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ORIGINAL BOOK REVIEW: “Our Story: Jamaica’s Visionary Experimental Secondary Classes (1954-1960)” ed. by Jonathan Goodrich & Owen Everard James

“Our Story” ed. by Jonathan Goodrich & Owen Everard James

OFFICIAL DESCRIPTION*:

Equal opportunity for children to access “good education” has to be one of the primary obligations of any government. In a developing country like Jamaica, such opportunity is tantamount to ensuring the country’s viability if not its very survival. OUR STORY is a collection of first-person narratives by graduates of one of the most visionary and effective yet undocumented experiments in the history of secondary education in the English speaking Caribbean. The poetic prose of graduate Trevor Thomas highlights this shortcoming: “A brilliant meteor had streaked across the bleakness of Jamaica’s education landscape, briefly illuminating its dark canopy, but attracted scant attention, and the remains were unceremoniously buried without headstone or epitaph.”

The observation of Prof. Emeritus, the Hon. Errol Miller, OJ, CD, Ph.D., DLL (Honoris Causa), an internationally recognized scholar on the subject, further emphasizes the sentiment in his exceptional foreword: “Our Story recounts and reflects upon a unique chapter in the history of Jamaican secondary education told sixty-seven years after it began and sixty years after it ended by some students who assess its impact on their lives.”

Although OUR STORY focuses on the period 1954-1960, it directly references critical antecedents as well as pivotal outcomes from the period, especially in the area of Education Policy. The revolutionary role of the Hon. Edwin Leopold Allen, the then Minister of Education who envisioned and implemented the Experimental Secondary Classes, and the notable teachers that were the definitive agents of the success of the endeavor are recognized. The inextricable connection between the Classes and the broader history of Secondary Education in Jamaica is boldly clarified in the volume.

OUR STORY references Jamaica’s political, economic, and cultural history as these unfolded during the period immediately preceding and immediately following, national Independence in 1962. The absence of the story of the Classes from the larger narrative of secondary education in Jamaica substantiates a void in the history that should be addressed. This history and the related influence of the imposed, traditional, generally elitist, and highly discriminatory, imposed British system of education are well known and documented. This history is therefore not the main driver of this effort. Instead, the effort is driven by the realization that the Experimental Secondary Classes have not received the recognition and credit that they unquestionably deserve.

The historical linkages with our own stories demand that we acknowledge the nature, cause, consequences, and relevance of the international protests instigated by the worldwide recognition of systemic discrimination against people of color. It would be irresponsible not to do so. The common origins, direct relevance, and impact on how we may view our own heritage, and the future of the land of our birth are inescapable. Notably, the protests are in direct response to historical inequities in the opportunity to access crucial socio-cultural prerequisites such as education, justice, and the benefits that generally accrue from a clearly flawed, artfully marketed participatory economy that is extensively dependent on the education status of participants.

Hopefully, as the stories are told and read, the telling will not be in vain.

REVIEW:

If this last year has taught me anything, it’s that our education systems (globally speaking) still leave a lot to be desired. One might say they “need some work.” When students’ education suffers, no matter what grade or level they are at, society suffers––both in the moment and for decades to come. I had the benefit of an unconventional childhood, with a mix of homeschooling with dedicated and deeply invested parents, and a middle and high school education overseas. I can’t speak for the intervening years since I finished high school, but at the time, that particular education system ranked fairly high on the various “best education systems” lists that are released every year. It certainly wasn’t perfect, but it was challenging in some really good ways that prepared me incredibly well for college.

I can’t say the same was true for my fellow students in college and graduate school––many of my friends struggled, especially in the first two semesters, with the workload and the different ways of thinking that university-level courses require of students. I remember feeling rather proud to have received a “better” education (although to an extent that word is subjective), and now I feel a bit ashamed of having lorded that over my friends. As many research reports have shown, blame for poor performance across American school districts and elsewhere shouldn’t be placed on the shoulders of the students or teachers––the system itself is broken, and the fractures show at every level, from childhood through adulthood.

