Showing posts with label #AmWriting. Show all posts
Showing posts with label #AmWriting. Show all posts

Wednesday, September 9, 2026

From Conference Paper to Article: Turning Talk into Prose

I was in a conversation recently with someone facing one of the dread tasks of academic writing: turning a conference paper into an article. There are people who write conference papers that are basically already articles. Neither of us fit that bill.

My conference papers are intended to be talks. Informal. Funny. Carefully paced. They have places where I gesture at an image instead of describing it, places where a slide does half the argumentative work, and places where I say something in two sentences because I know I can explain it with tone of voice, pacing, or whatever I put up on the screen.

That works perfectly well in a conference room or on Zoom. It does not, however, make a good article. The rhythm’s wrong. The vocabulary is too casual. The argument often relies more on audience connection than carefully scripted references to an expansive scholarly literature.

And I think one reason conference-to-article conversion can feel so horrible is that we often describe the job as “expanding the conference paper.” For me, that framing is almost instantly stressful, because really, the skin doesn't fit.

A conference paper doesn't need to be expanded into an article. It needs to be translated into one. You need a mechanism for getting roughly the same intellectual content out, but in a different language.

So here's my practical step-by-step process. Guess what? It includes a spreadsheet.

Step 1. Break the conference paper apart

First, I copy the conference paper into a spreadsheet. Not paragraph by paragraph. Smaller than that. I put about one or two sentences into each row of the first column.

That sounds tedious. It really isn't. And the point is to stop seeing the conference paper as a sacred block of prose that somehow has to grow into something twice its size.

Now it is just a sequence of little ideas.

Next to each one, I have an empty box to its right. That empty box is where the article version goes.

Step 2. Translate, don't polish

Then I start rewriting down the second column. I am not line-editing the conference paper. I am asking what each little unit needs to become when the audience can no longer hear me speak.

Sometimes a conference-paper sentence survives almost unchanged. Sometimes two breezy sentences become a full paragraph. Sometimes I discover that a sentence was only functioning because the slide behind me contained six pieces of evidence. Sometimes I realize that “as we all know” is doing an enormous amount of unpaid labor.

This is where the translation idea helps me.

The question isn't: How do I make this sentence more article-like?

It's: What work was this sentence doing in the talk, and what does the article need in order to do the same work?

Those are different questions.

It looks like this:

(This is a real example from this spring: my conference-paper prose on the left, and article prose on the right. The point isn’t simply to make the original longer; it’s to ask what the written version needs in order to do the same argumentative work.)


Step 3. Insert the missing stuff

As I work, I simply insert blank spreadsheet rows wherever the article needs something the conference paper didn't: supporting examples, additional evidence, references to the scholarship, historical context, the important take-away to round out the argument.

For me, those blank rows are important psychologically. They turn “THIS PAPER NEEDS SO MUCH MORE STUFF” into a series of small, local jobs.

I don't have to solve the article. I have to fill this box. Then the next one. Then the one after that. Short tasks, not long ones.

Step 4. Don't forget the slides

If the conference slides contain substantial content, they go into the spreadsheet too.

This is particularly important for the way I give papers, because a lot of information can be sitting on the screen while I am saying very little about it. A chart that was visible for thirty seconds might become a full paragraph of article prose. An image may need description, contextualization, citation, and then actual analysis. A quotation I could simply let an audience read may need to be introduced and unpacked.

Slides are part of the conference paper's argument. If I convert only the script, I am leaving chunks of the original argument behind.

Step 5. Move back into a document

Eventually the second column begins to look less like a set of rewrites and more like an article draft. That's when I leave my beloved spreadsheet and move back into a regular document.

It may not be pretty, but by this point, it’s a continuity draft. I know what I’m saying, I know where in the article I’ll be saying it, and I’ve started using the voice that belongs to article prose instead of public delivery. It’s a win!

Step 6. Add the things articles need

Once I have a continuity draft in place, it’s easy – and fun! – to build out the parts that belong particularly to article format.

For me, that usually means a more substantial contextualizing introduction – the “lit review.” This is an excuse to decide what I want to include as context, and what not. The theorizing section is also an excuse to dive back into how I got interested in this problem in the first place. I limit myself to a maximum of three scholarly days, because playing around with the literature is the “big idea” part of the gig, and I could sit there for weeks, if given a chance.

