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.

Brant Smith’s Report on Slamdance