Category Archives: Publishing

Creating Cigarettes & Wine – a southern bisexual and non-binary coming of age story

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In this post, J. Sumerau reflects on the process of outlining, composing, and publishing Cigarettes & Wine, a southern bisexual and non-binary coming of age story set in the 1990’s and based on zir experiences as a bisexual non-binary person and researcher collecting stories of other sexual and gender minorities over the past couple decades. 

Yesterday, my first novel – Cigarettes & Wine – was officially released.  The novel is a southern bisexual and non-binary coming of age story set in the 1990’s based on hundreds of formal and informal interviews with sexual and gender minorities throughout the southeast I’ve collected over the past couple decades as, first, a curious bisexual and non-binary kid and later, as a researcher focused on sexualities, gender, religion, and health in the lives of sexual, gender, and religious minorities.  In this post, I elaborate on the background and creation of the novel after many colleagues and friends have asked about its origins over the past few months.  For more information about the novel or to purchase it, see here.

Background

I was sitting in a hotel lobby with a colleague I deeply admire and appreciate.  We were talking about all kinds of things related to life, relationships, research, activism, teaching, and the world, and my colleague asked a question about the novels I completed in the preceding months.  The topic was especially relevant at the time since I had just submitted my first novel – Cigarettes & Wine – for consideration for the Social Fictions book series, and since my colleague had done me the favor of being the first person outside my little chosen family / inner circle to read the drafts of the first two novels I had composed.  My colleague’s interest and support and feedback on Cigarettes & Wine at the time was and remains invaluable, but I also enjoyed just how hard I laughed when my colleague asked, “So, this was so real, I gotta know, is this you, your life, it is, isn’t it?”

I laughed because though I had not thought much about it at the time, I understood the question.  The narrator of the novel is a non-binary, bisexual raised in a small town in South Carolina.  So am I.  The novel is set in the same geographic area where I grew up, and in a fictional town similar to the one that I grew up in.  The events in the novel are all things that – both from my personal experiences, from interviews I’ve done over the years, and from a lot of the people who read drafts along the way – have happened to people and / or are familiar to people, and thus, they are real events.  The novel is also written in first person more like a diary of sorts.  I laughed because it was a reasonable conclusion that I could understand, but not one I thought much about while writing the book.  I laughed because my colleague was incorrect, but not entirely incorrect.

My colleague was incorrect because the novel is entirely fictional – none of the characters in the novel are actual people and none of them are me.  Each one of them are composites of many people I have met, observed, interviewed, had relationships with, and otherwise encountered throughout my life.  Desperate for information on and experiences of bisexual (across the spectrum), transgender (across the spectrum), and poly (across the spectrum) people like me, and for even more information on lesbian, gay, asexual, intersex, kink, aromantic, and otherwise Queer people I admired, I began collecting the stories of everyone I could meet when I was a teenager.  Like the narrator, I would fill up journals with fictional versions of my own life (i.e., how it might be in other contexts) and fill journals up even further with all these stories of sexual and gender diverse experience, lives, and realities that were hidden just out of sight all around me.  Later in life, this actually ended up being incredibly useful training for life as an ethnographic, autoethnographic, content analysis, and interview-based researcher, and to this day, twenty years later, I still collect these stories every chance I get though now I do it both professionally and in my personal time.  My colleague was incorrect because the novel is not a retelling of my own story on its own, but rather, it’s more like a mix tape created by integrating the stories of hundreds of sexual and gender diverse / Queer people I have been lucky enough to meet, learn from, and become inspired by over the years.

At the same time, my colleague was not entirely incorrect.  While I do not exist in full in any of the characters or events, some of the events in the book are ones that I experienced as well.  Similarly, I remember very well living two distinct, separate lives as a younger person wherein almost all my straight friends and most of my family had no clue (to my knowledge, though I learned last year I was wrong in at least one case) about half of my life, and wherein my Queer friends knew more about the rest of my life but were never part of interactions I had with the straight, cis, mono world at the time (except secretly on rare occasions).  Further, there are little pieces of my personality, experience, and feelings as a teenager scattered throughout the book (i.e., a joke I like here, a place I hung out there, a conversation I had with someone here, emotions I felt in a tough or wonderful moment there, etc.), and in each of the main characters in the novel.  As someone very close to me put it after reading an early draft of the novel, “You’re everywhere and nowhere in this story.”  Put another way, the story is a mix tape of so many people’s stories, lives, experiences, and emotions, but I show up along the way as the curator of the collection hidden or embedded in this or that character or moment.

All these thoughts went running through my head as I sat in the hotel lobby with my colleague.  When I finished laughing, I simply said, “No, it’s not my story or the story of me, but it is one of what are likely millions of possible stories of people like me or like us.”  My colleague smiled, and asked what I meant.  I said, “Well, I basically took all the stories of people like us – mine and yours included – and put them together the best I could into a collective narrative illustrated through the lives of a group of kids in the 1990’s.”  My colleague laughed, and simply said, “How did you do that?”

Data and Methods

Integrating a wide variety of experiences is not easy, but luckily, it is what I do for a living as a researcher collecting and analyzing data sets of various sizes.  I began writing the stories that would become Cigarettes & Wine in my twenties, but I failed over and over again to accomplish whatever I wanted at the time (I’m still not sure).  I tried to write my own story, but I was never as good at that since I found other people more fascinating.  I tried to write it as a mix tape like I finally did last year, but I don’t think I had the skill set for that kind of writing before years of doing research for a living.  I tried to write it as a collection of disconnected journal entries from various people across the south, but it never seemed to work or flow well.  I gave up on it and pushed it aside when I got the chance to go to graduate school and try to develop a career as a scholar, researcher, activist, and teacher.  For eight years, while I published research, it sat there, a forgotten dream in the back of my mind.

When I decided to try it again last year with the support and encouragement of my life partner and best friend and after so many students suggested I should write a novel about all the stories I’d collected over the years, I approached the book as a research study and the stories I collected over the years – as well as my own experiences – as data for analysis.  Though I was only beginning to learn about it at the time, this approach is actually a rather common one in arts based research movements and traditions.  Despite the fact that, like the narrator in the story, I generally destroy my journals when I’m done with them because for some reason that feels good to me and they’re all made up fictional versions of life anyhow, I kept so many of the stories I collected from other people over the years and so I began to start reading back through them and thinking about remembering other ones and thinking about and making notes on my own experiences and those of other people.  Like I do with research papers, I began looking for patterns in the stories, and setting aside things that multiple people had experienced, dealt with, witnessed, or otherwise felt or known as part of their lives.  From this approach, I came up with a list of common events and experiences that appeared repeatedly in stories from people of varied sexualities, genders, locations in the south, religious backgrounds, family backgrounds, races, and other social characteristics.

