Indiana Blogger Gets Discovered; Loads Up Truck for D.C.

Today I write to offer hope to the millions of us who labor in obscurity on our blogs. One of our ilk has just hit the big time. And he's my co-godparent.

For close to a decade, Sean Medlock anonymously (and unbeknownst to us all) wrote a right-leaning political blog under the pseudonym of Jim Treacher. Then one recent day Tucker Carlson, editor-in-chief of The Daily Caller, came calling. The grapevine has it that he flew to Indy to meet Sean, liked him, and then immediately flew him to D.C. to meet the staff.

So as of January 10, Jim Treacher has his own column, "The DC Trawler," on The Caller's site. Nobody is more amazed about his good fortune than Sean himself. "Isn't this crazy?" he asked me over Twitter last night. "It's happening to me and I don't even believe it."

I asked Sean to share a tweet of advice for all of the bloggers who aspire to go big with their writing, and he responded in classic Jim Treacher style:

Write every day. Or as often as you can. Okay, at least once a month. If possible. Maybe. Crap, I'm no good at advice.

But it sounds solid to me. I look forward to reading more of his adventures as the self-dubbed "Farmy McRube" acclimates himself to the beltway. But I don't plan on talking politics with him at Zack's next birthday party. Looks like we've got a Carville/Matalin problem going on (in which I am the scary cajun Jack Skeleton lookalike).

Roger Ebert on Being a Critic

Not too long ago, after many years of obsessively plundering his movie review archives on the Chicago Sun-Times website, I discovered that critic Roger Ebert writes a blog--a fantastic one, at that. Unlike in short reviews published in newspapers, he's allowed to write as much as he wants. And it's brilliant.

This particular post caught my eye last week, in which he discusses the viewpoints of commenters who disagreed with his negative review of Transformers 2. Roger uses the opportunity to talk about what goes into being a critic, but also answers his hecklers: "We should respect differing opinions up to a point, and then it's time for the wise to blow the whistle."

What is fascinating here is to read his thought process in judging films. To those who say he is an elitist and a brainiac, they might be right. But that's why I love him so. Let others get their movie news from tabloid T.V.; I like being able to compare my own opinions to those of another snarky smartypants--albeit one with decades more life experience (did you know that he and Paul McCartney were born on the very same day?).

Several years ago I had the good fortune to meet Roger at BookExpo in Chicago. I waited in line for his autograph on a free copy of the preceding year's edition of his movie yearbook. I was tickled at the opportunity to meet a like-minded soul and tell him how much I've appreciated him all these years. But when I stepped up to him, all I could muster was "I love reading your reviews!" The look he gave me was sheer "you gotta be kidding me."

So, Roger, if you ever stumble upon this, what I meant to say was thank you for being the voice of art, literature, and intelligence in an industry that's based on flash and cash and big explosions. You've got the world's most awesome job (except, of course, when you're forced to go see movies like Transformers 2), and nobody does it as well as you do.

Grand Central Editor Selina McLemore Profiled in American Chronicle

I'm always happy to run across interviews with publishing professionals about what they do and how they got their jobs. Jeff Rivera's interview with Selina McLemore is extensive and packed with revelations. In it she dishes on chick lit, the multicultural book market, her editing style, and the types of proposals she's looking for.

Jane Friedman: Editorial Director, F+W Publications

Today I am thrilled to share an interview with Jane Friedman. No, not that Jane Friedman. This Jane is Editorial Director at F+W Publications in Cincinnati, and also a fellow graduate of the University of Evansville. She's already had phenomenal career success and has a lot of interesting and valuable insights.

In undergrad, were you a composition major or a literature major? How did what you learned in college help you get into publishing?

I was a creative writing major (BFA), which is a somewhat uncommon degree. I took a combination of creative writing and literature courses, and had nearly complete independence in choosing what I studied. It wasn’t my coursework that was particularly helpful in my career, but rather my practical experience on the university newspaper and literary journal, as well as community publications work. It was also amazingly helpful to be schooled in AP style (which I did learn as part of a copyediting course through the journalism department).

Who were your favorite and most influential professors at UE and what did you get from them that helped you propel your career?

I was lucky enough to have two professors with connections to prominent people in publishing, Dr. William Baer and Margaret McMullan. Both of these professors were involved in publishing in one way or another, and Dr. Baer’s connection to someone at F+W Publications resulted in me securing a valuable internship between my junior and senior years at UE. Also, both professors were actively publishing their own work or others’ work, so they had significant practical experience, and offered very grounded and career-oriented advice to students. Based on what I’ve heard from other people’s experiences, particularly in MFA programs (or in just your basic English major program), this type of mentoring can be rare or neglected.

Tell us about your work on the Evansville Review. How did you get involved with the publication and how valuable was that experience?

The year before I became its editor, the journal was called the University of Evansville Literary Review, and it published only work from the UE community. At that time, I served as a volunteer reader of submissions. Every year, a new editor is chosen by a university publications board, and I was happily selected in spring 1996 to serve as the 1997 edition editor (I ran unopposed, so not a tough battle). Dr. Baer served as the journal’s adviser, and he and I talked about raising the profile of the journal by soliciting submissions from the public, rather than limiting it to the university. So we decided to change the journal’s name to the Evansville Review, and we ran an advertisement in the AWP Chronicle. From that point on, the dynamics of the publication changed tremendously; the staff become much more formalized (I hired a Poetry Editor, Fiction Editor, etc.), we designed a streamlined process for reviewing submissions, and we met on a weekly basis throughout the year. I learned a lot about how to build a team, the quirks of a nonprofit journal, and also just how much unpublished material is out there in the world!

Why did you decide to go to grad school and what did you study? How has it helped your career?

I started working at F+W Publications immediately after undergrad, even though I had wanted to attend graduate school instead. (I was strongly considering Emerson’s program in publishing at the time.) So it was always in the back of my mind that I would return to school once I was financially able to do so. However, rather than leave F+W entirely, I remained part-time while earning my master’s in English from Xavier University because a few key things fell into place: (1) It was across the street from the F+W offices at that time. (2) F+W was flexible with my hours. (3) I secured a graduate assistantship at the XU Writing Center that covered all my costs. The degree has been irrelevant to my publishing career, but I’ve put it to use by serving as an adjunct in composition at the University of Cincinnati, and teaching is something I do enjoy, so I’m glad I have it. It probably does give me a little extra credibility with some of our authors (particularly in the Writer’s Digest line), but still, the degree was more of a personal thing than a professional thing.

How did you get your first publishing job?

A few months before I graduated from UE, I e-mailed the editorial director who supervised my summer internship at F+W, and asked him for a job. Miraculously and generously, he said yes. (I can’t see that happening in the current publishing climate, at least not at F+W.)

At F+W, you went from managing a magazine to managing books. Was that a difficult transition?

Not at all, though I suspect my experience is unique. F+W is more like a media company that parcels out its content in different formats and packages, across a variety of niche audiences (in my case, writers). So I worked for Writer’s Digest magazine for a while, then moved to Writer’s Digest Books, which is really the same kind of game, with a lot of the same players. It also helped that I had previous experience in the book division before moving to Writer’s Digest magazine. But F+W editors often move between the magazine and book division successfully.

