A Writing Group of Boston-Area American Historians Gets a Story in *Publishers Weekly*

GeorginiCheck out Alex Green’s piece at Publishers Weekly.  The writers group, known as “The Squad,” includes historians Kevin Levin, Liz Covart, Sara Georgini, Megan Kate Nelson, Heather Cox Richardson, and Nina Silber.  (Covart and Georgini have been guests on the The Way of Improvement Leads Home Podcast.  Listen to our conversation with Covart here.  Georgini here).

Here is a taste of Green’s piece:

Kevin Levin got his first taste of having his work reviewed by the historians in the Book Squad as they finished their obligatory postdinner course of mint chip ice cream. “It took me a little bit of time to pick my ego up off the floor,” Levin said. Despite the intensity of the critique, Levin (who is a faculty colleague of the author of this article at Gann Academy) came to depend on the process for writing Searching for the Black Confederates (Univ. of North Carolina, Sept.). “I don’t think I would have finished the book without it,” he said.

The Book Squad first gathered when Liz Covart, host of the history podcast Ben Franklin’s World, wanted to create a writing group to motivate her to write. Levin signed on, as did historians Sara Georgini, Megan Kate Nelson, Heather Cox Richardson, and Nina Silber.

The group began meeting monthly at each other’s houses in 2015. The host is responsible for dinner and a piece of writing for review. For Georgini, who was completing her dissertation and converting it into a trade title, the group offered an opportunity to share her work with published writers.

“We didn’t do the traditional fetishizing of the person’s work with comments like ‘I really love what you did here,’ ” Georgini said. “We went straight into it.” Her Household Gods: The Religious Lives of the Adams Family was published by Oxford University Press in February.Black Confeds

In one instance, Heather Cox Richardson told Nelson, “You went the first 18 pages of this chapter before you had a single color.” Nelson, whose The Three-Cornered War will be published by Scribner in February 2020, said the advice has stayed with her, and as a result, she often thinks about ways to bring a more vivid sense of place into all of her writing.

After each session, each member sends written manuscript edits to the author who presented that night, which Silber said was invaluable as she finalized her edits for This War Ain’t Over: Fighting the Civil War in New Deal America, which was published by UNC Press in 2018.

For Silber, who is an academic, working with the group was challenging at times. “Being in the group, I thought a lot more about how to make my writing lively and engaged and compelling,” she said. “But it was very hard for me to tell this as a story and not add a lot of analysis.”

Silber’s struggle reflects a wider issue. “We’re in this moment where historians are torn between writing for an academic audience or a trade audience,” Georgini said. “What does it mean to write for both? So a lot of these conversations in the Book Squad were about these readers who we were imagining and also the readers we hoped to attract. That was some of the richest dialogue we had.”

Read the entire piece here.

Inside the Mind of the Literary Editor

Writing

If you write books, Lauren Toor’s interview with literary agent Susan Rabiner is a must read.  They cover the art of making an argument, the practice of narrative history, and the topics that are “hot” right now in trade publishing.

Here is a taste:

Can you define what you mean by narrative?

Rabiner: Sure. You don’t create narrative by simply inserting lots of anecdotes, character portraits, or description. Those features are terrific but are not meant to stand on their own. They are part of a story that creates a kind of tension in the reader — a need to find out where the book is going and how it will add up.

And remember, the story doesn’t have to be a story about people. It can be the story of an idea — how and why we once believed something and now do not. It can be the story of an event that we have been interpreting one way but should be re-examining in a different light.

Read the entire interview here.

Robert Caro on Working in Archives

Robert Caro, author of "The Power Broker," a biography on Ro

Robert Caro, the Pulitzer Prize-winning writer and Lyndon Johnson biographer, recently published Working: Research, Interviewing, Writing.  Here is a the publisher’s description:

For the first time in book form, Robert Caro gives us a glimpse into his own life and work in these evocatively written, personal pieces. He describes what it was like to interview the mighty Robert Moses; what it felt like to begin discovering the extent of the political power Moses wielded; the combination of discouragement and exhilaration he felt confronting the vast holdings of the Lyndon B. Johnson Library in Austin, Texas; his encounters with witnesses, including longtime residents wrenchingly displaced by the construction of Moses’ Cross-Bronx Expressway and Lady Bird Johnson acknowledging the beauty and influence of one of LBJ’s mistresses. He gratefully remembers how, after years of working in solitude, he found a writers’ community at the New York Public Library, and details the ways he goes about planning and composing his books. 

