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Joining
the Program
Can I (or my child or
my student) write for Youth Communication?
Any young person 15—20 who lives in New York City is eligible
to write for our magazines. Many writers on New Youth Connections
(NYC), our citwide teen magazine, receive school credit.
Most writers on our foster care magazine (Represent) are
volunteers. In general, writers come to the office 5 to 20 hours
per week, typically for one semester.
Writers must have the persistence to work through five or more drafts
of their story, under the guidance of an adult editor.
I
don't live in New York City. How can I contribute to Youth Communication
publications?
The majority of articles in both publications are written by teens
who work in our Manhattan office. However, Represent, as
a national magazine, publishes articles, letters, poetry, and other
materials submitted by foster youth from around the country. Contact
the Represent editors for more information. New Youth
Connections does not accept poetry, but the editors occasionally
work with writers via e—mail. For information, contact
the NYC Editors.
Does
Youth Communication have a summer program?
Both NYC and Represent offer six-week summer writing
workshops, and about a dozen youth are competitively selected to
participate in each. The basic schedule is Monday—Thursday,
12—6 p.m. The writers receive intensive training and write
articles for publication in the fall and winter issues of the magazines.
We also run a summer art workshop. Application deadlines are usually
in late May for the writing workshops, and late June for the illustration
workshops. The applications are usually available on our Website
or by mail in early April.
Are
all the writers teens?
In New Youth Connections we publish stories by teens only.
In Represent we occasionally publish articles by adults.
For example, a lawyer writes the legal column for that magazine,
there is a column in each issue by a parent who has lost a child
to foster care, and sometimes we'll have a caseworker or social
worker write about foster care from the other side of the table.
We have a rule against teen writers staying on after age 20, and
most leave around age 18 or 19, when they leave high school. Older
kids tend, naturally, to want to write about "older kids"
issues, which are usually not quite right for our 13-19-year-old
audience.
About
Youth Communication
And its Publications
When
was Youth Communication founded?
Who came up with the idea?
Youth
Communication, a non-profit youth development program located in
New York City, was founded in 1980. It is modeled on an independent
youth newspaper in Chicago called New Expression, which was
started by Sister Ann Heintz, a former journalism teacher in the
Chicago Catholic schools. In the mid-1970s, Sr. Ann participated
in a major national investigation of scholastic journalism which
found that the high school press was characterized by censorship,
mediocrity, and racial exclusion. Keith Hefner co-founded Youth
Communication to help address those problems.
What
is Youth Communication's mission?
Our
mission is "to help teens develop the attitudes and acquire
the skills and information they need to make thoughtful choices
about their lives." We believe that telling stories (about
oneself and about others) is one effective tool for achieving that
mission. Thus we teach writing, journalism, public speaking, and
leadership skills to New York City teens—all with the goal
of helping them tell powerful stories that are important to them
and their peers.
What
are your major programs?
The
teenagers trained by Youth Communication become writers for two
magazines: New Youth Connections
is a general interest magazine published seven times a year, with
a circulation of 70,000 in New York City; Represent
is a magazine written by and for teens in foster care and published
six times a year with a nationwide circulation of 15,000. We also
have a book publishing project.
We have published more than a dozen anthologies of our best stories.
What
are your other projects?
From
time to time we run special projects, such as girls' writing groups,
afterschool reading and writing clubs, leadership development programs,
and others. Finally, we often undertake special editorial projects,
such as devoting issues of our magazines to specific themes such
as relationships, immigration, religion, teen activism, loss and
bereavement, family court, and domestic violence.
Who
writes for Youth Communication's publications?
How do they join the program?
Each
year, more than 100 young people participate in Youth Communication's
school-year and summer journalism workshops. The majority are African-
American, Latino, or Asian, are between 15 and 20, and attend New
York City public high schools. They join the program either as interns
for high school credit or as volunteers.
Applicants must write three short essays to be admitted; sometimes
an interview is required. Although a basic level of writing ability
is required to join the program, teens of widely varying writing
abilities and educational backgrounds write for our publications.
Most stay for a semester, but many remain on staff much longer.
What
do the writers learn? How are they trained?
The
teen staff members work under the direction of several full-time
adult editors in Youth Communication's Manhattan newsroom. Many
of the students who walk through our doors have uneven skills as
a result of poor education, living under extremely stressful conditions,
or coming from homes where English is a second language.
