Category Archives: Academic career development
Gambling with someone’s reputation (Part 3)
Over the past few weeks there have been a number of academics who have accused me of self-plagiarism. Here, I briefly outline what I have done and have not done in relation to the allegations I have seen. I think we would all agree with the definition dictionary definition of ‘plagiarism’, i.e., “the process or practice of using another person’s ideas or work and pretending that it is your own” (Cambridge Dictionary). Logically, based on this definition, ‘self-plagiarism’ would equate to the process or practice of using one’s own ideas and pretending that they are your own, but this is of course ludicrous.
The Merriam-Webster Dictionary defines ‘self-plagiarism as “the reuse of one’s own words, ideas, or artistic expression (as in an essay) from preexisting material especially without acknowledgment of their earlier use”. On the same page as this definition is a quote from the journalist Taylor Wofford who notes “Borrowing your own words is a tricky issue. Writers and publishers tend to rank self-plagiarism as a lesser offense than – what should we call it? – ‘real’ plagiarism? Still, they mostly agree it’s a no-no”.
On July 10 (2020), Dr Annie Brookman-Byrne (Deputy Editor of The Psychologist) emailed me:
“At The Psychologist, we are considering writing a piece on the concept and practice of self-plagiarism. We have seen Brendan O’Connor and others on Twitter highlighting concerns over some of your published output. Might you or your institution be interested in making a statement for us around whether you think there is actually a practice here that needs to change?”
I immediately responded to her email and said:
“I’ve not read all the comments on Twitter (and I am not going to respond to anything on Twitter as that is not the place to do it) but the alleged instances of self-plagiarism primarily revolve around my use of journal text in populist non-refereed non-journal outputs. For instance, when I write for magazines like ‘Education and Health’ (a magazine for teachers) or in newspaper or magazine articles I will use text from my journal papers…I write for many different audiences. Obviously I write and co-write refereed journal papers but I am also a freelance journalist, a prolific blogger, and write articles for the trade press (e.g., gambling and gaming magazines) as well as articles in professional publications that are not peer-reviewed. Personally I see nothing wrong in using material from my refereed papers in these other types of article as I am a prolific disseminator and want to get my ideas and thoughts to as many people and to as big an audience as possible. The alleged examples of self-plagiarism that I have seen directed towards me comprise less than 1% of my refereed journal papers. I am very proud of my publication record in many different spheres. For the record, most of those accusing me of alleged self-plagiarism are citing papers that I wrote 15 or more years ago and are making no distinction between what I have published in peer-reviewed journal papers and articles that have not been peer-reviewed and which I would describe as populist outlets”.
I make no secret of using text from my refereed papers in my blogs, newspaper and magazine articles, press releases, trade press publications, consultancy reports, and reports for third parties (e.g., calls for evidence from parliamentary committees). Those who have been using plagiarism software on my refereed papers have included results from text that is not from refereed papers.
For instance, a number of examples I saw of my alleged self-plagiarism concerned the magazine Education and Health. Education and Health is a magazine for teachers and parents and is produced by the School Health Education Unit in Exeter focusing on adolescent health and education issues. Education and Health has no copyright (i.e., no author has to sign a copyright form), is not peer-reviewed, and articles do not have a doi, contain keywords, or have an abstract). I have published in it regularly for three decades. In some of the articles I have written for Education and Health, I have taken an academic review paper (6000-11000 words) and then turned it into a dumbed down ‘pop’ article (1000-1500 words). I’ve done this a number of times over the past 30 years. An example that I saw online last week was in relation to a 2011 open access paper by Daria Kuss and myself (i.e., Kuss, D. J. & Griffiths, M. D. (2011). Online social networking and addiction: A literature review of empirical research. International Journal of Environmental Research and Public Health, 8, 3528-3552).
