Frankfurt Show Daily 10/10/13 Day 2

Frankfurt
10 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
Dohle: We have to get this right
n a conversation with editors from five major trade

publishing magazines,
Markus Dohle, CEO of
the recently merged megapublisher Penguin Random
House, addressed subjects ranging from Amazon and ebooks to
the companys massive size, and
stressed that he was in no rush to
integrate the two companies,
Andrew Albanese reports.
We have the luxury to take
time because we are bringing
together two healthy, profitable,
well managed properties, Dohle
said. Saying the Penguin Random
House team had a very clear idea
of how to bring the two companies together, Dohle emphasized
quality over speed, and later
acknowledged that the eyes of the
publishing world were on the
company. We feel a responsibility to get this right for publishing, he said. We dont want to
mess this up, that would be bad
for publishing.
Throughout the talk, Dohle
expressed his belief in print, and
support for physical retailers.
Pressed repeatedly on his feelings about Amazon, he did not
rise to the bait, and even praised
the company.
Fundamentally, and this was
always my mantra, the relationship is about cooperation and
not about confrontation, Dohle
said. We want to reach out to as
many readers as possible. Of
course we have to manage each
other somehow, and thats fine.
But fundamentally we are
aligned and the rest is about
terms of sale and negotiation.
Dohle went on to praise Amazons achievements and innovation. We should not forget
about that, he said. Kindle has
at large prevented us from piracy
in the first place because they
Day 2 News.indd 1
created this wonderful, very

convenient Kindle system and
this fantastic wifi device with a
huge selection of titles and
fantastic convenience to buy
books. And that was sort of a
gift for the book world, and the
value chain of books, that they
started this when the business
was so small. Theyve brought
innovation and theyve grown
for a reason, and I think we can

grow together both domestically
and internationally.
Dohle also said that the recent
legal action brought by the US
Department of Justice against
Apple and five leading publishers for ebook price-fixing would
not prove to be a distraction,
despite sanctions continuing
through 2014.
Self-published
boom goes on
new analysis of ISBN

data by Bowker found
that the number of selfpublished books in 2012 rose
59% over 2011, growing to
over 391,000 titles. The gain has
been led by the increase in the
output of ebooks, although
Bowk er reported that print
books still accounted for about
60% of self-published titles that
carried an ISBN. In 2007, print
books accounted for 89% of

self-published titles.
The analysis also found that
more than 80% of self-published
titles came to market with support from just eight companies,
including Smashwords and
CreateSpace. Fiction is the
most popular self-published
genre, followed by inspirational/
spiritual works, books for
children, and biographies.
Visit us at
Hall 8.0 R35
The thing is over, Dohle
said, We live in an agency lite.
It is a new experience. Ebooks
are being discounted again. We
try to adapt. We try to test. We
try to take a very analytical
approach to it. The task is to
maximize the revenue for our
authors going forward. And
that is what we do. It is not a not
a big deal for the company.
Galassi
novel sold
he first day of the

Frankfurt Book Fair
saw a flurry of interest in
debut novels, including one by
a veteran of the book industry.
That veteran is Jonathan
Galassi, publisher and CEO
of Farrar, Straus & Giroux, who
just sold his first novel to Knopf.
The book, Muse, draws on
Galassis own life, following a
book editor who, Knopf
explained, is caught in the
middle of the decades-long
rivalry between two publishing
lions over the work of a
beautiful, iconic female poet.
Agent Melanie Jackson is
representing Galassi, and called
the book at once satiric and
warm-hearted. Knopf bought
US rights, and the book has
also sold in Australia, Canada,
Italy, and the Netherlands, with
offers in from houses in
Germany, Spain, and the UK.
Knopf is planning to publish
Muse in 2015. Galassi has
published a number of books of
poetry, most recently LeftHanded (Knopf) as well as
translations of Italian works
including Giacomo Leopardis
Canti (Penguin Classics).
09/10/2013 16:55
introducing
our publishers
Amherst Media
Aviation Supplies & Academics
Bailiwick Press BlueBridge Books
Bright Ring Publishing Buffalo Media Works Chouette
Clavis Books Cuento de Luz Duo Press ECW Press Findhorn Press
Medallion Media Group Nomad Press Our World of Books
Roaring Forties Press Santa Monica Press Search Press
SuperCollege Tachyon Publications
Trafalgar Square Books Visible Ink Press
Waterford Press
A boutique distribution service for independent publishers
Visit us at Stand G9 in Hall 8.0

LegatoPublishersGroup.com
mark.suchomel@perseusbooks.com
10 OCTOBER 2013
FRANKFURT SHOW DAILY 3
FAIR DEALINGS
Open Road partners for Spanishlanguage global venture
pen Road Media

is teaming up
with Barcelona
Digital Editions
to form Ciudad
de Libros/Open Road Espanol, a
partnership that marks Open
Roads first venture into the
foreign-language ebook market.
Ciudad de Libros/Open Road
Espanol will release its debut list
in the first quarter of 2014, and
according to Open Road CEO
Jane Friedman the goal is to do
a few hundred titles in its first
full year of operation.
Titles will be drawn from
Open Roads English-language
catalogue, where world-Spanish
language rights can be secured,
and new titles in Spanish will be
acquired by both partners
specifically for Ciudad de Libros/
Open Road Espanol. The new
effort builds on a partnership
Open Road entered into last year
with BDE to form Barcelona
eBook, which brings Englishlanguage ebooks to readers
worldwide. Friedman noted that
for the most part, Open Road
books that became part of
Espanol would have already
been translated into Spanish. She

said that Open Road had been
approached by a number of
authors with Spanish-language
titles who were looking for global
distribution for ebook editions.
Cuidad de Libros will
spearhead the marketing in
Spain and Latin America,
building off Open Roads
platform and its own newly
created website. In the US and
the rest of the world, Open Road
will take the lead. Friedman said
marketing would be tailored to
the different markets and in
many cases would be in both
Spanish and English. She is
hiring a dedicated, bilingual
marketing team to oversee
Espanols marketing efforts.
Its first titles will include
books from Spanish author Jose
Maria Merino as well as from
Peruvian author Alonso Cueto.
Titles coming from Open Road
include books by Leon Uris
and Erskine Caldwell with
additional titles in popular
fiction, literary fiction and
mysteries also slated to appear.
Ive been bullish on the
Spanish-language market
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 2 News.indd 3
for years, Friedman said,

explaining that it was her belief
that the best way to enter the
market was to partner with a
company that had contacts in
the field. This is a unique
challenge and opportunity for
our company to bring to Spanish
readers around the world the
digital works of renowned
authors, said Blanca Rosa
Roca, founder and president of
Roca Editorial and BDE.
Arjouni
giveaway
o Exit Press has copies to give away on its

stand (8, C153) of the
late German novelist Jakob
Arjounis Brother Kemal, which
is about a private eye hired to
protect an author at the Frankfurt Book Fair. PW praised the
novel, saying: Spot-on and
often beautiful descriptions
distinguish the fifth and final
Kemal Kayankaya thriller...
Publishing professionals will
relish the authors cockeyed
view of the Frankfurt Book Fair
and its attendees.
Redmayne on
storytelling and
competition
harlie Redmayne,
recently ensconced as
CEO of HarperCollins
UK, believes in Amazons
MatchBook programme; is
confident HC can compete with
new global juggernaut Penguin
Random House (PRH); and
that, for all his focus on digital
efforts, maintains the view that a
strong publisher is only as good
as its authors and editors.
These views and others
emerged in a 30-minute
discussion with the former
Pottermore boss on the first
morning of the Fair. Asked by
Chair Edward Nowotka of
Publishing Perspectives about
multi-platform storytelling,
Redmayne said that he wanted
to create new storytelling
experiences that could be
exploited by the growing
array of digital reading devices.
All the major companies
filling the device market, from
Google to Apple to Amazon,
were, Redmayne said, hungry
for content.
While wary of competing
with the likes of games
developers, Redmayne saw
opportunities to work with
stories built around the written
word that could be exploited
on multiple platforms and
devices. This, Redmayne

said, was best done with
publishers focusing on the story,
and then working with other
companies that understood
how to exploit the story on
different platforms.
Redmayne acknowledged
that Penguin Random House
would be stiff competition. But
he also noted that mergers were
never easy, and that anyone who
had been through the process
knows they have a tough job
ahead. He questioned how
nimble PRH would be, pointing
out that a key to succeeding in
todays market was being able to
move quickly on projects.
Looking at the big challenges
for HC, and all publishers,
Redmayne said he saw three
major points: the need effectively
to market backlist; the need to
figure out the best pricing
models; and the need to develop
authors into long-term,
successful brands. Pressed about
what might be an ideal price
point for books of various
formats, he said that he could
not provide strict numbers but,
instead, wanted to use analytics
to come to price points that
would balance attractiveness to
consumers with earning revenue
for authors.
www.bookbrunch.co.uk
09/10/2013 14:39
10 OCTOBER 2013
4 FRANKFURT SHOW DAILY
FAIR DEALINGS
Rights round up Frankfurt hot books include
Orlando in the Netherlands, Gallimard
in France, and Sonzogno in Italy have
bought Carrie Snyders novel Girl
Runner, in which world rights are held
by House of Anansi Press in Canada.
Further deals are imminent. Girl
Runner is the story of Aganetha
Smart, a pioneering Olympic athlete
who was famous in the 1920s, but
now, at age 104, lives in a nursing
home, alone and forgotten by history.
Snyders agent is BruceWestwood.
Patrick Walsh at Conville & Walsh
closed the auction for Peter Nichols
novel The Rocks on the eve of the Fair,
with Sarah McGrath at Riverhead winning the deal. In the UK, the publisher is
Susan Watt at Quercus imprint Heron.
After a spell writing travel books,
Nichols has returned to ction with a
story that goes back in time following
an encounter in Majorca between
two formerly married 80-somethings.
Katherine Armstrong at Faber has
bought KT Medinas debut thriller
White Crocodile, also signed by
Mulholland (US) and Goldmann
(Germany). Faber has UK & Commonwealth rights from Will Francis at
Janklow & Nesbit. White Crocodile
(September 2014) is about a woman
who travels to Cambodia in search of
the truth about the death of her exhusband, and discovers a connection
between the brutal past of the country
and her own history. Medina has a
degree in Psychology, and spent ve
years in the Territorial Army. She has
worked in publishing, as Managing
Editor, Land Based Weapon Systems,
at Janes Information Group, as a strategy consultant, and as a lecturer at LSE.
Rupert Lancaster at Hodder has
signed a Second World War prisoners
memoir that was a chance discovery
in a house move. Sergeant Johnny
Sherwood, a former professional
footballer, was captured by the
Japanese following the fall of
Singapore. He organised football
matches to try to maintain morale,
until malnutrition and disease made
the prisoners too weak to play. His
memoir remained hidden in the family loft until his grandson discovered it
last year. Hodder pre-empted world
rights through Clare Hulton, and will
publish Lucky Johnny: A Footballer
OnThe River Kwai in early 2015.
Hot Keys Sara OConnor has bought
world rights (minus North American
territories) in three books in The Book
Of Storms trilogy by debut author and
archaeologist Ruth Hatfield, from
Becky Bagnell at the Lindsay Literary
Agency. Book one will be published
simultaneously in the UK and US in
October 2014 for ages 9-12 years.
Joshua Ferriss wifes debut
illiam Morris
Endeavor is
on a roll at
the Frankfurt Book
Fair, writes Rachel Deahl. After
agents Bill Clegg and Dorian
Karchmar closed two separate
North American rights deals
with HarperCollinss Terry
Karten on big buzz books before
the Fair, the agency just went out
with two more books drawing
buzz in Germany. The new
books, also novels, are being sold
abroad before the agency accepts
offers in the US or the UK. The
first title is an ambitious debut
novel by two friends that Eric
Simonoff is representing; the second is a book by Joshua Ferriss
wife, Eliza Kennedy, that
Suzanne Gluck is representing,
and that one insider called a
Bridesmaids-like literary romp.
The book Simonoff is selling,
War of the Encyclopaedists, by
Chris Robinson and Gavin
Kovit, follows two best friends
whose lives diverge post-college,
with one entering academia and
the other heading off to fight in
Iraq. The agency said Encyclopaedists, which pulls from the
authors own livesRobinson has
MFAs from Hunter College and
Boston University, while Kovite
was a platoon leader in Baghdad
for a yearis a highly original
tale of disenchanted youth bleeding into sobering adulthood.
WME has already accepted
significant pre-empts on the
book in the Netherlands (from
Lebowski) and Germany (from
Berlin Verlag), and said there
was strong interest from publishers in Italy, Spain, France and
Scandinavia; WME also expects
US and UK sales to close this
week. Robinson, who was a
finalist for the Yale Younger
Poets Prize and has worked for
author Mary Karr for the last
three years, has written for literary magazines such as The Kenyon Review and McSweeneys.
Kovite, who has a law degree
from NYU and now works as a
Day 2 News.indd 4
JAG attorney, had a story in the

anthology of war fiction, Fire
and Forget (Da Capo, 2013).
The second book, Kennedys I
Take You, follows about-to-behitched Lily, who defies the
stereotype of the fairy tale bride.
Set to marry the sweet and loving
Will, Lily, who is boozy and promiscuous, is filled with questions
and feeling of uncertainty. WME
called the novel both funny
and subversive, and said it

orbits around larger issues: the
nature of choice, the implications
of desire, the insidiousness of
cultural expectations and the
pursuit of the most undervalued
idea of all, pure fun. So far, the
agency has accepted a pre-empt
in the Netherlands (from Xander)
and has received offers from
houses in Italy, France, Germany
and Brazil.
German Book Prize to Mora
erzia Mora has won the German Book Prize 2013 (Eur25,000)
for her novel Das Ungeheuer (Luchterhand). The jury said: A
dark thread runs through the text of Terzia Moras novel Das
Ungeheuer (Monster)... As a writer, Mora succeeds in interweaving
two text forms and two characters who failed each other in life.Terzia
Mora combines a keen awareness of literary form with a capacity for
empathy. Das Ungeheuer is a deeply moving novel that offers its own
diagnosis of the contemporary age. Also shortlisted were Mirko Bonn
(Nie mehr Nacht, Schfing), Reinhard Jirgl (Nichts von euch auf Erden,
Hanser), Clemens Meyer (Im Stein, S Fischer), Marion Poschmann (Die
Sonnenposition, Suhrkamp), and Monika Zeiner (Die Ordnung der
Sterne ber Como, Blumenbar).
Legato makes its

Frankfurt debut
aunched in May, the

Legato Publishers Group,
an affiliate of Perseus
Books Groups Publishers Group
West, has built its foundation
with a very international list of
clients. The distributor counts
among its publishers the UKs
Search Press, Belgiums Clavis
Books, ECW Press and Chouette
from Canada, Findhorn in
France and Scotland, and Spains
Cuento de Luz. Though Legatos
clients and staff, including
president Mark Suchomel, are
industry veterans, it will be the
companys first appearance at the
Frankfurt Book Fair, and it is
poised to take advantage of a
well-timed, worldwide gathering
of publishing professionals.
We are truly an international
group,saidSuchomel.Thatsaid,
many of our publishers have yet to
reach every market around the
world so the Perseus international
salesteamwillbeabighelp.
As an affiliate of PGW,
Chicago-based Legato will set up
shop at the fair in Perseuss
booth. Several of the distributors
clients such as Clavis, ECW,
Findhorn, Search Press, Trafalgar
Square Books, and Chouette will
have their own booths and others
will be in attendance without an
assigned location.
Because Legato will start shipping stock for its publishers at the
beginning of the new year,
Suchomel will predominantly be
preselling to accounts and overseeing transition for its new client
base during his time at Frankfurt.
My purpose at the show is
not to sell particular titles but to
make sure everything is working
well for our clients and to
possibly identify a prospective
client or two that have good
potential for growth and that are
willing to work closely with a
distributor to reach that
potential, he said.
09/10/2013 15:46
The World Has Changed!