Caro recalls the moments at which he came to understand that he wanted to write not just about the men who wielded power but about the people and the politics that were shaped by that power. And he talks about the importance to him of the writing itself, of how he tries to infuse it with a sense of place and mood to bring characters and situations to life on the page. Taken together, these reminiscences–some previously published, some written expressly for this book–bring into focus the passion, the wry self-deprecation, and the integrity with which this brilliant historian has always approached his work.

Over at Popular Mechanics, Eleanor Hildebrandt talks to Caro about his work in the archives.  Here is a taste of their conversation:

Popular Mechanics: What do you bring with you when you go to the archives?

Robert Caro: It depends on the archive. I have a computer on my desk [a Lenovo Thinkpad], although I still write and do most of my stuff on this typewriter. The reason I have a computer is that some years ago, the Johnson library said that my typewriter was so noisy, it was disturbing the other researchers. So I bought a computer and I took all my Vietnam notes on it, but I still write on the typewriter and in longhand.

It makes me think more. Today everybody believes fast is good. Sometimes slow is good.

Almost two years ago, Ina [Caro’s wife] and I went down [to the archives], and I’m sitting there, in the reading room, writing my notes. Everybody else is standing there taking photographs of their documents. They do it with cell phones now. If you saw me there, you’d see one person who’s not in the modern age.

PM: Have you ever been tempted to switch to pictures?

RC: No. I feel there’s something very important, to be able to turn the pages yourself. I don’t want anything standing in between me and the paper. People compliment me on finding out how [Johnson] rose to power so fast in Congress by using money. That happened down there, and it was a vague, amorphous thing. I was sitting there with all these boxes, taking all these notes. And you saw letters, his very subservient letters—“Can I have five minutes of your time?”—and then you see the same letters coming back to him. And I said, Something happened here. What’s the explanation? Why is a committee chairman writing to Lyndon Johnson, asking for a few minutes of his time? So I sat there and put my notes into chronological order. And then it became absolutely clear.

Would the same thing have happened if I’d stood there taking photographs and went back? Possibly. But I don’t believe it. To me, being in the papers is really important.

Read the entire interview here.

What Makes Your Book Valuable?

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How do authors measure the success of their books?  Rachel Toor asks this question in a very interesting piece at The Chronicle of Higher Education.

Given my history in publishing, people often ask me for help with their book projects. One of the first things I ask them: What is your goal? What do you want to achieve by publishing the book?

“Getting it out there in the world” is too vague. With publishing, as in many aspects of life, specific is better and more attainable.

It requires hard thinking to make a list of what success will look like for you, but my advice is to do this exercise before the book is published, or even as you start work on the manuscript. Some things will be within your control. Others you can only hope for. If, on that list, you have items that are not measurable in terms of sales or money, I say that’s OK. You get to define what success looks like for you.

Read the entire piece here.

So how do I measure the success of my books?  It depends on the book:

The Way of Improvement Leads Home:   I wrote this to establish myself as an early American historian.  I thus published it with a respectable university press. I hope it makes some small contribution to our understanding of the Enlightenment in America.  In that sense, I think it has been a success.  But, much to my surprise, the story of Philip Vickers Fithian seems to captivate people.  Dozens of people tell me that they cried at the end of the book.  K-12 teachers have pushed me to write a grade-school edition of Fithian’s life.  So, in this case, the book has been successful for reasons I did not expect when I wrote it.

Confessing History:  I edited this book with close friends Jay Green and Eric Miller.  The fact that we were able to work on this book together makes it a success in my mind.  But I also hope the book has established me as a scholar writing out of a particular tradition.  In this sense, it has been successful.  I think we are asking our readers–Christian undergraduates and graduate students, Christian faculty members, and students of historiography–to join us in a conversation about the relationship between Christian faith and the historian’s vocation.

Was America Founded as a Christian Nation?:  This book was written for a popular audience. I think it has been successful for two reasons.  First, it has brought historical thinking to a much-politicized debate on American identity.  Second, it has provided college professors who are interested in this debate with a text to assign to their students.

Why Study History?  I measure the success of this book by how often it is assigned in history survey courses, introduction to history courses, and historiography or methods courses.  I am encouraged by how many college and high school history departments are using it.

The Bible Cause:   In terms of sales, this has been my most unsuccessful book. Institutional histories are tough to sell.  The value of the book is its modest contribution to American religious history.  It will sit on library shelves and I hope it will be consulted whenever a scholar’s work intersects with the history of the Bible in America.

Believe Me: The Evangelical Road to Donald Trump:  This book will be successful if it: 1). Gets my fellow evangelicals to think differently about their support for Donald Trump.  2). Helps anti-Trump evangelicals to dialogue with their pro-Trump friends.  3).  Helps the larger community of scholars, journalists, politicos, and pundits understand why so many evangelicals voted for Donald Trump.   So far I think the book has been successful on points 2 and 3.  Has it been successful as it relates to point 1?  Only time will tell.

