Emma Morgan: Frankfurt Book Fair

After attending the London Book Fair in April earlier this year, I thought that I had an idea of what to expect from Frankfurt Book Fair. I definitely did not. While London attracts around 25,000 attendees, Frankfurt has over 280,000. The fair spreads out over 6 halls, some of which I didn’t even manage to see over the course of the week. After weeks of preparation and some frantic last-minute rereading of our books, the Princeton University Press Rights team left behind a very rainy and grey UK and arrived in the unseasonably sunny Frankfurt for four days of meetings.

Frankfurt Book Fair is one of the largest trade fairs in the world, and attracts people working in every sector of the publishing industry, including publishers, booksellers, printers, agents and authors. At the weekend—once the main business of the fair begins to wind down—the fair is also open to the public, and has a wide range of events, talks and attractions. I had been warned that people dressed up and came as their favourite characters during the weekend, but it was still surprising to see, in the middle of a business meeting, two pirates and a princess stroll by our stand.

frankfurt

Between the three-person rights team, PUP had over 100 meetings scheduled with publishers, agents, scouts and partners from around the world, from France, Germany and China, to Thailand, Ukraine and Finland. We arranged meetings with many of our regular partners and publishers who often license our titles, but also took some time to meet with new publishers and discuss our list with potential future partners, particularly in Scandinavia.

We were able to talk through our titles and hear more about the titles our partners are looking for, the trends they had noted at the fair and the plans they had for their lists. It was also a great opportunity to discuss with publishers, and in particular with our agents, the general state of the publishing industry in their markets. While many noted difficulties in their economic or political situations, there were many reasons for optimism, and a great deal of interest in and excitement about our list.

FrankfurtWe took our biggest-ever Rights Guide to the book fair, with 39 titles. With around 50% of our Rights Guide titles already licensed in Chinese after the International Rights trip to Beijing International Book Fair in August, we were able to highlight some new titles to the Chinese publishers we met with and to show other markets the existing interest. We received lots of good feedback about our list, especially in economics. Publishers were also very complimentary about our covers; we have increasingly received requests from publishers to use our covers in their own editions. The cover for Louise Shelley’s Dark Commerce received a lot of interest in particular. 

FrankfurtIt was also a great opportunity to share exciting new developments from PUP with our regular business partners and with new faces. Many people were interested in hearing about PUP’s new programme of audio titles, and we were able to hear about the markets in which audio is growing and in which it is still only a small portion of the industry. This year, when Frankfurt launched their first dedicated audiobook conference, it was great to hear about people’s excitement for audio in general and PUP’s growing list in particular.

We’ve returned now to full inboxes and lots of following up to do, but it won’t be long until the Rights team will be setting off for the next Book Fair in Guadalajara!

PUP supports the Bookselling Without Borders 2019 Kickstarter

#BWB2019

 

Princeton University Press is proud to partner with independent and academic presses on Bookselling without Borders, a fellowship designed to connect American readers to books from around the world. 

NEW YORK, New York (September 24, 2018) –– Twelve of America’s best independent publishers and university presses have come together to promote the 2019 edition of Bookselling Without Borders, a scholarship program that allows American booksellers and bookstore owners to attend the leading international book fairs.

From its foundation in 2016, when it provided one fellowship to one fair, Bookselling Without Borders has grown to become a unique opportunity both for professional booksellers at all stages of their careers and for veteran buyers, managers, and store owners. In 2019, it will not only offer 16 fellowships to four international book fairs but also two international bookstore residencies (in Italy and India). In 2018, fellowship awardees have attended the Turin Book Fair and will soon be departing for both the Frankfurt and Guadalajara Book Fairs. Enjoying a curated itinerary of meetings, panels, tours, and networking opportunities, booksellers return from the fellowship better informed, better connected, and better equipped to bring international and diverse books to American readers.

The program is supported directly by independent publishers, by industry partners that share the fellowship’s goals, and by an annual crowdfunding campaign, which launches this year on September 24 on Kickstarter. Funding from the campaign will be used to expand BWB’s activities to include more fairs, more fellowships, and to launch the international bookstore residency program.

The publishers and industry partners supporting Bookselling Without Borders are:

CatapultEuropa EditionsGraywolf PressGrove AtlanticMelville House BooksMilkweed EditionsOther PressPrinceton University PressRutgers University PressSeagull BooksShambhala Publications The University of Chicago Press

Ingram Content GroupShelf AwarenessFrankfurter Buchmesse

For more information visit www.booksellingwithoutborders.com

Or contact:

Steve Kroeter: 718-636-1345; swk@design101.com

Rachael Small: 212-868-6844; rachaelsmall@europaeditions.com

Emma Morgan on the London Book Fair 2018

by PUP International Rights Assistant Emma Morgan

LBF2018 was my first year attending the three-day London Book Fair on the Princeton University Press team, and it was also our biggest book fair yet, with 19 members of staff in attendance. Our team at the fair this year included staff from all three of our offices—in Princeton, Woodstock, and Beijing. We were excited to have the opportunity to meet with partners from around the world.

