People Round-Up, Mid-December 2018


As a consequence of October’s merger of Crown Publishing Group and Random House, Molly Stern, SVP and Publisher, is departing her position. EVP and Deputy Publisher David Drake will replace her. Gillian Blake, previously Editor-in-Chief at Henry Holt, will join as SVP and Editor-in-Chief of Crown Trade.

Elsewhere in the company…Katie Ziga will move over from her position as SVP, Executive Director, Business Operations at the former Crown Publishing Group to become SVP, Strategy and Finance at the Penguin Publishing Group beginning in January. Effective December 12, Gayley Avery joins DK as VP, Marketing and Publicity. She previously held the position of Marketing and Publicity Director at Bonnier. At Random House Children’s, Sara Sargent joins as Senior Executive Editor, having worked most recently as Executive Editor at Harper Children’s. Whitney Leopard, previously Editor at BOOM! Studios, joins Random House Graphic as Senior Editor. At Penguin, James Jayo, formerly Editor at Sterling Publishing, joins as Senior Editor, and Margaux Weisman joins as Editor, moving over from that position at Vintage/Anchor.

At Harlequin, Heather Connor joins as VP, Publicity, overseeing Park Row Books, Hanover Square Press, Graydon House, MIRA, HQN, and Inkyard Press. She most recently worked as Director of Publicity at Berkley. Tara Feehan joins Harper Children’s as VP, Finance and Administration, moving over from HarperCollins’s Operations & Technology Finance Team. She succeeds Randy Rosema, who is retiring in January. Alexis Banyon also joins the children’s division as Director, Marketing, having worked most recently at Disney Publishing Worldwide as Director, Product Development. At HarperCollins Christian Publishing, Shari Black joins as Senior Director of Marketing, Specialty Publishing. Previously she was SVP, Retail Business Development, Global at Warner Bros. Entertainment.

UK children’s publisher Imagine That has announced plans to set up a North American office in New York. Risa Beckett, most recently EVP, Sales & Marketing at Parragon, joins as VP, North American Sales.

Grand Central Publishing will fold its Life & Style imprint into the flagship list at the end of the year. Karen Murgolo, EVP and Editorial Director, will depart the company at that time. Additionally, Heather Fain, previously SVP and Director of Marketing Strategy at Hachette Book Group, has left that role to become Chief Marketing Officer at Pushkin Industries, the podcast company founded by Jacob Weisberg and Malcolm Gladwell.  Elsewhere at HBG, John Radziewicz has retired from his position as VP and Publisher of Da Capo Press. At Grand Central Publishing, Staci Burt joins as Publicity Manager; she was previously Publicist at St. Martin’s Press.

Chris Ryall is rejoining IDW Media as President, Publisher, and Chief Creative Officer after leaving his position as Chief Creative Officer and Editor-in-Chief earlier this year. During the interim, he worked in the editorial department at Skybound Entertainment.

Beginning January 15, Gwydion Suilebhan will assume the position of Executive Director of the PEN/Faulkner Foundation. He is currently Director of Brand and Marketing for Woolly Mammoth Theater Company and is also a playwright, screenwriter, and poet.

Meghan O’Rourke will become Editor of The Yale Review on July 1, 2019, the 200th anniversary of the magazine’s founding. She is an author and has worked as Editor for The New Yorker, Slate, and The Paris Review.

At Arcadia Publishing, Paul Raffle is stepping down as COO, to be succeeded by former Perseus Books COO Charles GallagherHampton Ryan joins Arcadia Books as Field Sales Representative. He previously worked at Waldenbooks, Borders, and Ingram Book Company.

At Tom Doherty Associates, Stephanie Sirabian, previously Associate Director, Advertising at Grand Central Publishing, joins as Associate Director of Advertising, Promotion, and Trade Operations. In addition, Jennifer McClelland-Smith joins as Marketing Manager for Forge Books. Most recently she was Marketing Coordinator at Little, Brown Books for Young Readers. And at Celadon, Jaime Noven has joined as Marketing Manager, having worked previously as Publicity and Marketing Manager at The Monacelli Press.

