Columbia Columbia Publishing Course Publishing formerly the Radcliffe Publishing Course Course

For Information Shaye Areheart, Director Eric Greene, Assistant Director A Professional

Columbia Publishing Course Experience in The Graduate School of Journalism the Business Columbia University of Publishing 2950 Broadway, MC 3801 New York, NY 10027 Tel. 212-854-1898 E-mail: [email protected] @columbiapubcrse June 10 – July 20, 2018 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. 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 2017 is more than 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 book, magazine, and digital publishing which helps professional interests for people who have always worked students determine their career preferences. During the on school publications, spent hours browsing in bookstores first weeks, the course concentrates on book publishing, and 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 seventy-one 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 that professionals. require interaction with writers, agents, illustrators, and advertisers. Based on their particular areas of interest, students are assigned to a workshop group New York City and have specific job responsibilities. Teams of The New York City publishing community continues 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 visiting professional advice. Time Inc., where the media company’s human resources Students have access to a computer lab equipped team organized a cocktail event at their beautiful new with custom models for financial projections, industry downtown headquarters; the HarperCollins exhibit at databases, and sophisticated design software. At the Butler Library celebrating the publisher’s bi-centennial; end of each workshop, top publishing leaders carefully and children’s book publisher Scholastic Inc., for an evaluate every group’s proposal, giving constructive intimate lunch with publisher Arthur A. Levine, J.K. criticism and real world feedback. These workshops Rowling’s editor. In past years HarperCollins, Random equip students with the practical knowledge, House, Macmillan, Hearst, Condé Nast, and Rolling Stone experience, and confidence needed to succeed in have also welcomed our students. The week following their careers. the course there is a job fair and an annual reception for 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 Course Faculty potential titles for publication. Students are The instructors and lecturers, drawn from all areas responsible for determining the company’s editorial of the publishing industry, are recognized as experts in mission, evaluating book ideas and manuscripts, their fields. Many speakers are course regulars; others and contacting authors and agents. Students create are invited to speak because they are setting trends marketing, publicity, and subsidiary rights plans for or challenging traditional methods. Faculty members each book and present their titles to the class at a represent publishing’s diversity; some are executives simulated rights auction. They design book jackets, in multinational conglomerates, others are successful set production specs, and use computer models to entrepreneurs, some work with blockbuster franchises, create financial projections for each title and for the others strive to reach specialized markets. The detailed publishing house as a whole. list of the 2017 faculty is representative of the high caliber of instructors who visit the course each year. Magazine & Digital Workshop For the magazine and digital workshop, student Editing Seminars groups develop original concepts for new publications. Short seminars are held during the course to teach the Each team finds underserved audiences, evaluates fundamentals of manuscript evaluation and magazine competitive titles and sites, and shapes the content and editing. For the manuscript evaluation seminar, each editorial voice of their magazine and its website. student reads an unpublished manuscript and writes They research story ideas and writers and a reader’s report recommending whether or not to determine regular features and departments. Students publish. Students meet in small groups with editors to target advertisers, propose strategies for promotion, discuss the editing process and methods of manuscript circulation, and digital audience development, and set evaluation. In the magazine/website editing seminar, budgets. Designers create layouts that complement students edit an article that is about to be published in editorial content. The final results capture the look, feel, a national magazine or on a website. Seminar sessions and tone of each magazine and website and include focus on developing effective leads, as well as editing detailed long-term business plans. for length and clarity. Wendy Lamb Chris Jackson Jennifer Powell Tayari Jones Brendan Cahill Whitney Frick Chip Kidd Lucas Wittmann Bruce Tracy Cecilia de la Campa

