How to Get a Job in Publishing Part 3

Chapter Four.

About journal publishing.

Journal publishing is a far less well known part of publishing than any we looked at in the previous chapter. Yet, arguably, it's at least as important. In fact, without it, whole areas of academic discipline from medical and scientific research to philosophy and literary theory would grind to a halt.

Publishers who produce journals perform a vital function in the academic world. They are responsible for bringing together and making available the best academic research, so that scholars can make known their own findings and discover what else is going on in their field. So specialised and so important is journal publishing that we've dedicated a whole chapter to it.

It's a curious beast, your journal half book and half magazine. It's also dramatically challenged by the forces of economics: there are too many journals and too few readers; the cost of producing them is too high; technology, in the form of electronic publishing, is rapidly swamping the traditional 'dead wood' (paper) model.

What's going on?

Periodicals are generally published regularly on a subscription basis payable in advance, and are despatched directly by the publisher to the subscriber (even if the sale is made through a third-party subscription agent). A serial is usually published at irregular intervals (once a year or less frequently), is invoiced at the time of publication and is warehoused like a book by the supplier before sale. The term 'journals' is commonly used to refer to both.

Being published in peer-reviewed journals is an essential part of the system of progression for academic and scientific careers. The journals serve as the bush telegraph for innovations, ideas, the reporting of important research and the charting of both individual and organisational effectiveness.

Individuals, or teams working together, submit their work as an article (which is still referred to as a 'paper') for possible publication, and these are read for quality and relevance to the journal for which they have been proposed, and then a decision is made on which to include within the next edition. The overall journal editor may then write a foreword to the selection made, drawing the reader's attention to specific items of interest, or suggesting that the debate be continued in a particular direction. Sometimes a complete edition of a journal may consist of the proceedings of a conference, with all those who presented a paper asked to contribute to the journal that formally records what happened, perhaps with the addition of the edited questions and answers at the end of sessions.

* Some journals are started and managed by publishers.

* Some are run by publishers on behalf of professional societies and organisations.

* Some societies run their own journals, and while this means they keep any a.s.sociated profits (from subscriptions and advertising), managing a journal is an immensely time-consuming process and arguably better organised by those who are experts and handle a range of other t.i.tles (ie professional publishers). Such society-run journals can make an attractive takeover option for publishers looking to expand, and a great option for people wanting to get a foothold in publishing getting a job there may not be as compet.i.tive, and you can get some excellent experience before moving on. (Best not mention that's your plan in the job interview!) Journals may be produced electronically or in printed format, sometimes both. Long term, it looks virtually inevitable that the printed journal will become extinct not only because it is so much more expensive to produce and because readers are so scarce, but also because an electronically published journal can be accessed by scholars throughout the world without needing to take a trip to the library. Still, strong preferences for print within some markets (notably the communities involved in law and taxation) mean this will probably be a long time coming.

Who are the customers?

Customers for journals are, in the main, professionals involved in the relevant discipline, academics and libraries, although as the resources themselves become more expensive, the likelihood of individuals having their own subscription is diminishing. It is much more likely that they will subscribe through their corporation or library and be able to access it from their desk.

This creates a sticky issue. Journal publishers increasingly bundle together different journals as part of an offer price to organisations and libraries, and while this represents a considerable saving on the cost of subscribing to individual t.i.tles, it also means they end up paying for, and managing, lots of material they didn't want. Budgets are limited, and there is increasing resentment against what are perceived to be exploitative publishers.

Deep down, many librarians a.s.sume that they are financially supporting the academic reward system. Academics who publish papers gain research points (and hence funding) for their inst.i.tutions, and promotion for themselves; founding or editing a journal offers similar profile advantages. And nor is each paper necessarily completely different from everything else that appears; in recent years the 'salami effect' of reporting research has been widely commented on: slicing the reporting of research thinly and publishing in a variety of different journals so that the number of publications goes up (and points win prizes). Librarians end up funding this out of ever-diminishing budgets. This is a very real concern when resources are already over-stretched and a major problem for journal publishing.

What does it take to get ahead in journal publishing?

