Frankfurt Show Daily 10/9/13 Day 1

Frankfurt
9 October 2013
F o r t h e l a t e s t f a i r c o v e r a g e , g o t o w w w. p u b l i s h e r s w e e k l y. c o m / f r a n k f u r t a n d w w w. b o o k b r u n c h . c o . u k
CONTEC opens good mood

Frankfurt Book Fair
he popular Tools of
Change is no more,
but in its place a
more intimate digital conference
CONTECkicked off what
Frankfurt VP of Conferences
and Entertainment & Media
Holger Volland said was going
to be a good mood Frankfurt
Book Fair.
Volland noted that the Fairs
numbers this year were in line
with 2012, including more than
7,500 exhibitors, a record number of agents in the LitAg center,
and more than 300,000, including consumers, expected to attend
the event over the next week.
CONTEC began with two
keynotes. First, Wiley President
Stephen Smith offered a view
from the establishment. For the
206-year-old publisher, digital
offered higher value, Smith said,
and was delivering more content
to customers than at any time in
the publishers history, while
offering higher margins and
more attractive cash flow.
The digital revolution weve
talked about for many years is
no longer on the horizon, it is
here, we are living in it, Smith
said, noting that more than 50%
of Wileys revenues came from
digital products and services.
But while there are many good
things about the digital revolution, it really isnt going to be
enough to take us where we need
to go in the years ahead.
For Wiley, a long-established
professional brand, the challenge
was to continue to innovate to
break out of mature sources of
revenue, Smith said, and find
ways to unlock the potential that
Day 1 News.indd 1
exists within our content. Specifically that meant developing

new products and services, with
an emphasis on the word services, Smith stressed, that go
beyond content.
For example, Smith explained,
for Wiley customers in the field
of chemistry, it was no longer
enough to be merely a provider

of content. We need to provide
them with solutions to their
everyday pain points.
Smith was followed by German author and technologist
Sascha Lobo, who will announce
his new startup, sobooks, at the
Fair. The venture will focus on
How LB signed JK
hen Robert Galbraith, author of The Cuckoos Calling, was

revealed to be J K Rowling, the media assumed that Little,
Brown had orchestrated the leak.Then we learned about the
role played by an incontinent lawyer.
In fact, the real truth is even more extraordinary, as Publisher David
Shelley reveals exclusively to Frankfurt Show Daily today (see pages
14-16), for he had not known the real identity of Galbraith when he
opened discussions with agent Neil Blair about its acquisition. And those
discussions led, as it turned out, to his acquiring The CasualVacancy.
Galbraith was read on its merits, Shelley says. Jo has proved that
its hard to read without prejudice. Shes made people stop and think
what they come to a book with.
Visit us at
Hall 8.0 R35
social selling for ebooks.
Describing the current ebook
formats as ancient technology, Lobo bemoaned the huge
discontinuities in the processes
of buying, selling, and discovering and discussing ebooks.
The future of the book is on
the web, Lobo stressed. Im
convinced that in some years that
reading ebooks will mean being
on the internet, and you wont be
able to tell the difference.
SBS joins
DSV
SV Air & Sea has become

one of the largest forwarders on the UK-US
trade lane following the acquisition of SBS Worldwide Holdings.
SBS Worldwide, which
employs 220 people in three
offices in the UK and four in the
US, was established in 1983 by
Steve Walker, Chairman, who
joins the DSV Air & Sea team in
the UK along with his staff.
Walker said: I am delighted
that DSV has appreciated our
market position and has offered
us the opportunity to build on
the vision we have developed
over the last 30 years.
Michael Hansen, DSV Air &
Sea MD, said: [SBSs] reputation for service excellence and
good customer relations is welldeserved and matches the standards we have established for
DSV Air & Sea. We already have
a strong presence on the UK-US
market and have identified it as
an area of strategic growth for
the company, so SBSs particular
expertise and experience in the
transatlantic trade is a great
asset for us.
08/10/2013 15:41
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DIGITAL
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COMPLETE
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Visit us at stand G9 in Hall 8.0 to pick up
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9 OCTOBER 2013
FRANKFURT SHOW DAILY 3
FAIR DEALINGS
Ingram adds Russia to
Global Connect network
he Ingram Content
Group is expanding
its Global Connect
programme to
Russia, signing an
agreement with the Russian
media giant EE Media. Like the
deals it signed with partners in
Brazil and Germany, the agreement with EE Media will give
publishers the opportunity to
print titles through a local printon-demand service and then sell
books through a domestic distribution network.
EE Media is one of Russias
largest publishing and distribution companies, and has the confidence of Ingram that it will be
able to deliver quality production
and distribution services for publishers that want to use the Global
Connect option. EE Media has
the print-to-reader capabilities to
meet Lightning Source standards
and can roll out sales to a large
network of stores and other resellers in the local market, David
Taylor, Senior V-P Content
Acquisition International at
Ingram, said.
Taylor noted that Ingram
chose Russia to be the third country to become part of its global
alliance because it could be a
difficult market to penetrate,
something echoed by Yevgeniy

Khata, CEO of EE Media.
Where it typically took one to
two months for English-language
books to reach consumers [in
Russia], now it will take 24 to 48
hours, he said. EE Media has
more than 3,000 retail points of
sale, Khata added.
Taylor noted that another
attribute of the Russian market
was strong demand for books
both in the consumer and education areas, with Ingram estimating that the market for Englishlanguage titles in Russia was
worth about $100 million.
en Rhodes has been

promoted to Managing
Director of NBN International. Rhodes joined the
distribution company as General Manager from Bloomsbury
in September 2012.
Jed Lyons, President and
CEO of NBNs parent Rowman
and Littleeld, said: Ken has
had a tremendous impact on
the business since he joined us
last year.The team is energized
and highly motivated which is
great for both existing clients
and publishers looking for
forward-thinking distribution
solutions. His promotion is a
recognition of that work.
To contact Frankfurt Show Daily at

the Fair with your news, visit us on the
Publishers Weekly stand Hall 8.0 R35
Reporting for BookBrunch by
Nicholas Clee in London and LizThomson in Frankfurt
Reporting for Publishers Weekly by

Andrew Albanese, Rachel Deahl, Calvin Reid and Jim Milliot
Project Management: Joseph Murray
Layout and Production: Heather McIntyre
Editorial Co-ordinator (UK): Marian Sheil
To subscribe to Publishers Weekly, call 800-278-2991

or go to www.publishersweekly.com
Subscribe to BookBrunch via www.bookbrunch.co.uk
or email editor@bookbrunch.co.uk
Frankfurt Show Daily issue printed by Henrich Druck + Medien GmbH,
Schwanheimer Strae 110, 60528 Frankfurt am Main
www.publishersweekly.com
Day 1 News.indd 3
All publishers who take part in

Global Connect set the price they
want for their books in dollars.
Ingram passes the price to its
partner, which converts it to local
currency and adds its costs and
margin. Publishers will be paid in
dollars, and Lightning will
maintain file integrity and security.
Ingram began the Global
Connect programme in 2011 and
has been operating partnerships
with Singular Digital in Brazil and
Books on Demand in Germany.
Taylor said that sales had continued to grow in both markets since
the programmes began.
urpin Distribution
has announced the
l a u n ch o f Tu r p i n
Digital,run in association
with ePubDirect.
The company will
demonstrate the service
at its stand at the
Frankfurt Book Fair today
(Wednesday 9 October,
5pm, Hall 4.2, L27).
Gareth Cuddy, ePubDirect
CEO, said: Over the last
three months we have added
eight new sales channels
and three new library
channels to the platform. We
continuously strive to
achieve the best terms for
our publishers including
academic discounts.
Faber revives letterpress
aber has created a

letterpress imprint, Faber
Fine Press. The Press will
produce small-scale, high
quality printed work marrying
the best in design and writing
that further enriches our love of
the written word.
The publisher is running the
imprint in association with the
London Centre for Book Arts
(LCBA), where it is installing its
printer. Faber and Centre intend
to use the printer for education
and training. It is also restoring a
machine found in the archive
and used by its celebrated
designer Bertholde Wolpe, who
joined Faber in 1941 and who
was responsible for the companys visual identity during the
mid-century years.
The inaugural Fine Press
project will be a set of four,
limited edition, illustrated poetry
broadsides: Jo Shapcotts
Sinfonietta for London illustrated
by Amanda-Sue Rope; Simon
Armitages A Vision, illustrated

by Paul Catherall; Daljit Nagras
Transport for Londonstan,
illustrated by Bruno Mangyoku;
and Alice Oswalds Woods etc,
illustrated by Jonathan Gibbs.
They will be available in
November, exclusively from the
Faber website.
Stephen Page. Faber CEO,
said: The digital revolution
has inspired a resurgent love of
book arts and beautiful handprinting, and at Faber we are
delighted to be pursuing both
digital and physical publishing
with passion and imagination.
Faber Fine Press will draw on
our design heritage, with its
attention to beautiful typography and book-making excellence. This project started with
the discovery of Wolpes hand
press in the archive by our production manager Jack Murphy
and has been driven by staff
interest in this area, and a love of
the book as an object.
ichel Barnier, European Commissioner for Internal Market

and Services, will visit the Frankfurt Book Fair on Friday,
11 October. He will meet a delegation of European publishers
at the Bureau International de lEdition franaise/BIEF stand
(6.1. A114), before visiting stands of European publishers. Barnier
leads the Licences for Europe initiative, which promotes licences
for access to digital works. He also has a portfolio for copyright and
electronic commerce.
www.bookbrunch.co.uk
08/10/2013 15:12
9 OCTOBER 2013
4 FRANKFURT SHOW DAILY
FAIR DEALINGS
Rights round up
Arabella Pike at William Collins and
Claire Wachtel at Harper US have
paid six figures at auction for a
memoir (autumn 2014) by Hyeonseo
Lee, a North Korean refugee who
rescued her mother and brother
from the country after her own
escape years earlier. Rights have
also gone in Denmark, the
Netherlands, France, Germany,
Italy, Poland, Portugal and Spain,
in deals negotiated by Pontas
Literary Agency, acting on behalf
of primary agent Kelly Falconer at
Asia Literary Agency. Pike said:
Hyeonseo Lees book has electried
everyone here atWilliam Collins and
in our US office. Ms Lee is quite
remarkable and her book promises
to be powerful, deeply emotional
and important... This will be a listdening book for us.
Andrew Marr has turned novelist
and signed with Fourth Estate, which
won a hotly contested auction for a
political satire, Head of State
(autumn 2014). Marr returned
recently to broadcasting after
recovering from a stroke.Victor said:
Ever since I began representing
Andrew Marr many years ago, Ive
been secretly dreaming he would
turn his talents towards ction. Head
of State is everything I hoped for: a
rst-rate political mind giving birth
to a rst rate political novel.
Mark Booth at Coronet has bought a
book about Yetis that will, in the
words of agent Luigi Bonomi,shock
the world. The Quest for the Yeti, a
D N A D e t e c t i v e S t o r y ( 2 014 )
is by Brian Sykes, Oxford professor
of genetics and author of The
Seven Daughters of Eve. The book
describes Sykess hunt for genetic
traces of species, such as theYeti, the
Sasquatch and Big Foot; two
samples taken towards the end of
h i s q u e s t w i l l ch a n g e o u r
understanding of human history.
Through Bonomi, Coronet has world
rights excluding NA.
Yale has signed world English rights
in the Irish language classic Cre Na
Cille (Graveyard Clay) by Mirtn
Cadhain. Yale signed the rights
through Irish house Cl IarC h o n n a ch t . J o h n D o n a t i ch ,
Yale MD, described the 1947 novel
as a darkly humorous comic
masterpiece that Beckett would have
been proud of. Yale will publish two
different English translations
simultaneously in the spring of 2015.
Cadhains protagonist is Caitrona
Phidn, who has died and entered
the graveyard only to discover that
even in death she will not nd the
peace she expected. Instead, she
joins a cacophonic and multi-voiced

argument between the many local
villagers who have preceded her.
Amanda Harris at Orion has bought
world rights to a home-sewing book,
Sew Fabulous by Stuart Hillard, a
semi-finalist on BBC2s The Great
British Sewing Bee. The agents are
Celia Hayley and Heather HoldenBrown at the hhb agency. Harris
said: Stuart is a star, both as a
person and as a sewing guru. He
lights up a room with his smile and
then makes it cosy with a clever
fabric craft.
glooBooks has bought

