My Super First Day

Last year, Andrea Phillips and Jay Bushman of Alchemy Storytelling started an online website called My Super First Day. The idea is anyone can contribute to the fiction: “Think up a superpower and write the story of your first day with it. Did you use your powers for good or evil? Were they helpful or worthless? Did it change your life?” You can see the contributions people have already put forward at the website. Now, they’ve opened up submissions for again and so I thought I’d jump in with a short story too. Here it is:

The First Day was Super
Oh how I remember that (real) first day I discovered my superpower. I say ‘real’ because, well, I experience every day as if it is
the first day I discover my superpower. That is the down side — the catch — to my superpower. I’m well aware of this now though, and so I leave a note for myself, explaining how I’ve discovered this before. I detail how I shouldn’t call my parents, friends, workmates, no one. They are so sick of me ringing them. They’re happy for me and proud of the good I do with my power, but getting breathless phone calls and frantic visits from me every morning was too much.

I’ve tried many ways to break the news to myself. It is all about timing and easing myself into the truth. Early on I tried leaving a note on my bedside table, an audio message on my alarm, and even a poster on my roof. But that just ruined it for me. I would only have a few seconds of yelling ‘woohoo!’ before I felt like a fool. There is nothing worse than realising you’ve suddenly got a power that can help solve problems for people, solve crime, only to find the solution has already been discovered, by you. For a long time I spent each day depressed, jealous of the morning I first discovered it, and sometimes even resentful of having this superpower with such a stupid catch. But I eventually left a note on my bedroom door. That works, but I have to make sure there are no communication devices in the room, and that I gently explain the situation to myself.

It took many drafts to get that note right. It had to be short enough to ensure I would read it immediately and not throw the envelope to the ground in my race to get out the door. I also wanted to take the time to congratulate myself, and share in my jubilation for a few moments more. As you can see, I’m more at home with the downside of my superpower. But it took many sessions at Superpowers Anonymous to come to terms with it. What good is having super photographic memory when every night you forget you have it? Yes, my fellow superheroes have had many laughs at my expense. You can imagine the names I get, and the jokes.

But hey, I appreciate you giving people with superpowers the chance to share our stories. Writing the experience of my first day has helped me. I didn’t have the confidence to submit my story in the first round because I wasn’t sure how people would respond. But I can laugh about it now. So give me your best taunts if you like. It would be good to hear a new one. Oh, and if by chance you receive multiple submissions from me about my first day, please break the news to me gently.

Tips on turning your dissertation into a book

In Twitter, I noticed Matt Gold (@mkgold) shared tweets being delivered by (@fhi_duke – Franklin Humanities Institute). The tweeter was at a session about turning your dissertation into a book. The talk was by Ken Wissoker, the Editorial Director of Duke University Press (@kwissoker). I thought the info was great, and so I’m posting here the  tweets @fhi_duke delivered. Apparently Ken’s talk will be available in a podcast soon.

  • Dissertations are highly contingent, written for specific committees & institutions – for people who are obligated to read it! #1stbk
  • In a diss, your committee can say “so what you are really trying to say is…” in a book, you have to know from the get-go #1stbk
  • In a book, emplotment & pacing are important – knowing what the reader needs & why #1stbk
  • A diss needs other theorists to justify its argument; In a bk, yr reader doesn’t need to see how u parse theorists that they’ve read #1stbk
  • Thinking about audience: do you want it to be taught to u-grads? (that might dictate length) To circulate beyond your discipline? #1stbk
  • A book published 5 years from now: how will it be read? On hand-held? The need to write with some uncertainty in mind #1stbk
  • Duke Press published ~100 title/year – 30 MSs are turned down each week – but often this is a matter of FIT bet. book & press #1stbk
  • At your professional meetings, pay attention to the strongest, most prolific presses – write to editors ahead of time #1stbk
  • Book proposals: don’t start off discussing other people’s work! Make your work front & center #1stbk
  • Book proposals should include chapter summaries & a sample chapter – send BY MAIL, don’t make the editor print the copies! #1stbk
  • Be honest about where you are in the writing: whole MS, 2 chapters – an interested editor will WANT you to send something #1stbk
  • Editors sometimes send out dissertations in lieu of completed book MS to reviewers – but rarely just excerpts… #1stbk
  • Book reviewers // test screening audiences – reviewers will advise on whether arguments are convincing, what works/doesn’t #1stbk
  • Diss to #1stbk usually a 4-5 year process
  • Writing groups can be great help – w/ people who can model the audience you’re interested in reaching #1stbk

The Pixel Lab: The Cross-Media Film Workshop

Power to the Pixel have put together “a ground-breaking new residential course centred in developing, producing and distributing cross-media stories – stories that can span film, TV, online, mobile, gaming. The Lab is open to anyone with a strong track record in the European film and related media industries”
Topics of learning will include:

  • How to develop stories and create a story universe across multiple platforms
  • How to adapt traditional storytelling techniques to new media, including structural analysis
  • New marketing & distribution models: an exploration of a variety of new platforms, revenue models and direct-to-consumer models – compared against the traditional methods of sales and distribution
  • Audience building and engagement using social media tools
  • Online tools and services
  • Project case studies by leading international filmmakers / practitioners
  • Legal and digital rights issues across development, production and financing
  • The new skills needed for producers, writers and directors in a multi-platform world
  • Project packaging
  • Pitching, communication skills & presentation to financiers

These will be taught through a variety of case studies, lectures, small group workshops and one-to-one meetings led by international cross-media experts and pioneers, many of whom have participated at past Power to the Pixel events.

The Pixel Lab will enable European film producers and other media professionals to tap into the creative and business knowledge-base of industries such as tech, online, film, broadcast, gaming, mobile and help promote collaboration and co-operation between European audiovisual professionals.

Applications open Feb 2010 (now/soon!). Check it out.