If you attended the book fair, you likely walked past our stand; we were located this year directly in front of a main entrance in the good company of publishers such as Taylor & Francis and Wiley. We hope that you visited the stand to say hello, though with our Rights team heavily booked-up with meetings across the three days of the fair, there was little time to stop!

The book fair represented an opportunity to meet with our key partners, sub-agents, and publishers who regularly license and translate our titles, but also gave us the chance to meet with new potential partners. We held around 85 meetings over the three days, and built on the relationships which are so important to us throughout the year. New partnerships included markets such as Turkey, Russia, and Spain. For me personally, it was also my first opportunity to meet with several members of the Princeton team from the US.

Our Rights Guide was carefully curated for the book fair to highlight some titles which we felt were well-suited to translation, although we still regularly see publishers attend having found titles we never expected in our seasonal catalogues. Some of the titles we saw considerable interest for at the book fair included Sir Martin Rees’s On the Future and Edward B. Burger’s Making Up Your Own Mind. Many publishers were intrigued by the prospect of the mirror-image and upside-down chapters in the latter, and to hear of another strong list of science titles from Princeton.

While there is usually lots of news from the London Book Fair about big deals signed and rights sold, we typically see the majority of our deals done in the weeks and months after the fair. It’s always interesting to see how some markets will decide within a few days that they want a book, and others take until the next book fair, or even longer, to decide. Several of our partners commented on the range of titles we had to show on the stand, and there were lots of compliments for the covers, in particular Anthony Zee’s On Gravity, Jerry Z. Muller’s The Tyranny of Metrics and Vladimir Nabokov’s Insomniac Dreams.

Away from the PUP stand, there were seminars and talks on a variety of subjects, as well LBFas the opportunity to be photographed at the U.S. President’s desk as part of the promotion for the Bill Clinton and James Patterson title, The President is Missing. The Book Fair selected for the Market Focus the publishing industries of Latvia, Lithuania, and Estonia, and we were interested to gather some information on these markets.

The Book Fairs represent an opportunity to hear from our agents and publishing partners about their markets, both the positive and the negative. While many territories continue to struggle with financial and political issues, there is also broadly cause for optimism, with reports in the UK that the sale of print books is up for the second year in a row. Also, we were interested to gather information from our partners on the rise in audio books, which have seen great increases in the UK and which the International Rights team have been working on since June last year.

After attending the Book Fair in 2017 as a student, I had some idea of what was involved, but being able to sit in on meetings with past and future partners of PUP from around the world emphasised the international recognition of our scholarship and its value. The range of titles which publishers were interested in, both in our upcoming titles and far back in our catalogues, is something I see every day in answering queries from publishers and agents, but the enthusiasm and the value that is placed on our scholarship by publishers from around the world was something I was very glad to see first-hand.

PUP champions scientific research with March for Science 2018

Princeton University Press’s mission is to bring scholarly ideas to the world. We publish books that connect authors and readers across spheres of knowledge to advance and enrich the human conversation. We embrace the highest standards in our publishing as embodied in the work of our authors from Albert Einstein in our earliest years to the present. In keeping with our commitment to serve the nation and the world with top-notch science publishing, we’re excited to announce that we will be partnering with The March for Science on April 14 in Washington, DC.

From the March for Science mission statement:

The March for Science champions robustly funded and publicly communicated science as a pillar of human freedom and prosperity. We unite as a diverse, nonpartisan group to call for science that upholds the common good, and for political leaders and policymakers to enact evidence-based policies in the public interest.

  • We believe that the scientific method, and findings that result from its responsible use, are powerful tools for decision-making.
  • We integrate our commitment to diversity, equity, accessibility, and inclusion into all programming, outreach, and advocacy efforts.
  • As nonpartisan political advocates, we act with the understanding that science does not belong to any political party, and that scientific evidence is an essential part of good policymaking at every level of government.
  • We do not merely react to the problems of today: we look forward, aspiring toward an inclusive, integrated vision for the future of science and science policy.
  • We are a reflective and self-critical organization that prizes ongoing internal evaluation and correction.

Read the full statement here.

In our politicized world, the application of science to policy is not a partisan issue. Like the March for Science, Princeton University Press is proud to support engagement with scientific research through education, communication, and ties of mutual respect between scientists and their communities.

