Dispatches From the Front: Dealing with a Difficult Dean/Chair

Welcome to our inaugural Dispatches From the Frontlines – our new weekly advice post based on the crowdsourced wisdom of our wonderful readers! Each Monday, we crowdsource a question we get from a reader on Facebook and Twitter with a link to a google form. You can then share YOUR experience, insight or advice from your own career using the google form. We collect the responses and share them in a post. We explain more here about confidentiality (guaranteed!) etc. Find us on Twitter with the hashtag: #AcademicDispatches

Today, responses to our first Question: How have you managed a difficult Dean or chair, especially around issues of hiring or tenure? Subquestion: What if you started your job under one Dean/chair, and then got a new one, and the new one is problematic?

We got SEVEN responses, and they’re really great.

First off, advice on managing the Big Picture: ie, how to position yourself proactively as a “busy, productive faculty member” who should not be messed with:

“Be visible but be less available. The difficulties from deans come in many forms. Here, I’m thinking about my early career especially, when I was anxious about how visible I was in the department, but at the same time concerned that if I was to available I wouldn’t get enough research done. I tested this out myself and I’ve used it throughout my career. I started doing it when a couple of colleagues commented that I wasn’t in the department as much as they thought I should be. I didn’t go in more frequently, but every time I was in the building I walked down the so-called corridor of power and nodded or waved to a few important people, especially people like the chief of staff, the Dean, and some full professors. Interestingly, people later commented on how much more time I was putting in at the office! So, my advice to all assistant professors, especially those who identify as women, is to make sure that they’re very visible when they’re on site. Nod or say hi to some of the senior professors or administrators in the department. But, equally, don’t be too available. Get used to saying, “I’m sorry I have a prior commitment and I am unable to take part in X activity.” These twin pieces of advice are about protecting research time, but making sure when you are on site people know you’re there.” [bolding added] (Tenured, Atts/Music/Theter: Cis hetero white woman, age 55)

Second, if you see a problem developing, quickly understand the chain of command, and learn where to find accurate information, allies and support.

“The new Dean doesn’t seem to like me or understand me and I’m about to go up for Tenure or promotion. If this is the difficulty, then it’s important to remember that Tenure and promotion decisions are usually made by more than the Dean. If a promotion and Tenure committee are unanimous in support of the case, it becomes much harder for Dean to override that. So, produce very high quality documents. Get advice from people outside your school or department in order to check the quality of those documents. And talk to other people on the promotion and Tenure committee that are below the level of Dean. You do not necessarily, and maybe shouldn’t, need to mention any fear that the Dean doesn’t like you, after all, you may be wrong! But take the time to explain your research to those of the members. Try to find an advocate that will be able to speak fully and intelligently about your research on your behalf without being too overbearing.”(Tenured, Arts etc. Cis, white, female, tenured R1)

Create a paper trail of offenses and document every single thing. You will need this later.

In addition, as the previous person noted, it’s much much harder for any Dean or Chair to make trouble for you if you’re productive. So, challenging as it is, remember that revenge is a dish best served cold, put up your literal and figurative walls, and get your writing done.

“I was hired by one chair, who was replaced by another excellent and fair chair, who was replaced by a problematic chair with guidelines for promotion and tenure that do not align with the official guidelines agreed upon by the department. My advice is to go above the problematic person to the dean or provost (if they are not at the top of the pecking order). As a junior faculty person, I did not realize right away that that’s what all the other faculty at my institution did. Go to HR. Go to other senior faculty. Document everything in email, including what you agreed upon in meetings. Do this with everybody, as they are busy and will forget what you discussed. Be amicable with the problematic person and write them thank you letters. Research and write as much as you can (you want a slam dunk tenure case so that it is clear that any issues are personal and not professional) and then focus on how to tell craft a story about your research trajectory that is airtight.” (Asst prof, Humanities, white woman, hired straight out of grad school.)

It’s hard for an out of control Dean to mess with a clear university asset, as echoed by this respondent as well. (This has the added advantage of putting you in a good position to seek a new job.)

