Columbia Columbia Publishing Course Publishing formerly the Radcliffe Publishing Course Course

For Information Shaye Areheart, Director Emma Skeels, Assistant Director A Professional Columbia Publishing Course Experience in The Graduate School of Journalism Columbia University the Business 2950 Broadway, MC 3801 of Publishing New York, NY 10027 Tel. 212-854-1898 E-mail: [email protected] @columbiapubcrse https://journalism.columbia.edu/publishing June 14 – July 23, 2020

The Columbia Publishing Course does not discriminate Columbia University among applicants or students on the basis of race, Graduate School of Journalism religion, age, gender, sexual orientation, national origin, color, or disability. New York City Columbia Publishing Course

areers in publishing have always attracted people with talent and energy and a love of Creading. Those with a love of literature and language, a respect for the written word, an inquiring mind, and a healthy imagination are naturally drawn to an industry that creates, informs, and entertains. y The class of 2019 For many, publishing is more than a business; it is a vocation that constantly challenges and continuously educates. Choosing a career in publishing is a logical The Publishing Course allows students to compare way to combine personal and professional interests for book, magazine, and digital publishing, which helps people who have always worked on school publications, them determine their career preferences. During the first spent hours browsing in bookstores and libraries, or weeks, the course concentrates on book publishing— subscribed to too many magazines. from manuscript to bound book, from bookstore sale The Columbia Publishing Course was originally to movie deal. Students study every element of the founded in 1947 at Radcliffe College in Cambridge, process: manuscript evaluation, agenting, editing, design, Massachusetts, where it thrived as the Radcliffe production, publicity, sales, e-books, and marketing. Publishing Course. In 2001, the course moved to Students also learn about different types of publishing Columbia University’s Graduate School of Journalism. houses, publishing strategies, and career paths. The New York City is the heart of American publishing, and class then divides into small groups for a seven-day book the Publishing Course has taken every advantage of its workshop. Each workshop group simulates the operation current location while building on its strong legacy. of a publishing house, giving students a chance to apply For seventy-three years, the Publishing Course has what they’ve learned and to gain hands-on experience in provided an intensive introduction to all aspects of book a particular area of book publishing. and magazine publishing, from evaluations of original The second section of the course is devoted to manuscripts to the sales and marketing of finished magazines and digital media. Magazine and web products. Students learn from editors, publishers, professionals lecture on every facet of print and design directors, advertising experts, publicists, and digital publication, from planning, writing, and design writers—all are leaders in the industry, and many are to marketing, promotion, and distribution. Through course graduates. More than one hundred publishing lectures and regular assignments, students learn professionals come to the Publishing Course each what it takes to publish a successful magazine and summer to describe the nature of their work, conduct launch a profitable website. During the magazine and workshops and seminars, and answer questions in digital workshop, student groups develop proposals classroom discussions and informal sessions. for new print and online publications, researching The curriculum is very intensive. Students learn possible audiences, establishing editorial mission about publishing through a rigorous schedule of lectures statements, designing layouts and wireframes, assessing and group activities and by completing professionally competitors, determining potential advertisers, and evaluated assignments. By spending time with speakers developing a branding strategy. By the end of the six and instructors at meals and in late-night discussions, weeks, course graduates have a greater understanding working on assignments after classes end, and living of book, magazine, and digital publishing than many with like-minded colleagues for six weeks, students people working in the