The Royal Institution: Science Lives Here

by Katie Lewis and Keira Andrews

RIThe Royal Institution is a scientific gem in the heart of London. It was founded in 1799 by leading British scientists of the age with the aim of bringing technology and science to the general public. On nearly any day of the year, a member of the public can take part in live events with the world’s leading thinkers, experiment in a research laboratory, and take part in hands-on masterclasses with specially trained experts. The lecture theatre at the Royal Institution is infamous; some truly remarkable scientific breakthroughs have occurred within its walls as a result of the Friday Evening Discourses where top scientists of the time would show off their research. It was here that Thomas Young established the wave theory of light; John Tyndall discovered the greenhouse effect; Humphry Davy discovered nine chemical elements; and Michael Faraday developed the electric motor and electric generator.

Ri

The Royal Institution has left—and continues to leave—a lasting legacy upon the scientific community. One of the more publically-recognised services is the Christmas Lectures that were started by Michael Faraday in 1825 and continue to this day. In today’s world these lectures come in the form of a televised Christmas broadcast aimed at children with a changing theme each year and guest speakers that range from David Attenborough to Richard Dawkins. Originally, however, the lectures are thought to have come to fruition after adults began bringing their children along to the adult afternoon courses in the early 1800s, and someone had the idea of a yearly lecture to inspire a new generation of scientists. These lectures have continued to run every year since 1825—only being put on hold between 1939 and 1942 when the majority of London children had been sent away as evacuees. The Royal Institution also holds over one hundred other events each year on a wide variety of subjects.

It is at these events that many of our Princeton University Press authors have spoken. On average, five of our authors step the boards of this famous lecture theatre each year, and talk animatedly to an audience that ranges from the curious layperson to the science graduate and above. In this, the Royal Institution has never changed; science is for everyone. In recent years, the Royal Institution, colloquially known as the Ri to mimic an element on the periodic table, has hosted Princeton University Press authors across a wide range of scientific subjects from astronomy and the evolution of the human mind, to first impressions and how to clone a mammoth. Last week, it was the turn of Professor Peter Ungar, Distinguished Professor and director of the Environmental Dynamics Program at the University of Arkansas, and author of the Ungarrecently published Princeton book Evolution’s Bite: A Story of Teeth, Diet, and Human Origins (May 2017).

In his fascinating talk, Ungar illustrated how important teeth are for understanding the story of human evolution. Ungar described how a tooth’s “foodprints”—distinctive patterns of microscopic wear and tear—provide telltale details about what an animal actually ate in the past. These clues, combined with groundbreaking research in paleoclimatology, demonstrate how a changing climate altered the food options available to our ancestors—what Ungar calls the biospheric buffet. When diets change, species change, and Ungar traced how diet and an unpredictable climate determined who among our ancestors was winnowed out and who survived, as well as why we transitioned from the role of forager to farmer. By showing us the scars on ancient teeth, Ungar made the important case for what might or might not be the most natural diet for humans.

Ungar also revealed some fascinating facts about teeth in modern humans. Orthodontic issues such as crooked teeth, overbites, and impacted wisdom teeth did not affect our distant ancestors. The reason our mouths are overcrowded lies in the modern diet: our ancestors would have had to chew hard to break up tough foods. Bone responds to strain by growing, and our tooth size evolved to fit perfectly into a jaw exposed to a hard or tough diet. Our modern diet of pizza and burgers does not provide the same challenge for our jaws, and so they are not put under the strain required to reach optimum jaw size. In some tribes around the world, there are groups of people who still eat a similar diet to our ancestors, and it is no coincidence that these people tend to, on the whole, have beautiful straight teeth.

It is amazing what you can learn from teeth; Ungar explained how toothwear shows us how dinosaur jaws moved, allowing us to build muscle onto the bones of the face, to see what they would have looked like. In this way, teeth play an important role in the reconstruction of prehistoric animals, and also the face shapes of our ancestors. Ungar’s talk was a fascinating addition to the Royal Institute’s line-up this year.

Keeping in tone with the idea behind the Christmas Lectures series, it is fascinating to see the number of young children—usually one in ten—in the audience at these adult-level general lectures. It is a benchmark of the accessibility of the Ri that it is not uncommon to see a nine year old articulating her ideas about ecosystems or an eleven year old asking for more details about CRISPR. The Institution, the lecture hall, and the people that encompass it continue to be a point of inspiration for anybody who chooses to listen.

Check out our Spring 2018 preview

We’re thrilled to present a preview of our Spring 2018 books. From The Tyranny of Metrics to Van Gogh and the Seasons, we’re looking forward to bringing forth a range of titles across disciplines in the coming months. Check out the video below or our seasonal catalog to find your next read!

Joshua Holden: The secrets behind secret messages

“Cryptography is all about secrets, and throughout most of its history the whole field has been shrouded in secrecy.  The result has been that just knowing about cryptography seems dangerous and even mystical.”

In The Mathematics of Secrets: Cryptography from Caesar Ciphers to Digital EncryptionJoshua Holden provides the mathematical principles behind ancient and modern cryptic codes and ciphers. Using famous ciphers such as the Caesar Cipher, Holden reveals the key mathematical idea behind each, revealing how such ciphers are made, and how they are broken.  Holden recently took the time to answer questions about his book and cryptography.


