the dissertation novel

“With insight, compassion, and wit, William Germano has done all dissertation writers (and dissertation supervisors) a great service. This book should be handed to the candidate at the conclusion of all doctoral defenses.”—Eric Foner, Columbia University

“Rarely is there a book that one can call indispensable. William Germano's is an indispensable book for any one contemplating 1. Gradutae School 2. Writing a Dissertation 3. Revising a Dissertation 4. Reading a "First Book" as an editor, member of a tenure and promotion committee, or as a dean or provost. Every economically selected word in this book will help all to understand professional authorship for today's academic world. Indeed, Germano's own clean, clear, pithy style is a model for his readers.”—Sander L. Gilman, Weidenfeld Professor of European Comparative Literature, St. Anne's College Oxford

Getting Started, Again

A young scholar completes a Ph.D. thesis and is congratulated by the supervising committee. A first-rate work, it deserves the applause. “You must publish this, Pat, and soon,” one committee member says, and goes on to suggest two or three publishing houses to which Pat might now write. Encouraged by the response, Pat sends off the manuscript, fresh from the defense. Then the author waits, but it’s not a long wait. The manuscript comes back from the publisher. The pages, which appear not to have been disturbed, are accompanied by a note. It isn’t even a personal note, just a form letter. “Dear Author,” the letter reads, “Terribly sorry. We don’t publish unrevised dissertations.” The new Ph.D. is understandably frustrated. “If scholarly publishers don’t want what I’ve just written, why was I advised to write this, and to write it this way? I’m encouraged to publish quickly. My committee praised my work. But publishers don’t want it. What am I doing wrong?”

The answer is easy. Pat wrote a thesis, not a book.

A dissertation is written under the watchful eyes of a director and an advisory committee. Sometimes that structure may be a burden, or even an obstacle, for the writer. Having the wrong committee can make writing slower and more difficult than it need be. But whether one’s doctoral advisors form a well-knit team or a dysfunctional family, they form a support group, one handed to the writer by the university.

Once you leave the institution where you were awarded your degree, that support structure can seem, in retrospect, a great asset no longer in reach. Your university’s requirements, down to the language of your dissertation proposal and the number of chapters your committee insists you produce, constitute a set of rules—a grammar, if you like—within which you produce the dissertation. That framework is both a harness and a help, and it determines the shape of an argument, the nature of the prose, the pace of writing, even the place where the writing will be done.

Pat, the new Ph.D. whose unrevised dissertation has just been rejected by a publisher, isn’t doing anything Pat hasn’t been led to believe is right. But the operating instructions of scholarly publishing rarely form a part of graduate training, which means that young scholars are usually thinking about the academic book business for the first time when the dissertation is already complete. That’s late.

In today’s market, even a first-rate dissertation may fail to find a publisher, at least on the author’s first try. Who then is at fault? An inexperienced writer? A cautious editor determined to minimize financial risk for the publishing house? A dissertation committee out of touch with scholarly publishing today? The tenure system, with its demand for book-length publication in the face of increasingly unattractive odds?

Open Secrets

To scholarly publishers it seems that for generations, dissertations have been built on a surprisingly simple formula. Choose a topic, preferably one sufficiently narrow that no one else has elected precisely the same territory for exploration. Read everything written on the topic. Demonstrate, with less or greater subtlety, that you’ve actually done this reading via hundreds of endnotes, footnotes, and superscripts. Disagree with some aspect of received opinion about your topic. Document everything. Offer analyses that support your position. Although that may be the recipe for a dissertation, it isn’t the formula for a book.

This isn’t to say that dissertations aren’t valuable works of scholarship. Each year graduate students complete interesting, provocative, even groundbreaking dissertations. Their advisors are encouraging fresh subjects, as well as fresh approaches. Each year dissertations appear that will become books. (Become—not are already—books.) To judge by the manuscripts that scholars send to publishing houses, the majority of the theses for which the Ph.D. is awarded are still highly limited enterprises—confident treatments of narrow subjects, making claims to boldness but doing so by means of elaborate reference to the work of others. The average dissertation wears its confidence and its insecurity in equal measure.

That mixture of diffidence and bravura shows up in almost all doctoral work. 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!” It isn’t the dissertation I want to shake, of course, it’s the dissertation’s author. The “us” I want the author to speak to isn’t just anyone, either, but the targeted readership that will benefit from a scholarly book. The recalcitrant garden-variety dissertation—lips sealed, secrets intact—will find a readership among two hundred library collections at best. Most won’t make it even that far, but linger at the ready in electronic format waiting for some brave soul to call for a download or a photocopy.

It’s hard to pick up a dissertation and hear its author’s voice. Dissertations don’t pipe up. Like the kid in the choir who’s afraid she cannot carry a tune and doesn’t want to be found out, the dissertation makes as small a sound as possible. Often that sound is heard by a committee of from three to five scholars, and no one else. Revising a dissertation is partly a matter of making the writer’s text speak up.