Roisin Davis is now Director of Foreign Rights at Haymarket Books. She was previously Associate Agent at Roam Agency.

At the American Psychological Association’s APA Publishing arm, Emily Ekle joins as Director of Editorial Acquisitions for academic and professional books. Prior, she was Senior Acquisitions Editor at Elsevier.

In agency news…Cheryl Pientka has joined the Nancy Yost Literary Agency as Director of Foreign and Audio Rights. She was previously Director of Foreign and Subsidiary Rights at Jill Grinberg Literary Management. Marie Campbell is retiring as Transatlantic Agency Partner and Senior Agent but will remain on as an advisor. On March 1, Rick Christian will step down as Founder and CEO of Alive Literary Agency; the company has been sold internally to Bryan Norman, President, and Lisa Jackson, EVP.

At BookBub’s newly-created partner relations team, Wade Lucas, formerly Senior Agent Director at Penguin Random House Speakers Bureau, joins as International Account Manager. Kayin Patton has also been hired as Account Coordinator.

Following the 2019 Winter Institute, Meg Smith will retire from her role as Membership and Marketing Officer at the American Booksellers Association.

Bridget Flannery-McCoy has joined Princeton University Press as Senior Editor, Political Science. She was previously Editor, Economics and American History at Columbia University Press.

Jack Perry, VP, Director of Retail Sales at Highlights for Children, is leaving the company at the end of December.  He plans to return to consulting and may be reached at [email protected].

At Diversion Press, Mark Weinstein, formerly Executive Editor at Rodale Press, joins as Senior Editor.

Senior Editor Christine Pride is leaving her role at Simon & Schuster to pursue writing and freelance work. Rachel Bergquist and Amanda Livingston join as Marketing Assistants, Education & Library.

Alison Petersen has joined Chronicle Books as Managing Editor, Entertainment. She was most recently Book Production Manager and Editorial Manager at The Hoover Institution at Stanford University.

At Workman, Ashley McPhee joins as Promotion Coordinator for the eponymous imprint. Previously, she was Children’s Book Editor at becker&mayer!.

At Abrams, Mary Marolla joins as Publicist, Children’s. She had been running her own freelance PR company, Mare Public Relations. Borana Greku, formerly Associate Marketing Manager at Macmillan, also joins as Marketing Manager.

At Holiday House, Talia Levitt, Della Farrell, and Eryn Levine have joined as Editorial Assistants. Levitt was previously Agent at Studio Goodwin Sturges; Farrell, Assistant Editor at School Library Journal; and Levine, Publishing Assistant at Penguin Random House Audio Publishing.

Publisher Andrew Hoyem and Senior Editor Diane Ketcham are retiring from Arion Press, the San Francisco publisher and fine letterpress printer. Day-to-day operations will be managed by current staff and the companies operating under the aegis of the Grabhorn Institute. Book Advisors continues to solicit and evaluate interest from potential investors and owners.

Mallory Hyde joins Sourcebooks as Marketing Specialist, Children’s, while Jaclyn Puccini joins Sourcebooks Fire as Social Media Specialist.


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Top 5 Publishing Articles/Blog Posts of the Week 12/3-12/7

Red Number 5Every week, we recommend 5 publishing articles/blog posts that supplement the major news for the week. Whether data or industry commentary, we hope these 5 links will be a simple way to keep you in the know.

Why are American books so long?

What are book critics for?

How has the president changed publishing this year?

Do exclusive deals threaten scholarly work?

How does the future look at FutureBook?

FutureBook Live 2018 Takes The Stage

The Bookseller’s FutureBook2018 conference began its second decade on November 30th in London’s East End with a sellout crowd of publishers, vendors and tech firms from the UK, EU and US. There were four streams — FutureBook, AudioBook, EdTech and Play — which meant attendees had to make decisions on which to choose. Thankfully, a storm of tweets (#FutureBook18) and articles from The Bookseller, Publishing Perspectives, Publishers Weekly, and others will help the curious find out what happened, and will happen, at the intersection of publishing and technology.