It also means the conclusion gets bigger. Conference conclusions can sometimes amount to: “Look! This thing I have just shown you is neat, and here is why you should care.” Articles have more room for moralizing. I like the “so what, so what, now what” formulation. So what did we learn? And then: so what does that change (and for whom)? And finally: now what? What does this case let us see differently? What larger conversation does it alter? What becomes possible because we've followed the evidence this far?

Those questions are much easier for me to answer once I actually have article prose in front of me.

Step 7. Normal edits

After all of that work, the conference paper is essentially gone. I am editing an article.

That means the usual work: structure, argument, rhythm, clarity, flow, repetition, citations, transitions, and all the other things that make a draft slowly become something somebody else might want to read. (Taking out the giant shouty “LOOK FOR EX” and actually DO that work!). But that’s just cleanup!


Conference Paper → Article: The Seven Steps
  1. Break the conference paper apart
  2. Translate, don’t polish
  3. Insert the missing stuff
  4. Don’t forget the slides
  5. >Move back into a document
  6. Add the things articles need
  7. Normal edits

Why This Works for Me

I've used this exact process twice this past spring. Both conference papers became articles, and both articles were accepted, hooray! So I'm inclined to think the method has legs.

I don't imagine everyone needs the spreadsheet. Some people can probably make this transformation comfortably inside a Word document. That’s not me, though. Rewriting there feels like “failed text being edited,” over and over and over again.

The spreadsheet does something useful for my brain: it makes the act of translation visible. On the left is what worked when I was standing in front of a room. On the right is what has to work when I'm not there anymore. Low stress, lots of little steps, and a real sense of progress as the article comes together.

Bit by bit, as they say, and sooner or later it all gets done. With my spreadsheet method, it gets done faster, and with a lot less stress.


YOU MIGHT ALSO BE INTERESTED IN:

How To Jump-Start a Scholarly Article: The Plan: Before the prose comes the plan. This post works through my approach to choosing a journal, figuring out an article’s likely shape, building a broad outline, and assembling the bibliography that will support the writing.

Writing with Scissors and Tape: When a continuity draft had all the right material but none of the right choreography, I stopped trying to line-edit and just cut the thing apart. Paper strips, index cards, scissors, and tape became a way to see the argument again.

The Editing Horizon:Shaping the Argument First: Editing gets easier when you stop trying to fix everything at once. This post separates argument-level revision from sentence-level polish and makes the case for giving each kind of editorial work its own turn.

Saturday, January 24, 2026

The Editing Horizon: Shaping the Argument First

The “write it perfectly” trap reached out and caught me yesterday. It’s hard to write when every sentence feels like it needs to be perfect. Yesterday wound up as a down day – a weekend, break, rest day, day at sea – and that was probably overdue anyway. Clearing mental space by dealing with the practical details of an impending snowpocalypse turned out to be the right match for my Friday. This morning I feel more refreshed.

To start back up, and to engage more productively with the happy intensity of editorial work <grin>, I have had to remind myself that this is the draft, not the final written word. The time to play with written rhythm and turn of phrase will come, but right now my horizon is narrower and more specific: the argument.

Note from the side-chorus: it is, truly, “happy intensity” once I get into my editorial zone, it’s just that sometimes it takes a long moment or two (or even hour or two) to get there. of writing is sitting with it until the writing actually happens. This is a separate problem from editing—but it often gets confused with it. See The Silence of Not Writing and What To Do About It or Starting From A Place of Blah for suggestions on handling the not-writing part of one’s writing practice.

That reminder matters, because “editing” often gets treated as a single, all-purpose activity. Sit down, fix everything, be done. But that’s not how writing (or revising or editing or making it better) actually works. Different kinds of editing ask for different kinds of attention, and trying to do them all at once is a reliable way to freeze. Tracking ideas across a chapter, noticing gaps or redundancies, and judging how a reader will encounter an argument require a different mental stance than choosing words or shaping sentences. Mixing those tasks usually means neither gets done well.

I think about it the way I think about practicing. You can play through a passage and tell yourself you’re working on everything at once. But real progress happens when you isolate each skill in turn, and give intonation, articulation, or pacing your focused attention. Tomorrow, it will be time to work on the same passage, but with the next skill in mind. Writing works that way too. You can “make it better” by flogging at it, but the best version will come by taking each task in turn.

So today I’m moving through the chapter segment by segment, and not in order. (I know enough about attention to avoid pretending it’s evenly distributed, and yeah, I should do section 7 while I’m fresh!) For each segment, I’ll ask the same series of questions. Does this make sense? Does it do for the argument the thing that needs doing? Might it better serve the chapter on reading, or does it belong here? When a section meets my standard for argument, I turn it green and move on. The polish can wait.