French childrens publisher
Elcy Editions, its first
overseas acquisition.
Based in Paris and previously
owned and managed by the late
Christophe Lagrange, Elcy
specialises in illustrated and nonfiction titles. John Styring, Igloo
CEO, said: Elcy and IglooBooks
share many of the same core
values: investment and commitment to quality product, good
Faber Childrens has signed a

major three-book deal with Jeff
Norton, author of MetaWars. Leah
Thaxton at Faber bought world rights
in three Adam Meltzer: Memoirs of a
Neurotic Zombie novels from Zoe
King at the Blair Partnership. Adam
Meltzer is a pre-teen who gives his
parents an enormous shock when he
turns up on their doorstep, three
months after his funeral. And then he
has to t in at school...Thaxton said:
Like all the best ideas, you cant help
wondering why no one thought of it
before. Adam Meltzer is truly a series
to die for. The rst title will appear in
October 2014.
Tasmina Perry, author of bestsellers
including Daddys Girls, has
renewed with Headline in a major
four-book deal. Sherise Hobbs
at Headline signed UK and
Commonwealth rights in the novels
from Eugenie Furniss at Furniss
Lawton. Hobbs said: Tasmina Perry
is a wonderful storyteller with a
unique ability to sweep the reader
into spellbinding worlds... Headline
has hugely ambitious plans for
Tasminas career in the years to
come. Perrys novels have been
published in 17 territories.
Julia Wisdom at HarperCollins and
David Highfill at sister company
William Morrow have signed a new,
five-book deal with Simon Toyne,
author of the Sanctus trilogy. They
bought world English rights through
Alice Saunders at LAW.Toynes new
series, the rst title in which comes
in 2015, centres on Solomon Creed,
a man with no memory and no past.
Highfill said: Simon possesses a
nely tuned ear for what readers of
popular ction really want and has
imagination and ambition to spare,
an utterly unbeatable combination
wherever its found. Wisdom said:
The concept behind the Solomon
Creed series blew us away. I wont
disclose the big reveal but we are all
tremendously excited by what he
has planned.
Day 1 News.indd 4
Igloo buys Elcy

value and excellent service. Both
companies also operate in similar
genres within publishing and all
these commonalities make this
deal a perfect strategic fit.
Igloo will retain Elcys management structure, headed by
Eric Ekmektchian and Jeanne
Remience, and the company will
continue to operate out of its
premises at 48, Rue Montmartre.
Sales representation remains
with Dilisco and Hachette.
Jon Fine of Amazon

(left) and Hugh
Howey, author of
Wool, are pictured
at the CONTEC
conference
(see keynote report,
page 1).
Young Translators Prize winner
he 2013 Harvill Secker

Young Translators Prize
has gone to Lucy
Greaves, who receives 1,000
and a selection of Harvill Secker
titles. She will also take part in a
mentorship scheme with
translator Margaret Jull Costa,
in association with the British
Centre for Literary Translation;
it includes a visit to The Hague
to take part in The Chronicles
programme, part of the Crossing
Border Festival.
Greaves, who holds an MA in

Literary Translation from the
University of East Anglia, won
the Prize for her translation from
the Portuguese of O sucesso, a
short story by Brazilian author
Adriana Lisboa. The judges
were author Naomi Alderman,
translator Margaret Jull Costa,
literary journalist ngel GurraQuintana, and Harvill Secker
editor Ellie Steel. They
considered 92 entries from
nine countries.
Dot Lumley dies
orothy Dot Lumley died last weekend afer suffering

from cancer. She set up her Dorian Literary Agency
in 1986 after moving from London to Devon, and
represented authors including Gillian Bradshaw, Kate Charles,
Gary Gibson, Glenda Larke, Brian Lumley, Stephen Jones, Andy
Ramic, Rosemary Rowe, Lyndon Stacey and Julia Williams.
She worked in publishing at NEL and Methuen before starting
her career as an agent with Laurence Pollinger.
08/10/2013 16:31
Rowman & Littlefield is one of the largest and fastest growing

independent publishers and distributors in North America
and throughout the world. 2013 marked the opening of our
new London office, where Rowman & Littlefield International
acquires accessible and interdisciplinary academic texts
from recognized scholars.
Hall 8, Stand E112
Encountering Gorillas
For more information about Rowman & Littlefield,

please visit www.rowman.com
Coffee
A Chronicle of Discovery, Exploitation, A Comprehensive Guide to the Bean,

Understanding, and Survival
the Beverage, and the Industry
By James L. Newman
Edited by Robert W. Thurston,
Jonathan Morris and Shawn Steiman
Library 2020
Todays Leading Visionaries

Describe Tomorrows Library
Edited by Joseph Janes
Headquarters
4501 Forbes Blvd., Suite 200

Lanham, MD 20706
Tel: (301) 459-3366
Fax: (301) 429-5748
www.rowman.com
@RLPGBooks
PW Frankfurt Daily2.indd 1
The Green Museum
A Primer on Environmental Practice

SECOND EDITION
By Sarah S. Brophy
and Elizabeth Wylie
New York
200 Park Ave. South, Suite 1109

New York NY 10003
Phone: (212) 529-3888
Fax: (212) 529-4223
London
Experiencing Verdi
A Listeners Companion
By Donald Sanders
The Global Vatican
An Inside Look at the Catholic

Church, World Politics, and the
Extraordinary Relationship between
the United States and the Holy See
By Francis Rooney
Foreword by John Negroponte
Rowman & Littlefield International

16 Carlisle Street,
London
W1D 3BT
www.rowmaninternational.com
@RowmanInternat
Encyclopedia of the FIFA

World Cup
By Thomas J. Dunmore
The Concept of World

from Kant to Derrida
By Sean Gaston
International Ordering
Information:
NBN International
10 Thornbury Road
Plymouth PL6 7PP, UK
Tel: +44 (0) 1752 202301
Fax: +44 (0) 1752 202333
Email: orders@nbninternational.com
Website: www.nbninternational.com
9/18/13 2:51 PM
9 OCTOBER 2013
Frankfurt Briefcase 2013

By Rachel Deahl and Clare Swanson in New York and Nicholas Clee in London
US
Baror International
Diana Gabaldon returns to her
popular Outlander series with
WRITTEN IN MY OWN
HEARTS BLOOD (Delacorte,
March 2014). THE WATER
KNIFE by Paolo Bacigalupi (Knopf,
spring 2015) is about a future Earth
bedraggled by climate change and
drought. Stuart Shankers IN THE
ZONE (Penguin Press, 2015) revolutionizes the way we think about
raising our children by illustrating
new concepts in child rearing.
Curtis Brown/Gelfman
Schneider
CB, which is handling foreign
rights for Gelfman Schneider (as
well as for ICM), will be selling
Joseph Wallaces IN-VASIVE SPECIES (Penguin, Dec.) for that client
in Frankfurt; the book presents an
apocalyptic scenario in which a
predatory species is unleashed after
the deforestation of the African
rainforest. On CBs hot list is Elif
Shafaks untitled debut novel (US
rights not yet sold) about a young
boy named Jahan whose dedication
to the white elephant hes raised
from birth brings him on a journey
from India to Istanbul. THE GIRL
IN THE RED COAT (US rights
not yet sold) is a debut novel from
Kate Hamer, a student on the Curtis Brown Creative Writing course.
DeFiore and Company
The agencys major non-fiction
titles include THE GIFT OF
FAILURE by debut author Jessica Lahey (Harper, fall 2014),
which espouses the importance of
parents embracing opportunities
for failure, and how children can
learn from mistakes. SECRETS
FROM THE EATING LAB by
Traci Mann (Harper Wave, May
2015) culls data from two decades
of research that suggest that diets
do not work, and suggests how to
reach a maintainable weight.
Sandra Dijkstra Literary
Agency
The California-based outfit will
still be shopping Amy Tans
November-slated novel Valley of

Amazement (Ecco), which has sold
in multiple countries. Another
big book for the agency is Lisa
Sees CHINA DOLLS (Random
House, June 2014), which is set
in San Franciscos Chop Suey
Circuit just before World War II.
Ian Morriss WAR! WHAT IS IT
GOOD FOR? (FSG, fall 2014),
argues that war has been a
benefit to humanity.
Dystel & Goderich Literary
Management
Michael Callahans SEARCHING
FOR GRACE KELLY (HMH,
spring 2015) is a debut novel
about New York Citys womenonly Barbizon Hotel, and one
wide-eyed inhabitant, during its
heyday. Also on the agencys hot
list is BROTHERS AND BONES,
a self-published bestseller by
former attorney and screenwriter
James Hankins about a federal
prosecutor whose life is turned
upside when secrets from his past
come bubbling to the surface.
Another self-published bestseller
is Madeline Sheehans UNDENIABLE, which is the first title in a
five-part self-published romance
series about the princess of a
motorcycle club.
Foundry Literary & Media
Jeff Baumans STRONGER (US
rights not yet sold) is a memoir by
a survivor of the Boston Marathon
bombings. Bestselling YA author
Lauren Oliver has written her
first adult novel, ROOMS (Ecco,
Sept. 2014); its about goings-on
in a country house that two ghosts
inherit. Shelly King has THE MOMENT OF EVERYTHING (Grand
Central, Sept. 2014), a debut novel
about a woman who gets a job as
a bookseller after being downsized
by a Silicon Valley startup.
The Gernert Company
SOMEONE (FSG, September) is
the masterful new novel from
Alice McDermott, and about the
sharp pains and unexpected joys
lived by an ordinary woman.
Debut novelist Fiona McFarlanes
THE NIGHT GUEST (FSG/Faber
Day 1 News.indd 6
and Faber, Oct.) is a haunting

story of the push-pull relationship between two women, sold in
15 foreign deals and lauded with
blurbs from authors including
Kate Atkinson. Another hot novel
is THE ACCIDENT by Chris
Pavone (Crown, March 2014),
author of The Expats and winner
of the Edgar Award for best first
novel; this one is set within the
New York publishing world.
Harvard Business School professor
Anita Elberses BLOCKBUSTERS
(US rights not yet sold) explores
how the apparently risky strategy of making big bets is key to
achieving consistent success in the
entertainment industry.
Sanford J Greenburger
Associates
On SJGAs hot list in Germany is
Susan Streckers NIGHT BLINDNESS (St. Martins/Dunne, Sept.
2014), a debut novel about a
young woman reconnecting with
her family and, with it, tragic
memories and a her long-lost love.
THE GAME by Emma Hart (US
rights not yet sold) is the first title
in a two-book adult series about
an arrogant college playboy and
a girl who despises him; Hart
self-published the series, which
became a bestseller, at age 19,
and rights have sold in Germany,
Italy, the UK, and the Czech Republic. On the non-fiction front,
FUKUSHIMA: THE STORY OF
A NUCLEAR DISASTER (New
Press, Feb. 2014) is a book attributed to the Union of Concerned
Scientists (specifically written by
two leading nuclear scientists and
a Pulitzer-winning journalist).
ICM (handled by Curtis
Brown)
Among the agencys big titles
in Germany this year is David
Bezmogiss THE BETRAYERS
(Little, Brown, Aug. 2014) about
a Russian dissident who, after the
collapse of the Soviet Union, meets
the man who outed him to the
KGB 30 years earlier. Another big
novel for ICM is sculptor Annie
Weatherwaxs debut, HOW IT
ENDS (Scribner, summer 2014),
about a mother and daughter

living together on the edge of
financial ruin during the Great
Recession. Naomi Kleins THE
MESSAGE (Simon & Schuster,
Apr. 2014) tackles climate change.
Inkwell Management
Inkwell will be pushing Pearl S
Bucks THE ETERNAL WONDER (Open Road Media, Oct.),
a recently discovered novel by the
late authorshe wrote the book in
1973, the year she diedthat tells
the coming-of-age of Randolph
Colfax, who winds up patrolling
the demilitarized zone in South
Korea. Marc Goodmans THE
GLOBAL HACK (Doubleday,
2015) is a fascinating story of
impending perils from a man
with the unique title of futurist in
residence for the FBI. Another hot
title will be Arianna Huffingtons
THE THIRD METRIC (Crown,
spring 2014), in which the 21stcentury media mogul explains why
the current model of successfor
men and womenis not working,
and why we need to redefine it.
Janklow & Nesbit
Associates
THE KEPT by debut novelist
James Scott (HarperCollins, Jan.
2014) describes the journey of a
mother and son in search of the
men responsible for brutally slaying the rest of their family. Then
theres THE HEAVENS RISE by
Christopher Rice (HarperCollins,
Jan. 2014), son of Anne Rice. Described as addictively readable,
the supernatural horror novel
follows a group of teenagers who
find themselves with mysterious
and dangerous powers. Originally
self-published author Matthew
Mathers sci-fi novel CYBERSTORM, which was self-published
in March 2013, is another title
of note. Rights have been sold in
several foreign markets, and 20th
Century Fox optioned film rights.
William Morris Endeavor
One of the books WME will be
pushing hard in the rights center
is Laline Pauls THE BEES (Ecco,
Continues on page 8
08/10/2013 11:04
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Are you waiting?
The 32nd Edition of the Sharjah International Book Fair