Traditional publishers and well-known industry figures, like SourcebooksDominique Raccah and Hachette’s David Shelley, along with Seth Godin via video, opened the day, but startups, EdTech companies, agents, and podcasters were also represented throughout the conference. Like last year, the emphasis was on the spoken word, though this year saw separate panels on Voice-Assistant Technology (think Alexa and her ilk), podcasts, and audiobooks. Many panelists seemed to agree that the three platforms would grow symbiotically with one another (see a recent Publishing Trends article on the topic.) As Tom Abba, an associate professor of art and design at the University of the West of England, said, books, audio, VR and AR should all be part of “a seamless whole, so that there are no borders – everything knows where you are and you can move between them all.” This was very much a theme of this year’s Digital Book World (DBW) as well, and certainly seems to be the direction in which much content is moving.

Emphasis was also placed on how much publishers have to innovate just to keep up. At the beginning of the day, David Shelley suggested that publishers, though harder-working than in the days of liquored lunches, can be complacent, especially about bringing new people into the industry. And at the day’s close, Dominique Raccah gave a presentation on Rethinking Book Publishing 2018, about changing publishers’ culture overall. The strategy, she said, should move from efficiency to innovation, with the user experience becoming “mission critical.” The workforce’s most important talents are not necessarily the highest skilled but those who are lifelong learners. A panel on the Workplace in 2025 addressed the issue of a publishing workforce that is predominantly white and university-educated – and discussed how holding high-priced conferences also exclude younger and less well-compensated workers. Ironically, given this pointed remark, the audience at some of the talks, like the one on podcasts, was decidedly younger and more diverse than one typically sees at US publishing conferences.

Finally, there was a rallying cry around the importance of stories and storytellers, and the panel moderated by Tom Abba was indeed called “New Platforms, New Ways of Storytelling.” One panelist was Meir Biton, whose MyStoryBall won the award in the PitchEd competition. The smart toy engages children in screen-free storytelling – though it it’s hardly lacking in tech components. Still, it suggests that a concern about how much screen time is healthy is one more reason for audio’s rise.

The emphasis on stories in an increasingly tech world is being seen in many venues in the US  and Europe. Another conference, Confluence, will take place in February at Academy London and will focus specifically on technology and stories. Sam Coniff Allende, who spoke on the Workplace in 2025 panel, will be talking there as well.

In the end, the FutureBook Person of the Year, Little, Brown’s Sharmaine Lovegrove, put it best when she summed up the critical importance of stories and their audiences for publishers. As she said, “I want an inclusive future that centers around brilliant stories and writers and inspires readers. Let’s make books for everyone everywhere.”

International Bestsellers, November 2018

Every month, Publishing Trends runs fiction international bestsellers lists from four territories–France, Germany, Italy, and Spain. This month, our four regular territories are joined by two more: Brazil and Canada. Those books that have been published in English are listed with their official English-language title. All others are translated as literally as possible from the original. Where applicable, the US publisher is listed after the local publisher, separated by a “/”. The lists are taken from major newspapers or national retailers, which are noted at the bottom of each list.

Top 5 Publishing Articles/Blog Posts of the Week 11/26-11/30

Red Number 5Every week, we recommend 5 publishing articles/blog posts that supplement the major news for the week. Whether data or industry commentary, we hope these 5 links will be a simple way to keep you in the know.

Is the Amazon backlash coming?

Barnes & Noble had a good Q2. 

If retailers are impermanent, how can writers protect their sales?

Where is the economic value of scholarly publishing moving?

Can fiction ignore the internet and still create change?