“Number one: I work hard, get everything done I possibly can, go for grants and other awards to demonstrate that I am an asset. I want this dean to have absolutely no ground to stand on in terms of getting in the way of my tenure/promotion/negotiation. Number two: I try to stay out of the politics between the rest of the faculty/department and the dean. This is a lot easier said than done, but I do try to stay out of it if I can. Number three: I go straight to the dean when there is an issue or a question. The other day, in a meeting with the provost, he raised a new issue about the quality of the work of the faculty in my department. It was a new critique that I had never heard before. So I went directly to him to ask about it. I have also made appointments to ask questions when I hear other things that make me uncertain or unsure. Number four: I’ve applied for a jobs elsewhere, including in another college at my same institution.” (Asst Prof, Social Sciences, 42, Caucasian, first-generation college student, female cis-gender heterosexual, married, two elementary-aged children)

Remember: avoidance is a very legitimate tactic in this situation. You CAN decide to postpone confrontation until after tenure, as is, to reiterate, seeking another job.

“I have been bullied for years by my Chair, a woman different from the Chair who hired me. I have ultimately decided to leave my job for another one. I believe that there should be structures of accountability in place. Junior faculty shouldn’t be left alone to fend against someone who has so much power against them. Retrospectively, I wish I had engaged with my Chair less than I have, avoiding contact with her whenever possible—but that is hard on the tenure track.” ( Asst prof, Hum, Female, mid 30s, white, foreign national)

If you have a faculty union, use it!

“If you are lucky enough to be at an institution with a union, go to your union representatives for advice. I had a department chair who tried to undermine my promotion to full professor by writing a letter saying all the reasons I should not be promoted. Those reasons fell outside of the tenure guidelines (and in some cases, were completely untrue statements). I involved the union and a union rep came with me to meet with my chair and was able to explain why his letter was outside of the guidelines. He removed all of the material designed to undermine me and I was ultimately promoted.” (Tenured, Social Sciences; at the time of this experience, white woman in my late 30’s)

Remember that nothing lasts forever! Bad Deans come and go–and in this day and age, Deans actually shuffle in an out on a very short cycle.

“I’ve been in the academia for nearly two decades. I know that there are good times, whenever the Dean likes me, and there are bad times, when I’m on the wrong side of the Dean in turn. During the good times, I get as much publishing done and negotiate all my teaching and salary package. During the bad times, it is survival mode. That is when I keep a low profile, work mostly from home, strictly mind my lane, and avoid the office gossip and backstabbers which helps a lot.” (respondent info not provided)

Lastly, communicate and share with a group of people you trust, including not just like-minded colleagues and friends, but also outside advisors like attorneys or conflict resolution specialists. Finding out whom to trust may take some time, but it’s possible, and it’s essential, as is self-care. Our final respondent puts it all together.

“I am in the midst of dealing with a disorganized overwhelmed and “victim” chair. The amount of stress it has created for my whole department is tremendous but as young faculty on the tenure track it is especially burdening. Trying to manage the tenure track expectations with the abysmal request and the total disregard for mental space or research has been taxing. It became so difficult and stressful than most of my department does not sleep the moral is extremely low and the general response has been hide and don’t interact unless you absolutely need it. What has worked for me has been to speak with mentors outside of my department. People that know me enough to trust me and for me to trust them. It gave me the space to acknowledge it was an abnormal and difficult situation. They help me prioritize what I actually needed to make sure I accomplish for my tenure. Self care became essential, I still have a bit to do but that’s what created the best buffer so far. My first move was to make sure to have one day a week completely out of contact with email, department, colleagues. Now, I am getting to the point where I am not checking emails in some of the evenings. It makes a big difference. What was hard was that I thought I was the only one suffering from the situation. I guess it got so bad for everybody that people started to open up. I stay clear of the gossip and mal-intended people but talking with positive likeminded colleagues has been the best. We can get out of the frantic state by just stating facts to remove the emotions from the situation. We vent out to each other so we can make decisions for our own work. We acknowledge the situation but try to minimize the blame game to focus on what is necessary or possible. I am in the middle of it so that would be what I am able to contribute here. Beside the two mentors I spoke with professional outside of academia with conflict resolution experience.( lawyer, HR, Team manager); it was interesting to see they mostly all said the same. Try to find out why it is difficult. Is the chair having systemic issues or is it just a compatibility issue and go from there. Hope this helps. I had great boss before so fortunately I know some my characteristics and strength so I could rebuild my self-confidence. This experience really got in my head.” [bolding added] (Asst prof, Arts. etc. white, women, cis-gender, immigrant)


