Category: Authors and Books

  • FAQ for Academic Writers When You Want an Authentic Digital Presence

    FAQ for Academic Writers When You Want an Authentic Digital Presence

    What can academic writers do to have a digital presence that shares their writing and helps them connect with people online? Dr. Katy Peplin interviews The Social Academic podcast host, Jennifer van Alstyne in honor of Academic Writing Month (AcWriMo) in November.

    Timestamps

    0:00 Academic Writing Month (AcWriMo) with Dr. Katy Peplin and Jennifer van Alstyne
    2:28 Your online presence is more than just social media
    5:02 Cultivating authentic connections online for graduate students and faculty
    10:18 Overcoming imposter syndrome and the lasting impact of sharing your story
    14:56 Safety and community building online for academics and researchers
    22:39 Jennifer van Alstyne’s tips for your personal academic website or research lab website
    31:20 Did your university offer you a website? Yay. Keep this in mind
    36:44 Aligning your online presence with your personal and professional goals
    39:52 Your impact, your writing, your academic life matters
    45:17 Build confidence by being intentional about how you show up online
    49:09 Increase your impact with strategic approaches to your online presence

    Academic Writing Month (AcWriMo)

    Jennifer van Alstyne: Yay. I am so excited to talk about academic writing today because this is honestly a love of mine and I don’t do it anymore, but I help academic writers all the time with their online presence. I’m really focused on the digital side. Today I have Dr. Katy Peplin from Thrive PhD, and she’s going to ask me questions for academic writers because next month is academic writing month. Well, before we get to the questions, tell us a little bit about amo.

    Katy Peplin, PhD: Okay, so I’m so excited here, but AcWriMo, which is so much more fun to write than it is to say, but is a National Novel Writing Month, which is a sort of longstanding decades old internet tradition at this point where people sign up and try and write 10,000 words of a novel draft in the month of November. There had long been sort of a community around novel writing in that way. Starting the origins of it now are sort of lost to the miss of internet time, but academics have been jumping onto it. I’ve been doing programming for this since 2018, which is quite a few years ago now. But I am really excited because the kind of way that we do it in the Thrive PhD universe, and now I have this great collaborator, Dr. Kate Henry, but we really believe in sort of building a writing practice.

    Not necessarily belting yourself to your chair until you write that journal article or that chapter, but thinking about this as a month to intentionally touch in with your writing, touch in with your projects, experiment with things, and build some awareness around that writing practice. Let’s face it, November is the time where the end of the year looms closer and closer. All of these things that felt really far away in September or July when you’re like, “Sure, I’ll have that done by the end of the year,” suddenly become very real at the same time that semesters end and holiday stuff ramps up. Human things are so complicated. And, at least where I am in the northern hemisphere, the daylight goes away very suddenly. There’s just a lot of things that make writing in November even more challenging. I find that it’s been really fun and helpful to provide as much support as we possibly can for free that whole month.

    Jennifer: I love it. This is one of the things that we’re creating to be a free resource for people. If you’re watching this and you are an academic writer, you’re friends with or supervise an academic writer, please share it with them. We’re going to be sharing tips, advice, and really the struggles that people sometimes go through when it comes to sharing their writing. So this video is for you. It really is.

    Katy: Yes. I’m so excited to be asking you some questions because you’re such a leader and expert in this space.

    I would love to just for the academics among us, how do you define an online presence? Because I know that’s one of those things that can feel bigger than it is, but also smaller than it is. What do you include under that umbrella?

    Jennifer: I’m so glad you asked this question because I feel like people have a really limited view of what it is to the things that we create about ourselves. “If I don’t have a website, if I don’t have a social media, then I don’t have an online presence.” But that’s not true.

    Your online presence is anything that people can find about you online, whether it’s intentionally created by you or not. So that’s Google Search results. Maybe if people ChatGPT get to learn a little bit more about you, what comes up? There’s a lot of ways that we can find what our online presence is, but there’s also a lot of ways that we can be intentional in creating and shaping how people find our story online.

    Katy: That’s such a generous way to look at it because I know so many people who are like, I don’t want to be on LinkedIn or I don’t want to be on this platform. I don’t want to be here. I don’t want to be there. All of that makes sense to me. But it also can be what you want it to be. The kind of point is to be intentional about it.

    Here’s 19 ideas for your digital presence as a faculty or researcher.

    Jennifer: When we think it’s only social media, or only websites, or sometimes even only faculty profile, the thing that we’re often missing is your academic bio. Your bio is ending up on conference websites for journals, for events, programming, maybe fellowships or associations that you’re involved with. There’s so many places where your bio can show up online that it really ends up becoming a massive part of your online presence. People don’t expect that.

    Katy: As somebody who has to regularly produce bios about myself and almost always feels some tension about it. Yes. That it’s such a good point that it’s more information about us circulates beyond where we put it on purpose. Right, exactly. Okay.

    Cultivating authentic connections online for graduate students and faculty

    Katy: What are the benefits that you see of for academics or people in the scholarly space that really do take that step to be intentional and thoughtful about the way that they show up online? What are the benefits that people can see from that?

    Jennifer: I think the benefits that people maybe assume that they’re going to see is a lot of reach or maybe a ton of reads on their writing. And that kind of myth is, I mean, it’s not inaccurate. If you share more, people will find you more.

    But the truth is that the benefits are really about the more individual connections, the reader who reads your writing and not only understands it and relates to it, but is citing it and helping share it with a larger goal in mind of being part of the research community. When I think about the connections that people are sometimes hoping for online, it doesn’t always equate to the meaningful deep relationships that they really enjoy that have come out of it. So whether that’s research, collaborations, new friends in your field, learning about a new conference or association that maybe you hadn’t heard of before, there’s so many opportunities for connection that we miss because maybe we just don’t think there’s agency in doing that, especially if networking feels uncomfortable to you.

    Katy: Yeah, absolutely. I love the sort of way that you’re framing that because I think that for so many of us who reads us or even our H-index or these kind of really concrete data things are the easiest to measure. So we measure them first. But often they not separate from, but not necessarily as meaningful as we might want them to be in terms of the results we’re actually looking for.

    Jennifer: To give you an example, so to be honest, I don’t share my academic writing much. I haven’t done academic writing since grad school. When I think about my own academic writing and my experience of sharing it, it’s been very surprising. I shared I’m in medievalist literature, and so when I shared an article that I had published, I was very surprised by the people who were responding to me: people who were not in my field, people who were not academics, people who cared about the literature, but I didn’t know that they did because they weren’t in the kind of environment that I was used to having these discussions in. Even my own experience, even though it’s relatively old now, I think that it was so meaningful for me to see the kind of invitation that my post ended up being that I didn’t expect.

    I wasn’t like, “Oh my gosh, eight people are going to go read this article now that I’ve posted it on my personal Facebook.” But that’s what happened. Not only did that happen, but someone was like, “Oh, after I read this article, I brought it back to the grad school class where we’re talking about this book.” So then everyone ended up reading it, and I really thought that I was just posting to brag to be like, “Hey, I got this article out.” Like, you did it. This is great. As a grad student, I was very proud of myself and I wanted to share that feeling with people. While sharing your article can be the intention of your post, it’s also okay if you know what you’re sharing is more like me, like a feeling or the kind of warmth that we feel about our article and about our writing. It’s okay to be open about that even if you think that the people aren’t going to read it.

    Katy: I love that so much, and I think that it’s such a brave and kind of generous thing to share because so much of the academic discourse is like I have officially done this important thing and I talk about it with important people and in important stoic ways. And sometimes you really are just like, listen folks, I passed my exams. There’s something so important about sharing authentically. I think that that’s something that academics can miss because in a lot of spaces we have that authenticity gently guided out of us or sometimes with a lot more force than that.

    Jennifer: That’s true. Sometimes when my faculty clients we’re working together on social media. It’s pretty rare, but sometimes we’re actually focused on sharing their book or a specific publication or report that they’ve written. When that happens, they think that I’m going to tell them what to do. They think that I’m going to give them: here’s the specific template, we’re going to do all the things. Instead oftentimes we’re just having a conversation. I’m taking notes while we’re talking.

    The things that you think already? The things that you want to share about your book already? Are good enough. They don’t need someone else to come in and tell you how to do it. Or what to do or what to say. It’s just that sometimes there’s things that we can add, or tweak, or enhance, because the thing that comes right out of our mouth, sometimes it needs a little bit of revision to help more people understand it.

    Subscribe to The Social Academic blog.

    The form above subscribes you to new posts published on The Social Academic blog.
    Want emails from Jennifer on building your online presence? Subscribe to her email list.
    Looking for the podcast? Subscribe on Spotify.
    Prefer to watch videos? Subscribe on YouTube.

    Overcoming imposter syndrome and the lasting impact of sharing your story

    Katy: That leads so beautifully into this question that I have because I tend to work with a lot of early career scholars, so grad students, post-docs, people who are just getting their feet wet. There is this real anxiety about who am I to be sharing about this thing? To your mind, what counts as expertise? What makes this important enough to share? Or do you measure it with something else altogether?

    Jennifer: That’s a good question. I don’t think that I measure it, which is maybe the most interesting part of that. I’ll give an example. I had Meg Mindlin, who is an amazing graduate student, here on The Social Academic podcast. She has a very large platform on social media. She shares video. She shares octopus art. She is so cool. And, she has that same kind of feeling like, is this good enough to share? It doesn’t matter how large your platform is. You can still have that imposter syndrome. And frankly, it doesn’t matter where in your career you are. Meg is feeling that as a recent master’s student graduate.

    And my clients who are mid-career and senior faculty? Many of them also still feel that way. I would encourage you to recognize that feeling. But maybe still practice it anyway because it might not go away. But you know what always makes it go away?

    When my clients and I are doing this live on a call, we have a post, we’re ready to post it, we put it up and they get engagement sometimes while we’re still live. They’re like, “Oh, that’s a relief.” That’s a relief because I was scared about posting it. I did it. I was on the call with you, but now it’s out there and people are seeing it. The act of actually doing it, even if it’s just once or twice for this, even if you feel uncomfortable, it’s good practice. And I would say it’s okay to sit with that discomfort a little bit if you’re talking about something sensitive.

    If you’re attracting negative reactions, I think that’s a different consideration. But for the vast majority of the things that you post, there are ways to talk about it that are not necessarily going to invite that kind of negative reaction. I just want people to feel a little bit more open to exploring it.

    If you draft a post, hit publish, if it’s about your publication. Hit publish even if you’re not sure. So many of the people that I chat with are like, “Oh yeah, I drafted it, but it didn’t end up published.” Yeah, my hope for you is that it ends up published.

    Katy: Oh, what a generous hope. It really reminds me of some of my favorite pieces of writing advice, which almost all boiled down to doing the thing is doing the thing. Writing isn’t necessarily thinking about writing, learning about writing, strategizing about your writing, drafting your writing, writing is writing. I think what you’re saying is sharing and building your presence is about sharing and building your presence. That there’s so much benefit in practice and doing it and learning that way as opposed to trying to perfect it up here first.

    Jennifer: The results are long-term. Especially if we’re thinking about, I guess to be specific like a social media platform like LinkedIn, your post goes out today, maybe tomorrow, but that post has potential to reach people next week, next month, next year.

    I literally went into my LinkedIn analytics yesterday and was like, wow, some of these posts are from over a year ago and they’re still reaching people this week. It’s surprising, but I think that potential was missed on old Twitter. You could reach a lot of people fast, but when the relevant people missed it the first time, they’re not going to see it later. That potential is possible on a profile like LinkedIn. It means that maybe it’s okay, you put a little bit of energy into your LinkedIn profile, even if you’re not job searching, you’re not doing any of the things like I get it, but LinkedIn can still help you reach all those people when you have something you want to say. It doesn’t have to be all the time.

    Katy: As somebody who’s trying to uplevel on LinkedIn at this exact moment, I’m really resonating with what you say because it is this kind of vulnerable. They make it so easy to measure things like likes and metrics and shares, and you’re chasing that dopamine hit. You forget that the post lives beyond that initial kind of chemical brain reaction. It’s helpful to know good or bad that there’s a long tail.

    Safety and community building online for academics and researchers

    Katy: So I now have as from where you’re sitting, say I’m a graduate student, I’m an early faculty member, I’m even a late faculty member. Goodness knows, we’re all busy. I only have a certain amount of time.