* Instant expertise. Journal publishing staff need to know about the areas covered by their publications. However, given that a far higher number of arts students than scientists come into publishing, it is unlikely that those allocated to the journal division will have a specialist understanding of the t.i.tles they work on. Even so, it's vital that you at least try to look as if you do. It probably will not occur to the market to think you are not involved. This means that if you go to meetings you must talk knowledgeably, spotting areas of the subject that might form a journal of their own.

I had a friend keen to get into publishing. She started out as a consultant editor for a small medical journal the only employee, working three days a week. The specialist topic of this journal was, ahem, s.e.xually transmitted diseases. When I rang her at work, she would answer with a chirpy 'h.e.l.lo, Venereology?' (SUSANNAH) This makes journals an excellent place to get started in publishing if you've completed a science or business degree or have experience in those areas. It's a great opportunity for you to use your specialist expertise and knowledge to launch yourself and then slowly wiggle your career across to the (in your view) far s.e.xier areas of trade publishing that really float your boat. Or indeed, find that you love science journal publishing so much that you're there to stay!

* Commitment. Subscriptions can be long term (on average seven years) and staff who give their time to a journal on a voluntary basis (the editor may receive an honorarium, but most of the board will only receive expenses) want to see the same faces from the publishing house they like continuity in their contacts. A longer-term perspective is also enhanced by the increased understanding that journal publishers build up of their market. Whereas most forms of publishing tend to be one-offs, with a journal campaign you get the chance to feed what you learnt from one campaign into the next. And being able to demonstrate your increasing effectiveness in penetrating a market offers the chance to measure your profit: rates of pay are in general higher in journals than in other areas of book publishing, and are perhaps on a par with salaries in magazines (which is not entirely surprising, since they are magazines, of a specialist kind).

A word on timeliness Journals publish to a strict and immovable timetable: the dates by which articles must be approved, changes submitted and signed off are all advertised long in advance, and you must be outstanding at both encouraging others to stick to them, and keeping within them yourself. When you are more familiar with the area for which you are publishing you need to look further ahead, spotting the opportunities for special issues, anniversary issues, or those timed to coincide with conferences.

There is a range of meetings at which contributors, editors and others involved (often those trying to sell to the market) get together, most usually at the annual conference. The journal's publishers need to be there too.

The Seven Habits of Highly Effective Journal Publishers 1. Network like crazy, and remember the names and faces of those you meet at conferences. (Chapter 13 is about networking: swallow it whole.) In particular, work on your memory. A good memory, backed up by meticulous record-keeping, will reap dividends so you know, for example, which approach to which society producing which journal did or did not work. If you get into the habit of making notes and take the trouble to remember names and faces, you'll go far.

2. Think strategically, act tactically. You need to understand and think hard about the market you're operating in, your publishing house's stake within it and the role the journal(s) you are working on perform. The key to journal publishing is opportunism, the ability to build upon your presence within the market to launch more journals and/or make your existing ones more and more a part of the subject rather than a feeder to it. The ability to spot new publishing opportunities, or new commercial opportunities within existing ones, is fairly rare, and consequently very valuable.

3. Be a political animal. Because of its high degree of specialisation, journal publishing attracts contributions from both geniuses and self-promoting also-rans, and the ability to spot the difference is critical. All professions have their rising (or aspiring) stars who cultivate eccentricities to get noticed (bow ties, being late for everything/entering with style, unusual jewellery or clothes, voting Tory), and the publisher's job is to distinguish the genuinely talented from the attention-seekers.

4. Develop a ferocious eye for detail. You're dealing with immensely complicated and technical material, which you probably don't even begin to understand. Getting it 100% right is hard, thankless work no-one's ever going to congratulate you on getting a fiendishly complex mathematical formula right, for example, however many you clock up. Get one wrong, however, and you'll never hear the last of it.

5. Have a thick skin, for the above reason.

6. Be tactful. Those who are submitting papers are in general not paid for their contributions; they have to juggle the time to write them with their other personal and work responsibilities. Coaxing out the material you are expecting, by the agreed deadline, requires tact, diplomacy and the patience of a saint.