To complete their stories, students must successfully perform a
wide range of activities, including writing and rewriting, reading,
discussion, reflection, research, interviewing, and typing. They
work as members of a team and they must accept a great deal of individual
responsibility. They learn to read subway maps, verify facts, cope
with rejection, and meet deadlines. It would be impossible to teach
these skills and dispositions as separate, disconnected topics such
as grammar, ethics, or assertiveness training. However, we have
found that students make rapid progress when they are learning skills
in the context of an inquiry that is personally significant to them,
and that they think will benefit their peers. Youth Communication
is a holistic, project-based project-based program where teens learn
more than we teach.
What
do the young people write about? How do they choose topics?
The
writing/teaching/editing relationship is the core of Youth Communication's
program. The process begins with discussions between the adult editors
and the teen staff, during which they seek to discover the stories
that are both most important to each teen writer, and potentially
most appealing to the magazines' readers. Story ideas are proposed
and discussed in group meetings and also in one-on-one meetings
between writers and the adult editors.
Once topics have been chosen, students begin the process of crafting
their stories. For a personal story, that means revisiting events
from the past to understand their significance for the future. For
a commentary, it means developing a logical and persuasive argument.
For a reported story, it means gathering information through research
and interviews. Students look inward and outward as they try to
make sense of their experiences and the world around them, and to
find the points of intersection between personal and social concerns.
That process can take a few weeks, or a few months. Stories frequently
go through five, ten, or more drafts as students work on them under
the guidance an editor in the same way that any professional writer
does.
Is
Youth Communication primarily a journalism training program or a
youth development program?
It is a youth development program, but we use writing and journalism
as tools to promote youth development. Many of our graduates have
gone on to careers as journalists, writers, and novelists, but many
more work in teaching, social work, new media and computers, law,
business, and other fields. We send out an annual alumni survey
to keep up with what they are doing and we post their replies on
the alumni section of this
site.
Who
uses Youth Communication publications? How are they distributed?
More
than 1,000 teachers, counselors, social workers, and other adults
receive the magazine through paid circulation, and distribute copies
to young people in their classes, after-school youth programs, and
agencies. Each adult typically orders between 5 and 100 copies and
distributes them free to teens in their classroom or program. We
distribute an average of 70,000 monthly copies of NYC and
15,000 bi-monthly copies of Represent. Teachers frequently
tell us that teens in their classes, including students who are
ordinarily resistant to reading, clamor for these publications.
In our annual surveys of distributors, more than 90% rate the magazines
Good or Excellent.
How
is Youth Communication funded?
Most
of our funding (more than 75%) comes from private foundations and
corporations. Individual contributions, advertising and subscriptions,
and other sources make up the rest of our funding stream. In recent
years, our annual budget has hovered around $1 million.
Do
you have a writing curriculum or manual?
We
have a 100-page teen manual for our two magazines that includes
everything from office rules to a grammar and punctuation guide.
Though it's not a guide to starting a program like ours, it's a
good guide to teaching basic writing principles to teens, and will
save you countless hours and frustration if you're thinking of embarking
on a project like this. You can order it from us.
We will soon have a 400-page manual and curriculum for our adult
editors that describes in great detail how we teach writing, including
many lessons and case studies. You can order it from us.
Is
Youth Communication involved in advocacy efforts?
Represent
teen writers are involved in systems change work, such as speaking
at conferences, workshops, and forums related to foster care reform.
Our teen and adult staff frequently serve on local and national
advisory boards. And our writers frequently address social and political
issues in their stories, from budget cuts to youth programs, to
local and national politics.
We work closely with advocacy groups and our stories are frequently
used in advocacy efforts to show how important public policy issues
affect teens.
Are
there similar publications around the country?
Citywide
teen magazines are published in Los Angeles (LA Youth), San
Francisco (YO!), Atlanta (Vox), Chicago (New Expression),
Washington D.C. (Young D.C.), and other cities. There are
several smaller teen-written foster care newsletters around the
country (some of them inspired by Foster Care Youth United).
There are also a variety of youth media projects around the country
in radio and video, and on the Web.
How
can I subscribe to the magazines?
Please visit our online store: click here.
How
can I order Youth Communication books and booklets?
The best way is to visit our online store: click here .
Can
I reprint articles?