In Our Story: Jamaica’s Visionary Experimental Secondary Classes (1954-1960), editors Jonathan Goodrich and Owen Everard James have collected the background, methods, and results of a unique educational experiment carried out in Jamaica during a six-year periods ending in 1960. It is, I must say, an exhaustive document––fully book-length––about this educational programme, and yet it is also fascinating. I knew very little about the history of education in Jamaica and the other Caribbean islands, merely that it had been altered irrevocably by the area’s colonization by various foreign actors, namely Spain and Britain, and the import of imperial cultures along with slave labor from Africa (and later, indentured Chinese and Indian peoples). The native Taino peoples had been devastated, so I only expected that the country’s education system would reflect norms established during the British occupation. This book deals with what was essentially an educational experiment carried out in the years immediately prior to Jamaica’s emancipation in 1962, making it an interesting historical document of a time of great change on the island––and the ways in which all of these changes impacted how education was done. And indeed, the first chapter alone documents far to many of these changes for me to summarize effectively here.

As is stated in the forward, “Our Story is about fruitful lives: some thirty-fold, some sixty-fold and some a hundred-fold, made possible by access to good quality education with international currency.” It is, by its mere existence, a document that refutes the argument that educational success ought to be approached in the same way as business success. The book draws on personal recollections collected well after the fact, and the editors acknowledge both the benefits (hindsight and lived experiences) and the drawbacks (erroneous and incomplete memories of events as they happened) of this approach. Its editors set the scene for the unfolding of this particular experiment by first describing the various (and often ad hoc) other competing systems in use during this period. But as Goodrich and James put it, the book exists not to focus on these things but rather the experiment itself––the ESCs (Experimental Secondary Class)––and to remedy the fact that these classes had never “received the recognition and credit that they unquestionably deserve.”

A quick note for those of you who like to know such things: There is a religious inflection to this book and the educational experiment it documents. This is something of an historical artifact of the period being discussed––and of the British heritage and influence that even now persists in an independent Jamaica.

Would the ESC system work today, in 2021, in my country? I have no idea. It would certainly require a complete restructuring of the system––a system admittedly that I’ve previously described as “broken.” In this I’m not exactly unusual; almost everyone I know is unhappy with the current state of things and with the quality of education that children and teenagers are receiving. The challenge isn’t one of motivation, but rather execution: How can a country overhaul its educational system without a period of great disorganization, and without protest against the ways and means of getting it done? Goodrich and James document one possibility, carried out as an experiment with a limited reach that still managed to make a vast difference. I would certainly recommend that educators and administrators take a look at this book––it might just prove the very thing that’s needed going forward.

IN SUMMARY:

Editors Goodrich and James cover the results of the Experimental Secondary Class (ESC) programme in Jamaica in the years before that country’s independence. The book provides a thorough and inspiring template for modern educators to learn from as we continue to face educational systems drained of funds and adequate support, as well as the freedom to innovate.

WHERE TO BUY?

You can find Obsolete wherever good books are sold, including Bookshop.org, Barnes & Noble and Amazon. You can also find out more about it on the book’s Outskirts Press listing.

WHAT NEXT?

The next book on my list is The Portal by David Bernstein, which won a CIPA EVVY merit award back in 2018 for Juvenile Fiction. It’s a work of fantastical science fiction, and promises me robots and time portals, so I’m quite excited about that!

I received a copy of this book in exchange for an honest review. 

* Courtesy of Bookshop.org book listing.

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ABOUT KENDRA M.: With nine years in library service, six years of working within the self-publishing world, as well as extensive experience in creative writing, freelance online content creation, and podcast editing, Kendra seeks to amplify the voices of those who need and deserve most to be heard.

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In Your Corner: Do we still need to talk about the pandemic?

Writing and publishing is difficult enough without added challenges being added on top of the usual brainstorming, crafting, editing, strategizing, and marketing that self-publishing authors take on as a part of the process. (Allowing, of course, for some variation, depending on existing skills and assistance provided by third parties.) We heard a great deal last year about some of the pandemic’s additional challenges last year, particularly during the summer, but much of that conversation has either died down or been reframed as a part of the “new normal.” So I just have to wonder, do we still need to talk about the pandemic outside of its health- and social-specific effects? Is it still worth grappling with the “extras” that COVID-19 has added to our writing and publishing lives?

I, personally, happen to think that we are entering a new phase of this whole thing. By and large, one year in, we’ve figured out how to live with the restrictions and their consequences (eagerly or otherwise). Two vaccines have passed all the standards that need passing in order to achieve wide distribution, and state governors are working on specific distribution plans for each state. Where I am just now, many of the restrictions themselves have begun to loosen, although most people I know are still being fairly cautious. Some schools are back in operation. My favorite bakery reopened! … and then closed again, then reopened again, and so on and so forth a number of times as the occasional worker came down with the virus. By and large, we are now well-acquainted with this open-closed-open-closed-etc cycle, and well-acclimated to last-minute changes in plans as the knock-on effects of the virus continue to manifest.

