Columbia Publishing Course Publishing Formerly the Radcliffe Publishing Course Course

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Columbia Columbia Publishing Course Publishing formerly the Radcliffe Publishing Course Course

For Information Shaye Areheart, Director A Professional

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 11 – July 21, 2017 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 handicap. New York City Columbia Publishing Course

areers in publishing have always attracted people with talent and energy and a love of reading. Those Cwith 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. For many, publishing is more than y The class of 2016 a business; it is a vocation that constantly challenges and continuously educates. Choosing a career in publishing is a logical means to combine personal and professional book, magazine, and digital publishing which helps interests for people who have always worked on school students determine their career preferences. During the publications, spent hours browsing in bookstores and first weeks, the course concentrates on book publishing, libraries, or subscribed to too many magazines. from manuscript to bound book, from bookstore sale to The Publishing Course was originally founded in 1947 movie deal. Students study every element of the process: at Radcliffe College in Cambridge, Massachusetts where manuscript evaluation, agenting, editing, design, it thrived as the Radcliffe Publishing Course. In 2001, the production, publicity, sales, e-books, and marketing. course moved to Columbia University’s Graduate School Students also learn about different types of publishing of Journalism. New York City is the heart of American houses, publishing strategies, and career paths. The class publishing and the Publishing Course has taken every then divides into smaller groups for a seven-day book advantage of its new location while building on its workshop. Each workshop group simulates the operation strong legacy. of a publishing house, giving students a chance to apply For sixty-nine years, the Publishing Course has what they’ve learned and to gain hands-on experience in provided an intensive introduction to all aspects of a particular area of book publishing. book and magazine publishing, as well as digital media, The second section of the course is devoted to from evaluations of original manuscripts to the sales magazines and digital media. Magazine and web and marketing of finished products. Students learn professionals lecture on every facet of print and from writers, editors, publishers, design directors and digital publication, from planning, writing, and design illustrators, advertising experts, and publicists—all are to marketing, promotion, and distribution. Through leaders in the industry and many are course graduates. lectures and regular assignments, students learn More than 100 publishing professionals come to the what it takes to publish a successful magazine and Publishing Course each summer to describe the nature of launch a profitable website. During the magazine and their work, conduct workshops and seminars, and answer digital workshop, student groups develop proposals questions in 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 statements, designing layouts and wireframes, assessing lectures, seminars, and workshops, and by completing competitors, determining potential advertisers, and professionally evaluated assignments. By spending developing a branding strategy. By the end of the six time with speakers and instructors at meals and in late- weeks, course graduates have a greater understanding night discussions, working on assignments after class, of book, magazine, and digital publishing than many and living with like-minded colleagues for six weeks, people now working in the field. students take part in a total-immersion program that The final week of the Publishing Course continues to cannot be duplicated by a series of part-time courses. In focus on digital media as well as career planning. Lectures the process, students discover a capacity to assimilate by digital publishing professionals give a broad exposure and produce more than they ever imagined possible. to writing and editing for the Internet. Individual and group The Publishing Course provides a comparison of career guidance sessions are offered throughout the course. The Columbia Publishing Course provides an Workshops unparalleled overview of the entire publishing process, Students apply what they’ve learned in lectures teaches basic publishing skills, and offers students the during two hands-on workshops. These week-long opportunity to meet and learn from top publishing workshops are intensive, collaborative simulations professionals. that require interaction with writers, agents, illustrators, and advertisers. Based on their particular areas of interest, students are assigned to a workshop New York City group and have specific job responsibilities. Teams The New York City publishing community continues of carefully selected mentors work with each group, to welcome students of the course to various special facilitating discussion and providing guidance and events. This year students had a choice between professional advice. visiting Time Inc., where the media company’s human Students have access to a computer lab equipped resources team organized a cocktail event at their with custom models for financial projections, industry beautiful new downtown headquarters; independent databases, and sophisticated design software. At the bookseller Book Culture, to learn the inner workings of end of each workshop, top publishing leaders carefully bookstores; and children’s book publisher Scholastic evaluate every group’s proposal, giving constructive Inc., for an intimate lunch with Arthur Levine. In past criticism and real world feedback. These workshops years HarperCollins, Random House, Macmillan, equip students with the practical knowledge, Hearst, Condé Nast, and Rolling Stone have also experience, and confidence needed to succeed in welcomed our students. The week following the course their careers. there is a job fair and an annual reception for recent graduates and alumni at the home of the legendary Book Workshop Christopher Cerf and his wife, author Katharine Vaz. During the book workshop each student group forms a publishing company that develops six potential titles for Course Faculty publication. Students are responsible for determining The instructors and lecturers, drawn from all areas of the company’s editorial mission, evaluating book ideas the publishing industry, are recognized as experts in and manuscripts, and contacting authors and agents. their fields. Many speakers are course regulars; others Students create marketing, publicity, and subsidiary are invited to speak because they are setting trends rights plans for each book and present their titles to the or challenging traditional methods. Faculty members class at a simulated rights auction. They design book represent publishing’s diversity; some are executives jackets, set production specs, and use computer models in multinational conglomerates, others are successful to create financial projections for each title and for the entrepreneurs, some work with blockbuster franchises, publishing house as a whole. others strive to reach specialized markets. The detailed list of the 2016 faculty is representative of the high Magazine & Digital Workshop caliber of instructors who visit the course each year. For the magazine and digital workshop, student groups develop original concepts for new publications. Editing Seminars Each team finds underserved audiences, evaluates Short seminars are held during the course to teach the competitive titles and sites, and shapes the content and fundamentals of manuscript evaluation and magazine editorial voice of their magazine and its website. editing. For the manuscript evaluation seminar, each They research story ideas and writers and student reads an unpublished manuscript and writes determine regular features and departments. Students a reader’s report recommending whether or not to target advertisers, propose strategies for promotion, publish. Students meet in small groups with editors to circulation, and digital audience development, and set discuss the editing process and methods of manuscript budgets. Designers create layouts that complement evaluation. In the magazine/website editing seminar, editorial content. The final results capture the look, feel, students edit an article that is about to be published in and tone of each magazine and website and include a national magazine or on a website. Seminar sessions detailed long-term business plans. focus on developing effective leads, as well as editing for length and clarity. Wendy Lamb Chris Jackson PJ Mark Bob Miller Brendan Cahill Mary Cummings Chip Kidd Mary Ann Naples Bruce Tracy Rachel Rokicki