Top 5 Publishing Articles/Blog Posts of the Week 11/19-11/23

Red Number 5Every week, we recommend 5 publishing articles/blog posts that supplement the major news for the week. Whether data or industry commentary, we hope these 5 links will be a simple way to keep you in the know.

Are novels making us nicer?

How do viral articles become books?

What does it mean for readers if a series has no end?

Does Junot Díaz’s reinstatement change the meaning of the Pulitzer?

Why is Michelle Obama’s Becoming unique among this year’s crop of political books?

Top 5 Publishing Articles/Blog Posts of the Week 11/12-11/16

Red Number 5Every week, we recommend 5 publishing articles/blog posts that supplement the major news for the week. Whether data or industry commentary, we hope these 5 links will be a simple way to keep you in the know.

Does low author pay signal high publisher profit?

What does a crossover look like between diametrically-opposed genres?

Is there any such thing as a nonpolitical picture book?

Is readability really the highest virtue books can have?

Are podcasts and audiobooks competitors or collaborators?

Voice-first ups the volume on podcasts, audiobooks

Are you a good listener?  More and more people consider themselves to be, and the evidence is impressive: according to the Audio Publishers Association (APA), audiobook sales grew 22.7% with over 46,000 audiobooks published in 2017, and podcasts now total more than 500,000, up from 150,000 last year. According to eMarketer, 73 million people in the US will tune in at least monthly, and 52% listen to four or more podcasts a week.

But we only have two ears and a limited amount of time to juggle our TV-watching, social media posting, and reading – so what wins in the aural battle?

Audiobook publishers interviewed for this article agree that, if a battle is brewing, it’s not between podcasts and audiobooks. Macmillan Audio President and Publisher Mary Beth Roche believes podcasts have helped develop the audiobook audience, especially among younger readers, as listeners are “reintroduced to the spoken word.” And though they have separate business models, the formats overlap – e.g. Courtney SummersSadie, which integrates a character’s podcast into the audiobook, or Welcome to Night Vale, which started as a podcast and became a book – and are often complementary, as when Macmillan released the Time To Parent audiobook and podcast show in the same week. Increasingly, publishers use podcasts to promote an author’s audiobook and audiobooks advertise on popular podcasts, with Audible in the top ten list of advertisers.


How to listen

Usually, comparisons between audiobooks and podcasts focus on whether fans of one are likely to be fans of – or converts to – the other. But, as smart speakers like Alexa, Google Home, and Apple Homepod become more ubiquitous, listeners of either will have more options to hear both: two of the top three daily smart speaker requests from nine pm to midnight are short stories or audiobooks, and 49% of podcasts are listened to at home. Also, a whopping 74% of the smart speaker owners who listen to podcasts do so directly from the device, not through their mobile apps.

Smart speakers, also referred to as voice-first devices, are seen by many as a boon to the audiobook industry. “Everyone who has a smart speaker has an audiobookstore in their home,” says Penguin Random House Audio President Amanda D’Acierno. With more sophisticated syncing now available, consumers can purchase audiobooks on a phone, computer or smart speaker and then read on all those platforms wherever they left off. The same is not yet true with podcasts, because at the moment it depends on which mobile apps are compatible with the smart speaker, though interoperability will undoubtedly expand.


Where to listen

Thanks to the proliferation of iOS and Android apps for podcasts and audiobooks, phones and mobile devices are a favorite for consumer listening. These apps can be synced to the car radio, but the percentage of people who listen while driving has dwindled to just 22% – though that number is increasing with the production of new cars with streaming audio and podcasting integration included. The big upswing, instead, is in-home listening.  

Bradley Metrock, CEO of Score Publishing and executive producer of Digital Book World (DBW), is an evangelist for this emerging technology. (Score Publishing owns, and Metrock hosts its popular podcast This Week In Voice.) He believes that  “all boats have risen on the rising tide of Alexa,” and that, through audiobooks, podcasts, and voice assistants,  “voice-first is the future of book discoverability.” For instance, he thinks readers will soon be able to say, “Siri, you know what I’ve read – what’s next?” His company is hosting the third Alexa conference for developers in January, and his podcasts already offer discussions of all voice technologies. Participants often cite Google in particular as the company to watch in this arena: it launched Google Podcasts earlier this year, along with adding audiobooks to its Google Play Bookstore. These choices increase opportunities for discovery in both mediums, especially with AI-powered recommendations based on your listening patterns.

