Survey Results: Non-Work-Related Reading


As we noted in our original article, a lot of publishing people don’t have as much time as they’d like to read for fun because they’re too busy reading for work. “The work day never ends–‘so much to read’ is a blessing and a curse,” wrote one agent, while an editor described her heavy reading load as “too much of a good thing.”

Still, 34.3% of respondents find the time to read one or two non-work-related books a month. Here’s the rest of the breakdown:
0-1 non-work-related books: 17.4%
2-3: 22.4%
3-4: 13.1%
4-5: 3.2%
5+: 9.6%

Who are these champs who read at least 4 non-work-related books a month? Perhaps not surprisingly, 34.1% are agents and 25% are editors. They’d surely win a library summer-reading contest, if there were such a thing for adults.

Survey Results: When Is Happy Hour?

It’s Friday, and it’s been a hard week. If you’re going to happy hour with a publishing crowd after work today, expect lots of people to order red wine–the drink of choice for 35.8% of respondents. 16.7% prefer white. One respondent just loves “good delicious wine.” 5.3% go for vodka tonics, and 3.5% like Bud Light.

But many more do NOT like Bud Light. We’re sorry we didn’t give beer lovers more choices, and they called us out on it:

  • “Beer that isn’t Bud Light. Yeesh.”
  • “Any beer but Bud Light”
  • “Come on folks, a publishing survey without craft beers? We’re not all girls.”

Sorry. We’ll add microbrews to the list next year.

For now, what’s your favorite happy hour spot? Let us know in the comments.

Survey Results: Salary

How much money do you make? It’s a personal question, but we asked it, and most respondents answered. Here’s the salary breakdown:

  • 3.2% of respondents make less than $30,000.
  • 24.8% make $30,000-$50,000.
  • 13.9% make $50,000-$60,000.
  • 7.7% make $60,000-$70,000.
  • 8.3% make $70,000-$80,000.
  • 11.8% make $80,000-$100,000.
  • 14.7% make $100,000-$150,000.
  • 8.3% make $150,000-$200,000.
  • 7.4% make more than $250,000.

Publishers Weekly conducts its own salary survey every year; here are their 2008 results. hey found that the average man working in publishing made $103,822 in 2007, while the average woman made $64,742. PW notes that the highest jobs are in management, where more men work.

However, in our survey, 35.9% of the people making over $100,000 a year work in editorial.

When we asked the over $100,000 group what they should be making, 25% thought that their salary was about right. “Money is always tight, but my compensation seems fair,” wrote one respondent who makes $150,000-$200,000. “It’s a loaded question, but I’m well compensated by publishing standards,” wrote another respondent. And an editor making between $150,000 and $200,000 thought an “aggravation bonus” was in order.

At sites like Glassdoor.com, employees can anonymously report their salaries, as well as review their companies. Here are the results for Random House, McGraw-Hill, Scholastic, Houghton Mifflin Harcourt, Rodale, HarperCollins, and Wiley. The site is free, but to see the reviews or numbers, you have to (anonymously) post.

Give Me More

I’ve posted an expanded version of Rich Kelley’s article from the October issue, “Battling the Online Tyranny of ‘More,'” on our Web site. Check it out here:
http://pubtrends.wpenginepowered.com/copy/08/0810/0810tyranny.html

Survey Results: How Did You Get Your Job?

Want to get into publishing? A lot of people say it’s all about who you know–and the results of our survey support that belief. 35.5% of respondents heard about their current job via word of mouth. 9.6% found their position on the job board of a Web site like Publishers Marketplace, and 6% were recruited.

How did respondents hear about their first publishing job? Again, the main way is word of mouth, for 33.4%. But 18.1% of respondents got their first job through a newspaper listing. (When was the last time you saw a publishing job listed in the New York Times?)

“I sent out many letters, and a few publishers responded,” an editor at a large house told us. “This was 30+ years ago!”

Several respondents also told us that they got their first publishing positions through employment agencies, like the Lynne Palmer Agency and “Career Blazers Agency.” We know that the Lynne Palmer Agency still exists and are curious about whether it still works with those seeking entry-level jobs. Publishing newbies out there, did you consider a career agency when you were looking for your job And publishing vets, do you work with any career agencies or have you ever used one? Let us know in the comments.

