Columbia Columbia Publishing Course Publishing formerly the Radcliffe Publishing Course Course

For Information Shaye Areheart, Director A Professional Columbia Publishing Course The Graduate School of Journalism Experience in Columbia University the Business 2950 Broadway, MC 3801 New York, NY 10027 of Publishing Tel. 212-854-1898 E-mail: [email protected] @columbiapubcrse https://journalism.columbia.edu/publishing June 9 – July 19, 2019

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 reading. CThose 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. For many, publishing y The class of 2018 is more than a business; it is a vocation that constantly challenges and continuously educates. Choosing a career in publishing is a logical way to combine personal and book, magazine, and digital publishing, which helps professional interests for people who have always worked them determine their career preferences. During on school publications, spent hours browsing in bookstores the first weeks, the course concentrates on book and libraries, or subscribed to too many magazines. publishing—from manuscript to bound book, from The Columbia Publishing Course was originally bookstore sale to movie deal. Students study every founded in 1947 at Radcliffe College in Cambridge, element of the process: manuscript evaluation, Massachusetts, where it thrived as the Radcliffe agenting, editing, design, production, publicity, sales, Publishing Course. In 2001, the course moved to e-books, and marketing. Students also learn about Columbia University’s Graduate School of Journalism. different types of publishing houses, publishing New York City is the heart of American publishing, and strategies, and career paths. The class then divides the Publishing Course has taken every advantage of its into small groups for a seven-day book workshop. Each current location while building on its strong legacy. workshop group simulates the operation of a publishing For seventy-two years, the Publishing Course has house, giving students a chance to apply what they’ve provided an intensive introduction to all aspects of book learned and to gain hands-on experience in a particular and magazine publishing, from evaluations of original area of book publishing. manuscripts to the sales and marketing of finished The second section of the course is devoted to products. Students learn from writers, editors, publishers, magazines and digital media. Magazine and Web design directors and illustrators, advertising experts, and professionals lecture on every facet of print and publicists—all are leaders in the industry, and many are digital publication, from planning, writing, and design course graduates. More than one hundred publishing to marketing, promotion, and distribution. Through professionals come to the Publishing Course each lectures and regular assignments, students learn summer to describe the nature of their work, conduct what it takes to publish a successful magazine and workshops and seminars, and answer questions in launch a profitable website. During the magazine and classroom discussions and informal sessions. digital workshop, student groups develop proposals The curriculum is very intensive. Students learn for new print and online publications, researching about publishing through a rigorous schedule of lectures possible audiences, establishing editorial mission and group activities and by completing professionally statements, designing layouts and wireframes, assessing evaluated assignments. By spending time with speakers competitors, determining potential advertisers, and and instructors at meals and in late-night discussions, developing a branding strategy. By the end of the six working on assignments after classes end, and living weeks, course graduates have a greater understanding with like-minded colleagues for six weeks, students of book, magazine, and digital publishing than many take part in a total-immersion program that cannot people working in the field do. be duplicated by a series of part-time courses. In the The final week of the Publishing Course ties together process, students discover a capacity to assimilate and everything students have learned in the previous five produce more than they ever imagined possible. weeks and features lectures, field trips, and additional The Publishing Course allows students to compare career guidance. The Columbia Publishing Course provides an workshops are intensive, collaborative simulations that unparalleled overview of the entire publishing process, require interaction with writers, agents, illustrators, teaches basic publishing skills, and offers students the and advertisers. Based on their particular areas of opportunity to meet and learn from top publishing interest, students are assigned to a workshop group professionals. and take on specific job responsibilities. Teams of carefully selected mentors work with each group, New York City facilitating discussion and providing guidance and The New York City publishing community continues professional advice. to welcome students of the course to various special Students also have access to a computer lab events. In the past, students have had a choice between equipped with sophisticated design software. In visiting Time, Inc., where the media company’s human addition, groups work with custom-designed models resources team organized a cocktail event at their for financial projections and up-to-date industry beautiful downtown headquarters, and children’s book databases. At the end of each workshop, top publishing publisher Scholastic, Inc., for an intimate lunch with leaders carefully evaluate each group’s results, giving publisher Arthur A. Levine, J. K. Rowling’s editor. In constructive criticism and real-world feedback. past years HarperCollins, Random House, Macmillan, These workshops equip students with the practical Hearst, Condé Nast, and Rolling Stone have also knowledge, experience, and confidence needed to welcomed our students. succeed in their careers. Course Faculty Book Workshop The instructors and lecturers, drawn from all areas During the book workshop, each student group of the publishing industry, are recognized as experts in forms a hypothetical publishing company that their fields. Many speakers are course regulars; others 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 entrepreneurs, some work with blockbuster franchises, marketing, publicity, and subsidiary rights plans for and others strive to reach specialized markets. The each book and present their titles to the class at a detailed list of the 2018 faculty (see the following simulated rights auction. They design book jackets, pages) is representative of the high caliber set production specs, and use computer models to of instructors who teach at the course each year. build financial projections for each title and for the publishing house as a whole. Editing Seminars Short seminars are held during the course to teach Magazine-Digital Workshop the fundamentals of book manuscript evaluation For the magazine-digital workshop, student and magazine editing. For the manuscript evaluation groups develop original concepts for hypothetical new seminar, each student reads an unpublished manuscript publications. Each team finds underserved audiences, and writes a reader’s report recommending whether evaluates competitive titles and sites, and shapes the or not to publish. Students meet in small groups with content and editorial voice of its magazine and the editors to discuss the editing process and methods of accompanying website. manuscript evaluation. In the magazine-digital editing Students research story ideas and writers and seminar, students edit an article that is about to be published in a national magazine or on a website. establish regular features and departments. They Seminar sessions focus on developing effective ledes target advertisers; propose strategies for promotion, as well as editing for length and clarity. circulation, and digital audience development; and set budgets. Designers create layouts that complement Workshops editorial content. The final results capture the look, feel, Students apply what they’ve learned in lectures and tone of each magazine and website and include during two hands-on workshops. These weeklong detailed long-term business plans. Wendy Lamb Morgan Entrekin Jennifer Powell Tayari Jones Michael Reynolds Whitney Frick Michael Selleck Lucas Wittmann Ruth Liebmann Cecilia de la Campa

