People Roundup, September 2012

PEOPLE

Despite it being a huge vacation month for publishers (and the rest of the northern hemisphere), there were moves all over the industry:

Jennifer Hart announced that Kathryn Gordon is joining William Morrow’s marketing department as Director of Brand Development. Gordon was  most recently as the founder of The Book Hook, a branding firm and was the Director of Author Marketing at iUniverse, and earlier, Editorial Director of Simon & Schuster Online.

Babette Ross has joined Hachette Book Group as Associate Director in the client services department. Previously she was Director of Marketing at Kaplan and a consultant of digital marketing strategies.

The Christopher Little Agency has entered into a new affiliation with Curtis BrownThe Bookseller reported that Little will continue to operate independently, but Curtis Brown will now take responsibility for administering related contracts and selling clients’ translation rights.

Darin Sennett has joined Zola Books as Director of Bookseller Relations. He spent the past 17 years at Powell’s, where he helped build, manage and develop the store’s web presence and online retail operation.  Mary Ann Naples and Seale Ballenger recently joined the startup.

Some changes at Penguin:  Amber Qureshi, Executive Editor at Viking Penguin has left the company,  “destination to be announced.” Meanwhile, Sonya Cheuse, previously Publicity Manager at Viking Penguin has joined Grand Central as Associate Director of Publicity. Rebecca Hunt, most recently Associate Editor at Penguin, has joined Harlequin Nonfiction as Editor.

Francine Fialkoff will be leaving Library Journal after 15 years as Editor-in-Chief on September 1.

Julie Grau, Publisher Spiegel & Grau announced that Ryan Doherty joins the company as a Senior Editor.  He spent five years at Random House Publishing Group.

At Chronicle Books, Kim Burns has been named National Account Manager. She was most recently Director of Children’s Trade and Digital Marketing at Bloomsbury.

Michael Campbell has joined the University of Nevada Press as Marketing and Sales Manager. Previously he was Director of Business Development at becker&mayer!

Stacy Ashton has gone to McGraw Hill.  She was formerly VP, Director Sales and Marketing at Readers Digest.

Hallie Patterson has been named Senior Publicist at Little, Brown Books for Young Readers. Previously she was Senior Publicist at at HarperCollins Children’s. And Kristina Aven has joined Little, Brown Children’s as Publicist. She was at Penguin Children’s. Ann Dye will join Little, Brown as Associate Director, Brand Marketing for James Patterson. She was most recently a Marketing Manager at Disney Publishing Worldwide.  Flinn Gillan has joined the School & Library Marketing group as Marketing Assistant. Previously she was a Marketing Coordinator at Garland Science. 

Judi Powers has resigned as Director of Marketing and Publicity at Sterling Children’s Books. She can be reached at judi_powers@yahoo.com.

Melanie Cecka  has joined Knopf Children’s as Associate Publishing Director, reporting to VP Publishing Director Nancy Hinkel. Most recently she was Publishing Director at Bloomsbury Children’s.

Joan Lee is joining Houghton Mifflin Harcourt Children’s Book Group as Senior Marketing Manager. She was previously Marketing Manager at Hyperion Books.

Marie Kent has joined Free Press as Imprint Marketing Manager reporting to Marketing Director Nicole Judge.  She was previously in the School and Library Marketing Department of Penguin Young Readers Group.

Lisa Grubka joined  Fletcher & Company as an agent. She had been an agent at Foundry Literary + Media for the past four years.

Sally Feller has joined Tor as Senior Publicist. She was previously with Black Dog & Leventhal.

Christine Foye will join Simon & Schuster as Retail Account Manager for the Pacific Northwest territory. She was previously with Wilcher Associates. Read More »

Reading Adapt by Tim Harford: Your Secret Weapon? Failure.

PublishingTrends.com continues its regular column in which we review, explicate, and excerpt books that we think will resonate with people in the business of publishing and media. 

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Bemoaning the speed and amount of change she sees in the publishing industry (i.e., not enough), Suw Charman-Anderson urged publishers to read Adapt by Tim Harford in a recent Forbes article.  Adapt: Why Success Always Starts with Failure (US paperback, Picador, May 2012) doesn’t actually spend much time arguing that survival means change, assuming that as a given.  As indicated by the book’s subtitle, Harford, a popular columnist at the Financial Times, and author of the bestselling The Undercover Economist,  is interested is how change is tied to failure.