6-16 November 2013, Sharjah Expo Centre
Sharjah International Book Fair
@ShjIntlBookFair
ShjIntlBookFair
SharjahBookFair1
9 OCTOBER 2013
Continued from page 6
May 2014), a novel set entirely

in a beehive. THE BOY WITH
A THORN IN HIS JOINTS &
OTHER SUCCESS STORIES
BEYOND THE BORDERS OF
THE MEDICAL ESTABLISHMENT by Susannah Meadows
(Random House) grew out of a
New York Times Magazine article
about her young sons crippling,
and rare, form of juvenile arthritis.
The agency will also be shopping
HOW TO BE COOL (Random/
Spiegel & Grau, spring 2015), the
debut book by Garance Dor, in
which the Vogue Paris columnist
will offer a comprehensive guide
to pursuing a life of cool.
Jean V Naggar Literary
Agency
Maud Caseys THE MAN WHO
WALKED AWAY (Bloomsbury,
Mar. 2014) imagines the trips of
Albert Dadas, an actual psychiatric patient in Bordeaux during
the 19th century who wandered
throughout Europe before seeking treatment. THE COLOR OF
LIGHT (Stone Creek Press, Oct.),
a debut novel by Helen Maryles
Shankman, combines the art
world, vampires, the Holocaust,
and passion.
Jane Rotrosen Agency
Sarah Addison Allens LOST
LAKE (St. Martins, Feb. 2014)
is a tale of second chances at a
rundown lakeside resort. The
inspiration for CBSs Intelligence,
John Dixons PHOENIX ISLAND
(Pocket, Jan. 2014) tells the story
of a boot camp for troubled children with vast and deadly secrets.
Then theres FEAR NOTHING by
Lisa Gardner (Dutton, Jan. 2014),
in which Boston homicide detective
DD Warren, badly injured in the
line of duty, chases a serial killer.
Trident Media Group
LILA is the new novel from
Pulitzer Prize-winner Marilynne
Robinson (FSG, fall 2014), with
UK rights sold to Virago. BLACK
AND WHITE: THE WAY I
SEE IT by Richard Williams
(Atria, May 2014), father of
tennis champs Venus and Serena
Williams, tells the story of how
he took on the predominantly
white world of tennis and taught
his daughters the game after
wrestling them away from local
gangs in Los Angeles. Andrew
Nagorskis IN PURSUIT: THE

SAGA OF THE NAZI HUNTERS
(S&S) is the story of what happened to the Nazi war criminals
who fled Europe following the end
of World War II.
Writers House
Joseph Finders SUSPICION
(Dutton, summer 2014) is about
a father, struggling financially,
who takes a loan from a fellow
parent that brings him into na
minefield of deceit and duplicity.
John Twelve Hawkss SPARK
(Doubleday, fall 2014) is set in
the near-future, and examines
the meaning of freedom and selfdetermination in a world without
either. Rock star/blogger/Kickstarter-phenom Amanda Palmers
THE ART OF ASKING (Grand
Central, fall 2014) is based on her
February 2013 TED talk, which
went viral and has been viewed
over 300 million times.
The Wylie Agency
Big name authors on Wylies list
include Dave Eggers (THE CIRCLE, Knopf/McSweeneys, Oct.),
Elizabeth Gilbert (A SIGNATURE OF ALL THINGS, Viking
Penguin, Oct.), and Martin Amis
(THE ZONE OF INTEREST,
Penguin Press). Hot non-fiction
titles on the agencys list include
Henry Kissingers UNTITLED
ON WORLD ORDER (U.S. rights
not yet sold), in which Kissinger
traces the roots of todays escalating tensions, assesses how various cultures views of world order
differ, and considers how to move
toward a common perspective.
UK
Darley Anderson
NEVER COMING BACK by Tim
Weaver is a fast-paced and intelligent thriller that sees missing persons investigator David Raker take
on a case that spans years and continents (UK, Penguin). RANDOM
ACTS OF UNKINDNESS by Jacqueline Ward is the first in a gritty
British crime series, and introducing
Detective Sergeant Janet Pearce (on
submission). THE SCHOOL GATE
SURVIVAL GUIDE by Kerry Fisher
is a brilliantly astute and funny
novel about middle class mothers
(Avon UK).
Diane Banks Associates
Kate Riordans FIERCOMBE
Day 1 News.indd 8
MANOR is a dark and compelling tale of two women in two

different eras, the 1890s and
1930s, and set within an isolated
Gloucestershire manor house. Sold
for a substantial six-figure sum
following a six-publisher auction
in the UK and subsequent auctions
in the US and Germany (UK, Michael Joseph; US, HarperCollins;
Germany, Heyne). Dani Atkins
FRACTURED is a high-concept
love story that asks: can two
different stories lead to the same
happy ending? Twelve territories
sold to date (UK, Head of Zeus;
US, Ballantine, Canada, Penguin).
Blake Friedmann
Joseph OConnors THE THRILL
OF IT ALL is his first contemporary novel for 20 years; it is
about a group of friends, once a
high-flying rock band, who reunite
to play one last concert (agent,
Carole Blake; UK, Harvill Secker).
Kerry Hudsons THIRST is a
heart-breaking romance based in
contemporary East London and
rural Russia (agent, Juliet Pickering; UK, Chatto).
Capel & Land
Simon Sebag Montefiores new
novel ONE NIGHT IN WINTER
is set in 1945, as Stalin and his
closest advisers celebrate Russias
victory over Nazi Germany (UK,
Century; US, HarperCollins; Albania, Shtepia; Bulgaria, Prozorets;
Croatia, Znanje; the Netherlands,
De Boekerij; Estonia, Varrak;
France, Belfond; Greece, Livanis;
Italy, Corbaccio; Norway, Cappelen Damm; Poland, Magnum;
Portugal, Dom Quixote; Serbia,
Evro Giunti). SEDITION by Katherine Grant, who writes childrens
novels as KM Grant, is set in 1794
in London, and is a story of love,
jealousy and betrayal centring
on five girls under the tutelage of
music-master Monsieur Belladroit
(UK, Virago; US, Henry Holt).
Conville & Walsh
A KIM JONG-IL PRODUCTION
by Paul Fischer, just sold to Penguin UK and Flatiron US, is the
story of film-makers kidnapped by
North Korea and forced to make
films for the countrys dictator.
Peter Nichols novel THE ROCKS
is about a brief marriage, and a
portrait of romance and bitter
feuds across three generations
(UK, Quercus). Tali Sharots THE
GROUP DELUSION is about how

group decisions are often worse
than those arrived at individually
(on submission).
Greene & Heaton
THE EXTRA ORDINARY LIFE
OF FRANK DERRICK, AGE
81 by JB Morrison is a small
and perfect look at a life neither
remarkable nor disastrous, but
completely extraordinary nonetheless (UK, Macmillan; Italy,
Corbaccio; Germany, Luebbe; the
Netherlands, De Fontein). In ON A
SINGLE BREATH by Lucy Clarke,
heroine Evas blissful newlywed life
takes a tragic turn when her husband is lost at sea; and then a dark
truth begins to emerge (UK, HarperCollins; US, Simon & Schuster;
Germany, Piper; the Netherlands,
Bruna). In 5:2 YOUR LIFE, journalist Emma Cook takes the latest
diet craze and applies it to our dayto-day lives (UK, Hutchinson; the
Netherlands, Meulenhoff Boekerij;
Spain, Planeta).
The Hanbury Agency
THE SOUND OF FASHION, THE
LOOK OF MUSIC: THE LIFE
AND TIMES OF MALCOLM
MCLAREN by Young Kim and
Paul Gorman presents cultural
iconoclast Malcolm McLaren
through the eyes and words of the
cast of characters who populated
his life and career. THE FORMULA: HOW ALGORITHMS
SOLVE ALL OUR PROBLEMS,
AND CREATE MORE by Luke
Dormehl takes readers inside the
world of predictive policing, algorithmic match-making and Googles
self-driving car to shed light on the
important questions that will shape
the coming algorithmic age.
Hardman & Swainson
REMEMBER ME by Jenny Ashcroft is a stunning novel of love
and loss set before and during the
First World War (under offer in
Germany). THE ATLAS OF US
by debut author Tracy Buchanan
is a book group novel with an
international setting (UK, Avon).
FROM MONSTER TO BUDDHA: CAN PEOPLE CHANGE
by Miguel Farias and Catherine
Wikholm is a popular psychology book examining the effects
of yoga and meditation and the
possibility of effecting personal
change (world English, Watkins).
Continues on page 10
08/10/2013 11:02
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AM Heath
UNDERGROUND by SL Grey
(a writing partnership between
Louis Greenberg and Sarah Lotz)
is a thriller set in a sealed bunker
where Americas most wealthy
(and paranoid) find themselves
locked in with a serial killer (under
offer in the UK; Germany, Heyne;
France, Fleuve Noir). In Steve
Cavanaghs legal thriller THE
DEFENCE, ex-conman turned
lawyer Eddie Brown has 48 hours
to get the head of the Russian
mafia acquitted of murder charges,
or the bomb hes forced to wear in
the courtroom will explode (UK,
Orion; the Netherlands, Unieboek;
Germany, Blanvalet). Indomitable,
unforgettable heroine Ice Cream
Star is the lead in THE COUNTRY
OF ICE CREAM STAR by Sandra
Newman (UK, Chatto; US, Ecco;
Canada, Knopf).
David Higham
Paula Hawkins chilling and
stylish psychological thriller THE
GIRL ON THE TRAIN went to
Transworld in what was described
as the hottest auction of the summer; it has also been pre-empted

Germany, Holland and Spain, with
deals made in six further territories. Also sold to Transworld in the
UK, THE BEST THING THAT
NEVER HAPPENED TO ME is a
love story narrated by a man and
woman in turn, co-written by debut authors Jimmy Rice and Laura
Tait. BIBLICAL is a high-concept
thriller about a global epidemic of
hallucinations of past events, by
an internationally published writer
working under the pseudonym
Christopher Galt (sales in Brazil,
Germany, Italy and Turkey).
Janklow & Nesbit
WHAT SHE LEFT is TR Richmonds debut novel of psychological suspense (UK, pre-empted by
Michael Joseph; Germany, Goldmann; Netherlands, Ambo Anthos). THE KNOWLEDGE: HOW
TO REBUILD THE WORLD
FROM SCRATCH by Lewis
Dartnell is a popular science book
that takes a global catastrophe as
its starting pointwhat essential
knowledge would the survivors
need? (UK at auction to Bodley

Head; US, Penguin Press; German,
Dutch, Italian rights sold).
Andrew Lownie
THE GIRL WITH NO NAME:
THE INCREDIBLE TRUE STORY
OF THE GIRL RAISED BY MONKEYS by Marina Chapman is the
international bestselling memoir
by the Bradford housewife brought
up by monkeys in the Columbian
jungle, and now the subject of a
two-hour National Geographic TV
special and fierce bidding by Hollywood (UK, Mainstream; rights
sold in the US, Australia, Canada,
the Netherlands, Italy, Germany,
China, Brazil, France, Portugal,
Denmark, Japan, Spain, Poland,
Russia, Iceland). In THINKING IN
NUMBERS, Daniel Tammet discusses topics ranging from fingers
and fractions to snowflakes and
the streets of New York (Hodder,
UK; rights sold in the US, France,
Japan, Korea, Spain, Germany,
Turkey, Italy).
The Marsh Agency
Debut novel LANDFALLS by
Naomi Williams is about an
ill-fated French sea-voyage of exploration in the late 18th century
(US, Farrar, Straus). Internationally acclaimed poet Anne Carsons
new collection RED DOC mixes
poetry, drama and narrative (UK,
Cape; US, Knopf). IDRIS: KEEPER OF THE CELESTIAL LIGHT
by Anita Nair is a panoramic
portrayal of late 17th-century
Kerala, and told through the eyes
of a small boy (India, HarperCollins; French, Dutch, Italian, and
Spanish rights also sold).
MBA
Richard Marshs LOCKED IN is
about the authors extraordinary
race against time: first, to prove
his existence to the medical team;
then, to beat the odds of surviving Locked-in syndrome (UK,
Piatkus). Competing academics,
telepathic communicators, security
agencies, asset stripping capitalists, and a man who has lived for
thousands of years are among
the cast of Alan Walls novel
BADMOUTH (UK, Harbour).
Debbie Johnsons DARK VISION
is the first in The Rising series, set
in a world where even the slightest brush of someone elses skin
against yours brings horrifying visions of the future (UK, Del Rey).
Day 1 News.indd 10
Tony Peake Associates