This was an 11,000-word systematic literature review on social networking addiction. It has become one of our most cited papers (1,528 citations on Google Scholar as of this morning). After publishing this refereed paper, I then turned this into a 1500-word ‘pop’ version for Education and Health (Kuss, D.J. & Griffiths, M.D. (2011). Excessive online social networking: Can adolescents become addicted to Facebook? Education and Health, 29. 63-66.). In the first paragraph, the Education and Health article clearly states:
“As a consequence of the increased media attention to headlines about ‘Facebook addiction’, we recently reviewed all the scientific evidence on the topic (Kuss & Griffiths, 2011a). This article briefly summarises what we found”.

This sentence cites the paper from which all the material in the article comes from. I have not tried to hide anything or pretend that the article contains original material. The article was for teachers and parents. It contains a summary of the key things found in our refereed paper and uses text from that paper. If others want to view it as ‘self-plagiarism’ I have no problem with that. I view it as dissemination of our work to an audience outside of academia.
Any of us in British academia knows how important the Research Excellence Framework (REF) impact agenda is. My own research was rated as having 4* world-leading impact at the last REF and I’m hoping to repeat it this time. One of the ways I have gone about this is to disseminate my work to as many non-academic audiences as possible. My articles in the gambling trade press have been instrumental in the research and consultancy monies that I have generated for my university in the area of responsible gambling, player protection, and harm-minimization.
Almost all of the examples I have seen of my alleged self-plagiarism comes from this type of practice where I have turned pure academic papers into something more populist. Occasionally it has worked the other way (i.e., I’ve written a populist piece and then worked it up into an academic paper although the instances of this are much fewer). As I said above, personally I see nothing wrong in using material from my refereed papers in these other types of article as I am a prolific disseminator and want to get my ideas and thoughts to as many people and to as big an audience as possible.
Most of those accusing me of alleged self-plagiarism are citing papers that I wrote 10-15 years ago (although I did see one from 2015, again with Education and Health being the source of alleged self-plagiarism) and no-one appears to be making any distinction between what I have published in peer-reviewed journal papers and articles that have not been peer-reviewed and which I would describe as populist outlets. Plagiarism software does not indicate whether the text it finds comes from a refereed paper or non-refereed article. No-one who has accused me of self-plagiarism has contacted me personally and asked my about the source material and whether a particular piece of writing was refereed or not. There appears to be an assumption that all alleged self-plagiarised sources were from refereed papers (but they weren’t).
I should also add that there are other examples of my work that have been reproduced with permission from the publishers and/or copyright holders. For instance, the publisher IGI Global regularly republishes my work in other guises. Here’s an example I received this week from them (the words in bold were by the publisher and not me):
“I hope this message finds you well, especially during this turbulent time. It is with great pleasure that I am informing you that your contribution titled “UK-Based Police Officers’ Perceptions of, and Role in Investigating, Cyber-Harassment as a Crime,” previously published in an IGI Global publication, was carefully assessed and selected by IGI Global’s executive editorial board for inclusion as a reprinted chapter (100% completely unchanged from the original) in the recently published IGI Global research anthology titled Police Science.
IGI Global’s research anthologies, also called “Critical Explorations”, were created after an extensive survey was conducted with academic librarians, who requested to have a cost-effective and timely way to enhance their collections with the highest quality, timely research. This line of publications allows our publishing house to hand-select the highest quality research content (book chapters and journal articles of which IGI Global owns the copyright), to be reprinted in a research anthology format. This format also allows the author’s research to become more accessible and visible to a larger community of researchers around the world so that they can benefit from additional exposure (i.e. citations) for their work.
Please note that there is no intent to deceive anyone. We execute the highest level of transparency, as every single chapter that appears in these publications are labeled with a special notation indicating that it is reprinted content and listing the original source of the material. Additionally, because we are maintaining the integrity of the original published work, no changes have been made nor can be made to the chapter”.