2018 Book Program Whitney Frick, VP and Editorial Director, Dial Press, Penguin Random House Book Keynote: Revering the First Amendment Paul Golob, Executive Editor, Henry Holt, Macmillan John Sargent, CEO, Macmillan Julianna Haubner, Associate Editor, Simon & Schuster Book Ideas Victory Matsui, Editor, One World, Penguin Random House Bruce Tracy, Senior Editor, Workman Publishing Asya Muchnick, VP and Executive Editor, Little, Brown, Hachette Book Where It All Begins: Middle Grade and Young Adult Books Group Wendy Lamb, VP and Publishing Director, Wendy Lamb Books, Penguin Courtney Young, Executive Editor, Riverhead Books, Penguin Random Random House House Abby Zidle, Associate Director of Marketing, Gallery Books, Simon & Perspectives on College Publishing Schuster Sarah Touborg, Executive Editor, W. W. Norton The Author Lindy Hess Memorial Lecture Tayari Jones, Bestselling Author of the 2018 Oprah’s Book Club Choice, Sara Nelson, VP and Executive Editor, HarperCollins An American Marriage Academic Publishing Production Niko Pfund, President and Academic Publisher, Oxford University Press Erin Sommerfeld, Sales Associate, Coral Graphics Independent Publishing The Publisher and the Agency: A Tale of Sub Rights Morgan Entrekin, CEO and Publisher, Grove Atlantic, Inc. Cecilia de la Campa, Director, Subsidiary Rights, Writers House Getting the Word Out Jennifer Powell, Director of Rights and Co-Editions, Scholastic, Inc. Jonny Diamond, Editor in Chief, Literary Hub Profit and Loss Publicity and the Book Lisa Adams, Director, the Garamond Agency Kate Lloyd, Deputy Director of Publicity, Scribner, Simon & Schuster The Indie Press Creating Kokila: Celebrating Diversity Kate Gale, Co-Founder and Managing Editor, Red Hen Press Namrata Tripathi, VP and Publisher, Kokila, Penguin Random House Publishing on the West Coast Joanna Cárdenas, Editor, Kokila, Penguin Random House Christina Amini, Publishing Director, Chronicle Books Jasmin Ruber, Associate Art Director, Kokila, Penguin Random House Innovations in Publishing Sydnee Monday, Editorial Assistant, Kokila, Penguin Random House Brendan Cahill, VP, Penguin Random House Labs Small Press Publishing Lynn Andriani, Food Editor, Oprah.com Michael Reynolds, Editor in Chief, Europa Editions Alison Callahan, Senior Editor, Scout Press; Executive Editor, Gallery How to Read a Contract Books, Simon & Schuster Dorothy Boyajy, Contracts Director, Crown Publishing Group, Penguin Alyssa Eisner Henkin, Senior Vice President, Trident Media Group Random House Matthew Polly, Bestselling Author What Are Subsidiary Rights? Children’s Publishing Kris Kliemann, President, Kliemann and Company Consulting Molly O’Neill, Literary Agent, Root Literary Understanding Marketing My Life in Publishing Ruth Liebmann, Director of Account Marketing, Penguin Random House Robert Gottlieb, Editor at Large, Alfred A. Knopf, Penguin Random Matt Schwartz, VP of Digital Strategy, Penguin Random House House Publishing in Canada On Becoming an Agent Doug Pepper, President and Publisher, McClelland & Stewart, Penguin Steve Ross, Director, Book Division, Abrams Artists Agency Random House Canada Book Workshop Instructors Managing Editorial Kimberly Goldstein, Director of Managing Editorial, Simon & Schuster Lisa Adams, Director, the Garamond Agency Kristen Lemire, Managing Editor, Simon & Schuster Leora Bernstein, Telemarketing Sales Manager, Simon & Schuster Nicole Bond, Director, Subsidiary Rights, Hachette Book Group The Agents’ Panel Emily Clement, Executive Editor, Scholastic, Inc. , Literary Agent, ICM Partners Sloan Harris Erin Curler, Editorial Consultant Esther Newberg, Partner, ICM Partners Sara Eisenman, Graphic Designer Amy Williams, Founder, the Williams Company Susan Ferber, Executive Editor, Oxford University Press What Editors Do MacKenzie Fraser-Bub, Founder, Fraser-Bub Literary Peter Ginna, Freelance Editor and Writer Gerard Helferich, Author Book Editorial Seminar Anna Knutson Geller, Foreign and Subsidiary Rights Director, the Book Group Noah Eaker, Executive Editor, Flatiron Books, Macmillan Courtney Lix, Editor, Island Press Christina Amini Nitsuh Abebe Antonia van Michael Liss Jazmine Hughes Adam Rapoport Chris Knutsen Dory Carr-Harris Carl Swanson Drew Amer der Meer David Miller, President and Publisher, Island Press Jeremy Price, Associate Editor, Heleo Vanessa Moody, Design Assistant, Disney Publishing Worldwide Janine Puhak, Associate Lifestyle Editor, FoxNews.com Julie Mullins, Assistant Editor, Oxford