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research proposal in journalism

Research in Journalism, Media and Culture

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Faculty in Journalism, Culture and Communication analyze emerging and enduring forms of public communication and the institutional and economic conditions that sustain them. They employ a range of research methods, including ethnography, textual and historical analysis, and political economic approaches to media industries. As digital technologies have transformed mediated practices, the faculty has opened a series of new areas of inquiry, including computational journalism, the study of algorithms in institutions, and the cultural history of Silicon Valley.

Angèle Christin  is an associate professor. She is interested in fields and organizations where algorithms and ‘big data’ analytics transform professional values, expertise, and work practices. In her dissertation, she analyzed the growing importance of audience metrics in web journalism in the United States and France. Drawing on ethnographic methods, she examined how American and French journalists make sense of traffic numbers in different ways, which in turn has distinct effects on the production of news in the two countries. In a new project, she studies the construction, institutionalization, and reception of analytics and predictive algorithms in the U.S. criminal justice system.

Ted Glasser  is an emeritus professor.  His teaching and research focus on media practices and performance, with emphasis on questions of press responsibility and accountability. His books include  Normative Theories of the Media: Journalism in Democratic Societies,  written with Clifford Christians, Denis McQuail, Kaarle Nordenstreng, and Robert White, which in 2010 won the Frank Luther Mott-Kappa Tau Alpha award for best research-based book on journalism/mass communication and was one of three finalists for the Association for Education in Journalism and Mass Communication’s Tankard Book Award;  The Idea of Public Journalism , an edited collection of essays, recently translated into Chinese;  Custodians of Conscience: Investigative Journalism and Public Virtue , written with James S. Ettema, which won the Society of Professional Journalists’ award for best research on journalism, the Bart Richards Award for Media Criticism, and the Frank Luther Mott-Kappa Tau Alpha award for the best research-based book on journalism/mass communication;  Public Opinion and the Communication of Consent , edited with Charles T. Salmon; and  Media Freedom and Accountability , edited with Everette E. Dennis and Donald M. Gillmor.  His research, commentaries and book reviews have appeared in a variety of publications, including the  Journal of Communication, Journalism & Mass Communication Quarterly, Critical Studies in Mass Communication, Journalism Studies, Policy Sciences, Journal of American History, Quill, Nieman Reports  and  The New York Times Book Review .

James T. Hamilton  is a professor and the director of the Journalism Program. His work on the economics of news focuses on the market failures involved in the production of public affairs coverage and the generation of investigative reporting. Through research in the emerging area of computational journalism, he is exploring how to lower the cost of discovering stories about the operation of political institutions.

Xiaochang Li  is an assistant professor. She is broadly interested in the history of informatics, computation, and related data practices. Drawing upon media history, history of science, and STS, her work is concerned with how information technologies shape the production and circulation of knowledge and the relationship between technical practices and social worlds. Her current research examines the history of speech recognition and natural language processing and how the pursuit of language influenced the development of AI, Machine Learning, and contemporary algorithmic culture. Her work also touches on sound studies and the history of acoustics and she has previously worked on topics concerning transnational media audiences and digital content circulation.

Fred Turner  is a professor and cultural historian of media and media technologies. Trained in both Communication and Science and Technology Studies, he has long been interested in how media and American culture have shaped one another over time. His most recent work has focused on the rise of American technocracy since World War II and on the aesthetic and ideological manifestations of that rise in the digital era. Before earning his Ph.D., Turner worked as a journalist for ten years. He continues to write for newspapers and magazines and strongly supports researchers who seek to have a public impact with their work.

Like all Communication faculty, the members of the Journalism, Communication and Culture group routinely collaborate with colleagues from around the campus. The group enjoys particularly strong collaborations with sociologists, historians, art historians, and computer scientists.