I fully understand that my explanation for how and why I publish with different audiences will not be accepted by detractors, but that’s not why I wrote this. All I can do is give my side of how I disseminate my work and ideas to as many people as possible.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Under the influence: The things I learned from David Bowie
Today is three years since the tragic death of David Bowie. As I have noted in my previous articles on David Bowie (here, here and here), outside of my own friends and family, it’s still Bowie’s death that has affected me the most psychologically. Bowie inspired millions of people in many different ways. This blog looks at the things that I have learned from Bowie and how he influenced my career.
Persevere with your life goals – Most people are aware that it took years for Bowie to have has first hit single (‘Space Oddity’, 1969), five years after his first single (‘Liza Jane’, 1964). Even after the success of ‘Space Oddity’, it took another three years before he had his second hit single (‘Starman’, 1972) and in the early 1970s there were many who thought he would be a ‘one-hit wonder’ and a small footnote in music history. Bowie never gave up his quest for musical stardom and is arguably one of the best examples of the proverb “If at first you don’t succeed, try, try again”. I’ve often told others that they key to success is being able to learn from your mistakes and being able to handle rejection (which for academics is having papers rejected, grant bids rejected, and attempts at promotion rejected, etc.). Bowie personified perseverance and for this quality alone I am very grateful as it has been the bedrock of my career to date.
Encourage teamwork and collaboration – Despite being a solo artist for the vast majority of his post-1969 career (Tin Machine being the most high-profile notable exception), Bowie was (like me) a ‘promiscuous collaborator’ and much of his success would not have been possible without a gifted team around him whether it be his inner circle of musicians (Mick Ronson, Carlos Alomar, Robert Fripp, Mike Garson, etc.), his producers (Tony Visconti, Nile Rogers, Ken Scott, etc.), co-writers and inspirators (Iggy Pop, Lou Reed, Brian Eno, John Lennon, etc.), or those he jointly released music with (Mott The Hoople, Queen, Arcade Fire, Pet Shop Boys, Placebo, to name just a few). I have carried out and published research with hundreds of people during my 31-year academic career, and like Bowie, some are one-off collaborations and others are lifelong collaborations. Bowie taught me that although I can do some things by myself, it is the working with others that brings out the best in me.
Experiment to the end – Bowie was never afraid to experiment and try new things whether it was musical, pharmacological, spiritual, or sexual. Mistakes were part of the learning process and he pursued this – especially musically – until the very end of his life (for instance, on his ★ [Blackstar] album where he employed a local New York jazz combo led by saxophonist Donny McCaslin). Failure is success if we learn from it and this is one of the maxims that I live my life by. Bowie taught me that you can have lots of other interests that can be rewarding even if you are not as successful as your day job. Bowie liked to act (and obviously had some success in this area) and also liked to paint (but had much less success here than his other artistic endeavours). By any set of criteria, I am a successful academic but I also like to write journalistically and engage in a wide variety of consultancy (areas that I have had some success) and I like writing poetry (something that I have not been successful financially – although I did win a national Poetry Today competition back in 1997 and have published a number of my poems). Bowie taught me that success in one area of your life can lead to doing other more experimental and rewarding activities even if they are not as financially lucrative.
Push yourself (even in the bad times) – One of the things I love about Bowie was his ability to carry on working and being productive even when he was not at his physical best. Nowhere is this more exemplified than working on the ★ LP while undergoing chemotherapy for his liver cancer. There are also other times in his life such as when he was at the height of his cocaine addiction in 1975 where he produced some of the best music of his career (most notably the Young Americans and Station to Station LPs, the latter of which is one of my all-time favourite records). I have had a few low periods in my life due to various health, relationship and/or personal issues but I have learned through experience that work is a great analgesic and that even when you are at your lowest ebb you can still be highly productive.