Well help you catch up.
Visit us Hall 8 M147
From Manuscript to Market

U.S. +1 610-940-1700 UK +44 (0)1865 261437 Spain +34 93 590 3998
www.codeMantra.com cminfo@codeMantra.com
10 OCTOBER 2013
FAIR DEALINGS
Hachette entertains on Frankfurt eve

Frankfurt Fair-goers gathered for the Hachette party, the traditional curtain-raiser
Judith Curr (S&S), Lisa Highton (Two Roads)
Kit van Tulleken, Nick Perren (Maia)
Barbara Marcus (Random House), Sophie Hicks (Ed Victor)
Agents Joseph Lee and Barbara Zitwer

Day 2 News.indd 6
Arnaud Nourry (Hachette), Amanda Ridout (Head of Zeus)

09/10/2013 14:07
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10 OCTOBER 2013
Licences for Europe

The European Commission is conducting a review of the Copyright Directive.
Richard Mollett assesses the progress made so far
or many in the British publishing

community, the most frequently
visited European city is likely to be
Frankfurt and the magnetic
attraction of its annual book fair.
However, for the Publishers Association
(PA), with its focus more on the political
than the commercial aspects of our business,
it is undoubtedly Brussels which makes the
greatest call on our time.
This year the Eurostar miles have been
clocked up with more regularity than ever,
thanks to the European Commissions work
programme Licences for Europe. This
came into existence following a
communication from the Commission in
December 2012, and is a joint review by the
directorates for the Internal Market,
Information Society (known trendily as
Connect) and Education & Culture.
The three directorates, or DGs as they
are referred to (well you cant go to Brussels
as much as we do and not adopt some of the
jargon), have embarked on a year-long study
into the operation of the Information
Societyor CopyrightDirective with a view
to making a decision on whether to table
legislative reform proposals. Or to put it
another way, the question the Commission
is asking is: Does the legal framework for
copyright need to stay as it is, change a little
bit, or be radically altered.
This study takes the form of two parallel
work streams, the most important of which
for us are the Licences for Europe
Stakeholder Dialogues. These are an attempt
to bring rightsholders and user groups
together to identify areas where copyright
may be said to be holding up innovation and
to explore whether licensing solutions can be
found to address these problems.
The dialogues cover four areas: (i) usergenerated content, (ii) data and text
mining, (iii) cross-border availability
andoutside the PAs ambit(iv) the audio
visual sector. Since January the PA along
with representatives from member
companies, the Federation of European
Publishers and other creative industry
colleagues have been in and out of Brussels
conference centres, demonstrating the
on-going work in developing business
models that address the new areas of
demand in the publishing world.
Empty chairs
This process has been hampered by the fact

that librarians and researchers dramatically
pulled out of the data and text mining group,
Richard Mollet.indd 2
Richard Mollett
claiming that they believed they did not need

licences to access publishers works in order
to mine them. This empty-chair policy
looked like it might scupper the whole
process, but happily the Commission
has stuck to its course and remained
engaged with the rightsholders. So,
although playing to a half-empty room,
publishers have continued to demonstrate
to the Commission how model licences
and common technological systems, such as
CrossRef, are being developed to ease the
difficulties many would-be miners face. Even
the UK Intellectual Property Office has been
on hand to explain the proposals that it is
putting forward here.
User-generated content
Similarly, progress in the user-generated

content group has been hampered by
the apparent lack of a coherent problem
to solve: spokespeople loosely representing
user-groups have failed to articulate the
difficulty they face in licensing their own
works, and some even failed to acknowledge
that services such as YouTube are already
licensing millions of music and film works
for use by individuals. However we are
confident that the Commission is taking
note of the creative sectors willingness
and ability to meet the challenges of the
digital marketplace.
The attitude of those boycotting the
process is somewhat curious. Stay-away
organisations such as BEUC (the European
Consumers Organisation) attract some
1.3m from European taxpayers annually
in order to represent the consumers interests
to the Commission. In return for such
largesse, it might be expected that such an
apparently important stakeholder group
would actually show up to, er, stakeholder
dialogues. (The PA has to date resisted the
temptation to share this insight with Nigel
Farage MEP.) Lobby groups such as
EBLIDA (European research libraries)

and the UKs Jisc have similarly preferred
the path of passive resistance to actual
engagement. One could almost imagine they
were somehow trying to undermine or
sabotage the whole process.
At the halfway plenary session in July, it
was clear that there is still a great deal of
work to be done to convince some user
groups that there are solutions to their
concerns that can and do operate within the
current framework. There is also a strong
sense that this is a debate that will not be
settled solely on the basis of available
evidence; sadly some deep-seated ideologies,
which see copyright as inimical to the digital
market, are also playing a role in the debate.
The other track to the copyright review is
a desk-based research exercise looking into
the legal and commercial environment
around the copyright industries. Internal
Market researchers are looking to get a
handle on the complexity of content markets
and to what extent these are helped or
hindered by the Copyright regime. Again,
the PA is plugging into this exercise where
possible, providing information on the
development of the UK ebook market.
At the end of the day
The Commission intends to bring

both streams together in January 2014,
when it will determine whether and, if so,
how to make changes to the Copyright
Directive. There are the clear contours of a
turf-war visible, with DG Connect most
notably keen on a radical re-write, while the
more sober-minded DG Internal Market
team tend towards the view that any
necessary revisions can be achieved
incrementally. The UK government has
joined the fray, with a recent consultation on
Copyright in Europe asking for views on
the very same issues under discussion in
the dialogue. This is a review which we
have been calling for for some timesince
May 2011 in fact, when Ian Hargreaves
made his heroic recommendations about the
need for reform in Europe without having
actually bothered to gather any evidence or
perform any analysis.
But, with European Parliamentary
elections coming in May 2014 and a new
Commission to be appointed shortly
thereafter, it is highly unlikely that any firm
plans will emerge much before early 2015.
Richard Mollet is Chief Executive of the
Publishers Association, UK.
05/10/2013 20:38
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10 OCTOBER 2013
Fun, friendship, and some shouting

The world was a very different place 50 years ago. So was the book business, as
Carole Blake remembers
n July 1963, I left school, thinking that

because I loved books Id become a
librarian. My history master opened
my eyes to the fact that there was
actually a business that produced
books so I scoured the job ads and was
offered an interview.
Rainbird was a successful packager of
illustrated books, putting together
co-editions with international publishers.
It was exotic, and so were the people I
met there. I was not. I was a teenager,
straight from school. Everyone had a degree,
or several. They seemed very sophisticated
and worldy-wise. I was shy, nervous, but
excited to be working with such people,
many of whom remain friends. Today, its
hard to imagine a school-leaver having such
an opportunity. I was not quite 17 and
Rainbird infected me with a love for
publishing thats never left me.
My first job was as secretary to a team of
editors working on a 10-volume art encyclopedia and I spent days pounding on a manual typewriter. I absorbed information like a
sponge. Once typed, an artists biography,
or a caption for a painting, was locked into
my memory and stays there still. A real thrill
was taking charge of the colour correcting
for the proofs of the paintings.
Two years after I started at Rainbird,
Edmund Fisher arrived from America. Tall
and dashing, he joined from Doubleday
New York and seemed impossibly
sophisticated, loud, a bit terrifying. He was
then married to Irving Berlins daughter, and
he was to be Rainbirds Sales Director
effectively the rights director, the profit
centre of a packager. The encyclopedia Id
been working on was delivered, the project
closed. I became Edmunds secretarythese
days everyone is an assistant. He was fond
of testing people, which unnerved me
occasionally, but taught me much.
Extraordinary people
I met some extraordinary people. George

Rainbird took on a tall, gawky intern (as we
call them today) named Peregrine, now the
Duke of Devonshire, son of Debo, the
last surviving Mitford sister. His aunt,
Nancy Mitford, had organised the work
placement, along with another nephew,
Alexander Mosley. I was then very nave and
realise now that Allys odd behaviour
stemmed from the fact that he was high most
of the time.
The Managing Director was the softly
spoken epitome of a gentleman, Edward
Carole Blake - Agent.indd 2
Cross-referencing one with the other, I

typed 13 single-spaced A4 pages of titles to
which MJ owned live licences, but which
were not currently licensed to paperback.
When I emerged months later, it had been
accepted that I would sell rights, so I did
posting copies of that list to all the paperback editors in town.
Slice by slice
Carole Blake; Photo by Jack Landenburg
Young. A decade later I discovered his

accomplishments: he was the young man
asked by Allen Lane to go to London Zoo
to draw something for a new imprint that
became Penguin. He drew the first
Penguin logo! Before that hed been a
commander in World War Two and had
written One of Our Submarines is Missing,
which remains a classic.
Edmund was offered the job of Managing
Director of Michael Joseph and asked me to
go with him, and after eight years at Rainbird I wanted a fresh challenge. George went
ballistic and insisted we could not both leave
at once. I married, took eight weeks off for a
honeymoon in America, and planned to join
MJ in September 1970. Changing job as I
married made it easy not to use my married
name, radical back then.
In New York I met a few US publishers.
Edmund having told them I was on honeymoon, my new husband and I were treated
to some magnificent meals in grand restaurants. At Crown to meet the legendary Nat
Wartels, we had to peer at him over the fourfoot wall of paper on his desk. He took us to
the Jockey Club. I still remember my lunch:
little neck clams on a bed of ice and a Jockey
Club hamburger. To a South London suburban girl, a hamburger seemed rather prosaic,
but Nat assured me it was the best in New
York. I was shocked that it cost $34 in 1970.
When I did eventually join MJ as Rights
Manager, it wasnt straightforward. No one
had told the staff what my role was to be. The
Editorial Director and his long-time secretary
did subsidiary rights on a Thursday afternoon, and saw no reason to change.
While Edmund fought to change the hierarchy and find his own position, I got on
with establishing some kind of system in the
new rights department. There was no
documentation as to what was owned and
what was licensed, so I decamped to the
basement and started on the filing cabinets.
My first sale was to Patrick Janson-Smith

of Corgi who rang to say hed discovered one
of his favourite books on that list and
couldnt believe it wasnt available in paperback. That painstakingly produced list was
the beginning of what Ive spent the rest of
my life doingbreaking rights down and selling them, slice by slice, market by market,
making more money for the author for each
of their manuscripts. Like that old joke
about the pleasures of running a brothel:
Youve got it, you sell it, youve still got it,
you sell it again. In many businesses that
would be called fraud. In publishing, so long
as you sell each right separately, and keep
good records, its the way to build an
authors career.
Selling rights for Michael Joseph was a
delight. Dick Francis, C S Forester, H E
Bates, Spike Milligan, James Baldwin, James
Herriot, all lovely authors to work with. H E
Bates would chat to me when he came to see
his editor, Anthea Joseph (widow of
Michael, stepmother to Max Hastings). He
signed many of his books for me. Spike once
wrote a poem on my arm. Nowadays Id
have photographed it and tweeted it. Then I
washed round it until it faded. I was asked to
read some submissions and one clearly
stands out, a manuscript about a young, tormented ballerina; I loved it and hated the
agony of waiting for the office to reopen in
January. I was thrilled when MJ bought A
Chance to Sit Down by Meredith Daneman,
herself a ballerina.
Even if we didnt have translation rights,
wed always have domestic rightsserial,
book club, paperback. Selling serial introduced me to hacks of Fleet Street who would
take me to lunch and ply me with wine to see
how much I could drink. Good training: I
could out-drink them all. When Michael
Josephs owners, the Thomson Group,
launched Sphere Paperbacks, I didnt have to
favour them, nor did I have to favour The
Sunday Times, also part of the Group.
Whatever was the best deal for the author
and the book always prevailed. Visiting
Continues on page 12
08/10/2013 11:27
10 OCTOBER 2013
Continued from page 10
Frankfurt for the first time in 1970 got me

hooked: I havent missed a year since, not
even when I had my leg in a cast.
My relationship with Edmund was always
volatile. He shouted. A lot. I shouted back.
We once had a row on the beautiful staircase
in the listed building MJ occupied in Bedford
Squarehim on the ground floor, me on the
top, full volume.
Hes the only person Ive ever assaulted.
We were arguing, I was exasperated, he bent
down to tie a shoelace and I hit him on the
head with the book I was holding, a huge
international museums directory. He fell
back into an armchair and for a moment I
thought Id killed him. Then we both burst
out laughing and forgot what wed been
arguing about.
Lunching with Piers Dudgeon (now a
biographer, then Paperback Editor of W H
Allen) he mentioned Allens was thinking of
starting a rights department. Was I interested? No; I loved MJ. I got back to the office
to a call from a director at WHA asking if Id
go and see them. Intrigued, I did, and was
interviewed by the entire board, all family
members. How would I sell international
rights to a book? Id start at Frankfurt.
But they never went: the family was Jewish and had suffered much during the Second
World War. I told them I couldnt consider
the job. Within a couple of hours, a messenger delivered an offer with the promise of a
trip to Frankfurt. Stylish. I was curious, and
saw it as a way of getting out from under
Edmunds influence, seeing what I could
accomplish on my own. Another row first
though, and this time a big one. Edmund
wouldnt accept my resignation and
shouted: Why are you doing this to me?
He didnt speak to me once while I worked
out my notice. Staff tiptoed around us.
Happy years
I left MJ after four happy years and should

have done more research before taking the
job. WHA published ghosted showbiz autobiographies and unauthorised celebrity
biographiessuch dross, my heart sank.
Until proofs arrived of a first novel by a
South African author, his first Afrikaans
novel to be banned in South Africa. Looking
on Darkness by Andr Brink saved me. I
took it to Allens first Frankfurt. Michael
Meller at the Gee Report, forerunner of Publishing News, ran a whole page ad with an
embarrassingly large photograph of me in
their Frankfurt editionAllens new rights
department was launched. I sold Andr into
eight languages that Frankfurt, and many
more afterwards. Next year I had a stand.
Allens was glamorous, even if the books
werent exactly literature. Elizabeth Taylor
walked through the door one day and
offered her autobiography. To enable them
to put together an offer, I was asked how
Carole Blake - Agent.indd 4
much money I could make. I called Michael