2016 Book Program Innovation and the Future of Book Publishing , VP, Corporate Projects, Penguin Random House Book Keynote Brendan Cahill Mary Cummings, VP and Director of Business Development, Diversion John Glusman VP and Editor-in-Chief, W. W. Norton & Company Publishing Corp. Book Ideas Mary Ann Naples, VP and Publisher, Disney Book Group Bruce Tracy, Senior Editor, Workman Publishing Company Book Jackets Where It All Begins: Middle Grade and Young Adult Books Chip Kidd, Associate Art Director and Editor-at-Large, Alfred A. Knopf, Wendy Lamb, VP and Publishing Director, Wendy Lamb Books, Penguin Penguin Random House Random House Business The Other Side of the Fence: Corporate and Startup Life Jenny Frost, SVP, Acquisitions and ePublishing Strategy, Book Clubs, William Schwalbe, EVP, Editorial Development and Content Innovation, Scholastic Inc. Macmillan Book Editorial Seminar Lindy Hess Memorial Lecture Alison Callahan, Executive Editor, Scout Press, Simon & Schuster Scott Moyers, Publisher, Penguin Press, Penguin Random House Brendan Curry, VP, Trade Sales and Marketing, W. W. Norton & My Life in Publishing Company Robert Gottlieb, Editor-at-Large, Alfred A. Knopf, Penguin Random Noah Eaker, Executive Editor, Random House, Penguin Random House House Whitney Frick, Executive Editor, Flatiron Books, Macmillan Agents’ Panel Geoffrey Kloske, President and Publisher, Riverhead, Penguin Random Lisa Bankoff, Literary Agent, ICM House Brettne Bloom, Literary Agent, The Book Group Vanessa Mobley, Executive Editor, Little, Brown and Company, Hachette PJ Mark, Partner, Janklow & Nesbit Associates Book Group Amy Williams, Literary Agent, The Williams Company Julian Pavia, Executive Editor, Crown Trade, Penguin Random House Abby Zidle, Senior Editor, Pocket Books, Simon & Schuster Small Press Publishing Michael Reynolds, Editor-in-Chief, Europa Editions Subsidiary Rights Kris Kliemann, Former VP and Director of Global Rights, John Wiley & Independent Publishing Sons, Inc. Morgan Entrekin, CEO and Publisher, Grove Atlantic, Inc. Publishing on the West Coast Publicity Christina Amini, Publishing Director, Chronicle Books Kate Lloyd, Deputy Director, Publicity, Scribner, Simon & Schuster Liese Mayer, Editor, Scribner, Simon & Schuster My Life as an Agent Chairman, Ed Victor Ltd Literary Agency Marketing Ed Victor, Ruth Liebmann, VP, Account Marketing, Penguin Random House Book Workshop Instructors Matthew Schwartz, VP and Director of Digital Strategy, Random House Group, Penguin Random House Lisa Adams, Director, The Garamond Agency , Director, Subsidiary Rights, Hachette Book Group The Author Nicole Bond Emily Clement, Editor, Arthur A. Levine Books/Scholastic Inc. Tayari Jones, Author and Professor Doe Coover, Literary Agent, The Doe Coover Agency Contracts Erin Curler, Editorial Consultant Dorothy Boyajy, Contracts Director, Crown Publishing Group, Penguin Sara Eisenman, Graphic Designer Random House Susan Ferber, Executive Editor, Oxford University Press Publishing at Graywolf Press Anna Geller, Foreign and Subsidiary Rights Director, The Book Group Fiona McCrae, Director and Publisher, Graywolf Press Kayleigh George, Associate Marketing Director, Blue Rider Press, Publishing Models, Pros and Cons Penguin Random House Bob Miller, President and Publisher, Flatiron Books, Macmillan Gerard Helferich, Author Cathy Hemming, Literary Agent, Cathy D. Hemming Literary Agency Academic Publishing Doug Jones, SVP and Sales Director, Adult Group, HarperCollins Niko Pfund, President and Academic Publisher, Oxford University Press Rick Joyce, Former CMO, Perseus Books Group Double Cup Love Courtney Lix, Editor, Island Press Eddie Huang, Author David Miller, President and Publisher, Island Press Christopher Jackson, Publisher and Editor-in-Chief, One World, Penguin Emily Morrow, Digital Marketing Manager, HarperCollins Children’s Random House Teresa Nicholas, Writer Managing Editorial Edward Orloff, Literary Agent, McCormick Literary Kimberly Goldstein, Director, Managing Editorial, Simon & Schuster Rachel Rokicki, Director of Publicity, Crown Publishers, Penguin Random Kristen Lemire, Managing Editor, Simon & Schuster House Nitsuh Abebe Allison DiBarba Sophie Donelson Luke Hayman Julian Pavia Adam Rapoport Lisa Arbetter Sadie Stein Carl Swanson Kate Lewis