field do. take part in a total-immersion program that cannot The final week of the Publishing Course ties together be duplicated by a series of part-time courses. In the everything students have learned in the previous five process, students discover a capacity to assimilate and weeks and features lectures, field trips, and additional produce more than they ever imagined possible. career guidance. The Columbia Publishing Course provides an require interaction with writers, agents, and advertisers. unparalleled overview of the entire publishing process, Based on their particular areas of interest, students are teaches basic publishing skills, and offers students the assigned to a workshop group and take on specific job opportunity to meet and learn from top publishing responsibilities. Teams of carefully selected mentors professionals. work with each group, facilitating discussion and providing guidance and professional advice. Students have access to a computer lab equipped New York City with sophisticated design software. In addition, The New York City publishing community continues students work with custom-designed models for to welcome students of the course to various special financial projections and up-to-date industry events. In recent years, HarperCollins, Penguin databases. At the end of each workshop, top Random House, Macmillan, Hearst, Condé Nast, Rolling publishing leaders carefully evaluate each group’s Stone, Scholastic Books, and Time magazine have results, giving constructive criticism and real-world hosted our students at a variety of events. feedback. These workshops equip students with the practical knowledge, experience, and confidence needed to succeed in their careers. Course Faculty The instructors and lecturers, drawn from all areas of the publishing industry, are recognized as experts in Book Workshop their fields. Many speakers are course regulars; others During the book workshop, each student group are invited to speak because they are setting trends forms a hypothetical publishing company that or challenging traditional methods. Faculty members develops six potential titles for publication. Students represent publishing’s diversity: some are executives are responsible for determining the company’s in multinational conglomerates, others are successful editorial mission, coming up with book ideas, and entrepreneurs, some work with blockbuster franchises, putting together a final prospectus. They create and others strive to reach specialized markets. The detailed list of the 2019 faculty (see following pages) marketing, publicity, and subsidiary rights plans for is representative of the high caliber of instructors who each book and present their titles to the class at a teach at the course each year. simulated rights auction. They design book jackets, set production specs, and use computer models to build financial projections for each title and for the Editing Seminars publishing house as a whole. Short seminars are held during the course to teach the fundamentals of book manuscript evaluation and magazine editing. For the manuscript evaluation Magazine-Digital Workshop seminar, each student reads an unpublished manuscript For the magazine-digital workshop, student and writes a reader’s report recommending whether groups develop original concepts for hypothetical new or not to publish. Students meet in small groups with publications. Each team finds underserved audiences, editors to discuss the editing process and methods of evaluates competitive titles and sites, and shapes the manuscript evaluation. In the magazine-digital editing content and editorial voice of its magazine and the seminar, students edit an article that is about to be accompanying website. published in a national magazine or on a website. They research story ideas and writers and establish Seminar sessions focus on developing effective ledes as well as editing for length and clarity. regular features and departments. Students target advertisers; propose strategies for promotion, circulation, and digital audience development; and set Workshops budgets. Designers create layouts that complement Students apply what they’ve learned in lectures editorial content. The final results capture the look, feel, during two hands-on workshops. These weeklong and tone of each magazine and website and include workshops are intensive, collaborative simulations that detailed long-term business plans. Wendy Lamb Jon