    What’s your best pitch for investing some of my precious energy into building this presence when it might not necessarily be something that’s directly measured by my advisor, my chair, my tenure committee, my colleagues? Why do it?

    Jennifer: That’s a good question. I think that the advice that I had even a year ago probably would have been different, but I’ve had a lot of graduate students reach out this year because they want a stronger online presence. They don’t have the time, especially mid-career people with family or folks that are in a transition of fields. If you don’t have the time, but you still want an online presence, there’s ways to have that happen. You don’t have to work with me, but just know that there’s people that can help you and that you don’t have to do it yourself. Or, you can do it with a friend. There’s different ways to take back or make better use of some of that time if doing it yourself is not ideal. When you are planning to stay in academia, when you’re planning to have the research thinking projects that you’re working on now, be something that people can engage with long-term.

    It’s always a good investment of your time to create your online presence. I would never suggest someone not create an online presence unless personal safety was really at not just the forefront of their minds but could affect their mental health. I’m saying that as someone who has been there before, I’m a survivor of domestic violence. When I left my physically abusive ex-husband, I deleted all my socials. I didn’t have anything. I didn’t want to be found online by anyone. So I’ve been there. But I also know the power of taking that space back and being really intentional about what people find there. Do I literally still worry that my ex-husband is going to email my clients and harass them? Yes, I’m not going to lie. Honestly, that is possible. And so when I think about how I show up online, I am very intentional about who is going to see this, how they can engage with it, and what the potential ramifications are if something goes wrong.

    I think about that also right now in terms of protecting my clients when things in America are politically quite volatile for freedom of speech. There’s a lot of things that we can take into consideration in terms of time and energy that are beyond just us, that are a part of the larger world. But when it’s your own time, it doesn’t all have to happen at once. Any small change that you can make for your online presence.

    Whether you’re in grad school or early career researcher, or much later on in your academic career, that time and energy makes a difference. Maybe you’re only updating a sentence or two in your bio. Maybe you’re spending a day focusing on creating that LinkedIn profile that you really did not feel like you needed in the past.

    There are things that you can do and you have agency in doing, but it doesn’t all have to happen at once. And, it doesn’t have to happen at all if it’s not a goal for you. But for most writers that I talk to, it is a goal at least sharing their writing, sharing their research is a goal. I encourage you to have that online presence, even if it’s not the personal online presence that maybe you see friends or colleagues having too.

    Katy: That is such generous advice. I’m so happy to hear you talk about the sort of risk of this because I know that I personally am working with a lot of clients who are afraid not just for their own sort of reputation online, but for the funding of their labs, for the ability to get doxed if they’re studying a thing that somebody finds. I think what you said earlier in kind of our conversation that you have an online presence, whether you work on it or not, that being able to shape things like how I appear on my department website, how I appear in my bios in places that people can access and could potentially freedom of information actor get access to.

    All of that information exists online for most of us through these old conference programs, through all of these other things that more and more are being ingested or searchable in maybe ways that weren’t even two years ago. It’s going to happen whether you are intentionally engaging with it or not. This is maybe a moment for people to say, okay, how can I think about these presences and show up in them in a way that accurately represents my research. But also takes into account that “I need to stay safe, my colleagues need to stay safe, my students need to stay safe, and if they’re going to write it, I might as well write it.”

    Jennifer: There’s power when we show up online. There is also an invitation for folks who maybe look like us, or think like us, or worry about the same things as us, or care about the same things. There is potential for those people to see the space that you’ve taken online and feel that they can claim some of that too, that they can also create more storytelling, more openness, more connection through what they’re able to share online.

    Katy: I think about that with sort of my own presence all of the time because I am pretty open about my mental health struggles on my blog. I am incredibly privileged to do that in a lot of ways because I’m my own boss, so nobody’s going to fire me if I say something. If I can be the one to take on some of that risk and say, “Hey, I had a really crappy mental health day, and here are six ways that I reset,” and knowing that I’m putting that information out for people to encounter it when they need it to? If I can take that risk, then that lets other people take some of that burden off. That’s one of the ways that communities can function really generously is to say, okay, I have this space to take some of this on. Why don’t I host the meeting point for this idea so that you can benefit from it and maybe not have to take that on yourself.

    Jennifer: Yeah, I really like that. And for graduate students who are teaching, early career researchers who teaching, is not just a focus for you, but something that you care about your online presence can really help your students. I have a whole article on The Social Academic blog. I feel like there’s so many people who maybe they’re not going to make an online presence for themselves. They’re not going to make an online presence for their writing, even if they want more people to read it. But they will make an online presence if they understand ways in which it helps more people, especially the people they’re teaching or helping mentor. I encourage you, even if you’re not thinking about this for yourself, it’s okay to think about it for other people too. Because sometimes you’re doing it for other people, and it ends up helping all of you. I think that’s really beautiful.

    Katy: Yes, please do link that for me and for everybody. I think that’s one of the important ways to sort of think about this is that this nourishes all the way down. Just to give a practical example, I work with a lot of people who are looking for labs to join, looking for advisors, or they’re looking for even job searches and they’re trying to figure out fit. There’s so much information intentionally there and not sometimes that lets people know this is a good fit for me. I would be safe to research here. If you think about it like that, these are secret love letters to help you find the grad students who would be really aligned for you, the collaborations that would be really helpful. Then that can give an incentive where you should make a LinkedIn so that you can have a LinkedIn might not have that same hit.

    Jennifer van Alstyne’s tips for your personal academic website or research lab website

    Jennifer: Could I give an example of that?

    Katy: Yes, please do.

    Jennifer: I was working with a PI. We were working on the content for her website pages for the teaching section, and she was kind of wondering, “Should I make this more for the students? Should it be more for people who are evaluating me? I’m not sure who the audience of this page was.” I was like, first of all, let’s make it for the students because I think that’s what’s going to be most helpful. But second, if we can provide a little bit more information for them about your lab, about what it’s like to work with you, it will help them in their future careers.

    She had this light bulb moment, which was, “Oh, last time I was looking through applications for people who wanted to join my lab. I noticed that one of the candidates had a specific lab that I had no idea what it was listed in their resume.” And she was like, “I couldn’t find information about it online other than a quick mention on a university website. So I had no idea how the research from this lab related to mine, and I almost passed the graduate student up.” When they met, they actually talked about the lab and had opportunity to see the connection more clearly, but that hesitation that almost stopped her from reaching out to the student to schedule that interview. When I think about the potential that is missed because PIs haven’t taken the chance to have a little bit of a stronger online presence, it can harm your students. I don’t want that to happen. If you have the capacity, if you have the space to think about how you’re showing up online. Or, if you’re a student in that lab that doesn’t have an online presence, can you add a description of it to your LinkedIn profile so people can learn more about it? You have agency, whether that’s inviting or letting your PI know that you would love for them to have a stronger online presence, or trying to find ways to create space for that yourself. You have options.

    Katy: Yeah. That makes me sort of lead into this next question, which is writing for an online audience is such a specific skill. Are there ways that you can suggest that people can? Because I know that personally, if somebody said, “Hey, make a website to describe your lab,” I might be like, “I don’t know how to do that,” and sort of push it off because it’s so much harder. What are your top tips for helping people build that skill of writing for this specific context?

    Jennifer: Before we can write for the specific contents, we kind of have to know what we want to write. The best resources that I have for folks who are like, “I want to create a website and I’m not sure what goes on it” is: I have one for personal academic websites and one for research lab websites. So there’s an answer for both of you, but it is a long list, a descriptive list of page ideas for your website. There’s so much content that you could add. And, there’s only a handful of that content that probably is most relevant to you. Before you start writing, think about what’s most important for me to share? I will link those articles below as well because they are great resources for anyone who is creating a website, updating a website. If you’re an academic who has that kind of permanent space online, check out these resources because that’s definitely the first place that I would recommend going.

    A lot of people get stuck in the writing process. It’s a reason the services that I create really take most of that away, off of the plate of the faculty who I’m working with. So, I end up doing a lot of writing for folks. Sometimes that’s bio writing, which is its own project. Oftentimes, it’s condensing the things that we talk about in interviews and the materials that they’ve sent to me into written website content. But I want you to know that if you are like, “I can design my own website and I don’t really want to do my own writing,” there are still people who can help you with that. So reach out to me and I’ll help connect you with someone who may be able to support you in that process if you’re not wanting to do it yourself.

    You can be a very strong academic writer. You can be a very good public speaker. You can be very good at all of these things and still feel like your web writing isn’t where you want it to be. This is not an insult to you. This is not a lack of knowledge or skills or capacity. Oftentimes, it’s much harder to write about ourselves than it is to write about other things. Especially things where, yes, you’re in research, you’re getting all of these inputs, data, places that you can cite and source and organize and reorganize. You are used to spending a lot of time on that. And when you think about spending that same amount of time on writing about yourself? It probably doesn’t feel the same way as you feel about your research. That’s okay. One: it’s okay to seek help.

    Two: it’s okay to do it in steps. You could do a one page website first and grow it over time. Three: it’s okay to just publish it. If you’re not sure about your web writing and you maybe want to improve it, but you still want your website up, please, please publish it. Writing can always change over time and your website will 100% change over time. There is almost no one that I’ve ever met that is like, “I made this website once and haven’t touched it since then.” Oftentimes, it’s not going to happen every year, but every once in a while you’re going to notice, “This doesn’t quite feel like me anymore.” Those are things that you can address and change because it’s your space, because it’s your website.

    Katy: There’s so much good advice and strategy in there. One of the things that I’m really hearing that is one of the common phrases out of my mouth too is that as academics, we are sort of taught that “writing is forever.” Once it gets published, it’s a thing and it exists and it’s citable. The reality is both about anything that’s kind of online and also in a lot of ways your academic writing, there’s snapshots of your thinking and time. If time changes and your thinking changes, then you get a new snapshot.

    Did your university offer you a website? Yay. Keep this in mind

    Katy: So many of us carry this kind of really resistance to being like, “I’m not sure that this accurately captures everything.” I can’t tell you: I changed my website five, six times a month because I’m always catching typos or things that didn’t flow or things I want to change or things I want to tweak.

    Those things are so much more visible to me than they are to anybody else. I have built a thriving web presence with zero capital letters and many typos everywhere all of the time. That’s just sort of the brain that I have and the way that I show up. I move a little bit faster and break more stuff and have to kind of redo it. There’s something to be said for learning to do a skill and building it in public. A lot of us as academics are really used to learning in private building, in private researching in private and then presenting publicly and having it be really big stakes. I’m so much better of an academic writer because I started publicly writing those skills feed each other in a way that I didn’t expect.

    Jennifer: Now, one thing that I want to mention about that is a free tool, especially for graduate students, early career researchers. Owlstown is a free academic website builder. If you are wanting a website and you’re like, “I don’t have website skills, I don’t really want to develop them,” Owlstown can set up your website in like 15-30 minutes. You can have a website today for free that’s easy to update and keep with you and kind of personalize a little bit even over time. I just want you to know that that is an option for you. If you’re wanting a website, you’re not wanting to do it yourself or work with an academic website designer like me, that’s okay. There’s options for you to still have that space online.

    Katy: Also to have another sort of low cost plug, I know that my first academic website was hosted through my library at my university. Oftentimes there is somebody in the kind of beautiful war in of resources in libraries that if they don’t know where to do it for free on campus, they can absolutely help you with almost all of those parts.

    Jennifer: This is definitely true, but I am hesitant to recommend it to folks. That’s because I have met so many people whose websites just disappeared when their universities decided to stop offering that service.

    Katy: Oh, wow, okay.

    Jennifer: Sometimes there’s notice, but sometimes there’s not. And so, I just want to be a friend. If you are creating a space on a site that is internal, that’s hosted by your university, yay, I’m so excited for you. Save a copy of all of your text. Save a copy of all your photos just in case. Just in case something goes wrong, I want you to have that so it’s movable to another space if you ever need it.

    Katy: Yes. Speaking from people who lose access to their emails all the time, there is real wisdom in being use the university if they’ve got it. But keep a copy for you.

