1

Avoiding Unintended Death Wishes in Submitting

Manuscripts to Academic Journals

2

Write to editor using his/her name

• Avoid using, “Dear Editor”

• Take time to examine names on masthead and Editorial Board members

3

Include a paragraph in your letter of submission to tell what is unique

and valuable in your paper

• Editors desk reject 5 to 40 percent of submissions that they receive

• A succinct statement as to what is unique and valuable in your paper in your letter to the editor helps prevent this very early negative response.

4

Ask 3 experts/colleagues to read your paper before submission

• Revise your paper using the comments that you receive from experts/colleagues

• Thank colleagues/experts who provide comments to you on the cover page of your paper

• Only 1 in 20 papers submissions have such a thank you in their paper.

5

Write sentences in active voice

• Avoid using passive voice construction: Research reported by Henry (2008) indicated that the effect size for the finding is small (r < .10).

• Use active voice: Henry (2008) reports that the effect size for the finding is small (r < .10).

6

Tell in the first page of your paper what the unique and valuable contribution is in this paper

• Do not hold the reader in suspense as to the principal issue, method, and key finding in the study

• Tell all three in page 1 of the paper: issue, method, and key finding

7

Visualize Findings

• Incorporate a unique visual exhibit (figure) in your paper

• Visual processing of data and case study exhibits grabs readers’ attention and clarifies what you are reporting

• Go beyond using only tables of results• Never present a table of F and p values only• Next few slides include some visuals in a

forthcoming, 2010, paper

8

Creating Visual Narrative Art for Decoding Stories that Consumers and

International Luxury Brands Tell

9Figure 1Phase Dynamics Theory of Epiphany Travel

Prequel

On-going lifeexperiences thatmay include un-pre-, or semi-conscious feelingsthat something isunknown ormissing aboutoneself; unconsciouslyasking, “Who am I?”

Awakening

Recognizinga journey islikely to be necessary;completingplanningsteps to startthe journey;consciouslyasking, “Whoam I?”

T1

Journey

T2

Catharsis

Emotional and cognitiveunderstanding/fulfillment andunderstandingabout oneselfand possiblyother personsimportantin one’s life;deeper knowledgeof who I am.

Post-JourneyStorytelling and (Re)Interpretations

Telling of parables andexperiencing “properpleasure”by relivingeventsand outcomesin the journey;storytelling dynamics

T3 T4

= a world (e.g., landslide) or personal (e.g., lack of knowledge or skills) block often that is unexpected that occurs during the journey

= help from a person—often a person on the scene that provides advice and assistance; serves to help craft solutions and means around world blocks

= delays, breakdowns

= weather or environmental conditions causing a delay or setback in the journey

= good times/moments occurring during the journey

1

2

3

4

5

6

7

8

= physical locations

Key: Ti = trigger—for example, T1 is a communication, event, that provides/surfaces conscious thinking about (1) problems/opportunities and (2) people and places necessary to reach to enable the achievement of desirable end states

= antagonist

= protagonist(other archetypeMay be a protagonist;see Table 1

or= rope signifies help in the form of an animal, product or natural object

= feelings of failure

= feelings of success

10

Summary

• Creating visual narrative art (VNA) of stories that consumers and brands tell achieves several objectives.

• First, creating VNA revises and deepens sense making of the meaning of events in the story and what the complete story implies about oneself and others.

11

• Second, creating VNA surfaces unconscious thinking of the protagonist and other actors in the story as well as the storyteller (recognizing that in many presentations of stories an actor in the story is also the storyteller)

12

• Third, creating VNA of stories is inherently and uniquely fulfilling/ pleasurable/healing for the artist;

• Using visual media allows artists to express emotions of the protagonist and/or audience member, to vent anger, or report bliss about events and outcomes that words alone cannot communicate;

• VNA provides a tangible, emotional, and holistic (gestalt) experience that is uniquely satisfying and does so in a form that many audience members enjoy over and over again.

