Young To Publishing Group

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Young to Publishing GroupTHE YOUNG TO PUBLISHING GROUP IS AN INITIATIVE OF THE ASSOCIATION OF AMERICANPUBLISHERS (AAP) THAT STRIVES TO GIVE ENTRY-LEVEL AND JUNIOR INDUSTRY EMPLOYEES(TYPICALLY WITH 0-5 YEARS OF PUBLISHING EXPERIENCE) A CHANCE TO BUILD A COMMUNITYOUTSIDE OF THEIR OWN PUBLISHING HOUSE AND TO EDUCATE THEMSELVES ABOUT THEPUBLISHING INDUSTRY AS A WHOLE. MEMBERSHIP IS FREE, AND IS OPEN TO ALL “YOUNG”Quarterly NewsletterSummer 2007(NOT FAR ADVANCED IN GROWTH, JUNIOR, LACKING EXPERIENCE) PERSONS CURRENTLYEMPLOYED BY A BOOK PUBLISHING HOUSE.A Brief Letter ofIntroduction fromyour new YPG Newslettereditor, T.S. FERGUSONGreetings YPGers! Some of you may rememberthe newsletter and for others this may be a completely new experience. Well the YPG is under newmanagement and with that comes a brand newway to get semi-serious, possibly past-deadlinearticles. They may even relate to the publishingindustry in some way. So sit back, relax and enjoythis latest offering, and once it’s been launched,more articles will find their home on our officialwebsite. Stay tuned and enjoy the show!ContentsLetter of Introduction1Master of Science in Publishing Programat New York University2I Want to Work on History Books4The Many Faces of Marketing4Happy Hour: Dos, Don’ts, and What-Have-I-Dones 5Industry News: How Do You Get Yours?6Little Known Failed Publishing Ventures7

Master of Science in Publishing Programat New York University: 10 Questions for Andrea L.Chambers, Director by JACK SALLAY1. Tell us a little bit about the history of the program. When wasit started? How has the programevolved since then? How many students are currently enrolled?Our program is celebrating its tenth anniversary this year. It was created as a professionalmaster’s program, with classes in the evenings, to accommodate those working in thebook and magazine industries. Over the years,the program has changed to incorporate manyof the new publishing technologies. While weteach all the basics of book and magazine publishing, we also put a special emphasis uponemerging digital and interactive technologiesfor publishing professionals. We have about100 students, both full time and part time.2. How is the program structured?If someone has been working inpublishing a number of years, arethey still required to complete basic level introduction to publishingcourses?We require students to take a core curriculumof publishing basics, including publishing law,marketing, introduction to digital publishing,multi-media financial analysis, managementand leadership and a wonderful survey coursethat introduces students to all of the above.We also offer courses in three areas of “specialization” (media content development;media marketing and distribution; and mediaprofitability). In addition, we have electivesand advanced seminars providing in-depthlooks at important aspects of media, publishing law, finance, digital media and more. Ourprogram concludes with a “Capstone” course,which is a senior thesis. Instead of requiringdry research papers, we ask students to createa real business plan for a new book imprint, abrand extension, an overseas expansion, a newwebsite or a topic along these lines. We do askstudents to complete the required 42-creditcourse load because our approach is very cutting edge. Even if someone has been working inpublishing for a number of years, chances arethey know their own job or division and do nothave the broad knowledge of publishing andnew technology that one needs to succeed inthis very competitive environment. Therefore,we believe they should take the required sevencore courses; students do have a very broadchoice in electives.3. What are some of the greatestbenefits that the program has tooffer to someone looking to pursuea career in book publishing?a) A thorough knowledge of all aspects of thebook industry, not just one area where a student may currently be working. We are a uniqueprogram. We combine many of the elements ofan MBA program with the editorial training onemight receive in a communications or writingand editing program. Our goal is to help ourstudents understand how a publishing company works inside and out. Students who feelstuck in a rut or in a publishing silo need toacquire a far broader knowledge base to moveup. Students graduating from our programknow how to create content as well as how tomarket and distribute it; how to monetize it;sell it and integrate it into the digital space.b) A complete understanding of the new digital technologies and how they apply to pub-Contribute to theYPG NewsletterIt’s your YPG—give us something to read about!Send your ideas and submissions to the YPG newslettereditor, TS Ferguson: ts.ferguson@hbgusa.comlishing. The