Call for Proposals


“Writing is a highly complex and situated activity that cannot be mastered in a single course but is learned over a lifetime” —“Statement of WAC Principles and Practices”

In alignment with the WAC principle of writing as a situated activity, we invite you to use this assignment to reflect on 1). the particular disciplinary conventions that shape the genre of the CFP within your field, and 2). the intended audience that might respond to your CFP. We hope this task (and your reflection upon it) deepen your sense of belonging to your disciplinary community.



“CFP” is the universal shorthand for a call for conference papers/proposals or submissions to a special issue. Write a CFP of medium length (150-250 words) in which you solicit abstracts of research to be published in a journal or presented at a conference. Frame this invitation as a research topic or as a cluster of research questions; the focus can be broad or narrow, depending on your goals and the norms of your field.

Include the following basic information in your CFP:

  • What the goal of the special issue/ conference is and/or why it is being organized
  • The name of the journal, conference, and/or session
  • Date(s) of the meeting, if applicable
  • What constitutes a submission (maximum word count for the abstract, whether to include a CV). Be sure to think about your audience, who should submit, and what kind of submissions you are hoping to get
  • Deadline for submissions
  • Contact information of the organizer


In the following section we provide two example CFPs, one from STEM and one from Humanities, to aid you in your writing process.



1. The call for abstracts (below) was written by Graduate Writing Fellow Lauren Fink. The call was used to organize a conference on Music & Eye-Tracking which took place in August 2017.

We are very pleased to announce this call for abstract submissions for the workshop on “Music and Eye-tracking“ (MET). The goal of this symposium is to bring together the leading experts from psychology, all fields of music research, sociology, cultural sciences, and neuroscience, united in the interest to investigate musical processing using eye-tracking methodology or combining eye-tracking with other methods.

Musical processing unfolds in different domains. One obvious application of eye-tracking methodology is music sight-reading, a field, where much progress has been made in the 20th century. During the last few years there seems to be growing enthusiasm to apply eye-tracking methodology to capture the full complexity of musical processing, extending to music perception, cognition, learning, skill-acquisition, expertise, performance, social interactions, rhythmic entrainment, emotion processing, induced states of altered awareness, and cross-modal interactions between the auditory, visual, or motoric systems, to name just a few examples

With this workshop, we hope to provide a platform for expert researchers at the intersection of music and eye-tracking to communicate with one another, to foster and enrich discussions about methods, and to continue refining models and theories of musical processing with insights from eye-tracking. We encourage researchers from other areas of cognition and emotion studies to join the interest in this complex question of investigation: what do eye movements, pupil dilation, and blinking activity tell us about musical processing?


2. The call below was written by Graduate Writing Fellow Victoria White to organize a session which took place in November 2017 at the annual Pacific Ancient and Modern Language Association conference.

What did spectatorship entail in early modern theater? What were the pleasures, duties, and dangers of seeing and being seen in early modern theater spaces? What was visible to actors and audiences, and what did these sights mean to their reciprocal beholders onstage and off? What should these sights and sightings of early modern theaters and spectators mean to scholars, theater practitioners, and audiences of the twenty-first century?

This special session invites presentations of research into the visual and spectatorial aspects of Renaissance and early modern theater. Discussions might include analysis of:

  • the permeability of stage-spaces and audience spaces
  • ostentation and dressing for the theater as actors and spectators
  • visual components of theatrical constructions of gender, race, class, nationality, etc.
  • comparative early modern spectatorial norms and practices (e.g. medieval and/versus early modern; English and/versus continental)

Also invited are interrogations of the kinds of evidence, both literary and historical, that inform our knowledge of these topics.


Conference: Pacific Ancient and Modern Language Association

Location: Honolulu, Hawaii

Dates: Friday, November 10 - Sunday, November 12, 2017

Proposals due by June 15, 2017

Submit proposals using the Online Proposal Submission Form:

For questions contact Victoria White:


Submit your CFP

You will submit your CFP alongside your final reflection, once you have completed all certificate requirements. Please instructions on the Reflective Essay page.