Jonathan Coes new novel, EXPO
58, is a Cold War spy caper with
romantic overtones (UK, Viking;
US, Little A; Brazil, Record;
France, Gallimard; Germany,
DVA; Greece, Polis; the Netherlands, de Bezige Bij; Italy, Feltrinelli, Portugal, Asa; Romania,
Polirom; Russia, Exmo; Spain,
Anagrama). Damon Galguts new
novel, ARCTIC SUMMER, centres on EM Forster and his writing
of A Passage to India (world
rights, Atlantic; US, Europa Editions; Germany, Goldmann; India,
Aleph Book Company; Italy,
Edizioni E/O; Russia, AST; South
Africa, Umuzi, Random House).
Richard Houses Man Bookerlonglisted THE KILLS is a teasing
and complex study of a world
where nothing is quite what it
seems (world rights, Picador).
United Agents
The new biography by Kate Williams (agent, Ariella Feiner and
Robert Kirby) is JOSEPHINE: DESIRE, AMBITION, NAPOLEON, a
passionate and searing exploration
of sexual obsession, politics, and
surviving as a woman in a mans
world (UK, Hutchinson; US, Ballantine; Canada, McClelland & Stewart; the Netherlands, Prometheus
Bert Bakker). Anthony Quinns new
novel is THE DISTINGUISHED
THING, a love story and murder
mystery set in London theatre land
in the 1930s (agent, Anna Webber; UK, Cape). CENTURIES OF
CHANGE: WHICH CENTURY
SAW THE MOST CHANGE,
AND WHY IT MATTERS is by
the author of The Time Travellers
Guides, Ian Mortimer (agent, James
Gill; UK, Bodley Head).
Ed Victor
WEIGHTLESS by Sarah Bannan, a
Faber Academy student, is set in rural
Alabama over the course of one
school year, and tells the story of
15-year-old Carolyn Lessing from the
point of view of an unnamed group of
teenage girls, whose narrative is intercut with newspaper clippings, blog
entries and Facebook feeds (US, St
Martins). Hermione Eyres debut
novel, VIPER WINE, renders 1632 in
Pop Art prose; it features a place to
find alchemy, David Bowie, recipes
for 17th-century beauty potions, a
Borgesian unfinished library, and a
submarine that sails beneath the
Thames (UK, Cape).
08/10/2013 11:02
The World Has Changed!

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9 OCTOBER 2013
The content machine
hat ebook prices in the top 100

chart are incredibly low, and
that free content is widely
consumed on e-readers, is news
to no one, writes Michael
Bhaskar. $0.99 or lower is now standard
pricing for ebooks, above which many titles
struggle to make headway. The problem for
publishers is simple. Yes, ebooks dont have
all the overheads of print, but they still come
with substantial costs (not least of which is
VAT) and still require all the initial work and
investment of a print book. The mathematics
of ultra-low prices just dont add up.
For most publishers selling their content
at rock bottom prices is, therefore, not an
option. But this is the market. Only a handful
of writers buck the trend.
The nightmare of the investigation into,
and subsequent undermining of, agency pricing has obviously complicated things, but
that isnt the big story here. The big story, as I
outline in my book The Content Machine, is
that the fundamental models of publishing
are changing. Whats more, because publishers dont control the network driving these
changes, there is little we can do about it.
Micheal Bhaskar - Economics.indd 2
Michael Bhaskar
Threat from self-publishing
As I see it, the economic value of books

their priceis under assault from two
interconnected forces. First, there is selfpublishing. While there has been some handwringing over self-publishing, most
publishers are fairly blas about the
threat. Confidence in their skill and valueadd is generally high. The real danger of selfpublishing isnt, at this stage, about direct
competition (although one day it will be) or
authors leaving en masse. The problem is
that self-publishing, or even a programme
such as Kindles White Glove agent

publishing, saturates the long-form content
market with cheap product.
In any market with a sudden supply boost,
asset-price deflation is the logical consequence. It doesnt matter who is self-publishing or whether its any good, so long as its
cheap and in the charts. It still pushes the
cost of books down and shoves value out of
the literary ecosystem, just as blogs and free
content did for newspapers and magazines.
Today they are still piecing together a viable
business model from the wreckage of an
unprecedented supply-side shock.
Second, the big technology firms, which
collectively control what the legal and media
scholar Tim Wu calls the master switch of
digital communications, have a business
model fundamentally at odds with the book
publishing industry.
At root, publishing relies on unit sales for
income. Rights sales, licensing deals, services
and the like do all play a big role. Nonetheless, selling units for as much money as possible is basic to the industry. Historically
publishers have gone for value over volume.
While this has to some extent changed, the
05/10/2013 20:34
9 OCTOBER 2013
value/volume ratio is nothing like that in

digital media, where pure volume counts.
worrying about monetising individual users

to the greatest possible extent. As for Apple,
yes, they are about hardware and all round
software services; they are still about selling
things. Content, however, is a way of selling
devices, not the other way round. That will
always be the issue for content owners.
Aggregating audiences
Big Tech is interested in aggregation on a

vast scale. Their model is to aggregate audiences where the marginal cost of each user is
effectively zero; they can therefore afford
minute per-user values, simply because they
have so many of them. Selling things isnt the
point, because those userseyeballs in the
parlance of Silicon Valleyare in fact the
product. The real customers are advertisers. This business model and marginal
cost structure is completely alien, even
oppositional, to book publishing.
Surely, you might argue, Amazon is
about selling things and Apple is about
hardware? Both true, but the models are
shifting. Amazon becomes more of a services
and software company by the day,
resembling Google as much as Barnes &
Noble. Think of Amazons cloud hosting
and SaaS offerings, its app store, its
marketplace and its on-demand content
platforms. In a classic web-play Amazon is
ploughing into digital services and not
Short-term benets
While there are no hard rules, we can

generally apply a principle that web-native
businessesthose who increasingly compete
From a traditional publishing

perspective, the economics of
the internet look insane.
for readers with book publisherstend to seek
larger audiences at lower values per customer.
This means they are cheap, if not free.
Ultimately their interests and those of book
publishers do not, in the digital sphere, align.
Short-term benefits such as publicity and a
new pipeline of writing talent cannot, over the
long term, compensate for erosion in price.
So, is there nothing to be done? My view is

there are two options. One, publishers can
double down on premium physical
publishing. This is the argument that
publishers should produce lavish print
books, against which digital media has no
answer. Or they can embrace the economics
of digital publishing and take a leap into the
unknown. It is fraught with risk.
Frankly, from a traditional publishing
perspective, the economics of the internet
look insane. Who wants to compound the
problem of collapsing value by giving
content away? Who wants to challenge
overhead-light, ad-experienced web
publishers in an area where they have
no experience and, worse, stand to
undermine an existing business?
There may not be a choice. One way or
another, the problem needs solving.
Michael Bhaskar is Digital Publishing Director at

Profile Books and Serpent's Tail.
His book, The Content Machine: Towards a Theory of Publishing from the Printing Press to the
Digital Network, has just just been published by
Anthem Press. He is on Twitter as @ajaxlogos.
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digitally take you.
Micheal Bhaskar - Economics.indd 3
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05/10/2013 20:35
9 OCTOBER 2013
Taking a punt on a new name

Liz Thomson meets David Shelley to talk about his career, publishers roles in the
digital ageand publishing a certain Robert Galbraith
n a career of just 16 years, a long time,

yet no time at all, David Shelley has
progressed from editorial assistantcum-dogsbody (as the ad for a
vacancy at Allison & Busby put it) to
Publisher of Little, Brown UK, where he
arrived in 2005 as an Editorial Director for
Crime and Thrillers. It sounds a bigger leap
than it was, Shelley reflects, chatting in the
Thames-side boardroom that is the envy of
London publishing, but it wasnt as much
of a culture shock as Id thought. A smaller
fish in a much larger pond, he was
nevertheless joining a company that has
always seemed familial, despite its growth
and an enviable roster of bestsellers that
includes Val McDermid, Stephenie Meyer,
Sarah Waters and J K Rowling, of whom
more anon.
An Oxford graduate, class of 97, Shelley
(whose paternal grandparents chose the
name of the poet when they arrived as
refugees from Vienna in 1939) knew he
wanted to be in publishing, though
he wasnt sure if it was as a publisher or
as a literary agent. In the event the fates
decided: no agency application panned
out and he found himself at Allison &
Busby, an indie with a long pedigree, which
was by then in hands-off Spanish
ownership. What was nice was that you
could be very entrepreneurial. I had some
success with commercial non-fiction,
literary fiction and crime fiction, so I
published quite a range. The high street was
booming and if one or other bookshop
chain took up the cause, it was possible
to make something out of quite modest
books. Among his successes was
Molly Ivins Bushwhacked, which sold
45,000 copies.
Mass-market publisher
But Shelley was keen to roll up his sleeves

with proper mass-market publishing, so
when Little, Brown CEO and Publisher
Ursula Mackenzie offered him a job it
was pretty much a no-brainer. He rose
quickly, becoming Paperback Publisher
of the Sphere imprint, then its Publisher,
then Deputy Publisher of Little, Brown
and, finally, Publisher when Mackenzie
relinquished that part of her role as she
stepped up to be President of the Publishers
Association. Now, with the editorial and
design teams reporting in to him, Shelley is
as much involved with nurturing the careers
of staff as he is those of authors, and its a
role he relishes.
Liz - David Shelley.indd 2
David Shelley
However, it means theres less time

for acquiring and editing. Im very aware
that I cant commission as much as I used
to be able to, but I do like to try and have
my cake and eat it, so with the British
authors I work with I like to get very
involved and do the structural edits. Its a
matter of setting time aside to do that and
not having too many authors. I find it very
stimulating and energising, and I love the
contact. These days when Shelley talks to
agents, its either about a very big project
or a very small project. I like taking a punt
on a new name.
Galbraith also proved that

quiet new authors can still
succeed when booksellers
support them adequately.
Among the new names on which hes
taken a punt was one Robert Galbraith,
submitted by Neil Blair in early 2011.
Publisher and agent had talked a few times
and knew each others tastes and Shelley
liked The Cuckoos Calling, a debut crime
novel. He opened discussions with Blair,
who had submitted the manuscript to a
handful of editors around town. They agreed
to meet for lunch, and Shelley arrived at a
Marylebone restaurant ready to talk further
and confirm his offer. I was expecting to
find just Neil, but there was a blonde woman
sitting with him. When she turned round I
had the surprise of my life. She said, Im Jo.
I said, I know who you are.
The three chatted, the discussion turning

inevitably to the adult novel that everyone
knew Rowling was writing. We had a very
general chat about The Casual Vacancy,
Shelley recalls, surprised to be quizzed on
the details of a meeting that he assumed no
one knew about and refusing to be drawn
on the detail. Somewhere around coffee,
Rowling said shed heard that hed liked the
Robert Galbraith and Shelley, who still
hadnt twigged, asked if she were a friend.
No, she replied, I am Robert Galbraith.
The novel had felt very authentic and
hed no sense that it wasnt written by a
man. He remembers: I said thats too much
information! Nothing specific was
discussed, much less a deal, but that lunch
marked the start of a process and one can
only imagine Shelleys excitement as he
stepped into Mackenzies office to tell her of
his surprise encounter. Robert Galbraith
was still their shared secret when the, as-yetuntitled, adult novel that would become
The Casual Vacancy was announced in
February 2012.
The cuckoo
As to Galbraiths Cuckoo, Shelley wont

be drawn on timing, but says everything
was sorted in just a few weeks. The
shared hope was that the secret, known
only to Shelley, Mackenzie and Hachette
UK CEO Tim Hely Hutchinson, would
keep for several books, and he
watched with satisfaction as UK and
Commonwealth sales hit 8,500 and
Blair started to ratchet up rights deals.
The few people who knew had
all gone to such lengths to keep
Roberts true identity a secret that
we were genuinely taken by surprise
when it came outwe only had 50
copies or so in stock. While hes as
disappointed as Rowling that the cover
was blown, hes pleased that, unlike his
amanuensis, Galbraith had a fair
hearing The novel has been judged on
its merits and the reviews after the reveal
were as positive as those before. Jo has
proved that its hard to read without
prejudice. Shes made people stop and
think what they come to a book with. He
praises the crime reading community for
its fairness and it will be fascinating to see
the reception accorded to Galbraiths
second outing in 2014.
Galbraith also proved that quiet new
authors can still succeed when booksellers
Continues on page 16
08/10/2013 11:06
9 OCTOBER 2013
support them adequately, and Shelley

