Enter the realm of the Drama Book Shop on 250 W. 40th Street and you’ll find an enchanting little shop with a creaky and magical ambiance, selling everything from actor’s resources, NYC agent directories, and books on the Apollo Theater to TCM and vintage sewing patterns for extravagant hats well before Kate Middleton’s grandparents’ time. The shop is undeniably organized and yet still manages to look like a wistfully cluttered attic with a lifesize love seat, oversized movie poster boards, colorful hand drawings and signs, old relics and small statues within and on top of the shelves—ready to take you on an adventure. The books are, for the most part, new, but the relatively limited quantity of each title gives the impression that each book has been carefully selected, each containing arcane and delicate pages that should be treated by someone more like a curator rather than a mass consumer at the nearest Barnes & Noble.

But on April 11, 2012, at 7:00pm, the store closed, the door locked, the lights dimmed, and the Pirates came out to play. About 20 YPG members from 11 AAP member companies and a handful of agencies met up with the Story Pirates for their fifth collaborative Story Love adventure. The Story Pirates’ mission is to bring children’s creative stories to life by taking what children write in school and transforming those stories into mainstage musical comedy sketches, featuring guest performers including Jon Stewart, Conan O’Brien, Ana Gasteyer, and Cheri Oteri. In the words of The Daily Show host Jon Stewart, “The Story Pirates teach kids a love of creative writing. It helps kids to see that their words and ideas are really important. I believe that what the Story Pirates are doing is helping America, nay, humanity–helping humanity itself. It’s crazy entertaining.”

YPG members had the pleasure of helping the Story Pirates out for the night, doing what we do best—reading. Amongst noises, yells, claps, cheers and other abrupt bouts of expression projected from the lower-level performance space in which the Story Pirates rehearse, on the main floor of the shop, we rearranged the reupholstered leather armchairs and other unique seating pieces that looked like they came from old baseball stadiums or theaters to sit down and write quirky notes, helpful feedback, and most importantly, praise and encouragement on the stories of first through fourth graders, who will later read these notes when their teachers return the stories in class. We read out loud to each other stories of friendship and sharing (and when I say “friendship,” I mean trapping your friend-to-be in a cage until she or he happily agrees to play; likewise, when I say “sharing,” I mean sharing your lipstick with the Dark Lord), Diet Coke, whipping one’s hair back and forth, and a cross-dressing Voldemort. We got a taste of what it is like to be a Story Pirate in the very initial stages of producing a sketch, reading the pieces and reading enthusiastically, sometimes with character, out loud; we even signed our little notes as if we were the Story Pirates.

I highly recommend any YPG member committed to reviving raw imagination, comedy, and creativity in the lives of children attend the next Story Love session, which will take place this summer. In the interim, check out the annual Story Pirates & Friends benefit on Saturday, May 19, at 6:30pm at the New York Times Center in Manhattan. The performance will showcase “comedic plays and musicals inspired by short stories written by children and performed by comedy professionals, including celebrity guests Kristen Schaal, John Oliver, Scott Adsit, and Michael Showalter.” For more information visit www.storypirates.org or call (347) 878-6798.

Love,
The Story Pirates

Have you ever wondered what the process is like when your favorite book is turned into a movie? Come join us for our exciting June BBL, “From the Slush Pile to the Silver Screen: The Art of Book to Film Adaptations,” with our panel of experts from both the publishing and film industries. Confirmed panelists include:

-Esther Margolis, President & Founder, Newmarket Press (HarperCollins)
-Mary Pender-Coplan, VP and Book Scout, Maria B. Campbell Associates
-John Schoenfelder, Scott Rudin Productions (formerly Mulholland/Hachette)
-And more!

Exact date and location TBD. Sign up below if you’re interested in attending and we’ll send date/location details when they’re available.

Around 30 YPGers from a variety of AAP member publishing houses gathered at Penguin Group on Wednesday, April 18, 2012, to attend the latest BBL on the topic of graphic novels / comic books. The panelists lending their expertise to this topic were Calvin Reid, coeditor of Publishers Weekly Comics World; Terry Nantier, publisher at NBM Publishing and Papercutz; and Kurt Hassler, publishing director at Yen Press, Hachette Book Group.

Moderator Mark Doyle (associate editor at DC Comics and former YPG Planning Committee member) started the discussion with the million-dollar question surrounding this genre: What is the difference between a graphic novel and a comic?

