Columbia Columbia Publishing Course Publishing formerly the Radcliffe Publishing Course Course

Shaye Areheart, Director Emma Skeels, Assistant Director A Professional For Information Columbia Publishing Course Experience in The Graduate School of Journalism the Business Columbia University 2950 Broadway, MC 3801 of Publishing New York, NY 10027 Tel. 212-854-1898 E-mail: [email protected] @columbiapubcrse June 14 – July 23, 2021 https://journalism.columbia.edu/publishing

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 The Publishing Course allows students to compare book, magazine, and digital publishing, which helps Publishing them determine their career preferences. During the first weeks, the course concentrates on book publishing— Course from manuscript to bound book, from bookstore sale to movie deal. Students study every element of the areers in publishing have always attracted process: manuscript evaluation, agenting, editing, design, people with talent and energy and a love of production, publicity, sales, e-books, and marketing. Creading. Those with a love of literature and Students also learn about different types of publishing language, a respect for the written word, an inquiring houses, publishing strategies, and career paths. The mind, and a healthy imagination are naturally drawn class then divides into small groups for a seven-day book to an industry that creates, informs, and entertains. workshop. Each workshop group simulates the operation For many, publishing is more than a business; it is a of a publishing house, giving students a chance to apply vocation that constantly challenges and continuously what they’ve learned and to gain hands-on experience in educates. Choosing a career in publishing is a logical a particular area of book publishing. way to combine personal and professional interests for The second section of the course is devoted to people who have always worked on school publications, magazines and digital media. Magazine and web spent hours browsing in bookstores and libraries, or professionals lecture on every facet of print and digital subscribed to too many magazines. publication, from planning, writing, and design to The Columbia Publishing Course was originally marketing, promotion, and distribution. Through lectures founded in 1947 at Radcliffe College in Cambridge, and regular assignments, students learn what it takes to Massachusetts, where it thrived as the Radcliffe publish a successful magazine and launch a profitable Publishing Course. In 2001, the course moved to website. During the magazine and digital workshop, Columbia University’s Graduate School of Journalism. student groups develop proposals for new print and online New York City is the heart of American publishing, and publications, researching possible audiences, establishing the Publishing Course has taken every advantage of its editorial mission statements, designing layouts and current location while building on its strong legacy. wireframes, assessing competitors, determining potential For seventy-four years, the Publishing Course has advertisers, and developing a branding strategy. By the provided an intensive introduction to all aspects of book end of the six weeks, course graduates have a greater and magazine publishing, from evaluations of original understanding of book, magazine, and digital publishing manuscripts to the sales and marketing of finished than many people working in the field do. products. Students learn from writers, editors, publishers, The final week of the publishing course ties together design directors, advertising experts, publicists, and everything students have learned in the previous five writers—all are leaders in the industry, and many are weeks and features lectures, field trips, and additional course graduates. More than one hundred publishing career guidance. professionals come to the Publishing Course each summer to describe the nature of their work, conduct The Columbia Publishing Course provides an workshops and seminars, and answer questions in unparalleled overview of the entire publishing process, classroom discussions and informal sessions. teaches basic publishing skills, and offers students the The curriculum is very intensive. Students learn opportunity to meet and learn from top publishing about publishing through a rigorous schedule of lectures professionals. and group activities and by completing professionally evaluated assignments. By spending time with speakers and instructors in in-depth discussions, working on New York City assignments after classes end, and interacting with like- The New York City publishing community continues minded colleagues for six weeks, students take part in a to welcome students of the course to various special total-immersion program that cannot be duplicated by events. In the past, those publishers have included a series of part-time courses. In the process, students HarperCollins, Penguin Random House, Macmillan, discover a capacity to assimilate and produce more than Hearst, Condé Nast, Rolling Stone, Scholastic Books, they ever imagined possible. and Time magazine. Virtual Course Workshops The Columbia Publishing Course hosted its first- Students apply what they’ve learned in lectures ever virtual course last year, as the novel coronavirus during two hands-on workshops. These weeklong made it impossible to host the course in person. Our workshops are intensive, collaborative simulations that 111 students received the high-quality education require interaction with writers, agents, and advertisers. Based on their particular areas of interest, students are the industry has come to expect from the Columbia assigned to a workshop group and take on specific job Publishing Course and enjoyed lectures, seminars, responsibilities. Teams of carefully selected mentors and a book workshop in a new and innovative virtual work with each group, facilitating discussion and format. This format also reaped some unexpected providing guidance and professional advice. benefits, the most special of which was that we were Students have access to a computer lab equipped able to invite faculty and lecturers from across the with sophisticated design software. In addition, students country and the world to participate. work with custom-designed models for financial We hope the course will be held in person during projections and up-to-date industry databases. At the 2021. If for whatever reason that isn’t possible, the end of each workshop, top publishing leaders carefully course will be held virtually, just as we held it in 2020. evaluate each group’s results, giving constructive We will keep all accepted applicants apprised of any criticism and real-world feedback. These workshops equip students with the practical knowledge, experience, changes that may happen. and confidence needed to succeed in their careers. Course Faculty The instructors and lecturers, drawn from all areas Book Workshop of the publishing industry, are recognized as experts in During the book workshop, each student group their fields. Many speakers are course regulars; others forms a hypothetical publishing company that develops six potential titles for publication. Students are invited to speak because they are setting trends are responsible for determining the company’s or challenging traditional methods. Faculty members editorial mission, coming up with book ideas, and represent publishing’s diversity: some are executives putting together a final prospectus. They create in multinational conglomerates, others are successful marketing, publicity, and subsidiary rights plans for entrepreneurs, some work with blockbuster franchises, each book and present their titles to the class at a and others strive to reach specialized markets. The simulated rights auction. They design book jackets, detailed list of the 2020 faculty (see following pages) is set production specs, and use computer models to representative of the high caliber of instructors who teach build financial projections for each title and for the publishing house as a whole. at the course each year.

