Interviews from the Field: Joelle Seligson

Joelle Seligson is an associate editor at the Smithsonian’s Freer and Sackler Galleries of Art, America’s Asian and Middle Eastern Museums in Washington, DC. She writes for Museums magazine and plays a big part in the museum’s digital transition. She has worked in Washington and New York, and has much to share with Pace’s aspiring publishers.  Read on to learn about art-world publishing, working within the government, and how she achieved her goals.


Jenna: What are the responsibilities of your job?

Joelle: I am associate editor for the Freer and Sackler Galleries. I edit anything that goes up on the museums’ walls, on our website, and in our catalogues and ephemera.

Jenna: Please describe your path to becoming an editor at the Freer and Sackler. Where did you study and your jobs or internships along the way?

Joelle: I studied journalism and art history at the University of Florida. That led me to a position as publicist at the Phillips Collection in Washington, DC. From there I moved to associate editor at the American Association (now Alliance) of Museums. Then I had a brief stint as news editor at ARTnews magazine in New York. Shortly after I lost my job in ARTnews’ second round of layoffs in 2009, I ran into a former colleague-of-a-colleague at AAM who had moved to head the Publications Department at Freer|Sackler. She needed an editor; I needed a job. Within a few months—miraculously fast for a federal government job—she created my position and brought me on board. I’ve been with F|S since January 2010.

Jenna: Can you describe the workflow of the way your office works?

Joelle: I am in the Publications Department, which is part of the greater Design, Publications, and Web Department. As with any museum, curators are responsible for generating the majority of content. A good deal of text comes from our Education, Public Affairs, and Development departments as well. In general, staff of these departments come to us with a project—exhibition labels, a brochure for an upcoming film series, an activity guide for a children’s program, etc. They submit an editing and design request. I then work with the content provider to edit the text and with a designer (web or print) to lay it out.

Joelle Seligson
Photo thanks to Joelle Seligson

Jenna: How did you know you wanted to work in publishing?

I didn’t, actually! I knew I wanted to write, and I knew I was interested in art history. My first love was journalism; I still do quite a bit of reporting as freelance work. I enjoy editing, though, and seeing a book in print after months of work gives me a different level of satisfaction than seeing a blog post go up a few hours after sketching it out.

Jenna: As you know, Pace students are mainly studying in New York. Can you tell us how you made it work in the city and about your time here?

Joelle: Whenever I tell people I was unemployed in New York they look at me like I’ve survived a drone attack. In fact, I had the best year of my life. My family is from Brooklyn and now lives in Brooklyn and Queens; I also have good friends in the city. So, when I got laid off, I had a solid support system in place. I soon found a job nannying two fabulous girls for a fabulous family on the Upper West. I had a studio on 89th and 3rd, cash in hand, and a fairly free schedule, so another somewhat-unemployed friend and I maxed out on all the city had to offer. We called ourselves Ladies of Leisure and took off on a new NYC adventure at least once a week. We enrolled in trapeze class, ate at Shopsin’s, bowled at Chelsea Piers, fished (unsuccessfully) in the Hudson, hung out on the “beach” in Long Island City, and visited the then-new Highline, to name just a few of our outings. I was also training for a marathon, so I spent hours running through Central Park and did a 20-mile loop around the perimeter of Manhattan. It was a blast.

Jenna: What project are you most proud of and why?

Joelle: Besides completing said marathon… I’ve really enjoyed some of the long-form pieces I’ve written for Museum magazine. Writing stresses me out much more than editing does, but there’s a huge sense of accomplishment once I’m done with a piece I’ve created from scratch.

Jenna: How does your current job compare to other publishing jobs you’ve had? Can you ruminate on how differences in size of an organization, genre of publishing, and government vs. private can affect goals, expectations, and workflow?

Joelle: I haven’t done much else in publishing, per se. I can tell you that working at the Smithsonian is a much different experience than working at a private museum. Bureaucracy gives structure, which I like, and lots of hindrances and hold-ups, which I don’t. Still, I prefer the systematic approach that a bigger organization provides to the more chaotic and freewheeling system that some smaller institutions have in place. And, though our budget is still very limited as of late, there is more of an opportunity to take on Big Things at the Smithsonian than there is at small nonprofits.