But what about when it comes to books? I see that the news posts here on the blog have dealt occasionally with the effects of COVID-19 on the publishing industry since March (summary version: book sales are up, particularly in digital, and so too with digital library offerings, as more library users make use of them). Most of the data, however, is coming from traditional publishers and indie bookstores (which are still struggling). Publishers Weekly (and probably many other organizations) keeps an updated list of COVID-19-related cancellations and postponements––again, privileging the traditionally published lineup, which is usually decided years in advance.

Getting a handle on just how this same situation is affecting those who choose to go indie is another matter. For one thing, self-published books don’t require the same long (up to two-years!) run-up to release as their traditionally published cousins, so there are very few compendiums of upcoming indie publications to build buzz. As we’ve seen throughout this last year, it is entirely feasible to progress from initial thoughts through writing and publication within two months with self-publishing, although we don’t recommend that many sleepless nights to everyone who wants to publish in the next year. (Chances are, anyway, that you have already been working on a manuscript before you read this post.)

Where do we look for self-published book statistics these days? Publishing through Amazon might be an indicator (and the company does love to release its self-reported statistics when they’re good news for them), but due to Amazon’s diversification and movement into the traditional publishing sphere with its own imprint and so forth, “publishing through Amazon” can look any one of a hundred different ways. It is not necessarily a good indicator of general self-publishing statistics anymore, in my opinion––the data I’ve seen talks big about the total amount its authors have earned in the last year, but the company hasn’t released any comparative reports to pre-COVID-19 times, or on whether their authorship has remained steady, much less grown.

About the only people reporting on the effects of COVID-19 on self-publishing are individual authors themselves, on their blogs or in their newsletters or social media feeds. To my knowledge, no one has a good handle on how many books are self-published even during a good year, much less this last year (this is because ISBN purchases, while tracked rather well, only apply to those authors who choose them––and they aren’t required for the publication of ebooks). Perhaps I’m so stuck on this because I myself work in the industry, and I want to know just how the virus’ long-term effects will challenge and/or benefit those authors I work with on a daily basis. Do we even know?

I’ve heard by word of mouth and on social media that many authors are struggling to write because of the persistence of work-from-home directives continuing for a large sector of the marketplace, and because many schools are also either working remotely or in hybrid systems. I’ve also heard that there is a huge wave of pandemic-related works in the pipeline for publication in the near future, although most traditional publishers haven’t quite gotten there without cutting corners. I’ve heard a lot of stories involving children’s books, particularly, when it comes to pandemic-related publications this last year, with the first ones appearing within months of the outbreak, published by schoolteachers and grandparents and other caregivers. But these are just the stories that I, Elizabeth, have heard. I am not representative of the entire industry, for sure.

What have you heard? Do you think we still need to talk about the pandemic when it comes to self-publishing, as I do? I’d love to hear your stories. And as always, I’d love to hear about your 2021 writing goals. ♣︎

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Elizabeth
Do you have ideas to share? Please don’t hesitate to drop us a line in the comments section, below.
ABOUT ELIZABETH JAVOR: With over 20 years of experience in sales and management, Elizabeth Javor works as the Director of Sales and Marketing for Outskirts Press. The Sales and Marketing departments are composed of knowledgeable publishing consultants, customer service reps and book marketing specialists; together, they all focus on educating authors on the self-publishing process to help them publish the book of their dreams. Whether you are a professional looking to take your career to the next level with platform-driven non-fiction or a novelist seeking fame, fortune, and/or personal fulfillment, Elizabeth Javor can put you on the right path.
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Self-Publishing News: 2.9.2021

Hello February.

news from the world of
self-publishing

Here’s an article from lifehacker‘s Explainer section that provoked a number of conversations among self-publishing authors this last week: Sam Blum’s take on the necessary underpinnings of published (and therefore public) authorship. It begins with a familiar hook, too. Write Blum, “No two writers’ journeys to publication are the same, but most follow the same general path.” To view publishing from the appropriate distance from which to see a general path, Blum begins his summary with a warning: “Don’t quit your day job.” (We are not going to spend too long thinking about how Blum’s imagination also leads to “you lovingly stroke its spine,” a favorite out-of-context comment about books that seems a little over the top.) He goes on to describe the various ways and means of going after a traditional publishing gig, but many of his suggestions are also applicable to self-publishing (which lifehacker‘s Nicole Dieker wrote about all the way back in 2017––we still highly recommend you read that article as well). He writes about building a network, self-education, and carrying out some intensive market research. The only point that doesn’t apply is the section on finding an agent, but one might argue that finding a self-publishing company and team that works for you would make a good substitute there. Not only is his recent article a good reminder of many points we’ve covered here on the blog on other days, but it is also a good reminder to check out Dieker’s older article.