University Press Taiia Smart Young, Founder, Smart Girl Media Teresa Nicholas, Author Carl Swanson, Editor at Large, New York Molly O’Neill, Literary Agent, Root Literary Publicity and Public Relations Edward Orloff, Literary Agent, McCormick Literary Aude White, Communications Manager, New York Julia Pastore, Founder, Julia Pastore Editorial Services How Digital Product Is the Nexus of the Universe , Assistant Marketing Manager, Penguin Publishing Group, Molly Pieper Michael Liss, Senior Director of Project and Product Management, Penguin Random House New York Post Rachel Rokicki, Director of Publicity, Crown Publishing Group, Penguin Random House Creating an Environment Erik Maza, Style Features Director, Town & Country Peggy Samedi, Production Manager, Knopf Doubleday Publishing Group, Penguin Random House How to Rock an Edit Test Michael Selleck, Retired Executive VP, Sales and Marketing, Simon & Antonia van der Meer, Former Editor in Chief, Coastal Living and Modern Schuster Bride William Shinker, Retired Founder and Publisher, Gotham Books, Penguin Publishing Across Platforms Random House Christopher Cerf, Author and Award-Winning Composer and Producer Mary van Akin, Associate Director of Publicity, Macmillan Children’s Native Advertising Publishing Group Drew Amer, Director of Integrated Marketing, Hearst Corporation Melissa Warten, Editorial Assistant, Farrar, Straus and Giroux Books for Editing at New York Young Readers, Macmillan Carl Swanson, Editor at Large, New York Online Magazines Book Workshop Evaluators Kristi DiLallo, Founder and Editor in Chief, The Grief Diaries Warren Bass, Former Executive Editor, Penguin Press, Penguin Random House Magazine-Digital Workshop Timothy Bent, Executive Editor, Oxford University Press Andrew Blauner, Founder, Blauner Books Instructors John Duff, Former Publisher, Perigee Books, Penguin Random House Paco Acosta, Director of Marketing and Analytics, Circulation Stephanie Frerich, Executive Editor, Simon & Schuster Specialists Sarah Ketchersid, Senior Executive Editor, Candlewick Press Gabrielle Blitz-Rosen, Founder and CEO, Townhouse Digital Emily Loose, Freelance Editor and Publishing Consultant Lynette Harrison Brubaker, Founder, Gemini 5.23 Jill Santopolo, Associate Publisher, Philomel Books, Penguin Random Donna Bulseco, Managing Editor, Intima: A Journal of Narrative House Medicine Campbell Wharton, Associate Publisher, Crown Publishing Group, Tara Cox, Managing Editor, Rachael Ray Every Day Penguin Random House Will Dana, Former Managing Editor, Rolling Stone Lauren Doyle, Director of Digital Brand Partnerships, CNN George Witte, Editor in Chief, St. Martin’s Press, Macmillan Ilsa Enomoto, Freelance Production Manager Byron Freney, Brand Strategy and Communications Consultant Emily Hughes, Co-Founder, Loup Digital 2018 Magazine and Digital John Korpics, President, John Korpics Design; Creative Director, Harvard Business Review Program Brian Kroski, Chief Digital Officer, American Media, Inc. Magazine Keynote Kathryn O’Shea-Evans, Former Senior Editor, House Beautiful; Writer Carol A. Smith, Vice President, Publisher, Harper’s Bazaar James Reyman, Principal and Creative Director, Reyman Studio Chris Rovzar, Editorial Director, Bloomberg Pursuits; Managing Editor, Digital Keynote Global Luxury Dory Carr-Harris, Executive Editor, VICE Digital US Michael Solomon, Editor, ForbesLife The Editor Susan Soriano, Founder, Susan Soriano Communications, LLC Adam Rapoport, Editor in Chief, Bon Appétit Tyler Stewart, Director of Digital Strategy, Galvanized Media Podcasting Lucas Wittmann, Chairman and Co-Founder, House of SpeakEasy Magazine-Digital Workshop Evaluators Magazine-Digital Editorial Seminar David Foxley, Digital Editor, Architectural Digest Nitsuh Abebe, Story Editor, The New York Times Magazine Marina Garcia-Vasquez, Director of Community, VICE Media , Freelance Editor, The Real Deal Jeffery Gleaves, Digital Director, The Paris Review Leslie Hendrickson Corby Kummer, Senior Editor, The Atlantic Jazmine Hughes, Associate Editor, The New York Times Magazine Chanhtha Thach, Content and Marketing Consultant, CakeWorks Chris Knutsen, Executive Editor, WSJ Magazine John Thomas, Executive Vice President, Sussex Publishers; Publisher, Psychology Today < Carol A. Smith, publisher of Harper's Bazaar, giving the magazine keynote address x Lynn Andriani, Brendan Cahill, Alison Callahan, Alyssa Eisner Henkin, and Matthew Polly (all alumni) debating innovations in publishing