Jenna: What do you consider some of the major differences between being an editor in the art world vs. working in a more commercial industry?

Joelle: What I most appreciate about my job is that I’m constantly learning. Having to translate academic content on art to text the layman can understand and enjoy means that I have to deeply understand what I’m reading. It’s like taking a college course. Of course, you could find this in a commercial industry, but it’s virtually guaranteed when you work in the museum field.

Jenna: How is your museum integrating new technologies into your scope of work?

Joelle: We launched our first blog in February. We’re also now in the process of creating our first app, tracing the development of our Korean art collection. At the same time, we’re putting together a guidebook on the Korean collection. It’s been interesting to experiment with how we modify the same text for use in an app versus an instructive printed book.

Jenna: Do you have any words of wisdom for our aspiring publishers?

Joelle: Make sure you’re interested in the subject matter. You’re going to have to immerse yourself in the content, so don’t take a job just because it’s in your field. If you have no interest in cars, don’t accept a position publishing the Blue Book. Hold out until you find something you’ll want to read and learn about every day.


Smithsonian Castle
Photo by Jenna Vaccaro

Interview by Jenna Vaccaro

Jenna Vaccaro is the Graduate Assistant in Pace’s Publishing Department and a former publications’ assistant at the Freer and Sackler Galleries. She graduated from American University in 2010 with a Bachelor of Arts in Law and Society. She loves news media and pop-culture, and would love to find herself working with those topics in any form.

Alumni in the Spotlight: October 2012

Tresa Chambers is an August 2008 graduate of the MS in Publishing program.  Tresa began her career working as an Editorial Assistant at Time Magazine and was promoted to Reporter/Researcher covering business, national affairs and international news.  While passionate about magazine publishing, Tresa spent time working in children’s book publishing in the Licensing division of Parachute Press where she worked with Scholastic on the Goosebumps brand, before returning to magazine marketing at Reader’s Digest where she worked in integrated marketing and was the Publishing Director of Your Family, a special interest publication.  Tresa also spent time in consumer marketing at a newspaper in south Florida and ran an arts-based family literacy program in Miami before deciding to return to New York to attend Pace.  Tresa received a full scholarship to the MS in Publishing program at Pace and served as the Graduate Assistant in the multimedia lab while she completed her graduate studies.  In this interview, Tresa will tell us about her journey as a publishing professional and share her thoughts about the opportunities in the digital age.


Prof. Denning:  Hi Tresa and thank you for agreeing to do this interview.  It has been four years since you graduated from the MS in Publishing program.  What have you been doing professionally and personally since then?

Tresa: I completed the program just as the publishing industry was beginning massive layoffs.  I was looking for a marketing position and I was overqualified for entry-level positions that might have been available, so I accepted a position in branding at a tech company called Rovi.  I’ve been there ever since.  I’ve also been working on a memoir that I plan to complete next year. 


Prof. Denning:  How has the publishing industry changed since you began your career?  What was the work environment like then, as opposed to now, in terms of job opportunities?  Do you feel that there is more awareness about brand building and marketing specialists now?

Tresa: It’s exciting to see that publishing is evolving in unexpected ways.  I believe that publishing is and has always been the creation, distribution and promotion of content across all platforms.  I have worked in both magazine publishing and book publishing and I have always found the industry exciting because it’s more than writing and editing books and magazines.  My publishing career has spanned editorial, marketing, licensing and  merchandising which provided me with great skills and experience to be able to add value at a tech company.  Coming from a publishing background has created an intrinsic understanding of what branding is about.  The demand for brand specialists is definitely growing. 


 Prof. Denning:  How did your educational experience at Pace prepare you for your career? Which crucial skills do you still use today?

