[inaudible conversations] [inaudible conversations] i am bradley graham, coowner of politics and prose along with my wife standing back there on behalf of the entire staff, welcome and thank you for coming. We have a touristic panel for you this evening centered on a new book by peter titled what editors do, the art craft and business of book editing. Politics and prose hosts many of authors each year it isnt nearly as common for us to host the experts behind the authors. The efforts are essential. During the more than three decades hes worked with a small independent Publishing Firm and scholarly one as well as the commercial houses. Most of his time has bee this tt in trade publishing and is the publisher and editorial director at the Bloomsbury Press and in print that he founded. For his new book he gathered essays for more than two dozen contributors from across the publishing field. Through acquisition to the editing process and publication and marketing. Later chapters provide a look at pursuing a career in publishing. The book comes at a time of significant fastpaced change in the business. Its shaking up the industry more in the past 15 years as peter notes in his preface them the previous 50 years. Joining on the panel this evening are two other veteran publishing insiders who contributed these pieces to what editors do. They recently joined the house as executive editor. Those championed. Seated next to him is susan ferber executive editor at Oxford University press. Shes focused much of her career on books of history from the ancient or modern. Among the books and authors shepherd as the pulitzer and bancroft prizes as well as New York Times bestsellers. Her chapter entitled a magnum opus is about editing works in scholarships and speaking of University Professors i should note the universities of chicagos. Also joining the discussion and filling out the panel with the founder and president of the Literary Agency and friend of mine. How best to go about it . To find an agent. Please join me in welcoming our very accomplished panel. [applause] it is a thrill for me to be presenting at the store because politics and prose has been a good supporter of those that i love to publish and read it many authors have had terrific events so it is a kick for me to be the person standing at the front instead of the back and i would also thank you for taking the time. It seems pretty straightforward not to say obvious title thats one reason i chose it is most people dont understand just what we want to do as editors. Its our own fault. We have the most confusing and ambiguous technology of any though i know and. Its what the editor actually does. Ive come to think of the editors roll in the most fundamental way as being a connector. You also are standing i and representing the reader to the author. Deciding in helping the author create the book in the way that gets across to the person. That involves both working on the way i was just describing that also the broad task of bringing the reader to the book to figure out who those ideals writers are for this particular work and how you get them to read it in the first place. So the editors job is breaking down into three faces. They all overlap and take place simultaneously. That is the most critical part of the job because if you dont find books to publish, you cant do the other things and there is no Publishing House. Second is what i call text developed and enough classical editing function again when you are making notes and changing the actual words. Finally, theres publication. Thats part of bringing the book out into the marketplace making them aware this is a book they need to buy. I asked each of the panelists to focus on the aspects. They have a Critical Role to play in the acquisition process so shes going to talk about what that looks like from her side. She has helped many do their first book that involves a kind of intensive editorial interventions she can talk about that editing the piece. Then they start writing the news about the editors role come bearing his passion about the book to his colleagues in the Publishing House and then out into the media and the booksellers so he will talk about that piece last. We are going to turn it over to you. Tell us what they think about what editors do a. [laughter] one o one of the books i worked on when i first started the business was by a woman that had a testing device and only had four kinds of personalities and said to me the myriad of things that you do bring together the least complimentary parts of the Personality Test and it was impossible to do what you have to do. I want to see tha say that thisa fantastic book and i am buying a case and getting it out to each of my clients because it answers all those questions i wont have to answer any more of it and her of what we do, we have to know the individual editors. I probably work on a regular basis and interact with maybe 100 different people in publishing, 100 different editors in the marketing and such and that requires i think the three most in portrait thing to me are smart, talent, passion and responsiveness. Its hard to sit in a room and edits and go out to one chance make a big deal. Those are not complimentary thing. What i find is the greatest thing for me i get to know all these people you know if im selling a book about depression i know every depressed editor in new york. Im selling a feminist book i know the kids names. Most of the people ive dealt with have made decisions about the responsiveness working with people, but the passion stuff theyve got to fall in love with this. I always say i am the midwife of it but we need a partnership because they are that connector, they are everything in the house and they only do the things i cant do. I need them to make my clients better than my client even is and to fall in love and have knowledge and experience and be their advocate all the way through so that is the most fun part of. I tell people call me because those agents are crucial. Its not that they dont want to publish books that they have to go through so many hoops and you need somebody thats going to fight it as hard as i am and in author is because it is tough out there