Editing Seminars Magazine-Digital Workshop For the magazine-digital workshop, student Short seminars are held during the course to teach groups develop original concepts for hypothetical new the fundamentals of book manuscript evaluation publications. Each team finds underserved audiences, and magazine editing. For the manuscript evaluation evaluates competitive titles and sites, and shapes the seminar, each student reads an unpublished manuscript content and editorial voice of its magazine and the and writes a reader’s report recommending whether accompanying website. or not to publish. Students meet in small groups with They research story ideas and writers and establish editors to discuss the editing process and methods of regular features and departments. Students target manuscript evaluation. In the magazine-digital editing advertisers; propose strategies for promotion, circulation, and digital audience development; and set seminar, students edit an article that is about to be budgets. Designers create layouts that complement published in a national magazine or on a website. editorial content. The final results capture the look, feel, Seminar sessions focus on developing effective ledes as and tone of each magazine and website and include well as editing for length and clarity. detailed long-term business plans. Wendy Lamb Morgan Entrekin Jordan Pavlin Daniel Halpern Peggy Samedi Jonny Diamond Jane Dystel Niko Pfund Fiona McCrae Michael Reynolds 2020 Book Program Publicity and the Book , Assistant Director of Publicity, Crown, Penguin Book Keynote Gwyneth Stansfield Random House Jordan Pavlin, Senior Vice President and Editorial Director, Alfred A. Knopf The Adventurous Path to Tor.com Ecco at Fifty Carl Engle-Laird, Associate Editor, Tor.com Publishing Daniel Halpern, President and Publisher, Ecco Sales Panel Diversity in the Publishing Industry Leora Bernstein, National Account Manager, Simon and Schuster Bob Miller, President and Publisher, Flatiron Books Lis Kingren-Hawkins, Sales Operations Manager, Simon and Schuster Avi Molder, Institutional Sales Operations Manager, W. W. Norton Where It All Begins: Middle Grade and Young Adult Books Wendy Lamb, Consulting VP and Publishing Director, Wendy Lamb Book Editorial Seminar Books, Penguin Random House Micaela Carr, Assistant Editor, HarperCollins Sylvan Creekmore, Associate Editor, St. Martin’s Press Book Ideas Mia Council, Assistant Editor, Penguin Press Bruce Tracy, Former Senior Editor, Workman Publishing Company Rose Fox, Associate Editor, The Dial Press Academic Publishing Logan Harper, Associate Literary Agent, Trident Media Group Niko Pfund, President and Academic Publisher, Oxford University Press Madeline Jones, Associate Editor, Henry Holt & Company The Agents Panel Camille Kellogg, Assistant Editor, Macmillan Publishers Sloan Harris, Agent, Partner and Co-Head, ICM Partners Zack Knoll, Associate Editor, Simon & Schuster Esther Newberg, Agent, Partner and Co-Head, ICM Partners Aemilia Phillips, Associate Agent, Stuart Krichevsky Literary Agency Amy Williams, Agent and Founder, The Williams Company William Vogan, Literary Assistant, Vigliano Associates The Author and the Agent Profit and Loss Jane Dystel, President, Dystel, Goderich and Bourret Lisa Adams, Director, the Garamond Agency Tayari Jones, Author A Marketing Case Study Small Press Publishing Kayleigh George, Marketing Director, William Morrow at HarperCollins