Karp Jill Salayi Aaron Santos Cecilia de la Jonny Diamond Mary Norris Niko Pfund Pamela Paul Michael Campa Reynolds 2019 Book Program Small Press Publishing , Editor in Chief, Europa Editions Book Keynote Michael Reynolds Jon Karp, President and Publisher, Simon & Schuster The Evolution of an Independent Agency Jane Dystel, President, Dystel, Goderich and Bourret The Author and the Editor: Working Together Mary Norris, author of Greek to Me and Between You and Me, and former Publishing on the West Coast copy editor at The New Yorker Camaren Subhiyah, Senior Editor, Chronicle Books Matt Weiland, VP and Senior Editor, W.W. Norton Book Editorial Seminar Where It All Begins: Middle Grade and Young Adult Books Caroline Bleeke, Senior Editor, Flatiron Books, Macmillan Wendy Lamb, VP and Publishing Director, Wendy Lamb Books, Penguin Sylvan Creekmore, Associate Editor, Wednesday Books, St. Martin’s Random House Press Rose Fox, Associate Editor, The Dial Press, Penguin Random House What it Means to Cover Books at The New York Times Paul Golob, Executive Editor, Henry Holt & Company, Macmillan , Editor, The New York Times Book Review Pamela Paul Julianna Haubner, Associate Editor, Avid Reader Press, Simon & Lindy Hess Memorial Lecture Schuster Jordan Pavlin, VP and Executive Editor, Alfred A. Knopf Zack Knoll, Associate Editor, Simon & Schuster Perspectives on College Publishing Asya Muchnick, VP and Executive Editor, Little, Brown and Company Sarah Touborg, Executive Editor, W. W. Norton Camaren Subhiyah, Senior Editor, Chronicle Books Emma Peters, Editorial Assistant, W. W. Norton Courtney Young, Non-Fiction Editor, Riverhead Books, Penguin Random House What Are Subsidiary Rights? Managing Editorial Kris Kliemann, President, Kliemann & Company Kimberly Goldstein, Director of Managing Editorial, Simon & Schuster When an Editor Authors a Book Lisa Erwin, Director of Production, Simon & Schuster Cynthia Barrett, Senior Editor, Sterling Publishing, and author of Three Booksellers Panel Sheets to the Wind John Francisconi, Bank Square Books Getting the Word Out Allie Levy, Still North Books Jonny Diamond, Editor in Chief, Literary Hub Stephanie Heinz, Print: A Bookstore Katie Yee, Assistant Editor, Book Marks Profit and Loss How to Read a Contract Lisa Adams, Director, the Garamond Agency Dorothy Boyajy, Contracts Director, Crown, Penguin Random House Adventures in Licensing Independent Publishing Kelli Chipponeri, Editorial Director, Little Passports Morgan Entrekin, CEO and Publisher, Grove Atlantic, Inc. Academic Publishing Trade Publishing Niko Pfund, President and Academic Publisher, Oxford University Press , Vice President and Deputy Publisher, Random Campbell Wharton Publishing in Canada House, Penguin Random House Doug Pepper, President and Publisher, McClelland & Stewart, Penguin The Journey of a Cookbook Random House Canada , Executive Commissioning Editor (Food & Drink), Emily Takoudes The Indie Press Phaidon Fiona McCrae, Publisher, Graywolf Press Shepherding The Chicago Manual of Style, and Other Feats The Adventurous Path to Tor.com , Senior Editor, University of Chicago Press Mary E. Laur Carl Engle-Laird, Associate Editor, Tor.com Publishing The Agents Panel Innovations in Publishing , Agent, Partner and Co-Head, ICM Partners Sloan Harris Brendan Cahill, VP, Penguin Random House Labs , Agent, Partner and Co-Head, ICM Partners Esther Newberg Ian Bonaparte, Associate Agent, Janklow & Nesbit , Agent and Founder, The Williams Company Amy Williams Erin Clarke, Editorial Director, Knopf Books for Young Readers Understanding Marketing Katie Crouch, New York Times bestselling author Ruth Liebmann, VP/Director of Account Marketing, Penguin Random Emily Guilfoil, Associate Producer, Women in the World House Publishing with BookBub Matt Schwartz, Senior VP of Digital Strategy, Penguin Random House Julianne LaBrecque, Partner Relations Lead, BookBub Book Ideas Jordan Weiner, People Operations Lead, BookBub Bruce Tracy, Senior Editor, Workman Publishing Company What Editors Do Publicity and the Book Peter Ginna, Book Editor and Writer Gwyneth Stansfield, Assistant Director of Publicity, Crown, Penguin Children’s Publishing Random House Molly O’Neill, Literary Agent, Root Literary Sarah Touborg Campbell Emily Takoudes Adam Rapoport Kris Kliemann Brendan Cahill Emma Peters Bruce Tracy Jennifer Powell Michael Liss Wharton My Life in Publishing How Digital Product Is the Nexus of the Universe Robert