Columbia Columbia Publishing Course at Publishing Course Oxford University at Exeter College, Oxford For Information Shaye Areheart, Director Emma Skeels, Assistant Director

Columbia Publishing Course A Professional The Graduate School of Journalism Experience in the Columbia University 2950 Broadway, MC 3801 • New York, NY 10027 Business of Publishing In the UK: Columbia Publishing Course September 6 - Exeter College • Turl Street October 2, 2020 Oxford • OX1 3DP Tel. +1 212-854-1898 A Program of the E-mail: [email protected] Columbia University Graduate @columbiapubcrse School of Journalism https://journalism.columbia.edu/publishing The Columbia Publishing Course The Columbia Publishing Course does not discriminate at Exeter College, Oxford, among applicants or students on the basis of race, religion, age, gender, sexual orientation, is a twin of the book-publishing national origin, color, or disability. portion of the New York course. Columbia Publishing y The class of 2019 Course rigors of the magazine-digital portion of the New York program. areers in publishing have always attracted > The course in New York is limited to 110 people, so people with talent and energy and a love of Exeter enables us to help shepherd more people into Creading. Those with a love of literature and publishing, both in America and abroad. language, a respect for the written word, an inquiring > The course at Oxford is even more selective, with only mind, and a healthy imagination are naturally drawn seventy seats available. to an industry that creates, informs, and entertains. > Many legendary publishing professionals in the For many, publishing is more than a business; it is a United Kingdom took the course in America and vocation that constantly challenges and continuously returned home to create stunning careers for educates. Choosing a career in publishing is a logical themselves. Now the same is true for Americans way to combine personal and professional interests taking the course at Exeter, who return to the for people who have always loved books and who have States and are afforded the same respect and job worked on school publications or spent hours browsing opportunities as the people who took the course in bookstores and libraries. a month and a half earlier in New York City. The Columbia Publishing Course was originally Meanwhile, British citizens and others have met the founded in 1947 at Radcliffe College in Cambridge, crème de la crème of British publishing as well as Massachusetts, where it thrived as the Radcliffe many of their future colleagues. Publishing Course. In 2001, the course moved to Columbia University’s Graduate School of Journalism in The Publishing Course provides an intensive introduc- New York City, where its strong legacy continues. In 2016 tion to all aspects of book publishing, from evaluations a sister course that focuses solely on book publishing was of original manuscripts to the sales and marketing of begun at Exeter College, Oxford, for several reasons: finished products. Students learn from writers, editors, publishers, design directors, marketing experts, and pub- > Oxford has always been an important center of licists: all are leaders in the industry, and many are course publishing and learning. graduates. More than eighty publishing professionals > People who are certain book publishing is where they come to the course each September to describe the na- intend to be after the course do not have to endure the ture of their work, conduct a weeklong intensive book workshop, give illuminating seminars, and answer ques- setting trends or challenging traditional methods. tions in classroom discussions and informal sessions. Faculty members represent publishing’s diversity: Students learn about publishing through a rigorous some are executives in multinational conglomerates, schedule of lectures, seminars, and workshops and others are successful entrepreneurs, some work by completing professionally evaluated assignments. with blockbuster franchises, others strive to reach While spending time with speakers and instructors specialized markets. The detailed list of the 2019 at meals and in late-night discussions, working on faculty (see following pages) is representative of the assignments after class, and living with like-minded high caliber of instructors who teach at the course. colleagues for four weeks, students take part in a total-immersion program that cannot be duplicated Advance Assignments by a series of part-time courses. In the process, these In preparation for the program, all students students discover a capacity to assimilate and produce must complete advance reading and assignments. more than they ever imagined possible. These assignments cover many of the topics to The Publishing Course allows students to compare be discussed in lectures and will be evaluated by opportunities in publishing, which helps them determine publishing professionals. They are short, practical, their career preferences—from editor to publicist, from