Publishing Trends Announces Results of Second Annual Industry Survey

Wondering how much your publishing coworkers make, or how they take their coffee? We got tons of interesting answers in our second annual publishing industry survey, and couldn’t fit them all into our feature article in the October issue of Publishing Trends. So we’ll be posting additional results throughout this month. Stay tuned!

Battling the Online Tyranny of “More” at MIXX 2008

PT thanks New York–based marketing consultant Rich Kelley for his reporting.

“What we have today is the tyranny of more,” warned Mike Linton, CMO of eBay. “More choices, more technology, more competition, more alliances, more complexity, more risk.” “The Internet is run on love,” mused Clay Shirky, author of Here Comes Everybody: The Power of Organizing Without Organizations. “The motivation is social, not economic.” Marketers and Internet pundits exchanged insights on how people behave online—and how marketers are responding—at MIXX 2008, the Interactive Advertising Bureau’s annual two-day celebration of interactive marketing excellence.

“Don’t confuse an explosion of usage with an explosion of revenue,” Linton cautioned. “Rely on proven tools—the traditional ‘Ready, Aim, Fire’ methodology—to deliver dependable ROI…But sometimes you just have to go for it.” At that point “Ready, Fire, Aim” may be what’s called for. “Experience can sometimes be better than planning,” Linton advised, provided you can remain objective, “kill your own mistakes” and follow “the 70% rule—test if it’s within 70% of where it should be.”

Global Moms

What are moms doing on the Internet? OMD, Platform A, and Ipsos collaborated on a quantitative survey of some 2,300 mothers in 13 countries. One of their findings won’t surprise anyone: the average mom lives in “double-time,” accomplishing 27 hours of work in 16 waking hours—but she does spend 2.6 hours on the Internet every day. 70% of mothers in the U.S. are on the Internet (compared with only 9% in India)—and worldwide, 60% of mothers consider the Internet their “lifeline to the outside world” (this gets as high as 80% in Mexico, and as low as 24% in France). Most intriguing, 62% of moms worldwide co-use the Internet with their children at least once a week.

Is Search Overvalued?

Do you use search now for what you used to bookmark?  If so, you’re part of a trend. Young-Bean Song of Microsoft’s Atlas Institute shared results of a July 2008 study that found that 71% of search clicks are navigational—repeat visitors using search to find their way back to a site. Only 29% of search clickers were first-time visitors. Should search get all the credit for a sale just because it’s the last click? Would you attribute all the sales of Corona in a bar to the neon sign outside? If not, then why, asked Song, do we attribute sales online to the last link clicked? Atlas Institute has developed methodology they call “engagement mapping” that scores the other elements that are usually undercounted in generating a sale: recency and frequency of views of related display ads, ad sizes, ad formats, time of day viewed. He cited an ALLTEL case study in which 60% of revenue attributed to search was reassigned to display after an engagement mapping analysis. In a separate study, Atlas found that sponsored search clickers were 22% more likely to convert if they were also exposed to display ads from the same advertiser.

As if in response, Oliver Deighton, a Google rep, explained how advertisers deploying Google content campaigns in AdWords could now opt for a “Virtual CPA” model rather than the traditional CPM or CPC. You still pay on a CPC basis, but the cost of the campaign is organized around how many conversions occur at the targeted CPA.

Getting Engaged

Examples of engagement tools abounded at the conference. Adgregate showed an e-commerce widget that enables a visitor to complete a purchase transaction without ever leaving the page. Innovid showcased a clickable 3-D virtual item you can place inside a video. The virtual object is mapped to its surroundings so that when the camera angle changes so does the object—yet it can interact if clicked.

Ever wanted to be an M&M? Andrew Robertson, chairman and CEO of BBDO Worldwide, offered a sampling of BBDO’s award-winning M&M campaign: “Become an M&M.” Visitors to www.mms.com/us/becomeanmm/ can personalize and even animate their own M&M in a SimCity-like environment.

Keen to create your own superhero? Kaltura showed a video tool that enables fans to create their own Heroes character—one of many technologies that enabled Tim Kringe, the creator/executive producer of the TV hit Heroes, to realize his vision of “transmedia.” From the start, Kringe conceived of Heroes as a cross-platform universe with intersecting storylines. Characters can originate in a graphic novel or online and then appear in the TV series. A fan must become immersed in multiple media in order to follow the complete storyline—and fans are encouraged to create and submit their own characters, some of whom have been adopted.