This one is a more troubling bit of news. One of our favorite aspects of self-publishing that we like to celebrate here on this blog is the power of the indie world to democratize the entire publishing space. One might argue, as we have in the past, that a healthy self-publishing industry supports not just a healthy traditional publishing industry as well, but a healthy society. And we are extremely grateful to live in a part of the world where free speech is honored and enshrined in our founding charters––and where, although our systems remain imperfect, the average person can still find a way to say what needs to be said, write what needs to be written, and publish what needs to be published. This article from TechCrunch is a good reminder that this is not true of all corners of the world, and that the situation in China is but the tip of the iceberg when it comes to the quieting of badly needed voices across the globe.

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As a self-publishing author, you may find it helpful to stay up-to-date on the trends and news related to the self-publishing industry.This will help you make informed decisions before, during and after the self-publishing process, which will lead to a greater self-publishing experience. To help you stay current on self-publishing topics, simply visit our blog each month to find out the hottest news. If you have other big news to share, please comment below.
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ORIGINAL BOOK REVIEW: “Obsolete: A Teacher’s Tale (of tomorrow, today!)” by Kevin Vachna

“Obsolete: A Teacher’s Tale (of tomorrow, today!)” by Kevin Vachna

OFFICIAL DESCRIPTION*:

For teachers and students ages fourteen and older, Kevin Vachna’s Obsolete: A Teacher’s Tale (of Tomorrow, Today!) is a thrilling sci-fi graphic novel set in the not-so-distant future, where technology is engrained in every aspect of life, even finding a home inside of us. There’s a big society problem: the kids are all becoming hyperactive, disconnected screen addicts. And then Professor T finds himself with a personal problem: After giving an unauthorized history lesson, Professor T is reassigned to one of the worst-performing schools. There, his challenges and the world’s collide, as unlikely allies and hidden threats lead T to revelations about a conspiracy with sinister roots that could threaten to overturn the very foundations of society itself.

Vachna is a teacher and administrator in New York City’s public schools with an expertise in themes involving technology and culture. The what-if nightmare scenario of where he sees our educational system leading are realized in the world and characters of Obsolete.

REVIEW:

Within minutes of picking up Obsolete: A Teacher’s Tale (of tomorrow, today!) I was already thinking back to the “dsytopias” unit I’d studied back in 2003 or 2004 as a part of my high school English syllabus. At the time, I was living abroad, and the materials we studied for the unit reflected that, but we still hit some of the major literary highwater marks of dystopic literature familiar to all: 1984, Animal Farm, Lord of the Flies, Brave New World, and even the original (director’s cut!) Blade Runner. At the time, the word “dystopia” wasn’t a part of mainstream American conversation much at all, but I remember how quickly that changed after the publication of the first Hunger Games book in 2008. At that point, I was back in the USA, finishing up a college degree, and it seemed like the word became popular overnight! The meaning was altered somewhat from what I’d studied before, which was tied as much if not more to the notion of social commentary than a projection of our current society into the future as some kind of thought experiment. Several of the novels we studied in that unit weren’t futuristic in any way! Then, along came Hugh Howey’s self-published sensation, Wool, in 2011, and the floodgates were officially wide open to dystopic stories featuring more futuristic shenanigans, and now common definitions of the word reflect that.

All of this history is important, I think, to better understand what’s at work in Vachna’s Obsolete; as much as this is a graphic novel set in a frightening future, it is also a sharp social commentary about the way things are today, much in line with works like 1984 and Brave New World. Obsolete could be happening today, and much of it I believe already is! We are all, like the students in Professor Tieh’s classroom, firmly entrenched in our dependence on technology for daily living, whether consciously or not. Our cars and fridges have computers in them, our light switches and microwaves can be turned on remotely and our doorbells monitored by phone using apps, and our friendships are built and maintained digitally as much as through personal contact. This is the world of Vachna’s book, even though our present world is not quite to the point where “schooling” takes place in spheres designed to brainwash and then expel students, assembly-line style. It may seem like it sometimes, though, and all it would take is a bit of technological advancement to get us there.