    Jennifer: Oh, I feel like when I was in grad student, so much of the advice that was given to me was always use your university email address. This is how people are going to know that you’re legit. But the truth is, I lost access to all of those emails. I have no idea of any of the conversations that were shared, and I did not save them in time in order to keep them. When I think about that loss, that loss of what feels like archive to me, it makes me sad. So when I think about the writing that you do, yes, academic writing is important, public writing is important, anything that you create is important, but so are the emails and conversations that you have if they’re meaningful for you to keep. Yeah, this is kind of all areas of your life. If it’s meaningful for you, try and find a way of saving it.

    Katy: Wow. That’s such good writing and information. This is what I find with so many of my conversations with really brilliant people in the academic spaces that we all find the places where everything all connects. One of them is that it just is really important to keep hold of what’s yours, whether that is your data, your information, and if there are ways to keep it personally, then it almost always behooves you to do it because as much as we would like to trust that the Higher Ed institutions are eternal and that our web space and storage will always be there. Goodness knows that things really can shift.

    Jennifer: They really can shift. I was actually just hosting for ContentEd Live. It was a 48-hour Higher Education conference. What I found was that there’s so many people who are making very large decisions about things like website, things like technology infrastructure. They’re coming from a top down approach of making decisions that help and improve things for the entire community. Oftentimes they’re making decisions that affect faculty without recognizing some of the loss that can happen when this kind of decision happens. One example (this is not from the conference), but last year I had a client who came to me because his faculty profile. All of a sudden they’d removed all the email addresses from faculty profiles. So the place that was the home for his online presence no longer helped connect media, journalists, or research collaborators with how to actually get in touch with him.

    All of a sudden there was this new need for an online presence that allowed for those things. Sometimes when those decisions come down from the top, they really do help everyone. This university got 30+ million SPAM and phishing emails each month. I understand why decisions are sometimes made. But when we don’t have control over them, it means that we need to be aware of what our options are for taking up space outside of those structures. We’re all working towards helping students, helping research, helping facilitate the meaning of Higher Education in the world and how it impacts the real lives of the people who are in it. But if we’re losing access to the things that matter most to us, then sometimes we have to recreate those spaces ourselves.

    Katy: Absolutely. There’s something so important as we think about this whole umbrella of an online presence is thinking through what are the most important things for you in this presence? If one of them is “I want outside collaborators to find me, I want to be available for media, I want to be public facing,” then probably where you’re going to spend your time and energy is completely different than “I’m a PI. I want a steady stream of people in my lab who are values aligned and project aligned. They might spend their two or three hours a month completely differently than somebody who has these other kind of options.

    Aligning your online presence with your personal and professional goals

    Katy: One of the things that I’m sure that you see as well as I do is that people kind of get the advice. You have to have a website, you have to have this, you have to have that. And they don’t really think through, okay, what do I want this project? Because it is a project to do for me. And the more clarity you can have about that, the easier it is to make that project fit the need as opposed to trying to collage seven or eight things because somebody told you they were important.

    Jennifer: 100%. Oftentimes I found that actually it may be seven or eight things that are important to you, but there’s a hierarchy for what those things are in terms of your energy, your capacity, what actually fits into your life. Sometimes we’re designing a website that is going to be attractive for media, for podcast invitations, even if that’s not something you’re actively reaching out to. But, the vast majority of our energy is going into explaining the lab and inviting people to explore the projects that you’re doing. I want to encourage people to create intentional time for yourself to think about the people you want to come to your website or to come to visit your online presence. Maybe it’s a LinkedIn profile. Who do you want to come there? How do you hope that they can engage with you? I had one person be like, I just want a repository.

    I don’t actually want to engage with people, but I want them to find my writing.” That’s okay too. We just published her website. It is out there and it’s going to be with her for, frankly, a lifetime. Websites can be there with you for your lifetime. They can grow and adapt with you as your goals and needs change. Maybe media, podcasting, is not a goal for you now. But when you’re running a lab in three years, actually it would be great to have your research on a research podcast in your field. How cool would that be to reach only people who are really into the thing that you’re talking about?

    Katy: Exciting. That’s pretty cool too. Yeah, I think it just is. So with so many things, the intentionality is key. And a little bit of effort in the front to be like, what am I doing with this? And, why do I want it? Can just pay dividends.

    Jennifer: If you don’t want to work through that on your own, reach out. I’m happy to help you with that process. Or, to design your website for you. Whatever feels supportive.

    Your impact, your writing, your academic life matters

    Katy: Awesome. Are there any other things? I guess my last final question is if you were to kind of sum up the very best thing about working with academics specifically on their online presences (as opposed to micro influencers or content house kids or, I taught digital media, so I’m always like, Ooh, the handlers of famous internet cats). What’s sort of so special about this group that keeps you coming back to this incredibly specific but pretty diverse niche?

    Jennifer: I’m really glad you asked about this. This is a question I’ve been thinking of a lot this year. This is the first year in my business where people from outside Higher Education are really like, what are you doing in there? What are you doing? It seems like your industry is imploding. You should consider coming and working over here, go work over there. I’ve had referrals for very large projects that are outside of academia and I don’t want any of them. The people who refer them, they love that about me to be honest, but they keep trying. And when I think about that, it’s really because the researchers, academics, graduate students that I work with, they are each creating meaning in the world. They’re each creating really interesting thinking, writing, teaching. The things that they do are also really varied. So my brain that really likes to be creative in different ways gets to work with people in a lot of different fields.

    I get to learn so much from the people that I work with. I get to hear their stories and experiences and I relate to them. Even though I’m not in academia, I only work with academics. I mostly work with individuals. I’m not part of the academic world entirely, but I am supportive of this world entirely. Actually, at the conference yesterday, someone said, “We’re all across universities all around the world. We’re all working towards this hope.” And I thought, oh my goodness. I’m not a Chief Marketing Officer at a university, but I am someone who’s working on the same problem, who’s working towards this same future where research, and education, and teaching, and mentoring, and the service work, and all the things that faculty do for their society, it’s meaningful. And it makes a difference. And it doesn’t have to stay hidden.

    I help people make connections that make more meaning and matter in the world for the things that they care about. And yes, I could go do that for a big company. I could go do that for, I don’t know, celebrities if I wanted to. I remember the first time that I actually, I pitched a musician on bio writing and he said yes. And I was like, “Oh wait. I dunno.” I didn’t end up doing that project, but I remember feeling like I can do a lot more. And also I don’t want to explore that, because I love who I work with. I’ve had to build some things into that flexibility to reschedule things. And that does change how I work with people. But it also means that I get to work with exactly who I care about supporting and I love it.

    Katy: I got choked up when you talked about the hope because I think that I know. I was on parental leave for about 18 months and I kind of came back to a completely different online landscape. But also a pretty different higher education landscape too. I work with people and I think that appeals to a lot of people who are like, listen, I wouldn’t do this work if I didn’t believe so strongly that someone needed it somewhere.

    There’s something so important to me about being a tiny bit of the support that holds up the people who are doing that work. There’s so much. I think about it a lot. I am not the rock that goes in the pond that has the ripples that we can’t even track, but if I can help hold that hand up just long enough so that they can drop it, they did all of the work. But if I could be on the side of the pond cheering and be like, it’s okay to drop it, I love it. I think that that really goes because there’s such a misperception about what academics are or what we’re doing or what we spend our time on. The majority of people are deeply invested in their research because they believe it has the power to change something for someone oftentimes for the better. The more that we can do this important work of being like, this is what happens in this lab, this is why it’s important that we put shrimp on treadmills, and this is why it’s important that I go through these archives and I look at all of these things. The more visibility, I think the more options that we have to change that narrative that we’re all just spending money and brainwashing kids because that’s not it.

    Build confidence by being intentional about how you show up online

    Jennifer: I think that the hope that I am feeling that I’m working towards, I really felt it yesterday because, so I was hosting (moderating) four keynotes, seven breakout sessions, two Welcome to the Americas. It was two days back-to-back of being host and moderator and I loved it. But I realized at the very last session, the speaker who was so amazing, he was like, “I had recognized you from tv.” And I’m like, “Oh! TV. Am I on TV?” Have I been on TV? I was like, “Wait, ooooh, you mean the conference lobby screen.” And all of the sessions I introduced and led Q&A for. I literally forgot that I was on camera. Many people met me and got to know me over the last two days, even though I didn’t really get to know them as well because they were webinar attendees.

    But I’m so proud of my online presence. I’m so proud of what I know they’ll find if they want to connect with me further. That feeling of relief for networking, for sharing something, for putting myself out there in some way is huge. As an introverted person, I dunno, that surprises some people, but I’m very introverted. I spend most of my time at home working from my office here in San Diego. I connect with people online. But part of that connection, I would not feel as comfortable with it if I didn’t feel confident in what people found about me. So if you’re feeling like networking, or sharing your writing, or just being more open about who you are is uncomfortable? Sometimes doing this work upfront is the key to making it feel [sigh of relief].

    Katy: Yeah, I absolutely do know. I send out a newsletter every Thursday and I had published a pretty vulnerable one this week about how I had gotten this advice to write every day as a early PhD student, and I pretty much destroyed myself trying to follow it and all of the work that it’s taken me to be like, you know what? I’m an okay writer even though I’ve never had an unbroken writing streak and I’m an okay writer even though I’ve never done 30 days of writing. I woke up, my emails are scheduled to send out at 5:56 AM Eastern time, and I woke up out of a dead sleep at 5:45 and was like, “I should cancel that email. That feels vulnerable, that feels tender. I’m not going to do it.” And I was like: Go back to sleep. The baby is asleep. You should be sleeping.

    Then sort of went about my morning and kind of forgot that I had put this thing out there and to thousands of people. When I came back from drop off and breakfast, there were three emails in there that were like, “Thank you for saying this.” This is something I didn’t know. I just remembered how I am never going to be the person who will say that to a stranger on a bus. I probably wouldn’t even have said it live to my students, but if I can take the time to craft it, if I can revise it, if I can think about it, if I can be intentional about it and send it out in this way, I can also connect, I can share, and it doesn’t have to be gate kept. I can do it. This is my email list. People can unsubscribe if they choose not to be interested in this kind of vulnerable share. I wish them well in that particular way. But there’s a power that I didn’t always feel as an academic trying to publish or go to conferences or be in those places that when I control the flow, I can show up in ways that are so much more intentional.

    Increase your impact with strategic approaches to your online presence

    Jennifer: One of the things you said really brought up something I want to be sure to add to this call, which is that there are so many people who feel like a social media post should be a 10 minute project or less. The truth is that if we’re talking about even your university, even your college, your department, if they have someone who’s in charge of this, they are probably putting a lot more effort, a lot more time into social media posts than you think. This is true for the vast majority of creators on the internet. If you’re seeing something, it’s possible 30 hours went into that one minute short video, like a short vertical video. So I just really want people to consider, yes, your time is precious. Yes, your time is limited. But your words are meaningful. It’s okay to give yourself more time for that social media posts, or revision time for that social media posts, if it’s something that you feel like will help you. You can take more time. You can take as much time as you want. But just don’t let it be so much time that you’re never hitting publish at all.

    Katy: Yes. Well, and not to sing the praises of LinkedIn because it’s not really my particular jam, but there is something really beautiful about some of these other, X was so fast and things were so ephemeral. And now there have been sort of algorithm shifts in a lot of different places. But for better or for worse, LinkedIn is one of the places where you don’t necessarily get punished for publishing once every six months, once a year. Definitely not. They do kind of maintain this beautiful archive for you. If you are a person who likes to think about things and likes to be really deliberate and really intentional it, you don’t need to necessarily opt out of all of these things. You can find a project, a place in the sort of online umbrella that meets the tempo that makes you feel safe enough to do it

    Jennifer: And meeting the tempo, it makes you feel safe. That’s a really good point. There are people who push themselves to be on social media platforms they think they should be on, but it really doesn’t work for their personalities. And it really doesn’t work for their lifestyle. And sometimes it makes them angry, and frustrated, and even guilty at not having done more of this. When people come to me and they’re feeling like that, I say, “Get rid of it. It’s okay. Stop.” It’s okay to stop. It’s okay to not do it. If you are going to have a platform that I still recommend you have a profile on but you’re not posting it, that’s not what you want to do. LinkedIn is that place. I have a free LinkedIn Profile course that’s great for grad students, researchers, faculty. I have lots of links to drop in the chat after this, but I want you to know that this LinkedIn Profile course exists. It will walk you through step-by-step making that profile because that profile is one of my favorite ways to have an online presence. If you are a graduate student, if you are an early career researcher, this will really help you get connected with people who can inform your career, who can help guide the decision making that you have, especially if you’re open to chatting with them.