and his colleagues at LB work closely with
indies in particular to ensure a genuinely
two-way relationship. Crime specialists
Goldsboro Books was necessarily denied
a signing session, but received 250 signed
copies, which paid unexpected dividends in
terms of profilethough owner David
Headley refused to cash in when all
was revealed, selling The Cuckoos
Calling at cover price and giving a copy
to each of his staff. Its tough out there
and we do everything we can to ensure
theyre able to survive and compete,
Shelley explains of the companys
attitude to booksellers.
As to digital sales, Shelley was
given that nascent portfolio when
he first arrived and the experience gave
me an insight into the way the business is
changing that I wouldnt have had
otherwise. In Britain as in the US, ebook
sales appear to have pleateau-ed, though
with some authors they outnumber print
by as much as seven to one. Theres a
sentimental attachment to print, but
he believes authors are realisticand
the good thing is the speed with which
titles can take off. Asked about selfpublishing, he says that its up to publishers
Liz - David Shelley.indd 4
to show authors what more they can do for

them. Were bringing to projects our
editorial and design skills, our knowledge
of the market, our relationships with
retailers, our consumer insighta skillset
which is probably different to the one
youd have needed as a publisher 20 years
ago, when it was largely a distribution
business. Were now more in the business
of ideas and marketing.
The best relationships weve

got with agents are the longterm ones where everyone is
realistic and no one takes
advantage of anyone else.
Relishing Frankfurt
Frankfurt has changed too of course,

though Shelley still relishes it, paraphrasing Dr Johnson on London. Its not
so long ago that Mackenzie, then at
Bantam Press, made the running at the
Fair when she bought Nicholas Evans
debut The Horse Whisperer. It used to
be all-night reading, remembers Shelley,
who was attending even in his days at
Allison & Busby, but now its all done in
London beforethough in the last few

years there have been a lot of submissions
going out on the Friday [before the Fair].
But I always get a thrill out of it and I
go to talk to my counterparts and to
compare notes.
The great book-of-the-fair chase
often resulted in big cheques for projects
that never earned out (unlike Evans) or
which never happened. But first technology
and now the new austerity have
combined to halt the general craziness
of advances, in the day-to-day, and
at Frankfurt and elsewhere.
Unsurprisingly, Shelley doesnt buy
into the Wylie ideal that the advance
should be so large there are never
royalties, and if there are that the agent
has failed. I always prefer to see
publishing as a partnershippublishers
working with agents and authors and
arriving at a deal in which everyone does
OK. All author contracts are different as
authors look for different things; there
are now lots of ways of constructing a deal.
But its supply and demand and the
market decides. The best relationships
weve got with agents are the long-term
ones where everyone is realistic and no one
takes advantage of anyone else, and were
all in it for the long haul.
07/10/2013 00:25
convidado de honra 2013 feira do livro de frankfurt
Come and join us at our Pavillion at the Forum, Level 1!
um pas cheio de vozes

ehrengast 2013 frankfurter buchmesse
ein land voller stimmen

guest of honour 2013 frankfurt book fair
9. 13.10.2013
frankfurter buchmesse
www.buchmesse.de
www.brazil13frankfurtbookfair.com
design celso longo + daniel trench
a land full of voices

Untersttzung durch
G O B I E R N O
B R A Z I L I A N
D E
B R A S I L
G O V E R N M E N T
Umsetzung
130927_BRA_AZ_PublisherWeekly_210x297_gp.indd 1
27.09.13 17:17
9 OCTOBER 2013
WIPO concludes Visually Impaired treaty
t has been a very busy year in Geneva,

as WIPO focused on concluding a
Treaty for the Visually Impaired to
facilitate greater access to works by the
visually impaired community, writes
Gemma Hersh. The final text of the
Marrakesh Treaty to Facilitate Access to
Published Works for Persons who are Blind,
Visually Impaired, or Otherwise Print
Disabled was a mixed bag, a compromise as
most negotiations are, and nowhere near as
bad as it might have been for rightsholders
though at times we had feared the worst.
The Publishers Association (PA)
welcomed the Treaty, as did the
International Publishers Association (which
led much of the charge on this), but it is clear
that the actual interpretation of the text will
be a long process and one which the lawyers
will no doubt enjoy. At the core of the Treaty
is the obligation to create a national
copyright exception for the benefit of
persons with print disability and a second
obligation to allow the exportation of
accessible works by organisations that serve
people who are blind.
The negotiations for the WIPO Treaty
were extremely difficult and time-consuming,
and at times it seemed impossible that a final
text would be agreed by the self-imposed
June 2013 deadline. There were even
reports of threats to suspend all flights
out of Marrakesh, where the Treaty was
finalised, until the deal was done, and
officials speak of excruciating 18-hour
closed meetings, long into the night. One
point of contention was the wording
around the Berne three-step testthe clause
that is included in several international
treaties on intellectual property, and sets out
three benchmarks by which exceptions can
be introduced (in certain special cases,
provided that the exception does not conflict
with the normal exploitation of the work
and does not unreasonably prejudice the
legitimate interests of the rightsholder).
Gemma Hersh
Three-step test
The Treaty does not contain a reference to

the Berne three-step test in a single standalone article, but there are many references
to it and to obligations in other treaties, so
that, if not in principle, then at least in practice, the three-step test will be applied to all
files that are exchanged internationally.
Unfortunately wording such as fair practices, dealings and uses made the final cut,
the first time fair-use type language, almost
unique to the US legal system, has made its
way into an international treaty.
Another sticking point was commercial
availability, the vitally important principle
that accessible files should not be created
Gemma Hersh - WIPO.indd 2
and shared if there are accessible copies

already available commercially.
Of course publishers have already moved
a long way in making their works
increasingly accessible. In the UK, for
example, the PA enjoys a good working
relationship with RNIB (Royal National
Institute for Blind People) and we hold
quarterly meetings to discuss progress.
RNIB reports an ever increasing number of
bestselling titles being sold with text-tospeech functionality (48 out of 50 at last
count), and has recently expressed interest in
joining the Trusted Intermediary Global
Accessible Resources (TIGAR) project.
One notable positive... is the

view of those in Europe and
in the US that there is no need
for further treaties.
Publishers in Europe and globally are
signed up to the European Trusted Intermediaries Network (ETIN) and TIGAR projects, helping establish a network of trusted
intermediaries (or authorised entities in
new WIPO Treaty parlance) through which
accessible files can be shared more easily
under certain conditions. TIGAR, still technically in a pilot phase of sorts, already has
21 authorised entities signed up to the process, across 20 countries, and there are 45
publisher organisations involved, including
reprographic rights organisations. But the
visually impaired community, specifically
the World Blind Union, felt a Treaty might
be helpful, including a copyright exception
to chivvy things along a bit. And, of course,
there were those who saw the visually
impaired cause as an opportunity to pursue a
broader agenda: that of weakening copyright at international level.
The Treaty now needs to be signed and
ratified, and it remains unclear whether the
implementation process will be done at
national or European levelthe European
Union (EU) was the negotiator for Member
States. Member states will all sign

individually and have a year to do so,
alongside the EU, which is waiting for a
mandate to do so from the European
Council. It is unclear whether the Treaty can
be ratified under existing European
Directives or whether a separate legal
instrument needs to be drafted and passed;
which bits the EU ratifies; and which bits are
left to individual member states to bring in
under their own national laws. In short: there
is much to sort out in the months ahead,
including what the text actually means.
Increasingly international
But what is clear is that the WIPO VIP Treaty

and the debates aired during negotiations
indicate that copyright is becoming increasingly international. Before the VIP Treaty
had been concluded there was already talk of
further WIPO Treaties in the areas of education and libraries. Some suspected (probably
rightly) that this was actually what the VIP
Treaty was all about: laying the groundwork
for certain textual references and established
principles that could be used with much
more damaging impact in a treaty about
education exceptions or libraries.
It is why wording such as fair dealings,
uses and practices was so strongly
resisted by rightsholders. The battle
over the inclusion of Fair Use is one that
is present in many territories: the UK has
considered this in its own Hargreaves
Review, crucially ruling out the
adoption of Fair Use in UK law, but it is
being considered in countries such as
Ireland, Canada and in Australia. The
debate has now reached the international
stage, and it has only just begun.
One notable positive to come out of the
fraught Marrakesh negotiations is the view of
those in Europe and in the US that there is no
need for further treatiesor at the very least no
appetite for further negotiations, with reports
that WIPO has been told that it is not a treaty
making machine. It is likely that this will be
formally communicated to WIPO at the next
session in December (there was due to be a
meeting in July, but this was cancelled).
However, regardless of whether WIPO
presses ahead with formal treaties or not, the
international copyright battle is heating up.
And, as attentions turn to the European
Commission, currently holding stakeholder
dialogues and conducting research into
whether the Copyright Directive needs to be
reopened, 2014 looks like a potentially more
significant year for all of us when it comes to
the future of copyright.
Gemma Hersh is Head of Public Affairs at the

Publishers Association, UK.
05/10/2013 16:03
9 OCTOBER 2013
Brazil: Much more than football and carnival

Liz Calder, recently back from Flip in Paraty, ponders how the Brazilian book world
has changed in the past decade
razils late great songwriter Tom

Jobim, co-creator with the poet
Vinicius de Moraes of bossa
nova and The Girl from
Ipanema, once warned visitors
that Brazil is not for beginners. Thats
probably still true. Its a complex country,
and whatever you might say about it, youre
bound to find evidence that the opposite is
equally true. But Brazils reverence for its
poets and songwriters is unusual and real.
When you fly down to Rio on an international flight, you discover as you disembark
that youve just landed at Antonio Carlos
Jobim Airport. Imagine Heathrow (rather
than Liverpool) as John Lennon Airport, or
Paris as Edith Piaf. You realise pretty
quickly, as you take in Rios humid, exotic
air, that youre not in Kansas anymore.
The drive from Rio to Paraty takes you
down the hair-raising Avenida Brasil, then
along the gorgeous Costa Verde. After four
hours you arrive into a town that is as welcoming as ever in its cobblestoned colonial
beauty. The giant marquees are already up
and ready for the start of Flip. Apart of the
festival site, swarming with construction
workers in hard hats, the town is still
deserted, in a state of suspended animation awaiting the hordes. And its raining, with no sign of ever stopping. All we
can do is pray, and wait.
It gives me a chance to ponder how
much things have changed since we
launched the first Flip in 2003. Ive been
coming regularly to Brazil since the early
1990s, when the country was still engaged
in a sometimes painful transition from
its isolation under a military dictatorship.
The book industry reflected its isolation,
but, in common with the rest of the
country and the economy, it has seen huge
development since then.
Brazil has for many years been an important
market for educational and academic
publishers, with companies such as Pearson
and OUP, and its domestic equivalents
occupying vast and impressive stands at the
Bienais do Livro, the huge public book fairs
that are held alternately each year in So Paulo
and Rio de Janeiro and that draw crowds in
the hundreds of thousands. Consumer
publishers were perhaps slower to develop.
Among them, the market leader in the early
days of Flip was Companhia das Letras, under
its visionary founder Luiz Schwarcz, with an
unrivalled list of Brazilian and overseas
authors, and unparalleled book design and
marketing. In response many other publishers
Liz Calder
Liz Calder - Brazil.indd 3
began upping their game, so that now there is

a vibrant community including Objetiva,
Rocco, Record, Cosacnaify, Intrnseca and
many others healthily vying for domestic and
international attention.
Companhia das Letras has meanwhile
gone from strength to strength following its
recent tie-up with Penguin; and Objetiva
(which had previously been bought by
Spains Santillana) last year published the
first edition of Grantas Best of Young Brazilian Novelists. As its editors, Roberto Feith
That Flip attracts so many

