Promoting acceptance by understanding people.Posted: June 28, 2015
Let me start by putting up a picture of some people celebrating!
My first confession is that the ‘acceptance’ I’m talking about is for academic and traditional fiction publishing. The second confession is that I have attempted to manipulate you into clicking through by using a carefully chosen title and presented image. This is to lead off with the point I wish to make today: we are a mess of implicit and explicit cognitive biases and to assume that we have anything approximating a fair evaluation mechanism to get work published is to, sadly, be making a far reaching assumption.
If you’ve read this far, my simple takeaway is “If people don’t even start reading your work with a positive frame of mind and a full stomach, your chances of being accepted are dire.”
If you want to hang around my argument is going to be simple. I’m going to demonstrate that, for much simpler assessments than research papers or stories, simple cognitive biases have a strong effect. I’m going to follow this and indicate how something as simple as how hungry you are can affect your decision making. I’m then going to identify a difference between scientific publishing and non-scientific publishing in terms of feedback and why expecting that we will continue to get good results from both approaches is probably too optimistic. I am going to make some proposals as to how we might start thinking about a fix, but only to start discussion because my expertise in non-academic publishing is not all that deep and limited by not being an editor or publisher!
I’ve posted before on an experiment  where the only change to the qualifications of a prospective lab manager was to take the name from male to female. The ‘female’ version of this CV got offered less money, less development support and was ‘obviously’ less qualified. And this effect occurred whether the assessor was a man or a woman. This is the pretty much the gold standard for experiments of this type because it reduced any possibility of someone acting out of character because they knew what the experiment was trying to prove. There’s a lot of discussion in fiction at the moment about gendered bias, as well as academia. You’re probably aware of the Bechdel Test, which simply asks if there are two named women in a film who talk to each other about something other than men, and how often the mainstream media fails that test. But let’s look at something else. Antony LaPaglia tells a story that he used to get pulled up on his American accent whenever anyone knew that he was Australian. So he started passing as American. Overnight, complaints about his accent went away.
Compared to assessing a manuscript, reading a CV, bothering to put in two woman with names and a story, and spotting an accent are trivial and yet we can’t get these right without bias.
There’s another thing called the Matthew Effect, which basically says that the more you have, the more you’re going to get (terrible paraphrasing). Thus, the first paper in a field will be one of the most cited, people are comfortable giving opportunities to people who have used them well before, and so on. It even shows up in graph theory, where the first group of things connected together tend to become the most connected!
So, we have lots of examples of bias that comes in, if we know enough about someone that the bias can engage. And, for most people who aren’t trying to be discriminatory, it’s actually completely unconscious. Really? You don’t think you’d notice?
Let’s look at the hunger argument. An incredible study  (Economist link for summary) shows that Israeli judges are less likely to grant parole, the longer they’ve waited since they ate, even when taking other factors into account. Here’s a graph. Those big dips are meal breaks.
When confronted with that terrifying graph, the judges were totally unaware of it. The people in the court every day hadn’t noticed it. The authors of the study looked at a large number of factors and found some things that you’d expect in terms of sentencing but the meal break plunges surprised everyone because they had never thought to look for it. The good news is that, most days, the most deserving will still get paroled but, and it’s a big but, you still have to wonder about the people who should have been given parole who were denied because of timing and also the people who were paroled who maybe should not have been.
So what distinguishes academia and non-academic publishing? Shall we start by saying that, notionally, many parts of academic publishing subscribe to the Popperian model of development where we expose ideas to our colleagues and they tear at them like deranged wolves until we fashion truth? As part of that, we expect to get reviews from almost all submissions, whether accepted or not, because that is how we build up academic consensus and find out new things. Actual publication allows you to put your work out to everyone else where they can read it, work with it or use it to fashion a counter-claim.
In non-academic publishing, the publisher wants something that is saleable in the target market and the author wants to provide this. The author probably also wants to make some very important statements about truth, beauty, the lizard people or anything else (much as in academic publishing, the spread of ideas is crucial). However, from a publisher’s perspective, they are not after peer-verified work of sufficient truth, they are after something that matches their needs in order to publish it, most likely for profit.
Both are directly or indirectly prestige markers and often have some form of financial rewards, as well as some truth/knowledge construction function. Non-academic authors publish to eat, academic authors publish to keep their jobs or get tenure (often enough to allow you to eat). But the key difference is the way that feedback is given because an academic journal that gave no feedback would have trouble staying in business (unless it had incredible acceptance already, see Matthew Effect) because we’re all notionally building knowledge. But “no feedback” is the default in other publishing.
When I get feedback academically, I can quickly work out several things:
- Is the reviewer actually qualified to review my work? If someone doesn’t have the right background, they start saying things like surely when they mean I don’t know, and it quickly tells you that this review will be uninformative.
- Has the reviewer actually read the work? I would ask all the academics reading this to send me $1 if they’ve ever been told to include something that is obviously in the paper and takes up 1-2 pages already, except I am scared of the tax and weight implications.
- How the feedback can be useful. Good feedback is great. It spots holes, it reinforces bridges, it suggests new directions.
- If I want to publish in that venue again. If someone can’t organise their reviewers and oversee the reviews properly? I’m not going to get what I need to do good work. I should go and publish elsewhere.
My current exposure to non-academic publishing has been: submit story, wait, get rejection. Feedback? “Not suitable for us but thank you for your interest”, “not quite right for us”,”I’m going to pass on this”. I should note that the editors have all been very nice, timely (scarily so, in some cases) and all of my interactions have been great – my problem is mechanistic, not personal. I should clearly state that I assume that point 1 from above holds for all non-academic publishing, that is that the editors have chosen someone to review in a genre that they don’t actually hate and know something about. So 1 is fine. But 2 is tricky when you get no feedback.