Adapt’s three guidelines for effective change are what Harford calls The Palchinsky Principles, after the Soviet engineer who advised Stalin on industrial projects: “First, seek out new ideas and try new things; second, do [this] on a scale where failure is survivable; third, seek out feedback and learn from your mistakes as you go along.” Harford finds that the biggest challenge is not failure itself, but the perverse lengths to which the human mind will go to ignore it. “We are” says Harford, “blinder than we think,”—and we will do everything we can to keep it that way.

By seeking out the new, the first Palchinsky Principle fosters a diverse environment—the crucial setting for Darwinian trial-and-error evolution. Decades of research with experts from a range of fields have demonstrated just how rarely “expert predictions” become reality, causing Harford to argue that an abundance of revolutionary ideas that are as different from each other as possible are the only way to hit on any real “game-changers.”

Read More »

A Literature of Their Own: Scottish Publishing & the Edinburgh International Book Festival

As dead as August is on the rest of the world’s cultural calendar, there might well be no more important month in Scotland. In addition to the Fringe Theater Festival, every August brings the Edinburgh International Book Festival (EIBF), this year running August 11-27. With over 800 authors and around a quarter of a million visitors annually, the EIBF claims to be “the largest public celebration of the written word in the world.” One of only three book festivals in the UK at its founding in 1983, it now shares the calendar with 300 such events every year.

Such a cosmopolitan event could easily gloss over anything distinctly “Scottish”, in much the same way that the worldwide fame of Alexander McCall Smith, Val McDermid, or JK Rowling tends to overshadow their Scottish identity. But EIBF PR Manager Frances Sutton says that the event planners “place Scottish writing at the heart of the Festival,” inviting“over 200 authors, poets, politicians and journalists who live and work in Scotland” every year.The Festival also gives special attention to Scottish writers just starting their careers:  events called Story Shops provide a (literal) platform for “unsigned new Edinburgh authors to present their work on stage” to prospective agents and publishers. Scottish publishers themselves are, of course, integrally part of UK publishing as a whole, and dependent upon that wider market. Nevertheless, “Back in 1974 a group of publishers saw that there was room for a smaller organization closer to home [than the UK Publishers Association],” says Marian Sinclair, Chief Executive of Publishing Scotland. She also points out that that because “the legal and educational systems differ in Scotland from the rest of the UK,” several Scottish textbook and professional publishers need support competing in “distinctive markets” that exist nowhere but “north of the border.” Publishing Scotland also maintains BooksFromScotland.com as a retail website for its members’ titles. While not all books sold are explicitly Scottish in subject, the site emphasizes all the books’ relationship to the country with interactive maps to places mentioned and authors’hometowns, and collections of titles related to different periods in Scottish history. Through its associated Amazon portal, the site has become an important direct-to-consumer export option, witha majority of customers in the US and Germany.

Read More »

Is an MBA “value added”? Ask the grads

While MBAs have long been thought of as a major advantage in the corporate job market, there have traditionally been relatively few in trade publishing.  But that has been changing in the last decade or so – beyond house heads such as HarperCollins’ Brian MurrayMacmillan’s John Sargeant, and Perseus’s David Steinberger who have theirs (Simon & Schuster’s Carolyn Reidy has a PhD), Random House’s four newly minted SVPs Milena Alberti, Amanda Close, Nihar Malaviya, and Nina von Moltke all have them.

For many who have sought their MBAs, especially if they have already started on their publishing careers, the most important goals are self-fulfillment and rounding out the experience they already have. “I was working in an editorial department and found myself growing more interested in the business end of publishing,” explained Literary Agent Robin Straus of Robin Straus Agency. “When I did a contract or a projected P&L on a title, I wanted to really understand the different elements in the publishing process and how they contributed to the eventual (hopeful) success to the bottom line…  I was an art history and English major in college and thought it would be useful and interesting to learn more about business.”

“Since college I kept a toe in the academic world by taking a few classes over the years,” said Sabrina McCarthy, President, Perseus Distribution Client Services who took a bigger step when she started NYU’s part time night program. “I had been working in sales for 6 years at that point and knew I wanted to go back to school and was looking for opportunities. Our CEO at the time recommended an MBA as a more useful degree than the one I was considering, a Masters in Organizational Development. I was ready to go back to school and was looking for the next step in my career. While I enjoyed sales, I knew it was not what I wanted to do long term.” In the midst of her degree she was promoted to Director of Business Development at PublicAffairs.