Jill Santopolo, Editorial Director, Philomel Books, Penguin Random Five Lessons from My First Year as an Editor-in-Chief House Lisa Arbetter, Editor-in-Chief, StyleWatch Magazine , Retired Founder and Publisher, Gotham Books, Penguin William Shinker Magazine/Website Ideas Random House Mangesh Hattikudur, Chief Creative Officer, Mental Floss Book Workshop Evaluators Brian Kroski, Chief Digital Officer, American Media Inc. From Print to Digital (and Back Again) Alexandra Cooper, Executive Editor, HarperCollins Children’s Nick Fauchald, Publisher, Dovetail Press Whitney Frick, Executive Editor, Flatiron Books, Macmillan Rick Horgan, Executive Editor, Scribner, Simon & Schuster What I’ve Learned in Eleven Years of Publishing Rachel Kahan, Executive Editor, William Morrow, HarperCollins Sadie Stein, Contributing Editor, The Paris Review Rux Martin, VP and Editorial Director, Rux Martin Books, Houghton Editing at New York Magazine Mifflin Harcourt Carl Swanson, Editor-at-Large, New York Magazine Christy Ottaviano, Publisher, Christy Ottaviano Books, Henry Holt Intro to Social Media Children’s, Macmillan Sree Sreenivasan, Chief Digital Officer, Metropolitan Museum of Art Julia Pastore, Executive Editor, Harper One, HarperCollins Michael Szczerban, Executive Editor, Little, Brown and Company, Leading Social Strategy for a Brand Hachette Book Group Allison DiBarba, Social Media Editor, Time Out New York Matt Weiland, VP and Senior Editor, W. W. Norton & Company Publishing Across Platforms Campbell Wharton, Associate Publisher, Crown Publishing Group, Christopher Cerf, President, Sirius Thinking Ltd Penguin Random House Magazine & Digital Workshop 2016 Magazine & Digital Program Instructors Paco Acosta, Director of Marketing and Analytics, Circulation Specialists Digital Keynote Gabrielle Blitz Rosen, Chief Digital Officer,Beautiful Destinations Kate Lewis, SVP and Editorial Director, Hearst Magazines Digital Media Lynette Brubaker, Partner and Chief Marketing Officer, Lividini & Co. Design and Redesign Donna Bulseco, Acting Fashion Director, Wall Street Journal Luke Hayman, Partner, Pentagram Tara Cox, Managing Editor, Men’s Journal Magazine/Web Editorial Seminar Lauren Doyle, Luxury Account Director, Fast Company Nitsuh Abebe, Story Editor, New York Times Magazine Ilsa Enomoto, Freelance Production Manager Leigh Haber, Books Editor, O, The Oprah Magazine David Foxley, Features Editor, DuJour Media Jazmine Hughes, Associate Digital Editor, New York Times Magazine Byron Freney, Brand Strategy and Communications Consultant Whitney Joiner, Senior Features Editor, Hearst Digital Media Matt Haber, Writer and Editor Chris Knutsen, Executive Editor, WSJ Magazine Tina Johnson, Features Editor, People Magazine Corby Kummer, Senior Editor, Atlantic John Korpics, President, John Korpics Design Aileen Kwun, Senior Editor, Dwell Media Brian Kroski, Chief Digital Officer, American Media Inc. Erik Maza, Digital Features Director, W Magazine Kathryn O’Shea-Evans, Senior Editor, House Beautiful Lauren N. Williams, Features Editor, Essence Naomi Piercey, Content Strategist, Coalesce , Principal and Creative Director, Reyman Studio The Editor James Reyman Michael Solomon, Editor, ForbesLife Adam Rapoport, Editor-in-Chief, Bon Appétit Susan Soriano, Founder, Susan Soriano Communications My Journey from CPC to EIC Tyler Stewart, VP, Product Development, RhinoCo Sophie Donelson, Editor-in-Chief, House Beautiful Chanhtha Thach, Content Director, Spree How to Rock an Edit Test Antonia van der Meer, Author and Editor Magazine & Digital Workshop Native Advertising Panel Evaluators Adam Aston, VP and Editorial Director, T Brand Studio, The New York Laura Bennett, Senior Editor, Slate Times Company Samuel Dangremond, Web Editor, Town & Country Padraig Connolly, SVP and Head of Strategy, 23 Stories, Condé Nast Derek Mead, Editor-in-Chief, Motherboard, VICE Media Gregory Fitzsimmons, Senior Account Manager and Content Marketing Melanie Ryan, Art Director Manager, Promo Communications John Thomas, Publisher, Psychology Today Hallie Johnston, SVP, Client Services, Strategy & Brand Experiences, Kathryn Wertheimer, Editor, Time Out Los Angeles and Time Out San Refinery29, Inc. Francisco Joe Puglisi, Director of Creative Strategy, BuzzFeed y Liese Mayer and Kate Lloyd of Scribner gave students a primer on publicity < Students participated in an y Fiona McCrae of editorial test workshop Graywolf Press spoke taught by Antonia van about the big impact der Meer, the former editor of small presses of Coastal Living x Christina Amini of Chronicle Books shared her experiences of publishing on the West Coast

