current best selling nontixes books according to "new york times." topping the list is best selling biographer walter recount of the life of lee mard doe da vinci followed by former white house photographer behind scenes look at barack obama's presidency. next on the list is policer prize winning on the life of president grant fourth on the list is vice president joe biden's promise me dad, in which he recalls how he balanced professional duties tending to ailing son plol bid fox news host brian kilmeade history had of the war of 1812 battle of morals. new orleans our look at the best selling nonfiction books according to "new york times" continues. with a biography of bobby kennedy by msnbc host chris matthew. after that is physics for people in a hurry by neil degrasse tyson and trump cory lew down ski and deputy campaign manage

david bos see next is bill killing england and wrapping up our best look at the nonfiction books according to new york city times is new yorker staff writer and national book award finalist david grant with killers of the flower moon about a string of murders in oklahoma during the 1920s that target ad members of the osage indian nation they have or will be appearing on booktv you can watch them on our website, booktv.org. take moax he is in the floor. thank you all for coming this evening so pleased to be hosting this special panel on how to publish with the university press. sponsored by columbia university

press for university press week 2017. incase you couldn't tell we really like university press this year. [laughter] so show of hands if this is your first tile at book culture. well welcome, we're so happy you found us. [laughter] so over 20 years proud to be part of the community and so happy to carry onefelt widest selections of academic titles many the university and klum use press is one of our greatest supporters in our efforts tonight monitored by jennifer associate and a director of university press but before we begin i have a quick mote as you may have noticed c-span booktv is here recording this talk. so during q and a portion of the tonight program wait for microphone to come to you ors they won't be able to record your question thanks everyone for coming out o i'll turn it over to jennifer to introduce you to our panelist. >> thank you very much and i do want to say also that --

we love you too one of the most important bookstores for university press as you can see if you wondered aisles you can see all of us represented here. i also want to thank the panelist -- panelist, i will go in order so nick james is -- i know you have a special title. comparative literature at a columbia university he's author of two books, boats published by university press, and sells british fiction 1810 to 1870 and reading neuroscience and form of victorian fiction and he also writes on contemporary literature and -- the humanities, the novel reading, et cetera for many publications including the atlantic and plus one new york tiles book review the nation.

and public book and that leads me into sharon marcus who is orlando hairman professor of english an comparative literature at columbia university and dean of humanities i think still -- or ended her first book apartment stories sitting at home in 19th century parses many london published by university of california press and her second book between women marriage signer an friendship in victorian england was published by princeton university press so we have yours were oxford i think. and then and also i should mention public books again because in -- i think 2012 sharon and katelyn at nyy cofounded public books and online magazine that features really great accessible writing by scholar but other people in the community activist as well as writers on arts and

ideas and a it's a great publication. and then -- all the way over there to my left is eric schwartz my colleague at columbia editorial director, and he's the editor for sociology and cognitive science books and running acquisition department worked at princeton university press so we have a lot of university presses represented here. so -- i just wanted to start by stating what is the university press? because some people don't know what makes it different from another sort of publisherrer. either a commercial trade publickish what publishes most of the fiction and general nonfiction you might read. but also how it differs from a commercial scholar publisher. first of all we're not for profit organization. all university presses are it shall that doesn't mean we're

for a loss we don't try to incur a loss but not for a profit and we're not out to just sign out books that will earn money. for the organization -- secondly, we're situated within a university, in fact, university is our middle name. and so our goal our missions of the university in the mission of the university press are entwined in some way the university wants to postpoer research in the generation of scholarship and university press really wants to disseminate that scholarship to cure rate it and get it out into the world. and we also will publish -- important books that a commercial publisher would not take on because they would not make any money for the company. they might even lose money. there are commercial presses that will publish publish in increasing number of off autoimf but published for normal human

being and published them for the library so university press do try to reach an audience of -- educated general readers with their books and pricing is -- usually set to that level. next acquiring books eric runs the department. it differs from other kinds of publishers so our editors often do have a degree in the field or they have -- had some kind of graduate training, and they are given areas of specialization to acquire in so we have a history editor who also does economics and we have -- a philosophy in religion editor so they become specialists in those areas go to conference and read journal and meet people so they develop expertise and group of people they cultivate and learn about new trends in the field. a trade house the editor main