You've risen to the role of editorial director and yet you are still relatively young (at least compared to me!). What factors contributed to your amazingly successful career progression so far?

There’s that old saying that luck is where opportunity meets preparedness, and that has proven particularly true in my career progression at F+W. Within the past five years, I’ve advanced because I was the most natural person to take on the responsibility, plus there’s an element of making it up as you go along. If you go back 5 or 10 years, you wouldn’t find anyone in my role; I haven’t really replaced someone as much as I’ve nurtured a multi-faceted team that’s responsible for many types of products. Aside from pure circumstance (and sticking around one company for a long time!), I’d say my flexibility, passion for publishing, and desire to push boundaries has been integral.

What is your job description and what are you responsible for?

I’m responsible for the vision, strategy, and performance of multiple book imprints at F+W, including Writer’s Digest Books (15-20 new titles each year), Writer’s Market annuals (10 new titles each year), HOW Books (15 new titles each year), TOW Books (still evolving), and, to a lesser extent, Betterway Sports and what remains of the Story Press imprint. Day to day, I direct and support the staff who do the hands-on acquisitions, development, and editing/design of our titles, and of course I deliver reports and assessments to the people above me (or partnered with me). I feel like my job description changes month by month, given all the technological advances in media and publishing. Right now, I spend a great deal of time on the digitization and online efforts for all of my imprints, as well as on communication with our niche audiences, through my blog and other sites. I’m also becoming an active partner with our conference division, in an effort to launch a new event for writers.

What do you look for when you hire people (skills, experience, personality traits)? Do you find it difficult to find qualified people outside the east coast "hub" of publishing?

Yes, it is difficult to find qualified people, especially since Cincinnati is not exactly a cultural hotspot (yet), and F+W salaries rarely entice someone to relocate. What usually happens is we hire relatively young people, with little to no publishing experience, who demonstrate some kind of passion or sensibility for publishing and/or for the subject area in question. Then we groom them to advance into positions of greater responsibility. If I look at my staff, this is a very accurate description of how all of us came through the door and have landed in our current roles; there isn’t a single person who came to us from the coast (though some people have left for the coast!).

How many editors are on your team? How many titles do you produce a year?

There are seven editors on my team and three designers. We also have three data-entry assistants for the Market Books area. We produce about 50 books every year in my area alone.

Here's your chance to plug some books. What's new at F+W?

I’ll mention some of our most innovative books in 2008 that give a sense of the diversity of our list:

• Kawaii Not by Meghan Murphy (HOW Books), a collection of charming cartoons on perforated pages, so you can share them with friends.


• The Serfitt & Cloye Gift Catalog by Bob Woodiwiss (TOW Books), a parody of upscale gift catalogs, with wonderful illustrations; coming out later this fall and one of my favorites this year (maybe because I did the editing).


• Alone With All That Could Happen by David Jauss (Writer’s Digest Books), perhaps the most sophisticated fiction-writing instruction guide we’ve ever published; should impress even the writing-instruction naysayers!


• Chicken a la King and the Buffalo Wing by Steven Gilbar (Writer’s Digest Books), a gifty reference (with recipe cards!) of how certain foods got their names from people or places. Coming out this fall.


• Written on the City: Graffiti Messages Worldwide by Josh Kamler and Axel Albin (HOW Books), a book of photographs of text-based graffiti. Striking and lovely, also coming out this fall.

Do you get tired of living in the shadow of "the other Jane Friedman"?

Quite the contrary! I adore having a doppelganger, considering how admirable and forward-thinking TOJF is. When she exited HarperCollins just last month, I received a few misdirected e-mails wishing TOJF all the best, and one of them referred to her as “El Jefe.” Could I really ask for anything more?

The Inside Story from a Mystery Book Editor

People love a good mystery. When I worked at the library, we had patrons who literally devoured mystery books, one after another. I myself confess to being a Trixie Belden fangirl in the '70s (Nancy Drew was a bit too uppity for me). The recent "CSI" craze is just a more grotesque manifestation of this same phenomenon.

So there's good news for aspiring editors who love mysteries: A mystery editor has a blog and is talking about what his job is like. Mysterious Matters: Mystery Publishing Demystified has begun a series on "The Days and Nights of an Editor." The writer/editor of this blog is kind of a mystery himself because his "About" page doesn't work. He goes by "Agatho," though. There's great information and excellent writing here. Check it out!

Caroline Roop: Editing for Harvard Business School

One of the coolest things about this blog is that it gives me an excuse to get in contact with old friends and acquaintances and ask them about their jobs. Caroline Roop, whom I worked with at Macmillan Computer Publishing, was kind enough to let me interview her for today's post. She is now Assistant Director of the editing function at Harvard Business School. Today she shares her career experiences and advice.

Where did you go to college and what did you study?

I went to Loyola College in Baltimore and studied English.

What was your first publishing job and how did you get it?

My first publishing job was at MCP as a proofreader in the production department. I responded to a newspaper ad, which they say never works, but it did!

How long were you at MCP and what jobs did you have there?

I was at MCP for 8 years in a variety of jobs. I started in production as a proofreader and compositor, then moved to editorial and was a production editor and then managing editor. Finally, I moved to marketing and found that experience to be very enjoyable because I’d hadn’t worked in a marketing department before, so I was learning something knew each day. It was also a valuable opportunity to be exposed to another part of the publishing business—outside of editorial and production.

In 2000, you moved to Boston to work for Argosy, a book packager. Why did you decide to make the move?

I had worked with Argosy while at MCP—they were a vendor of ours so I was able to get a sense of how they worked and got to know some of the people. Argosy was a small company (about 10-15 people) with a lot of potential—forward-thinking owners and a very team-oriented atmosphere. After spending 8 years at MCP, I was ready for a change—in terms of both a job and city. It was also a great opportunity to be in a job in which I was involved in many areas of the business—project management, production, marketing, and even sales! No two days were the same.

When I joined Argosy, we provided art-creation, composition, and project-management, and editorial services to trade and higher-education publishers. It has now expanded to also offer animation, full-service project management, and content-creation services for mainly the K-12 school market.

What did you do at Argosy and how long were you there?

For about 4 years, I built the project management staff to 5 full-time staff members. I hired, trained, and managed the project managers who each handled anywhere from 10-15 full-service projects at one time. I was also managed the compositors’ and artists’ schedules and assigned projects and recruited outside editorial talent. During the last two years at Argosy, I moved into business development. At this time, the company wanted to move into the K-12 market and away from trade publishing as most of that work was being outsourced. I was involved in meeting with potential clients, making cold calls to develop more leads, generating quotes, etc.

After 6 years at Argosy, you were hired as Managing Editor for the Harvard Business School. How did you land that job?

I actually saw the position posted on the HBS job board.

What’s your current job description?