Collectively all three panelists smiled and jumped into various definitions they have developed over their careers. They said format seems to be the largest difference, as a comic book is usually a monthly cycled issue, while graphic novels are a volume or collection of comics bound like a book or a book wholly amongst itself with graphic interpretation. Addressing another head-scratching piece of terminology within the genre, it was explained that the term “Manga” is actually just the Japanese word for comics, used to differentiate Eastern from Western comics. While the classic 22- to 32- page comic book seems to be fading, the industry and art form of the graphic novel seems to be picking up.

From periodical to book trade, Doyle asked the panelists if the term “graphic novel” has legitimized the industry in any way and steered it away from the children’s comic-collecting stigma and toward an attempt to gain female readership. Hassler said no, that it just meant the content was more readily available in traditional markets like bookstores and online shops where there are now specific buyers for graphic novels and comic books. He also verified that many of their readers are indeed female.

Today’s graphic novels can be artistic storytelling or a graphic retelling of formerly published trade novels. When asked what the creative process is like transforming a traditional book to a graphic novel, Hassler said it varies widely from project to project. “In traditional publishing there is a manuscript with a well-defined production process,” he said. “Comics are wildly different from the get-go.” As a publisher he typically asks the following questions: Is it original? Is it adaptive? Are you working with a writer and an illustrator? Overall, it is a hard process to define and is ever-changing. Nantier said, “The editorial process is different because it is so visual. It has to have a movie-like quality. Laying out the page and the panels for proper eye flow is one aspect of editing graphic novels that has nothing to do with prose editing. GN editing has its own set of skills.”

Speaking of differences, the dominating topic of this BBL was the electronic publishing of graphic novels. Doyle started this conversation by recognizing all of the possibilities of digital storytelling. Reid presented the YPG members with a digital graphic novel on his iPad, mentioning that the screen dimensions are close to comic dimensions. Hassler admitted that he started going digital when he saw the launch of a tablet that could do quality graphic representation, noting that cutting images down to fit on a tablet or providing them without color was “unjust” to the material. Reid went into the meaning of digital for the industry saying, “Digital imprints are in the future for sure.” Nantier was a little more reticent, playing devil’s advocate with regards to enhancing a graphic novel/comic into an e-book by asking how far you can go before you’ve crossed the line from comics to animation. Hassler agreed partially by stating story quality is first with graphic novels, and they can worry later about newer distractions young readers may be expecting. All three panelists agreed that worrying about content is more important than worrying about a video-game budget for now.

In regard to the European market for digital publishing, the panelists said initially they were getting push back. Nantier said European publishers and artists are somewhat hesitant, although certain upcoming releases are garnering much excitement. Hassler said Manga e-pub has seen difficulties due to rampant piracy in Japan, with consumers oftentimes obtaining material through illegal channels rather than traditional book publishers. That being said, he looks forward to pushing through this issue.

Looking to the future Nantier said he’d like to see graphic novels on the standard bestseller list. Hassler said he wants to reach a “critical openness” in this genre, and people today are now out of the 1960s Batman stigma in which there was a prejudice against this medium. Reid stated that superheroes are actually a very small part of the comic-book genre, and people often mistake them for the mainstream with regards to what is out there in the marketplace.

Suggestions from the panelists regarding your graphic novel reading list?

-A Bride’s Story
-Bubbles & Gondola
-From Hell
-Fun Home
-Maus
-Watchmen

Add those to your “To Read” pile, and join us for our next YPG BBL, Brand Me: From Debut Author to Household Name, set to take place on Wednesday, May 16, from 12:30-1:30pm at Random House (1745 Broadway).

This article was contributed by YPG member Christine P. Chan. If you are a YPG member and would like to contribute articles on publishing-related topics for our site, please contact Tara Powers at tpowers@wwnorton.com.

The little nuances that come with being an assistant—our mannerisms, what we say and the way we say it, the way we dress—might seem to be of relative importance. Generally speaking, we do not have as much responsibility or oversight on large, long-term projects as our managers do. We may have pressing deadlines and may be assigned tasks that must be completed in order for the department to run smoothly, but colleagues in the office are not awaiting our approval or depending on our decisions to get their work done.

Since we have a little more time and energy to focus on the subtleties of our behavior, though, we assistants are likely to be judged not merely on our work (though the quality of our work is very important) but on how we carry ourselves while we do our work.

Here are some quick tips for crafting your best professional self:

“Dress for the job you want, not the job you have” is old adage that many assistants do follow their first few weeks as a new hire, but then gradually abandon. Maybe you didn’t get promoted after your first month at the company, but you can still avoid looking like an assistant by keeping your wardrobe jean-free (and yes, dark blue and even black jeans are still jeans!).