Tresa: I have worked at a company that has grown through mergers, acquisitions and divestitures.  I had no idea how helpful the Mergers & Acquisitions course with Prof. David Hetherington, would be in giving me perspective on organizational changes that have become a part of the culture of business in publishing, technology and most other industries.  The greatest value of the program is that I learned to think like a business executive as much as a creative professional.  I also still use my skills from the Magazine Production class.  I also grew in recognizing my leadership skills as I worked with classmates on group projects. 


Prof. Denning:  What was the topic of your thesis paper?  What advice would you give to students who still have to write their papers?

Tresa: I created a business plan for a magazine for my thesis. The focus of the magazine was moving, which is based on personal experience. I am passionate about helping people do better.  Now, I’m evolving that idea so that it can live online as a blog with video footage and more.  I would advise students who are preparing to write or in the process to always be looking for new information and resources that can enhance your topic.  Look for ideas in unexpected places and think about what works in what context.  The new platforms allow for flexibility in publishing multimedia content, so don’t just think about producing physical pages.


Prof. Denning:  Have you always been interested publishing?  What made you turn your career path to the digital entertainment industry?

Tresa: I have always loved publishing. I will always write.  I am a magazine fiend.  I still regularly scan newsstands for new launches and I do the same with online publications and blogs.  I will always be an editor.  I still get to write and edit, plus I work on different platforms and do strategic work.  I also believe that many aspects of the tech business and the publishing industry are converging because of the new platforms for delivering content and the broad use of mobile devices.  I will be glad when the publishers realize they are also tech companies and that tech companies realize they are publishers, too.  That is my professional sweet spot.


Prof. Denning:  What were some of the highlights of your graduate experience?

Tresa: I was the graduate fellow for the M.S. in Publishing lab.  I was able to build good relationships with my professors and the program staff that have lasted over the years.  I also had great relationships with my classmates.


Prof. Denning:  How have you been involved in the program since graduating?  How do you feel that your publishing courses prepared you for the digital workplace?

Tresa: I have always sought to contribute to the program in any way I can.  I was so glad I worked in the lab and became familiar with the content management system while working on Pace’s website.  I use that experience in my current position.


Prof Denning:  Can you tell us a bit about your company, Rovi, and what it is like working there?  Did you ever think you would become a brand marketing specialist?

Tresa: It’s exciting to work for a global corporation.  We have offices all over the U.S., Europe and Asia.  I have had the opportunity to travel to many of our offices.  We are a business-to-business company, which means that our customers are other businesses and not consumers.  I had the rare opportunity to be a part of the team that renamed and rebranded the company.  It is challenging to build a new brand when it isn’t marketed to consumers, but it is twice as rewarding to see something I’ve worked on come to fruition.  I worked on ads that ran on DirecTV.  I worked on an trade show exhibit at South by Southwest.  I help with our websites and marketing materials and products.  I never thought about doing this work, but it suits me in many ways.


Prof. Denning:  Tell us a bit about what your job entails and some of your duties? 

Tresa: My specific duties vary widely and change frequently.  I am responsible for making sure there is consistency in our brand across all applications including marketing materials, websites, products, advertising, trade show exhibits, facilities and more.  I conduct training sessions, create presentations, review and advise colleagues on creative designs and content and frequently offer fresh ideas aimed at resolving a business challenge we’re facing.


Prof. Denning:  Do you come across many misconceptions about your field?  What would you like students to know?

Tresa: I think it’s important to know that opportunities exist outside of the traditional publishing business and that there are new opportunities in the traditional houses, too.  Networking is the most important activity to engage. 


 Prof. Denning:  How does technology/social media fit into your current job?  Does Rovi use a Twitter, Facebook or LinkedIn to communicate with authors, publishers and readers?

Tresa: We use social media to promote our products and to recruit new employees.  I am involved in guiding the way we communicate across these different platforms.


Prof. Denning:  Taking your educational publishing background into consideration, how do you feel about the ebooks and reading devices “boom?” 

Tresa: I believe that publishing needed to innovate and this is the way to do it.  I don’t believe that books and magazines are going away in their physical form, but I do believe that technology has created greater opportunity for publishers.  I think the business model is still evolving and whoever figures it out will win big.  So will readers and writers.


