Monday, September 20, 2010

Running Press Book Publishers and Seventeen Magazine Team Up for Unique Book Project

Christopher Navratil, Publisher of Running Press Book Publishers, a member of The Perseus Books Group, has acquired world rights to Seventeen's Ultimate Style Guide by Ann Shoket and the Editors ofSeventeen through Lia Ronnen at Melcher Media. Running Press will publish in July 2011; Melcher will package.
"We are excited to be working with Ann and her group in bringing this book to market. In working with the # 1 selling monthly teen magazine, our goal is to create an indispensable guide that readers will turn to for inspiration," says Navratil.
"This book represents an important part of our editorial strategy of 'Seventeen Everywhere' – we want to be everywhere teen girls are ... including bookstores!" says Seventeen Editor in Chief, Ann Shoket. "Running Press is a great fit for us because they understand how to reach the consumer through traditional and non-traditional book channels."  
At its core, Seventeen's Ultimate Style Guide will teach teens and young women how to develop their own personal style and provide hundreds of ideas on how to maximize wardrobe options, stretch the dollar, and make everyday basics work in hundreds of ways. The book will be an essential and timeless guide for every girl just as the magazine is the iconic fashion and beauty bible for generations of teens.
"The power and reach of Seventeen attracted us to the project from day one," said David Steinberger, President and CEO of The Perseus Books Group. "They fully understand the effectiveness of branded, multi platform marketing and they are a great partner for a project of this magnitude," he said.  
In addition to the 13 million readers of the print magazine, Seventeen.com has more than 1.8 million unique visitors per month, more than 200,000 fans on Facebook, 90,000 Twitter followers, and an iphone app that has reached 1 million downloads.  
About Running Press
Running Press creates more than 200 new titles a year under three imprints: Running Press, Running Press Miniature Editions™, Running Press Kids. It is a member of The Perseus Books Group, an independent company committed to enabling independent publishers to reach their potential whether those publishers are Perseus-owned, joint ventures or owned by third parties.
Member publishing programs include Avalon TravelBasic BooksBasic CivitasDa CapoLifelong BooksRunning Press,Seal PressVanguard Press and Westview Press, as well as partnerships with PublicAffairs and Nation Books. ThroughConsortiumPerseus Distribution and Publishers Group West, the Perseus Books Group is also the leading provider of sales, marketing and distribution services to independent publishers.
About Seventeen
Seventeen (www.seventeen.com) is the best-selling monthly teen magazine, reaching more than 13 million readers every month. In each issue, Seventeen reports on the latest in fashion, beauty, health and entertainment, as well as information and advice on the complex real-life issues that young women face every day. Readers can also interact with the brand on the digital front, with Seventeen mobile (m.seventeen.com). In addition to its U.S. flagship, Seventeen publishes 13 editions around the world. Seventeen is published by Hearst Magazines, a unit of Hearst Corporation (www.hearst.com) and one of the world's largest publishers of monthly magazines, with nearly 200 editions around the world, including 15 U.S. titles and 20 magazines in the United Kingdom, published through its wholly owned subsidiary, The National Magazine Company Limited. Hearst Magazines is the leading publisher of monthly magazines in the U.S. in terms of total circulation (ABC, Dec. 2009) and reaches 73 million adults (MRI, Fall 2009).

Directory of publishers - Diversity Ad Network



Diversity - Ethnicity


Informs, educates and enlightens the British South-Asian population, offering local, national and international news.

A guide to individuals at the forefront of the UK's Chinese Culture.

Information on East-Asian arts, culture, design and entertainment.

The Asian News network, with comment, sport, entertainment and more

Recognizes and celebrates the economic contributions of Black and Minority Ethnic communities to the economic development of Britain.

The networking forum for BME (Black Minority Ethnic) graduates and young professionals in the UK.

Celebrating and highlighting Caribbean and African activities, with profiles, articles and news.

Black Politics is an independent blog encouraging new writing about politics, politicians, race, culture and world affairs.