The idea of a career change was a major motivating factor for HarperCollins’ Director, Digital Business Development, Adam Silverman, who, prior to his MBA education, was his own boss as the co-owner of a record label. “Having only worked for myself for 8 years, I was interested in moving away from music… Getting an MBA was an opportunity to take a break and assess where the next opportunity was,” Silverman explained. “For me, there was a real value in getting an MBA for the corporate side of publishing. Especially coming from an entrepreneurial background and having no experience in a large corporation, the program was a real eye-opener culturally.”

Robin Straus agreed, “The publishing world is now a much more corporate environment than it was when I was in business school and if having the degree opens employment doors, wonderful, do it.” However, “There are still many subjective mysteries in this business that are not explained in an MBA classroom.  ‘Word of mouth,’ ‘taste in fiction,’ etc.” In fact, Susan Weinberg, Group Publisher for Basic Books, Nation Books, and PublicAffairs with Perseus, admits that while her MBA helped give her a “level of comfort with the numbers that would otherwise be hard to get in the analytical side of business,” she did admit, “Math in publishing is not that complicated.”

The knowledge of financials and business models in publishing is particularly applicable, however, in start-ups, away from the traditional publishing sphere. For Brendan Cahill, former VP and Publisher of Open Road and current President and CEO at Nature Share, an MBA represented an advantage in keeping up with the quickly-changing times. “When I was applying to programs, I saw a lot of changes in the media industries in magazines and newspapers in general, with search-driven news gathering, and in music with Napster and iTunes,” Cahill elaborated. “I saw that publishing was facing a similar transformational event. I did the full-time program and was deeply immersed in 21st century business, learning analytics, finance, strategy, marketing, and operations. All aspects of the program were vital, and I didn’t see myself coming back to publishing in the same capacity.” Read More »

Authors in the Biz

Conventional wisdom would suggest that authors who work in publishing would be the most critical as their insider knowledge allows them to judge the editing, selling and marketing capabilities of the house releasing their book. But in fact, what we discovered when we interviewed a number of people, is that these authors are among the most contented. Instead of hearing how there were no copies in this store or that store, or the publisher wasn’t supporting the book with ads and an author tour, we heard nothing but praise.

Is this because publishing authors know you catch more flies with honey than vinegar? Or is it that because they understand the challenges of publishing, they are more realistic?

For a majority of the authors we talked to, writing was something they had been doing long before starting their careers in publishing. For some, publication was a natural evolution from their current jobs. “I’ve been in publishing my entire adult life, and spent a good part of it at Franklin Spier, an ad agency catering to the book industry. I ended up being the creative partner there, so for many years I wrote about other peoples’ books,” explained Erin McHugh, bookseller for Barnes & Noble and author/co-author of over 20 books, including her upcoming One Good Deed (Abrams, Sep 2012). “After that, I spent a few years doing various things, finally deciding enough was enough — it was time for me to start trying to write my own books.”

For others, bringing their writing into a professional forum meant a tricky balance of making the most of their industry knowledge while not exploiting their contacts. “I really tried to be careful not to trade on my industry connections when I first started the process several years ago,” said Jennifer E. Smith, author of YA books including The Statistical Probability of Love at First Sight (Poppy, Jan 2012) and Senior Editor at Ballantine Books. “I was working at a literary agency at the time, but instead of approaching them, I sent out blind queries to several other agents.  After being offered representation elsewhere, I ultimately ended up staying at the agency where I worked, but all throughout the process, I wanted to be sure the book was being evaluated on its merits, and not because of who I knew in the industry.”

In fact, showing her debut novel to others in the industry proved especially nerve-wracking for Bronwen Hruska, Publisher of Soho Press and author of soon-to-be-published novel Accelerated (Pegasus Books, Oct 2012). “I have never been more nervous waiting for a read than when I sent the manuscript to Juris Jurjevics, who founded Soho Press with my mother in 1986. In addition to being a brilliant editor and novelist in his own right, he has no idea how to sugar coat … The idea of having total strangers read the book isn’t nearly as terrifying.” For Carole DeSanti, Editor at Large at Penguin and author of recently published The Unruly Passions of Eugenie R. (Houghton Mifflin Harcourt, Mar 2012), publishing peers and professional critics were the toughest crowd to face: “I clenched my jaw for weeks before the New York Times review ran, and narrowly avoided major dental work, I think….”