 Prof Denning:  What do you think the future holds for book publishers?  Do you think the launch of  ebook readers, iPads and Kindles have changed publishing in a positive or negative way? 

Tresa: How could anything that let’s more people read and share content whenever and wherever they want be bad?  The opportunities for the industry are great. When I think about potential for more people all over the world getting access to reading materials, I am pleased.  I believe that these devices will help promote literacy, and that is something I’m passionate about.  


Prof. Denning:  What do you think the essential skills our students need to leave the program with in order to succeed in the publishing industry, or any industry for that matter?

Tresa: I believe students of the program are leaders and should be well-equipped with those skills by the time they have completed the program.  They should have the option to choose a more technical path, operational path or creative path.  They should also recognize that they will be leaders in the industry no matter which path they choose.


Prof. Denning: Did you find it easy to switch your career field from publishing to marketing?  How would recent graduates explore other industries with their Masters in Publishing degree? 

 Tresa: I have worked in marketing in the publishing industry.  Marketing is an essential aspect of publishing.  Everything I have done fits well together.  If someone is exploring opportunities outside of publishing, they should base their search on skills they would like to use.  If looking for a job at a company where you think you may be interested in working, remember how that position is described and search for positions with competing companies with similar requirements then make sure your resume reflects the skills that match those openings.  I have also found professional organizations and alumni connections invaluable for networking.   


Prof. Denning:  Any other advice you would like to offer up to our students?

Tresa: Have an idea of what you want to do, but don’t limit yourself. You may find the best opportunity in an unexpected place.  I have worked in business-to-business environments, which aren’t as glitzy as working for well-known consumer brands, but there are great opportunities for using your skills and developing them in new ways.  A lot of times the benefits and salaries are great, too.

Feel free to follow Tresa on Twitter at @MuseWithMe

IN THE NEWS: Publishing Article Round-Up

The M.S. in Publishing Blog wants to keep students, faculty and alumni up to date with the latest publishing industry buzz. “In The News” is a new blog feature  that rounds up interesting publishing articles to share with readers!  This installment features two articles discussing the future of book publishing and recent cover design winners. 


 The Huffington Post article, The Future of the Novelby Warren Adler, discusses a topic that countless readers have come to consider “normal,” the genre changes made to the modern novel.  “With the tsunami of e-books where traditional and self-published writers are beefing up reading choices to astounding levels,” Adler says, “the book business has become a competing stew of infinite taste sensations that are offered up increasingly sliced and diced, and composed for an increasing segmented reading public.”  The reading population has certainly seen a rise in new book categories stemming from the once traditional genres.  Fiction’s romance aspect can now be further broken down into Romantic Interest, Paranormal, Regency, Suspense, and Young Adult to name a few.  Adler notes that authors try to “skew their stories to a series approach, attempting to “hook” a reader to a character…to keep readers engaged and sales perking.”  Authors are using their writing and content to help the crucial sales and marketing departments bring success to a title and publishing house.   Famous writers like James Patterson pioneered this movement, building what Adler and other industry professionals would call a “book factory that churns out products on multiple platforms.”  Often, ghostwriters are included in this process, expanding a book idea or plot.  Commercial book publishers will rely on the emerging technological developments and reader-based trends to discover where the industry is headed next!


In the Best Book Designs 2011: Design Observer Names Winners,” we honor a category of publishing often, subconsciously, overlooked- design.  The Best Book Designs are named by a 35-person advisory panel from ‘Design Observer’, a leading website in design criticism.  ‘Design Observer’ announced the “50 Books / 50 Covers” competition last year to help discover the best innovative book designs.  Scribner’s book “Bed” by David Whitehouse, made the list, which uses a simple photograph of the word “bed” spelled out in different color pillows.  “Better By Mistake,” featuring three chunky erasers with the titled printed on, was selected from Riverhead Books’, written by Alina Tugend.  Other winners include “A Man of Parts” by David Lodge, Scholastic’s “Wonderstruck” by Brian Selznick, “The Pale King” by David Foster Wallace and Alfred A. Knopf’s “Adam and Evelyn,” by Ingo Schulze.  Of the impressive list, my favorite cover design was “Debt,” a Melville House title, by David Graeber.   The minimalistic cover displayed a bright red background and printed receipt.  Now that the 2011 Winners have been revealed, the competition has begun for the 2012 designs.  It should be very interesting to watch the change in design and observe the trends from year to year.