Korda at Simon & Schuster in the States
and he said hed pay 50% of whatever
we had to pay for world rights. No upper
limit. Sadly the book never materialised;
Ms Taylor went off the idea as quickly as it
had occurred to her.
At my second Allens Frankfurt, Edmund
arrived at the stand, looked me up and
down, and asked: How did you manage
that? By being good at my job, I replied. He
said we should have a drink. I said no. We
hadnt spoken for 18 months. But I met him
in the bar of the Park and he offered me a job.
I said no. He kept upping the stakeshigher
salary, a car, a seat on the board.
Stormy weather
I resigned from Allens to join Sphere in

1976. Edmund was Managing Director,
the companys sixth in 10 years. I was
Marketing Director and also ran the Rights
Department, the Publicity Department and
the Contracts Department. A broad remit,
and impossible. James Mitchells When
the Boat Comes In became the companys
first 100,000-copy seller. I went to New
York and Hollywood to sell and to buy
rights. Hollywood was unimpressed by tiny
Sphere Books, but I did go to a dinner party
at the house of Sam Goldwyn Jnr. Edmund
and I continued to argue; editors argued
with each other and often asked me to
arbitrate. It was a stormy place. Id had
enough. One Friday evening during a row, I
was in the middle of resigning when I realised
Edmund was firing me. I withdrew my
resignation and told him I would leave in a
week and sue him for wrongful dismissal. Id
had to fire people: I knew he hadnt complied
with regulations. He didnt believe me.
Twelve months after I joined, I went home
(with the car) and saw a lawyer.
All hell broke loose. Edmund didnt have
the authority to fire me: as a director I was
employed by Thomson, not Sphere. Badtempered negotiations dragged on, but in the
end I allowed them to pay me off. By the time
I received the cheque Id already registered
my new company: I was an agent.
In the seven months I was unemployed,
several authors called to ask if I was going
to become an agent. I had a house with a
room I could use as an office. I fell into it with
very little thought and I loved it from day
one. Roslyn Targ, the marvellously dramatic
wife of legendary Putnam editor Bill
Targ, became my American agent, selling
US rights for my authors; I sold UK rights
for hers. We lunched in New York at the
Russian Tea Room, in London at Mon
Plaisir and LEscargot. My first six-figure
sale was one of Ross novelsto Rosie de
Courcy at Futura.
I tried whenever possible to sell Canadian
rights separately. I went to Canada and
agreed to represent Bella Pomers literary
agency, so becoming the UK agent for Carol

Shields. Every publisher had turned her
down before Christopher Potter of Fourth
Estate paid me 1,000 for the first of her
novels to be published in the UK. The dinner
after she won the Orange Prize was a night to
remember.
Early in the 1980s, Julian Friedmann and I
agreed to merge our small agencies (he
would do film rights, I books)and to be
married. Wed gone off to book the wedding
and returned to a call from Marcella Berger,
Rights Director of Simon & Schuster in New
York, whod chosen us to become S&Ss UK
sub-agent. Heads spinning, Julian and I
spent the entire weekend making lists: tell
parents about wedding; hire staff; organise
wedding party; find bigger offices; write client lists for Fair We got married the week
before Frankfurt and had our honeymoon
at the Fair. Our stand was laden with flowers
and champagne from international friends.
The marriage didnt work, but we managed to divorce without breaking up the
agency. We didnt lose a client or a staff
member, and we work together still.
By the 1980s, the whole ethos of publishing had changed. Publishers became parts of
international conglomerates. It was now
about business, not people. My authors
write in a wide variety of areas, but one thing
they have in common is that they are my
friends. I decided years ago that I only
wanted to represent people whose work I
admired and with whom I am happy to
spend time. Its paid off handsomely in terms
of both business and personal satisfaction.
Its more fun that way too.
The future of publishing
Im proud to have represented authors for

15, 20, 30 years. Seeing their careers flourish
is immensely satisfying. Do I feel pessimistic
about the future of publishing? No. Things
have changed and will change even more
but authors will remain at the heart of our
business. I do fear for booksellers, with the
threat of Amazon always looming, and I fear
for a future where badly written, unedited,
unmarketed self-published books swamp
everything else. I worry too about the number of companies running courses for unpublished writers, off whom its all too easy to
take money. But overall, Im optimistic. Our
business has a future. It will be tough, different, but theres still a lot of fun to be had and
a lot of good writers to work with. Blake
Friedmann has expanded again this year. We
added three new staff members, moved to
bigger, beautiful offices and have launched a
new website. Im not planning retirement,
and were not planning to sell the company;
it will become employee-owned.
A large income is the best recipe for happiness I ever heard of, Jane Austen wrote,
and that is what I strive for on behalf of my
authors. No time to get bored!
07/10/2013 20:56
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10 OCTOBER 2013
Technology and childrens reading

A UK research project has revealed that the number of children reading, or being read
to, for fun has dropped significantly. Jo Henry explains
ear Two of
Nielsens UK
research project
Understanding the
Childrens Book
Consumer in the Digital Age has
revealed a significant fall in the
number of children reading, or
being read to, for fun on a
weekly basis. In 2013, the
proportion of occasional and
non-readers among children
aged 0-17 rose to 28%, up from
20% in 2012.
This dramatic drop in
engagement with reading,
particularly when seen in the
context of an 8% point drop in
the number of books being
bought for 0-17s in the first half of
2013 (recorded by Nielsens UK
Books & Consumers survey), will
give pause for thought to anyone
involved in providing book
content for children. Why are
some of todays youngsters
apparently turning their backs on
reading for pleasure?
Atleastpartoftheanswerseems
to lie in childrens increasing
use of digital technology, which
so far appears to be distracting
from reading, rather than creating
greater interest in it. In 2013,
childrens access to and use of
tablets more than doubled over
the previous year. And while
these devices are being used for a
range of activities, reading is
perhaps the least important of
them. Only 20% of children

using tablet devices report using
them for reading ebooks, with an
even smaller 6% using them for
reading magazines and comics.
The research reveals that it is
not just reading that is suffering
in todays interconnected world.
The only three activities being
done by more children in 2013
than in 2012 were using games
apps, visiting YouTube and
texting, while visiting hobby
websites, doing arts and crafts,
doing sports, going out and
playing games on consoles all
did far less well this year. With
gaming the most popular
activity on a mobile device, the
switch from using a dedicated
games console to playing games
online is noticeable.
Despite this, the proportion of
children reading digitally has
increased. Depending on the age
group, between a quarter and a
third have done so, and a small,
The proportion of children

reading digitally has
increased.
but significant, proportion of 14

to 17-year-olds report that they
now only read in digital format.
This age group also recorded the
biggest year-on-year increase in
those who had read ebooks/
book apps at all, and they are
Jo Henry - Children's.indd 2
now the only age group to prefer

dedicated e-readers to other
digital reading devices. This
group should perhaps be treated
more like adults than children in
their approach to digital reading.
But it seems clear that the
increase in availability and use of
digital reading devices has not yet
improved the appeal of reading as

an activity to children overall.
Not only has the number of heavy
and medium readers in all age
groups reduced, but the gap
between boys and girls has
widened, with boysthe group
who might be expected to be most
attracted by the technology
falling even further behind. The
decrease in time spent reading for
pleasure for both boys and girls
is most significant at the
beginning of secondary school,
where the 2013 report has
monitored a 7% point drop in
heavy readers, and among 14 to
17-year-olds, where weve seen
more than twice as many nonreaders than was seen in 2012.
Despite the decrease in the
amount of reading that children
are doing, there is no sign that
attitudes towards reading are
becoming more negative. The
proportion of those saying that
they dont really enjoy reading

books is, at most, 4% points up
(among those aged 0-4) on 2012
levels. So what are we getting
wrong in the product that we are
putting before them? Or should
we be broadening the definition of
reading, as is argued by many?
With an increase in teens
leaving the market altogether, the
challenge for publishers is to find
fresh, compelling content to
compete with the activities
principally gaming and communication with their peersthat are
increasingly attracting the interest
of children in these age bands.
Given that the alarm bells
are ringing particularly in the 11
to 17-year-old age group, and for
boys more than girls, the research
looked at which types of books
these less keen readers might be
interested in. Occasional teenage
boy readers are keenest on the
three Fs: fantasy, facts and funny
books, but they also over-index
in their interest in sports books
too. And with nearly a quarter of
occasional readers (mostly in
this age group) having read
digitally, an increase year-on-year
of 10% pointssuggests that there
may be an opportunity to engage
with them more through devices
if we can get the content and the
format right.
Jo Henry is Director, Nielsen Book. To
subscribe to this study, please contact
james.howitt@nielsen.com.
07/10/2013 00:22
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Add to that an unrivaled family of reading devices including one that
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10 OCTOBER 2013
Defying the laws of economics?

Luca Palladino looks at the arguments for and against a fixed book price policy
ooks seem to be unique when we

buy them, perhaps because we feel
that each book has its own personality. There are few other goods
that we are willing to stock on a
shelf and forget for years on end, and yet maintain with them such a strong emotional bond.
It seems logical then that these cultural goods
should not behave economically as others do.
Such were the findings in a 2009 study
entitled Regulating Book Prices: What
Effect on Consumer Well Being? by
Franoise Benhamou (Universit Paris) and
her colleagues. The study compared the
evolution of average book prices in countries
operating under a fixed book price policy
(including France and Germany) versus
countries using a hybrid suggested price
system and countries where there was no
price scheme at all, i.e. free market countries
(including Sweden, England, Poland).
Luca Palladino; Photo by Marcia Seebaran
Economic laws
Economic laws dictate that a fixed price

for any good will artificially increase
prices above normal inflation levels, leading
to a loss of well-being for consumers
and less efficiency for publishers.
Proponents of fixed book price laws
say that setting a fixed price for the
initial 12 months of a books release
(usually with a limited 5%-10%
discount) allows smaller bookstore
owners to compete with wholesalers
who dont specialise in books, but slash
their prices. In this context, a fixed
book price would theoretically help
smaller booksellers survive and thereby have
a positive impact on the diversity of books
available on the market.
Those in favour of a more free market
approach point out that fixed prices on
books lead to higher book prices and limit
accessibility to books. Given the attention
book prices have received lately, because of
lawsuits over ebook prices, its worth
looking again at what Benhamou found.
The Benhamou study offers empirical
evidence that answers the question: do fixed
book price policies have a negative impact on
book prices? Surprisingly, the answer is no.
Not only did fixed book prices not have an
inflationary effect on the average price for
books for the 1997-2007 period, a slight
downward trend on book prices was
observed in countries that enforced this
policy in Europe. Countries that had free
market policies registered similar book prices
to those countries with fixed prices, but with
a much greater year-to-year fluctuation.
Luca Palladino - Fixed Prices.indd 2
For Benhamou, it appears that fixed book

price policies have a stabilising effect on the
book industry. Naturally, one could argue
that bestseller readers in fixed book price
markets are subsidising other readers by
spending more for their bestseller books
than in free market systemsin a free-market
setting, bestsellers are the focus of larger
discounts at mass merchandisers. That most
likely is the case, but that is one of the aims of
a fixed book policy, to use the economic
Countries that had free

market policies registered
similar book prices to those
countries with fixed prices, but
with a much greater year-toyear fluctuation.
rewards of bestselling books to put into
lesser-known books. It remains that
consumers as a whole are not paying more
than they should be for books in a fixed price
book market.
But before rejoicing and implementing
fixed book prices for all, we need to look
at other consequences of fixed book
price policies. Although there are no
glaring negative inflationary impacts,
fixed book price policies must also
answer another series of questions to
prove worthy of implementation: do fixed
book price policies actually help small
booksellers to survive? Do they have an
actual impact on the diversity of books
available on the market? Do they make sense
in an ebook setting?
The book business
To answer that question we go to a 2010

study entitled Book Prices in the Digital Age
(by Mathieu Perona and Jrme Pouyet).
This highly readable 92-page work breaks

down the arguments both for and against
setting a price for books. Perona agrees with
Benhamou that fixing prices on books does
not result in higher prices. But does price
fixing have an impact on the diversity of
books offered? Perona says no and heres
why. The book industry, like many cultural
industries, works with a blockbuster
business model. Unable to predict which
book will become the next bestseller, a
publisher will diversify its risk by putting
out the widest array of titles possible. The
one or two books that are hits will cover the
losses of the other published books. This
blockbuster or bestseller strategy is a
fundamental part of the book publishing
industrys DNA, says Perona, and ensures a
maximum diversification of titles regardless
of whether a fixed book price policy exists
in a country.
In order to prove his point, Perona cites
Marcel Canoy and his 2006 study The
Economics of Books in which Canoy
analyses the number of titles offered in
fixed price countries and non-fixed
price countries from 1975 to 1995.
Again, the data is surprising. In 1975,
both fixed price and non-fixed
price countries offered an average of
68 titles per 10,000 people. Twenty
years later, fixed price countries
increased that offer by 66% to 102
books, whereas non-fixed price
countries rose to 134 books per 10,000
inhabitants, a 74% increase.
The numbers do not seem to support
the idea that a fixed price for books means a
greater diversity of books on the market.
Supporters of the fixed price policy may find
solace in the fact that the fiction category
appears to play a larger role in fixed price
countries (38% of the production) than in
non-fixed price countries (27%). However,
these numbers vary greatly from one
country to the next and so it is difficult to
conclude that a fixed price policy for books
equates to a greater diversity of fiction.
In the end, Perona concludes that
although a fixed price policy may have some
positive impacts, those impacts have most
likely been greatly exaggerated. In the end, a
fixed price policy, while not being
detrimental to the book industry, does not
seem to have a substantial positive impact
and that may be because of the complex
nature of the book business.
Luca Palladino is a regular conributor to
Publishers Weekly, based in Montreal.
07/10/2013 20:47
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matchmaker
for
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litfactor.com
10 OCTOBER 2013
Brazil: a land full of voices

