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Publishing Profiles: Meet Edwin Vazquez, Senior Designer, RHPG
August 25, 2026
Meet Edwin Vazquez, Senior Designer, RHPG!
For Edwin Vazquez, Senior Designer at Random House Publishing Group, the design process begins long before he opens his laptop. It starts in the stacks of books he uses for research at his local library, a texture spotted on the sidewalk during his commute to the office, or even time spent with his daughter cutting out custom stencils.Â
Curiosity is at the heart of Edwin's deeply thoughtful approach to his work. Over nearly 10 years at PRH, he has brought that perspective to an impressive range of books and worlds, including the Lore Olympus and DC Comics novel series, Marvel’s What If.. novels, and Han Kang’s WE DO NOT PART. Most recently, he worked closely with artist Devon Rodriguez on WORK IN PROGRESS (One World; on-sale 9/29/26), a collaboration Edwin describes as a “crowning achievement” that helped reenergize his own creative process. A behind-the-scenes video about this project can be found on the author’s Instagram page. Â
Edwin sat down with us to share his path to book design, the research behind his creative process, and the importance of understanding the communities represented by a project.Â
Q: How long have you been at Penguin Random House?Â
This November, I’ll have been at Penguin Random House for 10 years. I remember when I first started, the recruiter told me that time would fly by. And it really flew by, especially with getting married during that time, having two kids, and going through the pandemic.Â
Q: What initially led you to this role?Â
[caption id="attachment_299365" align="alignright" width="310"]
Edwin creates handmade books to help bring additional insight into the creation process. Pictured is a mini book he created for his second daughter.[/caption]
Instead of being led, it almost felt like slipping, falling, and tumbling into book design. For me, books have always been in my DNA. Even as a child, I would mock up comic books. I would create little booklets, and I always had this interest in the anatomy of a book. However, I wasn’t aware of it as a career option. I hadn’t even thought about how someone actually put these things together—that someone was thinking about the fonts, the images, and making a package out of it. Â
At the start of my career, that interest led me more toward comic books because I understood there was an illustrator and a writer attached to them, but I didn’t know as much about a team producing literary books. On the road toward book publishing, I did some freelance work for Titmouse animation studios, BONGO comics, WORLD WAR 3 ILLUSTRATED, and was a tattoo artist for a short while in Greenwich Village, NYC. It was during that time when I was doing indie comic book compilations, that some artists needed someone who knew InDesign to produce self-published comic books. I didn’t know InDesign, but I said yes. I was like, “I’ll figure it out.” And with that kind of mindset, that’s kind of how I got here.Â
Q: What does a typical day in your role look like?
[caption id="attachment_299367" align="alignleft" width="326"]
Edwin's WE DO NOT PART book design, featuring white acrylic type on the spine for a matte/snow-inspired effect.[/caption]
I look through a lot of manuscripts, and I research a lot. There’s this blend where work isn’t work, and it’s just kind of a state of being. I’m always looking at—and I always have been looking at—design and the history behind music, movies, or art. There’s a certain beat that flows through these pieces that’s inspired by the spirit of the title. 80% of my design process is research.Â
For example, when I was working on Han Kang’s WE DO NOT PART, I was excited to work on it because of its Korean representation. I live in a multicultural Hispanic and Korean household and lived in South Korea for a short-while. However, I also knew the common pitfalls of stereotyping in design. So, I aimed to find something unique and set apart from the usual Western depictions you might see by combining my family life with research at my local library.
Q: So, what does it look like once you get through the research part and start the design process?
Working from home, there’s a lot of responsibility, but also a lot of distractions with personal calls, deliveries, and emails. I tend to wake up very early in the morning to give myself a three-hour block when everything is quiet before the day begins.
It’s vital for me as a designer to have moments of directed isolation where I can explore and experiment with the high energy that’s needed for the creative process. Creativity is a 24-hour window of opportunity that doesn't always follow a typical 9–5 workday window.
Q: When you’re in the execution part of the design process, what does that typically look like for you? Are you physically drawing things out or primarily using digital software?Â
[caption id="attachment_299370" align="alignright" width="409"]
Behind the scenes of a layout design for THE HOUR STRIKES. Edwin scribbles and writes notes in the process of creating a design.[/caption]
For me, it’s a combination. I tend to have a sketchbook and either write words, scribble, or make blocks on a page. And I explore to find textures wherever possible. Even this morning while I was coming to the office, some splatted paint on the ground caught my eye, and I took a photograph. That’s something so unique and can never be exactly replicated.
Even if a design program has a million options, I have infinite options to pull inspiration from in reality. Just the other day, my daughter and I cut out a bunch of Bat-Signals for NO MAN’S LAND and spray-painted with them. The stencils did not work out for use, but I knew something needed to be included in the layouts from that experience. Â
Typically, I gather my sketches and think through the feelings and tone for a particular project. Once I build out the literary aspect of it in InDesign, even the fonts and spacing themselves have a character that can depict the mood of the project. To me, certain fonts have a feel that can help bring the reader into the sort of world that the author wants to bring them into.  Â
When I’m in the office, I’m constantly printing the pages and not just viewing them as a PDF on the computer screen. That’s a benefit of being in the office: using high-quality printers and getting to that delicate sense of making sure a text setting is just right. A former illustration mentor, Carl Titolo, passed on his knowledge to consider how every aspect of an illustration should be valued, from the main subject to the farthest edge of the illustration canvas. I carry this outlook to bookmaking where the title-page, layout text, and case dressing is just as important as the leading, margins, and practicality.Â
That's how I got this job. I was one of four applicants, but I was the only one who brought an actual book to my interview.Â
Q: What teams do you typically work with in your role?Â
[caption id="attachment_299373" align="alignleft" width="315"]
From l to r: Edwin Vazquez, Elizabeth Mendez Berry, and Devon Rodriguez behind-the-scenes at the WORK IN PROGRESS video.[/caption]
It depends on the book. I’m always in a constant state of referring to and utilizing my supervisors’ eyes to give me another perspective. Sometimes I’m so close to a design that I may not see an error that may influence the bigger picture. For licensed titles, I tend to work closely with their editorial teams, where we can throw ideas back and forth and work through how to elevate the book through customization.Â
From time to time, I speak directly with an author. My best experience with an author was with Devon Rodriguez. He’s very inspirational with the energy he brought into the WORK IN PROGRESS project–it woke up a creative reconnect within me. Since he’s a New York artist residing locally, he was very willing to meet in-person to review layouts and bookcase cover swatches. He and his editor Elizabeth Mendez Berry were always welcoming during our discussions. I felt I could see a lot of myself in him when I was younger, especially his creative energy. Â
After doing something for 10 years, you have a tendency to get into this kind of mechanical, process-oriented, and complacent mindset. Working on WORK IN PROGRESS, I had just gotten back from parental leave after having my second daughter, and the project stirred things up for me back to a passionate design mindset.Â
Q: Can you share more about your experience working with Devon Rodriquez?Â
[caption id="attachment_299375" align="alignright" width="258"]
Edwin found a street advertisement for WORK IN PROGRESS while walking with his daughter.[/caption]
It was about an eight-month process of going back and forth and collaborating. Now, the book is essentially finished, and Devon is busy promoting the book. This particular project is a crowning achievement for me. It’s very personal and inspiring, and it has this energy that’s hard to replicate.Â
When you see Devon on his channels, that’s a very real and authentic portrayal of himself. He’s very interested in finding out the process of things. What I heard a lot from him was, “What do you think, and what do you recommend?” It’s his book, so I’m always completely blown away when I hear that from an author. I remember only one other time hearing something similar when I worked with Rachel Smythe. When I met with her while developing Lore Olympus, she said, “Do whatever you want.” Â
When we did that video together, Devon gave a suggestion to "be natural". And when the videographer said, “Action,” that whole video was done in one take. Devon creates a very comfortable environment and is just easy to be around.Â
Q: How do you feel your role contributes to Penguin Random House’s mission to ignite a universal passion for reading by creating books for everyone?Â