7. Finally, commercial nous. An understanding of financial realities and the ability to read a balance sheet are useful to journal publishers, who must remain conscious of their usefulness to the publisher they are part of. You need to be ever mindful of the benefits your journals operation offers to the publishing house's overall profitability many journal programmes form a huge and enduring part of the house's overall income. Even more useful, it is in general a stable and recurring income, as subscribers are more likely to continue taking the journal as long as it is professionally useful to them or until their librarian suggests it's no longer economically viable to subscribe.

Conclusion.

Like any area of publishing, journal publishing is not for everyone. However, it's been the springboard for many a successful and profitable publishing career. It pays pretty well. You're dealing with people pa.s.sionate about their subject who genuinely need the information you're publishing. For those who do it, journal publishing can be every bit as rewarding and intellectually stimulating as any other area of publishing.

Chapter Five.

About magazine publishing.

If your ideas about life on a magazine come from Ugly Betty, The Devil Wears Prada or Just Shoot Me, think again. Just as in every American movie people seem to be able to afford multi-million-dollar houses and drive hulking great SUVs despite being on the minimum wage, so it is with Just Shoot Me. A huge staff and hardly any work is hardly representative of the real world.

Yes, the very biggest magazines do have substantial resources and, yes, there are even one or two superstar editors with giant budgets and bigger egos. But to imagine that's Magazine World as a whole is as misconceived as to imagine that life for everyone in the music biz is like Beyonce's, or every footballer's life is like David Beckham's. There is, as his fans like to insist, only one David Beckham.

And in fact it's pretty obvious when you think about it why The Devil Wears Prada isn't a representation of reality it's not trying to be. Its purpose is to entertain and amaze: it's not a doc.u.mentary. (Actually, while we're at it, even a doc.u.mentary wouldn't tell you what day-today, boring, humdrum reality is like, for the fairly basic, boring, humdrum reason that no-one would watch it except the people involved and their mums.) So, what is life in Magazine World like? Here are five truths. They're mostly based on the editorial side of things, because that's where magazines are most distinctive advertising sales, on the other hand, is pretty much like sales in any other area.

1. It's a money-making venture This is Number One for a reason: we can't stress it enough. First and foremost, magazines are there to make money for their owners. For some people, this discovery is just like biting l.u.s.tily into an apple and finding, not even a maggot but half a one. The disgust and disillusionment is palpable. The fortunate ones, perhaps like you, find this out by being told about it long before they ever get to experience it for themselves.

Yet even as this book was being put together, one of the world's richest men, Paul Getty, was looking for a buyer for Wisden and Cricket Monthly. In Australia, the brave two-year-old, left-leaning online magazine New Matilda was being sold for a dollar. Admittedly it was being bought as a rich man's enthusiasm, but your authors wonder how long he'll be content to watch his money dribbling away in hundreds of thousands. If he can't see the day his new toy will start to pay its own way, he's likely to tire of it pretty fast.

You won't be compromising, or at least not in the way you're probably expecting (see item 4 below), which is an understandably common misconception. But you will certainly be required to contribute towards making the magazine you're working on profitable and that means understanding the needs of your advertisers as much as those of your readers. Doing so while maintaining your integrity takes some skill, political savvy and the ability to tell the difference between a battle and a war. Anyway, more about that later. Short version? If being in business (and working on a magazine is being in business) makes you queasy, best look elsewhere: you won't like it. You really, really won't like it and had best head off in a different direction, rather than find out the hard way. Magazines are not for you.

2. It's fantastic, fantastic fun OK, can we talk? Has everyone who thought magazines were about something More n.o.ble Than Money flounced off in pious, self-satisfied disgust? Good. Because just as true as that is this: working on a magazine can be every bit as creative, exhilarating, exciting and just sheer b.l.o.o.d.y fun as you can imagine and maybe more. The sheer excitement of seeing your story on the newsagent's shelves never goes away. In fact, you'll be delighted to discover, the pleasure gets deeper, though perhaps quieter.

If you're genuinely thrilled by seeing your words in print (as we are), if you're bursting with enthusiasm for your subject matter (as we are), and if you're overflowing with pa.s.sion for communicating that enthusiasm then you've found your base: welcome to Magazine World! You've found home. Why? Because: * Magazines are interactive what good magazine doesn't have a vibrant, scintillating 'letters' (even though most are sent by e-mail these days) page? There's an intimacy about magazines between author and reader that books simply cannot match. It's a dialogue, not a monologue.