13Figure 1Phase Dynamics Theory of Epiphany Travel

Prequel

On-going lifeexperiences thatmay include un-pre-, or semi-conscious feelingsthat something isunknown ormissing aboutoneself; unconsciouslyasking, “Who am I?”

Awakening

Recognizinga journey islikely to be necessary;completingplanningsteps to startthe journey;consciouslyasking, “Whoam I?”

T1

Journey

T2

Catharsis

Emotional and cognitiveunderstanding/fulfillment andunderstandingabout oneselfand possiblyother personsimportantin one’s life;deeper knowledgeof who I am.

Post-JourneyStorytelling and (Re)Interpretations

Telling of parables andexperiencing “properpleasure”by relivingeventsand outcomesin the journey;storytelling dynamics

T3 T4

= a world (e.g., landslide) or personal (e.g., lack of knowledge or skills) block often that is unexpected that occurs during the journey

= help from a person—often a person on the scene that provides advice and assistance; serves to help craft solutions and means around world blocks

= delays, breakdowns

= weather or environmental conditions causing a delay or setback in the journey

= good times/moments occurring during the journey

1

2

3

4

5

6

7

8

= physical locations

Key: Ti = trigger—for example, T1 is a communication, event, that provides/surfaces conscious thinking about (1) problems/opportunities and (2) people and places necessary to reach to enable the achievement of desirable end states

= antagonist

= protagonist(other archetypeMay be a protagonist;see Table 1

or= rope signifies help in the form of an animal, product or natural object

= feelings of failure

= feelings of success

14

Table 1 Archetypes, Story Gists, and Brand Examples

Archetype Story Gist Brand Examples

Ultimate Strength When an obstacle is there, it must be overcome, strength must be proven in use.

Timex— “It takes a licking and keeps ticking.

The Siren Power of attraction, linked with the possibility of destruction

Allure by Chanel; Envy by Gucci

The Hero Fortitude, courage, and victory; a journey and transformation

Michael Jordan and Nike shoes; Joe DiMaggio and Mr. Coffee; Power Puff Girls; Forrest Gump

The Anti-Hero Universal message of destruction and attraction of evil; the bad dude

Heavy metal icons; Howard Stern; Jerry Springer; Oakland Raiders; Che Guevara; Harley-Davidson

The Creator Creative inspiration and the potency of imagination; originality; authentic

Coca Cola—the real thing; Walt Disney; Kleenex

The Change Master Transformation, self-improvement and self-mastery

Curves—workout stores for women; Gillette’s Mach 2 Razor; Porsche 911

The Powerbroker Authority, influence and domination—the world’s leading -….; the best …; number one

CNN; E.F. Hutton; Bill Gates; Microsoft

The Wise Old Man Experience, advice and heritage; staying the test of time

Levi’s; Obi-Wan Kenobi

The Loyalist Trust, loyalty and reassurance Coca Cola and “Mean” Joe Green with boy of 12 TV commercial; I Love Lucy; Friends TV sitcom

The Mother of Goodness Purity, nourishment, and motherly warmth Just Juice; Ivory Soap; Tropicana Orange Juice; Aunt Jemima; Fairy Godmother; Witch of the East; Snow White

The Little Trickster Humor, non-conformity, and the element of surprise

Dennis the Menace; Bart Simpson; Pee-Wee’s Big Adventure; SpongeBob SquarePants

The Enigma or Mystery, suspense, and uncertainty Zorro; Abercrombie and Fitch; Star Trek

Source: Developed in part from several chapters in Weretime (2002).

15

Figure 2Example of Monoscenic Storytelling

“End of the Line” by Queena Stovall (American Naïve Artist)

Source: http://www.etsy.com/view_listing.php?ref=cat2_galley_18&listing_id=21389695

Note. The story’s two protagonists are communicating nonverbally to each other (staring at each other while between them an auctioneer and customers go about selling and buying all of the protagonists’ household possessions. (Wife wearinghat is sitting lower left staring at husband wearing hat sitting on the porch. Trees with broken limbs sans leaves signifies the winter of their lives.)