relationship would be within agent. now we do deal with agent seems but for the most part, the trade publishers are their main person that they're cultivating is the agent that they're dealing with and they try to get agent to submit books that they would like to publish. and the other thing i wanted to say before we get started is university press is published several types of books do publish autograph that only specialists would read. but we also publish trade books general interest books that you understood find in barnes & noble and we publish course adoption books that we know would be not a course adoption book that mcgraw hill or pearson would publish because it is too small market but we're happy to have it. because book sale year after year. then we do rigorous peer review for book we sell and important in today's atmosphere of fake

news and -- concerns about inaccuracy and information that gets out there. we publish work that is have thed and verified. and finally we have a publication committee and nick happen to sit on that committee how. they read peer review and they hear what editor has to read and reads a portion of the man ewe script and then they're the final okay if they agree then we can offer a contract for a book and that's very different are from another kind of publisher. i thought i would ask questions around several topics what are important for university presses, and will in the end give a sense of how -- of how we work and how go about about looking at book and accepting them so 50*eu78 going to group my question around various topics and first topic

is peer review which i just mentioned. so this is just briefly essential to our mission of advantaging scholarship and what it means sends something we're considering a man ewe script or proposal to a couple of scholars who the author does not know we're sending it they don't know who the person is who has read it but peer review is very important part of what we do. so i -- i guess sharon and nick first of all, i guess as an author and as graduate student advisors, and in your case maybe as formaller administrator what do you think of the value of fear re?riew maybe sharon you can start and -- >> i think that peer review is having your ideas evaluated by

experts and it is important to do that and when you get a book from a university press you know that it has been evaluated by two experts writing anonymously without worrying about -- any of the politics that might affect the academy. i think it would be very interesting if peer review were double whriend and people writing review didn't know with who they were reviewing and produce interesting results. so what peer review does is it test books how original they are and a accurate they are and also i think helps them modulate their scope so a book to come across as narrow in peer review process may say this is interesting and you may expand your argument about term mite to include housing construction and inspection or they might conversely say you're overreaching a bit with this argument about how termites are key to understanding cosmology maybe ratchet it down a bit so

great to have other people -- read your stuff and without all of the die ma'amics involved when you give things to friend or o advisors get their honest opinion. i think for young scholar peer review is a great preview of the tenure process and inspection of the internal politics of the department and university these are -- outside experts who are rad if iing your book. if it is working on your own o term and peer review keep use honest. i had a book article peer reviewed important in this case that it was double blind didn't know anything about me but reading my argument and telling me what worked and where they wanted a little more evidence and it is extremely helpful set of responses and feedsback. >> thicke if you want you could add to that but also --

add a role to review about fields an how you sort of judge hose. >> the thing i would add to what sharon gave a great summary of that. i have one thing to that which is did i best peer review system ensures a sort of knewness to books one thing peer review is very good at weeding out reputation or reiteration is a -- you know my own field is fiction and a great parable about this novel middle march and some of you will know what i'm aiming at but main character one is not main character but one of the main is working on a impossibly lengthy monograph mid-way he's informed but a young man doapght you know germans they've done all of that already. and there's a way with in which that's shattering moment of peer review but a way in which peer review does mitigate against reputation many a field. and so if something is in peer review there's a stronger claim nationally a new contribution to

knowledge. than without that -- when i see peer reviews main thing i tend to look for besides are there -- theoretical ground that are unnecessary. i actually want to see the reviewer provide a summary of the books argument. that shows that at least there was an amendment to read the manuscript with sympathy. if a peer review or only concentrates on details, that to me is often a sign that book was not read well and it was read with some sub training that i'm not aware of. so it should be able toll recapitulate the argument. it should be able to suggest the limits of that argument as well as the newness of it. those i mean that's the first thing i look for when i judge that. you know, i -- it cost me much nor informative than that but i want them to mirror back what their expanse stepping back from a whole look

line. >> yes, and i would say they're also times when we have to read between parking lot lines you know sometimes somebody will sort of with praise they don't want to say no this isn't groundbreaking original scholarship, but they bsh did you you can kind of get at it that way. is you learn to read kind of lexicon of terms that are faint praise in lech con of materials that are strongly meant praise are. >> you can tell, and prerk your point of view, view -- >> what was being said is when there's conflict in the room so reader e has a particular read and b has a slightly different reading and author has to engage with one of those one of those readings to determine what is the book what is the argument that they actually want to make? and it just will make for a better more engageed become and