* Magazines are responsive there's a lag (perhaps about six months or so) while the readers catch up with what you're doing. But if you have something they want, and you're serving it up to them, they'll let you know about it in their droves and suddenly you have a raging success on your hands. Admittedly the opposite is true, too: they'll vote with their feet, right out of the newsagent's.

* Magazines are fast what you write today can be on the shelves, beautifully packaged and ill.u.s.trated, in a matter of weeks, while you can still remember how you felt when you wrote it, and your editor will get letters or e-mails within days. You can float ideas, get them adopted and get them implemented in a gratifyingly short time.

3. It's fast-moving Steve started his first job on magazines in September and was an editor by the following July and a publisher within another 24 months. If he can do it, so can you. He was fortunate in working for a particularly fast-growing, vibrant business but such stories are by no means unprecedented. You can make your mark fast in Magazine World, not least because the product cycle itself is so fast A magazine can go from thought to newsstand in a matter of months and, admittedly, go from newsstand to history even faster. Every year there are thousands of magazines launched around the place, and every year it gets cheaper and easier to do.

In fact, you should think about launching your own magazine. Seriously, why not? Not now, perhaps, but down the road it's certainly an opportunity. Great magazine genius Felix Dennis, one of the most successful and weirdest of proprietors, often told his employees that if they were any b.l.o.o.d.y good they'd be off doing their own b.l.o.o.d.y thing instead of b.l.o.o.d.y working for him. (He may not have said 'b.l.o.o.d.y'.) Put that thought in there somewhere and carry it around. If you don't do it, then sure as anything one or more of your colleagues and co-workers will, and almost certainly they'll be less talented and smart than you. So, why them and not you?

4. Magazines are like family We're a social species and work best as a group, and a magazine resembles a group of friends or, perhaps, a family (ie lots of rows and no s.e.x). A typical magazine has an editor, who looks after the whole thing, and an art editor or art director, who puts together the look. Pretty much they're like mum and dad, and pretty much, working on a magazine is like being one of the kids. At first you're a baby, and everyone looks after you and shows you round. Then you're the teenager, with an urgent desire to make your own impression on the world. Then you outgrow the magazine, and fall out with mum and dad, and leave home or find a way of staying without everyone killing each other.

Whether this is a dysfunctional family or a harmonious one depends to a large extent on the editor's ability to get everyone to pull together. If you're very lucky you'll have an editor who is teacher, mentor, protector and boss. If you're very unlucky, you may find you have an editor who is a small-minded tyrant who hates to share glory or do work, who has as much loyalty as a c.o.c.kroach and will sacrifice you without a moment's regret if it suits. Most editors, of course, fall somewhere between the two extremes.

It's not rare for the happiness in your working day to be determined by your boss. But here, in Magazine World, you're part of a small, tight team and your boss has a particularly powerful influence on your career, at least while you're on this particular magazine. If it's a good experience, savour and celebrate it; if it's not, grit your teeth and remind yourself it's not forever. It'll just feel like it.

Among my duties were acting as a receptionist, dealing with the switchboard and picture files, and delivering complimentary copies around Fleet Street on Thursday mornings, before the magazine formally came out on Fridays. I also typed up handwritten contributions. Quite often my job was simply to keep people at bay, as the all-women editorial staff were really quite eccentric, sometimes even hanging out their underwear on a little line in the corner after pre-publication all-nighters, I suppose. They were all on edge at such times and I often got shouted at, and suffered greatly from all the smoke in the air. But soon I was having to pitch in and help with the subbing and do mock-ups for the little booklets brought out by the magazine. I saw a younger member of the team leave to work on the fashion pages of a big daily, and realised that this was a way into journalism at a more exciting level, and it was obviously a valuable experience for publishing too.

(DR JACKIE BANERJEE, ON HER FIRST JOB WHILE WORKING ON MAGAZINES SHE EVENTUALLY OPTED FOR A CAREER AS AN ACADEMIC) 5. Editorial integrity makes good sense Your proprietor or, more likely, editor, calls you into his magnificently opulent office and lights a cigar. 'Look sonny/darling, ' he'll drawl, scratching himself in a most unseemly manner, 'The Nitwits Company is our biggest advertiser, and we don't want to go upsetting them, now do we? So perhaps we can give them a good review and not say anything about that camera they make that keeps exploding and blinding people. Am I right? You know I am. Now run along and let's not have to have another chat later. Close the door on your way out.'

