Frankfurt Show Daily 10/19

Frankfurt
Wednesday 19 OctOber 2016
visit pW and BookBrunch at HALL 6.0, StAnd d42
RichDad.com
Frankfurt Book Fair 2016: Changeand

politicsloom large
Exactly what is going on
with the book business? A
week after a folk singer was
awarded the Nobel Prize for
literature, a painter gave the
opening keynote at the
Frankfurt Book Fair, writes
Andrew Albanese.
In a charming (although
quiet) opening keynote,
legendary British artist
David Hockney let his iPad
do most of the talkingthe
79-year-old painter narrated
as his device played back his
drawings, allowing him to
show and tell reporters how
the iPad rekindled his love
of the form.
The marvellous thing
about it, I could wake up in
the morning and straight
away start drawing,
Hockney noted. Everything
is there at my fingertips,
including the colours.
While he noted some
disadvantages to digital
drawing, such as the lack of
resistance from the glass
surface, he praised the
device for its ease of use.
Ive always liked to draw,
he said. Who would have
thought the telephone
would bring back drawing?
Well, it did.
Hockney is on hand as
part of the Frankfurt Book
Fairs THE ARTS+
conference, a programme
dedicated to the future of
art and other creative
content as digital continues
to change the media
landscape. It is the latest
addition in Frankfurts
quest to converge all media
within the Fair.
More intensively than
ever before, well be
addressing the question of
how creative people, the
originators of intellectual
property, can live from
their work, Frankfurt
Director Juergen Boos
explained. What business
models are needed, what
regulations and laws? And
what networks exist to
facilitate exchanges
internationally?
But as the 2016 Book
Fair opened, it was also
clear that bigger challenges
were on the minds of the
organisers. In his talk, Boos
spoke of the urgent
political and social
questions of today,
including the humanitarian
disaster in Syria, migration
and integration challenges
facing Western
Europe, and threats
to freedoms of
speech and opinion
in many countries,
including Turkey,
where a crackdown
has seen upwards of
30 publishers shut
down following an
abortive coup
attempt. Boos said
that handling
todays global
political challenges
required a culture
of open discussion,
and of robust
civility, and
stressed that literature
could help.
Heinrich Riethmller,
President of the German
Publishers & Booksellers
Association, agreed. In
our times of division,
dissent and confrontation,
it is important for the book
and media industry to
perform its role, he said.
Books underpin the
spread of knowledge,
stories and experiences.
Never have book people
and cultural professionals
been more important than
they are today.
inSide:
Buzz BookS
us pre-Fair
deals
Buzz BookS
uk pre-Fair
deals
BriefcASe
agents hot
titles
FrankFurt shOW daily
Buzz books at the FairMallory, Phillips, Tudor

A number of books began
gaining buzz in the weeks
before Frankfurt this year, with
one, a Girl on the Train-esque
psychological thriller that sold
for a rumoured seven figures
in the US, getting particular
attention, writes Rachel Deahl.
The book, The Woman
in the Window, is written
by William Morrow
AJ Finn
(HarperCollins) V-P and
Executive Editor Dan Mallory
under the pseudonym AJ Finn. It was acquired by Mallorys
own imprintJennifer Brehl won North American rights
after an eight-house auctionand film rights have sold to
Fox 2000. HarperCollins also signed the novel in the UK.
Jennifer Joel at ICM Partners, who sold the book, called
it a taut and twisty Hitchcockian thriller. Woman in the
Windows heroine, like the laid-up former detective Jimmy
Stewart plays in Hitchcocks film, has become something of
a voyeur. A divorcee and agoraphobic shut-in, she spends
her days watching old movies, drinking too much, and
occasionally spying on her neighbours. When she starts
spying on the new family that moves in next door, and
witnesses a crime, questions surface.
Two other books hyped in the pre-fair period are Gin
Phillips Fierce Kingdom (initially called Beautiful Things)
and Caz Tudors The Chalk Man. Fierce Kingdom was sold
for a sum rumoured to be upwards of $850,000 to Laura
Tisdel at Viking (Transworld bought in the UK), while The
Chalk Man went to Crown for what we hear is a high six
figures (Michael Joseph UK). Phillips is a former B&N
Discover winner (in 2008), and her novel is set over the
course of three hours as a mother finds herself trapped in a
zoo with her young son and an on-the-loose gunman.
To contact Frankfurt show daily at the

Fair, please visit us at the Publishers
Weekly stand in Hall 6.0, D42
Publisher: Joseph Murray
BookBrunch Publisher: Tobias Steed
Editors: Andrew Albanese, Nicholas Clee, Neill Denny
Reporters: Jasmin Kirkbride, Ed Nawotka
Project Coordinator: Bryan Kinney
Layout and Production: Heather McIntyre
Editorial Coordinator (UK): Marian Sheil Tankard
For a Free digital trial to Publishers Weekly go to

publishersweekly.com/freetrial
subscribe to bookbrunch via www.bookbrunch.co.uk
or email editor@bookbrunch.co.uk
The Chalk Man follows a young boy named Eddie who

begins drawing chalk figures as a way to communicate with
his friends. The drawings lead to a grim discovery when the
group of friends stumble on a dead body. The book alternates
between 1986 and the present day, when an adult Eddie is
unnerved by the arrival of an ominous package containing a
piece of chalk and a drawing of a stick figure.
Tudor is a freelance copywriter based in Nottingham, and
was one of the winners of a Bonnier-sponsored contest that
offers professional feedback to writers who submit unpublished
manuscripts. Sold by British agent Madeleine Millburn, The Chalk
Man has been acquired in over 25 territories, mostly in pre-empts.
The big UK dealspage 4
Dystel & Goderich new partner
Dystel & Goderich Literary Management has added a new

partner to the firm.With the promotion of Michael Bourret,
who has been with the agency since 2000, the firm has
changed its name to Dystel, Goderich & Bourret.
Bourret first joined Dystel & Goderich as an intern. In
2009, he opened the agencysWest Coast office in Los
Angeles, where he strengthened D&Gs ties to the film
business while developing his own list of authors.
Its been my pleasure to watch Michael become the savvy,
dedicated agent he is and I am proud to announce him as a
new partner in our thriving agency, Jane Dystel said.
Sourcebooks distribution
In an effort to increase its international sales, Sourcebooks
has signed agreements with four distribution partners.
The independent publisher is one of four houses to sign
on with Baker & Taylors new Global Publishers Services.
GPS will be representing Sourcebooks in all territories
outside North America and the UK. Commenting on the
deal, Chris Bauerle, Sourcebooks Director of Sales and
Marketing, said: The programme will deliver our books to
customers anywhere in the world within just a few days,
allow for simultaneous pub dates in international markets,
and bring a highly experienced sales force that will
represent our books in all major markets.
Taking over Sourcebooks distribution in the UK from
December is Melia Publishing Services. Melia provides
specialist distribution through Grantham Book Services.
Sourcebooks has signed deals with Copia to distribute its
ebooks in Australia and with Vearsa to provide its titles to
e-tailers in South Africa (Snapplify), Germany (Libri), and
Poland (Legimi).
Commenting on the new agreements, Sourcebooks CEO
Dominique Raccah said: What I find incredibly exciting is
that we are only at the beginning of this expansion. These new
relationships will open up a world of opportunity around the
globe to better serve our authors and their readers.
Buzz books at the Fairthe UK deals

The AJ Finn (Dan Mallory), Gin
Phillips, and Caz Tudor novels
that have energised US and
international publishers in the
run-up to the Fair (see page 3)
have been big news in the UK as
well, writes Nicholas Clee. But
there is no reported UK deal as
yet for another book that has
created headlines on this side
of the Atlantic: the memoirs of
Luke Allnutt
David Cameron. The former
Prime Minister is being
represented by Ed Victor, aiming, according to reports that are not
guaranteed to be reliable, to top the 4.6m advance that fellow
former PM Tony Blair secured. We shall hear about Camerons
deal, if not about his advance, soon, the Show Daily hears.
Transworld, which signed the Gin Phillips novel, has been
particularly busy in the rights market, perhaps reinvesting some
of its vast proceeds from The Girl on the Train. James Bucklers
Last Stop Tokyo (signed at auction by Frankie Gray, who also
bought Phillips Fierce Kingdom, and agented by Jane Finigan
at Lutyens & Rubinstein) is the story of a man fleeing the
shame and hurt of his past in London, only to find himself
embroiled in something much worse when a meeting with an
enigmatic woman catapults him into Tokyos underworld.
Transworld has also paid six figures for two books by media
mathematician Dr Hannah Fry (agent Claire Paterson Conrad
at Janklow & Nesbit); and has bought journalist Sophy
Roberts story of her search for pianos imported to Siberia
(agent Sophie Lambert at Conville & Walsh; NA rights with
Morgan Entrekin at Grove Atlantic).
Another publisher with bestseller cash to spend is Pan
Macmillan, which with sister US company Henry Holt
has paid a reported up to 6m for Elton Johns
autobiography, due in 2019.
LBF celebrates rights

The London Book Fair (LBF) and the Publishers Association
are calling for entries to the first Rights Professional of the
Year Award. The Award, open to rights people working
outside the UK, is part of the LBF International Excellence
Awards 2017, to be presented at the Fair in March.
The Awards are sponsored by Hytex, and now include
16 categories, among them Bookstore of the Year, Literary
Agent and Brand Licensing. The closing date for entries,
via the LBF website, is 15 December.
Jacks Thomas, LBF Director, said: It is brilliant that this
year we are introducing the Rights Professional Award and
we are looking forward to receiving the nominees from all
corners of the globe.
Entry for all the Awards is via the LBF website.
Vying with Finn, Phillips and Mallory as the novelist

causing most pre-Fair excitement is Luke Allnutt, whose
We Own the Sky is about a father whose son has been
diagnosed with cancer (Trapeze UK; Park Row Books NA;
agent Juliet Mushens at LTA). Faber has high hopes for
Italian-set saga The Madonna of the Mountains by Elise
Valmorbida (agent Clare Alexander at Aitken Alexander).
Picador won a seven-way auction for Dear Mrs Bird by AJ
Pearce, about an agony aunt in the Second World War
(agent Jo Unwin). Alison Hennessey at Bloomsbury won an
auction for Stuart Turtons debut, The Seven Deaths of
Evelyn Hardcastle, a high-concept murder mystery (agent
Harry Illingworth at the DHH Literary Agency).
In non-fiction, Norwegian adventurer and publisher
Erling Kagges Silence... In the Age of Noise has won
numerous international deals (Viking UK; agent Annabel
Merullo at PFD). Another Viking acquisition is The Inland
Empire: Travels in Multiple Sclerosis by journalist
Christian Donlan, who began showing symptoms of
multiple sclerosis shortly after the birth of his daughter
(Viking has world rights from Sam Copeland at RCW).
Rights in brief
Marcus Gipps at Gollancz has signed Rhyming Rings, a previously
unpublished novel by the late fantasy author David Gemmell. Gollancz
has UK and Commonwealth rights including audio from Howard
Morhaim of the Morhaim Literary Agency through Caspian Dennis at
Abner Stein. Rhyming Rings (May 2017) is a crime novel that lay
undiscovered until Gemmells widow, Stella, came across the manuscript.
It is about an ambidextrous killer who is murdering women in London
and leaving virtually no evidence behind, and about the struggling
journalist who finds himself involved, dangerously, in the story.
PFD reports a flurry of international deals and bids for Speeches of Note
by Shaun Usher, the follow up to his bestselling Letters of Note. Julie
Bennett at Ten Speed Press pre-empted North American rights from Nelle
Andrew on behalf of Caroline Michel at PFD and Unbound. German
rights have gone to Heyne and Polish to SQN, with negotiations ongoing
in a dozen further territories. The book is due out next autumn.
Peter Joseph at Thomas Dunne/St Martins Press (US, Canada, Philippines)
and Judith Kendra at Rider Books (Penguin Random HouseUK and
Commonwealth) have signed Michael Breens The New Koreans: The
Story of a Nation, for publication in spring 2017. The agent is Kelly
Falconer of the Asia Literary Agency. Breen is a Seoul-based journalist
and consultant who has reported on Korea for the Guardian, Times,
and Washington Times. Andrei Lankov, author of The Dawn of
Modern Korea, said that Breens book gives (an) informative and
deep introduction to this fascinating (and not well-known) country.
Clara Farmer at Chatto has signed Naoke Abes Wild Cherries, the
story of how Collingwood (Cherry) Ingram collected wild cherry
species in Japan in the early years of the 20th century. Chatto has
rights through Patrick Walsh at PEW Literary, and will publish in
spring 2018. Bollati Boringhieri has bought Italian rights. Abe is a
Japanese writer and journalist based in London. Earlier this year she
published a version of Wild Cherries in Japanese with Iwanami
publishers; it won the Nihon Prize, Japans equivalent of the Baillie
Gifford for non fiction.
The
Quarto
Group
Creatively Independent
Come and visit us at

Hall 6.1
Stand A 30
www.QuartoKnows.com
Quarto_Frankfurt_ShowDaily_Ad.indd 1
22/09/2016 16:00
Frankfurt book Fair briefcase 2016

By nicholas clee and neill denny in London and rachel deahl and John
Maher in New York
US
FOundry literary + Media
elyse cheney literary assOciates
Angels (Flatiron, no pub date yet). The book, the agency says, spans from
A big non-fiction title for the agency is Maria Konnikovas Lady, Cowboy,
the Depression, through World War II, to 1952, chronicling the unlikely
Joker, Knave (not yet submitted), a memoir in which the author chronicles
story of the Black Angels, a group of 300 black nurses who changed the
the year she spent training with some of the worlds best poker players.
course of history. From Trevor Noah is Born a Crime (Random/Spiegel
From Monica Potts, a fellow at the New America Foundation, is a currently
& Grau, Nov), a collection of personal essays from the Daily Show host
untitled narrative non-fiction work expanded from an article the author
that, Foundry says, tells the story of a mischievous young boy who
wrote for American Prospect called Whats Killing Poor White Women?.
grows into a restless young man as he struggles to find himself in a world
One of Foundrys big Frankfurt books is Maria Smilioss The Black
where he was never supposed to exist.
the cleGG aGency

One of the hot non-fiction titles for Bill Cleggs shingle is Matt Youngs
the Gernert cOMpany
Eat the Apple (Bloomsbury, spring 2018), which uses a kaleidoscopic
On the fiction side, the agency has Rachel Kadishs The Weight of Ink
array of immersive narrative angles to tell the story of [the authors] three
(HMH, June 2017), a historical novel about, the firm says, the choices
hard tours in Iraq during the surge and IED road wars. From Eileen
women have always made in their attempts to reconcile the life of the
author Ottessa Moshfegh, recently shortlisted for the Man Booker, is the
heart and mind. From Mindy Mejia is Everything You Want Me To Be
short story collection Homesick for Another World (Penguin Press, Jan
(Atria/Bestler, Jan 2017); the authors adult fiction debut follows, the
2017), which the agency says explores the varieties of self-deception
agency says, the death of a high schooler in a small Midwestern town
across the gamut of individuals representing the human condition.
that tests the lines between guilt and innocence.
icM partners and icM/saGalyn (handled by

uk-based curtis brOWn)
The Dance of the Moon
Rich People Problems by Kevin Kwan (Doubleday, summer 2017) is one

of the hot titles Curtis Brown will be playing up, on behalf of ICM, in
Germany. The book is the final installment in the authors Rich Asian
Pari Spolter
trilogy. The other big novel for ICM is Michael Crichtons Dragon Teeth
(HarperCollins, May 2017), a recently discovered work by the deceased
author that follows the rivalry between two real-life paleontologists in the
American west during the late 19th century.
inkWell ManaGeMent
A big novel for Inkwell this year is Rene Denfelds The Child Finder
(HarperCollins, winter 2018): a work of suspense from the author of The
Enchanted, Inkwell says the book flip-flops between the vantage point of
two characters, an investigator known for her unique ability to find
http://parispolter.com/the-dance-of-themoon/
Available at Amazon.com, Baker and
Taylor, IngramSpark
See review by Dr. Thomas E. Phipps, Jr.
in PHYSICS ESSAYS, Volume 28
Number 2 June 2015 page 290.
missing children and a young girl with a rich imagination who vanished
from a snowy, remote mountain community. From Katherine Heiny is the
debut novel Standard Deviation (Knopf, May 2017), which Inkwell calls a
rueful, funny examination of love, marriage, infidelity, and origami.
JanklOW & nesbit

One of the top non-fiction titles on J&Ns hot list is High Notes by Gay
Talese (Bloomsbury, Jan 2017), a collection of the articles (from magazines
including the New Yorker) that inspired his books Thy Neighbors Wife and
Honor Thy Father. Another non-fiction title the agency will be talking up is
How America Lost Its Secrets: Edward Snowden and a Story of Espionage by
investigative journalist Edward Jay Epstein (Knopf, Mar 2017). The agency
calls the book a groundbreaking expos that convincingly challenges the
popular image of Edward Snowden as a hacker turned avenging angel.
Continues on page 8 g
f Continued from page 6

trident Media GrOup
Among the big titles Trident is shopping in Germany is Lisa Scottolines One Perfect
Lie (St Martins, Apr 2017), a thriller about a single mother attempting to keep
UK
aitken alexander
The Madonna of the Mountains by Elise Valmorbida is an intimate and sharply
her son, a high school pitcher, away from a criminal-minded teammate. Another
observed account of a womans fight to keep her family alive and thriving, set in
big novel for the shingle is Charlatans by Robin Cook (Putnam, pub date not set),
the Veneto in Italy and spanning nearly three decades following the First World
which Trident says explores the dark side of our fascination with social media.
War (Faber UK). Also: novels by Willy Vlautin, Julianne Pachico, Sarah Baume.
Writers hOuse
darley andersOn
Among the big titles WH will be pushing in Frankfurt is Stephenie Meyers
Everything But the Truth by Gillian McAllister centres on newly pregnant
The Chemist (Little, Brown, Nov), the first adult thriller from the author of
Rachel and boyfriend Jack as their future is thrown into question when
the Twilight Saga; rights have been sold in 27 countries to date. From
both of their pasts are unearthed (Michael Joseph UK; Dutch, Polish,
Michael Lewis is The Undoing Project (Norton, Dec), about the work of
Russian rights sold; French under offer).
the psychologists Daniel Kahneman and Amos Tversky, whose research on

judgement has challenged fundamental beliefs about human nature.
diane banks
Brian Cox and Jeff Forshaws new book Universal: A Guide to the Cosmos
the Wylie aGency
(Allen Lane UK; Da Capo US) shows that, by asking questions about the world
Memoirs by Elton John tells the story of his life and extraordinary career
around us, anyone can think like a physicist and grasp the breathtaking grandeur
with exceptional candour and wit. A top fiction title for Wylie is the debut
of our cosmos. Also: Eugenia Cheng on infinity, Christopher Harding on Japan.
novel from Mad Men creator Matthew Weiner, Heather, the Totality (Little,
Brown, manuscript due in Nov), about a seemingly perfect family in
luiGi bOnOMi
Manhattan and a man with a far more imperfect life who is on a collision
Gavin Menzies, author of the NY Times bestseller 1421: When China Discovered
course with them. From James Ellroy is This Storm (Knopf, manuscript due
America, turns his attention to Neanderthals: the Untold Story, discovering
in autumn 2017), the second volume in the authors Second LA Quartet.
that they were the worlds first sea traders, adorned their bodies with art,
and created and played musical instruments. Also: Bryan Sykes on dogs.
GeOrGina capel
The Earth Gazers by Christopher Potter explores how the first photographs
of the Earth seen from the orbit of the Moon changed life on Earth for all of
us (Head of Zeus UK). Also: books by Roger Moorhouse and Gordon Corera.
cOnville & Walsh

The Lost Pianos of Siberia is part travelogue, part history in which Sophie Roberts
tells the story of Siberia as she searches for its historic pianos (Transworld UK).
curtis brOWn
Sometimes I Lie by Alice Feeney is a psychological thriller debut from a
recent Faber Academy graduate (HQ UK; Rowohlt Germany; AST Russia).
david GOdWin
The Germans: A Moral History of Germany by Frank Trentmann
explores how a society transitions from one of totalitarianism, conquest
and war crimes to one so peaceful, caring and compassionate (Allen Lane
UK; Knopf US; De Arbeiderspers the Netherlands; Fischer Germany).
Also: Katherine Frank on suicide, Dr Julia Shaw on memory.
Furniss laWtOn
In Im Wrecked, This Is My Journal by Shannon Cullen, Publishing Director
of Puffin, Wreck This Journal meets The UnMumsy Mum (Luitingh-Sitjhoff
the Netherlands; Planeta Spain; De Agostini Italy).
Greene & heatOn

The Queen of Bloody Everything is a first adult novel by award-winning
childrens writer Joanna Nadin, and follows Dido Jones on a quest for her
DID YOU KNOW...
MARK TWAIN ATTENDED THE FIRST ABA CONFERENCE.