Armed with these events as an outline for a narrative, I began creating characters based on integrating aspects of real people (say five or ten different people) into one whole character with thoughts, hopes, loves, fears, dreams, and personality quirks.  Although they changed a lot by the end of the composition process, these character profiles allowed me to start narrating the events that were common in the stories.  I initially tried telling the story from two other characters’ points of view before I finally got it to work with the narrator in the published version.  I also initially started telling a story that spanned from the 1990’s to now, but this proved to be way too much ground to cover so instead I broke it up into two and then three outlined novels (the second is now composed and the third is in progress of composition at present).  Once I had these raw materials (as I call them when I write research papers), I was ready to write the first rough draft of the story.

In the end, I wanted to accomplish three things with Cigarettes & Wine.  First, I wanted a bisexual and non-binary focused story after spending so many years wishing I could find one – much less one set in the world I grew up in – as a kid.  Second, I wanted a story where almost all of the character were Queer in one way or another and in different ways to illustrate the diversity of the amazing people I’ve met over the years who identify and live in so many different ways within the various umbrella terms we use.  Third and finally, I wanted a real story that captured experiences of Queerness in the south, and as a result, I only used events in the novel that showed up in multiple people’s lives over the years and explicitly sought to capture beautiful and ugly, wonderful and terrible things that Queer people experience in our world.

Results

Whether I’m thinking about my journalism, my blogging, my research publications, my short stories, or any other kinds of writing I have done over the years, I tend to agree with the perspective that only audiences can judge the results of a given work.  Personally, I feel like I accomplished the three things I set out to do with this novel, but now that it’s out, I believe that it will be up to readers to figure such things out.

Thinking about the responses and feedback of the people who were kind enough to do me the priceless favor of reading drafts of this work before now, I feel happy with the novel and I look forward to whatever comes next.  There were some that fully praised the work, and others who did not like it much at all.  There were some who thought it was too positive considering LGBTQIAP politics in America at present, and others who thought it was too negative in relation to the same.  There were some who thought the novel should have ended five chapters or so earlier, and others who thought it should have gone on for a few more chapters to offer more detail, resolution, or other bits of wrapping up.  For me, the fact that the reactions have spanned a diversity of opinions even among the relatively small pool of readers thus far suggests I may have got what I wanted – a real, complex portrait of the good, bad, and everywhere in between Queer people in the south experience.  I don’t know if this is correct or how others will interpret the work, but I’m happy with it and that counts for something in my mind.

Instead of trying to ascertain any concrete result or metric, when I think about Cigarettes & Wine as a now published work available for purchase by anyone, I think about the stories that have and continue to inspire me, that others have kindly shared with me so many times over the past couple decades, that resonate with me in cases of both similarity and difference, and that speak to a much wider, more complex, and more varied Queer existence then I can usually find in academic or mainstream media portraits and publications.

I think about talking with people in different states about things like burner phones, secret notes and mixtapes, and stolen kisses in the shadows where no one would see alongside so many other ways people found / find to live their Queerness in spaces that try to erase it from possible options.  I think about laughing with people of different races, ages, sexualities, and genders about awkward and sweet and sometimes scary moments when we first learned this term, that sexual practice, this type of toy or other material, or that type of intimacy.  I think about listening to stories about first loves who are still together – sometimes openly now and sometimes still secretive for many reasons – 30 years later, first loves that died way too soon, first loves that fizzled for any of a million reasons, first loves who were “such a mistake” and others who were “exactly what I needed.”  I think about violence that was explicitly directed at people for being sexual or gender diverse / Queer, violence that was simply tied to living in the south where guns and fights and poverty are often so visible and normal, violence that people heard about that shifted the ways they lived or felt in the moment, and violence that people were grateful for avoiding even when some felt guilty that they avoided it when others could not.  I think about discussions of accidents related to coming out or being outed by others, related to four wheelers, related to the friend who died when a gun went off or when the three wheeler flipped in the field, related to cars on highways and alcohol from plastic cups, related to lack of sexual education, and all kinds of other accidents that occurred as people tried to figure out who they were and tried to figure out how to manage rural and small town cultures.  I think about the conversations about the beauty of religion alongside the horror of religion alongside the fear and shame of religion alongside the liberation of religion depending on what religion, what location, and whether or not one’s Queerness was known to the religious.  I think about the conversations about hateful families alongside the conversations about supportive families alongside the conversations about chosen families.  I think about the conversations with so many more people who are out and open and relatively safe nowadays alongside the conversations with so many more who are still in hiding for one of a million understandable reasons who may or may not ever want to or be able to come out and live openly.

I think about all these stories and so many more, and for me, that’s what the book is about.  For me, Cigarettes & Wine is simply the first of a series of novels I am writing seeking to honor, celebrate, mourn, and embrace all the different forms and experiences of sexual and gender Queerness I’ve seen in my travels throughout the south.  For me, it is an attempt to share the good, the bad, the beautiful, the ugly, and in short, the complex wonder of the many different ways sexual and gender diversity play out and survive and even thrive even in places – like the Deep South – where we don’t often expect it or see it as openly displayed.  For me, it is also an attempt to say to Queer people in the south – and especially the bi and trans and poly folk like me who rarely see ourselves in even LGBT academic and mainstream media coverage – that you are not alone, that there is at least as much beauty as however much pain you might be facing, that the pain you may face is real and not your fault, that the beauty and wonder you find in you and your friends and lovers is also real and worth celebrating and fighting for, and that in the both the best and worst moments of your life you are part of a much larger population, story, and tradition that has and will continue to survive and fight with and for you.

Why and how I started writing social science based novels

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In this post, J Sumerau reflects on the processes and experiences that led zir to begin writing sociological based novels alongside their academic research and blogging endeavors (more information about the novel will be posted as it nears release).

The other day I posted about a dream come true on my Facebook page.  As far back as I can remember, I always dreamed of writing and publishing a novel, and earlier this week I signed the contract for my first novel to be published as part of the Social Fictions Series edited by Dr. Patricia Leavy.  Built upon the combination of my own experiences as a bisexual, genderqueer person and my research into the intersection of sexualities, gender, religion, and health in the historical and interpersonal lives of sexual, gender, and religious minorities, the novel is a bisexual and transgender coming of age story set in the southeastern United States in the 1990’s.  Since my hope is that the work will aid ongoing efforts to educate people about bi and trans experiences and we often use this blog as a way to reflect on academic, teaching, and activist experiences with writing, publishing, and teaching about personal and emotional elements of scholarship, I thought I would use this post to reflect on the experiences that led to the creation of the novel from ongoing academic and creative efforts to write where it hurts.