Libraries still remain major drivers for audiobook consumption as well. According to the APA, 52% of listeners said borrowing from a library or library website was instrumental to their listening habit, 43% said they downloaded an audiobook from a library, and 14% said they most often use the library for their digital listening. Fiction, specifically genres like mystery and thrillers, are top categories.


What to listen to

Though few stats are available about listeners of both podcasts and audiobooks, there are numerous podcasts about books and audiobooks, from the NYTBR to Overdrive’s Professional Book Nerds and Audiofile’s Behind the Mic. Brightly, a website for parents that launched in 2014 with PRH, has a list of age-appropriate podcasts about books.

Meanwhile, children’s audio shows itself to be a potentially big market. NPR has developed But Why: A Podcast for Curious Kids, and Gimlet has the popular Story Pirates. Audiobooks have been around since the days of records and cassettes, but now both Google and Alexa are expanding their utility: they have developed stories that parents or children can request be read to them, and publishers are creating their own capabilities, or, in smart speaker parlance, skills (Alexa) and actions (Google). Audible offers a range of titles in multiple languages, many whispersynced. Developers like NovelEffect provide theme music and sound effects that are synced to a specific book. And major companies like Disney have also been experimenting with this technology on Google Home.

BookBub’s entry into the discounted audiobook market is also worth noting. Its recently-launched Chirp, primarily stocked with backlist from HarperCollins and Simon & Schuster, enables listeners to download a free app and stream audiobooks on any Bluetooth-enabled smart speaker using the phone or tablet’s Bluetooth connection.  Prices generally range from $1.99 to $4.99.


What’s next

The lines are already blurring: while podcasts take advertising and audiobooks don’t, on-demand internet radio platforms like Stitcher Premium offer podcasts either as ad-free paid subscriptions or as ad-supported exclusive podcasts available only to Stitcher Premium subscribers. Case Closed, a true crime podcast which will be published as an audiobook after its run, is exclusive with Stitcher for six months. Meanwhile, Podglomerate CEO Jeff Umbro, who also hosts a podcast called Writers Who Don’t Writebelieves advertising may become more common in audiobooks –  though an ad-supported platform with free audiobooks is a possible scenario as well.  

Podcasts are generally under an hour long and sometimes as short as ten minutes, whether they’re news updates, political rants, interviews, serial fiction, etc. Audiobooks, other than those for kids, are often eight or more hours long, take weeks to create, and, until recently, had limited distribution options because of their file sizes. As a result, Audible, iTunes, and Overdrive have dominated distribution to subscribers and library patrons, with more recently providing an option for indie stores as well. But Google Home, Alexa, Apple HomePod and, soon, Samsung Galaxy are making some of those issues less obvious, in turn making listening much easier. Now audiobooks can be called up and seamlessly streamed from the devices without listeners needing to rely on their mobile apps. (In theory audiobooks are now available on the Apple watch, but users complain that it’s not yet a turnkey solution.)

Regardless of the output device, though, audiobooks and podcasts still face hurdles. The former require a “huge amount of work” to make them accessible and available to the reader, says Macmillan’s Roche; podcasts, with no book to help create a market for them, require time to build an audience and attract advertisers. A sign of how crowded the market is getting came with news that BuzzFeed and Slate have recently trimmed back their offerings (though Slate’s Panoply continues on as a podcast network), and Audible reorganized its podcast team this summer to focus more on original material for its subscribers. Author and podcaster Gretchen Rubin warned at a recent Women’s Media Group (WMG) talk that, if authors create podcasts to support their book, they should be prepared to stick with it beyond a few episodes. Her own weekly podcast, Happier, was started in 2015 with her sister Elizabeth Craft, and has been downloaded 40 million times. In her recent New Yorker article on the evolution of podcasts, Rebecca Mead notes that, since its début in 2014, the first season of Serial has been downloaded two hundred and forty million times.