greatest demand in the publishingindustry right now is for people with digital, aswell as editorial and business skills. For moredetailed information on our digital initiatives,see answers to question 7 below.c) Extraordinary networking opportunities. Allour faculty are publishing professionals.To name a few: Sue Fleming, Vice President and Executive Director, Online and Consumer Marketing, Simon & Schuster; BrendaCopeland, Executive Editor, Hyperion; GeoffShandler, Editor-in-Chief, Little Brown; Maurodi Preta,Vice President and Editorial Director,Harper Entertainment, HarperCollins; CarrieKania, Senior Vice President, Harper Perennial;Deni Auclair, VP, Corporate Development, JohnWiley & Sons; Hugh Roome, President, Scholastic International, Janet Cooke, Vice Presidentand Sales Director, Doubleday/ Broadway, andmany more. Members of our Advisory Boardare frequently invited to student lunches andevents. Board members include: Ellen Archer,Senior Vice President and Publisher, Hyperion;Frank Daniels, COO, Ingram Digital Book Group;Ivan Held, Publisher of G.P Putnam’s; MarthaLevin, VP and Publisher, The Free Press; Michael Morrison, President and Group Publisher,HarperMorrow; Jamie Raab, Senior Vice President and Publisher, Grand Central Publishing, John Sargent;CEO of Holtzbrinck and PatSchroeder, President and CEO, The AssociationOf American Publishers.d) Access to constant job postings. We receivefrequent job postings from publishing companies and post these on our student list serve.e) Invitations to a constant roster of seminars, workshops and events. Some recent examples:* A tenth anniversary panel discussion withfour media leaders (Carolyn Reidy of Simon& Schuster, Tom Wallace of CondéNast;Steve Murphy of Rodale and Dan Rosensweig of Yahoo) interviewed by David Carr,media columnist for The New York Times* The launch of a new Media Talk series featuring New Yorker Editor David Remnick interviewed by David Carr, media columnist,The New York Times* The second “Media Talk” Seriescontinued on page 3

Masters of Science continued from page 2(on November 7, 2007) “The Artof the Media Launch” with Arianna Huffington of The HuffingtonPost, Susan Lyne of Martha Stewart LivingOmnimedia, Inc, Craig Newmark of craigslist.org, and Laurel Touby of mediabistro.com, moderated by David Carr* “Inside Barnes&Noble,” a luncheon seminar with Top B&N buyers Sessalee Hensleyand Edward Ash-Milby* A field trip to R.R. Donnelley Printing Plantin Lancaster, PA. to learn the printing process* Seminars with Robert Miller, CEO of Hyperion on the state of the publishing industry; Jamie Raab, Ellen Archer and JohnSargent about careers in publishing; GregGiangrande, Senior VP and Chief HumanResources Officer for HarperCollins about“How to Get that Job”; beloved children’sbook author E. L. Konigsburg on her careerand children’s publishing; Saturday workshops on effective Power Point presentations and the art of copyediting* Next spring, our students are invited fortheir second private meeting with RandomHouse CEO Peter Olson to hear his thoughtson the state of the industry and careers inpublishing.4. Why might someone chooseNYU’s Master’s in Publishing program over another industry relatedprogram, say an MFA in writing?NYU’s M.S. in publishing teaches the wholepublishing picture, which everyone who wantsto succeed needs to know. An MFA in writingwill teach only writing. In this competitive environment, the person who gets promoted hasthe broadest knowledge.5. What is the average age and experience level of most students? Isit a requirement to have a publishing background to enroll?The majority of our students are working in theindustry in various levels. We have students ineditorial assistant and assistant editor jobs;marketing managers; production coordinators and managers; publicity associates; copychiefs; financial managers .you name it.Most of our students are in their twenties. It isvery helpful to have a publishing backgroundbefore entering the program though not absolutely required. We do have some studentswho come to us right out of college. Most haveworked in publishing through summer internships or on college publications. We highly suggest that they do publishing internships whilethey take their master’s and we help them getthose positions.6. What are some of the most popular classes in the program?The First Amendment discussions in the Publishing and Internet Law class. Exploring different publishing categories (business books,trade paperbacks, faith and religious booksand other areas) in the Advanced Seminar “TheLife Cycle of a Book.” Getting hands-on, insideknowledge of how to acquire and edit a book in“Book Acquisition and Editing;” Learning howpublishers achieve successful Global expansion in the Advanced Seminar, “InternationalPublishing.” Finally, mastering