Michael Reynolds, Editor in Chief, Europa Editions The Indie Press Perspectives on College Publishing Fiona McCrae, Publisher, Graywolf Press Sarah Touborg, Executive Editor, W. W. Norton The Importance of Indie Bookshops Emma Peters, Editorial Assistant, W. W. Norton John Francisconi, Manager, McNally Jackson Managing Editorial Subsidiary Rights: A World of Deals Kimberly Goldstein, Director of Managing Editorial, Simon & Schuster Kris Kliemann, President, Kliemann & Company , Director of Production, Simon & Schuster Lisa Erwin Kendra Poster, Rights Director, Workman Publishing How to Read a Contract Sarah Williams, Agent, Sophie Hicks Agency Dorothy Boyajy, Contracts Director, Crown, Penguin Random House Marketing and Publicity: A Deep Dive Into a Complex What Are Subsidiary Rights? Relationship Kris Kliemann, President, Kliemann & Company Rachel Rokicki, Director of Publicity, Hogarth, Penguin Random House The Publisher and the Agency: A Tale of Subsidiary Rights Melissa Esner, Associate Director of Marketing, Crown, Random House Cecilia de la Campa, Executive Director, Global Licensing and Domestic Farin Schlussel, Assistant Director of Marketing, Avery Books and Partnerships, Writers House TarcherPerigee, Penguin Publishing Group Kim Ryan, Senior Director of Subsidiary Rights, Penguin Young Readers Ryan Shepherd, Senior Marketing Manager, William Morrow, Custom Group House, and Morrow Gift, HarperCollins Book Design Creating Physical Books James Reyman, Principal and Creative Director, Reyman Studio Peggy Samedi, Production Manager, Knopf Doubleday Publishing Group, Understanding Marketing Penguin Random House , Senior Vice President of Sales, Phoenix Color Ruth Liebmann, VP and Director of Account Marketing, Penguin Michael Wettstein Random House Children’s Publishing Matt Schwartz, Senior VP of Digital Strategy, Random House, Penguin Molly O’Neill, Literary Agent, Root Literary Random House Canadian Publishing: A View Independent Publishing Doug Pepper, President and Publisher, McClelland & Stewart, Penguin Morgan Entrekin, CEO and Publisher, Grove Atlantic, Inc. Random House Canada Getting the Word Out Scouting 101 Jonny Diamond, Editor in Chief, LitHub.com Liz Sarant, Associate, Maria B. Campbell Associates Cecilia de la Matt Schwartz Naomi Piercey Doug Pepper Kris Kliemann Brendan Cahill Sarah Touborg Bruce Tracy Concepción John Campa de León Francisconi Innovations in Publishing Brendan Cahill, Vice President, Penguin Random House Labs 2020 Magazine and Digital Haley Swanson, Associate Editor, HarperCollins Publishers Program Thatcher Heldring, Author, Penguin Random House Contemporary Magazine Design Concepción de León, Reporter, New York Times , Principal and Creative Director, Reyman Studio Abby Walters, Literary Agent, Creative Artists Agency James Reyman The Importance of the Small Indie Publisher Running a Literary Magazine Claudia Zoe Bedrick, Publisher, Enchanted Lion Books Nate Brown, Fiction Writer and Managing Editor, American Short Fiction How to Rock an Edit Test Book Workshop Instructors Antonia van der Meer, Former Editor in Chief, Coastal Living and Modern Lisa Adams, Director, the Garamond Agency Bride Christina Amini, Executive Publishing Director of Adult Publishing, The Magazine Business in 2020 Chronicle Books Byron Freney, Brand Strategy and Communications Consultant Emily Clement, Executive Editor, Scholastic, Inc. Brian Kroski, CEO and Strategic