Diversity - LGBT

News, entertainment, health, jobs and general information for gay men, lesbians and bisexuals.

News, reviews and comment from Europe's largest gay news service.

Digital magazine and social network site aimed at young urban gay men and their friends.

The UK's best selling gay magazine.

One-stop stylish gay website, featuring daily gay news and gay lifestyle features, articles, arts reviews and listings and a comprehensive guide to UK Gay Pride events, as well as popular gay shopping and gay travel channels.

The UK's leading lesbian lifestyle website

The UK's leading gay male lifestyle website

Diversity - Disability

A comprehensive directory of information and web sites for the disabled both within the UK and International.

Showcases disability and deaf arts, profiles artists and offers informative critical evaluation, serving the development of disability arts in the UK and worldwide.

Diversity - Age

The world's biggest online student community.

Aims to promote better recruitment practice amongst employers and give the mature worker access to the best job opportunities available.

Discussion forums for postgraduate students worldwide.

The latest news, student views, and practical advice for students to kick-start a career.

Diversity - Gender

The Guide to International Womens Month for women who look for a work/life balance, a guide to events happening nationwide, Career opportunities and more.

'Laini's Little Pocket Guide' series to expand into Allentown next summer


When Laini Abraham graduated from college, the last place she ever saw herself coming back to was Easton.
"The real honest version is I came back after traveling and thought I'd stay long enough to make money so I could leave again," says the Easton native. "I didn't realize how beautiful it was here. I fell in love."
Fast forward 10 years and Abraham is one of the town's strongest proponents, founder and publisher of a travel guide series, "Laini's Little Pocket Guide." The series focused on Easton and now includes Bethlehem. An Allentown guide is in the works for next summer.
"I was tired of hearing people say there was nothing to do in Easton," Abraham says. "I felt like if people knew where stuff was, there'd be an increased comfort level with the Downtown area."
"I realized there was this whole community living and working Downtown and I loved it. I fell in love and it's a weird area to fall in love with."
Ghost town
"I didn't like it here when I left for college," Abraham recalls. "When I left in 1990, Downtown Easton was very depressed. The circle was a ghost town."
Abraham grew up in Palmer Township and graduated from Easton Area High School in 1990.
A photographer by nature, she began shooting images of city life when she returned; places that were familiar, yet begging to be rediscovered. She says the city's progression has been an amazing one to witness. Her photographs turned into a postcard series under the name Community Cards & Books.
Her business and her work as art director for Lehigh Valley Magazine and the Elucidator helped lay the groundwork for her pocket guide series.
First run
Her first guidebook hit shelves in 2007, and its third annual update is due this fall.
It was population growth -- people returning to the Easton area and city dwellers making the Lehigh Valley their home -- that fueled the need for a travel guide to the area.
"I got tired of seeing those flimsy maps and poorly done guides people would make from outside the area. I wanted a better representation of Easton," she says.
Each edition is a mix of photographs, history and recommendations for local arts, dining and music venues. The Easton edition even has a driving feature on how to maneuver Centre Square without an accident.
It took a year and a half of work and a lot of research to get the series off the ground. Abraham paired her photos with writer Elinor Warner's words for the first book. The project has grown over the years to include a team of more than 20.
"It was the hardest thing I've ever done selling ads for something that didn't exist," Abraham says of the guide's beginning. "Because I had been doing postcards, lived here and had an established business, there was a trust factor."
Today most of the publishing costs get lost in the ad revenue. The book retails for $4.95 at select retailers, including Weis, Wegmans and Giant. A good portion of the books aren't sold -- 15,000 get distributed directly to homes and 10,000 wind up at retailers.
Future plans
Her website, littlepocketguide.com, Facebook and Twitter accounts fill in where the books leave off with up-to-date features.
"Doing three books and this website is more than a full-time job," Abraham says. "The website is where people from the Lehigh Valley can get information on what's going on at that moment."
Each book will get an annual update -- Easton in October, Bethlehem in February and Allentown picking up in July.
Will her series expand to other Lehigh Valley cities in the future?
"It's possible," Abraham says. "But I don't want to go into a town that I don't know as well to do a superficial book."
Abraham says even locals will get something out of her series.
"You'll find out about things in here that you never knew about -- no matter how long you've lived here," Abraham says. "(It means) never again having to call 411 for the number to your favorite restaurant."
Reporter Kelly Huth can be reached at 610-258-7171 or khuth@express-times.com. Talk about issues in your town at lehighvalleylive.com/forums.