2017 Book Program Marketing , Director of Account Marketing, Penguin Random House Book Keynote Ruth Liebmann Matt Schwartz, VP, Director of Digital Strategy, Penguin Random House John Sargent, CEO, Macmillan Book Ideas Book Covers , Designer, Editor, and Author Bruce Tracy, Senior Editor, Workman Publishing Debbie Millman Where It All Begins: Middle Grade and Young Adult Books Publishing: All the Angles Wendy Lamb, VP and Publishing Director, Wendy Lamb Books, Penguin Sir Harry Evans, Publisher Emeritus, Author and Editor-at-Large, Reuters Random House Book Editorial Seminar Publicity Calvert Morgan, VP, Executive Editor, Riverhead, Penguin Random Kate Lloyd, Deputy Director of Publicity, Scribner, Simon & Schuster House Rosie Mahorter, Associate Publicist, Scribner, Simon & Schuster Chris Jackson, Publisher, Editor-in-Chief, One World, Penguin Random House Lindy Hess Memorial Lecture Katie Adams, Editor, W.W. Norton & Company Susan Kamil, Publisher, Random House Publishing Group, Penguin Whitney Frick, Executive Editor, Flatiron Books, Macmillan Random House Noah Eaker, Executive Editor, Random House Publishing Group, Penguin Academic Publishing Random House Niko Pfund, President and Academic Publisher, Oxford University Press Geoffrey Kloske, President and Publisher, Riverhead, Penguin Random Small Press Publishing House Michael Reynolds, Editor-in-Chief, Europa Editions Vanessa Mobley, Executive Editor, Little, Brown and Company, Hachette Independent Publishing Book Group , Senior Editor, Pocket Books, Simon & Schuster Morgan Entrekin, CEO and Publisher, Grove Atlantic, Inc. Abby Zidle Managing Editorial Becoming an Agent Kimberly Goldstein, Director of Managing Editorial, Simon & Schuster Steve Ross, Director, Book Division, Abrams Artists Agency Kristen Lemire, Managing Editor, Simon & Schuster Agents’ Panel Weird in a World That’s Not Brettne Bloom, Literary Agent, The Book Group Stephanie Hitchcock, Editor, HarperCollins/HarperBusiness Jay Mandel, Literary Agent, William Morris Endeavor Byrd Leavell, Literary Agent, Waxman Leavell Literary Agency Anna Stein, Literary Agent, ICM Partners Jennifer Romolini, Author Amy Williams, Literary Agent, The Williams Company The Author Production Tayari Jones, Author and Professor Erin Sommerfeld, Sales Associate, Coral Graphics Teresa Nicholas, Author Contracts Dorothy Boyajy, Contracts Director, Crown Publishing Group, Penguin Profit and Loss Random House Lisa Adams, Director, The Garamond Agency Perspectives on College Publishing Audiobooks Sarah Touborg, Executive Editor, W.W. Norton & Company Katie O’Connor, Manager, Content Discovery & Engagement, Audible Maddy Rombes, Editorial Assistant, W.W. Norton & Company Publishing on the West Coast Subrights and the Agency Christina Amini, Publishing Director, Chronicle Books Jennifer Powell, Director of Rights and Co-Editions, Scholastic Inc. One Foot in Publicity, One Foot in Editorial Cecilia de la Campa, Subsidiary Rights, Writers House Cary Goldstein, VP, Director of Publicity and Senior Editor, Simon & Subsidiary Rights Schuster Kris Kliemann, President, Kliemann and Company Consulting My Life in Publishing Indie Book Sellers Panel Robert Gottlieb, Editor-at-Large, Alfred A. Knopf, Penguin Random Ashanti White-Wallace, Inventory Director and Backlist Buyer, WORD House Bookstores Hannah Oliver Depp, Operations Director, WORD Bookstores Book Workshop Instructors Christine Onorati, Owner and Buyer, WORD Bookstores Lisa Adams, Director, The Garamond Agency Innovations in Publishing Nicole Bond, Director, Subsidiary Rights, Hachette Book Group Brendan Cahill, VP, Corporate Projects, Penguin Random House Emily Clement, Editor, Arthur A. Levine Books/Scholastic Inc. Adrian Norman, VP, General Manager, Barnes & Noble Erin Curler, Editorial Consultant Kate Rados, VP, Director of Community Development, Crown Publishing Sara Eisenman, Graphic Designer Group, Penguin Random House MacKenzie Fraser-Bub, Literary Agent, Fraser-Bub Literary Lucas Wittmann, Chairman, House of SpeakEasy Susan Ferber, Executive Editor, Oxford University Press Christina Amini Nitsuh Abebe Sophie Donelson Luke Hayman Pamela Paul Adam Rapoport Chris Knutsen Debbie Millman Carl Swanson Drew Amer