There are lots of interesting things related to secret messages to talk abouthistory, sociology, politics, military studies, technology. Why should people be interested in the mathematics of cryptography? 
 
JH: Modern cryptography is a science, and like all modern science it relies on mathematics.  If you want to really understand what modern cryptography can and can’t do you need to know something about that mathematical foundation. Otherwise you’re just taking someone’s word for whether messages are secure, and because of all those sociological and political factors that might not be a wise thing to do. Besides that, I think the particular kinds of mathematics used in cryptography are really pretty. 
 
What kinds of mathematics are used in modern cryptography? Do you have to have a Ph.D. in mathematics to understand it? 
 
JH: I once taught a class on cryptography in which I said that the prerequisite was high school algebra.  Probably I should have said that the prerequisite was high school algebra and a willingness to think hard about it.  Most (but not all) of the mathematics is of the sort often called “discrete.”  That means it deals with things you can count, like whole numbers and squares in a grid, and not with things like irrational numbers and curves in a plane.  There’s also a fair amount of statistics, especially in the codebreaking aspects of cryptography.  All of the mathematics in this book is accessible to college undergraduates and most of it is understandable by moderately advanced high school students who are willing to put in some time with it. 
 
What is one myth about cryptography that you would like to address? 
 
JH: Cryptography is all about secrets, and throughout most of its history the whole field has been shrouded in secrecy.  The result has been that just knowing about cryptography seems dangerous and even mystical. In the Renaissance it was associated with black magic and a famous book on cryptography was banned by the Catholic Church. At the same time, the Church was using cryptography to keep its own messages secret while revealing as little about its techniques as possible. Through most of history, in fact, cryptography was used largely by militaries and governments who felt that their methods should be hidden from the world at large. That began to be challenged in the 19th century when Auguste Kerckhoffs declared that a good cryptographic system should be secure with only the bare minimum of information kept secret. 
 
Nowadays we can relate this idea to the open-source software movement. When more people are allowed to hunt for “bugs” (that is, security failures) the quality of the overall system is likely to go up. Even governments are beginning to get on board with some of the systems they use, although most still keep their highest-level systems tightly classified. Some professional cryptographers still claim that the public can’t possibly understand enough modern cryptography to be useful. Instead of keeping their writings secret they deliberately make it hard for anyone outside the field to understand them. It’s true that a deep understanding of the field takes years of study, but I don’t believe that people should be discouraged from trying to understand the basics. 
 
I invented a secret code once that none of my friends could break. Is it worth any money? 
 
JH: Like many sorts of inventing, coming up with a cryptographic system looks easy at first.  Unlike most inventions, however, it’s not always obvious if a secret code doesn’t “work.” It’s easy to get into the mindset that there’s only one way to break a system so all you have to do is test that way.  Professional codebreakers know that on the contrary, there are no rules for what’s allowed in breaking codes. Often the methods for codebreaking with are totally unsuspected by the codemakers. My favorite involves putting a chip card, such as a credit card with a microchip, into a microwave oven and turning it on. Looking at the output of the card when bombarded 
by radiation could reveal information about the encrypted information on the card! 
 
That being said, many cryptographic systems throughout history have indeed been invented by amateurs, and many systems invented by professionals turned out to be insecure, sometimes laughably so. The moral is, don’t rely on your own judgment, anymore than you should in medical or legal matters. Get a second opinion from a professional you trustyour local university is a good place to start.   
 
A lot of news reports lately are saying that new kinds of computers are about to break all of the cryptography used on the Internet. Other reports say that criminals and terrorists using unbreakable cryptography are about to take over the Internet. Are we in big trouble? 
 
JH: Probably not. As you might expect, both of these claims have an element of truth to them, and both of them are frequently blown way out of proportion. A lot of experts do expect that a new type of computer that uses quantum mechanics will “soon” become a reality, although there is some disagreement about what “soon” means. In August 2015 the U.S. National Security Agency announced that it was planning to introduce a new list of cryptography methods that would resist quantum computers but it has not announced a timetable for the introduction. Government agencies are concerned about protecting data that might have to remain secure for decades into the future, so the NSA is trying to prepare now for computers that could still be 10 or 20 years into the future. 
 
In the meantime, should we worry about bad guys with unbreakable cryptography? It’s true that pretty much anyone in the world can now get a hold of software that, when used properly, is secure against any publicly known attacks. The key here is “when used properly. In addition to the things I mentioned above, professional codebreakers know that hardly any system is always used properly. And when a system is used improperly even once, that can give an experienced codebreaker the information they need to read all the messages sent with that system.  Law enforcement and national security personnel can put that together with information gathered in other waysurveillance, confidential informants, analysis of metadata and transmission characteristics, etc.and still have a potent tool against wrongdoers. 
 