let the publisher know that author is really committed to this project and that they are going to defend and stand up for the argument that they are making. peer review from an editorial perspective keeps us honest. there's always a move to try to do the book that's going to be more sensation mall or book that's going to sell more copies. and -- knowing that our projects are going to be judged by scholars in the field be judged by the members of the publication committee in our work is judged by the members of the publication committee. we meet with publication committee the final thursday of every month, it's like many at times where -- you know you are going in there, and you have work that you've invested time in, and you're going to have to in some cases

defend the projects some times, sometimes you succeed and you know, infrequently you don't succeed. but it's setting really important to keeping us honest and we often think about to consider for publication what would perception of the the publication comet be of this project before we even get started down the road of a review process. >> yes, i think as i'm listening to this conversation, i realized i should mention for anybody who is particularly interested in peer review that had the aaup now called the aup association of u.s. presses recently put out of a kind of best practices booklet on peer review units if you're interested in had it, or what to expect if your book is going to be sent out for peer review it is a handy guide. i also wanted to -- something that occurs to me about our committee there are people on it from -- really nine different fields

and -- cross humanity social sciences and science -- and business, and so the way scholars and different fields react to reviews is always quite interesting. and also the type of reviews you bet when you humanity you might get seven pages seven space with loss of person who actually reads every word and is making helpful suggestion and typos things like that and might get something that's in -- [laughter] in, you know, finance area or -- science and actually one person from business school once told me that. how much do you? so anyway, it is something that really stands out and i think when it works well it makes a book better book and hes editor help guide the author.

helps us understand and this kind of publishing is some of it very specialized and none of us knows the field well. so these reviews help us situate it in the market who would be interested in that book. >> we can also use the review process too as an opportunity for network building for the author and to add diversity to the reception of the book. so i will often look for a book interest across fields, i'll celebrity reviewer try to get reviewer in one field and reviewer in another try to get a senior person and a junior person. often tombs readings can be very durchght, and it can be really useful for the author. especially for european authors thinking about leaders who would be important to them for them to know for -- for those people out in the field to know their work.

it's a really great opportunity to just kind of build americas within fields and use our kind of placements to do that. another thing we often say if peer review is picking up something in that book that seems amiss and that the author doesn't want to deal with it, we often say well -- this could be a preview of what is going to happen when you have a -- book published and there's a published review of it. this is the kind of issue that could come u up so might as well catch it now before it is published. so i thought maybe we would move on to acquiring these books and eric you know what are the different ways acquisition editors look for books to consider for publication and how -- and how does -- do their methods differ whether it is a monograph or trade bock or a textbook. >> so i think -- you know we have a variety of

different ways in which we acquire books. you know, there are the projects that just come in -- you know over by e-mail and such different fields or different that way, our science editor could probably go several years before somebody would come over for him whereas our plos if i editor probably gets five projects day. so there you know, they're different. we're in different fields or different in that regard. i would say that -- number of books that we will acquire based on that method is very, very slim. editors make visits to campuses, we go to economic conferences. and use those as networking opportunities to find out what projects people are -- working on. and we each within of our list has something of a personality to it. broadly speaking i think columbia books are global or been and contemporary we want

our books to have a certain kind of flavor and feel across the entirety of the list. there could be perfectly great projects that come into us that simply don't fit you know that -- that kind of imrand identity and might not be right for us. we get projects from agents on occasion and go to frankfurt book fair and that's a -- enormous yearly book fair we have a publisher in the world attends the -- 100,000 attendees to open to the public on saturday and sunday and i had a good fortunate of being in train station is part of the players were swarming into train station as i was leaving to go to -- he were beginning to frankfurt. and we also commissioned projects so -- you often know what are the structural holes within a given

field. you know there's a real need for -- you know economic book on a climate change and wouldn't it be great if x person wrote that book. and so you're writing to people that way being somebody write an op-ed seeing something? public books. writing to those authors and saying hey, wouldn't it be a great idea you worked on this kind of project so whole variety of -- way in which we can get books into the pipeline. >> and sharon, i'm thinking about public books where you're trying to reach beyond the academy a little bit. what are -- i'm curious about what you think now i think both of you probably working on your third book. but, so whether we're when did you think, you know, i want to reach beyond the smaller audience into a bigger audience and how does it play many your miepgd what about kind of publisher you would go to?