Search EngineMarketing and other vital topics in “AdvancedMarketing: Strategic Applications and CaseStudies”7. How does the book publishingprogram address the influencethat rapidly changing online mediahas had on publishing?Our program is a carefully blended intersectionof traditional and new media. Every course hasa digital component integrated into the syllabus. Law incorporates Internet Law. (What doyou need to know to post a blog, for example,and not get into trouble?) Sales and Distribution courses focus extensively on all the Weboutlets as well as more traditional ones; marketing courses instruct students in what worksbest on mobile, video and other interactivemedia. In addition, we have a growing numberof courses that are strictly digital: “How tobe an Online Editor;” “Building and ManagingDigital Communities;” “Digital Platforms andApplications”; Intro to Digital Publishing;” Wewill be adding courses in video and advanceddigital applications.8. Is it difficult for a full time publishing industry employee to com-plete the program? What are someof the major challenges that someone with a full time job has whileenrolled?No, it is not hard for a full-time employee inpublishing to complete the program. Many ofour students work full time. They usually taketwo courses. Classes are all in the evenings,from 6:20 to 8:50 pm. Some students take justone course. We also offer courses in the summer, so it’s easy to keep moving through theprogram. Most students complete the programin two to three years.9. Do you know if most publishinghouses reimburse their employeesfor part or all of the cost of theprogram? Is financial aid available?Yes, many major publishing houses have tuition remission programs that cover some ofthe cost of the program. Employees shouldcheck with their HR department. In addition,both the School of Continuing and ProfessionalStudies and the Master of Science in Publishing Program offer need-based scholarshipsand fellowships to qualified students. Studentloans are also available. For more information, please log onto the following site: www.scps.nyu.edu/financial.aid10. What are some of the program’sgreatest successes?Our greatest success is our graduates: We arevery proud of our alumni roster, which includespublishing leaders in every area of the industry, both domestic and international. Ourdistinguished alumni includes the head of apublishing imprint, Senior VP’s, CFO’s, Directors, Editors and other top industry executives. Many remain active and involved in ourprogram.Note: The M.S. in Publishing has preferred deadlines androlling admissions. We are now accepting applications forspring and fall, 2008.Also, please log onto: www.scps.nyu.edu/mspub. And feelfree to contact the program’s Director, Andrea Chambers,at Andrea.Chambers@nyu.edu or Associate Director Alyssa Léal at Alyssa.Léal@nyu.edu.

I Want To Work On History Books By LISA LAPOINTThe whole room juststared at me in silence.The rest of the publicity assistants had requested to work on literary fiction or chick litor sports books for next season. You know—thefun books. I had just said I wanted to work withdead authors and people who spend most oftheir time in a library. You know, the less fun books.What my fun-loving colleagues didn’t realize, though, is that history books are not anautomatic snooze fest. Sure, we all tuned outat some point during lectures in college andadmittedly, maybe we didn’t even skim halfof the 1200 pages of reading assigned on thegreat pyramids; but since publishing isn’t justabout reading the books, you can still have funwith the large and intimidating galley sittingon your desk.History nerds like to have book parties,too. Just like other writers, some of them haveinfluential media friends they went to collegewith—and can tell you which book critics usedto fall asleep in class. You can ask them forhelp pitching the book without worrying toomuch that they’re going to think you haven’tread it, since they know history is hard andthey have the advantage of having studiedthe subject in depth. And contrary to what alot of you may believe, not many of them areopposed to seeing their work mentioned in thepages of Playboy. History can be sexy.For those who really enjoy reading aboutgreat historical topics written by people whohave devoted years to uncovering just abouteverything you could want to know on the subject, it’s as much a treat to work on these booksas it is to work on books with fictional characters. You still get to meet and work with greatwriters, ask questions and learn a lot. And, inpublicity, you get a chance to tell book revieweditors that they don’t know everything, buthere is a book that can help them with that.Besides, dinner party conversations canonly last so long when the topic is the