But what is it about the dissertation that makes it so unlikely that it can be made to speak? One senior scholar, veteran of many dissertation committees, cheerfully told me that the doctoral thesis was, at heart, a paranoid genre. “You’re writing it to protect yourself,” the professor observed, and meaning, too, that you are therefore not writing in order to create as bold and imaginative a work as possible. The dissertation is always looking over its shoulder. If you’re writing in literary studies, for example, your dissertation may be looking backward to be sure it’s safe from Foucault, Freud, Butler, and Bhabha, not that any of these worthies are threatening either you or your thesis in any way. To disarm your deities, you cite, paraphrase, and incorporate the ideas of leading scholars now at work. You pour libations to the loudest of the influential dead. The more you do this, the more difficult it becomes to see where your own work ends and the ideas of the Masters begin, so thoroughly has your writing absorbed a way of expressing itself. Then there are the scholars who sit on your dissertation committee. They may not be famous, but for the moment they are the Kindly Ones—the Eumenides—and you will want them on your side. These are natural responses to authority, to one’s teachers, to those who will pass judgment on your work. All this looking over the shoulder may be good for self-protection, but it gets between you and the book you would like to be writing.

The Not-Yet-a-Book

Many factors militate against a dissertation becoming a book. Yet some dissertations do, and many of these have the potential to become quite good books, a potential they often do not fulfill. The process by which a dissertation becomes a book has several intermediate stages, the most important of which is the transformation from one kind of unpublished manuscript into another, that is, from an unpublished Ph.D. thesis into an as-yet-unpublished book manuscript. Each is by the same author, each contains many of the same words and ideas, each is unpublished. The first is a stack of paper an editor simply won’t consider for publication, and the second is one the editor will look at with professional interest. You need to pique that interest.

Revising is lonely work, even for a young scholar trying to make sense of a freshly completed dissertation. Maybe you’ve completed your degree by now. You may or may not have a job. In the evenings, and on weekends, you’re working on the book based on your dissertation. This thing you’re working on now has no advisor, no committee. Unless you’re already under contract to a publisher, no one is demanding that chapters of your book emerge from your printer according to a strict schedule. You might, of course, arrange an informal committee to spur you on, but it will be a committee of your own making, probably friends and colleagues corralled into reading drafts and chapters. As they read your work, they will be weighing both their words and the strength of your friendship. Unlike a dissertation advisor, your best friend probably won’t read a sloppily written stretch of prose, look you in the eye, and say, “This won’t do.” A good dissertation advisor will say exactly that, and then go on to suggest how you might fix it. Unfortunately, that same good dissertation advisor may not be on call six months after you’ve been awarded your doctorate and are sitting down, by yourself, to turn a humble thesis into something glorious and public.

In some ways it would be simpler not to revise your dissertation at all and just begin with a fresh subject. Discard the whole thing—the research, the structure, the prose. Some writers do just that; picking up the Ph.D., they lay down the dissertation and never look back. One can even argue that it isn’t a total loss, since what the student learned from writing the dissertation doesn’t evaporate, and the expertise garnered in writing it will now hold the author in good stead. But a new idea is stirring in the author’s brain, and this time, he says to himself, he will do it his way. It’s my guess that many writers of dissertations wish they had the luxury of doing something like this—a great new idea, the courage to turn away from the recently completed thesis, and the institutional freedom to spend the next year or two on something entirely new.

Before you begin, you may have to do something so tough it can be crippling: overcome your boredom—maybe even revulsion—at what lies in front of you. Every scholar knows what writer’s block feels like, and dissertation writers are a target group for this disorder, especially in the twilight period of postdegree revisions. After having spent so much time working on a long and difficult project, some scholars simply cannot return to it. Suddenly, it’s easier to do nothing or to send it out unrevised.

Resist that temptation. An unrevised dissertation is a manuscript no one wants to see, but that doesn’t necessarily mean leaving yours in a desk drawer. As long as your work has potential, you owe it to yourself to find out what it can do. Rethink, decide, make your plans for revision and carry them through. Until you know what you have, you can’t know what remains to be done. Revising the dissertation may be going back to square one, stripping the whole project down to its chassis, or it might be something much less drastic. At least the material is familiar. At the moment, however, the thing before you, the manuscript that only a couple of months ago was your dissertation, is now something transitional, the not-yet-a-book. Once you can face your dissertation as actually something in the middle of its journey, you can begin to see it as others might.