Gottlieb, Editor at Large, Alfred A. Knopf, Penguin Random Michael Liss, VP of Product, New York Post House Magazine-Digital Editorial Seminar What an Editor Does All Day Taiia Smart Young, Founder, Smart Girl Media Victory Matsui, Editor, OneWorld, Penguin Random House Nitsuh Abebe, Story Editor, The New York Times Magazine The Publisher and the Agency: A Tale of Subsidiary Rights Kendall Cornish, Digital Producer, Departures Magazine Cecilia de la Campa, Executive Director, Global Licensing and Domestic J.D. DiGiovanni, Associate Editor, Editorial Operations, Gear Patrol Partnerships, Writers House Jazmine Hughes, Story Editor, The New York Times Magazine Jennifer Powell, Director of Rights and Co-Editions, Scholastic, Inc. Chris Knutsen, Executive Editor, WSJ Magazine Jeremy Price, Editor, Next Big Idea Club Book Workshop Instructors Janine Puhak, Associate Lifestyle Editor, FoxNews.com Lisa Adams, Director, the Garamond Agency Rachel Wallace, Associate Entertainment Editor, Architectural Digest Leora Bernstein, National Accounts Manager, Simon & Schuster Branded Content Nicole Bond, VP and Director of Subsidiary Rights, Atria Books, Simon Naomi Piercey, Product Strategist, Freelance Content Creator, Writer of & Schuster the Sex/Dating Column for Men’s Health Magazine Emily Clement, Executive Editor, Scholastic, Inc. How to Rock an Edit Test Doe Coover, Founder, Doe Coover Agency , Former Editor in Chief, Coastal Living and Modern Susan Ferber, Executive Editor, Oxford University Press Antonia van der Meer Anna Knutson Geller, Founder, Write View Literary Agency Bride Peter Ginna, Book Editor Publishing Across Platforms Lis Kingren-Hawkins, Sales Operations Manager, Simon & Schuster Christopher Cerf, Author and Award-Winning Composer and Producer , President and Publisher, Island Press David Miller Writing Truth in a Political Age Vanessa Moody, Freelance Editor and Designer Sir Harold Evans, Editor at Large, Reuters Molly O’Neill, Literary Agent, Root Literary Edward Orloff, Literary Agent, McCormick Literary Caitlin O’Shaughnessy, Associate Director of Marketing, Penguin Press, Magazine-Digital Workshop Penguin Random House Instructors Julia Pastore, Founder, Julia Pastore Editorial Services Rachel Rokicki, Director of Publicity, Crown Publishing Group, Penguin Paco Acosta, Director of Marketing and Analytics, Circulation Random House Specialists Peggy Samedi, Production Manager, Knopf Doubleday Publishing Group, Lynette Harrison Brubaker, Founder, Gemini 5.23 Penguin Random House Donna Bulseco, Managing Editor, Intima: A Journal of Narrative Michael Signorelli, Managing Director, Gotham Ghostwriters Medicine Melissa Warten, Assistant Editor, Farrar, Straus and Giroux Books for Tara Cox, Executive Managing Editor, Rachael Ray Every Day Young Readers, Macmillan Lauren Doyle, Director of Digital Brand Partnerships, CNN Alana Whitman, Marketing Professional Ilsa Enomoto, Freelance Production Manager and Designer Byron Freney, Brand Strategy and Communications Consultant Book Workshop Evaluators Matt Haber, San Francisco Bureau Chief, Inc. Magazine Emily Hughes, Head of Growth, The Helm and Co-Founder, Loup Digital Timothy Bent, Executive Editor, Oxford University Press Kory Kennedy, Founder, Kory Kennedy Design Brandi Bowles, Literary Agent, United Talent Agency Brian Kroski, CEO and Strategic Digital Advisor, Kroski Consulting John Duff, Former Publisher, Perigee Books, Penguin Random House , Contributing Editor, House Beautiful George Gibson, Executive Editor, Grove Atlantic Kathryn O’Shea-Evans , Principal and Creative Director, Reyman Studio Emily Loose, Director, Emily Loose Literary Services James Reyman , Founder and CEO, Townhouse Digital Allison Moore, Editor, Bloomsbury Children’s Books Gabrielle Blitz Rosen Scott Moyers, VP and Publisher, Penguin Press, Penguin Random House Michael Solomon, Editor, ForbesLife Elizabeth Riley, VP and Senior Director of Publicity, W. W. Norton Susan Soriano, Founder, Susan Soriano Communications Weslie Turner, Associate Editor, Imprint, Macmillan Tyler Stewart, Director of Digital Strategy, Galvanized Media Adrian Zackheim, Publisher, Portfolio and Sentinel, Penguin Random House Magazine-Digital Workshop Evaluators David Foxley, Executive Features Editor, Architectural Digest 2019 Magazine and Digital Carl Swanson, Editor at Large, New York Magazine Leslie Hendrickson, Freelance Writer and Editor Program Corby Kummer, Senior Editor, The Atlantic/IDEAS The Editor Izzy Evans, Associate Producer, Jigsaw Productions Adam Rapoport, Editor in Chief, Bon Appétit John Thomas, Executive Vice President and Publisher, Psychology Today < Members of the magazine editorial panel gather in the director’s office before instructing x Students networking— students on their an integral part of editing assignments the course x For four of the six weeks of the course, y Emmy-winning students attend three writer and producer, lectures a day in the Christopher Cerf, son Columbia Journalism of Random House School’s lecture hall founder, Bennett Cerf x Jon Karp, publisher of Simon and Schus- ter, gives the keynote address