and its the best thing in the world when it works and even when it doesnt. You talk about the number of hoops. They dont understand how byzantine it can be. Talk about what that is like from your side. Stanek to make it the best it can possibly be my intent is working on a proposal to answer an editor and sales force and marketing peoples questions before they have been to anticipate what the problems are going to be and try to best prepare for the proposal and meetings that we have a. Is to make it easier and get all the ammunition that you need in the proposal and with the auth author. Sometimes they are editorial driven and other places you have to hear the sales and marketing spensince some of them are legey then you have to go back to an acquisition. It can be byzantine or it can be pretty fast. For anybody i for anybody in the publishing world, its like disney world and the Chocolate Factory all wrapped up. We try to get them for authors, so im grateful that feel like they one the Golden Ticket just being here. My chapter in the book is about ending scholarly writing which for me means hardcore pencil and paper. I had many hours of transportation i could sit in my own world editing and that makes me happy. I work with a lot of firsttime authors who lost track of how many things they publish. Every single project requires its own diagnosis. Im going to phone in as requested and in the field i work in which his history there are a lot of them for the members of historians who want to write trade books but what does this actually mean it required in terms of the editors intervention backs it still needs to make an intervention in the field and the key is disciplined or shake up the health of the league to do anything to move the needle in the conversation happening for a long time. To summarize these ideas and how it alters the picture this isnt the place for offering the great intellect with someone elses words for this which is what i encounter a. This is where they often go wrong or completely erasing the landscape so this appears to be the first or the only one ever written on the subject so some go one direction or another. Finding the right balance is the key to the work. There is a crossover book idea im seeing and usually without an agent doing the work. They are working with them afterwards. On things like pacing and color and context. If im lucky i get to review has already house all these elements that most of thbut most of the e case. For me to work on a book like the United States series of they already know they are writing for trade audiences on how to do it or virginia andersons jane crow. These are not the offers that at come to mind when you think of American History or World History and we work through these a number of times. Most people think they dont take the time to do that but there are a number of us that do and its not always a single straightforward edit. To think about the introduction and craft a book that will bring the readers in the and allow the research to a larger audience needs expecting to be respecting the intelligence showing and not telling us much about a place, person, motivation, political and Cultural Climate as possib possible. That is a good description of the kind of work that susan does typically with historians but the process of finding the balance between your expertise and the ignorance is something a think tank person or any of those of you in the room in those categories, so i recommend the chapter as being. Tell us about the evangelist. We all paid tribute to something and i wouldnt be sitting in this chair if it werent for the first person to ever higher me into a publishing job. Sometime aftesome time after hei was hired to be the assistant. This is how he remembered which guy i was, which is the impression that i make. It came to the room to talk about doing this job is to see whether it was possible to realize those that spend all day long working with words and authors. My first year or two in the company that we worked as a place you could begin to do that very quickly. To buy the book and spend some time skimming through it how many people in the buck started ouout at Saint Martins press ad could begin to acquire them without a lot of reason based purely on their passion for about it on a small bet that they wanted to take a. I did all that stuff that we talked about, i nurtured the authors and worke had worked wie manuscripts and felt enormously proud they were doing what i wanted them to do. So then it would go back to my proper work but nothing happened. So what is the piece o peace ofs process i missed a and what have i failed to do to ignite the marketing and publicity sales machines. He used his ciga this cigar as n argumentative weapon and was still allowed to smoke in the office at that time so she could dhe coulddo what he wanted in h. You just learned the secret of publishing which is an editor isnt just an editor. They have to be the associate publisher and he probably said his death sounds like a whole new job title. Of thosthose responsibilities ae secret key to launching offers. Authors. We as editors require books when we bring them into the Publishing House, we work with the authors that it is a vision of how to reach the audience and that is a spark that we ignite a. Thinking about the way to describe it, the image that came to me a thing that happens to me when we write a new project is a little bit like a religious conversion, the subtitle on the evangelist when we go home at night with a new manuscript, we read it and fall in love with it and then have to do a very strange ship quick job of educating ourselves about what we loved about it and finding a way in very short for shorter then im using now to describe why it is a lovable and important book that the publisher is behind and that becomes what is effectively the conversion narrative. That narrative carries on through the rest of the process and becomes a script to the editor shares with the publicity and marketing and sales departments so they all see what that path looks like a. That narrative has reached you in a way so that is an unknown part of what we do and i its vy difficult to reconcile. I think