Like much of my work, the novel began accidentally in an inductive fashion.  I was driving through Georgia on my way back home one day when I found myself playing the same song over and over again on repeat in my car.  Every time the song played, I basically screamed – rather than singing – along to the words and felt a bit overwhelmed in the process.  These actions surprised me both because I had listened to the song many times – it was already one of my favorites – and I didn’t understand why I was having such an emotional reaction to the song at the time.  Seeking to figure it out, I stopped at a truck stop in a rural area, and spent about an hour pacing the mostly empty parking lot thinking about the song, what I was feeling, and my life in general.

When I was younger, I used to write letters to my past and future selves in some of the journals I kept as an exercise in self reflection.  Something about imagining a future and comparing the current me at a given time to the past versions of me that once existed was comforting, and often helped me process emotions, challenges, and writing ideas in productive ways.  As I paced the parking lot, I realized two things.  First, I had not written one of those letters to myself in a long time.  Second, the song I kept playing on repeat and screaming along to felt like one of those letters.  Somehow, when I sung / screamed along to the song I felt like I was singing to an earlier version of myself, and in so doing, I felt very emotional and kept thinking about the things that change and the things that stay the same over time.  I got back in the car, turned the song back on again, and restarted my drive home.

As I drove that day, I kept returning to the ways things change and the ways they stay the same over time.  It seemed like a powerful theme in my own life at the time, and I had been feeling caught between these two poles all year at that point.  On the one hand, I had somehow established a life partnership, close friendships, and a professional career that all were far more positive, satisfying, and fulfilling than I’d ever allowed myself to expect to obtain.  I felt more excited about my own life than I ever had, and I actually looked forward to (still do) time with my life partner, a close network of supportive friends and colleagues, my research and other writing, and my students.  I didn’t know what to make of this because I kept waiting on something to go wrong like it always had in the past.  These aspects of my life were so different from previous experience that I was constantly trying to make sense of my newfound luck.

On the other hand, however, many other things remained the same.  I still heard at least a handful of students every semester repeat the same questions I asked about a decade ago in college (for example, “why don’t scientists seem to know about, write about, or ever mention bi and trans people” or “how can I take these surveys seriously if they only include cis and mono people”).  I still got randomly accosted in bathrooms – the latest time being earlier in the drive through Georgia – because my embodiment in a given moment terrified some cis person.  I had just had my latest dust up with a colleague who was unfamiliar with bi and trans (and to an extent lesbian and gay) histories, terminology, experience, etc because cis, mono and hetero people are not required to learn about us in this world they control.  I had just met with another college student – this one from the area where I was raised who found me through my online blogging – who felt isolated and terrified living in a small southern town.  I still spent everyday in scientific and broader public settings where cis and mono normativities operate as dominant religions most Americans seek to enforce on everyone else, and met people – even many scientists and other well educated folks – who were unfamiliar with and / or actively denied the existence of bi, trans, poly, and some other types of people in our world.  These aspects of my life were so similar to decades past that I wondered if they would ever change.

With these things in mind, I finished my trip back home without ever changing the song playing from the speakers.  I’ve often come up with some of my best ideas – as a writer, a teacher, an activist, a researcher and a person – as a result of this or that song leading me to consider certain feelings, thoughts, or memories.  Aware of this pattern, I began randomly listening to the song and journaling about whatever thoughts and feelings arose over the next few weeks.  At the same time, I began digging through currently in use and old data sets I have of interviews, field notes and historical documents as well as old journal entries, memories, informal interviews I do with people for fun and to learn more about things for my own interests, and notes I kept about research and creative projects that never came to fruition.  In so doing, I found myself looking over notes I had for two novels I tried and failed to write while I was in college.  Back then, I never planned on being a college professor, a researcher, or a teacher, but rather, I had no clue what I would do for a living while dreaming of someday writing and publishing a novel (a dream I carried with me from my earliest memories).  Not for the first time, I realized that my mind was again leading me back to this original dream, and spent some time thinking about how the current version of me might tell the stories I began years ago.

I also spent some time with my life partner talking about all these issues over the next couple weeks.  My life partner pointed out that (a) I’d already accomplished the writing goal I set for myself after graduate school (i.e., I wanted 30 academic publications by the time I retired and I was past that arbitrary number now) in my four years post PhD, and (b) the security I managed to acquire with them and other aspects of my life gave me more flexibility about what I did with my time.  With these things in mind, they suggested maybe it was time to chase the original dream, and that even if I – as I hypothesized I would – failed it wouldn’t matter because I already had a career I loved and did well at so this could just be a hobby on the side.  Finally, my life partner asked me what novels about bi, trans, and poly experience might have meant to me as a kid, and what it might be like to have that resource for kids now, for colleagues still trying to make sense of these aspects of society, and for use in classrooms.  We kept talking about these things for a few weeks, and I kept going over all my notes, data sources, collections of published research, and story ideas.  In the end, I decided to give it a try almost entirely because they believed I could do it, and they convinced me that such stories might be at least half as useful to others now as they would have been for younger versions of me.

Fairly certain it would become yet another unfinished attempt (sometimes its nice to be wrong I guess), I began digging through all the research, narratives, interviews, and other materials I had as well as many of my own experiences over the years the same way I do with my non-fiction, research and advocacy writing projects.  As if I was outlining another analysis for a journal article, I looked for common experiences, feelings, and events throughout the sources to develop a cohesive plot for the novel.  Once I had this outline in hand, I began writing a bisexual and transgender coming of age story that – to my surprise – will be published as my first sociological novel as part of the Social Fictions Series in the near future.  I will post more in the coming times as the release nears, and in the end, my hope is that the novel may be useful both for bi and trans people looking for examples of the complexity and multiple forms of our lives in the world today, and for educators seeking to make sense of and teach about the rest of the world that exists beyond mono and cis normative assumptions.  While I’m still surprised I actually finished (much less found a way to publish) a novel after all the years of thinking “someday I’ll do that,” I look forward to what may come from incorporating my artistic interests into my existing scientific writing endeavors, and hope the work will be useful in a world where constantly explaining bi and trans existence (much less experience) remains a daily requirement for so many people who don’t fit the binary expectations of the broader society.

“You Poor Thing”: New Article Out in The Qualitative Report!

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In this post, Xan Nowakowski reflects on and shares a recent publication in Qualitative Report (available at the link at the end of the post free of charge as an open access document) concerning the embodiment and management of visible chronic illness in daily life.  