and require students to perform tasks related to the foreign rights associate to literary agent, and so forth. Students study every element of the process: manuscript publishing process. evaluation, agenting, editing, design, production, publicity, subsidiary rights, sales, e-books, and marketing. Editing Seminars Students also learn about various types of publishing A short seminar is held during the course to teach houses, publishing strategies, and career paths. The the fundamentals of manuscript evaluation. Each class then divides into small groups for a seven-day book student reads an unpublished manuscript and writes a workshop. Each workshop group simulates the operation reader’s report recommending whether or not to publish. of a publishing house, giving students a chance to apply Students meet in small groups with editors to discuss what they’ve learned and gain hands-on experience in a the editing process and methods of evaluation. particular area of book publishing. The final week of the Publishing Course ties together Book Workshop everything students have learned in the previous three The weeklong book workshop is an intensive, weeks and features additional career guidance. collaborative simulation that requires interaction with writers, agents, and illustrators as students apply The Columbia Publishing Course provides an what they have learned in lectures. Each group forms unparalleled overview of the entire publishing process, a hypothetical publishing company that develops teaches basic publishing skills, and offers students the six potential titles for publication. Students are opportunity to meet and learn from top publishing responsible for determining the company’s editorial professionals. mission, evaluating book ideas and manuscripts, and contacting authors and agents. They create New York City and London marketing, publicity, and subsidiary rights plans for The New York City publishing community welcomes each book and present their titles to the class at a students of the Oxford course to various special events, simulated rights auction. They design book jackets, while the London publishing community reaches out to set production specs, and use computer models to graduates who are able to work in the United Kingdom. create financial projections for each title and for the See the “Career Planning and Placement” section for more information. publishing house as a whole. At the end of the workshop, top publishing leaders Course Faculty carefully evaluate each group’s results, giving The instructors and lecturers, drawn from all constructive criticism and real-world feedback. areas of the publishing industry, are recognized as These workshops equip students with the practical experts in their fields. Many speakers are course knowledge, experience, and confidence needed to regulars; others are invited to speak because they are succeed in their careers. Duncan Emmie Francis Geffen Semach Beth Nevile Adam Strange Dr. Latha Menon Gordon Wise Jessica Farrugia Richard Arcus Emma D’Cruz Honeyman Sharples Working in Licensed Publishing 2019 Programme Helen Archer, Assistant Editor, Egmont Publishing Academic Publishing Résumés and Cover Letters Latha Menon, Senior Commissioning Editor, Trade, Oxford John Duff, Freelance Editor and Proofreader University Press Publishing, Differently: the Benefits of Being an Ten Things I Learned in Publishing Unconventional Editor Marianne Velmans, Publishing Director, Doubleday Adam Strange, Publishing Director, Strange Media Transworld The Author’s Perspective The Different Faces of a Commissioning Editor Wendy Holden, Bestselling Author Richard Arcus, Commissioning Editor, Riverrun Books, Quercus Books The Role of an Agent Felicity Trew, Literary Agent, Caroline Sheldon Literary Independent Roles in Publishing Agency Carly Cook, Freelance Editor/Literary Agent How Reading Can Create Individuals—and Books Publishing Rights: The What, The Why, and Things Create Communities No One Tells You Alison Baverstock, Associate Professor of Publishing, , Head of New Business, Children’s Rights, Anne Bowman Kingston University Penguin Random House Reader’s Report Seminar What the #$@&*! Does a Nonfiction Commissioning Emmie Francis, Editor, Faber & Faber Editor Do All Day? Huw Armstrong, Commissioning Editor, Hodder & , Nonfiction Publisher, Hodder & Rupert Lancaster Stoughton Stoughton, Hachette UK Cara Chimirri, Commissioning Editor, Bookouture, You Can Go Your Own Way: Hybrid Jobs, Winding Hachette UK Paths, and Finding Your Niche Emma Herdman, Editorial Director, Hodder & Stoughton Kate Evans, Publisher, Agora Books, Peters Fraser + Dunlop Susannah Otter, Commissioning Editor, Quadrille Sam Brace, Associate Publisher, Agora Books, Peters Fraser Tales from the Slush Pile + Dunlop Tig Wallace, Senior Commissioning Editor, Hachette UK The Book’s Cover Profit and Loss Jamie Keenan, Graphic Designer, Keenan Design Lisa Adams, Director, the Garamond Agency Publishing Contracts Masterclass Managing Editorial and Production