By: Diana Cavallo

What Are You Reading?: The Blessings Series


What Are You Reading?: The Blessings Series

By: Tqwana Brown


One of the things I love most about owning a Barnes and Nobles Nook, besides th­e convenience, ­ is the access to free reads.  Each Friday,’s Nook Blog offers a free download for Nook owners, as well as anyone who uses the Nook app.  Not only do you get a free book, but the featured author is then asked to recommend something else that you might want to check out. Fiction, nonfiction, classics, romance, and thrillers – it’s all there.  So, when I find myself looking for the next book to read, I search my virtual book shelf for one of these hundreds of books I’ve downloaded.  And that’s how I found the Blessings Series by Beverly Jenkins.  The first in the series was a Free Friday selection.  I’m currently on the fourth book, and hoping for a fifth one soon!


What makes this series special isn’t sophisticated writing style, steamy romance, or gratuitous violence – but a sense of hope that drives the narrative.  The story follows the town of Henry Adams, Kansas, an all-black township with a rich history.  And it’s for sale on eBay.


Enter Bernadine Brown, a wealthy divorcee, looking for a sense of meaning and purpose in her life, after catching her husband of 30-plus years cheating on her with his secretary.  You go on this sort of spiritual journey with Bernadine as she rebuilds and restores the town, its residents, and herself.  It makes you nostalgic for a time when people had a real sense of community, instead of looking for a taller fence to block out the neighbors.  Part of her project also involves bringing new families to Henry Adams and pairing them up with 5 foster children.  The entire town gets involved in raising these kids, bringing to mind the adage of “it takes a village.” Though the good heavily outweighs the bad in Jenkins’s story-telling, you still get the expected problems foster families endure, even if some of the tougher emotional scenes feel a bit rushed.


Woven throughout the books are also great historical references to real towns like Henry Adams, settled by The Exodusters – freed slaves who migrated to Kansas after the Civil War and Reconstruction. W e learn details about Black Seminoles and their grievances with tribes and the government, as well as tribal traditions still practiced by Henry Adams townspeople.  Who knew that braves wooed their would-be brides by playing the flute?  We learn what it was like for all-Black regiments in the Armed Forces during the World Wars and the black outlaws of the 1880s. I immediately went on a Google search to learn more.


If I had any criticisms about the series so far, it would be that it all seems too perfect and “happily ever after.”  Henry Adams is too idyllic at first glance. This changes somewhat as the series continues.  There are a few deaths and hard truths, especially for the children, which must be faced.  Even Bernadine begins to question her actions; maybe throwing money at a problem isn’t the best solution?  None of it takes away from the overall feeling of optimism as people find love, forgiveness, and independence.  In short, these are stories about growth and finally coming into your own.  I think readers will easily fall in love with Bernadine, the Julys, Paynes, Garlands, and all of the people of this little modern-day Main Street U.S.A.

To find out more about The Exodusters, visit this PBS link for a brief article.


Tqwana Brown is in her first semester in the MS in Publishing  program.   A former high school English teacher, Tqwana is shifting gears to the publishing career track.   She is interested in working on in the editorial side of book publishing or as a Literary Agent.

IN THE NEWS: Publishing Article Round-Up

The M.S. in Publishing Blog wants to keep students, faculty and alumni up to date with the latest publishing industry buzz. “In The News” is a new blog feature  that rounds up interesting publishing articles to share with readers!  This installment features two articles from The Huffington Post


However disappointed female readers are by the article, “Female Editors-In-Chief Make $15,000 Less Than Male Counterparts: Folio Survey,” it’s important to arm yourself with this information as you enter the job world.  We learn that female editors-in-chief make $15,000 less on average than their male counterparts, according to information from a Folio magazine annual survey.   513 editors were surveyed by Folio to discover that male editor-in-chiefs or editorial directors earned an average annual salary of $100,800, while women were paid $85,100.  Shocked yet?  The difference between male and female executive salaries was worse, $18,500.  If you’re interested in learning more about salaries that were influenced by location and education, visit Folio.  