Faculty — Journalism, Media and Culture

Doctoral Students — Journalism, Media and Culture

Selected Graduates

  • Sanna Ali, Ph.D. 2023. AI Policy Analyst, Stanford Cyber Policy Center and RegLab
  • Jeff Nagy, Ph.D. 2023. Assistant Professor, Communication and Media Studies, York University
  • Anna Gibson, Ph.D. 2022. Postdoctoral Fellow, MIT Comparative Media Studies/Writing
  • Jihye Lee , Ph.D. 2022. Assistant Professor, School of Advertising and Public Relations, UT Austin
  • Andreas Katsanevas, Ph.D. 2020. Technology Policy Researcher, Meta
  • Sheng Zou,  Ph.D. 2020. Assistant Professor, School of Communication, Hong Kong Baptist University
  • Christine Larson , Ph.D. 2017. Assistant Professor, Journalism, University of Colorado, Boulder
  • Yeon Joo , Ph.D. 2014. Associate Professor, Department of Digital Media, Myongji University, Seoul
  • Morgan G. Ames , Ph.D. 2013. Assistant Adjunct Professor, School of Information, University of California, Berkeley
  • Seeta Pena Gangdaharan , Ph.D. 2012. Assistant Professor, Department of Media and Communications, London School of Economics
  • Mike Ananny , Ph.D. 2011, Associate Professor, Annenberg School for Communication and Journalism, University of Southern California
  • Daniel Kreiss , Ph.D. 2010, Associate Professor, School of Media and Journalism, University of North Carolina, Chapel Hill
  • John Kim , Ph.D. 2009, Associate Professor, Media and Cultural Studies, Macalaster College
  • Erica Robles-Anderson , Ph.D. 2009, Associate Professor, Media, Culture, and Communication, New York University
  • Isabel Awad , Ph.D. 2007, Associate Professor, Department of Media and Communication, Erasmus University (Netherlands)
  • Cherian George , Ph.D. 2003, Professor, Associate Dean, School of Communication, Hong Kong Baptist University
  • Francis Lapfung Lee , Ph.D. 2003, Professor, School of Journalism and Communication, City University of Hong Kong

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Academic Proposals

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This resource introduces the genre of academic proposals and provides strategies for developing effective graduate-level proposals across multiple contexts.

Introduction

An important part of the work completed in academia is sharing our scholarship with others. Such communication takes place when we present at scholarly conferences, publish in peer-reviewed journals, and publish in books. This OWL resource addresses the steps in writing for a variety of academic proposals.

For samples of academic proposals, click here .

Important considerations for the writing process

First and foremost, you need to consider your future audience carefully in order to determine both how specific your topic can be and how much background information you need to provide in your proposal. While some conferences and journals may be subject-specific, most will require you to address an audience that does not conduct research on the same topics as you. Conference proposal reviewers are often drawn from professional organization members or other attendees, while journal proposals are typically reviewed by the editorial staff, so you need to ensure that your proposal is geared toward the knowledge base and expectations of whichever audience will read your work.

Along those lines, you might want to check whether you are basing your research on specific prior research and terminology that requires further explanation. As a rule, always phrase your proposal clearly and specifically, avoid over-the-top phrasing and jargon, but do not negate your own personal writing style in the process.

If you would like to add a quotation to your proposal, you are not required to provide a citation or footnote of the source, although it is generally preferred to mention the author’s name. Always put quotes in quotation marks and take care to limit yourself to at most one or two quotations in the entire proposal text. Furthermore, you should always proofread your proposal carefully and check whether you have integrated details, such as author’s name, the correct number of words, year of publication, etc. correctly.

Methodology is often a key factor in the evaluation of proposals for any academic genre — but most proposals have such a small word limit that writers find it difficult to adequately include methods while also discussing their argument, background for the study, results, and contributions to knowledge. It's important to make sure that you include some information about the methods used in your study, even if it's just a line or two; if your proposal isn't experimental in nature, this space should instead describe the theory, lens, or approach you are taking to arrive at your conclusions.

Reasons proposals fail/common pitfalls

There are common pitfalls that you might need to improve on for future proposals.