A CENTURY LATER, ITS TIME FOR A CHANGE.
BOOKEXPO 2017. COMING SOON:
GAIN ACCESS TO THE NORTH AMERICAN TRADE MARKET
THROUGH ITS VIBRANT PUBLISHING HUB, NEW YORK CITY
PREMIUM TRADE EVENT WITH HIGH QUALITY ATTENDEES
INNOVATIVE CONFERENCE PROGRAM THAT CREATES
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ENGAGE WITH CONSUMERS AT BOOKCON
CONTACT JENNIFER MARTIN FOR MORE DETAILS:
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of Dublin, with photos by Paul Joyce (Hachette Ireland). Also: Nigella
happy ever after ending, and her mother, Edie, the only topless sunbathing
Lawsons new cookbook, Ben Macintyre on the SAS.
feminist in town. Also: novels by Barry Gornell, Lottie Moggach.
sOphie hicks
Mba
In Under A Pole Star, Costa-winner Stef Penney returns to the Arctic setting of The
Ruth Fitzmaurices I Found My Tribe is a memoir and love letter to her
Tenderness of Wolves, in an epic story of ambition, perseverance and love against
husbandwho has motor neuron disease and can only communicate with his
the odds (Quercus UK and US; HarperCollins Iberica Spain; Bazar Norway).
eyesand to her family, the natural world and the brightness of life (Chatto world
English; Mondadori Italy; Bragelonne France). Also: Tristan Gooley on water.
pFd
JOhnsOn & alcOck
why the Romanovs European royal relatives and the Allied governments all
Where the Wild Cherries Grow by Laura Madeleine is a novel of betrayal, love
failed to get the Romanov family out of Russia to safety (St Martins US).
The Race To Save the Romanovs by Helen Rappaport is an examination of
and bittersweet secrets set at the end of the First World War (Transworld world
English; Lubbe Germany). Also: a book on death by Professor Sue Black DBE,
and a memoir by Alex Hanscombe, son of the murdered Rachel Nickell.
united agents
Making the World Again by Margaret MacMillan, the award-winning
author of Peacemakers, is about the aftermath of WWII (Random House
Madeleine Milburn
US; Penguin Canada). Also: Lara Maiklem on Thameside found objects.
In The Chalk Man by CJ Tudor, a chalk drawing of a stick figure hurtles

narrator Eddie back 30 years, to an innocent childhood game that went terribly
barbara J ZitWer
wrong (Michael Joseph UK; Crown US; sales in 29 territories in two weeks).
Beautiful Demon by Jeong yu-Jeong is a literary, taut, edge-of-your-seat
ed VictOr
NaMu Publishing Co Korea; Little, Brown UK; Penguin US).
page-turner by Koreas female master of psychological suspense (EunHaeng

John Banvilles Time Pieces: A Dublin Memoir alternates between
vignettes of Banvilles own past, and present-day historical explorations
This is a much shortened extract from features that appear in Publishers

Weekly and on BookBrunch.
MysteriousPress.com award-winner named

Mike Cooper has been named the winner of
the first $25,000 MysteriousPress.com
Award, writes Jim Milliot. Coopers book,
The Downside, is described as an actionpacked heist novel.
The prize, created by Otto Penzler,
President and CEO of MysteriousPress.
com, solicited unpublished manuscripts
from both established authors and
newcomers, with the promise of a $25,000
awardan advance against royaltiesas well
as guaranteed worldwide publication.
The book will be available sometime
next year.
We received some incredible
manuscripts but, in the end, Mikes
story was everything we were looking
for: fast, exciting, and well-written,
said Penzler.
The Downside was chosen the
winner after voting by
MysteriousPress.coms publishing
partners: Open Road Integrated
Mike Cooper
Media, in North America and numerous

countries around the world; Head of Zeus
in the British Commonwealth; Hayakawa
Publishing (Japan, Singapore and South
Korea); Bonnier (Sweden, Norway,
Denmark and Finland); Dutch Media
Books (Holland and Belgium); and Bastei
Lubbe (Germany, Austria, Switzerland,
Luxembourg, Greece and selected Eastern
European countries). Each of the publishers
will publish The Downside in their
respective markets.
After a series of different jobs,
Cooper has been writing for more
than a decade. He has had several
books published by Penguin,
including his most recent novel, Full
Ratchet: A Silas Cade Thriller,
released in 2013. Cooper has won a
Shamus Award, been anthologised in
Best American Mystery Stories and
Shortlisted for the International
Thriller Writers Award.
We received some
incredible manuscripts,
but Mikes story was
everything we were
looking for: fast, exciting,
and well-written
Otto Penzler.
11
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this is what we share

nicholas clee looks at this years Guest of Honour programme
Under the slogan This is what we
Saturday (22 October), the pavilion
share, 70 authors from the
will host the Else Otten
Netherlands and Flanders are
bersetzerpreis, given every two
visiting the Frankfurt Book Fair to
years for a German translation from
take part in this years Guest of
a Dutch literary work. The pavilion
Honour programme. As ever, the
design, which is the work of
programme is not confined to the
architecture and design organisation
week of the Fair, but is taking place
The Cloud Collective, aims to reflect
throughout Germany during 2016,
level landscapes and broad
by the end of which 120 Dutch and
horizons, with a panoramic
Flemish authors will have taken
background that undergoes changes
The design for the Guest of Honour pavilion
part in some 400 literary and
in colour throughout each day.
cultural events. It has prompted a
The central courtyard of the Fair
considerable increase in translated Dutch-language titles,
will offer singular attractions too. A Dutch or Flemish book
some 250 of which will have been signed up by German
doctor will prescribe books appropriate to visitors needs.
publishers by the end of the year.
Arnon Grunbergs Brain Lab will measure readers brain
The Artistic Director of the programme is an author, Bart
patterns as they read passages from Grunbergs works,
Moeyaert. He is an aficionado of fairs: he has been coming
registering the emotions disgust, contempt, anger, sadness
to Frankfurt for 25 years, and is also a regular at the
and compassion. The Kinky & Cosy Experience may be
Bologna Childrens Book Faireven though, he confesses,
something, like the Mies van der Rohe installation, that
he always starts to wonder after a few days what he is
resists description: according to the organisers, it is a giant
doing there. Moeyaert says that he wants to talk about the
black box where visitors are locked in for a brief period.
things we share because of the puzzlement he often
Whilst there, they are brainwashed, their proper upbringing
encounters when he says he is from Flanderswhat sort of
scientifically erased. A new operating system is then
language is Flemish? Why does he have a Dutch publisher?
implanted, that of either Kinky or Cosy. In order to see what
One of the shared things, he says, is the sea. Only
the results of this are, visitors can submit their new thought
choosing the North Sea as our theme would be daft, of
patterns to extensive testing in a training zone before they
course, because that is a tourist image. But the sea as a
are released out into the world as a Kinky or Cosy. Perhaps
literary imagenow that is fantastic, because the sea is both
not something to try before an important meeting.
poetic and political. Just think of the refugees. And it isnt
A safer bet might be the film booth, screening 40 filmed
always calm and pretty.
portraits, of 12 minutes each, of Dutch and Flemish authors.
Sharing and the sea
One manifestation of the themes of sharing and the sea will

be readings of specially commissioned works by poets from
Germany, the Netherlands and Flanders: German poet
Daniel Falb spent two weeks by the sea in the Netherlands;
Dutch poet Erik Lindner went to Ostend; and Flemish poet
Els Moors stayed on the German island of Sylt. A second
will be a beach theme at the Guest of Honour pavilion,
with objectsdonated by writersscattered throughout the
construction as if ready to be discovered by beachcombers.
Another feature of the pavilionone that may need to be
visited rather than describedis an installation evoking Mies
van der Rohes pavilion at the Barcelona International
Exposition in 1929. The room isnt real but apparently
does exist prepare to be baffled, the organisers say. We
already are. Also at the pavilion are a cinema, a virtual
reality opera staging, a studio where you can witness the
creation of a graphic fiction magazine, a book exhibition
with some 800 titles on the Netherlands and Flanders, an
exhibition telling the story of printing, and a bookshop. On
14
Literary games
Two literary games for young adults will be on show at the

Fair. Winter has a baffling blurb that resists summary, but
appears to be set on a world containing people who have
all died in the same second. Puzzling Poetry features an
empty puzzle, with the words as the puzzle pieces. There
are also virtual reality presentations, including an opera in
which the stage is a universe and a soprano floats in space
while singing of her impossible love for a human.
Among the events taking place in the city of Frankfurt, a
big attraction is certain to be an event with the
distinguished and garlanded novelist, travel writer and poet
Cees Nooteboom. Other visiting authors who may be
familiar to English-language readers include Geert Mak
and Tommy Wieringa. The hub of literary activities will be
Mousonturm, the official Guest of Honour caf.
Moeyaert, distracted from writing by his work on the
programme, nevertheless believes the experience will have
been valuable: I tell myself: next year! Then I will write a
big novel, and I will probably win the Nobel Prize.
Pausing in stride: Friedman on fast and slow
photo: Ralph Alswang
We live in a world that is fast, and only

for the first time created the possibility of
getting faster. All of which makes the ability
big data for the masses, because that was the
to slow down and reflect a more valuable
technology that allowed us to string together
trait than ever. So argues bestselling author
literally millions of computers, so you could
and renowned columnist Thomas L
store so much more stuff, and search so
Friedman in his latest book, Thank You for
much more stuff. Thats why Facebook
Being Late: An Optimists Guide to Thriving
happened, Twitter, Android, Kindle, Airbnb,
in the Age of Accelerations, due out in
IBMs Watson. None of those things could
November from Farrar, Straus and Giroux.
have happened without that foundation of
For Friedmanone of the worlds most
mobility. And third, there was the cloud. The
prominent globalists, whose 2005 book The
cloud was made possible in many ways by
Thomas L Friedman
World Is Flat spent more than a 100 weeks
innovations by Google and Hadoop. So,
on the New York Times bestseller listThank
those three things togethermobility (I can
You for Being Late may be his most ambitious book yet,
now have a computer in my hand); broadband (I can
exploring how accelerations, including advances in
connect with this thing called the cloud anywhere); and
technology to climate change, are toppling institutions, and
then, of course, the cloud, which can store infinite files,
industries, and creating new geo-political global challenges. infinite intelligence and infinite software apps for me to
But despite the dizzying pace of change, Friedmans advice
basically do anything I imaginethat all really started to
is to remember to slow down every now and then. Andrew
come together in or around 2007.
Richard Albanese caught up with Friedman to talk about
the book, the importance of reflections, and why, in a
AA: You put the cloud up there with fire and electricity as
period of such disruption, there is cause for optimism in the one of the things that has fundamentally changed human
book business.
history, and in the book, you refer to the cloud as the
supernova. Why?
AA: So, congratulations on the new book, and lets start at TF: The term supernova came from my friend, Craig
the beginning, with the titlewhy are you thanking people
Mundie, who was head of research and strategy at
for being late?
Microsoft for many years, because a supernova is the
largest explosion in natureits the explosion of a star. And
TF: Thank you. And yeah, the titleso, as I explain in the
he was just trying to express the extraordinary power of
introduction, I often meet people in Washington, DC for
the convergence of mobile, broadband and the cloud. And
breakfast and occasionally people would come 15, 20
Craig, I think, says it very well: fire and electricity were
minutes late and say, Tom, Im really sorry. Its the
enormous, but they didnt have this kind of intelligence
weather, the traffic, the subway, the dog ate my
that the cloud has. And I think weve only begun to scratch
homework. And I couldnt remember who I said this to
the surface of it. I think well look back and realise that
first, but one morning I spontaneously said to one of them:
2007 was truly a Gutenberg-scale moment in history. You
Well, actually thank you for being late. Because you were
know, I always tell people, that after Gutenberg invented
late, Ive been eavesdropping on this conversationits
the printing press some monk said to some priest: You
fascinating; Ive been people watching in the lobby. And I
know, thats really cool. Im not going to have to write all
just connected to ideas that Ive been struggling with for
this stuff out longhand anymore! I think you and I are
months. And people actually got into it and they started to
alive at a similar moment.
say, Well, youre welcome! But they also understood kind
of what I was saying, that I was giving both of us
permission to slow down, you know, to stop and to think.
AA: You write about Moores law, why the accelerations
And at this time of acceleration, I just think thats more
technology has fuelled may have many of us feeling a little
important than ever.
disoriented these days. It used to take 20 or 30 years for
technology to make a big leap forward. Now, it happens
about every five to seven years. Can people, cultures and
AA: Lets talk about the subject of the book, which is
institutions adapt to that kind of pace of change?
those accelerations. In the book, you point to 2007 as a
watershed year when the pace of change really started to
TF: Well, thats one of the central questions of the book.
speed up, to disorienting levels. Explain why you see 2007
And I cant answer, because were literally in the middle of it
as such a notable year in human history?
right now. But one of the reasons the book is called Thank
TF: Well, the big, headline thing that happened, of course, You for Being Late is because I wanted to give people
permission to slow down, to feel you dont have to keep
was the iPhone, which launched the whole smartphone
chasing this. You know, I talk the talk of globalisation, but
revolution. But another really big thing that happened was
Im actually a pretty disconnected person. Im not on Twitter.
[distributed computing framework] Hadoop, which really
16
I dont have a big Facebook presence. And

thats nothing against them, its just because I
really need my solitude to think. One of my
favourite quotes in the book is from [author
and columnist] Dov Seidman, who says that
when you press the pause button on a
computer, it stops. But when you press the
pause button on a human being, he or she
starts. Dov also coined the phrase, pausing
in stride. And I like that, because you dont
want to just stop and curl up in a ball under
your bed, but people do need time to stop,
think and reflect.
AA: You have a great discussion in the
book about IBMs Watson, and artificial intelligence (AI),

which is starting to become a topic at book fairs. You note
that a chess grandmaster was once asked: What do you
bring to a chess match with a computer? and the answer
was a hammer. With all the talk of computers now
starting to write news articlesand maybe some day,
booksare writers going to need a hammer, too, one day?
TF: Thats a very good question. But at the end of the
day, I dont think so. I still believe that machines can do a
lot of things and, yes, they can come up with a sonnet, or a
poem, a sports story, and maybe, you know, one day, even
some kind of opinion. But people have bodies and souls.
And theres the ability to read those, you know? To read
and interpret those, the raise of an eyebrow, the curl of a
lip, you know, the wink of an eye, the fall of a grin; I still
think that writing like that is going to be something
uniquely human.
AA: In the book, you write that the task before us is to turn
AI into IAintelligence assistance. Can you explain that?
TF: That really gets to that adaptation point, which is,
how can we really make AI work for us? How can we make
all this technology work for us? I was very heartened by
some of the examples I came across in writing this book,
but theres one thing I really took away from writing this
book, which I think people cant run away from: and that
is, that you have to be a lifelong learner. Theres just no
question. Theres going to be fewer safety nets in the future,
and youre going to have to bounce the trampolines.
AA: Yes, and you write about the philosophy of AT&Ts
executive John Donovan, as an examplethat despite all the

disruptions, you can be a lifelong employee, Donovan says,
if you are ready to be a lifelong learner. Is this angling
toward something of a new social contract for the digital
information age?
TF: Yes, exactly. More than one in fact. One is the social
contract between you and your boss, and I think it has to
be the AT&T one: we will actually give you the courses,
and well even pay the tuition in some cases

for your lifelong learning, but you will have
to do it on your own time. And then theres
the contract between you and yourself, which
is, if I want to advance, Im going to have to
do things on my own, after Im out of school.
And then, theres got to be the contract
between you and your government, which is
to create both the financial incentives and the
possibilities for people to become lifelong
learners. And so I think all of these contracts
are going to have to change.
AA: We certainly do live in an interesting
time. In the book, you quote a Tom Goodwin