An article that shines light on women in publishing is “When a Woman’s Word Is Gold: How Women Are Redefining the Publishing World,” by blog author Daleen Berry.   As a female author and publisher, Berry writes, “If you’re a woman, this is your time.”   She details her experience at last week’s Women’s Fiction Festival in Matera, Italy.  She hightlighted the festival’s theme of  “Publishing Is a Button,”  and the concepts of the digital revolution, ebooks, indie publishers, and the debate about agents or self-publishing that were evident in many workshops.  The most important thing she learned was that “the publishing world is now listening to women.”  Berry notes that female readers make up 80% of the reading population and this strong influence pushes certain trends and bestsellers, like the Fifty Shades of Grey craze.  To learn what other festival attendees had to say, continue reading her post!


If you have found any interesting publishing articles that you would like to see in “In The News,” please email Diana Cavallo at

-By Diana Cavallo

“What Are You Reading?”: New Blog Feature

A Call for Readers and Writers!

The M.S. in Publishing Blog invites all students, faculty and alumni to contribute to a new blog feature called “What Are You Reading?This monthly feature is designed to uncover page turning Books, and interesting Magazines, Articles, Blogs and Websites across different channels of reading, print or electronic.  Share your thoughts on these new literary trends with the M.S. in Publishing community.  Basically, let us know what you’re reading!

If you would like to submit a post for “What Are You Reading?please email Diana Cavallo at if you are interested in writing an article.


I’ve written the first feature sample about a publishing blog I recently discovered.  I hope you enjoy it and am are looking forward to all of your submissions!


What Are You Reading?: “The Book Deal”

By: Diana Cavallo


Lately, I find myself reading intruging articles from the publishing blog, “The Book Deal,”  geared for writers and publishing professionals. Many of these articles are written by Alan Rinzler, a longtime editor and publisher at companies like Bantam Books, Rolling Stone Magazine, John Wiley & Sons, Grove Press and Macmillan.   This semester, I am taking some editorial classes and working on my thesis about book publishing, titled “The Making of A Bestseller,” so Rinzler’s articles are both relevant and interesting to my place in the program.  His September 17, 2012 article, “Ask the editor: An agent said my novel needs emotional glue. Help!” exposes a sensitive subject for authors and editors, the emotion of a manuscript.  He defines the “emotional glue” as acharacter’s internal reactions, ruminations, and anticipated responses to the dialogue and action of the story…the unspoken ideas and feelings that focus and hold together the narrative and keep the reader right there with you.”   From a reader’s perspective, it is interesting to understand and acknowledge the thought process behind building a novel’s emotional glue that both the author and editor (and sometimes agent) goes through.  Most readers don’t take into account that developmental editors, like Rinzler, have spent countless hours working with authors to add or erase dimensions of a character and ultimately, the story. What I thought was the most important of Rinzler’s advice to editors and authors was to be clear and aware of a novel’s message during the writing process and to make effective use of details that show readers emotion and importance, not tell them.


The beauty of Rinzler’s blog is that he touches on so many different aspects of publishing.  In an article titled, “Big-6 publisher jumps on the indie bandwagon,” Rinzler helps his readers become aware of a change regarding the relationship between self-publishing and a Big-6 publishing house, Penguin Group.  The publisher acquired Author Solutions Inc (ASI), a leading provider of services for self-publishing writers.  Since the boom of self-publishing, some publishers have been walking a thin line as to whether they should stay clear of self-publishing authors, or draw the most talented of them into their creative circles.   I was surprised to read that Penguin had taken such a leap on this new aspect of publishing.  John Makinson, Penguin’s CEO, looks as the acquisition as a largely positive and proactive move for the company.  “Self-publishing has moved into the mainstream of our industry over the past three years,” he said, “It has provided new outlets for professional writers, a huge increase in the range of books available to readers and an exciting source of content for publishers.”  Essentially, Penguin has widened the pool from which they can find new authors and manuscripts.  This acquisition will also provide these authors with the new ability to be part of the resources of “publishing machines,” from the detailed marketing and publicity campaign, to innovations in production and distribution.   From the article, it seems that both parties would benefit from this new arrangement, but not all of the industry experts that Rinzler interviewed felt the same about this acquisition and the role model that it may have set for other publishers.