Redesign For About.com China

Original lifestyle content publisher About.com China (www.abang.com) today launched a new front page design to better highlight its network of expert “Guides”, the passionate group of experts who share expertise and advice on the About.com China Web site. The Chinese language Web site currently features more than 250 Guides..
In its first major redesign since the Web site’s launch in 2008, the new About.com China front page emphasizes the breadth of topics covered by its growing network of expert Guides, and features profile photographs of many of the Web site’s top experts. 
Wen-Wei Wang, VP of Technology, About.com China, said, “Our goal has always been to help users quickly find the information they need, whether it’s information on child-raising, recipes, or hobbies. While many of our users come to us through search engines, our new design makes it much easier for first-time visitors to find the expert “Guides” most relevant to their own areas of interest, whether by browsing the recommendations or using the site search and navigation tools.”
Liu Xiaoling, the About.com China Guide to Cosmetics, said, ”When users interested in getting advice and information about cosmetics, or who share my passion about cosmetics, first come to the About.com China site, the new front page helps them find me easily so I can solve their problems quickly and communicate with them.”
To date, About.com China has more than 250 expert “Guides” who have written about more than 2,000 topics across 12 channels including: Fashion, Foods, Health, Hobbies, Home, Pets, Digital, Travel, Education, Sports, Toys and Games. Based on internal metrics, About.com China averages more than five million unique visitors per month, from users who are seeking lifestyle advice and solutions to their daily problems.

Online Game Guides by Publisher KillerGuides



Video game strategy guide publisher KillerGuideshas announced using a social digital rights management (DRM) solution as alternative to digital copy protection measures. Game guide downloads from their website now have personal details of customers added on the fly, but come without any further digital restrictions.
Social DRM makes it much less likely that purchased files get shared with others, while not imposing impractical burdens on actual customers. For the company this means it can protect its digital asset without lowering the end value for its customers. Even though digital publishers are often confronted with content becoming available on torrent sites, KillerGuides follows the belief that this does not justify making a product less useful to those who paid for it in the first place.
"When you see Apple's iTunes and Amazon offering downloads without DRM, that's a clear sign that consumers want to own, not borrow, downloaded content", explains Lucio Pereira, the company's product manager, "if you're still using digital copy protection measures as a publisher, you are doing nothing but punishing your actual customers for saving you production and distribution costs."
Another advantage the company's newly developed, on-the-fly ebook generator is that it permits a large range of formats for the consistently updated publications - a must for MMORPG (massive multiplayer online roleplaying game) guides. This is a major boon for users who prefer to access the content on other devices than their computer – be it on their iPhone, Blackberry or Android phone. It also allows the company to make their content available directly inside selected games, meaning that customers can access game advice at the press of a button.
KillerGuides provides guides for more than 20 titles, ranging from the original Everquest and Vanguard: Saga of Heroes to Aion and Final Fantasy XIV. The company has released more than 150 game references since its inception in 2006 and has gathered numerous positive reviews for its independent publications online and in print. KillerGuides currently offers class, pvp and leveling guides for online games in four different languages.

