Event: Publishing Career Symposium on March 21, 2015

The Graduate Publishing Program and the Office of Post Graduate Success are hosting a Career Symposium on March 21, 2015. See below for details:

What is the Publishing Career Symposium? This one-day event will prepare Rosemont graduate and undergraduate students to enter the job force, interview for positions, and put their best foot forward when corresponding with current and potential employers. It will also help attendees craft the perfect LinkedIn profile.

When and where? The event will take place on Saturday, March 21, 2015, from 9am-5pm at Lawrence Hall.

Why should I attend? The Publishing Career Symposium will open with a panel discussion about the current state of employment in the publishing industry, general “dos and don’ts” of interviewing, how and where to search for jobs, how to can get jobs, and how to put your best foot forward. Two other morning sessions will follow the panel: How to Interview and Crafting Resumes. After lunch, we’ll hold two additional sessions: Cover Letters and Other Business Correspondence and the Benefits and Necessities of LinkedIn.

This event is free and lunch will be provided!

Who will attend? You, of course. And top professionals in the field, including Tom Hartmann, Cynthia Laufenberg, Adam Louie, Joe Taylor, and Rosemont College’s very own Anne Willkomm, Meghan Mellinger, and Rudy Wise.

The event is open to graduate students (primarily in the publishing and creative writing programs), undergraduate seniors, and juniors by invitation.

Specifically for the undergraduate attendees: There will be two discussions: 1) To Grad School or Not; and 2) Career Advice for College Majors. Mock interviews will be available on a first-come, first-served basis.

How do I sign up? You can register here.

And the Winner Is…

Last Friday night, the graduate students of Rosemont’s publishing and creative writing programs gathered to celebrate the American Library Association’s (ALA) slate book awards for children’s literature, children’s illustrated books, and young adult novels, including the Caldecott, Printz, and Newbery awards. We also announced the winners of Rosemont’s mock awards.

For the mock awards, we nominated, read, evaluated, and chose winners in each of the same categories, and compared our results to the ALA’s winner list, announced earlier in the week. Nancy Kotkin, a degree candidate seeking a MFA in creative writing and a MA in publishing, led the awards process. She worked with Cathy Fennell, Executive Director of Library Services at Rosemont, and formed three committees. Each committee spent the winter break reading dozens of books. They also met and debated over which books should win the prizes in each category.

Our winners were:

Caldecott

Winner: The Adventures of Beekle: The Unimaginary Friend by Dan Santat *

Honors:

Julia’s House for Lost Creatures by Ben Hatke

Little Elliot, Big City by Mike Curato

Remy and Lulu by Kevin Hawkes & Hannah Harrison

Printz

Winner: The Impossible Knife of Memory by Laura Halse Anderson

Honors:

Threatened by Eliot Schrefer

I’ll Give You the Sun by Jandy Nelson ^

Lies We Tell Ourselves by Robin Talley

Newbery

Winner: Upside Down in the Middle of Nowhere by Julia Lamana

Honors:

Greenglass House by Kate Milford

Gracefully Grayson by Ami Polonsky

Saving Lucas Biggs by Marisa de los Santos & David Teague

* Winner of the 2015 Caldecott Medal

^ Winner of the 2015 Printz Award

Before the announcements were made, the library displayed many of the nominated books so that the faculty and students could flip through them.

According to the participating committee members, the award selection process was challenging and involved much more than just flipping through a pile of books. Nancy Kotkin said, “I came to appreciate how difficult it was to look at the whole pool of books, narrow it down, and make objective decisions. Books are art, and it was difficult not to project our own aesthetic preferences into the evaluation process. Ultimately, I came to fully appreciate how supportive librarians are of books and their patrons.”

Students and faculty, including those not focused on children’s and young adult literature, were stunned to learn that there were no cash prizes associated with the awards. While it might not be difficult to imagine that an award would increase sales, I don’t believe that the students present last Friday night understood the significance of winning a Caldecott, Printz, or Newbery award. Anita Silvey, the editor of Children’s Books and Their Creators, an overview of twentieth century children’s books, former publisher of children’s books at Houghton Mifflin, and former editor-in-chief of The Horn Book Magazine said, “As a publisher, I knew how important the awards were. You could have a book that eked out sales of 2,000 copies when it was published sell 100,000-200,000 in a year after winning the award.”