Writing Accessible History

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Maybe if one of my books sold 350,000 copies I would not need to do this

Last summer a group of K-8 history teachers urged me to write a popular biography of Philip Vickers Fithian.  Here is what I wrote back then:

I am always amazed when I talk to people who develop strong emotional connections to the characters in The Way of Improvement Leads Home: Philip Vickers Fithian and the Rural Enlightenment in Early America.  I did not expect the book to be a tearjerker. The title is long and technical.  It is published by a university press.  Most bookstores do not carry it.  When my first royalty check arrived, I spent it all on Christmas presents. When the second royalty check arrived, I spent it all on a nice dinner for my family.  Today I can still splurge for dinner with the annual check, assuming that the meal is eaten at Arby’s.

But since the book first appeared in 2008, a few dozen people have told me that they cried at the end.  This week at the Princeton Seminar, five teachers mentioned that the final chapter brought them to tears.

Philip Vickers Fithian’s story does have an emotional ending, but I am still surprised that a book about the Enlightenment in America resonates with readers in this way.

Last week several K-8 history teachers (and at least one school librarian) attending the Princeton Seminar strongly encouraged me to write a biography of Philip for the young adult nonfiction market.  I am taking their advice seriously.  I don’t know very much about this market, but I want to learn more.  After listening to these teachers, and thinking about this a bit more myself, I think that teenagers might find Philip’s story interesting for what it teaches us about everyday life in colonial America, the early years of the American Revolution, love and courtship, education, self-improvement, and life on the frontier.

Stay tuned.  And if you have any advice I would love to hear it.

I thought about this possible project again after I read Elizabeth Elliott’s AHA Today post: “Experiments in Writing History.”  Here is a taste:

Laura Kamoie still receives periodic royalty statements for a book she published over a decade ago—an economic history of the early American Tayloe family, based on her PhD dissertation from the College of William and Mary. She knows that, to date, it has sold 773 copies, an ordinary showing for a first book that might be assigned in a university class once in a while. As for the next work she lists under the publications section of her CV? That one has sold over 350,000 copies. 

The wildly successful America’s First Daughter (2016) is not an academic history but a work of historical fiction. Using “the exact same research process as I did for my dissertation,” Kamoie, along with co-author Stephanie Dray, wrote a novel from the point of view of Thomas Jefferson’s eldest daughter Patsy. Headlining the jam-packed AHA18 session “Historians Writing Historical Fiction,” Kamoie talked about the ways she finds writing academic history and writing historical fiction similar, arguing that “both attempt to link known facts and try to shape them into some kind of a narrative. Both make historical contributions, and both are meant to generate curiosity about the past.”

Read the entire piece here.

How NOT To Write Your Second Book

how-not-to-write-your-second-book-logoThe Junto blog is running a series of posts on this topic featuring some excellent historians. The posts stem from a roundtable presented at the 2017 meeting of the Society for the History of the Early Republic.  It was organized by Emily Controy-Krutz and Jessica Lepler.

Here is a taste of the Conroy-Krutz and Lepler’s introduction to the series:

How do you start a new book that’s on a wildly different topic from your last book? Or written in a different style? And how do you write a book while teaching new preps and serving on committees? What if you’re also raising kids and caring for aging family members? If a book could be articles, shouldit be articles? In a packed conference room on a hot Saturday in July, five incredibly generous, funny, and thoughtful scholars shared their tips and tricks for “How Not to Write Your Second Book,” and the laughter and nods around the room suggested that the comments, questions, and conversation spoke to concerns that are widely shared among mid-career scholars and that had sparked the creation of the SHEAR Second-Book Writers’ Workshop (2BWW).

Read the entire roundtable here.

On Writing Your Second History Book

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Benjamin Park, an early American historian who teaches at Sam Houston State University in Texas, has live-tweeted a great session from the annual meeting of the Society for Historians of the Early American Republic (SHEAR) on how to go about writing a second book.

For most academic historians, their first book is a revised version of their dissertation. Much of the research and writing for the first book is accomplished during graduate school. (Although revisions are always necessary for turning a dissertation into a book). Second books, however, are usually written under different circumstances.  Graduate students become faculty members and their lives change.  They have to prepare lectures, attend meetings, and, for some, take on the responsibilities of family life.  Writing that second book become a lot more difficult when one’s attention is pulled in so many different directions.