Yes, but you must request permission to do so in writing from
Youth Communication, pay a fee, and follow certain guidelines. To
request permission to reprint an article, please read our reprint
guidelines and then submit your request.
How
big was the organization when you first started?
Two
adult volunteers ran a writing workshop in a church basement with
about a dozen teens for nine months. We then published 5,000 copies
of our first two issues, which the kids lugged to their own schools
on the subway. (This is in a city with 500,000 secondary school
students.) It's worth starting very small (to conserve resources)
but very strategically (to maximize impact and exposure). Though
we published relatively few copies, we made sure to get copies to
the mayor, the local newspaper editors, high school principals,
and others who we thought were especially important and influential.
One rule of thumb we have for schools is never circulate more than
one copy for every four enrolled students. It's better to be a little
scarce and in demand than to be a litter problem.
How
do you evaluate your work?
Each
year we survey our alumni about the impact of the program on their
lives. We also survey our teen readers and the adults who distribute
our magazines to determine how they use the publications and their
assessment of our quality. We maintain portfolios of student work
to show their progress over time. We enter our publications into
relevant competitions where they are judged by industry professionals.
We monitor circulation, circulation income, book and reprint sales,
and other criteria.
How
We Work With Teens
Why
do young people participate? How do you recruit them?
Each young person has his or her own particular reasons for joining
our program, but we have also noticed that the most common reason
teens give for working here is to help their peers. That's probably
because the guiding ethos of the program is self-help and youth
empowerment. Of course the teens also want to learn skills, meet
interesting peers from other parts of the city, get school credit,
be heard, and see their names in print. But their primary motivation
tends to be the opportunity to help their peers by writing about
issues that are important to them.
Because we (the adult staff) see the program as a means to empower
readers (and writers), we try to select teens who want to make a
difference for their peers. Many kids, of course, want to have their
voices and stories heard by others. And some of those teens are
also interested in writing. We want to attract teens who want to
write and who want to be heard. Conversely, because we have limited
time and resources, we also want to subtly discourage teens from
applying who merely want to be heard, but don't want to write. They
get frustrated here. We have found that those kids are happier in
leadership programs built around public speaking or other kinds
of performance rather than spending a lot of time alone in front
of a computer screen. Similarly, we want to discourage kids who
love to write but aren't passionate about making a difference. Those
young people are happier in programs which focus on creative writing
or poetry. Nonetheless, we do attract a fair number of young people
who want to be heard but have poor writing skills. That doesn't
matter as long as they are willing to do the hard work of learning
how to write. In fact, their passion to be heard usually provides
great motivation to improve their skills.
Our best recruitment device is our publications themselves because
there are always readers who also want to write for us. Whenever
we are running short of writers, or when we want to recruit for
a special program like our summer workshops, we place ads in the
magazines. Another important recruitment source for us is schools
that offer external learning opportunities. Many alternative schools,
schools for new immigrants, schools for students with behavior problems,
etc., are eager to find substantive community placements for their
students. And there are always a few students in those settings
who are eager for a serious writing experience. Finally, we take
advantage of other kinds of recruiting, such as visiting foster
care agencies to talk about our work, and sending flyers to people
who we think can locate writers for us. (In our case, we're self-consciously
trying to provide the opportunity for voice and training to young
people who wouldn't otherwise get that opportunity, so we find that
sending flyers to foster care agencies or counselors at second chance
high schools are more productive than, for example, sending flyers
to traditional high school English teachers.)
Are
young people paid to participate at Youth Communication?
Since
1980 we have tried many pay schemes (hourly, weekly, stipends, payment
by the story, etc.). Our current teen payment policies are based
on one factor: pragmatism. If it works, we use it. If it doesn't,
we don't use it. Here's what we've discovered works for us.
Writers for NYC are not paid. Represent writers who
do not receive school credit are paid a small fee per published
article. On occasion, experienced writers are paid a stipend to
work on a special project. Paying teen writers or artists by the
hour has never worked for us. Students who are otherwise productive
become clock-watchers.
We pay a stipend to writers on our foster care magazine for participating
in our summer workshop, and occasionally pay stipends for other
activities, such as public speaking. In general, we find that it
is best if the stipend is less than what the writer would have been
paid if the writer were getting minimum wage for the same task.