Looking for the ultimate online photobook? Andrew Blau, SVP and GM of Time Inc. Interactive, announced the relaunch of Life Magazine in an online collaboration with Getty Images. Starting in February 2009, visitors will be able to browse through some 6 million photos online—and the total is slated to rise to 15 million images from the Life archives, and only 3% of them ever appeared in print. Photobook makers will be able to create a life timeline that juxtaposes images from Life alongside their own photos.

Sharing photos represents what Shirky calls the first rung on the ladder of social activates made easier by today’s social tools. In “Inventing: The Spontaneous Organization,” one of the conference’s best-attended sessions, Shirky was grilled by Charlie Rose for 40 minutes. The ladder’s next rungs, collaboration (think Wikipedia) and collective action, require increasing levels of time and commitment but have already begun to reshape society in dramatic ways. “Wikipedia is not a product,” Shirky noted. “It’s a process. If people stopped tending to it, it would cease to exist within a week.” As an example of collective action, Shirky cited the walkout of 40,000 students in Los Angeles in 2006 to protest the school system’s anti-immigration policy—the entire protest had been “organized” in less than 48 hours through Facebook and SMS messages.

To market in this space marketers must understand that the social fabric is already there—people already have a way of doing things. Marketers need to listen. The number of peer to peer conversations is increasing but it has its downside. One popular teen forum had to be shut down because, in the words of one anonymous spokesperson, “we couldn’t get the anorexics to shut up.”  And no marketer wants to be viewed as sponsoring an unhealthy lifestyle.

Turkish Delight?

For Turkey, whose publishing past is inextricably linked with controversy, being the Guest of Honor at Frankfurt Book Fair is a unique opportunity. Rather than defending itself and its authors against the historically restrictive government, Frankfurt is a chance for Turkey’s literary community to present a united cultural front on the international stage. Fittingly, Nobel prize–winning author Orhan Pamuk, the figure who possibly best embodies the intersection of Turkish literature and its litigious history, will deliver opening remarks on “Turkey in all its colors.”

Echoing this heads-on approach to the sensitive subject matter at hand, Coordinator of the Turkish presentation, Dr. Ahmet Ari, says that the program will not only focus on Turkish literature, but also provide a forum for discussing political issues (censorship, unfair treatment of ethnic minorities, etc.). And with nearly 250 events on the cultural program and 350 Turkish authors and translators set to attend, there should be plenty of opportunities for fair-goers to delve into both.

But will they? Alas, there’s the catch. Although Turkish forces have worked hard this past year to embrace the fair as a chance to revise and clarify the perceived “otherness” that shrouds Turkey in most Western readers’—and publishers’—minds (one of the most publicized events at the fair is an International Symposium entitled “Imaginary East, Imaginary West”), it’s still questionable whether these efforts will be rewarded.

As of now, the Turkish titles that do make waves overseas are those that have been thoroughly vetted (not to mention translated) by other countries first. Harcourt Associate Editor Sal Robinson says, “We don’t see many Turkish titles, and what we do see usually comes through France, either directly from a publisher or from the French Publishers Agency. I’ve [been] asked to consider a couple of Turkish books from Saqi Books in the UK, but otherwise we’ve probably gotten just two to three Turkish titles yearly for the past five years.” At a time when authors Pamuk and Elif Shafak, author of The Bastard of Istanbul (Penguin, 2007) have both been charged with denigrating “Turkishness,” and books like Sherry Jones’s The Jewel of Medina incite protest and even actual acts of violence, this conservative approach is understandable.

Although Turkey’s democratic record may have improved in some ways, there are still issues that have not yet been resolved. Hikmet Altınkaynak of Onk Agency, a Turkish literary agency, quoted a report entitled “The Freedom of Publishing” presented by the Association of Publishers in Turkey as saying, “In the first half of the year 2008, problems connected to freedom of thought and publishing continued, although less in the book publishing field. However, the confiscation of books awaiting a court verdict has recently been noted.”

That’s not to say, however, that there isn’t hope for Turkish-U.S. traffic. Marcella Berger, VP Director of Sub Rights at Simon & Schuster, said, “It does appear that we are selling more and varied books than in the past—even some lighthearted books.”

And as for imports, Robinson went on to say, “I definitely get the feeling that interest in Turkish literature has been heightened by the Frankfurt ’08 plans, though—I hear more about Turkish authors than I did in the past in general, and German publishing houses have pitched a number of Turkish-German authors to us over the past year.”