There are a lot of difficult political questions about whether we should try to restrict the availability of strong encryption. On the flip side, there are questions about how much information law enforcement and security agencies should be able to gather. My book doesn’t directly address those questions, but I hope that it gives readers the tools to understand the capabilities of codemakers and codebreakers. Without that you really do the best job of answering those political questions.

Joshua Holden is professor of mathematics at the Rose-Hulman Institute of Technology in Terre Haute, IN. His most recent book is The Mathematics of Secrets: Cryptography from Caesar Ciphers to Digital Encryption.

Exclusive interview with Neil deGrasse Tyson, Michael A. Strauss, and J. Richard Gott on their NYT bestseller, Welcome to the Universe

UniverseWe’re thrilled to announce that Welcome to the Universe, a guided tour of the cosmos by three of today’s leading astrophysicists, recently made the New York Times extended bestseller list in science. Inspired by the enormously popular introductory astronomy course that Neil deGrasse Tyson, Michael A. Strauss, and J. Richard Gott taught together at Princeton, this book covers it all—from planets, stars, and galaxies to black holes, wormholes, and time travel. The authors introduce some of the hot topics in astrophysics in today’s Q&A:


What is the Cosmic Perspective?

NDT: A view bigger than your own that offers a humbling, yet enlightening, and occasionally empowering outlook on our place as humans in time, space, on Earth and in the Universe. We devote many pages of Welcome to the Universe to establishing our place in the cosmos – not only declarations of that place, but also the reasons and the foundations for how we have come to learn how we fit in that place. When armed with a cosmic perspective, many earthly problems seem small, yet you cultivate a new sense of belonging to the universe. You are, in fact, a participant in the great unfolding of cosmic events.

What are some of the takeaways from the book?

NDT: If you read the entire book, and if we have succeeded as authors, then you should walk away with a deep sense of the operations of nature, and an appreciation for the size and scale of the universe; how and why planets form; how and why we search for planets orbiting around other stars, and alien life that may thrive upon them; how and why stars are born, live out their lives and die; what galaxies are and why they are the largest organizations of stars in the universe; the large scale structure of galaxies and space-time; the origins and future of the universe, Einstein’s relativity, black holes, and gravitational waves; and time travel. If that’s not enough, you will also learn about some of the continued unsolved mysteries in our field, such as dark matter, dark energy, and multiverses.

This book has more equations than do most popular books about astrophysics.  Was that a deliberate decision?

MAS: Yes.  The book’s subtitle is “An Astrophysical Tour,” and one of our goals in writing it was to show how observations, the laws of physics, and some high school mathematics can combine to yield the amazing discoveries of modern astrophysics: A Big Bang that happened 13.8 billion years ago (we show you how that number is determined), the dominant role dark matter has in the properties of galaxies (we tell you how we came to that conclusion), even the fact that some planets orbiting other stars have conditions conducive for liquid water to exist on their surface, thought to be a necessary prerequisite for life. Our goal is not just to present the wonders of the universe to the reader, but to have the reader understand how we have determined what we know, and where the remaining uncertainties (and there are plenty of them!) lie.

So your emphasis is on astrophysics as a quantitative science, a branch of physics?

MAS:  Yes.  We introduce the necessary physics concepts as we go: we do not expect the reader to know this physics before they read the book.  But astrophysicists are famous (perhaps notorious!) for rough calculations, “to astrophysical accuracy.”  We also lead the reader through some examples of such rough calculations, where we aim to get an answer to “an order of magnitude.”  That is, we’re delighted if we get an estimate that’s correct to within a factor of 2, or so.  Such calculations are useful in everyday life, helping us discriminate the nonsensical from the factual in the numerical world in which we live.

Can you give an example?

MAS: Most people in everyday discourse don’t think much about the distinction between “million,” “billion,” “trillion,” and so on, hearing them all as “a really big number,” with not much difference between them.  It is actually a real problem, and the difference between Federal budget items causing millions vs. billions of dollars is of course huge.  Our politicians and the media are confusing these all the time.  We hope that the readers of this book will come away with a renewed sense of how to think about numbers, big and small, and see whether the numbers they read about in the media make sense.

Is time travel possible?