[caption id="attachment_299378" align="alignleft" width="334"]
Marvel Book Design. Edwin aims to keep consistency in the Marvel logo, What If… logo, glyphs (seen in books 2,3,4, but missing from 1 and 5 intentionally) and baselines of the Random House Worlds Logo.[/caption]
Being a designer and creating books requires sensitivity. You have to be hyper-aware of your audience and different cultures. There may be this feeling that you have to be of a certain identity to represent a title, but I find that as long as you respect the project and use your time to research, understand, and develop it, not only are you representing the project in a meaningful way, but you’re learning differing perspectives on your own. I remember learning the common six principles of design at the School of Visual Arts and thinking a seventh would be incorporating culture.Â
Also, you need to be able to step away from generic ideas and thoughts, and fully customize something. I recently saw a title I was very interested in reading. My first impression of the packaging was that it was phenomenal. The jacket, side printing, titlepage, and layout worked really well. But something started creeping into my mind. I couldn't pinpoint it exactly, but eventually I realized that the stock image used for the title page and chapter headers was also used on my wife's phone case. And when I looked away, the same image was seen on my window curtains. Stock images can bring a special look to a project, but if those images are used without customizing, it can destroy the novelty of the project. Â
And a note from my former mentor, Virginia Norey, "If you notice something, then others will, too." If you take the time to really represent the voice that the book is trying to evoke, you can create books that draw people in. You can still have a presence by being quiet.Â
Q: Since we work in publishing, I have to ask. What are you currently reading?Â
On the graphic novel side, I’m reading ABSOLUTE BATMAN. It’s just this energetic monster that’s influencing the landscape and interest in comic book storytelling. I can’t ignore it. I’m asked so many questions about it during panels and interviews.Â
I’m also reading AIMLESS GENERATION by Hamilton West Jr, which talks about digital vices and addictions.Â
And Han Kang’s WE DO NOT PART. I usually read projects I worked on in manuscript form, but I don’t typically read the designed books. This is a title I'm reading fully-developed for the first time.Â
I was reluctant to read Devon Rodriguez’s WORK IN PROGRESS as a manuscript because there are so many illustrations that give it its life. That’s also something I would reread to get the full reader experience.Â
Learn more about Edwin’s project with Devon Rodriguez below!Â
Edwin creates handmade books to help bring additional insight into the creation process. Pictured is a mini book he created for his second daughter.[/caption]
Instead of being led, it almost felt like slipping, falling, and tumbling into book design. For me, books have always been in my DNA. Even as a child, I would mock up comic books. I would create little booklets, and I always had this interest in the anatomy of a book. However, I wasn’t aware of it as a career option. I hadn’t even thought about how someone actually put these things together—that someone was thinking about the fonts, the images, and making a package out of it. Â
At the start of my career, that interest led me more toward comic books because I understood there was an illustrator and a writer attached to them, but I didn’t know as much about a team producing literary books. On the road toward book publishing, I did some freelance work for Titmouse animation studios, BONGO comics, WORLD WAR 3 ILLUSTRATED, and was a tattoo artist for a short while in Greenwich Village, NYC. It was during that time when I was doing indie comic book compilations, that some artists needed someone who knew InDesign to produce self-published comic books. I didn’t know InDesign, but I said yes. I was like, “I’ll figure it out.” And with that kind of mindset, that’s kind of how I got here.Â
Q: What does a typical day in your role look like?
[caption id="attachment_299367" align="alignleft" width="326"] Edwin's WE DO NOT PART book design, featuring white acrylic type on the spine for a matte/snow-inspired effect.[/caption]
I look through a lot of manuscripts, and I research a lot. There’s this blend where work isn’t work, and it’s just kind of a state of being. I’m always looking at—and I always have been looking at—design and the history behind music, movies, or art. There’s a certain beat that flows through these pieces that’s inspired by the spirit of the title. 80% of my design process is research.Â
For example, when I was working on Han Kang’s WE DO NOT PART, I was excited to work on it because of its Korean representation. I live in a multicultural Hispanic and Korean household and lived in South Korea for a short-while. However, I also knew the common pitfalls of stereotyping in design. So, I aimed to find something unique and set apart from the usual Western depictions you might see by combining my family life with research at my local library.
Q: So, what does it look like once you get through the research part and start the design process?
Working from home, there’s a lot of responsibility, but also a lot of distractions with personal calls, deliveries, and emails. I tend to wake up very early in the morning to give myself a three-hour block when everything is quiet before the day begins.
It’s vital for me as a designer to have moments of directed isolation where I can explore and experiment with the high energy that’s needed for the creative process. Creativity is a 24-hour window of opportunity that doesn't always follow a typical 9–5 workday window.
Q: When you’re in the execution part of the design process, what does that typically look like for you? Are you physically drawing things out or primarily using digital software?Â
[caption id="attachment_299370" align="alignright" width="409"] Behind the scenes of a layout design for THE HOUR STRIKES. Edwin scribbles and writes notes in the process of creating a design.[/caption]
For me, it’s a combination. I tend to have a sketchbook and either write words, scribble, or make blocks on a page. And I explore to find textures wherever possible. Even this morning while I was coming to the office, some splatted paint on the ground caught my eye, and I took a photograph. That’s something so unique and can never be exactly replicated.
Even if a design program has a million options, I have infinite options to pull inspiration from in reality. Just the other day, my daughter and I cut out a bunch of Bat-Signals for NO MAN’S LAND and spray-painted with them. The stencils did not work out for use, but I knew something needed to be included in the layouts from that experience. Â
Typically, I gather my sketches and think through the feelings and tone for a particular project. Once I build out the literary aspect of it in InDesign, even the fonts and spacing themselves have a character that can depict the mood of the project. To me, certain fonts have a feel that can help bring the reader into the sort of world that the author wants to bring them into.  Â
When I’m in the office, I’m constantly printing the pages and not just viewing them as a PDF on the computer screen. That’s a benefit of being in the office: using high-quality printers and getting to that delicate sense of making sure a text setting is just right. A former illustration mentor, Carl Titolo, passed on his knowledge to consider how every aspect of an illustration should be valued, from the main subject to the farthest edge of the illustration canvas. I carry this outlook to bookmaking where the title-page, layout text, and case dressing is just as important as the leading, margins, and practicality.Â
That's how I got this job. I was one of four applicants, but I was the only one who brought an actual book to my interview.Â
Q: What teams do you typically work with in your role?Â
[caption id="attachment_299373" align="alignleft" width="315"] From l to r: Edwin Vazquez, Elizabeth Mendez Berry, and Devon Rodriguez behind-the-scenes at the WORK IN PROGRESS video.[/caption]
It depends on the book. I’m always in a constant state of referring to and utilizing my supervisors’ eyes to give me another perspective. Sometimes I’m so close to a design that I may not see an error that may influence the bigger picture. For licensed titles, I tend to work closely with their editorial teams, where we can throw ideas back and forth and work through how to elevate the book through customization.Â
From time to time, I speak directly with an author. My best experience with an author was with Devon Rodriguez. He’s very inspirational with the energy he brought into the WORK IN PROGRESS project–it woke up a creative reconnect within me. Since he’s a New York artist residing locally, he was very willing to meet in-person to review layouts and bookcase cover swatches. He and his editor Elizabeth Mendez Berry were always welcoming during our discussions. I felt I could see a lot of myself in him when I was younger, especially his creative energy. Â
After doing something for 10 years, you have a tendency to get into this kind of mechanical, process-oriented, and complacent mindset. Working on WORK IN PROGRESS, I had just gotten back from parental leave after having my second daughter, and the project stirred things up for me back to a passionate design mindset.Â
Q: Can you share more about your experience working with Devon Rodriquez?Â
[caption id="attachment_299375" align="alignright" width="258"] Edwin found a street advertisement for WORK IN PROGRESS while walking with his daughter.[/caption]
