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Frankfurt

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Adichie: time for ‘new storytellers’


In her remarks at the 2018 understand the world if we court”, full of intrigue and
Frankfurt Book Fair continue to pretend that a hubris. “We must know what
opening press conference, small fraction of the world is true. We must say what is
Nigerian author is representative of the true. And we must call a lie
Chimamanda Ngozi Adichie whole world.” a lie,” she said. And while
spoke forcefully of the need Adichie’s award-winning she stressed the need for
for more diverse voices in novels have established her political stories that “looked
literature, and for more as a major literary talent; but the world in the face”, she
“boldness” in storytelling in she is also well known for called for more stories that
what she said were her feminism and political were not “overtly political”
“darkening” political times. activism, and she wasted no but informed our politics
“Art can illuminate time in setting a political nonetheless. Adichie with Heinrich Riethmüller
politics,” Adichie told a tone at what is expected to “This is the time to (left), chairman of the German
Publishers and Booksellers
standing room only be a very political Frankfurt proclaim that economic Association, and Frankfurt director
audience of journalists in Book Fair. superiority does not mean Juergen Boos.
the new Frankfurt Pavilion. In her 20-minute keynote, moral superiority,” Adichie
“It is important to have a Adichie acknowledged the said. “This is the time to immigration of specific
wide diversity of voices not world was shifting – and parse the subject of kinds of people – black
because we want to be called out the US, “the most immigration, to be honest people, Muslims, brown
politically correct, but powerful nation on earth”, about it. To ask whether the people. This is a time for
because we want to be for today giving the question is about boldness in storytelling. A
accurate. We cannot appearance of “a feudal immigration, or about the time for new storytellers.”

Redmayne: publishing makes gains INSIDE:


Publishing was in a state of generation or two. “But the bestseller Why Mummy
“arrested decline” and seeing physical book didn’t go away,” Drinks, which originated as a BACKMAN
“small gains”, said Charlie said Redmayne, “nor was it Facebook blog, as an example IN SPANISH
Redmayne, ceo of ever going to.” of such activity; he also touted FOR HC 3
HarperCollins UK, in the Overall, Redmayne the $250 million deal between
keynote speech of The Markets observed, UK publishing was HC, the Tolkien estate,
conference of the Frankfurt experiencing growth, driven Amazon Studios and New RIGHTS
Book Fair on Tuesday morning.
Redmayne went on to recall a
by the explosive interest in
audiobooks and renewed
Line Cinema to bring a new
adaptation of The Lord of the
ROUND-UP 4
conversation he’d had with an efforts on the part of Rings to the streaming service.
executive from Apple a decade publishers to help established While acknowledging that
ago: the executive had brands find new audiences. streaming services in particular FRANKFURT
predicted that print books Redmayne cited HarperCollins posed stiff competition for BRIEFCASE 6
would all but disappear in a UK’s success with Gill Sims’ Continues on page 3 g
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WEDNESDAY 10 OCTOBER 2018 FRANKFURT SHOW DAILY

