Read Chapter:Greencycle Publishing below and answer the following questions... Mak3 it 2oo w0rds

1. Is Arthur's staff a team? Why or why not? In your view, what are the elements of an effective team? Which of these are present on Arthur's team, and which are missing? Would your answers be the same if you focused on the acquisitions and production teams independently?

Chapter:Greencycle Publishing

Greencycle Publishing is a publisher of nonfiction specialty books focusing on the environment and sustainability movement. Titles published by the company fit with the company's core lists in the areas of environmental practices and conservation, environmental resource planning, business ethics and sustainability, global environmental politics, and corporate social responsibility.

The company was founded in 2002 by David Green, who remains the CEO and publisher of the organization.

He has an extensive background in publishing, having had roles as an acquisitions editor, director of sales

and marketing, and managing editor for a major New York publishing house for almost 25 years prior to founding Greencycle. All books published by Greencycle are approved by David himself. He considers every proposal, signs every contract, and has a keen eye for trends in the publishing industry and the environmental

movement. Observers describe him as a successful and intelligent businessman with a commanding presence and a boisterous temperament that many find intimidating. He is a "big picture" thinker and aside from

initially approving them, rarely likes to get involved with the minutiae of publishing any individual title.

As one of the few remaining small publishers in a highly competitive field, Greencycle relies primarily on word

of mouth advertising for its titles, which are sold only through the company's website and a few major online

retailers. David once said, "We sell books, but we also sell ideas. We are only as good as our next title, and

that requires us to seek out and publish the work of innovative and cutting-edge authors whose work will allow

us to continue to offer groundbreaking titles that lead the industry." Greencycle's commitment to its authors

and insistence on producing the highest quality books in both content and design are well-known throughout

the industry.

As more consumers seek electronic publications and more authors publish content on the Internet, the publishing industry faces enormous pressure to find and promote successful books. Last year the company published 122 titles, and budget projections call for 150 titles this yearabout three per work week on average.

Despite the growth rate of published titles, margins and profits remain tight.

The Organization

David leaves the day-to-day management of the editorial and production processes to Arthur Thomas, the

managing editor. Arthur's duties include overseeing the editorial aspects of the company, including book content and production. Under Arthur are two areas of work: acquisitions and production.

The roles and responsibilities of each department are described below.

Acquisitions Editors

The acquisitions editor always thinks about the future. The editor's job is to ensure that a regular pipeline of titles will be published over the coming months and years to maintain Greencycle's reputation as a leading publisher of environmental titles. To d0 this, the editor's main responsibility is to solicit book proposals from leading authors who specialize in topics published by Greencycle. Networking is a central component of the job

and editors regularly attend major industry conferences to meet prospective authors and to promote Greencycle titles at the conference sales booth. Each editor is compensated, in part, on working with prospective

authors to develop 60 to 70 books per calendar year. (This plan takes into consideration that a percentage

of authors will fail to write books as committed, will not meet the agreed publishing schedule, or will fail to

meet Greencycle's publishing standards). Throughout the book-writing process, the acquisitions department

editors work with authors to ensure that their manuscripts meet Greencycle's requirements, such as ensuring

that reprint permissions are sought for photos, art, or other graphics reprinted in a Greencycle title. Each acquisitions editor has an editorial assistant to help with administrative matters, answer author correspondence,

and develop contracts.

When an author submits a final manuscript, the acquisitions editors ensure that the submitted manuscripts

are complete before they are discussed in a formal launch meeting attended by the acquisitions editors, production editors, Arthur Thomas, and David Green. At this meeting, the manuscript is formally handed off to

the production editors, who take it from there.

Production Editors

The production editor's work begins after the launch meeting, when the clock starts on the production process.

The production editors are responsible for the painstaking work of taking submitted manuscripts and guiding

them through the process until they become finished books. Production editing requires an eye for detail, as

the editors read every single word and page of the book multiple times. The production editor works with a

network of freelance copyeditors, layout and design specialists, proofreaders, and indexers, always monitoring each book's progress to keep it on schedule. At each stage, the manuscript is sent by the production

editor to the freelancer, and after copyediting, design, and so on, the manuscript is returned to the production

editor, who is always responsible for the quality of the product. The ever-present looming deadline is the top

priority of the production editor, as is the quality of the finished book. A poor quality layout and typographical and grammatical errors are the enemy of the production process, and such quality faults would no doubt

cause Greencycle's authors and customers to lack confidence in the content, as well as cause embarrassment to the organization's reputation. Each production editor juggles between 25 and 30 manuscripts at any

given time, and the production editor is fully aware that he or she makes the final quality check of the book

before it goes to press. The production editors share a production assistant who helps to check manuscripts

and works with authors when questions arise.