It was about an eight-month process of going back and forth and collaborating. Now, the book is essentially finished, and Devon is busy promoting the book. This particular project is a crowning achievement for me. It’s very personal and inspiring, and it has this energy that’s hard to replicate.Â
When you see Devon on his channels, that’s a very real and authentic portrayal of himself. He’s very interested in finding out the process of things. What I heard a lot from him was, “What do you think, and what do you recommend?” It’s his book, so I’m always completely blown away when I hear that from an author. I remember only one other time hearing something similar when I worked with Rachel Smythe. When I met with her while developing Lore Olympus, she said, “Do whatever you want.” Â
When we did that video together, Devon gave a suggestion to "be natural". And when the videographer said, “Action,” that whole video was done in one take. Devon creates a very comfortable environment and is just easy to be around.Â
Q: How do you feel your role contributes to Penguin Random House’s mission to ignite a universal passion for reading by creating books for everyone?Â
[caption id="attachment_299378" align="alignleft" width="334"] Marvel Book Design. Edwin aims to keep consistency in the Marvel logo, What If… logo, glyphs (seen in books 2,3,4, but missing from 1 and 5 intentionally) and baselines of the Random House Worlds Logo.[/caption]
Being a designer and creating books requires sensitivity. You have to be hyper-aware of your audience and different cultures. There may be this feeling that you have to be of a certain identity to represent a title, but I find that as long as you respect the project and use your time to research, understand, and develop it, not only are you representing the project in a meaningful way, but you’re learning differing perspectives on your own. I remember learning the common six principles of design at the School of Visual Arts and thinking a seventh would be incorporating culture.Â
Also, you need to be able to step away from generic ideas and thoughts, and fully customize something. I recently saw a title I was very interested in reading. My first impression of the packaging was that it was phenomenal. The jacket, side printing, titlepage, and layout worked really well. But something started creeping into my mind. I couldn't pinpoint it exactly, but eventually I realized that the stock image used for the title page and chapter headers was also used on my wife's phone case. And when I looked away, the same image was seen on my window curtains. Stock images can bring a special look to a project, but if those images are used without customizing, it can destroy the novelty of the project. Â
And a note from my former mentor, Virginia Norey, "If you notice something, then others will, too." If you take the time to really represent the voice that the book is trying to evoke, you can create books that draw people in. You can still have a presence by being quiet.Â
Q: Since we work in publishing, I have to ask. What are you currently reading?Â
On the graphic novel side, I’m reading ABSOLUTE BATMAN. It’s just this energetic monster that’s influencing the landscape and interest in comic book storytelling. I can’t ignore it. I’m asked so many questions about it during panels and interviews.Â
I’m also reading AIMLESS GENERATION by Hamilton West Jr, which talks about digital vices and addictions.Â
And Han Kang’s WE DO NOT PART. I usually read projects I worked on in manuscript form, but I don’t typically read the designed books. This is a title I'm reading fully-developed for the first time.Â
I was reluctant to read Devon Rodriguez’s WORK IN PROGRESS as a manuscript because there are so many illustrations that give it its life. That’s also something I would reread to get the full reader experience.Â
Learn more about Edwin’s project with Devon Rodriguez below!Â
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Publishing Profiles: Meet Victoria Squirlock, Senior Manager, Social MediaÂ
March 25, 2026
Victoria Squirlock wears many hats online, but all with the same goal: connecting readers with the right books at the right moment. As Senior Manager, Social Media, Consumer Marketing, she helps shape how Penguin Random House shows up across platforms, bringing a thoughtful, consumer-first approach to everything from children’s book content and major cultural conversations to influencer partnerships and creative collaborations.Â
Since joining PRH, Victoria has made an immediate and lasting impact in the social stratosphere. Her storytelling helps our brand reach readers in new ways, including the widely-shared banned books lawsuit updates and the highly-engaging children’s content series she helps develop. With a sharp eye for what connects with audiences, Victoria is leading strategic social initiatives and scaling how we engage readers.Â
In the Q&A below, Victoria shares what drew her to a social media job in publishing, what a typical day balancing strategy and platforms looks like, and why helping books meet readers is at the heart of it all.Â
Q: What led you to this role specifically?Â
[caption id="attachment_290858" align="alignright" width="247"]
Victoria poses with the PRH logo at 1745 Broadway.[/caption]
When social media really started to play a role in society, I saw the ways in which it can show up in a positive light, and I also saw how it can be a negative light. I really wanted to be a part of that positive side through uplifting purposeful content.Â
When I saw that PRH was hiring, it caught my attention because books play an absolutely crucial role in educating and empowering people. This job is the perfect blend of having a job in social media while also having a job with a deep purpose. There will always be negative and positive conversations on social media, and I wanted to find a way to be a part of those conversations that happen on social media no matter what.Â
What it really comes down to is being passionate about your work. I love to document things through taking photos and writing. I’m so passionate about how brands decide to show up on social media and include themselves in conversations. PRH is a large company and brand. We’re legitimate and intentional, but we also find ways to be a bit whimsical and resonate with consumers who simply want to experience to joy of books and reading. I wanted to be a part of extending that unique brand expression to our current and growing audience.
Q: How long have you been at PRH?Â
I started in February 2022. I actually just had my four-year work-iversary!Â
Q: How would you describe a typical day in your role?Â
[caption id="attachment_290894" align="alignleft" width="285"]
Victoria and her team members at 1745 Broadway.[/caption]
A typical day will balance developing our strategy  and touch-base meetings with my team, as well as meetings with outside partners and other internal teams. In between those meetings, I’m briefing children's book content to our design team, corporate communications moments, or brand content. When I finish one of those tasks, I may bounce over to my work phone and send a message to a co-creation TikTok partner to brief them on content and gather approval.Â
My day also involves bouncing from one social media platform to another—whether it's Instagram, Threads, TikTok, or Pinterest—I make sure deadlines are being met, posts are going up, and communications are ongoing between our internal teams and external partners. Some days, I’m deep in analytics and data analysis to inform our next month’s content and approach.Â
Q: How do you typically work with other departments and teams?Â
I work with our Editorial team as they put up keyword and search-based book lists. I’ll collaborate with them to learn their expertise on our books and lists, and I brief that into social-first content. I also work with them on long-form tips-and-tricks content.Â
[caption id="attachment_290860" align="alignright" width="254"]
Victoria attends the "Save Our Stories Supper" in Washington D.C.[/caption]
I collaborate with our Design team and Corporate Ops teams on workflows, deliverables, meeting deadlines, and approval processes for designs. Monthly, I work with the divisions to organize our collaboration schedules with organic content that is social-first and brainstorm for upcoming moments.
I also collaborate with Consumer Insights when they flag trends and data that may be relevant. I work with our Corporate Communications team to create social-first content for our audience to update them on banned books lawsuits and larger partnerships, as well as monitor any brand or PR moments that have surfaced on the internet.Â
Q: Is there a particular project or campaign you’re especially proud of?Â
Within the last six months, we’ve nailed down our long-term children’s book content to a science. We’re seeing that success in follower growth, engagement, saves, shares, and comments. About a year and a half ago, we began transitioning children’s book content to PRH. It used to live on the Read Brightly account, but we shifted the strategy to use our existing audience to promote it.Â
At first, it was being received well, but it wasn’t exactly hitting the algorithm in the right way. We went through a lot of iterations from a brand perspective, thinking about our visual display and what graphics and fonts we should be using.Â
Once we leaned into PRH branding, we saw engagement and response skyrocket, and the posts now have extremely long lifetimes. Many continue to trend upward as more people share them. I’m especially proud of it because children’s books and young readers are a big priority, and we want the content to resonate and reinforce why children’s reading is so important.Â
[caption id="attachment_290863" align="alignleft" width="247"]
Victoria and colleagues take a selfie![/caption]
I don’t want the content to just go up—we want to hear people to say, “Thank you for these tips. This is a great roundup or book suggestion.”