As more companies decide that audiobooks and podcasts are the holy grail, there’s a danger that the two forms will clutter their own industry and cannibalize the other.  But, as the Podglomerate’s Jeff Umbro says, there’s plenty of upside still to come.“There are enough big players putting their money and resources into audio,” he says. “They wouldn’t be there if it weren’t working.”


Stats whose source is not otherwise identified come from Edison Research.

Top 5 Publishing Articles/Blog Posts of the Week 11/5-11/9

Red Number 5Every week, we recommend 5 publishing articles/blog posts that supplement the major news for the week. Whether data or industry commentary, we hope these 5 links will be a simple way to keep you in the know.

HarperCollins had a 42% profit bump last quarter.

How can architecture publishing respond to the digital world?

What do the midterms mean for next year’s political titles?

If WH Smith doesn’t buy Barnes & Noble, who will?

Are academic journals best regulated by academia itself?

People Round-Up, Early November 2018


Simon & Schuster announced the 2019/2020 launch of a new imprint, Avid Reader Press. Jofie Ferrari-Adler and Ben Loehnen will serve as, respectively, VP, Publisher and VP, Editor-in-Chief; both are currently Executive Editors at S&S’s flagship imprint. Julianna Haubner is moving over from the Simon & Schuster imprint as Associate Editor.

As previously reported, Touchstone will be eliminated at the end of this year and its staff will be integrated with Atria and Gallery. Moving to Atria are Executive Editor Matthew Benjamin, Associate Editor Kaitlin Olson, Executive Editor Trish Todd, Associate Director of Publicity Shida Carr, and Marketing Coordinator Isabel DaSilva. Moving to Gallery are Senior Editor Cara Bedick, Executive Editor Lauren Spiegel, Assistant Editor Rebecca Strobel, Assistant Director of Publicity Jessica Roth, and Associate Publicist Sydney Morris. Brian Belfiglio, presently Director of Publicity for both Touchstone and Scribner, will focus exclusively on Scribner. Associate Publisher Meredith Vilarello will manage Touchstone’s backlist. As a result of the restructuring, Senior Art Director Cherlynne Li has left the company. Adene Corns, presently VP, Director, Warehouse Book Sales, will retire from S&S on January 30, 2019. She joined the company in 1994. At Simon & Schuster Children’s, Rebecca Syracuse joins as Designer, Atheneum, McElderry Books, and Beach Lane Books, having worked most recently as Associate Designer at Macmillan Children’s. Also joining the same three lines is Karyn Lee, Junior Designer. Gabrielle Chang joins as Junior Designer for Simon Spotlight and Little Simon. Laura Eckes is now Designer for Simon Pulse; she was previously Design Assistant at HarperCollins.

F+W Media has established a new standalone books group with Heidi Sachner joining as Head of Books. Most recently she was VP, Two Rivers Distribution at the Ingram Content Group. As part of this expansion, Pam Wissman has been promoted to Executive Director and Greg Nock has been promoted to Production Director.

Laura Ferguson joins Open Road as SVP of Business Development. She managed new business development at Time, Inc. SVP and Publisher Jon Fine is leaving his position November 15 to join National Enquirer parent company American Media as Deputy Counsel. Philip Rappaport, who had been Acting Publisher prior to Fine’s hiring, will take over that role.

At Pearson, Deirdre Latour has been hired as Chief Corporate Affairs Officer, beginning January 1. She spent the last fourteen years at General Electric, most recently as Chief Communications Officer and Senior Advisor to the CEO.

At Hachette Book Group, Adam Guerriero has joined as VP, Pricing. He was most recently Director of Pricing Analytics at Macy’s.