In a 2012, The Record published an article on its web site, Books: Newbery and Caldecott Prizes for U.S. Children’s Literature Awarded, which stated, “Within hours of the prizes announcement, Dead End in Norvelt and A Ball for Daisy were both in the top 50 on Amazon.com and both out of stock.” The increased sales don’t just peak for a brief period of time, but rather the books earn a longer self-life. They often become part of secondary school curriculum. Of the books awarded the Newbery Medal from 1922 through 2015, all but three are available on Amazon today. Of the three titles not readily available—Tales of Silver Lands (1925), Daniel Boone (1940), and Rabbit Hill (1945)—two of them are available as used books or through a third-party vendor. More than ninety-seven percent of the titles are still in print. Think about the sales of these books over the years!

The Caldecott, Printz, and Newbery Awards, unlike the National Book Awards, are open to every book that fits the specified criteria. Per the requirements of the National Book Awards, publishers are required to pay a $135 entry fee per title nominated, plus agree to pay all of the travel costs for the author to attend the finalist ceremony. Publishers must also agree to “contribute $3,000 toward a promotional campaign if a submitted book becomes a finalist ($750 for presses with income of under $10 million).” This makes it difficult for small presses to nominate any of their titles, let alone multiple ones. In contrast, because the nominations are wholly objective and open to any book that meets the basic requirements (publishing date, citizenship of the author/illustrator, etc.) the Caldecott, Printz, and Newbery are truly unbiased awards.

Students and faculty alike walked away with a deeper appreciation for the awards, how books were nominated, and how the winners were selected. They learned about the inherent value of the awards, not only for an author’s or illustrator’s reputation, but also for the publisher’s sales. Thank you to all who participated!

Pick up an award-winning book today!

 

A Career in Publishing: Is Grad School the Right Option?

Students from across the country, some seniors in college, others recent grads, are wondering if they can turn their love of books into a career with an undergraduate degree or is graduate school necessary to move forward?

While virtually all entry-level positions in the publishing industry do not require an advanced degree, it is nearly impossible for students with only an undergraduate degree to get publishing jobs. Last year, I sat on a Publisher’s Weekly panel at Random House on the job market. There were a number of undergrad students in the audience who asked the same question. These were not English majors who were nearing graduation and hadn’t thought about jobs; many of them had several publishing internships on their resumes.

So what do I tell students? I tell them that a graduate degree will be beneficial in two ways: it opens doors (practical knowledge learned & networking) and, from my experience, students get promoted sooner.

If you’re still reading, you are likely wondering about choosing a school. The simple response – there aren’t but a handful, so you won’t have to whittle down a list of 50. So how to choose the right school for you? Grad school isn’t quite like undergrad. I think there are different criteria that come into play when choosing the right program. Let’s start with the word “program” – the program is more important than the school, .so focus on the program and what it offers versus what the college or university as a whole offers. While the general focus of each program is similar, there are differences. There are some clear and rather obvious criteria perspective students should explore: location, size, availability to internships, professors, course offerings, cost, etc., but I think the not-so-obvious criteria are equally as important.

I tell perspective students that grad school is a gift to themselves and it is the opportunity to forge life-long friendships and connections that will one day be beneficial in their career. These types of relationships are forged out of the community built around the program. Thus, it is important to ask about the community: is it an active community, who is involved, is it welcoming, how do people know about it, get involved, etc. Students excel when they are part of a greater community.

Community is just one of the not-so-common criteria. There are a host of others such as where do the other graduate students come from, are there related graduate programs on campus, how involved is the program in the greater community, what type of support is available to graduate students (this could include the counseling center, academic support, etc.), how accessible is the director, are there opportunities to mentor undergraduates, are their volunteer opportunities, and how active is the program in regional and national conferences.

I wish any of you who choose to pursue grad school the very best as you embark upon your journey. I challenge you to think about the standard questions, but also think about how the program will shape you as an editor, designer, content developer, marketer, etc. Who will help you achieve your goals – certainly your professors, but what about your peers? Think about the not-so-common questions as you progress in your search and no doubt – you will make the right decision for you!

