I love it when reviewers make conflicting suggestions

Image: One way?  © Andrea Schafthuizen licensed CC 0 via publicdomainpictures.net

Last week I got the first two peer reviews of my new book (of the complete manuscript, that is*).  I read them with equal doses of eagerness and trepidation (as one does), and before long something very, very familiar happened: I caught Reviewer 1 and Reviewer 2 offering exactly opposite and completely conflicting suggestions.  It was a structural issue: according to Reviewer 1, the book has too many short chapters and I should combine them into fewer, longer ones, while according to Reviewer 2, shorter chapters are a plus because they make the material easier to absorb.  So what do I do?

Why journals like “reject, but resubmit”

It happened to me again, a few weeks ago: a manuscript I’d had high hopes for came back from the journal with a decision of “reject, but with an invitation to resubmit”.  It’s better than a flat-out reject, to be sure, but disappointing nonetheless.

There’s a widespread belief – almost a conspiracy theory – that journals use “reject, but resubmit” as a device to cheat on their handling time statistics (by which we mostly mean time from submission to first acceptance).  After all, if a manuscript gets “revision”, the clock keeps ticking from the original submission; but “reject, but resubmit” means we can pretend the resubmission is a brand new manuscript and start the clock over.  Clever but deceptive move, right? 

How good (a manuscript) is good enough?

Image: © (claimed) Terrance Heath, CC BY-NC 2.0

“How good a manuscript”, I’m sometimes asked, “is good enough to submit”?  It’s a natural enough question.  A manuscript heading for peer review isn’t the finished product.  It’s virtually certain that reviewers will ask for changes, often very substantial ones – so why waste time perfecting material that’s going to end up in the wastebasket anyway?

Nuancing brevity: less isn’t always more

Image: something I wrote recently. If you’re a sharp-eyed reader of the blog and think you know what it is, make a guess in the Replies. Although the only prize is my admiration.

Nearly every source of writing advice agrees on one thing: brevity is good.  My own book, The Scientist’s Guide to Writing, is no exception; I devote an entire chapter to brevity.  There are good reasons for this. Longer papers ask more of their readers’ limited time budgets and seem, likely as a direct result, to have less citation impact.  Journals have limited space and would rather publish more papers than longer ones*.  In general, shorter texts and simpler sentences are easier to understand.  And most writers need to shorten their first drafts – and most find this a challenge (as Blaise Pascal noted in his famous letter, “I’ve made this letter longer than usual; I haven’t had time to make it shorter**”).

But just in the last year or two, I’ve backed off my fanaticism about brevity just a bit. 

Writing the Methods section as narrative

Image: Once Upon a Time, CC-0 via pixabay.com

We often tell ourselves that a good Methods section allows someone else to replicate our experiments.  I’ve argued, among other places in The Scientist’s Guide to Writing, that we needn’t and shouldn’t expect this function of most Methods sections.  Rather, a good Methods section gives readers what they need to ascribe authority to you as a scientist, and to understand the Results you’ll present.

I get frequent pushback against this idea, usually in connection with prominent hand-wringing over the so-called “replication crisis”. But a couple of weeks ago I gave a talk about writing at Saint Mary’s University (the one in Halifax, Nova Scotia) and I got a different and very convincing kind of pushback.