    Katy: Yeah. Well thank you. This has filled me up top to bottom, just this…

    Jennifer: …Has been so good! This is the first time I’ve done this kind of Q&A. love it.

    Katy: Okay, good. We’ll keep going. You’re a star at it. Just appreciate star in the making. Thank you so much for having me on and for being willing to spread a little bit of the word about AcWriMo out. If you’re looking for someplace where you want intention around your writing and not necessarily belt yourself to the chair and get it done, Dr. Kate Henry and I we’re your people

    Jennifer: Sign up for the free resources for Academic Writing Month from Dr. Katy Peplin.

    Katy: Awesome. Thank you so much.

    Jennifer: Thank you so much. Everyone. Be sure to like subscribe. Hit the notification bell if you want to let get an email next time we go live. Thank you everyone.

    Subscribe to The Social Academic blog.

    The form above subscribes you to new posts published on The Social Academic blog.
    Want emails from Jennifer on building your online presence? Subscribe to her email list.
    Looking for the podcast? Subscribe on Spotify.
    Prefer to watch videos? Subscribe on YouTube.

    Bio

    Dr. Katy Peplin is the founder of Thrive PhD, a business born out of her own journey through the PhD, and the joys and challenges of being a grad student and a human at the same time. She earned her doctorate at the University of Michigan, with a dissertation centered on animals on film and media. Throughout her degree, she also worked as a teaching consultant at the Center for Research on Learning and Teaching, practiced yoga regularly, and lived with chronic illness and anxiety. These days, she’s super into knitting, colorful water bottles, and helping graduate students around the world treat graduate school like part of their career and life, and not just the holding period before the real stuff begins.

    Dr. Katy Peplin is hiking. She's wearing a light blue visor and bright pink sunglasses.

    Source link

  • Your Digital and Analog Life with Jo Davis

    Your Digital and Analog Life with Jo Davis

    As a writer, Jo Davis is used to sharing through her online presence. In this episode of The Social Academic, we talk about her life online such as her digital portfolio. And, offline through the coloring books she designed, the Starseed Panic Pages, and journaling. What does it mean to be intentional about your digital and analog life as an academic? We talk about focus and what it can do for your brain to be on paper.

    I’ve admired Jo Davis’ writing for years. I followed her on X after reading one of her movie critiques. When she shared a recent podcast appearance on the Moments that Define Us, I thought she was perfect to come on The Social Academic to talk about her life online and on paper. And, what it means to be her authentic self.

    P.S. Jo’s workshop, Writing Through The Noise: Letters to the Inner Child is coming up. There’s 2 session to choose from: August 8 and 9. You may find it helpful, here’s info about her workshops for you.

    Jo Davis is a professor, author, freelance writer, film critic, artist, and a beacon of creativity. She teaches writing and rhetoric at the University of Denver.

    Here’s her episode of the Moments That Define Us podcast, “You need to find calm in the noise”.

    Source link

  • Unfriending on Social Media with Author, Sarah Layden

    Unfriending on Social Media with Author, Sarah Layden

    When Sarah Layden shared her satire piece, ‘Unfriend Me Now’ on her LinkedIn profile, I reached out right away about her appearing on The Social Academic interview series. She wrote ‘Unfriend Me Now’ after reading research from Floyd, Matheny, Dinsmore, Custer, and Woo, “If You Disagree, Unfriend Me Now”: Exploring the Phenomenon of Invited Unfriending, published in American Journal of Applied Psychology.

    Sarah Layden is the author of Imagine Your Life Like This, stories; Trip Through Your Wires, a novel; and The Story I Tell Myself About Myself, winner of the Sonder Press Chapbook Competition.

    Sarah Layden professional headshot
    Sarah Layden

    Her short fiction appears in Boston Review, Blackbird, McSweeney’s Internet Tendency, Best Microfiction 2020, and elsewhere. Her nonfiction writing appears in The Washington Post, Poets & Writers, Salon, The Millions, and River Teeth, and she is co-author with Bryan Furuness of The Invisible Art of Literary Editing.

    She is an Associate Professor of English at Indiana University Indianapolis.

    Source link

  • The Graphic History of Hip Hop with Walter Greason and Tim Fielder

    The Graphic History of Hip Hop with Walter Greason and Tim Fielder

    Are you an academic open to making an impact with your research in creative ways? Dr. Walter Greason is back on The Social Academic podcast with artist, Tim Fielder. They created The Graphic History of Hip Hop, a graphic novel taking the education sector by storm. When I asked, “did you expect this kind of response from your book?” It was a definite no. The ripple effect of engagement and impact The Graphic History of Hip Hop is creating for students is inspiring.

    Hi, I’m Jennifer van Alstyne. The Social Academic podcast shares interviews with academics and people in Higher Education. When The Graphic History of Hip Hop was announced, Walter and Tim got billions of views that has helped their book and style of sharing history reach people around the world. I’m excited to share this featured interview with you.

    Before we get started, this Saturday, April 12, 2025 is my Promoting Your Book Online for Academics workshop. I’d love for you to join us. It’s at 11:30 am Pacific Time / 2:30pm Eastern Time, and there will be a replay if you can’t make it live. Get info about the workshop and register.

    Cover of The Graphic History of Hip Hop graphic novel with a screenshot of a page featuring hip hop artists DJ Kool Herc and Fab Five Freddy. Illustrations of Walter Greason, PhD and Tim Fielder. Greason is the DeWitt Wallace Professor of History at Macalester College and a Historian of Afrofuturism. Tim Fielder is an OG visual Afrofuturist, illustrator, concept designer, cartoonist, and animator.
    From the Graphic History Company
    Walter Greason, PhD, Author
    Tim Fielder, Illustrator

    Jennifer van Alstyne: Hi everyone, I’m Jennifer van Alstyne and welcome to The Social Academic. Dr. Walter Greason is back for another interview and he brought his collaboration partner for The Graphic History of Hip Hop, Tim Fielder. I’m so happy you’re both here. Tim, would you introduce yourself for people?

    Tim Fielder: Hello, I am Tim Fielder. I’m a visual Afrofuturist and graphic novelist who has had the pleasure to work with the endowed chair at Macalester College, Dr. Walter Greason.

    Dr. Walter Greason: You’re hilarious, man. 

    Tim: We’re going to ride him like that. We’re going to ride him. He just got it about a month ago and every time, you used to be Dr. Walter, now he’s the endowed chair Dr. Walter Greason.

    Jennifer: Oooh! [Laughing]

    Tim: So we’ll see. So we’ve been riding him. He earned it though. I’m so proud of him. It makes me look good to work with Walter because Walter is so accomplished in what he does, not just being a hip hop scholar, generally a nice guy, a unashamedly justice, social justice warrior, and he keeps me, he’s an all-star, north star. And he makes all of us around him work harder. He makes us want to aspire to work harder. And by just the association alone, having done The Graphic History of Hip Hop has made me a better artist and has brought me, you know you think, “Oh, this would just be a freelance job.” Nah. Having done this book with Walter has exposed me to opportunities that I could not have dreamed up. So it has been a true, true ride. 

    Walter: I appreciate you. 

    Tim: He’s still crazy though, don’t get it mixed and twisted. 

    Walter: I appreciate you, you know, really. Anything I bring is a reflection of the people that I work with. And y’all are two of the folks that make me so inspired every single day. For Tim, the way his genius manifests in the production of the work. And I’ve seen it now firsthand, in person. God, its got to be like six years since we first did that thing with N Square. But man, like his ability to touch people’s soul and to move them, to find something extraordinary in themselves that they couldn’t see before he drew them. That, that is just a miracle every single time it happens.

    And Jennifer, the work that you’ve done that I’ve seen you put together since our time back in New Jersey. You are doing that with these shows, with this effort to motivate people.

    And I want to specifically congratulate you for the amazing series you’ve done recently with Sheena Howard. That’s another colleague of mine going back many years. And so just, this is like family for me to be with y’all. And I couldn’t do the kinds of things I try to do without y’all being out here in the world and showing me different ways to go about making things happen.

    Jennifer: That really brings up this amazing collaboration that you did together. I’m curious, it sounds like you worked on something six years ago. What inspired your collaboration and decision to actually work together to create something different, to create something unique?

    Tim: Go ahead Walter, you can start. I’ll hold the prop up. 

    Walter: So Graphic History of Hip Hop, we got invited to put that together by the New York City Public Schools in December of 2022. But prior to that, so Tim and I met in, um, it was Jackson, Mississippi at the Planet Deep South Afrofuturist Conference. Which was just a convocation of talent that has changed the world in, in very literal terms.

    This was years before the Black Panther movie debuted. This was long before most people around the world knew what Afrofuturism was. So this was an event that was life-changing for everyone there just to be together, but Tim took the photo that symbolizes the event. And so many, many decades from now, when we are no longer here and people are telling the story of Afrofuturism, it’s going to be Tim’s. Not just his images, but his photography that actually tells the story of how the movement has grown and how it had this impact. That photo still lives in all of our hearts cause his skills with the selfie are unmatched. That was one of the moments where I was like, “This dude has got it. Whatever he’s got, I need to stay in touch and be a part of it.” A couple of years later I want to say 2020, 2021, we got invited by Reynaldo Anderson. No, 2022.

    Tim: Oh yeah, I’m sorry. That was Yonkers.

    Walter: Then we were trained in technically how to be futurists by a consulting group that works with the Air Force. They were working on how to imagine a world without nuclear weapons.

    That’s what convinced me that I had to work with Tim. I’m there talking about all this policy and structural reform. How do we actually build a safer world for the future? And he instantly created visualizations of the things we were talking about. I was like, “Dear God, like that’s, that’s the most amazing thing I’ve ever seen.”

    I made a note that the next opportunity I had to ask him to do something I would. Sure enough, December 2022 managed to catch him around Christmas time. He was like, “Oh, this dude, I don’t know. We’ll see.”

    He came on board and was like, “All right, I’ll take a shot. I’ll take a shot.” And man, it has just been warp speed, Star Trek ever since just every day. Some amazing new thing happens for us. This has been spectacular. I’m sorry, Tim. You tell the story better than I do.

    Tim: No, no, no. He’s right. It’s just, that’s the thing. I’m not the fastest artist out there. You know, I can do fully rendered work. I use advanced technology. I use everything available to me on my work. But unlike other projects I’ve worked on, this project doesn’t seem to want to die.

    We did South by Southwest (SXSW). Was there and I thought, ‘Okay, we’re done. That’s it. It’ll slow down.’ Then, you know, we did the Spin Magazine, they featured us in their December physical issue. Told us, “Well, you guys won’t be in the online version, just in the print version.” Then without announcement, bloop, it just pops up in the online version. That’s what it’s been. It’s been that kind of thing that seems to be an experience in perpetual momentum.

    Tim: And it’s been that kind of experience. I know so much more about hip hop that I did when I started. I’m not Walter. I’m not a scholar like that, but I have been forced to learn about the form and it has made me a better artist as a result. A dramatically better artist.

    We’ll see what happens, you know. But in 2022, he called me and we put it together. First, it was like a floppy. We thought it was a 100,000 copies of this floppy distributed into the New York City School System. Then we were told it was a 150,000 copies. But we learned two weeks ago that it was 200,000 copies. Is that correct, Walter? 

    Walter: Yeah, that’s what Joe’s been talking about.

    Tim: 200,000 copies, which is kind of frightening. But you know, hey, what you going to do, say, “Don’t put 200,000 copies of that book in those schools.” You know? So it’s in there and then we’re working on Volume 2 now.

    Our partner, Christina Hungspruke LaMattina partnered with us and we decided to do this here, which is the full-on graphic novel version. So that 24 page version became a 92 page graphic novel, which of course was done, it wasn’t planned like that. I always use this joke, it will be good.

    Tim: Never request a timeline from a historian. Don’t do that. It’s like, really, I didn’t know what that meant when someone told you, “Well, you, what do you mean? Don’t give them a timeline. Don’t ask them for a timeline.” They should know. No, it has nothing to do with what they know. They will go above and beyond.

    The book was out, there was a lot of media. People would download it. We were on TV and everything, traveling around. We did this New York tour. It was insane. And Christina is like, “We got to do something else because they’re giving the book away,” because it was free. The DOE (Department of Education) version was free. Right? So you can download it right now.