Karine Pansa explains how Brazil intends to increase further its copyrights exports
razil, a country of
continental dimensions, has 190.7
million people
according to the last
Census (2010). Among these
inhabitants, more than 88 million
read four books a year on average, according to the survey
Retratos da Leitura no Brasil
(Portraits of Readership in Brazil)
in 2012. This rate is similar to
other Latin American countries,
such as Chile (5.4 books per capita) and Argentina (4.6).
Figures released by the latest
research on the book publishing
sector show that the Brazilian
publishing market had a
turnover of RS$4.98 billion in
2012, equivalent to US$2.10
billion, and sold around 435
million books. Not surprisingly,
in the Global Map of Publishing
Karine Pansa
Markets study, by the respected

IPA (The International
Publishers Association), Brazil is
recorded as the ninth largest
market. The numbers leave no
doubt that our population is
becoming more interested in
reading year after year.
Childrens and young adult
books have shown a good per-
A Bridge Between the East and West
HALL 8.0, STAND M18

cntimesbooks.com/ff
Karine Pansa - Brazil.indd 2
formance in the Brazilian publishing market, contributing significantly to its development. To

give an idea of the performance
of the sector, between 2004 and
2010 the segment recorded a
growth rate of 237.5%, coming
from 20.8 million copies in 2004
to 70.2 million in 2010.
And to add more heat to this
important segment of Brazils
book publishing industry, Brazilian editors conducted a business mission to Germany last
year, which included meetings
with representatives of the publishing industry there. The aim
of the mission was to identify
business opportunities and for
the editors to get to know the
dynamics of the German market
for the children and young adult
segment, to prepare them for
their participation in the fair.
This initiative was part of the
Brazilian Publishers (BP) project. Created in 2008 as the result
of a partnership between the
Brazilian Book Chamber and
the Brazilian Trade and Investment Promotion Agency, the
project was set up to: promote
the export of Brazilian editorial
content; promote Brazils publishing industry; and to contribute to the professionalisation of
the nations publishing houses.
In order to achieve this goal,
BP supports activities that promote publishing rights at the
international level (such as participation in international fairs
and other relevant events); takes
advice from consultants who
specialise in business intelligence, and in the identification
and selection of new markets
abroad; and encourages the
training of sector professionals.
In addition to promoting
exportation, the projects work
contributes to the countrys
vision and positioning, showing
the world Brazils capacity for
creating literary and technical
content of considerable importance and value for the international market. BP currently
comprises around 70 publishing
houses, which publish in the
following categories: childrens

books, general works, religious
and technical-scientific.
BPs goal is important because
we are not just a country buying
copyrights; we also need to show
we are ready to sell them abroad.
There have been significant
advances in this aim: exports
increased from US$495,000 in
2010 to US$880,000 in 2011
and US$1.2 million in 2012. In
only two years, we recorded an
increase of 143%.
Germany is one of the target
markets for BP and publishers
have cited the country as one of
the most important buyers of
rights between 2008 and 2011.
Thus, our expectation is that the
Frankfurt Book Fair will generate many business opportunities
for Brazils publishers. More
than 200 titles, new releases and
reprints, have been translated
into German. This increased
exposure will certainly bring
new buyers.
At the Fair, Brazil will have a
700m2 collective booth available
for 166 publishers to exhibit
their books, a record number of
participants. Among these, 104
are supported by BP.
The participation of our
country in Frankfurt is organised
by the Ministry of Culture; the
Ministry of External Relations,
(MRE/Itamaraty); the National
Library Foundation (Fundao
Biblioteca Nacional); the
National Arts Foundation
(Funarte); the Brazilian Trade
and Investment Promotion
Agency (Apex-Brazil); and by the
Brazilian Book Chamber
(Cmara Brasileira do Livro or
CBL). Besides the collective
booth, a pavilion of 2,500m 2
dedicated to Brazil will host great
artistic displays to show our
socio-cultural diversity.
In Germany, well be ready to
show the world that our book
production is as huge as our
country, and that we know how
to export quality content.
Karine Pansa is the President of the
Brazilian Book Chamber.
08/10/2013 11:25
Our events for today

Migrating from Flash to HTML5
Beginning your book with HTML 5
Managing Rights & Permissions made easy
Making your e-books interactive
Explore the new facet of publishing a book as an App
11:00 to 12:00 Hrs

12:00 to 12:30 Hrs
12:45 to 13:15 Hrs
14:00 to 14:30 Hrs
14:45 to 15:15 Hrs
10 OCTOBER 2013
The book is just the beginning

Britta Friedrich describes what is planned for tomorrows Storydrive forum
t first glance, Whos Afraid of

Bugs? looks like a totally normal pop-up book about
insects. But the book comes to
life with the help of an iPad. A
tarantula crawls across my hand and rears up
when I touch it. Its incredibly creepy, especially as Im a total arachnophobe. But at the
same time, its a fascinating example of a new
way of experiencing the bookand my inspiration for this years Frankfurt StoryDrive.
If we already have the ability to bring a
book character to life today then what will
the future hold? What opportunities do new
technologies like augmented reality create
for publishers? And what impact will they
have on storytelling in general? Will the
boundary between fact and fiction
ultimately disappear?
Tomorrows media userwhether its a
reader, viewer or gameris interested in
experiencing stories. Hes looking for entertainment, interaction and immersion. She
wants to become part of the story and have
access to it across all channels. The publishing, film, TV and games industries are all
facing questions about how stories will be
told in the futureand about how to turn
innovation into business.
Book meets film, meets game, meets the
future at Frankfurt StoryDrive. For four
years running, it has been a forum for trends
and innovation, which gathers representatives from the book, film, TV and games
industries to explore the future of storytelling and new opportunities for the media
business. This years event will be held under
the motto Fiction is Real and will focus on
the fusion of fiction and reality, of reality
and virtuality.
StoryDrive will look at trends such as
augmented reality, and immersive and transmedia storytelling. Fifteen experts will
present tools and strategies for the future of
storytelling. What sets this years event apart
from previous years is that our StoryDrive
speakers will engage in dialogue with the
audience. StoryDrive is not just about highlighting trends; its also about bringing the
media industries closer together and boosting cross-media business. With this in mind,
weve developed a new programme format
that will also give our audience a chance to
share their visions, ideas and projects.
Experts in a shbowl
Our new format is inspired by the fishbowl

conversation method, which is, among other
things, especially successful at building
camaraderie in groups of people who are
Britta Friedrich - Storydrive.indd 2
Britta Friedrich; Photo by Pascal Cloetta
meeting for the first time. The method gets

its name from the seating arrangement,
which resembles a fishbowl. The actual conversation takes place in an inner circle, which
is surrounded by additional seating. Weve
modified the format a bit for StoryDrive. For
the first time, our programme will be presented from four tables arranged at the centre of the room. The tables will reflect the
programme structure with each table representing one of the four programme modules.
Each module (or theme) will be represented
by three or four experts. Audience members
can choose to take a seat at one of the tables,
and thus play an active role in the programme, or retreat to the spectator area.
More interaction
To allow for more interaction and dialogue,

the speakers presentations are limited to 15
minutes. Short, inspiring presentations will
take the place of traditional lectures, framed
by Q&As, discussions or opinion polls. Two
moderators will lead the programme and
encourage interaction. The best part of all is
that our speakers will stick around for the
entire event to chat and answer questions
and be part of the programme.
Frankfurt StoryDrive will feature a mix of
familiar faces and new voices with big vision
and innovative projects. The programme is
divided into four blocks organised by theme.
The event kicks off with Augmented Reality
Storytelling: Is This the End of the Story
as We Know It?, led by Professor Drew
Davidson. For years hes been grappling
with the future of the media with a special
focus on interactive media. Canadian developer and producer Corey King (ZenFri Inc)
will highlight Clandestine: Anomaly, an
Emergent Reality Game (ERG) that blurs the
boundaries between fiction and reality.
The democratisation of the media world
will be the focus of the module entitled Intertwined: The Story of the User, and the Users
Role in the Story. British publisher John
Mitchinson (Unbound, UK) and author

Dmitri Gluchowski will address the transformation of the user from passive consumer
to marketer, co-producer and author.
With his novel Metro 2033, Gluchowski
not only won the hearts of fans and took
over the bestseller lists, but also conquered
the games universe. Producer Kristian
Costa-Zahn (UFA Lab) will discuss crowdfunding and crowdsourcing as a viable new
business model using the project RLF as
an example. The crossmedia project, based
on the novel RLF by Friedrich von Borries,
turns readers, gamers and viewers into political activists in the real world. The user
determines how the story continues.
The third module, Rewriting Reality,
Rewriting Fiction, will feature Sarah Doole,
Creative Director of Worldwide Drama at
Freemantle Media. Shes been responsible
for successful projects like Sherlock,
Misfits and Wallander, and created one
of the worlds first social media web series.
At StoryDrive, shell present her vision of the
future of the media world.
Producer and director Michael Grotenhoff (Filmtank) will team up with Lena
Thiele (Creative Director Transmedia,
Miqos Studio UG) to present the Netwars
project. The production, which deals with
cyber wars and the social impact of information technology, combines documentary
with fiction, an interactive web portal,
audiobook, ebook and TV series.
Symphony of the senses
The last module, Symphony of the Senses,

takes virtuality to the next levelone that is
hardly distinguishable from the real world.
Texas-based firm Virtuix raised its target
sum of $150,000 for the holodeck Omni
on Kickstarter in under four hours. At the
end of the 45-day period, it had brought in
more than $1.1 million. Colton Jacob from
Virtuix will present Omni and discuss its
impact on the art of storytelling.
The four modules will be accompanied by
interviews and short talks. Quentin Tarantinos former cameraman Ziad Douieri will
offer a glimpse behind the scenes of the new
Hollywood. Former IBM manager Gunter
Dueck will do what he does bestthink outside
the boxwhich is not only allowed, but
actively encouraged at StoryDrive.
StoryDrive will take place on Friday in Room
Europa (Hall 4.0). You can register at the event.
Britta Friedrich is Director of Events and
Programmes for the Frankfurt Academy
Programme and Director of Frankfurt StoryDrive.
05/10/2013 16:05
10 OCTOBER 2013
Courtside USA: a status report

There are several legal cases underway in the US that involve publishers. Andrew
Albanese reports on the latest developments in these courtroom battles
s this years Frankfurt Book

Fair begins, there are several
important US legal cases
underway for the publishing
industry, and while decisions
have since come down in several key cases
since last year, final resolutions may still be
a ways off. Here is a status report on the US
publishers courtroom battles.
United States vs.Apple
After a captivating two-week trial in July,

it took federal judge Denise Cote all of 20
days to find Apple liable for conspiring
with five major publishers to fix the prices
of ebooks in the US. In September, the
court issued a fairly light final injunction
for Apple. Still, the case remains far
from over.
First, Apple is preparing to lodge an
appeal of Judge Cotes decisive opinion with
the Second Circuit Court of Appeals,
and its attorneys continue to insist that
the judge fundamentally botched the
case. More pressing, however,
monetary damages loom in the state
and consumer class action parts of the
case. The process of determining
damages is on a relatively swift
schedule, with a damages trial set for
May of 2014.
Estimates have Apple on the hook for
potentially hundreds of millions in
refundsbut consumers shouldnt
count their windfall just yet. The
process could be delayed pending an
appeal. And, even if not stayed, Apple
attorneys are fighting hard every step of the
way; not only are they challenging the degree
to which Apples liability in its federal case
translates into liability for monetary
damages in the state and class action cases,
they are also challenging whether or not a
broad class of ebook consumers can be
legally assembled at all. A settlement remains
possible, but Apple certainly has the
resources, and the inclination, to battle this
one out to the bitter end.
For consumers, meanwhile, more
than $162 million collected from the five
settling publishers could begin flowing
by the end of the year. A final approval
hearing is set for 6 December, and if
Judge Cote signs the order from the bench,
which is expected, the consumer refunds
collected from all five publisherswhich
currently break down to $3.06 per bestseller
and 75 cents per backlist titlecould hit
during the holiday season.
TheAuthors Guild vs. Google
Yes, this is still going on, although, it looks

to be nearing a merciful end. At a hearing on
23 September, it took Judge Denny Chin less
than 40 minutes to hear oral arguments on
cross motions for summary judgment in the
Authors Guilds long-running lawsuit over
Googles library book scanning project.
Once expected to be a defining copyright
battle for the digital age, the short anticlimactic hearing shows just how much the
digital landscape has changed.
First filed in September of 2005, this case
was the first against Google over its scanning
programme. Eight years later (including
three years spent unsuccessfully stumping
together for a controversial settlement with
publishers and Google), a consumer ebook
market is now flourishing, and the harm
once predicted by Googles scanning has not
materialised. Just before last years Fair, the
But in this case,

HarperCollins must convince
a judge that Curtis Brown,
in 1971, sought to add
language to a contract that
gave away his clients exclusive
right to a format no one
had yet imagined.
Andrew - Legal.indd 2
publishers dropped their lawsuit against

Google after a bare bones settlement. And
days later, during the Fair, Judge Harold
Baer delivered an emphatic summary
judgment ruling in a parallel casethe
Authors Guild vs. HathiTrust, against a
collective of university libraries, finding
the Google scanning programme was
protected by fair use.
The case now hinges on whether Judge
Chin, like Judge Baer, finds that Googles
scanning in this case is also protected by
fair use. The Authors Guild argues it is not
that it is a commercial venture that gives
Google an advantage over its competitors
based on works it misappropriated. Google
argues that the public benefits clearly
establish the programme as fair use. Its now
in Chins hands.
Book House of Stuyvesant Plaza,

Inc. et al vs. Amazon.com
In one of the more puzzling cases in recent
memory, three independent bookstores filed

suit in federal court in February 2013,
alleging that Amazons use of proprietary
DRM in its Kindle e-reading programme
combined with the big six publishers
execution of agreements with Amazon,
represented a conspiracy to ice independent
stores out of the ebook market.
At a hearing on 26 April, the publishers
and Amazon appeared before Judge Jed
Rakoff, seeking to have the suit tossed. And
that appears likely to happen. If there is any
surprise here, it is that the case, which is
currently stayed, has not yet been dismissed
six months later.
Cambridge University Press vs.