TechCrunch piece in which Goodwin observed that Uber,
the worlds largest taxi service, has no vehicles; Facebook,
the worlds most popular media company, owns no
content; Alibaba, the most valuable retailer, has no
inventory; and Airbnb, the largest accommodation
provider, owns no real estate. Extrapolating that out, how
do you see the book business?
TF: I personally think that theres going to be a backlash
against all this acceleration. And I still think curling up and
reading a good book, whether its on a Kindle, or on paper,
that theres something deeply human about that. Now, I
dont know how these books will be delivered in the future,
but being totally absorbed in reading a good book, I still
am a big believer in that.
AA: Speaking of how books are going to be delivered,
that is one of the big, often uneasy questions facing the

book industry, and it brings me to a company that is all
about acceleration: Amazon, whose innovations and
disruptions have led to a fraught relationship with the
publishing industry. What are your thoughts on Amazon,
or the other accelerations facing the book business?
TF: Sure. You know, cards on the table, Jeff Bezos is a
very dear friend. But Ive always felt that when it comes to
technologyand I have this line in The World Is Flatthat
whatever can be done, will be done. The only question is:
will it be done by you, or to you. So when distributing
books in this wholly new digital way could be done, it
was going to be done. Now, I dont know what is going to
happen. All I know is, that for me, personally, I still love
going into an independent bookstore, and sitting there
and sipping coffee and, you know, just the serendipity of
surfing through the shelves, seeing whats there, picking
up a book. Theres something to me that, you know, as an
author, the independent bookseller is to me one of the
great institutions of my life, and theres something about
that experience that I think is wired in our DNA. And
because of that, I think someone will always make a
business out of it.
17
brexit: there aint no sanity clause (yet)

duncan calow looks at the implications of Brexit on publishing contracts
Well, so far, its not been a performance that
would get us very far on Strictly or Dancing
With the Stars. As trailed six months ago in
my London Book Fair article, the Brexit
Hokey Cokey has begun. Unfortunately, as
things stand, the UK isnt really in, it isnt
yet out, and the shaking-it-about hasnt been
up to much either. Perhaps the fancy
footwork will appear with the Article 50
dance-off. In the meantime, whatever ones
views on the outcome of the vote or the
Duncan Calow
conduct of the negotiations, we all have to
deal with the resulting uncertainty.
Which is where the lawyers come in. In
popular culture, members of my profession
are often accused of taking too much
interest in ambulances. In reality, its usually
something else we end up chasing. Beyond
the offices of Flywheel, Shyster &
Flywheel, its more likely to be uncertainty
that gets commercial media lawyers
sharpening their pencils. Ever since it was
discovered that oral contracts werent worth
the paper they were written on (theyre
certainly no good for assigning copyright), the aim has
been on drafting clauses for any eventuality.
So how does Brexit impact on the goal of watertight
boilerplatedoes it risk flooding contracts with dangerous
uncertainty? Certainly, it has the potential for raising
arguments where none might have existed before. Firms
like mine now even have artificial intelligence software on
handready to review filing cabinets-worth of agreements
in order to try and identify the weak links in any chain of
commercial documentation. Although, for now, for most
clients, the priority is knowing whats known, not a search
for unknown unknowns.
agreements. In fact, looking back at Clarks

predecessor, A Guide to Royalty Agreements
(first published in 1938) and prepared by
the erstwhile Agreements Committee of the
Publishers Association, I see that my 5th
edition, from 1972, sets out the same sort of
country-by-country appendix.
A Guide in turn refers to recommendations
from the 1950s, as well as political
developments in recent years, requiring the
need for clarity in respect of Commonwealth
and Empire Rights. Britain has come this
way before. With such a track record, it is to
be hoped that the territory clauses of many
publishing contracts wont be undermined
by Brexit. Agreements which just refer to
the European Union or equivalent may
not be either, but they are more likely to be
subject to judicial interpretation and
evidence of the intention of the parties.
Notably, A Guide doesnt suggest any
form of force majeure provision. Clarks
includes several examples of this standard
term: each trying to provide a get-out when
circumstances beyond a partys control prevent performance.
Whether acts of God were less common in the Seventies is a
question for statisticians and the Church. Whether Brexit,
though not expressly mentioned, will trigger any such clause
is for publishers and their lawyers to consider. It may be
possible if governmental action has been referred to.
In other parts of the media and entertainment industry,
and in some tech deals, the threat of regulatory
intervention or legal change is higher, so contracts often go
further and include specific legal and regulatory review
clauses. When such changes or intervention take place,
these clauses try to allocate risk, provide for agreed
responses or just allow for focussed discussion. The use of
that mechanism is already being evaluated for specific
Brexit clauses, although it may be some time before any
standard forms of text begin to emerge.
Of course many publishing contracts may never need such
text. And, in any case, drafting is a challenge whilst Brexit
means nothing more than, well, Brexit. Thats a legal definition
that the Marx Brothers would have enjoyed (The Party of
the First Part etc.). But the negotiations are likely to be a
marathon not a sprint, so it is something to keep under review.
Less of a quickstep then, more of an awkward tango, but once
we begin to know our Brexit rhumba from our elbow we
may all have to face the music and dance. Cha cha cha.
Its... likely to
be uncertainty
that gets
commercial
media lawyers
sharpening
their pencils.
Fewer unknowns
And in publishing contracts, at least in part, there may be

fewer unknowns than elsewhere. Only last year, the Publishers
Associations Trade Publishers Council and the Association
of Authors Agents agreed good practice guidance on
contractual negotiations, including provisions on how to
deal with territorial definitions. It wisely advised that
changeable terms such as EU or EFTA (or Commonwealth)
should be avoided or clarified. If referred to they should
reflect the accurate and current list of countries which are
part of such bodies.
That represents an approach which has long been adopted
in industry bible Clarks Publishing Agreements, currently in
its 9th edition. Clarks provides carefully listed territories in its
detailed schedules designed for appending to author and other
18
Duncan Calow is Partner at DLA Piper UK LLP.

For more detail on some of these issues see
https://www.dlapiper.com/en/uk/focus/brexit-legal-impact/overview.
Reed New Holland an imprint of

New Holland Publishers
www.newhollandpublishers.com
Visit us at Stand C92, Hall 6.0
STERLING PUBLISHING, CO., INC

www.sterlingpublishing.com
PLEASE VISIT US AT STAND #6.2.C120
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www.sterlingpublishing.com
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us publishing lawsuits wind down

After a decade of high-profile court battles, it appears that US publishing industry
executives may finally be taking their lawyers off speed dial. andrew richard
albanese looks at the high profile cases that remain
CambridgeUniversityPressvs.Patton
[For the
publishers]
winning slowly
is just about as
bad as losing
quickly.James
Grimmelmann
After more than eight years of litigation, this

closely watched copyright case is right back
where it was in 2012before a US Court of
Appeals. And barring some unexpected
settlement, it is still far from resolution.
The suit involves three academic publishers
(Cambridge University Press, Oxford
University Press and SAGE), who in 2008 sued
administrators at Georgia State University
(GSU), for allegedly encouraging faculty to use
illegally digitised course readings (known as
e-reserves) as a no-cost alternative to traditionally licensed
course readings. After years of legal manoeuvring, Federal
Judge Orinda Evans handed the publishers a stinging defeat in
2012, holding that GSUs digitised excerpts were protected by
fair use. Two years later, an appeals court reversed Evans, and
sent the case back to her with instructions to re-balance her
final fair-use analysis. In her remand decision issued this
spring, Evans again found that GSUs e-reserve programme
was fair use. And, in a final order issued in July, she dismissed
several motions put forth by the publishers, and once again
ordered the publishers to pay GSUs legal fees and costsGSU
is seeking more than $3.3 million.
Not surprisingly, the publishers have once again appealed. In
an August filing, they cited at least six legal errors committed
by Evans in her decision, including their contention that Evans
misapplied the fair-use doctrine. Legal scholars, however, say it
is unclear how much of Evans most recent decision will be
reviewable this time around. Thats because, despite winning a
unanimous reversal in 2014, the first appeals court decision
actually upheld much of Evans handling of the case, and
anything that was previously decided in the appeal is settled
law, explains Cornell Law professor James Grimmelmann, and
anything that could have been appealed in the first appeal and
wasnt, is considered waived.
One key aspect to watch this time around: whether Evans
fee award to GSU will be upheld. This past spring the US
Supreme Court issued new guidance on when fees should be
awarded in copyright casesand legal scholars say that Evans
decision looms as the first test of that new guidance.
Association of American Publishers President Tom Allen
has called this litigation an important test case for fair
use in the digital age. But after a decade of litigation, it is
up for debate whether the final verdict will even matter by
the time it is reached. Indeed, the market is already solving
the issues at the heart of this case; academic publishing
continues to shift toward a licensed access regime, for
22
example, and the open access movement

continues to grow.
For the publishers, winning slowly,
Grimmelmann observed, is just about as
bad as losing quickly.
Gitman vs. Pearson Education Inc
First filed in October 2014, by two plaintiff

authors, Lawrence J Gitman and Michael D
Joehnk, this suit alleges that Pearson has
been systematically short-changing textbook
authors on the royalties they are owed. The
case continues to progress through discovery, but legal
scholars say the big questionwhether the case can win
class action status, and sweep in a large number of
authorsremains very much uncertain.
In its filings, Pearson attorneys argue that the company acted
squarely within the bounds of its contracts with the plaintiffs,
and argue that the material differences between the contracts
of thousands of Pearson authors makes certifying a class-wide
complaint impossible. But even if that proves true, the action,
should it progress, could shine a light on the publishers practices.
In filings, the authors claim that an audit showed one of their
textbooks rose 140% in price from 2000 to 2011 (from $108
a copy to $260), yet, due to a range of accounting and sales
practices, their royalties over the same period remained stagnant.
As of this writing, the parties are due in court on 20th
November for a status conference.
Green vs. US Department of Justice
This one is not a publishing suit, per se, however, if it progresses it

could have an impact on the digital future for publishers. In this
suit, the Electronic Frontier Foundation (EFF) argues that Section
1201 of the Digital Millennium Copyright Act (DMCA) violates
the First Amendment by making it a crime to circumvent DRM
software that governs access on copyrighted works, even if
the user is seeking to make a legal use of the copyrighted
work. Users can lobby for exceptions to the DMCAs rules.
However, the EFF argues, having to argue for such exceptions
amounts to an unconstitutional speech-licensing regime.
The case is in its early stages. But with copyright reform still
inching along in the US, this case could certainly shift the
debate. While DRM is seen by many content providers as
necessary to protect trade secrets, and as a way to limit online
infringement, the flip side of that coin is that making DRM
legally unbreakable also empowers digital licences to write
out fair use, space-shifting and other kinds of examinations
of copyrighted works that often lead to innovation.
FRANKFURT BOOK FAIR 2016
The DIGITAL SPOTLIGHT
An in-depth look at everything digital at the fair

OCTOBER 2016
Advertisement
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OCTOBER 2016
Life After E-books

E-books are no longer the hot topic at the Frankfurt Book Fair, but digital is
BY ANDREW RICHARD ALBANESE
n the eve of the

2009 Frankfurt
Book Fair, the rise
of the e-book was
understandably on
publishers minds. In a
survey of 1,000 industry
professionals released just
before the 2009 fair, 50%
said they expected digital
to overtake print by 2018.
And, for a few years after,
with e-books posting gaudy growth rates, it seemed
that a digital tipping point
for publishers might come
even sooner than 2018.
But not so fast.
As the 2016 Frankfurt
Book Fair opens, traditional
publishers e-book sales are
small and growing only
modestly in Europe and
Asia, and are actually in
decline in the U.S. Print,
on the other hand, has stabilized and even ticked up
slightly. To put it mildly,
the years since that 2009
survey have been eventful.
In 2010, the iPad ushered
in the tablet age, in which
powerful new multimedia devices (including more powerful phones)
have opened a world of possibility. And with the iPad, of course, came
the agency model for selling e-books, and fallout from price-fixing
charges in the U.S.
In a year-opening piece in PW, I asked HarperCollins chief digital
officer Chantal Restivo-Alessi about how the digital landscape had
evolved since 2009. Originally, it was much more about product,
but now that is a given, she said. Today it is more about how many
options we can create for consumers, and how many potential revenue
streams we can create for our authors. A month later, at the Future!publish event, held in late January in Berlin, Restivo-Alessi elabo-
rated further. Digital does

not only mean product,
she told attendees. There
is still plenty of innovation
and improvement that can
be achieved thanks to digital across many publishing
activities.
Restivo-Alessis observations at the beginning of
the year perfectly describe
where the book business is.
E-book sales among traditional publishers may not
be showing the kind of
growth predicted at the
turn of the decade. But no
one would dispute that
publishing in 2016 is a
digital business. The
e-book, it turns out, is just
one part of an ever-widening digital conversation
that spans formats, media,
languages, and borders.
Books remain at the core of
the Frankfurt Book Fair,
but whatever the topic
from metadata to mobile
technology; whether film,
games, TV, or fine arts;
whether text on a page or
screen; artificial intelligence or augmented and virtual realityif
it involves how people connect, and how people tell stories, it is part
of the conversation at the Frankfurt Book Fair.
The Business Club

Now in its third year, the Frankfurt Business Club is hitting its
stride. Offering fairgoers a premium experience, the club features
access to a program of exclusive events, and a comfortable place to
conduct business, especially vital for attendeesincluding in recent
years a number of digital startupswho want to explore opportunities with publishers but dont need a booth on the show floor.
OCTOBER 2016
Publishing Perspectives Stage
Bonnier Books CEO Jacob Dalborg
Among the highlights of the Business Club program in 2016, the

CEO series will feature Jacob Dalborg, CEO of Bonnier Books
(Wednesday, October 19, 23 p.m., Hall 4.2, Room Dimension).
Moderated by international consultant Rdiger Wischenbart, Dalborg will be interviewed by the editors of the leading international
industry magazines, in the context of the 2016 Global Ranking of
the Publishing Industry.
The CEO series continues the following day with Massimo Turchetta, CEO of Italian publisher Rizzoli Libri Trade, and Claude de
Saint Vincent, CEO of French firm Mdia Participations (Thursday,
October 20, 23 p.m., Hall 4.0, on the Business Club Stage.)
Also on Thursday, October 20, the Copyright Clearance Center
will host an illuminating town hall event, including discussions on
open access (9:45 a.m.noon, Hall 4C, Room Concorde), followed
by a conversation with CCC CEO Tracey Armstrong, and closing
with a lunch reception.
Hot Spots
Once again, the Frankfurt Book Fair will feature four Hot Spots.
Billed as plug & play multimedia stands, exclusive meeting areas,
and live presentation platforms, the Frankfurt Hot Spots are nodes
of innovation, with presenters ranging from tech specialists and
platform providers to marketers and other digital specialists.
Each of the four Hot Spots focuses on one industry sector of emerging innovation: Hot Spot Digital Innovation (Hall 6.2) features
innovative technology and service providers offering demos and
new solutions for the future of digital publishing; Hot Spot Education (Hall 4.2) brings together buyers and suppliers from the fields
of innovative teaching, learning aids, games, digital whiteboards,
and e-learning solutions; Hot Spot Professional & Scientific Information (also in Hall 4.2) features content and service providers
in the fields of specialist information, academic resources, and libraries; and Hot Spot Publishing Services (Hall 4.0) offers a place for
print and digital service providers to meet and collaborate on innovative solutions in all phases of content production and distribution.
There is a full schedule of events set for the Hot Spots; check the
Frankfurt Book Fair website for a complete schedule of presenters.
www.publishersweekly.com
Its back by popular demand! After a one-year hiatus, the Publishing

Perspectives Stage returns. After losing its home in Hall 8.0, the
stage will now be located in Hall 6.0 E11, once again offering a
diverse, full calendar of quick, informative 30-minute talks October
1922, free to all attendees, and right in the middle of the action.
Its a great slate of topics and a whos who of international speakers, featuring (to name a few) Naina Bajekal, senior editor, Newsweek Europe; the bestselling Italian author Gianrico Carofiglio;
Andy Hunter, publisher and COO of Catapult (U.S.); Kris Kliemann, global rights expert; Fiona McCrae, publisher, Graywolf
Press; Richard Mollet, head of European government affairs, RELX
Group; George Walkley, head of digital, Hachette U.K.; and Gaby
Wood, literary director, Man Booker Prize.
Among the highlights: International Publishers Association president
and former Bloomsbury executive director Richard Charkin will talk
about the freedom to publish (Wednesday, October 19, 10:3011 a.m.).
Following Charkins talk on Wednesday, Deep Vellums Will Evans will take the stage for a panel discussion on New Concepts of
Storytelling Across Media and his new cross-media venture, Cinestate; Evans will be joined by Ryan David Mullins, chief product
officer at the startup multimedia storytelling platform Oolipo, and
Caroline Beggan, content manager at streaming service Storytel.
From 3 to 3:30 p.m. on Thursday,
October 20, dont miss your chance
to hear Nujeen Mustafa, author of
Nujeen: One Girls Incredible Journey
from War-Torn Syria in a Wheelchair,
tell her story and talk about how she
brought it to the world (Mustafa will
also appear earlier that afternoon on
the Agoras Open Stage).
And, with self-publishing continuing to surge around the world, with
implications for publishers and Nujeen Mustafa, author of
Nujeen: One Girls Incrediauthors of all stripes, on Saturday,
ble Journey from War-Torn
October 22, the editor-in-chief of
Syria in a Wheelchair
Publishing Perspectives will talk
with Orna Ross, the Irish author and founder of the Alliance for
Independent Authors, who will offer an overview of the self-publishing landscape in 2016.
The Place to Be
As always, check the Frankfurt Book Fair website for any last-minute changes. And remember, too, that some of the best discussions
are the discussions that happen in the corridors of the fair. Why not
add a little extra time between meetings to walk the floor? You
never know whom you will meet. If youre in Frankfurt, youre in
the right place to gain valuable insightwhether from a stage or
in a chance meeting in the exhibit hall.
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Learn more at
copyright.com/frankfurt
OCTOBER 2016
Translation Publisher Launches New Cross -M

PW talks with Deep Vellums Will Evans about his new joint venture, Cinestate
BY ED NAWOTKA
hree years ago, Will Evans made a name for himself and put
Dallas on the international publishing map when he
launched Deep Vellum Books. The publisher, which specializes in literary translation, has put out more than 20
titles in this short time, with another 15 forthcoming, and
has garnered numerous awards and accoladesincluding having a
title nominated for the prestigious Man Booker International Prize.
Now, Evansand his famous mustacheis back at the Frankfurt
Book Fair, with Cinestate, a new cross-media venture that is looking
to acquire rights to stories for literary translation and also to works
that will appeal to a mass audience in multiple media, including
print, digital, audiobooks, and film.
It seems only fitting that Evans should launch his new venture at
the 2016 Frankfurt Book Fair. Over the years, the fair, through its
programming and conference, has sought to bring in stakeholders
across the media spectrum. We caught up with Evans to get a preview of the project.
Tell us a little bit about the concept

behind Cinestate and how the venture got
started?
Earlier this year, some friends who own a great indie movie theater
here in Dallas introduced me to Dallas Sonnier, a film producer
whod grown up in town and whod just moved back after 15-plus
years working in the film industry in Los Angeles. Dallas had just
finished the awesome and marvelously gory horror western Bone
Tomahawk, with Kurt Russell and Matthew Fox. And with that
project, hed realized that he could make the movies he wanted
outside of Los Angeles. Our friends thought we should know each
other because we were in different, but complementary, industries
doing cool stuff, and both had similar ideas to do something beyond
the usual film or book projects.
So, your friends were right?