Here’s our question for this week; go here to share your advice!:

I am an international scholar as are many of the people in my department so it is challenging to prepare for job market interviews. I know you recommend not memorizing answers to avoid sounding like a robot. I would love to know how other non-native English speakers prepare to not sound too rehearsed for standard questions or to handle unexpected questions, which can be quite challenging.

How did you like our first Dispatches post? If you have a question you’d like to submit for crowdsourced responses, please share it in an email or in comments to this post.

Sexual Harassment in the Academy: What I Tell Reporters

In today’s post I talk about sexual harassment in the academy, the #MeTooPhD hashtag I created, and the Sexual Harassment in the Academy Crowdsource Survey that I launched two years ago that has 2500 entries. This post is prompted by my conversation with a Washington Post reporter yesterday, who asked for an interview for a new breaking case that he’s covering. He’s the same reporter I spoke to when the survey was going viral and getting lots of media coverage, and I decided it might be a good time to share with you all just what it is I tell reporters when they ask me why sexual harassment is so endemic to academic settings.

I apologize that the video is in two parts. The learning curve to switching to video format is steep, and unfortunately today I learned that my iphone storage was totally full, and so my videos kept quitting midway. I did delete a ton of stuff, and now things seem fine. Thanks for bearing with me while I master the technology!

Here is the link to the Sexual Harassment in the Academy Crowdsource Survey page on the blog.

Check this page (scroll down midway) for the many many interviews I have done on this subject.

Here is information on Prof. Kate Clancy’s work on sexual harassment in the academy, that I mention.

Here is information on Dr. Julie Libarkin’s database of sexual harassers, which I mention, although not by name.

Part I:

Part II:

Rhetorical Choices and Genre Conventions

Step 1 Submit your Genre Piece #2 & Composer’s Statement.
Step 2 Be sure that you upload two (2) files for this assignment — your (1) Genre Piece #2 file AND (2) your Composer’s Statement file. I must receive both files in order to assess your assignment submission properly.
For this course, every genre piece you create must be accompanied by The Composer’s Statement. In this 3-4-page document (at least 1,000 words), please explain:
o The rhetorical choices you made as you composed your genre piece. Define your purpose, audience, and how you wished to affect your audience. Please also discuss your use of rhetorical appeals and the mode and medium you chose to work in.
o How you worked within (or broke out of) genre conventions. Discuss the elements that define the genre most typically, and how you responded to those in your composition. Discuss your style (written or other), your use of design, and how you drew on sources. In fact, as you write, please draw on sources and cite them in the text of your paper and in a Works Cited page at the end.
Your Statement should be documented in the MLA format. Within the text of your Statement, please draw on specific sources that informed your composition. Include both in-text citations and a Works Cited page at the end of your Statement. Remember, you’re reflecting on your process–and persuading your readers that you made thoughtful choices. Maybe your choices weren’t all perfect, but that’s okay. This is your chance to explain your intentions.
• You can organize your Composer’s Statement with the two headings below — Rhetorical Choices and Genre Conventions. Try to answer every bulleted point below in your paper.
• Here are some Student Samples of Genre Piece #2 & Composer’s Statement.
• Use these questions to guide your 3-4-page Composer’s Statement:
Rhetorical choices
o What was your purpose? For example, did you set out to tell a story, report information, or present a persuasive argument? Or some combination? How well do you think you achieved your purpose? What, if anything, might you have done differently?
o Who was your intended primary audience? Secondary audience? Why? Characterize the people in each group. What are their assumptions and expectations about your topic? How did you speak to these audiences? What message did you want them to take away from your composition? For example, did you want them to take a specific action?
o Did you use one or more of the rhetorical appeals (ethos, logos, pathos), and how effective were you in reaching your audience through appeals?
o How and why did you choose the mode and medium that you decided on? What are the advantages to these choices? How might you alter your choices in future genre compositions?
Genre Conventions
o Why did you choose the genre that you did? What elements of the genre interested you the most? How did you use or subvert the conventions of the genre?
o What choices did you make in terms of style (including organization, language, voice, and tone)? What did you consider in making these choices?
o Evaluate your design. Why did you choose to work with text, images, video, and audio (and any other elements) as you did? How effective do you think you were? What might you have done differently if you had more time?
o What sources did you draw on for this piece? How did you decide which sources were right for you? How did you integrate them into your composition? Did you cite them according to the conventions of your genre?

