Justin Fromm (Research and Data Management) is Executive Director of Sales and Strategy Research for ABC Television at the Disney-ABC Television Group, where he develops and manages research projects (in support of the Ad Sales department) that demonstrate the value of the ABC TV Network’s programs and viewers. Prior to joining ABC TV, he held positions at Sonar Group’s JWT (formerly Bates Worldwide), Element, and Ogilvy & Mather. Justin earned a dual M.A. from Pennsylvania State University.
Justin kayaks the Hudson River–he has even gone from Manhattan’s West 25th Street to Edgewater, NJ for sushi!

Adam Silverman (From Idea to Empire: New Business Development) is Director of Digital Business for HarperCollins Publishers, responsible for analyzing the global e-book market, developing new business models, and negotiating contracts with distributors and retailers. Previously, he was Vice President of Business Development at Platinum Blue Music Intelligence, Inc.; prior to that he held a management position at New Paradigm Music Publishing LLC, which he co-founded. He has also held positions at Rykodisc and Flydaddy Records Inc., which he co-founded. Adam received his M.B.A. in Marketing and Strategy from Georgetown University.
After spending years in the music business, Adam still enjoys  doing some consulting work with musicians.

Nick Trautwein (Advanced Magazine Editing) is a senior editor at The New Yorker, where he works on long-form nonfiction. His authors include Jon Lee Anderson, Dana Goodyear, Dexter Filkins, Philip Gourevitch, Raffi Khatchadourian, and Connie Bruck. Before joining The New Yorker in 2009, he was an editor at Penguin Press, HarperCollins, and Bloomsbury, and worked at Scientific American, Men’s Journal, and other magazines. He received his degree from Manhattan School of Music.
Nick, a professional saxophonist, spent time on the road with Chubby Checker!

So, what’s the best strategy to make all these great publishing lessons and connections work for the members of the class of 2013? We caught up with a few of the alumni from SPI 2012 nine months after they left the classroom and asked them to give advice to the Class of 2013.

Lisa Rodgers

Junior Agent, JABberwocky Literary Agency

Lisa Rodgers

“How has SPI helped with your job search?”

It’s all about the people you meet. SPI gives you great exposure to publishing professionals who want to help you get your foot in the door. Jim Levine of Levine Greenberg Literary Agency moderated a panel at SPI, which is how I knew that his agency had an internship program in the first place. I made sure to mention the panel in my cover letter, which I’m pretty sure was a big contributing factor to just getting the initial interview.

“Any tips on how to make the most of your time in NYC?”

Socialize with your classmates. Go to the park, eat at that greasy burger joint, see that movie, explore the tourist traps. You don’t know for sure which classmates will be staying in NYC afterward and they may be your only friends here for months. They will be useful when you’re looking for jobs, or when you haven’t left your apartment for 4 days and you just need some human interaction.

“Any specific advice for the Class of 2013?”

Take the final projects seriously, but don’t let them consume you for all six weeks. Make friends with your classmates, reach out to industry professionals for informational interviews/meeting up for coffee/helpful advice, explore the city, and have fun. The hard part is getting accepted to the program; learn everything you can while you’re here. (Pro tip: make friends with Jen [Goodwin]. SHE IS AMAZING. And might make you a cake.)

Sean Bonser

Advertising Sales Assistant, Climbing Magazine, Active Interest Media

Sean Bonser

“Do you have any tips for newcomers to New York City?”

At 8:30 am when you’re rushing to class, the subway IS faster (and cheaper!) than hopping in a cab. I learned that on day 2 when I was running late. Take some time off after a full day of SPI. Don’t go straight home to do homework if you can. It’s ok to get a little lost on your travel home. For me, NYC was all about experiencing something new every day.

“What was the most challenging part of SPI?”

When I had to address the entire room filled with peers and industry leaders to present our final book project. Once I got up there, the time flew by, but preparing for the task set me on edge for days beforehand.

Tyler Allen

Editorial Assistant, Elyse Cheney Literary Agency

Tyler Allen

“What advice do you have for this year’s SPI class?”

You’re probably going to interview for a dozen jobs before you land one. You’ll leave every interview a little more prepared for the next one. In the end, for me it came down to finding the right editor/assistant fit. It has to do with personality and literary sensibility and complimentary taste. If you’re being interviewed, you are probably capable of doing the job, but you might not be the right fit for an editor. That’s ok. Don’t be discouraged.

“Were there any challenges about moving to NYC?”

I need to talk straight to the hearts of Mid-Westerners: This place can seem unforgiving. It’s big and fast and cold–but only for a couple of weeks. You’ll find your routine. My best advice is to find ways to make the city fit your lifestyle. Do you like running for extended periods of time? There’s a place where people do that. Do you like pointing your mustache in pretentious angles? There’s a place where people do that. Do you eat food? There are so many places to do that here. Make NYC what you want it to be. A serious note on living here: You will experience a lot that will pull you out of your comfort zone, and that’s a beautiful thing. Embrace it.

Linnea Zielinski

Freelancer, Hearst Digital Media, Serious Eats

Student, NYU M.S. in Publishing: Digital and Print Media Program

Linnea Zielinski

“How has SPI helped you in your job search?”

SPI taught me where to go to seek out the jobs I want and how to navigate professional functions (mixers, interviews, etc) in a way that will maximize my connections and leave a good impression.

“What was the most challenging part of SPI?”

Honestly, staying on task when SPI is filled with fascinating people you just want to get to know. Everyone comes from such unique backgrounds with such diverse goals that you can easily get more caught up with getting to know them than what’s going on around you.

“What are some suggestions for making the most of your time in NYC?”

Subscribe to the skint email update of free and cheap events throughout NYC, become a master of your planner, go outside your comfort zone–have Greek food in Astoria, legitimate Mexican food from a street vendor in the Bronx–these are experiences that can’t be found anywhere else.

“What advice do you have for the Class of 2013?”