Yes, Dallas and I hit it off immediately. We were completely simpatico in our love of great storytelling: hes a film producer who also
loves audiobooks and podcasts; Im a book publisher who also loves
film and narrative audio. Very quickly we realized that we were the
missing pieces in each others visions to do something different in
our respective industries, to bridge the divide between publishing
and film, and to build off of our experiences in a way that would
close the gap that has always existed between books and film. So we
started Cinestate as a way to take the most engaging stories from
visionary creators and to connect them with audiences who are
hungry for bold, authentic entertainment anywhere and everywhere
they can get itin film, book, and audio formats.
How will Cinestate set out to do that?

Our goal is to sign books that we will publish and adapt ourselves
into a film or series, as well as audiobooks and radio play narrative
audio features. Likewise, well be signing original film scripts that
we will produce ourselves, but we will also use multiple media
channels to build audiences for stories before we produce them,
through adaptations into books and audiostates, a term of our own
invention that refers to our way of producing Hollywood-quality
narrative audio experiences out of unproduced film scripts. Its a
different kind of venture for sure, and certainly a different approach
from how things have traditionally been done in New York and Los
Angeles.
How does your work at Deep Vellum

inform what you are doing now?
I founded Deep Vellum because I saw a problem with the tragically
low number of translations published in English every year and I
wanted to do something about it, to call attention to all of the
amazing books coming out around the world that we were missing
out on, because I knew readers like me were hungry for these stories.
OCTOBER 2016
ss -Media Company
That gap in the market allowed Deep Vellum to establish an impressive list of authors and books in a short amount of time that have
gone on to enjoy great success in the literary market in English, with
Deep Vellum titles nominated for the Man Booker International
Prize, the PEN Translation Prize, the Dublin International Prize,
the Etisalat Prize, among others.
And I see a similar gap in the publishing marketplace for an
original style of writing, especially from creators of nonwhite/nonmale backgrounds working across all genres, that we hope to address
through Cinestate, specifically by seeking to produce work by authors of color, women, LGBTQ, international writers, and even
those who already have a presence in the industry but who have wild
story ideas to share that arent being given the chance to be heard at
the traditional publishing houses for whatever reason. Were independent, flexible, brave, and eager, and were looking for authors
whose talents and ideas are a fit for our passion and vision.
So how does Cinestate break from or

improve on the existing publishing and
film models?
A great question, and one that will be best answered several years
down the line, when we have a more established publishing program
with multiple book-to-film adaptations behind us. Then we can
truly talk about how were changing or improving upon the industries that we are working within.
For now, were not trying to be presumptuous about breaking the
mold of the massive publishing and film industries, as much as we
are simply expressing our mutual surprise that more publishers and
film producers havent really teamed up in this way before. We think
this is a unique opportunity to get awesome books made into awesome movies, and vice versa. So in that way I guess we are working
to improve upon the industries we come from. We have great respect
for publishing and film as the massive global industries they are.
But, being based in Dallas, I think were also freed up to think a
little differently about ways we can be more efficient in our approach
to the creation and distribution of entertainment, based off the best
practicesand none of the worst practicesof New York and Hollywood, but also Frankfurt, London, Mumbai, Tokyo, Stockholm,
Dubai, wherever great stories are found. So, we will build off of what
has been done, but we want to establish and maintain an approach
that is open-minded and flexible in our drive to get the best story
experiences in front of audiences across the world.
What types of content do you think is

best suited to the Cinestate model?
With Cinestate, Dallas and I see an interesting opportunity to identify stories that are falling through the cracks in the New York and
Hollywood establishmentsstories that are nothing like whats

being done, by creators who are visionary and ahead of their time in
their stylistic approach as much as their left-of-center storytelling,
uncompromising artistic vision, creators who are far ahead of current
audience expectations, future cult classics.
So, I guess Id say that I want the kind of stories that I could
never expect to see coming, neither as an editor nor as a reader. Thats
the type of storytelling that makes Dallas and me both so excited,
and finding and identifying those stories fills me with the same
passion that drove me to start Deep Vellum from day one. And its
incredible to find a partner from an entirely different medium who
is driven by the same hunger to seek out and separate the truly
original projects from of all the noise and chaff out there.
Have you signed any projects yet?

Were planning to launch our first publishing list in fall 2017, to
be distributed by Consortium Book Sales & Distribution, which is
now part of the Ingram Content Group, with a slate of authors who
fit our vision, including S. Craig Zahler, writer and director of Bone
Tomahawk and Brawl in Cell Block 99, our first Cinestate movie.
Zahler perfectly embodies everything were trying to do at Cinestate: hes a prolific author, a successful screenwriter, and exceptional film director. Dallas worked with him before Cinestate, and weve
brought him in to be the model of a Cinestate creator, a creator we
trust implicitly, a true visionary we believe in, and with whom we
can work on multiple projects across mediums. Well also publish
a crazy good new novel of his, and will announce the rest of our
debut slate of authors in early 2017after we get home from Frankfurt with a world of ideas in our heads.
Speaking ofwhy launch at the Frankfurt

Book Fair?
We chose to launch Cinestate at the Frankfurt Book Fair, rather than
in New York or Los Angeles, because we believe that the fair is the
most important creative content gathering in the world and we want
the worlds best stories to share with the entire world. We founded
Cinestate to collaborate and compete throughout the entire world,
and the entire world is represented here in Frankfurt.
So what are your plans here at the fair?

At the fair itself this year, we are introducing Cinestate to the world,
including international literary agents and publishers and creatives,
as well as looking for the right kind of projects to take home and
put in motion. At the same time, we are seeking partners and collaboratorsiMedia producers and tech companies, for example
who we can work with to drive innovation in film, books, and audio
to help us to reach the global audience of the future.
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OCTOBER 2016
Using Mobile Technology to Create

New Stories
Oolipo is one of the innovative startups launching at this years fair
umans tell stories. Thats just what we do. It is a fundamental

part of who and what we are. Some write books or make films,
while others tell stories in their everyday lives through videos,
Snapchat, Facebook Live, and texts. About two billion people
have supercomputers in their pocketsand these devices are
now the most widely used tools for both reading and creating stories.
It is in this context that we saw an opportunity to develop Oolipo,
a storytelling platform that uses native mobile technology to shape
the way users engage with stories. With Oolipo, storytellers of all
types can create and publish a new story in a series of eight to 10
episodes. Episodes are five to eight minutes, so that they can be
consumed on the go, with each including video, audio, pictures, text,
GPS, messaging, and other features. This is definitively not the
print under glass experience. And for millennials, who are fast
becoming the largest consumer group, this is crucial. Until now, the
procedure for adapting videoor e-books and textis to take the
existing format and convert it for mobile use, often losing design
features, functionality, or practicality on the way. We believe, how-
ever, that the features that already exist RYAN DAVID MULLINS
on a smartphone can unlock the magic
of storytelling: GPS, 4K video, 12-megapixel camera, billions of
sensors, access to the Internet, a communications platform, touchscreen interaction, keyboard, picture editing tools, maps, music.
According to a recent Nielsen Global Survey, millennials value,
even demand, connectivity, convenience, and options that allow
them to be in control. And with Oolipo, we aim to deliver just
that: a platform to tell stories that are optimized for the capabilities
of the phone.
As publishers grapple with the future of digital publishing and
mobile reading, it is important that they embrace the capabilities
of the technology before them. And Oolipo seeks to provide
creatorswhether writers, filmmakers, or gamerswith the capa
bility to do just that.
Ryan David Mullins is chief product officer at Oolipo. Oolipos presentation is on
Thursday, October 20, 55:30 p.m., at the Publishing Perspectives Stage, Hall
6.0, E11, followed by a launch party, 5:306:30 p.m.
Telling Small Stories

Books in Browsers VII, on November 3 and 4 in San Francisco,
will examine the powerful new tools we use to tell our stories
he most important media company in the world has never

published a book and never produced a movie. Its users share
mostly pictures. Even publishers such as CNN and Vogue are
limited to short videos. And almost all of the content disappears after 24 hours. Yet Snapchat currently has more than
60 million daily users in North America and over 150 million worldwide. Its planned IPO in 2017 is expected to bring in over $25 billion.
In contrast, after a decade of delivering e-books in the ePub format from the International Digital Publishing Forum (IDPF), large
trade publishers in the U.S. and Europe remain on track to have
their key product reduced to a niche market. E-books remain stagnant words on digital paper, priced at a level higher than any other
digital culture. Want an album of music? $9.99 with no digital
rights management, or you can stream it for a pittance. Rent a feature-length film? $3.99 tops. But license an e-book that you cant
even give to a friend? That will be $12.99, please.
For six years, first with OReilly Media and now with the Frankfurt
Book Fair, Ive helped produce the Books in Browsers conference in
San Francisco. Its purpose was to showcase how the Web could enable
new forms of interaction with e-books. The denouement of that phase
came in 2014, when the IDPF digital book standards organization
stood onstage with the Web standards body, the W3C, to announce
that the next-generation e-book standard would fully embrace the
10
open Web. Today, a formal merger of the

IDPF into the W3C stands before its
PETER BRANTLEY
membership for ratification.
And yet publishing still has little in the marketplace to demonstrate its own investment in Web standards. And Storytelling has
moved beyond books. Using images, video, and fragments of text,
everyday users as well as artists, historians, poets, and filmmakers
are creating millions of experiences that inform, entertain, and
speculate. All over the globe, mobile users are producing and sharing videos on social platforms, documenting small pieces of our lives
and binding the planet together in a tapestry of pictures and videos.
And, with accessible virtual reality platforms such as Googles Daydream and Sonys PlayStation VR, were in the early stages of creating immersive, lifelike replications of our world.
This passion is why the Frankfurt Book Fair is pivoting Books in
Browsers this year to examine these newer forms of interactive and
visual story building. Our program, Telling Small Stories, will
explore the rich and exciting diversity of our image-centric world
and the tools creators are using to tell stories. This is the edge of the
future of publishing. We hope you will join us November 3 and 4
at the Gray Area Foundation for the Arts in San Francisco.
To learn more or to register, visit the BiB website (www.booksin
browsers.org).
OCTOBER 2016
Mission Driven
PW talks with SAGE Publishing founder Sara Miller McCune
n an age of disruption and consolidation, SAGE Publishing has

remained a highly respected, stalwart independent publisher in
the social sciences by focusing on the needs of its customers and
authors, rather than those of its shareholders. And its going to
stay that way. We recently caught up with SAGE founder and
executive chairwoman Sara Miller McCune to talk about the companys independent rootsand its future.
In 1965, you struck out on your own and launched SAGE. Tell
us a little about the market then, and why you started the
company?
I founded SAGE just one month before my 24th birthday because
I wanted to improve the publishing industry and change the direction it was heading in. At the time, the industry was experiencing
a wave of merger mania, which was creating problems for authors
who were used to having personal relationships with their publishers. It was a bold step that quickly grew into a mission. My decision
to start the company was also influenced by my personal lifeI was
a self-confident young woman who wanted a career, something that
wasnt as common in the 1960s. My family provided me a successful
model of entrepreneurship, and I was encouraged by my mentor,
George D. McCune, who later became my husband. George and I
made early decisions about the company as a two-person team, often
in our breakfast nook. In fact, many people still dont know that
SAGE is a combination of our names: Sara and George.
Founded in 1965, SAGE became an international player just a
few years later. Why did you make such a bold bet on global
expansion?
The decision to set up a SAGE counterpart in London was either
brave or foolhardy, depending on how one looked at it! In 1971, we
had a turnover of less than a million dollars annually, and decided to
use the cash flow to build our first international publishing affiliatean unusual move, to say the least. But Georges motto was that
a turtle only gets ahead by sticking its neck out. So that is what we
did. Today we have principal offices in Southern California, London,
Melbourne, New Delhi, Doordarshan, Singapore, and Washington,
D.C., and we have sales offices in Beijing, Shanghai, Cairo, Tokyo,
Kuala Lumpur, Kolkata, Mumbai, Chennai, Melbourne, Taipei,
Seoul, and Rio de Janeirowith more to come, as needed.
Can you talk a little about your experiences at the Frankfurt
Book Fair?
SAGE has had a presence at Frankfurt Book Fair for some years,
and we find it more and more important for us every year as our
international presence grows. As the academic landscape continues
to adapt and respond to changes in pedagogy, research, and learn-
ing, so too has the fair. While it

retains its traditional focus on
book sales and rights deals, over
the years we have seen more conversations happening around
developing technologies and ser- SARA MILLER MCCUNE
vices, and in recent years we have
seen more conversations happening on the library side, with consortia members and agents now attending more frequently.
From new developments in technology to open access and
fundamental shifts in higher education, how do you see todays
academic publishing market?
The mechanisms to disseminate our content have morphed significantly over the years, but our primary focus has always been on
knowledgenot paper, silicon, or any other medium. So we are
constantly experimenting, and have moved dramatically into digital.
Whether its upgrading existing projectssuch as the new online
platform our journals will appear on in January 2017or adding to
our products that are born and raised online, such as our collection
of streaming videos in social science disciplines, we have always
embraced new technology to serve our customers and authors.
One of the challenges we are currently addressing is the changing
needs of social scientists in a world of Big Data. Earlier this year, we
created a new unit at SAGE, Product Innovation, and employed Ian
Mulvany, recently of eLife, as its head. Ian will be actively shaping
product strategy and development to support social scientists doing
data-intensive research.
And open access publishing is certainly an area that we have invested in for the long term. From an early partnership with Hindawi
in 2007 to founding membership in the Open Access Scholarly
Publishers Association in 2008 to the launch of SAGE Open and our
acquisition of the 83 journals from the open access publisher Libertas
Academica this September, our support of OA is steadily growing.
SAGE would seem like a natural target for a major conglomerate. But I understand that there is a plan in place to keep
SAGE independent?
SAGE Publishing is known for being fiercely independent, and
Im proud to say that this is absolutely true! I have put in place an
estate plan that guarantees SAGE will not be sold to a large corporation or have to answer to shareholders, and instead will one day
become owned by a charitable trust. Our independence is vital,
because it allows us to remain mission-driven. And I want the people who are working for us and with us, now and in the future, to
understand that were not about profit: were about education and
using knowledge to make the world a better place.
11
The Future is Now:

Come and see the
status of holographic
media and how to
trade the rights in
Hall 4.0 Booth F1.
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Hall 4.0 Booth F1
OCTOBER 2016
Why Print on Demand Just Got More Complex

CCCs Roy Kaufman on the key to effectively managing rights in the digital age
y now, publishers are well-aware that to survive and thrive

in the digital world, they must have the tools to print their
books and journals on demand. Whether a publisher has
shifted entirely to print on demand or is only using it for
managing smaller runs of its backlist, POD has vastly increased efficiency. But, with the arrival of 3-D printing, POD means
more than it used to. For an increasing number of publishers, 3-D
printing will allow easy and cheap production of books and brand-related merchandise, from Tintin figurines to Harry Potter items. In
short, POD doesnt simply refer to pages anymore.
In case youre thinking that 3-D printing is a technology far off
in the future, recent developments suggest that future is now. According to a report by Gartner, shipments of 3-D printers worldwide
increased 98% last year. Thank the plummeting price of 3-D printers; every year more models below $1,000 and even below $500 are
being released. Publishers will do well to take advantage of the
technology, especially in the lucrative markets for licensed products.
But 3-D printing capability also creates more complexity. Historically, publishers have needed to track content and rights not only
for the publication but also for all of the related supplementary
materials, promotional copy, instructors and solutions manuals (for
textbooks), and localized content editions. Juggling all of that text
content is tough enough. But 3-D printing can multiply this confusion, creating the need for publishing employees to manage complex CAD files, each consisting of many layers of datadata that
was once the provenance of a relatively small group of engineers and
CAD design specialists. Thats why publishers must have access to
good enterprise content management (ECM) to help them stay on
top of anything that can be printedfrom text to figurinesand
the various instructions and rights that go

along with them.
Take a company such as Scholastic, which
could now conceivably decide to do 3-D
POD, either itself or through licensees, for
Curious George merchandise. Scholastic
employees would not only need the printing
instructions, but would also need to know
who owns the rights to Curious George in
various territories and to make sure that the ROY KAUFMAN
yellow hat is the right shade of yellow. Multiply these kinds of
questions by many different publishers, books, figurines, and curious monkeys, and its clear that publishers need an ECM that keeps
track of everything in one place, including the rights around text,
images, and 3-D-printed merchandise.
Another example might be a publisher at a book fair like this one,
hosting a booth that offers customers the chance to get their faces
photographed and superimposed on figurines wearing a Hogwarts
uniform. If you happen to own the rights to Harry Potter, a good
ECM makes it possible to maintain standards and control without
Muggles having to spend valuable time checking that those controls
are in place.
In the past, publishers could muddle through without a good
ECM. But in a 3-D print-on-demand world, all assets now need to
be stored and managed so that they can be easily found, exported,
and licensed to third parties for local printing. A good ECM is the
publishing system of the future, however that future is defined.
Roy Kaufman is the managing director of new ventures at the Copyright Clearance Center.
What Are You Leaving on the Table?