Home to the largest Turkish population outside of Turkey for the past few centuries, Germany is no stranger to playing host to the Turkish community. In fact, the countries’ fused literary histories will be one of the topics explored throughout the program, which will overall have a large focus on the diversity of both the Turkey and the literature it breeds. Muge Gursoty Sokmen, co-chair of the Organizing Committee, remarks, “We should be grateful for the historical legacy of cultural diversity in Turkey. It deserves greater respect.”

To evaluate this legacy and perhaps inspire the respect (and deals!) that Sokmen suggests, this month PT presents a few Turkish titles as a sneak peek into what you may find at Frankfurt.

Locally renowned author İhsan Oktay Anar’s fifth and latest novel, The Silent Ones, is a fantastic yet historical tale of one man’s quest for immortality, set in Constantinople before it was Istanbul. Anar weaves a fictional cast of characters into the fabric of a real past. Already said to be multiplying the number of his enthusiastic cult following, Anar infuses humor into the tale of a composer, Pereveli İskender Efendi, and his companion, a twelve-fingered dwarf known as Alessandro Perevelli, who find themselves captured by pirates and sold at a slave market. Efendi’s luck seems to be changing when he falls for Neva, the object of his master’s affection, but when he attempts to win her over with music things only get more complicated, as the tune he composes also serves to wake the dead.

As far as undiscovered contemporary Turkish talent goes, it seems that İhsan Oktay Anar may be the jackpot. Known to have the largest cult following in the country, his five novels have inspired a devoted collection of fans both in Turkey, as well as in France and Germany. Agent Amy Spangler of the Anatolia Lit Agency says it can be described as “Ottoman Pirates of the Caribbean meets Dante’s Inferno.” For more rights information, contact Spangler at amy [at] anatolialit.com.

In his novel Sons and Suffering Souls, Alper Canıgüz makes the familiar seem strange by adopting the perspective of a five-year-old. Part philosopher and part smart ass, Canıgüz invents a narrator with a compellingly unique voice and worldview. Set in an ordinary neighborhood and surrounded by a typical family, the mysteries and fantasies he embarks upon seem more dramatic the protagonist and readers alike.

Born in Istanbul, Canıgüz was a prodigy himself, completing his first novel Sweet Dreams by the age of thirty. Now, with Sons and Suffering Souls drawing even more critical and popular acclaim than his debut, it seems Canıgüz has cemented his reputation as a force to be reckoned with on the Turkish literary scene. Turkish critic Vatan Kitap says, “Alper Canıgüz displays an exquisite performance, playing by all the rules of the mystery novel while poking fun at the genre itself by making a five-year-old boy his detective.” Contact Spangler for rights information.

Our final title, a political thriller, hits a little closer to the topic du jour. Tol: A Novel of Revenge, the literary debut of Murat Uyurkulak, tells the story of a poet and a political activist as they embark on a long train journey that forces them to confront history, society, and themselves. Surrounded by the constant terrorism that wreaks havoc throughout the country, as the two defeated characters head toward their final destination it becomes increasingly clear that a revolution is inevitable. This shift is reflected by the book’s language itself as Uyurkulak breaks the rules of syntax, semantics, and vocabulary right along with the chains of oppression. Familiar with rebelling against authoritative institutions, Uyurkulak was a university dropout before he became a published author. Tol has received wide critical acclaim, been adapted for the theater, and established Uyurkulak as a new and powerful voice in contemporary Turkish literature. For rights information, contact Metis Books (rights@metisbooks.com).

And in a twist: Raffaella De Angelis, who handles foreign rights for the William Morris Agency, was most enthusiastic about the prospects for Gardens of Water by Alan Drew.  A first novel published by Random House earlier this year, it concerns a romantic relationship between the teenage daughter of a  Muslim Kurd and the equally teenaged son of a Christian American aid worker in Istanbul.  They are literally thrown together during an earthquake in Istanbul.

When they are unable to overcome the objections of her father, predictably, disaster strikes.  Translation rights have been sold in over 20 countries, but not Turkey, and De Angelis is very enthusiastic about future translation prospects.  The author has been invited to attend Frankfurt this year by his German publisher, Droemer Knaur,  and maybe his presence  will pull in a Turkish translation deal.  Early thoughts on why this has not happened yet revolve around the issue of the heroine, a Kurd who is from a very conservative Muslim family.