i suppose, i mean, every writer looks at that list, and afternoon fantasizes about list that fits themes beg. but i think that it is often a process of discovery with editor editor is end as well as peer reviewer and public kition good at identifying audiences you hadn't yet identified or sometimes we're out of ignorance, you know, you imagine as you're writing a book you imagine it is a dialogue. but there may be a third party out there that you're tag to or you want to bring into the kftion. you too scared to or you don't know if that's your qualified to or sitly ignorant of but you want that person to hear what you have to say. you know i said in a way scanning a list is way of seeing what are the possible audiences given press imagines, and if

that's something i would think i want to take on. choosing between a university press if you have a press to go it either way, and i'm finishing a book right now -- on the history of celebrity i've been working on it for a long time almost as long as i've been working on when i tell academics about it they say that would make a great trade book but publishing it with a university press very happily so because -- they're both for several reasons so if you have a book that could sort of swing either way why would you go with a university press in many ways press has had all of the glamour but if you pleasure with a university press first of all they'll let you keep your foot mote and scholar attached to footnote but try to argue you out and make you put them in a kreases format where you can't say anything properly.

if you publish that you are free to write a book that is argument driven. and these days it you publish with a trade press they are going to ask you to write a book that is martive driven. so an argument driven intook driven by ideas. the percent is maybe something like why are so many people so obsessed with celebrity? narrative is different by character and echghtses and sympathetic like on november 2nd sarah woke up to find out and i personally didn't want to write this book that way and i think if you're boing to write a book that is narrative driven it has to be conceived as story from the start and there are -- only a few really brilliant people and i'm not one of them who can make an argument to ruin a narrative that is a very, very tricky thing to do.

and i think it is easier to make argument as an argument and that argument can be a very compelling even have their own suspense and -- i show to put my energy into that and happy to be at a press that ems what and although i don't think there are -- hostile to narrative driven book and historian os write more narrative driven books. i think that's all i'll say you're in the company of other psychological is particulars with whom you're many dialogue and their book help your book seem more common compelling and book can reflect on their book as well and that's a very good thing to do whereas in a trade press your book might not fit in very well or you might end up being kind of the nerd at the fancy party as opposed to being a nerd among nerds which is nice thing.

nerd among nerds over a long stand of time. on the back -- merdes all nerds all way down. nice they think about university press, university press works is that we -- really want the book to have lasting staying power. we want our books to contribute to -- a debate or spark a debate to last for decades often it is said that the ideal successful press book sells million copies in its 10th year that means it is -- what moons in year 10 a thousand copies not a thousand copies and then it is time. and the reason being that that is a book that is meaningful getting adopted in kowrgses people are using it for teaching and learning and it has had some kind of an impact in a

meaningful impact on under the circumstances field whereas a trade publisher they're -- they exist to make money. and it's a book doesn't sell well in the beginning, then they move on to the next product and so on and so forth and we make a little bit more of a commitment. >> it's interesting because we have that conversation arranged our table does this book really have an argument is it going from beginning to end or sometimes people will submit books that just sort of okay chapter on this, chapter on that. a chapter -- and they hope that the introduction and conclusion will bring it altogether and it really doesn't work and it makes a difference. whether we can sell it if we can articulate that argument. so that's -- that's an important thing but that's what we're looking for. but i'm going back a little bit well one other thing i wanted to say is -- in response to you is our --

our sales in any given year 65% of our revenue comes from back list books. and those are all books that are being used in courses and some of them were developed as course books. but a lot of them were monoimraffed and some of them first books that they -- they were field changing or something happened an someone enough people noticed it an thought it was worthwhile and important to further field to have their students read it so some might sell 50 to 100 copies year but they keep selling and they were published as monoimrf and thought they would sell a few hundred and that would be it. so it is hard to predict which ones they'll be. that's other thing. actually, about these -- the text become and trade book when you're siting on publication committee you realize you know, you know, so

this book we think well, you know, it is beginning to be a trade bock and sell a lot of copies and this one is monograph i'm wondering what goes through your head when you think about those different -- types that we're doing. >> i mean, you're, obviously, aware of those different types but it is funny way that the answer is always the same and it is a different answer that you have at a trade press like imagine this ten years down the road is if it is a text bock and adopted in courses is this a monograph but vanished eight years without a trace or is this something that seems to be forward looking enough that you be imagine a future for it. it is funny i mean genera is -- genera can be so different in so many ways but i think this sense of future and what you might have is intact no matter what the genera is. ...