Arlington resident's documentary sheds light on aviation security

In 2009, Fred Gevalt, the creator and former publisher of “The Air Charter Guide,” a resource for the on-demand aircraft charter business, was in the middle of a documentary project that explored the reasons as to why airline passengers agree to give up so many of their rights when choosing to fly.
After a year of research, interviews and captured footage, Gevalt realized his focus was too broad. He then approached director Rob DelGaudio of BlackPearl Productions and writer Rocco Giuliano, along with a handful of others, and began to narrow the focus on the flaws of aviation security. His investigation includes a scrutinizing look at the Transportation Security Administration (TSA), created after the Sept. 11, 2001 attacks, and those who have tried to fix the system.
Gevalt and his crew documented the findings in a new film called “Please Remove Your Shoes.”
Q. Why did you decide to embark on this project?
A. The Transportation Security Administration is a completely ineffective solution to airport security, a massive expense to the federal budget by itself, and more broadly, a demonstrable symptom of ill-considered government spending. 
As an aviation publisher, I watched this agency from its inception right after 9/11:  an insecure group of bureaucrats that quickly grew into a disingenuous and abusive organization, vastly more interested in its empire building and the future of its managers than for its lower level employees or the public it is sworn to serve. In that regard it is emblematic of the current attitude in government, which is extremely dangerous to our survival as a democratic republic.
And, unlike most government entities buried in Washington, as a topical choice TSA is a unique example of current government programs: we all get to see it "up close and personal" at the airport.
I sold my business in 2006 and earned the means to do something to try to help us focus on certain national priorities. I cannot think of a more important or pressing topic for our time. We have engaged ourselves in two wars, contributed to the demise of a global economy, polarized the world's largest religions, and threatened the core of our constitutional freedoms, all in the name of "security." 
My sincere hope is that by debunking the myth of aviation security I can help precipitate a national debate that allows the populace to take a more sober, quantified look at this subject before the next terrorist event precludes any intelligent discussion and we all wander down the self destructive trail first blazed by the Soviets. 
Q. What does the average person give up so that they can fly?
A. Every person, average or otherwise, no longer has his First, Fourth or Fifth Amendment rights at a U.S. airport. While the federal government doesn't advertise this fact, those civil liberties have been trumped by administrative law created by or in association with TSA and capriciously enforced by the local police at over 450 airports around the country. 
For those who don't believe me, try telling a screener what you think of their process the next time you fly. Try insisting that they have no right to search you without cause. Or try resisting your right against self-incrimination by refusing to answer their questions. You can call the Supreme Court to protest from your jail cell at the airport. For me and the generation that served with me in (or resisted) the VietNam War, what has already happened after 911 would have been unthinkable.    
Q. Your sources throughout the film are well-informed, credible people — some who worked for the federal government and who, after shouting for change, were quieted. How did you get them to talk?
A. They actually weren't "quieted," they just exhausted their available audience. They wanted to talk. They had threatened or forfeited their careers years ago to warn the public of the lies and ineptness of their managers. And when the internal complaint mechanisms failed them, they went to higher echelon government watchdogs. When the government watchdogs failed, they went to Congress. When Congress brushed them off, they went to the media. While the media aired their discoveries, the media didn't follow up. We are all counting now on the public.
“Please Remove Your Shoes” is a movie about this entire story — the dedicated efforts of U.S. public servants who were actually trying to serve our interests despite the deliberate interference of their own management. 
So the opportunity we presented them was greeted with enormous enthusiasm, and the scope and length of the film (as opposed to a three minute news segment) allowed them to disclose events and moments of introspection that are as poignant as they are unassailable.