We are also strict on the payment of stipends. They are not for
"time served," but for work produced. Students who are
scheduled to receive stipends but who have too many latenesses or
who fail to complete their stories are docked.
We also reimburse students for travel expenses (subway or bus),
and we pay a meal stipend to writers on the foster care magazine
when they miss meals in their group homes.
It may seem paradoxical or perverse, but our experience is that
there is a major difference between a teen who participates in our
program mainly to help others, and a teen who participates mainly
to be paid. Keeping pay low and limited to special situations seem
to help keep the quality of the teens' work and participation high.
When the day is done, the real value that a teen gets from our program
is learning how to write.
How
do you decide what stories to write?
We
first decide which stories we're not going to publish, and that
includes stories which are easy to find in other teen magazines
or adult media. So, for example, we are unlikely to write about
makeup tips, a new diet, or professional sports, unless our writers
have an angle that is completely different from what could be found
in Seventeen or on ESPN. We also avoid stories that our teens
don't know much about, such as foreign policy, unless we have a
writer with special knowledge or expertise.
So, we aim for stories about which our teen writers are experts,
and those are almost always stories that are close to their own
lives. And, from among those stories, we then select the ones that
we think will have the most impact on our teen readers. Early in
our story discussion process, each story gets the "so what?"
or "who cares?" question. We need to know why the reader
should care. Many times a writer is passionate about a topic, but
cannot express that passion in writing. Other times a writer may
express passion about an idea, but we later find out that the real
passion was for another aspect of the topic which the teen had been
initially unwilling to share. Identifying the heart of a story can
take a long time and a lot of prodding from the adult editor. But
we find it's better to take our time than to rush into print with
a half-baked story.
What
kind of mix do you have between personal and reported stories?
The reporting we've done from the start of the program has always
had a
personal angle, but over the years we've shifted more emphasis to
the personal essay, where the writer is even more front and center.
The mix now is probably 70/30, personal vs. reported.
This shift happened because we realized that the best way of fulfilling
our
mission, of helping both writer and reader, was through the lens
of individual
experience rather than by reporting general teen experience. It
is very, very
hard for teens to interview people and come back with quotes that
are more
than generalities, and it is very, very hard to turn those generalities
into an
interesting article. Reporting necessarily means writing convincingly
about
something that is secondhand, once removed. It takes a very high
level of
skill to write convincingly about something once removed. Quality
reporting, by
and large, is beyond the abilities of most of our writers. Quality
personal
essays are generally not.
Good adult reporters become mini-experts in the subject matter of
their
beats. Over time they develop broad knowledge of the subject, in
combination with sophisticated journalism skills-the ability to
gather information and present it with clarity and accuracy. Teens
rarely have this combination of knowledge and skills, and it is
very difficult, if not impossible, to give them that background
during the short time they are with us.
But they are experts on their own lives. Teens have the ability
to access and
convey the reality of their experiences, to reflect upon them and
analyze
them, to understand their weaknesses, strengths, and resilience.
For most
writers, this is more effective than accessing and conveying the
reality of other people's experiences. If we want readers to make
thoughtful choices (and take thoughtful action), one of the strongest
ways to do that is to model that behavior through the specific example
of a young person who has done the same in her own life-especially
when that taking that action was a struggle. The personal story
is the most direct way we have found of modeling that behavior.
This is not to say that there isn't quality reporting in our magazines.
There is. But the personal essay is generally a more effective forum
for both
writers and readers. And it can achieve many of the same goals as
reporting, but in a more accessible way. Our foster care magazine,
for example, has been reporting on that system by using the insider's
ability to expose problems
through the lens of individual experience.
Do
young people do more than write and report?
Yes. Our publications are illustrated by a staff of teen artists
and photographers, under the supervision of a professional illustrator
and art instructor. Teens in the illustration workshops meet year-round,
usually in twice-weekly 3-hour workshops. We also run an intensive
two-week summer illustration workshop.
From time to time the teens also participate in other activities,
including public speaking training. However, in many years of running
the program, monitoring our readers, and following our graduates,
we have learned that writing is the most important skill we can
teach, so we focus most of our efforts on that. Good writing (and
the good thinking skills that necessarily accompany good writing)
are the skills that are most helpful to our students in college
and careers. Furthermore, by focusing on writing, we ensure that
we create high-quality publications, and we take very seriously
our obligation to provide readers with stories that will engage
and inform them.
