How I use tweet threads at conferences

I tweet 10-20 times per week on average. But I’m far more active on Twitter when I attend conferences. At conferences, I write as many as 300 tweets over two days. I use conference hashtags to share my thoughts, generate discussion, and disseminate others’ work. Conference tweeting is a way to electronically meet other attendees and have an online conversation with them. I try to use live-tweeting etiquette as much as possible.

Along with tweeting, I normally take notes on my laptop during conference presentations. Lately, along with my usual conference tweets, I have been writing what I call tweetnotes. These are tweet threads I write by tweeting my notes and threading together replies. The tweets become my notes, hence the term tweetnotes.

Before creating tweetnotes, I used to write a dozen or more discrete tweets during presentations. But I can thread tweetnotes together, meaning they can be saved as a narrative instead of a basketful of discrete tweets. In the past, I would scan through old tweets to find tweets from a specific presentation. Now, I just save or embed the tweetnote links and I can easily access the entire thread. Here are a few examples from the annual Qualitative Health Research conference I just attended.

Tweetnotes are useful for me and for others. For example, when I finish a tweetnote I will often retweet it with a summary of the presentation I attended. The presenter, conference organizers, and other audience members can now interact with either individual tweets or to the entire tweetnote. For example, CADTH retweeted my tweetnote on some presenters form their organization.

So far, I think the uptake of using tweetnotes has been well received by my network. What do you think of tweetnotes or other ways of using Twitter threads? Share your thoughts as a comment.

9 Tips on How to NOT get your paper published

McMaster UniveGeoff Normanrsity’s Professor Geoff Norman is a prominent figure in the Medical Education/Health Professions Education community. Along with co-authoring one of the most popular handbooks in Biostatistics, Norman is also a long-time editor for the Advance in Health Sciences Education journal.

In his journal’s most recent issue Norman offers up some tips on how to not get your paper published. I’ve highlighted my favourites–sound advice for academics and graduate students alike:

  1. Support your problem statement with the best available evidence (“Nice ideas finish last”)
    • Your paper must provide sufficient theoretical and empirical justification for why its problem statement is an important one.
  2. Conduct a thorough literature review early (“The world doesn’t need another mousetrap”)
    • Before beginning your study, ensure the same work has not been conducted before. If it has, ensure your problem statement and study design sufficiently expand past findings.
  3. Ensure data are consistent with the journal’s/disciplines expectations (“We don’t really care if your students loved the course”)
    • Norman reminds us that studies involving self-assessment as data are consistently uncorrelated with performance measures. (Eva and Regehr 2005)  While another journal may publish self-assessment data, Norman begs authors to consider whether their data is appropriate for journal/disciplinary conventions before submitting their manuscripts.
  4. Ask whether your findings are applicable in another context (“We are scientists, not inventors”)
    • In studies where a costly simulation device or complex intervention is designed, Norman warns authors not to presume that their findings should be of interest to a wider audience–taking special care when the research is aligned with an commercial interests (e.g., a device manufacturer)
  5. Ask whether your findings are interesting in another context (“The only people who care about education of pediatric gerontologists in Lower Volga are pediatric gerontologists in Lower Volga”)
    • Norman reminds us to think about an international audience for our work. It is incumbent on authors to figure out why researchers in different countries will care about their work.
  6. Disclose other venues in which your study has been published (“Salami slicing belongs in butcher shops”)
    • Salami slicing is the colloquial term for publishing the same study in multiple journals. While Norman admits that this is sometimes an appropriate practice, he reminds researchers to avoid self-plagiarism by writing the second study de novo rather than cutting and pasting swathes of text.
  7. Represent quantitative value with appropriate detail (“P values tell you whether it’s zero but little else”)
    • While a research team’s findings may be statistically significant, simply displaying an appropriate P value is insufficient. Norman reminds authors to include standard deviations, confidence intervals and effect sizes, best represented by good figures and graphs.
  8. Leave room for future research (“More research is always required”)
    • Avoid overstating the universal applicability of your results. Be specific about other research questions that remain to be answered in your work.

Leave your thoughts

What do you think? Am I missing anything obvious? Do you find the advice pedantic? I’d love to read your commends below.


How to write a persuasive resume

Whether for essays or emails, I’ve always been the designated editor for my friends and family. But my favourite genre to edit has always been the resume. I think I enjoy editing resumes because they are such highly persuasive documents, hence the title of this blog post. But most of us have some very common misconceptions about resumes—and here I’m speaking from experience, not just as an editor.