The goals for the weekend are simple: a lot of literal baking (is another “snowpocalypse” reference a cheat?), a lot of logic-checking (five sections today, five tomorrow), and some time with a few new readings that might reshape the argument itself.

That’s the lesson I wanted to share: set the right horizon for the work you’re doing today. When faced with editing, it's not failing if the draft isn’t elegant yet. You’re still drafting. Elegance comes later – after the argument knows what it’s trying to say.

Thursday, October 2, 2025

Musicological Paper Structures 102

In Musicological Paper Structures 101, I introduced the idea of a paper template that I find helpful for my undergraduates. The first model could be summarized as the three-types-of-evidence model, with one section per evidence type.

There are several other approaches to writing with a template which can be useful, depending on topic. Most frequently, students respond to the problem driven outline, where defining the problem and resolving it is the story arc for the paper as a whole.

In this kind of paper, the intro sets out the problem and its significance, leading up to the presentation of the thesis. That’s a format that fits with a lot of pre-college writing instruction, and students seem comforted by its familiarity.

Next comes the lit review section. This, as I’ve said before, needs to demonstrate actual familiarity with what’s been done. In this context, I stress to students that they need to beware the temptation to rely over-much on the kind of wikipedia-like info dump in neutral voice. I’m looking for what threads they found compelling and which were troubling, provocative, or a complete snore.

I encourage judgment as they go: this article is radically over-reading the evidence; this is so boring that I could hardly keep my eyes open; that just never needs to see the light of day ever again. One doesn’t SAY that, at least not directly, but those underpinnings inform a lively assessment. “Scholar X argues that … Basing the entire premise on a short snippet from the documentary literature, however, distorts and and oversimplifies the broader interpretive context for…” Students love digging into what is great writing and what is just a pitiful excuse for ink. I’ve seen some truly lovely 19th-century style slams on the scholarship over the years of reading drafts.

In the problem-based paper, I find the recurring drumbeat model of writing to be helpful. Each paragraph (or at least every two) needs to tie explicitly back to the working premise. As I tell them, hand-hold the reader through your argument. Over-explain. We can always soften the argument if it’s overdone, but chances are, your quick-and-dirty reader will be grateful for the interpretive apparatus being so transparent!

If a student is interested, developing a counterargument and addressing it in the late stages of the paper can be helpful. “Some would argue… the evidence, however, suggests…” can be a nice way of tying a bow on the package, pinning down the validity of the thesis and bringing the argument into closure.

And then the conclusion, as I said last time, can address the so what, so what, now what of the argument. The so what underscores why the thesis/argument matters in its immediate context. The second so what situates the claim in a wider scholarly or cultural frame, showing its implications beyond the narrow case. The now what invites the reader to apply those insights elsewhere, whether by reconsidering related evidence, rethinking assumptions, or extending the method to a different repertoire or cultural context.


OTHER APPROACHES TO CONSIDER

If the thesis-driven structure appeals to students because of its familiarity, they may also be interested in other familiar but less-frequently prescribed approaches to their paper-writing. I have some examples which we sometimes riff on in class, what I can the rhetorical tricks of organization:


CAUSATIVE STORY: cause – manifestation – consequence
Lay out what sets things in motion, show how it appears in practice, then track the consequences that follow. This can be particularly effective for biographical or musical-analytical papers.

HISTORICAL STORY: origins – crisis – outcome
Start at the beginning, follow the disruption that shakes things up, and trace the resolution or transformation that results. This one, I find, is more risky. It’s tempting to default to assumptions of unproblematic linearity, where the author is invisible. Great for wikipedia; bad for situating oneself in the context of the scholarship. Still, carefully used, it has reader appeal.

ANALYTICAL STORY: structure – agency – interaction – result
Explain the framework (the how), identify the players (the who), analyze how they interact, and spell out what emerges. I like the way this invites the writer’s assessment of the material; it moves away from a temporal organization of first this, then that, then the next thing, and toward one that capitalizes on the author’s own interest in the material.

PARADIGM SHIFT: we thought – but now – that shows…
Highlight what everyone assumed, present the evidence that unsettles it, and show how the new perspective changes the conversation. Love these when they come together. It can be some of the hardest pre-writing work to do, but is often the simplest to turn into prose. This is inspired writing at its finest.