When experiencing the publishing process from the other side of the desk, many spoke of their willingness to embrace their role as authors. “As an editor, it’s really nice when you have an author that trusts the publisher, and so I try to do the same with my own books,” Jennifer E. Smith explained. “And it’s easier for me to step back a little bit, because I know what’s going on at each stage in the process, so I’m not wondering why I’m not hearing about something or what’s happening at any given moment.” Carole DeSanti agrees, adding, “It’s important to learn about your own ‘stress points,’ as an author, too, and be aware enough not to project them onto the publisher. Given my experience I tried to operate this way — not that I’m perfect!” John Donatich, Director of Yale University Press and author of recently acclaimed novel The Variations (Henry Holt, Feb 2012), had high praise for his editor: “My editor, Jack Macrae, was incredible, taking me through many drafts.  He was so “inside” the narrative that he would call me up and tell me things about my main character I didn’t know.  It was terrific fun to gossip about these made up characters with him.” Read More »

People Roundup, August 2012

PEOPLE

Director at Janklow & Nesbit Tina Bennett has joined William Morris Endeavor‘s literary division as a partner in the New York office. She was at J&N for seventeen years and joins Eric Simonoff, who left Janklow for WME in 2009.

Perseus Books Group’s VP Corporate Strategy & Business Development Clare Peeters, has left the company to join Axel Johnson Investments as VP, Managing Director.  With Peeters’ departure, Sabrina McCarthy has been promoted to the new position of President, Perseus Distribution Client Services and has taken on Argo Navis. Greg Anastas has been promoted to the new position of VP, Supply Chain & Sales Ops.

After thirty years with the company, President and Publisher of Viking Children’s Books Regina Hayes will relinquish that position, to become Editor-at-Large. Writers House Agent Ken Wright will take over as VP, Publisher of Viking Children’s on August 27, reporting to Penguin Children’s President Don Weisberg.

Brian Phair has rejoined Sterling Children’s as Managing Editor after stints at Watson Guptill and Potter Craft.

Kathy Smith, former SVP Sales Administration and Operations at HarperCollins is starting her own consulting business with an emphasis on untangling the mysteries of metadata.  She may be reached at smith2310kathy@gmail.com.

Zola Books has made two hires: Seale Ballenger as head of marketing and publicity and Mary Ann Naples as Chief of Business Development. Ballenger was most recently VP, Group Publicity Director at William Morrow.  Naples was most recently VP, Business Development at OpenSky. Naples told PT.com “Zola is fundamentally re-imagining ebook retail and including authors, publishers, booksellers, and other key book-lovers as a fundamental part of the business plan, and that’s a company I need to be a part of.”  She may be reached at maryann.naples@zolabooks.com

Philip Jones has been promoted to Editor of the Bookseller, the U.K. book trade magazine. Jones has been Deputy Editor of the magazine and Editor of Futurebook, the Bookseller Group’s digital blog.  Jones succeeds Neill Denny, who has been Editor-in-Chief since 2004 and will begin a column for the Bookseller.

Mark Chait has joined HarperCollinsIt Books as Executive Editor. Previously he was a Senior Editor at NAL/Dutton.

Lucas Hilbert, formerly Senior Product Manager, Marketing and Merchandising at Amazon, has been hired to the position of VP of eCommerce for F+W

Amanda Pritzker has joined Grand Central as Publicity Manager. Previously she was a Publicist at Portfolio/Sentinel. In addition, Nick Small has been promoted to Senior Publicist.

In agency news, Keating Literary and Brick House are “formalizing what has been organically emerging over the past few years as a strong alliance” between the two and joining together to form Union Literary. Trena Keating and Sally Wofford-Girand are joined by Brick House Senior Agent Jenni Ferrari-Adler and newly promoted agent Kezia Toth under the new banner.

Kristin Ostby has joined S&S for Young Readers as Editor. She was most recently a Senior Editor for Albert Whitman.

Robin Corey will be stepping down from her role as VP, Publishing Director of her eponymous imprint, Robin Corey Books at Random House, effective December 21, though her last day in the office was July 26.  She will be working with New York City museums and their education programs which introduce elementary school students to the arts.  She will continue to consult. Jason Zamajtuk, Art Director for Robin Corey Books, will be moving to a permanent role in the Random/Golden art department, reporting to Cathy Goldsmith.

Derek Stordahl will join Bloomsbury on August 6 in the newly created role of Head of Sales, Americas, based out of the company’s New York office. Previously he was vp, global marketing for McGraw-Hill Professional.

Teleread’s Paul Biba resigned after five years as Editor; he is being replaced by Dan Eldridge.