people is a reflection of the
hunger so many Brazilians feel
for books.
and Marcelo Ferroni, wrote in a foreword to
that edition, what is written and read in
Brazil at this moment is still largely unknown
outside the country, but that situation, they
added, is beginning to change. The appearance of the Granta collection is undoubtedly
helping that process along.
The retail market has similarly developed
strongly, with the emergence of impressive
bookselling chains such as Livraria da Vila
and Travessa, with branches that vie in
range, design and professionalism with the
best in the world.
That Flip attracts so many people into
Paratysome 25,000, briefly doubling the
populationis a reflection, not only of the
beauty of the town and the breadth of the
festivals literary programme, but also of the
hunger so many Brazilians feel for books, for
a taste of literary culture, for an opportunity
to hear and meet authors from Brazil and the
outside world.
Flips growth has mirrored the development of this literary culture, and the wider
opening up of the country to the outside
world. Up until quite recently the name Brazil probably evoked football, carnival,
samba, bossa nova, urban violence and little
else. Now its a burgeoning economic giant.
Countrywide political demonstrations in the
last few weeks have put it on the front pages
of the worlds newspapers, and the spotlight
of international attention will only intensify
with the World Cup in Rio next year and the
Olympic Games in 2016. A growing appreciation of its cultural riches will surely follow, helped by the focus of attention that
Frankfurt will bring this year.
Foreigners are often struck by how highbrow Brazilians are in their literary tastes.
The literacy rate in this country may still be
low (though rising) by comparison with that
of the developed world, but when Eric
Hobsbawms new books were published
here, they shot straight up to the top of the
non-fiction bestseller lists.
Im always amazed at how many people in
an audience made up almost exclusively
of Brazilians eschew the headphones
transmitting simultaneous translations of
non-Portuguese speaking authors. Brazil,
like the US, is a big country (more a
continent than a country, said the
writer Jorge Amado), and like the US
can sometimes seem inward-looking;
but here is more evidence of an
increasingly cosmopolitan engagement
with the rest of the world, and a growing
ease and confidence in it.
At one of the concerts, the toast was to
Vinicius de Moraes and Tom Jobim, the
geniuses who brought Brazil to a wider
world. In words and music, Jos Miguel
Wisnick, Paula Morelenbaum and Arthur
Nestrovski describe how, far from being
instantly inspired by a passing bathing
beauty, The Girl from Ipanema was conceived in Vinicius poetry many years before
it appeared. An interesting coincidence:
Vinicius was born in 1913, the same year as
Benjamin Britten, founder of Aldeburgh
Music. A good omen for FlipSide, Flips first
overseas offspring, which took place there
last weekend, when a dozen Brazilian writers and musicians, en route to Frankfurt,
gave the Suffolk coast a taste of Brazil.
Liz Calder co-founded Brazils first international

literary festival, Flip, in 2003. The next Flip will be in
Paraty, from 6-10 August 2014 (www.flip.org.br).
Other Carnivals: New Stories from Brazil,
published to coincide with FlipSide (www.
flipsidefestival.co.uk), will be published by Full
Circle Editions, at 12.
05/10/2013 20:31
9 OCTOBER 2013
Room to Read: books that resonate

In some developing countries there are few childrens books available in the native
language. Clare Swanson explains how Room to Read is addressing the shortage
hile hiking in
theHimalayas
in 1998, then
Microsoft
executive
John Wood visited a dilapidated
school in a Nepalese village.
Stunned by the lack of books in a
library that consisted of a few
cast-off titles from backpackers,
Wood set out to collect as many
books as possible for the schoolchildren in the following year.
He was so inspired by the experience that he left Microsoft and in
2000 founded Room to Read, a
San Francisco-based non-profit
that promotes education across
the developing world.
The organisation began opening up libraries in developing
countries in Asia, distributing
donated books, mostly in
English. Over time, Wood

became increasingly dismayed
by reports that a majority of
students with access to Room to
Reads libraries would use the
facilities more often if there were
a greater number of books available in their native languages. It
became progressively clear that
the problem was systemicas
they learned in their Nepal location, Nepali-language childrens
books just werent available.
The dearth of books was also a
common problem in Vietnam
and Cambodia, where Khmer is
the official language.
The Khmer language is one of
the worlds oldest written scripts,
dating to the 10th century,
writes Wood in his book, Creating Room to Read. Yet, a thousand years later the number of
Clare Swanson - Room to Read.indd 2
childrens books in Khmer was

infinitesimal. So in 2003, Room
to Read published its first title,
Chimpus Watch, released in
Nepal under its newly launched,
autonomous publishing programme. The programme focuses
on publishing books that are in
region-specific languages and culturally relevant
to those young
readers. Our
book publishing
programme
was born out
of that need,
says Jacqueline
Pezzillo, Senior
Associate, Public Relations at
Room to Read. The content is
fairly specific to the culture and
the children that would be consuming these titles.
For Room to Read, part of the
solution for a larger literacy
issue existed in making granular
shifts to the basic elements of
story, by replacing unfamiliar
plotlines, characters and settings
with those that would strike a
chord within a particular culture. Publishers were publishing books which had very urban
contexts, says Sunisha Ahuja,
Country Director, Room to
Read India, in a video posted by
the organisation. I still remember one book that I saw, which
was something about celebrating a birthday Rural children
dont celebrate birthdays. They
might celebrate a birthday by
going to the temple. A cake does
not fit into that context, at all.
That isnt to say that books
outside of a childs immediate
world should be discounted, but
children learn to read, and learn
to love to read, by seeing and
hearing what they know. The
children actually dont have
enough of the familiar with
them, that you should move
them to a non-familiar context
children have to be taken along
the continuum, adds Ahuja.
The organisation works with
local writers and illustrators,
holding workshops to advise on
content and reading levels,

according to Pezzillo. They then
field test the titles to see if they
resonate with the local children.
They work primarily with local
publishers, but also have
relationships with major global
houses such as Scholastic, which
Pezzillo says has been supportive
of their school
libraries programme, donating English-language books, or
making them
available at
extremely low
cost, for their
network of libraries.
Room to Reads books, not
distributed for public consumption, have received various accolades over the years: Unjani
(How Are You?), published in
South Africa in 2010, won Best
Early Childhood Development
Publication of the Year,
awarded by UNICEF; and Help
Me Find the Sun, published in
Cambodia in 2009, was
awarded Best Childrens Book
by the International Board of
Books for Young People.
On 4 September, Room to
Read announced a partnership
with the Asia Foundations Books
for Asia programme, which provides donated education
resources throughout the region.
Under the partnership, Books for
Asia will be able to reprint or
share in the cost of printing Room
to Read books and distribute
them to this network, allowing
children greater access to books in
their own language.
In their new partnership,
Room to Read and Books for
Asia are exploring initial projects in Bangladesh, Nepal and
Sri Lanka, with an eye towards
future collaboration in Cambodia, India, Laos and Vietnam.
Room to Read currently operates in seven countries in Asia
and three in Africa. Its 887
books have been distributed to a
network of more than 15,000
libraries and 1,650 schools.
05/10/2013 16:06
BAKER & TAYLOR
PUBLISHING GROUP
OFFERING SOMETHING FOR THE ENTIRE FAMILY.
VISIT HALL 8.0 #R110 TO SEE OUR LATEST TITLES.
Thunder Bay publishes non-fiction,

illustrated books that often
contain specially commissioned
photography. Subjects include
travel, cooking, sports, history,
and nature.
Portable Press publishes the

Uncle Johns Bathroom Reader
series. With more than 15 million
books in print, its the longest
running, most popular series of
its kind in the world.
Silver Dolphin publishes innovative

childrens books designed to
enlighten and entertain. Their
highly-interactive formats are
novelty- or activity-based, as well
as educational.
PLAY-DOH is a trademark of Hasbro and used with permission. 2013 Hasbro. All rights reserved. Licensed by Hasbro.
www.silverdolphinbooks.com
www.bathroomreader.com
www.thunderbaybooks.com
9 OCTOBER 2013
Exploring every avenue for sales

International sales continue to grow in importance for Canadian publishers.
Leigh Anne Williams explains
nternational rights sales,

as well as direct sales in
international markets,
have been important parts
of Canadian publishers
business for many years, but in
these lean times, those sales are
becoming even more important.
As a Canadian publisher, we
invest a lot in the editorial work
we do with writers to make their
books the best possible, and the
Canadian market isnt big
enough always to give us a
return on our investment, says
Sarah MacLachlan, President of
Toronto-based House of Anansi
Press. So wherever, and
whenever, possible we acquire
world rights and then exploit
those rights around the world.
Jack David, Co-publisher of
Torontos ECW Press, adds
that because Canada is not a

big enough market to publish
exclusively, no opportunity
can be left unexplored or
unexploited. Even selling
subsidiary rights is not enough,
he says. Publishers have to
ask themselves: Where else can
we sell this book? he says. We
can sell the printed version in
the English-language market,
and we can sell translations,
and then we can sell audio
books, and then we sell ebooks,
and then we can sell serial
rights, and then we can
maybe get options on film deals.
And by the time youve gone
through all of that, you say to
yourself: Wed better be world
publishers, so that we can get
all of those rights and exploit
them as fully as we can, because
A Bridge Between the East and West
HALL 8.0, STAND M18

cntimesbooks.com/ff
Leigh Anne Williams - Canada.indd 2
thats the only way were going

to stay in business.
Fortunately, there is a healthy
international appetite for
Canadian books, and both independent houses and Canadian
branches of multinationals
are finding opportunities to
Arsenal Pulp Press, which has

several niche specialties
including LGBT literature and
vegan cookbooks. We just
sold a gay novel to a Turkish
publisher, Krakow Melt by
Daniel Allen Cox, and we just
had an inquiry about a book on
Going to book fairs such as

Frankfurt is still one of the best
ways to find buyers.
capitalise on it. Kristin

Cochrane, Executive Vicepresident and Executive
Publisher of the McClelland
& Stewart/ Doubleday Canada
Publishing Group, offers the
example of Lisa Gabriels book
S.E.C.R.E.T., an erotic novel
she wrote under the pseudonym
L Marie Adeline as an experimental step into the Fifty Shades
territory. We bought world
rights and it ended up exploding
basically between the time we
bought it [at the end of August
2012] and Frankfurt, and
by beginning of November, we
had sold rights to it in over 50
territories and countries round
the world, she says, adding that
Doubleday Canada sold it
directly into the US.
Childrens publishers almost
all speak of Asia, particularly
Korea, as one of the best markets
for their books. They have a
really solid book culture there,
with an appetite for a lot of
books, says Rick Wilks,
Director of Torontos Annick
Press. He adds that Annick
produces books aimed at the US
core curriculum, interesting
subject matter but in a storytelling format, and that also works
internationally, he says.
But for adult books, Canadian
houses say they are finding
markets all over the world and
where depends very much on the
particular book. Sometimes,
its the strangest titles in the
strangest countries, says Brian
Lam, Publisher of Vancouvers
anarchy from Korea. ECW,

which publishes lots of books on
popular culture and music, has
found that the Finns are big fans
of heavy metal music and buy
most of their books on the
subject. You find pockets like
that and you try to exploit
them, says David.
Going to book fairs such as
Frankfurt is still one of the best
ways to find buyers and new
markets, Canadian publishers
say. I dont care whether it is
in London or Bologna or
Frankfurt, I really do believe in
fairs and the ability to talk to
people, says Margie Wolfe,
Publisher and owner of
Torontos Second Story Press.
There are trust relationships
that are built. Its not just about
the blockbuster. It is about
different things that will work
in different markets. She
notes that it was at Frankfurt
that an American publisher
recommended her to a Brazilian
publisher, who came over to
her booth and has since bought
eight books, one of which was
recently adopted in the Brazilian
school curriculum.
Wolfe says the retail sector has
become challenging. You cant
count on anything. she says.
So in order to do a good job for
your writers and for the books
that you are creating, you have
to find other ways to get them
out there, so we have always
regarded subsidiary rights,
foreign rights, translation, all of
that, as really important.
05/10/2013 15:54
Star Bright Books

Visit us at Hall 8.0 Stand J141
"I believe that beautiful picture books are vitally important

in subconsciously forming a childs visual appreciation, which
will bear fruit in later life." Brian Wildsmith
For more information, please go to:

www.starbrightbooks.com
Illustrations Brian Wildsmith
9 OCTOBER 2013
Childrens and young adult media

