William Germano – författare

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.

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.

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

In this thoroughly updated fourth edition, a trusted editor offers a comprehensive guide to selecting—and working with—a book publisher.For more than two decades, writers have turned to William Germano’s Getting It Published as a guide to the world of serious book publishing, including university presses. A professor, author, and thirty-year veteran of the book industry, Germano knows what editors want and what writers need to do to get their work published.This fourth, thoroughly updated edition of Getting It Published accounts for new challenges facing authors and changed conditions in the publishing industry. From open access to peer review, from approaching a press to considering an agent, publishing can be confusing for authors trying to understand their options. This new edition continues to offer the clear, practicable guidance on choosing the best path to publication that has made the book such a trusted resource. Its latest revisions include an expanded chapter on proposals (and their covering emails) as well as current information on the shifting landscape of ebook publishing. But this book is more than a nuts-and-bolts guide. It takes up a writer’s biggest challenges: how to frame a book-length project, shape its argument, conceive its audience, and pitch it convincingly to an editor.Getting It Published reflects the latest changes and technologies in the publishing industry but keeps its eye on what remains constant: Whether working on their first book or their fifth, writers can make their work stronger by knowing what publishers do and why they do it.

How redesigning your syllabus can transform your teaching, your classroom, and the way your students learnGenerations 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 learnGenerations 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.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Desert nomads tested their vision by distinguishing a pair of stars. But we have since created more disquieting ways to test the strength of the eyes.Reading the eye chart is an exercise in failure, since it only gets interesting when you cannot read any further. It is the opposite of interpretative reading, like one does with literature. When you have finished reading an eye chart, what exactly have you even read? From a Spanish cleric's Renaissance guide to testing vision, to a Dutch ophthalmologist's innovation in optical tech, to the witty subversion of the eye chart in advertising and popular culture, William Germano's Eye Chart lets people see the eye chart at last.Object Lessons is published in partnership with an essay series in The Atlantic.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Desert nomads tested their vision by distinguishing a pair of stars. But we have since created more disquieting ways to test the strength of the eyes.Reading the eye chart is an exercise in failure, since it only gets interesting when you cannot read any further. It is the opposite of interpretative reading, like one does with literature. When you have finished reading an eye chart, what exactly have you even read? From a Spanish cleric's Renaissance guide to testing vision, to a Dutch ophthalmologist's innovation in optical tech, to the witty subversion of the eye chart in advertising and popular culture, William Germano's Eye Chart lets people see the eye chart at last.Object Lessons is published in partnership with an essay series in The Atlantic.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Desert nomads tested their vision by distinguishing a pair of stars. But we have since created more disquieting ways to test the strength of the eyes.Reading the eye chart is an exercise in failure, since it only gets interesting when you cannot read any further. It is the opposite of interpretative reading, like one does with literature. When you have finished reading an eye chart, what exactly have you even read? From a Spanish cleric’s Renaissance guide to testing vision, to a Dutch ophthalmologist’s innovation in optical tech, to the witty subversion of the eye chart in advertising and popular culture, William Germano’s Eye Chart lets people see the eye chart at last.Object Lessons is published in partnership with an essay series in The Atlantic.

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.

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.