Now that we have the formula, the content stands on its own, and we receive really rewarding feedback.Â
I also have a special opportunity to communicate with consumers directly. On platforms like Threads that feel more playful, any social media manager will tell you there’s a thrill in being in the nitty-gritty as a large brand and having that direct relationship with your audience. Especially when someone comments, “You need to give your social media manager a raise.”Â
Â
Q: How does your role contribute to PRH’s mission to create books for everyone?Â
My role contributes to our mission because we’re always thinking about what readers need in specific, present moments. We try to ensure that what we’re posting online is culturally relevant, personally resonant, or emotionally resonant. Matching books and content to what people need in that moment is one of the best ways we can connect someone with a book.Â
We think about how content aligns with emotional, personal, and cultural moments to show how books can support people when they need it most. Through social media, we’re able to speak directly to readers and match books and content to what they’re looking for. We can also see responses and feedback in real time when we put thoughtful strategy behind our content.Â
Beyond direct book lists, we can also express the PRH brand by highlighting the work PRH does for the greater good. People want to support companies they like and that take action on what matters to their audiences. Â
Â
Q: What are you currently reading?Â
A: I’m in the middle of THE CORRESPONDENT, and I'm really loving it. I love hearing from Sybil, the main character. The story follows all parts of life in general: aging, career, family, grief, and finding joy. Sometimes I need a story written from the perspective of an older woman  because they have so much wisdom but also can be so witty, wise, and sharp. I love a letter—I’m such a card writer—so a book that’s written in all letters resonates deeply with me.Â
Victoria poses with the PRH logo at 1745 Broadway.[/caption]
When social media really started to play a role in society, I saw the ways in which it can show up in a positive light, and I also saw how it can be a negative light. I really wanted to be a part of that positive side through uplifting purposeful content.Â
When I saw that PRH was hiring, it caught my attention because books play an absolutely crucial role in educating and empowering people. This job is the perfect blend of having a job in social media while also having a job with a deep purpose. There will always be negative and positive conversations on social media, and I wanted to find a way to be a part of those conversations that happen on social media no matter what.Â
What it really comes down to is being passionate about your work. I love to document things through taking photos and writing. I’m so passionate about how brands decide to show up on social media and include themselves in conversations. PRH is a large company and brand. We’re legitimate and intentional, but we also find ways to be a bit whimsical and resonate with consumers who simply want to experience to joy of books and reading. I wanted to be a part of extending that unique brand expression to our current and growing audience.
Q: How long have you been at PRH?Â
I started in February 2022. I actually just had my four-year work-iversary!Â
Q: How would you describe a typical day in your role?Â
[caption id="attachment_290894" align="alignleft" width="285"] Victoria and her team members at 1745 Broadway.[/caption]
A typical day will balance developing our strategy  and touch-base meetings with my team, as well as meetings with outside partners and other internal teams. In between those meetings, I’m briefing children's book content to our design team, corporate communications moments, or brand content. When I finish one of those tasks, I may bounce over to my work phone and send a message to a co-creation TikTok partner to brief them on content and gather approval.Â
My day also involves bouncing from one social media platform to another—whether it's Instagram, Threads, TikTok, or Pinterest—I make sure deadlines are being met, posts are going up, and communications are ongoing between our internal teams and external partners. Some days, I’m deep in analytics and data analysis to inform our next month’s content and approach.Â
Q: How do you typically work with other departments and teams?Â
I work with our Editorial team as they put up keyword and search-based book lists. I’ll collaborate with them to learn their expertise on our books and lists, and I brief that into social-first content. I also work with them on long-form tips-and-tricks content.Â
[caption id="attachment_290860" align="alignright" width="254"] Victoria attends the "Save Our Stories Supper" in Washington D.C.[/caption]
I collaborate with our Design team and Corporate Ops teams on workflows, deliverables, meeting deadlines, and approval processes for designs. Monthly, I work with the divisions to organize our collaboration schedules with organic content that is social-first and brainstorm for upcoming moments.
I also collaborate with Consumer Insights when they flag trends and data that may be relevant. I work with our Corporate Communications team to create social-first content for our audience to update them on banned books lawsuits and larger partnerships, as well as monitor any brand or PR moments that have surfaced on the internet.Â
Q: Is there a particular project or campaign you’re especially proud of?Â
Within the last six months, we’ve nailed down our long-term children’s book content to a science. We’re seeing that success in follower growth, engagement, saves, shares, and comments. About a year and a half ago, we began transitioning children’s book content to PRH. It used to live on the Read Brightly account, but we shifted the strategy to use our existing audience to promote it.Â
At first, it was being received well, but it wasn’t exactly hitting the algorithm in the right way. We went through a lot of iterations from a brand perspective, thinking about our visual display and what graphics and fonts we should be using.Â
Once we leaned into PRH branding, we saw engagement and response skyrocket, and the posts now have extremely long lifetimes. Many continue to trend upward as more people share them. I’m especially proud of it because children’s books and young readers are a big priority, and we want the content to resonate and reinforce why children’s reading is so important.Â
[caption id="attachment_290863" align="alignleft" width="247"] Victoria and colleagues take a selfie![/caption]
I don’t want the content to just go up—we want to hear people to say, “Thank you for these tips. This is a great roundup or book suggestion.”
Now that we have the formula, the content stands on its own, and we receive really rewarding feedback.Â
I also have a special opportunity to communicate with consumers directly. On platforms like Threads that feel more playful, any social media manager will tell you there’s a thrill in being in the nitty-gritty as a large brand and having that direct relationship with your audience. Especially when someone comments, “You need to give your social media manager a raise.”Â
Â
Q: How does your role contribute to PRH’s mission to create books for everyone?Â
My role contributes to our mission because we’re always thinking about what readers need in specific, present moments. We try to ensure that what we’re posting online is culturally relevant, personally resonant, or emotionally resonant. Matching books and content to what people need in that moment is one of the best ways we can connect someone with a book.Â
We think about how content aligns with emotional, personal, and cultural moments to show how books can support people when they need it most. Through social media, we’re able to speak directly to readers and match books and content to what they’re looking for. We can also see responses and feedback in real time when we put thoughtful strategy behind our content.Â
Beyond direct book lists, we can also express the PRH brand by highlighting the work PRH does for the greater good. People want to support companies they like and that take action on what matters to their audiences. Â
Â
Q: What are you currently reading?Â
A: I’m in the middle of THE CORRESPONDENT, and I'm really loving it. I love hearing from Sybil, the main character. The story follows all parts of life in general: aging, career, family, grief, and finding joy. Sometimes I need a story written from the perspective of an older woman  because they have so much wisdom but also can be so witty, wise, and sharp. I love a letter—I’m such a card writer—so a book that’s written in all letters resonates deeply with me.Â
Learn more about Victoria in our Q&A video below!
Publishing Profiles: Meet Westminster's Russell Knouse and Kevin Knouse
November 12, 2025
Russell Knouse, Group Leader and Safety Committee Member, and Kevin Knouse, Operations Services, Safety Committee Member, and First Responder, are brothers who have worked at Penguin Random House‘s Westminster facility for over 40 years!
Publishing Profiles: Meet Katie Fehrenbaker, Penguin Workshop Publishing Associate Â
September 23, 2025
Katie Fehrenbaker, publishing associate at Penguin Workshop
Earlier this summer, we shared what it looks like to work as a publicity assistant at Penguin Random House. To shed some light on another important aspect of our business, we chatted with Katie Fehrenbaker, publishing associate at Penguin Workshop!Â
Katie has worked at Penguin Random House since November 2023, when she pivoted into the publishing industry after spending several years as a 5th grade teacher. In our conversation, she discussed everything from her passion for children’s books, the ins and outs of the publishing world, and an upcoming title she’s excited to share with the world. Â
If you’d like to learn even more, check out her video interview below! Â
What led you to this role?