JRG: In 1905 Einstein proved that time travel to the future is possible. Get on a rocket and travel out to the star Betelgeuse 500 light-years away and return at a speed of 99.995 % the speed of light and you will age only 10 years, but when you get back it will be the year 3016 on Earth. Even though we have not gone that fast or far, we still have time travelers among us today. Our greatest time traveler to date is the Russian cosmonaut Gennady Padalka, who by virtue of traveling at high speed in low Earth orbit for 879 days aged 1/44 of a second less than if he had stayed home. Thus, when he returned, he found Earth to be 1/44 of a second to the future of where he expected it to be. He has time traveled 1/44 of a second to the future. An astronaut traveling to the planet Mercury, living there for 30 years, and returning to Earth, would time travel into the future by 22 seconds. Einstein’s equations of general relativity, his theory of curved spacetime to explain gravity, have solutions that are sufficiently twisted to allow time travel to the past. Wormholes and moving cosmic strings are two examples. The time traveler can loop back to visit an event in his own past. Such a time machine cannot be used to journey back in time before it was created. Thus, if some supercivilization were to create one by twisting spacetime in the year 3000, they might use it to go from 3002 back to 3001, but they couldn’t use it go back to 2016, because that is before the time loop was created. To understand whether such time machines can be realized, we may need to understand how gravity works on microscopic scales, which will require us to develop a theory of quantum gravity. Places to look for naturally occurring time machines would be in the interiors of rotating black holes and at the very beginning of the universe, where spacetime is strongly curved.

Do we live in a multiverse?

JRG: A multiverse seems to be a natural consequence of the theory of inflation. Inflation explains beautifully the pattern of slightly hotter and colder spots we see in the Cosmic Microwave Background Radiation. It explains why the universe is so large and why it is as smooth as it is and still has enough variations in density to allow gravity to grow these into galaxies and clusters of galaxies by the present epoch. It also explains why the geometry of the universe at the present epoch is approximately Euclidean. Inflation is a period of hyperactive accelerated expansion occurring at the beginning of our universe. It is powered by a large vacuum energy density and negative pressure permeating empty space that is gravitationally repulsive. The universe doubles in size about every 3 10-38 seconds. With this rate of doubling, it very quickly grows to enormous size: 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, 1024… That explains why the universe is so large. When the high density vacuum state decays, it doesn’t do so all at once. Like water boiling in a pot, it does not turn into steam all at once, but should form bubbles. Each expanding bubble makes a universe. The inflationary sea should expand forever, creating an infinite number of bubble universes, ours being one of them. Other distant bubble universes are so far away, and the space between us and them is expanding so fast, that light from them may never reach us. Nevertheless, multiple universes seem a nearly inevitable consequence of inflation.

What discovery about the universe surprises or inspires you the most?

JRG: Perhaps the most amazing thing about the universe is that it is comprehensible to intelligent, carbon-based life forms like ourselves. We have been able to discover how old the universe is (13.8 billion years) and figure out many of the laws by which it operates. The object of this book is to make the universe comprehensible to our readers.

Don’t miss this C-Span video on the book, in which the authors answer questions about the universe, including how it began and the likelihood of intelligent life elsewhere.

Neil deGrasse Tyson is director of the Hayden Planetarium at the American Museum of Natural History. He is the author of many books, including Space Chronicles: Facing the Ultimate Frontier, and the host of the Emmy Award–winning documentary Cosmos: A Spacetime Odyssey. Michael A. Strauss is professor of astrophysics at Princeton University. J. Richard Gott is professor of astrophysics at Princeton University. His books include The Cosmic Web: Mysterious Architecture of the Universe (Princeton).

University Press Week: Behind the scenes with Maria Lindenfeldar

#UpWeek

In honor of University Press Week, we’ve been featuring interviews and posts with members of the Princeton University Press community. Today, Maria Lindenfeldar, Creative Director, shares some thoughts on the tension between the personal element of creative work and the practical requirements of a job in design:

Maria LindenfeldarHow long have you worked in design and how did you enter publishing?

I have worked in some form of art and design since college. My explorations have included: painting, architecture, art history, and interior design. I finally honed in on graphic design in my late twenties while working as a writer in the marketing department of a benefits consulting firm—our proposals were great to read but needed help with how they looked! From there, I discovered the subfield of book design and have been in love with it ever since.

How is working in design for a publishing company unique from other industries?

In my experience, publishing attracts smart, engaged, and idealistic people in a proportion greater than other industries.

Your title is creative director. Can you describe what your work encompasses?

A joke among designers is that the higher you rise on the creative ladder, the narrower your toolkit becomes, ultimately requiring just one tool: email. There’s some truth to that. I no longer design books on a regular basis and most of my day is spent keeping multiple balls in the air. On its most basic level, I see my job as that of a facilitator. I am lucky to work with incredibly talented artists who are able to bring physical form to an idea. My role is to make sure that they have the information they need to do that to the best of their abilities. This requires an open forum for discussing ideas and a firm commitment to the value of multiple opinions. Everyone involved in the creative process—editors, authors, designers, sales, marketing, publicity—has something to contribute, and my job is to sustain an environment where that can happen. I am proud of the award-winning results our collective efforts produce.

What’s your favorite part of your job?

I love looking at the finished catalog each season, admiring the beautiful book jackets, and thinking about how we can be even better next time.

What’s the most difficult aspect?