Second Annual Publishing Industry Survey

It’s polling season, and PT’s not exempt! This year, 385 people who work in publishing took our survey; 86.5% completed it. The largest group of respondents were literary agents (26.8%), while the majority of respondents at publishing houses work in editorial (40.6%), followed by rights (6.3%) and sales (5.7%). 10% are 22–27, 25% are 28–35, 27% are 36–45, 24% are 46–55, 14% are 56–65, and a few are above 66. Now, let’s get on to the good stuff. (We couldn’t fit it all here—for your colleagues’ drink choices, favorite books, and more, check out our blog.)

AN ABIDING OBSESSION WITH COFFEE

49.3% of respondents say that their favorite part of working in the publishing industry is the satisfaction they get from an intellectual challenge. 28.2% say their favorite part of their job is their contribution to literary/intellectual culture, and 13.9% say their favorite thing about their job is working with like-minded people. Other favorite things about working with books: “the variety, creativity, and entrepreneurship” and “the excitement of digital opportunities.” One enthusiastic respondent’s favorite thing about working in publishing is “Books. All books, all the time. Talking about books, reading books, holding books, and at the end of the day the pleasure of knowing that I can hold my work in my hand and say ‘I did this!’” But another answered the question “What’s your favorite part of working in the publishing industry?” with “Lately, nothing.”

Favorite job perks? Many mentioned free travel (“OK, it’s work too, but hey, it’s London/Frankfurt/ Beijing.” “I’m an acquisitions editor for witchcraft and magic, so my favorite perk is going to pagan festivals and conferences! The people are wonderful and the energy is amazing!”) and free books (although one respondent wrote, “We don’t actually have any perks. We used to get free books, but they just took away that perk in the last month.”) There’s also the office-provided technology: “MacBook Pro (allows me to work wherever),” “MacBook Air,” “laptop and Treo.” A couple people get to bring their dogs to work on Fridays, and one wrote, “I bring my 10-month-old black Lab to work every day!” Caffeine: “A beautiful Francis Francis espresso machine and a monthly subscription for coffee pods—no Starbucks!” “discounted coffee,” “Our office is close to a Peet’s,” “free half-and-half.” A presumed expense-account luncher loves “the tuna burger at the Union Square Café.” Culture-lovers enjoy “free museum passes, “tix to MOMA,” and “tickets to Disney World.” And there are also less tangible benefits: “Is having an assistant a perk? It feels like it to me!” “Our War and Peace book club.” “Constant adult education.” “Sleeping with smart, hot female authors.”

A few respondents agreed with the one who wrote, “This job doesn’t have perks. Are you kidding?” And one combined the love of coffee with the gripe: “Perk? We use drip, or on special days, French press.”

While a few respondents love everything about their jobs, for most, flexible hours and free coffee don’t always make up for the low compensation or heavy workload. Agents in particular cited their massive workload as their least favorite part of their job (which may be why our survey was a welcome respite): “I am NEVER caught up with my work or my reading.” “‘So much to read’ is a blessing and a curse.” “The catch-22 of the business is that you get into it because you love books, but then you never read any real book because you’re too busy reading manuscripts.”

AN INDUSTRY UNDER SIEGE?

A recent New York magazine article entitled “The End” proclaimed darkly that “[t]he book business as we know it will not be living happily ever after.” Whether or not that’s true, the “current state of unease pervading the book business,” as one editor put it, was apparent in respondents’ write-in answers to the question, “What is your least favorite part of your job?” “I feel like books are a dying commodity. I wish more people read,” writes an agent. Another respondent dislikes “the bad shape of the decades-old and broken model.” And a publicist wishes books weren’t “considered the bastard stepchild when it comes to media coverage.”

The financial crisis has made many respondents uneasy: 81.5% think publishing jobs in general are less secure than they were a year ago, while 33.5% think their own job is less secure. 15.3% have seen 3-5 of their colleagues get laid off in the past year, and 6.7% watched 10 or more get laid off. 28.2% have had to lay someone off themselves. (Think that question doesn’t apply to the self-employed? “Sometimes I fire myself, just to keep me on my toes,” writes an agent.)