Balance. Make time to hang out with SPIers as friends, but also take your projects and the speeches seriously because both elements are equally valuable to the experience of the program. Balancing your time this way will also mean you’ll meet (and, if you’re paying attention, stay in touch with) industry professions who WANT to help you. You will also get some unique New York City experiences outside the classroom.

Jimmy Neel

Production Assistant, Penguin Group (USA), Inc.

Jimmy Neel

“How has SPI helped you in your job search?”

This may be a cop-out answer, but I really think the opportunity to come to New York for six weeks was extremely helpful. I definitely would never have had a remote chance of getting an interview with Penguin or any of the other major book publishers had I been stuck in Arizona.

“Any advice on how to make the most of New York City?”

If you’re going to stay after the program ends, try to stay in the dorms as long as possible. It’s cheaper, and it is a great base of operations for applying/interviewing for jobs in Manhattan. Once you have the job, either find roommates or move to one of the other boroughs/New Jersey to avoid the extremely high rent (it’s still high, just less so than Manhattan).

“Any other advice for the new class?”

Volunteer for the mock interview. I really hit it off with an HR Director during the mock interview. Afterward, I was able to email this HR representative for tips and advice and I even got help securing an interview at their company.

Kimberly Ladouceur

Marketing Coordinator, Simon & Schuster

Kimberly Ladouceur

“NYC suggestions?”

Go out with people in the program and be social. You will go crazy otherwise. Try to see Shakespeare in the Park, try to go to the Boat Basin, and have fun at all of the parades!

“How did SPI help you during your job search?”

SPI helped me helped me make connections, taught me how to make connections, taught me the basic (and completely necessary) lingo of the industry, and prepared me for the high stress of the media business.

“What advice do you have for this year’s class?”

This is an absolutely accurate crash course into the world of publishing–you will learn quickly who your friends are, and this is true in the business as well. Make sure you are always pleasant and eager to help, and you will do well both in SPI and publishing.

Allie Early

Junior Online Editor, Haute Living Magazine, Haute Media Group

Allie Early

“How has SPI helped you in your job search?”

SPI has been the first talking point at many of my interviews. Publishing companies in New York really seem to value this program.

“What was the most challenging part of SPI?”

The hours were long. It felt like a full-time job, but it was also just as rewarding. Our finished final projects were really spectacular, and they were a great addition to my portfolio.

“Any pieces of advice for this year’s class?”

Editor’s Note: Here are some more tips from our SPI team.

• Quickly become a “morning” person. We start at 8:30 or 9 a.m. promptly.
• Bring a sweater. The classroom can be chilly.
• If at all possible, sign up for NYU student housing: it’s a great way to bond with your fellow classmates (Jennifer, our Assistant Director, will send instructions).
• Invest in a nice outfit for interviews, something spiffy for the alumni cocktail party, and nice bond paper for your (soon-to-be-revised) résumé.
• Immerse yourself NOW in publishing: check out bookstores and print and digital newsstands, read publishing blogs and newsletters (lists will be sent to attending students) and follow us on Facebook and Twitter for more publishing news and alumni tips.

M.S. in Publishing students, including blogger Elizabeth Forrest (back row, middle), pose with: (front row, far left) Hyperion’s Bryan Christian, Elisabeth Dyssegaard, and Mindy Stockfield; (middle row, fourth-sixth from left) Ellen Archer, Hyperion’s President and Publisher; Harriet Abraham, ABC’s VP for Daytime Programming Operations; and Hyperion’s Meg Morse-Schindler.

Delicious donuts (red velvet, French toast, and cookies and cream, anyone?), dancing along with Carla Hall (a chef with cool moves), and learning how to clap and laugh on command as a TV audience member: these were just some of the treats in store for M.S. in Publishing: Digital & Print Media students during a visit to the set of The Chew. We were also given the opportunity after the taping of the hit ABC daytime talk show to meet with the producers and members of the team from Hyperion, who published the bestselling companion cookbook, The Chew: Food. Life. Fun.

The idea and arrangements for this exciting student trip came from Ellen Archer, President and Publisher of Hyperion, who is also on the Board of Advisors of the M.S. in Publishing: Digital and Print Media program. “It’s so important for students to understand the synergy between book publishing and other media such as TV,” said Archer.

The Chew, hosted by Clinton Kelly (formerly of What Not to Wear), also features Mario Batali and Michael Symon, both celebrity chefs and restaurateurs; Hall (a former competitor on Top Chef); and Daphne Oz, author and health & wellness enthusiast.

In discussing the idea for the show, the producers explained that they wanted to create a “party-in-the-kitchen” type of format rather than a typical “how to cook” program. “We knew we were doing something unique: the concept of talk and cooking in one show,” said Executive Producer Mark Schneider. Viewers of the show do not have to be experienced cooks to watch it, but instead tune in for the camaraderie among the five hosts, easy and quick recipe preparation, and to feel like they, too, have the ability to whip up these affordable meals. We learned that an impressive 50% of the audience will cook something they see on the show. So it’s easy to see why Hyperion thought publishing the cookbook was a good idea.

Executive Producer Gordon Elliott

ABC and Hyperion have long worked together to pair books and hit TV shows, for example the Nikki Heat book series based on the works of the fictional title character on the show Castle. “The challenge is finding a show that aligns with a book and partners who see the value in a book for the show,” explained Elisabeth Dyssegaard, Hyperion’s Editor-in-Chief. When The Chew premiered, Hyperion envisioned a cookbook as a natural next step for the brand. Gordon Elliott, Executive Producer of the show, agreed. In fact, he told our student group that he always saw a cookbook as part of the show’s future. The cookbook also replicates the party element of the show by containing lively interviews with the hosts and helpful tips such as what not to bring to a party. (Flowers are actually a don’t because they give the hostess extra work finding a vase, etc. Who knew?)

With such great content, promoting the cookbook is easy, and ABC helps by working closely with Hyperion’s marketing department to publicize the book on the show itself and on The Chew’s website. The strategy involved a slow build. “We didn’t want to exhaust the audience by hitting them over the head,” said Meg Morse-Schindler, Hyperion’s Director of Business Planning and Strategy. Instead, the marketing team began with a cover reveal and eventually worked up to a block party episode on the show completely dedicated to the cookbook. This way, the team was able to build momentum and focus on a six-week publicity push before the September on-sale date.