I knew I wanted to work in children's books since I was in college, but I wasn't really sure in what capacity or what type of role. The pandemic hit while I was in college, and since it was ongoing when I graduated, I decided to become a teacher. I taught 5th grade for my first few years out of college. Â
I loved being a teacher, but after those first few years, I still wanted to work in children’s books. My passion for literacy and for making reading exciting had grown—especially as I became aware of all the other things competing for students' attention. As a lifelong bookworm, I wanted to be a part of creating books that kids were eager to pick up. I entered the industry with an open mind since I was only a bit familiar with editorial, sales, and marketing. A few months later, I made the transition into children's books as a Publishing Assistant, and now I'm here!Â
Â
How long have you been at Penguin Random House?
I've been at PRH since November 2023.Â
Â
Can you describe a typical day in your role?
[caption id="attachment_280268" align="alignright" width="331"]
Katie with her fellow Penguin Workshop colleagues at their holiday party.[/caption]
My average day is a mix of meetings and working on independent projects. I usually have one-on-one check-ins to start the day. I report to all three of our Publishers for Penguin Workshop, and I also work closely with the Mad Libs editor on all Mad Libs. Those check-ins tend to shape my mid-morning and early afternoon depending on what's most urgent. Then, I am in larger status meetings with the rest of the Penguin Workshop team and working on various projects.Â
When I work independently, I'm focusing on a variety of things depending on the day. Workshop publishes many books a season, so there are some days where I spend a lot of time handling contract payments, updating our publishing plan dashboard, and tracking other internal databases that I use to keep track of our titles, contracts, and payments. On other days, I am editing Mad Libs and a few other titles, writing TI sheets, or compiling materials for our next launch.Â
I also play a large role in organizing our group's launch presentations, and that workload ebbs and flows depending on where we are in the year. Three times a year, I'm gearing up and coordinating for these presentations, which includes tackling various grids, sales materials, and presentation materials. Currently, I'm working on our Fall 2026 launch in mid-September. Â
Â
How do you work with other departments and teams?Â
Since I report directly to our Publishers, I’m frequently interacting with different departments. I am usually the point of contact for the Workshop group at large, and often communicate with different people each day across the company.Â
Typically, I work with editors on launch materials and Instagram captions, and to coordinate contracts and payments. I also work closely with our design team, especially leading up to launch and making sure we have all materials needed. Â
[caption id="attachment_280267" align="alignleft" width="268"]
Katie and colleagues pose for a selfie before an author visit at the 1745 Broadway office.[/caption]
Depending on where we are in the launch cycle, I am coordinating with the Penguin Young Readers Publishing Office, Marketing, and Publicity teams to get materials over to them in advance of the launch. These items typically include positioning sheets with key information about the title and author and designation grids for the upcoming season.Â
Â
Is there a particular campaign that you're proud of?
Something that I'm most proud of right now is the TIME for Kids: Almanac 2027. As a huge fan of the brand as a kid, it's full circle to get to work with them. I've been working on this project since its inception over a year ago. It's been interesting for me to serve as an editor while coordinating the work with a freelance packager and licensor. I coordinate communication to ensure the book is moving forward in a way that meets the expectations of Penguin Random House, Time for Kids, and the packager.Â
In recent weeks, it's been exciting to see the Almanac come together in a tangible way, as many logistics and front-end planning had to be done before we even got started on the physical book itself. Now that we’re in the book review stage, the Almanac is coming to life, and I had the opportunity to present at a launch for the first time. This project has been instructional for all things publishing. I've learned so much working with teams on design, editing, scheduling, and photo licensing. Â
It’s still a little less than a year out from publishing, so I will continue to learn even more. The Almanac is the first book that I've been closely working on since the start, and when it finally hits the shelves, it’ll be another full circle moment for me. I’m so excited for that time to come!Â
Â
What do you find most rewarding about your job?
[caption id="attachment_280266" align="alignright" width="303"]
Katie with PRH colleagues at Jewish Connections @ PRH's outing to Seed + Mill.[/caption]
I really enjoy being the point person for people, whether they're part of Workshop or outside of the imprint and want to connect. It’s rewarding to be able to answer a question or help someone figure out a process
I came in knowing basically nothing about publishing, and reaching a point where I can now help others has been extremely gratifying. Over nearly two years in this group, I’ve developed my own methods for streamlining processes, and I enjoy making things more efficient—for both my team and myself. I feel like my role gives me exposure to so many different kinds of work, and being in the middle of it all is something I really enjoy.
Â
How do you feel like your role contributes to Penguin Random House's mission: to ignite a universal passion for reading by creating books for everyone?
I think because I'm a part of such a large imprint, I've worked on so many different types of books for every single type of reader. In the last several months, I've worked on Mad Libs, different types of picture books, scary middle grade graphic novels, and licensed, non-fiction. Even within that range, I think there's a book for everyone.
Â
Since we work in publishing, I have to ask. What are you currently reading?
I’m reading OLIVE KITTERIDGE by Elizabeth Strout.Â
Â
Â
Katie with her fellow Penguin Workshop colleagues at their holiday party.[/caption]
My average day is a mix of meetings and working on independent projects. I usually have one-on-one check-ins to start the day. I report to all three of our Publishers for Penguin Workshop, and I also work closely with the Mad Libs editor on all Mad Libs. Those check-ins tend to shape my mid-morning and early afternoon depending on what's most urgent. Then, I am in larger status meetings with the rest of the Penguin Workshop team and working on various projects.Â
When I work independently, I'm focusing on a variety of things depending on the day. Workshop publishes many books a season, so there are some days where I spend a lot of time handling contract payments, updating our publishing plan dashboard, and tracking other internal databases that I use to keep track of our titles, contracts, and payments. On other days, I am editing Mad Libs and a few other titles, writing TI sheets, or compiling materials for our next launch.Â
I also play a large role in organizing our group's launch presentations, and that workload ebbs and flows depending on where we are in the year. Three times a year, I'm gearing up and coordinating for these presentations, which includes tackling various grids, sales materials, and presentation materials. Currently, I'm working on our Fall 2026 launch in mid-September. Â
Â
How do you work with other departments and teams?Â
Since I report directly to our Publishers, I’m frequently interacting with different departments. I am usually the point of contact for the Workshop group at large, and often communicate with different people each day across the company.Â
Typically, I work with editors on launch materials and Instagram captions, and to coordinate contracts and payments. I also work closely with our design team, especially leading up to launch and making sure we have all materials needed. Â
[caption id="attachment_280267" align="alignleft" width="268"] Katie and colleagues pose for a selfie before an author visit at the 1745 Broadway office.[/caption]
Depending on where we are in the launch cycle, I am coordinating with the Penguin Young Readers Publishing Office, Marketing, and Publicity teams to get materials over to them in advance of the launch. These items typically include positioning sheets with key information about the title and author and designation grids for the upcoming season.Â
Â
Is there a particular campaign that you're proud of?
Something that I'm most proud of right now is the TIME for Kids: Almanac 2027. As a huge fan of the brand as a kid, it's full circle to get to work with them. I've been working on this project since its inception over a year ago. It's been interesting for me to serve as an editor while coordinating the work with a freelance packager and licensor. I coordinate communication to ensure the book is moving forward in a way that meets the expectations of Penguin Random House, Time for Kids, and the packager.Â
In recent weeks, it's been exciting to see the Almanac come together in a tangible way, as many logistics and front-end planning had to be done before we even got started on the physical book itself. Now that we’re in the book review stage, the Almanac is coming to life, and I had the opportunity to present at a launch for the first time. This project has been instructional for all things publishing. I've learned so much working with teams on design, editing, scheduling, and photo licensing. Â
It’s still a little less than a year out from publishing, so I will continue to learn even more. The Almanac is the first book that I've been closely working on since the start, and when it finally hits the shelves, it’ll be another full circle moment for me. I’m so excited for that time to come!Â
Â
What do you find most rewarding about your job?