Have a Protestant work ethic – Bowie was arguably one of the most hard-working musicians of all time and had what can only be described as a Protestant work ethic from the early 1960s right up until his heart attack in 2004. I am a great believer in the philosophy that “you get out what you put in” and Bowie exemplified this. Andy Warhol told Lou Reed while he was in the Velvet Underground that he should work hard, because work is all that really matters (and was the subject of the song ‘Work’ on the seminal Songs For Drella LP by Reed and John Cale). Bowie also appeared to live by this mantra and is something that I adhere to myself (and is why I am often described as being a workaholic). While Bowie isn’t my only role model in this regard, he’s certainly the most high-profile.
Lead by example but acknowledge your influences – Bowie had a unique gift in being able to borrow from his own heroes but turn it into something of his own (without ever forgetting his own heroes and influences – his Pin Ups LP probably being the best example of this). One of my favourite phrases is “Don’t jump on the bandwagon, create it”, and this has as underpinned a lot of the research areas that I have initiated and is something that I learned from Bowie. Maybe Bowie is a case of the quote often attributed to Oscar Wilde that “talent borrows, genius steals”.
Promote yourself – If there is one thing that Bowie was gifted in as much as his songwriting, it was his own art of self-promotion. Bowie always had the knack to generate news stories about himself and his work without seemingly trying. By the end of his career, it was the act of not saying anything or doing any personal publicity that was just as newsworthy. Bowie intuitively knew how to garner media publicity on his own terms in a way that very few others can. (I also argued that another one of my heroes – Salvador Dali – did the same thing in one of my articles on him in The Psychologist back in 1994). I’d like to think I am good at promoting my work and Bowie is one of my role models in this regard.
Be opportunistic and flexible – If there is one thing besides working hard that sums up my career to date, it is being opportunistic and flexible. As a voracious reader of all things Bowie since my early teens, I always loved Bowie’s sense of adventure and just following paths because they might lead you to something unexpected. Whether it was his use of the ‘cut up’ technique for writing lyrics (developed by Brion Gysin and William S. Burroughs), his use of Brian Eno’s ‘oblique strategy’ cards, or his love of studio improvisation (such as on the Berlin trilogy albums and the Outside LP), Bowie showed that inspiration for his musical and lyrical ideas could come from anywhere – from a person, from a fleeting observation, from something he read, from something he heard or saw in film or TV programme, and from his own life experiences. I too have taken this approach to my work and believe I am a much better person for it.
Be a mentor to others – Whatever career path you follow, mentors are key in developing talent and Bowie was a mentor to many people that he personally worked with (including many of the artists I named in the section on encouraging teamwork and collaboration above) as well as being an inspirational influence to those he never met (including myself).
Learn from those younger and less experienced than yourself – Paradoxically, despite being an influence on millions of people across many walks of life, Bowie was never afraid to learn from those much younger than himself and exemplified the maxim that you’re never too old to learn new things. He loved innovation and ideas and would soak it up from whoever was around him. As I have got older, this is something that I value more and am never afraid to learn from those much younger or seemingly less experienced than myself – particularly my PhD students.
Dr. Mark Griffiths, Distinguished Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Further reading
Buckley, D. (2005). Strange Fascination: David Bowie – The Definitive Story. London: Virgin Books.
Cann, K. (2010). Any Day Now: David Bowie The London Years (1947-1974). Adelita.
Goddard, S. (2015). Ziggyology. London: Ebury Press.
Griffiths, M.D. (1994). Heroes: Salvador Dali. The Psychologist: Bulletin of the British Psychological Society, 7, 240.
Hewitt, P. (2013). David Bowie Album By Album. London: Carlton Books Ltd.
Leigh, W. (2014). Bowie: The Biography. London: Gallery.
Pegg, N. (2011). The Complete David Bowie. London: Titan Books.
Seabrook, T.J. (2008). Bowie In Berlin: A New Career In A New Town. London: Jawbone.
Spitz, M. (2009). Bowie: A Biography. Crown Archetype.
Trynka, P. (2011). Starman: David Bowie – The Definitive Biography. London: Little Brown & Company.