23.7% of respondents’ companies have enacted hiring freezes, and 13.2% saw their bonuses decrease this year. “Raise increases have been reduced,” writes someone who works in marketing. “It’s hard to motivate people who give it their all only to have a 2% max increase.” Other cost-cutting measures include “having in-house people do the work we used to outsource without raising their salaries,” “smaller print runs,” “claustrophobic expense control,” “hiring non-publishing executives,” “no raises for higher-paid employees,” “changed insurance coverage,” and “offering extra paid vacation time rather than raises.”

One editor mentioned “frustration with publishing’s extremely slow entrance into the online/tech world,” and 17.9% think that’s the main threat facing the industry. One respondent describes it as a “bovine response,” while a publisher bemoans a “failure to take advantage of opportunities that publishing creates.”

There’s “an inability to abandon a dysfunctional business model, coupled with absurd growth demands on the part of corporate investors,” writes a literary scout, “not to mention an uneducated public.” “Publishing companies are being run by corporations that expect pharmaceutical-industry rates of return on capital, and can’t seem to realize, even after forty years of corporate ownership of publishing companies, that this business doesn’t work that way,” writes a respondent who works in marketing at a very large company. “The business and publishing strategies that flow from that essential disconnect are the perennial largest problem in publishing.”

Other responses: “high advances in an effort to create buzz for books that can’t ultimately earn out,” “slavery to the top booksellers,” “the antiquated distribution system and returns,” and “too many average books.” Oh, and “know-nothing Republicans.”

An editor at a large house offers advice for the future: “[We are] not thinking outside the box enough with regards to content. We should be thinking about reaching new readers. Think back to how the NASCAR market proved to be a new reading audience—what’s the other subculture out there that publishing should tap into?”

THE FUTURE OF TECHNOLOGY…

Though 13.8% of respondents say that the biggest threat facing the industry is online competition, that’s also the main source of publishing news for 47.7% of them, particularly sites like Publishers Lunch. “Publishers Weekly is worthless,” writes a scout. 54.3% of respondents read book and media blogs regularly, up from 31.7% last year (and 10.5% are bloggers themselves). But so far, this tech savvy doesn’t extend to eBooks—70.7% of respondents have never read one. Of those who do read eBooks, so far the Sony Reader is beating the Kindle (17.4% own the former; 11.5% own the latter.) Perhaps next year, more people will agree with the executive who wrote, “I pretty much only read eBooks now.” And they might be reading them on their iPhones—10% of respondents own one, while 45.8% “really want one.”

…AND THE FUTURE OF OUR NATION

So where do we go from here? 14.2% of respondents are fairly happy where they are—they hope to be running the company in five years. Others hope to be agenting (12.9%) or in digital media (6.8%). (Also, “Banff would be ideal.”) And 28% of respondents answered, “I don’t know yet. . . . it depends on how the election goes” (an answer that beat out even San Francisco!) They might feel heartened to hear that many of their own colleagues still believe that books, not just government, can make a difference. Take, for instance, the editor who wrote that her favorite part of working in publishing is the opportunity to “change the world for the better.”

Just in case books can’t do it all, though . . . 86% of respondents are voting for Barack Obama in November.

Book View, October 2008

PEOPLE

Little, Brown editor Reagan Arthur has received her own imprint, Reagan Arthur Books. Arthur’s title will be VP, Editorial Director, and she will continue to report to Geoff Shandler. The imprint’s first books will be published in Fall 2009.

Nancy Hancock has joined HarperOne as Executive Editor, reporting directly to Mickey Maudlin. Hancock was most recently the Executive Editor of Rodale.

Dick Robinson announced that Seth Radwell has decided to leave Scholastic following the sale of Scholastic at Home this past summer. He has served as President of eScholastic since joining the company in 2005.

Andrea Glickson has been named Director of Publicity and Marketing at Octopus USA, reporting to Jonathan Stolper. She was at Watson-Guptill.

Biagio Vignolo has been hired as CFO of Perseus Books Group. He was most recently at Topps. Tom Allen will continue on in a consulting role. Matthew Lore has resigned from his position as VP Executive Editor at Da Capo Press/Da Capo Lifelong books. He may be reached at matthew.lore.email [at] gmail.com. David Ouimet is returning to PGW as Director of National Accounts after two years at FSG. He will work from NYC, reporting to Sales VP Kim Wylie. Tim Sullivan has gone to Basic Books as Executive Editor. He was a senior editor at Portfolio/Penguin. Claudia Dizenzo has been named Publicity Manager at Basic Books. She was at Oxford University Press.