Do
teens do design or desktop publishing?
Teen makes suggestions about design, and the teen artists often
work on computers to create or enhance their illustrations, but
the core design and the page-by-page design decisions are made by
adult professionals. We do not have the time or money to train teens
in design, and our experience is that teen readers prefer publications
that are designed by professionals. For example, if teen writers
design their own pages, they will often introduce elements that
compromise readability, such as printing the story over an illustration,
using text that is too small or ornate, or line lengths that are
too long for easy reading.
We often observe teens reading our stories in classrooms, and are
painfully aware of how a confusing layout, for example, can discourage
readers—especially the reluctant readers who are our most important
audience. After spending months developing a story, laboring over
the lead, the ending, and every word and sentence in between so
that it has maximum impact and clarity, we believe that the visual
presentation of the story should get the same careful attention.
Is
there a clear boundary between adult and student responsibilities?
Teens are the primary shapers of the magazine's editorial content,
in collaboration with the adult editors. They are also involved
in some major decision-making roles, such as hiring adult staff.
Adults are primarily responsible for non-editorial projects, such
as fundraising, layout, production, and circulation.
We acknowledge that teens are experts in their own experience, while
our adult editors are experts in helping teens find ways to convey
those experiences to others. Thus, our stories evolve out of a close
working relationship between the teen writers and the adult editors.
Who
takes care of the editing? Youth or adult staff?
Good editing requires a very broad range of skills—expertise
in reporting, essay writing, youth development, ethics, libel and
privacy law, etc. It requires having an enormous factual base, a
wide range of contacts in the community, deep respect for young
people, and a realistic sense of their capabilities. We've met precious
few adults with those skills. Our editors must be among the very
best in that field, while also being able to fill the additional
role of teacher, social worker, college counselor, and mentor.
What
is the most important element in a successful teen publishing program?
The
adult editor. Finding that person (and providing him or her what
they need to get the job done) is the single most important aspect
of a youth journalism project. You also need a good project director
or executive director, a good desktop publishing person, and someone
to handle the logistics of circulation (that may all be the job
of one person). But without a first-rate editor, you will have a
hard time running a good youth development program, and you will
not produce a publication that is really worth all the effort to
design, print, and distribute.
How
do you select editors?
We
have a very difficult time finding adults who are capable of consistently
developing articles that are well-written informative, engaging,
accurate, and fair—all while working with teens who have widely
varying skills.
Our hiring process involves an extensive editing test, a group interview,
and a hands-on activity, like leading an editorial meeting. Several
teens are always included on the hiring committee.
How
many teens can an editor work with at one time?
That
depends on the depth and complexity of the stories the teens are
working on, the teens' skills, and whether the editor has other
responsibilities (such as layout and production). As a rule of thumb,
an editor can work intensively with about six writers at a time.
So, for example, in our summer workshops, where teens are here full-time
for six weeks or more, each editor works with six teens.
During the school year, when teens are not here full time, an editor
may be working with as many as a dozen youth at a time. But some
of them will be working on complex reported stories or difficult
personal essays that may require 10 or 20 drafts over a two month
period, while others will be writing movie reviews require only
three drafts over three days.
The reason for the low student/editor ratio is that helping teens
develop good writing, especially teens with weak skills, is basically
a tutorial. At the same time, because we are primarily a youth development
program, our editors need to get a deep understanding of their writers'
lives and challenges. That takes a lot of time. Finally, editing
student work requires thinking deeply about it. As a rule of thumb,
editors spend several hours in background research, preparing mini-classes,
and reading and reflecting on teen copy, for every hour they spend
in face-to-face time with the writers. In a program where teens
come in from 2:30-6 p.m., the editors are hard pressed to read and
develop thoughtful responses to all of their copy between 10 a.m.
and 2 p.m. We try to keep Fridays as a "no student" day
to catch up on reading copy.
How
do you deal with curses?
This
may seem like a trivial question, but it is not. Cursing, of course,
is common in casual speech and popular entertainment. Many publications,
from alternative weeklies to The New Yorker, also routinely
include curses. Teens know this, and will include curses in their
stories, especially in a program that sends the message that hearing
teen voices is important.
Despite the widespread use of curses in daily life and the media,
it could be the death knell of a program to regularly include curses
in a publication aimed at youth. While it may be hypocritical that
people who curse up a storm in their own lives (teachers and principals,
politicians, et al) are often deeply offended by seeing curses in
a teen publication, it is also a fact. You ignore that fact at your
peril.