Harper buys Spanish rights to Backman backlist


In a number of moves to Spanish Acquisitions Board. The new unit has representatives from
broaden its Spanish-language HarperCollins Español, HarperCollins Mexico, and
publishing programme, HarperCollins Iberica, and would, HC said, “seek to publish
HarperCollins has acquired books that have broad appeal around the globe, and will work to
world Spanish rights to seven coordinate publishing and share best practices across divisions”.
books by Swedish international Curr added: “Spanish is one language in many countries, and
bestselling author Fredrik our global platform will allow us to create a centre of excellence,
Backman, and has also formed acquiring works that have broad appeal, both in the US and
an International Spanish throughout the Spanish-speaking world.”
Acquisitions Board which will
work to expand the reach of Day 1 events highlights
HC’s Spanish-language titles. Fredrik Backman
The Backman books were 10.00 Opening of the Frankfurt Pavilion
acquired by Judith Curr, who joined HC as president and 11.00 Artificial Intelligence in scholarly publishing (Hall 4.2 N101)
11.00 Research integrity: a publisher’s perspective (Hall 4.2 N101)
publisher of HarperOne in April after resigning as president 12.00 Read Russia Prize (Hall 5.0 B121)
and publisher of the Atria Publishing Group, where she 13.00 Women’s Prize for Fiction (Hall 5.1 A128)
published a number of Backman titles. Curr acquired the rights, 13.30 Press freedom in Europe (Hall 4.1 B81)
which include audio, from Tor Jonasson of the Salomonsson 14.00 CEO talk with John Sargent, Macmillan (Frankfurt Pavilion)
14.30 Publisher voices raised for copyright (Hall 4.2 N101)
Agency in Stockholm. 15.30 Open Access monographs (Hall 4.2 C94)
Curr also picked up a non-fiction title for HC’s Spanish 17.00 Young Talent reception and Young Excellence awards (Hall 4.0
programme, acquiring world Spanish rights for Dear America, Business Club)
Notes of an Undocumented Citizen by Pulitzer Prize-winning 18.00 Global Illustration award (Pavilion)
journalist Jose Antonio Vargas. (The book was released in
September in the US by HC’s Dey Street imprint.)
The titles will be published by HC throughout the Spanish-
PRH SE Asia
speaking world through its Global Publishing Programme. In Penguin Random House (PRH) is to launch next year PRH South
territories where HC doesn’t have a publishing division, it will East Asia, which will join PRH North Asia and PRH India. The
distribute the Spanish-language books, Curr said. No timetable for new group will be based in Singapore, with a brief to discover and
releasing the books has been set yet. publish local and international voices across English-language
“Spanish-language publishing represents one of the largest adult and children’s fiction and non-fiction formats for Singapore
growth opportunities for HarperCollins, and is a core and Malaysia, as well as from Thailand, the Philippines, Indonesia,
strategic focus for our company as we continue to invest in Vietnam, Brunei, and Myanmar (Burma). It will start with a
our global publishing program and capabilities.” said Brian programme of about 50 titles a year.
Murray, HC’s ceo. Gaurav Shrinagesh, ceo PRH India and South East Asia, will
HC’s global investment includes the creation of the International oversee the new company, currently named Penguin Books
Singapore. Nora Nazerene Abu Bakar, previously with Pearson
Education SE Asia and Marshall Cavendish, will join in
To contact Frankfurt Show Daily at the November as executive editor. PRH said that “Her network of
Fair, please visit us at the Publishers relationships and keen knowledge of the region will be key in
establishing a publishing presence for Penguin Random House in
Weekly stand in Hall 6.0 D42. Southeast Asia.”
Publisher: Joseph Murray
f Continued from page 1
BookBrunch Managing Director: Jo Henry
Editors: Andrew Albanese, Nicholas Clee, Neill Denny Redmayne at The Markets
Reporter: Ed Nawotka
consumers’ discretionary spending and free time, he noted that the
Project Coordinator: Bryan Kinney streaming content originated from “a startling number of people
Layout and Production: Heather McIntyre
Editorial Coordinator (UK): Marian Sheil Tankard who write books”. He also noted that more than half of the top
films in the UK were themselves based on books.
For a FREE digital trial to Publishers Weekly go to All told, the news from The Markets was largely positive, with a
publishersweekly.com/freetrial half dozen further sessions showcasing the success of young
Subscribe to BookBrunch via www.bookbrunch.co.uk publishing entrepreneurs and established corporations from
or email editor@bookbrunch.co.uk countries including Brazil, Canada, India and Georgia, this year’s
Frankfurt Book Fair Guest of Honour.