Markus Dohle announced the departure of Ed Volini as Deputy Chairman and COO at Random House. The positions of Deputy Chairman and COO will not continue. Hays Steilberg, VP, Director, HR, “has accepted an opportunity from our Human Resources colleagues in Bertelsmann’s corporate center.” Frank Steinert has taken over as SVP, HR, for Random House in the U.S. He comes from Bertelsmann’s Arvato. Robin Sutton, VP, Director, HR, reports to Steinert.

Ron Longe has joined Media Masters Publicity, which specializes in children’s books and graphic novels, as Account Director. He was Publicity Director at Workman/Artisan. He may be reached at ron [at] mmpublicity.com….Michelle Blankenship will join Bloomsbury as Associate Director of Publicity on October 13. She was Director of Publicity at Harcourt.

Beau Friedlander has joined Air America Media as its website EIC. He was most recently at Chelsea Green and Abrams Image. He may be reached at bfriedlander [at] airamerica.com.

Christine Aronson has been hired as Director of Publicity and Marketing at Dutton, reporting to Brian Tart. She was formerly Publicity Director for Crown. EIC Trena Keating is moving to Endeavor as an agent in the NY office with Richard Abate. Keating joined Penguin in 2001 as EIC and later Associate Publisher of Plume, and moved over to Dutton in 2006.

Pamela Clements has joined Hachette Book Group as Associate Publisher of Marketing for Center Street and Faith Words, focusing on publicity and promotions. She spent 16 years at Thomas Nelson, most recently as Publisher of the general interest & lifestyle division.

S&S has launched an in-house digital media studio to record and edit author interviews, headed by Charlie Corts, Director, Video Production and Development. Corts was previously in digital production at Yahoo! and CBS Interactive.

Mary McAveney has left S&S to become Director of Strategic Partnerships at Smilebox, a creative messaging photo-sharing service. She will develop partnerships with women’s media companies and brands; partners include Hallmark, Corel, and drugstore.com. Reach her at (718) 855-7347 or mary.mcaveney [at] gmail.com.

Parragon has hired Edward Benitez from Perseus as Sales Director for Latin America, domestic Spanish language sales, and special markets. Paul Kolkka is now Sales Manager for Mass and Discount Markets. He was National Sales Director for Playmore.

On the West Coast, Chronicle has hired Emily Haynes as Editor, specializing in pop culture, humor, and media tie-ins. She was at Plume….Helena Brantley has been named Associate Director of Publicity and Promotion at Nolo Press. She was Associate Director of Publicity at HarperOne, which has hired Julie Burton for that position. Burton comes from MacAdam/Cage, where she was Director of Publicity. Leslie Davisson joined the group as Publicity Manager from Chronicle. Kathleen Spinelli has been hired as Publisher of Custom Packaging at Walter Foster and will work from their new offices in Irvine, CA. E-mail kathleen [at] walterfoster.com. Rachel Geerlings has been named Product Manager at Silver Dolphin. She was Marketing Associate at Harcourt. Finally, Regan McMahon, who took over as book editor at the San Francisco Chronicle when Oscar Villalon took a buyout, is also leaving.

Melville House has hired Daniel O’Connor for the new position of Managing Editor. He spent ten years at Thunder’s Mouth. With Neil Ortenberg, he just co-produced and co-directed the documentary Obscene, a look at the life and work of Grove Press founder Barney Rosset. Clara Heyworth has been hired to head its publicity department. She has relocated to New York from the UK, where she was at Verso.

Sheryl Stebbins is joining Author Solutions in the new role of Director of Author Marketing Services. She was most recently at Random House.

Nancy Clements has been named Executive Managing Editor for the Collins imprints. She was most recently at Knopf and Holt.

Karen Rice has joined Houghton Mifflin Harcourt’s Trade & Reference division as Senior Marketing Manager for adult books in the New York office. She has been at Random House, most recently as National Account Manager, Baker & Taylor for Knopf and Crown.

In children’s: Stephanie Lurie is leaving Dutton, where she was President and Publisher of the Children’s group, to become Editorial Director of the Disney-Hyperion Books imprint in late October….Francesco Sedita has been named VP and Publisher of Grosset & Dunlap and Price, Stern Sloan, reporting to Don Weisberg, President, Penguin Young Readers Group. Sedita was most recently Executive Creative Director at Scholastic. Nadine Topalian has been promoted to the role of VP, Associate Publisher of Grosset & Dunlap and PSS and Associate Publisher of Frederick Warne in the U.S. She reports to Sedita.