Well, perhaps. If anyone really ran their magazine like that, readers would sniff it a mile off pretty quick and drop the mag shortly thereafter. Life isn't quite like that.

Instead, here's a real-life scenario. A very, very big car advertiser books a whole heap of advertising in a publisher's magazines and, much more importantly, across the publisher's TV channel, which is in fact where 90% of the money is spent. As part of the deal, the advertiser demands lots of things (like slots in the breaks of the biggest shows), and, oh yes, nearly forgot, right down the bottom, almost as an afterthought, it demands a front cover for its next launch on one of the publisher's car magazines.

Now it's not as if this manufacturer's latest launch isn't one of the biggest of the year, and in fact it has a reputation as a maker of pretty good cars. So why did the editor feel compelled to resign? Think about it for a few minutes we'll come back to this later.

Editorial integrity in magazines is often more subtle than that in newspapers and on TV news, where it's pretty obvious what you should do. If a newspaper proprietor you're working for doesn't want you to report that the leader of his favourite political party beats her children with a heavy rolling pin, you can easily see the threat to the public's right to know. Whether you pan the latest toaster that is advertised in the same edition of the magazine you're working on, however, is less a moral issue than a commercial one.

What do we mean? Well, short term you'll make more money if you bury the bad news and don't trash your advertisers' products, because your advertisers won't flounce off in disgust and will continue to advertise. Over time, however, your readers will start to notice how you're a ma.s.sive fan of everything that Nitwits & Sons makes, while at home they've a pile of melted toasters and kettles that make the water taste funny. Once the word gets around you're a prost.i.tute, it's very hard to get your good reputation back. So longer term, your magazine will suffer and your proprietor will find himself buying cheaper cigars.

Here are three little questions that you may like to think about now, rather than when they crop up at work . . .

a) Suppose you're working on a gossip mag and your proprietor's daughter appears topless on the beach. Do you use the pic?

b) You said no? Good on you. Try this. Suppose you're working on a lads' mag and you have the choice between two bikini pictures: one of Girl A, and another of Girl B. Girl A is married to the son of your proprietor's biggest enemy. Does this influence your choice?

c) You said no, because you're better than that. Now, you find out that Girl B is married to the son of the proprietor. Does this influence your choice?

(By the way, your first and natural reaction may well be to say that you wouldn't work on a lads' mag anyway, and certainly not one that prints photos of young women topless on the beach. Would you, though, work for a company that profited from such grubby activity? If not, you'll soon find your scope for potential employers is greatly reduced: most of them have their grubby department.) Issues of editorial integrity are difficult, and can be tangled. Work hard to do the right thing, think hard about the choices you're asked to make and don't be too quick to condemn others until you've stood up for yourself and refused to do something you believe to be wrong. A principle is not a principle until it's cost you something.

The Mystery of the Resigning Editor So, why did our car magazine editor feel he had to resign? (See above.) Two reasons, in fact: one commercial, immediate and largely irrelevant; and one longer-term and also commercial, and hugely, ma.s.sively relevant.

The short-term reason is that the car in question was perfectly fine for its market, but that market was not the one the magazine in question serves. Putting a safe, value-for-money family car on the front of a boy-racer magazine is commercial suicide. Magazines are highly sensitive to what's on the cover, which can make a ma.s.sive difference to sales.

(The chick equivalent, by the way, is putting a model entirely dressed in Marks & Spencer or (in Australia) Sussan on the cover of Vogue.) The second, longer-term reason is that once the word gets round that your front cover is up for sale, it's going to become next to impossible to make your own decision as to what goes on it. If the compet.i.tor to the company mentioned here knows you've done it once, it's pretty hard to refuse when they come knocking.

Once you're for sale, you can never again make a stand on principle. That's really why our editor resigned, and would have done even if the car in question had been suitable for his readership.

Jobs on magazines While it's unfashionable these days to talk about hierarchies, the fact of the matter is that you'll find yourself a good way down the pecking order in your first job.