3
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

Rights round-up
Blue Jar Pictures has optioned the Man Asian Prize-winning novel Please Home are beautiful snapshots into domestic lives and I’m so excited about
Look After Mom (Please Look After Mother in the UK) by Kyung-sook Shin bringing her work to more readers.” Picador will publish in June 2019.
for an English language TV series. The deal was done by the Barbara J
Zitwer Agency in New York, KL Management in Seoul and Emily Hayward- Josephine Greywoode, editorial director at Penguin Press, has won a six-way
Whitlock of the Artists Partnership. The novel, released in Korea by Changbi auction to sign UK and Commonwealth rights in The Matter of Memory by
Publishers in 2008, was published by Knopf in the US and Weidenfeld & Veronica O’Keane. The agent is Bill Hamilton at AM Heath. O’Keane is
Nicolson in the UK in 2011 in a translation by Chi-young Kim, and to date professor of psychiatry and consultant psychiatrist at Trinity College Dublin,
has sold in 30 countries. It is the story of 69 year old So-nyo, separated from and in her book (spring 2020) she shows how memories make us and how
her husband among the crowds of the Seoul subway station, and her family’s when things go wrong the abnormal experiences are hardwired into real
desperate search to find her. Julie Anne Robinson of Blue Jar Pictures said: memories, whether they happened or not. The Matter of Memory draws on
“The experience of losing a parent and having to deal with the guilt of case studies as well as examples from literature, film and fairy tales.
everything we didn’t say and do is beautifully and truthfully dramatised in
this coruscating, warm and witty story.” Anna Valentine at Trapeze (Orion UK) and Ben Schafer at Da Capo Press in the
US signed Halcyon On and On (August 2019) by techno-rave pioneers Orbital,
Carole Tonkinson, publisher of Bluebird writing with Andy Fyfe. Trapeze secured the book at a four-way auction
(Pan Macmillan), has signed two further conducted by Kevin Pocklington at the North Agency; Da Capo made a pre-
titles by Joe Wicks, author of the emptive offer. Paul and Phil Hartnoll (Orbital) have been leaders in their field
phenomenal bestseller Lean in 15. Bluebird since their first single, “Chime”, became a top 20 hit in 1989. But, Valentine
has world rights through Bev James of Bev said, “behind the scenes, the tumultuous relationship between Paul and Phil
James Management, and will publish the as both brothers and bandmates is equally fascinating. Halcyon and On and
first title in the deal, Wean in 15, in June On will do for the dance scene what The Dirt by Motley Crüe did for rock.”
2020. The book will be a guide to how to
introduce your baby to solid foods, with
100 recipes for babies and toddlers, plus a PRE-FAIR HIGHLIGHTS
chapter featuring exercises for parents. Chatto UK and HarperCollins US have signed a contemporary novel, The
Wicks’ next book will be Veggie Lean in 15, Joe Wicks Snakes, by Sadie Jones, author of the bestselling The Outcast. German
due in December. Tonkinson said: “Joe is such a brilliant, hands-on dad and rights went to Penguin Verlag, and Finnish rights to Otava. The agent is
he is putting so much time and energy into looking at the best way to wean. Caroline Wood (Felicity Bryan), who also sold Gill Hornby’s Miss Austen,
The book will cover baby-led and more traditional weaning and fantastic about Jane Austen and her sister Cassandra, to Century/Arrow.
flavours to encourage a varied and healthy diet in even the youngest eaters.” Another Century acquisition, following a six-way auction, was The
Silent Treatment and a further novel by Abbie Greaves, who works at the
Gollancz (UK) and Orbit (US) have signed a new fantasy trilogy by Polish Curtis Brown agency (agent Madeleine Milburn). US rights went to