David is proud to say that the Greencycle production process is among the fastest in the publishing industry.

He considers it a central factor in Greencycle's financial success, since each day the process is delayed means another day the title cannot be sold to an eager market. His "blow ups" at schedule slips are legendary.

Scene 1: Acquisitions Staff Meeting

The acquisitions editors try to meet weekly to accomplish several objectives. They discuss the new books

each is ready to propose to David, cover any threats to the schedule for books that are in the writing process,

and share the status of books ready to be handed off to production at the next launch meeting. If any editor

is out of town during the launch meeting, the others can cover the book in the meeting on his or her behalf.

Meeting like this weekly is a goal rarely met, however, since one of the three is almost always at a conference,

on the way to a conference, or returning from a conference. When all three are in the office at the same time,

however, as they are today, an in-person meeting is a luxury. The acquisitions staff meeting typically takes

place in the lavish boardroom upstairs in the Greencycle Publishing building.

Brad: Good morning, acquisitions team! Glad to see everyone in the office for once. How was the

Association for Environmental Politics conference?

Carol: Exhausting. I got in late last night after my plane was delayed. An entire box of display books

got lost in shipping to the conference hotel, so I spent 3 hours on Monday night looking for it. I finally

found it in the hotel manager's office, so I was up until 2 a.m. setting up the display, and back at 7:30

to run the booth.

Melissa: That happened to me 2 weeks ago in Seattle. Then, last week I was in Austin and it wasn't

books that were lost, but all of the order forms and brochures. Marketing had the wrong conference

name on the box, so it got returned.

Carol: I'm so glad to finally be home. I hadn't seen my daughter in 8 days after two back-to-back

trips. Anyway, it was a good conference. I talked to one of my current authors about a second title in

the corporate sustainability series, and I think David will go for it.

Brad: That sounds promising. I haven't been that fortunate. If I don't have something come through

soon, I'm not going to reach the threshold for a quarterly bonus. I'm getting really stressed about it.

Carol: Does anyone have anything going to launch this week?

Melissa: I got an e-mail that Warner submitted his manuscript yesterday, so it's finally ready to go,

after a long delay. I'll present it this week.

Brad: David will be happy to see that.

Melissa: I know. He's really been on my case about it. Sometimes these authors can be so frustrating, missing deadlines, and I can't do anything about it. Hopefully production can pull off a miracle

and get it to press early.

Carol: Uh, yeah, I'm sure they can. [everyone laughs]

Scene 2: Production Staff Meeting

The weekly production staff meeting is cancelled as often as it is held, typically because one or more of the

production editors is working on a major crisis directly impacting a book's schedule. In the production staff

meeting, the team typically reviews the current list of books in production with special attention to any book

that threatens to slip past its schedule. In these cases, another production editor or the production assistant

can sometimes share the workload, but such spare time is rare. The work can be sent to a freelancer, but the

added expense generally makes this impossible. The production staff typically meets in one of the production

editor's offices, as they do here when they convene at Debra's desk.

Debra: [pulling one of several boxes off a bookshelf] Does anyone want any cereal? I haven't had

breakfast.

Liz: I think there's still leftover pizza from last night in the break room refrigerator.

Chad: I missed a pizza night? I'm sorry. I had to leave last night by 6:30 to pick up my wife from the

airport.

Liz: No big deal, we all cover for each other from time to time.

Chad: We get to buy our own pizza at our desks, acquisitions gets steak dinners on an expense

account. That seems fair, eh?

Debra: Don't even get me started. OK, so what's going on? Does anyone have anything in danger

of remotely staying on schedule? [laughter]

Angela: [walking in quickly] Sorry I'm late.

Debra: That's OK, you haven't missed anything.

Angela: [handing a manila envelope to Debra] Here, these are for the Warner book.

Debra: What is it? [opens the envelope to find a dozen color photos held together by a paperclip]

No notes or anything?

Angela: Melissa's assistant just handed them to me and said they were for Warner. I assumed you'd

spoken with Melissa about it, since it's one of her authors.

Debra: I don't know anything about these. What does it say in the art log?

Angela: [using Debra's computer, opens the electronic files to reveal a blank art log] There's nothing.

They didn't fill out the form.

Debra: How am I supposed to know where these random pictures go in the book? This book is already behind schedule, David has been fuming about it for weeks, and they didn't even fill out the

art log?

Chad: They never do anymore.

Liz: Nope. Brad literally threw a manuscript on my desk the other day without a word.

Debra: And they know not to clip photos together. The clips leave marks that appear in the scans.

The design guys are going to freak out.

