There is a strong case to be made for defining the early plays of the Dublin Trilogy as a series. A series is a sequence of related texts, and these texts occupy two states simultaneously: independence and interaction. The associated term ‘seriality’ describes the state of interaction between serial texts, and reflections on the operations of ‘seriality’ have emerged from a range of academic disciplines. This chapter examines O’Casey’s most famous writings in the context of serial narrative, serial publication, and serial consumption.

Latinx comics articulate popular understandings of Latinidad. However, in recent years, Latinx comics, like comics broadly, have become closely aligned with the university. Although much has been written about comics as objects of study, less has been said about the university as a site of publication. The shift in publication sites from small publishers to university presses entwines the comic book with the university’s thought and material conditions. While acknowledging how this open spaces for Latinx creators, the chapter investigates how this shift impacts Latinx thought. Do Latinx comics conform to academic understandings of Latinidad when published by a university? Can comics still incite vernacular understandings of Latinidad? Focusing on Alberto Ledesma’s Diary of a Reluctant Dreamer, the anthology Tales from La Vida, and Leigh-Anna Hidalgo’s “augmented fotonovelas,” the chapter considers how artists negotiate the university’s influence. The chapter also shows how comic book aesthetics and the history of Latinx image-text cultural forms point us to forms of thought that resist, challenge, and supplement academic understandings.

Arriving at evidence-based solutions requires strong evidence. Usually, this evidence will be derived from quality research, such as is often published in reputable scientific journals. But how do we know whether even these studies are good through and through? There is always the potential that pesky flaws, such as bias and confounding, might can beset even the most (otherwise) perfect of studies. This is why the methods taken to avoid bias and confounding are always well-described in all good published studies, as is the potential for remaining sources of error for which the design is (inevitably) unable to account, but which might still influence findings. There is always a bit of uncertainty about any evidence provided by studies and, to add to this, the very real possibility that we are not getting the full story at all times. In a phenomenon known as ‘publication bias’, even really high quality studies may not get published if they report non-significant results.

Some of the practices that are believed to enhance the quality of science may produce bias. Studies with unexciting results may never be published, or results are selectively reported to highlight positive outcomes. Investigators often measure multiple outcomes while only reporting those with statistically significant findings. The best remedy for this problem is to require prospective declaration of study plans through study registration, such as the primary and secondary outcome variables and data analysis plans. Failure to report results of completed studies remains a serious problem. Further, results from many studies remain unpublished and the probability of publication is higher for positive results, leading to overestimates of treatment benefit. It is possible that some encouraging clinical trial findings are actually false positive results. For US Food and Drug Administration evaluations, data from a significant portion of relevant completed trials remain undisclosed at the time the pharmaceutical products are under evaluation.

What happens to submissions to a journal such as Research on Language and Social Interaction which publishes close, technically sophisticated analysis of interaction? What do its editors look for? We begin by explaining why submission might be desk-rejected: it might be simply unsuitable in topic or methodology for the journal, or it might be that it is somehow not quite up to standard. Methodologically sound work on a topic of interest to the EM/CA community will pass the first hurdle and be sent out for review by knowledgeable peers. Reviewers will report on the strength of the argument, the relation of the work to what is already known, and the quality of the analysis. Most papers at this stage will receive an encouraging invitation to revise and resubmit according to the reviewers’ comments and the editors’ recommendations. The revision, to pass the next stage, should be accompanied by a closely written, collegially written commentary on what the authors have done with the reviewers’ comments. The editors will scrutinize the revision and the covering letter very carefully; if all is well, then, with one last round of very minor tidying up, all is set for publication.