a lot of us get into the business and then you have to get out and become pretty extroverted on the book. I have a couple of chapters in the book and also a chapter about acquisition. The image that comes to my mind. The plot grips you with the authors way of writing all of the above or maybe it is a topic that tells the story. You feel that spark in your self you to keep flipping the pages faster. The interesting thing is in terms of how difficult it is to acquire at the end of the day if i have several publishers interested in giving them the money to make an offer at the end of the day my client always has a book deal and you lose your books because my client can only pick one house if there are multiple offers. I sometimes walk away at the end of one of those things and find how many hours did each of the other competitors spend going through all those hoops falling in love with the material because it gets that when you are in a competitive situation and yet they go on to the next. A surprising number of people in publishing watch the bachelor and it may just be something that we all feel that wind linep with the tv show. One of the challenges its something you can feel in that moment and can be just about as long as the option. You better hope that it has a long life thereafter. Waiting for the final draft to come in, there will be many and because it had t have to do wite writer you have to live year after year and it sustains and the rest of the company where the bill will finally break through a. That seems like something that happens to publishing and i was wondering what you would like to see changed going forward. I would say first of all i wanted to say thewouldnt say to publishing a. Publishers have seized the opportunity to their publishing a books on social media. We are a kind of traditional minded folks i think what i would like to see is a fourth industry at large to make more of an effort to make books as big a part of the culture as they used to be a. I was going to follow on that. I think they have a vested interest helping people spend time slowing down and thinking and concentrating. Its more difficult to keep up with the news cycle and try to just keep pace with things. That doesnt lead to the longterm thinking or people getting at the roots of what is going on now and it does seem to me they will read with print books for a long time and they captivate them and it is easy to get turned onto anything Like Electronics and gadgets and not to be able to concentrate so i would like to see publishing to enable the culture to get back to thinking. Every person who comes into an independent bookstore and listens to People Like Us doesnt buy the books online, they bite them in the store. I had the privilege and wondered if you discussed team and if you can talk about editors working to persuade a different angle and a different particular chapter during the writing and revising process. I would be happy to talk about that. A lot of times the longterm reading of the manuscript is met by an author that is excited to get feedback so you usually i say put it away for a little while and then come back to it because the chapter that doesnt sit there maybe it is a better article or if there is a reason somebody stuck to it at the end of the day my name is never on the book cover. If im lucky im in the acknowledgment that sometimes it is a better saying and why it can be better thinking through it in a different way. Rather than saying this is awful it shows how it can be better. Theres no way we can get this down without coming out. It gets to something thats important about the editing process. You have to align yourself you have to bring yourself into the line and understand what its trying to do a. When it was found, a question i get asked sometimes when people find out im an editor, do you have to argue with offer authoro get them to make change should or when you want them to do something differently. I almost never found that because i effort as an editor is heres what this book or this chapter is trying to do, and its not doing it. You typically get them to buy into making those changes. I couldnt have put it better. One of the opening paragraphs of the letter makes the point that the editor has to first try to understand the book as well as the author does and then to replicate and honor the reader who knows nothing about it other than the desire to be entertained or captivate or what have you and being able to honor those while also working for the reader to its one of those balancing things we do. There is a quote i came across some time ago. Never trust a teller to trust the tale. If you can get that thing you cathen you canmake the right ki. You spent months or years nurturing this book. Finally it gets to the point of publication and release a hybrid like you to put mine out front. [laughter] from an editors perspective, one of the happiest and most Surprising New things about the bookselling part of the chain of in the past ten years is that booksellers are now because of social media and because there is a much bigger and more cultivated culture of reading and event and author centric longterm promotion is a conversation about books out there in the world that didnt used to exist. The story would end when the book is out the door. Its now the case the other part of the conversation is also with you folks into theirs a transparency and there are literal conversations but theres also just more activity going on a. A. I had been so impressed by the new generation of booksellers learned from a store like this that has been doing it right for a long time and its making the bookstore called sure sort of an indispensable part of the Community Culture in the cities that are lucky enough to have strong outward looking stores. Other questions. I spent about a third of my life in this book. The. It might be different than the other people on the panel at the University Press and we have an important scholarly mission to disseminate information, and to do this globally. Because it is so old its been happening for a few hundred years around the world and that thdoesnt happen unless it has n Important Mission or piece of music or