Bryan Christian with students

“One of the keys to effective marketing and advertising is repetition,” said Bryan Christian, Hyperion’s Senior Marketing Manager (and a professor of marketing in the M.S. in Publishing: Digital and Print Media program). He explained that usually publishers cannot afford to continually advertise a book after it has been published. The Chew cookbook, however, is mentioned on air whenever one of the recipes fits with the theme of the show.

Another important strategy the Hyperion team discussed with the students was the challenge of publishing cookbooks digitally. Traditionally, the ease of getting free recipes and cooking demonstration videos online, low-cost recipe apps, plus difficulties rendering cookbooks to look good digitally has often meant slow e-book sales. Therefore, the marketing team decided the best strategy would be to create an eBook product that served the dual purpose of giving readers a “taste” of the larger print book through 4 seasonal installments of $3.99 each and providing a year-long merchandising and branding effort with the e-tailers. This has worked out really well for them. In fact, the digital bites serve as a companion to the print book, which has been Hyperion’s top-selling e-cookbook last year.

Carla Hall and lucky student Jael Fogle stage an impromptu photocall.

Our visit to The Chew was a great opportunity to learn all about the collaboration that goes into making a book brand extension of a television show. It takes a lot of people—from television producers to editors to the marketing team—for these types of books to happen, and we discovered that having the right team is the key ingredient. The members have to be passionate about the companion products and genuinely enthusiastic about working to promote the two together.

We all left the set with a much better knowledge of product synergy and an eagerness to head to our own kitchens to try out the recipes we saw on that day’s show. Unfortunately, we would have to wait since recipes aren’t posted on the show’s website until around airtime. Be sure to check out those donut goodies (and more!) on the site and tune in tomorrow (Wednesday, April 17th) at 1:00 PM EDT to see the NYU Publishing students clapping, laughing and chowing down on The Chew!

by Elizabeth Forrest

M.S. in Publishing students get career tips from Stacy Berliner (back, left) and Sara Patterson (back, right).

Publishing is a tight-knit community, and for those seeking their first positions in the industry, it can be tough to break in. Luckily, last week, students in NYU’s M.S. in Publishing: Digital and Print Media program had the opportunity to attend a panel discussion moderated by the program’s director, Andrea Chambers, and featuring two senior human resources executives in the publishing industry. Sara Patterson, Head of Talent Management for Condé Nast, and Stacy Berliner, Director of Human Resources at Random House, shared their insights, key networking tips, and job-hunting techniques crucial for snagging that publishing dream job.

The Job Hunt: Networking, Social Media and More

While most companies require that you apply through their career sites, there are other effective ways to attract the attention of hiring managers. “Networking is huge at Condé Nast,” said Patterson. Aside from applying online, she highly recommended using any specific contacts you may have within a company. That means searching through past emails and dusting off those old business cards. Knowing someone in the industry puts you at an advantage and allows you to tap into a hidden job market that may not otherwise be accessible. Simply put, said Patterson: “People want to hire someone they know.”

Berliner discussed the concept of hiring from a social media perspective, stating that LinkedIn is a “big recruiting source.” She stressed the importance of keeping profiles complete and as up-to-date as possible, and noted that she uses LinkedIn all the time to fill specific positions. Also, our experts commented that the recommendations segment of LinkedIn holds significant weight with employers; having credible recommendations and even a brief synopsis of your current activities will strengthen your online profile.

Patterson made a compelling statement in relation to social media: “The minute you join the brand, you represent the brand. We’re not checking Facebook, but we will Google you to see what you are doing in the world.”

Whether it’s Facebook, Twitter, or Tumblr, a Google search will bring anything associated with your name to light… so take a second to look and make sure that light is a positive one.

Cover Letter: Selling YOU

“You should always have a cover letter. It’s definitely a mark in my book if you don’t,” said Berliner. As for content, Patterson explained: “It should be specific to the brand and authentic to the position you’re hiring for.” In terms of length, Berliner noted: “We don’t want the ‘Great American Novel’.” One page of personalized, engaging content that entices employers to look deeper should be your goal.

Résumé: The Good, the Bad and the “You’re Out”

Think accomplishments, not just a stream of responsibilities, stressed Patterson: “People forget to write down accomplishments. To a prospective employer, knowing the results of what you have done means much more than a list of duties from your job description.”

In turn, Berliner offered some insights on résumé appearance: one page (unless you have been in the industry ten or more years); well-formatted, with the education at the top if you are still in school or a recent graduate; and your relevant experience in chronological order. Neither expert felt that including a career objective was necessary, but both agreed on a one-strike rule: a typo means you are out! “If you make a mistake on something this important, how can I know you won’t make mistakes on the job?” asked Berliner.

Interviews: Firm Handshakes and Follow-Up

Stacy Berliner (left) of Random House critiques interviewee Astrid Dalmady

Once you receive an interview, congratulations! You have reached the most crucial portion of the job hunt. Approach the interview dressed to impress, fueled with confidence, and armed with a firm handshake, because, as Berliner said, “Within moments, I know if I’m going to like you or not.” A hiring manager is looking to have a conversation, so speak openly and be an active listener. Also, don’t expect canned questions, as interviewers like to pick up on things they see in your résumé. At the end of the interview, be sure to grab a business card and send a follow-up email because, according to Berliner, “If you don’t follow up, you’ll be out of the running.”

Natalia Knochowski (left) in a mock interview with Sara Patterson of Condé Nast

The program then shifted to mock interviews conducted by the experts. Graduate students Astrid Dalmady and Natalia Knochowski sat down with Berliner and Patterson, respectively, to answer some targeted questions as the rest of the students looked on. The interviewers dissected their answers and pointed out where they could have been strengthened—providing a good learning experience for all. Overall, Berliner advised students to be well-prepared, explaining that good interviews should feel more like a conversation than an interrogation.