Birgit Fricke describes some of the many events and platforms organised for childrens
and young adult book publishers at this years Fair
he market for childrens and young

adult media content
is growing, all
around the world,
and this is evident at this years
Fair. The demand for event areas
is growing, and so too is the number of events being programmed.
The demand, from childrens
and young adult book
publishers, for spaces where they
can hold readings, introduce new
authors and present their
products, has led to the creation
of three stages at the Fair.
The stage in the Childrens
Books Centre is where readings
by the big-name guests take
place, but its also there for
newly discovered authors and
younger talents in childrens literature. Events in the Childrens
cross-media topics. From new

gadgets for kids to film treatments
of childrens books, this is the
place for presenting anything that
goes beyond the printed book.
The Kids Bubble, a new
dome for themed events in the
Agora, is a networking platform
for the international childrens
books and licensing community.
Publishers
Birgit Fricke
Photo by Nurettin iek
Book Centre are organised in cooperation with partners such as

the International Youth Library
and IBBY (The International
Board on Books for Young
People), among others.
The Hot Spot Kids and
eReading stage is for events on
On the increase too, is the number

of publishers in the Childrens
and YA Books segment, which
has risen by 1.8% on last year.
Some of these publishers are
located in the Childrens Books
Centre in Hall 3.0, along with
Hot Spot Kids and eReading,
which houses the digital providers
in this segment. And some are
with their respective regions or
countries, in Halls 5, 6 and 8. The
Childrens Books Centre also
contains the Illustrators Corner,
with its traditional and digital
portfolios, which provides a
contact point for all illustrators.
The Professional Programme
aimed at publishers of childrens
and YA books includes: From
the Idea to the Product-world,
a half-day training course on
Thursday from 2.30 to 5.30 pm;
and the Business Breakfast Kids
(Saturday 9.30 to 10.30 am),
which will focus on the youngreader target group, perhaps the
most challenging of all.
And Friday will be Licensing
Day, an opportunity to present
licensing products to trade visitors through events or displays,
which will kick off with an event
in the Kids Bubble.
Book prizes
Many of the prizes awarded in

childrens and YA literature are
represented at the Fair, with
events and stands. The German
Childrens Literature Award
(Deutscher Jugendliteraturpreis),
the most important German prize
in this sector, is awarded at the
Fair; the nominees for the Astrid
Lindgren Memorial Awards are
announced at an exclusive event;
Birgit Fricke - Fft YA.indd 2
and a panel discussion featuring

the Hans Christian Andersen
Prize takes place on the Friday.
Coming to the Fair for the first
time in 2013 is the Nordic
Councils Children and Young
Peoples Literature Prize.
Culture and literacy
This year the main focus of the

programme on the Weltempfang Stage (Hall 5.0) is childhood and youth. Adolescence in
crisis-stricken Europe, living
through war as a child and new
translations of some classics of
childrens literature are just a
few of the topics to be covered.
Hall 3.1 is the location for
events staged as part of the Football Meets Culture projectthe
reading promotion campaign
that has been run successfully
for several years by LitCam
(Frankfurt Book Fair Literacy
Campaign).
Apps and ebooks
Even if the market in some

countries is proving rather slow to
embrace digital media and
marketing forms, for most
publishers, apps and ebooks have
now become an integral part of
their publishing portfolio. As
such, the publishers also include
them in their stand presentations.
The demand for new sales
channels beyond the high street is
becoming increasingly important
for all publishers. The Frankfurt
Book Fairs Hot Spots, with their
range of service providers
including those active in the
childrens and YA books market
are places where visitors can
gather information to guide their
strategies for the future. There are
Hot Spots for the following topics:
Digital Innovation, Hall 8.0;
Education, Hall 4.2; Professional
and Scientific Information, Hall
4.2; Mobile, Hall 6.1; Kids and
E-Reading, Hall 3.0; and
Publishing Services, Hall 4.0.
Birgit Fricke heads up the Frankfurt
Book Fairs focus on childrens and YA
books (www.book-fair.com/kids).
07/10/2013 00:30
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9 OCTOBER 2013
Educating Brazil
will be representing
SALEM PRESS
H.W.
WILSON
Please visit us at Hall 8.0

Aisle S, Stand 27
www.greyhouse.com
rhg@greyhouse.com
Eduardo Blucher - Brazil HE Market 2
he statistics on
Brazilian higher
education are very
impressive, writes
Eduardo Blucher.
There are 2,365 institutions in
the country, 284 public and
2,081 private. These numbers
havent changed much over the
past few years, which means that
this is a mature and stable
market. What is happening is
consolidation of the education
industry, with the number of
large playerswith more than
500,000 studentsgrowing. In
the last 10 years the number of
students more than doubled
from 3 million in 2001 to 6.74
million in 2011. There are 2.3
million new enrolments per
year. Public schools take 26%
(1.77 million) of the students,
with 74% (4.96 million) in the
private sector. And they are
taught by 357,000 teachers.
Distance learning is an
important factor in the Brazilian
education scene, with more than
a million students enrolled in
2011, and growing by 18% each
year. It is important to remember
the Brazilian continental
dimensions. From north to south
a direct line of 4,200 km can be
drawn; as a comparison, this is
the same distance from Frankfurt
to Riyadh in Saudi Arabia.
Digital books are in their
infancy. Amazon, Apple and
Google only opened their
Brazilian stores last year. The
number of titles available is small
but growing. We have the most
expensive tablets on the planet
because of import taxes and
bureaucracy, but a government
law is being passed to reduce the
taxation on tablets and book
readers. Pasta do Professor
(www.pastadoprofessor.com.
br) is a local digital solution that
has been successful in selling
books in parts, direct to the
universities, in a custom-built
publishing model. There are 40
publishing houses involved and
3,500 titles on the platform.
All the major STM publishers
have established a local office in
Brazil in the last few years. They
are all interested in Government
contracts from CAPES, which
Eduardo Blucher
assists the Brazilian Ministry of

Education in evaluating and
improving higher education,
and is responsible for acquiring
digital content for higher
education and research facilities.
Selling printed books into the
higher education system is a
trickier and long-term process.
Like many other countries it
depends on the adoption of texts
by professors, and their acquisition by students and libraries.
The STM book market was
worth approximately US$445
million in 2011about 25% of
the overall market. The number
of STM titles produced was
11,976, out of a total of 58,192.
Of these, 41% were social
sciences, business and law; 21%
education; 16.4% engineering,
computer science and maths;
14% health and social wellbeing; and others at 6.6%.
There are challenges when
publishing in Brazil
bureaucracy, labour costs, book
distribution and pricing among
them. Many of these challenges
can be solved by converting all
books to digital. But then the
challenge will be how to migrate
from paper to digitalfor some
the biggest challenge of all.
In conclusion, Brazil is a
sizeable market with untapped
potential, but this is not a game
for beginners or those looking
for a quick sell.
Eduardo Blucher is Publisher at
Blucher, a Brazilian STM
publishing house with 58 years of
experience in the market. He will
be hosting a discussion on the
Market for Scientific, Technical
and Professional Books in Hall
5.1 E79, at 5pm today.
08/10/2013 12:25
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9 OCTOBER 2013
The smartest books around

The AAPs PROSE Awards for scholarly and professional publishing continues to
expand. Andrew Albanese talks to John Jenkins about this years edition
nyone in the business knows

the challenges of making good
non-fiction stand out. But the
Association of American
Publishers (AAP) PROSE
Awards (Professional and Scholarly
Excellence) have been doing just that,
recognising the publishers behind the very
best scholarly works each year. And in recent
years, the awards have surged in popularity,
with record numbers of submissions and
new categoriesand a booming Twitter
following. With the 38th annual award
submissions now underway, we caught up
with PROSE Chairman John Jenkins to talk
about this years process. Its getting late, but
you have time: the deadline for submission is
1 November.
AA: Last year was a record-setting year for

PROSE submissions; anything new planned
for this year?
JJ: Absolutely. Every year we add new and
innovative elements to the PROSE Awards,
and this year will be no exception. First, were
expanding eligibility requirements to create a
more inclusive programme that better
represents the members of our organisation
and the exceptional works they
produce. With the AAPs recent
acquisition of the Association of
Educational Publishers (AEP), all AEP
members are now eligible for the 2013
PROSE Awards. Were also increasing
our social media presence by engaging
Facebook and Twitter followers with more
interactive content, and well generate more
promotion and publicity for participants and
winners, both before and after the Awards.
Participants will also notice a change in the
entry form, which now encourages publishers
to provide more information about their
entries: a 250-word description of the entry,
as well as supporting materials in the form of
reader reviews and endorsements, and press
coverage. All that information is vital to the
judges evaluation process. And this year the
journals and e-products categories will be
evaluated alongside their book counterparts
in each category, not only by the PSPs
(Professional/Scholarly Publishing Division
of the AAP) Journals and Electronic
Information Committees, but also by our
book subject-category judges.
And, we will premiere a new film at the
awards ceremony, of course. These just get
better and better, and last years actually
became a film-festival finalist. Our
filmmaker Mary Rose Synek and her crew
Andrew - Jenkins Prose awards.indd 2
Weve also started creating partnerships

with like-minded organisations. For
example, PROSE has partnered with the
Reference and User Services Association
(RUSA), which is a division of the American
Library Association. RUSA provides a judge
on our panel, Daniel Mack of the University
of Maryland Libraries. By building
an alliance with the librarian community
were helping to highlight winners with a
new audience. And, its nice to be partnering
with libraries.
John Jenkins
will soon begin shooting scenes in Houston

and Boston, bringing to the screen a
poignant story about the lifes work of one of
our recent R R Hawkins Award winners.
AA: Last years top prize, the R R Hawkins
Award, went to Princeton University Press,

for Peter Browns Through the Eye of a
Needle. In his review, the great Garry Wills
wrote that it was a privilege to live in an age
that could produce such a masterpiece of
historical literature. The PROSE awards are
directed at the profession, but do they help
reach consumers, and are there plans to use
the awards to help reach more consumers?
One of our main goals is to

expand the reach of
PROSE to the public.
JJ: Thats an excellent question and the
answer is a resounding yes. One of our main
goals is to expand the reach of PROSE to the
public. We would, for instance, like to secure
a sponsor for the R R Hawkins Award,
which would certainly give even more
visibility to our highest profile prize. And
this is also why our social media presence,
across a variety of platforms, is so important.
Were working to create engaging ways to
bring people into the discussion, such as
asking for their picks for this years awards
and tweeting out the names of the entries
were receiving as they come in.
Peter Browns book is exactly the type of
work PROSE seeks to honour. PROSE
winners frequently receive coverage in the
thought-leading press and news media, and
books that are entered in PROSE are often
reviewed in the New York Times, the
Economist and the New Yorker. And, the
PROSE awards do help sales; there have
been big spikes in sales for various winners
over the past few years.
AA: Last year we spoke about your
successful use of social media; can you talk a

little about your social media strategy, and
what youve found effective?
JJ: Social media presence is paramount to
our programmes growth and success. We
integrated Twitter into the judging room for
the first time in 2013. The judges and I
tweeted from inside the deliberations room,
providing insights into what makes a winner
and a glimpse into the kinds of discussions
that go on during judging.
Our live, real-time Twitter feed at the
awards luncheon, on screens and on the
webcast page where we broadcast the
awards, provides both the audience at the
luncheon, and those watching remotely
around the world, with the opportunity
to dialogue throughout the event. And,
our Twitter followers doubled between
the judging and luncheon Tweet-a-thon!
Putting the content out there and giving
people an exclusive look behind the scenes
intrigues them and really draws them in.
AA: Over the last five years the awards have

continued to grow and evolve, with more
categories. What has been the most popular
or noteworthy new category in recent years?
JJ: We continually refine the categories
to better serve the wonderful books we
receive, and one way is through dividing
up the categories. A few years ago, we
created a separate Biography and
Autobiography category that significantly
increased the number of related entries we
received. This year were dividing the
Clinical Medicine category into separate
Theory and Practice categories, and were
doing the same with Education, which was
especially prescient considering the
acquisition of AEP mere months later. One
thing were really excited about this year is
the debut of a Best App category for
e-productsthat is sure to explode over the
next few years.
07/10/2013 11:58
9 OCTOBER 2013
Balancing copyright is a global concern
rom new international

treaties, to hearings in
the US Congress, calls
for copyright reform
are coming from every
corner of the globe, writes Tracey
Armstrong. With the role of copyright rising in public visibility and
concern, all parties have a stake
authors, publishers, consumers
and policymakers alike. But while
most would agree that copyright
laws around the world need to be
updated to take account of developments in technology, how to
do so has been a contentious topic
thus far. But whatever changes
are made to copyright laws, one
thing is plain: we must maintain
the classic balance between the
interests of creators and the users
of copyrighted works.
What is clear and indisputable
is that technology has brought
us far. But what is also clear is
that copyright laws in major
economies were developed with
no accommodation for the
creation of the internet, the rise
of user-generated content, or the
speed with which digital works
are replacing non-digital works in
everyday life. Our current copyright laws, in general, do not
comprehensively address the
increasingly complex issues at
the heart of the internet era. In
the past, copyright industries
were focused on technologies
such as the photocopier, fax
machine and cable television.
Today, we face new areas of focus
such as orphan works, mass
digitisation, 3-D printing and
modernising licensing systems.
Copyright reform
At the Copyright Clearance