The post Rhetorical Choices and Genre Conventions appeared first on theFreshEssays.

Surviving Your First Conference: Tips for Anxious Newbies

I get a lot of questions about the Academic Conference from junior academics. Conferences are daunting! Even for more senior people. But they are an essential part of your academic career, so the sooner you get comfortable, the better – and honestly the only way to do so is just to jump in and go. And the thing is, the task here is to do the conference without acting like a grad student! This post gives you tips on how. And, check this medium post for a few more tips (not from the academic world, but useful nonetheless, inc.: don’t stare at your phone!)

Just to be clear: conference participation is one of the core elements of the competitive academic record – both giving papers and organizing panels. Later in your career serving as discussant also shows seniority and stature. On the other hand, posters are, for most disciplines, the “kids’ table” of the academic conference, and count far less on the CV (although please note that this does not hold for a lot of STEM fields where posters are highly regarded, so please confirm with your field advisors). 

Giving a paper doesn’t just get your research out to the scholarly community, it also gives you experience with handling live Q and A, which has a major learning curve. Meanwhile, organizing a panel (assuming your association allows students or junior folks to do this) is one of the very best networking strategies there is –  by inviting people slightly senior to you to serve on the panel, you guarantee a larger audience (who will come to see them rather than you) and better time slot than you’d likely merit on your own; you also get the chance to engage with the senior person you invite as discussant, and further, you can probably organize a panel lunch or dinner that allows for deeper conversation, more lasting connections, and maybe even future collaborations. 

Lastly, conferences give you the chance for participating in the life of your discipline, by going to business meetings, or open bars, or other subgroup events, where you might even take on an administrative role (within limits, and never if it interferes with your writing!) that gives you access to a wide network of like minded scholars.

In short, conferences show that you are a serious scholar and are an ideal time to maximize opportunities for networking, self-promotion, professional skills training, and building a public intellectual identity. 

This is all in addition to the basic function of presenting your work, and maybe interviewing for jobs – stressful!

To avoid the wallflower experience, plan ahead. Like, way ahead–by a month or more, but even a couple days will do in a pinch.

Check the program and schedule out the panels you want to attend. Give yourself a couple hour block at the book exhibit. Then, with that done, plot out your breakfasts, lunches and dinners, as well as coffees and cocktails, and consider whom to invite to share those with you. Rather than standing listlessly about in the lobby at 5:30 while everyone around you rushes off to their evening plans looking fabulous, make sure you have planned stuff for yourself to do. If you invite people ahead of time, especially senior people, you have a much greater chance of getting time with them than if you tried to spring something on them at the last minute.

Once there, be sure and follow conference Twitter using the main conference hashtag, as well as other thematic conference hashtags relevant to your interests. Don’t forget that panels often have their own hashtags, especially when they are around higher profile or controversial topics. As you follow the live-tweeting of the event from various attendees, you’ll not only enrich your own understanding of it, but you’ll get an instant insight into the communities of scholars active in the discussion. You now know who to follow, based on what they say. And not only that, you can tweet your own thoughts! Some of the very best real-time commentary and critique happens on hashtagged conference twitter, and these convos are so dynamic and in the moment, that they often catalyze spontaneous face to face meetups.

Also check if there are field-specific events to attend. Back in the day when I was just getting started, I learned that the Japan anthropologists would always meet up for a dinner at the Asian Studies meetings; once I figured this out (just by keeping my ear to the ground at Japan-related panels and by lurking near Japan-related books at the major press booths (U of California Press for example, at the book exhibit) I knew to expect and plan for that event every year. 