As the program concluded, it was apparent that looking for a job can be a job in itself. It takes time, effort, and dedication to make a good impression; though there may be no immediate results, keeping up a professional appearance is important before, during, and even after a job search. As experts in their fields, Berliner and Patterson offered invaluable advice beneficial for anyone looking to join the workforce.

by Krystal Johnson

Stephanie Chan (Magazine Consumer Marketing and Audience Development) is Vice President of Consumer Marketing for InStyle and PEOPLE StyleWatch at Time Inc., having previously been Consumer Marketing Director for InStyle and Essence, and Partnership Director and Senior Brand Manager for InStyle. She has also held positions at Deloitte Consulting and Merrill Lynch. Stephanie earned her M.B.A. in Marketing, Strategy, and Operations from Kellogg School of Management at Northwestern University.
Stephanie loves spending time with her identical twin girls, skiing and traveling.

Charles Gallagher (Introduction to Multimedia Financial Analysis) is Chief Financial Officer of Perseus Books Group. He oversees the financial transactions of the largest independent publisher and distributor of books in the United State, currently servicing over 300 independent publishers in both physical and electronic distribution of a wide range of trade publishing content, in addition to operating several wholly owned imprints. Previously, he held senior positions at Direct Brands, Inc., Virgin Media, Viewpointe Archive Services LLC, TradeOut Inc., Baan Company, and IBM Corporation. He earned his Executive M.B.A. from Columbia University.

Diana Gill (Niche Markets: Mystery, Science Fiction, and Horror) is Executive Editor of the Harper Voyager imprint, HarperCollins’ global science fiction and fantasy imprint, where she launched the careers of bestselling authors Kim Harrison, Vicki Pettersson, and Jocelynn Drake, and has worked with Jonathan Barnes, Brom, Trudi Canavan, Richard Kadrey, Sarah Langan, Patrick Lee, Mary Stewart, and more. Previously, she was Senior Editor of the Eos imprint and Assistant Editor and Associate Editor of Avon Books. She started her career at W. H. Freeman and Company in 1996. She received her degree from the University of Chicago.
Diana, who rang in 2013 with the Coney Island Polar Bear Plunge, also has three black belts in karate, aikido, and jujutsu.

Carin Gorrell (Magazine Editing and Management) is the Features Director at SELF, where she directs and edits all health, nutrition, psychology and lifestyle content; conceives and creates feature articles; and represents SELF on national and local television, nationally syndicated radio, and at various press events and conferences. She had previously been SELF’s Nutrition Director and Deputy Health Director, and has also held editorial positions at Redbook, First for Women, Psychology Today, Harper’s Bazaar, and Ladies’ Home Journal. She earned her M.A. from New York University.
Carin sings and plays guitar in a bluegrass band.

Julie Grau (Introduction to Book Publishing) is Senior Vice President and Publisher of Spiegel & Grau, an imprint of the Random House Publishing Group. Previously she was Vice President and Publisher of Riverhead Books, an imprint of the Penguin Group, where she published numerous bestsellers including Journals by Kurt Cobain, Blue Blood by Edward Conlon, and fiction by Junot Diaz, Sarah Waters, and Nick Hornby. She has also been an Editor at Random House. Julie earned her Master’s from the School of Journalism at Columbia University.
Julie plays paintball.

Mike Haney (Tablet and App Creation and Management) is Chief Creative officer of Mag+, a digital platform for tablets which he helped create as a member of Bonnier’s Research & Development team; he was also involved with the first iPad launch, that of Popular Science in 2010. Prior to his work in R&D, Haney was Executive Editor at Popular Science, where he worked for seven years, and continues to serve as Contributing Innovation Editor. Before that, he worked on a magazine launch for Reader’s Digest and as a staff writer at a magazine in New Zealand. He began his magazine career as an intern at Condé Nast Traveler, where he remains on the masthead as Contributing Technology Editor. Mike holds a Master’s in Magazine Publishing from the Medill School of Journalism at Northwestern University.
Mike is adept at woodworking and metalworking and builds furniture.

Jessi Hempel (Digital Management Strategies: Amazon, Apple, Facebook, and Google) is a Senior Writer at Fortune and Co-Chair of Fortune Brainstorm Tech. She was previously Innovation Editor at BusinessWeek (now Bloomberg Businessweek), and has had several writing and teaching positions. Jessi has been a frequent guest on ABC World News Now, CNBC Power Lunch, and other radio and TV programs. She earned her Master’s in Journalism from the University of California, Berkeley’s Graduate School of Journalism.
Jessi is a mentor for Girls Write Now, which pairs teen girls with professional writers for workshops and weekly meetings.

Seth Holladay (Web Analytics) is Senior Director of Audience and Monetization at NBCUniversal, Inc., having until recently been Senior Director of Yield Management at Rodale, Inc. He had previously been Manager and Director of Web Analytics. He has also held positions at Bluefly.com. He received his degree from Georgia State University.
When not in front of a computer, Seth likes to spend his time outdoors, hiking or cycling.

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Jacob Lewis (New Fiction Formats) is the co-founder and Chief Executive Officer of Figment, an online community for teens and young adults to create, discover, and share new reading and writing. He is the former Managing Editor of The New Yorker, where he worked for more than twelve years. Jacob left The New Yorker in 2007 to help launch and run, as the managing editor, Condé Nast Portfolio. Since founding Figment in 2009, he has become a regular speaker at conferences about Figment’s disruptive model and the future of book and magazine publishing. He received his degree from the University of California, Santa Cruz.
Jacob runs ultra-marathons (races of 50 to 100 miles).