Digital Advisor, Kroski Consulting Doe Coover, Founder, The Doe Coover Agency , Editor, ForbesLife Erin Curler, Former Director of Print-on-Demand and Self-Publishing, Michael Solomon McNally Jackson The Soul of the Media Brand John Duff, Former Publisher, Perigee Books, Penguin Random House Tara Cox, Executive Managing Editor, Rachael Ray Every Day Susan Ferber, Executive Editor, Oxford University Press Kathryn O’Shea-Evans, Contributing Editor, House Beautiful MacKenzie Fraser-Bub Collier, Director of Publicity and Strategic Gabrielle Blitz Rosen, Founder and CEO, Townhouse Digital Partnerships, University of South Carolina Press Michael Solomon, Editor, ForbesLife Peter Ginna, Book Editor and Publisher Gerry Helferich, Author and Former Editor, Doubleday, S&S, and John Monetization and Revenue Streams Wiley Byron Freney, Brand Strategy and Communications Consultant Erin Kibby, Marketing Associate, Harper Books, HarperCollins Brian Kroski, CEO and Strategic Digital Advisor, Kroski Consulting Kris Kliemann, President, Kliemann & Company Naomi Piercey, Partner and Product Strategist, Coalesce David Miller, President and Publisher, Island Press Julia Pastore, Founder, Julia Pastore Editorial Services 2020 Career Resources Rachel Rokicki, Director of Publicity, Hogarth, Penguin Random House Ryan Shepherd, Senior Marketing Manager, William Morrow, Custom Résumés, Cover Letters, and Bios House, and Morrow Gift, HarperCollins Barbara Clark, Founder, Barbara Clark Agency Michael Signorelli, Literary Agent, Aevitas Creative Management John Duff, Former Publisher, Perigee Books, Penguin Random House Helen Thomas, Former Editorial Director, Hachette Children’s Group, Hachette UK HR Experts Panel Melissa Warten, Associate Editor, Farrar Straus Giroux Books for Young Joy Bertan, Head of Talent Acquisition and Diversity Initiatives, Simon & Readers, Macmillan Schuster Claire McGinnis, Associate Director of Publicity, Riverhead Book Workshop Evaluators Miriam Yun, Human Resources Director, ICM Partners Timothy Bent, Executive Editor, Oxford University Press Orientation Panel Whitney Frick, Vice President and Editorial Director, The Dial Press Maddie Day, Publicity and Marketing Assistant, Farrar, Straus and Giroux George Gibson, Executive Editor, Grove Atlantic Alex Díaz-Alemán, Marketing Coordinator at O, The Oprah Magazine Paul Golob, Independent Editor and Consultant Carlee Maurier, Trade Sales Assistant, Scholastic Grace Kendall, Senior Editor, Farrar Straus Giroux Books for Young Readers, Macmillan Elizabeth Morris, Editorial Intern, Serendipity Literary Agency Geoffrey Kloske, President and Publisher, Riverhead Books Hannah Poole, Publicity Assistant, Penguin Random House Emily Loose, Independent Editor and Consultant Noa Shapiro, Editorial Assistant, Random House Scott Moyers, Vice President and Publisher, Penguin Press Alumni Panel Asya Muchnick, Vice President and Executive Editor, Little, Brown and Erin Kibby, Marketing Associate, Harper Books, HarperCollins Company Jack Haug, Editorial Assistant, Aevitas Creative Management Jill Santopolo, Vice President and Associate Publisher, Penguin Young Readers Group, and Bestselling Author Elizabeth Pratt, Agent’s Assistant, The Wylie Agency Bruce Tracy, Former Senior Editor, Workman Publishing Mary Catherine Nanda, Editorial Associate, The Business of Fashion Adrian Zackheim, Publisher, Penguin Group Megan Rudloff, Publicist, Atria Books