Forensic psychiatry, of all the specialties in medicine, needs its own strong academic core. Academic forensic psychiatry is founded in scientific research, with its systematic approach to making and recording observations, formulating hypotheses from them, testing those hypotheses with new observations and accumulating the most comprehensive picture possible in a way that is transparent and replicable. An academic approach supports application of scientific principles as strongly in the individual case as in developing relevant collective knowledge, is able to make links between them and can communicate all this effectively within and outside the specialty. This requires highly developed and defined specialist training. Academic forensic psychiatry in this sense is the business of all forensic psychiatrists. In order for forensic psychiatry to thrive, however, it is vital that some forensic psychiatrists further specialise in academic work in terms of additional training, time and immersion in skills that support accurate scientific questioning and testing and, ultimately, the capacity to innovate and keep this cycle active.

As Chapter 5 details, the theatrical promise of courtliness, prestige, and technological innovation attracted talented men and women who sought careers as dramatists. The duopoly, however, severely limited their opportunities, as did the ever growing backlog of old plays. After 1682, only one company remained to which they could sell their product, and overburdened payrolls consumed budgets that could otherwise be spent on new play development. Dramatists thus found themselves in the contradictory position of, on the one hand, affecting the gentility necessary for belonging to this exclusive cultural enterprise, and, on the other, chasing after diminishing opportunities like any common hack. And, finally, the theatre’s embrace of luxury and innovation made scarce another limited resource over which dramatists now competed: sumptuous scenic effects to adorn their scripts. By the end of the century, so deeply felt was disaffection with working conditions that few literary-minded writers took up drama as a profession, thereby establishing a pattern that would continue well into the eighteenth century.

Returning to some of the themes addressed in Chapter 3, this final chapter considers the wider social responsibilities of archaeologists working in southern Africa in the twenty-first century. Matters discussed include gender and racial equity within the discipline itself (especially with respect to South Africa), how best to relate the work done by archaeologists to the wider public, heritage management and conflicts over this (including the restitution of cultural sites, property, and human remains), the roles of contract archaeology, university teaching departments, and museums, the importance of publication, and the potential for developing post-colonial approaches to the interpretation of archaeological evidence. In highlighting possible future research trends, the chapter concludes by emphasising the need for work that is both intellectually sound and socially engaged and by reiterating the global significance of southern Africa’s immensely long and varied archaeological record.

As an archive, the Anne Lister diaries are an extraordinary tale of survival, in that the diaries came close to being destroyed and their coded content was kept hidden until Helena Whitbread, an independent scholar from Halifax, published the first coded extracts with Virago Press in 1988. Gonda’s interview follows Whitbread’s journey of discovery into the coded sections of the diaries and the laborious process of decrypting the diaries by hand, before computers had become generally available. As Whitbread delved deeper into the Lister archive, her sense of its importance increased exponentially and she began to understand the need to have coded extracts from the diaries published as a book available to the public. Whitbread then published a second volume of extracts in 1992 and she discusses what made her decide to focus on Lister’s intimate relationships in the vast five-million-word archive available to her. Currently working on an Anne Lister biography, Whitbread shares her own affective relationship with the Lister diaries over the years and responds to the unprecedented fame Lister has achieved in part as a result of the Gentleman Jack series. This has included key transformations in Whitbread’s own public life as one of the founders of Lister scholarship.

To survive and prosper, researchers must demonstrate a successful record of publications in journals well-regarded by their fields. This chapter discusses how to successfully publish research in journals in the social and behavioral sciences and is organized into four sections. The first section highlights important factors that are routinely involved in the process of publishing a paper in refereed journals. The second section features some factors that are not necessarily required to publish a paper but that, if present, can positively influence scientific productivity. The third section discusses some pitfalls scholars should avoid to protect their scientific career. The last section addresses general publication issues within the science community. We also recommend further resources for those interested in learning more about successfully publishing research.