What an Idea Looks Like

Like all writers, scholars depend upon words used as precisely as possible. In contemporary academic English, “thesis” and “dissertation” are almost interchangeable, and in this book I’ll use them that way merely to provide some variety. A thesis can, of course, be a master’s thesis or an undergraduate thesis, but a dissertation is always written for a doctoral degree. The dictionary’s succinct definition of a dissertation omits any mention of a proposition to be defended, and length seems to be the dissertation’s principal characteristic. A thesis might be very brief indeed. Martin Luther came up with ninety-five of them, and crammed them all onto a document correctly sized for a church door. For modern-day academics, a dissertation is expected to contain a thesis, that is, this lengthy exposition of evidence and analysis is supposed to contain a core argument. It might be said that the thesis inhabits and animates the dissertation. Unfortunately, it sometimes seems, at least to publishers, that the thesis—the heart of the dissertation—has stopped ticking. Argument gone, all that is left is length.

As they are bandied about by scholars, journalists, and the academic reading public, the words “thesis,” “hypothesis,” “theory,” and “idea” have become hopelessly entangled. In the Great Age of Theory, that heady period from the late sixties through the late nineties, many a modest idea came packaged as a Theory, with bona fide credentials leading back to Continental masters. The humanities yearned for the authority of abstraction. The social sciences were hardly immune—many of the most important theorists, such as Pierre Bourdieu and Anthony Giddens, came from the social science world. If theory aspired to a condition of intellectual purity, or inspired thousands of scholars to do so, it was a condition impossible to sustain for long. Theories of everything sprang up, with a concreteness that made it possible for a reader to connect a Big Abstract Franco-German Idea with educational practice in Illinois or the use of personal pronouns in Shakespeare’s late plays.

As theory became the queen of disciplines, it seemed that every young scholar was under the double obligation not only to come up with a theory, but to do it in a way that was—truly, madly, deeply—theoretical. A good idea might be an embarrassment when what was wanted was a highly philosophical examination of the subject, enriched with the work of German and French thinkers. “As Foucault has said,” “According to Hegel,” “As Derrida has written,” became the incipits of much academic writing, both at the professorial and graduate student levels. Theory meant many things to many people.

Even today, many dissertations fall into the trap of making claims too grand for the evidence mustered by the author. All too often, a small and perceptive idea is dressed up in clothes two sizes too large and trotted out as a theory. Publishers understand that a graduate student needs to demonstrate what he or she knows. But the book that a dissertation hopes to become won’t work if it appears to be a cottage built somewhere on the rolling estate of another scholar’s work. It would be healthy if dissertations could be entitled “My Footnotes to Jameson” or “Two Small Thoughts about Bretton Woods”—healthy, honest even, but unlikely to win the author a job.

A thesis is a work of scholarship and argumentation, and its primary function is to demonstrate that you are able to undertake professional-level work. It isn’t necessarily professional-level work in itself, though sometimes it can come close to that. Much is made about the idea of the writer’s “thesis”—the argument within the dissertation—as if each of the new Ph.D.’s created each year were expected to come up with a blinding insight. It was never so. Most dissertations have been written on the shoulders of giants. Many do even less, and just step on the giants’ toes. A wise dissertation director once counseled a nave graduate student that the dissertation would be the last piece of his student writing, not his first professional work. (It was good advice, and I’ve never regretted him giving it to me.) Every editor at a scholarly publishing house knows this, and most dissertation directors know it, too.

A dissertation demonstrates technical competence more often than an original theory or a genuine argument. This is, in fact, another of those open secrets of academic publishing: a book doesn’t actually need an original theory. It’s often more than enough to synthesize a range of ideas or perspectives, as long as one can do it in a way that creates a new perspective (your own) and provides the reader with further insights into an interesting problem. As academic publishers know, the first book manuscript will try to make claims it can’t fulfill. Your book does need a controlling idea, though. A thesis isn’t a hypothesis. Back in junior high, when the scientific method first came into view, most of us tested ideas on the order of “My hypothesis is that a dry leaf will burn faster than a green one.” Or “Snails will eat pizza.” We learned something about method, even when the green leaf failed to burn and the snails ignored the half onion, half extra-cheese. The first hypothesis was proven true, the second false. A doctoral thesis doesn’t test an idea in the same way. You couldn’t, for example, write a dissertation that tested the validity of the idea that terrestrial mollusks will consume fast food; there are better things for a biologist to be working on, and the result isn’t likely to be something that would make a book. You could challenge someone else’s thesis—for example, the art historian Millard Meiss’s idea that the plague in fourteenth-century Italy changed the way painters represented God. But in challenging it, you had better come up with a conclusion that takes exception to Meiss. It won’t do to “test” the thesis and conclude that Meiss was right. And you can’t posit a dubious idea merely to test it and find it wrong. “Dickens was the least popular British novelist of the nineteenth century.” This is false, and there isn’t any point in “testing” it merely to prove that the idea is groundless. I’ve offered examples that are intentionally exaggerated, but a more uncomfortable scenario might concern the thesis that argues an intelligent point badly, draws false inferences from good data, or builds a structure on a few readings as if they could by themselves map your universe of possibilities.