bestseller Andrzej Sapkowski, whose bestselling Witcher books are William Morrow, and rights have also gone to publishers in Germany, Italy,
currently in production with Netflix. In the UK, Gollancz assistant editor Portugal, and Serbia, with further offers coming in. The Silent Treatment is
Craig Leyenaar bought world rights to The Hussite Trilogy from Patricia about a marriage that goes into crisis after 40 years.
Pasqualini at Patricia Pasqualini Literary Agency. The trilogy will be Another Madeleine Milburn client to be the subject of a six-way auction
translated by David French, who has worked with Sapkowski and Gollancz was Clare Pooley, whose The Authenticity Project and a further novel went
on the last six Witcher books. The author described the trilogy as “my tour to Transworld for six figures. PRH US secured the novel in a “major deal”,
de force. I consider it to be my best work to date.” Leyenaar said: “Hugely and rights went in 16 further languages. The Authenticy Project is billed to
popular and critically acclaimed, [Sapkowski’s] Witcher books are an be a “heart-warming” novel exploring loneliness, motherhood, addiction
absolute phenomenon, but once his audience get their hands on the first and love.
Hussite book, I’m sure that Reynevan will be more than a match for
Geralt’s place in readers’ hearts.” The first novel in the trilogy, set during
the Hussite wars, will be The Tower Of Fools (May 2020). Adichie names Pinter winner
Another Gollancz purchase, this time with Blackstone buying in the US, is The Chimamanda Ngozi Adichie is sharing her PEN Pinter Prize
Silent Gods Quartet by debut author Justin Travis Call. Rights have also gone 2018 with Waleed Abulkhair, lawyer and human rights
to Bragelonne (France), Blanvalet/Penguin Random House (Germany), and activist. Abulkhair, a founding member of the Monitor of
Luitingh Sijthoff (Netherlands). Gillian Redfearn, Gollancz publishing director, Human Rights in Saudi Arabia and currently serving a
did the deal through Danny Baror at Baror
15-year prison sentence in the country, was named the
International. Redfearn said: [Call has]
recipient of the International Writer of Courage award at the
crafted a story of incredible originality and
vibrancy that’s unafraid to explore the PEN Pinter Prize ceremony last night (9 October).
unexpected consequences of heroic actions, Adichie said: “I am proud to share this year’s PEN Pinter
and creates a distinctive and powerful new Prize with activist, lawyer and writer Waleed Abulkhair.
fantasy series.” The quartet asks the question: Waleed has dedicated his life to holding the Saudi
what if the boy hero of so many epics and authorities accountable for human rights abuses. He has
the malevolent force threatening his world dedicated his life to speaking out, to supporting the victims
were one and the same? Master of Sorrows, of those abuses. Waleed, like Harold Pinter, has shown a
the first novel in the quartet, will be out in lucid dedication to telling his truth. But rather than being
February. The author lives in Idaho. Justin Travis Call
lauded for this dedication, Waleed has paid a heavy price –
15 years behind bars.
Ansa Khan Khattak at Picador UK has signed world English rights (exc
Ireland) in Belfast writer Wendy Erskine’s debut collection Sweet Home.
“I am deeply proud to share this prize with Waleed and I
The agent is Lucy Luck at Conville & Walsh. The collection is published in hope that this small act of solidarity will bring him some
Ireland by Stinging Fly. Khattak said: “Wendy Erskine’s writing is some of comfort, and will remind him that his struggle has not been
the best I’ve read during my time here at Picador. The stories in Sweet forgotten, nor will it be in vain.”