y Doug Pepper discussing the lively publishing scene in Canada > Students excitedly awaiting word of their book workshop groups

2018 CAREER RESOURCES Career Planning and Résumés, Cover Letters, and Bios John Duff, Former Publisher, Perigee Books, Penguin Random House Placement Jill Salayi, General Manager, Workman Publishing HR Experts Panel ver the years, publishers have come to Anita Jain, Talent Acquisition Specialist, Oxford University Press recognize the advantages of hiring applicants Ashley Orlando, Human Resources Recruiter, Hachette Book Group who possess the skills and knowledge gained Elizabeth Thornton, Recruiter, Penguin Random House O at the Columbia Publishing Course. The percentage of Miriam Yun, Human Resources Director, ICM Partners course graduates placed in publishing jobs each year is Alumni Panel Celine Aenlle-Rocha, Marketing Coordinator, Oxford University Press very high, often as much as 95 percent in the first year for Cameron Chase, Subsidiary Rights Associate, Little, Brown, Hachette students who stay in the New York City metro area. Book Group An afternoon career fair is held in New York the Amanda German, Sales Assistant, Workman Publishing week after the course ends. Representatives from a Erin Kibby, Marketing Assistant, Workman Publishing Jake Lans, Associate Scout, Mary Ann Thompson Associates wide range of book, magazine, and digital publishing Avi Molder, Institutional Sales Coordinator, W. W. Norton companies meet with graduates to discuss employment Mia Vitale, Agent’s Assistant, the Wylie Agency opportunities. That same week, a reception for William Vogan, Former Editorial Assistant, Schwartz & Wade Books, Penguin Random House graduates and alumni is held at the home of the Katie Zanecchia, Former Literary Agent, Ross Yoon Agency legendary author and former publisher Christopher Cerf Orientation Panel and his wife, author Katherine Vaz. There, students have Hanna Gibeau, Editorial Assistant, Ballantine Books, Penguin Random a chance to connect with the course’s active network of House past graduates. Erica Gonzalez, Associate Editor, Random House, Penguin Random During the course every effort is made to prepare House Maddie Jones, Assistant Editor, Henry Holt, Macmillan students for entry into the job market. Small-group Elisabeth Kingren-Hawkins, Sales Assistant, Children’s, Simon & sessions are held on résumé and cover-letter writing. Schuster Students meet with the director throughout the Mia Licciardi, Editorial Assistant, Scholastic, Inc. > Esther Newberg and Sloan Harris of ICM Partners talking about the challenges and joys of being literary agents x Students networking— an integral part of the course