    But we wanted to start a company. So we started a company miraculously named The Graphic History Company. Seems so self-explanatory. So we did that. Yes, we did that.

    I asked Walter, “Hey man, I need you to give me a timeline because I’m going to put it on the website. And I’m thinking, ‘he’ll do it by decades, you know: the 70s, 90s. It would just be a few paragraphs and I could do it.

    This guy comes back a day later with 45 years worth. And I’m like, oh my God. Cause I mean, I just remember saying, “There’s no way I’m putting this on the website. This is the graphic novel. This is the expanded version.” And of course we added dates, moved stuff around. I think it starts in 1964 and it goes all the way to 2006. This is just Volume 1. We could not finish the entire history of hip hop in one volume. We’re doing 3 and it still won’t be done. But it’s as far as we going to take it.

    But yeah, it changed my life. I thought when I did it, this is going to be a basic freelance job. It has utterly failed in that department. A career defining moment for me, for sure. 

    Subscribe to The Social Academic blog.

    The form above subscribes you to new posts published on The Social Academic blog.
    Want emails from Jennifer about building your online presence? Subscribe to her email list.
    Looking for the podcast? Subscribe on Spotify.
    Prefer to watch videos? Subscribe on YouTube.

    Walter: Yeah. We knew we had to do something big. We knew we had to do something bigger.

    We knew we had to do something big because when we went to Queens and the middle schoolers stormed over the tables. They grabbed us and pulled us to the floor, demanding that we sign copies. We give them more copies. Like it was, Tim was very wise to get a hold of video from the teachers who witnessed the mass assault. It’s just been this thing where we go to DC, we go to Virginia, we go down to Louisiana. Tim was just at South by Southwest in Texas.

    Everywhere we go, the energy around this book is so enormous. And that’s the thing. It’s not just in the New York City schools. We’re getting adoptions from every major city school district in the country. I was just talking with somebody in London who’s talking about adoptions over there. It’s far larger than anything we anticipated when we first started trying to put it all together.

    VIDEO: Watch New York schools substituting traditional history textbooks with comics on CBS Chicago.

    Jennifer: What is an adoption?

    Walter: It’s when either a school or a district looks at their student body, looks at their curriculum and says, “Oh, we need this to be part of what we teach.” And so the hundreds of thousands of copies in New York City, they’re just there on demand for everybody in the city.

    Then we have folks in Richmond who have written an extraordinary lesson plan that have made it not just available for Virginia, but they’ve made it easy for teachers to teach it everywhere. And so the teachers start clamoring for it because frankly, the educational effect is unparalleled.

    Students that are grade levels behind in reading all of a sudden become intensely excited readers and they catch up to grade level. The kids that are at grade level, they start jumping years ahead because they can’t stop reading.

    It’s not just literally the history of hip hop. It’s the combination of the art, the music that we discuss, and then underneath all of it is the history that then they learn, they internalize, they memorize cause they literally just can’t stop reading it. It goes on to everything else that they’re trying to learn. It gives them a love of learning and reading that they didn’t have as intensely before.

    Jennifer: What about working with Tim, what about making this visual makes it more effective not just for young students who are sounds like knocking you down because they’re so excited. Like that’s amazing. But as an adult reading this book, this was fascinating for me to learn about this history and to experience it in a visual way. So I’m curious, what about that partnership was most creative? Or, what lit your spark together?

    Walter: So Tim has done a couple books. Yeah. She asked me what the joy of working with you is given your amazing skills. So I’m definitely going to jump on that.

    When it comes to Tim’s work and looking at either Matty’s Rocket or Infinitum, which are his books that he did, was really well known before he ever started talking with me for real.

    You see in his art, this kind of vibrancy of each individual. But I love in Infinitum, the way that he took his vision of an undying main character and he turns that into this, this experience where you’re looking through the man’s eyes and you’re feeling the kind of arrogance initially. You’re feeling like the embodied intellect, the suffering that comes to be inflicted on the character. It is so visceral that when Tim is crafting work, this is what I was saying about doing portraiture of individuals, is they see things about themselves that they never saw before.

    That’s this amazing gift that comes through the production of graphic art. And particularly his skill is that it taps into something that is unique to all of us and often something that we don’t appreciate until we see it reflected back. So now that that’s been for me as a historian, as a scholar who writes about forgotten people in places, to see them just recognized and just presented in a way that other people can encounter them and understand them is astonishing on its own. But then when the people themselves see the way that they’re represented and the way that the joy pours out of them. That they become so excited about what they want to say and how they want to add more to what we’ve done. There’s no better gift. Tim talks often when we go around these places about the way people respond with good will and are just thrilled to connect with us.

    As much as I love doing history and can do history well in various contexts, that’s primarily his art. His art is what makes the connection that then inspires the joy and the excitement. And so I’m going to give all the credit because you know, Tim is very, very kind and then, will shy away. But he knows my stuff is full of really deep and hard things to grapple with. People can get overwhelmed by it. He is extraordinarily good about keeping the joy of the process at the center. And that’s what really makes folks most excited to do these things with us.

    Tim: Thank you for that. I appreciate that, brother. However, now let me interject. So the very nature of a graphic history, it’s not a graphic, it’s not a history that’s told just with prose. It’s about the marriage and the dance between the written word and the picture. Right? So it really is a form that is totally unique. It’s a comic book, right? But graphic novels are longer-form comic books. And it really is a longer form where you’re telling a self-contained story as best you can where you’re trying to convey the same level and depth of written narrative by coupling it with the visual narrative.

    That’s not an easy thing to do because obviously the academic thing is that, you know, you do a book, 200 people read it and that’s considered a norm. The idea of doing this book, at least for me, was about taking that very learned academic style,(…) right? Which the floppy was initially done for 11th graders.

    And then the challenge when we expanded it actually broadened, as far as I’m concerned, broaden it so that it can expand to different ages and people who were much older because we began to deal with more and more and more obscure stuff in the story. So you had your Arsenio Hall, which was, oh, everybody knew Arsenio Hall. But then you have that thing where certain acts I had never heard of. But doing within a context. I forget, who was the one…What’s the one with the World Trade Center? 

    Walter: That’s not a group. That’s Immortal Technique. That’s Immortal Technique, a basically New York City rapper at the turn of the century and still does amazing work today. 

    Tim: Exactly. But the way we did that image, we had to juxtapose with the World Trade Center accident because hip hop is not some separate part of culture. It’s a part of the world of black culture. American culture. Latino culture. It’s world culture.

    And so the challenge for me was taking this very real kind of real dense, almost Tom Clancy level geopolitical perspective and seeing how he intermixed it with hip hop history. My job was how do I make this stuff look good and be informational? So it’s not just dealing with it. It’s like, yes, you want the images to look good, but you also want them to serve as an infographic if you will.

    That kind of blend of those things and I have to say, has absolutely made me a better artist. I know I keep repeating that. But I think it’s made the field of graphic history move for me. There are other books out there. March, you know, just goes on and on out there, Maus that are great. But I’m very proud of this book because it’s moved this form, right? Which in this time of day, you got book bans and all like things like that.

    Our book has been able to somewhat survive because doesn’t even really matter your political background. Everybody listens to hip hop. It literally cuts across the board and to be involved with such a project that succeeds on an artistic level, but then it begins to potentially and progressively affect public policy.

    That’s when you really getting in the grease because then it’s not just a vanity project based on entertainment. You’re influencing the way people run their school systems, the way they’re running their interactions with their educators. There’s a reason why we just were the keynote at the Minnesota Council for Social Studies thing. And it’s because beyond the fact that, you know, we’re nice guys. We’re always going to have fun. We’re going to bring the joy, bring the fun.

    There’s still this context that the teachers can not only get the information, but they get information from how we present that they can take back to the classroom. And I think that, that’s what allows what Walter and I do together. I’ve done some talks before, not a lot. But the last year and a half, we’ve done a lot of these things and we’ve refined at such a point now that now we’re probably going to start bringing music, some form of that into the presentation. That’s literally where we’re at. I’m sorry, that was a droning on answer to your question. 

    Jennifer: I loved it, especially because what you each gained from this collaboration by working with each other was a spark that really rippled. It had like ripple effects for education systems, for students, for other educators that are seeing themselves in what you’ve done in the sense that like, “Oh, maybe I could do something like that too. Maybe I could create something that’s a little different. That’s not maybe the traditional academic monograph, but still has the potential to influence public policy and practice.”

    Tim: It’s in comics or the sequential art medium has the ability to connect with people. It allows people to move into the process of reading much more easily. And this is not just for kids, it’s for adults too.

    But I believe particularly due to the travels that Walter and I are engaging, and like I said there have been other graphic novels before that. But because we pretty aggressively…I would have maybe tried to like, well not really. Nah, we pretty aggressively engaged the education sector. I mean, very aggressively in terms of both the local school systems, but then on the college level. So we’re doing all of it at the same time. I know, so much more. Like I didn’t even know there was a convention system for social studies. I didn’t know that. I thought, “Well, it was just-.” But like no, they have their whole convention scene too.

    I believe that we are now starting to influence other academics to take the job because they’re using what we do as a model. 

    Jennifer: Yes. 

    Tim: It’s not like some stand off thing where you have some larger than life figure. It’s just regular dudes, you know, who are out there. I mean, well, the endowed chair will never be regular. But you get my point though. We’re regular guys who are doing our work and other academics are seeing that “we can do that too.” So it’s all for them. The field of what could be told is unending.

    Subscribe to The Social Academic blog.

    The form above subscribes you to new posts published on The Social Academic blog.
    Want emails from Jennifer about building your online presence? Subscribe to her email list.
    Looking for the podcast? Subscribe on Spotify.
    Prefer to watch videos? Subscribe on YouTube.

    Jennifer: What felt different about creating this book and seeing it out there, seeing it in the hands of students as opposed to your academic monographs. And I’m not saying like some books are better than others, but I’m curious how it felt in terms of that actual interaction with the readers?

    Walter: Oh, it’s amazing. So you know me from my work in education and that’s different for me than it is for some other professional historians is that they go in to primarily do their research and to write their books. And teaching is secondary if not third place among their priorities. For me, the teaching is first. That’s always been it. I was teaching in P-12 systems for 17 years before I became a higher ed academic.

    Jennifer: I didn’t know that. 

    Walter: Yeah, this is now 20 years. No, more than that. 27 years since I taught my first college class. And so this has just been a journey for me that is rooted in education. And so the connection with students, connection with families is my top priority. It’s the reason why I teach at Macalester College in St. Cloud, it’s an institution that shares those values and is committed to the education first.

    And then everything else, just like in my life, flows from that foundation, that basically I teach so that I can do more research, so that I can do more service in communities around the world. And that’s the way my life is built. To then come up and find a tool like the graphic, like graphic history generally no matter what subject it covers.

    But specifically The Graphic History of Hip Hop that shows the commitment that shaped who I am. I would never be who I am without hip hop. And then from there to then grow that out and have that effect spread to people in every part of the world. When we first launched this almost a year ago, we had billions of engagements. Like 3-4 billion engagements from people online looking for, “What is this? What is this content? How can we get a hold of this? How can we use it?”

    That’s why we have connects in Germany, and Japan, and New Zealand, and all these other places that are pulling on what we do. This morning, some folks from Senegal were in my ear about “we need this as part of our national education curriculum.” They speak French, they want French copies. So we got to figure out, how do we reword everything in French?

    It’s just amazing to me because that’s the highest priority, is that we got to do things that other educators never even attempt to. The other professors that I work with who have had the kind of success that I’ve had in college, they typically say to me routinely, “I only write for 2 other people. You know, there’s me and there’s 2 other experts that that’s who I care what they see. And then how do they understand what I’ve written?”

    A big group here in St. Paul has, someone approached me yesterday and was like, “there are like 20 people who can really understand the quality of the work that I do.” And that’s pretty much the academic standard, is that you have a small group of people that you share kind of a community of knowledge.

    But this is very different. My community of knowledge grew most rapidly through social media, kind of leading up to the Black Panther release and Afrofuturism. A lot of the work I did on racial violence, these things gained really global audiences. But the practice and the application of this knowledge through The Graphic History of Hip Hop is unprecedented. And so the people read it, they feel it, it moves them emotionally. None of the other books I’ve done have that same kind of impact.