Another tactic, check in with your advisor and other faculty members from your department. If you know they’ll be attending, and they’re generous sorts, and open to the idea, ask to tag along to a meal or drinks that they have planned. Not all advisors are willing, but some are. 

Some departments or campuses host events or open bars, so be sure to ask grad students and faculty if there is plan for a meet-up. On the subject of which: free food and wine can often be found at some of the high profile book launch receptions at the book exhibit! Be sure to look for signs on the first day, so you can plan ahead!

Lastly, show up for interest groups. If you’re queer, you can likely find a “LBTQIA Reception” happening at some point or another, and usually this will actually be on the formal program. Same for events for scholars of color, and so on.

Some might advise you to get a Conference Buddy, so that you don’t end up staring forlornly at your online program while eating lunch alone in the hotel restaurant. However, as tempting as this is, I don’t recommend it. You need to use the conference to meet NEW people. That’s the point of networking. So, it’s ok to have your buddy on call for an evening if you both find yourselves at loose ends, or for a breakfast perhaps, but the bulk of your days really should be used to push yourself out of your comfort zone, meet new people, make new connections. And remember, nobody is likely to approach YOU if you are deeply ensconced in conversation with a good friend. So as hard as it is, keep yourself open to fresh encounters.

    And this brings up the issue of the Elevator Pitch. You really do need this, and not just for elevators. The bread and butter of academic conference conversation is, “oh and what do you work on?” You absolutely need a 2-3 minute version of your research.

Sentence 1: Broadly speaking, my work examines…  

Sentence 2: Specifically, my dissertation looks at…. 

Sentence 3: So, I study this specific STUFF (these novels, these chemicals, these populations, these historical documents, etc.) and I study it in this specific WAY (theory, method). 

This is the basic Elevator Pitch. THEN, assuming the person’s eyes have not glazed over, and/or they have made polite “Oh, really?” noises, you then continue with:

Sentence 4: I am finding that… and I basically argue XXX. 

Sentence 5: this actually changes the way we view XX; the field tends to see it as X, whereas my work shows that it’s really Y.

And that’s it.  These sentences are all very short!

 And one last sure fire conference technique. If you find yourself standing next to someone, and your mind freezes from panic, remember: the default politesse of the academic conference is this: “Are you having a good conference?”  The level of enthusiasm in the response signals whether you have the go ahead to keep chatting, or if you’re about to be ghosted. Take both with as good a grace as you can muster, and move on. Remember, you have places to be! (because you already planned them!)

Good luck, conferencers!

The Academy Is a Cult: Podcast Episode One Has Launched

Kel and I are delighted to announce the launch of our Professor Is In podcast! The first episode dropped today, and it is called: The Academy Is Cult.

Kel and I discuss the 7 ways that the academy resembles a cult in its policing of insider/outsider status boundaries and shaming of those who do not conform, whether it be through pedigree, background, identity, topic of study, or levels of obsessive productivity. The PhD training apparatus is our indoctrination mechanism, and the outcome is Imposter Syndrome and a culture of shame and fear.

Find the episode link here, give it a listen on the Himalaya app if you can (it’s the best platform!), and share with your circles!

And, please consider becoming a Himalaya Plus Premium member for $7.99 a month. The podcast will always be free, but Premium membership brings a host of excellent perks that Kel and I have put a lot of thought into, to be as useful to you as possible. We also have a promo code for the first month free: TPII. Sign up by Jan 10 for Early Bird perks (see below)

In particular we’ll be offering live and real-time interactions on the Himalaya Community page; this will replace a lot of Facebook engagement as we attempt to slowly migrate the business away from that platform.

Early Bird Members (ie who sign up by Jan 10) get the following:

*Introductory price of $7.99
*Your name entered in drawing for a document review of your choice with Karen. (First 50 subscribers)
*Your name entered in a drawing for a one-to-one coaching session with Kel. (First 50 subscribers)
*Karen’s 7 day CV Rehab [7 days of advice on building a competitive CV for the career you want].
*Kel’s 7 day Productivity Kickstart [7 days of support on overcoming roadblocks to writing].
*A special Karen video post: “YOU can shape your experience of academia.”