Most of the case studies at HBS are what we call field cases. The HBS faculty produces about 400 cases per year (over 6,000,000 cases are sold each year). A field case is written about an actual company, or country, that is facing some sort of dilemma. Researching cases like these requires the faculty member to go on-site and interview company representatives or government officials in addition to traditional research. In order for these cases to be distributed on campus and sold through HBS’s publishing division, releases and permissions have to be secured since the cases can contain sensitive information about a company or person. So our office handles all aspects of this process—securing releases, seeking permissions from third parties, editing course materials, and processing new cases. I directly manage the processing and editing of new cases (5 full-time staff members) and have dotted-line responsibility for ensuring that all necessary permissions and releases have been secured.

What publications does your office produce?

We produce various course materials for the faculty: cases, teaching notes (to aid other professors in teaching a particular case), journal articles, papers, book chapters, etc.

How does academic publishing compare with the other types of publishing you’ve done? Was the transition difficult?

It’s difficult to really tell the difference because my role is within Harvard Business School itself and not with its publishing division, HBS Publishing (HBSP). My office produces and edits the cases while HBSP sells and markets them, so the pace and overall environment may be different there. The main differences I notice are that we have more time to produce the materials and the editing budgets are not as tight as they might be in trade publishing, for example, so we are really able to focus on delivering detailed, high-quality services to the faculty.

What do you look for when you hire editors?

We look for editors who have a broad range of experience editing various types of business publications, mainly journals, books, and cases. Some of our faculty members also request developmental editing, which we provide so we have a separate group of editors who are able to provide editorial support beyond line editing.

What advice would you share with people who want to get a job in publishing?

My advice would be to talk to people who are currently in publishing (through informational interviews) and learn about the various opportunities available and to see what area might be of interest. If you are making a career change from another field, consider taking a publishing course at a local university—or joining a professional association focused on communications or publishing to meet people. Associations often have job boards too! Also, look at the Careers sections on various publishers’ web sites to see what opportunities are available.

Are You Interested in Indexing? by Cheryl Lenser

Many thanks today to Pearson indexer extraordinaire Cheryl Lenser for providing this detailed and interesting look at the job of an indexer. She's been at Pearson for as long as I can remember, and she's one of the best indexers I know!

I rather lucked into the publishing field, mostly because I couldn’t find a library job in central Indiana. Library jobs are really hard to come by! I have a bachelor’s degree in political science and a master’s degree in library science, with the thinking that that would get me a good job in a place I enjoy. However, I ended up taking an administrative assistant position in a healthcare facility until I could find something more in line with my education. As it happened, my now ex-husband was hired as a proofreader at what was then Macmillan Computer Publishing. That sounded intriguing to me, plus I knew that MCP was hiring by leaps and bounds, so I sent my resume in, intending to apply for a proofreading position. Someone saw “Master’s of Library Science” on it, so they forwarded my information to the indexing department. I was sent an indexing test, took it, and was hired a month or so later. Aside from one class in library school, which thoroughly confused me, I had NO IDEA what indexing entailed. Good thing MCP offered six weeks of production department training (primarily page layout, but also a good amount of proofreading and indexing) at the time! I’ve now been with Pearson (MCP was bought by Pearson several years ago) for nearly 13 years as an indexer.

Book indexing comes in two different “flavors:” embedded and standalone. Embedded indexing means putting tags into documents before the final folio (page numbers) is set. Standalone indexing means getting final pages, either as hardcopy or PDF, and writing the index from those. I do primarily embedded indexing because it fits into our workflow better—the indexing can be done earlier in the production process and doesn’t have to wait until the last minute before the book is printed. [See the end of this post for a breakdown of the two different types of indexing.]

Indexers spend the vast majority of their time working in front of a computer screen. Basic computer skills are a must; the only software skills required are Microsoft Word and possibly specialized indexing software, at least for those doing standalone indexing. Embedded indexing requires proficiency in whatever software the publisher wants the indexing tags inserted into. At Pearson, that’s usually Microsoft Word, although it sometimes requires QuarkXPress or Adobe InDesign.

In addition to computer skills, indexers need to have excellent reading comprehension skills and organizational skills. Indexing requires reading a text and determining the major themes and all the little bits of important information in that text. Then the indexer must figure out what index entries to write to best serve the reader who wants to find information in the text. The indexer’s job is to serve as an advocate for the reader, both the potential reader and the returning reader.

Finding an in-house indexing position is an ideal way to learn how to index, but that happens very rarely. Most publishing houses (except for some computer/technical publishers) use freelance indexers who write standalone indexes. Many freelance indexers are either self-taught or take an indexing class through the USDA Graduate School (www.grad.usda.gov) or the American Society of Indexers (ASI) (www.asindexing.org). The preeminent book on indexing is Indexing Books, Second Edition by Nancy Mulvaney (University of Chicago Press, 2005), although there are also many other good books for learning indexing. Check the ASI website above or Amazon.com to find recommended books on indexing.

If you’re interested in learning more about indexing as a profession or learning how to index, check out the ASI website, subscribe to an indexing mailing list (many are listed on the ASI site), read as many indexing books as you can (Mulvaney is a great start), and practice indexing your own books at home or books borrowed from the library. It usually takes a long time to get established as a freelance indexer, but once you have a few published indexes you’ve got a great start on a career.

Embedded Indexing

• Can be done at any of several different stages in the production process
• Tags in the files can be re-used if the document(s) is published in a different format (online, ebook, revised edition, etc.)
• Requires use of whatever software the source files use, usually Microsoft Word although can also be done in Adobe InDesign, QuarkXPress, Adobe Framemaker, among others
• Depending on the software, the indexer usually cannot see the index as it’s being built but must instead keep the index structure in his/her head or written on paper

Standalone Indexing

• Must be done after the book is folioed (has page numbers)
• No tags are embedded in the source files; index is completely separate from rest of book
• Requires use of dedicated indexing software for all but the most basic of projects
• The “index-in-progress” is fully visible in the indexing software

Introducing Our New Editor: Aaron Black

Our new editor started today. He's Aaron Black, and here is the introductory e-mail I sent out about him yesterday:

Join me in welcoming JIST’s newest editor, Aaron Black, who starts tomorrow. Aaron comes to us from Pearson/Penguin, where he has been proofreading Complete Idiot’s Guides. Previously, he was an indexer for the Sams and Que computer book imprints at Pearson. Aaron’s varied background also includes stints at Nicholas Ellison Literary Agency in New York and the University of Phoenix, as well as several years as a department manager at Barnes & Noble. Aaron is a graduate of Butler University, where he majored in English literature and creative writing.

Aaron’s official title is Associate Development Editor, and he will be specializing in trade and workbooks. You can find him in the cubicle next to Aleata’s. Welcome, Aaron!

We've spent the morning so far going around meeting people and getting his computer set up. I had to fill out an I-9 form for him proving that he's not an illegal alien. In the process I discovered that he and I share a birthday (albeit 12 years apart). Is that not freaky?

So now I've turned him loose on his first project. It has been sitting on the floor of my office for a month, just waiting for him. I'm so relieved to have help getting through the backlog!

Freelance Permissions Editor: Julie Cancio Harper at Permissions Trackers

Perhaps no post on this blog has generated more off-line interest than the one several months ago in which I said I had a friend who was looking for a freelance permissions editor. I never knew such a job existed, and yet I heard from a dozen people who have made full-time careers of it. As it turns out, my friend never got permission to hire anyone (har, har). So I've left all of those people hanging.