FremantleMedia and Random House have teamed to develop scripted TV programs through the newly created Random House Television. Jeffrey Levine has been appointed Head of Television for Random House Television, based in FremantleMedia’s LA offices.  He reports to Peter Gethers and works with Jeff Tahler, FremantleMedia’s SVP of Global Content, and Tony Optican, SVP of Scripted, and with Random House Studio.  He was previously at Spring Creek Productions.  Christina Malach, Executive Story Editor, Random House Studio is joining the LA team.

Nellie Kurtzman will join Little, Brown Books for Young Readers as VP of Marketing. She was most recently Director of Digital and Trade Marketing at Disney/Hyperion. Read More »

The New Kid in Town: Who’s the Most Popular in the Ereader Market?

Though there’s still buzz about Kobo in Japan and Barnes & Noble’s announcement of a Nook for the Web that allows readers to access books and samples from a cloud system that has bookmarking and social features, much of the ereader talk this month centered around the tablet wars and the new Nexus 7. While reviews admit that the Nexus 7 is hardly going to dethrone the iPad’s position as most popular portable device, many admit that the Kindle has good reason to up its efforts to remain the champ in the inexpensive tablet arena. With the Nexus 7 citing a competitive price of $199 and Android 4.1 Jelly Bean operating system, speculation has already begun as to how Amazon will respond with their next device(s) later this fall. In a recent BISG study, it was announced that ownership of Amazon’s Kindle Fire had overtaken the iPad among ebook readers for the first time. That may change soon, however, with rumors of the iPad mini, which is said to be priced significantly less than its full-sized counterpart and features a screen as thin as an iPod touch.

So how will this newcomer rank in the ereader hierarchy? Read on to decide for yourself.

“We’d say it’s about time. Although it’s almost two years late to the party, Barnes & Noble is responding to Amazon’s Kindle for the Web with Nook for Web. Much like its counterpart across the virtual aisle, the Nook web edition lets readers browse free samples and whole books entirely from a web browser while preserving the bookmarking and layout options we’ve come to know and love. Social mavens will like the options to share over Facebook and Twitter without having to leave the page, and recommendations will pop up as you shop. There’s no highlights, however, so it won’t quite replace the Nook app on your iPad just yet. Nook for Web is already ready and waiting as part of Barnes & Noble’s online store, so those who can’t be bothered with native apps can get their fix immediately.”

Jon Fingas, Endgadget (7/1/7/2012)

Read More »

App Developer Round-up 2012

When Publishing Trends published its first App Developer Round-up in February 2011, the publishing world might have just then been reaching the height of app mania. Publishers were still flushed with excitement over the Great Downloading Spree of Christmas 2010; Kirkus had just announced the addition of a book app review section to every issue; and downloadable content seemed to hold almost infinite promise.  As 2011 wore on, though, challenges such as cost and discoverability made themselves felt. The lesson about app development for book publishers became all too clear: just because you can doesn’t mean you should.

But as demonstrated by this year’s chart, the app development industry itself was far from diminished by these challenges. Newcomers abound, and additions to this year’s list include Auryn, One Hundred Robots, PicPocket Books, Zuuka, and others. While there are almost innumerable developers out there who are creating their own original book apps (usually picture books), we’ve chosen to list only those companies who have experience working with book and/or magazine publishers to transform born-as-print media into apps and enhanced ebooks.

The book section in the Apple app store is dominated primarily by children’s titles. As was discovered early on, creating a successful app for an adult title is a greater challenge. Bestselling adult titles tend to be in the Christian devotional/Bible category, like Jesus Calling from The New York Times-bestseller by Sarah Young (Thomas Nelson), and reference titles, such as the Audubon series developed by Green Mountain Digital.  

No matter whether adult reference, children’s, or proprietary platforms, almost all of the 22 developers in the 2012 App Developer Round-up have a well-defined specialty and approach. This seems well-suited to a time when selectivity and focus are the guiding principles behind a successful app strategy, no matter how big or small.

* Updated 7/31 to include Brandwidth in chart.

Click on the image of the chart above for a full PDF version of the 2012 App Developer chart.

Columbia Publishing Course 2012 Super-Grad

According to annual tradition, we have lifted the most impressive (and amusing) tidbits from the short biographies of the 104 students who are completing this summer’s Columbia Publishing Course 2012. While we’ve added a few phrases here and there to make a cohesive narrative, the adventures and accomplishments are as recounted by the students themselves.