Under the influence: Ten things I’ve learned from David Bowie
It’s now been a year since the tragic death of David Bowie and this is my fourth blog on him in that period (my others being my personal reflections on the psychology of Bowie, Bowie and the Beatles, and Bowie and the occult). Outside of my own friends and family, it’s still Bowie’s death that has affected me the most psychologically but at least I still have his music to listen to. Bowie inspired millions of people in many different ways. This blog looks at the things that I have learned from Bowie and how he influenced my career.
Persevere with your life goals – Most people are aware that it took years for Bowie to have has first hit single (‘Space Oddity’, 1969), five years after his first single (‘Liza Jane’, 1964). Even after the success of ‘Space Oddity’, it took another three years before he had his second hit single (‘Starman’, 1972) and in the early 1970s there were many who thought he would be a ‘one-hit wonder’ and a small footnote in music history. Bowie never gave up his quest for musical stardom and is arguably one of the best examples of the proverb “If at first you don’t succeed, try, try again”. I’ve often told others that they key to success is being able to learn from your mistakes and being able to handle rejection (which for academics is having papers rejected, grant bids rejected, and attempts at promotion rejected, etc.). Bowie personified perseverance and for this quality alone I am very grateful as it has been the bedrock of my career to date.
Encourage teamwork and collaboration – Despite being a solo artist for the vast majority of his post-1969 career (Tin Machine being the most high-profile notable exception), Bowie was (like me) a ‘promiscuous collaborator’ and much of his success would not have been possible without a gifted team around him whether it be his inner circle of musicians (Mick Ronson, Carlos Alomar, Robert Fripp, Mike Garson, etc.), his producers (Tony Visconti, Nile Rogers, Ken Scott, etc.), co-writers and inspirators (Iggy Pop, Lou Reed, Brian Eno, John Lennon, etc.), or those he jointly released music with (Mott The Hoople, Queen, Arcade Fire, Pet Shop Boys, Placebo, to name just a few). I have carried out and published research with hundreds of people during my 30-year academic career, and like Bowie, some are one-off collaborations and others are lifelong collaborations. Bowie taught me that although I can do some things by myself, it is the working with others that brings out the best in me.
Experiment to the end – Bowie was never afraid to experiment and try new things whether it was musical, pharmacological, spiritual, or sexual. Mistakes were part of the learning process and he pursued this – especially musically – until the very end of his life (for instance, on his ★ [Blackstar] album where he employed a local New York jazz combo led by saxophonist Donny McCaslin). Failure is success if we learn from it and this is one of the maxims that I live my life by. Bowie taught me that you can have lots of other interests that can be rewarding even if you are not as successful as your day job. Bowie liked to act (and obviously had some success in this area) and also liked to paint (but had much less success here than his other artistic endeavours). By any set of criteria, I am a successful academic but I also like to write journalistically and engage in a wide variety of consultancy (areas that I have had some success) and I like writing poetry (something that I have not been successful financially – although I did win a national Poetry Today competition back in 1997 and have published a number of my poems). Bowie taught me that success in one area of your life can lead to doing other more experimental and rewarding activities even if they are not as financially lucrative.
Push yourself (even in the bad times) – One of the things I love about Bowie was his ability to carry on working and being productive even when he was not at his physical best. Nowhere is this more exemplified than working on the ★ LP while undergoing chemotherapy for his liver cancer. There are also other times in his life such as when he was at the height of his cocaine addiction in 1975 where he produced some of the best music of his career (most notably the Young Americans and Station to Station LPs, the latter of which is one of my all-time favourite records). I have had a few low periods in my life due to various health, relationship and/or personal issues but I have learned through experience that work is a great analgesic and that even when you are at your lowest ebb you can still be highly productive.