But that tricky #2, “Has the reviewer actually read the work”, in the context of my previous statements really becomes “HOW has the reviewer read my work?” Is there an informal ordering of people you think you’ll enjoy to newbies, even unconsciously? How hungry is the reviewer when they’re working? Do they clear up ‘simple checks’ just before lunch? In the absence of feedback, I can’t assess the validity of the mechanism. I can’t improve the work with no feedback (step 3) and I’m now torn as to whether this story was bad for a given venue or whether my writing is just so awful that I should never darken their door again! (I accept, dear reader, that this may just be the sad truth and they’re all too scared to tell me.)
Let me remind you that implicit bias is often completely unconscious and many people are deeply surprised when they discover what they have been doing. I imagine that there are a number of reviewers reading this who are quite insulted. I certainly don’t mean to offend but I will ask if you’ve sat down and collected data on your practice. If you have, I would really love to see it because I love data! But, if what you have is your memory of trying to be fair… Many people will be in denial because we all like to think we’re rational and fair decision makers. (Looks back at those studies. Umm.)
We can deal with some aspects of implicit bias by using blind review systems, where the reviewer only sees the work and we remove any clues as to who wrote it. In academia this can get hard because some people’s contributed signature is so easy to see but it is still widely used. (I imagine it’s equally hard for well known writers.) This will, at least, remove gender bias and potentially reduce the impact of “famous people”, unless they are really distinctive. I know that a blinding process isn’t happening in all of the parts of non-academic publishing because my name is all over my manuscripts. (I must note that there are places that use blind submission, such as Andromeda Spaceways Inflight Magazine and Aurealis, for initial reading, which is a great start.) Usually, when I submit, my covering letter has to clearly state my publication history. This is the very opposite of a blind process because I am being asked to rate myself for Matthew Effect scaling every time I submit!
(There are also some tips and tricks in fiction, where your rejections can be personalised, yet contain no improvement information. This is still “a better rejection” but you have to know this from elsewhere because it’s not obvious. Knowing better writers is generally the best way to get to know about this. Transparency is not high, here.)
The timing one is harder because it requires two things: multiple reviewers and a randomised reading schedule, neither of which take into account the shoe string budgets and volunteer workforce associated with much of fiction publishing. Ideally, an anonymised work gets read 2-3 times, at different times relative to meals and during the day, taking into account the schedule of the reader. Otherwise, that last manuscript you reject before rushing home at 10pm to reheat a stale bagel? It would have to be Hemingway to get accepted. And good Hemingway at that.
And I’d like to see randomised reading applied across academic publishing as well. And we keep reviewing it until we actually reach a consensus. I’ve been on a review panel recently where we had two ‘accepts’, two ‘mehs’ and two ‘kill it with fires’ for the same paper. After group discussion, we settled for ‘a weak accept/strong meh’. Why? Because the two people who had rated it right down weren’t really experts so didn’t recognise what was going on. Why were they reviewing? Because it’s part of the job. So don’t think I’m going after non-academic publishing here. I’m exposing problems in both because I want to try and fix both.
But I do recognise that the primary job of non-academic publishing is getting people to read the publication, which means targeting saleable works. Can we do this in a way that is more systematic than “I know good writing when I see it” because (a) that doesn’t scale and (b) the chances of that aligning across more than two people is tiny.
This is where technological support can be invaluable. Word counting, spell checking and primitive grammar checking are all the dominion of the machine, as is plagiarism detection on existing published works. So step one is a brick wall that says “This work has not been checked against our submissions standards: problems are…” and this need not involve a single human (unless you are trying to spellcheck The Shugenkraft of Berzxx, in which case have a tickbox for ‘Heavy use of neologisms and accents’.) Plagiarism detection is becoming more common in academic writing and it saves a lot of time because you don’t spend it reading lifted work. (I read something that was really familiar and realised someone had sent me some of my own work with their name on it. Just… no.)
What we want is to go from a flood, to a river, then to manage that river and direct it to people who can handle a stream at a time. Human beings should not be the cogs and failure points in the high volume non-academic publishing industry.
Stripping names, anonymising and randomly distributing work is fairly important if we want to remove time biases. Even the act of blinding and randomising is going to reduce the chances that the same people get the same good or bad slots. We are partially systematic. Almost everyone in the industry is overworked, doing vast and wonderful things and, in the face of that, tired and biassed behaviour becomes more likely.
The final thing that would be useful is something alone the lines of a floating set of check boxes that sit with the document, if it’s electronic. (On paper, have a separate sheet that you can scan in once it’s filled in and then automatically extract the info.) What do you actually expect? What is this work/story not giving you? Is it derivative work? Is it just all talk and no action? Is it too early and just doesn’t go anywhere? Separating documents from any form of feedback automation (or expecting people to type sentences) is going to slow things down and make it impossible to give feedback. Every publishing house has a list of things not to do, let’s start with the 10 worst of those and see how many more we can get onto the feedback screen.
I am thinking of an approach that makes feedback an associated act of reading and can then be sent, with accept or reject, in the same action. Perhaps it has already been created and is in use in fine publishing houses, but my work hasn’t hit a bar where I even get that feedback? I don’t know. I can see that distributed editorial boards, like Andromeda, are obviously taking steps down this path because they have had to get good at shunting stuff around at scale and I would love to know how far they’ve got. For me, a mag that said “We will always give you even a little bit of feedback” will probably get all of my stuff first. (Not that they want it but you get the idea.)
I understand completely that publishers are under no obligation whatsoever to do this. There is no right to feedback nor is there an expectation outside of academia. But if we want good work, then I think I’ve already shown that we are probably missing out on some of it and, by not providing feedback, some (if not many) of those stories will vanish, never worked on again, never seen again, because the authors have absolutely no guidance on how to change their work.