[caption id="attachment_280266" align="alignright" width="303"] Katie with PRH colleagues at Jewish Connections @ PRH's outing to Seed + Mill.[/caption]
I really enjoy being the point person for people, whether they're part of Workshop or outside of the imprint and want to connect. It’s rewarding to be able to answer a question or help someone figure out a process
I came in knowing basically nothing about publishing, and reaching a point where I can now help others has been extremely gratifying. Over nearly two years in this group, I’ve developed my own methods for streamlining processes, and I enjoy making things more efficient—for both my team and myself. I feel like my role gives me exposure to so many different kinds of work, and being in the middle of it all is something I really enjoy.
Â
How do you feel like your role contributes to Penguin Random House's mission: to ignite a universal passion for reading by creating books for everyone?
I think because I'm a part of such a large imprint, I've worked on so many different types of books for every single type of reader. In the last several months, I've worked on Mad Libs, different types of picture books, scary middle grade graphic novels, and licensed, non-fiction. Even within that range, I think there's a book for everyone.
Â
Since we work in publishing, I have to ask. What are you currently reading?
I’m reading OLIVE KITTERIDGE by Elizabeth Strout.Â
Â
 Publishing Profiles: Pamela Dorman, Senior Vice President and Publisher of Pamela Dorman Books/Viking
August 13, 2025
Pamela Dorman, Senior Vice President and Publisher of Pamela Dorman Books/Viking
Pamela Dorman, Senior Vice President and Publisher of Pamela Dorman Books/Viking, has published multimillion-copy, #1 New York Times bestsellers by Sue Monk Kidd, Kim Edwards, Helen Fielding, Gail Honeyman, Jacquelyn Mitchard, Richard Osman, Jojo Moyes, Ashley Elston and many more. Â
She began her publishing career at St. Martin’s Press and is a summa cum laude graduate of Wesleyan University. Recently, Pamela sat down for a Q&A with Wesleyan University Magazine, discussing her storied career in publishing, what advice she offers to current students, and how her background has shaped her career. Read the full interview here.Â
Building off her recent interview, we chatted with Pamela, diving deeper into her learnings and mission throughout her enormously successful career. Â
What are some ways the publishing industry has changed since you started, and how have you adapted your approach over the years?  Â
The biggest thing over the past 45 years or so is that the internet arrived. That has changed so much about how we sell books, how we market books, and even how we discover authors. Â
On the other hand, the essentials of the business have not changed—at least for editorial. It’s still about reading manuscripts you love, discovering authors, and figuring out the best way to publish them. In terms of adapting, I think one of the other big changes—certainly since the pandemic—is so much less is done in person. 
All of publishing is a people business. When I started in publishing, the notorious three-hour lunch was a real thing. As recently as pre-pandemic, we would have two-hour agent lunches, and it was a wonderful way to make new contacts and also keep up with people we already do business with. In that way, we’ve become somewhat constrained by the fact that we meet online much of the time. The ability to have spontaneous conversations with people is much more limited. Â
On the other hand, I do a tremendous amount of business with UK publishers and authors. One of the great advantages of having access to online meetings is I can speak to British authors all the time. I could always speak to them, but to have a video conference and see the person and how they’re reacting is a way to bridge that gap that we didn’t have before. Â
Â
Can you share more about the vision and mission behind your imprint, Pamela Dorman Books?Â
Even before I started the imprint in 2008, I always published a lot of debut fiction and a lot of books whose primary audience is women. I published THE SECRET LIFE OF BEES at Viking. I published BRIDGET JONES DIARY and a book called THE MEMORY KEEPER’S DAUGHTER. I’ve always looked for strong women writers who write well but accessibly for what I call the “upmarket but popular audience.” It's what we now call book club fiction.
That is still a big, big part of the identity of Pamela Dorman Books. We’ve been able to build on my previous successes to have an identity as tastemakers in that arena. Our marketing and publicity departments are really good at taking an author in that category and elevating them.
We also want to publish straight ahead commercial fiction. A lot of the books that we publish in that arena are suspense novels of different kinds. I publish Shari Lapena and Richard Osman, who fall into that genre.Â
I’m always looking for suspense that has atmosphere and character, where the pace keeps you going. The books I love the most, the THURSDAY MURDER CLUB type books, are really about character, which always attracts me. Â
Â
How do you believe Pamela Dorman Books aligns with Penguin Random House’s mission to create books for everyone?Â
I think there's a range of authors, and there is something for a lot of different kinds of readers. Some of my books are on the more literary end of the spectrum, and some are on the other more commercial end of the spectrum. I started in publishing at St. Martin’s Press where I worked on every kind of book—fiction and nonfiction. It was a lot of commercial fiction and what I would think of as popular nonfiction. I really grew up in publishing, doing a whole lot of different things. Â
I have published people like Maria Shriver and Martha Beck, who’s a sociologist and life coach. Now, I’m publishing Angela Buchdahl, the only Korean American rabbi in the world. Angela is an amazing woman and a real-life character, if you will. Â
People don’t think of me as doing nonfiction, but when I read Angela’s proposal, I thought, “I really want to do this.” She is the kind of strong woman I admire. I think that fits with the bigger Penguin Random House mission as well. Â
Â
What are you reading right now?   Â
Shirley Jackson’s humorous memoir, LIFE AMONG THE SAVAGES. It’s about moving her growing family from a New York apartment to a ramshackle house in Vermont with her husband and three children. A classic I've never read!
Â
Anything else you think is important for people to know about you?Â
I’ve been a Penguin since 1987. I left for a couple of years and came back. Being at this company is in my blood and how I identify myself! It means a lot to me. I feel an enormous sense of pride about this company even in the many incarnations it’s gone through since I joined. Â
 To learn more about Pamela Dorman books, read the brochure here.Â
All of publishing is a people business. When I started in publishing, the notorious three-hour lunch was a real thing. As recently as pre-pandemic, we would have two-hour agent lunches, and it was a wonderful way to make new contacts and also keep up with people we already do business with. In that way, we’ve become somewhat constrained by the fact that we meet online much of the time. The ability to have spontaneous conversations with people is much more limited. Â
On the other hand, I do a tremendous amount of business with UK publishers and authors. One of the great advantages of having access to online meetings is I can speak to British authors all the time. I could always speak to them, but to have a video conference and see the person and how they’re reacting is a way to bridge that gap that we didn’t have before. Â
Â
Can you share more about the vision and mission behind your imprint, Pamela Dorman Books?Â
Even before I started the imprint in 2008, I always published a lot of debut fiction and a lot of books whose primary audience is women. I published THE SECRET LIFE OF BEES at Viking. I published BRIDGET JONES DIARY and a book called THE MEMORY KEEPER’S DAUGHTER. I’ve always looked for strong women writers who write well but accessibly for what I call the “upmarket but popular audience.” It's what we now call book club fiction.
That is still a big, big part of the identity of Pamela Dorman Books. We’ve been able to build on my previous successes to have an identity as tastemakers in that arena. Our marketing and publicity departments are really good at taking an author in that category and elevating them.
We also want to publish straight ahead commercial fiction. A lot of the books that we publish in that arena are suspense novels of different kinds. I publish Shari Lapena and Richard Osman, who fall into that genre.Â
I’m always looking for suspense that has atmosphere and character, where the pace keeps you going. The books I love the most, the THURSDAY MURDER CLUB type books, are really about character, which always attracts me. Â
Â
How do you believe Pamela Dorman Books aligns with Penguin Random House’s mission to create books for everyone?Â
I think there's a range of authors, and there is something for a lot of different kinds of readers. Some of my books are on the more literary end of the spectrum, and some are on the other more commercial end of the spectrum. I started in publishing at St. Martin’s Press where I worked on every kind of book—fiction and nonfiction. It was a lot of commercial fiction and what I would think of as popular nonfiction. I really grew up in publishing, doing a whole lot of different things. Â
I have published people like Maria Shriver and Martha Beck, who’s a sociologist and life coach. Now, I’m publishing Angela Buchdahl, the only Korean American rabbi in the world. Angela is an amazing woman and a real-life character, if you will. Â
People don’t think of me as doing nonfiction, but when I read Angela’s proposal, I thought, “I really want to do this.” She is the kind of strong woman I admire. I think that fits with the bigger Penguin Random House mission as well. Â
Â
What are you reading right now?   Â
Shirley Jackson’s humorous memoir, LIFE AMONG THE SAVAGES. It’s about moving her growing family from a New York apartment to a ramshackle house in Vermont with her husband and three children. A classic I've never read!