Agent Michelle Andelman has left the Andrea Brown Literary Agency to join Franklin & Siegal as a children’s scout. Her e-mail is michelle [at] fsainc.com….Dan Ambrosio has left Vigliano Associates to join Wiley as an Editor.

Tim Brazier has joined Kaplan Publishing as Publicity Director. He was Publicity Manager at Basic Books. Brett Sandusky has joined Kaplan as Marketing Manager. He was at Shared Marketing Services.

PROMOTIONS AND INTERNAL CHANGES

In a move that puts Avery under Bill Shinker’s Gotham imprint, Lisa Johnson has been named VP Associate Publisher of both imprints and will head the publicity and marketing department. Lauren Marino runs the Gotham editorial group as VP, Editorial Director, and Avery Publisher Megan Newman becomes Avery VP, Editorial Director. All three report to Shinker.

At HarperCollins, Frank Albanese has been promoted to SVP, Supply Chain following the recent reorganization. He has been at Harper since 1994. At the HC Speakers Bureau, Jamie Brickhouse has been promoted to VP.

Lucia Macro has been promoted to VP, Executive Editor of Avon Books, where she has been for 11 years.

Derek Gullino has been promoted to Production Director for Potter, Potter Craft, and Potter Style.

Founder and President Jane Dystel and partner Miriam Goderich announced the promotions of agents Michael Bourret and Lauren Abramo to VP and Subsidiary Rights Director, respectively. And after a three-year stint in Cairo where she handled international rights sales for the American University in Cairo, agent Jessica Papin will rejoin the company.

Alysse Soll, formerly VP Marketing of the National Hockey League, has joined DC Comics as VP, Ad Sales & Custom Publishing.

Shanta Small has become Director of Publicity at Penguin Children’s. Most recently she headed marketing and publicity at Tarcher, after five years in publicity at RH Children’s. She takes over from Rhalee Hughes, who is starting her own PR and marketing firm.

Deborah Darrock has been named VP, Associate Publisher of Atria Books and Washington Square Press, reporting to Judith Curr. She moved over from the S&S imprint, where she was VP, Associate Publisher.

At HMH, Amanda Cook has been promoted to Executive Editor.

Andrew Hutchings has been appointed Blackwell Group CEO, with responsibility for Blackwell Book Services and Blackwell UK Ltd. He was CEO of Blackwell Book Services.

Allison Myers has been named Digital Content and Marketing Manager at Macmillan Audio.

At HarperOne, Cynthia DiTiberio has been promoted to Editor.

At Harlequin, Senior Editor Krista Stroever has assumed responsibility for the Silhouette Desire line.

Erika Imranyi has been promoted to editor at Dutton. She has been there since 2003.

At Hachette’s Orbit, Devi Pillai has been promoted to Senior Editor.

FOR FRANKFURT LOVERS

From Margaret Willes’s upcoming Reading Matters: Five Centuries of Acquiring Books (Yale University Press, 11/08), on the Frankfurt Book Fair:

Now it takes place in October, but in the sixteenth century it occurred twice a year, at Lent in spring and at Michelmas in autumn….The first week was spent buying and selling books and swapping the latest news, the second finalising and settling accounts, using Rhenish gold florins as the common currency or letters of credit and promissory notes, with credit being extended from fair to fair. There was even a special ‘Frankfurt rate’ organised between publishers as a special deal—a phenomenon still encountered by publishers at the modern Frankfurt Buchmesse….To have a book published at the time of the fair could be a great advantage. The sensation of the 1587 fair, for instance, was Fausten, which was translated into English in 1592 and became the basis for the play by Christopher Marlowe.”

UPCOMING EVENTS

CLMP’s annual Spelling Bee will take place on Monday, November 3 at Diane von Furstenberg’s studio. She will host the event. Contact jlependorf@clmp.org.

Esther Margolis, Founder and Publisher of Newmarket Press, will be honored with the New York Center for Independent Publishing’s Poor Richard Award at the Center’s Annual Benefit and Cocktail Reception. November 10, from 6 to 8 PM, at 20 W. 44th St.