One of them, however, has been kind enough to write up her career story and advice for this blog. I present to you the story of Julie Cancio Harper of Permissions Trackers in Sherman Oaks, CA, who has given me permission to post her story here. It's kind of long, but hang in there--it's fascinating and very helpful.

How Did I Get Here? My Freelance Publishing Life

The summer after I earned my BA in English from Kenyon College, I attended the Denver Publishing Institute at the University of Denver. DPI offers students a four-week graduate-level overview of book publishing. Industry professionals from all over the country teach workshops on editing, production, and marketing.

I was trying to find out whether publishing was for me, and this was a great way to do that. I especially enjoyed learning how to copy edit and proofread using Chicago style. So, it showed me that my preferences leaned toward the editorial department. DPI also helped me target appropriate entry-level publishing jobs, which was a great help.

After DPI, I moved to Boston and was hired as an Editorial Assistant at Allyn & Bacon. Being an EA gave me the opportunity to work with every department (editorial, production, marketing/sales) each step of the way through the book's life cycle. I especially enjoyed preparing the book manuscripts for turnover to production and working with the authors to make sure all materials were in place. Part of that process included reviewing permissions packets, including contracts and logs, for completeness.

As you review many permissions packets over time, you notice that permissions acquisition is a time-consuming process (sometimes taking months). You quickly learn that clear query letters and a consistent pattern of labeling and organizing all the paperwork saves a lot of time in the long run.

As an EA, I also worked with several editorial freelancers. Some did developmental editing, others were proofreaders, some were adjunct professors hired to write supplementary materials (web content, test banks, etc.).

After I had been an EA for about a year, I was offered the opportunity to produce a short film shooting on location in a remote area of Utah. That was too flattering to pass up. It required several months of pre-production work, which I knew I could not manage while I worked full-time hours in publishing. And it occurred to me that freelancing would offer me an opportunity to both work on the film and also use my publishing skills and experience in new ways.

The same week that I gave notice that I was leaving my position as an EA, editors started approaching me in the halls, saying "I heard you're going freelance. Do you have time to proofread for me? I have a project coming up soon. Will you take on a permissions project?"

So I said yes to everyone and everything and let word of mouth work its magic. When people ask me how they can get a strong start as freelancers, my answer is to work in-house. Quality work is recognized in publishing and your reputation will speak for you even when your desk is no longer in their office (because it's in your spare bedroom).

When a colleague got a new job at another publisher, she suggested I would be a good candidate for the position of freelance project manager there. That referral led to a year-long string of projects where I oversaw the authoring, editing, and proofreading of websites that helped college students review the chapter content in their textbooks.

Also, join a professional organization where you can get a listing in their online directory. I became a member of the Editorial Freelancers Association and my directory listing there produced several cold calls that led to ongoing relationships with two book packagers. Those leads were worth a lot more than the cost of membership.

Aside from networking, I also got good results submitting proofreading tests. I chose proofreading over copy editing because I just enjoy it more. I worked as a freelance proofreader on Blackwell journals for two years.

Over time my workload began to shift increasingly toward permissions projects. It's more stress than proofreading, but it also pays more. I enjoyed building relationships with repeat clients and I tried to maintain the same calm, thorough approach to each new project; and that went double when deadlines were short. My clients appreciated the effort and I became known as a permissions specialist.

What a Permissions Editor Does

When an author submits a manuscript to the publisher, that manuscript may contain material from outside sources. Photographs, text quotes, cartoons, full article reprints, charts, line drawings, graphs, maps, screen shots of websites or software--all sorts of things--may have been found during the course of research and may be added to the manuscript by the author. Someone must (1) evaluate whether permission is required for each of those "found items" to be printed in the book and, where permissions are required, someone must (2) obtain written permission before each item can be reprinted.

Depending on the practices and requirements of each publisher, I've seen evaluations performed by the author, the editor or editorial assistant, the legal department of the publisher, a freelancer, or by a combination of those (as double-checks). It helps to have a thorough understanding of copyright and fair use. Most publishers provide basic guidelines to their authors. The book contract will specify whether the author or publisher is responsible for doing the work of obtaining all required permissions (or for hiring a freelancer to do so).

Most authors who come to me for assistance have already started the permissions for their book, but have found the process nerve-wracking, confusing, and/or too stressful for them to deal with considering all their other on-going obligations to the book. Editors--working either for the publishers directly or as staff at a book packager assigned to the project--will usually know in advance whether they need a freelancer.

When I receive a new project, I determine where we are in the permissions process. If the manuscript has already been evaluated, I will receive a spreadsheet containing the items needing clearance, called a permissions log. Or I will receive a hard copy of the manuscript with flags on the pages containing items needing permission and I will then generate the permissions log myself.

If an evaluation needs to be done, I review the full manuscript page-by-page and create a permissions log based on my findings. Next I make a list of questions to get clarification on any material whose origin is unclear from the manuscript or other materials I have received. Accuracy is very important when dealing with copyright evaluations so I need complete source information.

When the permissions log is finalized, I can move to the querying stage. In order to send a complete and clear permissions query, I will need the permissions log to contain a full reference citation for each item as well as complete contact information for the copyright holder. I will conduct Internet and library research to obtain any relevant information not provided by the client. I track down ISBN numbers, page numbers, literary agents, estates of deceased authors/artists, you name it.

Clients will usually provide their preferred permission request letter as a template. If they do not have a template, I have one of my own that I've developed over the years. I create and send the query letters . . . and wait. Permissions departments that receive these queries are usually swamped and a 12-week response time is not unheard of. Four to five weeks is more common. I'll begin receiving responses and updating all the details in the permissions log, including reprint fees, rights restrictions, copyright notices and source credits, complimentary copy requests, and requests for changes to the reprinted material or book content.

For regular projects, I will begin following-up on the unanswered queries in a few weeks. For rush projects, my query will include a plea to help me meet a specific deadline (about a week from the date of my letter). If I do not receive a reply by the deadline, on the following business day I will email (once), leave a voicemail (once), and send a fax (once) to ask for an update: Did you receive my request? When I can expect to have a reply? This will usually do the trick. If there is still no response, I wait a day or two and try again--maybe with a voicemail only. Calm, apologetic urgency may earn me a friend in that office who can help me impress clients when future projects require fast turnarounds.

It can take days, weeks, or months to receive all the responses. Throughout this process, I am also keeping the client informed about all our progress. I submit updated permissions logs at intervals depending on the project size and urgency: weekly, biweekly, monthly. When we're getting close to our deadline (typesetting or press time), I document the full story on each of the items with permission still outstanding. In an email I list what I've done to track the item, what companies I contacted, who I talked to, what they said, when I will follow-up again, etc.

I will sometimes be asked to give a recommendation about whether I think the paperwork will be received in time. Ultimately, it is up to the publisher to decide if the book's schedule should be altered to allow more time for permissions to arrive. I do not recommend that material requiring permission be reprinted without the written permission grant in hand. If the schedule must be kept, I prefer to have the material in question deleted or replaced with material not requiring permission. I do not agree with due diligence or good faith arguments. There is no need to take legal risks when in many cases a simple replacement of a table or figure with original author-made content can allow the book to make its original press deadline.