Miriam Parker (Social Media Marketing) is the Online Marketing Director for Little, Brown and Company, where she builds and executes social media strategy and campaigns for all of Little, Brown’s authors, as well as managing Little, Brown’s own social media branding and outreach. Previously, she served as Marketing Director for Mulholland Books, an imprint at Little, Brown and Company. She has spent the past fifteen years building websites, creating online communities and trailblazing in social media for such brands as MTV; ABC; Warner Books; and Grand Central Publishing and for authors including J.K. Rowling, James Patterson, Michael Connelly, David Sedaris, Sidney Sheldon, David Baldacci, George Pelecanos, Nelson DeMille, and Brad Meltzer. She received her M.F.A. from the University of North Carolina at Wilmington.
Miriam’s dog, Leopold Bloom, has a Facebook page that he updates regularly. (http://www.facebook.com/leopoldbloomthedog)

Melanie Pereira (Digital Financials: The Web; Digital Financials II: Apps, Tablets, and Video) is Vice President of Finance and Editorial Operations at Newsweek/The Daily Beast, having previously been Vice President of Finance, Sales & Content Operations for International Program Syndication at MTV Networks International. She has also held positions at NBC Universal and Pratt & Whitney/United Technologies Corporation. She earned her M.B.A. in International Business from the University of Massachusetts at Amherst.
Melanie has developed a strong yoga practice to balance out all the stress of life in the media world.

Chris Sanborn (The Role of Video in Publishing) is the founder and President of Sanborn Media Factory (SMF), a 30-person interactive agency that produces digital campaigns and products focusing on web, mobile, social and video. Outside of publishing, SMF services a range of brands including E*TRADE, Esteé Lauder, The Girl Scouts of the USA, Ann Taylor and others. Prior to starting SMF, Chris worked primarily in publishing (Newsweek, The New York Times Company, GQ and The Irish American News). He earned his degree from Trinity College.
Chris’ immediate family members have all attended NYU in some capacity.

Richard Stark (Book Metadata and Infrastructure) is the Director of Product Data at Barnes & Noble, Inc. and has chaired the BISG/BISAC Metadata Committee since 1999. He has been a leader in the development of many book industry standards and practices, including ONIX, the ISBN standard, and BISG’s Product Metadata Best Practices. Richard has worked in bookselling and publishing for over twenty years. In addition to his long tenure at Barnes & Noble, he has worked for McGraw-Hill, Muze, Borders, Waldenbooks, and several independent bookshops. He was educated at St. John’s College in Santa Fe, New Mexico.
Richard owns over five thousand (physical) books – and has read almost half of these.

Susan Weinberg (Capstone Thesis course) is Group Publisher for Basic Books, Nation Books, and PublicAffairs, Perseus Books Group. Her background includes overseeing editorial, marketing, publicity and budgeting. She joined Perseus seven years ago, as Publisher for PublicAffairs. She had previously been Publisher at HarperCollins and HarperPerennial, and was with Book-of-the-Month Club before that. She earned her M.B.A. from Columbia University.
Susan likes to knit. Her latest projects are lace scarves.

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Gretchen Young (Book Acquisition and Editing) is Vice President and Executive Editor of the Grand Central Publishing imprint at Hachette Book Group USA. She previously held high-level positions at The Walt Disney Company-Hyperion Books, ranging from Editor to Editorial Director of ABC Synergy to Vice President, and worked at HarperCollins, Ailes Communications, and ABC’s Good Morning America. She received her Master’s from the University of Chicago.
Gretchen is a wicked ping pong player!

NYU M.S. in Publishing students David Stuzin, Nicole Estrin, Michelle Cashman, Pam Majumdar, and Lorna Field volunteer at Digital Book World.

During a Digital Book World 2013 panel discussion so crowded that some attendees sat on the floor, Matt MacInnis, Founder and CEO of the interactive book company Inkling, made a particularly perceptive comment: “It’s a miracle that the book was a thing the whole world agreed on.” That is, up until recently, it is fair to say that “the book” as we know it has retained the same static, linear structure across various nations and fields of study since the invention of the printing press 500 years ago. Going forward, MacInnis continued, “It’s not gonna be one monolithic thing serving the med. school book and serving the novel.”

While it’s easy at a massive conference like Digital Book World to get mired in all the technical and structural discussions about the changing nature of the publishing industry, the Inkling CEO’s comments for me, at least, put the whole event into perspective: what was at stake during DBW ‘13 wasn’t just the future of the publishing industry, but the entire idea of the book and everything related to it.

Excitement about the disruptive changes overwhelming the industry was clear in all the presentations. My colleagues and I—NYU M.S. in Publishing: Digital & Print Media students selected to volunteer at the conference—were fortunate enough to listen in on many of these transformational conversations. From technical talks about the merits of EPUB3 to heated debates over DRM (or doing away with it!), NYU publishing students were given access to expert opinions on practically everything concerning the future of book publishing. “A lot of the information was fascinating…it really supplemented everything we’ve been learning in class,” remarked my fellow student Lorna Field, one of the volunteers.

The conference began last Wednesday morning with a discussion of the overall state of the publishing industry. James McQuivey, Vice President of Forrester Research, presented a survey of consumer and executive perceptions on the industry. The data showed that compared with 2011, when executives expected digital to replace print publishing on a rapid schedule, publishers now feel that the transformation will occur much more slowly, allowing for new opportunities in bundling digital and print media. The following panel confirmed and expanded on these findings as four high-level executives, David Nussbaum, Chairman and Chief Executive Officer of F+W Media, Marcus Leaver, CEO of The Quarto Group, Karen Lotz, CEO of Candlewick Press, and Gary Gentel, President of Houghton Mifflin Harcourt, discussed their opinions on the future of the industry; they particularly emphasized the opportunities for growth, specifically in mobile and international business development. “Personally, I got the impression that, compared to the apocalyptic view about print that has prevailed for the past 4 years, the morning session was fairly positive,” said NYU volunteer Sergio Peralta. “It focused on the new opportunities and exciting things for publishing.”

In addition to the large plenary sessions, there were a series of panel discussions focused on topics like leveraging digital technologies for innovation, growth, and efficiency. For example, a panel entitled “New Tools & Technologies for Small- to Mid-Sized Publishers” stressed the importance of digital technologies in allowing smaller firms to compete effectively in publishing. “This is the best time to be a small publisher,” said Andrea Fleck-Nisbet, Executive Director of Digital Publishing at Workman Publishing, remarking on the ability of small publishers to adapt more easily to new technologies due to their size and ease of cross-company communication.