By far, the most difficult aspect is the inherent tension between the personal element of creative work and the practical requirements of the job. To make beautiful and original things, a designer has to invest herself or himself, drawing from a deep well of visual references and experience. In its best form, the alchemy of the design process is magical and surprising even to the maker. The hard reality (and the most difficult thing to explain to less-experienced designers) is that even great and innovative designs get rejected, sometimes for very good reasons. The design approval process is a real-life extension of the art school critique system; it requires sharing ideas and depersonalizing feedback. On the job, the never-ending challenge is to digest commentary, determine what is useful, and incorporate that into the final product. I think everyone should go to art school—it forces you to develop a thick skin!

Do you have any advice for someone wanting to break into the field?

Be honest with yourself. Don’t go into graphic design because you think it’s a “practical” career with more guarantees than say, life as an artist. It’s not—it’s competitive and difficult. On the flip side, if you are passionate about art and ideas and are willing to work hard, there will be a place for you. To find out more about the field, take a really good typography course at an art school. Many of the designers I admire have broad educations in disciplines as varied as philosophy, music, and film. What they all have in common is that they are good conceptual thinkers who love type.

Any career paths you’d have pursued in an alternate universe?

I was a government major who planned to be a lawyer. Go figure!

University Press Week: Behind the scenes with Stephanie Rojas

#UpWeek

In honor of University Press Week, we’re featuring interviews and posts with members of the Princeton University Press community all week. Next, Stephanie Rojas, Marketing & Social Media Associate, talks about her role at PUP:

Stephanie RojasAs the Marketing & Social Media Associate at Princeton University Press, I work in two departments: copywriting and social media. My duties for copywriting include requesting copy approval from authors, soliciting Author Promotion Forms, writing copy for our paperback titles, and aggregating our marketing plans for each book into a letter format to be sent to our authors. As a member of the social media department, I write blog posts and edit original content from our authors, contribute to our social media accounts, and help brainstorm social media campaigns.

For me, one of the most rewarding things so far has been building our new Instagram account from the ground up. Before we launched the account on September 1, I took hundreds of photographs of our books, the office, and Princeton University in preparation. I made lists of popular hashtags, ideas for how we could get the most out of the application, and accounts we could follow with the help of colleagues in publicity, design, editorial, and sales. Coming up with new ideas, executing them, and seeing how our followers respond has been a really fun part of my job. I can’t wait for everyone to see what we have planned later in the season!

I came to this position very deliberately. After studying history at Boston University and interning at Candlewick Press, I made the decision to earn an MA in Publishing & Writing from Emerson College. I took courses in all the departments in publishing and added two more internships to my résumé—one at Beacon Press and another at the New England Quarterly. I also spent some time working as an assistant at Kneerim, Williams & Bloom, a Boston-based literary agency. Graduate degree in hand, I knew that I wanted to work in marketing or publicity at an academic publisher. I started at PUP in April 2015, and when I had been working here for a few weeks I knew it was the perfect fit for me. I look forward to continuing to work in academic publishing and getting the word out about the great books we publish here!

University Press Week: Behind the Scenes with Eric Henney

#UpWeek

In honor of University Press Week, we’re featuring interviews and posts from members of the Princeton University Press community all week. Today, Eric Henney, a new editor of physical, earth, and computer science, shares insight on succeeding in the publishing industry:

Eric HenneyPublishing is cool. Obviously it’s appealing to be able to work on the ideas that shape the future, and it also carries some caché. The competition for entry-level jobs in a cool industry is tough enough, but in publishing it’s tougher still, because publishing is a generally shrinking industry.

So getting your first job in publishing is really hard. Intensified competition has made all varieties of publishing houses pickier about their job requirements. (Most editorial assistants I know are overqualified in reality, but barely so on paper.) This has created an entry-level bootstrapping problem: entry-level jobs now require experience that applicants likely won’t have.

If you want a good chance at landing a job (this is certainly not a given), you can travel a prescribed path: intern at the best publishing companies you can while you’re in college, likely for free and preferably a few times. Network aggressively. Be willing to take dozens of people out for coffee. Travel to them if you can; talk by phone if you must. But make sure you’re doing it once or twice a week. Move to New York. Pretend you live there already, if you have to. Enroll in a publishing program that has ties to good publishing companies. Loans can help finance you. Your network takes time to cultivate, so begin this process by sophomore year of college.

If you fail to accomplish any of this, you might feel that you’ve boxed yourself out of publishing. There’s some truth to that. When you send your applications into the vortex of a Big Five job portal, you shouldn’t expect a response if you don’t have a couple years of experience already.

This trend in entry-level hiring isn’t at all surprising, but it is suspect. Yes, networking is important. But there are good reasons that publishing doesn’t have an actual professional schooling system, like medicine. Being a good doctor is a matter of knowing enough to not kill a person once you’ve cut them open. Publishing is thankfully a little looser than that, and belonging in this world involves less obviously measurable qualifications, like creativity and curiosity.