Some dissertations wrestle with their origins. Can you outmaneuver your famous dissertation director? Challenge the dominant paradigm in your field? Attack the work of the chair of the most important department in your discipline? Any of these forays will create controversy, and controversy isn’t necessarily bad. But it doesn’t mean that a dissertation that gets you into hot water within your field is automatically one that will be publishable as a book. Sometimes a young scholar needs to stage certain arguments in order to break free of powerful influences, and sometimes that will be liberating for the writer. But the contentious dissertation isn’t de facto more publishable than one that picks no academic quarrels.

A thesis is an argument, not a proposition to be tested. A doctoral thesis, however, is quite often not an argument at all, but only a very small part of a bigger argument taking place in one’s discipline or in American society or in culture more broadly. There’s a tension here between the imperative to be creative and the need to take a place in the larger conversation that is one’s scholarly field. A good dissertation director will skillfully guide a graduate student to a dissertation project that will give her the opportunity to show her stuff and not fall off a cliff or get stuck in a corner.

A good academic idea is connected to what has gone before it, modest in acknowledging the work on which it depends, but fresh. It’s not necessary for the idea to be startling or implausible on page 1, wrestling for the reader’s consent, and winning it by a fall on page 350. An idea for a book can be quiet, noisy, insidious, overheated, cool, revisionist, radical, counterintuitive, restorative, synthetic. Ideas are as different as the minds they inhabit. Some writers find it terribly hard to say what their idea is. “If you want to know what I have to say, read the manuscript!” a frustrated author declares. In a sense, that author is right—if you want to know what a writer has to say, read her thoroughly and with care. But that doesn’t mean that it’s impossible to summarize her work or to find in it something we are happy to call her '“idea.” Your idea may be a massive corrective—think of the work on Stalin’s Russia made possible by declassified documents—or a study that looks at St. Paul’s well-studied writings in what Dickinson calls “a certain slant of light,” finding nuances and making small connections because you were there, thinking, at a certain moment. I keep an Ansel Adams poster in my office. More than we admit, books are like photographs, possible only because the camera and the eye were fortunate to be somewhere at the very moment when the clouds held their shape just long enough.

Copyright notice: Excerpt from pages 12-21 of From Dissertation to Book by William Germano, published by the University of Chicago Press. ©2005 by the University of Chicago. All rights reserved. This text may be used and shared in accordance with the fair-use provisions of U.S. copyright law, and it may be archived and redistributed in electronic form, provided that this entire notice, including copyright information, is carried and provided that the University of Chicago Press is notified and no fee is charged for access. Archiving, redistribution, or republication of this text on other terms, in any medium, requires the consent of the University of Chicago Press. William Germano From Dissertation to Book ©2005, 152 pages Cloth $35.00 ISBN: 0-226-28845-5 Paper $16.00 0-226-28846-3 For information on purchasing the book—from bookstores or here online—please go to the webpage for From Dissertation to Book . See also: Getting It Published: A Guide for Scholars and Anyone Else Serious about Serious Books by William Germano • Read an excerpt . A catalog of books for writers, editors, and publishers A catalog of reference books Other excerpts and online essays from University of Chicago Press titles Sign up for e-mail notification of new books in this and other subjects

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From Dissertation to Book

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After many years of hard work, a dissertation is a monumental accomplishment. With so much time and effort coupled with the desire to add to scholarly discourse, many people hope to transform their dissertations into a book. Graduate writing has equipped scholars with extensive information about their discipline-specific genres, but the genre of book - and certainly a book hoping to appeal to audience outside of their field - requires new ways of writing. This page provides information and considerations aiding one’s efforts in a “publish or perish” world

Before you Begin

Many people feel the pressure of publication, especially of a book valued by scholars in your field, as they add that “Dr.” to their email signature. The truth is, book publication is still considered the standard even though many entities like the Modern Language Association (MLA) suggest moving away from a book as being the standard for tenure, instead giving articles and chapters more weight. Despite this pressure, it is highly recommended that you take some time (ideally at least a year) away from your dissertation. After dedicating so much time to such a specific topic over the past years, it can be difficult to look at your dissertation with the fresh eyes necessary to reshape it into a book without taking time away. 

Once you have taken this break and are able to greet your research anew, critically think about whether this should be a book. Trying to be objective, ask yourself if you really need a book-number of pages to convey your argument or if it would perhaps be better suited for an article or series of articles. Consider that the dissertation may actually have potential for both articles and a book. Another consideration for this choice is timeliness - articles come out much quicker whereas books can take a few years until they hit the shelves. If you think something might be old news in a few years, an article is the way to go. 

You may also consider researching subsidies. As a new author, you are a risk to your editor. Coming with funding to offset printing costs will make you less of a risk and ideally have your editor look at your proposal a little more deeply. 