Advice for Potential Freelancers

I've heard other freelancers say this, and I'll add my voice to the chorus here: I had no idea what I was in for. The learning curve is steep.

Please do not rely on freelancing to give you a full-time income right away just because you are working (probably more than) full-time hours. Running the business of freelancing takes up more time than working on actual paying projects, some days. This is especially true in the beginning. You are suddenly the marketing team, the contracts negotiating squad, the accounting department, a tax preparer, the technical support and computer guru, the shipping clerk AND the freelance editor, all at once.

There will be kinks in any well-made plan. Do not give up. Be patient and give yourself enough time to figure out all the things you didn't know you'd need to know about freelancing. Everything will be harder to learn if you are also pressed by urgent financial obligations. So if you do not have savings to give you a buffer, then I would urge you to work in-house and start your freelancing business part-time after hours.

There is still so much for me to learn, even after 8 years. And the trick is to not get discouraged by temporary setbacks. Find joy in everything that happens--including the tough stuff, from meeting impossible rush deadlines to mending communication snafus. Do not give up.

Permission to post the material below on your blog located at http://publishingcareers.blogspot.com/. Permission for any additional use must be requested separately. Copyright (c) 2008 Julie Cancio Harper. All rights reserved.

Inside a Book Reviewer's Head

Jeff Salamon is the books editor for the Austin American-Statesman. In this revealing article, he tells a little about what his job is like: a lot of administrative tasks and very little time actually spent doing what you'd imagine a books editor does: reading books.

Salamon also laments that he is a slow reader and that he doesn't often retain what he's read. And he, like most of us, buys (and is sent) more books than he can possibly keep up with. I find that endearing.

Thanks to freelance editor and writer Helen Ginger's Straight from Hel blog for pointing me in the direction of this article.

Whatever Happened to the Career Profiles Posts?

I just wanted to update you as to why I haven't done any career profiles so far this month, in which I interview people working in publishing about their career progressions. Lots of people have agreed to send me their information, but they're all just too busy right now to do it. After the holidays, I will follow up with those people and contact some new people, too. So I think the feature will be back in full force in 2008.

Meanwhile, if there is a particular job you'd like to know more about, leave me a comment and I will try to find someone to write about that job. And if you are reading this and haven't shared your story yet, please feel free to send it along to me at loricateshand@yahoo.com.

Cathie Black Talks About Her Publishing Career on NPR Today

Thanks to Erik Dafforn for the heads-up on this:

Cathie Black: "Basic Black" (Crown)

In 1979, Cathie Black became the first woman publisher of a weekly consumer magazine. Today, she manages such well-known magazines as Cosmopolitan, Good Housekeeping, Harper's Bazaar, Esquire, and O, The Oprah Magazine. She joins Diane Rehm to discuss her rise to the top of the publishing world and shares her advice on balancing career and family life.

Says Erik, "It says it's on the second hour (11am) but you might check at 10am just to be sure. It's on NPR, which you probably knew. Also, the shows are available for download within several hours of airing, in case you miss it."

Publishing Jobs and Career Info on Vault.com

What on earth took me so long to explore this fabulous resource? Vault.com's publishing section on its website is just amazing--chock-full of articles and facts on publishing careers, such as salaries, day-in-the-life articles, company profiles, industry info, networking boards, a sample resume, job and internship listings, and much more. Some of the content is free, and some of it you have to have a subscription to view.

Vault does all this to promote its book on publishing careers, Vault Career Guide to Book Publishing. At $29.95 and only 128 pages, it's kind of steep. Plus, it's more than three years old at this point. When they come out with a new edition, I will be sure to review it here.

The (Published) Novelist Next Door

On the coasts, maybe you can't sling a dead cat without hitting someone who's published a novel. But 'round these here parts, it's a mighty rare occurrence. So maybe that's why we're all so excited that our co-worker, John David Anderson (aka "Dave"), is about to publish his first novel. Standard Hero Behavior will be released by Clarion Books on November 19. And it's already been singled out for a starred review in Booklist magazine (but it's not posted yet).

So Dave has the unique experience of being a fiction author and a nonfiction editor at the same time. We chatted a little about the book and his experiences in publishing it:

From the review, your book sounds like a cross between Lord of the Rings, Harry Potter, Monty Python, and Not Another Teen Movie. What genre would you classify it as?

It's your typical pseudo-fantasy-satire-mystery-road-buddy novel. With singing. And a werewolf.

Set the scene and give us a rundown of the plot.

Mason Quayle is a bard. Bards sing about heroes. But Mason's not a very good bard because there are no heroes to sing about. Well. Not entirely true. There's one, but he's a total jerk. So life is pretty crappy until a couple of orcs sneak into town with a giant battle ax and an ultimatum. What ensues is a sometimes less-than-heroic quest to find real heroes (whatever that means). And Hilarity also ensues. And a swordfight or two. Am I being too secretive? Oh. And somebody swallows a pixie...but that's all I'm gonna' say.

Lots of people write novels, but very few actually get them published. Tell us about the process you went through to find a publisher for your novel.

Hard to believe, but I actually went through the painful "send out query letters to the names in the book" process. I understand it helps to have connections or an agent. I had neither. Thankfully I got some good feedback from editors who took enough pity on me to read the manuscript. About one out of every five queries landed me a manuscript request. Then one day I got a phone call from Clarion Books asking me if the book was still available. I tried to play it cool, but I'm sure she could hear me screaming even through the fist I had crammed in my mouth. It doesn't hurt that there is a strong market for middle grade and young adult fantasy fiction right now. Thanks J.K.

What are the most rewarding things about writing a novel? What are the most excruciating?

The most rewarding thing for me is unpacking the mystery. I'm not the kind of storyteller who plans it all out in advance. I start with a character with a problem (or several) and see how he or she tries to wiggle out of it. The narrative often unfolds in surprising ways (surprising even to me), so the endings are always satisfying. Of course I also like the blank page when I'm about to start something new. That pulsating "I" of a cursor just begging for a first sentence. There's so much potential in that white space. The most excruciating is the copy editing process, at least for me. By that time I've been through it at least seven times. I'm tired of tinkering. It's finished. Set it free. But then along comes some brilliant copy editor who finds all of the times I used the same word twice in a paragraph, and the book is back in front of me again. Don't get me wrong, I would die of shame if anything I wrote was published without the keen eye and ear of a good copy editor, but I'd rather be churning out fresh sentences full of errors than deliberating over an adjective for an hour.

You have the unique experience of seeing publishing from the inside, as an editor, and from the outside, as an author. What insights can you offer from your experience that will help authors and editors understand one another better?

I think editors and authors "get" each other for the most part. Sure it's a delicate dance, and power struggles ensue, but once the writer realizes that the editor only wants what's best for the book, I think it can click along smoothly. I think authors need to trust their editors--after all, these people earn their paycheck making an author's work better. Their (the editor's) livelihood is at stake. At the same time, I think editors need to let authors feel like they are an integral part of the process. As much as I complained about having to okay every change in my novel, deep down I always appreciated the opportunity. After all, you should at least ask me before you trim a bush or cut down a tree on my intellectual property. It also helps when an editor stays in touch, even after the book goes to the printer. I know as an editor I have a tendency to disappear into the next project when the last one is out the door, but for the author, that journey might just be getting started.