Good luck!

Anne Converse Willkomm MFA ’10
Director of the Graduate Publishing Programs
Rosemont College

Thoughts on Banning Books

I’ve tweeted a fair amount this week about Banned Book Week. Every year it bothers me. What are people thinking? I was naïve about the practice of banning books until my daughter’s school (which she didn’t attend for very long) banned the Harry Potter series. I didn’t know much about Harry Potter at the time, but decided I had better read the book to see why the parents and the school were in such a panic.

At the time, it wasn’t the act of banning the book that I found so shocking, but rather the multitude of reasons parents and administrators wanted the book banned. I sat there speechless as Biblical quotes about devil worshipping were slung across the room. Don’t let me mislead you, however, into thinking this was simply a religious objection. Concerns about living in a fantasy world, practicing magic to defeat evil was unrealistic, Harry and his pals are rule breakers, they don’t listen to the adults, teachers are portrayed as strange and/or unsympathetic or too sympathetic, Hagrid is a bad influence, what happens is too unrealistic, and the list went on and on and on. I was left then to quote a colleague, “Are you joking me?”

I would not presume to tell parents they must allow their child to read a certain book – that is no better than banning; but I would ask these same parents to make sure they are accurately informed about the content of a book and converse with their child appropriately. By all means make your own choices for your children, but please do not prevent books from getting into the hands of other children – it simply is not your right.

For some kids, a book may be their only companion. The story may be their story, and a character may help give them insight into to the world. Books with difficult topics could lead to great conversations about beliefs, morals, and all of the gray area we navigate every single day.

My hope is that there won’t be a need to celebrate Banned Book Week going forward, and books will no longer be banned for their themes, content, characters, or situations. The needs and wants of the few cannot be forced upon the many. But unless those of us who are shocked by book banning do more than sit in shock, unless we all say “NO,” books will continue to be banned.

I say “NO.”

Anne Converse Willkomm
Director, Graduate Publishing Programs
Rosemont College

Fall = Thesis

What is a thesis or capstone project? How long does it have to be? How long do I have to complete it? How and what will I turn in? How will I be graded? Do I need to defend? And there are a dozen more questions students raise when it comes time for their culminating academic event. I refer to it as an event because it is eventful – there are successes and failures, panic attacks and feelings of relief, growth and setbacks, all of these combined together create this wonderful learning experience.

Students may begin their thesis or capstone work once they have completed 18 credits (half of their coursework). Students come to my office and we have “the talk.” Many of them are nervous or overwhelmed with few ideas solid ideas. I ask them one simple question: “What is your dream job?” Most look at me as if I am skipping a few steps, but it is the important question. Ultimately, students should work for a year on a project that interests them, challenges them, and one that will catapult them on a trajectory that will ultimately land them their dream job in the world of publishing.

After the student describes his/her dream job, we work backwards to develop a thesis or capstone topic that will best allow him/her to showcase their skills or knowledge base. The ideas that rise to the surface are nothing but exciting. I have to concede – I have to fight off a few jealous pangs. The thought of diving full-force into a single topic for a year is exciting!

The students work over the course of a calendar year on their chosen topic with a thesis advisor. Their topics range widely in scope, focus, and platform. To give you a flavor, here are just a few of the topics students will be grappling with over the course of the next 10 months: Role of the strong female archetype in children’s literature and the role of editors; How technology and communication raise issues such as libel, privacy, truthfulness, and obscenity in publishing memoir; Societal and cultural impact that banned books have on the individual, the classroom, and the public; Digital technology’s effect on news, magazines, and the children’s segments of the industry; In-depth study of the current state of print books, brick-and-mortar bookstores; and Study of the history, current state, and trajectory of the Christian publishing sector.

I look forward to hearing from the thesis students about their progress as the semester unfolds. There will be excitement as they reveal nuggets of information, disappointment as a source fails to provide the needed support, yet the fortitude to press forward.