    Tim: I have to say that Christine and I, our other partner. First of all, you have to understand for him to say what he said. It took a long time for us to get into that point. I am so proud of him because he’s now, you know, hey, dyed in the wool academic. There’s a certain standard. You have to get your citations right. And all the big wig technical words that I don’t know what they mean. This guy was that. He is that guy.

    What I am so proud of him with doing is he has found a way to maintain his integrity with that and blend it with this mass form. And I think frankly, what’s beyond the obvious that many, many, many more people are reading his stuff than almost any academic on the planet with the exception of a handful.

    The thing that makes what he’s doing so important is that it’s actively affecting social change in the schools. Think about it. How many people can actually write a book where they can cite that school systems are adopting the book on multiple levels, right? We’re asked to talk about it all over the country, right? There are other countries asking us to utilize this modality. How many people, academic or no, get to have that level of effect?

    Subscribe to The Social Academic blog.

    The form above subscribes you to new posts published on The Social Academic blog.
    Want emails from Jennifer about building your online presence? Subscribe to her email list.
    Looking for the podcast? Subscribe on Spotify.
    Prefer to watch videos? Subscribe on YouTube.

    Jennifer: Did you expect that kind of response when you started this project or was it more of a surprise? Either of you? No, Walter’s face is like, no! 

    Tim: Hell no. Hell no. I expected, I’m going to be honest with you. Like I said, initially I thought, “this will be a great freelance job. The money is good.” I’ll do it and I’ll be known as that. And that’ll be it. And it won’t take over my life.

    It actually took over my life. It took over my other projects, which have not made my other editors very happy, but it really did. And I’m so glad it did because again, it’s made me a better artist.

    There are different sectors of the publishing world when it deals with comics. You have the direct sales market, which is Superman, Batman, Spider-Man, but that industry is actually imploding now as we speak. It’s because the primary distributor has gone under and started to sell off the assets. So local comic book shops no longer, it’s difficult for them to get access to content. And you know how the marketplace works. The more difficult you make it for your potential customers to get access to your content, you know, that feeds itself.

    But then there are these other aspects. There is the academic market. There’s the graphic novel market, which we’re in. But we braced academic and the graphic novel market. And then there’s manga. So we do graphic novels and academic. Right? So what we’ve done is allowed us to have this ability to be able to effectively surf. And I use that word, both worlds, both waves, if you will. And it, but I couldn’t have told them, “Look guys, we should publish through Ingram.” And that was the best I could do.

    But after a while, it is now taking a life of its own to where The Graphic History Company is a multimedia company. It really is. It’s a multimedia company and it’s allowed me as an operator. I have interest in marketing and promotion because I talk a lot, as you can see. But what it’s done is allowed me to be able to practice muscles I never thought I would have been able to practice. Due to this book has gotten me in the Washington DC SET. I never thought that would happen, but it did. You know, it did. It’s allowed us to be approached. We’ve been in the Smithsonian. We’ve been in the Metropolitan Museum of Art. And I’m listening up and thinking, yeah, that’s right. We did that. And it’s all because of this book.

    The Graphic History of Hip Hop
    Illustration by Tim Fielder

    Jennifer: If you are watching this, it’s time to get your copy of The Graphic History of Hip Hop. And it sounds like, is the graphic novel version also like, can I buy that? 

    Tim: Yes.

    Jennifer: Okay. I’m going to go out and get my copy of the graphic, graphic novel version too because I want to see all of the things that didn’t fit into this one. I’m really excited to see your art, Tim and Walter, to see this breadth of history that I knew nothing about to really dive into it. It’s exciting for me. And for everyone who’s watching, if you’re someone who has an idea or a dream about a book project and maybe it’s not going to look the way that your traditional academic edited collection or monograph is going to look, it sounds like this could be a real opportunity to create the change you want to see in the world. For Walter and Tim, it really sounds like it went beyond your expectations.

    Walter: It’s amazing. And I do think you have the graphic novel one. Yours I think is 90 pages. Looks like the hardcover. I’d be amazed if you had the floppy because that didn’t, not many got out of New York. 

    Jennifer: Oh yeah, no, this is 89 [pages]. Yeah. I want the hardcover version. That’s what I’m asking about. Yeah.

    Tim: So you got hardcover and softcover version, 92 pages. And you know, the hardcover can be used as a weapon in a pinch. So really something there for everyone.

    Jennifer: Amazing. Is there anything else you’d like to add before we wrap up? I want to give you time for anything else you’d like to share. 

    Walter: Just that I love the work you do, Jennifer. And anytime we can do anything to support the work, and especially the way that you have served the academic sector has been spectacular.

    I want to encourage all of my colleagues, everyone who is doing this work out here to come and visit with you because it is absolutely essential for us to build all the different kinds of careers we have based on the knowledge that we’ve acquired.

    Jennifer: Thank you!

    Tim, anything you’d like to share? 

    Tim: Yeah, presently working on Volume 2, which I hope to have some day before my hair grows back. And we’ll have that out and out to the public. And then got to work to Volume 3and hopefully some news, please Lord, I’ll be hearing very soon. I’ve been bothering Walter about why haven’t we heard anything. So if that happens the way I want, it’ll be really interesting, but I’m not going to jinx it.

    Jennifer: Fingers crossed.

    I wish you both all the best with your collaborations and your own initiatives in the future. This has been such an interesting conversation for me. I can’t wait to share it with people.

    I hope they all go out and get The Graphic History of Hip Hop because this is, wow. I mean, it’s just so colorful and engaging and memorable. I think that even if you’re not someone who identifies as a graphic novel reader, maybe you don’t read comics that are in other things, this can still really be engaging. And it was surprising for me to see how into it I got knowing very little about hip hop. Thank you so much for coming on The Social Academic. 

    Tim: Thank you.

    Walter: Much love. Thank you.

    Subscribe to The Social Academic blog.

    The form above subscribes you to new posts published on The Social Academic blog.
    Want emails from Jennifer about building your online presence? Subscribe to her email list.
    Looking for the podcast? Subscribe on Spotify.
    Prefer to watch videos? Subscribe on YouTube.

    Illmatic Consequences: The Clapback to Opponents of Critical Race Theory—edited by Dr. Walter Greason and Danian Darrell Jerry has been honored with the 2025 Anna Julia Cooper and C. L. R. James Prize for Outstanding Research in Africana Studies at the National Council for Black Studies (NCBS) Conference.

    Walter Greason

    Walter Greason, Text: Writer, Suburban Erasure Cities Imagined & Illmatic Consequences

    Dr. Walter Greason, Ph.D., DeWitt Wallace Professor in the Department of History at Macalester College is the preeminent historian of Afrofuturism, the Black Speculative Arts, and digital economies in the world today. Named one of “Today’s Black History Makers” by The Philadelphia Daily News, Dr. Greason has written more than one hundred academic articles and essays. His work has appeared on Huffington Post, National Public Radio, and The Atlantic among other popular, professional and scholarly journals. He is also the author, editor, and contributor to eighteen books, including Suburban Erasure, The Land Speaks, Cities Imagined, Illmatic Consequences, and The Black Reparations Project.

    From 2007 ­­– 2012, Dr. Greason was an advisor to Building One America, the coalition that designed the American Recovery and Reinvestment Act (2009). He also served as the Founding President of the T. Thomas Fortune Foundation, an organization that saved the National Historic Landmark dedicated to the leading, militant journalist of the nineteenth century. Dr. Greason’s digital humanities projects, “The Wakanda Syllabus” and “The Racial Violence Syllabus”, produced global responses in the last six years. His work in historic preservation and virtual reality continues to inspire new research around the world. Dr. Greason currently writes about the racial wealth gap and the patterns of economic globalization.

    Dr. Greason is currently serving as a special consultant to the Institute for the Study of Global Racial Justice at Rutgers University in New Brunswick, New Jersey.

    @WalterDGreason

    Tim Fielder

    Tim Fielder author image. Text: Illustrator, Matty's Rocket & INFINITUM An Afrofuturist Tale

    Tim Fielder is an Illustrator, concept designer, cartoonist, and animator born in Tupelo, Mississippi, and raised in Clarksdale, Mississippi. He has a lifelong love of Visual Afrofuturism, Pulp entertainment, and action films. He holds other Afrofuturists such as Samuel R. Delany, Octavia Butler, Pedro Bell, and Overton Loyd as major influences. He is the creator of the graphic novels INFINITUM: An Afrofuturist Tale, published by HarperCollins Amistad in 2021, and the Glyph Award-winning ‘Matty’s Rocket.’ Fielder is also known for participating in the Carnegie Hall Afrofuturism Festival exhibit ‘Black Metropolis’ and The Smithsonian National Museum of African-American History and Culture exhibit ‘AFROFUTURISM: A History of Black Futures’.



    Source link

  • Author Websites with HR Hegnauer

    Author Websites with HR Hegnauer

    How can we help new readers find your words? How can you help your book have a legacy? Website designer / book designer HR Hegnauer joins me for this featured interview. HR has designed over 350 books, creating award-winning covers and interiors for both print and ebook editions. She’s also an expert website designer who helps authors create a lasting presence for their writing online.

    We attended the Jack Kerouac School for MFAs in Writing & Poetics at Naropa University (though at different times). HR has also taught in the Summer Writing Program which happens each year in Boulder, Colorado. I had the pleasure of collaborating with HR back in 2014-2016 on Something On Paper, a journal of poetics. I’m so happy she could join me for this featured interview.

    Before we get started, don’t miss my live workshop on April 12 on Promoting Your Book Online for Academics. Sign up today.

    Are you an academic author who needs a website? I’m partnering up with HR Hegnauer for Team Website VIP Days. If you’d like my team of experts to put our creative brains together for your online presence as an academic, don’t hesitate to reach out. I’m happy to chat with you. Schedule your no pressure Zoom call about working together.

    Subscribe to The Social Academic blog.

    The form above subscribes you to new posts published on The Social Academic blog.
    Want emails from Jennifer about building your online presence? Subscribe to her email list.
    Looking for the podcast? Subscribe on Spotify.
    Prefer to watch videos? Subscribe on YouTube.

    Jennifer Van Alstyne: Hello and welcome to The Social Academic! I am Jennifer Van Alstyne, your host, and my guest today is all about books and book design, and book websites. So I’m so excited to have HR Hegnauer here. HR, would you please introduce yourself?

    HR Hegnauer: Sure, yeah, thanks so much for having me, Jennifer. My name is HR. I work as a book designer and also a website designer and run my own design studio. And yeah, I love getting to do the work that I do.

    Jennifer: So I think my first question for you is kind of about the book design process. So many people are like, they’re focused on writing their book, they’re so excited, they are getting it published. And then they’re like, “Well, what comes next?” I know it’s different with different presses, but do you think you could walk us through a little bit of the kind of book design process and what that’s like for people?

    HR: Yeah, absolutely. And you’re totally right. It really does vary on kind of who that publisher is or maybe they’re self-publishing. There’s a huge spectrum. And I’ve been making books for about 18 years now. I’ve designed over 350 books. And so I’ve really seen that spectrum about every single type of publisher: corporate, institutional, universities, tiny micro nonprofit, self-publishing, the whole thing. When the person’s done writing that book, it’s going to of course go through the editing process and all of that. And then by the time I come on board, what we want to do is take that manuscript and make it into a really good book that someone wants to sit with and read and engage with, right? And it’s my job to make sure, right, that it can do that for the person. It’s legible, it works well. The design works for the book. The cover is like a visual articulation of what’s happening in the content.

    Jennifer: Hmm. What’s your process like for cover design? I know cover design and book design, the interior of it are a little bit different. I’d love to hear about covers because that’s honestly what I think people might have the most flexibility with when it comes to academic books. So what are your thoughts about cover design?

    HR: That’s such a fun thing to dive into and it can be really hard for the writer to kind of imagine it too because they’re working in words, right? They’re the writer, they’re not working in visuals. And so in my process, I’ve developed this questionnaire over the last, you know, 18 years. And that helps us kind of set the visual tone, right? So is this, is it an academic book talking about something from the 19th century? Is it a hyper-modern poetry book? Is it something from the tech industry or a memoir? There’s all kinds of sort of, I guess, genres, right? That kind of help orient a little bit in ways. But then there’s all these other things to consider. Like maybe the person has a piece of art or photography they really wanna see on the cover, or maybe they wanna just go text only on the cover, which can be super fun. And then that text can be a graphic element itself, right?