Bear in mind, though, that there are no hard and fast rules on getting jobs in publishing, and this is particularly true of magazine publishing. 'Sometimes it does come down to whether you as the employer have a gut feeling about an applicant, whether they have a GSOH (good sense of humour) . . . anything really, ' says Andy Jones, Director of feedBack Media & PR and much-experienced magazine journo and editor. Sometimes the most bizarre route can result in a job, as this cracker from Greg Ingham ill.u.s.trates: My first job was as a staff writer on a now defunct TV listings mag called TV Choice. I hung around for five moons in their unmanned reception, waiting for a job interview. Phone rang: it was a splenetic Peter Dulay, from Candid Camera, complaining that the BBC had stolen one of his sketches for The Late, Late Breakfast Show. I pretended to be a journalist, quizzed him, got some great quotes and then rang Michael Hurll at the BBC (I'd remembered his name from seeing TV credits; deeply, deeply sad, I know). Hurll rudely reb.u.t.ted or rebuffed or refuted or whatever it is that you do, and I got some even better quotes from Dulay when I told him what Hurll'd said. I then wrote all this up and so had a real, live, almost interesting story ready by the time I was eventually interviewed. Mag went bust six weeks later, mind. Moral? You can have too much planning, you know.

(GREG INGHAM, CHIEF EXECUTIVE,.

MEDIACLASH AND FORMER CHIEF EXECUTIVE OF FUTURE PLC, AUSTRALIA).

The term for this is chutzpah or, perhaps better, b.a.l.l.s. Magazine World is no place for shrinking violets, and a ridiculously cheeky swagger will often do the trick (either that or get you thrown out).

However, there is one absolute golden rule for every job in magazines, or indeed any job in publishing with the exception of sales: I can't overstate how important and obvious it is to be good at English. The number of job applications I have dealt with and CVs I have seen with bad English is appalling. I don't even bother looking at qualifications if there's a typo on the CV. (ANDY JONES, DIRECTOR, FEEDBACK MEDIA & PR, UK) So here are the five traditional routes into magazine publishing . . .

1. Editorial Your first job in magazine publishing might be as editorial a.s.sistant, which means running errands, helping out, filing and generally doing the jobs no-one else wants to. Do them exceptionally well, stay cheerful and keep telling yourself that one day you'll be in a position to be nicer to the editorial a.s.sistant than this lot are, and you may find that you get yourself a role as a staff writer, writing the bits no-one else wants to. Do them exceptionally well, stay cheerful and keep telling yourself that one day you'll be in a position to be nicer to the staff writer than this lot are (does this sound familiar?), and you may make it as a departmental editor. Here's where things get interesting, and where you get some clout to manage your own area of the magazine, and we'll come back to this in a minute.

Naturally to succeed as a writer on, say, a photography magazine then you'll need to be pa.s.sionate about the subject matter yourself. So take a look at yourself and work out what you have to offer the market. However, if you 'quite like' music, that really doesn't qualify you for a job on Q magazine: you need to know what track Vanilla Ice was ripping off on Ice Ice Baby (Under Pressure by David Bowie and Queen), Justin Timberlake's middle name (Randall), how many Billboard number one hits Michael Jackson's had (13 we're not expecting this information to get outdated), who originally recorded Toploader's Dancing in the Moonlight (King Harvest), what amp Jimmy Hendrix used (Marshall) and about a billion other bits of knowledge.

2. Editorial production Alternatively you may find that you enter Magazine World on the editorial production side of things, dealing with copy-editing and the transmission of the ma.n.u.script from receipt onto page. (That's how Steve started, working on a computer magazine basically as a filter to stop too much geekish being left untranslated.) Although this may seem less creative than being a writer, it leaves you with a surprising degree of responsibility and the opportunity to really contribute to the magazine.