Q. I was particularly drawn to the Ron Paul campaign worker who was detained for carrying a large sum of cash in his carry on. It turned out to be campaign donations, but the recorded conversation between the TSA workers and the passenger documented a use of what I would call bullying. Why did you decide to include this clip in your film? What do you think it says about the TSA in general?
A. The gratuitous harassment of this passenger, whose only "crime" was the transportation of a small box of campaign cash, is typical of TSA behavior. We included the story in the film to display that side of an agency, which has overstepped its charter and is too arrogant to acknowledge it. The incident, which allowed us to digress briefly to the audience's point of view, is instructive of the hazards of conferring power to agencies without first structuring them so that efforts are focused on a goal and staffing them with employees who respect and understand the law. 
What it says about TSA in general is that this super-agency is itself un-policed, and is running amok. In the film, both senior congressmen interviewed essentially corroborate this situation in various ways, despite the fact that they helped create TSA in the first place. More significantly, and presumably for political reasons, they aren't doing much about it.
Q. Your film provides reasons for passengers to really be afraid of flying. How do you see what you're doing as being different from what you might see as scare tactics used by the government?
A. Fear is an associative part of the whole topic of security, whether aviation related or not. To a certain extent I could frighten some people by just uttering the words "aviation security." Very few politicians can avoid the attention-getting advantages of presentations of threat, which most of the time are as unprovable as they are frightening.  
Additionally, with respect to aviation-security discussions of any kind, it is important to remember that according to years of well corroborated surveys, 50 percent of the flying public is already nervous about flying on a sunny day, in a brand new airplane, without any introduction of terrorism at all. This psychological fact, of course, is why aviation will forever remain a terrorist target.
While it is true that many people who have seen the film come away more afraid of flying, many more come away enraged at government agencies like TSA, which is a necessary goal of the film project. We cannot create an intelligent solution to our perceived security needs without first recognizing that what's currently in place doesn't work.
That we occasionally engage in "emotional manipulation" is largely a function of the usual problems of story telling. Show me a 94-minute film about a scary subject without some dramatic tension (fear), and I guarantee you I can find an audience that's fallen sound asleep.
On the other hand, we were careful not to show images of pre-programmed, predictable terror like the twin towers with planes flying through them. I think for the most part, we were able to keep the associative anxiety of the subject sufficiently at bay that most people who have screened this film had plenty to talk about afterwards in the Q&A and weren't so rattled that they had to go out for a stiff drink.
At the end of the day we have not duplicated the demagogic tactics of the politician because we do not aspire to the demagogic strategy of the politician: to use crises and fear to perpetuate careers, terms in office, and in the furtherance of legislative agendas. I do not expect, given my cost at financing this project, to ever see a profit. I am trying to make a point about our situation, which hopefully will help. And that is a key difference from what many in government, sadly, are trying to do.
Q. What can we do to fix the problem you’ve outlined in “Please Remove Your Shoes?”
A. In the close of the film, we list several ways that airport security could be improved as a summation of points made by our cast. The main issue is that we have to improve and use our intelligence to anticipate events before they arrive at the airport. We could install the entire First Air Cavalry at an airport to no effect if a bomb was smuggled in with airfreight.
But to really get somewhere we have to define the "problem," as you put it, which was never really done by Congress. On September 12, 2001 "security" meant relative peace of mind that a terrorist wouldn't hijack another airplane. But as we should have learned by today, despite our worst fears, airplanes aren't dropping out of the skies. For many today, security is their ability to pay the bills. 
As a nation these two are related. There has to be a balance between our collective economic health and a responsible level of physical protection. We need less cost, and brighter, more capable people. Right now the problem is an $8 billion/annum 60,000 employee jobs program called the TSA. We cannot afford to fix any problem by squandering our economy, our civil liberties and the futures of our children.