Have a Protestant work ethic – Bowie was arguably one of the most hard-working musicians of all time and had what can only be described as a Protestant work ethic from the early 1960s right up until his heart attack in 2004. I am a great believer in the philosophy that “you get out what you put in” and Bowie exemplified this. Andy Warhol told Lou Reed while he was in the Velvet Underground that he should work hard, because work is all that really matters (and was the subject of the song ‘Work’ on the seminal Songs For Drella LP by Reed and John Cale). Bowie also appeared to live by this mantra and is something that I adhere to myself (and is why I am often described as being a workaholic). While Bowie isn’t my only role model in this regard, he’s certainly the most high-profile.
Lead by example but acknowledge your influences – Bowie had a unique gift in being able to borrow from his own heroes but turn it into something of his own (without ever forgetting his own heroes and influences – his Pin Ups LP probably being the best example of this). One of my favourite phrases is “Don’t jump on the bandwagon, create it”, and this has as underpinned a lot of the research areas that I have initiated and is something that I learned from Bowie. Maybe Bowie is a case of the quote often attributed to Oscar Wilde that “talent borrows, genius steals”.
Promote yourself – If there is one thing that Bowie was gifted in as much as his songwriting, it was his own art of self-promotion. Bowie always had the knack to generate news stories about himself and his work without seemingly trying. By the end of his career, it was the act of not saying anything or doing any personal publicity that was just as newsworthy. Bowie intuitively knew how to garner media publicity on his own terms in a way that very few others can. (I also argued that another one of my heroes – Salvador Dali – did the same thing in one of my articles on him in The Psychologist back in 1994). I’d like to think I am good at promoting my work and Bowie is one of my role models in this regard.
Be opportunistic and flexible – If there is one thing besides working hard that sums up my career to date, it is being opportunistic and flexible. As a voracious reader of all things Bowie since my early teens, I always loved Bowie’s sense of adventure and just following paths because they might lead you to something unexpected. Whether it was his use of the ‘cut up’ technique for writing lyrics (developed by Brion Gysin and William S. Burroughs), his use of Brian Eno’s ‘oblique strategy’ cards, or his love of studio improvisation (such as on the Berlin trilogy albums and the Outside LP), Bowie showed that inspiration for his musical and lyrical ideas could come from anywhere – from a person, from a fleeting observation, from something he read, from something he heard or saw in film or TV programme, and from his own life experiences. I too have taken this approach to my work and believe I am a much better person for it.
Be a mentor to others – Whatever career path you follow, mentors are key in developing talent and Bowie was a mentor to many people that he personally worked with (including many of the artists I named in the section on encouraging teamwork and collaboration above) as well as being an inspirational influence to those he never met (including myself).
Learn from those younger and less experienced than yourself – Paradoxically, despite being an influence on millions of people across many walks of life, Bowie was never afraid to learn from those much younger than himself and exemplified the maxim that you’re never too old to learn new things. He loved innovation and ideas and would soak it up from whoever was around him. As I have got older, this is something that I value more and am never afraid to learn from those much younger or seemingly less experienced than myself – particularly my PhD students.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Further reading
Buckley, D. (2005). Strange Fascination: David Bowie – The Definitive Story. London: Virgin Books.
Cann, K. (2010). Any Day Now: David Bowie The London Years (1947-1974). Adelita.
Goddard, S. (2015). Ziggyology. London: Ebury Press.
Griffiths, M.D. (1994). Heroes: Salvador Dali. The Psychologist: Bulletin of the British Psychological Society, 7, 240.
Hewitt, P. (2013). David Bowie Album By Album. London: Carlton Books Ltd.
Leigh, W. (2014). Bowie: The Biography. London: Gallery.
Pegg, N. (2011). The Complete David Bowie. London: Titan Books.
Seabrook, T.J. (2008). Bowie In Berlin: A New Career In A New Town. London: Jawbone.
Spitz, M. (2009). Bowie: A Biography. Crown Archetype.
Trynka, P. (2011). Starman: David Bowie – The Definitive Biography. London: Little Brown & Company.