Â
Anything else you think is important for people to know about you?Â
I’ve been a Penguin since 1987. I left for a couple of years and came back. Being at this company is in my blood and how I identify myself! It means a lot to me. I feel an enormous sense of pride about this company even in the many incarnations it’s gone through since I joined. Â
 To learn more about Pamela Dorman books, read the brochure here.Â
Publishing Profiles: Meet Hannah Lopez, Riverhead Books Publicity Assistant
July 23, 2025
Hannah Lopez, publicity assistant at Riverhead Books
Hannah Lopez, a publicity assistant at Riverhead Books, has worked at Penguin Random House since May of 2022.
Hannah sat down to share what a typical day in publicity looks like, her most memorable career moments so far, and why many of her daily tasks involve jiffys (for those unfamiliar, she also explained what a jiffy is).Â
After reading her Q&A, if you’d like to learn even more, check out her video interview below!Â
How did you get involved in the publishing industry?
[caption id="attachment_278199" align="alignright" width="225"]
Hannah Lopez and her colleagues headed to a Riverhead publicity party via the train.[/caption]
 This was my first job out of college. I originally didn't think I'd go into publishing. During my senior year of college, I worked as the editor of my school newspaper. I gained a lot of experience but learned I didn't want to do that.
After looking on LinkedIn and chatting with people, I decided to apply for a job at Riverhead because it was creative and collaborative. I've really enjoyed working in publicity, and I've learned so much from everyone we collaborate with across departments.
Can you describe a typical day in your role as a publicity assistant?
Immediately when I get into the office, I media monitor. Any active titles we have, I scour the internet for listings and mentions of that title, and I add the mentions into databases. We have a sheet which includes our publicity plans for a title. I’m adding any title reviews into a praise document. Then, the reviews are added into internal databases, so our sales teams can see how the titles are doing. I send that information to the author and agent for awareness. Depending on active titles, that probably takes 30 minutes to an hour.
[caption id="attachment_278206" align="alignleft" width="300"]
Hannah Lopez with several publicity colleagues at Riverhead Books' annual holiday fundraiser.[/caption]
Next, I look at all active schedules we have for our authors. If there’s anything upcoming, I send a schedule reminder to the author. I check if anything—from meetings to flights—needs to be reconfirmed. I also go through my email and check if there are any design requests I need to submit for our campaigns.
As a publicity assistant, I’m responsible for pitching our paperbacks. Often after lunch, I send out our one-off book mailings to different media contacts or book sellers. If it’s a day with an actual mailing scheduled—not just one-offs—that task can take an entire day. Sending book mailings includes everything from getting all the labels ready, getting the jiffys (also known as bubble mailers) ready, and putting materials inside the book we’re mailing out. We write handwritten notes and also put press releases inside the books.
How do you work with other departments across Penguin Random House?
We work with a lot of departments but most closely with marketing. I believe it’s different depending on where you work and the size of your team, but at Riverhead, Publicity and Marketing go hand in hand. We collaborate on designed assets for a book, such as stickers that go on the outside of the bubble mailers. When we do Indie Next campaigns, Publicity and Marketing work as a team together, emailing booksellers and going to stores to make sure we get the book out there.
I run Riverhead’s TikTok, previously worked on our Instagram stories, and I’m also on the LinkedIn team. Publicity has a lot of collaboration with Marketing when it comes to social media. For example, Marketing sends out the tweets, and Publicity writes the tweets.
Even though Publicity and Marketing have separate contacts that we pitch to, we have a meeting every week where we discuss projects and ideas. If we have a publicity party to promote a title to the media or booksellers, both marketing and publicity talk about it—Marketing really helps come up with ideas on what we can do at a publicity party to get people talking.
[caption id="attachment_278196" align="alignright" width="300"]
Aura photos taken at the publicity party for Patricia Lockwood's WILL THERE EVER BE ANOTHER YOU. (Hannah's aura photo is the top right!)[/caption]
For example, we just had a publicity party for Patricia Lockwood. Her book cover for WILL THERE EVER BE ANOTHER YOU has a cat with a rainbow holographic and smoke around it. It looks like one of those aura photos. Because of that, we had an aura photographer come to the event, and it was a fun activity that started conversation.
We’re also in regular contact with Sales, Editorial, and other departments.
Is there a particular publicity campaign you’re proud of?
[caption id="attachment_278169" align="alignleft" width="192"]
Cover for Liz Moore's THE GOD OF THE WOODS (Riverhead Books)[/caption]
Last summer, we started a campaign for THE GOD OF THE WOODS by Liz Moore. She had a huge publicity schedule. On her tour, she had many stops. For the campaign, we contacted and coordinated with a lot of bookstores. We worked with our travel department to book hotels and flights. She was filming her TV show at the same time, so we worked around that schedule and sent calendar reminders.
For her campaign, the mailings were ginormous. We had customized boxes with crinkle paper, and I sent like 250 mailings out for both the galley and the hardcover versions of the book. It took me two days to do it. The title was also a Barnes & Noble pick. For some background, when you see the posters and other materials in Barnes & Noble, those are hand shipped to the stores—at least for Riverhead authors. That was a long process because the boxes we put the materials in aren’t prepared. It’s like going to war that week because we make the boxes, put everything in them, and print out specialized instructions for how we want everything set up. There were 600 stores, and we sent them to every store.
[caption id="attachment_278197" align="alignright" width="300"]
Hannah Lopez at The Tonight Show with Jimmy Fallon (l to r: Hannah Lopez, Liz Moore, Bianca Flores, Nora Alice Demick)[/caption]
It was a lot of mailing, but it’s also so much fun. When the author is so great and the cover is pink and green, it was so fun to brainstorm how we wanted assets to look because it was so much fun to play with. She was also the Tonight Show book club pick. We got to go to Jimmy Fallon, meet him, and watch her on the show. It’s those small moments where you realize, “These are amazing opportunities, and I never would’ve imagined I’d be backstage talking to Jimmy Fallon.”
For some campaigns, you work on them until there’s a stop after a few months. However, there are some campaigns where you’re continuously in contact with the author and sending out books and materials. Also, in publicity, there are certain moments where you get to talk to really cool people. One of our authors is Miranda July. I’ve seen her movies before, and now I’m giving her books to sign and having a regular conversation.
What do you find most rewarding about your job?
It’s just this feeling I get when I go into a bookstore and see a book that I’ve worked on since before it even had a cover. I see it sitting in a bookstore perfectly packaged on a new release table or on a shelf, and it feels surreal. You’ve been working for this for months and know about this book intimately. Now, it’s finally out in the world. I get the same feeling when I’m on the train and see someone reading a Riverhead book. It’s almost like you have a little secret. There’s a part of me in the book, and you’re reading it right now.
[caption id="attachment_278170" align="alignleft" width="187"]
Cover for Moshin Hamid's THE LAST WHITE MAN[/caption]
I remember the first book I ever worked on was called THE LAST WHITE MAN by Mohsin Hamid. I loved working on that book, and I loved the cover. I got to work with this author a lot. Right when it came out, my best friend visited me in New York. We walked to a bookstore, and I saw the title in the store. I thought, “Wow, this is the book I’ve been working on.” It’s really cool when you have friends and people who aren’t in the book world who notice the book in public.
This isn’t an expectation of course, but when you work on something, sometimes in the acknowledgements they’ll mention your name and talk about Riverhead. Even though I’m not the one writing a book, my name is in print, and it will always be there whenever someone reads this book.
How do you feel like your role contributes to our mission: to ignite a universal passion for reading by creating books for everyone?
As a publicity assistant, I work so directly with the author. Part of my job is to make the author comfortable and make sure the publishing experience is easy, and they can focus on their book.