Manuela Soares

Manuela Soares

Manuela Soares is a full-time faculty member, Associate Director of the Pace University Press, and Director of the Graduate Seminar (2004-present) in the MS in Publishing Program. Prior to teaching, Soares had a 30-year career in the publishing industry, working in both books and magazines. Most recently, she was Managing Editor for the Scholastic Trade Book division (overseeing eight hardcover imprints and the publication of the first five Harry Potter books). Before that, she was a Senior Editor at Rizzoli International.

As the Director of the Graduate Seminar (690A and B), Soares works with students writing their Master’s thesis. She also teaches Marketing, Children’s Book Publishing, General Interest Books, Entrepreneurship, and Ethics in Publishing.

In addition to her teaching duties, in 2015 Soares became Associate Director of the Pace University Press. As Associate Director, she reviews new submissions and oversees the day-to-day activities of the Press from manuscript to bound book, supervising two Graduate Assistants and a Student Aide and working with the journal editors and production editors.

She is a member of the Editorial Board of Springer-Verlag’s Publishing Research Quarterly, where some of the Graduate Theses papers from 690B have been published in abbreviated form.

Her own published works encompass magazines, journals, and books including: The Joy Within with Joan Goldstein (Simon & Schuster), One Hand Clapping with Rafe Martin (Rizzoli), Butch/Femme (Crown Publishing), Scholastic Bookfiles: A Reading Guide to A Wrinkle in Time, Heart Throbs: The Best of DC Romance Comics (pseudonym Naomi Scott, Fireside Books), ESP McGee and the Dolphin’s Message (pseudonym Jesse Rodgers, Avon Books), “The Purloined Ladder” (Journal of Homosexuality, V.34, Issue 3-4), among others. In 2011, she contributed a short short story to the anthology Sudden Flash Youth, (Persea Books). In 2013, she wrote a cookbook with artist Jeanne Betancourt, Farm Stand Fresh. In 2017, one of her short stories will be included in an anthology from Tagus Press.

An avid photographer, her photographs are in private collections and have been used for the covers of three books of poetry, various blogs, and included in several exhibitions.

Andrea Baron

kProfessor Andrea Baron has worked in publishing for over 20 years, starting her career in book design, and adding experience in consumer marketing and print and digital production. She worked with some of the largest consumer magazine publishers, including Condé Nast, Time Inc., American Express Publishing , The New York Times Magazines, and Ziff-Davis. She has organized and developed digital workflows and production processes for titles such as Vogue, The New Yorker, Bon Appétit, Food & Wine, Travel + Leisure, Family Circle, Fitness, and PC Magazine. She brings this experience directly to the classroom with the participation of industry leaders to provide first-hand knowledge and networking opportunities for her students.

She has been teaching magazine publishing in the Pace publishing program for 11 years, with the goal of giving students a thorough grounding in the field and bringing them deeper into the industry. She teaches courses in production and design, consumer marketing, and an introduction to magazine publishing. Prof. Baron also teaches in the Advertising, Design & Graphics Arts program at the New York City College of Technology. She has a BA from Binghamton University and an MS in Publishing from Pace.

As a travel enthusiast, Prof. Baron particularly enjoys her participation in the Pace University China publishing programs. During a recent trip to China, she met with faculty and students in several cities, and lectured to communications students and faculty at Shanghai Normal University. She has also planned and facilitated seminars for visiting publishing executives from the Chinese publishing company PPMG as part of the Sino-American Publishing Research Center.

The Pace Publishing Blog featured Baron in the “Faculty in the Spotlight” series in March 2012.