A cite for more I’s? A brief personal look at obsessive self-citation
All of us who are involved in any kind of academic writing have to conform to minimum standards such as the meticulous recording of source material in the form of cited references. Griffiths (2005) noted that there are three main reasons why people use references. These being (i) the expression of an idea has been put forward more clearly elsewhere by someone else, (ii) to make specific reference to relevant past literature, and (iii) to provide suggestions for further background reading.
These reasons can also be applied to self-citation. However, self-citation has additional advantages. Griffiths (2005) also notes that self-citation references can also be used to (i) let journal reviewers and referees know who has written the paper (which may not always be a good thing!), (ii) to establish to readers your reputation in a given area and/or (iii) satisfy cravings to see your name in print! In today’s blog I aim to examine the art of obsessive self-citation in academic writing and give some effortless hints and tips.
It has previously been asserted that self-citation is academia’s way of expressing one’s ego although this was based on anecdotal evidence rather than any kind of empirical investigation (Griffiths, 2016a). After an exhaustive literature search it perhaps came as no surprise that I found absolutely nothing on the subject of self-citation except an unpublished paper by myself (Griffiths, 2013) which has been described as “the best article in this area” (Griffiths, 2016b).
So what can the experienced and obsessive self-citation expert get up to in the course of a single article? Self-citation aficionados are known to use such tricks as referring to themselves in less conventional formats such as letters to national newspaper (e.g. Griffiths, 1998), articles in international newspapers (Griffiths, 2014), articles in national newspapers (e.g. Griffiths, 2016c), articles in local newspapers (Griffiths, 2016d), educational leaflets (e.g. Griffiths, 1993a), consultancy reports (e.g. Griffiths, 2002a) or blogs (Griffiths, 2016e).
However, these work most effectively if they are buried away amongst more conventional references such as books and refereed journal articles. Those experienced in obsessive self-citation will often sink to even murkier depths. For instance, self-citation is an excellent way of introducing something that seems implausible into your argument. Two common ways to disguise implausibility is the liberal use of such phrases as “paper forthcoming”, “manuscript submitted for publication”, “internal report” or “personal communication” (however, the latter should be used very sparingly as it suggests that the author is someone who talks about things more than writing them). If you sprinkle these into an article and intersperse them with a few very genuine citations such as books you wrote which received very good reviews (Griffiths, 1995; 2002b) or some of your good and/or highly cited refereed journal papers spread across a number of years (Auer & Griffiths, 2015; Cole & Griffiths, 2007; Griffiths, 1991a; 1993b; 1994; 1996; 1997; 1999; 2000; 2001; 2003; 2004; 2008; 2010; Griffiths, Kuss, Billieux & Pontes, 2016; Kuss, Griffiths & Binder, 2013) it can look very professional and in some cases impressive (or just show you to be the egomaniac that you are).
For the really experienced, secondary self-citation or embedded self-citations can often be useful. This is a technique where you can use quotes attributed to you in a newspaper or magazine article written by someone else (e.g. Griffiths, 1991b) although it looks as though it is one of the author’s bona fide references.
However, as my last word on the subject, I will leave you with one practice you should definitely avoid. I am referring to the inclusion of self-citation by pseudonym that has been described by Mithgriffs (2015) as “a despicable habit that should be stamped out”.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
References
Auer, M. & Griffiths, M.D. (2015). Testing normative and self-appraisal feedback in an online slot-machine pop-up message in a real-world setting. Frontiers in Psychology, 6, 339. doi: 10.3389/fpsyg.2015.00339.
Cole, H. & Griffiths, M.D. (2007). Social interactions in Massively Multiplayer Online Role-Playing gamers. CyberPsychology and Behavior, 10, 575-583.
Griffiths, M.D. (1991a). The observational study of adolescent gambling in UK amusement arcades. Journal of Community and Applied Social Psychology, 1, 309-320.
Griffiths, M.D. (1991b). Cited in Neustatter, A. “Keyboard junkies”. The Independent on Sunday Review, November 17, p.64.