PW talks with attorney Brian D. Siff, of international law firm Duane Morris,
about IP rights in the digital age
Copyright often dominates the IP conversation. But in the digital
age, what else should publishers be thinking about?
Several thingsfor example, trademark rights, which can include the
name for a book series, or a particular unique character in a series of
books. Many popular book series are being turned into movie series
where licensing trademark rights plays a huge role in the marketing of
products that come with a movie series launch. Even patent rights can
play a role, for a new type of book or product sold with a book. And
publishers often have trade secrets, although some may not realize they
are sitting on this type of intellectual property. And of course, licensing
14
Brian D. Siff with his client Clifford the Big Red Dog.
OCTOBER 2016
is such an important facet of the publishing industry todaywhat

you license may actually bring in far more revenue than the original
property.
One of your more famous clients is Clifford the Big Red Dog
or, at least, Cliffords publisher, Scholastic. What kind of trouble Clifford has found himself in?
Yes, I represented Clifford in connection with a patent mattera unique ice bag for icing childrens injuriesbasically cold
gel in the belly of a Clifford stuffed animal. But one of the larger-scale projects I handled for Scholastic involved its website. Back
in the day, I remember ordering books from Scholastic by filling
out a form in pencil. Scholastic has since successfully moved online, and quickly became one of the top-50 online retailers in
North America. But with that success, came the patent trolls,
who were suing many top online retailersincluding Scholasticover common aspects of any website. As the number of these
cases grew, I planned and implemented a strategy for managing
and defending these lawsuits for Scholastic in an economical and
successful manner.
The digital environment obviously has changed the game significantly. How has your work has evolved with the advent of
digital?
Scholastic is a perfect example. With the advent of the Internet, any
book is now instantly available in digital form, and many students now
read books on their computer, tablet and even their phone. From a legal
perspective, this new technology has raised everything from companies
protecting and licensing new technology to various intellectual property rightsand its ongoing, as digital is changing all the time
What advice would you give publishers today?
That publishing is very tied to, and even dependent on, all kinds of
intellectual propertycopyrights, trademarks, branding, patents,
trade secrets. I often I have conversations publishing representatives
in which we discuss the companys strategy for advancing a brand,
or the prevalence of a product or character. Inevitably, that conversation leads to the discovery of lots of unrealized intellectual property that the company was not monetizingliterally, an untapped
income stream. I recommend every publishing company sit for an
IP audit to ensure the company is protecting and monetizing all of
its IP. There could not be a better legal investment.
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15
OCTOBER 2016
Balancing Act
A librarians take on European copyright reform
STEPHEN WYBER
ithout question, its been a turbulent few years for the

book and journal value chain. Up to now, publishers
have been the business angels, identifying and coaching promising writers and bringing their work to
market. Libraries used legally purchased content to
instill a love of reading and to support research and author discovery,
thanks to copyright exceptions. As such, both created value, not just
in revenue terms but also in promoting innovation and public welfare.
In the digital world, however, things are changing. On the positive side, technology has given more people access to more information and culture than ever before. However, the shift from sales of
hard copies to digital licensing has also posed a challenge to the
copyright rules that, at their best, delivered balance in the traditional value chain.
As we seek to respond to digital-driven changes in the value
chain, defending traditional business models should not lead us to
lose sight of the importance of continuing to create value for all. For
Cenveo Publisher Services delivers a

full-range of technology, content,
and delivery solutions that increase
revenue and streamline workflows
while ensuring editorial integrity.
example, publishers have paid significant attention to combating

digital piracy through contractual and technological means. However, these efforts have also led to much tighter control on what libraries and other users can do with legally acquired works. When
such measures lead to the denial of rights previously enjoyed by the
public under the law, it reduces value for all of society.
As copyright reform in Europe advances, decision makers will
need to focus on how best to preserve the balance in copyright that
allows both libraries and publishers to create value for society as a
whole. And it is important to remember there is no one model of
creativity or innovation. Culture for free coexists with culture for
a fee. Each creates value, even if this is not always measurable in
immediate financial terms.
We also must acknowledge that the publics expectations in the
digital age are changing. Increasingly, access to works must be easy,
affordable, and cannot stop at national borders. Yet e-books are often
not made available to libraries, or they are offered only with significant restrictions. Scholarly journals are subject to above-inflation
people
process
We believe in people, process, and

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technology
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16
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OCTOBER 2016
Maximizing value for authors and readers, today and

tomorrow, is a goal libraries and publishers share.
price increases. But restricting access and raising prices merely
sacrifice long-term revenues for short-term gains. And it risks pushing law-abiding people away from legal channels, such as libraries.
On that front, the proposals for copyright reform released last
month by the European Commission are disappointing. As International Federation of Library Associations and Institutions (IFLA)
president Donna Scheeder has observed, It appears that policy
makers were more concerned with making concessions to one or two
particular industries than with fostering the public good.
For example, libraries welcome the commissions proposal to
make the right to perform text and data mining (TDM) on legally
accessed materials mandatory across Europe. However, restrictions
on TDM under the proposal merely prolong the uncertainty faced
by researchers and ignore the fundamental principle that the right
to read should be the right to mine.
Similarly, the current proposals on access to out-of-commerce
works, as well as digital preservation issues, will not enable libraries
and cultural-heritage institutions to serve their users adequately or
fully achieve their public interest missions. There are also conspicuous gaps in the ECs proposals, regarding, for example, e-lending,
remote access to library resources through closed networks, and
cross-border document provision.
Without a more far-sighted approach by the EC, we risk seeing
the legal channel our libraries and cultural heritage offer become
less and less attractive in comparison with infringing alternatives.
Fortunately, the European Parliament and Council still have time,
as well as solid reasons, to improve things.
Maximizing value for authors and readers, today and tomorrow,
is a goal libraries and publishers share. And as librarians, we welcome a conversation on how best to deliver value in our evolving
digital world. We look forward to exchanging ideas on how to
identify and overcome the barriers to providing the best possible
service in a digital age.

Stephen Wyber is a policy and research officer with the International Federation of
Library Associations.
The new, one-stop,

discovery gateway for
Open Access Content
17:00 - 18:00
Thurs, 20th October
Stand L35
Hall 4.2
@ingentaopen
#openaccess
OCTOBER 2016
Game Planning in the

Digital Solutions Industry
Redefining and delineating the digital content proposition for the long term
hen the dynamic digital solutions world, which is

peppered with and propelled by technologies that
often come fast and furious, meets the long-established (and somewhat-plodding) publishing industry,
finding common ground is not easy. The winning
strategy for both sides seems to be about changing the rules and
playing the long game.
To successfully transform a company or an entire industry, one
must first change the mindset, says Knut Nicholas Krause, the
founder and CEO of KNK Business Software. He notes that his
company always strives to inspire the publishing industry with
valuable new concepts and methods. Krause adds: We work with
publishing clients to expose underlying issues and change their
approach. We help them to change the company culture by empowering the entire organization. We do not view their IT system as
something that should exist in isolation. In fact, in order to achieve
powerful results, we have to look at the whole picture, which includes the strategy, systems, and culture.
Most publishers, adds Krause, are still using software systems that
were designed to manage and sell print products. But, in this age
of digitization, varied media formats, and shrinking margins, publishers must increase efficiencies and streamline processes in order
to become more flexible and agile, he notes. And these processes
and softwares run the gamut, including editing and media production, optimizing metadata management, and marketing automationand we have these modules under KNKPublishing to help
clients.
The relationship between a digital solutions company and its
publishing client should also be more symbiotic, says Vinit Khanna,
the founder and CEO of OKS Group. This means stepping away
from the role of provider into that of a partner, he says. The more
clients share with us their goals and visions right from the start, the
better we get to know them, and the faster we can think for them
and more effectively anticipate their needs.
With increased interactivity and mobile usage in the classroom
changing the way that content is conceptualized, a symbiotic relationship, says Khanna, will help our team to assist authors and
editors to visualize the final product and get it right from the beginning. At the same time, our role as a partner also means allowing
the client to have more control over the production processes with
real-time access to their content. This has led us to developing a
bundle of solutionsthe cloud-based E2E workflow platform, for
instanceto facilitate delivery of updated content faster to the end
consumer, and let publishers respond to market demands in the
18
BY TERI TAN
shortest time possible.
Trade publishing aside, the marginalization of print is in the
works, and for the STM sector, it is already here, says Walter Walker,
the president of CodeMantra. Where publishing effectively provides for the delivery and exchange of information, there can be
little doubt that digital is the dominant format, he says. Increasingly, it is digital content that educational publishers have to pay
attention to, and it is not just about enriching content for discoverability or the ability to sell direct. It is about establishing a symbiotic relationship with the customer that then brings about intelligent product development.
Rethinking Digital Rights

and Accessibility
The adoption of e-book watermarking, or soft digital rights management, continues to grow. Convincing publishers who strongly
believe in Adobe DRM will take some time. But, once confronted
with licensing and support costs, or hard DRM user experience
issues, publishers will realize that social or soft DRM is the better
alternative, says Huub van de Pol, the founder and CEO of Icontact,
the developer of the leading watermarking and personalization delivery platform BooXtream.
Increased personalization in e-books is becoming trendy. Some
end consumers want their name on the old-fashioned bookplate, or
take the visible feature to the next level by incorporating personal
membership information or a personal note from the author.
BooXtream can even add a personal digital handwritten note on the
second page of an e-book, says van de Pol.
Future watermarking applications may include integration into
blockchain technology, which constitutes one of the building blocks
of Bitcoin, a digital asset and payment system. There are now some
research projects in this field where BooXtream is one of the technology providers, van de Pol adds.
Then, there is the pressing need for accessibility. It is the
800-pound gorilla in the room, says Walker. While accessibility
is clearly a requirement among K12 publishers in the U.S., those
in higher education have not been as compelled to provide Section
508compliant materialsalthough this is changing. Accessibility
is also becoming an issue with STM journals now that public and
institutional libraries are addressing these concerns. It throws a
pretty big wrench into the works, especially for a publisher used to
the traditional print workflow, where digital is a derivative output.
Producing alternative text in the wake of a textbooks going to
print makes it difficult to deliver a concurrent and economically

accessible version. And that can put an entire adoption at risk,
Walker notes. The snowball effect is that there is now a bigger push
to build workflows that deliver quality and concurrent print and
digital outputs.
Reassessing Profitability
and Efficiencies
Publishers are spending a lot of time, money, and resources to create
more products in different formats, says Krause, of KNK Business
Software. But this is not necessarily a good strategy, he says. It is
hard to consistently introduce profitable new products if you are
producing them inefficiently, which results in high costs, poor usability, and slow time to market. Some publishers may still have
old profitable products that help to mask these losses. What is
needed are efficient processes and effective reporting with analysis
tools to quickly learn and react to market changes.
The publishing sector is certainly placing a larger emphasis than
ever on time to value, says Randy Petway, chief revenue officer of
Ingenta. They want to move from the point where they have identified a needtechnical, functional, or businessto the point of
having implemented a solution that meets the need in a fairly rapid
time frame, he says.
What complicates matters, Petway explains, is that the publishers want to do so without sacrificing quality or introducing undue
risks, and yet maintaining a flexible environment that will support
both growth and a frequently changing marketplace. This has always been a challenge for publishers, but the current environment
has brought it to the forefront. The need for more complex projects
with customization and significant and/or complicated configuration has not disappeared, adds Petway. But there are far more scenarios where a customer is interested in starting with a contained
initial scope, provided there is a flexibility to extend the solution as
and when needs dictate, he says.
What is obvious is that integration of publishing processes is
becoming more urgent. Publishers have been making substantial
investments in technology, service enhancements, and additional
offerings to their content for a while now, and so have solution
providers, says Uday Majithia, assistant v-p for marketing and
presales at Impelsys. This has resulted in a continuous integration
of workflows on a single comprehensive platform that can undertake
authoring, editorial, composition, enrichment, and delivery of content. Add e-commerce, single sign-ons, analytics, and third-party
mobility solutions to it, and seamless integrated workflows will be
the future.
With sensibly designed infrastructure, adds Majithia, workflow
automation will elevate production efficiencies to new levels. He
notes, Reduced production lead time will mean that publishers can
save time and cost.
With publishers looking to do more with their core content assets, there is also a surge in requests for tailor-made efficiency solutions. Automation is the buzzword, Majithia says. Production
automation brings about innovation and interactive products to
market faster at lesser costs, while analytics automation helps publishers derive meaning out of vast amount of data and devise strat-
20
OCTOBER 2016
egies that can directly impact the bottom line.
And a healthy bottom line, naturally, is the true driver of any and
every digital solutions provider (and publisher). As for how the long
game is being played to produce positive bottom line, the following
pages highlight what some companies are doing in terms of strategy, commitment, and vision.
CodeMantra
Enhancements to CollectionPoint 4.0, the next generation of CodeMantras flagship content services platform, have continued unabated. Our software tools and platform are helping publishers assert
control over three primary interactions along the publishing life
cycle, says Walter Walker, president of CodeMantra. The first is
the ability to manage metadata and content contiguously from the
development stage to finished goods and market delivery. The second is collaboration when developing content, especially in a global setting where there is a broad array of contributors. And the third
interaction is that of engaging customers through content-driven
networks and communities. Hes referring here to CP 4.0s three
categories of services: Manageon CP; Collaborateon CP; and
Engageon CP.
We have customers managing the development and consolidation of metadata using our digital warehouse solution, Walker says.
We also have customers using a combination of our CP platform
and our services to fulfill their requirements for a quality assurance
and archival workflow. He adds that CodeMantra is steadily expanding its core business in the education and STM segments.
Several customer-driven initiatives are in the works, Walker
notes, including one that involves a partnership with a major global content aggregator. Though these developments are not ready for
unveiling, he says that the most illuminating aspect of all of these
initiatives is the consistent pattern among companies to improve
the scalability of their businesses and operations. The demand for
our CP 4.0 platform has been about the consolidation of data and
content and the uniform approach to manage it. So we are working
along these lines to further improve our solutions.
At the core of CodeMantras market approach is what Walker
refers to as the solutions for problems that keep publishers up at
night. CodeMantras overall goal, he adds, is to develop strategic
partnerships with clients. We want to sit down with them to discuss
immediate and long-term impediments to their business and operational initiativestackle the pain points or inefficiencies, for instanceand develop an integrated solution blending platform and
services.
Automation is key, Walker says. When it comes to production,
it is the only way we can achieve the cost savings, quality, and turnaround times publishers are looking for, he adds. Invariably, au-
OCTOBER 2016
tomation requires some compromises by way of consistency. But,
when it comes to production workflows, the majority of our customers are more than willing to comply. Still, we feel we do a great
job of delivering the level of variety and flexibility that publishing
demands. Ours is not a one-size-fits-all approach.
Learn more about CP 4.0 and CodeMantras solutions for automation and content management at booth A97 in Hall 6.2, and join
CEO Ed Marino for his talk, Strategic Alliances for Future Success, at the Publishing Perspectives Stage in Hall 6.0 on Wednesday, October 19, at 4 p.m.
DiTech Process Solutions

Launching 3ClicksMaster is DiTechs main agenda at Frankfurt. An
automated publishing services platform, 3ClicksMaster is defined
by three simple processes: Create (covering copyediting and XML
conversion), Design (autoflowing created XML into InDesign or
predetermined document type definitions), and Publish. The last
and the third process enables the creation of print PDF, XML,
ePub3, and HTML5 on the fly. These three processes are designed
to be easily reconfigured for any publishing workflow, explains
founder and CEO Nizam Ahmed.
The platform, Ahmed adds, is customizable, flexible, and editable, and it covers content for the Web, print, and mobile. It is an
ultraefficient system that allows us to produce more typeset and
ePub pages than ever before, and such efficiency will go a long way
in convincing clients to be our long-term business partners.
The creation of 3ClicksMaster, Ahmed says, was prompted by
the dynamic changes in the publishing industry and demands from
end consumers. Factors such as short turnaround time, higher
quality expectation, cross-media publishing requirements, and low
costs can only be addressed by deploying technology, and that
technology must guarantee top quality as well as high quantity
using minimal human intervention, he says. And this is where
3ClicksMaster comes in: a solution to the challenges and changes
in the marketplace.
In addition to 3ClicksMaster, the DiTech team has added more
services to its portfolio, including copyediting, photo research,
content creation, video editing, PDF/ePub toggling, and data mining. A recent project involving hard copies of medical images with
multilayered transparency sheets from a German publisher, for instance, required DiTech to create toggles between PDF and ePub
formats using JavaScript. The end user will be able to hide a layer
or layers and see exactly what they want to see, or complete an image by clicking on the toggles. The project was successfully delivered during the specified time line, and the client has since sent over
several thousands of hard copies of medical images for more PDF/

ePub toggling, Ahmed explains.
For another project involving video editing, the team had to
incorporate MP4 videos into PowerPoint slides. Our German
client, for instance, would provide us with an open-heart surgery
video and content detailing the operation in Word format. Our task
is to create the slides and integrate the MP4 video where it is most
appropriate. At times, we have to supply video subtitles in multiple
languages, says Ahmed, who will be at booth J71 in Hall 4.2 to
provide demos on 3ClicksMaster and various DiTech services.
Icontact/BooXtream
Being agile and flexible is one of the hallmarks of BooXtream, a
leading watermarking and personalization delivery platform from
Amsterdam-based Icontact. Since BooXtream is offered as a SaaS
solution, we are able to upgrade and improve the technology and
algorithms whenever necessary, and implement it without the need
for client-side software reinstallation, explains founder and CEO
Huub van de Pol, whose team has made sure that BooXtream maintains its compatibility with all ePub variants and supports more
languages (such as Bulgarian, Finnish, and Romanian) while constantly updating its WordPress plug-in.
For instance, BooXtream Dashboard, its Web-based control panel, was recently updated to offer more transactional insights. Demand for increased customer and usage data has also prompted us
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to develop a new reporting tool to enable clients to download raw
data and integrate it into their back-end operations. The end user
naturally would not notice these changes, because, from an
e-book-standard perspective, nothing has changed, and all apps and
devices happily accept our watermarked e-books, van de Pol says.
Singapore-based trade publisher Monsoon Books, for instance,
uses BooXtream for direct e-book sales from its Web shop. In addition to the invisible but traceable e-book watermarks, the publisher also offers visible BooXtream personalization features. Readers
can lend the e-book to a friend or family member as they would a
OCTOBER 2016
paperback, with their name, email address, and transaction details

included in the e-book to discourage piracy.
U.K.-based Firsty Group, a systems integrator company offering
direct-to-customer Web shops, has implemented BooXtream services into its back-end operations. This enables their publishing
clients to choose e-book watermarking and personalization on a
Supporting Self-Publishing at MPS