Did an O.C. company sneak out of town?


One of the weaknesses of the government's reporting system for major layoffs is that some companies simply don't report them or sidestep the rules so they, technically speaking, don't have to tell the state.
Thomas Bros., the publisher of the Thomas Guide map books that was based in Irvine for more than half a century, may be a case in point, according to Joe Vranich, a company relocation consultant, who tracks firms moving out of California.
Vranich reports that, based on information from a former employee, Thomas Bros. closed its Irvine headquarters around November of last year when the last 20 or so employees were let go. I heard the rumor, but never was able to nail it down.
The facility once had as many as 200 people. State law requires that a company file a Worker Adjustment and Retraining Notification (WARN) whenever 50 or more employees are let go within a 30-day period.
Neither Thomas Bros. nor its parent company, Rand McNally & Co., filed a WARN notice. However, if the layoffs took place in small batches over a period of time, they technically did not have to be reported.
Vranich says the jobs were transferred to Skokie, Ill., where Rand McNally is based, and Bangalore, India. Read his full report HERE.
We've got a call into Rand McNally but haven't heard back. Does anybody know what happened to Thomas Bros.? Any other companies out there that quietly slipped away?
Read more on jobs and the economy onHandling Hard Times.

Google's publishing free for all undermines our literary tradition


A customer uses computer in an internet cafe at Changzhi
Free information in the digital age poses a 'profound threat' to the literary world. Photograph: Stringer Shanghai/Reuters
For books, the first decade of the 21st century has seen one of the great cultural earthquakes. Go back 10 years, or perhaps 20, and the landscape is barely recognisable. No Amazon; no Google and no ebook. Wherever you look: writers, agents, publishers and booksellers transacting literary business like their great-grandparents.
Since the millennium, the relationship between words and money has undergone almost total inversion. On the demand side, publishers recklessly drove up profit margins from a comfortable 3% to a suicidal 15%. As for supply, a privileged minority of "content providers" (AKA authors) reached audiences and made fortunes that started at six or seven figures.
This takeover sometimes had the air of a gold rush, but it has not been a bonanza for everyone. At the end of the second world war there were more than 300 bookshops in New York City. Today there are fewer than 30. The astonishing scale of this transformation has left many observers as disoriented as the survivors of a natural disaster.
A new genre of books, cultural survival kits, has emerged to supply emergency road maps through new terrain: The Long Tail by Chris Anderson, The Tipping Point by Malcolm Gladwell, and No Logo by Naomi Klein. Each one of these bestsellers is animated by a need to make sense of the new and troubling questions provoked by global capitalism and the viral power of the internet.
Less flashy, and more humane, André Schiffrin, a distinguished former New York publisher, has been throughout this decade an indispensable, if rather pessimistic, guide to life after a cultural apocalypse, first in the much-admired The Business of Books (2000) and now in Words and Money (Verso).
He has spent the last decade puzzling over the annihilation of the business he loves by conglomerate visigoths such as Vivendi (a French water and sewage company turned media giant). Actually, while the old contract between words and money was being torn up a new one (entitled "free") was being written, mainly by geeks in California. It is a measure of the profound disorientation experienced by seasoned professionals in this new environment that nowhere in Words and Moneydoes Schiffrin really get to grips with the so-called Google Print Initiative, the biggest copyright heist in history. Nor does he tackle Amazon's burgeoning role as an internet publisher. Sometimes the cultural analyst who puts himself in the middle of the information superhighway ends up looking like Bugs Bunny in the path of a runaway Mack truck.
There's a lot that's passionate and useful in Schiffrin's anguished analysis. He is right to identify a healthy market as the key to a vital culture and vigorous democracy. His heart is certainly in the right place, but strangely, for a book entitled Words and Money, he never fully addresses the thorny question of "free", as articulated by Anderson, James Boyle (The Public Domain) and Lawrence Lessig (Free Culture). I wish he had because this goes to the heart of the crisis faced by print at the moment.
Books, like newspapers, are an essentially middle-class phenomenon whose market is the self-improving professional. As a bourgeois medium, books and their authors depend on the cash nexus. Johnson went straight to the point with: "No man but a blockhead ever wrote, except for money."
Johnson was right. Words that get written for money are likely to be superior to words spun out for nothing, on a whim. California's "free" movement wants to argue that literary copyright is an intolerable restriction of the public's right to access information, and that words should be free. That's a profound threat to the western intellectual tradition. I hope that André Schiffrin, having raised the alarm about the demise of serious publishing and journalism, will urgently turn his attention to the new, possibly darker, threat of digitisation and its consequences.