In our early years we prohibited curses. Now we try to keep them
to an absolute minimum. For example, if a teen is writing about
the time his father punched him, and it turns out that the teen
told his father to "go f-ck himself," the curse word may
be helping in explaining the father's reaction. However, we always
use hyphens in curse words in when we use them.
Whether or not to allow curse words, and how to treat them if you
do use them (e.g., hyphens) is a decision to make early in the process.
The person who has final say should be someone who understands the
overall implication for the agency of using curse words.
Incidentally, when we reprint stories in our books, we cut out all
the curse words and they don't seem to lose anything. So, it is
possible to have a policy of never allowing curse words, and for
writers to still convey 99% of what they want to convey.
Is
there anything else you prohibit in your magazines?
We
do not allow stories which take revenge on or attack another person.
Even a whiff of revenge is reason for us to talk carefully with
a writer about her motives and possibly put the story aside until
the writer can approach it in a more reflective mode. We often publish
stories by writers about the experience of victimization, such as
being abused or raped. But those stories focus primarily on the
impact of the experience on the writer rather than on the actions
of the perpetrator. Our readers already know that there are bad
people in the world who do bad things. What they need from us are
stories about how their peers coped with the effects of traumatic
events because that's what they're struggling with.
Who
has the final say over whether a story gets published?
The
executive director of the program talks frequently with the editors
about controversial stories and how they are developing and reviews
every story before it is published.
What
if the teen wants to write about a very traumatic event?
Some
of our best stories have been about traumatic events. At the same
time, we have file cabinets full of stories that were started and
then abandoned or never published because they were too emotional
for the writers.
How
do you support teens who are facing serious personal issues?
We
have a consulting social worker who we can call for advice. We also
maintain referral contacts with counseling agencies.
How
do you help editors who are often hearing traumatic stories from
their writers?
Editors need to be able to talk to someone about traumatic stories,
because as the teens begin to trust them, they will hear a lot of
them. They need to know that they can talk with colleagues. They
need access to someone with clinical expertise to bounce ideas off
of. In some cases, editors themselves may need to get counseling
for the vicarious trauma they feel as a result of working with teens
who share serious personal problems with them.
Can
you create teen magazines for younger teens (e.g., middle-school
age)?
It's possible to create a publication for kids of any age, but a
publication created by (and for) 12—15-year-olds will be very
different from one created by 14—19-year-olds. Several years
ago we created a bi-weekly, 4-page newsletter in a middle school.
The topics we wrote about (double dutch, the school band, a favorite
teacher) were much different than the more "worldly" topics
that we write about in older teen magazines. It's not that the younger
kids aren't interested in larger topics like relationships and sex,
drugs, parents, sweatshops, etc. Rather, their understanding of
those topics is so new and raw that they're usually not ready to
write about them in a reflective way (though they often like to
read the stories written by older teens on those topics).
It's possible to get middle school kids to write about national
politics, prisons, or drug policy, but 99.9% of kids that age have
relatively little interest in those topics and less knowledge, so
their stories come off sounding second-hand or inauthentic. Our
experience is that it's better to match writers to topics that they
are both knowledgeable and passionate about.
Does
Youth Communication offer training to adult professionals?
From time to time we offer workshops on selected topics. For example,
we offer workshops on how to use our resilience book (The
Struggle to Be Strong) and the accompanying Leader's Guide.
(Our co-author, Dr. Sybil Wolin, also offers intensive workshops
for staff in schools and social welfare agencies on how to work
with teens from a resilience or strengths perspective.)
In the past we have offered other workshops, including courses for
teachers on how to teach writing and journalism to teens. Contact
us for currently available workshops.
Can
you suggest resources for people who are just starting out?
Our teen manual and our adult editor's manual are the two best resources
available. Contact us directly at 212-279-0708 x123 if you wish
to order them. You may also want to look at the Websites of other
youth media projects, such as layouth.com,
pacificnewsservice.org,
and youthradio.org.
Other
questions? This is just the tip of the iceberg. Please look
around our site, including the history
timelines, for more information on our work. And consider ordering
our teen manual or our adult editor's manual if you really want
to learn the nuts and bolts of how we do our work.
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