Center (CCC), we are hopeful
about the future of copyright
reform efforts. And we can see
evidence that when parties
representing a comprehensive
range of constituencies and
concerns are determined to effect
change, they can accomplish a
great deal. For example, in July, a
dozen leading media and copyright organisations, including
CCC, participated in the launch
of the first phase of the UK
governments creation of an
ambitious Copyright Hub.
Creativity and Innovation in

the Digital Economy seeking
comments from the public.
Congress has begun to hold
hearings on this topic.
Stakeholder dialogue
Tracey Armstrong
This innovative, public-private

partnership grew out of recommendations to the government
from the Hargreaves Report. As
part of its groundbreaking vision
for a digital copyright exchange,
the Copyright Hub aims to leverage technology to make copyright
research and permissions across
all media more straightforward
and easier to navigate for users of
copyrighted material.
This summer, the Marrakesh
Treaty to Facilitate Access to
Published Works for Persons
Who Are Blind, Visually
Impaired, or Otherwise Print
Disabled addressed copyrightrelated issues that were perceived
by some as delaying or preventing access to published works in
accessible formats.
Put simply, the treaty makes it
possible for blind, visually
impaired and print disabled
persons to enjoy the benefits of
text-based works just as sighted
people do, in countries (unlike
the US) that do not currently
permit that enjoyment. And the
Treaty does that while still preserving appropriate protections
for copyright rightsholders.
In the US, calls for review and
reform of copyright have come
from the highest level. Register of
Copyrights Maria Pallante, in a
statement this summer before the
House Subcommittee on Courts,
Intellectual Property and the
Internet, urged Congress to
consider updates to domestic
copyright law in order to put
forth a forward-thinking framework for the benefit of both
culture and commerce alike.
Likewise, the US Department
of Commerce has issued a green
paper on Copyright Policy,
Tracey Armstrong - Int'l Copyright.indd 3
Throughout 2013, European

policy-makers have been actively
considering copyright reform
through a structured stakeholder
dialogue addressing six issues
where the EU Commission has
determined rapid progress is
needed. These issues include
user-generated content, access to
audiovisual works and increased
co-ordination of copyright laws
across Europe.
In such a dynamic environment it is encouraging to see
legislators and policy-makers
taking the lead on copyright
reform. Businesses and individuals in the creative and copyright
fields, both as producers and as
consumers, should be proactive
in informing their representatives in government of their

perspectives. Copyright today is
widely recognised as an engine
of innovation and a driver of economic growth. In parallel, copyright industries are recognised as
critical elements in national and
regional economies.
Advances in technology have
dramatically accelerated commercial and consumer options
for creating, distributing, sharing
and preserving content. In the
future, demand for access to
copyrighted materials in all their
formats will only increase.
The world will therefore wrestle with copyright challenges and
opportunities for generations to
come. A balanced approach is
the fairest and wisest course to
resolve these challenges now and
in the future.
Tracey Armstrong is President and
CEO, Copyright Clearance Center.
0!. 42$4#6:$"&
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book industry
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for views from publishers, agents, authors,
booksellers, librarians, and others
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Created and run by book industry experts:
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08/10/2013 10:56
9 OCTOBER 2013
Usbornes European union

Usborne Publishing is celebrating its 40th anniversary this year. Peter Usborne reflects
on how international this childrens imprint has become
he Frankfurt Book Fair is the

most important single event in
Usborne Publishings year, and
always has been. In the 40 years
weve been coming here, our
presence at the Fair has grown from tiny to
pretty bigfor the independent company
that we still are, now the second largest
childrens imprint in the UK. And we think
(as we would, of course) that our stands at
Frankfurt, with their annually changing
design themes (this year, its Art Deco) are
much the best at the Fair every year.
We believe Usborne may be the most
successful book publisher in the world
when it comes to overseas marketing. All
Usborne booksalways
for childrenare designed
from the outset to be
saleable in virtually every
country in the world. We
have to observe a few
little tricks, of course, to
achieve this. You wont
find many thatched
cottages or uniformed
policemen in our books, and you will
never be able to see on which side of the
road cars are driving.
Over the years our books have been
translated (commercially, not given
away) into, to me, an incredible 103
languages. Not surprisingly, Chinese is
the most startling new market for
translations. We have customers there
who buy translation rights at the rate of 40 to
50 titles at a time. Meanwhile the most
interesting growth is the almost new market
for childrens books in English in countries
where people do not speak English as a first
language, such as Korea, where we must have
sold almost a million
copies in English over
the years. This market
is clearly becoming
more and more
significant as the whole
world starts to learn
English. Everywhere,
parents must be
watching their
childrens progress in the fairly unpleasant
task of learning English at school, and they
must wonder what they can do to make the
experience more enjoyable. We believe a lot
of those parents are looking, more and more,
for real English books published for real
English children, rather than school-oriented
textbooks. Theyre putting icing on their
Peter Usborne; Photo by Martin Usborne
Peter Usborne - Usborne anniversary.indd 2
childrens dull English cake, as it were.

Usborne books fit this bill very well.
Its at Frankfurt of course that we
meet our hundreds of loyal overseas
customers, thankfully steadily increasing
in number. Even though now Im just the
old man who started the company, without
very much to do at the Fair, I still love
walking endlessly round all the stands at the
Fair and constantly bumping into foreign
friends. Languages have always been one
of my hobbies, and I get a rare chance to
All Usborne books are

designed from the outset to be
saleable in virtually every
country in the world.
practice some of these at Frankfurtthough
sadly I find, more and more often, that
when I greet someone in their language, they
reply in English.
One of Usbornes greatest achievements,
in my view, is to have become a proper risktaking publisher under its own Usborne
name (not just a rights-seller) in no less than
six foreign languages. We started Editions
Usborne in France almost 30 years ago. In
the last two or three years weve been doing
exceptionally well in France and are now
a significant, and well-established force,
in that remarkably exciting market. Ive
been invited to Michelin-starred dinners
and lunches in Bordeaux and Paris by
satisfied booksellers and
distributors in the last
few months, and theres
been a double-page
article about us recently
in Livres Hebdo. We
constantly watch the
French market very
carefully, because it
seems to us that, with

the possible exception
of Great Britain, it is
home to many of the
worlds most exciting
childrens publishers
and creative talents.
Our fastest-growing foreign own
market is Italy (we have Edizioni Usborne
in Milan), which has been chalking up almost
impossibly good rates of growth recently.
The Italians, with a much smaller market,
are determined to overtake France as our
biggest foreign-language
market. Italy is a
market with much less
competition than in
France, which may
be one of the reasons
for our success there,
though we also have a
UK manager for that
market who speaks
completely fluent Italian (and French).
Then there are Ediciones Usborne
(Spain and Latin America), now really
beginning to take off after a fairly slow
start; Edicoes Usborne (Brazil), which
took off like a rocket a couple of
years ago in spite of charging incredibly
high prices for our books; Uitgeverij
Usborne (Holland); and, most recently,
Usborne Verlag (Germany). Our
German operation is the one closest to
my heart, since both my mother and the
mother of my own two children were
German, and my daughter Nicola set up our
German operation. That looks as though
thats had a pretty good start, in spite of
tremendous competition
in Germany from
extremely vigorous
German publishers.
Not surprisingly, we
have our eyes on several
more markets for
new foreign-language
Usborne operations. Our
six existing ones cover all
the big language-markets, but there are still
interesting smaller ones, either with pleasantly
high prices or alternatively with rapidly
growing middle-classes, which could create
big new markets in the not-too-distant future.
We say to ourselves sometimes: At least
our European union is working well.
Peter Usborne is founder and Managing Director

of Usborne Publishing (www.usborne.com).
08/10/2013 10:53
9 OCTOBER 2013
New ways of making sales happen

Gordon Wise explains how digital self-publishing offers another, and potentially
lucrative, avenue for agents to promote and to sell their clients work
nly two years ago, there was

a great debate among agents
about the ethics of becoming
involved in authors selfpublishing. Today, every
agency must have considered its relationship
with the self-publishing processas a means
of discovering fresh talent, of promoting the
talent the agency already represents, and of
reaching new consumers. And of ensuring
no conflict of interest in doing so.
Curtis Browns journey towards involvement with digital self-publishing began as we
looked for ways to maintain exposure for
authors and books during the entire period
of their copyrightsbooks that established
publishing partners had ceased to be able to
service effectively, and books that bricks and
mortar publishers were proving unable to
keep in stock. We embarked on earlyand
hearteningventures with Macmillans Bello
imprint in the UK, and with Open Road and
Rosetta in the US. These are relationships
that continue to develop.
But a key objective was to find a dynamic
way of launching new talent in which we
believed, where the traditional gatekeepers
were seeing challenges rather than opportunities. Did these writers really need print
publishers to get them to their readerships?
Direct to Kindle
A case in point is the experience of my client

Alex Gerlis and his first novel, The Best of
Our Spies, a Second World War espionage
thriller. I submitted the script widely and
over a period of perhaps a year, gathering a
collection of more than 20 complimentary,
but ultimately negative, responses. The problem was not with the story or the quality of
the writing, but with the perception that this
wasnt a genre that was building readers.
I was reluctant for Alexs writing career to
be launched with a hardback library publisher, which was fast becoming our only
option. Instead, I encouraged him to start
work on his second book, for which he already
had the germ of a strong ideawith a contemporary twist, this time. But when I put the idea
to him of experimenting with a curated
route to publishing on to a digital platform he
responded with alacrity. There are a number
of self-publishing packages available, and
theres great appeal, for instance, in the Kobo
Writing Life scheme. But for this title he and I
chose Amazons Kindle-Direct publishing
programme for agented authors, whereby
were able to provide professional support to
authors who self-publish directly to Kindle.
Gordon Wise - Self-publishing.indd 2
Gordon Wise
It has been a fascinatingand rewarding

journey. Alex built his own website to support the book, and to deploy social media to
spread the word and build a following. We
have reinforced that through Curtis Browns
web presence and social media channels.
Weve learned together about the importance of dynamic pricing, maintaining a real
value for the book while also using shortterm price promotions to drive sales and
attract the attention of Amazons myriad
built-in promotional mechanisms.
Nine months later, Alex has earned royalties well in excess of whatever modest advance
we might have achieved from a house with a
low-risk, See if it sticks approach to publishing. The book has more than 90 five-star
reviewswith not a sock puppet among them
and weve had unsolicited enquiries about film
and translation rights. Alexs start-up costs, in
taking on the third-party freelance editorial
support and commissioning the bespoke
jacket that he wanted, are more than covered.
And if the ebook sales, and the physical sales
from hand-selling at events, appeared on
BookScan, youd see a rate of sale eclipsing
authors bracketed with him in Amazons
Customers who bought this book also
bought these books bar.
Constant attention
Success in direct-to-digital publishing

requires constant attention and an openness
to trying new ways of making sales happen.
This is not something Im coming across very
often with established publishing houses,
where new titles quickly displace the attention given to even recent publications. We
know just how many times a year Amazon
calls in nominations for its seasonal promotions; I also know how rarely a mainstream
publisher calls me to discuss putting a title up
for one, or to experiment with price.
An author self-publishing through a
digital platform will usually achieve a
royalty rate in the region of 70% of list price.

Publishers 25% of net (i.e., a quarter of that
70%) pales by comparison. And this also
means that self-published authors can
experiment with flexible pricing and still
earn more than they would from a standard
publishing arrangement.
An editor at a large house, whom I respect
and enjoy working with, simply could not
understand it when I told him that a client of
mine was going to publish his own ebook edition of a particular title rather than grant
rights to the publisher. Yet the contractual
window in which the publisher was obliged
to publish the book in e-format before those
rights reverted had long passed; the publisher
had declined to commission an update for the
book even though an upcoming milestone
provided a strong sales hook; the advance
had earned out and the book was in profit;
and no clause in the contract restricted the
authors right to exploit the book on nonprint platforms. Why would there be any
appeal in a grudging 25% receipts royalty,
when the risk in taking the time to do the
updates was all the authors anyway? And
the author would not be going it alone; he has
the experience and expertise of Europes biggest literary agency behind him.
Having moved from the publishers side of
the desk to the agents some years ago, I was
initially reluctant to take on the publisher
role again. But Ive moved to a point of complete fascination with how the dynamics of
self-publishing work, and of bafflement with
most publishers and editors lack of engagement with the process.
Publishers also seem blind to the amount
of information self-published authors have
access to on a regular basis in relation to
their online sales. Perhaps several houses
author portals will help turn the corner on
this, but at present it seems completely ridiculous that e-sales are accounted by publishers semi-annually, and up to nine months
after a sale takes place, when firm sale data is
available monthly with a complete breakdown of price points and royalty receipts.
If I find Im thinking of turning a good
book and a talented author down because
Im concerned that a gatekeeper wont let it
through, then Im delighted weve now got
this resource to enable us to think again. And
that this can be a first step in developing a
genuine literary career.
Gordon Wise is a Senior Literary Agent at Curtis
Brown and a committee member of the Association of Authors Agents.
05/10/2013 16:03

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CONTEC opens good mood

exists within our content. Specifically that meant developing

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Continued from page 6

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Continued from page 8

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