>> about five years ago i went to go back and read the introduction matter how much i felt i had to engage with other scholars and i disagree with this in a take issue with that as somebody who did not yet have ten year and i would be evaluated outside of my

field they were all looking to see what i had to say about their work because their work was relevant i knew the people would be in advance so i had to spend a lot of time forming my ideas around that so what am i saying? i presented my ideas for much later in the introduction but in one of the reasons that i do that i gave introduction to a friend of mine who is a journalist and she said i liked it but i want to know

what you have to say that is why i reading your book. okay. and i have the freedom to do that now. you have a lot more freedom with your second book with the topic and freedom to use your voice and ideas more. >> i feel it is similar but reflected in an opposite way. with my first book i had a tremendous time because i was so ignorant. it was like writing a letter like i was writing to my advisors and i knew they would like what i said i like my idea it was easy and happy writing that at the very and just as exactly as she describes it that was said in

an anxious and defensiveness of all the things i haven't said i needed to address and that same kind of topsoil that it is much more thoroughly integrated to be reasonably comfortable among them but that was not always the happiest writing experience but you trade happiness for a sense of security. with that sense of security means it is hard and to toughen that layer and to simply remove that but clearly that was the case and i can see that clearly now. >> with my graduate students

they often stay on -- say to turn the dissertation into a book? i feel the actual answer is there but i know that is not what the editors ever want to hear. sometimes you have to demonstrate you can publish different from your dissertation but a lot of people go three or four years to change it they probably could have sent it out in the first year. maybe adding a chapter later so i will make a contrarian

point to say junior scholars should send their dissertations out sooner rather than later but advisors you shouldn't be thinking how the dissertation should become a book. i am sure there are reasons and i am interested as an advisor what is the synonym for unpublishable. >> i hear that a lot and my advisor told me that. those circumstances are not as good. they have four committee members but they are only looking at the arguments through their own land and that often happens the dissertation is written to demonstrate knowledge or small

grouping of people and with that work you were describing before. to get the first time authors to make that work rather than evidence with the dissertation your job is to demonstrate you have knowledge to understand the field and you are working authority and the best way to lose authority is to demonstrate immediately for the reader and not being able to articulate the argument very clearly if it is one thing. >> but on that note, it may just be our field and i suspect it is not but some of

the most influential books i have read there is something unique about the first book that when done well they are unique in a way that some are not. it could be like an aria coming out of nowhere. are you aware of that? >> i was very excited with my first book those are a good indicator but as you get tenure people can tell you what to do and you don't need to take in information in the same way. but your person needs to know what everyone in the department is doing a junior

person for the dissertation junior people also generally no other junior people so there is a greater body of knowledge often that junior people are accessing and the hunger to prove yourself and to say something new. >> you said you had this experience writing for your advisor but what we usually see clearly the person hasn't been able to write for 400 people but i published several

that were pretty much ready to go. so maybe one more set of questions? what is the best way you think for an author to approach, who wants to publish a manuscript or how would you advise people about choosing a publisher? >> often times the question is is it okay if i have a proposal or a chapter? i tell people if you feel if you have something articulate to say even if they just have an idea and want to talk about the idea then that is when the

most creative things happen so to have engagements around academic conferences sociology editor lake from the moment of the exhibit almost every half hour talking with people about new projects. and then it is the people that are harder to get to. but using an editor as a resource can be a real benefit to talk through ideas.

>> how do you go about saying to try this? >> i think the most helpful advice is to say let me know when you are ready to send something out and where you want to send it if i know when editor i will tell them to look out for your proposal. it will not get you published but a quicker answer usually. if people say where should i send it? i say look at the books in your bibliography. a lot of the recently published books from one or 23 presses but it is a sign you are engaged with a set of ideas that each of those presses is interested and if

anybody is fortunate enough to have a choice then sometimes they can take a look at how the book is designed for how long do they stay in print? do they advertise their books? if you go to a conference on the display table you work really hard on the book you want to make sure they have the focus to give your book the biggest audience it can and it makes things pretty small and also pretty targeted. >> i have one addition that as hard as it is for beginning academics to feel this way,

remember as much as you want them to pick your book, you want to make sure it is the right place for you. there is that feel of desperation but there are situations that are not right. i sent my first book who said i'm very interested but you have to rewrite every single sentence but i will work with you. i said no for better or worse. i'm glad i did that but that was a hard thing to do as that was a vulnerable moment i very much wanted to say yes. i couldn't let go of the pros and some things are worth not letting go was. even to cause momentarily to say is this right?