Griffiths, M.D. (1993a). Your child and video games: Advice for parents. Coventry: National Council for Educational Technology (leaflet).
Griffiths, M.D. (1993b). Tolerance in gambling: An objective measure using the psychophysiological analysis of male fruit machine gamblers. Addictive Behaviors, 18, 365-372.
Griffiths, M.D. (1994). The role of cognitive bias and skill in fruit machine gambling. British Journal of Psychology, 85, 351-369.
Griffiths, M. (1995). Adolescent Gambling. London: Routledge.
Griffiths, M.D. (1996). Pathological gambling and its treatment. British Journal of Clinical Psychology, 35, 477-479.
Griffiths, M.D. (1997). Video games and clinical practice: Issues, uses and treatments. British Journal of Clinical Psychology, 36, 639- 641.
Griffiths, M.D. (1998). Unlucky number for under-16s. The Guardian, February 25, p.15.
Griffiths, M.D. (1999). Counselling in the treatment of pathological gambling: An overview. British Journal of Guidance and Counselling, 27, 179-190.
Griffiths, M.D. (2000). Internet addiction – Time to be taken seriously? Addiction Research, 8, 413-418.
Griffiths, M.D. (2001). Sex on the Internet: Observations and implications for sex addiction. Journal of Sex Research, 38, 333-342.
Griffiths, M.D. (2002a). The Social Impact of Casinos. Nottingham: Browne-Jackson.
Griffiths, M.D. (2002b). Gambling and Gaming Addictions in Adolescence. Leicester: British Psychological Society/Blackwells.
Griffiths, M.D. (2003). The therapeutic use of videogames in childhood and adolescence. Clinical Child Psychology and Psychiatry, 8, 547-554.
Griffiths, M.D. (2004a). Odds and sods: You (nearly) win again. The Guardian, April 20, p. 6.
Griffiths, M.D. (2004b). Can videogames be good for your health? Journal of Health Psychology, 9, 339-344.
Griffiths, M.D. (2005). Self-citation: A practical guide. Null Hypothesis: The Journal of Unlikely Science (‘Best of’ issue), 15-16.
Griffiths, M.D. (2008). The biopsychosocial and “complex” systems approach as a unified framework for addiction. Behavioral and Brain Sciences, 31, 446-447.
Griffiths, M.D. (2010). The role of context in online gaming excess and addiction: Some case study evidence. International Journal of Mental Health and Addiction, 8, 119-125.
Griffiths, M. (2013). The art of self-citation. Article submitted for publication.
Griffiths, M.D. (2014). Sunshine: As addictive as heroin? Washington Post. June 24. Located at http://www.washingtonpost.com/posteverything/wp/2014/06/24/sunshine-as-addictive-as-heroin/
Griffiths, M. (2016a). Personal communication with myself. September 29, 2016.
Griffiths, M.D. (2016b). Personal communication with myself. September 29, 2016.
Griffiths, M.D. (2016c). It will rule your life but addicts can be helped. Sunday Mirror, May 1, p.5.
Griffiths, M.D. (2016d). Sorry may be the hardest word but more people than ever are saying it. Nottingham Post, April 11, p.14.
Griffiths, M.D. (2016e). Market forces: Does gambling advertising increase problem gambling? August 22. Located at: https://drmarkgriffiths.wordpress.com/2016/08/22/market-forces-does-gambling-advertising-increase-problem-gambling/
Griffiths, M.D., Kuss, D.J., Billieux J. & Pontes, H.M. (2016). The evolution of internet addiction: A global perspective. Addictive Behaviors, 53, 193–195.
Kuss, D.J., Griffiths, M.D. & Binder, J. (2013). Internet addiction in students: Prevalence and risk factors. Computers in Human Behavior, 29, 959-966.
Mithgriffs, G. (2015). Whose self-citation is it anyway? Occasional Made-Up Paper (No.3).