Patton
Just before last years Fair Judge Orinda

Evans filed her final order in this case, flatly
rejecting a proposal by the plaintiff
publishers for relief, and, in a rebuke,
ordered them to pay the defendants
attorneys costsnearly $3 million.
The order was the culmination of a
contentious four-year legal battle in
which three academic publishers,
(Oxford University Press, Cambridge
University Press and Sage Publications,
supported by the Association of
American Publisherswith costs
partially underwritten by the Copyright
Clearance Center) had alleged that
administrators at Georgia State
University (GSU) systematically
encouraged faculty to commit
copyright infringement via GSUs digital
content systems as a no-cost alternative to
traditional course-packs.
Just before last years Fair, on 11
September, the publishers announced their
appeal of what theyve dubbed a flawed
decision. As this years Fair begins, that
appeal is still pending.
Kirtsaeng vs.Wiley
Its all over but the lobbying. In March of

2013, the US Supreme Court held that the
first-sale doctrinethe provision in US
copyright law that enables owners of legally
acquired copies to redistribute themdoes
apply to works manufactured abroad. The
ruling stems from the case of John Wiley
& Sons Inc. vs. Supap Kirtsaeng, in which
Kirtsaeng, a Thai-born US student, was
sued by Wiley for importing and reselling
in the US (via eBay and other websites)
foreign editions of textbooks made for
exclusive sale abroad.
06/10/2013 20:44
10 OCTOBER 2013
By a 6-3 margin, the court reversed

two lower courts and held that an
ambiguous term in the Copyright Act,
that limits first sale to works lawfully
made under US copyright law, does not
constitute a geographic limit to first sale.
Observers have said that the ruling
holds major implications for the rights
trade, potentially gutting territorial
rights. If Kirtsaeng can import
inexpensive international editions, so
can Amazon, or anyone, explains
James Grimmelmann, Professor of Law
at University of Maryland.
But while the Supreme Court
decision ended the court fight, the real
work now begins: legislation. Thats
because the case highlighted a genuine
tension in the Copyright Act between
the first sale doctrine and a ban on gray
market importation. Because of the
potential market harm, and the strong
lobbies of the copyright owners, I dont
see this as being the last word on this
subject, says Glenn Pudelka, a copyright
attorney with Boston-based Edwards
Wildman Palmer.
Andrew - Legal.indd 3
Meanwhile, just weeks after bemoaning

the outcome in Kirtsaeng vs. Wiley,
publishers applauded a district court
decision in Capitol Records vs. ReDigi, in
which a US federal judge rejected the
expansion of first sale to cover the resale of
digital files. The case had been closely
watched by the publishing industry, as it
pertained directly to the potential resale of
Apple certainly has the

resources, and the inclination,
to battle this out to the
bitter end.
ebooksand, at a time when both Amazon
and Apple had patent applications pending
for a digital resale mechanism.
HarperCollins vs. Open Road
In a case worth watching, HarperCollins is

suing Open Road over its ebook edition of
Julie of the Wolves, Jean Craighead Georges
bestselling 1973 childrens book, which
HarperCollins publishes in print.
In cross-motions for summary

judgment filed in March, HarperCollins
argues that its contract gives it the right
(subject to Georges consent) to license
uses including computer, computerstored, mechanical or other electronic
means now known or hereafter invented.
Open Road, meanwhile, counters that
this languagewhich was actually
inserted by Georges agent, Curtis
Brown, in 1971pertains solely to
uses in then emerging systems for
indexing, classifying, abstracting and
finding books.
On its face, the case harks back to
2001, and Random House vs. Rosetta
Books, which led to judge Sidney Stein
ruling (and an appeals court affirming) that
ebook rights not specifically enumerated in
contracts remain with the author. But in this
case, HarperCollins must convince a judge
that Curtis Brown, in 1971, sought to add
language to a contract that gave away his
clients exclusive right to a format no one
had yet imagined.
Seems like a tough sell, but the court has
yet to weigh in on the motions.
06/10/2013 20:45
10 OCTOBER 2013
The Folio Prize
n March 2014 the five

judges of the inaugural
Folio PrizeMichael Chabon, Lavinia Greenlaw
(the panels chair), Sarah
Hall, Nam Le and Pankaj
Mishrawill decide on a winner,
to be announced at a celebratory
event in London, writes Andrew
Kidd. It will be a big moment,
most of all for the author in
question, who in addition to
receiving a 40,000 cheque
should find him or herself connected with a huge number of
new readers, but also for the
many people who have devoted
a great deal of time and energy to
this initiative.
In other words, we are excited
about it. As the first major
English-language book prize
judged solely by people for
whom fiction is a life-giving force
(the Folio Prize Academy), as the
first prize open to all forms of
storytelling, and as the first open
Brilliant storytelling
Andrew Kidd
to writers from anywhere in the

world, the Folio Prize presents a
fresh opportunity to get passionate about excellence. In an age in
which so much seems flattened
into a homogenous sprawl, and
in which, as Academy member
Margaret Atwood put it,
money is increasingly the measure of all things, the prize will
focus on artistic achievement,
bringing great new books to
countless readers.
Andrew Kidd - Folio Prize.indd 2
Not all books are created equal.

Its not elitist, or undemocratic,
or in any other sense shocking to
say that. Its just honest. And the
peril of pretending otherwise is
that readers end up being treated
as if they can only bear so much
reality, as if they arent robust
enough to absorb the shocks and
surprises that brilliantly rendered storytelling can deliver.
Sure, plenty of people read fiction for self-identification and
comfort, and fair enough, but
the Folio Prize exists in part to
help readers discover books that
take them to places theyve never
imagined before, books that,
however slightly or slyly, reconfigure the world as they know it.
This is a new prize. Im sure
well get some things wrong, but
a lot of effort has gone into trying
to get them right. Along with our
new colleagues from our dream
sponsor, The Folio Society; an
advisory committee of industry
professionals; a board of trustees
that includes Stephen Page and
Liz Calder; the PR maven Fiona
McMorrough; and the prizes
administrator, Suzy Lucas, we
have thought very carefully
about every stage of the process.
The prize begins and ends
with the Folio Prize Academy,
now 140 strong (and growing):
the body of writers and critics
from whom, each year, five
judges will be drawn and the
group who as a whole are
responsible for selecting the
books that will be considered.
The Academys members come
from around the world. It
includes winners of all the major
prizes and new talents, and it is
conceived along similar lines to
academies in other artistic fields.
After all, who better to recognise
the most significant storytelling
of our time than those most
deeply immersed and invested in
it? One of the great joys of reading is that, armed with literacy,
anyone can form a view of a
book and have a profound, private experience. Still, none of
our academy members would
expect to be invited to judge, say,
the gymnastics or diving competitions in the Olympics, and
there is a place in books as in

everything else for recognition
of outstanding achievement by
ones peers.
Each academy member will
nominate up to three books he
or she believes deserve consideration. The 60 books that score
most highly in the nomination
process will go through for consideration by the judges. A further 20 books will be called in by
the judges on the back of letters
of advocacy submitted by publishers. And from this total of 80
books the judges will draw up a
shortlist of eight in February.
Creating a buzz
Who knows what books will

emerge? Some, perhaps, will be
as expected, but we also anticipate more than a few surprises.
As for all those deserving books
that dont make it through, academy members will be invited to
write on behalf of the ones that
got away. For while any prize
dictates that there must be a winner, as Academy member Mark
Haddon said, the Folio Prize has
been launched not as a mechanism for generating publicity by
propelling a single book into the
spotlight, but as a celebration of
literary fiction as a whole. And
for literary please read any
piece of storytelling in which the
author has achieved a perfect
unity of form and contentin
which, in simpler terms, something thrilling is going on.
Because thats our ultimate
goal: to generate more discussion about, and buzz around,
booksto further inspire people,
for whom reading is already a
habit, to read more (and to read
more adventurously); and, for
people who dont yet have the
habit, to try to get them hooked
too. The Folio Prize is, if you
will, a blatant, unapologetic
propaganda machine for
great writing. But unlike many
propaganda machines, it is
open to cognitive dissonance.
And, along with the Folio
Society, we are aiming, shamelessly, at mass infiltration.
Andrew Kidd is Managing Director
at Aitken Alexander Associates.
08/10/2013 14:07
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10 OCTOBER 2013
Brazils authors: myriad realities

Roberta Campassi introduces some of the Brazillian authors who will be attending
the Fair and taking part in events around Frankfurt
he association of
Brazil with clichs
like carnival,
soccer and tropical
beaches is likely to
annoy many Brazilians.
But there is at least one
stereotype that we are ready to
acknowledge and often happy
to reinforce: it is a country
full of vibrant diversity. With
200 million inhabitants living in
the fifth largest territory in the
world, Brazil has a history that,
on one hand has merged
the African, European and
indigenous cultures, and on the
other created huge inequalities
and differences. One can find all
manner of landscapes, realities,
accents and, of course, voices.
Besides Jorge Amado and
Paulo Coelho, the two most
will be at the Frankfurt Book

Fair this year taking part in
Brazils Guest of Honour
programme of events, while
others will be touring in
Germany, invited by their local
publishers. All of them longing
to show what they can do.
Brazil through ction
Roberta Campassi
translated and probably best

known Brazilian writers of
all time, there is a constellation
of authors making their way
in Brazil and abroad, across
the range of publishing, with
novels, non-fiction, childrens
books, poetry, science and
more. Seventy of these authors
Roberta Campassi - Brazil Authors.indd 2
Patrcia Melo is one of the

veteran authors attending this
years Fair. Her hypnotising
narratives, about the darkest
sides of human behaviour, have
earned her international awards
and she is published in 15
countries, with strong audiences
in France and Germany. More
than anything, she hopes the
Fair can help more of the
Brazilian literary heritage to be
translated into other languages.
We want readers all around the
world to know Brazil through
our fiction, but in a deep way,
without the clichs, she says.
On Saturday 12 October, she
will be exchanging ideas with
Ferrz, a writer whose fiction
explores the extremes of urban
violence. From his home in
Capo Redondo, one of the
poorest and most violent
neighbourhoods in So Paulo,
he wrote Manual Prtico do
dio, which secured him
publishing deals in six countries.
The amount of international
visibility generated this year by
the Book Fair, however, is a first.
Since months ago there has
been a real impact in the number
of interviews Im giving and the
invitations I receive, so I think
things can get even bigger after
the Fair, he says.
For many authors, the choice
of Brazil as 2013 Guest of
Honour has already had an effect
on their international rights
sales, at least in Germany.
According to the Frankfurt
Book Fair, around 250 titles
from or about Brazil will be
published this year in Germanspeaking markets, including
more than 54 previously
unpublished novels. The
numbers were boosted by the

creation in 2011 of a governmental translation programme,
which will provide US$7.6 million in grants until 2020, and has
so far supported many translations to different languages.
Among the authors recently
discovered, or rediscovered, by
German publishing houses there
are classic novelists like
Machado de Assis, Guimares
Rosa and Clarice Lispector; and
contemporary big names such as
Joo Ubaldo Ribeiro, a valuable
presence in this years Fair; as
well as a whole new generation
of authors who have just began
crossing Brazilian borders.
Daniel Galera, Andra del
Fuego, Joo Paulo Cuenca, Ana
Paula Maia and Paulo Scott are
just some of the fiction authors
recently published abroad, who
you may come across at the Fair
and whose names you will be
hearing more of in the future.
Fuego was in Frankfurt for the
first time last year, when her title
Os Malaquias, awarded the Jos
Saramago Prize in 2011, was
already on its way to being
published by Hanser Verlag.
Last years Fair was also crucial
for Daniel Galera, whose Barba
ensopada de sangue had rights
sold to Surhkamp, in Germany,
and to 11 other territories.
Childrens books
Flvia Lins e Silva, a writer of

childrens and young adults
books from Rio de Janeiro,
also has good memories from
last year. Through her agents
in Brazil and Germany (the
Riff and Mertin agencies), the
rights to her successful series
featuring Pilar, a lively 10-yearold girl who travels around the
world, were sold to Germany,
France, Mexico, Argentina
and China. A year after the
deals were closed, two of her
titles have been published in
Germany by Fischer Verlag and
she is in Frankfurt to tour,
invited by the publisher.
Continues on page 30
08/10/2013 14:09
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Hall 4.2|Booth M100
Global
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10 OCTOBER 2013