Finally, and perhaps most importantly, remember to resource yourself. With workshops, grants, editors, senior scholars, and presses, you are not alone on this journey. While you may consider avoiding your committee so that your feedback is coming from fresh eyes, colleagues often have words of wisdom regarding the book-publishing process. Throughout the process, you’ll also get feedback from your editor and anonymous peer reviews. While it’s easy to get defensive, it’s important to acknowledge and value their opinions and explain your reasoning if you decide not to incorporate a suggestion. You and your editor are on a team, so you both may make compromises throughout the process. Remember - they are on your so team, so go in with a growth mindset and you’re next academic accomplishment will be more in reach. 

During the Process

Once you’ve decided that you are, in fact, going to make a book out of your dissertation, it’s time to prepare for the practicalities of this process. First, you need to figure out how you are going to make it possible for you to accomplish such a feat. Writing a book takes intense discipline, so it’s important to create clear goals and plans by considering all the steps it will take you to get to that finish line. Simple actions like scheduling protected writing time can make a huge difference in success. Perhaps you set a goal of writing one page every day. Remember that writing constructs knowledge and the act will get you closer to your final product, even if it isn’t writing that actually ends up in your book,

The process of transforming your dissertation into a book is centered around audience, so you’ll want to keep that audience at the forefront of your mind throughout the writing process. Consider very carefully who your ideal reader(s) are. There may be multiple, and that’s great. Is it scholars in your field? An “intelligent layperson” (Luey, 2004) outside of your field? Whatever group of ideal readers you end up with, review your writing from each individual perspective. People often dream of a broad audience of people outside of academia without actually seeking feedback from anyone outside of the academy. If you’re telling your editor that you believe this will appeal to a history buff outside of the academy, get feedback from someone in that group and have them note places where your writing is not clear. This generalist perspective will help you see what items like jargon are confusing or what information feels boring, increasing the chances of success for this book. 

When considering your new audience, remember that you no long need to share everything you know about your topic in this document. While you did have to prove yourself to your committee, this audience automatically assumes you are an expert, so sections that were proving you’re reliable can be ditched or significantly parsed down. This means your literature review will be significantly cut, if not deleted altogether. This is also true of methodologies unless your methodology is exceptionally groundbreaking and interesting. 

Your old audience had to listen to you - it’s part of their job description. This new audience will need to be actively reached. Even if your main goal is people in your field, to make a book broad enough to sell - which your editor is going to look for - you’ll need to write for a wider audience which may require you to let go of any anxiety about being “taken seriously in your field.” 

A book will require broadening the appeal of your topic. This can be accomplished in a variety of ways such as: 

• Humanizing your subject - this may take additional research (such as interviewing the people who make up your statistics) or be as simple as adding personal elements about your topic (such as adding personal life information that was outside of the scope of your dissertation focused on a person’s political career).
• Adding narrative elements - plot, characters, setting, your own voice, and a beginning, middle, and end that pushes the reader forward are all key to marketability.
• Finding a new angle - an angle that directly impacts your reader such as financial or navigation of a life event is going to reach a larger audience.
• Expanding the topic culturally and temporally - take a broad topic related to your subject and see the impacts and/or comparisons of contexts such as religions, race, communities, geographical region, politics, time period, etc. perhaps referencing other studies in your field.
• Justifying your topic’s value - you may hope to create a guide showing your topic’s influence in hopes of affecting mindsets, policy, and funding of stakeholders and those in power. 

While your presses’ and editors’ feedback trumps all, there are some general considerations all editors are looking for. As you walk the line between theory and narrative, you’ll want to consider items such as: 

• Transitions - does the book flow in a way that keeps the reader interested? 
• Chapter length - are the chapters similar in length? If not, what can be combined or split up? 
• Repetition - do you find places where facts, stories, or claims are being repeated? Where do those best fit? 
• Hyperquotation - do you have too many or too long of quotes? How can you reframe that information with a focus on your work? 
• Bibliography/End Notes - is this information necessary? Does your editor/press have limitations on these sections? 
• Hagiography - are you ever writing about a subject without criticism? How can you make sure your argument is balanced? 
• Tables and Graphs - Does the chart fit without having to turn the book sideways? Does it repeat what’s in the prose making it not worth the cost? Can charts be combined? 

Now That You Have a Book

While some people may not have a completed book when they submit a proposal, many have at least a large chunk written and certainly a general outline and thesis. If you do have a whole book complete, you may consider the following advice in the “before you begin” part of the process. 

With the reality of budget cuts, editors are accepting fewer and fewer book proposals, making it more imperative than ever that your proposal sticks out. If you are an emerging scholar in your field, you probably won’t have the benefit of being actively sought out by publishers. This means you’ll need to do your research to find the right press and editor for you. Editors tend to have niche areas of topics they like to publish. Check out who published resources you used or check out the list of latest book releases in your field to see who is publishing work in your subject area. These are the publishers that you should propose to. 