Hello again readers! It’s a new season and a new academic year, and I’m happy to report that I also have a new autoethnographic publication coming out this week. If you’ve been following WWIH for a while, you may remember that earlier this year Sociology of Health and Illness published a piece called “Hope Is a Four-Letter Word: Riding the Emotional Rollercoaster of Illness Management”. This article, which focuses on the day-to-day processes and experiences of living with chronic disease, is still available online along with a video abstract introducing the piece.

In the process of writing “Hope Is a Four-Letter Word” I realized there was another rich topic nested within that study, and wound up breaking this theme out into its own critical autoethnography. Specifically, I focused on the nuances of visibility and representation for people whose chronic conditions produce readily apparent changes in physical appearance. The title comes from a comment made to me many years ago as the symptoms of my autoimmune disease became more visible to outside observers.

In this new autoethnography, I compare and contrast my own experiences of living inside a visibly ill body with others’ stated and implicit perceptions of what my life must be like. In doing so, I explore and refine theories of illness as deviance to accommodate multiple intersecting levels of divergence from normative expectations. I use interactionist sociological theories as well as a variety of other scholarly literature to analyze and contextualize my own lived experiences of embodying chronic illness.

As with most of my work, this piece strongly emphasizes the complex and dynamic interplay of multiple domains of life. These include personality traits, social structure, cultural context, political climate, and many more. Likewise, I focus on concepts of health equity and use my own experiences to amplify attention to persistent systems of marginalization and the voices of those affected. Above all else, I encourage other scholars with chronic conditions to share their own experiences of negotiating visible disease, and to advocate for active incorporation of these narratives in both formal systems of health care and informal systems of social support.

Please feel free to download and read the article at no cost here.

Happy Birthday Write Where It Hurts

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This week the Write Where It Hurts blog is one year old. With this in mind, we thought it might be useful to look back over the past year, express our appreciation to the many people who have contributed to the growth and development of the blog and its associated social media sites, and glance toward the coming year.

On June 6, 2015, we launched Write Where It Hurts online and on social media sites with the hope of providing resources for and generating conversation about the personal and emotional aspects of teaching, research, service, activism, and other elements of scholarly and creative life and experience. With this goal in mind, we spent the year utilizing our social media presence to disseminate information and resources, and posting 42 blogs covering a wide variety of topics from a wide variety of backgrounds, perspectives, and traditions. Our hope was and remains to, as one regular reader noted at a recent conference, create a space for open dialogue as well as resources for people managing the personal and emotional aspects of academic and activist life.

Whether looking at numbers or conversations, the past year exceeded any expectations we had at the onset of this project. We have received word of cases where posts from the blog have been useful resources for teaching in classrooms, educating potential allies in activist groups, and sharing experiences in interpersonal settings. At the same time, the blog has garnered much more traffic and attention than we expected it to (especially in the first year), and we have had far more people seek us out at conferences and online for further discussion than we thought would happen. At the same, response to our social media sites has been far more active than we initially expected, and has led to interesting and useful collaborations. All of these and other observations throughout the year suggest this type of space is useful for many people, and encourage us to continue developing it for broader use.

We have also benefitted tremendously in the past year from the talent and bravery of our guest authors. We have truly been privileged to work with incredibly talented and insightful guest writers, and in each case, we – as well as the blog – have benefitted immensely from their perspectives, experiences, and analyses. It is with this in mind that we reiterate our ongoing calls for guest contributors, and encourage anyone looking for a space to Write Where It Hurts to reach out to us with your ideas, compositions, and other thoughts as there may well be space for you on the blog and there may well be others who would benefit from your offerings.

As we move forward, we simply wish to thank you all for an incredible first year in the academic blogging world. Thank you to all the readers, sharers, tweeters, guest writers, and others who made this year possible. Thank you as well to all the people in person and / or online who shared with us the ways the blog posts and / or social media sites were useful to you personally and / or professionally. Thank you all for making Write Where It Hurts first birthday feel like a celebration. We will continue to work on the blog and on social media, and we look forward to all the conversations to come.

Xan, J, & Lain

Writing: Alone.

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Craig Wood is a public school teacher as well as a PhD candidate with an interest in reflective practice methodologies. In this post, Craig’s reflections on lived experience and his conversations with fellow post-graduate colleagues become data and are expressed as a fictional representation. Where are you located in this story?

Promising himself just a short break, Frankie stepped out on to the terrace of his hotel suite. He was still 2500 words from finishing his Masters thesis and he could sense the demons of apprehension closing in on him.

Frankie sipped from his water bottle, drew a breath, and closed his eyes. The cacophony of noise from the Vegas strip below was somewhat dampened by nearly thirty stories of distance.

– Shrill screams from the Big Apple Coaster as it roared and clanked by the Statue of Liberty – The crisp sound of someone elegantly breaking the surface water of one of the hotel’s five pools

… laughter …

– Chinking glasses and cutlery falling on crockery

… voices …

– From the car park below, the bone jarring rattle of a hot-rod turning into West Tropicana Avenue and vibrating through the still air into the distance.

Then, the theme from Happy Days, Frankie’s ringtone for his manager, Sid. Frankie thought to reject the call but

– Hey Frankie! It’s Sid. Ya there yet?

– Yeah Sid.

– Where are ya?

– I’m on the terrace.

– Da terrace! Wadda ya mean ya on da terrace? Ya not spendin’ all damn day in dat hotel are ya?

– I just need to get away from everyone, Sid. Lock myself up. And write.

– Frankie it’s Vegas! I gottya da best damn room, Frankie. Hey! Tell me I’m da bes’ damn manger, Frankie. Look down dat strip and tell me whadda ya see?

– Vegas, Sid.

– Tha’s right, Frankie. Vegas. Three nigh’s time: You. Me. An da best damn ticke’s in town. Pacquiao V Bradley3. I’m da best ain’t I Frankie? Tell me I’m da bes’ manger.

– Yeah.

– I’m da bes’?

– Yeah.

– Good boy, Frankie. Now don’ go bustin’ yaself up on dat book o’ yours. You’re back in Vegas, Frankie. It’s your town. They luv ya!

– Yeah.

– I’ll call ya tomorro’, Frankie.

– Yeah.

Frankie tried to at least say the words ‘Thanks, Sid’, and not just thanks for the room, or thanks for being the best damn manager. Frankie yearned to be able to find the words to tell Sid how important he was in Frankie’s life. Not that any of that mattered, Sid had already hung up. It wasn’t that Frankie was unintelligent. Since retiring from boxing he had balanced a public profile with his private pursuit of a Master of Science degree in Sports Management. Nor did he mean to be curt with Sid, Frankie loved Sid. It’s just that Frankie didn’t want to be around people; that’s a feeling he had had for some time.