What differences have you noted between nonfiction publishing and fiction publishing?

Author credibility. You don't need a Ph.D. to write a work of fiction. If your story, your talent, and your commitment are strong enough, you can see it through. Fiction publishers acquire stories, and then the marketing departments hope the authors will go out and promote them. In the nonfiction world, who you are matters almost as much as what you've written. There are exceptions, of course, but I think a lot more rides on an author's credentials and connections when the decision to publish a nonfiction work is made. I don't think that makes it harder to publish nonfiction--in some ways I think it's easier, provided you know your stuff and show what you can do to help sell the book. Though to be honest, getting published is a chore no matter what you write. Sometimes I think I'd have more impact as an author scrawling limericks on bathroom stalls--at least then you're ensured a semi-captive audience.

So you spend a weekend immersed in a world of fantasy and creativity as you write your novel. How do you keep from gouging you eyes out when you have to go back to psychometrics on Monday morning?

I keep my nails trimmed so that gouging out my eyes ultimately is just more effort than it's worth. I also keep phone cords and sharp objects more than an arm's length away. Truthfully I think Monday morning is why I write. I won't lie. I often use fiction, whether reading it or writing it, to escape. I believe that quality fiction has a didactic role to play--it can help us to ask questions and envision innovative answers; it can help us to grow as human beings and make the world a better place, and all of that good stuff. But it's also nice to lose yourself in another universe, or at least another part of the world, and see how it operates. Then, when you come back to yours, you often have a slightly different perspective on it all. Then Tuesday comes and you clip your nails again, just to be safe.

I hear your publisher wants to see your next novel. What obstacles will make that difficult?

Twins. They're two and a half and they happily consume most of my non-work hours. There's never a shortage of ideas, only a limited number of hours in the day. I think the vast majority of published authors out there aren't making a living from their writing. The key is to try and find a balance. You eke out your time when you can. Get up early (or in my case, go to bed late). Pick one evening a week that you will devote to your craft. Keep a notebook handy so that you can jot down good ideas at work. Or you could always marry someone with a great job and convince them that you are some kind of brilliant artist ready to shed your cocoon and let them be your patron.

Will you remember us when you're famous?

Oh. No worries there...

P.S.: Dave announced earlier this week that he is leaving JIST to be a stay-at-home dad and start work on the next book. So now he's going to be living the dream, and we are so happy for him!

Krisan Matthews: Editorial Assistant and Permissions Editor, American Dietetic Association

Today we meet Krisan Matthews, editorial assistant at the American Dietetic Association in Chicago. I met her through this blog and am thrilled to share with you her experiences in association book publishing, yet another type of publishing with great promise.

How did you get your job? What education, experience, and skills do you have that made you a good candidate?

I found my job approximately a year after I finished college. I had been searching for an entry-level position in publishing and nothing seemed to be coming along. But then one day, I applied for the position of Editorial Assistant after seeing it posted on CareerBuilder. Shortly thereafter I received a call from the HR department. I came in for two interviews and then was offered the job. I think the fact that I had my Bachelor's degree in English Language and Literature definitely helped me to land this job. I had also taken courses in college on editing for print and had experience using the Chicago Manual of Style. I also believe that being a good writer is a very important trait to have in this industry, and my degree in English definitely helped me in that respect.

Did you have to take an editing test?

Yes. Usually when you apply for an editorial job within the publishing industry you can expect to take either an editing or proofreading test of some sort. I took a couple of tests that consisted of various proofreading exercises.

What are your job responsibilities and what is a typical day like for you?

Well, there really is no "typical" day for me. Each day is different because my job consists of so many various responsibilities. My job also involves juggling multiple (and often competing) projects and priorities. I provide support to 8 team members, so my days can be very hectic at times. Some of my job responsibilities are administrative, such as distributing mail, scheduling meetings, making copies of various documents and manuscripts. But I also am involved in the editorial process, as well. I work closely with the editors and assist them with such tasks as coordinating manuscript peer reviews, conducting market research, and writing publishing proposals, or what we call "pub packs," which are presented before our publishing committee. Additionally, I serve as the team's reprint permissions editor. This means that when another publisher or an individual wants to reprint our copyrighted material elsewhere (such as another book), they need to seek permission from ADA to do so. I am the person who reviews their requests and then either grants or denies permission for them to reprint our materials. This role involves at least a basic knowledge of copyright law, as well as good interpersonal skills because you have daily contact with various publishing companies and the public.

Tell us about the ADA. What types of books do you publish and how many per year? How many people work in your office?

The American Dietetic Association (ADA) is the nation's largest organization of food and nutrition professionals. ADA serves the public by promoting optimal nutrition, health and well-being. ADA members are the nation's food and nutrition experts, translating the science of nutrition into practical solutions for healthy living.

The Book Publishing team at ADA creates books that are mainly by and for our members. The majority of what we publish is professional reference materials for Registered Dietitians (RDs) on topics such as diabetes and weight management. However, we do publish some client education materials, including CD-ROMs with print-on-demand handouts, brochures, and booklets. We have also partnered with larger publishers (e.g., John Wiley & Sons) to publish consumer books, such as cookbooks. Additionally, we have an online, subscription-based diet manual called the Nutrition Care Manual (NCM). On average, we publish 8-10 new titles per year.

As I mentioned before, our team consists of 9 people, including myself. The positions include the

• Publisher
• Manager of Acquisitions and Development
• Development Editor
• 2 Production Managers
• Editorial Assistant
• Publishing Manager, Electronic Products
• NCM Sales Manager
• NCM Sales Assistant/Customer Service Representative

What advice do you have for others who might like to find a job at a professional association's book publishing office?

The advice that I would give someone who is interested in working in book publishing at an association or other non-profit organization is to be prepared to wear many hats because the team tends to be much smaller than at a traditional publisher. This can be a good thing, though, because you get a bird's eye view of the entire publishing process that you wouldn't necessarily get at a traditional publishing company.

What are your favorite blogs and websites for people interested in publishing?

Besides "Publishing Careers," some of my favorite blogs about publishing are

• Joe Wikert's Publishing 2020 Blog
• Beneath the Cover
• Chris Webb on Publishing, Media, and Technology
• Future Perfect Publishing
• The Jaldous Journal

These blogs offer great information about book publishing, as well as the new technologies that are changing the industry.

Dean Miller, Senior Manager, Home Entertainment & Books, WWE

My guest blogger for today is Gayle Johnson, freelance copy editor and longtime Macmillan/Pearson editor before that. She interviews Dean Miller, another of our former colleagues. He is a prime example of someone who blended his passions into the perfect career for himself.

Today we speak with Dean Miller of World Wrestling Entertainment (WWE), headquartered in Stamford, Connecticut. Dean has followed an interesting and somewhat unusual career path over the past 15 years. He started with a computer-book publisher and now deals with professional wrestlers. Here’s his story:

What is your educational background?