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This year’s Typical Columbia Publishing Course Grad grew up in London, where she founded the Cheese Appreciation Society at her boarding school. She has been scuba diving since age ten, an activity she enjoyed on summer vacations, while winter break often found her minding the net on all-male ice hockey teams, fending off pucks and prepubescent boys.

Traveling to the United States for university, she indulged in her love for Americana by learning to play the banjo, clawhammer style; interning as a new markets analyst for Native American books; and spending one semester working for the Department of Homeland Security in the Office of Strategic Plans. Her spare time was spent writing her award-winning etymology column, “Word Up” in the school paper and working in a locally-owned boutique for three years. She is proud to say she’s remained penpals with her favorite customers.

After graduating summa cum laude with a double major in Environmental Humanities (a major that combines environmental studies with literature and creative writing) and Japanese; and a minor in mass communications, she set out to travel the world. Typical Grad corralled cattle in Celorico do Basto, Portugal; studied flamenco in Seville; bottled Domaine Baillat wine in Montlaur, France; and spent four weeks sailing from Honolulu to San Francisco on a brigantine with thirty-nine other people. While abroad, she organized India’s largest short-film festival, FulMarxx and worked as a voice-over actor for Japanese anime, along with a stint as a VJ for MTV Asia.

At the end of her travels, she decamped to Washington, D.C., where she found work proofreading Amtrak’s national timetable and writing for the Smithsonian blog. (Her latest post illustrates the strenuous process for making banana beer in Burundi). When not researching exotic cuisines or mass transit, she can be found traveling to report on Paris arts and culture for The New York Times’ blog In Transit.

As much as she enjoys this blogging life, though, a recent sojourn in the Midwest, complete with graphic design internship at the Missouri Botanical Gardens, introduced her to book publishing: it was there that she designed The Bakewell Ottoman Garden, a commemorative book for the Gardens’ gift shop. This fantastic experience, and the desire to be in New York, has made her eager to use her creative skills in book design or marketing.

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If you would like to read all 104 real bios, or to meet a grad who might be your perfect new assistant at the Career Fair on July 30, contact Susan Caplan of the Columbia Publishing Course at sc2719 @ columbia.edu or 212-854-9775.

Book-Jobs Not by the Book: Laura Hazard Owen, Book-Biz Reporter

Our sister site, Publishing Trendsetter, posted this great Book-Jobs Not by the Book interview today with Laura Hazard Owen, former Editorial Manager here at Publishing Trends and current book industry journalist for paidContent. Always honest and accessible, Laura’s interview is just as informative as her articles, which cover everything from the DoJ case to Penelope Trunk. The full interview can be read here on the Trendsetter site, but here is an excerpt below:

What is the biggest challenge in your current job? In what ways did your previous jobs prepare you for what you do here?

The biggest challenge is the fast pace. I usually write at least two stories a day and it is challenging to make sure they are well-written, authoritative and interesting. (And sometimes they aren’t those things! But I try.) My previous jobs prepared me for what I do here by teaching me about how book publishing works. Then when I was the editor of Publishing Trends I obviously wrote about publishing. The pace there was not as constant but I got practice interviewing people, finding topics and explaining things clearly.

The other challenge is email and information overload. I get hundreds of emails a day now and it is time-consuming and stressful to weed out the stupid press releases and pitches while not accidentally missing something big. But at Publishing Trends I learned a lot about discerning what is and isn’t a good or interesting story and helped me get a little better at filtering and being like, hmm, is this worth my time or should I just pass on it.

Finally, a good reporter should be comfortable reading court documents and SEC filings and earnings reports. I’m getting better at that but I’m not totally comfortable with it by any means. But in all of my previous jobs I’ve had to pay a lot of attention to detail and be able to do close reading and that practice certainly helps when I’m analyzing these types of documents.

What value has this job brought to the way you think about book business as a whole and your own relationship to books?

Doing this job has given me a more objective view of the book publishing industry as a whole. I am not employed by either a book publisher or by a publisher competitor, i.e., I don’t have any “obligation” other than to be thoughtful/honest/objective and productive. My job is to write about how the entire environment is changing. I don’t feel pressure to be a cheerleader for the book publishing industry but I also don’t feel pressure to write “Amazon is killing publishing” or “Print publishers are dead” stories (even though stories like that tend to get a lot of traffic). I have the space to kind of observe and write from a neutral standpoint, which is what a journalist is supposed to do. That said, I am also a blogger and my personal opinions totally enter my stories. For example, I support agency pricing and I have written about why. But I’ve also written about things that Amazon does that I think are cool.