i issue that morning no matter how hard it is to hear. >> with university press week for the first time authors to contact publishers you want to see what editor understands the work you are doing and has the same vision for your book and successful publication is when the publisher slightly exceed the authors expectation we want our authors to be happy and have that author editor relationship and how can you help that author do their best work and not rewrite every sentence because i believe that you should.

that makes no sense. >> i would just add that people in the first book stage are afraid of getting rejected. but by far the biggest percentage of rejection is with the fit it just doesn't fit the list that we don't have an editor who wants to sponsor this. so i wouldn't take that so personal. be prepared. >> we do have finite resources publishing a certain number of books. we are not a volume driven operation and we want to give every book a level of attention but we cannot do that for everything.

>> i'm sure there are things that we missed and we would love to have questions from the audience. >> i am currently writing on my 32nd career. so to take the approach to undue to hundred years of his theocracy. on -- his tier history auger fee. but you follow the if you try to disagree they tell you it is really good so your peer-reviewed comes but they overturn the research.

what happens then? could they reject you because you are coming against them? >> after they read between the lines they have thick skin about being refuted and attacked. i don't think anyone in academia has the experience of have that spirit of reputation.

it's a rare day they said they read what you wrote and they agree with that. [laughter] normally they have questions or controversy. i wouldn't worry too much about it. any of that should not think a book. >> but who they send it to peer-reviewed they don't want outright dismissal. they are seeking critical but sympathetic readers they will make those decisions but i have seen editors make that exact determination. their job is to get it read fairly not shot down.

>> but sometimes we have to get a third one because this first review was not helpful we also ask authors for suggestions that the author thinks is important with people to avoid and not stepping into that situation but remember who are the people that hate everything? and that are disengaged if

your editor is sending a book out to readers they wanted to work out. it depends on the peer-reviewed but you are past the hard stage so keep that in mind with your feedback. and your willingness to engage with criticism. i'm coming as a poet many poetry books have come from university presses.

how the process differs. >> i do know people who publish poetry and fiction they still do get peer-reviewed but they asked the author they have to explain my work follows this style these are the but with syed meyer and then they send it out for revie review. it is more subjective. you are not looking for a contribution to scholarship but it is subjective if it fits what they do. >> at princeton there is a

poetry section and basically if it goes to the publications committee with these two reviews everybody looks around okay. next project. >> we published fiction translation we get russian or chinese scholars but in the end the conversation will not really stand in the way.

>> so at what point in the dissertation did you seriously start looking for a publisher? >> i think this is fairly common there is a way that i think for me i treated it as a game the result matters nobody to me only after it was done i started to look around nobody said where it should go, certainly there is still a provisional. so will this result in anything or not? it is uncomfortable in certain ways but that brings a certain freedom you can go on your own with a great deal of how you

imagine the project to go but i do think it is a bad idea for dissertation riders to prematurely aim to think of the press. it is the most free time you will have her have. you will never have again a moment to revolve something that personal. in the end it pays off if you don't try to pitch it from the beginning. >> i have a slightly different answer but in mathematics terms it comes out the same the overlap with the process to apply for jobs and thinking about putting your dissertation out and in my experience there used to be a lot more jobs to apply for and in the process a lot of people

learned what i was working on. i think one of those may have mentioned to an editor somewhere so there was that continuity so it was about being finished enough that there was something to talk to the editors about. >> also i wouldn't do it until you feel confident and comfortable enough because chances are an editor may really like it and want to proceed and then you say i'm not ready yet. if you are confident in the beginning. >> and for certain fields like american history where the

editors throw themselves at every graduate student because there are so many publishers in that area and there isn't enough great work but the worry with people that are working on their dissertation may be a project is under contract they are not able to get a job they decide to leave the academic community and now you have no network which to promote so often times writing your dissertation is a job in and of itself to have two

conflicting projects going on at the same time, your advisors want you to do this but peer-reviewed once you to do this. >> thank you very much. [applause] [inaudible conversations]

mag hello. we are so