Frankie looked out from the terrace. The sun’s rays of dusk were slowly rescinding from the Eiffel Tower, Caesar’s Palace, Treasure Island, and the rest; giving way to the flickering, shimmering neon energy of a Vegas night awakening. Beyond the desert the now deep dark blues of shadow blanketed the mountains that were holding up a horizon of pink and orange pastels. Looking at the emerald lights that were wrapping themselves around the terrace, Frankie briefly thought about giving himself just two rounds of bourbon in some bar, but, determined to stay focused, he sipped from his water bottle, stepped back into his room, shut the door and drew the curtains.

He was alone.

Letting the full drop of plush velvet separate him from the passions playing out beyond his terrace.

Alone.

Frankie flipped open his laptop and scrolled to the top of the document. Everything to everyone: Stories of balancing the demands of elite athletic performance with celebrity. By Frankie Rosetti.

He hovered over the title and changed the font size. Again.

Then the font type.

Then removed the underline…

… and made the title bold.

Then, clicking on his name, changed the text to Francis Rosetti.

An incoming email popped up on the screen. It was from Rex, Frankie’s supervisor.

Hi Frankie, I’ve just read your ethics chapter. Of course you are using pseudonyms for your informants, but I still need to be convinced about using your data to create an entire fiction.

Frankie reread the email seven times.

He could feel his eyes getting wet.

Clasping his hands over his cheeks he read the email twice more as waves of despair enveloped him.

Alone.

Frankie knew … in one of his three suitcases he had brought … he knew he had packed them … interview transcripts that were his data … as well as hand written minutes from all of the meetings he had with his supervisor … and he clearly recalled discussing how he intended to ethically manage his data in the dissemination of his research … it was that meeting, when, after interviewing twelve high profile athletes and meticulously transcribing the interviews, Rex had criticised Frankie for arranging the data alphabetically by sport: Baseball, Basketball, Football, Hockey, Soccer.

“Where are the NASCAR drivers?” Rex had grilled Frankie, “and why are there no Olympic sports? These are omissions that are clearly gaps in your data. Where’s your own boxer colleagues? It’s all a bit basic, don’t you think”

Frankie clearly recalled leaving that meeting feeling demeaned. Like he was some kind of fraud who did not belong in graduate school. It was Sid who had offered a solution.

– Wadda ya so work’dup about, Frankie? You know I can take care o’ dis Rex if he’s bothrin’ ya. Waddas he know ‘bout sports?

Lissen, waddas it madder what sport anyone plays? Ain’t dis all about turning yasself inside out tryin’ to please everyone?

Sid had been right. Perfect even – not about the idea of taking care of Rex – but about the other stuff. So, with a new lease of energy, Frankie had rearranged his data in less than 48 hours. He had gone beyond ‘basic’ delineations based on specific sports and identified patterns in his data that he called: Personal tension; Franchise/team tension; Relationship tension; Fan tension; and Success tension. Then, with specific sports no longer an identifying label on the data, Frankie began the process of further de-identifying the data. The more he played with the data, the more readable it became. Even Sid commented.

– Dat interview stuff ya wrote, ain’t no one gonna read dat. But dis, well dis is like one of dem books ‘bout a person’s life.

Frankie found the minutes he was looking for. In a meeting with Rex where they were speaking about ethics and de-identification, another member of faculty suggested Frankie read Michael Angrosino’s Opportunity House. Frankie had done so. In fact he loved the idea so much that he had run a search to see who else had cited Angrosino. Google Scholar had returned over 2000 hits. A whole world had opened up: Laurel Richardson, Lisa Tillmann-Healy, Carolyn Ellis, Tony Adams. And then Frankie had found an entire book series dedicated to Social Fiction.

Rolling his chair back to his suitcases and opening the second one, Frankie looked over his collection of books by Norman Denzin, Michael Angrosino, Patricia Leavy, Art Bochner, and at least ten other social researchers. He clasped his hands out in front of him, then rolled his shoulders and cracked his neck.

Alone. But with a new sense of energy.

Frankie scrolled down to his chapter on managing data and began typing.

“Hope” Springs Forth: New Article Out in Sociology of Health and Illness!

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In this post, Xan Nowakowski reflects on a recent publication in Sociology of Health and Illness concerning the personal, political, and structural experience of managing chronic conditions in everyday life.

Hello readers! If you’ve been following WWIH for a while, or just know any of us editors outside of the blog, you may have heard a bit about my new article in Sociology of Health and Illness. It’s a critical analysis of my experiences with a prescription drug that has excellent benefits and a lot of potential side effects, and the many sociological lessons learned from trying to find the right balance between the two.

A lot of the illness management literature deconstructs major changes in health status, and the impacts of these events on identity formation and performance. This literature doesn’t yet contain as diverse an array of information and analysis on the day-to-day nuances of living with chronic conditions. I’m hoping to inspire other scholars to delve more into that area, and to do so with a richly intersectional perspective on relationships between health and social life.

To have this article published in Sociology of Health and Illness is a dream come true, and the product of about two years’ worth of work. So I’m thrilled to report that “Hope Is a Four-Letter Word: Riding the Emotional Rollercoaster of Illness Management” is now available online, along with an accompanying video abstract introducing the piece. The print version of the article will appear later this year. In the meantime, if you want to read the article and are having trouble getting access to the online version, just drop me an email.

I also encourage everyone to share the link to the online version with others who may be interested in this topic. I quite deliberately constructed this article as a narrative with theoretical commentary, not a research methods piece. It’s accessible for a wide variety of audiences, not just academics. I wrote the paper with patients, families, clinicians, advocates, and caregivers all well in mind. WWIH readers will recognize a lot of our key themes here: intersectionality of multiple social positions and roles, gender performances and violations of norms, racial and ethnic inequality, symbolic interactionism as a tool for understanding health experience, and of course a hefty dose of storytelling!

An essential contribution of this piece is detailed insight into the interplay between personality and social structure in the experience of chronic illness and the management thereof. By using my own voice to explore the complexities of different theories of social inequality, I hope to help build new ground for dialogue about what chronic illness feels like day-to-day that can inspire improvements in both community support and clinical care. I also hope to open doors for other scholars who occupy one or more marginalized social locations to share and critically analyze their own stories of illness management in everyday life.

On not Writing

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Erika Gisela Abad has a Ph.D. in American Studies, and works at Center for Puerto Rican Studies investigating intersectionality, cultural experience, and oral history among Puerto Rican communities and families.  In this post, Erika reflects on how her research in Puerto Rican Chicago sparks tension and memory in dialogues and debates with her mother.  