So what would you study for an entire year given the opportunity?
Anne Converse Willkomm
Director, Graduate Publishing Programs

Director’s Post: eBooks on the Move

by Anne Converse Willkomm

While on Twitter today I came across an article on Digital Book World on the top selling ebooks of 2013.  As I scanned the list, it brought me back to one of my first Push-to-Publish conferences about 5 years ago. Self-published authors were scarcely considered human. They kept to themselves, and the traditionallypublished authors made little effort to engage. The boundary between these two camps was not nearly as defined a year later, and even less loosely defined the following year. In 2012 and again last fall, no real line existed in the sand.

According to Digital Book World’s article, numbers 7, 10, and 17 in the top 20 of the 2013 bestselling ebook list were self-published. That’s 15% of the list – pretty impressive, given there were no self-published titles on the 2012 list. According to an article written by Jeremy Greenfield on Digital Book World, self-published books took the No. 1 spot on the Amazon ebook list four times in the first quarter of 2013. As the first quarter of 2014 winds down, it will be interesting to see if this pattern holds true. It appears that it will, as Amazon reports an increase in self-published ebook titles. However, it is important to note that from self-published titles in Amazon’s eBook genre best-sellers list, the self-published titles represent only 3% of the total daily revenue.

What does this mean?

Self-published authors are forces to be reckoned with, and the E.L. James and Hugh Howeys of the world are not merely statistical exceptions. It might indicate that self-published authors are putting in the time and effort they were once accused of bypassing, i.e. to write and create the best book possible versus writing and uploading with little to no editing. It also means that self-published authors are becoming savvy. They are learning how to market themselves and their books. Self-published authors are taking advantage of price shifting and manipulation to get their books into the hands of readers and reviewers. During 48-hour ebook giveaways, self-published authors can get their books onto readers’ phones, tablets, and ereaders. Some of those readers will write reviews, which will further promote the book. Traditional publishers do not practice this. They release a book and maintain a consistently higher price than most self-published authors. But are the traditional publishers making lots of money on ebook sales? Not yet.

 

Director’s Post: Content, the New Buzz Word

by Anne Converse Willkomm

What is content? Content is anything and everything we read and listen to online or in print. Content is the expression of thoughts, ideas, and data presented through various mediums, such as text, audio, video, animation, and graphic images. Content is created, curated, and managed. In today’s digital world, content is everything!

content blog post

Before the digital wave, content existed as text and images on a printed page. There was only one time-tested way to create the words, ideas, and images: through the author’s imagination and contribution. An author came up with an idea, an author wrote the words on the page, the words were edited into a meaningful and functional form, an author sold it to a publisher, and a publisher published it for a consumer to purchase.

Today, however, content is created and used across mediums we couldn’t conceive of 20 years ago. Sure, there are still printed books – and in my opinion, print books aren’t going away (as Stephen Fry said, “The book is no more threatened by a Kindle than stairs are threatened by an escalator.”). But today there are ebooks, websites, Facebook, Twitter, Tumblr, Pinterest, podcasts, webinars, blogs, and so much more. Every word, image, audio clip, graphic, and video is content.

In this digital age, it is incredibly easy to create content. I can set up a website in a matter of minutes. What I put on that website is content. I can upload a novella and create an ebook in minutes, too. The ability to get content into the world for the consumer – or the “target audience” – is quick and easy. However, do not confuse ability with quality, creativity, or accuracy.

Whether creating a website to promote an author or a car, those who create the content must strive for the three goals mentioned above. The creator must understand the target audience, the product/company mission, market, etc. And that content cannot be left to stagnate. Content must be continually updated so the consumer (a reader, a viewer, a listener, or an actual purchaser) has something fresh and new to consider on a regular basis.

Authors, publishers, and other companies often have dedicated content curators who gather and cultivate content that others create. This can, and often does, create authenticity. Content curation is what content managers do to drive and enhance SEO (Search Engine Optimization), which ultimately makes it easier for consumers to find a website. Managers work closely with marketing and sales teams to develop the appropriate balance of free content versus paid content. Newspaper companies forced to go digital have struggled with this dilemma.

The ease of creating content has formed new job positions and will likely create more. New issues and questions will arise: Who owns the content? Who should receive monetary compensation? Companies, such as Google, MySpace, and Sony, struggle with these legal issues. I am certain there will be more concerns regarding intellectual property and liability laws as we all struggle to define, understand, and manage content.