The members of the panel:

Kathleen DuVal of UNC-Chapel Hill

Paul Erickson of the American Antiquarian Society

Timothy Mennell, University of Chicago Press

Tamara Plakins Thornton, University at Buffalo

Catherine Kelly, University of Oklahoma

As I read Ben’s tweets I once again realized how different my career has been when compared to the traditional career trajectory (or at least the one that is considered normal among people who attend SHEAR) in the profession.

Here are some of Park’s post

How Does Annette Gordon-Reed Write?

86d77-hemingsesShe is the Pulitzer Prize-winning author of The Hemingses of Monticello: An American Family and she was a guest on episode of eight of The Way of Improvement Leads Home Podcast.

And have I mentioned that she gave the 2012 American Democracy Lecture at Messiah College?

Over at “Writing Routines,” Annette Gordon-Reed of Harvard University tells us how she writes.

Here is a taste of her interview:

Let’s start with the basics: What time of day do you start writing? Is it easier for you to write early in the morning? Late at night?

I am a morning person, so I prefer to work in the morning. I am at my best writing between 6AM and noon. Things begin to deteriorate after that. The afternoon hours are not so great. I can start back up again around 7PM or so.

What’s your preferred tool for writing—a word processor like Microsoft Word, Google Docs, etc.? A pen and paper?

I start off all serious writing with pen or pencil and paper. I also say out loud what I am writing. I sometimes dictate. It is very difficult for me to start out writing on a computer. Once I have the flow going very well, I transfer what I have written onto the computer. Then I can keep writing and editing.

Do you listen to music when you write, or do you prefer silence, or something else in the background?

I prefer silence because, as I said, I am talking as I’m writing. I only want to hear what I am saying.

Do you have any pre-writing rituals or habits?

I listen to music and I straighten things up around where I’m going to be writing.

How many words a day do you produce, or try to produce? How much of that ever sees the light of day?

Oh, there is no set amount. It depends on where I am in the writing process. I would say most of it sees the light of day. I don’t move onto the next thing until I’m satisfied with the pages I have written. It is very unlikely that I will have written, say, a chapter, and then throw it out and start all over. I do not proceed until I’m satisfied with what I have done.

Read the entire interview here.

How to Write a Book Proposal

book-proposalDan Berger, a history professor at the University of Washington Bothell and the author of Captive Nation: Black Prison Organizing in the Civil Rights Erahas a helpful post up at Black Perspectives with some tips on how to write a book proposal.

Here is a taste:

A good proposal should be sent to multiple presses. While you should not submit the manuscript to multiple publishers simultaneously, it is not a betrayal of confidence to submit proposals to multiple publishers; in fact, it’s in your benefit to do so. The neoliberal university affects publishers as much as any other part of the academy. Editors are overworked and expected to do more with less while navigating legions of anxious junior (and senior) scholars eager to find a home for their work. Interest from one press is perhaps the only surefire thing that can get another press to get back to you if they have not already. In sending your proposal to multiple presses, you may want to make some superficial adjustments to the proposal. For instance, if you are interested in a particular series that a publisher has, you might work the themes and concepts of the series into your proposal in a deliberate fashion. However, since the proposal is introducing the book, it should be able to stand alone across multiple submissions without much tailored revision.

When I was finishing the proposal for Captive Nation: Black Prison Organizing in the Civil Rights Era, I devised a three-tiered list. Each tier had four or five presses in it. My plan was to send out the proposal to all of the presses in the group and see what happened; if no one in tier one was interested, then I would send it to tier two, and so on. I developed my list with equal parts reason and emotion: I talked with friends and mentors about it, and I scoured my bookshelves to see who had published books I was excited by or which bore significant tie in to some of the themes of my own book. I was fortunate to have interest from three of my tier-one list, so I didn’t need to keep sending it out. But having that list made me feel confident that I would publish the book somewhere, that I had other options if my top choices did not pan out. And the process of creating the tiers also helped me decide which press to go with when I had interest from multiple places. The other factor that helped me decide was gauging excitement for the project from different presses; when decision time came, I went with the press that seemed to best understand what I was doing with my book and shared my vision of what it could be.

Read the entire post here.

What Are You Working On?

Troubled RefugeAcademic historians often ask this question of other academic historians.  Sometimes when a person asks this question at a social gathering they are sincerely curious about the other person’s work.  Other times this question is something akin to “nice weather we have been having….” The later folks really do not care what the heck you are “working on,” but they need to keep the conversation going until they can figure out a legitimate reason to slip away to another awkward conversation.

Every historian must have an answer to this question.  If you do not have an answer, you will send a message that you are lazy, not a good historian, or have no interest in contributing to your field.

Chandra Manning rightly rejects everything I wrote in the preceding paragraph.

