It is with great pride and pleasure that the SFU Publishing Program announces the establishment of The Greg Younging Publishing Award Endowment.
The endowment will create a fully funded opportunity for an Indigenous student to complete the Master of Publishing (MPub) degree at Simon Fraser University.
This award honours Dr. Gregory Younging, who was the first Indigenous graduate of the MPub. It was during his studies at SFU that Greg began his work on what would become the influential book, Elements of Indigenous Style: A Guidebook for Writing By and About Indigenous Peoples. The guide is fast becoming a staple for writers, editors, and publishers throughout North America.
“Greg was a huge presence in publishing in Canada. We worked very closely with him here at SFU and following his passing on May 3, 2019 we knew we wanted to establish something lasting that would further his life’s work, which was to build a stronger Indigenous publishing infrastructure in Canada. Greg was very aware of the opportunities that education can provide, and we hope this endowment will be one of those opportunities. Having the support of publishers from across the country has been affirming. We are thrilled to announce today our first multi-year commitment: a three-year, $45,000 donation from Penguin Random House of Canada,” said Suzanne Norman, industry liaison for the SFU Publishing Program.
The endowment will be built over the next three years, with the goal of welcoming the first award recipient in fall, 2025.
The Master of Publishing Program is an 18-month professional program comprising academic and professional experiential learning. It was founded 25 years ago in consultation with members of the Canadian publishing industry which continues to strongly support the program’s students through hosting professional placements and as new hires, as well as teaching as guest faculty and serving on advisory boards and funding projects.
Applications to the MPub close each Feb 1, with successful applicants beginning their studies that fall.
It’s often said that the pandemic has accelerated changes already underway in business, and that’s proven especially true for book publishing. Even though the industry is often considered slow and not as susceptible to technological change (and print just enjoyed its most robust sales in more than a decade), it’s been a transformative time for the business of books.
In the end, no one will go unaffected—not authors, editors, marketers, or booksellers. Jane will discuss the big-picture changes still unfolding, the questions it raises for the industry, and what to watch for in the months and years ahead.
The confluence of voices, languages, and poetic traditions in Otoniya Juliane Okot Bitek’s poetry reflects her sense of belonging and migration across many places. In this wide-ranging conversation, Acholi Canadian poet Okot Bitek will talk about her writing process as a poet, her experiences with publishing in Canada, her collaborative projects with poets and visual artists, and her practice of listening across histories, identities, continents.
The year 2020 will long be remembered for the global Covid 19 pandemic. Lockdowns impacted work spaces as people scrambled to reorganize their work and home lives.
The whole world suddenly seemed to be online and publishers and retailers had to quickly up their game in the virtual space. Ironically, demand for books skyrocketed. Everyone was stuck at home and desperate for ways to pass the time. The 2021 Emerging Leaders in Publishing Summit reflects this changed world by going virtual and through discussing the many ways book publishing led innovation and embraced entrepreneurship, as well as the many challenges still left to meet.
On Tuesday, February 9 at 2 pm, join psychological thriller authors Samantha Bailey (Woman on the Edge), Amy Stuart (Still Mine, Still Water, Still Here ), and Catherine McKenzie (I’ll Never Tell, Six Weeks to Live) with their editor, Nita Pronovost, for a spine-tingling panel discussion about their writing process.
This free virtual event is part of the Emerging Leaders in Publishing Summit and is open to the general public.
I’ve worked in publishing for about 15 years, but every year I’m caught off guard by the January phenomenon of aspiring authors who’ve resolved that this is the year they’re publishing a book. Manuscript submissions and calls about the publishing process become more frequent, as do inquiries about how to get into the industry itself. When we field these calls at the Association of Book Publishers of BC, we direct these individuals to various resources and wish them luck, but in 2021, I’d also suggest they pay close attention to the effects of the COVID-19 pandemic when pitching themselves to the industry, whether as an author or a publishing professional.
The year 2020 was tough: at the end of it, BC book publishers were projecting a 30 to 40 per cent decline in their annual sales, in line with what was being reported across the country. While many bookstores were reporting strong sales leading into the holiday season, store closures through the first and second waves continue to impact publishers’ cash flow, forcing difficult decisions about acquisitions, printing, marketing and overall business operations. It’s too early to say if the fourth quarter results of 2020 will indicate a gradual return to normalcy.
Industry consolidation also presents challenges for independent publishers, who invest in new and diverse voices. The pending sale of Simon & Schuster, announced in November 2020, to Bertelsmann/Penguin Random House, will create a behemoth that dominates market share. Books written by established and bestselling authors, and published by well-capitalized multinational companies, have a competitive advantage in a changed marketplace, where booksellers and, in turn, consumers may gravitate toward safer bets. Authors will also find a narrower market for their work, which may mean lower advances.
So where are the opportunities for change in book publishing in 2021 and beyond? The pandemic hasn’t really highlighted how much is possible so much as it has underscored what should have been happening already.