y Literary agent Ed Victor related stories

from his incredible > William Schwalbe publishing career of Macmillan spoke about being both an author and a publisher

2016 CAREER RESOURCES Career Planning and Résumés, Cover Letters, Bios Barbara Clark, Barbara Clark Agency Placement HR Panel Stacey Olive, Director, Recruitment and Staffing, Time Inc. ver the years, publishers have come to Stephanie Riordan, Recruiter, Penguin Random House recognize the advantages of hiring applicants Jill Salayi, General Manager, Workman Publishing Company who possess the skills and knowledge gained Chelsea Stokes, Assistant Manager, Talent Acquisition, Time Inc. O at the Columbia Publishing Course. The percentage of Alumni Panel course graduates placed in publishing jobs each year Sylvan Creekmore, Assistant Editor, St. Martin’s Press, Macmillan Concepcion de Leon, Editorial Assistant, Glamour is very high, often as much as 95% in the first year for Rose Fox, Editorial Assistant, Crown Publishers, Penguin Random House students who stay in the New York City metro area. Shifa Kapadwala, Publicity Assistant, Simon & Schuster A career fair is held in New York the week after the Zack Knoll, Editorial Assistant, Simon & Schuster course ends. Representatives from a wide range of book, Brianna Kovan, Editorial Assistant, Elle Julie Mullins, Editorial Assistant, Oxford University Press magazine, and digital publishing companies meet with Grace Stearns, Public Relations Manager, Hearst Magazines Digital Media graduates to discuss employment opportunities. At a reception honoring the class, students are introduced to publishing professionals working in New York City and have a chance to connect with the course’s active alumni network. During the course every effort is made to prepare students for entry into the job market. Workshops are held on résumé and cover letter writing. Students meet with course staff throughout the program to discuss career plans, interests, and goals. Faculty members are also valuable resources for those seeking information and > Jazmine Hughes of New York Times Magazine led a seminar on editing for a magazine’s digital counterpart x After the reader’s report seminar, Brendan Curry of W. W. Norton mingled with students