Through the Years with The < 2015 Jake Silverstein, Columbia Publishing Course Editorial Director of the New York Times Magazine, kicked off the second half of the x 2018 Tayari Jones, course Author and professor x 2019 Jordan Pavlin, SVP, Editorial Director y 2018 Emmy-winning at Alfred A. Knopf writer and producer, and a CPC alum, de- Christopher Cerf, son livers the Lindy Hess of Random House Memorial Lecture founder, Bennett Cerf x 2019 Esteemed edi- tor Robert Gottlieb described his life in books

y 2016 Liese Mayer and Kate Lloyd of Scribner gave students a primer on publicity

Career Planning and Placement

ver the years, publishers have come to recognize the advantages of hiring applicants O who possess the skills and knowledge gained at the Columbia Publishing Course. The percentage of course graduates placed in publishing jobs each year is very high, often as much as 95 percent in the first year for students who stay in the New York City metro area. During the course every effort is made to prepare students for entry into the job market. Small-group sessions are held on résumé and cover-letter writing. The director is available to students throughout the program to discuss career plans, interests, and goals. Faculty members are also valuable resources for those seeking information and advice. Recent graduates visit the course to share their job-seeking experiences as well as their experiences working in entry-level positions throughout the industry. While students are not guaranteed job placement, the course offers extensive job opportunities and support services to graduates. New job listings are y Columbia University Graduate School of Journalism posted frequently during the program and are refreshed < 2016 Jazmine Hughes of the New York Times Magazine led a seminar on editing for a magazine’s digital counterpart x 2018 Doug Pepper discussing the lively publishing scene in Canada

y 2020 Students, hearing from Joy Bertan, head of HR, Simon & Schuster, and Miriam Yun, HR Director, ICMPartners > 2019 The book editorial panel discusses the do’s and don’ts of manuscript evaluation constantly throughout the year. The wide-ranging particularly art, history, economics, business, law, music, network of course graduates provides students with and the sciences. However, all applicants must have access to individual companies and publications as well successfully completed the requirements for a bachelor’s as information about specific openings and employment degree by June of 2021. opportunities in general. Students with a demonstrated interest in publishing Students are encouraged to put the Columbia have always gained the most from the course. Those Publishing Course in the first paragraph of their cover who have held publishing internships or worked letters and at the top of their résumés, as the course is on high school or college publications are familiar extremely well-known and respected throughout the with publishing’s long hours and constant deadline publishing industry. Being affiliated with the course can pressures. Those with bookstore, library, or office mean the difference between getting an interview and not experience have skills and insights that publishers find getting one. valuable. Many types of interests and jobs—including volunteer work—can be considered related to publishing. Who Should Apply For example, experience with photography, graphic arts, The course is aimed primarily at recent college sales, and marketing can be good training. Applicants graduates, but other applicants are not discouraged. should know that the course does not emphasize Many students have worked in publishing briefly and instruction in journalism or creative writing. But would like to broaden their understanding of the field applicants with writing experience who seek new ways or have decided to make a career change from an to apply their skills within the world of publishing—as unrelated field. Because entry into the field of publishing editors, publicists, designers, marketing and business is by no means restricted to those who want to work in managers, or publishers—are encouraged to apply. an editorial capacity, the choice of college major has Applicants should note that the Columbia Publishing little bearing on admissions decisions. Although most Course is a highly intensive six-week session, during applicants have majored in English or other subjects in which students are expected to attend classes and the humanities, many have majored in other disciplines, workshops every weekday morning, afternoon, and > 2014 David Remnick, editor of the New Yorker, kicked off the magazine portion of the course x 2017 Students work in groups during the week-long workshops y Shaye Areheart, Director of the Columbia Publishing Course and a thirty-year veteran of Penguin Random House < 2019 Members of the “Innovations in Publish- ing” panel answer students’ questions

evening as well as on many weekends. As a result, Those accepted are required to make a $1,000 students can expect little free time during the course. nonrefundable deposit by May 1 to guarantee enrollment. Advance Assignments Applications In preparation for the program, all students must pplications are accepted any time after complete advance reading and assignments. These December 10, 2020 and students will be told of assignments cover many of the topics to be discussed in A acceptance on a rolling basis–therefore it’s to an lectures and are evaluated by publishing professionals. applicant’s advantage to apply before the March deadline. They are short, practical, and require students to The following items must be received no later than Wednesday, March 10, 2021, to complete the application perform tasks related to the publishing process. process: 1. A completed application form Fees (available at https://bit.ly/cpcapply2021) Tuition & Workshops ...... $5,300 2. A $55.00 nonrefundable application fee (payable by Room ...... $ 2,266 credit card) Board ...... $ 1,095 3. A two-page personal statement and a short answer response (essay prompts for 2021 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 will the entire class has been accepted. be conducted virtually through the career services offices Because of the short length of this course, federally of some colleges during the first half of the spring semester. funded grants and student loans are not available. If The course will also be holding its own virtual information you require financial assistance, we suggest you explore sessions. Applicants should check the course website to direct-to-consumer private loans in addition to applying determine when information sessions will be available. for the course’s modest financial aid fund. DIRECTION: REYMAN STUDIO ART