It was great to see so many of our M.S. in Publishing: Digital & Print Media faculty on various panels throughout the two-day conference. Here are some familiar faces:

(1) (2)

(3) (4)

(1) St. Martin’s Press’ Matthew Baldacci, who teaches Introduction to Marketing & Branding and the Book Marketing & Branding advanced seminar; (2, 3) HarperCollins’ Carolyn Pittis and Hyperion’s Mindy Stockfield, who teach Introduction to Interactive Media; (4) Wiley’s Peter Balis, who teaches New Media Technology: From Mobile to E-Books 

Other highlights of the conference included conversations about self publishing and important questions on digital rights and royalties. Phil Sexton, Publisher and Community Leader at Writer’s Digest, presented a survey of over 500 authors who were either self-published, traditionally published, or some hybrid of the two. What emerged from the data were profiles of the three types of authors, with specific emphasis on the emerging success of the hybrid author. “Hybrid authors believe more than any other group that publishers move too slowly and take too much money,” Mr. Sexton said. However, he went on to talk about how these authors recognize the need for the distribution and marketing that publishing houses provide authors, which underscores the benefits of an author-publisher relationship.

In fact, a theme of cooperation prevailed as the conference wound to a close. In a panel on agile publishing, Dominique Raccah, CEO of Sourcebooks, noted: “One of the things I believe about the future of publishing is that it’s going to be collaborative.” Nicole Estrin, an NYU student volunteer, came away with a similar thought after attending a session about the role of libraries in publishing. “They found a major correlation between the ‘holds’ list at libraries and the bestsellers list,” she said, commenting on the way libraries are collaborating with publishers to boost the discoverability of bestselling titles.

While many things about the future of publishing still remain hazy, what Digital Book World 2013 made abundantly clear was that every aspect of the book—from creation to distribution—is changing. Going forward in this industry means seizing new opportunities for growth and collaboration to deliver information in new and innovative ways.

by David Stuzin

Tracey Seaman (right) talks to students in the Every Day with Rachael Ray test kitchen.

The delectable aroma of herbs, spices, and Mexican cooking greeted M.S. in Publishing: Digital and Print Media students as they arrived at the test kitchens of Every Day with Rachael Ray for an industry visit. Naturally, at a food magazine, the test kitchen is key–and the perfect place to start our tour! Christine Guilfoyle, the magazine’s Group Publisher, who graciously set up the student visit, explained that a goal of Every Day with Rachael Ray is to help readers understand the everyday practices of good cooking. The magazine aims to simplify recipe preparation (generally no more than 12 ingredients) and to make sure that the eats and treats it features each month are not only delicious, but food the average reader can whip up in a relatively short amount of time. So, there were no fancy stoves or complicated equipment in the test kitchen. “Most people can’t afford a $25,000 stove, and some that can, don’t use it for cooking,” said Guilfoyle with a smile.

We were then introduced to Tracey Seaman, director of the test kitchen, who presides over multiple cooking areas where staffers and interns were busy testing recipes for the April issue. As the mixers hummed and sautéed vegetables sizzled, Seaman gave students information about the ins and outs of testing recipes at Every Day with Rachael Ray.

Recipes are provided by Rachael Ray herself, as well as chefs and freelancers. Nothing goes in the magazine without passing the sniff and taste tests in the magazine’s kitchen. Even pet recipes get put through the same rigorous tasting regime. All baked goods are made from scratch, and all featured recipes are original to the magazine as opposed to content shared by other Meredith Corporation publications such as Ladies’ Home Journal or Better Homes and Gardens.

Seaman noted that readers are passionate about sending emails and writing actual letters posing recipe questions or concerns. She is very diligent about helping readers with problems, and will even pick up the phone to discuss why a recipe did not work for them and what they might have done wrong. (Note to readers: always include a phone number and you may be hearing from Seaman!)

Next, Seaman and Guilfoyle shared some recipe trials. (After Guilfoyle’s chocolate lab chomped into the terrific brown butter pumpkin layer cake she had made from the November Thanksgiving issue, the nonplussed publisher cut off the offending piece and sliced up the rest for her children and their guests) as well as personal recipe success stories. (Guilfoyle highly recommends the “hot crock chocolate pudding” in the December issue!)

Group Publisher Christine Guilfoyle (right) takes questions from a student

Students were full of questions, and one was about how many readers bring tablets into the kitchen. Guilfoyle responded that there is no specific data on the subject as of yet. Another question was about the amount of enhanced content available on the tablet version. Guilfoyle explained that readers are not overly interested in a slew of enhanced content, and she noted that “Cool isn’t always functional.”

Back in the magazine’s conference room, we met with the team charged with executing Every Day with Rachael Ray. In addition to Guilfoyle, we heard from Lauren Purcell (Editor-in-Chief), Jill Armus (Creative Director), and Dana Bowen (Executive Editor).

As we munched on some goodies, the staff shared insights into their backgrounds and their personal journeys getting to this unique food publication. They even learned new facts about each other. Purcell and Bowen both attended the University of North Carolina at Chapel Hill at separate times. Purcell, an NYU Summer Publishing Institute alumna, majored in anthropology with aspirations of being a lawyer. She ended up pursuing journalism and even wrote a cookbook with her sister. “For me it was always about food,” said Bowen, who received a degree in English. She has worked at a number of publications and has even helped build websites for Dean & Deluca. Armus, who has a degree in drawing from Rutgers University, has worked at a number of publications, including ELLE, Teen PEOPLE, Real Simple, Entertainment Weekly, and Saveur. Guilfoyle, too, had law-school aspirations and wanted to be a public defender, a job she says has some overlap with her ad sales and publishing duties over the years: “Sales is like convincing a jury every day, she joked. Guilfoyle was the launch publisher of Rachael Ray, and returned to the magazine after a stint as publisher of More.