Casual Friday is not obligatory! People may tell you, “Oh, we dress very casually here. You don’t need to dress up,” and indeed, the realm of publishing is a little more relaxed, but take a look around your office. Most of the people in higher-level positions are dressed up a bit more, even on Fridays. Notice how these colleagues are treated as well—they garner respect. Chances are, you’re already young enough to look like a post-grad baby. So if dressing up the right way for work every day can instantly boost your look from editorial assistant to assistant editor, it’s something, right?

Make eye contact with your colleagues. Even if they interrupt you in the middle of an assignment, quickly (and I reinforce quickly) mark your place for when you resume. Then look up and begin talking. Don’t talk to them while you’re still looking down at your desk or at the computer. You might be afraid you’ll lose your place or your concentration, but to others, this distraction may come off as downright rude. Give your colleagues your full attention and really look them in the eye whenever you talk to them. You’ll seem much more grounded and sincere that way.

Remembering names is key. I cannot stress this enough. Know everyone’s names: the names of the people in delivery and mail services, the person at the copy center, your supervisor, your friend’s supervisor, your boss’s boss, and your cube neighbors. Know who people are and what they do. When someone comes up to you and asks, “Is so-and-so in the office today?” don’t be the assistant that responds, “Who?”

Once you know people’s names, say them! Use them! When you talk to someone, try to end the sentence with her or his name. “Good Morning, Christine.” “Thanks, Christine.” “Hey, Christine, how’s it going?” “See ya later, Christine.” (But let’s not go too crazy—you only have to say the name once.) It makes the greeting or comment much more personal. Challenge yourself today: For every person with whom you come into contact, make sure to use the person’s name in the conversation at least once!

Company parties: White wine with fish and red wine with meat is a piece of advice I often share. One YPG member recounted to me a time when she was at a department lunch, baffled at what to order when her bosses wanted to get wine: “I didn’t know which food goes with which wine!” Yes, there are exceptions, but keep it simple: white wine with fish and sushi and red wine with meat. As for holiday and other office parties, unless you absolutely cannot attend, go! They are good opportunities to network and show that you care about your workplace. If you’re a new hire and feel awkward not knowing anyone, ask another newbie to go with you. And remember, this is still work—just in a more casual setting. Company parties aren’t an excuse to let loose—stick to polite conversation, and drink modestly!

To give or not to give … presents? If you’ve ever wondered whether you have to give a gift to your editor, boss, or manager a gift for the holidays or birthdays, the answer is no. In the working world, it is customary, though not mandatory, for superiors to give gifts to their assistants. In addition to being a nice gesture, it shows that they are in the higher position—making more money than you—to give you a gift. If you have enough time, coordinate a group gift. Just make sure that you invited everyone in your department to contribute so you don’t leave anyone out! A nice card may be the best option.

Assistant work can be repetitive, so it’s important to always keep in mind the purpose of being an assistant: to have a basic and foundational skill set under your belt, to acquire a general knowledge of the industry, to build networks and relationships, and to learn how to carry yourself in a professional manner. If you can remember that, there’s nowhere you’ll be going but up!

Christine P. Chan is currently a development editorial assistant for John Wiley and Sons, Inc. You can follow her on her budding YouTube channel “Liam Christine” by clicking here.

Neither the Association of American Publishers (“AAP”) nor the Young To Publishing Group (“YPG”) represents nor endorses the accuracy or reliability of any advice, opinion, statement or other information displayed, uploaded or distributed through this website by any member, user, information provider or any other person or entity. Member-generated content published on this website reflects the views of the provider of the content, and does not constitute the opinion of the AAP, the Young To Publishing Group, or any of their respective members or divisions.

In response to YPG Cares’ sixth collaboration with Girls Write Now, where volunteers assisted with a spring mailing on Wednesday, May 2, at the GWN headquarters, our volunteers received the following email from the Director of Development & External Affairs at Girls Write Now, Jessica Wells-Hasan:

***

Subject: Many, many thanks to the amazing YPGers!

Dearest YPG Cares Volunteers:

I wanted to send a quick note of thanks for all of the work that you helped with last night… It was amazing how much you got done, and in such a self-directed manner, and I hope you know how appreciative both Maya [Nussbaum, GWN’s Founder and Executive Director] and I are for your assistance. Our intern and I just walked a TON of letters over to the post office to mail out, so it’s official, our spring appeal has begun! With your help, we sent out over SIX HUNDRED letters today to our top donors. If they are as generous with their giving as you were with your time last night, I think we’ll be in pretty good shape this year

I hope I will have the chance to see some of you again, perhaps at our May or June CHAPTERS readings, or at another YPG event. Or even as a mentor–I know that some of you are interested, and applying already, which is fantastic news! Either way, when our paths cross I will remain full of thanks for your help.