Anna Geller, Foreign and Subsidiary Rights Director, The Book Group The Editor Gerald Helferich, Author Adam Rapoport, Editor-in-Chief, Bon Appétit Rick Joyce, Former CMO, Perseus Books Group From CPC to New York Magazine Daisy Kline, Former VP of Merchandising, Barnes & Noble Katy Schneider, Associate Editor, New York Magazine Courtney Lix, Editor, Island Press Joshua Marwell, President of Sales, HarperCollins Design and Redesign David Miller, President and Publisher, Island Press Luke Hayman, Partner, Pentagram Vanessa Moody, Design Assistant, Disney Hyperion What it Means to Cover Books at The New York Times Julie Mullins, Editorial Assistant, Oxford University Press Pamela Paul, Editor, New York Times Book Review , Author Teresa Nicholas Social Strategy Molly O’Neill, Literary Agent, Waxman Leavell Agency Tashween Ali, Director of Social Strategy, Hearst Corporation Edward Orloff, Literary Agent, McCormick Literary Megan Lasher, Social Strategy Manager, Hearst Corporation Molly Pieper, Marketing Coordinator, Penguin Books, Penguin Random House Native Advertising Rachel Rokicki, Director of Publicity, Crown Publishing Group, Penguin Drew Amer, Director of Integrated Marketing, Hearst Corporation Random House Editing at New York Magazine William Shinker, Retired Founder and Publisher, Gotham Books, Penguin Carl Swanson, Editor-at-Large, New York Magazine Random House How to Rock an Edit Test Book Workshop Evaluators Antonia van der Meer, Author and Editor Publishing Across Platforms Elizabeth Edmunds, Associate Publisher, Workman Publishing Christopher Cerf, President, Sirius Thinking Ltd Stephanie Frerich, Senior Editor, Portfolio/Sentinel/Current, Penguin Random House Jennifer Hershey, Senior VP and Editor-in-Chief, Ballantine Bantam Magazine & Digital Workshop Dell, Penguin Random House Instructors Rick Horgan, Executive Editor, Scribner, Simon & Schuster Paco Acosta, Director of Marketing and Analytics, Circulation Specialists Gerald Howard, Executive Editor, Doubleday, Penguin Random House Gabrielle Blitz Rosen, Founder and CEO, Townhouse Digital Rotem Moscovich, Executive Editor, Disney Hyperion Donna Bulseco, Managing Editor, Intima: A Journal of Narrative Medicine Samuel Nicholson, Editor, Random House Publishing Group, Penguin Tara Cox, Managing Editor, Rachael Ray Every Day Random House Lauren Doyle, Luxury Account Director, Fast Company Weslie Turner, Assistant Editor, Arthur A. Levine Books/Scholastic Inc. Ilsa Enomoto, Freelance Production Manager Campbell Wharton, Associate Publisher, Crown Publishing Group, Byron Freney, Brand Strategy and Communications Consultant Penguin Random House Matt Haber, Writer and Editor Lucas Wittmann, Chairman, House of SpeakEasy Emily Hughes, Co-Founder, Loup Digital Tina Johnson, Features Editor, People Magazine John Korpics, President, John Korpics Design 2017 Magazine & Digital Program Kathryn O’Shea-Evans, Senior Editor, House Beautiful Digital Keynote Naomi Piercey, Content Strategist, Coalesce Derek Mead, Executive Editor, Global, VICE James Reyman, Principal and Creative Director, Reyman Studio Magazine Keynote Michael Solomon, Editor, ForbesLife Liz Egan, Books Editor, Glamour Susan Soriano, Founder, Susan Soriano Communications , Freelance UX Consultant Creating an Online Magazine Tyler Stewart Chanhtha Thach, Content Director, Spree Kristi DiLallo, Founder and Editor-in-Chief, The Grief Diaries Magazine/Website Editorial Seminar Magazine & Digital Workshop Nitsuh Abebe, Story Editor, The New York Times Magazine Jazmine Hughes, Associate Digital Editor, The New York Times Magazine Evaluators Lauren Iannotti, Executive Editor, Rachael Ray Every Day Sophie Donelson, Editor-in-Chief, House Beautiful Shannon Keating, LGBT Editor, BuzzFeed David Foxley, Digital Editor, Architectural Digest Chris Knutsen, Executive Editor, WSJ Magazine Concepcion de Leon, Digital Writer, New York Times Book Review Mitch Moxley, Executive Editor, Maxim Michael Liss, Director of Project and Product Management, New York Post Taiia Smart Young, Entertainment Director, Latina Media Ventures John Thomas, VP and Publisher, Psychology Today Lauren N. Williams, Features Editor, Essence Miranda van Gelder, Lifestyle Director, Doctor Oz, The Good Life > Shannon Keating, Jazmine Hughes and Lauren N. Williams gather to teach magazine editing x Sir Harry Evans talks seminars about his new book, Do I Make Myself Clear?

y Associate Publisher Campbell Wharton with students x William Shinker and MacKenzie Fraser- Bub, Book Workshop faculty members

y Michael Reynolds discusses his list with a student < Kris Kliemann teaching subrights