Riverhead authors are unique, nuanced, and bold, and so are the readers. The authors are going to these bookstores and talking directly with readers and booksellers. I want to make sure they can really connect with the audience and deliver the message of their art while not worrying about delays or the small details. To reach the people they aren’t able to meet in-person, I make sure they can talk to the media. I ensure their book is in public conversation by coordinating and reminding them of interviews or an upcoming podcast. I ensure that our authors’ stories—that they put their whole entire heart into—are received and delivered in a way that fulfills them and what they envisioned.
Since we work in publishing, I have to ask—what are you currently reading?
Right now, I’m reading SUNRISE ON THE REAPING by Suzanne Collins.
Hannah Lopez and her colleagues headed to a Riverhead publicity party via the train.[/caption]
 This was my first job out of college. I originally didn't think I'd go into publishing. During my senior year of college, I worked as the editor of my school newspaper. I gained a lot of experience but learned I didn't want to do that.
After looking on LinkedIn and chatting with people, I decided to apply for a job at Riverhead because it was creative and collaborative. I've really enjoyed working in publicity, and I've learned so much from everyone we collaborate with across departments.
Can you describe a typical day in your role as a publicity assistant?
Immediately when I get into the office, I media monitor. Any active titles we have, I scour the internet for listings and mentions of that title, and I add the mentions into databases. We have a sheet which includes our publicity plans for a title. I’m adding any title reviews into a praise document. Then, the reviews are added into internal databases, so our sales teams can see how the titles are doing. I send that information to the author and agent for awareness. Depending on active titles, that probably takes 30 minutes to an hour.
[caption id="attachment_278206" align="alignleft" width="300"] Hannah Lopez with several publicity colleagues at Riverhead Books' annual holiday fundraiser.[/caption]
Next, I look at all active schedules we have for our authors. If there’s anything upcoming, I send a schedule reminder to the author. I check if anything—from meetings to flights—needs to be reconfirmed. I also go through my email and check if there are any design requests I need to submit for our campaigns.
As a publicity assistant, I’m responsible for pitching our paperbacks. Often after lunch, I send out our one-off book mailings to different media contacts or book sellers. If it’s a day with an actual mailing scheduled—not just one-offs—that task can take an entire day. Sending book mailings includes everything from getting all the labels ready, getting the jiffys (also known as bubble mailers) ready, and putting materials inside the book we’re mailing out. We write handwritten notes and also put press releases inside the books.
How do you work with other departments across Penguin Random House?
We work with a lot of departments but most closely with marketing. I believe it’s different depending on where you work and the size of your team, but at Riverhead, Publicity and Marketing go hand in hand. We collaborate on designed assets for a book, such as stickers that go on the outside of the bubble mailers. When we do Indie Next campaigns, Publicity and Marketing work as a team together, emailing booksellers and going to stores to make sure we get the book out there.
I run Riverhead’s TikTok, previously worked on our Instagram stories, and I’m also on the LinkedIn team. Publicity has a lot of collaboration with Marketing when it comes to social media. For example, Marketing sends out the tweets, and Publicity writes the tweets.
Even though Publicity and Marketing have separate contacts that we pitch to, we have a meeting every week where we discuss projects and ideas. If we have a publicity party to promote a title to the media or booksellers, both marketing and publicity talk about it—Marketing really helps come up with ideas on what we can do at a publicity party to get people talking.
[caption id="attachment_278196" align="alignright" width="300"] Aura photos taken at the publicity party for Patricia Lockwood's WILL THERE EVER BE ANOTHER YOU. (Hannah's aura photo is the top right!)[/caption]
For example, we just had a publicity party for Patricia Lockwood. Her book cover for WILL THERE EVER BE ANOTHER YOU has a cat with a rainbow holographic and smoke around it. It looks like one of those aura photos. Because of that, we had an aura photographer come to the event, and it was a fun activity that started conversation.
We’re also in regular contact with Sales, Editorial, and other departments.
Is there a particular publicity campaign you’re proud of?
[caption id="attachment_278169" align="alignleft" width="192"] Cover for Liz Moore's THE GOD OF THE WOODS (Riverhead Books)[/caption]
Last summer, we started a campaign for THE GOD OF THE WOODS by Liz Moore. She had a huge publicity schedule. On her tour, she had many stops. For the campaign, we contacted and coordinated with a lot of bookstores. We worked with our travel department to book hotels and flights. She was filming her TV show at the same time, so we worked around that schedule and sent calendar reminders.
For her campaign, the mailings were ginormous. We had customized boxes with crinkle paper, and I sent like 250 mailings out for both the galley and the hardcover versions of the book. It took me two days to do it. The title was also a Barnes & Noble pick. For some background, when you see the posters and other materials in Barnes & Noble, those are hand shipped to the stores—at least for Riverhead authors. That was a long process because the boxes we put the materials in aren’t prepared. It’s like going to war that week because we make the boxes, put everything in them, and print out specialized instructions for how we want everything set up. There were 600 stores, and we sent them to every store.
[caption id="attachment_278197" align="alignright" width="300"] Hannah Lopez at The Tonight Show with Jimmy Fallon (l to r: Hannah Lopez, Liz Moore, Bianca Flores, Nora Alice Demick)[/caption]
It was a lot of mailing, but it’s also so much fun. When the author is so great and the cover is pink and green, it was so fun to brainstorm how we wanted assets to look because it was so much fun to play with. She was also the Tonight Show book club pick. We got to go to Jimmy Fallon, meet him, and watch her on the show. It’s those small moments where you realize, “These are amazing opportunities, and I never would’ve imagined I’d be backstage talking to Jimmy Fallon.”
For some campaigns, you work on them until there’s a stop after a few months. However, there are some campaigns where you’re continuously in contact with the author and sending out books and materials. Also, in publicity, there are certain moments where you get to talk to really cool people. One of our authors is Miranda July. I’ve seen her movies before, and now I’m giving her books to sign and having a regular conversation.
What do you find most rewarding about your job?
It’s just this feeling I get when I go into a bookstore and see a book that I’ve worked on since before it even had a cover. I see it sitting in a bookstore perfectly packaged on a new release table or on a shelf, and it feels surreal. You’ve been working for this for months and know about this book intimately. Now, it’s finally out in the world. I get the same feeling when I’m on the train and see someone reading a Riverhead book. It’s almost like you have a little secret. There’s a part of me in the book, and you’re reading it right now.
[caption id="attachment_278170" align="alignleft" width="187"] Cover for Moshin Hamid's THE LAST WHITE MAN[/caption]
I remember the first book I ever worked on was called THE LAST WHITE MAN by Mohsin Hamid. I loved working on that book, and I loved the cover. I got to work with this author a lot. Right when it came out, my best friend visited me in New York. We walked to a bookstore, and I saw the title in the store. I thought, “Wow, this is the book I’ve been working on.” It’s really cool when you have friends and people who aren’t in the book world who notice the book in public.
This isn’t an expectation of course, but when you work on something, sometimes in the acknowledgements they’ll mention your name and talk about Riverhead. Even though I’m not the one writing a book, my name is in print, and it will always be there whenever someone reads this book.
How do you feel like your role contributes to our mission: to ignite a universal passion for reading by creating books for everyone?
As a publicity assistant, I work so directly with the author. Part of my job is to make the author comfortable and make sure the publishing experience is easy, and they can focus on their book.
Riverhead authors are unique, nuanced, and bold, and so are the readers. The authors are going to these bookstores and talking directly with readers and booksellers. I want to make sure they can really connect with the audience and deliver the message of their art while not worrying about delays or the small details. To reach the people they aren’t able to meet in-person, I make sure they can talk to the media. I ensure their book is in public conversation by coordinating and reminding them of interviews or an upcoming podcast. I ensure that our authors’ stories—that they put their whole entire heart into—are received and delivered in a way that fulfills them and what they envisioned.
Since we work in publishing, I have to ask—what are you currently reading?
Right now, I’m reading SUNRISE ON THE REAPING by Suzanne Collins.