A window into our world

Women at Work

On Monday my bossfriend, Joanna Smith-Rakoff, explained to Bookslut what it is that we do all day at the mysterious place where we work.

What would you say a normal day at Nextbook is like?

Our days vary somewhat greatly and they’re different for different members of the staff. Let’s see: In the morning, we generally spend some time making sure that the day’s feature is ready to go, which means coordinating with our art director, India Amos, to see if art is ready. Having someone give the story a final proofread. Perhaps asking one of our assistants to add links into the story. Sometimes we’re running behind and desperately trying to come up with a hed and dek (or heds and deks, if we’re doing a package, or running more than one story); so we’ll email a few choices around, or gather at someone’s desk to brainstorm. At the same time, our assistants will be surfing the Web, choosing stories for that day’s Filter, then checking in with Sara Ivry, the senior editor who oversees it, about those stories. They’ll then write up the Filter and sit down with Sara to edit it.

On Tuesdays, we have our story meetings at lunchtime—we order lunch in, which is nice—during which we check in about various pieces in the works, bat around new ideas, suggest new writers, present pitches from writers, and sometimes discuss larger plans and initiatives. Often these meetings are long—two hours, sometimes more—because we really help each other shape story ideas (which is necessary, being that we never just say, “Okay, let’s do a review of the new Philip Roth novel”).

Hey! That’s me!
Continue reading “A window into our world”

Pulchritudinous penmanship

“1860 Warsaw 1? by Zeva Oelbaum, 2006

We posted a lovely gallery today at Nextbook.org: yeshiva students’ scribblings on their textbooks’ endpapers, photographed by Zeva Oelbaum: Biblical Marginalia. Click the “View Gallery” link under Eve M. Kahn’s byline to see the slideshow.

I guess they didn’t have that rule that one of my schools did, which if I recall correctly was that if you marked up your school-issued textbook, you had to pay for a new one.

Shown above: 1860 Warsaw 1 by Zeva Oelbaum, 2006.

Rhinestones and Pickles

Nextbook.org home page, January 7, 2008

Tuesday’s story by Jessica Apple about her wacky-wonderful grandma required a wacky-wonderful illustration. And who better to do that, I thought, than Martha Rich, whose daily paintings at Freedom Wig are so . . . well . . . you just have to go look at them. I’d been wanting to hire Martha for months, but this was the first story to come up that I thought really needed her.

See the whole painting and read the story on the site: Repeating History.

I confess that I Botoxed the wrinkles on the woman’s face a bit—we received word that Bashy, the subject of the story, was in very poor health, so I thought a more tender representation was in order (though I’m sure this looks nothing like her, anyway—I didn’t ask for any reference photos).

If you’re in L.A., go see Martha’s show at La Luz de Jesus gallery. It’s up until January 27. And if anybody wants to buy me Good Girl Pie, I’d appreciate it.

Toast the new year with bubbly!

Happy New Year!

Here at my office, we’re celebrating with fizz, per tradition: our first story of 2008 is about seltzer.

Nextbook.org home page, January 2, 2008: Seltzer

Today’s illustration is by the delightful Vanessa Davis. I had to crop her drawing closely to fit it on our home page—and, of course, there’s that nasty brown stripe with the type over it—so do visit the story to see the complete piece: Eli Miller’s Seltzer Delivery Service.
Continue reading “Toast the new year with bubbly!”

Yap, yap, yap

Operator by Jeremy Brooks, at Flickr

John Oliver Coffey dropped me an e-mail the other morning about a new discussion forum for typesetters, aptly called . . . Typesetter Forum. It’s

a new (and free) forum for questions, answers and opinions related to the publishing industry with particular emphasis on typesetting.

Its not exactly a free-for-all (will be lightly moderated) and is oriented towards collaboration . . . and solving common typesetting challenges whether in applications or techniques. We will also post jobs, contracts, news and resources for everyone interested in the industry.

So, of course, because I was supposed to be getting ready for work, I decided to check the site out instead. Continue reading “Yap, yap, yap”

All illustration, all the time

Nextbook.org home page, December 4, 2007: Hanukkah 1

Happy Hanukkah!