16

Figure 3Pollee Shopping, Buying, and Using Versace Cashmere Coat and Lingerie

£ 1000 £ 150

17

Figure 4Textualizing the Visual Contexts of Pollee’s Shopping, Buying, and Using Versace Cashmere Coat/Lingerie

£ 1000 £ 1502

6

7

8

9

4 5

3

1

Textualizing the Contexts1. Pollee shopping in store at Beauchamp Place and

spots a Versace coat on sale for very low price that she is able to try-on because no anti-theft device

is attached to the coat; Versace’s image sits on topof Pollee’s head.

2. After buying coat, Pollee goes to Rigby & Pellerand buys luxury-sexy lingerie.

3. Pollee calls boyfriend and buys takeaway food to take to his place.

4. Pollee stops at loo and transforms in to a Siren by…5. Taking-off dress and wearing only coat with lingerie

to surprise boyfriend.6. Pollee talks to boyfriend on cell phone.7. Police stop Pollee for talking on cell while driving.8. Pollee explains wearing coat in summer by telling

officer that she is traveling to a vicars and tarts party.9. Pollee arrives home to see her boyfriend watching football on TV; takes off coat, shows him her

transformation; they embrace and have sex.

A

18

Figure 5 Example of Visualizing Theory and Case DataBrand and Consumer Interacting in Storytelling Production of Siren Archetype

Brand, visual message, and

monoscenic story portrayal

Archetype: Siren

12

3

4

5 6

Consumer, Pollee, with unconscious/conscious desire to enact archetype

Story enactment, gist, that follows Siren plot and consumer-brand unconscious/consciousinteractions

Source: Original visual structure that follows from Figure 3 template in Woodside, Sood, and Miller (2008)

A

B

C

D

+ +

+ ++

+

19

Get help; Adopt a Mentor!

• If you have published fewer than 5 SSCI journals, seek out a helpful mentor

• Live with the mentor for two weeks

• Co-author a paper with your mentor

• Learn/ask for seminal readings from your mentor

• Read your mentor’s journal articles

20

Always discuss and cite 2+ articles appearing in the journal that you submit your paper to

• Editors go nuts/hate to receive papers that fail to cite any articles published in their journal

• If you can not find any article relating to your paper in the journal that you are submitting the paper to; do not submit the paper; find a different journal to submit your paper to

21

Avoid Triteness and Avoid Using Psychological Markers

• Never write, “It should be noted that…”

• Never write, “There are four reasons that results in ….”

• Never write “There” or “It” or “Furthermore” or “Moreover”

• Never write, “This article argues that ….”

• Never write, “The authors believe that …”

22

Consider Inviting a Native English Speaker to Become the second, third, or fourth author of

your paper

• Job of the native speaker is to translate your paper from Mandarin English to American English or British English

• Offering co-authorship achieves “buy-in” by the native speaker

• Buy-in necessary for native speaker’s willingness to spend 20 to 40 hours revising the paper to American English and possibly re-analyze the data and rewrite the findings

23

Locate all tables and figures at the end of the paper, not in the text

• Use the following style: call out the table or figure in the body of the text

• Like so:

_ _ _ _ _ _ _ _ _ _ _

Table 1 about here.

_ _ _ _ _ _ _ _ _ _ _

24

Start your list of references on a new page and not on the same

page as the final text page

25

Always do revise if the Editor invites a revision

• An invitation to revise increases the chances of acceptance to 50-50 from 10-90

• Do what the reviewers’ ask you to do if at all possible

• Do write a detailed response of what you have done/not done to each reviewer’s comments

26

Use spell check before submitting

• Do not have misspellings in sentences

27

Important but Seemingly Trifles • Do not use endnotes or footnotes: Avoid

increasing reader’s effort due to footnotes and endnotes

• Do not use “et al.” in the first citing/calling- out a multiple authored reference; include all authors’ names in the first call

• Do not use single quote marks• Avoid using air quotes• Do not use quote marks with indented quotes• Use double spacing only; use double spacing

everywhere; do NOT use single spacing