Manning teaches history at Georgetown University.  Some of you may remember that she visited The Author’s Corner last September to talk about her book Troubled Refuge: Struggling for Freedom in the Civil War.

Here is a taste of her Chronicle of Higher Education essay, “On Not Writing a Book Right Now.”

I am in an asterisk moment right now — which would hardly be worth wasting ink on, except that I suspect I am not alone. I certainly thought I was aberrational in that regard, until three or four people asked what I was working and I jokingly replied, “I think I’ll write an essay about not working on anything right now.” Their vigorous agreement suggested that such an essay might serve a worthwhile purpose.

First things first: The premise of “not working on anything” contains the assumption that the only type of project that really counts is a book project. I am “working on” plenty of things. It is just that none of them are destined for two hard covers with my name on the title page and a Library of Congress E-Four-Fifty-Something call number on the spine.

For the past two years, I have been on faculty leave and employed in a staff position, where I write every day on all sorts of topics, in various formats — none of which go out under my own name, but all of which help keep the writing muscle memory reasonably fit.

Meanwhile, a lot of what I “work on” every day has nothing to do with writing at all, but instead has to do with life — that is, with caring for my two sons on the autism spectrum. Other scholars might not spend the same amount of time teaching their children basic life skills, hanging out at various kid events in case of meltdowns, restoring calm when things go disastrously wrong, or navigating school and insurance bureaucracies as I do, but everyone’s life presents challenges that can be hard to reconcile with scholarly life as we envisioned it back in graduate school.

That gulf — between our expectation of uninterrupted erudite productivity and our various lived realities — can feel a lot like failure. But is it? Now, I firmly believe that bona fide failure serves a necessary purpose in life, but that is a subject for another day. Being without a book project isn’t necessarily a failure.

I propose a different explanation: The problem isn’t that we’re failing to meet our writing expectations; the problem is the expectations themselves. Yes, scholars should write books. I am all for good books and high standards. But the idea that a scholar should always be writing a book is flawed.

Read the entire piece here.

Manning is consistent.  Here is a taste of her Author’s Corner interview:

JF: What is your next project?

CM: I am not sure. Troubled Refuge was a very difficult book to write on many levels, and it drained me dry. It will take awhile for the well to refill, especially because there are some either things that need my presence and attention right now. What comes next could be completely different.

Yet Another Jill Lepore Interview

2116c-leporestoryYou may recall this post from yesterday.

Today we offer a new Jill Lepore interview post.

B.R. Cohen of Public Books interviews Lepore about “the challenge of explaining things.”

Here is a taste:

BRC: As we talk about the historical trajectory of such things, of how things change and develop, I have a corollary question. How can we write about history in ways that don’t come off sounding like what I think of as a tired mode: the academic translating obscure scholarship in smaller words and shorter sentences and calling that “writing for a broader audience.” You don’t take that approach. Did you evolve away from it early in your career? Or did you always know you would produce public (not just academic) commentary?

JL: I only ever wanted to be a writer. I love history, and I especially love teaching history, but I never intended to become an academic, and I’m baffled by the idea that reaching a wider audience involves using smaller words, as if there’s some inverse correlation between the size of your audience and of your vocabulary. You don’t talk about, say, technological determinism to a freshman the same way you talk about it to a colleague, right? Is it easier to talk to a freshman? No, it’s harder. Is it more important to give that student a clear explanation of the concept than it is to chat with your colleague about it? I think so, though I suppose that’s debatable. I love the challenge of explaining things to other people, in the same way that I love other people explaining things to me. I love being a student. Nothing is so thrilling as diving into scholarship I’ve never encountered before and trying to get my bearings, learning what so many scholars have been piecing together over a very long period of time, and trying to figure out how to bring that learning to bear on a problem that I, like a lot of people both inside and outside the academy, happen to be struggling with. The hitch is getting the scholarship right. I always worry I’ve missed something, or distorted something, or failed to understand the big picture. That’s the downside: missing something crucial. Nothing is more concerning, or more discouraging, than getting something wrong; there’s no real way to right it. It’s horrible; it kills me.

Read the entire interview here.

How Robert Caro Writes

CaroMost historians spend their careers jumping from topic to topic.  They finish a book on one subject and then move on to something different.  Perhaps they stay within their general area of expertise, but they seldom spend their entire life working on the same project.

That is why I am so fascinated by the career of writer Robert Caro.  After he won the 1974 Pulitzer Prize for The Power Brokera biography of New York developer Robert Moses, he spent the rest of his career writing about Lyndon B. Johnson.  He won a second Pulitzer in 2002 for Master of the Senatethe third book in his projected five-volume biography of Johnson.  He is currently at work on volume five.