Tara Parsons has joined HarperOne as Associate Publisher, Amistad, Harper Español, and International Fiction. She was previously Editor-in-Chief at Touchstone. At Ecco, Caitlin Mulrooney-Lyski joins as Director of Publicity, having worked most recently as Deputy Director of Publicity at Grand Central.

At Tom Doherty Associates: Sarah Reidy will join as Executive Director of Publicity on November 19, having previously worked as Associate Director of Publicity. Anthony Parisi, formerly Senior Marketing Manager at Simon & Schuster, joins as Associate Director, Tor Teen, Starscape, and School & Library Marketing. Isa Caban joins as Marketing Manager for the same divisions; she was previously YA Associate Marketing Manager at Scholastic. And Zakiya Jamal joins the company as Digital Marketing Assistant, Tor, Forge, Tor Teen, and Starscape. At Macmillan Children’s, Katie Quinn joins as Marketing Manager. Most recently she was Publicist at Penguin Children’s. Nikki Barnhart has joined Farrar, Straus & Giroux as Assistant Marketing Manager, leaving her previous position as Copy Coordinator at Simon & Schuster.

Alice Quinn will leave her position as Executive Director of the Poetry Society of America next June.

In agency news…Rex Ogle joins Aevitas Creative Management as Director of Book Packaging & Story Development. Previously he was Senior Editor at Little, Brown Children’s. Amy Stapp has joined Wolfson Literary Agency as Agent, moving over from her previous role as Editor with Tor. Rob Kirkpatrick has launched his own agency, Kirkpatrick Literary. He was Agent with The Stuart Agency.

At OverDrive, Paul Davighi joins as UK Country Manager. Previously he was Sales and Marketing Director at I.B. Tauris.

M’Bilia Meekers has joined the University of Washington Press as Publicity Manager. Previously she was Publicist and Copywriter at LSU Press. Also joining is Julie Fergus, formerly Associate Marketing Manager at Routledge, now serving as Exhibits and Direct Marketing Manager.

Hayley Kamin joins the American Psychological Association as Content Development Manager, APA Style.

Dan Gerstle will move to Liveright as Senior Editor on November 12. He has been Acquiring Editor for Basic Books since 2013.

At Sourcebooks, Eliza Swift has joined as Senior Editor, Fire and Jabberwocky. She was most recently Editor at Albert WhitmanStephanie Levasseur joins as Sales Account Manager, having previously worked as Sales Account Representative at ReaderLink. Margaret Kelly has joined as Customer Service Manager.

Tessa Meischeid joins Penguin Children’s as Senior Publicist; she was previously Associate Publicist at Abrams Children’s.

At Columbia University Press, Miranda Martin has joined as Editor for Life and Physical Sciences, replacing Patrick Fitzgerald, who retired in June. She was previously Assistant Editor, Linguistics and assisted on the life sciences list at the University of Chicago Press.

Jenny Florence, previously Editor at Princeton Architectural Press, joins The Monacelli Press as Editor, Design, Interior Design, Gardening, Lifestyle, and Fine Art.

At Chronicle Books, Jon Glick joins as Senior Designer, Entertainment, a position he previously held at Insight Editions. Julia Marvel joins as Designer, Children’s; she was previously Associate Designer at Abrams. Also joining are Patrick Rafanan, now Marketing Photography and Visual Content Coordinator, formerly Ecommerce Photographer at Randa Accessories, and Eva Avery, Assistant Editor for Mark Tauber’s new imprint. Avery was previously Editorial Assistant at HarperOne.

At Abrams, Steph Stillwell joins as Designer for Abrams Children’s and ComicArts, moving over from little bee.

Maria Mann joins Houghton Mifflin Harcourt as Publicity Associate. She previously held that title at Page Street Publishing.

Jessica Dartnell joins Holiday House as Sales Coordinator. Most recently she was Client Relations Assistant at Ingram Content Group.


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