First, make sure that you follow proposal formatting and content requirements. If you don’t, an editor may disregard your proposal due to the inability to fit within their genre guidelines. Furthermore, if you write more than they ask for, they may assume you cannot write in a concise and clear way and choose to put it in the “no” pile. Beyond this, to make your proposal attention-grabbing, you’ll want to draw them in with a title, table of contents, and abstract or first chapter that are clear, concise, and interesting to someone who may not share your natural enthusiasm for your topic. Typically, the more concisely you can get your points across, the more faith they’ll have in you as a writer. 

This also ties in with something academics may feel uncomfortable facing - this book needs to make money. Editors often look to see if their writers are able to get their point across concisely because fewer pages means less printing cost. Similarly, having low numbers of pictures, graphs, and charts, which cost more to print, can make your book feel less risky to an editor. Being upfront about what costs you anticipate and which you can avoid will help your editor calculate if this book is worth taking the risk of taking on a new voice to the field. 

Final Thoughts

The transformation from dissertation to book can be very exciting. Oftentimes, creating a broader appeal brings out engaging, compelling writing that will be more readily available to the masses. With this book, you have something to say instead of something to prove. Enjoy your new status as an expert as you get to share your unique findings with the world, moving your discipline forward. There will most likely be obstacles and frustrations along the way, but remember that you have already completed the monumental task of writing a dissertation and you are also capable of this. Best of luck on this journey!

LUEY, B. (Ed.). (2008). Revising Your Dissertation: Advice from Leading Editors (2nd ed.). University of California Press. http://www.jstor.org/stable/10.1525/j.ctt13x1g8x

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The Dissertation Journey

Dr. Hyatt and Dr. Roberts offer an essential guide to successfully researching and writing a quality dissertation.

Full description

• Grade Level: PreK-12
• ISBN: 9781071891285
• Published By: Corwin
• Page Count: 264
• Publication date: August 30, 2023

Price: $38.95

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Description

Reach the summit of the dissertation mountain.

In many ways, the journey of completing a dissertation is like climbing a mountain. It requires planning, research, teamwork, and perseverance. In this fourth edition of their best-selling book, authors Laura Hyatt and Carol Roberts address the challenges that students will face as they journey to the peak of their academic career and complete their dissertation.

Completing a dissertation is a transformative and fulfilling life experience. It requires knowledge, tenacity, and preparation for the inevitable uncertainties that will arise along the way. It also necessitates strategies and techniques for dealing with the unanticipated events that many dissertation writers face, such as procrastination, writer’s block, and the uncertainty of how to conduct a literature review or approach a methods section. This newly revised edition addresses those elements and also includes:

• Indispensable information for organizing and writing a dissertation
• Recommendations for identifying and writing research methods
• Expanded coverage of research ethics
• Insightful reflections from students who have effectively written and defended their dissertations

From preparing for the climb to enjoying the view from the summit, this book will assist you to successfully complete The Dissertation Journey .

Laura Hyatt

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The Dissertation: From Beginning to End

Associate Professor

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This book is intended to be read at any stage in the dissertation process, but will be particularly useful in the early stages of preparation for a social work dissertation, and as a reference resource throughout. The book is a guide to successful dissertation completion. Content includes a brief history and overview of social work doctoral education in the United States, the importance of values in social work, and the relationship between personal, research, and social work values. Chapter 2 addresses issues in selecting and working with the dissertation supervisor and committee, as well as the role and tasks of all three parties in successful completion of the dissertation. In Chapter 3 strategies for researching, and evaluating the literature, as well as writing the literature review are discussed. In addition, the relevance of theory to social work research is examined. Chapter 4 describes ethical issues in social research and requirements for the protection of human subjects. In addition, an overview of both quantitative and qualitative research methods is provided. In Chapter 5 sample design and sample size are discussed in relation to both quantitative and qualitative research. The significance of the psychometric properties of measurement instruments is also discussed. Chapter 6 addresses issues in data collection, data management, and data analysis in qualitative and quantitative research. Finally Chapter 7 presents strategies for dissertation writing including structure and content, as well as data presentation.

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Published Dissertation or Thesis References

This page contains reference examples for published dissertations or theses.

Kabir, J. M. (2016). Factors influencing customer satisfaction at a fast food hamburger chain: The relationship between customer satisfaction and customer loyalty (Publication No. 10169573) [Doctoral dissertation, Wilmington University]. ProQuest Dissertations & Theses Global.

