Avoiding Unintended Death Wishes in Submitting Manuscripts to Academic Journals

1. Avoiding Unintended Death Wishes in SubmittingManuscripts 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

9. Prequel On-going life experiences that may include un- pre-, or semi- conscious feelings that something is unknown or missing about oneself; unconsciously asking, “Who am I?” Awakening Recognizing a journey is likely to be necessary; completing planning steps to start the journey; consciously asking, “Who am I?” Journey Catharsis Emotional and cognitive understanding/ fulfillment and understanding about oneself and possibly other persons important in one’s life; deeper knowledge of who I am. Post-Journey Storytelling and (Re) Interpretations Telling of parables and experiencing “proper pleasure” by reliving events and outcomes in the journey; storytelling dynamics T1 T2 6 T3 T4 1 8 5 2 4 3 7 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 = 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 = feelings of failure = physical locations = antagonist = weather or environmental conditions causing a delay or setback in the journey = good times/moments occurring during the journey = feelings of success = rope signifies help in the form of an animal, product or natural object = protagonist (other archetype May be a protagonist; see Table 1 or Figure 1Phase Dynamics Theory of Epiphany Travel

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.

13. Figure 1Phase Dynamics Theory of Epiphany Travel Prequel On-going life experiences that may include un- pre-, or semi- conscious feelings that something is unknown or missing about oneself; unconsciously asking, “Who am I?” Awakening Recognizing a journey is likely to be necessary; completing planning steps to start the journey; consciously asking, “Who am I?” Journey Catharsis Emotional and cognitive understanding/ fulfillment and understanding about oneself and possibly other persons important in one’s life; deeper knowledge of who I am. Post-Journey Storytelling and (Re) Interpretations Telling of parables and experiencing “proper pleasure” by reliving events and outcomes in the journey; storytelling dynamics T1 T2 6 T3 T4 1 8 5 2 4 3 7 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 = 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 = feelings of failure = physical locations = antagonist = weather or environmental conditions causing a delay or setback in the journey = good times/moments occurring during the journey = feelings of success = rope signifies help in the form of an animal, product or natural object = protagonist (other archetype May be a protagonist; see Table 1 or

14. Table 1 Archetypes, Story Gists, and Brand Examples 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 wearing hat 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 3 6 A £ 1000 £ 150 2 4 5 7 • Textualizing the Contexts • 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 top • of Pollee’s head. • After buying coat, Pollee goes to Rigby & Peller • and buys luxury-sexy lingerie. • Pollee calls boyfriend and buys takeaway food to • take to his place. • Pollee stops at loo and transforms in to a Siren by… • Taking-off dress and wearing only coat with lingerie • to surprise boyfriend. • Pollee talks to boyfriend on cell phone. • Police stop Pollee for talking on cell while driving. • Pollee explains wearing coat in summer by telling • officer that she is traveling to a vicars and tarts party. • Pollee arrives home to see her boyfriend watching • football on TV; takes off coat, shows him her • transformation; they embrace and have sex. 1 8 9

18. Figure 5 Example of Visualizing Theory and Case DataBrand and Consumer Interacting in Storytelling Production of Siren Archetype B Archetype: Siren 1 Consumer, Pollee, with unconscious/ conscious desire to enact archetype 2 Brand, visual message, and monoscenic story portrayal + + A C + 3 + + + 4 5 6 D Story enactment, gist, that follows Siren plot and consumer- brand unconscious/ conscious interactions Source: Original visual structure that follows from Figure 3 template in Woodside, Sood, and Miller (2008)

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