Liz: Acquisitions thinks we can just work magic, like any problems are ours to figure out. Every time

they do this, we spend another late night here with pizza.

SCENE 3: MANAGING EDITOR'S OFFICE

Debra: Arthur, I have to talk to you.

Arthur: Sure, Debra. Come in. What's up?

Debra: It's about the Warner title.

Arthur: Yes, how's it going? David is anxious to get that one to press.

Debra: Well, it's going to be late. Acquisitions just threw the pictures at us, and now I'll have to spend

hours deciphering where the pictures go, whether we even have permission to print them, and what

the author intended. The layout was already done, so we're going to have to pay for extra time to

scan and correct photos. I don't think we're going to meet the schedule with all of this that just got

thrown at me at the last minute.

Arthur: They know better than that.

Debra: I know! They're not filling out the art logs, and everything is coming late!

Arthur: Can Angela help you figure it out?

Debra: Angela is as overloaded as everyone else, Arthur. It's not just this one title, it's everything.

The manuscripts are coming over to us in terrible shape; even though they get launched and we've

been promised that everything is ready to go, it's not. We have books with missing chapters, incomplete table of contents files, and incomplete permissions forms. It takes hours of extra work for us

just to sort through what they should have done long ago.

Arthur: I'll talk to the acquisitions editors about it. You have enough to do without doing their work,

too.

Debra: It would be nice if we could get one of the acquisitions assistants to help us out, since there

are three of them and we're sharing one assistant?

Arthur: I'll see what I can do.

Scene 4: Managing Editor's Office

Melissa: Arthur, can I talk to you?

Arthur: Absolutely, Melissa, please come in. What's up?

Melissa: Production is a disaster. Debra just barged into my office and threw these pictures on my

desk for Warner. She says the book is late and she's not going to work on it any longer until I fill out

the art log. Arthur, I wrote the chapter title on the back of each picture. If you simply look at the photo

and look at the chapter you can see exactly where the picture goes. I know it was a problem that the author clipped the photos together, but this happens all the time. Either we can get the author to send new pictures or we can fix it in editing. It's not a big deal. She just needs to send an e-mail to the author. That's it.

Arthur: It sounds like production should have had enough information to go on, even if the art form wasn't completed.

Melissa: Absolutely. Look Arthur, I know how important this book is. We've all been working hard to get it to production so it can get to press on time. Seriously, this is about filling out a form? What are the real priorities? It's always like this with them. They're constantly coming back to us in acquisitions

asking questions about books we've already launched, and they're not making any effort to figure it out. She wants me to get back to the author to ask about pictures? Seriously? Please. I can't do my job and their job, too.

Arthur: I understand. I'll talk to them about it. We need you focusing on acquiring new titles, not doing production work.

Scene 5: Arthur's Staff Meeting

The managing editor's staff meeting usually takes place in his office. Each of the acquisitions and production

editors is required to attend, even if it means calling in from a hotel late at night. The meeting is often a tense

one, because Arthur uses the time to focus on books that are behind schedule, knowing that David is likely to

ask about these titles in particular.

Arthur: Next, I'd like to focus on MacLean. Carol, is that yours?

Carol: Yes. I spoke with him last week, because we were all wondering what the situation was. He's

decided to take the final chapters of the book in a bit of a different direction and focus on the legal

issues concerning water rights in the West. He promises a manuscript by the first of the month.

Arthur: [sighing] That's not exactly what we had agreed last time. Brad, what is the status of Marshall?

Brad: I'm not sure. I haven't had a chance to contact him. Last time I talked with him, though, he

was getting close.

Arthur: Close, meaning what? Please find out and let me know. [The production editors barely stifle

their pleasure at Arthur's frustration with acquisitions.] Turning to production. Liz, what's going on

with Lopez? [The acquisitions editors share a knowing look.]

Liz: We will be 2 weeks late. We have to start over with design and layout. It was my understanding

based on our discussions that it was going to be a title in the Environmental Policy series, but that

changed at the last minute. So, we had one layout to make it consistent with that series, and now

we have to go back to redesign it to make it unique. [glares at Carol]

Carol: [avoiding eye contact with Liz, and looking at Arthur] Actually, we talked about this a few

weeks ago, so I'm not sure why this is just coming up now.

Liz: Yes, and what you said was that you would get back to me, but you never did.

Carol: It would have been helpful to know that you had already made a decision to send it to design.

Arthur: All right, let's just get it done as quickly as possible. That's all for today.

The group left Arthur's office. He closed his door, returned to his desk, and scanned through his notes. The list of titles behind schedule seemed to be growing each meeting. David was going to be furious at this latest round of delays. Clearly the current situation could not continue. Something needed to be done, but what?