y The assistant director mingling with students after class x Bruce Tracy of Workman Publishing explaining how editors come up with great book ideas

y Emmy Award-winning writer and producer Christopher Cerf < Student teams working on strategy

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 2019. 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 exploring story ideas at the magazine and digital workshop x Publishing legend Bob Gottlieb sharing advice and wisdom y Shaye Areheart, director of the Columbia Publishing Course and a thirty- year veteran of Penguin Random House > Successful in their publishing careers, alumni love to give back to the course

workshops every weekday morning, afternoon, and evening Applicants will be notified of admissions decisions as well as on many weekends. As a result, students can on or before April 1, 2019. Those accepted are required expect little free time during the course. to make a $1,000 nonrefundable deposit by May 1 to guarantee enrollment. Applications Advance Assignments pplications are accepted anytime after In preparation for the program, all students must December 7, 2018. The following items must be complete advance reading and assignments. These A received by Monday, March 4, 2019, to complete assignments cover many of the topics to be discussed in the application process: lectures and are evaluated by publishing professionals. They are short, practical, and require students to 1. A completed application form perform tasks related to the publishing process. (available at http://bit.ly/applycpc19) 2. A $55.00 nonrefundable application fee (payable by credit card) Fees 3. A two-page personal statement and a short answer Tuition & Workshops ...... $5,300 response (essay prompts for 2019 are given on the Room ...... $ 2,200 application) Board ...... $ 1,075 4. Two to three letters of recommendation from employers and/or professors The mandatory board plan includes breakfast, lunch, 5. Academic transcripts listing degree date or expected and dinner on weekdays. Students living off campus will degree date from each undergraduate and graduate be assessed a $1,075 fee for the mandatory board plan. institution attended as a degree-seeking student Limited financial aid is available. Aid applications can 6. A current résumé or curriculum vitae be downloaded from our website and must be submitted Interviews are not required, but information sessions by March 4, 2019. Applications are evaluated by the are conducted at the career services offices of some scholarship committee, and notification of financial aid colleges during the fall semester or first half of the spring decisions will be sent after acceptance. semester; graduating seniors should check the course Because of the short length of this course, federally website to determine whether a visit to campus is planned. funded grants and student loans are not available. If Prospective students visiting New York City before the you require financial assistance, we suggest you explore March 4 deadline are welcome to make an appointment direct-to-consumer private loans in addition to applying

for a brief interview with the director, Shaye Areheart. for the course’s modest financial aid fund. DIRECTION: REYMAN STUDIO ART