Miranda, C. (2019). Exploring the lived experiences of foster youth who obtained graduate level degrees: Self-efficacy, resilience, and the impact on identity development (Publication No. 27542827) [Doctoral dissertation, Pepperdine University]. PQDT Open. https://pqdtopen.proquest.com/doc/2309521814.html?FMT=AI

Zambrano-Vazquez, L. (2016). The interaction of state and trait worry on response monitoring in those with worry and obsessive-compulsive symptoms [Doctoral dissertation, University of Arizona]. UA Campus Repository. https://repository.arizona.edu/handle/10150/620615

• Parenthetical citations : (Kabir, 2016; Miranda, 2019; Zambrano-Vazquez, 2016)
• Narrative citations : Kabir (2016), Miranda (2019), and Zambrano-Vazquez (2016)
• A dissertation or thesis is considered published when it is available from a database such as ProQuest Dissertations and Theses Global or PDQT Open, an institutional repository, or an archive.
• If the database assigns publication numbers to dissertations and theses, include the publication number in parentheses after the title of the dissertation or thesis without italics.
• Include the description “Doctoral dissertation” or “Master’s thesis” followed by a comma and the name of the institution that awarded the degree. Place this information in square brackets after the dissertation or thesis title and any publication number.
• In the source element of the reference, provide the name of the database, repository, or archive.
• The same format can be adapted for other published theses, including undergraduate theses, by changing the wording of the bracketed description as appropriate (e.g., “Undergraduate honors thesis”).
• Include a URL for the dissertation or thesis if the URL will resolve for readers (as shown in the Miranda and Zambrano-Vazquez examples).
• If the database or archive requires users to log in before they can view the dissertation or thesis, meaning the URL will not work for readers, end the reference with the database name (as in the Kabir example).

Published dissertation or thesis references are covered in the seventh edition APA Style manuals in the Publication Manual Section 10.6 and the Concise Guide Section 10.5

1 hr 12 min

The Dissertation-To-Book Workbook: Exercises for Developing and Revising Your Book Manuscript (U Chicago Press, 2023‪)‬ The University of Chicago Press Podcast

How do you turn a dissertation into a book? Today’s book is: The Dissertation-to-Book Workbook: Exercises for Developing and Revising Your Book Manuscript (U Chicago Press, 2023), by Dr. Katelyn E. Knox and Dr. Allison Van Deventer, which offers a series of manageable, concrete steps and exercises to help you revise your academic manuscript into a book. The Dissertation-to-Book Workbook offers clear examples, as well as targeted exercises, checklists and prompts to take all the guesswork out of writing a book. You will learn how to clarify your book’s core priorities, pinpoint your organizing principle, polish your narrative arc, evaluate your evidence, and much more. Using what this workbook calls “book questions and chapter answers,” you will learn how to thread your book’s main ideas through its chapters, assemble an argument, and revise the manuscript. By the time you complete the workbook, you will have confidence that your book is a cohesive, focused manuscript that tells the story you want to tell. Our guest is: Dr. Katelyn Knox, who is an associate professor of French at the University of Central Arkansas. She is the author of Race on Display in 20th- and 21st-Century France. Our co-guest is: Dr. Allison Van Deventer, who is a freelance developmental editor for academic authors in the humanities and qualitative social sciences. Our host is: Dr. Christina Gessler, the producer of the Academic Life podcast. She holds a PhD in history, which she uses to explore what stories we tell (and why) and what happens to those we never tell. Listeners may also enjoy: Stylish Academic Writing The Emotional Arc of Turning A Dissertation Into A Book The Artist's Joy: A Guide to Getting Unstuck and Embracing Imperfection Becoming the Writer You Already Are Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by posting, assigning or sharing episodes. Join us here again to learn from even more experts inside and outside the academy, and around the world. Missed any of the 200+ Academic Life episodes? You’ll find them all archived here. Learn more about your ad choices. Visit megaphone.fm/adchoices

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Home > Graduate Studies > Electronic Theses and Dissertations > 2425

Electronic Theses and Dissertations

The role of care practices, mutual aid, and racial formation in black newcomer practitioners’ lived experience within organizations: a critical qualitative inquiry.

Annie Zean Dunbar , University of Denver Follow

Date of Award

Document type.

Dissertation

Degree Name

Organizational unit.

Graduate School of Social Work

First Advisor

Ramona Beltrán

Second Advisor

Marquisha L. Scott

Third Advisor

Michele Hanna

Care practices, Critical discourse analysis, Critical qualitative methods, Mutual aid, Newcomers, Racial formation

Black newcomers, defined as people who have migrated to the United States regardless of legal status, are one of the fastest-growing immigrant groups. (Morgan-Trostle et al., 2016). Within this population, a small percentage work within the social service sector with other migrants. Using critical qualitative methods, a critical phenomenological methodology and semi-structured interviews, a sample of 17 participants were asked about their experiences of living and working in the U.S. social service sector. The study uses racial formation theory (Omi & Winant, 2014) to conceptualize how participants experienced their racial identity formation and how racism shapes their personal and professional roles. The study also employed a Black feminist theoretical lens to understand how participants gave and received care, support, and mutual aid in their personal and professional lives.

