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For more than a decade, writers have turned to William Germano for
his insider's take on navigating the world of scholarly publishing.
A professor, author, and thirty-year veteran of the book industry,
Germano knows what editors want and what writers need to know to
get their work published. Today there are more ways to publish than
ever, and more challenges to traditional publishing. This
ever-evolving landscape brings more confusion for authors trying to
understand their options. The third edition of Getting It Published
offers the clear, practicable guidance on choosing the best path to
publication that has made it a trusted resource, now updated to
include discussions of current best practices for submitting a
proposal, of the advantages and drawbacks of digital publishing,
and tips for authors publishing textbooks and in open-access
environments. Germano argues that it's not enough for authors to
write well--they also need to write with an audience in mind. He
provides valuable guidance on developing a compelling book
proposal, finding the right publisher, evaluating a contract,
negotiating the production process, and, finally, emerging as a
published author. "This endlessly useful and expansive guide is
every academic's pocket Wikipedia: a timely, relevant, and ready
resource on scholarly publishing, from the traditional monograph to
the digital e-book. I regularly share it, teach it, and consult it
myself, whenever I have a question on titling a chapter, securing a
permission, or negotiating a contract. Professional advice simply
does not get any savvier than this pitch-perfect manual on how to
think like a publisher."--Diana Fuss, Princeton University
When a dissertation crosses my desk, I usually want to grab it by
its metaphorical lapels and give it a good shake. "You know
something!" I would say if it could hear me. "Now tell it to us in
language we can understand!" Since its publication in 2005, From
Dissertation to Book has helped thousands of young academic authors
get their books beyond the thesis committee and into the hands of
interested publishers and general readers. Now revised and updated
to reflect the evolution of scholarly publishing, this edition
includes a new chapter arguing that the future of academic writing
is in the hands of young scholars who meet the broader expectations
of readers rather than the narrow requirements of academic
committees. At the heart of From Dissertation to Book is the idea
that revising the dissertation is fundamentally a process of
shifting its focus from the concerns of a narrow audience - a
committee or advisors - to those of a broader scholarly audience
that wants writing to be both informative and engaging. William
Germano offers clear guidance on how to do this, with advice on
such topics as rethinking the table of contents, taming runaway
footnotes, and confronting the limitations of jargon. Germano draws
on his years of experience in both academia and publishing to show
writers how to turn a dissertation into a book that an audience
will actually enjoy, whether reading on a page or a screen. Germano
also explores other, often overlooked, options for dissertations,
such as journal articles or chapters in an edited work. With clear
directions, engaging examples, and an eye for the idiosyncrasies of
academic writing, From Dissertation to Book reveals to recent PhDs
the secrets of careful and thoughtful revision - a skill that will
be truly invaluable as they add "author" to their curriculum vitae.
So you've just finished writing something? Congratulations! Now
revise it. Because revision is about getting from good to better,
and it's only finished when you decide to stop. But where to begin?
In On Revision, William Germano shows authors how to take on the
most critical stage of writing anything: rewriting it. For more
than twenty years, thousands of writers have turned to Germano for
his insider's take on navigating the world of publishing. A
professor, author, and veteran of the book industry, Germano knows
what editors want and what writers need to know: Revising is not
just correcting typos. Revising is about listening and seeing
again. Revising is a rethinking of the principles from the ground
up to understand why the writer is doing something, why they're
going somewhere, and why they're taking the reader along with them.
On Revision steps back to take in the big picture, showing authors
how to hear their own writing voice and how to reread their work as
if they didn't write it. On Revision will show you how to know when
your writing is actually done-and, until it is, what you need to do
to get it there.
How redesigning your syllabus can transform your teaching, your
classroom, and the way your students learn Generations of teachers
have built their classes around the course syllabus, a
semester-long contract that spells out what each class meeting will
focus on (readings, problem sets, case studies, experiments), and
what the student has to turn in by a given date. But what does that
way of thinking about the syllabus leave out-about our teaching
and, more importantly, about our students' learning? In Syllabus,
William Germano and Kit Nicholls take a fresh look at this
essential but almost invisible bureaucratic document and use it as
a starting point for rethinking what students-and teachers-do. What
if a teacher built a semester's worth of teaching and learning
backward-starting from what students need to learn to do by the end
of the term, and only then selecting and arranging the material
students need to study? Thinking through the lived moments of
classroom engagement-what the authors call "coursetime"-becomes a
way of striking a balance between improv and order. With fresh
insights and concrete suggestions, Syllabus shifts the focus away
from the teacher to the work and growth of students, moving the
classroom closer to the genuinely collaborative learning community
we all want to create.
How redesigning your syllabus can transform your teaching, your
classroom, and the way your students learn Generations of teachers
have built their classes around the course syllabus, a
semester-long contract that spells out what each class meeting will
focus on (readings, problem sets, case studies, experiments), and
what the student has to turn in by a given date. But what does that
way of thinking about the syllabus leave out-about our teaching
and, more importantly, about our students' learning? In Syllabus,
William Germano and Kit Nicholls take a fresh look at this
essential but almost invisible bureaucratic document and use it as
a starting point for rethinking what students-and teachers-do. What
if a teacher built a semester's worth of teaching and learning
backward-starting from what students need to learn to do by the end
of the term, and only then selecting and arranging the material
students need to study? Thinking through the lived moments of
classroom engagement-what the authors call "coursetime"-becomes a
way of striking a balance between improv and order. With fresh
insights and concrete suggestions, Syllabus shifts the focus away
from the teacher to the work and growth of students, moving the
classroom closer to the genuinely collaborative learning community
we all want to create.
"The Tales of Hoffmann" (1951) is a unique and important film, both
in the history of British cinema and in the history of
interdisciplinary art-making. It is the first full-throttle
presentation of an opera on screen: a Technicolor exploration of
romance, fantasy, and failure, more danced than sung, that
reinvents the "total work of art."
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