Nothing will replace in-person book events. That said, online events have increased accessibility, and I expect these will continue in a hybrid capacity, even when social gathering restrictions are lifted. Some of the best virtual events I attended in 2020 were those in which the audience could interact via the chat or be present on-camera.
Publishers also got creative, reinvigorating their sales and marketing strategies. They offered higher discounts to independent bookstores, experimented with digital licensing for schools and libraries and creatively engaged readers online. In BC, Orca Book Publishers’ digital class sets, Rocky Mountain Books’ Think Outside podcast and Arsenal Pulp Press’s author Twitter takeovers and @arsenalpups Instagram account are examples of successful adaptations.
Publishers are well-equipped to work from home, and many are meeting their operational needs by hiring more remote staff. While these are still early days, we may observe that publishing begins to decentralize from major urban centres with higher costs of living, better positioning West Coast companies to compete for and retain talent.
I taught in the SFU Master of Publishing program last fall, working with a brilliant cohort of emerging publishing professionals. While they’re understandably anxious about their job prospects, they’ve recognized that their experiences working independently and resourcefully in a remote learning environment are an asset to prospective employers. Up-and-coming authors and publishers alike will need to be comfortable using collaboration tools (not just Zoom!) and to hone their skills as thoughtful and efficient communicators.
Finally, we can’t let the pandemic overshadow our need to grapple with the industry’s diversity problems. Just as the deeply rooted societal inequalities that were further exposed during the crisis will not be undone simply because anti-racist books sold well in 2020, neither will book publishing’s own lack of diversity. There are numerous initiatives underway in Canada to hold the industry accountable for its lack of diversity, and to change who and what gets published, including the BIPOC of Publishing in Canada collective. The pandemic presents a watershed moment for publishers to re-evaluate outdated practices and to expand their communities and their impact.
Whether you are hoping to get published for the first time, move into a career in the industry or stay the course, publishing in 2021 and beyond is going to require more of all of us. I hope we’ll answer the call.
I’ve spent much of this pandemic summer preparing to teach PUB 800 for the first time: wading through dense treatises on publishing and working out how to deliver an engaging remote seminar. So you’ll forgive me for devoting my introductory post for SFU Publishing to a delightfully frothy show that I’d like to recommend as a companion to your quarantine reading: Younger.
If you aren’t watching it already, Younger is a romantic comedy/drama series, based on a novel by Pamela Redmond, now heading into its seventh season. The premise: a 40-something woman attempts to reenter the book publishing world after taking a hiatus to raise her family, and finds she’s better received when she presents herself as a millennial industry neophyte. So she commits to the lie.
Younger’s ostensible focus is its love triangle (#TeamJosh all the way), but it’s actually a Trojan horse for plotlines ripped from the headlines of Publishers Weekly; Jia Tolentino, writing for The New Yorker, described it “a Gossip Girl for the publishing industry.” Publishing personalities who’ve been lampooned include George R.R. Martin, Karl Ove Knausgård, Marie Kondo, John Green, Kathryn Stockett, and Jeff Bezos (Paste Magazine has a full rundown of who’s been trolled). There are knowing nods to trends (colouring books! hygge! influencers-turned-authors!) and scandals (bulk-order bestsellers! plagiarism! #MeToo!); with a real-life New York book editor serving as a consultant, the show feels firmly grounded in reality. Empirical Press, the venerable yet scrappy book publisher where the show is set, is hopelessly cash-strapped—perhaps in part because their publisher, Charles Brooks, is a self-professed romantic better at making speeches about how “great literature will survive, because we need great stories,” than he is at publishing said stories. Empirical is forever courting investors, considering a merger, or else being bested by Amazon—or, ahem, “Achilles.” Like I said: the verisimilitude is there.
Sure, there are quibbles. There’s the episode where the team decides to go to the Frankfurt Book Fair…the week before the Frankfurt Book Fair, or the instant-book pace with which every new acquisition hits the market, or the fact that there seems to be only one literary agent in this version of New York City. And the show is sorely lacking in racial diversity, which you could say is actually a little too accurate for a show depicting book publishing today.
Still, I’m predisposed to like any series with a publishing angle, and Younger offers those of us in the trenches an escapist rendering of the industry, where the untenable P&Ls and the massive returns happen off-camera. Even real-world publishers are getting in on the fantasy: Simon & Schuster published Marriage Vacation, the roman à clef written by in-show character Pauline Turner Brooks. Besides, it’s been a few years since the CBC’s Being Erica, where the perilous trade was always more of a backdrop to the protagonist’s time-travelling journey to self-actualization. And Gilmore Girls, for all of Rory’s bookishness, never quite got it right: remember the Yale prof who confidently asserted, about the assignment of her own book as course text, “I get full royalties whether you buy the book new or used”? (No, she doesn’t.)