Over at the Paris Review, Caro talks about his career, Lyndon Johnson, and how he writes.  Here is a taste:

INTERVIEWER:

How do you research a subject?

CARO:

First you read the books on the subject, then you go to the big news­papers, and all the magazines—Newsweek, Life, Time, the New York Times, the Washington Post, the Washington Star, then you go to the newspapers from the little towns. If something appeared there, you want to see how it’s ­covered in the weekly newspaper.

Then the next thing you do is the documents. There’s the Lyndon Johnson papers, but also the papers of everyone else—Roosevelt, Truman, Eisenhower—whom he dealt with. Or for The Power Broker, Al Smith’s papers, the Herbert Lehman papers, the Harriman papers, the La Guardia papers. But to stick with Johnson, the LBJ Presidential Library is just massive. The last time I was there, they had forty-four million pieces of paper. These shelves go back, like, a hundred feet. And there are four floors of these red buckram boxes. His congressional papers run 144 linear feet. Which is 349 boxes. A  box can hold eight hundred pages. I was able to go through all of those, though it took a long, long time. This was when we were living in Texas for three years. Ina and I were spending five and a half days a week, typically, at the library. 

The presidency is different. There’s no hope of reading it all. You’d need several lifetimes. But you want to try to do as much as possible, because you never know what you will find. You have to rely on all of the cross-­referencing that the archivists have done. If it’s something really important, like a civil rights file, from 1964, 1965, or voting rights, you want to see everything. So I called for everything. But other­wise, you know you’re not seeing even a substantial percentage. You hope you’re seeing everything that really matters, but you always have this feeling, What’s in the rest?

So that’s the first three steps—the books, the newspapers and magazines, the documents. Then come the interviews. You try and find everybody who is alive who dealt with Johnson in any way in this period. Some people you interview over and over. There was this Johnson speechwriter, Horace Busby. I interviewed him twenty-two times. These were the formal interviews. We also had a lot of informal telephone chats. Once, he had a stroke. After he got better, he wrote Ina—he had a crush on Ina—“All I could think of when I went into the hospital was, ‘This will be hard on Robert, nobody else can tell him about the vice presidency.’ ” I came to love Buzz. But none of this is enough. You have to ask yourself, Are you making the reader see the scene? And that means, Can you see the scene? You look at so many books, and it seems like all the writer cares about is getting the facts in. But the facts alone aren’t enough.

Read the entire interview here.

How to Write a Book Proposal

book-proposalOver at Black Perspectives, Keisha Blain of the University of Iowa interviews Dawn Durante of the University of Illinois Press about how to write a book proposal for a university press.

Durante acquires books in Asian-American history, Latino History in the Midwest, Black Studies, Digital Humanities, and Women, Gender, and Sexuality in American History.

Here is a taste of the interview:

Keisha N. Blain: What do you think is the biggest misconception about the process of writing the book proposal?

Dawn Durante: In my opinion, the major misconception about the purpose of the book proposal is that it is solely for the benefit of an editor or a publisher to gauge interest in the book project. Proposals can be a much more valuable tool that serve authors better when drafted well before the point of contacting an editor. I often get asked about when the right time is to be thinking about a book proposal. An author should begin crafting a proposal as soon as they are beginning to develop the book. When a scholar is preparing a proposal for a press, they must articulate key arguments, audiences, and lay out the framework and arc of the book. Many of these issues are aspects authors are thinking through (or should be thinking through) from the very conception of the project. For instance, if someone has not thought deliberately about the key stakeholders and most likely audience for the project prior to the proposal, then how has the book’s organization and writing style been appropriately designed and implemented? A proposal constructed at an early juncture can serve as a guide for the writing process and should be refined up until the point it is submitted to an editor. I have encountered authors who are hesitant to invest time in a proposal early on given all the competing commitments scholars have to deal with, and I certainly understand that. However, having a well-thought-out proposal on hand can be useful for a variety of job, grant, or fellowship applications, and more importantly, a fully conceived proposal can be a beneficial roadmap for an author from the very beginning of their project’s development.

Read the entire interview here.

How to Write Academic History for a Public Audience

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Do you want to write good history for a general audience?  Alane Salerno Mason, the Executive Editor at W.W. Norton, offers some advice.

  1. Keep your introduction brief, and introductory
  2. People the story
  3. Let the people move
  4. Honor chronology
  5. Don’t bury your favorite details
  6. Avoid subtitles
  7. Don’t talk down to your audience
  8. Accept that some subjects are inherently of minor interest and others fall into genres that have become overcrowded
  9. A book should not be one’s first and only attempt to address the public.
  10. Break any rule when to do so serves a higher purpose

Check out Mason’s post at W.W. Norton to see how she unpacks these points.