journal or some thing that has to have that at its core. Its not just what the stockholders think will sell will be a successful book. Some of the most successful sold very few copies to and a satiric audience and they have that core at thof the sins of commission d that is different than the commercial houses for whom it is all about the money that it is a critical part of why the book is published. I want to say a word on behalf of her colleagues and the literary agent because they do an important job for people like susan and in figuring out what it gets to us. [inaudible] [laughter] and what distinguishes a good agent like gail is when you get a proposal or manuscript from her, you know if shes going to be wasting your time. Its not going to be a sort of me too book or subject thats already been done. This was sort of the downside of silence of the lambs and everybody had to have serial killer novels and we had finished published many of them. The question came up why wasnt this new book that was on the list, why is it that sold and the Literary Guild which was backed fair and important book club. Our directors that i talked to the editor at the guild and she said we have already got 51 serial killer novels under contract which made me think 52 would have killed you black flacco if you were going to stop it 50 why would you stop at 51 but imagine the glut of serial killer novels that there was at that time and some kind of hook becomes successful and its a surprising thing in every publisher wants to have Something Like that. I felt like an important think i learned from academic publishing is proud and publishing books have to go through peer review process. A book in susans Publishing House doesnt get out of the world unless some people who really know about the subject say this person has something worthwhile to say about it. People in my field whether its American History or linguistics or population fanatics are going to want to know or are going to have to reckon with this book when it comes out and i learned from working myself back the importance of really zeroing in on who needs to read this book . What person identifying reader and an publishing sometimes you say wow this was so wellwritten i couldnt put it down. Yet to gogo beyond that and asked the question, who were you going to actually sell it to . Whats going to make people reviewer talk about it . How will others know about it and thats a really key question that the publishers and good editors ask them the ones who dont ask better putting up with books that you are talking about here. None of the major publishers are trying to buy published books that are going to sell. When i started this business there were three publishing lists. The books that publishers require to be bestsellers and they think is intensely only going to publish x number of copies and then there are backless books that make all the publishers money. Those are the books that are in every store in america every day of the week. They are automatically reordered whether its shakespeare or books on to kill a mockingbird whatever and travel books and dictionaries etc. Those books sell year after year and all you are paying for his paper come printing and binding preview art paying for publicity or marketing costs and thats how publishers make money but today there are very few of those books published. There are lots of books that are not selling that well. They thought they were going to be friendly books so no one is trying to publish that list and you are trying to develop a first novel or Something Like that. They used to be you would sell a lot of books and it would be 5000 or 6000 copies. No one is really trying to publish bad looks. Either friend who worked at a corporate Publishing House and they brought in the Consulting Firm to look at the business and decide with the should be the doing better and differently and the consulting came in and said you should only publish the bestsellers. [laughter] hi how are you guys doing. Do publishers take frequently are not too frequently . In terms of short stories elections . I think it really varies from house to house and i think it still happens now and again. Its probably doesnt happen nearly as often as it used to. When i got into publishing and i was working in a Small Literary house i read the pile religiously every week and i was the guy that open the mail. The slush pile is what publishers call the liberals. Of unsolicited submissions, people who just sent things in saying dear editor please publish my short story or memoir or whatever. My fiction novel. We are not getting past that line if you say publish my fiction novel but i thought im going to read the slush pile. I heard stories and things like a bestseller and a movie and they would be mutant glorious things i would find in the slush pile. Whether. Rapidly learned is that the slush pile is full of slush. People who dont have more of a clue than to send their manuscripts to dear editor at University Press or dear editor at harpercollins are not in general like way to have the other mental abilities that make you a good writer of the fulllength book. It occasionally happens and an author who wants to get publishing doesnt have an agent should read the acknowledgments of the books they like to see who the editor is in right to dear susan ferber or dear cal morgan. I think that book is fabulous and im not trying to write a book like jess walter but i think people might be interested in mine for the following reason reason. Then you are probably just going to look at the first few pages of that persons letter. The other thing to say about this is the slush pile is an outdated idea. There was years ago when i came into the business a literal slush pile because you would get your manuscript to the publisher new at printed out and send it in. There are slush emails but the point i want to make a subtle difference which is the reason, the thing that defined the slush pile as partners and writers who did not have agents and it was in the time when there were not many other ways to get noticed by a publisher. We are not in that time anymore and the truth is there are a lot of writers. Where i worked at