The proposal does not reflect your enthusiasm and persuasiveness, which usually goes hand in hand with hastily written, simply worded proposals. Generally, the better your research has been, the more familiar you are with the subject and the more smoothly your proposal will come together.

Similarly, proposing a topic that is too broad can harm your chances of being accepted to a conference. Be sure to have a clear focus in your proposal. Usually, this can be avoided by more advanced research to determine what has already been done, especially if the proposal is judged by an important scholar in the field. Check the names of keynote speakers and other attendees of note to avoid repeating known information or not focusing your proposal.

Your paper might simply have lacked the clear language that proposals should contain. On this linguistic level, your proposal might have sounded repetitious, have had boring wording, or simply displayed carelessness and a lack of proofreading, all of which can be remedied by more revisions. One key tactic for ensuring you have clear language in your proposal is signposting — you can pick up key phrases from the CFP, as well as use language that indicates different sections in academic work (as in IMRAD sections from the organization and structure page in this resource). This way, reviewers can easily follow your proposal and identify its relatedness to work in the field and the CFP.

Conference proposals

Conference proposals are a common genre in graduate school that invite several considerations for writing depending on the conference and requirements of the call for papers.

Beginning the process

Make sure you read the call for papers carefully to consider the deadline and orient your topic of presentation around the buzzwords and themes listed in the document. You should take special note of the deadline and submit prior to that date, as most conferences use online submission systems that will close on a deadline and will not accept further submissions.

If you have previously spoken on or submitted a proposal on the same topic, you should carefully adjust it specifically for this conference or even completely rewrite the proposal based on your changing and evolving research.

The topic you are proposing should be one that you can cover easily within a time frame of approximately fifteen to twenty minutes. You should stick to the required word limit of the conference call. The organizers have to read a large number of proposals, especially in the case of an international or interdisciplinary conference, and will appreciate your brevity.

Structure and components

Conference proposals differ widely across fields and even among individual conferences in a field. Some just request an abstract, which is written similarly to any other abstract you'd write for a journal article or other publication. Some may request abstracts or full papers that fit into pre-existing sessions created by conference organizers. Some request both an abstract and a further description or proposal, usually in cases where the abstract will be published in the conference program and the proposal helps organizers decide which papers they will accept. 

If the conference you are submitting to requires a proposal or description, there are some common elements you'll usually need to include. These are a statement of the problem or topic, a discussion of your approach to the problem/topic, a discussion of findings or expected findings, and a discussion of key takeaways or relevance to audience members. These elements are typically given in this order and loosely follow the IMRAD structure discussed in the organization and structure page in this resource. 

The proportional size of each of these elements in relation to one another tends to vary by the stage of your research and the relationship of your topic to the field of the conference. If your research is very early on, you may spend almost no time on findings, because you don't have them yet. Similarly, if your topic is a regular feature at conferences in your field, you may not need to spend as much time introducing it or explaining its relevance to the field; however, if you are working on a newer topic or bringing in a topic or problem from another discipline, you may need to spend slightly more space explaining it to reviewers. These decisions should usually be based on an analysis of your audience — what information can reviewers be reasonably expected to know, and what will you have to tell them?

Journal Proposals

Most of the time, when you submit an article to a journal for publication, you'll submit a finished manuscript which contains an abstract, the text of the article, the bibliography, any appendices, and author bios. These can be on any topic that relates to the journal's scope of interest, and they are accepted year-round.

Special issues , however, are planned issues of a journal that center around a specific theme, usually a "hot topic" in the field. The editor or guest editors for the special issue will often solicit proposals with a call for papers (CFP) first, accept a certain number of proposals for further development into article manuscripts, and then accept the final articles for the special issue from that smaller pool. Special issues are typically the only time when you will need to submit a proposal to write a journal article, rather than submitting a completed manuscript.