All best,
Jessica

Thank you to those of you who joined us for our last film club viewing and discussion of All the Pretty Horses, by Cormac McCarthy. Our next Book to Film Club selection is The Princess Bride, by William Goldman (Harcourt Brace). This classic fairy tale of love and adventure was adapted into an epic, action-packed film by the same title in 1987, directed by Rob Reiner and starring Cary Elwes, Mandy Patinkin, Fred Savage, and Robin Wright (details here). The viewing and discussion will take place on Wednesday, June 27, from 6:30-8:30pm, location TBD. From the screenplay:

GRANDPA: When I was your age, television was called books. And this is a special book. It was the book my father used to read to me when I was sick, and I used to read it to your father. And today I’m gonna read it to you.
GRANDSON: Has it got any sports in it?
GRANDPA: Are you kidding? Fencing, fighting, torture, revenge, giants, monsters, chases, escapes, true love, miracles…
GRANDSON: Doesn’t sound too bad. I’ll try to stay awake.

You must sign up to attend, so please RSVP below. Pick up your copy of the book now and hope to see you there!

Join us for YPG’s Third Annual BEA on a Boat on Tuesday, June 5, from 6-9pm at the Frying Pan at Pier 66 Maritime (located at 26th St. and the West Side Highway). This historic 1929 lightship-turned-hip bar provides gorgeous views of the Hudson River and a cash bar. We’d love to see you at this YPG-hosted event in honor of BookExpo America 2012, the country’s largest annual publishing event! RSVP below if you plan to attend.

Exit Outlook, peel your eyes away from your work computer, and kick off your summer early with fellow YPGers. Join us for some warm-weather revelry on Tuesday, May 22, from 6-9pm at Revival (129 E 15th St between Irving Place and 3rd Ave.) in the upstairs lounge area.

Happy Hour specials will include $3 Bud/Bud Light, $4 bottled beer, $4 well drinks, $5 draft beer, and $5 wine. Need we say more?

RSVP below if you plan to attend!!

Ever wonder how writers like Janet Evanovich, Jodi Picoult, and Dean Koontz became the international phenomenons they are today? Here’s your chance to get the inside scoop into the world of brand-name authors Wednesday, May 16th from 12:30-1:30pm at Random House (1745 Broadway) in the 2nd floor cafeteria auditorium. Our panel of experts will discuss what it takes to brand an author and why it’s so important in today’s fast-paced, digital age.

Susan Corcoran: Publicity Director at Ballantine Bantam Dell (Random House)
Jocelyn Davies: Editor at Razorbill (Penguin) and Author of A Beautiful Dark series published by HarperTEEN
Hillary Tisman: Marketing Manager at Atria Books (Simon & Schuster)
Moderator: Steven Boriack, Publicity at Random House Publishing Group

RSVP below if you plan to attend!

On Wednesday, April 18, a small but solid group of YPG members from six AAP member publishing houses and literary agencies gathered at the AAP offices (located at 71 Fifth Avenue) to watch the 2000 film adaptation of Cormac McCarthy’s All the Pretty Horses (Vintage, 1993), directed by Billy Bob Thornton and starring Matt Damon, Henry Thomas, and Penelope Cruz.

It was universally agreed among the Book to Film club that this was a truly sub-par adaptation. While Damon gave a decent performance as cowboy John Grady Cole, and there were indeed some moments of cinematographic beauty, just about everything else about the movie fizzled and burned. Cheesy and distracting “old West” music, dizzy direction, and an overall lack of emotion bogged down the entire film. Interestingly enough, YPG members saw the movie as too faithful to the book, to a fault. The novel’s delicate and steady pace just could not be successfully crammed into a two-hour movie. Though the film wasn’t good, it certainly made for a lively (and funny) discussion about the filmmakers’ strange choices, which included one too many contrived “I love you”s from John Grady to Alejandra (played satisfactorily by Cruz).

After such a bizarre viewing experience, I decided to do a bit of research on the film. It turns out that director Thornton’s original cut was much longer—between three and four hours! It’s no wonder that the film we viewed felt so rushed. Additionally, the film’s original score was completely scrapped after the massive re-cut was done. Upon learning this, the disappointment of the film makes a lot more sense. Members could at least agree that McCarthy’s novel—part one of his “Border Trilogy”—was well worth the read.

The next Book to Film Club selection is The Princess Bride by William Goldman (Harcourt Brace, 1973). The screening of the epic 1987 movie adaptation will take place in June, exact date and time TBA. Pick up your copy of the action-packed tale now!