Seventeen participants who identified as Black or part of the African diaspora, worked with new arrivals or within the newcomer social service sector as direct service providers, and were at least 18 years old were interviewed. Participants resided in four regions across the continental United States and came from 14 counties across continental Africa and the Caribbean Islands. The research questions were analyzed using two different analytical methods. First, a thematic analysis (Padgett, 2017) and then a critical discourse analysis (Fairclough, 2012) were employed to learn about the lived experience of the sample. Findings included a relational circle of care that reconsidered the giver-receiver binary and centers community and notions of reciprocity, mutuality, and the interconnection between personal and professional. Additional findings highlighted the ways participants accented English led to experiences of racism and xenophobia that shaped their personal and professional roles. Finally, participants shared insights into the ways their relationship with America shaped their claims or rejection of the African American identity distinction. A novel finding from this study suggested that participants did not share anti-Black sentiments but rather rejected U.S. centrism. This study expanded the empirical research that elucidated the experiences of Black newcomers who work within the social service sector.

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Annie Zean Dunbar

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Dunbar, Annie Zean, "The Role of Care Practices, Mutual Aid, and Racial Formation in Black Newcomer Practitioners’ Lived Experience Within Organizations: A Critical Qualitative Inquiry" (2024). Electronic Theses and Dissertations . 2425. https://digitalcommons.du.edu/etd/2425

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The Dissertation Warrior: The Ultimate Guide to Being the Kind of Person Who Finishes a Doctoral Dissertation or Thesis Paperback – September 5, 2017

• Print length 302 pages
• Language English
• Publication date September 5, 2017
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• ISBN-10 0984089519
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• Publisher ‏ : ‎ Triumphant Heart International, Inc. (September 5, 2017)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 302 pages
• ISBN-10 ‏ : ‎ 0984089519
• ISBN-13 ‏ : ‎ 978-0984089512
• Item Weight ‏ : ‎ 1.3 pounds
• Dimensions ‏ : ‎ 7 x 0.69 x 10 inches
• #29 in Education Research (Books)
• #377 in Writing, Research & Publishing

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Guy e. white.

Dr. Guy” is an Oregon-based professor and highly sought-after teacher. He’s the author of seven books, including The Dissertation Warrior® Book Series. He’s the creator of the most comprehensive online step-by-step dissertation writing training programs in the world: The Dissertation Mentor® Accelerator Program and The Dissertation Mentor® One-To-One Mentorship.

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The Warrior Queen Who Carried a Head in a Bag, and Other Omissions

In her corrective “The Missing Thread,” the classical historian Daisy Dunn paints a fuller picture of the ancient world.

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By Lyta Gold

Lyta Gold is an essayist and fiction writer, and the author of the upcoming “Dangerous Fictions: The Fear of Fantasy and the Invention of Reality.”

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THE MISSING THREAD: A Women’s History of the Ancient World , by Daisy Dunn

Feminist retellings of classical myth and history are having a moment . This is partly a publishing-industry trend, but also the result of a real thirst for stories about women in the ancient world, women whose lives have long been ignored or were never recorded in the first place.

The classical historian Daisy Dunn’s new work, “The Missing Thread,” is a thoroughly researched and sprightly attempt to tell that history: the full version, insofar as we can know it, of the Mediterranean world from the Minoan civilization to the early Roman Empire. As Dunn explains, her work isn’t intended as a study of women alone but rather as a complete history of the period with the women added back in, as they always should have been.

Like many classical historians, Dunn began her career mostly writing about men. Her first book was a delightful biography of Catullus, followed by a translation of his works; she has also written a double biography of the elder and younger Plinys.

When it comes to the important men of the ancient world, there are simply many more available sources, and much of what we do know about the lives of women was written by men. This leads to interesting ironies; most women of classical Athens were effectively imprisoned in their homes, while men wrote and acted in plays about sympathetic, competent and terrifying ladies. “It did not always occur to men,” Dunn dryly comments, “that real women might be up to something just as interesting.”

According to Dunn, they were up to just about everything. Much depends on the particularities of any given culture at any point in time; and much also depends on the interpretation of the evidence. The prevalence of women in Minoan art suggests that Crete was possibly matriarchal, or at least egalitarian. Among the Scythians, some women were buried with weapons and signs of battle wounds, suggesting that women warriors may have been relatively common and possibly even inspired the legend of the Amazons. Etruscan women had a shocking amount of sexual freedom (according to Greek observers, anyway); and multiple cultures, including Kush in northern Sudan, were often ruled by queens. But even in more repressive civilizations, women still worked: as bakers, weavers, poisoners and patronesses, as well as in the more traditional roles of wives, mothers and household administrators.

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