Managing content quality and competing with marketing programs
from larger commercial publishers
are among the biggest challenges
facing the self-publishing sector,
says MPS CEO Rahul Arora. Then
there is the pressing need to build a
strong reputation and brand identity to be heard in the crowded marketplace, he adds. Of course, the
self-publishing portals also have to
deal with the start of a plateauing
revenue growth.
So, while the challenges are many,
they are definitely solvable with the
right set of solutions and strategies,
Arora says, citing two strategic (and
unique) partnerships for the academic segment.
Glasstree, the new academic publishing subdivision of Lulu Press, has
benefited from its partnership with
MPS North Americas author services solutions. We offer our publishing services through a customized
platform to assist authors on
improving the quality of their content, Arora says. We also offer customized marketing services to interested authors. This platform, named
Glassleaf, is developed by MPS, and
is tightly integrated with Glasstree.
Through Glasstree, authors have
access to an array of competitively
priced supplementary services,
including peer review, book editing,
translation, project management, and
marketing assistance. The whole
notion for this platform is about
22
giving academics the control of their

works and copyrighted materials,
and the ability to choose the license
under which these are published,
Arora says. They determine the publication date, set the retail price, and
earn 70% of the profits from the sale.
They are able to track the bibliometrics of their works on a professional
dashboard, and when discoveries are
made in their respective fieldswarranting a new edition of their work,
for instancethey choose when to
update, revise, and republish. This
workflow ensures that the content is
always up-todate in the
ever-changing
academic environment.
Currently in a
limited free-trial
period, the
Glasstree platform allows authors to
publish as many titles as they wish at
no charge. At the initial stage,
Glasstree will publish booksmonographs, theses, series, textbooks, for
instancein both soft- and hardcover formats in a variety of paper
stock and binding options. E-books,
including open access e-books, are
accepted as well, says Arora, pointing out that the next phase will focus
on article-based publishing, journals,
conference proceedings, and data
sets.
The second partnership is with
New Yorkbased Exeley, a newly
incorporated company focused on

offering publishing services to open
access publications worldwide. In
this case, the MPS team customized
its ScholarStor platform to fit the
companys requirements. We provide a hosting platform for different
types of content, and integrate these
publications with online content,
social media, databases, and libraries, says Arora, explaining that
ScholarStor is the next-generation
platform for scholarly publishing
that focuses on empowering publishers to self-manage their online content and make it
available to readers on all channels.
Multilingual,
publisher-branded,
and mobile-compatible, ScholarStor is about increasing content discoverability and searchability. It supports digital-first and open access
business models, and integrates seamlessly with online content usage measurement modules for counter and
publisher reports. ScholarStor also
offers an integrated order fulfillment
system with powerful reporting and
analytics.
For more information and demos
on MPSs suite of platforms and solutions for self-publishing and other
market segments, visit Arora and his
team at booth N10 in Hall 4.2.
Teri Tan

title-by-title basis through their respective Web shops. One of the
clients is Bradt Travel Guides, which chose to enable BooXtream
in its D2C Web shop so that they sell watermarked e-books instead
of DRM-locked titles, says van de Pol, who will be at booth D83
in Hall 6.2.
Future BooXtream development, van de Pol adds, is based on a
two-pronged strategy. On one side, we see an increased demand for
more ready-made plug-ins for standard e-commerce platforms,
which obviously has to do with more self-publishing authors discovering the advantages of e-book watermarking. On the other,
enterprise customers are demanding for new APIs and better reporting. Answers to these two trends form our road map for the future.
For more on BooXtreams technology, capabilities, and plans,
head over to Hall 6.2s Hot Spot Digital Innovation to listen to van
de Pols talk, E-book Watermarking and Personalization: Beyond
a Better DRM, at 10:30 a.m. on Friday, October 21.
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Impelsys
The need of the hour, says Uday Majithia, assistant v-p for marketing and presales, is customized technology services coupled with
operational efficiency solutions that can be seamlessly integrated
into existing client-side digital infrastructure. That bring us to
several new standalone SaaS-based services that have evolved from
essential features of our delivery platform iPublishCentral, including
EZ MARC [for cataloguing record service for libraries], iPublishCentral Insights [for on-demand analytics], and iPublishCentral
Reader [for online/offline readers].
The iPublishCentral Gears content production automation solution is the latest software as a service addition from Impelsys. With
Gears, content publishers can initiate a composition, transformation, or enrichment job based on predetermined automated workflows, explains Majithia. The platform is designed to execute a
variety of automated jobs on demand and track progress in real-time
through an intuitive dashboard. Gears can substantially reduce
production lead time and help publishers to get their products to
market faster at lower costs.
Impelsys is also focusing on adaptive e-books this year. The
concept of adaptive e-books takes its origin from the fact that every
person has a unique learning curve, and that personalized content
aligned to that persons learning curve promotes improved learning
outcomes, says Shyam Shetty, executive v-p for e-learning and
technology services. Adaptive e-book takes an individual through
a personalized learning path, doing away with already familiar
lessons, and traversing only topics that are new to the learner, thereby increasing the overall learning efficiency, he adds. This is what
we are working on right now.
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Meanwhile, Impelsyss flagship platform, iPublishCentral, which
is used by more than 150 publishers, continues to find new users.
For instance, a professional association that provides mandatory
continuous education for medical practitioners is using the platform
for remote experiential learning solutions. At this association, students are required to complete a simulation program on a medical
mannequin, whereby the interactions are recorded and captured on
the learning platform for certification purpose. Our solution integrates the product firmware with the learning platform to enable
students to take the simulation at designated centers, and the credits
are automatically added to the course credits on the iPublishCentral
Learn platform. It showcases iPublishCentrals flexibility and range
OCTOBER 2016
of solutions that can be tailored to suit each publisher or education
provider, explains Shetty, whose team will be at booth J55 in Hall
4.2 to provide demos on this platform, Gears, and more.
CEO Sameer Shariff will also be talking about Transformation
of Publishing from Reading to Learning at Hall 4.2s Hot Spot
Professional & Scientific Information at 5 p.m. on Wednesday,
October 19.
Ingenta
There have been a slew of new initiatives in the past six months at
Ingenta, where the focus has remained firmly on building a network
of value-added partners. Through our relationship with Digital
Cenveo Publisher Services on E-learning and Digital Solutions

The miniaturization of learning in
the education market is becoming
obvious as students need quick hits
of concepts rather than long,
unwieldy lessons, says Waseem
Andrabi, senior director of global
content services at Cenveo Publisher
Services. The Cenveo team, in addition to building complete courses,
has been partnering with publishers
and contentcentric organizations to
create specific digital assetsanimations, games, and interactivesthat
aid students in learning concepts
quickly. We are able to create and
structure content for adaptive
engines that provide robust personalized learning paths, feedback, and
performance evaluation, explains
Andrabi, who is seeing authoring
and publishing platforms becoming
more mature, both off-the-shelf platforms such as Habitat and Aquafadas, and proprietary ones such as
McGraw-Hill Educations
LearnSmart and Cengage Learnings
MindTap.
We create courses and assets that
are technology- and platform-agnostic. Our team of developers, subject
matter experts, and instructional
designers are fluent across multiple
languages, disciplines, and platforms.
We closely monitor market trends
and situations that impact e-learning
and delivery, such as the battle
among Apple, Google, and Microsoft
for dominance in the class-
24
room-learning ecosystem, adds

Andrabi, whose team also helps
guide publishers in the evolving landscape by paying close attention to
news in the device world, such as the
rise of Chromebook against tablets.
Adaptive learning, Andrabi says, is
already transitioning from being a fad
to becoming a fact. We expect technologies such as virtual and augmented reality to make more frequent
appearances, he adds. In fact, we
are seeing this in a number of projects
we are working on, including a preK12 social studies program that
offers 360-degree
videos of historical places such as
the Roman Colosseum to augment
the course content. Testing and
assessment, Andrabi points out, are
ripe for disruption because formats
such as multiple choice and fill in the
blank have not changed significantly
over the years.
Meanwhile, security is becoming
more important than ever to publishers as e-learning becomes ubiquitous in the classroom, says marketing director Marianne Calilhanna.
Fortunately, todays digital learning
content is hosted behind secure,
access-controlled systems, and the
playback of content is not easy to
replicate or copy.
It is an exciting time to be in the
digital education landscape, and we
are thrilled with the relationships

that we have with well-established
publishers and new niche content
providers, Calilhanna says. In the
last three years, digital learning in the
education market has made enormous strides. Our team has transformed static, template-driven
read-and-interact lessons to sophisticated interventions such as games,
simulations, virtual labs, and multimedia. As a full-service, technology-driven partner for digital content
creation and transformative publishing solutions, we have logged several
thousand hours of
content created
from scratch and
successfully delivered.
Some samples of Cenveos extensive
portfolioincluding case studies for
McGraw-Hills Everyday Mathematics series (requiring the creation of
more than 300 math games using
HTML5) and Golden Voice English
Online Education (covering 700 animations, 325 interactive listening
exercises, 144 unit assessments, and
much more)are available from its
website (cenveopublisherservices.
com/digital).
To schedule an appointment for
demos of Cenveos myriad services,
contact sales and marketing director
Marion Morrow (marion.morrow@
cenveo.com), who will be at the fair.
Teri Tan
Science, for instance, we are now in the position to offer solutions

such as Altmetric to our customers, says chief revenue officer Randy Petway, adding that the partnership exemplifies our commitment to increasing the ways in which we can service the publishing
community.
Ingentas acquisition of 5 Fifteen, a leading provider of advertising solutions, Petway says, was born out of our partner strategy,
but ultimately evolved into an acquisition that will provide us with
the opportunity to not only increase our product offerings, but also
to facilitate growth by allowing us to enter verticals that are adjacent to our historical target of publishing markets. Another partnership, with Web-based service provider Kudos, is aimed at helping the 300-plus publishers hosted on the Ingenta Connect platform
maximize the visibility and impact of their published articles.
Ingenta Go is the latest product to leverage the companys bestof-breed solutions for CMS, rights, royalties, and product management. This is about a reduced time to value for the customer. Ingenta Go offers no modification, minimal configuration approach
to project execution, while at the same time providing products
with a robust feature set, and the ability to grow into future needs
through extension and configuration, explains Petway, whose team
will be at booth L35 in Hall 4.2.
The latest Go project, for instance, utilizes Ingentas CMS offering. We are at the tail end of a content-type agnostic delivery
platform and online portal project that is on schedule to be delivered
in half the time of a typical implementation of this type and magnitude, says Petway, pointing out that the customer, a recognized
leader in the EMEA information industry, has a client base that
includes a wide array of local and international libraries as well as
public and private organizations. Despite the shortened time frame
for the project, Petway and his team expect to provide a solution
that will allow our client to build on their reputation for quality
online content delivery.
At Frankfurt, Petway will host the Know Your Rights: Benefits
of Digital IP Management panel at Hot Spot Digital Innovation
in Hall 6.2 at 9:30 a.m. on Wednesday, October 19, with representatives from the London Book Fair, BookBrunch, and IPR License.
Simultaneously, over in Hall 4.2, at Hot Spot Professional and
Scientific Information, Byron Russell, head of Ingenta Connect, will
chair What Can We Do to Make OA Content Really Discoverable?, with a panel of scholarly publishing experts on open access.
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KNK Business Software

Visitors to booth F1 in Hall 4.0 are going to be greeted by robots
and holograms this year. This is about ideas for the future of content and media, and KNKs focus on providing inspiring software
and ideas to publishers for their IPs, says founder and CEO Knut
PublishersWeekly
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@PublishersWkly
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25

Nicholas Krause, whose company offers KNKPublishing,
the only Microsoft-certified
publishing software in the
world. We now offer marketing automation add-ons for
publishers based on Microsoft
Dynamics CRM, and new social engagement functions for
editors, public relations, and
marketing based on Microsoft
Social Listening. We are also implementing machine learning for
picture recognition and tagging.
With a roster of new clients, KNKPublishing has broadened its
portfolio across market segments in the past few months. A European online database publisher with revenue at the $100 million
level implemented KNKPublishing software in all departments to
replace a competitors product over the course of 18 months. We
filled several existing functionality gaps, especially on rights and
royalty management of online books and magazine content sold
with a flat fee, as well as pay-per-use, Krause says.
At Bastei Lbbe, Germanys third-largest trade publisher, Krause
and his team streamlined the entire content creation and media
production process by implementing product hierarchies and metadata inheritance modules. It allows for easy management of varied
media formats while creating gold-quality metadata that significantly drives sales, Krause says. Additionally, we implemented
CRM to better connect the client with their end consumers. We are
currently in the process of adding marketing automation.
KNK is helping educational publishers such as Canada-based
Emond Publishing manage content snippets of textbooks with its
integrated media assets and rights management modules. We help
to create content that can be used by e-learning and mobile-learning
platforms. Our role changes with the requirements of each project.
With academic publishers such as U.K.-based Hogrefe, for instance,
we are helping to sell their content online. But one thing is consistent with these projects: these publishers are innovators in their
respective segments, and we are here to inspire and enable them to
achieve their goals. Our main function in the ecosystem is to apply
Microsofts most recent technologies in a way that publishers can
put to best use, Krause adds.
Stop by the booth to check out KNKs holography projector, or
attend its public sessions: Power BI, on state-of-the-art business
analytics and insights, on Wednesday, October 19, at 3 p.m.; CRM
& Marketing Automation on Thursday, October 20, at 3 p.m.; and
Project & Metadata Management on Friday, October 21, at 11 a.m.
OKS Group
The last few months have been very busy at OKS Group. Its cloudbased workflow platform, E2E, is now live at a leading academic
publishing house, where editors are collaborating concurrently. The
platform functionalities are up and running, including a built-in
reference manager configured for The Chicago Manual of Style and
Harvard, MLA, and APA styles; an XML export/import plug-in;
26
OCTOBER 2016
and predetermined client document type definitions. The next
phase will see authors starting to write their works directly on the
platform itself and seamlessly collaborate with editors across locations and time zones, says founder and CEO Vinit Khanna, adding
that the E2E platform can be easily adapted to fit and strengthen a
publishers existing workflow.
In terms of publishing services, the OKS team has also implemented an XML-first InDesign workflow with round-tripping capabilities, and a SmartPage process that partially automates page
proofs of complex InDesign styles to bring about improved efficiency and productivity. The OKS R&D team has also created a customized tool to convert MathML to PowerMath and vice versa to transcend the limitations in InDesign and PowerMath.
These new tools and solutions have provided answers for a major
European educational publisher that had sought to migrate its
traditional publishing processes to an XML-first workflow in a bid
to boost its digital market share. What we delivered is a diverse
range of customized solutions to streamline and enhance the clients
internal workflow and customer-facing processes. These include
templates created and validated to facilitate accurate XML output,
and tools to auto-update XML/InDesign content changes and allow
the creation of author preview proofs based on CSS Paged Media,
explains Khanna.
As for the e-learning app MarkSharks, a unique flip classroom

system from OKS Education, it has been downloaded more than
100,000 times from Google Play and offers expanded coverage of
mathematics for grades 811. The latest development of a custom-built HTML5 tool makes creating language-customized versions of the same content so much easier. Now the app has responsive
content that changes with screen orientation accompanied by synchronized audio-video functionality, which was something previously difficult to achieve in the early days of HTML5, says Aditya
Tripathi, CEO of OKS Education. This specially developed
HTML5 tool is radically distinctivewith no equivalent in the
market yetand it can build unique content for desktops, mobile
devices, smartboards, and any other electronic medium for content
distribution efficiently and with great quality.
To learn more about this unique HTML5 tool and other OKS
Group solutions, contact marketing@oksgroup.com to arrange an
appointment.
cinestate.com | @cinestatement
Pearson remains the largest publisher

Pearson maintained its place as the worlds largest book publisher
in 2015, but that doesnt mean the UK-based company didnt face
its share of challenges. The company began a major restructuring
effort in the year that included the sale of the Financial Times and
its stake in the Economist. Pearson also announced in January
2016 that it will cut about 4,000 jobs from its worldwide
educational publishing operation, in an attempt to create a
single global product organisation. Pearson embarked on the
overhaul to adapt to changes in the educational marketplace.
Those changes were a major factor in total revenue at the
company falling from more than $7 billion in 2014 to $6.6
billion last year. The five largest publishers in 2014 retained
their positions in 2015 on the Livres Hebdo/Publishers Weekly
ranking, but that stability masked some notable shifts that
took place among the global giants. For one thing, Pearson
was not the only publisher that saw revenue fall between
2014 and 2015. In fact, more than half of the companies on
the global ranking had a decline in sales last year.
Among the factors for the revenue drop were weak
economies in some countries, disruptions caused by the
2016 2015 Publishing Group
rank rank or division
increased use of ebooks and other digital content, and

currency fluctuations. Like Pearson, many publishers took
aggressive steps in reaction to the changed market
conditions. One of the biggest deals in 2015 was the merger
of the Holtzbrinck-owned Macmillan Science and
Education companies (excluding Macmillans US higher
education and trade properties) with Springer Science +
Business. The merger was completed in May 2015, with
Holtzbrinck holding a 53% stake in the combined
company, which was renamed Springer Nature.
The deal had a direct impact on the global ranking. With
the shift of revenue from its professional and education
business to the new entity, Holtzbrincks sales fell to $1.2
billion in 2015, dropping the company from 10th place on
the 2014 list to number 19 last year. The new Springer
Nature was the 15th largest publisher in 2015 (Springer
Science + Business Media was the 20th largest in 2014).
For the full list of top publishers and detail on exactly how the table was compiled,
go to http://www.publishersweekly.com/pw/by-topic/international/internationalbook-news/article/71268-the-world-s-52-largest-book-publishers-2016.html.
(in millions)
Parent company
Parent country
2015
revenue
2014
revenue
Pearson
Pearson PLC
UK
$6,625
$7,072
Thomson Reuters
The Woodbridge Company Ltd.
Canada
$5,776
$5,760
RELX Group
Reed Elsevier PLC & Reed Elsevier NV UK/US/ Netherlands $5,209
$5,362
Wolters Kluwer
Wolters Kluwer
Netherlands
$4,592
$4,455
Penguin Random House
Bertelsmann AG
Germany
$4,056
$4,046
China South Publishing &

Media Group
China South Publishing & Media

Group Co. Ltd.
China
$2,811
$2,579
Phoenix Publishing and Media Phoenix Publishing and Media Co.
China
$2,755
$2,840
Hachette Livre
Lagardre
France
$2,407
$2,439
McGraw-Hill Education
Apollo Global Management LLC
US
$1,835
$1,855
10
11
Grupo Planeta
Grupo Planeta
Spain
$1,809
$1,943
11
12
Wiley
Wiley
US
$1,727
$1,822
12
12
Scholastic
Scholastic
US
$1,673
$1,636
13
18
HarperCollins
News Corp
US
$1,646
$1,667
14
14
Cengage Learning
Apax and Omers Capital Partners
US/Canada
$1,633
$1,708
15
20
Springer Nature
Holtzbrinck & EQT and GIC

Investors
Germany/
Singapore/ Sweden
$1,605
$1,167
16
16
Houghton Mifflin Harcourt
Houghton Mifflin Harcourt Company
US/Cayman Islands
$1,416
$1,372
17
15
China Publishing Group
China Publishing Group Corp.
China
$1,402
$1,495
18
Zhejiang Publishing United

Group
Zhejiang Publishing United Group
China
$1,364
19
10
Holtzbrinck
Verlagsgruppe Georg von Holtzbrinck
Germany
$1,231
$2,000
20
21
China Education Publishing

& Media
China Education Publishing &

Media Holdings Co. Ltd.
China
$1,154
$1,108
Source: Livres Hebdo. The listing was compiled by international publishing consultant Ruediger Wischenbart under the aegis of Livres Hebdo.
23
Open access: free content, but can you find it?