Civil War Historian James McPherson on Writing

Battle_Cry_of_Freedom_(book)_coverOver at The Chronicle of Higher Education Rachel Toor interviews the Princeton historian, Pulitzer Prize-winner, and author of dozens of books on the Civil War-era.

Here is a taste of her interview:

How did you tackle such a gigantic project — writing the entire history of the Civil War in one volume?

McPherson: One chapter, or section of a chapter, at a time. I don’t write from an outline — I’ve tried it, and it proved to be a waste of time. In my head I had a general outline of the whole book and a somewhat more specific outline of what I hoped to cover in each chapter.

I would sit down to read the sources, secondary and primary, for each part of a chapter, and then write that part before going on to repeat the proc­ess many times until I had a complete book. As I wrote each paragraph, the subject of the next paragraph would become more clear in my mind, and that proc­ess repeated itself through countless paragraphs.

The second and third drafts rarely changed organization or substance; they focused on sentence structure, clarity, and finding just the right word (with frequent use of a thesaurus) in the right place. In revising at the sentence level, I would change the passive voice to active whenever possible, try to change “to be” and other nonaction verbs to action verbs, and to break up some compound or complex sentences into two or more shorter sentences when it seemed appropriate.

I also read my second draft aloud to myself as a way to catch sloppy or unclear syntax from two perspectives — sound as well as sight.

How did that book’s success affect you?

McPherson: It was a two-edged sword. On one edge, I enjoyed the praise and 15 minutes of fame that it earned, the royalties that it paid, the invitations to give lectures that paid additional fees, the prominence in the historical profession that I acquired, and other benefits of success. On the other edge, this notoriety cut deeply into family time, into the leisure for exercise and hobbies like tennis and bicycling that I had previously enjoyed, and into the peace and quiet that are part of a quality life that was eroded by my newfound prominence.

Read the entire interview at the Chronicle of Higher Education

On Writing the History of the American Bible Society: Update 119

Bible Cause CoverThe Bible Cause: A History of the American Bible Society is done.  Oxford University Press tells me that it will ship from the warehouse in the first week of March.

I have been pleased that several scholars have taken notice of the book’s release.  If all goes well, there will be a forum on the book at Religion in American History and HistPhil.  In November I will be making my first trip to the annual meeting of the American Academy of Religion in San Antonio for a roundtable on the book sponsored by The Society for Comparative Research on Iconic and Performative Texts.

This is all very exciting, but it is also a bit scary.  How will the book be received?  Will it be “popular” enough for general audiences?  Will scholars dismiss my narrative approach?  Though this will be the fifth book that has appeared with my name on the cover. The anxiety does not go away.

With this in mind, I really resonate with Joseph Adelman’s recent piece, “Making the Academic-Public Audience Transition.”

Adelman just completed an academic monograph based on his dissertation and is now writing a trade history of the U.S. Post Office.  He writes:

Unlike the first book, Project #2 has a tight deadline in book terms. That means I’m trying to write a book more quickly and without the expanses of time one has during dissertation research. Second, it’s aimed at a general audience, which requires a different writing voice, a different way of thinking about notes and citations, and so on. I had thought that wouldn’t be as much of an issue because I have some experience with public writing, but the scale of the project has made that a bigger challenge. Third, the project has a much longer time span—I’m writing a general history of the Post Office in America from its beginnings in the seventeenth century up to whatever’s going on in Congress when I finish the final draft of the epilogue. That means a new set of sources, including some with which I am less than comfortable. Who knew that reading typewritten primary sources could be so discomfiting?

The largest challenge by far, however, has been trying to write a synthetic work. Unlike the first project, which involved years of archival research, my post office project needs to be completed relatively quickly and stay at a relatively broad level. I don’t have time to spend five years reading pamphlets on postage reform or studying newspaper accounts of the postal workers’ strikes in Chicago or New York in the 1960s and 1970s. I need to rely on other scholarship. That goes against my instincts as a historian, which tell me to go to the archives, to pull sources, to read deeply, to wrap my arms fully around a topic before I commit my thoughts to writing.

I’m not completely abandoning archival work, both because it’s in my blood and because the book needs some archival sources to be credible. But I am working on crafting a narrative that relies on other historians for the background and bringing my voice to the fore for the narrative. It’s something I do every week in the classroom when I write lectures or lead discussions. Putting it into a book manuscript has been more difficult.

