I recently had the pleasure of being invited by the Nuffield Foundation (through their ‘Emerging Researchers Network’) to take part in a comprehensive training course from The Conversation‘s subsidiary Universal Impact. Thus, I thought it would be useful to write up some of my reflections on the lessons gleaned there with the hope they might be useful to the countless other early career researchers who are in the same space as me. Now for those that don’t know, The Conversation is one of the most well respected and well-read, researcher-friendly, publications around and is read by millions across the globe annually. If like me, you feel you have much to ‘say’ from a research point of view but no idea how to go about it, then you might find these insights as useful as I did.
Researchers as the new Public Figures
I think for me the first lesson was quite a personal one. The days of ‘objective’ researchers being personally removed from their work are gone. Whether we like it or not, we are increasingly expected to become pseudo-public figures and advocates for our respective frontiers. I’m sure I’m not the only one who has some reservations about that, we’re not all comfortable with bringing the science to (at times) critical audiences. So, this advice is in two parts, firstly this means that you have to be part of the story, when you are pitching an idea to any media source like The Conversation it’s critical to emphasise why you (yes you) are so suitable. Secondly, you might be hesitant with the label of expert, but the way I see it, if we don’t fill this void with cool-headed facts and evidence-based practice, then bad actors will fill that vacuum. This is why places like The Conversation are so important, and as I realised, you’ll have a lot more control in the process than you’d imagine.
The trainer talked about the lifecycle of a story, which included a whole host of editorial support to take you through the journey, with a team of staff writers/editors etc waiting to convert your academic insights into something that is completely accessible to general audiences. On the course, we had the ‘pleasure’ of dissecting our hypothetical pitches. Now, as uncomfortable as these processes can be (I don’t take to them naturally either) it’s a great way to learn how to curate your work for different audiences and ultimately how to defend your ideas. Honestly, If you have an idea for a pitch (any media source) then do it, even if it’s a no, the feedback can be invaluable.
The Power of Narrative
The next aspect I’ve reflected on since the course is the idea of narrative itself. Now most of us spend our time writing lit reviews, bids or long-form writing pieces – If we are honest, how often do we sit and think about the narrative of what we do? A big takeaway here is the importance of this in any sort of mainstream piece, throughout the session we routinely discussed the idea of the story arc; the conflict, solution and resolution. This isn’t just within the purview of fiction writers, it’s an essential tool and one that we must utilise in order to reach larger audiences. I think as human beings we have a deep connection with many forms of narrative, exemplified with our rich oral histories, that predate our written languages. So, I would argue that formatting your article in such a way is not only more compelling, but it can make really difficult concepts easier to understand. A key point here is that stories can still be compelling, informative, attention-grabbing and indeed academically significant.
Some Top Tips…
Okay, I hear you ‘Yes, yes, this is all well and good Anton but how do we actually write one?’. Well obviously, I can’t write it for you (I’m not 100% sure I can write my own yet) but I nabbed a whole host of tricks and tips, I’ll include some of them below so try them out yourself.
- The ‘Top Line Test’ – try summarising your article idea, the whole thing into one sentence (if you can’t it’s probably too broad).
- Think about the style first, are you informing, analysing, persuading or explaining?
- Reflect on your target audience first as opposed to trying to shoehorn it later (far less painful).
- What is the story, and in many ways more importantly, why should we as the reader care? (Your research is important, but we don’t know that).
- Be clear about the purpose of the pitch/article and why you (and not someone else) should be the person to write it.
Finally, I thought I would end with a sort of ‘what not to do’. Mostly because I’m starting to realise it’s my main learning style apparently (but that’s a whole separate blog). The course included some great tips when dealing with editors etc, which to be honest I had no idea about, but these social conventions can make all the difference if you don’t know them. This may seem obvious but don’t overwrite, editors are insanely busy and all the pitches we looked at were no more than 280 words (never send the whole article cold). You want to give the illusion at least that you have written it just for them. Language is another common pitfall here, the trainer expertly picked us up on our apparent everyday language in our pitches, “What do you mean, what’s unclear about a ‘post-structuralist performative lens’ (not to my knowledge a real term, but wouldn’t surprise me if it is)?” No jargon people, we love it, but it’s just a barrier to our audience and is destroying our potential to reach them.
A Final Thought
Now I hope you have found this blog useful, and leaving the pitfalls aside the whole experience was a really positive one. My main learning here is that the world of mainstream media publishing is not quite as scary as we might think it is – there is a whole host of media outlets that are interested in what you have to say. Now get out and start writing, because whatever your field or areas of expertise is, there is a story there that only you can tell…so I implore you, tell it!
Anton Roberts – Sociologist at Manchester Metropolitan University