I struggle with not writing. Sitting with my mom after a long day’s work watching ridiculous TV shows on streaming media. I do this in the midst of professional uncertainty when my conscious tells me it is important to, well, send out applications. A woman struggling with the invisibility of her work, of her motherhood, closing the computer allows me to make her visible in the mundanity of the everyday to which we’ve arrived.

A mixed class Latina the second to finish college, the first PhD, I got this degree because making a living as a writer a mentor once told me, was going to be difficult. In the place many predicted the MFA would land me, I sit with my mom because of the reasons I write:

To heal, to release anger, to get to truths neither speaking nor working reveal. Drafting and talking through to forgive what moments trauma doesn’t want to let go. As I once wrote a mentor, it’s about getting to the table and trying to write what the other person coming to the table could or would look like. It’s about practicing with characters and metaphors how to listen through the trauma, whether the trauma be colonial, patriarchal or material – whether the trauma be that which has been named or that which must be kept invisible. Sometimes the struggle to survive demands struggles be kept silent. Human suffering, as inevitable as it is, often gets lost in the pursuit of fantasy as well as forgetting. Coming to the table is also about assessing whether the wheel turning revolution can be rebuilt or if the pieces of memory missing – memory missing because of what can’t yet be named – requires so many of us to rebuild it.

And sitting with my mom is about waiting, waiting for memory to reappear. And her memories awaken in the memories of others I record as an oral historian. Memories of parking lots turned into playgrounds, memories of late buses to colleges she never imagined. Memories of drinking Dr. Pepper for the first time, her comfort food, the comfort of being able to know more, taste more than poverty and patriarchy permitted to a young woman growing up where Puerto Ricans were trying to make place. These memories give her life beyond the college she never finished for no other reason than being by herself. Her stories lifting up from computer screens in a voice still weary of helping and reaching, come to life beyond the place of making meaning of leaving that requires returning, overwhelmed by isolation.

And I sit with that, when our skin color differences do not write away the sameness of racism we experience. A paleness that encourages forgetting that my brownness writes on the page, for the stage in ways that have her admit—not to me—that the fight continues. Responses to racism are coded in the traumas we share. Retorts and resistance colored by the adverse childhood experiences that divide us. Sitting is all she wants at the end of the day, at the end of days running, at the end of years climbing to find stable ground in which to root, in which to lift me, among her other children higher. My hands race and wring, legs twitch because work, all the kinds, exige movement.

And I struggle to not write in those moments: moments where the cogs in my head turn too fast for her to keep up; when the questions she asks receive huffs and stomps out looking for roads bigger than the rooms we occupy. In those moments where the grumbles she makes about the car driver who works when she doesn’t, because the car that is freedom to her and is more work to me in ways that put her back on the bus, on the train to move because her fixed time challenges the time that, for me, remains in constant question. The need for work fuels us in speeds and codes the other doesn’t understand.

It takes seconds to remember a woman speaking of a girl ashamed and strained by the laundry she carries on the bus. And I see my mom there, then, aching and taking days off to not have to, again cross the street with bags and baskets. She bought to own to never again walk or rent or borrow. She works to have the luxury, luxuries she couldn’t have back then, then when Puerto Ricans were beginning to make meaning, Puerto Ricans who form the history I collect. Her life fills up in the margins of those stories, of those whose mark on Puerto Rican Chicago get printed in newspapers, shine in their awards, appear on screens to see. Those Puerto Ricans now, in between arguments and questions, spark her to remember her story. Histories she lived differently, differently for reasons the more I learn from others, the more she reveals.

So I stretch and listen and sit still, waiting, waiting till she’s asleep to pull out the books, to open the pc, to take out the pen and paper to write. Because writing is still needed to heal, to move, to forgive, to let go, to uncover, to remember. But not writing—not writing in those moments I steal from reason, from economy—allows me to say thank you, thank you the only way a struggling writer knows how. By counting the wrinkles in her face, the sighs in her stories, knowing that, in between them, remain moments and movements to keep me writing.

Incorporating Underrepresented Populations in Teaching and Research

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In this post, the Write Where It Hurts editorial team reflects on their experience advocating strategies for teaching to and about marginalized populations often left out of mainstream educational materials, research protocols, and data sets (see our recently published Teaching Sociology article on this topic here) in hopes of facilitating dialogue about the incorporation of marginalized and otherwise underrepresented populations in teaching and research.

As people who belong to, write about, teach, study, and engage in advocacy related to varied populations marginalized or otherwise often left out of mainstream education and scholarship (i.e., donor conceived people, adopted people, transgender and non-binary people, people managing chronic physical and / or mental atypical experiences, etc.), we have become intimately aware of the limitations or missing elements within much existing scientific data and educational resources. At the same time, we know all too well the structural and ideological barriers that slow alteration and revision of existing educational rituals, traditions, and structural patterns in concrete settings. As we did in our recently published Teaching Sociology article focused on strategies for inclusive teaching about gender via the use of survey data that often does not explicitly measure the gender diversity of our shared world, we would like to encourage our colleagues to consider strategies for overcoming existing structural and ideological traditions in hopes of continuing dialogue about methods for creating greater diversity and inclusivity within and beyond scholarly and educational materials.

As we note in our recent article, many data sets called “representative” and used to make far-reaching claims often do not contain and / or do not explicitly measure people like us. If, for example, Xan seeks to learn about social patterns related to donor conceived or agender people, such data sets offer no answers despite the use of such data to “represent” national or other whole populations. Likewise, if J seeks to learn about the experiences of transgender, adopted, or sexually fluid people, all ze will learn from data is that such people are not part of the representation of this society. Similarly, if Lain seeks to ascertain attitudes concerning or held by genderqueer and / or bisexual people, most data sets called “representative” will only offer a “representation” wherein such groups do not exist in any identifiable manner. Despite these “missing” populations, researchers, teachers, and advocates will often utilize these sets to make claims about, for example, families, gender, and sexualities that – we would guess unintentionally – ultimately reproduce existing power structures as well as the marginalization of the groups left out of the official representation contained in the data. In fact, we can see similar problems for other marginalized groups including but not limited to homeless people, neuro-atypical people, and multi and inter racial people despite the use of such data to make claims about housing, mental and physical health, and racial dynamics on a regular basis.

