1. Strategy #1: Start Thinking about Publication NOW Make it a goal to have at least 3 publications on your CV by the time you go on the job market These 3 publications might include a book chapter, a co-authored article, a practitioner- oriented article, an “under review” piece. Etc. Shows search committees that you know how the publication process works and that you have a pattern of getting your writing published.

2. Strategy #2: Coordinate Coursework and Conference Proposals Life cycle of a paper/manuscript May, 2011: Wrote a paper for a course on pop culture in the K-12 classroom July, 2011: Manuscript rejected November, 2012: Presented on some of the ideas from the paper at NCTE August, 2013: Submitted (majorly revised) manuscript (co-authored) to a call for proposals for book chapters May, 2014: Published! Bass, T., Johnson, L.L., & Hicks, M. (2014). Creating critical spaces for youth activists. In P. Paugh, T. Kress & B. Lake (Eds) Critical and New Literacies: Teaching toward Democracy with/in/through Post-modern and Popular Culture Texts.

3. Strategy #3: If You Present It, Publish It Image via http://blog.smei.org/wp-content/uploads/2013/03/iStock_000011098014Medium.jpg

4. Strategy #4: Organize your Literature Good writing begins with good reading You’re going to read hundreds and hundreds of articles and books during your doctoral program You must develop a system to keep track of everything you’ve read Be consistent about using your system every time you read anything and you will have an amazing library to draw on when you get to your dissertation

5. Zotero

6. Strategy #5: Keep Scholarly Notes Never read anything without taking notes on it in your “Scholarly Notes” or Annotated Bibliography. During course work, I kept a separate Word doc for each of my classes. Some classes required it, others did not, but it has been one of the most useful things I’ve done in helping me be more efficient. Scholarly notes are the place to practice your summarizing and paraphrasing skills. But, you don’t just want to summarize and paraphrase, you want to begin making connections between reading, keeping track of your analytic thinking as you read these articles.

7. Example from my annotated bibliography Jewitt, C. (2011). An introduction to multimodality. In C. Jewitt (Ed.), The Routledge handbook of multimodal analysis (14-27). New York, NY: Routledge. Jewitt discusses assumptions that underpin multimodality. The first assumption is that language is part of a multimodal ensemble. The second assumption is that each mode does different communicative work. The third assumption is that people create meaning through the selection and interaction of modes. Finally, the last assumption is that the meanings of signs are shaped in specific social contexts. Jewitt also discusses what multimodality is good for and what it can do, for example mapping the semiotic resources of art and visual images. Multimodality is also used to investigate the relationships between modes, for example the interactions between language and image. Digital technologies enable sound, image, and movement to be communicated in new and significant ways. Because of the ultimate knowledge that reading multimedia for its linguistic meanings alone, many researchers have focused on how information is increasingly being produced in bit-size chunks. Multimodal studies show that significant pedagogic work is realized through a range of modes such as image, gesture, gaze, body posture, writing and speech. Students and teacher co-produce notions of ability, resistance and identity in the classroom through their multimodal interactions. The need to rethink what it means to learn and to be literate is a thread that runs through much multimodal research. Five core concepts for multimodality: Mode: a mode is the organizing principles and resources, i.e. gaze, gestures, space, movement, sound, voice, image, mathematical symbolism, written, and spoken language, three-dimensional objects such as tables, and so on. Grammar refers to the regular patterns of using a semiotic resource Semiotic resource: “the actions, materials and artifacts we use for communicative purposes” (Van Leeuwen, 2005, p. 285). Semiotic resources include vocal cords, muscles to make facial expressions, pens and inks, computer hardware, and software, etc. O’Toole and O’Halloran view semiotic resources slightly different. They see them (language, image) as systems of meaning that people have at their disposal. Saussure believed semiotics were fixed (very structuralist) and stable. Social semiotics, on the other hand, see semiotics as socially constructed, and meaning fluid. A semiotic resource, then, offers a different way of thinking about semiotic systems because it sees the role of the sign-maker in making meaning. I appreciate the nod to a more critical stance on pp. 23. Jewitt writes that multimodality can helps us seem how semiotic resources came to be, but the study of them can also allow us to imagine how things could have happened differently and to redesign reality. The analytical focus of multimodality is important “to show how discourses are articulated in a context so that they can be made explicit, shared or challenged and redesigned” (Jewitt, 2009, p. 26). Metafunctions: ideational, interpersonal, and textual Modal affordance: what is possible to express and represent easily with a mode (Kress, 1993), for example the mode of speech is strongly governed by the logic of time because speech sounds have to be uttered one after the other Intersemiotic relationships: multimodal research attends to the interplay between modes to see how each mode interacts with and contributes to the others in the ensemble; they can complement one another or there can be tensions between meanings summar y Key terms My own thought s

8. Strategy #6: Develop the Habit of Writing Every Single Day Set aside a chunk of time each day just for writing. Set a timer during your writing time for 45 minutes. Don’t check your email/FB/phone/twitter. Then, take a 15 min. break. Repeat as needed. Know that some days your writing will go better than others. Accept that some days it will feel like torture and it will seem like everything you write is absolutely horrible. This is part of the writing process. You must accept this and embrace it.

9. Strategy #7: Write with Others See if your advisor is open to co-authoring Find people you like to write with Negotiate order of authorship before the writing begins First draft=first author

10. Strategy #8: Embrace Rejection “Every manuscript has a home.” ~ Donna Alvermann From my rejection pile: The paper is clearly written and well-organized. Popular culture and literacy education has been a topic that has intrigued teacher educators for some time. The author doesn't convince me that s/he is contributing anything new to the field. Critical medial literacy is now an established area of study and popular culture a part of most preservice literacy courses.

11. Strategy #9: Identify the journal you want to publish in very early on in the writing process Begin thinking now about the journals in which you want to publish your dissertation findings. Different journals have very different expectations in terms of what they are looking for—practitioner pieces, conceptual pieces, research pieces, etc. Investigate journal impact via Harzing’s Publish or Perish software.

12. Strategy #10: Think of your dissertation not as an end, but as a beginning Manuscript style dissertation: –Ch. 1: Introduction –Ch. 2: literature review (publication) –Ch 3: case study (publication) –Ch. 4: cross-case comparison (publication) –Ch. 5: discussion and implications