y CEO and President of Grove Atlantic, Morgan Entrekin (a CPC alum), recounts his storied publishing career

2019 Career Resources Career Planning and Résumés, Cover Letters, and Bios Barbara Clark, Freelance Editor and Publishing Consultant Placement HR Experts Panel ver the years, publishers have come to Jill Salayi, General Manager, Workman Publishing Company recognize the advantages of hiring applicants Aaron Santos, Human Resources Assistant, ICM Partners O who possess the skills and knowledge gained Orientation Panel at the Columbia Publishing Course. The percentage of Maggie Ark, Contracts Coordinator, Children’s Division, HarperCollins course graduates placed in publishing jobs each year is Francesca Begos, Senior Subsidiary Rights Associate, Hachette Book very high, often as much as 95 percent in the first year for Group students who stay in the New York City metro area. Brigid Graff, Executive Assistant to Tina Brown, Tina Brown Live Media/Women in the World An afternoon career fair is held in New York the Emily Polson, Publishing Assistant, Simon & Schuster Audio week after the course ends. Representatives from a Gabby Robles, Managing Editorial Assistant, Simon & Schuster wide range of book, magazine, and digital publishing Haley Swanson, Assistant Editor, HarperCollins companies meet with graduates to discuss employment Alumni Panel opportunities. That same week, a reception for Alex Díaz-Alemán, Executive Assistant to the Publisher, O: the Oprah graduates and alumni is held at the home of the Magazine legendary author and former publisher Christopher Kasey Feather, Marketing Assistant, Penguin Random House Cerf and his wife, author Katherine Vaz, where students Justine Goode, Assistant to the Creative Director, Vanity Fair have a chance to connect with the course’s active Frannie Gordon, Publicity Assistant, Phaidon network of past graduates. Jennifer Helinek, Foreign Rights Agent, Trident Media Group During the course every effort is made to prepare Anastasiya Netrunenko, Editorial Assistant, Springer Nature students for entry into the job market. Small-group sessions are held on résumé and cover-letter writing. Students meet with the director throughout the < Fiona McCrae, Publisher of Graywolf Press, lectures on the unique experience of running an independent publishing house x Jordan Pavlin, VP and Executive Editor at Alfred A. Knopf and a CPC alum, delivers the Lindy Hess Memorial Lecture

y Members of the “Innova- tions in Publishing” panel answer students’ questions > The book editorial panel discusses the do’s and don’ts of manuscript evaluation

program to discuss career plans, interests, and goals. admissions decisions. Although most applicants have Faculty members are also valuable resources for those majored in English or other subjects in the humanities, seeking information and advice. Recent graduates many have majored in other disciplines, particularly art, visit the course to share their job-seeking experiences history, economics, business, law, music, and the sciences. as well as their experiences working in entry-level However, all applicants must have successfully completed positions throughout the industry. the requirements for a bachelor’s degree by June of 2020. While students are not guaranteed job placement, Students with a demonstrated interest in publishing the course offers extensive job opportunities and have always gained the most from the course. Those who support services to graduates. New job listings have held publishing internships or worked on high school are posted frequently during the program and are or college publications are familiar with publishing’s available throughout the year. The wide-ranging long hours and constant deadline pressures. Those with network of course graduates provides