Alongside growing recognition of issues with calling limited collections of people and measurements “representative,” we have heard some advocate doing away with these data sets while establishing more inclusive and diverse forms of data collection, measurement, and sampling. Doing so, however, would require massive changes structurally, ideologically, and institutionally, which will likely take much time, debate, and discussion to accomplish. At the same time, we have heard others advocate for maintaining existing practices or rituals while seeking to explain away the limitations or problems with existing data collection, measurement, and coding practices. Doing so, however, would require accepting the ongoing marginalization and erasure of many sections of the population from official representations. In our article, we propose a middle ground between these two extremes wherein we utilize the existing limitations to illustrate important patterns, power dynamics, and structural issues in contemporary society while continuing to push for revisions in existing data collection, measurement and sampling procedures and encouraging scholars, teachers, and others to talk about such data sets in more inclusive ways within publications and classrooms.

With this information in mind, we invite dialogue, commentary and discussion on strategies for inclusive teaching with existing data limitations and issues. Whether one seeks to join this conversation on this site or in relation to our call in Teaching Sociology or in any other space, we invite and appreciate other educators’ perspectives on these matters. To this end, ask yourself what do we say to unrepresented populations when we call data sources devoid of their presence or measurement representative of our world? What institutional and structural steps might we need to take to make our data sources and educational materials more inclusive of marginalized, underrepresented, and otherwise “missing” populations? Why do we push so hard for generalizations instead of seeking to empirically map the complexities, nuances, and diversity of our shared world, and is this pursuit of “representative” or “generalizable” claims worth the potential negative effects such practices may have on marginalized populations? While we will not pretend to have some “right” or “absolute” answers to these questions, our experiences to date within and beyond classrooms tell us these questions might be incredibly important and useful in many ways. Thus, we encourage members of our intellectual and activist communities to engage openly in these (admittedly challenging) conversations in order to move us closer to truly understanding the complexities of our social world and challenging the inequalities that exist within it.

Ripped Pages, Erased words – lessons from the unintended audience

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A writer across genres and disciplines, this anonymous contributor is playing the professional field. She is debating whether to continue tenure track pursuits or focus on a career that lets her write what she chooses while pursuing advocacy work. She is grateful for the conversation/reflection that inspired this essay. 

There were two times in my life – once as a child, another as a young adult – where I was asked to destroy my words. In both situations, men asked me to get rid of my words – a journal and a blog. As a survivor of sexual assault and a feminist scholar aware of gendered language and silence, it was important for my own journey as a writer to fully name and forgive how I had responded to write as a result of those moments. I write this to remind myself why I write, for whom I write and to face the fears that have emerged in what I could/want to write and publish.

First, the journal writing I was doing as a 10-11 year old was framed by divorce, moving, death of a childhood friend and grandparents’ return to Puerto Rico. In that time period, abstract thought developing in my brain along with a great deal of loss in my environment creo un sentido de rencor, angustia y resentimiento. I was angry at everyone before I was a teenager. I had been lost, confused and I felt worthless given how much consistency I had lost. That anger was private until an elder read it. After reading it, he demanded I throw my words away because of how disrespectful and hurtful they were to the people I was framing in a negative manner. My words, my private thoughts were not protected because the journal was neither locked nor stored in a secret place. As a child I internalized the idea that my words did not belong to me. Once I ripped out the pages, I started writing fiction. Fiction as escape, as release, as an optimism I would not allow myself to find in an environment until I grew to live comfortably as a lesbian in a city located in the Western United States.

Ten or eleven years later, I was still acting and writing ‘straight’. I was writing straight fantasies, very PG, I thought, and the object of my affection demanded I take down the blog. Written without ever thinking he’d see it, I grew mortified that someone would share it, especially given the greater social context in which my ‘feelings’ for him were shared with him and how long it took him to tell me that someone told him. The person I was writing about yelled at me for how I felt, for writing it down and for publicizing it the way I had. Again, my words no longer belonged to me and I had to get rid of them. I did. Within months, I stopped associating with all involved. The wounds of being uncovered, of leaving and all that neither of us understand of each other’s life lay as an ever-increasing gap between us. Not just for the manner in which something public-private had been shared, but, more specifically, for what I understood that to represent at the time.

In both of these instances, I took for granted where I was writing. As a child, I needed locks and I needed hiding to keep my words mine. The uninvited and unintended audiences wanted to alter/erase my words because of what those words meant to them. Those words were not direct weapons against them. For me, in either instance, the words attempted to explore hurt, frustration, loneliness. The losses and change were overwhelming with minimal outlets available compared to the extent so many were suffering. I wrote as a means to escape, to let go of feelings. To have that taken from me, literally ripped out, informed fantasy writing that would sustain me until high school gave me access to password protected writing.

As a college student teetering on living in truth/coming out and trying to find smaller ways to be different, blogging was a way to connect with a handful of friends who had online journals and remained as invisible as I intended to be. Like in my childhood, I wanted a way to have a journal go with me wherever I was, operating on the belief that I was insignificant enough not to be distributed. It served as a way to explore curiosities, questions, internalized hetero-romantic idealism and other ideas that are of little significance to me now. In those moments, they were growing pains on paper/on screen. Growing pains that were mine. A question emerged that I will address after explaining how I viewed those two moments.

Those writings were a necessary process in my journey. Tremendous loss shaped how I perceived family because of how little control we had over our lives and over the affects of others’ choices on my ability to have, what I thought, was a normative childhood. No one wants to lose so much so quickly. Divorce and death shake foundations. Those I grew to rely on dispersed, and, in that, the grief of various communities – blood and peer – overwhelmed me. Grief transformed to hate because I could not bring my friend back. I could not go back to the house I had lived in for ten years. I did not have childhood friends I played with living next to me. I had more than my uncle had at my age, but that more was not something I would understand or forgive until others’ affluence taught me the power and resilience I had gained in that year of intense loss and change.

As for the online journal I kept in undergrad, I wanted to rewrite ownership of my sexuality. I didn’t think I owned it because – whether a gender or a community – I had spent a lifetime internalizing that my sexuality was not my own. Women grapple with this as much as those who struggle with being queer. I only allowed myself to understand that I had to hide, negotiate and perform resistance to the factors that informed the lack of ownership regarding my sexuality. Because of how new I had been to that community, because of the struggle I had relating to and working with cismen (of color), I was terrified of sharing the complex emotions I had around my body. When I did, I felt I was giving up too much too quickly. It has taken me years of poetry, therapy, and journaling to forgive myself and those young men for how naive we were about bodies, power, sexuality and desire.

The ownership others take over words based on their age/gender internalized authority remains a struggle in many communities. As writers, we each contend with the implications of ownership and measurement exercised by those who use social media to factor into whether one will be hired, published in the future, or deemed socially appropriate because of how in/visible we hope to be and because there are members of our audience we do not know. Reflecting over reactions remains key because there is a great deal we learn from ourselves in the process. Those lessons can, when we allow them to, spur our creative, intellectual and spiritual growth. Neither silence nor censorship will control the audience that thieves itself into the words to which we do not invite them. Neither silence/self-censorship will adequately erase the effects of our experiences. Writing is a choice, a demand for those of us who have born witness to suffering brought on by silence.

