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The purpose of this paper is to explore a novel storytelling approach that investigates lived experience at the intersection of motherhood/caregiving and Ph.D. pursuits. The paper contributes to the feminist tradition of writing differently through the process of care that emerges from shared stories.

Using a process called heartful-communal storytelling, the authors evoke personal and embodied stories and transgressive narratives. The authors present a composite process drawing on heartful-autoethnography, dialogic writing and communal storytelling.

The paper makes two key contributions: (1) the paper illustrates a novel feminist process in action and (2) the paper contributes six discrete stories of lived experience at the intersection of parenthood and Ph.D. studies. The paper also contributes to the development of the feminist tradition of writing differently. Three themes emerged through the storytelling experience, and these include (1) creating boundaries and transgressing boundaries, (2) giving and receiving care and (3) neoliberal conformity and resistance. These themes, like the stories, also became entangled.

The paper demonstrates how heartful-communal storytelling can lead to individual and collective meaning making. While the Ph.D. is a solitary path, the authors' heartful-communal storytelling experience teaches that holding it separate from other relationships can impoverish what is learnt and constrain the production of good knowledge; the epistemic properties of care became self-evident.

Ficto-feminism is offered here as a creative method for feminist historical inquiry in management and organizational studies (MOSs).

This paper introduces a new method called ficto-feminism. Using feminist polemics as a starting point, ficto-feminism fuses aspects of collective biography with the emic potential of autoethnography and rhizomatic capacity of fictocriticism to advance not only a new account of history in subject but also in style of writing.

The aim of ficto-feminism is to create a plausible, powerful and persuasive account of an overlooked female figure which not only challenges convention but also surfaces her lost lessons and accomplishments to benefit today's development of theory and practice.

The paper reviews the methodological components of ficto-feminism and speaks to the merit of writing differently and incorporating fictional techniques.

To illustrate the method in action, the paper features a non-fiction, fictitious conversation with Hallie Flanagan (1890–1969) and investigates her role as national director of the Federal Theatre Project (FTP) (1935–1939). The FTP was part of the most elaborate relief programs ever conceived as part of the New Deal (a series of public works projects and financial reforms enacted in the 1930s in the USA).

This paper aims to offer an innovative approach to reflecting on research and practice around doctoral study and supervision. In the opening section of the paper, the authors discuss the idea that academic development as a doctoral candidate is concerned with how researchers write themselves into being as certain kinds of researchers, and how, in doing so, they become a character, like their supervisors, in the “figured world” of their research. This process of “becoming” can, the authors argue, be nurtured or hindered by different kinds of supervision practices.

With regard to the authors’ own experiences of doctoral supervision, the paper explores how their use of post-qualitative practices and methodologies encouraged new forms of intersubjectivity and academic development as their supervisory relationship advanced alongside the thesis itself.

The authors present the script of an ethnodrama (Saldana, 2111) which they wrote and performed on a number of occasions, as an alternative way of expressing their experiences of being in a relationship as doctoral supervisor and supervisor.

This choice of ethnodrama emerged out of a frustration with what the authors felt were increasingly predictable ways of discussing and reflecting upon the philosophy, content and assessment methods of postgraduate research and supervision across the educational disciplines.

The authors hope that their exploration of the imaginative spaces created through doctoral supervision will encourage other postgraduates and their supervisors to experiment with working creatively across interdisciplinary spaces and creating radical and even risky ways of mediating and sharing postgraduate teaching and learning relationships.

The purpose of this paper is to introduce the literary authority of qualitative management accounting field research (QMAFR) and its interconnectedness with the scientific authority of this form of research.

The paper adopts a non‐positivist perspective on the writing/authoring of QMAFR. The paper illustrates its arguments by analysing how the field is written/authored in two well‐known examples of qualitative management accounting research, using Golden‐Biddle and Locke's framework as a way of initiating an understanding of how field research attains its “convincingness”.

The paper finds that these two examples of QMAFR attain their convincingness by authoring a strong sense of authenticity and plausibility, adopting writing strategies that signal the authority of the researcher and their figuration of the “facts”.

The paper argues for a more aesthetically informed consideration of the “goodness” of non‐positivist QMAFR, arguing that its scientific and aesthetic forms of authority are ultimately intertwined.

This paper has practical implications for informing the ways in which QMAFR is read and written, arguing for greater experimentation in terms of its narration.

The value of this paper lies in its recognition of the authorial and aesthetic nature of QMAFR, as well as it potential to encourage debate, reflection and changed practices within the community of scholars interested in this form of research.

Our world is changing and also getting smaller. We now know what is happening outside our narrow confines – this means that we must all be involved in solving educational, societal, community, and global problems in inclusive fashions. For example, in education, we must be collaborative, consultative, and cooperative in solving school problems and in advancing school programs. To a large measure, inclusion in general and special education has become imperative in today’s educational programming. Though it is seen by some as complex and appears to attract conflicting perspectives, it enhances different professional viewpoints and practices that help general and special education learners to maximize their fullest potential. Some schools end up doing inclusion well and others continue to work on it; however, many believe it has made education more efficient and effective. Inclusion strives to include all students with and without disabilities within the general education classroom and curriculum. This chapter discusses our conclusive thoughts on inclusion and where we think it is headed in the future.

In this chapter, we explore genre-blurring writing, where fiction meets theory, following the argument that texts in management and organisation studies suffer from the ‘textbook syndrome’. The stories that we tell through textbooks not only influence, but also set boundaries for, the way understandings are developed through the eyes of the reader. Often textbooks are written in a way that lead the reader into an idealised linear understanding of an organisation – far from the problems, dilemmas and messy everyday life that managers experience. Our discussion builds on previous literature on writing differently and our own experiences of writing a textbook by involving a professional novelist. Engaging in genre-blurring writing opens up how we think not only about writing, fiction and facts but also in our role as scientists. By situating ourselves, as researchers, at the intersection of fiction and the scientific work, not only new ways of writing, but also of thinking emerge. We discuss three aspects through which fiction challenge and develop our writing and thinking, namely to write with voice, resonance and an open end. Through genre-blurring writing, we create opportunities both to learn and to engage students in learning.

How do we write from the sensory body in ways that can convey the lived experience of the researcher and the researched, which can allow other researchers to make sense of their lived experience as well? What alternative writings could transform disembodied academia through dialogue and relational reflection? The aim of this chapter is to reflect on the value of the researcher’s embodied reflexivity in academic writing. More specifically, this chapter explores the ways in which we can write differently about organisational phenomena by experiencing aesthetic moments in the field. To accomplish this, I share examples of the aesthetic moments that I, as a researcher, experienced while undertaking three ethnographic projects: a study on professional dance, a study on academic motherhood and a study on female-canine companionship. This chapter identifies three aspects that allow the researcher to experience aesthetic moments – namely, appreciating sensory cues, writing ‘in and from the flesh’ and allowing vulnerability to flourish. Paying attention to the social micro-dynamics that exist between researchers and research phenomena and addressing the analytically marginalised experiences of researchers, therefore, allows for developing academic writing practices in more reflexive and sensory-appreciative directions.