One of the key trendsif not the key trendin
academic publishing now is Open Access (OA).
This is defined by SPARC (the Scholarly
Publishing and Academic Resources Coalition)
as the free, immediate, online availability of
research articles combined with the rights to use
these articles fully in the digital environment.
At present, researchers are still some way from
reaching this promised land, writes Byron
Russell. Much OA content is not fully available,
in the sense of being freely discoverableand an
Byron Russell
increasing amount of what is available is not
worth the time to download, casting doubt on
the validity of OA as a real turning point in scholarly publishing.
According to the Universities UK Open Access Co-ordination
Group, around 34% of published academic content is immediate
or delayed. So much Open Access is, in fact, not immediately
available at allbut only becomes available after a predetermined
period, during which publishers have extracted their subscription
revenues. But OA publishing moves on parallel tracks, at different
speeds. In particle physics, the rate of OA archiving approaches
100% (Peter Suber, Open Access, MIT 2012); in the humanities,
its rare. Universities seem happy enough to fund APCs (article
processing charges) for quantum physicists;

researchers in Provenal poetry, not so much.
The original promise of OA was summed up
back in 1991: the anticipation of a centralised
automated repository and alerting system,
which would send full texts only on demand (in
order to) democratise the exchange of
information globally for all with network
access (Paul Ginsparg, Cornell). If OA is to
fulfill this ideal, surely it has to be truly open to
everyone and every discipline. Discovery is
hamstrung by the boxing-up of content into
diverse, unconnected silos: OA publishers
resources to actively market their contentthereby guiding a
path to discoverymay be very limited.
So much good material is out of reach while far too much thirdrate content is launched into the void through predatory OA
publishing houses. Bealls List this year contains more than 920
such enterprises; it is easy for any author to pay to get content
published somewherewithout a proper peer review. How can
we all find what we want, and how do we know its good?
One way of course is to visit indexers which adopt approvals
screening such as the DOAJ (Directory of Open Access Journals),
General registration deadline: Oct.30, 2016

Further information: www.tibe.org.tw
24
or renowned sites such as PLOS (Public Library of Science), with

150,000+ authors, 80,000+ reviewers and 6,000+ editorial board
members across seven journals. In the longer term, discovery
may be increasingly guided by institutional librarians, escorting
researchers down the most appropriate discovery pathways.
As for marketing, social media and innovative thinking are key.
There are examples of OA publicationseven in the humanities
reaching heights paid-for publications can only dream of. How
the World Changed Social Media, an OA book series published
this year by UCL Press, was promoted via diverse means: a
website featuring articles, blogs, key facts and videos; a multilingual MOOC; and an exhibition of photographs at UCL. This
meant the widest possible audience reach, both academic and
public. According to Lara Speicher at UCL, How the World
Changed Social Media was downloaded more than 5,000 times
in just two weeks. Another marketing option is to turn authors
into promoters; Kudos is an innovative toolkit, which empowers
authors to share their own research via social media.
Discovery also depends on sharing access, and this is where
OA publishing has the edge. In the disruptive world of OA,
jealously guarding content from competition is meaningless.
So one exciting option is transparent collaboration, and a
drawing-together of all the dispersed OA content silos into one
searchable Hub, which incorporates quality assurance into its

indexing policies and content management systems.
This is what a new project from Ingenta aims to achieve, using
the experience gained from Ingenta Connect, which offers both
content hosting and indexing to nearly 300 academic publishers.
The new site, Ingenta Open, is launching officially this week at
Frankfurt; in its initial form it offers low cost hosting for
fledgling Open Access publishers and indexing for OA content.
The site will eventually enable networked search and discovery
across multiple silos, including indexers such as the DOAJ and
participating institutional repositories. With clear indications of
peer review processes behind each content source and tools such
as automated APC invoicing to help smaller publishers, Ingenta
Open aims to simplify and streamline the whole discovery
process for research across multiple disciplines.
Much has been written about the publishing side of OA, and
rightly soits a complex paradigm for all publishers. But little
so far has been done for its readership. Theres an assumption
that if its free, people will find it and buy it, but there are
still too many thresholds for people to cross.
Byron Russell is Head of Ingenta Connect. He will be chairing Open

Access = Openly Accessible? What Can we Do to Make OA Content
Really Discoverable (Hall 4.2 Hot Spot stage, this morning, 9:30am).
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In addition, you can review a small list of related

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Watch videos highlighting selected publications.
Explore bookstore.imf.org/pwfb116
I N T E R N AT I O N A L M O N E TA R Y F U N D
the arts+
David Hockney was the prestigious
figurehead yesterday (18 October)
for the launch of The Arts+, the
Frankfurt Book Fairs new
programme for the cultural and
creative industries, writes Nicholas
Clee. At the opening ceremony,
Hockney gave a keynote address
on the role of the artist in the 21st
century, and showed off A Bigger
Book (Taschen), a 500-page, giant
it is described as sumo formatmonograph on his career.
The book comes in a limited edition of 9,000 copies, all of
them with the artists signature.
The Arts+ is a joint venture between Frankfurt and
Christiane zu Salm and her company About Change GmbH.
She said: Content is already an important field of activity
for cultural institutions and creative professionals. Digital
technologies such as 3D, VR or AI enable new and fast
growing revenue streams in the very industries requiring
exposure and an accessible platform. For Frankfurt, Book
Fair Vice President Holger Volland said: Frankfurt Book Fair
is one of the worlds most important content trade fairs and
one of the largest cultural events in Europe. It makes sense
to build on this foundation to create the first marketplace
of its kind for cultural and creative content.
Volland argues that The Arts+ is especially timely at a
time when IPs of all creative industries can be digitised, and
therefore copied and shared. What we need now is a
discussion on how to deal with intellectual property and
copyright of digital cultural assets. We also need to develop
new business models around these digital assets.
The programme is described as for everyone who creates,
manages, exhibits, publishes, presents, remixes or refines
creative and cultural content: i.e. publishers, designers,
architects, directors and curators of museums and
institutions, software developers, media representatives,
brand managers, artists, photographers and politicians. A
Museums Hub will act as a meeting point for representatives
from museums and cultural institutions.
There will be a curated exhibition area as well as a stage,
labs, workshops and a salon event. Other speakers include
author Jeff Jarvis (What Would Google Do?) moderating a
round table on the Future of the Business of Creativity,
MITs Carlo Ratti, and Annie Luo from the World Economic
Forum; and among the industry partners are Monocle, Google,
Taschen, Sky Arts, Kodak and Europeana. Held with the
Enterprise Europe Network, a matchmaking event called Talk
Creative (tomorrow, 2.15pm in the Salon, Hall 4.1) will invite
representatives of various cultural industries to share creative
ideas. Matthias Rder, who from his position of MD of the
Karajan Institute helps to maintain the legacy of the greatbut
sometimes controversialconductor Herbert von Karajan,
will discuss digital development in the music market.
Stay Connected
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WORLD
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PUBLISHERS
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We have the technology and services publishers need to reach more readers and sell more
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The faster you can meet demand the easier it is to make more sales. Ingram has a huge
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fulfillment that keeps you happy and your customers happier.
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Offer patrons easy access to the right books, right when they want them. Our library services
are built upon the belief that libraries are more than a depository for books, but critical
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EDUCATORS
From textbooks to digital learning, Ingram connects educators, students, administrators, and
researchers to the worlds most relevant educational content. Ingrams VitalSource spells
success in todays quickly evolving learning environment.
Lets talk. Stop by booth #6.0-E129 or visit

ingramcontent.com/aworldofreaders to learn more.
EU: Towards VAT unity

Milan Gagnon reports
Publishers awaiting a European Commission proposal on
unifying value-added tax for digital and print books can take
heart in Economy Commissioner Pierre Moscovicis statement
that: An electronic book is a book. An EU spokesperson
confirms that a proposal to bring both products in line will likely
be present by the end of the year.We have been campaigning
very hard for the Commission to take the next step to
acknowledge that the reduced [VAT] rate should not be linked
to any specific support, but should benefit the book, as such,
adds Enrico Turrin, an economist and the Deputy Director of the
Federation of European Publishers (FEP).A book has a certain
cultural and economic value, not because of its format.
For now, however, for VAT purposes, print books are still
considered goods, and ebooks are taxed as Web services. In
practice this has meant a VAT as high as 20% for ebooks in
Britain and Ireland, countries that apply no VAT to print books.
And in most other EU countries, it has meant a VAT on ebooks
at least 10% higher than print, with discrepancies in several
countries topping 15%. The FEP has been working on the VAT
discrepancy since before a 2009 reform allowed reduced rates for
publications in all physical means of support. And momentum
has been building over the last year, after the European Court
of Justice in 2015 ruled that countries are not permitted to
unilaterally unify the VAT imposed on ebooks with that
applied to print, if print receives a reduced rate.
Across the EU, the FEPs members have lobbied their national
Culture and Finance ministries, and the group has brought
the issue up in discussions with members of the European
Commission and Parliament, forging as well a strategic alliance
with newspaper and magazine publishers, who are also dealing
with the discrepancy for their electronic editions. In the last year,
with the support of Jean-Claude Juncker, the Chief Executive of
the Commission, the discrepancy between print and digital was
included in a VAT Action Plan, which could allow individual
EU members more flexibility in setting their own VAT rates.
Major step ahead
After the European Commission presents its proposal, likely

sometime before the end of the year, EU publishers and ebook
vendors will still have a major step to clear: passing the unanimous
vote of the blocs finance ministers at the European Council.Turrin
says he doesnt expect much opposition to unifying the VAT for
print and electronic publicationsbut its hard to know for sure.
Its not that any member state has anything against ebooks per se,
but it always gets touchy when it comes to taxation matters, he
explains. Still, voting to allow nations to unify VAT rates doesnt
oblige member states to apply the reduced rates: it just gives them
the possibility.A unified VAT,Turrin says, would be a big step for
ebooks in the EU, helping to lower prices, and giving publishers
incentive to innovate with digital worksand to draw in more
readers.The more people read the better,Turrin stresses,not
only for themselves, but for society and the economy.
28
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twenty years of new books

Twenty years ago this summer,
a group of literary professionals
gathered for a seminar on
promoting translations from
German in the UK, writes
Charlotte Ryland. From
booksellers to translators,
editors to rights managers,
cultural diplomats to literary
agents, the participants agreed
on what was lacking: timely,
reliable readers reports; high- Charlotte Ryland
quality sample translations;
and a more public profile for translators and translated authors.
The consensus that change was both necessary and possible
was so strong that a focus group met less than three weeks
later to discuss publishing German Book News. And so
New Books in German (NBG) was born.
Twenty years on, were celebrating our 40th issue with a new
design and new website. It has been a delight to delve into the
NBG archives for an article in our anniversary issue, and to
find that we now have a project that achieves all of the aims
mooted in that first seminar. The core of the project remains
the twice-yearly magazine, with reviews of around 30 titles
(fiction, non-fiction and childrens) that we recommend to
international publishers, and articles about German-language
literary culture and the translated literature scene. The impact
of these recommendations was given a significant boost on
our 10th anniversary, when we introduced a guarantee that all
books featured in NBG would be given funding by one of
our partners. A victim of our own success, the number of
funding applications has increased to such an extent that weve
had to limit this guarantee slightlyonly books weve reviewed
in the past five years are still guaranteed funding.
Collaboration is key
The projects key is in collaboration. I know of few projects that

work so successfully across national boundariesin this case
bringing together Austrian, German and Swiss publishers and
cultural organisations, as well as those in the UK, US and beyond.
The strong sense of shared purpose means that NBG has a
superb support network. Our core partners are the cultural
institutes of the three German-speaking countries (the GoetheInstitut London, the Austrian Cultural Forum London and the
Swiss arts council Pro Helvetia) as well as their embassies in
London, the Frankfurt Book Fair, the British Centre for Literary
Translation and the German Book Office New York.
Representatives from these organisations bring an enduring
commitment to the project that keeps it fresh and engaged. In
addition we have a very committed team of readersthose who
write readers reports for usand an expert group of advisors who
help us to select our recommended titles for each issue. Meetings of
these advisors are always an enormous pleasure: the enthusiasm
for the writing and the shared desire to make more of it available
30
oks in German
to an international readership are contagious. Were also in
regular contact with a huge number of translators, and our
Emerging Translators Programme puts us in touch with new
talent, so we are always able to recommend the best translators
to publishers for sample translations and readers reports.
THE FUTURE
BELONGS TO
IMAGE
Significant partnerships
Our partnership with the German Book Office (GBO) New

York has developed into a particularly significant one. We
now work together to assemble a single list of recommended
fiction titles that will appeal to both markets. A New York
jury discusses all the German fiction submissions, and a US
Jury Pick stamp on certain titles highlights those books that
have found particular favour there. Again, NBG has grown
stronger through this collaboration, and its always great to
work with GBO Director Riky Stock and her teammore of
that common purpose, this time across the pond.
During my time at NBG I have taken maternity leave twice.
Acting Editor Jen Calleja has stepped in both times, bringing
tremendous energy into the project: Editing the magazine
over a total period of two yearsor four issueshas been a lifeenhancing experience, she says. I went from awestruck intern
to Acting Editor due to Charlotte Rylands much valued trust
and generosity. Carrying out the role during this year in
particular, due to the climate of Brexit, made the magazine feel
all the more vital. Sales of literature in translation have risen
dramatically in recent years and New Books in German is part
of that wave. I know it will keep enthusiastically promoting
and supporting the translation of German, Austrian and Swiss
literature to English-language publishers in these important
years to come, doing its part against the climate of isolationism
through the power of incredible literature.
As we look ahead to the next 20 years, we have two particular
aims in mind. The first is to develop work thats already begun
on outreach and eventsnetworking with publishers in person
as well as virtually, and putting on public events that will
introduce more German-language writers to UK audiences.
Last year we held the first of what we hope will be many NBG/
Goethe-Institut London joint events, a crime fiction evening
entitled In the Library with the Lead Piping. Were inspired
by the wonderful Festival Neue Literatur in New York, run by
the German Book Office, which brings together German,
Austrian, Swiss and American authors in a series of events, and
hope to develop something similar in London.
Secondly, wed like to work more closely with the increasing
number of sister-organisations out therefrom the Swedish
Book Review to New Spanish Books and all those in between.
This goes back to our focus on collaboration: we dont just
want publishers to publish more German-language books in
translation, we want them to publish more books in
translation from all languages. This is definitely a field in
which co-operation trumps competition, and we look forward
to developing those links in the years to come.
Bryan Lee OMalley

& Leslie Hung
TM
FUTURE
Ed Brubaker &
Sean Phillips
Mark Millar &

Greg Capullo
For more on Image Comics

graphic novels, visit DBD at
Stand H6.1 D94
diamondbookdistributors.com
Charlotte Ryland is Editor of New Books in German.
31
WEdnEsday 19 OctObEr 2016
European copyright reform and
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On 15th September 2016 the

European Commission
published, earlier than expected,
its copyright reform package,
writes Susie Winter. Forming
part of its digital single market
initiative, the new Directive on
Copyright in the Digital Single
Market is heralded as key to
making copyright rules fit
for the digital age. The
Commission, in its review of the Susie Winter
current framework, concluded
that new European legislation is required in a number of areas.
There are to be new mandatory exceptions covering the use of
digital materials for illustration for teaching, text and data
mining, and preservation by cultural heritage institutions; a
new publishers related right for press (newspapers, magazines)
publishers; and Member States are to be required to introduce
domestic legislation to ensure fair remuneration for authors
and performersspecifically legislation to cover transparency of
reporting, bestseller clauses and alternative dispute resolution.
So what will these measures mean for UK publishers? With
some, the impact may be limited. Many of theglitchesthese new
proposals are designed to address were already resolved when the
UK went through its own copyright law amendment process. For
example, the EUs proposals to ensure teachers can use digital
materials in the classroom for the purpose of illustration, and
cultural institutions can digitise work for preservation purposes,
without infringing copyright law, are already permitted under
UK law. The UK also introduced its own exception permitting
text and data mining of content, to which the researcher
already has legal access, for non-commercial research.
This is not to say that should the UK be required to implement
these measures they will not encounter any problems. For
example, the UK exception for preservation only allows
institutions to preserve works which cannot be readily replaced, i.e.
where it is not reasonably practicable to purchase a replacement.
The new EU exception for text and data mining differs from our
legislation in one very important way. The UK exception clearly
stipulates that the exception can only be used to mine content for
non-commercial research, while the Commission has made its
focus the non-commercial status of the beneficiaries of the
exception, rather than what the output of the mining is used for.
We will be exploring the implications of this on our legislation.
Questions raised
However, there are two new elements in the published directive

which do raise a number of potential questions for book and
journal publishers in EU Member States. The first of which
relates to the Commissions decision to restrict a new related
right to press publishers. In an age where there is a growing
need for publishers to be able to protect their investment and
enforce their rights, this is disappointing.
ALL ABOUT STORIES
WEdnEsday 19 OctObEr 2016
rm and the UK
To explain. Under the current system publishers derive their
rights in the content from authors. However, with published
works becoming more multi-formatted, multi-media, and in
some instances increasingly multi-authored, the investment
publishers make that sits behind such works has to be able to
be protected, so that the works themselves are able to be
exploited. For example, in the case of an academic journal,
there is the ownership of the goodwill in the title of the journal,
the copyright in the selection of articles and so on, all of which
can be and often are owned by the publisher. While a
particular article published in a journal does come from an
author or group of authors, its importance to the community is
derived partly from its being accepted by and published in a
specific journal, the rights in which are not owned by the
authors of the article. In addition, many information products
may fall outside the originality test for copyright. The
ownership of such rights and investments made by all
publishers needs to be recognised and protected.
The second rests with measures which will require Member
States to introduce legislation to ensure fair remuneration for
authors and performers. Authors are at the heart of what
publishers do, and so we share the frustration of the author
community that it is increasingly difficult for authors to make a
decent living from their writing. The reasons for the decline in
average author income are wide and varied: margins are being
squeezed across the whole supply chain; books are facing stiff
competition from other media and entertainment sectors for
consumers time; and self-publishing has led to there simply being
more writers, as evidenced by the increase in the number registered
with ALCS (Authors Licensing and Collecting Society).
Its more than just a mystery.
Authors
Publishers want all of the authors and titles that they help to
bring to the market to succeedthat is the essence of their role.
Of course, not every single title can achieve the same level of
success, but publishers work relentlessly with their authors to get
the best possible outcome. It is unclear whether the measures
being introduced by the Commission, the principles behind
which publishers fully support, will properly address this, but we
look forward to discussing them with our author colleagues.
But why, following Brexit, is any of this a concern for the UK?
The reform package comes at a strange time for the UK, with the
vote to leave complicating any analysis of how, or if, these reforms
will affect businesses operating in the UK.The new Prime Minister
is clear that Brexit means Brexit, but the government has also
been equally clear that up until the UK triggers Article 50 and
leaves the EU, business will continue as usual. We will keep
working to ensure that the final copyright package reflects the
needs of the publishing industry, but in the end exactly how these
proposals impact businesses in the UK depends on factors entirely
separate to the details of the reform package itself: the timing of
the package and how it overlaps with the timing of Brexit.
Celebrating 75 years in 2017!