Emma D’Cruz, Contracts Director, Penguin Random House Simon Rhodes, Head of Production, Adult Books, Macmillan The Booksellers Panel David Kelly, Sales Manager Book Workshop Instructors Ray Mattinson, Fiction Buyer/Translated Fiction Expert Becky Riddell, Travel Buyer Lisa Adams, Director, the Garamond Agency Ulric van den Bogarde, Norrington Room Manager Christina Amini, Executive Publishing Director of Adult Zool Verjee, Sales & Development Manager Publishing, Chronicle Books Robin Dennis, Editorial and Writing Consultant How to Make a Book Barrie Dolnick, Author , Production Director, Little, Brown Book Group, Nick Ross John Duff, Freelance Editor and Proofreader Hachette UK Jessica Farrugia Sharples, Head of PR for Non-Fiction, “It’s PR, not ER!” An Introduction to Book Publicity Headline, Hachette UK Jessica Farrugia Sharples, Head of PR for Non-Fiction, Peter Ginna, Book Editor and Publisher Headline, Hachette UK Kris Kliemann, President, Kliemann & Company Ed Victor Memorial Lecture David Miller, President and Publisher, Island Press Alan Samson, Publisher, Weidenfeld & Nicolson, Orion Avi Molder, Operations Manager, Institutional Sales, W. W. Publishing Group, Hachette UK Norton & Company Jamie Keenan Marianne Rupert Erin Mark Lucas Kate Evans Huw Armstrong Sam Brace Rebecca Felicity Trew Velmans Lancaster Moore Barden Simon Rhodes, Head of Production, Adult Books, Macmillan Beth Nevile, Digital Marketing Executive, Walker Books Oscar Spigolon, Design Manager, Springer Nature Australia Andrew Stanley, Group Sales Director, Quarto Group Geffen Semach, Literary Agent’s Assistant to Clare Helen Thomas, Editor at Large, Hachette Children’s Group, Alexander, Aitken Alexander Hachette UK Anna Steadman, Senior Commissioning Editor, Headline, Clare Turner, Jacket and Cover Designer, Thames & Hachette UK Hudson Tig Wallace, Senior Commissioning Editor, Hachette UK Testimonials Raichelle Weller, Brand Marketing Director, Wiley Sarah Williams, Literary Agent, Sophie Hicks Agency This job wouldn’t have happened without the CPC, everything I learnt there, and the wonderful people I met The Agents Panel who helped me to get here. I am so grateful and excited. Gordon Wise, Senior Literary Agent, Curtis Brown Mark Lucas, Literary Agent, The Soho Agency Kirsten Greenwood, Class of 2019 Audiobooks Sales Coordinator, Young Quarto, Quarto Group Duncan Honeyman, Senior Commissioning Editor, Penguin CPC was not only exactly what I had hoped it would be–an Random House Audio all-access, deep-dive into every aspect of the publishing Setting Up an Imprint industry–it was so much more. It quickly became, and Alex Clarke, Publisher, Wildfire Books, Hachette UK continues to be, a publishing family; full of brilliant, Marketing Online for Children and Young Adults: energetic, inspired individuals with a shared passion for Some Campaign Experiences the written word and everything that goes into it. While Beth Nevile, Digital Marketing Executive, Walker Books my classmates came from dozens of different backgrounds, Australia areas of study, and industries, our mutual affection for books On Editing: The Industry View created an instant community in which I was both wildly challenged and totally at home. CPC was transformative, Julie Gourinchas, Managing Editor, Cornerstones Literary Consultancy both intellectually and personally, and I left the course armed not only with exclusive knowledge bestowed by From Publishing Course to Independent Publisher: leaders of the field, but as a member of a community that A Journey spans generations and is proud to support the course, its Adam Freudenheim, Publisher and Managing Director, graduates, and the industry we all love. Pushkin Press Bee Holekamp, Class of 2018 No One Belongs Here More Than You: How to Shine— Editorial Assistant, W.W. Norton and Rise—in Publishing Erin Moore, Author With its focus on the book industry, small class size, and magical campus, CPC-UK was a truly immersive dive into Book Workshop Evaluators the world of book publishing. The course was more valuable than I could have ever imagined. Rebecca Barden, Senior Publisher, Visual Arts, Bloomsbury , Class of 2016 Julie Gourinchas, Managing Editor, Cornerstones Literary William Vogan Consultancy Assistant Editor, St. Martin’s Press Samantha Halstead, Senior Commissioning Editor, Nothing prepares you to enter the world of publishing Audiobooks, Penguin Editorial Audio like the Columbia Publishing Course. ​I’ve happily used Duncan Honeyman, Senior Commissioning Editor, Penguin the knowledge and connections I gained at the course Random House Audio at Oxford to create a dynamic career path here in New Val Hudson, Publishing Consultant York City.​ Dr. Helena Kaznowska, Lecturer in English Literature (Early Modern), Bath Spa University Avi Molder, Class of 2016 ​​Operations Manager, Institutional Sales, W. W. Norton > Students receive feedback on their book workshop projects from publishing professionals x Editor Emma Herdman speaks with students about their reader’s reports