students with bookstore, library, or office experience have skills and access to individual companies and publications insights that publishers find valuable. Many types of as well as information about specific openings and interests and jobs—including volunteer work—can be employment opportunities in general. considered related to publishing. For example, experience with photography, graphic arts, sales, and marketing Who Should Apply can be good training. Applicants should know that the The course is aimed primarily at recent college course does not emphasize instruction in journalism or graduates, but other applicants are not discouraged. creative writing. But applicants with writing experience Many students have worked in publishing briefly and who seek new ways to apply their skills within the world would like to broaden their understanding of the field or of publishing—as editors, publicists, designers, marketing have decided to make a career change from an unrelated and business managers, or publishers—are encouraged field. Because entry into the field of publishing is by no to apply. Applicants should note that the Columbia means restricted to those who want to work in an editorial Publishing Course is a highly intensive six-week session, capacity, the choice of college major has little bearing on during which students are expected to attend classes and > Students enjoy the end-of-course Cerf Party x Successful in their publishing careers, alumni such as As- sociate Editor Weslie Turner love to give back to the course y Shaye Areheart, Director of the Columbia Publishing Course and a thirty-year veteran of Penguin Random House < Superagents Amy Wil- liams (an alum), Sloan Harris, and Esther New- berg before their panel on careers in agenting

workshops every weekday morning, afternoon, and evening March 6 deadline are welcome to make an appointment as well as on many weekends. As a result, students can for a brief interview with the director, Shaye Areheart. expect little free time during the course. Those accepted are required to make a $1,000 nonrefundable deposit by May 1 to guarantee enrollment. Applications Advance Assignments pplications are accepted any time after In preparation for the program, all students must December 10, 2019 and students will be told of complete advance reading and assignments. These A acceptance on a rolling basis–therefore it’s to an assignments cover many of the topics to be discussed in applicant’s advantage to apply before the March deadline. lectures and are evaluated by publishing professionals. The following items must be received no later than They are short, practical, and require students to Friday, March 6, 2020, to complete the application process: perform tasks related to the publishing process. 1. A completed application form (available at bit.ly/applycpc20) Fees 2. A $55.00 nonrefundable application fee (payable by Tuition & Workshops ...... $5,300 credit card) Room ...... $ 2,266 3. A two-page personal statement and a short answer Board ...... $ 1,095 response (essay prompts for 2020 are given on the application) The mandatory board plan includes breakfast, lunch, 4. Two to three letters of recommendation from and dinner on weekdays. Students living off campus will employers and/or professors be assessed a $1,095 fee for the mandatory board plan. 5. Academic transcripts listing degree date or expected Limited financial aid is available. Aid applications degree date from each undergraduate and graduate can be downloaded from our website and must institution attended as a degree-seeking student be submitted with the application. Applications 6. A current résumé or curriculum vitae are evaluated by the scholarship committee, and notification of financial aid decisions will be sent after Interviews are not required, but information sessions the entire class has been accepted. are conducted at the career services offices of some Because of the short length of this course, federally colleges during the fall semester or first half of the spring funded grants and student loans are not available. If semester; graduating seniors should check the course you require financial assistance, we suggest you explore website to determine whether a visit to campus is planned. direct-to-consumer private loans in addition to applying

Prospective students visiting New York City before the for the course’s modest financial aid fund. DIRECTION: REYMAN STUDIO ART