latest beach read. Whip out some facts from the“history of food” book you just finished writinga press release for or explain that Catherinethe Great didn’t really die having sex with ahorse, and people will want to find out how youknow that and will think your job is really fascinating.Plus, you’ll look really smart. The Many Faces of Marketing By ALAINA WONGSince many people assume that “working inbook publishing” means you’reon the editorial side of things,it’s easy for those in other areas to feel overlooked. While edi-torial is certainly one of the most importantfunctions in the book publishing process, thepublisher depends on each and every one ofthe departments—editorial, sales, marketing,publicity, production, art and design, subrights, and more—to do their part. To that end,I’d like to shed a little light on the marketingside of things. Hopefully this preliminary overview will help everyone understand a bit betterwhat some of your colleagues do all day.First, marketing often serves as the liaison between editorial and sales. If a rep needsmaterials to help with sell-in, marketing wouldprovide these materials. Typical materials thatare produced for sell-in are sell sheets andbrochures. Marketing also coordinates galley mailings to booksellers to build buzz andexcitement around key titles. At independentbookstores, this helps encourage booksellersto hand-sell and promote the book.Marketing often works in collaborationwith sales in order to come up with ideas forretail promotions and ways to merchandisebooks in-store. This can take the form of discounting, a buy 2 get 1 free offer, a display,signage, a GWP (gift with purchase) offer. . .there are many possibilities. For children’sbooks, it’s possible to come up with some other creative ideas such as event kits that enablestores to host themed events with activities.With lead titles, there is usually an opportunity for marketing and sales to pitch specialaccount-specific promotions to the chains,which are out of the ordinary and can be veryeffective at retail.Marketing also coordinates any consumerpromotions aimed at the end customer. Anything to build awareness and get the book outthere might fall under the realm of marketing. Some examples of consumer marketingare: sampling or giving away galleys of a book,promotional postcard distribution, cross promoting a media tie-in book in another licensedproduct, and working with another organization to promote the book to their subscribersor membership base.Finally, marketing often handles two additional functions in cases where there aren’tseparate departments to cover them: advertising and online promotion. Advertising con-sists of trade ads that target booksellers andothers in the book industry (example: Publishers Weekly ads) and consumer ads that target the intended audience of the book. Whilepublishers are still placing print ads, many areshifting their budgets more in favor of onlineadvertising. Online promotion includes thingslike creating dedicated websites and onlinecontent for books, promoting titles on heavily trafficked sites like MySpace, and placingexcerpts and exclusive content on sites likeAmazon.Since great marketing campaigns are usually the result of “thinking outside the box,”it’s impossible to give a comprehensive recapof all that might entail. Marketing managers are constantly thinking about ways to cutthrough the clutter of today’s ad-saturatedworld and reach out to consumers effectively.In a field where new and different ideas are always in demand, you need to always stay onyour toes—and a little inspiration from othersis always helpful. So the next time you have agreat promotional idea for a book, please feelfree to share it with your friends in Marketing.especially now that you know what exactly they do.

Happy Hour: Dos, Don’ts, and What-Have-I-DonesBy the ANONYMOUS ASSISTANTWhile the three-martini lunch may be a thing ofthe past, there are still a number of publishingfunctions that include and even seem to be centered on alcohol. We’ve all heard the horror stories, but wenever think it could happen to us. Unfortunately, it does, especiallyto those who are young to publishing, so here is some advice that I’veculled from sources that have been there, done that, and lived to regret it in the morning.1. The cardinal rule: Know your limits. There are actually somecompanies out there (none of them book publishers, mind you)that set limits on their employees’ consumption. I know, it’s extraordinary. Essentially, it’s a two-drink maximum, which isn’t abad rule of thumb but, more importantly you should never drink tothe point that it will affect your judgment. If you’re tired, stressed,or already tipsy because of lappy hour* know it and drink accordingly. If you ever find yourself saying, “Hey, It’s