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Continued from page 28
Those who are interested in

other Brazilian childrens writers
will have a chance to meet some
of the most prominent at the
Fair. Ruth Rocha, Pedro
Bandeira and Mauricio de
Sousa, whose stories have been
enjoyed by generations of
Brazilians, will be accompanied
by, among others, Roger Mello,
Eva Furnari and Daniel
Mundukuru, an Indian writer
who belongs to the ethnic group
of the Mundukurus and has
written 43 childrens books.
The Brazilian organising committee has invited mostly authors
who have had at least one book
published abroad: only 10 out of
70 authors taking part in
the Fair have never been translated. And for them Frankfurt will
be a big opportunity to find an
editor abroad.
This is the case for Mary del
Priore, a successful historian and
book writer with a special
interest in love and sexuality,
and the real lives of Brazilian
women and families. She has
written 37 books, many of
which have sold between 20,000
and 60,000 copies in Brazil. But
so far none of them has been
published abroad. Priore, who is
taking part in a talk on Saturday
about Brazils social formation,
is also using her presence at the
Fair to meet as many foreign
editors as possible: I dont
count on miracles, but I do count
on transpiration, she jokes.
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Roberta Campassi - Brazil Authors.indd 4
Other well-known intellectuals

and scientists published in Brazil
will also be participating in the
Fair. They include the historian
Lilia Moritz Schwarcz, the
neuroscientist Miguel Nicolelis
and two of the countrys greatest
contemporary essayists, Walnice
Nogueira Galvo and Jos
Miguel Wisnik.
While some writers come to
Frankfurt looking for editors,
others come to create bonds
with readers. The twin brothers
Fbio Moon and Gabriel B
have built a career creating
comics and graphic novels, and
while 80% of their earnings
today come from the US, they
still live and work in Brazil. This
year they will be travelling
around Germany for the first
time, after having two titles

published there: Day Tripper,
which has sold 100,000 copies
in Brazil, France and the US, and
De:tales. The chance of being
face to face with the audience
makes all the difference. Its
when you do the magic and grab
the readers, says B.
Luiz Ruffato, a wellestablished novelist from the
state of Minas Gerais whose
titles are published in 10
countries, shares a similar
enthusiasm for contact with
readers and will be taking part in
more than 20 events in Germany,
Austria and Switzerland,
organised by his German
publisher Assoziation A. Despite
his efforts in promoting his
literary work, Ruffato defines
himself as realistic when it
comes to the short-term effects of
the Book Fair. I think the
foreign interest in our literature
depends, above all, on our
economic and political visibility.
So I dont think there will be a
complete turnaround in the way
Brazilian literature is published
in foreign countries after this
Fair, he says.
Brazilian literature is still marginal abroad, says Cristovo
Tezza, a 61-year-old writer from
the South of Brazil, who won
international recognition with
The Eternal Son, an autobiographical narrative about a young
man learning to be the father of
Felipe, a boy born with Down
syndrome. One reason for that,
according to Tezza, is that the
English-speaking publishing
market, the worlds largest, is
very closed to translations.
Another is the fact that Brazil
doesnt have a strong enough literary image or profile for it to
receive a lot of foreign attention.
On the other hand, Tezza
argues, a new generation of
authors is being published
abroad, grants have been created
to support translations and Brazil
is now much more integrated
with the rest of the world. It may
take years before the image of
Carnival gives room to a more
literary one, as he puts it, but it is
going to happen.
Roberta Campassi is a journalist and
editor, currently based in Germany,
who contributes to Brazilian media
with stories from Europe.
08/10/2013 14:06
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6-16 November 2013, Sharjah Expo Centre
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10 OCTOBER 2013
Why Consumer Insight is so important
veryone is talking
about data: big data,
social media data,
sales data, retailer
footfalls, web
trackers, search statistics
38567298356928136518035135
and much, much more, writes
Louisa Livingston.
Why? Whats going on? Why
is it important and how on earth
do we cut through the mountain
of it that is now available to us?
We are all using data to understand and to then predict the
habits of our customers. This is
fairly straightforward in some
industries, but when we start to
use data to explain whats going
on in creative industries, it gets
very tricky. Books, like music,
elicit huge amounts of passion
and anyone just looking at the
data can get mixed messages
and misunderstand what they
see. We need a guide with a clear
vision to cut through the wealth
Louisa Livingstone
of information that is streamingdaily, hourlyonto our

desktops and thats where Consumer Insight comes in. If you
dont have a guide, its easy to
get lost.
Publishing, like the music
business before it, is changing.
The music business successfully
navigated a very turbulent
period when people shifted from
buying the physical product on
the high street to downloading
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Louisa Livingstone - Consumer Insight.indd 2
and sharing for freethe digital

way. This resulted in some
robust new business models.
While I was at EMI, we developed a research process that
underpinned every element of
the artists launch from signature on contract through to
releasing the album and beyond.
Our research reflected the artists ambition for their work and
ensured that the record labels
constructed the very best, most
accurately targeted, bespoke
marketing campaigns and sales
strategies for their artists.
Embracing digital
The book industry has been able

to learn a lot from mistakes made
in the early years of the music
businesss transition to digital.
Initially the sheer scale of piracy
reduced revenues from digital
music; the first years post the
iPod were tough. But publishing
embraced digital and, post Kindle, publishers and authors (following the lead of the record
labels and artists in the music
business) are engaging with their
audiences, understanding what
they want and producing innovative formats, marketing campaigns and delivery channels to
suit different readers in different
places and at different times.
At Hachette, Consumer
Insight means understanding
exactly who our authors want to
connect with, and using appropriate channels and strategies
for them. It is never one-size-fitsall, but all about understanding
the readership of individual
authors, tailoring our marketing
campaigns to suit and ensuring
that every one of our authors is
reaching the maximum potential
audience for their books,
wherever and whoever they are,
and whether they are reading
digitally or physically or both.
We are developing a programme of Consumer Insight that
will help us to understand how
readers relate to authors via a lens
of their behaviour, preferences
and attitudes towards reading.
This will help inform our publishing at every stage and embed the
voice of the consumer into our
day-to-day business. The research
will cast a light on some long-held

opinions and sacred cows, and
perhaps shatter some received
wisdom that has gone unchallenged until now. It may even help
answer some thorny questions,
such as my favourite: Why dont
books with green covers or with
knives on their covers sell? On
reflection, perhaps well need
some subconscious neuroscience
for that one.
One of the most exciting elements of this is a concept-testing
tool that allows us to predict
which books will connect with
readers and at what depth. Its a
principle that worked brilliantly
in predicting hits and misses for
music and, at Hachette, we are
using a market-leading version
of this to do background
research into books before they
are published.
But before anyone makes the
mistake of thinking we are replacing editors with focus groups, let
me say loud and clear that concept testing is not about giving a
book a green or a red light. Its
about nurturing the development
of ideas and books so that we
trust as little as possible to chance
and give our hunches every
opportunity to succeed.
Consumer Insight will never
replace any of the creative processes that go into publishing a
bookon the authors side or on
the publishers side But good
consumer insight is all about
knowing your audiencegoing
way beyond just thinking about
Twitter folllowers or assuming
that an author just appeals to a
specific age range or gender and
only researching them. We know
that good books cross boundaries, often appealing against
type to readers of all ages and
backgrounds. Consumer Insight
finds those readers, listens to
them and markets directly to
them. It ensures that we can add
value to everything we do
because we can test our hunches,
in order to be the best publishers
we can possibly be. We owe that
to our authors, to our customers
and to our readers.
Louisa Livingston is Group Consumer Insight Director at Hachette.
05/10/2013 20:33
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Clare Swanson - Dundurn.indd 2
oronto-based
Dundurn has
become a major
player in Canadas
publishing scene at
a time when many independent
publishers are struggling to cope
with a changing publishing
landscape, writes Clare
Swanson. Founded in 1972 by
Kirk Howard, Dundurn (named
after Dundurn castle near where
Howard grew up in Hamilton,
Ontario) began its expansion in
the 1990s when the company
acquired Canadian imprints
Simon & Pierre, Hounslow
Press and Boardwalk Press.
I think [Kirk] saw early on,
similar to Random House and
Penguin on a little smaller scale,
you need the quantity to
survive, says Beth Bruder, V-p
at Dundurn. You have to have
a certain mass and a certain
ability to be in all markets.
The acquisitions continued
from there; more recently,
the company bought Napoleon
& Company
in 2011 and, in
August 2013,
announced the
acquisition of
Thomas Allen Publishing,
the publishing arm of Thomas
Allen & Son.
Its lists have been so
strengthened by expansion and
acquisitions that Dundurn is
sending Sales Manager
Margaret Bryant to the
Frankfurt Book Fair this year
along with Bruder, who in past
years has attended alone.
The two will be touting nearly
30 of the presss strongest
titles, including The Great
Escape by Ted Barris and
murder mystery A Siege of
Bitterns by Steve Burrows.
Bruder attributes the
companys steady growth in a
difficult market to its
diversification, nimbleness and
focus on innovation. You have
to be responsive to what is
happening, she says. This is
where some of the smaller
publishers have trouble, they
just liked the old publishing
model. You have to be able to
adapt and adapt quickly.
Dundurn was an early

adopter of ebooks, releasing its
first digital title in 2004. They
have now ingested their backlist
of 2,000 books, which Bruder
says was a big, expensive, but
entirely necessary task.
The publisher also began
bundling series ebooks into
digital box sets in 2012, and is
currently selling 19 bundles
across all e-retailers, with added
staff and resources devoted to
growing the initiative. Barbara
Fradkins Inspector Green
mystery series has proven
enormously popular for
Dundurn as a bundle. People
seem to love it. Were going
to do more and more of that,
says Bruder.
Dundurn has also harnessed
the rise of social media to fortify
its presence internationally,
by taking advantage of the
ability to connect with a broad
reach of readers and publishers
abroad instantaneously. Were
using social media to connect
with
our
customers, and
sending out
our advertising
and marketing
updates for international
customers, says Bruder.
All of the new social media
has allowed a company
like Dundurn to interact
in a very professional way
internationally.
The number of staff has
grown from five at Dundurns
inception to 26 today, and the
company continues to take on
employees to carry out its
various growth strategies which,
in addition to investment in
ebooks and digital marketing,
include signing more
commercial authors and
maximising the profitability of
content through rights sales.
[Kirk] recognised some
years ago the importance of
diversifying revenue streams in
a traditionally risky business
like publishing, Bruder
explains. Dundurn has added
staff as necessary to ensure all
these areas are serviced with the
goal of increasing and stabilising
our revenue.
07/10/2013 20:55
10 OCTOBER 2013
Where every picture really does tell a story

Liz Thomson tours theAladdins cave of treasure that is Getty Images
ts a phrase every journalist loathes: A picture is

worth a thousand words,
said as an editor strikes
out several paragraphs of
carefully wrought prose in order
to add a photo. The truth is
always painfuland never a truer
word was spoken.
The Getty Images building in
West London houses pictures in
formats from glass plate to jpeg.
For anyone with a curious mind
and an interest in our shared
past, its as irresistible as a sweetshop, for here, in this temperature and humidity-controlled
environment, several miles of
shelving house around 135m
images, every one of which tells a
story. Some are familiar indeed
Dr Martin Luther King waving
to the crowd at the great March
on Washington; three-year-old
John Kennedy saluting his

fathers coffintheir iconography
a shorthand, history compressed
into so many dots and megapixels. Others are all the more powerful for being so unfamiliar: the
limp bodies of starving kulaks in
Stalins Russia, the Womens
Death Battalion, which feature in
The Russian Century.
There are so many events that
are burned into peoples minds by
three or four images, which have
been used over and over, reflects
Jamie Giles. The other day I
found a long form photograph of
the gentleman who stood in front
of the tank in Tiananmen Square.
History for many people is dictated by just a few images, but
with the resources at our disposal
we can offer a different perspective, more context. History is a
very sanitised thing.
Liz - Getty.indd 2
Film producer Kevin McClory takes his wife Bobo Sigrist and their family for
a drive in an Amphicar across the harbour at Nassau (from Slim Aarons)
Giles is one of the small team

at Endeavour London, a privately owned company headed
by Charles Merullo, a wellknown figure in publishing who,
until some five years ago, worked
directly for Getty Images.
Endeavour operates from within
Getty Images, using its technology and its 1,800 worldwide
staff, helping to create books and
packages about such singular
institutions as the Vatican (featuring virtually every picture in
its Museum) and the Louvre
(ditto), and using Gettys images
at a preferential rate.
What we really arewhat we
really have to marketis our
unique access to probably the
most important collection of still
and moving images, explains
Merullo, his Boston vowels inevitably reminding you of JFK.
There are other collections
Time Life, the Library of Congressbut theyre not collections
of collections. Getty, on the
other hand, traces its origins
back to 1937 and Sir Edward
Hultons Picture Post which, like
Americas Life, commissioned
work from a stable of talented
photographers. Hulton himself
became increasingly interested in
the archive he was amassing and
began actively to acquire others,
many of them created (like publishing houses) by European
migrs. Sixty years later the
Hulton Collection was sold to
Getty Images, thus setting off a
chain of events that led to further
acquisition, digitisation, consolidation and development.
What we do, what makes

Endeavour interesting to other
publishers, is that we want to
partner with people who bring
something to us, Merullo continues. We have content, we
have editorial skills, we can plug
into a much bigger organisation,
Getty Images, in a number of
ways We have unparalleled
access. We get special ratesits a
symbiotic relationship.
By way of example, Merullo
turns to An American Journey:
The Photographs of William
England, whose pictures chronicle a trip to North America in
1859. Trained in daguerreotype,
he was despatched to photograph a country few had seen in
pictures, and he chronicled the
building of bridges and railways,
the refurbishment of George
Washingtons tomb and, fortuitously and most famously, the
original man on a wire (Blondin
crossing Niagara Falls). Gettys
archive includes not only the
glass negatives, but the photo
Endeavours team of four (l-r)