Journal proposals share many qualities with conference proposals: you need to write for your audience, convey the significance of your work, and condense the various sections of a full study into a small word or page limit. In general, the necessary components of a proposal include:

  • Problem or topic statement that defines the subject of your work (often includes research questions)
  • Background information (think literature review) that indicates the topic's importance in your field as well as indicates that your research adds something to the scholarship on this topic
  • Methodology and methods used in the study (and an indication of why these methods are the correct ones for your research questions)
  • Results or findings (which can be tentative or preliminary, if the study has not yet been completed)
  • Significance and implications of the study (what will readers learn? why should they care?)

This order is a common one because it loosely follows the IMRAD (introduction, methods, results and discussion) structure often used in academic writing; however, it is not the only possible structure or even always the best structure. You may need to move these elements around depending on the expectations in your field, the word or page limit, or the instructions given in the CFP.

Some of the unique considerations of journal proposals are:

  • The CFP may ask you for an abstract, a proposal, or both. If you need to write an abstract, look for more information on the abstract page. If you need to write both an abstract and a proposal, make sure to clarify for yourself what the difference is. Usually the proposal needs to include more information about the significance, methods, and/or background of the study than will fit in the abstract, but often the CFP itself will give you some instructions as to what information the editors are wanting in each piece of writing.
  • Journal special issue CFPs, like conference CFPs, often include a list of topics or questions that describe the scope of the special issue. These questions or topics are a good starting place for generating a proposal or tying in your research; ensuring that your work is a good fit for the special issue and articulating why that is in the proposal increases your chances of being accepted.
  • Special issues are not less valuable or important than regularly scheduled issues; therefore, your proposal needs to show that your work fits and could readily be accepted in any other issue of the journal. This means following some of the same practices you would if you were preparing to submit a manuscript to a journal: reading the journal's author submission guidelines; reading the last several years of the journal to understand the usual topics, organization, and methods; citing pieces from this journal and other closely related journals in your research.

Book Proposals

While the requirements are very similar to those of conference proposals, proposals for a book ought to address a few other issues.

General considerations

Since these proposals are of greater length, the publisher will require you to delve into greater detail as well—for instance, regarding the organization of the proposed book or article.

Publishers generally require a clear outline of the chapters you are proposing and an explication of their content, which can be several pages long in its entirety.

You will need to incorporate knowledge of relevant literature, use headings and sub-headings that you should not use in conference proposals. Be sure to know who wrote what about your topic and area of interest, even if you are proposing a less scholarly project.

Publishers prefer depth rather than width when it comes to your topic, so you should be as focused as possible and further outline your intended audience.

You should always include information regarding your proposed deadlines for the project and how you will execute this plan, especially in the sciences. Potential investors or publishers need to know that you have a clear and efficient plan to accomplish your proposed goals. Depending on the subject area, this information can also include a proposed budget, materials or machines required to execute this project, and information about its industrial application.

Pre-writing strategies

As John Boswell (cited in: Larsen, Michael. How to Write a Book Proposal. Writers Digest Books , 2004. p. 1) explains, “today fully 90 percent of all nonfiction books sold to trade publishers are acquired on the basis of a proposal alone.” Therefore, editors and agents generally do not accept completed manuscripts for publication, as these “cannot (be) put into the usual channels for making a sale”, since they “lack answers to questions of marketing, competition, and production.” (Lyon, Elizabeth. Nonfiction Book Proposals Anybody Can Write . Perigee Trade, 2002. pp. 6-7.)

In contrast to conference or, to a lesser degree, chapter proposals, a book proposal introduces your qualifications for writing it and compares your work to what others have done or failed to address in the past.

As a result, you should test the idea with your networks and, if possible, acquire other people’s proposals that discuss similar issues or have a similar format before submitting your proposal. Prior to your submission, it is recommended that you write at least part of the manuscript in addition to checking the competition and reading all about the topic.

The following is a list of questions to ask yourself before committing to a book project, but should in no way deter you from taking on a challenging project (adapted from Lyon 27). Depending on your field of study, some of these might be more relevant to you than others, but nonetheless useful to reiterate and pose to yourself.