Article 102 of the UN Charter requires that every treaty shall be registered with the UN Secretariat, and published by it. Over 75,000 treaties have now been registered. The UN General Assembly has drawn up detailed regulations on registration, which the chapter summarises. It also explains the documents which should be submitted to the UN Treaty Section to register a treaty. Where there is a dispute as to whether an instrument is a treaty, the fact that it has been submitted for registration may be evidence of the intention of the states concerned as to its status. But registration is not of itself conclusive of its status. The UN publishes treaties which have been registered in the UN Treaty Series. Each state will also usually have its own treaty series, in which treaties which it has signed or to which it is a party are published. Examples are the UK Treaty Series (UKTS) and the Treaties and Other International Acts (TIAS) of the United States.

Molière’s publishing career highlights the ambiguities and eccentricities of the early modern Parisian book trade, while also demonstrating the author’s concern for his plays’ passage from stage to page. While Molière was initially victimised by unscrupulous booksellers, he eventually became an able participant in the publication process, capable of exploiting print’s possibilities to his own advantage. His career can be roughly divided into three phases: his early and ultimately successful battles against pirated editions that led to a stable publishing approach; his mid career rupture with his initial publishers and the resultant search for new partners; and his subsequent collaboration with Jean Ribou, including the alternative publication measures taken as a result of Ribou’s continued legal troubles. While on occasion Molière disavowed an interest in publication rhetorically, his actual practice reveals an author invested in the circumstances of his works’ printing and inventive in his interactions with Parisian publishers, in some instances even outmanoeuvring the professionals of the book trade. Working in an era prior to modern copyright protections, Molière learned to use publication, the royal privilege system, and personal notoriety to ensure ownership and control over his theatrical corpus.

This new collection enables students and general readers to appreciate Coleridge’s renewed relevance 250 years after his birth. An indispensable guide to his writing for twenty-first-century readers, it contains new perspectives that reframe his work in relation to slavery, race, war, post-traumatic stress disorder and ecological crisis. Through detailed engagement with Coleridge’s pioneering poetry, the reader is invited to explore fundamental questions on themes ranging from nature and trauma to gender and sexuality. Essays by leading Coleridge scholars analyse and render accessible his extraordinarily innovative thinking about dreams, psychoanalysis, genius and symbolism. Coleridge is often a direct and gripping writer, yet he is also elusive and diverse. This Companion’s great achievement is to offer a one-volume entry point into his incomparably rich and varied world.

This new collection enables students and general readers to appreciate Coleridge’s renewed relevance 250 years after his birth. An indispensable guide to his writing for twenty-first-century readers, it contains new perspectives that reframe his work in relation to slavery, race, war, post-traumatic stress disorder and ecological crisis. Through detailed engagement with Coleridge’s pioneering poetry, the reader is invited to explore fundamental questions on themes ranging from nature and trauma to gender and sexuality. Essays by leading Coleridge scholars analyse and render accessible his extraordinarily innovative thinking about dreams, psychoanalysis, genius and symbolism. Coleridge is often a direct and gripping writer, yet he is also elusive and diverse. This Companion’s great achievement is to offer a one-volume entry point into his incomparably rich and varied world.

How do you read a patent and what subject matter is patentable? What is the purpose of a patent? Who is an inventor on the patent if work is done by many people on the project? What is the process of obtaining a patent in my country and globally? Read this chapter to see how you could lose commercialization rights to your own invention. When exactly does an invention or idea become patentable? Once you own a patent, how can you make money from it? What is the process of licensing and the key terms that should be negotiated in such a license agreement? What is the use of a copyright or a trade secret in biotech? What exactly constitutes patent infringement ? These questions and many others are addressed in this chapter on intellectual property.

Publishing short stories: writing websites, print periodicals, competitions. Submission tips. The relationship between agents and editors. How editors make decisions. Targeting and pitching a novel. Understanding and getting value from rejection. Holding your nerve. The writing life: a place to work; a time to work; keeping a notebook; finding a community of writers. Writer’s block and how to avoid it. Set achievable goals. The pleasures of writing.

‘If we believe we’ve said everything we want to say we may as well give up writing. Everything we write is an adventure, an attempt at mastering what we might never quite conquer. You’ve finished when you know you’ve done everything you can to make it as true and good as it can be.’