I was turned down by six companies in a row before I was finally hired at a marketing company as part of the co-op program I enrolled in during grad school. With schoolwork mounting, I was very frustrated that six potential employers turned me down. So I booked an appointment with a co-op advisor, I attended a practice interview session, and I had my resume edited by a professional. Along the way, I asked a lot of questions and received a lot of helpful advice. I changed my resume to fit the advice of the experts and I was hired after my next interview. I realize now I wasn’t hired at those first six jobs because editorial hubris got the better of me. I couldn’t get a job because I didn’t realize the potential power of my resume.

What you’re probably doing right

Most of the resumes I edit have the header nearly perfect. Everyone understands that your name should be the central focus of your resume. Under their names, everyone understands that your contact information (street address, phone number, email address, and website) is also included in the header. (Don’t have a website? The least you can do is list your linkedin profile. Don’t have a linkedin profile? Go create a linkedin profile right now—and don’t forget to add me to your network.)

Everyone also understands the general structure of the resume. First you list your job objective, then you list your education (by the way, don’t list your high school education—it’s a given), next you list a summary of your qualifications, followed by work experience. This is the structure of a resume at its most general. But this structure on its own won’t lead to many recruitment calls.

What you’re probably doing wrong

The history lessonresume_stack

Misunderstanding a resume’s purpose is the first major resume misconception. When composing a resume, people tend to write a historical document. Their resume tells their education history, their employment history, and perhaps a bit of their personal history. But resumes aren’t historical documents; resumes are persuasive documents. The purpose of a resume isn’t to tell your life story. The purpose of a resume is to persuade a recruiter that you deserve an interview—and remember the recruiter has a stack of other resumes to choose from.

In order to earn you a job interview, your resume needs to focus on three main things: accomplishments, skills, and attributes. Every single sentence of your resume needs to be an accomplishment, an attribute, or a skill. If information isn’t an accomplishment, attribute, or skill, then it doesn’t belong in your resume.

Erase the irrelevant

Now the question is, can you distinguish irrelevant information from accomplishments, skills, and attributes? Try this quick test:

Which of these pieces of information are irrelevant?

  • Consulted with management daily to update website information
  • Provided outstanding guest service to hotel guests
  • Created weekly schedule for 63 employees

I guess it was a trick question: all three of these are irrelevant because they aren’t accomplishments, skills or attributes. While they each certainly provide relevant information about a job description, they’re nothing more than historical information about your past work. This information does not demonstrate what makes you special, what makes you necessary, or what makes you valuable.

Accomplishments, attributes, and skills

Your resume should at all times aim to detail unique actions and benefits that you offered your former organization. Here’s how I would reframe the above list to highlight accomplishments, skills, and attributes:

  • Created daily website update system to relay current information from management to clients
  • Consistently earned 5 out of 5 stars for outstanding guest services
  • Generated $1500 per week in additional revenue by eliminating unnecessary shifts.

For some reason, people reflect on their past work experience in generalities. But you need to be specific. Before writing your resume, sit down and make a list of all of the special things you did at your past jobs. At first you may find this exercise difficult, but the longer you think about it, the easier it gets. Were you ever recognized for a special achievement? Was one of your suggestions ever enacted upon? Were you promoted? Did you somehow save the company money (actual statistics and figures are VERY persuasive)? What skills did you use regularly or acquire?

Activities and Interests

Finally, for some reason nobody ever includes an “Activities and Interests” section in their resume. Yet three bullet points about your life outside of work can so much to set you apart from other applicants. Employers ARE interested in your experiences with music, drama, dance, sports, and any other type of collaborative enterprise that demonstrates teamwork, creativity, or coordination abilities. You might also want to tweak this section of your resume depending on the job for which you’re applying. For example: demonstrate an interest in technology if you’re applying for a job as a technical writer.

So, friends, will I edit your resume? With pleasure! But now that I’ve written this piece I’m sending you to read it first. I hope you’ll also read the other article I wrote on more general job hunting advice. Good luck in your search!

Metaphors part 1: What are metaphors?

Metaphors pervade nearly every aspect of the English language and are fundamental to art, business, and human language. Therefore, I’ve decided to begin a three part series of posts about metaphors. The first part of this series will introduce the concept of metaphors; the second part will discuss metaphors in relation to marketing communications, and the third part will discuss metaphors in relation to cognitive science. Below you’ll find illustrative metaphors from poetry by Robert Burns and William Shakespeare, along with some quotes from Barack Obama’s inaugural address.

What are metaphors?