Jamie Giles, Jennifer Jeffrey, James
Gallo and Charles Merullo
08/10/2013 12:43
10 OCTOBER 2013
Gettys archive
covers every subject
imaginable and
includes the society
images of the late
Slim Aarons, who
made a career
photographing
attractive people
doing attractive
things in attractive
places. His most
iconic image,
A page from volumes created by wounded soldiers Kings of Hollyand given to their nurse, Nurse Sharpe
wood (Clark
albums England created from
Gable, Van Heflin, Gary Cooper
them. Merullo and his coland James Stewart, formally
leagues packaged an elegant
attired at a bar on New Years
book for Prestel and, as the phoEve 1957), now sells as a signed
tos began to be seen, so they
print for well over 10,000, and
began to be used. The same haphis work has been published
pened with Building New York,
successfully by Abrams.
which carried the Endeavour
In an era of increasingly
colophon, and a Beatles book on
homogenous me-too publishing,
their last world tour with famed
Endeavour dares to be different.
photographer Robert Whitaker,
As mainstream houses, that
which helped make it possible
dont yet have a Great War book
for Getty Images to make availon their schedules, scramble to
able the vast store of Beatles
wrap a television historians text
photography in its collections.
around a collection of oh-soThat ones gone in every possifamiliar images, Merullo is
ble direction.
working with a unique collecOn one level then, Endeavour
tion of highly personal material
is a very elegantly dressed shop
brought to Getty Images only
window for Getty Images, the
recently. Merullo reverently
books a calling carda catalogue
opens a cloth bag and removes
evenfor potential users, not the
one of several perfectly preleast of whom are international
served albums that are almost a
publishers. The ideal is to work
century old. These suddenly
with publishers using the cocame our way and they are
edition model, with museums
unpublished, unseen, unknown
and, increasingly, with commervolumes created by wounded
cial partners such as Sky, with
soldiers and given to their nurse.
which Endeavour worked for
First shes at the London GenBritains Most Famous Sporting
eral Hospital and then she goes
Photographs, a project based on a
to Malta. Every one of them is
South African model with Supersfor Nurse Sharpe, but theyre by
port, which guaranteed $50,000different soldiers, all signed, so
worth of advertising as it used the
now were trying to track down
book to sell cable subscriptions.
the family of Private Higson of
the 3rd Gloucestershire Regiment There will be big books,
but nothing touching in this
way, a 20-year-old soldier in
hospital doing these extraordinary drawingsand theyre
lovely, completely personal and
very contemporary.
Theres also a whole stack of
unpublished and very personal
letters from an RAF aviator in
1914-15. He writes to his mother
and says how great it is to be in
Liz - Getty.indd 3
France, and to his father saying,

basically, goodbye, how its
going to be a tough one tomorrow. Its day by dayand then
suddenly he has responsibility for
other young aviators, 17-yearold kids, and he has to wash them
and help them to bed. Its very
real, you know! Merullo is also
looking at diaries kept by a seaplane pilot, a real rarity, and a
collection of photos from the
French side. He and his colleagues are talking to potential
partners. A possibility is to
mount an exhibition and produce a bespoke catalogue, still
another is a facsimile using the
Country Diary model, make it
absolutely human and touching,
very light. Endeavour and
Getty Images Gallery work very
closely together, often producing
exhibitions coupled with books
and serialisations.
Endeavours team of four
must have great fun dreaming
Alim Khan (1880-1944), Emir of

Bukara, Uzbekistan (from Style
Book: Pattern and Print)
up ideas and ways to bring

them to market, which is what
theyre doing at Frankfurt.
Were small, were nimble,
we dont work in siloswe
work collaboratively in an
environment which allows us to
exchange ideas and turn ideas
around PDQ.
Getty Images is in Hall 8 at L10.
/dundurnpress | @dundurnpress | dundurn.com
08/10/2013 12:42
10 OCTOBER 2013
No such thing as a textbook case

Paul Riley looks at the difficult choices , and myriad opportunities, facing textbook
publishers in a digital world
t a recent international
conference I was part of a
colloquium considering the
implications of technology
on language learning. At one
point I was asked by an educator in the
audience: Is the textbook dead? For many
educational publishers at Frankfurt, this is a
question which will be on their minds.
While we are all optimistic about
opportunities that new technologies
provide, we are still unsure about the
direction textbooks, and learning more
generally, may take. This makes weighing
up the different options for innovation,
which will be on the table at the Fair, a
proverbial minefield.
One of the biggest challenges facing
publishers right now is determining
the formats in which to publish and
by association the platforms on which
to deliver. Options include PDF-based
formats, ePub, HTML5, applications for
iOS and Android, or proprietary formats
such as Kno and Inkling or Apples
multi-touch iBooks and Samsung Learning
books. Each of these formats comes
with a developmental and/or quality
assurance cost attached and the format
largely determines the platform and
channel to market.
Considering a digital format
Paul Riley - OUP.indd 2
What are the market channels and does

the distribution model work? This is a key
consideration, especially in education,
where large school adoptions require
flexible purchase and delivery options.
Online lessons
Questions to ask when considering a

digital format include the following:
Does the format fit the content? For
example, language-learning texts
feature a large number of photos and
illustrations, and have a magazine-type
layout that often employs a two-page
spread. This interferes with reflowable
text (ePub) and requires redesign of the
materials or the use of a fixed format.
Does the format (and by extension
the platform) work for the target
audience? For example we publish widely
for young learners who may require a
simplified interface or age-appropriate
access and support. Our materials also
integrate various rich media (audio and
video) and some platforms do not support
certain media types or require a high-speed
internet connection.
How flexible is the format and is it
reusable? Standard formats such as ePub or
HTML5 can be distributed and consumed
on a wide range of devices, while most
proprietary formats cannot be reused or
distributed on other platforms.
Paul Riley
Moving beyond the textbook, advances

in technology and increased internet speeds
now allow educational lessons to be
delivered either partially or fully online via
platforms that serve up a-synchronous
(pre-recorded) or synchronous (live) lessons.
This has spawned instructional innovations
Teachers still need quality,

well-structured content to
engage students and maximise
meaningful contact hours
with the subject matter.
Digital editions already help
by incorporating diversified
media and useful study
tools for learners.
such as the flipped classroom in which students learn new content by watching video
lectures online, usually at home, and do what
used to be homework (assigned problems) in
class with the teacher; and MOOCs (Massive
Open Online Courses), which are fully online
courses featuring interactive user forums that
help build a community for the students and
instructors. These innovations are great for
certain subjects and especially for motivated
students who are eager to learn, but for
many students and most language learners
the reality is that live lessons with trained
teachers are more effective than videos.
At OUP we have been experimenting with

formats and technologies. For example,
to improve the accessibility and utility of
our digital textbooks, we have recently
launched our own branded e-reader client,
the Oxford Learners Bookshelf (OLB),
which can play books in a proprietary
format that is highly suited to our
customers needs. We have also built in an
ePub3 reader to ensure that the product has
a long evolutionary life and is able to handle
digital-first publishing.
Another solution has been to partner
with Eleutian Technologies, a Wyoming,
USA-based company with a pool of
US-certified teachers who are given special
training in teaching English to secondlanguage learners. The service, TeachCast
with Oxford, combines Eleutians marketleading curriculum delivery system with
Oxfords proven learning content to deliver
live daily English-language lessons via
video-conference to students around
the world. These provide real examples
of how we have been able to combine
our pedagogical expertise with new
technologies in order to reach audiences in
new ways.
New technologies
So is the textbook dead? Far from it!

Teachers still need quality, wellstructured content to engage students
and maximise meaningful contact
hours with the subject matter. Digital
editions already help by incorporating
diversified media and useful study
tools for learners. And the textbook
of the future will likely take advantage
of emerging technologies such as
learner analytics and game mechanics
to create individualised learning
experiences for each student.
Successful publishers will likely
employ a blended approach and will
need well-thought out pedagogies and
solutions that work for teachers and
parents, as well as students. Provided that
they address the practical realities of the
educational market, it is clear that a quality
educational programme is enhanced by
technology that increases student
engagement with the subject matter.
Paul Riley leads initiatives in emerging areas of
educational technology as the Director of
Channels and Partnerships for the English
Language Teaching Division of Oxford
University Press.
07/10/2013 20:46
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10 OCTOBER 2013
Putting women centre stage

Lennie Goodings reflects on Viragos success over its first 40 years
orty years ago the idea of a feminist

publishing house was a gleam in
the eye of Carmen Callil. With her
(now legendary) Australian energy
and vision she gathered together
people, capital, loans and, with funding
from her own publicity company, she
launched Virago. By the time I arrived, a
fresh young assistant (also from the
colonies, but in my case Canada), Virago was
a going concern and a
force to be recognised
an astonishing achievement, a mere six years
after founding.
Virago rode the wave
of the womens
liberation movement,
showing the established
houses that there was
a new and hungry
audience for womens voices, for books
about womens lives, for an imprint
that defined itself by championing
womens talent. There were plenty of
women in publishing, as there are today,
but few of them had the power to decide
what to publish.
Publishing houses looked at us with real
interest, but there were many people who
didnt see the point, or who thought Virago
was just a weird, niche publisher. There
are no feminists in this town, no one who
reads books like that, an Irish
bookseller told me. A broadsheet gossip
columnist mocked us patronisingly as
Paper Tigressesa clipping I remember
filing. A respected broadsheet literary
editor implied it was a bit risqu to lunch
with a Virago.
But readers, reviewers, librarians and
booksellers wrote to us in their droves; they
thrilled to the Virago green spines, which
became a signal, a confirmation that talent
and interest lay within. Our readersand our
authorsbrought us
ideas, suggestions, praise
(and complaints too).
Some told us that our
booksespecially the
Virago Modern Classics
were a lifeline. We know
that books reach out and
touch peoples lives. We
saw it happen.
The success and
longevity of Virago is down to those readers
and to extraordinary authors, and to loyal
and supportive owners. We have had seven
different incarnations, from independence
Lennie Goodings - Virago 2
Lennie Goodings
to our current place as an imprint of Little,

Brown, where we happily landed in
1995 thanks to Philippa
Harrison, then CEO and
Publisher of Little,
Brown UK.
But its also down to
attitude. We have never
seen ourselves as niche or
marginal. We may at
times publish voices from
the margins, but we
represent more than 50
per cent of the population and we have
always believed that books by women are of
interest to everyone. And our readers are as
varied as our authors.
Virago showed the big

houses that there was a new
and hungry audience for
womens voices.
Forty years after Virago began, feminism
is firmly back at the heart of the agenda.
From Lucy-Anne Holmess campaign
against the Suns page 3 to Caitlin Morans
memoir-manifesto that reached hundreds
of thousands of readers; and from Caroline
Criado-Perezs refusal to be silenced in the
face of criminal harassment on Twitter
to Sheryl Sandbergs exhortation to women
in business to make their voices heard,
feminist ideas are everywhere you turn. So it
is an inspiring time to be
championing womens
writing. Polemic is back
and weve seen a huge
and favourable reaction
to books such as Natasha
Walters Living Dolls;
Half the Sky: How
to Change the World
by Nicholas Kristoff
and Sheryl WuDunn;

and Fifty Shades of
Feminism edited by
Lisa Appignanesi,
Rachel Holmes and
Susie Orbach.
Continuing to put
women centre stage, we
publish memoirs
(TraceyThorns Bedsit
Disco Queen has been a runaway success),
biographies and history, which look at
womens lives; our Virago Modern
Classics flourish, still finding long-lost
treasures, such as Mary Renaults
extraordinary and groundbreaking
novel, The Charioteer,
which has been out of
print in the UK for 30
years. The agenda for
Virago frontlist fiction
has only ever been that
we seek quality and
talent, and we have now
a wonderful stable
of some of the most
breathtaking writers
writing in the English language including
Margaret Atwood, Sarah Dunant, Linda
Grant, Paula McClain, Claire Messud,
Marilynne Robinson, Rachel Seiffert and
Sarah Waters. And weve launched
some wonderful new voices with
Charlotte Rogans The Lifeboat and
Rebecca Harringtons Penelope.
The ebook revolution has been a
great boon to us: our backlist,
particularly the Virago Modern
Classics novels, has seen a surge in
sales. And thanks to social media, Virago
authors and readers have a lively and vital
link, keeping the spirit of the imprint alive
for the 21st century.
No one now would think of us as weird,
or would challenge our
very existence, but I am
proud to know that we
remain a force and an
inspiration, and that
readers can trust us still.
Books can save lives,
I believe that. And
they can even change
the world.
Lennie Goodings is publisher at Virago.