    Jennifer: So I’m curious, like I know that you partner with presses to sometimes do the cover design. Like what is the, almost like the technical process of like, let’s say an author gets their book accepted and their press is like, “Well, what do you want for the cover design?” Can they ask for a specific cover artist to work with them? What kind of input can they give if maybe they haven’t been offered someone like you to partner with?

    HR: Yeah, you can definitely ask. Not sure always what the response is, but definitely ask for sure. I mean, to be an advocate for your own book because sometimes nobody else is. And so, you know and presses, some have their own in-house designers who are amazing. Some presses have certain style guides they’re trying to follow themselves or some series that they’re trying to work within. Oh, one of my friends, Dr. Echo Rivera, she was like really thinking about putting like a presentations book out in the world. And a press was very interested in working with her, but when she heard that she would have no control over the cover, that they were really stuck in this very set cover for the series that it was gonna be published under. She actually decided to not move forward with that project, with that press, just cause the cover is so important for something like presentations and design. Like that’s what she’s talking about. It can’t be a huge mismatch. So I love that you help people really get visual when it comes to their thinking, being introspective about their cover. Now, how does that differ from like the interior of the book? I mean, there’s so many academics that also are interested in self-publishing or wanna create resources that are more like book format. I’m curious about the interior. What’s that process like? 

    HR: Yeah, well, ideally they’re in conversation with each other, the cover and the interior. They’re not always, but I think when they are, that is when you have the best fully integrated one.

    Jennifer: Yeah. (Laughing)

    HR: And so what that means, technically speaking, is sometimes elements from the cover are coming into the interior. Maybe that’s in the title font choices or maybe some little graphical, graphic element or embellishment somewhere. But the main thing for the interior is that, sometimes I like to think, you know, if the reader is noticing something about the interior, it’s usually because maybe they’re struggling through it because it’s not well done or not well designed. And I don’t mean that in any kind of like design slight, I just mean it in like, if someone spends sometimes years writing a book, you want your reader to be able to really read it and engage with it and not have to like physically struggle. And so that’s a big part of it. Can your reader really engage with it? And so sometimes an author will come to me or a publisher or somebody and say, “I really love Helvetica. Can you lay out my 400 pages in it, in Helvetica?” Sure, technically speaking, I could. But you know what, that’s my job as a design professional to help the person understand why that’s really not a good design choice because your reader is not gonna be able to work with that themselves.

    And then that means like, well number one, they’re not gonna read it. But then, maybe then they’re a professor and they’re not going to teach it either or no one’s going to write a review about it. You know, all these kinds of things that unfold in these multiple ways.

    Jennifer: Hm. So it’s almost like when you are being more intentional about the experience that people will have while reading your book and how that plays out in terms of design, that it limits all of those potentials for almost like a breakdown in connection that could happen afterwards. Once people do have a good reading experience with your book, we want them to be able to take the next step, whether that’s in their own life or to help you share your book and so that’s really interesting. Oh, HR, one of the things that you brought up was about some of the things that authors have struggled with. I’m curious. What are some of those, some maybe mindset things, some maybe like just not knowing what their next steps are, what are some struggles authors have when it comes to book covers, book design, sharing their book? 

    HR: Sure, yeah, especially because, and it’s no fault of an author, it’s not them to have to know everything. The industry is constantly changing all of the time, even in terms of like what are options for self-publishing or then if you’re self-publishing, what does that mean in terms of distribution? How are you supposed to just know that? It’s not like an innate thing. And so those are real struggles. Or how do you promote your book? Maybe you have a really awesome publisher who has that support and foundation behind you, and that is so ideal, honestly, and that’s great. And then if you don’t, maybe you need to kind of build that team yourself. And so like one of the things, like for example, I don’t do marketing myself. I can make some materials to help do that marketing, but I don’t run like social media or something. 

    Jennifer: Yeah, yeah, you’re not like managing the marketing process. 

    HR: Yea, I can help that writer understand how to build a really successful team for themselves.

    Sign up for Jennifer’s Promoting Your Book Online for Academics Workshop on April 12, 2025.

    Jennifer: Hmm. I like that. Now you don’t just do like book design and book covers. You do websites for authors too which is, I mean, that is like a marketing deliverable in the sense that it’s long-term. So why should authors have websites for their books?

    HR: Yeah, I know that is such a great question. And it’s really changed over a few years even, right? It didn’t always have to be necessary, or maybe someone has a LinkedIn page or something, some kind of digital version of their CV. Or maybe they’re a professor and they have a page on the university website or something. So why need their own website? And it’s such a great place to get to be in control of all your content for one, obviously, but then to get to really interact in different ways. So it can be this like digital up-to-date version of your CV and it can hold all kinds of things, including media and events and whatever you need. But one thing that has been so exciting to me the last couple of years, honestly, is I’ve gotten to work on some projects where it’s not just like a digital sales sheet to promote the book, but it gets to be this real extension of the book itself. So like, for example, you read a book and maybe there’s some images in it or something, or maybe you go to an event to support the book, but there’s some real limitations in how far that can go sometimes. And so, especially if a book really, and not all books need this, but some books really, really benefit from something a little more interactive or media-based or maybe someone is working with a lot of archives too, and they want to bring in different images. And that can get so exciting, I think. I’d love to, can I share just one project about that? 

    Jennifer: Yeah, yeah.

    HR: Like I’ve been working with this woman, maybe you know of her, Sasha Steensen. She’s a professor at Colorado State University. 

    Jennifer: Cool. 

    HR: And I’ve loved her writing for many years, but some authors I get to work with for, you know, well over a decade or more. I just love following their work personally, but she was working on this project and had institutional support and funding for it, which was so great. But looking at the past couple hundred plus years of her five acre property, and what happened on this exact plot of land in Colorado where she lives with her family. 

    Jennifer: Wow, that’s cool. 

    Open laptop with author website of Sasha Steensen called Overland on the screen. Overland is An Incomplete History of Three Acres and All that Surrounds.

    HR: Yeah, and like the archives, the federal transactional history there, a lot of devastation, all kinds of history on that exact spot where she spends her time with her family, right? And so at first we started making this website to help support that sort of already existing project she was doing. And then like once we’ve started building, there’s a number of pages on it, probably, I don’t know, 15 or so at this point.

    And then it’s like we started to understand like, “Oh, this website, maybe what it can do is really actually now helping drive some of the creative work of the project. It’s really exciting, it’s still ongoing, you can go check it out. Stuff like that, it gets so fun.

    Jennifer: Yeah, websites are so adaptable and like they can grow to fit your needs, but also they can inspire creativity and give you more flexibility with how you wanna reach people. So it’s fascinating that it sounds like once you started on the website together, it really grew and expanded based on what you were inspired to create long-term. I mean, all these things are so lasting, that’s why I love it. It’s like a book can get out there in the world, but honestly, it has potential to go out of print eventually or not get a second print run.

    HR: Exactly, there’s that. 

    Jennifer: And the website, the resources that you create, the conversations that you have about your book, those things can stay. Oh, fun! 

    HR: Which means you’re seeing that website at presentations and class visits. And it’s not just for like the general public randomly who comes to it. It’s like, it’s also a teaching tool. It’s also a research archive. It’s also all these things, you know. And it’s a book, by the way. 

    Jennifer: Yeah, and the book, and the book. (Laughing)

    Jennifer: Now, I’m curious, like, at what point did that professor reach out to you to maybe start working together? Like, at what point in your manuscript creation process should you start thinking about these things?

    HR: Yeah, that’s such a great question. I mean, in that particular instance, I’ve worked with her on a many number of projects. Book cover, her author website to begin with. You know, so many authors I get to work with on multiple projects- 

    Jennifer: I love that. 

    HR: For years and really do know their work quite well. But yeah, so it really varies. I mean, sometimes a project like this, the book is not published, it’s not done. It’s an ongoing, real place of discovery in this way. It’s kind of become this collaboration almost. 

    Jennifer: Wow. That’s so cool! 

    HR: Yeah, I mean, and that’s fairly unique, I would say certainly. Others like, I’m really not involved in the editorial process in most instances, right? You know, I’m there to help bring that book into that publishing process, whatever that looks like physically or digitally or however. And it’s generally speaking after editorial is done, after editing is done, and that kind of thing.

    Jennifer: What kind of transformation do you typically see with authors from before they have a website to after they have a website? Do their feelings change about it?

    HR: Yeah, that’s a great question right, definitely. Because before they have a website . . . Okay, for example I made this website a year ago or so for this author, Maureen Owen. She’s a poet, has, I don’t know, 30 or more books, something like this, dozens of works. 

    Jennifer: She’s prolific. 

    Open laptop with author website of Maureen Owen on the screen

    HR: Beloved poet, right? I’ve loved her work for decades. She’s never had her own personal website, but of course with her books, they’re on publisher sites, on Amazon, on random places. Goodreads of course. There’s all kinds of disparate places where she exists on the web, right? And she has university archives you know in multiple universities, these kind of official places even, but there was not one hub of her place, of her work. And, you know number one, that’s a bummer for the reader trying to just find out more about her or access maybe her work as a student or a grad student learning about her, any of those things. And so to bring all of that together was so great. I mean, and then, exactly, and then for her, that transformation is like people see her in a different way because now they’re seeing, you know, people who don’t necessarily know her personally say are learning about her and they’re able to learn about her in a more comprehensive way in one place from her own voice that she’s in control of because it’s her own website, right? 

    Jennifer: Yeah, well, it makes such a difference. Some of the professors that I’ve worked with, I mean, many of them are authors. The focus of the website is less book than I think the websites that you typically design. But one of the things that they tell me afterwards is like their friends and their family, like people who they weren’t even expecting as like an initial audience for their website, people they know actually feel like they can understand them a little bit better, they can connect with the book or help share it more effectively. So I really like that there are kind of like unexpected sparks that can happen once you are more open to creating that kind of online presence for yourself.

    HR:  Definitely, yeah, for sure. And being able to articulate your research about things or your interests, excitement, whatever that might be. 

    Jennifer: Yeah. Now this year, HR and I are going to be teaming up on some website VIP days. While of course you can work with just HR or just me, if you’re someone that is like, wow, how amazing would it be to have two professionals really thinking deeply with me about what is going to work for my website and actually creating it for you in a day?

    We’re happy to chat and see if we’d be a good fit to work together. We’re happy to help you.

    I also want you to know HR is an amazing resource. If you need a book cover, if you need the interior of your book design, if you need that book website or author website, you should definitely reach out to her. She’s so nice. And someone that I really trust, someone that I trust to sit there with you and to think in ways that’s going to make sense for you. Not just the way that your publisher wants your book to be, but have you be more of a part of that conversation than sometimes happens in the editorial world. Yeah, I just wanted to be sure to share you with people. 

    HR: Thank you so much Jennifer. I’m really super excited, honestly, to be collaborating with you. it’s such a great thing. And I think one thing you said a second ago. You know, to get to work with someone who you actually know who they are as a human being and trust them, that means like the world, right? I mean, how do you, it’s such an abstract thing to just be like, “Okay, now I need a website. What does that even mean, right? Like, how do I do that?” Like, how is anybody supposed to know and what do they trust to do that? And I’ve worked with so many people, honestly, who have been like, tried to do some DIY approach over the years or maybe they did something with a student 15 years ago or something. And it’s just like, they’re still paying some ridiculous thing to some web host that, and I look at their stuff. I’m like, “What is going on here? This is so unnecessary. You’ve been, this is ridiculous.”

    Jennifer: And you know it’s like, it’s unreasonable to think that anybody who’s not in that kind of field would just know what to do, right? I mean, like, I have professors who are like, information, technology, AI, like, really like experts in different tech areas that are like, “I’m not gonna learn how to make a website. Like, can I learn? Yes. But is it a good use of my time? Honestly, no.” And that’s okay. 

    HR: Absolutely, yea. 

    Jennifer: Like, you don’t have to do your website yourself, but also if you’ve done your website yourself and you don’t like it, don’t feel embarrassed. Like, come to us and we’ll help you. 

    HR: Really, no. Get it to a better place, for sure. And, you know, it’s not magic and it’s not rocket science. It’s just like, it’s something that is just valuable to bring up to speed, really.