Metaphor is an ancient Greek term combining the prefix meta (meaning “beyond or over”) and the verb pherein (meaning “to carry”). Today we take metaphor, at its simplest, to mean “a comparison made by referring one thing to another” (silva rhetoricae). The word’s ancient Greek definition is a metaphor itself (it’s self-referential): a metaphor ‘carries’ the meaning of a word ‘beyond or over’ its referent; so the idea that a word can physically carry or move meaning is metaphorical in and of itself.

A more complex definition of metaphors is that they’re figures of speech in which a name, descriptive word, or phrase is grafted onto an object or action different from, but analogous to, the original name, descriptive word, or phrase.

What aren’t metaphors?

I think it’s important to distinguish metaphors from three similar figures of speech: metonymy, synecdoche, simile. (Note: I’ll be quoting some poetry below and you’ll notice slashes [/] within the lines. These indicate line breaks.)


duran duran A simile is a straightforward, explicit metaphor that often uses “like” or “as.” Any Duran Duran fans will recall their hit single “Hungry Like the Wolf.” This is a simile. Because they’re so obvious, similes are the weakest form of metaphors. In literary criticism, a bad writer would be considered one who relies heavily on similes to deliver metaphors. A good metaphor shouldn’t need the words “like” or “as” to draw a comparison. Of course this doesn’t mean that smiles have no poetic power. Take Robert Burns’ famous line “O, my love is like a red, red rose, / That is newly sprung in June” (from A Red, Red Rose). Although Burns relies on a simile to deliver the poem’s first line, he continues with eloquent, thoughtful rhymes like: red rose

“Till all the seas go dry, my Dear
And the rocks melt with the sun!
O I will love you still, my Dear
While the sands of life shall run.”


Metonymy is a metaphor where you refer to sometime by naming one of its parts or attributes—there is a relation between the two things; they are contiguous. In a discussion of politics we hear “Parliament passed the bill,” when watching CNN we hear “they’re tracking it in the blogosphere,” or when discussing war we hear “the pen is mightier than the sword.” These statements are all metonymic—Parliament is a reference to the Members of Parliament, the blogosphere is a reference to groups of online political writers, the pen represents the persuasive power of words, and the sword represents military power.


Synecdoche is a specific type of metonymy where a referent’s part stands in for the whole referent itself. A classic example of synecdoche is found in the balcony scene of Shakespeare’s Romeo and Juliet: “It is my lady, O, it is my love!” says Romeo. “O, that she knew she were! / She speaks yet she says nothing: what of that? / Her eye discourses; I will answer it.” Romeo states that Juliet’s eye speaks to him, but the eye metonymically represents a part of Juliet’s beauty as a whole.

Okay, what are metaphors again? Inauguration

As opposed to simile, metonymy, and synecdoche (and numerous other figures of speech), metaphors allow  readers or listeners to draw meaning themselves. So, let’s look at a recent example from Barack Obama’s inaugural address:

“Forty-four Americans have now taken the presidential oath. The words have been spoken during rising tides of prosperity and the still waters of peace. Yet, every so often the oath is taken amidst gathering clouds and raging storms.”

Obama doesn’t use a simile (ex. “Every so often the oath is taken amidst a political situation as brutal as a gathering storm”), metonymy (ex. “Every so often the oath is taken when the money has run out”), or synecdoche (ex. “Every so often the oath is taken while John Smith and Jane Doe are being laid off”). Obama uses a clear, eloquent metaphor that allows the audience to implicitly realize that “gathering clouds and raging storms” refers to the current US recession.

Dead metaphors

Dead metaphors are the most commonly used metaphors in the English language, so much so that they’ve become part of the language. What I mean here is that dead metaphors once were metaphors, but have become everyday words due to popular usage. Some dead metaphors are verbs like running for office, catching the game last night, fishing for complements, breaking the ice, or grasping a concept. Other dead metaphors are nouns like branches of government, seeds of doubt, or apple of my eye. Dead metaphors are similar to, but less complex than clichés—which are metaphorical truisms in the form of a complete sentence (like “kill two birds with one stone”). We use dead metaphors all the time without even realizing it; they’ve lost their original meanings and become entrenched in our language.


An extended metaphor, or conceit, sets up a primary metaphor with multiple metaphorical levels built into it. Shakespeare was the master of conceits; here’s one of his finest examples:



All the world’s a stage,
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts,

(As You Like It, 2.7)

The primary metaphor is the world as a “stage,” yet this metaphors has many implications: men and women are “players” (actors or actresses) who play “many parts” (social roles, careers) with entrances (“births”) and exits (“deaths”).

Thanks for your time and I’ll continue my discussion of metaphors in my next post when I talk about how they operate in marketing communications.