After Jan 10, our Professor Is In Premium community will always give you:

*A monthly live AMA academic career coaching session with Karen
*A monthly live AMA academic productivity coaching session with Kel.
*A monthly Member’s Only podcast with special guests: experts on the the post-ac transition, publishing, tenure, scholar-activism, and more.
*Access to ALL of our Facebook Live recordings from the last three years!**
*Access to all of Kel’s past productivity webinar recordings.**
*An interactive community page for follow up comments and questions.

Really hope you like the podcast and can’t wait to see you over on Himalaya! Send us your suggestions, comments, questions!

**Webinar recordings added on a daily basis until complete

Book Coaching: Nurturing Ideas and the Writers Who Bring Them to Life [Real-Ac/Post-Ac Guest Post]

By Jennie Nash

Jennie Nash is the founder and CEO of Author Accelerator, a company on a mission to help writers write books worth reading by training book coaches to support them through the entire creative process. She is also the author of the book Read Books All Day and Get Paid For It: The Business of Book Coaching. Learn more about being coached or becoming a coach at  www.jennienash.com and www.authoraccelerator.com

From Karen: I invited Jennie to submit this post after getting to know her and her work because we both think book coaching is an excellent #postac #realac option for PhDs to consider, and I’m always on the lookout for small business/entrepreneurial ideas for academics.

To get a deeper sense of what book coaching is all about, check out Jennie’s Author Accelerator free online Book Coaching summit on January 20, 2020. She interviews 15 experts in the field to discuss everything from making a career shift to setting prices to marketing your work, and more. If you are reading this after the summit, the videos are all still available at that link (for a small fee), or you can sign up for her free Introduction to Book Coaching course.

I became a book coach because I was frustrated with the way writing is taught. After publishing six books and figuring out how to navigate the constantly changing publishing landscape, I wanted to teach others what I had learned. For ten years I taught a memoir course at UCLA’s Writer’s Program, but I could never give my students what they needed to make meaningful progress. Like graduate students embarking on original research, book writers are hungry for someone to be immersed in their idea with them – to be down in the heat of the creative process where ideas spring to life, structure is hammered out, and voice and confidence are forged – but a classroom does not allow for that kind of intensive attention. 

When one of my colleagues asked if I would guide her in writing a book about story and brain science, I saw the opportunity to develop a framework for giving a writer everything a classroom course never could, including accountability, ongoing editorial feedback, and emotional support. Lisa Cron worked with me for more than a year as she organized, wrote, and revised her book, and then we developed a book proposal and a plan for approaching agents. She ended up with a two-book deal at Random House. Her books, Wired for Story and Story Genius, have become very popular in the writing world and she is currently writing her third.

Our experiment gave me an entirely new career as a book coach and then as an entrepreneur. After honing my framework for helping writers, I launched a company called Author Accelerator and began training book coaches. My target audience was other writers who were seeking a way to earn extra income to bolster their writing careers, but we also attract a large number of academics – MFA graduates, creative writing professors, English professors, and even people who work in development and communication at universities. 

Academics bring skill, talent, and passion to the work of book coaching and often become giddy to have found a career where they can immerse themselves in the world of ideas, guide others to produce meaningful work, and make money doing something they love. It would be as if someone gave them permission to let go of the parts of academia they found frustrating (students taking courses just to meet requirements, too many meetings and committees, not enough time to truly help the students who want it, not being paid commensurate with their experience) and keep the parts that felt most pure and most inspiring.

Here are the top 8 reasons why book coaching might be a good choice for an academic:

  1. Book coaching is teaching. It is giving writers the tools and resources they need to hone their words and ideas, giving them the framework for doing complex intellectual work, and helping them claim their identity as a writer. Ira Glass says that what is most difficult about doing creative work is that, in the beginning, our ability to perceive greatness is far more advanced than our ability to produce it. There is no more satisfying feeling than helping a writer bridge that gap.
  1. Book coaching is mentorship. The writers who seek book coaching will be among the most highly motivated students you will ever encounter. These are adults who are seeking out the help of a professional and paying directly for their services. They have no requirements to fulfill or any other reason to learn other than straight-up desire. One of my favorite clients is a woman who retired after a distinguished career on Capitol Hill. Her goals in retirement were to learn how to play the cello and learn how to write a novel. I have been working with her for three years. The first novel she wrote was good – but not good enough. The novel she is working on now frequently keeps me up turning the pages to find out what is going to happen – even though I know exactly what is going to happen. It is a joy to guide her.
  1. Book coaching is research. It’s the ultimate way to persist with one idea – to go as far and wide and deep with it as the writer needs to go, and this is as true when coaching fiction as it is when coaching nonfiction. I recently found myself in conversation with a middle grade writer who thought she was writing a book about a child flying alone for the first time because of her family’s divorce. We spent an hour talking about the idea of faith as it relates to being Jewish, and how these ideas could best be expressed in a scene in which the young girl is stranded at an airport on the first night of Hanukkah. I learned something about Judaism I never knew, and the writer figured out that her book was not really about being brave, but about finding one’s identity in a changing world. It was a very satisfying afternoon.
  1. Book coaching is learning. By helping an eager student understand the way to use words to engage a reader, you can’t help but improve you own ability to read, to discern, to write, and to articulate difficult concepts. When someone asks me to explain what an agent means when she said the writing is flat, or what exactly it takes for a reader to feel the same emotion as the protagonist, I can do it. I also find that the more I coach, the more I come to understand and appreciate creativity in all its forms. I love talking to artists and photographers and filmmakers and other creative entrepreneurs to hear how they approach idea generation, doubt, failure, and the concept of perfectionism because it usually helps me figure out one more piece of the puzzle of what it takes to produce creative work.
  1. Book coaching is an introverts’ dream.  You don’t have to leave your house, go to any conferences or meetings, speak in front of an audience, or give a Power Point presentation (although if you want to do those things, you can. I do all those things in the course of my work.)  You often work in silence with people who also work in silence, and there is something sacred about working in this way without being interrupted by anything extraneous to the work itself.
  1. Book coaching is valued labor. You can earn a fair wage for your work because you set the parameters and the pricing. If you can offer a service that is of value to writers – and there are many needed services at many points in the development of a book – you can earn money that feels aligned with your experience and your effort. Too often, creative work is devalued. In my work training and certifying book coaches, I have become an evangelist for people understanding the value they are bringing to their clients and setting their rates accordingly. 
  1. Book coaching gives you independence. You can be in control of how much and how often you work, the kinds of work that you do, and the types of writers you serve. You can create a side gig that boosts your income or a full-time career that supports your family. All the decisions are under your control. Of course, you need to learn how to manage your business and you must adopt the mindset of an entrepreneur, but I have found these challenges to be invigorating – part of the ongoing learning process. In managing my book coaching business, I am also learning skills that my writers need to master in order to manage their own writing careers, because writers need to be entrepreneurs, as well.
  1. Book coaching allows you to make an impact. Through your work, you can help middle school reader fall in love with reading; young adult readers feel comfortable in their own skin; sci-fi and fantasy readers engage with the most pressing issues of our time; nonfiction readers learn everything from what life was like in ancient Greece to the principles of leadership to how to better manage your money; and memoir readers feel less alone in the rawness of their humanity. Sometimes the writers I work with impact just a few people and other times they impact a great many, but regardless of the numbers, the work feels meaningful – both to them and to me.

If you are an academic who is interested in becoming a book coach, I can promise that you already have many of the skills you need to be an effective one. The work you did researching and writing your own thesis and dissertation, and the work you do writing papers, collaborating on projects, and teaching your students to clearly and effectively communicate their ideas, will give you a strong foundation to build upon. You may need to learn about the elements of story, how the publishing industry works, how to set up a sustainable business, and how to manage projects and clients, but these are learnable skills. 

Check out Jennie’s Author Accelerator free online Book Coaching summit on January 20, 2020.

Our New Column: Dispatches From the Frontlines

Since the day we started The Professor is In, we have been dedicated to telling you the truth. We want you to understand the unwritten rules of the academy, and we do our best to prepare you for and support you in what is most definitely an increasingly challenging academic environment.

