Concerned about the future of books after all those faux memoirs? Don’t be! NYU students, who are the future of every creative profession, are still scrambling over each other for literary fame.

Or at least they will be, judging by the crowd at last night’s “Agents, Editors and Writers! Oh My!,” a panel discussion on that magical Oz, the land of publishing. We made Intern Anastasia attend.

The talking heads included an agent, a couple of editors, and one “screenwriter” who has, like, two credits on IMDB. Most of what they said was super-obvious, like, “It takes us a long time to get to the slush pile” and “Chick lit is hard to sell right now.”

Finally, someone mentioned the elephant in the room: How had JamesFreyJTLeroyMargaretJones affected what they choose to publish?

Claudia Cross, Sterling Lord Literistic agent and Amy Sedaris impersonator candidate, claimed those faux memoirists hadn’t affected her job much. “It’s hard to sell a memoir to begin with. As an agent, if I see a beautifully-written memoir I think I can sell, I’m not going to do any fact-checking. I would trust the editor’s legal department with that.”

A Random House editor, Stephanie Lane, explained they “usually go through three edits, and each one gets more expensive,” adding, “We won’t publish anything incorrect—that we know of.” The pasty, bearded crowd (note: only the males were bearded) laughed.

Clad in black-framed glasses that all literary types must wear to get their I’m a Literary Type Card, Marion Wrenn, editor of lit mag Painted Bride, pointed out “Tobias Wolff started This Boy’s Life with ‘Memory has its own story to tell,’ which sort of let him off the hook.”