To celebrate 40 years of Virago, 40 of its authors
have written original pieces inspired by the
number 40; Virago is 40: A Celebration is
available as a free ebook.
07/10/2013 00:29
10 OCTOBER 2013
Step inside a story with Barefoot
arefoot books
recently attracted
attention for its decision to cease direct
supply to Amazon in
favour of a grass-roots strategy,
the Barefoot Books Ambassador
Programme, which enables anyone who wants to sell Barefoot
Books locally with minimum
financial outlay, writes Tessa
Strickland. The company has
won many awards for its work
and now straddles the Atlantic.
So, what of our journey here?
The inspiration behind

Barefoot Books
I started my publishing career at

Penguin Books, moving from
there to Random House. After
the birth of my third child, I was
ready for a change from my
hand-the-children-to-thenanny London lifestyle. I had
grown up in the country, and I
wanted this experience for my
as a springboard for conversation; and as a way of building

relationships. I was lucky enough
to meet my business partner,
Nancy Traversy, through one of
my brothers. Nancy had a background in business and design.
We clicked when we met and
everything flowed from there.
Barefoot Books'
philosophy
Tessa Strickland
young family. I had also started

to become aware of the power of
narrative as way of communicating values. This, combined with
an interest in the way that so
many cultures and faiths share
the same core values, yet see
them lost in translation. So I felt
there must be a way to use storytelling, both verbally and visually, as a gatewayas a window
for children and their elders into
different cultures and traditions;
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Small is beautiful is my mantra. For our society to be sustainable, it needs to be diverse: economically diverse and culturally
diverse. I think this can only happen if individuals are prepared
to work together in a way which
supports local enterprise.
Biggest challenges
There have been many! In the

nineties, it was very difficult for
a business as niche as Barefoot
Books to gain recognition in the
book trade and to compete
against the big multinationals in
the bargain basement
approach to bookselling, which
the chains were embracing. This
model did not feel sustainable
and there was no accountability
on the part of the retailers; in the
US in particular, it became
pointless to supply Borders with
thousands of books that were
often not unpacked at the stores
to which they were delivered and
were returned several months
later. We had to find a better
way of doing business. I was
convinced from the start that
there must be parents and educators like us out there.
A low point personally was
hearing from our sales representative for Cambridge, UK that
the childrens buyer at Heffers
wanted more Barbie than Barefoot. Another was the bankruptcy of our UK distributor;
another was opening our US
office in Cambridge, Massachusetts just six weeks before 9/11
and seeing the US market that
season evaporate before our
eyes. Still, we kept on getting fantastic feedback from individuals
at the most unexpected moments
and we were convinced that if we
could find enough of them, we
could keep going.
Publishing highlights
Some books have far easier journeys into print than others. An
early highlight was working on
The Gigantic Turnip with Niamh
Sharkey in 1998, and seeing it win
the Books for Children Mother
Goose Award. It has since gone
on to be published in 23 languages. More recently, it was
exciting to work on The Barefoot
Books World Atlas, both as a
book and later as an app with
Touch Press. And after many
years of searching for the right
author, Im thrilled to see The
Barefoot Book of Jewish Tales,
by Shoshana Boyd Gelfand, new
on the programme this season.
And for the consistently remarkable power of their storytelling,
all of the work we have done with
Hugh Lupton and Daniel Morden has been, and continues to be,
an absolute pleasure.
Not selling through

Amazon
So, what do this and other

changes mean for our future at
Barefoot? I dont know! The
internet has changed and continues to change publishing in the
most profound and unpredictable ways. In this climate, it
seems important to hang on to
our core values, to go on getting
stories out into the world as best
we can, and to do so in a way
which is respectful of the work
that goes into creating the content and is fair to all parties.
In a recent interview about
our departure from Amazon, I
was asked how I felt about customers not being able to get
cheap copies of our books.
Cheap is not sustainable for
authors, artists or publishers,
which means that in the longer
term the customer loses out
because fewer businesses can
create the stories they seek. And
would it be outrageous to suggest that if the price is too high,
the book buyer go instead to a
local library?
Tessa Strickland is co-founder and
Editor-in-Chief of Barefoot Books.
Its UK office is in Oxford, where a
studio and caf complement its publishing activities.
08/10/2013 14:08
10 OCTOBER 2013
After Apple: will the agency model endure?
pples ebook pricefixing trial may be

over, but the fallout is just beginning. And the biggest question cuts to the very
heart of the matter, writes
Andrew Albanese: Will the
publishers hang on to the agency
model for ebooks?
It was of course the publishers simultaneous switch to the
agency model in 2010 that first
drew the scrutiny of state and
federal regulators. Negotiated as
a condition of Apples entry into
the ebook business, the agency
switch enabled the tech giant to
enter the ebook market without
having to compete on price with
Amazon, while giving the publishers a measure of consumer
price control to combat Amazons $9.99 pricing. But we all
know how things turned out.
Apples June 2013 trial
offered a captivating, behind-
the-scenes look at how and

why the ebook business
changed virtually overnight in
early 2010. But perhaps the
most interesting chapter in the
saga has yet to be written.
Twist in the tale
Thats because the final

injunction issued against
Apple last month contains an
interesting twist: it requires
Apple to retain the right to
discount ebooks beyond the two
year terms laid out in the
publishers settlements, essentially precluding Apple from
signing straight agency deals
with the settling publishers for
an extended period.
Further, it requires the settling
publishers to renegotiate with
Apple in staggered, six-month
windows to avoid any whiff of
collective action: Hachette will
be the first to be free to negotiate
a straight agency deal with Apple
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Andrew - After Apple.indd 2
in two years, followed by HarperCollins at 30 months; Simon &

Schuster at 36; Penguin at 42;
and Macmillan at 48 months.
The publishers have cried
foul. They argue that the courts
order unfairly punishes them by
modifying their existing settlements. Last week they went so
far as to appeal Apples injunction. Legal observers question
whether the publishers have
proper standing to appeal
Apples injunction, but regardless, their appeal is weak: despite
admitting no wrong-doing in
their settlements, the publishers
were adjudicated co-conspirators in Apples trial.
But extending Apples discounting rights with the settling
publishers is hardly extra punishment for the publishers. Neither
is the court seeking to spike the
agency model, as some have complained. Rather, it is the Courts
attempt to spark meaningful,
competitive negotiations in the
ebook market. And, as with
seemingly everything in the case,
it all comes down to Amazon.
Specifically, the court is betting that extending Apples right
to discount ebooks will at least
reset the bar for the publishers
first post-settlement negotiations
with Amazon. After all, Amazon
will surely negotiate for the same
right to discount as their closest
competitor, wont they?
If the publishers truly believe
in the agency model, however,
they can keep it. And theyll have
some leverage to do so. After all,
while Apple must retain the contractual right to discount
ebooks, it is highly unlikely the
company will ever exercise that
right. Apple executives have said
as much, repeatedly, and under
oathApple is not a low-cost
competitor, period.
Further, Apples phantom discounting power is not likely to
affect future agency deals with
any other retailers. Certainly
Barnes & Noble is in no rush to
return to a permanent ebook
price war with Amazon.
BluntingAmazon
Then, there is Amazon. But at

this point, it is highly unlikely
that Amazon would have the

leverage to force publishers off
the agency model through
negative actions. Remember,
the whole point of the agency
switch was to bring in Apple
while using Apples entry to
present a united front to Amazon, thus blunting Amazons
ability to retaliate. On that
score, the plan worked: Apple is
in, Amazons market share has
dipped, and dumping publishers
now would only strengthen
Amazons competitors.
But while Amazons ability to
retaliate against publishers has
diminished, its ability to reward
publishers remains strong. And
when the first post-settlement
negotiations begin, will Amazon
make a bid, to dump or modify
agency terms, thats too good to
pass up? With new competitors
in the game, and with ebook
growth levelling off, will the
agency model publishers
thought necessary in 2010 still
make economic sense in 2014
and beyond?
Much has changed
Certainly, much has changed

since those frantic few weeks in
January 2010, when the
publishers signed deals with
Apple without ever having
seen an iPad, or iBookstore
app. Forced to negotiate their
next contracts without the
benefit of collective action, and
without the spectre of Apple
abandoning the idea of opening
a competing e-bookstore, will
each publisher stick to its 2010
agency model guns, confident
that its competitors will do
the same when their turns to
renegotiate come?
Make no mistake, whether
Apple has discounting power it
will never use hardly matters. If
the publishers still believe
agency is best, all they need to do
is hold the line in their individual
negotiations. The question is,
will they?
Thats the question Judge
Denise Cote wants to see
answered. At the very least, the
order makes the next round of
Amazon ebook negotiations
worth watching.
08/10/2013 14:08
DLY_WKLY_MTHLY_Layout 1 10/1/13 1:04 PM Page 1
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10 OCTOBER 2013
Only the best books available
Cattons The Luminaries);

the International Man
Booker (Peter Stamm); and
the Man Asian Prize (The
Briefcase, which we published
as Strange Weather in Tokyo,
by Hiromi Kawakami). We
have had nominations for
awards for best book design,
for the RSL Ondaatje Prize,
the IMPAC, the OxfordWeidenfeld Prize and the
James Tait Black. Ian Cobain
(Cruel Britannia: A Secret
Sigrid Rausing
History of Torture) won the
Total Politics Prize, and Hattie Ellis (What to
Eat) won the Guild of Food Writers Award.
AM Homes won the Womens Prize for
Fiction, for her exceptional novel May We
Be Forgiven. At the time of writing I dont
know whether Eleanor Catton will win the
Booker, but I do know that its a remarkable
and groundbreaking book.
our years ago I wrote a piece for

the Frankfurt edition of
BookBrunch, writes Sigrid
Rausing. I wrote about our
acquisitions policy of trying to
find, and publish, only the best books
available. I had been accused in the press of
being a romantic dilettante for some time,
but my point was that focusing on quality is
not philanthropic (and the non-profit sector
of course has its own disciplines). I believed
then, and I still believe now, that excessive
commerciality can potentially undermine
independent publishing. Where are we now,
four years on, and eight years after we
founded Portobello Books, and acquired
Granta? How does 2013 compare to 2005?
We have a new sales relationship with
Faber, which is now in charge of our global
sales. We are a smaller company in terms of
staffing numbers than we were earlier in the
year. Philip Gwyn-Jones, our former
Executive Publisher, has left, as have John
Freeman, former Editor of Granta, Ellah
Allfrey, Deputy Editor, and some others. I
have taken on the responsibility of Acting
Editor, and I am continuing as Publisher for
books and magazine.
Strong list
Smaller size
We are back to a smaller size, though not as

small as we were in 2005. We have a firmer
sense, I believe, of our own identity. Granta will
continue to publish in the same genresfiction,
with a particular interest in American fiction
(Ben Lerner, Denis Johnson, Ben Marcus), and
non-fiction, particularly memoir and nature
writing. At Portobello well continue our
programme of fiction in translation, and social
commentary non-fiction.
Perhaps because I was born into a
culture of translations, I have always seen
works in translation as an integral part of
what we do. This summer we analysed
how our translations have done,
commercially. The answer is that they
have, on the whole, done quite well, led by
the great Hans Magnus Enzenbergers
book for children, The Number Devil,
followed by Herta Muller, Ryszard
Kapuccinski and Joseph Roth. We are now
publishing some of the most interesting
emerging international authors in the world,
including Peter Stamm, Jenny Erpenbeck,
Hiromi Kawakami and Alejandro Zambra.
This September we sponsored a discussion on
translation at the Royal Society of Literature
(RSL) with Adam Thirlwell, Julian Barnes, Ali
Smith and Sandra Smith, to celebrate our
commitment to the form.
Has our philosophy worked? Well,
yes. This year we have had titles on all three
Man lists: the Man Booker (Eleanor
Sigrid Rausing - Granta.indd 2
Weve got new works by Patrick Barkham,

Norman Rush, Rose George and Ed Hollis,
and a strong list for spring 2014, with novels
from young writers such as Cynan Jones and
Robert Allison, and powerful new non-fiction
from Andrew Hussey and Barbara Demick.
One of our most interesting titles this autumn
is The Private Life, an examination of notions
of privacy in our celebrity culture of instant
communication, by psychoanalyst and
cultural theorist Josh Cohen.
We are, still, truly independent, and able to
follow our instincts. Our cutting-edge literary
fiction combined with innovative non-fiction
Perhaps because I was born

into a culture of translations, I
have always seen works in
translation as an integral part
of what we do.
and works in translation make us unique,
both in terms of the magazine and of books.
We take risks with extraordinary works,
like The Age of Wire and String by Ben
Marcus. I think we have an outstandingly
good communal spirit, one of our editors
told me recently, and a rigorous and nuanced
editorial process.
Is there such a thing as a Granta Book?
We think there is. And we dont just choose
our authors: we help them to realise their
vision, editorially and aesthetically. We
believe in getting our authors involved; its a
true partnership.
The magazine
The magazine, too, is in an interesting

phase. After the War will be launched in
mid-October with events at the Frontline
Club, PEN UK and the McNally Jackson
bookshop in New York. The next issue,
the winter issue of 2014, is entitled Do
You Remember. It features a short story
by Lorrie Moore, from her new collection
Bark, entitled Thank You For Having
Me. We also have stories by Ann Beattie,
memoir pieces by Edmund White and
Bernard Cooper, and a fascinating
reportage piece about spies in Gaza by
young journalist Abeer Ayyoub. We
have reportage by Jonny Steinberg,
following up the story of a farm murder
in KwaZulu Natal, the subject of his
book Midlands (2002), and essays and
memoir by Olivia Laing, Colin McAdam
and Norman Rush. There is new fiction
by Joy Williams, Lydia Davis, David
Gates, Katherine Faw Morris and Melinda
Moustakis, poetry by Laura Kasischke and
Aracelis Girmay, and a series of collages
by the extraordinary essayist and artist
Janet Malcolm.
Our spring issue is Japan. Yuka
Igarashi, our Managing Editor, is the lead
editor of this, and it is the first-ever issue
that will be published simultaneously
with a foreign-language edition. It will be
launched at the Tokyo International
Literary Festival in March 2014. We have
issues planned for a year ahead, until winter
2015 (New Indian Writing, to be launched at
the Jaipur Literary Festival).
I will remain Acting Editor until then.
Well probably make mistakes. Well
certainly be criticised along the way,
but well still take risks, and trust
our judgement. The whole point of
independence is that you can. Bob Silvers at
the New York Review of Books gave me
some good advice this autumn: If
somebody tells you it cant be done, or, we
have never done it before, then do it! Always
do the unexpected
07/10/2013 00:22
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
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and throughout the world. 2013 marked the opening of our
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n a conversation with editors from five major trade

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books accounted for 89% of

he first day of the

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for years, Friedman said,

o Exit Press has copies to give away on its

devices. This, Redmayne

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Hachette entertains on Frankfurt eve

Judith Curr (S&S), Lisa Highton (Two Roads)

Kit van Tulleken, Nick Perren (Maia)

Barbara Marcus (Random House), Sophie Hicks (Ed Victor)

Agents Joseph Lee and Barbara Zitwer

Arnaud Nourry (Hachette), Amanda Ridout (Head of Zeus)

WHILE OUR AUTOMATED PROCESSES AND

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Licences for Europe

or many in the British publishing

This process has been hampered by the fact

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Similarly, progress in the user-generated

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At the end of the day

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10 FRANKFURT SHOW DAILY

Fun, friendship, and some shouting

n July 1963, I left school, thinking that

I met some extraordinary people. George

Carole Blake - Agent.indd 2

Cross-referencing one with the other, I

Carole Blake; Photo by Jack Landenburg

Young. A decade later I discovered his

My first sale was to Patrick Janson-Smith

12 FRANKFURT SHOW DAILY

Continued from page 10

Frankfurt for the first time in 1970 got me

I left MJ after four happy years and should

Carole Blake - Agent.indd 4

much money I could make. I called Michael

I resigned from Allens to join Sphere in