If you’re enrolled in my PUB 800 seminar this fall, we’ll talk about how publishers accumulate, deploy, and signify cultural and economic capital, publishing’s colonial roots, and the future of the book, among other topics. And I look forward to those spirited discussions. But, if I could add a “recommended binge watch” to my syllabus, it would be Younger, which has some surprisingly trenchant commentary on publishing to offer as well. As Rachel Syme observed, writing for The New Republic, “Publishing, at its heart, is about trying to capture and disseminate the zeitgeist; many of the conversations that the characters end up having on Younger are about how best to shepherd these new stories into the world and about the bumps they hit along the way.” May publishing provide enough industry gossip to sustain the show for years to come.
When Vancouver’s public libraries abruptly closed their doors as part of March’s Covid lockdown, my book-addicted family was suddenly forced to go cold turkey. Hallelujah for Little Free Libraries, which have sprouted all over town in the last few years.
As the lockdown dragged on and we all got sick of hearing each other’s audiobooks playing in the next room — who is she talking to? Oh, it’s William Hurt reading Ernest Hemingway / Jack and Annie from the Magic Treehouse / the cats from Warriors — I began taking my kids out on bike tours of the neighbourhood, trawling for good reads.
We slowly learned which libraries had the best pickings and the fastest turnover. Now we have a circuit we follow, a looping trajectory that takes us to five rich reading sources in half an hour. We come home sweaty and elated, showing off the latest discoveries.
Entrepreneur Todd Bol created the first Little Free Library in Hudson, Wisconsin in 2009, to celebrate his book-loving mother, who had just died. He carved wood from an old garage door into a mini, one-room schoolhouse, then set it up on a pole in front of his house and filled it with books. Passersby were asked to “Take a book, leave a book,” and they did. The movement, which became a nonprofit in 2012, spread fast; Bol’s original aim was to create 2,510 libraries, more than Andrew Carnegie; there are now more than 100,000, in 91 countries.
One of the many joys of working in publishing is free books. The salaries are pitiful, the wait for that prized promotion eternal — but the people are great and you receive lots of free books, which I’ve always loved to pass on. My mother, an ardent reader like Todd Bol’s mother, has never complained of all the birthday and Christmas presents with “Advance Reading Copy — Not For Sale” stamped on the spine.
Like many book lovers, I grapple endlessly with all the books I haven’t read yet, piling up by my bed and crammed into the bookshelves in every nook of the house. So Covid seemed made for “Take a book, leave a book.” Time to clear out the shelves and give away some great books that I’ve already read, or will never read, or that aren’t, truly, quite as great as the gripping copy on the front flap (which I may have written) claims.
Except I almost always end up taking more books than I leave. And having to find more space in those crammed shelves for more volumes I’ll probably never read.
Little Free Libraries are a fascinating window into the reading habits of your neighbours. A lot of airport reads, naturally: romance, mystery, crime, mostly well-thumbed and ruthlessly discarded. Computer manuals, academic tomes, travel guides, all worth reading once, all surely doomed to
never be re-read. And a surprising amount of CanLit, oversized B-format paperbacks with worthy endorsements, often pristine, i.e., bought with good intentions but never cracked (I ask myself the same question; should I read last year’s Giller shortlist? Really?).
Every trip I stumble upon wonderful books. My first discovery was “The Sisters,” Mary S. Lovell’s fascinating joint biography of the six extraordinary Mitford sisters. Minor aristocrats, the sparkling siblings took 1930s’ British society by storm — until two of them fell in love with Hitler and became pariahs (Diane spent most of the war in prison; Unity shot herself when war was declared). Nancy wrote bestselling comedies of manners that seem Cretaceous today; thank god for Jessica, a lifelong leftie who satirized her adopted home in exposés like The American Way of Death. Six hundred gossipy pages got me through the first month of quarantine.
By the time May rolled around I was deep into Music: A Subversive History by Ted Gioia and re-reading Gerald Durrell’s My Family and Other Animals, with the ITV characters in my head. Marvelling that someone had left Vera Cacciatore’s The Swing — who doesn’t judge a book by its cover? — and trying to believe in Michael Ondaatje’s Warlight. Except that time was now passing very slowly, and I wasn’t finishing any books. Just refining my bookshelves, like that (apocryphal?) purser rearranging the deckchairs on The Titanic.
By the time I stumbled into July all I was good for was Louis L’Amour, “the world’s bestselling Western writer.” I won’t defend him — there’s a PhD on settler colonialism in every pulpy volume — but I do love his author bio, which mentions no awards but 40 million books sold and the fact that “since leaving his native Jamestown, North Dakota, at the age of fifteen, he’s been a longshoreman, lumberjack, elephant handler, hay shocker, flume builder, fruit picker, and an officer on tank destroyers during World War II.” Note to self: publish more ex-elephant handlers. And how do you shock hay — with an elephant?
As the industry standard for layout design, InDesign is tightly integrated with Photoshop, Illustrator, and Acrobat. Starting with an overview of the InDesign workspace and its relationship to the rest of Adobe’s Creative Suite, students will use instructor-led projects to learn how to set up publications, import graphics and text, and build pages and tables. At the conclusion of this two-day workshop, students will know the benefits of master pages, type style management and type-fitting techniques, and the use many time-saving shortcuts. Read more and to register.