riverhead and i just thought myself drawn to a lot in the past decade or so our first marvelous in that kind of thing are essay somebody like roxanne who published a book about feminist because i had been rolling her or several years on line. I didnt get interested in her because there was a nicely packaged letter from an agent. I started reading her and the hurdle for a young writer, an emerging writer to get published and get ones work in front of editors like us is entirely different so the message i would want a writer to hear is we will preview if your material is out there and you find a way through social media or through friends who are associated in some ways to get it to us. We will read preview and it doesnt feel like in the way that the slush meaning used to a Charity Project with a very flimsy now in days the slush pile we have blogs. We have people selfpublishing their books and you can generate generate. If you write good step and you have something to say you will get a noddy ants. Thats what will happen by word of mouth. It wont necessarily get you a publishing contract that if people are responding to what you like there are ways of putting out there without meeting a person like cal or me or gail. I still have a slush pile. I see submissions and i dont really want to say the member but its a large number. I take all kinds of projects out of that. Sometimes someone says you know the opening line if they have read the book of mine i have awardwinning books it, and then there are people who are really pushy and get in my face all the time. That doesnt mean there oak will get picked. I usually end up eating surprise after going through dozens of projects at home and going this one is really good. I like it. Dont care what the letter says it all. This might be an unemployed or underemployed academic that this is just really good. Hi. I was wondering could you give examples of how you connected personally to manuscript specifics . I will let other people go first. The truth is i could tell that story for almost every book that ive ever worked on. One of the nice things about starting out as an editor at a fairly general interest house error broad range of projects you can do is that i was able to start out looking for books on the subjects that i grew up loving. I was a big film guy in high school and college and some of the first books i worked on were freeze on film directors or musicians or actors. There were certain kinds of fiction that i like and when a novel crossed my desk that had really lyrical writing or dentures punctuation even i might he really interested in it it. One of the first novels they published was a 500 page novel literally with not a single, and it was effectively a 500 page suicide note which happily at the end of the day he decides not to kill himself. Nobody got there but me by the way. But with every single book i came across i would have that experience of realizing oh my gosh i cant stop thinking about this book. I cant stop talking to my friends about it. Those are the books you know you want to work on. Thats the spark i was talking about and people try to take on books that have gotten some kind of the spark. Actually when you asked the question popped into my head an experience i had and this happens to all of us at one time or another. When i started reading the manuscript that i didnt think i had any particular connection to a sort of the memoir spending time in hawaii a place i had never been and really never thought about going at that time. I read this manuscript in memoir going out from california where she grew up to hawaii and falling in love with everything about the island of hawaii. And she conveyed that to me. I just thought wow hawaii how did i not know about it . I was completely captivated by this book. It made me interested in this thing i didnt think id be interested in because it was so wellwritten and conveyed her actions so effectively. Those are the happy surprises that we all have in one way or another. You know you are interested in film directors and of course you are going to read the new proposal for a book on john ford or Buster Keaton or whatever but when you get a thing and you were kind of ugly looking at it and you suddenly go wow i never thought about this, thats in some ways the most joyous you have as an acquiring editor. We only have time for one more question. Because i started as a junior person publishing as an assistant as many of us do working our way up through the ranks i came across a lot of projects and you never knew someones real reason for not getting a book done was although every now for some version of the dog ate my homework. The most meaningful experience i had was a book that became like real children and the authors every bit of their being ended up being a part of that book to the point where the book would outlive decades and i knew that and through the authors death. In the age of print on demand we have no books but those books live forever. Thats the most meaningful author experience to me. It was mentioned earlier that the editors name never appears in the book and i wondered if you thought that it should. Im wondering about the spectrum of how much writing an editor does. I dont know vaughthemmingway but some famous authors like 20 years ago came out with an edited version of something that written and there was a full page of someone leaving a room and it was all crossed out an edited. Do you ever feel like you are doing too much of the work over doing a few notes to major writing . Once youve been at the business for her while and you are senior enough to have the luxury of having more choice in the projects you acquire you generally i generally just dont take on books where i feel like im going to have to do this much intervention. When you are starting out for sometimes you inherit a project in a Publishing House that happens to me with the serial killer novel. Its excellently written in every way and theres nothing i could have done with a pencil that would have saved it. But when you are starting out you sometimes have to take books that arent as wellwritten and make more of a contribution that way. But again its the authors book