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FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

Frankfurt Book Fair Briefcase 2018


By Rachel Deahl in New York, and Nicholas Clee and Neill Denny in London

US INKWELL MANAGEMENT
Julie Orringer’s The Flight Portfolio, set in occupied Europe, is a historical
AEVITAS CREATIVE MANAGEMENT novel that, per the agency, is based on the true story of Varian Fry, a
In Rich Karlgaard’s Late Bloomers, the publisher of Forbes magazine Harvard-educated American journalist who travelled to Marseille in
offers, per the agency, an exploration of “what it means to be a late 1940 to rescue artists and writers threatened by the Nazis.
bloomer in a culture obsessed with early success”.
MASSIE & MCQUILKIN LITERARY AGENTS
BAROR INTERNATIONAL Child in Me by Lisa Simone is a memoir by Nina Simone’s only daughter.
Sarah Skilton’s Fame Adjacent follows Holly Danner, the only cast member In it, the author shares how she, as the agency explains, began her life living
from a well-known 1990s variety show for kids who did not become “in a ‘Black Camelot’ in a comfortable Westchester home”, but did not
famous. Broke and jobless 25 years later, Holly finds out she hasn’t been ultimately “experience the privilege and open doors one might expect”.
invited to a televised reunion. “Hellbent on revenge, Holly decides to
crash the televised anniversary special,” the agency says, and meets a man JEAN V NAGGAR LITERARY AGENCY
“whose addiction might rival her own and send them both to doom.” The Missing Season by Gillian French, a thriller from the author of The
Lies They Tell and Edgar Award finalist for Grit, is set in Pender, Maine,
THE CLEGG AGENCY where every Halloween, a child goes missing. “The adults offer excuses,
In Bill Cunningham’s memoir, Fashion Climbing, the author, the agency but the Pender kids know what’s behind it – a horrific monster they call
says, recounts his education in style and portrays life in New York’s The Mumbler.”
bygone bohemian world. Cunningham is the subject of the upcoming
documentary The Times of Bill. SANDRA DIJKSTRA LITERARY AGENCY
The Gilded Wolves by Roshani Chokshi, set in Paris in 1889, follows a
DEFIORE AND COMPANY treasure hunter and hotelier named Séverin Montagnet-Alarie. Charged
Aftershocks by Nadia Owusu is a work of literary creative non-fiction – by a secret society with tracing an artifact, he finds in the underworld of
incorporating “strands of cultural and political history and literary criticism”, Paris “a treasure that he never imagined: his true inheritance”.
the agency says – in which a young Ghanaian-Armenian-American
woman digs for “the roots of her own fractured identity after a lifetime of CULLEN STANLEY INTERNATIONAL (ON BEHALF OF
statelessness and abandonment”. JANKLOW & NESBIT ASSOCIATES)
Autumn Light: Season of Fire and Farewells by Pico Iyer deals with the
DYSTEL, GODERICH & BOURRET death of the author’s Japanese father-in-law. In the book, Iyer, the agency
In her third book on mental strength, 13 Things Mentally Strong Women Don’t says, confronts “impermanence, mortality, and grief”.
Do, Amy Morin “teaches women to own their power, channel their confidence,
and find their authentic voice for a life of meaning and joy”, the agency says. TRIDENT MEDIA GROUP
Barker House by David Moloney is a debut from a former corrections
FOUNDRY LITERARY + MEDIA officer. The agency calls it a “novel-in-stories” about “nine guards inside
Fair Play by Eve Rodsky, an organisational management expert, will, per and beyond the walls of a New Hampshire jail”.
the agency, give readers a “prescriptive system to allocate domestic
responsibilities, revolutionizing their marriage, home, and sense of purpose”. WILLIAM MORRIS ENDEAVOR
Coders by Clive Thompson is an in-depth look at computer programmers
THE GERNERT COMPANY and, per the agency, “a brilliant and immersive reckoning with the most
In Chris Pavone’s thriller The Paris Diversion, a terror attack in Paris is “not powerful tribe in the world today”.
what it seems to be”, the agency says. Kate Moore, the heroine of Pavone’s
Edgar Award-winning novel The Expats, must unravel the mystery. WRITERS HOUSE
In the debut novel Confessions of an Innocent Man, David R Dow
ICM PARTNERS (HANDLED BY CURTIS BROWN) (Autobiography of an Execution) follows a man wrongly convicted of
The Never Game by Jeffery Deaver is the first in a new series by the murdering his wife. Once he is exonerated, the man, per the agency, goes
bestselling thriller writer; it follows Colter Shaw, who, the agency on a “quest for the type of justice he can actually live with”.
describes as “an itinerate reward seeker”.
THE WYLIE AGENCY
STUART KRICHEVSKY LITERARY AGENCY In Akwaeke Emezi’s sophomore novel, The Death of Vivek Oji, the author,
Republic of Lies: American Conspiracy Theorists and Their Surprising Rise to who is Igbo and Tamil, follows “the children of the Nigerwives, foreign
Power by Anna Merlan combines, the agency says, “historical insights, women who have married and settled in Nigeria”, the agency says.
sophisticated social analysis, and gripping on-the-ground reporting”. Continues on page 8 g