no big deal. I’veonly had a couple of drinks,” but the only time you’ve moved fromyour barstool was when you fell off of it, then you should probablycall it a night.2. When in Rome: Whenever there’s a question as to whether ornot having a drink is an acceptable option, follow your boss’s leadbut remember there’s no need to go shot for shot. It’s not a competition, and even if it were, it’s probably not one you want to win,unless you plan on spending the next day recovering at home andworking on your resume.3. Don’t experiment: Happy hour is not the time to don your labcoat. Stick with what you know, and there won’t be any unwantedsurprises. In other words, don’t order anything that ends with theword “bomb.” When you do, you not only run the risk of drinkingpast your tolerance, but you’ve already assured everyone thatyou’re the least sophisticated person at the company.4. The big boss man is people, too: Let the higher ups knowthat you can hold a drink and a conversation at the same time. It’llgo a long way. But don’t monopolize their time. Hit them up early,then step aside because no matter how smart your mom thinks youare, you’re probably not going to say anything they haven’t heardbefore. Special Note: If you happen to be the nervous type, don’tdown a couple of shots of courage before talking to the boss. Thedifference between a little confidence and an incoherent monologue on how you single handedly saved the company is a very fineline that you don’t even want to flirt with.5. Work is for suckers: Don’t talk business. No major decisions, especially ones regarding your cost of living raise, will bemade over drinks, and your thinly veiled attempts will be seen aspathetic and borderline insulting. When you’re socializing withcoworkers, you’re supposed to keep the conversation light. Thinkvanilla. Think angel food. If one of your co-workers came into workwith a tennis racket, then ask them about that. If you’re hurting formaterial, skim the newspaper or the publishing blogs. That’s prettymuch what they’re there for anyways.6. The buddy system: It got you through that fieldtrip to thezoo, and it’ll get you through the infinitely more hazardous nightout with the company. You’ve got your buddy’s back, and she’s gotyours. If you say something dumb, she can provide a segue anddump you in a cab. Special Note #2: A good buddy knows that nomatter how much of a fool you make of yourself, she’s not allowedto mention it ever again unless she’s blackmailing you. Then allrules are off, and you’re on you’re own. So pick your buddy wisely.7. If it happened back in the day, then it didn’t happen: Meeting up with someone in the industry is not the same ashanging out with your friends. Telling the story about how you camehome one night and duct taped everything your roommate ownedto the ceiling is not only a good way to convince people that you’rea little dim, but it’s boring, and nobody cares. Besides when youwork in publishing, telling a boring story is roughly equivalent tobeing a little dim. We’re supposed to be better than that.8. Keep your dog on a leash: When you’re allowed to bringyour significant other out for drinks, make sure he understandsthat you’ll be working with these people tomorrow. It is importantto remember that your partner’s behavior will reflect on you. And ifhe doesn’t understand that, then I have to agree with your mother,you deserve better.9. A decoy is not a lie: If you don’t drink and don’t feel comfortable admitting it or if you’ve hit your limit before it’s time toleave, then order a club soda. It’s like booze without the alcohol.Are you even allowed to order a club soda anywhere else besides abar? Seriously, I don’t know. Admittedly Controversial Advice: Witha little foresight, you can also bribe the bartender to give you acoke every time you order a rum and coke, but this is actually lying, and although it probably won’t get you fired, it certainly won’tscore you any points.10. Back doors and rope ladders: Even when you don’t haveother plans, you have other plans. This will help you set an end tothe evening. You may only be going home to eat leftover Halloweencandy in front of “Grey’s” with your cat, but that counts. Just don’tsay, “Mr. Whiskers thinks McDreamy is the perfect man.” That’sweird and a little sad.11. The second biggest mistake of all: Not going. You mayhave saved yourself from saying anything stupid to the publisher,but what does it matter? He doesn’t know your name and is probably beginning to wonder what you’re doing in the building anyways.Faithfully yours,The Anonymous Assistant* Lappy hour: n. 1. lunch happy hour. v. 2. the act of rolling a latelunch with the girls into an early happy hour with the company withthe intention of bending the two drink rule. Always risky and never agood idea.