Visit Albert Whitman & Company in
Hall 6.0 C32 for a FREE Boxcar Children
magnetic bookmark!
www.boxcarchildren.com
Susie Winter is Director of Policy and Communications at the Publishers

Association.
L :
Mexico: a mature and changing market

Ahead of the launch of Nielsen BookScan Mexico, luiz Gaspar looks at the
changing landscape in reading and educational attainment in Mexico
Mexico is a country of 121m people with a literacy rate of
94%. It is the 11th largest economy in the world and the
composition of the country is changing with an increase in
young professionals who are college educated. There were
more than half a million college graduates in the period
2013-14 and this is rising year-on-year. There has always
been a strong link in Mexico between education,
purchasing power and reading, and so these younger
professionals can drive growth in the market not just for
educational books, but leisure reading too.
With this in mind, it has to be said that traditionally,
Mexicans do not read very much. An annual average in 2006
of around 2.9 books were read per head, but this figure is also
risingthe latest figures for 2015 show 5.3 books read, the rise
coming from the under 25s. Taking out the under 25 figures,
the average is 3.8 books read, so still showing a strong increase
(Conaculta, National Survey of Reading and Writing 2015).
The economic situation in Mexico is uncertain. The
countrys income is based on oil and the global downturn
34
in oil prices means the Mexican economy is slowing down.

Nielsens Global Confidence Index shows a 3-point
decrease in Q2 2016 on the previous quarter.
However the book market is mature and is changing; there is
now more emphasis on an open market and less on the federal
government, which currently has a 60% market share (CANIEM,
Indicators for Private Publishing Sector in Mexico). The trade
market is set to grow with many more retail outlets for books
now available. The traditional bookstores of Porrua (established
1900) El Sotano, Gandhi, Gonvil and the state-owned Fondo
de Cultura Economica are joined by department stores and
supermarkets such as Sanbornes, Liverpool, Walmart and
Costco, where the consumer experience is quite different.
Gandhi, one of the largest book chains has 34 stores, but
also points of sale (franchises) in department stores and
supermarkets. Alberto Achar, Gandhis Marketing Manager
told Publishing Perspectives, that his aim is to make Mexico a
country of bookstores. Online presence is also growing, since
Amazon entered the market in 2015.
There [is] a
strong link.
between
education,
purchasing
power and
reading.
The publisher mix in Mexico is quite

concentratedthere are more than 200 publishers,
but 29 large publishers produce 80% of all books.
Mexico is the largest Spanish-speaking country
in the world (Spain itself is third, behind the US);
publishers are therefore looking to Mexico as
the gateway to other Latin American countries.
Measurement of the market place is currently
done by CANIEM, Secretaria de Cultura and other
commissioned reports, which give a very firm and
accurate measure of the state of the market at a
point in time. With more publishers entering the market, there is
a need from publishers and retailers to have independent, up-todate and current market information. In countries around the
world, including the US, UK, Spain and Brazil, this type of
market data is available from Nielsen Book. In late 2016, Nielsen
will be launching Nielsen BookScan Mexico. This will be the
11th country in which Nielsen Book has independent
reporting of trade sales, which it collects directly from retailers
points-of-sale systems. Weekly market measurement allows
retailers to understand their product mix in relation to the
whole market, and understand the gaps within genres and
series, and accurately report on their own market share.
Publishers can measure their share within

genres and look at the effects of marketing and
promotions independently. This information
informs their planning, and helps with author and
retail negotiations. Traditionally, in the markets in
which Nielsen BookScan operates, the very fact that
retailers, publishers, distributors and wholesalers
have access to the same independent sales data,
a common currency, enables a better flow of
information, which informs business decisions
and helps the trade to work more efficiently.
There is a demand for more accurate and objective market
information among Mexican publishers and booksellers, and
the book industry in Mexico is keen to support the introduction
and development of business intelligence tools available
through Nielsen BookScan. For our part, we at Nielsen Book
are excited to launch in this publishing environment and look
forward to working with the Mexican book industry to
provide accurate and robust market measurement.
For further information about the Mexican market and the launch of Nielsen
BookScan Mexico, contact Andre Breedt or Luiz Gaspar (Hall 6 B133).
Luiz Gaspar is Head of Nielsen BookScan Iberia and LatAm Nielsen Book.
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35
a good story, well told

nicholas Jones believes that introducing audio
listening habit in people that will benefit them all
In the 2015 television
adaptation of John
Lanchesters Capital, the
wife of merchant banker
Roger Yount (Toby Jones)
asks him to read a bedtime
story to their son Conrad.
He goes upstairs, but rather
than take a book off the
shelf turns on a CD
audiobook of The Wind in
the Willows. Tell you what. Nicholas Jones
This is a better idea. This is
someone who knows what they are doing! See? Much
better than me!
When I first started in the audiobook business 25 years
ago, recording Richard Briers reading Orm and Cheep,
childrens books were the main area of audio publishing.
If audiobooks of titles for adults were produced at all,
they were assumed to be for people who were visually
impaired or who, for some other reason, could not read.
Since the explosion of titles available as digital downloads,
the audio format has been released from its confines.
Vastly more people have discovered one of the oldest
human pleasures, hearing a good story well told.
Im glad that Roger Yount thinks reading stories well is
something a professional can probably do better than he
can (I hope his creator agrees). Like any activity, reading
out loud improves with practice. It requires a specific set
of skills: being able to interpret the grammar of a sentence
on the fly so as to emphasise the right words and
communicate the shape of a sentence; a good general
knowledge of pronunciations; and, with fiction, a
confidence at least to indicate, if not imitate, an
appropriate voice for each character. Nuances can be vital
to meaning. Consider the sentence: I didnt see your
wife. Depending on which word is emphasised, it means
five quite different things: I didnt someone else
did; I didnt she wasnt there; etc. These are
inflections we all make automatically when speaking off
the cuff, but many find it difficult when reading out loud.
A well-produced audiobook does the work for the listener
and frees the imagination by painting aural pictures.
Listening improves reading
Listening skills improve reading. This isnt just a subjective

assessment: there is hard physiological evidence from
MRI scans on three to five-year-olds that indicate that
reading aloud to a child stimulates the areas of the brain
associated with that child learning to read1.
books in childhood encourages a reading and

their lives
Reading, both silently and aloud, is a skill that develops
competence in so many other areas. Author Anthony
Horowitz observes, I can tell you if a school has a good
library five minutes after entering it. It is in the eyes of the
kids. Reading out loud to others used to be a regular
classroom activity, but teaching style has moved away
from that. It was deemed humiliating and counterproductive for less-skilled readers.
Maybe listening to audiobooks is as valuable an
alternative? US academic Frank Serafini, now Professor of
Literacy Education and Childrens Literature at Arizona
State University, wrote a decade ago, in a paper called
Audiobooks & Literacy, that: Teachers and parents
are encouraged to use audiobooks because they expose
readers to new vocabulary: as new words are heard in the
context of a story they become part of a childs oral and
eventually written vocabularies, and they provide
demonstrations of fluent reading and appropriate
phrasing, intonation and articulation. Yet at about the
same time, a teacher observed: Uncertain whether
audiobooks belong to the respectable world of books or
the more dubious world of entertainment, elementary and
high-school teachers have often cast a fishy eye at them,
and many have opted for the safe course of avoidance.2 I
know which view I support!
MIAMI, FLORIDA
Added sound effects
Although the interaction between a human reader and a

child undoubtedly has unique benefits, a recorded reading
can do things a live one cannot, using music and sound
effects to create a sonic picture and engage a child in
supplementary ways. Audio can have an intimacy that the
printed word sometimes does not, particularly if listened to
on headphones, and it can bring heroes into the home or
classroom: we have recently recorded Frank Lampards
Frankies Magic Football series for release later in 2016.
Coincidentally, our producers aunt is a teacher in northeast England. That series, she says, produced a level of
recognition and engagement with some of her reluctant
readers she had never previously encountered. And Frank
himself appears in the audiobook.
The UK Reading Commission states in a report:
Literacy is a significant issue for all Many employers
are providing basic skills training for their school-leaver
recruits The choice to read [as opposed to being forced
to read] is a key element of the ongoing motivation to
read, which will support lifelong learning and, ultimately,
social mobility. Parents, teachers and librarians share the
challenge of instilling this desire in children.3 A wider
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range of titles increases the chance that a reluctant reader
will find something of interest, and the recent increase of
titles in audio form helps fulfil this need for those less
able to tackle the written word.
Professionally produced audiobooks can and should
work alongside personalised ones recorded by parents.
This has been formalised for instances where parent and
child are separated: the charity Storybook Waves helps
members of the Royal Navy and Royal Marines maintain
the link with their children when a parent is serving
away from home, and Storybook Dads and Storybook
Mums do similar work when parents are in prison.
Thats the power of audio: personal storytelling across
time and distance.
Bedtime stories
The International
Excellence Awards
There is a plethora of awards in existence in UK. Wishing
to create something specifically for the huge number of
international markets beyond the UK, The London Book
Fair created the International Excellence Awards in 2014.
As a UK-based global Fair, LBF wished to look outward,
to celebrate and showcase the wonderful achievements
of the rest of the worlds publishing industries.
ENTER NOW AT:
Reading aloud
to a child
stimulates the
areas of the
brain associated
with that child
learning to
read.
John S Hutton et al., Pediatrics, vol. 136, no. 3, Sept. 2015: Home
Reading Environment and Brain Activation in Preschool Children
Listening to Stories
2
P Varley, The Horn Book Magazine, vol. 78, no. 3, 2002, pp 25262
3
All-Party Parliamentary Literacy Group Boys Reading Commission.
Report compiled by the National Literacy Trust, 2012
1
www.londonbookfair.co.uk/awards
Headline sponsor:
We record for the

innovative publisher Nosy
Crow audio versions of all
its picture books, which it
offers free on its website,
accessed by a QR code in
the book. The system logs
the time people download,
and there is a noticeable
peak on Sunday evenings:
audiobooks seem to have
become a significant part of
quality family time! There
have been nearly a million
downloads in the four-year life of the scheme.
It is not only books that work in audio form: we have
recently adapted Willow Nash and Joe Bromleys play for
primary schools, Suddenly!, a brilliant mash-up of
traditional fairytales, into an audiobook with music and a
wealth of sound effects.
Hearing a book read aloud is not just an activity for
young children. Tony Little, former Headmaster of Eton
College, writes in his 2015 book An Intelligent Persons
Guide to Education, I have seen the effect that an adult
or friend can have on boys by reading aloud to them.
They become interested enough to read on, either by
themselves or sharing the reading with others.
Those who catch the habit of listening to books
continue into adulthood. Audiobooks arent just a great
commercial opportunity: they can change peoples lives.
In association with:
Nicholas Jones is Managing Director of audiobook production company

Strathmore Publishing.
December 7, 2016
New YorK CitY
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bonnier Publishing: at another crossroads

richard Johnson explains how Bonnier Publishing has grown over recent years
and talks about its plans to continue that growth
Bonnier Publishing always seems to be at a
crossroads and we are at another one now.
When I started as CEO in 2010, the decision
then was whether to sell the group or
transform it. In late 2013, it was whether or
not to implement our significant growth
plan from 45m to 100m. Now, it is
whether or not we attempt to double in size
once again in a post-Brexit UK.
In 2009 my team and I inherited a
portfolio of companies around the world
Richard Johnson
with a combined turnover of 46m. They
had no real connection with each other or
any significant market size. The publishing was not
profitable and we had a serious culture problem. My brief
from Bonnier, our parent company in Sweden, was simple:
radically change the thinking, improve profits and lay the
foundations for growth. In short, transform this portfolio
of companies into a group. They were very clear in that, no
matter what was thrown at me in terms of bad press, they
would support the plan. This was useful, because I got a lot
of bad press!
There were some tough decisions to be made, but they
paid off. From 2010 to 2013 on the same turnover we
improved the EBITA (earnings before interest, taxes and
amortisation) by 7m and set the group up for growth.
In 2013, we had to initiate that growth. It was important
to us to become more relevant, especially in the UK. We had
to raise our profile to attract the best talentemployees and
authorsand boost our credibility with retailers. Following
the acquisition principally of Igloo Books and then Totally
Entwined Group, combined with start-up imprints Blink and
Studio Press; the setting up of a new fiction division, Bonnier
Zaffre; and international expansion in the USA and
Australia, we are now at c. 115m.
The right talent
The key to growing so quickly and effectively has been

finding the right balance of talent. In 2010 we had 200
employees; today we have 500 worldwide. We introduced a
common set of values for the group, so instead of pulling in
different directions, we all share a common purpose. And
we spent a lot of money and energy on getting our HR
strategy right.
Bonnier Publishing is a top five publisher in the UK,
though hindered in the acceptability of that through nonTCM (Nielsen BookScan Total Consumer Market) sales.
Our position at the top table is unique, because our aim is
to be a dominant force in mass market and high-end trade
publishing. It shouldnt work in this industry, but it does.
40
We get the same feeling of pride, seeing

someone buying one of our books in a
pound store, as we do when one of our
books is shortlisted for a prestigious award.
Publishing is for everyone. Some of the
industry grandees forget that.
Better relationships
Along the way, becoming more relevant in

the industry has improved our relationship
with agents, who were understandably
affected by the dramatic changes we made
five years ago. Its a different group now
than it was then, and I think everyone understands and
appreciates that.
We have always had a great relationship with UK retailers,
and we will always embrace new ways and channels to sell
our books. And we must be doing something right, as we
now sell 65 million of them every year.
Bonnier Publishing today includes five divisions. One in
the USA, one in Australia, and three in the UK. Mark Smith
heads up fiction, Perminder Mann the childrens trade and
adult non-fiction division, and Dan Shepherd has joined us
recently to head up our mass market division. In footballing
terms, I believe those three could be the Gallactico forward
line for Real Madrid.
There are crossovers between our UK divisions, but
essentially they follow these three paths. All UK and
international divisions work and trade with each other.
There is probably 30m plus of expansion coming from all
the plans we have already implemented and, whilst not
ruling it out, we wont have to make aggressive acquisitions
to get us past the 150m mark.
Brexit
Brexit has caused us short-term EBITA issues, but were a

big group and we can take that. Exchange rate problems will
be here into the medium term and so all publishers have to
find a way to naturally hedge their currency flows. We need
more US dollar income in our mass market divisions and a
bigger fiction division where you print in sterling and sell in
sterling. This is a significant part of our new focus.
So do we now err on the side of caution in an uncertain
economic world, or do we carry on with the grand plan?
Brexit will cause us to target different areas, but it wont
put a halt to our expansion. Our employees and
shareholders are partners in our vision, and growth is a
central part of that. The new plan is a 200m group by the
end of 2019.
Richard Johnson is Group CEO of Bonnier Publishing.
SAVE THE DATE

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New York University Global Center, Grand Hall New York, NY
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adapt and adopt technological advances from a wide range
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it started with a napster

For many years now futurists have been
forecasting what will happen in the
publishing industry based on developments
taking place in the music industry, writes
Enzo Vailati. At some point along the way it
was commonly acknowledged that whatever
happens in the music industry eventually
happens in the publishing industry.
Publishers eagerly and nervously monitored
the music world for some kind of foresight
into what the future might hold for them,
how consumer behaviour could change, and Enzo Vailati
how an industry may evolve to
accommodate, or survive, such upheaval.
Looking back at the various waves of disruption, some of
the major trends which affected the music industry did
inevitably impact publishing and there are certainly parallels
between the two industries trajectories. Ebooks followed
music downloads, dedicated e-readers followed portable
listening devices, mobile reading followed mobile listening
on phones and tablets, and technology companies suddenly
ruled the roost, enjoying unbridled market domination.
Culture of cheaper
However, while the entertainment industries have

progressively moved away from most forms of physical
product, together with more traditional sales channels, the
book industry hasnt quite endured disruption on the same
brutal scale. A good percentage of physical book stores
remain open, sales of physical books are holding strong,
and the devastating culture of free trend, which blighted
the music industry, was more the culture of cheaper by
the time it hit publishing shores in the form of ebook
pricing wars. Meanwhile, subscription models in the
publishing industry have ostensibly failed to capture the
imagination of the industry and readers, at least to date,
while consumers of TV, film and music have taken to
subscription platforms in their masses. Publishing is clearly
a unique industry and book readers are without doubt a
unique type of consumer.
One of the pain points for record labels and publishers
alike, is that most have no direct line to the consumer.
Content providers are powerless against giant tech
retailers, which have been able to negotiate on their own
terms, hold them to ransom, and squeeze profit margins
safe in the knowledge that they ultimately possess the keys
to the doors that content owners need to open. Very few
music fans will search for artists only belonging to
Universal, and very few readers will search exclusively for
Hachette authors. Ever since the retail ecosystem we all
knew and loved was first put under threat, many publishers
have tried and failed to market and sell directly to
consumers, particularly online. Most have found that book
buyers simply dont care who publishes a book, as long as
42
its what theyre looking for and they can

purchase it in a few clicks. Loyalty is
something consumers are more likely to feel
towards an author, a series, or a genre,
rather than towards an individual publisher
brand, unless you are an Osprey, with a truly
niche offering, or a household name like
Puffin, for example.
In recent years, publishers have focused
their attention on turning their authors into
brands in their own right, ensuring that all
the channels available to them are exhausted
in order to reach consumers. They havent
given up on going d2c, they have just realised that their
assets are the most effective way to target consumers. The
challenge has always been getting consumers to purchase
directly from publishers.
Online communities
Providing web-based technology solutions to the music

industry over the last two years, weve noticed an
interesting trend emerge. Record labels have become
increasingly keen to develop comprehensive online
platforms around their artists. We are not just talking
about an artist web shop, which sells downloads and
subscriptions to albums and tracks, but a whole online
experience created around an artist and their work. This
will typically include news announcements, gig dates, artist
blogs, fan forums, Twitter, Facebook and Instagram feeds,
live streaming from events, and merchandise stores.
The idea is to use the assets, which the content provider
(in this case the record label) have in its gift, everything
from product to image rights, to create an online
community and experience around the artist brand, which
attracts, engages, retains and sells directly to consumers.
If this is a model which can work in music and make a
real difference for record labels, then it can certainly also
work in the book publishing world. Publishers understand
the power of the author-as-a-brand and are fully aware
of the benefits that can be had from harnessing it. Now
that the technology is available and affordable, I believe
publishers have a unique opportunity to wrestle back the
online market share they have lost to the technology titans,
by making the best possible use of their assets and giving
online consumers a whole new channel to engage withone
which they completely own and profit from.
What this offers is a new way to reach consumers,
packaging up content in an attractive, focused way, which
enriches the purchasing experience and ultimately
generates more revenue. We believe this approach will
re-energise the online market and are excited to be at the
forefront of it.
Enzo Vailati is Chief Executive Officer of Cylo. Visit him and the Cylo
team at the Fair in Hall 4.2, stand E25.
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Wednesday 19 OctOber 2016