book. You are really trying to rewrite the book yourself you are doing it wrong. Every instinct of starting a project is i really like this. Maybe after 20 years i havent gotten over that. People say its a perfect manuscript and i say ive never seen such a thing. Sometimes would be easier to rewrite this paragraph myself than to write two paragraphs of the author explaining how to do it. There are stories that are hairraising to the effect and editor did exactly that every wrote a paragraph in the book and in the book gets reviewed and the review says oh either this one paragraph was so embarrassing where this paragraph was the greatest paragraph. Last that is one of many reasons to be careful. Just to wrap this up and im going to sound like it complete novice which i actually am but having seen this from the Vantage Point of owning this bookstore with bread and now as an author having the fun of working with gail one of the things that is really struck me and also in dubai for one of the major publishing for the store that struck me about this entire industry that goes to infuriating and perplexing on the one hand and let yet fabulous and wonderful and the other its one of the few industries in which passion is a metric. They all alluded to that tonight barred from working on a proposal with a great agent and by the way she kicked my for months until we got that proposal. It was going to be good enough to be turned into a book which is the more important point. Then you meet with the editors and publishers and you realize these people sure they throw money around the basically is about a belief in an idea or a leaf in a story or a belief in something bigger. Thats just so rarely the metric in this day and age and its very refreshing when that is the case. Then when you get into the bookselling end of it you know we get dozens of books each week on our desks that publishers are sending us and editors are sending us advance copies. We cant possibly read all of them and often they come with the robot a clatter that says you are a bookseller and we think you should love this up because of blah, blah, blah. When i get a handwritten note or personal note from an editor saying i really want you to read this book because of whatever im going to beg pay very close attention to it. Thats another gut instinct that happens. Publishing houses have representatives to meet with various stores in various regions enabled go through this minuet with us do you think its going to sell that much . Maybe you should only order for it. Maybe he should order 24 and you go through this dance and they have to earn our trust and we have to show them that we know what we are doing it again its a gut instinct and so much of what ends up eating a phaseout book ends up on the bookshelf. I just want to say one of the great things about this whole industry is the fact that passion is what drives us to the passion of the editors and the publishers and hopefully the passion of the author and the reader. And the booksellers. Yeah and the booksellers. [laughter] this book got reviewed in the times literary couple of weeks ago and i was very flattered to see it there. This review from britain on the basis of this book american editors and british editors we were sober and businesslike. I made an effort in emphasis writing in this book to say editing often is romanticized or glamorized or demonized but i was going to try demystify it in this book. I hope it came through in the way people wrote that we are all made in this business because we love reading just like people who come to this bookstore. There is something romantic about that and its what keeps us coming back again and again i think. [applause] thank you all for being here. [applause] dont go home and order. [laughter] [inaudible conversations] british Prime Minister takes questions from members of parliament in the house of commons on wednesday. An issue that is important in arkansas is a population what we see is a lot of the hispanic we have this program. Not only hispanic but everyone has that opportunity regardless of whether i have documentation. Thats important right now. The issue that is important for me in arkansass animal welfare. Im an Animal Rescue and we deal with a lot of abuse and neglect. We dont have Law Enforcement backing. We have laws but they are not enforced. Its a big issue for us because we deal with the animals and we see what they go through and we dont have anyplace for these animals to go. We dont have the funding for them and people are not held accountable for the abuse that they inflict on animals. Thats a big issue for me, stricter laws and more enforcement of those laws and backing shelters and Holding People accountable for what they do. I really dont want anybody to do anything. I believe in the states. The government creates Different Things and sees how they work. If they are going to work out very well it will impact the whole country. I believe that is what the founders wanted. One of the most important issues i think for the citizens of little rock we would dearly love our representatives in d. C. To take a look at and that is the Affordable Care act. They talk about the flu season so health care is important for each and every individual. While working is important without Good Health Care you cannot to the best of your ability. So i think thats a major issue for little rock citizens and all of america. With those leaders can do is to really support our farmers. Agricultures is one of the number one industries in our state. The farm deal where they pass legislation to protect farmers rights and then we have things that affect the poultry industry industry. They cannot attach riders to that and allow the bill to pass without that and they can protect our farmers. Thats the most important thing is taking care of our constituents at home. Representatives of columbia University Press talk about the value of University Presses. This event was held at a culture bookstore in new york city. We will take motions from the floor. Thank you all for coming this evening. We are hosting this panel and how to publish with the University Press
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