I INVENTED A THING:
Unveil your new model, show how it fits the data, and point to the fresh insights it unlocks. This has some overlap with the “paradigm shift” approach, in that the sense of ownership can be deeply satisfying.


CONCLUSION

There are, of course, plenty of other writing templates, but the idea of sharing these out loud is that each one acts like a container into which the writer can pour their writing. The goal is to provide a structure that fits the evidence and insights that come from personal (but research-informed) reflection, and to steer everyone, EVERYONE, away from the step-by-step account so familiar from Wikipedia. A template like those mentioned above isn’t meant to box the writer in. Instead, the framework actually gives creativity room in which to flourish.

In the end, paper structure is about helping prose flow out smoothly for the writer, unfolding is steady stages rather than one mad writing rush. At the same time, and equally importantly, such structures allow the story to land clearly for the reader, letting them follow an argument and discover what about it matters most.


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Wednesday, October 1, 2025

Musicological Paper Structures 101

In a discipline that recognizes that sonata form and all its nuances was a real and useful framework for composers, the need for teaching students how one can structure a paper should be obvious. It wasn’t part of my training, but working out an approach that lets me get the job done has been helpful, and I like to pass it along.

Is such a structure required? No, but it helps the writer to frame an argument, and the reader to digest it. My students have fared well with the template (I’ve had students take a writing prize each of the last five years), and I share the model here in hopes it is useful.


START: BIBLIOGRAPHY AND SCHOLARLY CONTEXT

The big question at the start of any paper is: who am I in conversation with? In my classroom, that driver amounts to having undergraduates – yes, undergraduates – check out about 25 to 30 sources. Do they read them all? Heavens no! But they assess them using AIC reading, focusing on abstract, introduction, and conclusion. I always give them an option of managing by spreadsheet, which is what I often do with my own bibliography. About half of them take me up on it, and they tell me they find the practice useful.

At any rate, using their bibliographic overview of the field, the intro sets up the backdrop to why the work is important, and how it fits into the broader scholarly context.

CONTINUE: DATA SECTIONS

Then there are the data sections. Sometimes students use a couple of different methods; other times, there is one batch of information but it’s explored at length, adding nuance as the paper progresses. A story might help illustrate the point, or not. The student might want to pick up a counterargument. Or not. In other words, the framing is flexible, and fields can be reordered (as the arrows suggest), but it takes the reader from what’s been said (in the field), to some new ways (plural) to think about it, to a conclusion that helps us understand “what it all means,” as my students like to say.

CONCLUDE: SO WHAT, SO WHAT, NOW WHAT

There are many ways to wrap up a paper, of course. One is to talk about who should care. Another is to review the skeleton and then "hang some flesh" on it in terms of its broader implications. One of the easiest strategies for concluding is often the "so what, so what, now what" conclusion. So what did all of this mean? So what does that tell us? Now what should we do/think/say differently? In other words, go to what the implications are, or where the conversation could and should go next, or how the insights might be applied in a different context. It doesn’t have to be big or world-shaking, but it helps the reader walk away with a sense of why the paper was worth reading and where their curiosity might lead them next.

Start of the first of Beethoven's Razumovsky Quartets, Op 59 No 1

 CASE STUDY: BEETHOVEN

Think, for example, about Beethoven and deafness. There’s a lot of info out there, but a student who’s been trained in hearing-inclusive techniques could do a lot with the topic. (Drawing on personal/professional expertise is a useful way to find something new to say!). The student could talk about the contrasts of 18th/19th c ideas of deafness with present day practice (data set one). They might then move to the specific detail of, say, the Rasumovsky quartets in a hearing environment, comparing then and now (nuance to the argument).

For section 3 of the paper they could, for instance, turn to their own insights to discuss how players negotiate hearing-inclusive demands (balance, visual cues, tactile feedback). Or, section 3 could look at how narratives about Beethoven’s deafness shape interpretation of the Razumovsky quartets in liner notes, and how those narratives draw in medicalized or heroic tropes. Or… well, there are lots of directions to go.

WHY THIS KIND OF FORMAT / PAPER MODEL IS USEFUL 

The point is that this kind of structured writing helps a student to mentally break out their work into sections. It is hard – nigh on impossible! -- to “write a paper,” but to write a paragraph or a section is in the doable realm. Don't write the whole sonata, start with the first theme.

As I’ve said many a time before, little by little by little, and sooner or later it all gets done.

I’ll post on other paper strategies in another few days, but for now, I should go tend to my own writing practice and get at least “a little” of that done before dinner.

Happy writing, everyone!


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