What came through loud and clear during our time with the Rachael Ray top team was an incredible passion for their jobs, for their unique brand, deep respect for the talents of Rachael Ray herself, love of media and optimism about its future. “The whole ‘print is dead’ idea is only relevant if you take it very literally. The business model will have to undergo change,” said Purcell. Guilfoyle added that “the advent of the tablet has saved the print business.” She made it clear that to do well in the magazine business, knowing your brand is key—and the editorial team nodded their heads in agreement. “We understand what the brand is, and Rachael trusts us to expand that brand for her,” said Purcell.

The Rachael Ray top team: Group Publisher Christine Guilfoyle, Creative Director Jill Armus, Editor-in-Chief Lauren Purcell, Executive Editor Dana Bowen

The conversation inevitably shifted to the relevance of social media. One student asked what social media platforms had helped to expand the brand. Purcell acknowledged that being on Facebook and Twitter is enormously important, but that Pinterest has been the most helpful tool to increase readership because the magazine relies heavily on beautiful food photography.

As the visit came to a close, the staff discussed some of the creative challenges associated at working a food magazine. “Comfort food is not always pretty,” joked Purcell about the trials of the photo and art department. “Some recipes are difficult to photograph, especially meat and brown items,” Armus explained, “but we do our best to make all recipes fun, exciting and vibrant.”

In my opinion, this event provided a great opportunity for students to hear from a lively group of magazine professionals and to hear their thoughts on how to keep a brand fresh and relevant—not to mention a great way to spend your days. Said Guilfoyle as we headed home: “It’s a fun, fun business to be in!”

by Alaisha Key

Moderator Justin Chanda, Vice President & Publisher, Simon & Schuster Books for Young Readers, Atheneum Books for Young Readers, and Margaret K. McElderry Books

A sea of familiar faces greeted attendees of the thirteenth NYU Media Talk, sponsored by the NYU-SCPS Center for Publishing Digital & Print Media. Sure, students and faculty filled a jam-packed Rosenthal Pavilion at the Kimmel Center, but what instantly got the crowd buzzing were the displays of book cover blow-ups featuring today’s most beloved characters of young adult fiction, including Bella Swan, Sebastian Verlac, and Emily Fields. The latest NYU Media Talk was titled “Pop Culture Publishing: Young Adult Megahits,” and everyone in attendance wanted the answer to one particular question: “What is the secret sauce to producing hits like Twilight, The Hunger Games, The Mortal Instruments, or Pretty Little Liars?” Indeed, as young adult books continue to transcend their traditional audience and shape a new generation of readers (including plenty of adults!), the publishing industry is actively trying to understand how and why children’s books succeed in acquiring their blockbuster-level status.

To help decipher the astronomical success of recent young adult book series, the Center for Publishing invited Justin Chanda, who teaches a course in Children’s Book Publishing in the M.S. in Publishing: Digital and Print Media program, to moderate a panel discussion. Chanda is Vice-President and Publisher for Simon & Schuster Books for Young Readers, Atheneum Books for Young Readers, and Margaret K. McElderry Books, the imprint that had won the National Book Award for Young People’s Literature the night before the NYU Media Talk and also publishes Cassandra Clare’s The Mortal Instruments and its five successors. He was joined on stage by three leading figures in the young adult publishing world: Susan Katz, President and Publisher of HarperCollins Children’s Books, who oversees bestsellers such as Pretty Little Liars, The Vampire Diaries, and Divergent and Insurgent; Rosemary Stimola, President and Founder of Stimola Literary Studio, Inc. and the agent responsible for bringing Suzanne Collins’ The Hunger Games to bookstores and movie theaters near you; and lastly, Megan Tingley, who, in her capacity as Senior Vice President of Hachette Book Group USA and Publisher of Little, Brown Books for Young Readers, is the editor and publisher of the Twilight Saga.

Opening the conversation with flair, Chanda asked the panelists point blank: “Who wins in a fight? Katniss or Bella?” After the laughter subsided, Chanda then inquired whether or not the success of young adult megahits could best be attributed to “hard work, publicity, or magic?” Speaking from her experience with The Hunger Games, Stimola remarked that “publishing is not chemistry;” rather, you can put in all the right ingredients but still find it impossible to predict a book’s outcome. That, added Stimola, “is where the magic comes in.” Katz agreed: “Sometimes you win, sometimes you lose, but the secret sauce is not that secret; it’s just hard work and a lot of people doing things right along the way;” that includes getting to know the author, generating publicity around a work, and leveraging the full potential of social media. Tingley concurred with her fellow panelists, joking that she could never have foreseen “people tattooing themselves or naming their children after Edward and Bella.”

With out-of-this-world storylines and multi-faceted characters, YA bestsellers have plenty of intrinsic magic; all three panelists agreed that when they received the manuscripts for their respective megahits, they knew right away that they had something special on their hands. For instance, Tingley said she had the unique experience of reading Twilight without an inkling of foresight as to what would transpire in the supernatural world of Forks. Tingley read the manuscript on an airplane and was immediately pulled in by the prologue. In fact, she circled the very passage that now appears on the back of Twilight’s jacket cover. As for The Hunger Games, Stimola impressively revealed that the book was sold on the basis of a four-page proposal. With Collins’ “already-demonstrated ability to create complex secondary worlds and characters,” Stimola said that Scholastic “did not have a wrinkle in the eyebrow with respect to [The Hunger Games’ dark and complex] content.” Indeed, The Hunger Games became an in-house favorite almost instantaneously. Chanda acknowledged the critical importance of creating in-house buzz and getting different departments talking to one another: “If in-house people aren’t reading it, you aren’t going to get anywhere with a book.”