Technological advancement, and the resignation of teachers to the new mode of education. And that is where Professor T (as he is called) comes in.

In his world, Professor T is the last bastion of critical thinking in a classroom of tech-addicted teenagers. When he goes off script during one class, his students barely know how to respond––at least, the ones who look up from their equivalent of tablet computers long enough to notice something is different. Professor T is immediately reassigned by the powers that be in Obsolete‘s education system, and must once again weigh his own personal security against the importance of deprogramming the next generation of children in order to allow them to sift through all of the white noise of propaganda and think for themselves.

Of course, you can probably guess what happens next ….

There has always been something appealing about the underdog, the rebel within an unfair system. Without giving too much away, I think it’s fair to say that Professor T (and a couple of other secondary characters) is anchored firmly in that literary type. I haven’t seen many teachers play this part, particularly in dystopias, so it is exciting to see how T’s relationship with his students differs from those relationships popularized in other recent dystopias. He’s in a position of some limited authority within the system against which he rebels, in that he has the authority to contribute to or alter the trajectory of his students’ worldviews, but he is managed and counteracted by an education system, which is not often seen in those other books. But there’s a plot twist lying underneath this choice of Vachna’s, so I won’t go into more detail there.

The other interesting deviation from the norm when it comes to dystopias is Vachna’s use of the Socratic Method, wherein a question-and-answer approach to public dialogue was used as a tool of education. (There are many more fascinating details to the Socratic Method, too many for me to go into, but I highly recommend reading about it sometime.) It has been far, far too long since I’ve seen this on the page, and to find it in a dystopic graphic novel was a pleasant surprise. I’d tell you more about it, but Obsolete is pretty much the perfect example of what it looks like on the page.

Of course, there is a third deviation from the norm, and that is Vachna’s decision to publish Obsolete as a graphic novel rather than as a text-based work. It’s not absolutely unheard of for a graphic novel to be published first, but it is far more common for books to start first as text, then be adapted into graphic novel or even a film format. I appreciate Vachna’s willingness to defy norms and to make the choices that best fit his vision for his book. I also appreciate the deliberate references to some of those works of social commentary that I referred to before: Vachna begins each chapter with a quote, including words by William Gibson and H.G. Wells. Even the art direction is designed to emphasize key points, reflecting a dimness of perception and propaganda-based black-and-white thinking in its largely monochromatic color scheme. Blue is used to highlight the workings of the ubiquitous technology, and more colors are introduced as Professor T begins opening his and his students’ eyes to the range of possibilities that lay beyond their screens and tracking devices.

There are other neat references woven into Obsolete, this time by way of the art direction instead of quotes: the arbiter of Professor T’s carefully curated world looks an awful lot like those that populate the popular comic series Saga, and the all-seeing eye of technology hints at the computer HAL in 2001: A Space Odyssey. None of these cross the line that keeps references and direct representations distinct from each other, but there are enough similarities to tease the reader’s brain. And the all-seeing eye … could it represent both the ever-watchful technology as well as the eyes of Tieh’s students as they are opened to the world around them?

As much as this is a graphic novel and therefore appealing to all sorts of readers, I believe adults will find it particularly rich in allusions and conversant with the public debate over the mediation of public education by technology, especially as a consequence of COVID-19.

IN SUMMARY:

Kevin Vachna’s Obsolete serves as a timely reminder that both technology cannot always mediate and can never serve as a full replacement for quality personal connections with others, be they friendships, the bond between teachers and students, or professional working relationships. This graphic novel prompts readers to examine their own use of technology and the ways in which it can operate, undetected, as a tool of social development––and even control.

WHERE TO BUY?

You can find Obsolete wherever good books are sold, including Bookshop.org, Barnes & Noble and Amazon. You can also find out more about Kevin Vachna’s work on the book’s Outskirts Press author page.

WHAT NEXT?

I have a number of books on my TBR pile as I rush to catch up on (and close out) books published in 2020. There have been some fantastic new additions to that shelf, too––so I haven’t quite decided between all of the options!

I received a copy of this book in exchange for an honest review. 

* Courtesy of Outskirts Press book listing.