TV Guide Cuts Path to Relevance

There was a time years ago when TV Guide’s fall television preview issues were hundreds of pages thick. Studios would clamor to get their ads placed next to the prime-time listings, knowing that the magazine sat on as many as 20 million coffee tables each week.
Marilynn K. Yee/The New York Times
Jack Kliger, who took the reins of TV Guide last year, Debra Birnbaum, middle, editor in chief, and Lori O’Connor, publisher, at the magazine’s offices in Midtown.
Then, somewhere between the invention of the onscreen channel guide and an advertising market crash, TV Guide was sold for a pittance to a private equity firm. Cue taps.
“The first thing I wanted to know when I got here was, ‘Is it all dead, or mostly dead?’ ” said Jack Kliger, a fixture of the magazine business who took the reins of TV Guide last summer.
But over the last year, Mr. Kliger has led TV Guide as it made a serious, if pained, effort at clawing its way back to respectability. And in doing so, the magazine is helping to answer a question that is being asked across the media business: what does it look like when private equity runs a magazine?
In a word, smaller.
OpenGate Capital, which bought TV Guide two years ago for $1, has in the last year cut 37 percent — about $30 million — from the magazine’s operating costs, dropped more than 1 million subscribers who were paying next to nothing for the magazine and outsourced jobs.
Even Mr. Kliger, who led Hachette Filipacchi Media U.S. and held senior positions atCondé Nast over a career spanning three decades, has been outsourced. His official title is senior adviser to OpenGate, not TV Guide.
“The main thing was paring down,” Mr. Kliger said. “But $30 million, you don’t do that overnight.” Everywhere Mr. Kliger looked, he seemed to find TV Guide was doing something it could not afford.
“The model at TV Guide was unique in that the subscriptions and newsstand were producing more revenue than advertising. The problem was the cost basis,” he said. “It was run like a $150 million-a-year company when it was only taking in $120 million.”
TV Guide started by bringing its circulation down, eliminating nearly 40 percent of its subscriptions, mainly those that were sold through agencies that offered the magazine at a significant discount. Some that were so low they brought in only $2 or $3 a subscriber.
A magazine that had 3.1 million subscribers in 2008 suddenly became one with about 2 million. The average price subscribers pay has risen by about $1.50 in the last two years, to $35 now, according to Audit Bureau of Circulations data.
But the magazine still had more employees than it could afford. Four areas of its business operations — circulation management, marketing, research and brand development — have been outsourced. When Mr. Kliger arrived, there were around 100 people working for TV Guide. Now there are close to 70, with employees having been both outsourced and let go.
But efficiencies will only carry the magazine so far. And analysts have questioned just how strong the magazine actually is.
“On the outside, it looks better. I wouldn’t say it looks well,” said Steve Cohn, editor in chief of the Media Industry Newsletter. “It was basically a patient getting last rites for a few years. And now I’d say it’s not quite an endangered species anymore.”
So far, TV Guide has had difficulty luring back advertisers who fled the magazine long ago. According to statistics from the Media Industry Newsletter, the number of ad pages in TV Guide is down 17 percent from last year.
Mr. Kliger said that ad sales had slowly started to pick up. The Sept. 20 fall preview issue will be the largest the magazine has had since 2007, with more than 34 pages of ads and 112 pages in all. And major advertisers like VH1 and CBS, which bought an eight-page insert showcasing its new fall programming, are returning.
“We’re doing O.K.,” he said. “I’d say we’ve hit third base.”
Private equity companies have taken over media properties before, but the results have not always been smooth. Avista Capital Partners bought The Star Tribune of Minneapolis-St. Paul in 2007, but the newspaper declared bankruptcy in 2009 after cost-cutting proved not enough to overcome its mighty debt burdens.
The Reader’s Digest Association was bought by Ripplewood Holdings in 2007. But it, too, crumbled under the weight of its own debt and sought bankruptcy protection. Outsourcing departments like information technology and direct mail saved about $175 million, but that was a drop in the bucket compared with the $800 million in debt the new owners agreed to take on and the $1.6 billion they agreed to pay for the company.
OpenGate has nowhere near that kind of liability. It paid $1 for the magazine and assumed close to $100 million in subscription liabilities. And it also has a healthier ad market at its back.