Susan Katz, President and Publisher, HarperCollins Children’s Books; Rosemary Stimola, Literary Agent, Stimola Literary Studio; and Megan Tingley, Senior Vice President of Hachette Book Group USA and Publisher of Little, Brown Books for Young Readers

As the conversation continued, the panelists discussed the issue of a megahit’s impact on a publishing house’s bottom line (great, of course, but what happens when it’s over?), and how authors react to their newfound stratospheric fame and recognition. Tingley cautioned against publishers focusing exclusively on their superstar authors. Because all series come to an end, Tingley said that publishers “need to prepare for the ending at the beginning;” furthermore, publishers have an obligation to “do right by all authors and books and keep their list growing.” When it came to Twilight, Tingley said she kept two lists, namely, “what’s happening with Twilight, and what’s happening outside Twilight.” Katz concurred, stating that publishing houses cannot be “all over the place because of one giant megahit.” Instead, publishers need to see steady, consistent growth. As a result, Katz said that “it remains important for publishers to have “a lot of fires burning and a lot of pots on the fire.”

Stimola joked that a lot of pots can look eerily similar for a time after a megahit’s publication: “It’s amazing how many unsolicited manuscripts I receive about girls retaliating against oppressive government regimes in an apocalyptic era,” Stimola said with a smile, adding that she is not looking for derivative works. Instead, her barometer for compelling writing is defined by whether or not she is still thinking about a story two days later.

At the end of the talk, Chanda called for questions from the audience. Inquiries ranged from the difficulty of designing a jacket cover that is appealing to both boys and girls to building enthusiasm around a new work. One question that particularly animated the panelists was the possibility of a “new adult” department for readers aged 17-35. Tingley acknowledged the appeal of such a concept and how ultimately, the success of pop culture megahits among adult readers makes her wonder about what is lacking in contemporary adult fiction: “Maybe it’s really strong, tight, compelling plots that drive readers through a work,” she mused, clearly implying that this is missing from some adult fiction. Katz felt that a new adult market could easily thrive online where readers can buy things without gatekeepers. “Brick and mortar stores,” she hypothesized, “might feel differently” because it remains unclear where to shelve such transcendental works. Stimola agreed, asking the audience: “How much compartmentalization can [publishing] handle?” Importantly, Chanda noted that it would be a shame for young adult works to lose touch with their originally-intended audience: “Cross-overs are great, but we can’t think about adults and overlook the interests of 12- to 14-year-olds,” he concluded.

As time ran out and hands continued to wave, it became clear that no one in the room was ready for the conversation to end. I, for one, felt particularly privileged to have had the opportunity to listen and acquire inside information on how to produce the next literary pop culture phenomenon. If the success of this panel is any indication, the first NYU Media Talk to focus on young adult publishing will definitely not be the last! Indeed, just as the element of mystery is essential to the marketing strategy of a young adult series, the future of children’s publishing is as exciting and unpredictable as the characters and storylines that comprise those cherished works.

by Courtney Retter

For more coverage of the latest NYU Media Talk, you can check out the recent Publishers Weekly article here: http://www.publishersweekly.com/pw/by-topic/childrens/childrens-industry-news/article/54841-industry-insiders-talk-young-adult-blockbusters.html.

Radhika Nayak and Chris Sanborn at an NYU Center for Publishing moderated conversation.

How do you produce a successful app? And what is a successful app, anyway? These were some of the questions asked recently at the moderated conversation on “The Art of the App” sponsored by students and alumni of the NYU-SCPS Center for Publishing. The event featured Radhika Nayak, Vice President for Product at Simon & Schuster, and Chris Sanborn, Founder and President of Sanborn Media Factory, a 30-person interactive agency that produces digital campaigns and products for companies such as Condé Nast and Hearst. Both panelists were asked to give the publishing industry a grade in terms of their app creation to date. Nayak, who has deep experience in building user-centered product strategies for websites and mobile applications, gave book publishing “about a C,” saying that publishers seem to be stuck on the idea of long-form content, and that they think of apps as nothing more than marketing tools for books, which is not what an app really is. 

Apps produced by magazine publishers were not quite so lucky, receiving “a solid F” from Sanborn, who said that the industry hasn’t done a good job of learning from its mistakes, but rather just keeps on enthusiastically plowing forward, full steam ahead. Nayak reinforced this view, explaining that magazine publishers do not practice “re-conceptualizing” the concept. “The apps are basically just going through the magazine,” she said, meaning that simply using a PDF of the print version is still very much alive.

Both panelists stressed how vital simplicity is when creating apps. Nayak advised that a good strategy is to embrace that old adage, “get dressed to go out, and then take something off,” so your app doesn’t end up too complex.

Sanborn stressed that the app must offer something unique. “You want the app to be like the DVD that comes with the book,” he said. He noted that it should offer new content, not everything in the book, and be designed to be used in tandem with the print edition.

Based on advice from the experts, here is “The Art of the App” in a New York Minute:

• Keep it simple
• Keep it alive—update, update, update!!!
• Remember that the app stands alone. (An app must complement the parent product while offering something new.)
• Consider your user and make sure your app is easy and functional

Students and alumni brainstorming app ideas

The event concluded with a spirited contest to create the best new app for a fictional multimedia food and entertainment brand called O’Sanborn’s. (Think Stews and Brews cookbook, Irish lifestyle magazine, TV show, and Irish family cooking restaurant franchise!) Attendees worked together in teams, and then presented their best app idea to the group at large.

M.S. in Publishing Student Emma Albright discusses her group’s app idea. She says the green top was not intentional.

The lucky winners came up with an idea for an app that would pair beer and Irish food. Users would select whichever is on hand in the fridge, and the app would offer pairing suggestions. This “Luck O’ the Irish Beer & Food Pairing” app would be free, but a premium version including recipes would be available for $2.99.

The runner-up app idea was a “One-A-Day Irish Fact” app. The panelists liked that it would keep users returning day after day to see the new content, and also that the facts could be tweaked to be actionable. (Users could pass on the facts or click the links to learn more, etc.)

“Simplicity really took the day,” said Sanborn, reinforcing the idea that it’s simple apps that take off with users. As the fictional tycoon of a fictional brand, he was delighted with the potential pot o’ gold his apps might yield.

The event was hosted by the NYU-SCPS Publishing Alumni Committee and Publishing Students Association, and the NYU-SCPS Office of Alumni Affairs. The Publishing Alumni Committee will be organizing a Speed Networking event in the spring, so gather up those business cards now!

by Liz Peterson