  • Do you have sufficient enthusiasm for a project that may span years?
  • Will publication of your book satisfy your long-term career goals?
  • Do you have enough material for such a long project and do you have the background knowledge and qualifications required for it?
  • Is your book idea better than or different from other books on the subject? Does the idea spark enthusiasm not just in yourself but others in your field, friends, or prospective readers?
  • Are you willing to acquire any lacking skills, such as, writing style, specific terminology and knowledge on that field for this project? Will it fit into your career and life at the time or will you not have the time to engage in such extensive research?

Essential elements of a book proposal

Your book proposal should include the following elements:

  • Your proposal requires the consideration of the timing and potential for sale as well as its potential for subsidiary rights.
  • It needs to include an outline of approximately one paragraph to one page of prose (Larsen 6) as well as one sample chapter to showcase the style and quality of your writing.
  • You should also include the resources you need for the completion of the book and a biographical statement (“About the Author”).
  • Your proposal must contain your credentials and expertise, preferably from previous publications on similar issues.
  • A book proposal also provides you with the opportunity to include information such as a mission statement, a foreword by another authority, or special features—for instance, humor, anecdotes, illustrations, sidebars, etc.
  • You must assess your ability to promote the book and know the market that you target in all its statistics.

The following proposal structure, as outlined by Peter E. Dunn for thesis and fellowship proposals, provides a useful guide to composing such a long proposal (Dunn, Peter E. “Proposal Writing.” Center for Instructional Excellence, Purdue University, 2007):

  • Literature Review
  • Identification of Problem
  • Statement of Objectives
  • Rationale and Significance
  • Methods and Timeline
  • Literature Cited

Most proposals for manuscripts range from thirty to fifty pages and, apart from the subject hook, book information (length, title, selling handle), markets for your book, and the section about the author, all the other sections are optional. Always anticipate and answer as many questions by editors as possible, however.

Finally, include the best chapter possible to represent your book's focus and style. Until an agent or editor advises you to do otherwise, follow your book proposal exactly without including something that you might not want to be part of the book or improvise on possible expected recommendations.

Publishers expect to acquire the book's primary rights, so that they can sell it in an adapted or condensed form as well. Mentioning any subsidiary rights, such as translation opportunities, performance and merchandising rights, or first-serial rights, will add to the editor's interest in buying your book. It is enticing to publishers to mention your manuscript's potential to turn into a series of books, although they might still hesitate to buy it right away—at least until the first one has been a successful endeavor.

The sample chapter

Since editors generally expect to see about one-tenth of a book, your sample chapter's length should reflect that in these building blocks of your book. The chapter should reflect your excitement and the freshness of the idea as well as surprise editors, but do not submit part of one or more chapters. Always send a chapter unless your credentials are impeccable due to prior publications on the subject. Do not repeat information in the sample chapter that will be covered by preceding or following ones, as the outline should be designed in such a way as to enable editors to understand the context already.

How to make your proposal stand out

Depending on the subject of your book, it is advisable to include illustrations that exemplify your vision of the book and can be included in the sample chapter. While these can make the book more expensive, it also increases the salability of the project. Further, you might consider including outstanding samples of your published work, such as clips from periodicals, if they are well-respected in the field. Thirdly, cover art can give your potential publisher a feel for your book and its marketability, especially if your topic is creative or related to the arts.

In addition, professionally formatting your materials will give you an edge over sloppy proposals. Proofread the materials carefully, use consistent and carefully organized fonts, spacing, etc., and submit your proposal without staples; rather, submit it in a neat portfolio that allows easy access and reassembling. However, check the submission guidelines first, as most proposals are submitted digitally. Finally, you should try to surprise editors and attract their attention. Your hook, however, should be imaginative but inexpensive (you do not want to bribe them, after all). Make sure your hook draws the editors to your book proposal immediately (Adapted from Larsen 154-60).