. sbaker46@comcast.net. Editing. Cover. Marketing. “Printing” Distributing . = Publishing Platform. Major Retailers. Amazon . Barnes & Noble. Dr Paul Ayris . Director of UCL Library Services and UCL Copyright Officer. Chief Executive, UCL Press. Chair of the LERU community of Chief Information Officers. Adviser to the LIBER Board on Horizon 2020 and EU issues. luludotcomStepFinish the drax00660074 and send content to editors90 Days90 Days90 Days60 Days60 Days60 Days30 Days15 DaysFinalize manuscript and write metadata and front/back matter3 Design cover and Bearne Eve Helen Wolstencroft2007 Visual Approaches to Teaching Writing Multimodal Literacy 5 -11-Paul Chapman PublishingBirnie f Billie 2014 A Teachers Guide to Organizational Strategies forThinking Ethnography centers on the culture of everyday life. So it is ironic that most scholars who do research on the intimate experiences of ordinary people write their books in a style that those people cannot understand. In recent years, the ethnographic method has spread from its original home in cultural anthropology to fields such as sociology, marketing, media studies, law, criminology, education, cultural studies, history, geography, and political science.  Yet, while more and more students and practitioners are learning how to write ethnographies, there is little or no training on how to write ethnographies well.  From Notes to Narrative picks up where methodological training leaves off.  Kristen Ghodsee, an award-winning ethnographer, addresses common issues that arise in ethnographic writing. Ghodsee works through sentence-level details, such as word choice and structure. She also tackles bigger-picture elements, such as how to incorporate theory and ethnographic details, how to effectively deploy dialogue, and how to avoid distracting elements such as long block quotations and in-text citations. She includes excerpts and examples from model ethnographies. The book concludes with a bibliography of other useful writing guides and nearly one hundred examples of eminently readable ethnographic books. In Writing Ethnographic Fieldnotes, Robert M. Emerson, Rachel I. Fretz, and Linda L. Shaw present a series of guidelines, suggestions, and practical advice for creating useful fieldnotes in a variety of settings, demystifying a process that is often assumed to be intuitive and impossible to teach. Using actual unfinished notes as examples, the authors illustrate options for composing, reviewing, and working fieldnotes into finished texts. They discuss different organizational and descriptive strategies and show how transforming direct observations into vivid descriptions results not simply from good memory but from learning to envision scenes as written. A good ethnographer, they demonstrate, must learn to remember dialogue and movement like an actor, to see colors and shapes like a painter, and to sense moods and rhythms like a poet. This new edition reflects the extensive feedback the authors have received from students and instructors since the first edition was published in 1995. As a result, they have updated the race, class, and gender section, created new sections on coding programs and revising first drafts, and provided new examples of working notes. An essential tool for budding social scientists, the second edition of Writing Ethnographic Fieldnotes will be invaluable for a new generation of researchers entering the field. In Writing Ethnographic Fieldnotes, Robert M. Emerson, Rachel I. Fretz, and Linda L. Shaw present a series of guidelines, suggestions, and practical advice for creating useful fieldnotes in a variety of settings, demystifying a process that is often assumed to be intuitive and impossible to teach. Using actual unfinished notes as examples, the authors illustrate options for composing, reviewing, and working fieldnotes into finished texts. They discuss different organizational and descriptive strategies and show how transforming direct observations into vivid descriptions results not simply from good memory but from learning to envision scenes as written. A good ethnographer, they demonstrate, must learn to remember dialogue and movement like an actor, to see colors and shapes like a painter, and to sense moods and rhythms like a poet. This new edition reflects the extensive feedback the authors have received from students and instructors since the first edition was published in 1995. As a result, they have updated the race, class, and gender section, created new sections on coding programs and revising first drafts, and provided new examples of working notes. An essential tool for budding social scientists, the second edition of Writing Ethnographic Fieldnotes will be invaluable for a new generation of researchers entering the field.