My undergraduate days were spent at MIT, where I received a joint degree in biology and expository writing. I did spend a year at Indiana University pursuing a master’s in journalism, but I abandoned the effort, choosing instead a career track that allowed me to make money.

When you were in college, did you have an idea of the kind of job or field you wanted to get into?

Absolutely not. When I first started in school, I wanted to be a doctor (hence the start in biology). I caught the writing bug and thought that could be a future avenue, although I also did a bit of C programming for the Human Genome Project as an undergrad. MIT provides incredible opportunities to its undergrads to get involved in key research work in their chosen field. I literally had no idea that jobs like the ones I eventually got existed in book publishing until I read about them on a job board.

What were your first jobs in publishing?

Well, technically speaking, I covered high-school sports for the local newspaper when I was in high school (I believe I received $25 a week for my efforts), and I did a bit of documentation in college on the genetic mapping software I was helping to create, but my first full-time opportunity was copy editing computer books for SAMS Publishing.

Describe your job progression after that.

I didn’t copy edit long. My real interest and I believe skill was more at the higher-level edit (organization of the book, selection of topics, teaching methods, etc.) than the “micro-edits,” so I was moved into development editing. I did that for a few years, with the occasional book acquisition thrown in, before I moved into management and eventually an Associate Publisher position. After 10 years, I left computer books and started doing acquisitions and development of sports titles—instructional, historical, and biographical. After three years at that, I found my current position at WWE.

What was your first job with the WWE, and how have you progressed from there?

My initial role was Publishing Manager, which is to say I served as the liaison between WWE and Simon & Schuster, our official publishing partner. WWE has been doing books for about eight years, ever since Mick Foley shocked the literary world by creating a New York Times #1 bestseller. The prevailing wisdom that fans of professional wrestling are not readers had been proven wrong consistently over the last decade, and both HarperCollins and S&S have been official publishers of WWE offerings. These licensing agreements fit within the consumer products group, and as a result, I have seen over time my responsibility broaden within consumer products. My official title is now Senior Manager, Home Entertainment & Books. I am heavily involved in our home entertainment group (DVDs) and help with our video game, international publishing, and our Legends Program (a licensing initiative featuring the likenesses of former wrestlers from the past three decades).

Describe your primary job responsibilities.

Books probably take up 25% of my time. On these my job is to help get the books published and vet the content through all appropriate departments. I also work on setting up publicity and marketing for the books once they are published, including book signings.

I am also responsible for the creation of marketing materials and packaging information for all of our DVDs. I also help come up with the list of titles in both areas and P&Ls for the lists.

What’s a typical day like for you?

It’s pretty hectic at all times. We run original programming 52 weeks a year, so we do not have any downtime in our schedule. Obviously, some times are busier than others. Now is big as we are doing the final adjustments on holiday products. The period leading into WrestleMania is insane as well. I’m usually speaking to writers, S&S, and other departments about the promotion and marketing of books and DVDs.

We have an “all hands on deck” approach in Consumer Products, so I’m often called to help with other products. Recently I’ve helped approve models and game play for our next video game, helped select talent for apparel and toy products, and worked with international publishers on kids’ activity books. It’s really nice that I get to stretch my work experience beyond my core competency.

What kinds of people do you deal with? Do you ever interact with the superstars and divas (male and female wrestlers)?

All the time. I interact with the ones who are subjects of books and DVDs, often accompanying them on personal appearances and signings. They often have ideas for consumer products and contact us. I also occasionally go to shows and go backstage for meetings, but I try to avoid that when possible because I don’t want to interrupt their preparation for the show.

Of course, some of our biggest stars—the McMahon family—are in the office all the time. They are very involved with all day-to-day decisions, and I meet with each of them on different topics. In many ways WWE is the best of both worlds: it is a publicly traded company, but on many fronts, it’s a family-run business.

Do you travel for your job?

Yes. I visit retailers, accompany superstars and divas on personal appearances, and attend a variety of trade shows and conventions. We also generally have big partner events at WrestleMania each year, so I’ve been to the last two, and plan on being in Orlando this March.

What skills are most helpful in your job?

Flexibility and interpersonal skills.

What do you like most about your job?

The variety of tasks, working on a pretty exciting property (it’s shocking that wrestling is more exciting than computer publishing), the staff I get to work with.

What are your biggest challenges?

Probably continuing to overcome the stigma that many still associate with professional wrestling.

What advice would you give to college students or recent graduates?

Immerse yourself in your new position and company. Once you have your basic duties down, look to do more for the company with the expectation that you’re doing it for long-term career growth, not short-term financial reward. Ask a ton of questions—seek out people with experience and buy them a meal or a drink for the opportunity to pick their brain. Look at the first five years of postgraduate work as staging years. You want to build as many varied experiences as possible, and you want to lay the groundwork of being a hard worker willing to do what is needed to help your group achieve its goals.

You moved from technology publishing to sports publishing to the pro wrestling industry. Do you have any advice for someone who wants to move into a different job function or into a different area within the same basic industry?

Do not underestimate the applicability of your current skill set into other areas. When I first left computer publishing, I thought I couldn’t possibly do something else—that I didn’t have the skills an employer in a different area would want or need. But sitting down and looking at what I’ve accomplished, I started to realize that certain tasks are universal—project management, risk assessment, mentoring, basic problem solving, data analysis. These are skills all employers need. You absolutely will need to learn some basic information about your new area or industry, as well as learn how to successfully integrate yourself into a new corporate culture, but most employers understand this and give you the time you need.

Rachel Singer Gordon, Librarian Turned Editor

Today I'm happy to introduce you to Rachel Singer Gordon, a technology-oriented librarian whose career has evolved into editing books for librarians. Rachel has for many years been the voice of the "new" library--one that uses information in all forms, not just books, to help its patrons.

Here's her story of how she got from the reference desk to the editor's seat:

Before my son was born in 2002, I was working as a computer services department head in a smaller public library. At the time, I'd begun both publishing in the library literature and presenting occasionally to library groups. I chose to scale back to part-time reference desk work in order to be home with my son, while continuing to pursue writing and other freelance work that could be done from home.

My freelance career began taking off, and in mid-2005 I found myself having to choose between scaling back on freelancing or quitting my part-time job. The freelance work easily won out; I enjoyed writing, enjoyed having the opportunity to meet and work with librarians from around the country, and was somewhat burnt out on reference work. Around the same time, my publisher, Information Today, Inc., wanted to expand its library publishing program. I began as a consulting editor with them that fall.

As a consulting acquisitions editor, I seek out authors for ITI's book publishing division, encourage and work with them on submitting proposals, serve as their liaison throughout the writing process, edit their final manuscripts, and serve as another pair of eyes on their galleys. I also attend two of ITI's major conferences each year (Computers in Libraries and Internet Librarian), which gives me a chance to meet many of my authors in person for the first time and to find new ideas and inspiration from the conference sessions. As I've continued giving workshops and presentations on topics from library management to writing for publication, I get further opportunities to connect with colleagues around the country when I travel for conferences and other events.