I’ve been at PUP for four years. It’s the first formal publishing experience I have. I landed here after more than a year of office temping, substitute teaching, freelance writing for entertainment and parenting blogs (note: I am not a parent), and unsuccessful job hunting. My degree is in philosophy, but I didn’t know what I wanted to do with it after I graduated. All I really knew was that I needed to work with smart and interesting people and that I didn’t want to be an academic. I started as an assistant, working for then-political science editor Chuck Myers (now at Chicago) and then-physics editor Ingrid Gnerlich (now PUP’s publisher for the sciences in Europe). I think I landed the interview because I stayed in touch with the permissions coordinator, who had interviewed me a few months earlier, when I applied to be his assistant. I do not know why I got the job, and I do not think it wise to ask. But I know it came down to something other than years of experience in publishing, because I had none.

I worked really hard to get up to speed. But I knew it was not at all a given that I could do it. All I could really promise was that I really did like ideas and I really did like sharing them with other people. As it turns out, that, in combination with the modest administrative experience I actually did have, was enough. Over the last four years I’ve taken on the increasingly large responsibilities offered by the Press, and this year I was made a full editor in the sciences.
University presses maintain a unique publishing ethos, one which acknowledges that the typical path into publishing is anything but. I suspect that will endure regardless of what the rest of publishing looks like. And that’s one of the things that makes them special.

University Press Week: Behind the scenes with Theresa Liu

#UpWeek

In honor of University Press Week, we’re featuring interviews with members of the Princeton University Press community all week. Next, Theresa Liu, Senior Copywriter and Seasonal Catalog Editor, talks about the copywriting process.

Theresa LiuHow long have you worked as a copywriter, and what did you do before this both educationally and professionally?

I just reached my ninth anniversary as a copywriter here at PUP. Educationally, I concentrated on English lit at Rutgers and Stanford and was a Javits fellow in creative writing at Hunter College, CUNY. In publishing, I got my start at the Ecco Press and served as the program coordinator for the National Poetry Series. I then worked as the assistant to the editor in chief at Rutgers University Press. So I’ve worked in trade publishing and nonprofit arts administration, as well as academic publishing. I also had a stint as a sales clerk at Micawber Books in Princeton before it closed its doors, so I have some experience peddling books to customers.

What led you to your current position?

It was a matter of timing, I think. PUP had an opening after my last round of school was done, and with my lit and writing background and my publishing experiences, copywriting was a good fit.

What kinds of books do you most enjoy writing copy for? (Loaded question, I know).

Perhaps a more diplomatic way of answering that question is to say that the books I have the easiest time writing about are the ones that come with all the materials ready (complete editorial dossier, reader reports, detailed author promotion form and capsule, publishing plan, etc). It makes my job less difficult and I can get to the writing immediately.

Can you describe your process as a writer? Do you read all the books? Work in silence? Listen to music?

I liken writing copy to running a marathon. I have to pace myself and make sure I’m hitting my personal quotas week by week, in order to avoid a logjam at the end of the season. I enjoy listening to music when I work, but have discovered that for the writing I either need to work in silence or listen to music with no lyrics, so it’s a lot of classical and some bits of jazz and movie soundtracks. Sometimes, when I find one piece of music that gets me into the right frame of mind quickly, I’ll just set that on a repeating loop to play in the background while I’m pecking away at the computer.

I average about 45 books a season now and how much I dip into each book varies based on the density of the subject matter and what I need. If I have enough good materials to refer to outside of the book, looking at its table of contents and introduction may be enough to get me started. In other instances, I will read or skim portions of the manuscript in order to get a sense of the book’s tone and overall argument or to find some hidden nuggets of information that I can use for the copy.

Is there a formula for writing good catalog copy?

Every book is different, so I’d say that the answer is no. But in general, I try to hone in on the book’s argument as quickly as I can in the first paragraph, and then delve into specific content. We try to sum up the book with a general conclusion that is wide reaching and still sounds fresh and original. The best copy is clean and succinct and stays under the word limit!

What do you like to do to decompress from putting together a new season of catalog copy?

I enjoy activities that exercise an entirely different side of my brain and body. Weather permitting, I try to spend a bit of time outside every day. In the evenings, I play music (mostly classical, some experimental) with friends. It’s socially interactive and doesn’t allow for ruminating, which is healthy. It’s also emotionally and physically demanding (rehearsals can run in three-hour blocks), and allows me to think more clearly afterwards.

What would you have been if not a copywriter?

That’s a difficult question to answer! It’s been my great fortune to have had many different experiences in my schooling, travels, and work (I’ve probably broken many a child labor law, as I’ve been working and earning since I was in early middle school). I could have gone down paths as varied as teaching English abroad to attending law school and becoming an attorney. My choices and where I’ve ended up remind me of the famous John Lennon quote: “Life is what happens to you while you’re busy making other plans.”