Your department gets to write the captions, the crossheads (the mini-headlines in the story), the introductions and the headlines themselves. Work up a good reputation in this area and you can quickly get noticed. (Steve's favourite from his computer magazine days was a letter from a reader complaining about what was on the cover disk: 'Now is the Whinger of Our Discontent'.) Arguably you don't need to be an expert to work in production, though opinion is divided on this. (Some feel you need to be able to verify all the facts as they come speeding through; others that you need to make sure the magazine doesn't end up appealing to a smaller and smaller subset of uber-experts like the writers themselves.) 3. Design A third option is the design stream, the graphic design department. (Department might be putting it a bit strong, since on many magazines it's a grand total of two or even just one.) Yet again in your first role your t.i.tle may well have the word 'a.s.sistant' in it, and from there it's just a case of putting strychnine in your boss's tea and working your way up to the lofty position of art editor or art director.

4. Sales A fourth option is on the advertising or commercial side. Here you'll find opportunities for advertising sales, getting out there and selling advertising s.p.a.ce in the magazine. We talk elsewhere in this book about whether this is the right kind of gig for you (see Chapter 7). If you're entrepreneurial, outgoing, something of a lone wolf rather than a team player, terrible at paperwork and generally a bit of a geezer then advertising sales may well be your thing.

A word of warning: do not try to try to use selling advertising as a way to get into editorial: it won't work. Yes, it's definitely possible, but it's such a bad bet you'd be better off getting an editorial job any editorial job and work your way up that way. (The same is true in the opposite direction, by the way.) 5. Magazine production The fifth and final option is magazine production, the logistical department who are responsible for ensuring that the adverts sold by the advertising team make it into the magazine, and that the editorial doesn't turn up. Again, it is rare though not unprecedented for someone to get into a magazine this way and then make their way across to editorial, and it's probably not a good way to try and do it.

I applied for a position called 'Person Friday' at an educational publishing company then called Longman Cheshire [now part of Pearson Education]. After being there for a while I then moved into production and became a.s.sistant production controller and was employed with Longman Cheshire for five years.

(TERESA PONCHARD, ADVERTISING PRODUCTION COORDINATOR, UNIVERSAL MAGAZINES, AUSTRALIA).

So, that's a brief summary of the various ways you can infiltrate the closed world of magazines. How you do that is what this book is all about. Part III will show you how to start making your wish a reality.

More reading.

Morrish, Magazine Editing: How to Develop and Manage a Successful Publication, Rout-ledge 2003.

McKay, The Magazines Handbook, Routledge 2003.

Chapter Six.

About e-publishing.

Most people overestimate the impact of technology in the short term and underestimate it in the long term. (ARTHUR C. CLARKE)1 It's a sign of the times that there's a chapter dedicated to e-publishing in a book about careers in publishing. A few years ago we probably wouldn't have needed one. And pretty soon it will seem odd to talk about it in a separate context, as if it were not just as much a part of publishing as anything else.

But that's what it is, a sign of the very extraordinary times we live in, the dawn of the digital age. E-publishing is just one corner of it, of course, and yet in its way e-publishing is as revolutionary as the invention of the car, the plane or going back a couple of thousand years the book itself.

Before we get into this, here's why it matters to you. The best and the brightest young talent (that's you) are up to date with what's happening electronically. And in fact if you are faced with a choice between two jobs, one 'old school' and one in e-publishing, pick the latter. Why? Think of publishing as a see-saw, and digital delivery is on the way up as physical delivery is on the way down. Go where the action is. You wouldn't want to be making horse carriages when round the corner there's a bloke making cars.

Let's take a more appropriate and dramatic image. Though you can't see it, a fault line runs right underneath your feet. The occasional rumble and mini-earthquake have knocked a few books off your shelves. Many people slept through and missed the whole thing. However, the experts are in absolute agreement that these little rumbles are pre-echoes, signs that soon and even the experts don't know exactly when, they just know it will be soon the Big One is about to hit, and the landscape will change forever. You won't know the place.

In the process, entire ma.s.sive publishing houses and even whole districts of physical print publishing (such as, arguably, academic journals, higher education textbooks, travel books, encyclopaedias, hefty dictionaries and atlases) will be swept away forever, to be replaced by a new horizon. Some jobs (and the people who do them) will be swallowed up, to join typists, milkmen, horse-drawn carriage builders, typesetters and telephone exchange operators in the history books, while others that we can't even yet imagine will emerge.

And, while it's probable that books, magazines and newspapers are here to stay, at least for a while longer, it's absolutely certain that their time as the only way to deliver content is at an end.