I also continue to write for publication in the library field, and have several ongoing commitments. I coauthor a department in Computers in Libraries magazine, write monthly computer book review columns and a quarterly prepublication alert column for Library Journal magazine, and contribute a monthly column on writing for publication to Library Link, an online portal for librarians. Right now, I'm finishing up my ninth book (on alternative careers for librarians); my eighth, an edited collection on technology and the future of libraries, comes out next month.

My career portal for librarians, LISjobs.com, remains the most highly trafficked library job site, and integrates with my writing and other activities. Much of my writing focuses on career development issues, and I continue this focus online with LISjobs.com, its associated professional development newsletter, Info Career Trends, and with my two blogs, Beyond the Job and The Liminal Librarian. So, although I'm not currently working in a library, I still consider myself a librarian at heart--which I hear also from many of the people I've been talking to for the book on alternative careers. Librarianship provides a fantastic foundation, no matter where our careers take us.

Brook Farling, Manufacturing Buyer, Pearson Technology Group

Today I am very happy to introduce you to one of the coolest and nicest people I know. Brook Farling is a longtime Pearson person who has one of the less common (but more interesting) jobs in publishing. He is the one who manages the process of getting the books printed. Here's his insider view of the job:

How long have you worked in this job, and what other publishing jobs led up to this one?

I started out as a compositor, then I took over the supervision of a production team comprised of compositors, proofreaders, and indexers. I've been in my current position for over ten years.

How do you keep your job fresh and interesting?

Hmmmm. Well, it's never dull, because there's always some element of managing chaos. The processes are generally the same each day, but it's the little problems that pop up that chew up a good portion of my day. I generally enjoy tackling those issues and helping others find resolution. I also enjoy helping people find ways to make their books better, or finding ways of saving them money (and in turn making their books more profitable). This might involve suggesting an alternative paper, cover stock, or some other solution, or maybe it's a new printer.

What is your job description, and what do you do on a typical day?

My job is mostly about managing titles at the printer(s), once the final files have been shipped off for printing. That may involve everyday things like cutting purchase orders, finalizing shipping instructions, working with our warehouse to ensure that books arrive on time, etc., but it also involves working out problems that might pop up with book files, planning future titles at the printer, ordering paper, ordering covers or media, etc. The list of little things goes on and on, but it's never not a challenge to stay on top of it all.

What skills are needed to do your job?

You have to be organized and work well under tight time constraints. A whole lot of what I do involves making things happen in a timely fashion so books aren't delayed. There's a lot of detail involved (sometimes more than I like), but I wouldn't call it dull. You also have to be good with people. I spend a good portion of my day talking to people both within and outside of the organization, and excellent written communication skills are a must.

What did you major in?

I have a degree in Journalism from Ball State University.

What advice do you have for college students who might want to get a job like yours—what can they do to prepare for it?

Hmmm, don't do it! Just kidding. Being a manufacturing (or print) buyer is not exactly where I thought I would be at this point in my career, but I certainly see many sides of the business and you learn a tremendous amount by being exposed to a lot of different areas of the business. I would recommend it as a good position for anyone interested in the business side of publishing, as opposed to the editorial side. Probably some business classes would be helpful, but any exposure to commercial printing certainly will help.

Bob Grilliot: Library, Cataloger, and Postsecondary Sales Manager

Today I have the pleasure of sharing with you the career story and advice of Bob Grilliot, longtime colleague and friend at JIST. At 14 years, he has the most seniority of anyone at the company. Here's what he has to say:

How did you get your first job in publishing?
I got my first job in publishing in a very traditional way: I answered a newspaper ad! However, I had worked in the book industry for about ten years before I started working in publishing.

What education and experience do you think helped you get that job?
It was my bookstore background that helped me get my foot in the door in publishing.

What jobs have you had since your first one?
I’ve only been with one publisher--for nearly 14 years! However, in that time it's felt like many different companies, with several management changes and a buyout. I’ve filled many different sales roles in those years; it seems every couple of years I have an opportunity to do something a little different. It has kept the job fresh.

What do you love about publishing sales?
There is a lot to like about publishing sales. You meet some interesting people; I’ve seen many cities I would otherwise not have seen; you can make a living and still sleep at night. I’ve been lucky also to have lots of variety in my roles, which has been a huge plus for me.

What's not so great?
When I traveled a lot, it got tedious at times. And I don’t think anyone is getting wealthy in publishing sales, though, like I said, you can definitely make a living.

What's a typical day like for you?
There are no typical days. The best days have lots of customer contact (and, hopefully, orders). The worst days have unproductive meetings and customer service problems to be fixed. Not every day is exciting but there is an opportunity every day to make that day significant, which is another huge plus to the career.

What advice do you have for someone who wants to get into a publishing sales job?
Know yourself--what are your career priorities? If you want to get rich, go into a different industry. And like any career, you get out of it only what you are willing to put in.

Stephen Tiano, Freelance Book Designer, Page Compositor, and Layout Artist

Stephen Tiano is a new publishing friend out in Long Island, New York, whom I have met through this blog. His job is to take raw text from editors and make it look great. He has his own blog, too. I'll let him tell you all about what he does:

Tell me how you got into publishing, what your education and training were ...

I actually got into publishing as a proofreader/copy editor for a small legal publisher. I left that first publishing job to finish my degree in English during the day and went to work nights at a computer typesetter as a proofreader of math and science. So I came to book design and layout with a fair idea of how finished pages ought to look. Also, I wrote my first story at the age of four and two-and-a-half bad, unpublishable novels by the time I was twenty-one. The latter did not deter me, as a fortuneteller in NYC told me I wouldn't have my first book published till I was about forty--and, she added, it would be the first of many. Having supported myself through college as a fortuneteller, I put a certain amount of stock in what fortunetellers said. I believed I'd make my living one day from "my" books. Little did I know that it would not be from authoring them, but from their design and layout. But I was left with an appreciation of a writer's work.

The place I worked at nights was an oddly run place, in a bankruptcy reorganization for what seemed like forever. I found myself thinking that if I got the equipment one day, I could do what they did, only correctly and sensibly.

what you do ...

I make books. That is, my design and production work result in pages that go to press and become books. What I try to do is make pages--and occasionally covers--that invite readers in to where the writer's words take hold till they finish reading the book. This means staying out of the way and creating clean pages that make it easy for readers to stick with the book.

what a typical day is like for you ...

Well, as a freelancer, I spend a certain amount of time each day--sometimes hours--trawling for more work. A long time ago that meant mailing out resumes and printed copies of work samples. Thankfully, the Internet and e-ail came along. I can look for jobs and projects in newspapers and boards throughout the country. Also, twice each year I send out an e-mail inquiry seeking book design and production work. I used to attach my resume and work samples. Now I attach my resume and include a link to my website, which has work samples posted on it.

When I have a book going, especially in hot weather, I like working at night. The house is quiet and, since I'm a bit of a night owl, I get a lot done working with darkness outside. I like to have two books going at once when possible, as it keeps me fresh and working longer when I can switch off.

and what you would recommend to others who want to do what you do ...

Read books. Both on the subjects of design, layout, and typography, as well as off. Any book is an example of design and layout choices. Be prepared to trawl for work all the time.