2017 CAREER RESOURCES Career Planning and Résumés, Cover Letters, Bios Barbara Clark, Barbara Clark Agency Placement Jill Salayi, General Manager, Workman Publishing Company ver the years, publishers have come to HR Experts Panel Abigail Alderman, Managing Editor of Marketing Communications, recognize the advantages of hiring applicants Hearst Corporation O who possess the skills and knowledge gained Anita Jain, Talent Acquisition Specialist, Oxford University Press at the Columbia Publishing Course. The percentage of Miriam Yun, HR Manager, ICM Partners course graduates placed in publishing jobs each year Alumni Panel is very high, often as much as 95% in the first year for Sarah Alpert, Editorial Assistant, Algonquin Young Readers students who stay in the New York City metro area. Cameron Chase, Rights Assistant, Little, Brown for Young Readers, A career fair is held in New York the week after the Hachette Book Group Erica Gonzalez, Assistant Editor, Random House Publishing Group, course ends. Representatives from a wide range of book, Penguin Random House magazine, and digital publishing companies meet with Haley Heidemann, Agent’s Assistant, William Morris Endeavor graduates to discuss employment opportunities. At a Jeremy Price, Assistant Editor, Heleo reception honoring the class, students have a chance to William Vogan, Editorial Assistant, Schwartz & Wade Books, Penguin connect with the course’s active alumni network. Random House During the course every effort is made to prepare Melissa Warten, Editorial Assistant, FSG Books for Young Readers, Macmillan students for entry into the job market. Workshops are Orientation Panel held on résumé and cover letter writing. Students meet Leora Bernstein, Sales Manager, Simon and Schuster with course staff throughout the program to discuss Gracie Dietshe, Assistant, Aragi, Inc. career plans, interests, and goals. Faculty members are Erin Kibby, Marketing Coordinator, Workman Publishing Company also valuable resources for those seeking information Annie Locke, Editorial Assistant, Open Road Integrated Media and advice. Recent graduates often visit the course Sylvan Creekmore, Assistant Editor, St. Martin’s Press, Macmillan to share their job-seeking experiences as well as < Magazine & Digital faculty addressing students x Susan Kamil gives the 3rd Annual Lindy Hess Memorial Lecture

y Morgan Entrekin, CEO and Publisher of Grove Atlantic and former CPC student > The owners and staff of WORD Bookstores

their experiences working in entry-level positions disciplines, particularly art, history, economics, business, throughout the industry. law, music, and the sciences. While students are not guaranteed job placement, Students with a demonstrated interest in publishing the course offers extensive career placement and have always gained the most from the course. Those who support services. New job listings are posted have held publishing internships or worked on high school frequently during the program and are available or college publications are familiar with publishing’s throughout the year. The wide-ranging network of long hours and constant deadline pressures. Those with course graduates provides students with access to bookstore, library, or office experience have skills and individual companies and publications as well as insights that publishers find valuable. Many types of information about specific openings and general interests, work, or volunteer experiences can be considered 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 2018. 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. > Emmy Award-winning writer and producer, Christopher Cerf x 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 < The class at Time, Inc.’s Manhattan headquarters

Applications Advance Assignments pplications are accepted any time after In preparation for the program, all students must November 25, 2017. The following items must complete advance reading and assignments. These A be received by Friday, March 9, 2018, to assignments cover many of the topics to be discussed in complete the application process: lectures and are evaluated by publishing professionals. 1. A completed application form They are short, practical, and require students to (available at http://bit.ly/applycpc18) perform tasks related to the publishing process. 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 2018 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 institution attended as a degree-seeking student and dinner on weekdays. Students living off campus will 6. A current résumé or curriculum vitae be assessed a $1,075 fee for the mandatory board plan. Limited financial aid is available. Aid applications Interviews are not required but are conducted at the can be downloaded from our website and must be career services offices of some colleges during the fall submitted by March 9, 2018. Applications are evaluated semester or first half of the spring semester; graduating by the scholarship committee and notification of seniors should check the course website to determine whether a visit to campus is planned. Prospective students financial aid decisions will be sent after acceptance. visiting New York City before the March 9 deadline are Due to the short length of this course, federally welcome to make an appointment for a brief interview funded financial aid and student loans are not available. with director Shaye Areheart. If you require financial assistance, we suggest you Applicants will be notified of admissions decisions explore direct-to-consumer private loans in addition to on or before April 2, 2018. Those accepted are required applying for the course’s modest financial aid fund.

to make a $1,000 non-refundable deposit by May 1 to DIRECTION: REYMAN STUDIO ART guarantee enrollment.