I hope you’re not getting sick of all these posts about illustrations, because I’ve got a whole week’s worth to crow about, and not a whole lot else. Nextbook.org is publishing a story about Hanukkah on each day of the holiday, and we decided to (a) get each one of them illustrated, and (b) have an image of a menorah (or, more specifically, a Hanukiah, as I learned yesterday—thank god for Wikipedia) on the home page, which will change each day as a new story is posted. Continue reading “All illustration, all the time”

Hot Hahn

Nextbook.org home page, 11/30/2007: Hot Rabbis

Through the magic of technology, even though I am "on vacation" I can happily inform you that today Nextbook posted this hot new illustration by Samantha Hahn, proprietress of the blog Maquette and frequent guest on Moldawer in the Morning, the Moldawer in question being her husband. Do go look at the version on the story page, as it differs from that on the home page in several ways (not least being its not having type slapped on top of it): The Girls’ Guide to Hot Rabbis and Tattooed Chefs.

If all goes as planned, Samantha’s second illustration for Nextbook will appear on Monday, so keep your eyes peeled.

How do you learn Photoshop?

blackboard art

I’ve heard it said that most Photoshop users actually use only about 2 percent of the program’s features, and I can support this theory with my own experience: I know how to do what I know how to do.

I’ve learned most of what I know how to do from watching other people, either on the job or at InDesign User Group meetings and similar showcase-type events. Oh, and once, I read maybe the first half of Real World Scanning and Halftones. When I need to know how to do something else, I look it up in Help, Google what I’m trying to do, or look online for a tutorial. And then, unless that new trick is something I start doing every day, I usually forget it again pretty quickly. I don’t usually learn how to do a task by seeing it done once, but just knowing that something can be done makes it much easier to figure it out later. I would never have tangled with the vanishing point tool, for instance, if I hadn’t seen it demoed at the NYC InDUG.

This approach has worked just fine for me, in an assortment of jobs, since 1996, when I first got my paws on a copy of the program. And apparently my 2 percent is good enough. Continue reading “How do you learn Photoshop?”

Am I in the wrong business?

dirty hands

I just spent something like three blissful hours doing my best to break a new module in Nextbook.org’s content management system, and then writing up a list of bugs and change requests. (The most rewarding was when I managed to elicit an SQL syntax error—all hail the mighty apostrophe!) This is perhaps the most fun thing I’ve done at my job all year.

I used to love doing this . . . stuff—what would you call it? QA?—at Poets.org (where it was a major part of my job), I once sent an unsolicited website critique to my friends at jubilat (I also sent an unsolicited critique of some typographic aspects the magazine, which garnered an “Okay, if you know so much, you fix it, smartass,” though much more kindly, of course), and I frequently submit bug reports to other sites that I visit. I haven’t gotten to really nitpick over any websites in recent years, though, and I miss it.

Anybody need a beta tester?

Photo: dirty hands by O Pish Posh / Shauna R; some rights reserved.

A love letter to letterpress

proof

Ampersand Duck is setting a book of poetry the slow way, and writing very affectionately about it.

You want the type to be invisible in a way, to let the meaning of the words exist independently. If a word is leaping out at you because it’s thick, dull and broken, it’s unfair to the reader. But the warmth of a handprinted page is delightful, ranging from dark greys to a dense black. It’s a small challenge for the spoilt eyes of a modern reader, to whom variety in print quality means the ink heads are a bit clogged, something to be fixed. It is the finite (and rapidly dwindling) number of letters that made me think about the preciousness of words set or written by hand. Poets are, by their nature, careful with words. It is a marvellous experience to get so intimate with a piece of writing. You may think your eyes and your mind caress a word as you read it, but imagine holding that word, piece by piece, and thinking about all its layers and nuances as you ease it into place (albeit upside down and back to front!).

(Sigh.) Sounds like fun.

Photo: proof_1 by Ampersand Duck; some rights reserved.