To continue and grow that mission in 2020, we are starting a new column called “Dispatches from the Frontlines.” 

This time around we are taking up questions from readers that we think will benefit from the experiences and insights of a broad range of scholars. In other words, we are asking for you to share your viewpoints and advice, and we’ll collect it and make it available to the community.

Here is how it will work. Each Monday, we will crowdsource a question we get from a reader on Facebook and Twitter with a link to a google form. If you have any experience, insight or advice from your own career that you would like to share, fill out the google form. 

Like everything we do, the process is entirely confidential. The only information we want from you is: Status/Position (ie, grad student, assistant professor, tenured, post-ac, etc.). Area (Social Sciences, Stem, Humanities, Professional, Arts/Music/Theater) and if relevant, type of institution (R1, R2, Regional, SLAC, CC)–this info gives essential context for any advice. We hope you will also include your age, race, gender, sexual orientation, marital status and any other identifiers you think influence your experience, but these are optional.

On the following Monday, we will publish the Dispatches from the Front column combining your advice and insights along with our own never-in-short-supply opinions.

Find us with the hashtag: #AcademicDispatches

The First Question is: How have you managed a difficult Dean or chair, especially around issues of hiring or tenure? Subquestion: What if you started your job under one Dean/chair, and then got a new one, and the new one is problematic?

You can find the google form HERE.

How to Strategize for the 2020 Job Market

Happy New Year, everyone! It’s the start of 2020. And, it’s also the midpoint of the academic year. That means…. a lot of people are coming back from winter break facing the stark realization that they didn’t get shortlisted for the jobs they hoped for this year.

Other folks are looking ahead to going on the academic job market for the first time next Fall.

For everyone who’s already turning their minds ahead to the applications they’re going to need to send out in Fall 2020, this video is for you. It’s a quick sketch of what to do with the next 8 months to make yourself as competitive as possible for the academic job market next year.

And just to anticipate one predictable reaction: my focus on peer reviewed achievements is most responsive to R1 and elite SLAC hiring, but is absolutely also relevant to lower tiered teaching institutions as well. Those institutions have become increasingly “aspirational”, and frankly, greedy for research outputs even though they don’t support the work with funding or research leave time. And the wretched job market means they can demand high research productivity from their new hires as well. So please BANISH the thought “I just want to work at a teaching oriented school, so I can skip the peer reviewed publishing imperative.” NO. Those days are gone.


Resources Mentioned In Video:

You can go here to schedule a one-on-one consult with me.

Purchase the CV Strategizing Service that I mention in the video here (Special January Reduced Rate just for video post viewers!):


Get the Spring Special 3-Doc Package ($430 instead of $540 for full review of three academic job documents) here; as I mention in the video, Jan-April is THE time to get on our schedule and knock out those job docs like the CV, Cover Letter, Teaching Statement, Research Statement, etc.:



Separation of Duties: How to Support Compliance Requirements

You must write a 4-6 page term paper on a topic of your choice related to IT Security: Planning and Policy (ALL TOPICS MUST BE APPROVED). Some examples would include, BYOD Policies, Remote Access Policies, DRP, BCP or Privacy Policies. Please write the term paper in a Word document and then upload it for grading. Your term paper outline is due at the end of Week 2. Your term paper is due at the end of Week 7. In addition to the 4-6 pages of the paper itself, you must include a title page and a reference page. Your title page must include the title of your paper, the date, the name of the course, your name, and your instructor’s name. You must have a minimum of 3-5 outside sources. Your reference page must be written in APA citation style, Arial or Time New Roman styles, 12-point font. Page margins Top, Bottom, Left Side, and Right Side = 1 inch, with reasonable accommodation being made for special situations. Your paper must be in your own words, representing original work. Paraphrases of others’ work must include attributions to the authors. Limit quotations to an average of no more than 3-5 lines, and use quotations sparingly. It is always better to write the information in your own words than to directly quote. When submitting the paper, it will automatically run through Turnitin for review. PAPERS WITH AN ORIGINALITY REPORT FROM TURNITIN OVER 15% OR OVER 2% FROM A SINGLE SOURCE WILL RESULT IN A ZERO GRADE.

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