The quality of our writing can improve with awareness of how we control what we choose. As scholars, we control that which we are most informed. I take this out of my journal to share on this blog out of a need to forgive myself for who I couldn’t be for myself in moments I needed to express myself while protecting the integrity of my right to feel. As I grow as a writer, protection remains key, which is why I choose for this to remain anonymous for now. I want to control where my writing goes next. I want it to go to a place where, in the future, attaching my names to these words will not cause me nor any of the people in this narrative harm.

Our Peers, Ourselves: Introspective Tips for Insightful Reviews

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This week’s post is the final in a four part series where Xan and J share experience and tips managing academic publication and reviewing.  In this post, Xan provides tips for being a good reviewer.

Hello readers! Xan here again for our second of two posts on peer review. Last week I shared my thoughts on how peer review often goes wrong, as well as some general discussion on how it can go entirely right. This week, I’m following up with specific strategies to help you write awesome peer reviews that will support your fellow scholars in doing great work while also building your reputation as a professional.

Becoming a great peer reviewer is first and foremost about finding meaningful ways to connect with and support your fellow scholars when you can’t show your face or tell them your name. To do this effectively requires remembering one thing first and foremost, which brings me to my first suggestion to help you become the best reviewer you can be.

  1. Remember that today’s peer reviewers are tomorrow’s authors…and vice versa.

We all dream of receiving kind, thoughtful reviews that help us get to the top of our game as writers and thinkers. We can also probably point to at least a few examples from our careers where reviewers did exactly that, regardless of what the journal editor’s final decision was. Those reviews are the real game-changers, yet they are unnecessarily rare. It’s easier to write a thoughtful and constructive review—especially in cases where you have serious concerns about the methods or findings in a paper—if you remember that the authors truly are your peers. It’s easier still if you stop to think that tomorrow the tables may turn, and the same people might be reviewing one of your own papers. Model your reviews after the kind of feedback you yourself wish to receive!

  1. Read every word of the manuscript with care and consideration.

In academia as well as the applied world, we are often required to read and digest huge amounts of text in small amounts of time. This is a great skill to have, but there are some specific ways to apply it that will help you get the most out of a first manuscript reading so that you can write a really dynamite review. Ordinarily I am the supreme overlord of reading electronically, but I never do this for a peer review. Why? Reading in hard copy helps me to savor every word of the manuscript as if I were reading a favorite poem, and to think about all the ways in which I could possibly interpret each phrase.  This is crucial to writing excellent peer reviews, not only because it gives you a phenomenally solid grasp of the manuscript content, but also because it makes giving authors the benefit of the doubt much easier. How many times have you received a review in which you were asked to do something that you’d already done quite explicitly in your first draft—or worse, attacked for not doing that thing? Don’t be that reviewer. Instead, be the reviewer whose comments are accurate and precise. Editors and authors alike will appreciate your efforts!

  1. Take good notes and save them until a final decision on the manuscript has been provided.

To help you make those accurate and precise comments that will get you to the top of your reviewing game, take concise but thorough notes in line with the text that you can then use to write a point-by-point review. I suggest coding these notes with symbols that tell you where in the review to incorporate each piece of feedback.   Your specific system will vary depending on the precise structure you prefer for your reviews, but most editors will suggest that you offer some distinction between major issues with the manuscript and minor points for improvement.

  1. Consider that something being new or different doesn’t automatically make it wrong.

To be clear, major issues are things like conclusions that aren’t supported by the data, unclear relationships between the literature cited in the “front matter” and the content of the later sections, or weaknesses in the research methods that fundamentally call the findings into question. Some things that are *not* major issues include: need for English-language editing services, typographical or grammatical errors, unconventional choices of pronouns or identity labels, etc. Reviews often become a hotbed for microaggressions towards people who differ from ourselves in one or more ways. It’s much easier to keep the focus on the content when you take careful, detailed notes about why you think something is an issue and what you’d suggest the authors do about it. In cases where there really is a serious issue with the research, it’s also much easier to back up your concerns when you have a detailed record of your thinking.

  1. When you feel tempted to pass judgment on something, ask a question instead.

In my experience as a reviewer, for every paper with such severe flaws as to suggest problematic motives on the part of the authors, there have been numerous others with shortcomings owing more to clarity of expression or thoroughness of explanation than to conflicts of interest. When reviewing a paper that raises “red flags” in your mind, think about how you would want a fellow scholar to respond if they had similar concerns about your own work. Would you want them to eviscerate you on the spot for the possibility of your work not being honest, or would you want them to ask thoughtful questions and encourage you to share the facts before passing judgment? Give your authors enough rope to hang themselves. In most cases, you’ll find that said rope quickly becomes a lifeline that can rescue a sinking argument. And if you still have questions after the final version of a paper appears in print, why not write a thoughtful letter to the editor in response, and net yourself an additional publication while promoting constructive scholarly dialogue?

  1. If you make a suggestion, substantiate it with specific strategies and helpful resources.

I don’t know about all of you, but I love those reviews where someone suggests a change and then offers a citation or two to help me make it. That’s a great way to get yourself noticed as a constructive reviewer, and to make a great impact on the final published research. Humans are remarkably like other creatures in that if we can see a path of least resistance, we are likely to take it and do so gladly. Offer your authors a clear path to greatness and encourage them to follow it! To frame your comments, think about the most helpful and encouraging feedback you received from your mentors in school, whether at the undergraduate or graduate level, and try to emulate that. Point out the precise reasons for which a specific item needs improvement, articulate a concrete strategy for making those improvements, and affirm that the end product will be stronger for the authors’ efforts in implementing your feedback.

  1. Know that being a great reviewer means both speaking thoughtfully and listening attentively.

As reviewers and as writers, we are stronger together than we are individually, especially when we take the time to look out for one another as we do for ourselves. This means not only sharing our own ideas, but also taking the time to consider the insights and perspectives of others whose experiences and contexts may differ substantially from our own. So I’ll put my money where my writing is and turn the floor over to our readers. What tips do all of you have for writing spectacular peer reviews? What lessons have you learned during your time as a peer reviewer that you’d like to pass along to others?

We encourage all of you to share your experiences in the comments—let’s make this one of those supposedly rare Internet postings where it actually *is* a good idea to read the comments—and spread that wisdom around to your colleagues. Writing Where It Hurts about your experiences with peer review makes it easier for all of us to review where it helps!