Industry News: How Do You Get Yours? By KATHRYN LITTLENot long ago, I waschatting with my bossand a couple of my fellow twenty-something co-workers whenthe subject of where people get their newscame up. My boss and a co-worker admittedto being fans of the Today Show, whereas myother co-worker and I preferred Good MorningAmerica. After we debated Sawyer versus Viera, my boss asked a question that made melook like a deer in headlights: “Where do youall get your news?”As my co-workers took turns explainingwhere and why they got their news each day,I tried to come up with something better thanthe truth. I didn’t. When she turned to me withraised eyebrows I had to answer honestly: atthat time, I watched exactly seven minutes ofGood Morning America, which was roughly theamount of time it took me to get dressed.My boss’s disappointment was veiled, butultimately I was disgusted with myself. I vowedto get more news. But where? How? Fromwhom?Ultimately, I confronted a bigger question: what else, aside from publishing, am Isupposed to know? Aside from the standardpublishing “news,” like that found in PW Daily,Shelf Awareness, and Publishers Lunch, am Isupposed to be reading the New York Times?The Wall Street Journal?I vowed to pay a little more attention towhat my superiors seemed to expect from me.And in the coming weeks, I think I uncoveredthree main things us young folk are “supposedto” know.First: current events. Sure, the New YorkTimes takes about a year to read, but it’s worthit to know what’s going on in the world outsideof publishing. You know, politics and the like.Even if you’re not in editorial, it helps to seewhat new topics and ideas may be on the horizon. Also, the bosses are trés impressed whenyou’re the only one to notice an obscure articleabout one of your company’s authors!Second: pop culture. As an arguably hip,recent college grad, my superiors look to me toknow who Paris Hilton is dating and who wonAmerica’s Next Top Model. I also come in handywhen there’s a breaking news story, like whenBritney Spears shaved her head.It seems publishing is always looking tofigure out how to get young people to readmore. And the best way to figure out what theywant to read is to figure out what other typesof media they’re consuming.Third: books from outside publishers. Thisis probably the hardest part. I’m not an Editorial Assistant, but I still like to read the majority of our titles. Because I’m in audio, I can alsoscore free (and, often, advanced) copies ofbooks from the other imprints at the company.This perk makes it difficult to get motivated toactually purchase other books. But even on myentry-level salary, I’ve managed to buy (andread) a few hardcovers here and there.When you add it all up, we as young professionals are expected to know and, espe-cially, read a lot. It’s nearly impossible to readthe entire New York Times on a subway in themorning, made more difficult when you don’thave a seat. Keeping up with gossip blogs cancost your lunch hour, or involve a lot of quickmouse clicking to minimize the window whenthe boss walks by. And reading outside booksmeans staying up late or juggling an unwieldyhardcover on the treadmill.So what can we do? How can we consumeall this information while still saving time forsocial lives, food, and sleep? The answer is todo your best and use sneaky little tricks to fakethe rest. As Cliff Notes saved many a studentin college, the internet and blogs specificallycan be a huge help when it comes to keepingup-to-date.There are an interminable number of newsblogs that offer concise summaries of theday’s biggest news articles, citing reputablesources like The New York Times and the WallStreet Journal.There are an equally abundant number ofbook blogs that offer in-depth reviews (withplot summaries!) of the most buzzed-aboutbooks. Even reading The New York Times BookReview can often be enough to have an intelligent discussion about the book in question.And I’d recommend at least skimming the list ofbestsellers to know what’s actually relevant.But when it comes to staying on top of celeb gossip let’s face it, we all totally have timefor those blogs.

Little Known Failed Publishing VenturesBy COURTNEY YOUNGBooks are a big part of the book publishing industry. So is failure. In fact, three out of four books neverearn a profit. A few publishers, seeking to fill an especially narrowniche, set the bar for failure even higher. While their intentions maybe good and pure and noble, some ventures are just doomed to failureright from the start.Here, for your edification and amusement, are some entirely fictional highlights in the long and depressing history of book publishingflops.One Letter PressIn 1877, a group of Manitoban nuns set out to publish various religiousand secular tracts for a wide Canadian readership. Due to budgetaryrestraints, they were only able to purchase a used letterpress and asingle box of type pieces containing various punctuation marks andseveral copies of the letter A. The plucky nuns made do with their limited resources, publishing an abridged version of The Scarlet Letter andthe first in an intended series of alphabet books for children. In 1884,a tragic fire claimed the lives of the nuns and their entire back stock,bringing their publishing endeavors to an untimely end.The Psychic’s AlmanacThe annual Psychic’s Almanac was packed with useful advice for palmreaders and prognosticators alike. However, readers complained itdidn’t tell them anything they didn’t already know. In 1947, it correctlypredicted its own failure.GhostbooksEsmaralda Demuth founded Ghostbooks with a single goal: to publishbooks about ghosts, by ghosts, for ghosts. The house acquired afterliferights for a number of ghost stories by departed authors, then made theirearthly editions available to their readership by subjecting the books toburning, drowning, hanging, poisoning and a number of less gruesomemeasures. Needless to say, Demuth did not find a receptive audience.Burris

the young to publishing group is an initiative of the association of american publishers (aap) that strives to give entry-level and junior industry employees (typically with 0-5 years of publishing experience) a chance to build a community outside of their own publishing house and to educate themselves about the publishing industry as a whole.

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