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ABOUT KENDRA M.: With nine years in library service, six years of working within the self-publishing world, as well as extensive experience in creative writing, freelance online content creation, and podcast editing, Kendra seeks to amplify the voices of those who need and deserve most to be heard.

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In Your Corner: Welcome to Writer’s Block! Here’s the escape plan.

“Writing about a writer’s block is better than not writing at all.”

–Charles Bukowski

Writer’s block. The two words that no author ever wants to have to mutter aloud, nonetheless suffer from. While a myriad of writing ailments get lumped under the cognomen, “writer’s block,” it can generally be summarized as an overwhelming feeling that you are incapable of being creative or productive in your writing.

What are the causes of the infamous writer’s block? One could be timing: maybe you’re not in a good headspace for writing or you need more time to process your thoughts before getting them onto the page. Make sure to not confuse the wrong timing for procrastination. If you’ve worked a 40+hour week and just need to catch up on sleep before starting that next chapter, then that’s probably a timing issue. If you just sit in front of the computer day after day with one Microsoft Word window open and another Google Chrome window clogged with Facebook and news tabs open that you can’t help but check, that’s an issue of focus and dedication to the task at hand.

Another cause of writer’s block could be a general fear: fear that you can’t do your big idea justice, fear that your work won’t turn out well or will be ill-received or even go unread. If you fear those things, it becomes rather easy to ask the question, “What’s the point?”––falling prey to the inactivity bred by hopelessness and despair. I’d be lying if I said I don’t ask that question in many aspects of my life. Who doesn’t have days when they wake up to the alarm they set for work in the morning and contemplate just hitting snooze? Sometimes there seems to be little point in heading to work to carry out what sometimes seem like meaningless tasks for a wage that doesn’t feel as though it reflects the quality of our labor. Yet, we crawl out of bed and show up anyway. If we show up for things like a paycheck, we should show up for things that are more near and dear to us, like writing, even if we have doubts or fears associated with it.

Maybe you’re a perfectionist, and the idea that your work isn’t going to be perfect if you start it when you’re a bit tired means you don’t want to start it at all. That kind of thinking is highly unproductive for many reasons. Writing is a practice, some days you won’t perform at your highest, but it’s important to keep the creative juices flowing no matter what. If you’re worried about perfection, focus your energy on something that doesn’t need to be perfect, like a stream of conscience journal entry, blog or social media post.

If you, or someone you know and love is suffering from this horrible condition, I have a few suggestions that may help get you back in line.

  • Go for a walk or a run. Get the blood flowing and clear your head. I find some of my best writing ideas have come to me mid-run.
  • Brew some coffee or tea. This gives you a break from writing, a fresh boost of caffeine, and who doesn’t feel more ready to write with a mug full of some delicious hot bean or leaf juice by their side?
  • Read. Read quotes, books, articles, blogs…anything. Reading is part of the writing process and if you’re struggling to find your voice, sometimes it helps to draw inspiration from others.
  • Freewrite. Stream of conscience writing can clear some of those spider webs of the mind. Sometimes I surprise myself when I write with reckless abandon. Maybe you’ll even come up with a fantastic poem or epigraph for your book.
  • Call a friend. Sometimes talking about writer’s block helps you get over it.
  • Change your environment. Sometimes I have to go to a library or cafe to get any serious writing done. When I’m at my house I’ll randomly find myself scrubbing the toilet or baking banana bread when I was in the middle of writing. I also find that being in an environment full of other people being productive makes me feel like I also have to be productive…to “fit in.”

Overcoming writer’s block is really overcoming a mental block. Figure out what your mental block is, face it head on (with a cup of joe in hand), and get back to it. You are a writer. Get back to writing!

I’d still love to know, what are your 2021 writing goals? ♣︎

Do you have ideas to share? Please don’t hesitate to drop us a line in the comments section, below.
Elizabeth
 

ABOUT ELIZABETH JAVOR: With over 20 years of experience in sales and management, Elizabeth Javor works as the Director of Sales and Marketing for Outskirts Press. The Sales and Marketing departments are composed of knowledgeable publishing consultants, customer service reps and book marketing specialists; together, they all focus on educating authors on the self-publishing process to help them publish the book of their dreams. Whether you are a professional looking to take your career to the next level with platform-driven non-fiction or a novelist seeking fame, fortune, and/or personal fulfillment, Elizabeth Javor can put you on the right path.