y All meals are served in Exeter’s historic dining hall < Publisher Alan Samson gives the third annual Ed Victor Memorial Lecture

Recent graduates visit the course to share their job-seeking Career Planning and experiences as well as their experiences working in entry- Placement level positions throughout the industry. Although students are not guaranteed job placement, ver the years, publishers have come to recognize the course offers extensive career recommendation and the advantages of hiring applicants who possess support services. New job listings are posted frequently Othe skills and knowledge gained at the Columbia during the program and are available throughout the Publishing Course. The percentage of course graduates year and, indeed, throughout the following years as placed in publishing jobs each year is very high, often as some alumni decide to try their hands at other areas of much as 95% in the first year for students who stay in the publishing. The wide-ranging network of course graduates London or New York City metro areas. provides students with access to individual companies and The class is honored at a reception in London, held at the publications as well as information about specific openings picturesque Hachette UK publishing house on the banks of and employment opportunities in general. You will find the Thames. At the event, students mingle with publishing that you are not only taking a course but also forming professionals working in the United Kingdom and the lifelong friendships and forging lasting professional United States and have a chance to connect with the course’s associations. As more than one student has stated, “This active alumni network. Students will also be invited to the course allowed me to find my people.” Fall Networking Event, hosted in New York City, after the Oxford course has finished. Who Should Apply During the course every effort is made to prepare The course is aimed primarily at recent college students for entry into the job market. Small-group sessions graduates, but other applicants are not discouraged. Many are held on résumé and cover-letter writing. Students students have worked in publishing briefly and would like meet with the director throughout the program to discuss to broaden their understanding of the field or have decided career plans, interests, and goals. Faculty members are also to make a career change from an unrelated field. valuable resources for those seeking information and advice. Because entry into publishing is by no means restricted > Booksellers from Oxford bookstore Blackwell’s discuss the importance of bookselling to the publishing industry

y Publisher and CPC alum Adam Freud- enheim remarks on his journey from the Columbia Publishing Course to indepen- dent publishing x PRH’s Anne Bowman discusses the impor- tance of subsidiary rights

y Agent Felicity Trew discusses the role of a literary agent < Students celebrate their successful book workshop evaluations

to those who want to work in an editorial capacity, the choice of college major has little bearing on admissions decisions. Although most applicants have majored in English and other subjects in the humanities, many have majored in other disciplines, particularly art, history, economics, business, law, music, and the sciences, among y For three of the four weeks others. However, American applicants planning to seek of the course, students at- work in the States must have successfully completed all tend three lectures a day in Exeter’s lecture hall requirements for a bachelor’s degree by June of 2020. UK <  One of the six Sherry Hours citizens and others who plan to (and are able to) work in held in Exeter College’s the UK can forgo this requirement. beautiful garden x CPC alum, author, and former Students with a demonstrated interest in publishing publishing professional Erin have always gained the most from the course. Those who Moore delivers an inspiring graduation lecture to the have held publishing internships or worked on high school soon-to-be graduates or college publications are familiar with publishing’s long hours and constant deadline pressures. Those with bookstore, library, or office experience have skills and insights that publishers find valuable. Many types of activities, paid positions, and volunteer work can be considered related to publishing. For example, experience with photography, graphic arts, sales, and marketing can be good training. If you are looking for instruction in journalism or creative writing, though, other educational opportunities may be more appropriate. Still, applicants with writing experience who seek new ways to apply their x Tig Wallace (an alumnus), senior commissioning edi- tor at Hachette UK, advises students on their book workshop projects y Shaye Areheart, director of the Columbia Publishing Course and a thirty- year veteran of Penguin Random House < Editor Cara Chimirri provides students with advice and tips on evaluating manuscripts

skills within the world of publishing—as editors, publicists, Interviews are not required, but information sessions designers, marketing and business managers, or rights are conducted at the career services offices of some US specialists—are encouraged to apply. colleges during the first half of the spring semester; Applicants should note that the Columbia Publishing graduating seniors and others should check the course Course is a highly intensive four-week session, during website to determine whether a visit to campus is which students are expected to attend classes and planned. Prospective students visiting New York workshops every weekday morning, afternoon, and City are welcome to make an appointment for a brief evening as well as on many weekends. As a result, interview with the director, Shaye Areheart. students can expect little free time during the course. Those accepted are required to make a $1,000 nonrefundable deposit by May 1 to guarantee Applications enrollment. pplications are accepted anytime after December 10, 2019 and students will be told of Fees A acceptance on a rolling basis–therefore it’s to an applicant’s advantage to apply before the March deadline. Tuition & Workshops ...... $5,300 The following items must be received no later than Room ...... $2,000 March 6, 2020, to complete the application process: Board ...... $ 800 1. A completed application form (available at bit.ly/applycpc20) The mandatory board plan includes breakfast, 2. A $55 nonrefundable application fee (payable by credit card) lunch, and dinner on weekdays. Students living off 3. A two-page personal statement and a short answer campus will be assessed an $800 fee for the mandatory response (essay prompts for 2020 are given on the board plan. application) Applications are evaluated by the admissions 4. Two to three letters of recommendation from employers and/or professors committee several times during the spring, and 5. Academic transcripts listing degree date or expected notifications of acceptance will be sent on a rolling basis. degree date from each undergraduate and graduate Because of the short length of this course, grants institution attended as a degree-seeking student and student loans funded by the US government are

6. A current résumé or curriculum vitae not available. DIRECTION: REYMAN STUDIO ART