y During the magazine and digital workshop, students conceptualize and mock up print and digital content for a media brand < Students receive feedback from industry experts on homework and workshop assignments advice. Recent graduates often visit the course to share disciplines, particularly art, history, economics, business, their job-seeking experiences as well as their experiences law, music, and the sciences. working in entry-level positions throughout the industry. Students with a demonstrated interest in publishing While students are not guaranteed job placement, have always gained the most from the course. Those who the course offers extensive career placement and have held publishing internships or worked on high school support services. New job listings are posted frequently or college publications are familiar with publishing’s during the program and are available throughout the long hours and constant deadline pressures. Those with year. The wide-ranging network of course graduates bookstore, library, or office experience have skills and provides students with access to individual companies insights that publishers find valuable. Many types of and publications as well as information about specific interests, work, or volunteer experiences can be considered openings and general employment opportunities. related to publishing. For instance, photography, graphic arts, sales, or marketing experience can be good training. Because of other available educational opportunities, Who Should Apply the course does not emphasize instruction in journalism The course is aimed primarily at recent college or creative writing. Applicants with writing experience graduates but other applicants are not discouraged. Many who seek new ways to apply their skills within the students have worked in publishing briefly and would world of publishing—as editors, publicists, designers, like to broaden their understanding of the field or have marketing and business managers, or publishers—are decided to make a career change from an unrelated field. encouraged to apply. The choice of college major is incidental to Applicants should note that the Columbia Publishing acceptance, but applicants must have successfully Course is a highly intensive six-week session, with completed all requirements for a BA or BS degree by students expected to attend classes and workshops every June 2017. Publishing is by no means restricted to the weekday morning, afternoon, and evening, as well as editorial function. While most applicants have majored in many weekends. As a result, students can expect little English and the humanities, many have majored in other free time during the course. y Shaye Areheart, director of the Columbia Publishing Course and a thirty-year veteran y Faculty detailed the of Penguin Random roles students would House assume before the < Course graduates are magazine and digital ready to become the workshop began next generation of > Students attend lectures publishing profes- given by leaders in the sionals publishing industry

Applications Advance Assignments pplications are accepted any time after In preparation for the program, all students must November 15, 2016. The following items must complete advance reading and assignments. These A be received by Wednesday, March 15, 2017, to assignments cover many of the topics to be discussed in complete the application process: lectures and are evaluated by publishing professionals. They are short, practical, and require students to perform 1. A completed application form (available at http://bit. tasks related to the publishing process. ly/applycpc17) 2. $55.00 nonrefundable application fee (payable by credit card) 3. A two-page personal statement and a short answer Fees response (essay prompts for 2017 are given on the Tuition & Workshops ...... $5,300 application) Room ...... $ 2,200 4. Two to three letters of recommendation from Board ...... $ 1,075 employers and/or professors 5. Academic transcripts listing degree date or projected The mandatory board plan includes breakfast, lunch, degree date from each undergraduate and graduate and dinner on weekdays. Students living off campus will institution attended as a degree-seeking student be assessed a $1,075 fee for the mandatory board plan. 6. A current résumé or curriculum vitae Limited financial aid is available. Aid applications can Interviews are not required but are conducted at the be downloaded from our website and must be submitted career services offices of some colleges during the fall by March 15, 2017. Applications are evaluated by the semester or first half of the spring semester; graduating scholarship committee and notification of financial aid seniors should check the course website to determine decisions will be sent after acceptance. whether a visit to campus is planned. Prospective students Due to the short length of this course, federally funded visiting New York City before the March 15 deadline are financial aid and student loans are not available. If you welcome to make an appointment for a brief interview require financial assistance, we suggest you explore with director Shaye Areheart. direct-to-consumer private loans in addition to applying Applicants will be notified of admissions decisions for the course’s modest financial aid fund. on or before April 10, 2017. Those accepted are required

to make a $1,000.00 non-refundable deposit by May 1 to DIRECTION: REYMAN STUDIO ART guarantee enrollment.