    Jennifer: HR, is there anything else you feel authors should know either about the book design process or about author websites before we wrap up today?

    HR: I just think, especially in say a website when someone, it is really their project and they get to be in control of it, to just really kind of, to really take that, you know, get in control of it. And either if you’re building it by yourself or working with someone, to just know that it is your website and it is, you know the reflection of who you are as a creative person or an academic or whatever that is for you, researcher. And to just think, you know, it doesn’t have to look like one thing or another, it doesn’t have to be some template that someone is telling you to go with because it’s the easiest option or whatever. You know, there’s such a huge spectrum of how things can kind of come together. And a lot of people don’t even know what those kind of possibilities are. So it’s like, it’s that the person who wants that website or needs that website, you know, they get to be in this creative place and then the person who can help bring that to them can like show up with some really fresh ideas for them. And sometimes that like synergy is what’s so exciting to really make something happen.

    Jennifer: I love that. This was such a good conversation and perfect timing because I am having a How to Promote your Book for Academic Authors event next month. And so I think that having this interview is a resource that can help people. I mean, there’s so many different stages at which you’re like, “Oh my gosh, I think I need a book cover or I think I need this author website and I didn’t know I needed it before, but I need it now.” And if that’s you, I really, I hope you’ll reach out to HR, schedule a call to see if you’re a good fit to work together- 

    HR: Absolutely.

    Jennifer: Because it really is, it’s like a no pressure call. It’s very warm. And I think that you’ll find that it’s a good space for you to actually have someone who knows who can talk with you about these things, not just your editor or, you know, your publisher. You have options. 

    HR: For sure. And I love chatting with anybody and about what those options can look like too. It doesn’t have to be with me, but I’m absolutely happy to talk with anybody.

    Jennifer: Oh, that’s perfect. All right, thank you so much for joining me on this episode of The Social Academic. HR, how can people find you or get in touch with you afterwards?

    HR: I would also love to connect with you on my Instagram, @hr_hegnauer_design_studio.

    My LinkedIn, if that’s a way that’s good to connect. Any of those ways. And on my website, there’s a little button that says like, you know, come and book a consult. Like, I really mean it, like just do it. I talk with people all the time, every week, you know, and love hearing what is going on for them. It’s not like a sales call. You don’t have to be like that, you know. Would love to though connect with anybody or help out with a question if somebody had a question.

    Jennifer: I so appreciate your openness, HR. Thank you so much for coming on the show. 

    HR: Absolutely, thanks so much for having me.

    Subscribe to The Social Academic blog.

    The form above subscribes you to new posts published on The Social Academic blog.
    Want emails from Jennifer about building your online presence? Subscribe to her email list.
    Looking for the podcast? Subscribe on Spotify.
    Prefer to watch videos? Subscribe on YouTube.

    HR Hegnauer on a driftwood beach on a cloudy day. She's wearing a brown zip up jacket and plaid shirt, smiling.
    Photo by Samantha Bounkeua

    HR Hegnauer is a designer, writer, and creative professional specializing in book and web design for authors, independent publishers, and artists. As the owner of a design studio, HR has designed over 350 books, creating award-winning covers and interiors for both print and ebook editions. She is recognized for her website design as a Squarespace Circle Gold Level Member, ranking in the top 8% of over 100,000 professional Squarespace designers worldwide. With over a decade of web design experience, she builds engaging, intuitive websites that help authors not only establish but also grow their digital presence.

    She is the author of When the Bird is Not a Human (Subito Press) and Sir (Portable Press at Yo-Yo Labs) and holds an MFA in Writing & Poetics from Naropa University, where she has also taught in the Summer Writing Program. With an MBA from the University of Denver, HR brings a unique blend of artistic sensibility and strategic expertise to her work. Her approach is highly collaborative, ensuring that every project—whether a book or website—amplifies the unique voice of its creator. 



    Source link

  • Live Workshop on Promoting Your Book Online for Academics

    Live Workshop on Promoting Your Book Online for Academics

    Jennifer van Alstyne and Dr. Sheena Howard designed this live interactive virtual event for professors and researchers like you. Especially if you’ve ever felt like, “I don’t need to do this for me, but I should do this for my book” when it comes to your online presence. Or, if you worry about self-promotion but know your writing / research can help more people if you’re open to sharing it.

    Join Dr. Sheena C. Howard and Jennifer van Alstyne for a 90-minute virtual event to help academics and researchers amplify your work, attract media opportunities, and share your book in meaningful ways.

    We hope you can join us on April 12, 2025 for Promoting Your Book Online for Academics. You’re invited! 💌

    What: 1.5 hour interactive workshop
    When: April 12, 2025 at 11:30am Pacific Time / 2:30pm Eastern Time
    Where: Live on Zoom (there will be a replay)
    With: Jennifer van Alstyne and Dr. Sheena Howard

    Promoting Your Book Online for Academics is on April 12, 2025 at 2pm Eastern / 11:30am Pacific Time. It will be recorded for when you can’t make it live.

    You should sign up if you’re open to

    • Sharing your book (or your research project)
    • Opportunities for your book to be featured in media (but aren’t sure where to start)
    • Helping more people with the writing / research you already do
    • Aim to attract funding
    • Want to build partnerships or collaborations for your equity focused work

    Promoting Your Book Online for Academics is a live event for academic authors. But it’s not just for your monograph or edited collection. If you’ve written a report. If you have created a resource. If your research outputs are something you want to share? This interactive workshop is for you.

    At the end of this workshop you’ll know what’s effective use of your time for media and online presence.

    Icon of a person at their desk with a cup of coffee. On their computer monitor, a Zoom meeting is in progress.
    Icon of a video replay on a computer monitor
    Icon of a calendar

    Hi, I’m Jennifer van Alstyne (@HigherEdPR). I’ve been working 1-on-1 with professors on their online presence since 2018. When I look back on the transformations my clients have gone through, there’s often an emotional journey, not just the capacity-building work we do for your online presence. Most of my clients are authors. The professor writers I work with want their words to reach the right people, but felt unsure about how to go about that online.

    Your book deserves to reach the people you wrote it for. When I ask professors who haven’t promoted their book, “do you hope more readers find this book?” The answer is often “Yes,” even if the book is older. Even when the book didn’t sell as well as you may have hoped. Even when your book is out of print there are things you can do to have agency in sharing it online.

    In 2021, Dr. Sheena Howard and I teamed up for an intimate live event that helped academics around the world. We’ve been wanting to do another one since. But we wanted something that was really going to help you. For years, authors have opened up to each of us about what stopped them from sharing their book for years. When we were brainstorming who we want to help most with this Promoting Your Book Online for Academics event, these are some of the stories that came up:

    I thought I’d have more support in marketing my book from the press…but it seems to be mostly on me.

    My publisher asked me to build up my social media presence for my new book…I’m not really a social media person.

    My books in the past didn’t do well…I’m worried my new book won’t do well either.

    I shared my book once. But I haven’t share it again since on socials.

    I am unsure if it is too early (or too late) to promote my book.

    If I want to promote my book, when should I be reaching out to media? Before the book launches? After the book launches? I don’t know where to start.

    I don’t think anyone will care about my book.

    I want to go on podcasts to talk about my book, but I haven’t done anything toward that, no.

    Do any of those feel like you? I hope you’ll join us.

    Your book deserves to be out there. You have agency in telling your book’s story. Here’s what’s on the Agenda for this workshop:

    • Goal-setting for your digital success as an academic for where to focusing your time and energy
    • Sharing your book or research project in meaningful ways on social media (in ways that don’t feel icky)
    • Using media to boost research impact and funding (and how being in the media can help you build relationships)
    • Media opportunities for your book and research even if you’re just starting to explore this path (digital, print, TV, YouTube, podcasts)
    • Live profile and online presence reviews
    • Q&A

    Sign up for Promoting Your Book Online for Academics.

    Dr. Sheena C. Howard (@drsheenahoward), a Professor of Communication. She helps professors get media coverage and visibility through Power Your Research (without the expense of a publicist). She’s been featured in ABC, PBS, BBC, NPR, NBC, The LA Times, The New York Times, The Washington Post, and more for her research on representation, identity, and social justice. Her book, Black Comics: Politics of Race and Representation won an Eisner Award. The Encyclopedia of Black Comics, which profiles over 100 Black people in the comics industry. Her book, Why Wakanda Matters, was a clue on Jeopardy.

    She’s a writer without limits. I’ve recommended Sheena to some of my clients because she’s someone who helps people move past the limits we sometimes set for ourselves as writers. The worries or beliefs that sometimes hold us back. She’s worked closely with writers and creatives to build their capacity, to have agency in your media presence so you can make an impact when it matters. You want visibility that makes a difference for you. That invites readers. That can attract opportunities when they’re aligned with with what you want for yourself and the world.

    This event is for you even when you want to do it yourself for your online presence. You won’t have to work with us after the workshop ends. This live event is about implementable strategies, and finding focus for what makes sense for sharing your book or research project.

    Frequently asked questions you may be wondering about.

    Where is the workshop?

    This is a live virtual interactive event on Zoom on April 12, 2025 at 11:30am Pacific Time / 2:30pm Eastern Time.

    What if I can’t make it live?

    At our last event, some people knew they wouldn’t be able to attend live when they signed up. A couple people also couldn’t make it live unexpectedly. If you’re unable to join us live on April 12, 2025, you’ll have everything you need.

    Jennifer will email you the event replay when it’s finished processing. You’ll get a copy of the take home worksheet to help you take action and the resources guide. That email will also have your private scheduling link for a follow up meeting with Jennifer if you’d find space to chat about your online presence supportive.

    How much is the workshop?

    This event is $300 USD.

    You can sign up on Dr. Sheena Howard’s Calendly to pay with PayPal.

    Or, email Jennifer for a custom invoice at [email protected]

    Outside of the United States? We had people register from around the world last time. If you run into an issue checking out, Jennifer is happy to create an invoice for you through Wise. Email [email protected]

    This event is non-refundable. If something comes up and you’re unable to join us live on April 12, 2025, you’ll have everything you need.

    Jennifer will email you the event replay when it’s finished processing. You’ll get a copy of the take home worksheet to help you take action and the resources guide. That email will also have your private scheduling link for a follow up meeting with Jennifer if you’d find space to chat about your online presence supportive.

    Can I use professional development funds or research funds to pay for this event?

    Yes. If a custom invoice would be helpful for you, please reach out to [email protected]

    I’m interested in working with Jennifer and Sheena privately. Is this event still for me?

    Jennifer and Sheena team up for online presence VIP Days. And some of our clients have worked with us separately depending on your goals.

    While I’m happy to see how we can work together, this is not a sales event. At our last event, people found having a bit of private space after the event was helpful. So we wanted to be sure you get that private follow up consultation too. If you’re interested in working with us, please do sign up for that Zoom call. We can save time to chat about what may be helpful for you.

    This workshop isn’t in my budget…I still want a stronger online presence for my book / research.

    Yay, I’m glad you found this page because I want that for you. You deserve a stronger online presence if that’s something you want for yourself. Best wishes for your online presence, you’ve got this! There are free resources here on The Social Academic blog to help you have a stronger online presence for your book and your research. You can search by category to find what’s helpful for you. You might start resources related to Authors and Books.

    I don’t think this event is right for me, can I share it with a friend?

    Yes! I’d love that. If this event isn’t right for you, but you think it may be helpful for your friend or colleague, please share it with them. We appreciate you!


    Questions about this event? Please don’t hesitate to reach out. I’m happy to answer your question, hesitation, or concern.

    Email me at [email protected].
    Or, send me a message on LinkedIn.

    Source link

  • Sharing Your Book On Social Media for Professors

    Sharing Your Book On Social Media for Professors

    If you’re writing a book and you want people to read it, watch this. Dr. Jane Jones invited me to talk about how to share your book on social media for academic authors.

    Who is your reader? Who’s interested in reading your monograph, edited collection, or academic book? How do you get a bigger audience for your book as an academic? You deserve a stronger online presence for your book. Let’s talk about finding your book’s audience on social media.

    This interview is about how to spread word about your book and attract readers. Watch the replay on Instagram.

    Jane Jones, PhD is a book coach. Here’s her featured interview on writing your book for minoritized women academis.

    Find articles and interviews about books and authors on The Social Academic.



    Source link