I had these identical struggles when writing The Bible Cause.  I have written for general audiences before, but Was America Founded as a Christian Nation? was more didactic and argument-driven than The Bible Cause.  The task of writing the history of a 200-year old organization was not easy.  I had to produce a narrative that was about a mile wide and an inch deep.

In the end I had to abandon historiographical debates and focus on telling a story about the American Bible Society and how it intersected with the history of the United States. Whenever I found myself writing about how historians approach this or that subject, I replaced those paragraphs with an interesting story I had uncovered in the archives.

Adelman is right.  There really is a difference between writing academic history and synthetic history of general readers.  The training in academic writing that many of us received in graduate school is very hard to shake.

On Writing the History of the American Bible Society–Update 118

Bible Cause CoverWell, the last time I updated the readers of The Way of Improvement Leads Home on my progress on The Bible Cause: A History of the American Bible Society I boldly announced that “I think the manuscript is finally out of my hands.”

I was wrong.

Apparently I did not realize that I told Oxford University Press that I would be preparing the index (as opposed to farming it out).  After about 15 hours of tedious indexing, I have just sent it off to Oxford.  So now I think I can say with some degree of certainty that the manuscript is out of my hands.

After writing five books, I have come to realize that each press handles indexing differently.  University of Pennsylvania Press asked me to prepare the index for The Way of Improvement Leads Home.  If I remember correctly, I also did the index for Confessing History.  But Westminster/John Knox Press and Baker Academic did the indexes for Was America Founded as a Christian Nation? and Why Study History?, respectively.

On a related matter, the “Bible Cause” tour is shaping up. We have booked engagements at National Presbyterian Church in Washington, Lincoln Memorial University, the Dunham Bible Museum at Houston Baptist University, and Trinity College and Trinity Evangelical Divinity School.  A lot more are in the works.

If you want to host us shoot me an e-mail and we can set something up.  You may also want to consider a talk on The Bible Cause in conjunction with the Fall release of the Second Edition of Was America Founded as a Christian Nation?  I actually have been starting to think about The Bible Cause as a kind of sequel.

The last I heard, The Bible Cause will be released on March 1, 2016.

How Your Publicist Can Help You Promote Your Book

Most publishers–even university presses–will assign a publicist to your book.  Over at the blog of Princeton University Press, publicist Debra Liese answers some common questions that she receives from authors.  Here is a taste:

One of the best things you can do after writing a book is… write some more! If your book’s research can be leveraged to comment on current events and you’re able to write a short (750 words) piece with a definite argument, you can pen an op ed positioning yourself as an expert, mentioning your book in the byline. Your publicist can help you  to get this into the hands of the right people. Never written an op ed before? Start by reading them.

Notice they are free of jargon, written for a general audience, and feature a strong point of view.Here’s a good place to read about the dos and don’ts of op ed writing.

Take advantage of other writing opportunities too. Guest blog if you are asked. Respond quickly to reporters who solicit your expertise. Reach out to personal contacts and colleagues who may have an affinity with your work and be interested in covering it.

On Writing the History of the American Bible Society–Update #50

Mark Twain visited the ABS in 1867

Want to get some context for this post? Click here.

Before I get started today, I want to thank the hundreds and hundreds of you who have been following these posts.  This series has become one of the most popular things we have ever done here at The Way of Improvement Leads Home.

With another partial week in the American Bible Society archives complete, I need to start refocusing my work life.  The new semester at Messiah College is almost here and as the chair of the History Department there is a lot of work to do before the students arrive later this month.

So what does this mean for the ABS project?  It means that I am facing some unique challenges as I try to balance steady work on this book with my numerous responsibilities as a teacher and an department administrator.  This will probably mean some very early mornings.  It will be essential that I get in several hours of writing and research a day if I want to meet the May 1, 2015 deadline for delivering the manuscript to a yet-to-be-determined publisher.

Last week I spent three productive days in New York.  Chapter Three, tentatively titled “A Bible for Every American,” is ready to be written.  So is Chapter Four: “The Bible is the Religion of Protestants.”  I am hoping to get a few more days in New York this week to finish the research for Chapter Five: “A Bible House Divided.”  Finally, all the research for chapters on the late 19th century are complete.  Thanks again to Katie Garland for her work on this period.  

Stay tuned.  We are making progress but at this point it is hard to tell if we are making good progress.

On Writing the History of the American Bible Society–Update #40

Want to get some context for this post? Click here.

This week is going to be challenging. My work with the Gilder-Lehrman Seminar at Princeton is taking a lot of time, but yesterday I was able to get in about 2.5 hours of editing work on chapter two.  I am pleased with how it is shaping up.  I have also learned that I can be productive writing from a booth at Panera Bread and a hotel room bed.

Stay tuned.