6
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FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

f Continued from page 6 KINGSFORD CAMPBELL

UK
Iain Dey’s The Cryotron Files tells the story of Dudley Buck, one of America’s
greatest but unheralded scientists and inventors, who died mysteriously
AITKEN ALEXANDER after a Russian visit to his laboratory (Icon UK; Overlook US).
From the bestselling author of Longbourn, The Body Lies by Jo Baker is a
tense and atmospheric thriller, a timely exploration of male violence in fiction ANDREW LOWNIE
and in real life (Doubleday UK; Knopf US; Knaus/Penguin Verlag Germany). Travellers in the Third Reich by Julia Boyd is based on first-hand
accounts written by foreigners (Elliott & Thompson UK; Pegasus US;
AMPERSAND AGENCY Peking University Press China; three European territories).
A Hero Born is the first in the 12-volume series Legends of the Condor
Heroes by China’s bestselling living novelist, Jin Yong (MacLehose Press UK; LBA BOOKS
rights sold in Germany, Italy, Spain, Portugal, Hungary, Brazil, Finland). In The Nocturnal Brain by Dr Guy Leschziner, we are taken on a journey
illustrating the neuroscience behind nightmares, night terrors and sleep
C&W AGENCY walking (Simon & Schuster UK; St Martin’s Press US; translation rights
You Will Be Safe Here, the debut novel by journalist and salonniere Damian Barr, sold in Germany, the Netherlands, Korea, Portugal, and Russia).
charts the experiences of three interconnected generations, and the ways in which
the violence of the past can echo through to the present day (Bloomsbury UK). LUTYENS & RUBINSTEIN
A Game of Birds and Wolves is the untold story of three Wrens, an
GEORGINA CAPEL ex-Navy captain and the boardgame which won the Second World War,
Churchill: Walking with Destiny: A Biography by Andrew Roberts is “a landmark by gaming expert and journalist Simon Parkin (Sceptre world English).
reconsideration”, based on new material ranging from from private letters to records
of war cabinet meetings (Allen Lane UK; Viking US; seven international deals). MADELEINE MILBURN
The Silent Treatment by Ivy Rafferty (Abbie Greaves) is an upmarket
CASKIE MUSHENS book club debut telling the story of Frank and Margot, a couple who
In Do Not Disturb by Claire Douglas, a woman in need of a fresh start opens have been married for 40 years, but who haven’t spoken for the last six
a guesthouse – but her first guest is someone from her past, who tore everything months (Cornerstone UK; William Morrow US; four international deals).
apart 17 years earlier (Michael Joseph UK; Penguin Germany; Gu-Fic Korea).
ANDREW NURNBERG
FURNISS LAWTON Critical: Science and Stories from the Brink of Human Life by Dr Matt
The Voices, the new thriller by bestselling author SK Tremayne, is about a Morgan uses landmark cases and real patient stories from the author’s
woman whose life descends into digital hell (HarperCollins UK; Droemer career to explore the world of intensive care medicine (Simon & Schuster
Germany; Presses de la Cite France). UK; 20/20 Portugal).

GREENE & HEATON NORTHBANK TALENT


Richard Roper’s Something To Live For is “a quirky and hilarious debut with Arthur Turrell’s How To Build a Star is “the mind-blowing science behind
real heart”, about Andrew, desperate not to die alone and rediscovering how to nuclear fusion and the epic quest to harness its power” (Weidenfeld UK).
live and love (agent Orion UK; Putnam US; translation deals in 12 countries).
PEAKE ASSOCIATES
DAVID HIGHAM (INCORPORATING GREGORY & COMPANY) Jonathan Coe’s new, serio-comic novel, Middle England, deals with
Sex. Secrets. Voodoo. Murder. Revenge: Savannah by Sarah Pinborough is a dark British public and private life in the years 2010-2018, reintroducing
and sexy thriller with a kicker of an ending (HarperCollins UK; HarperCollins US). characters from The Rotters’ Club and The Closed Circle (Viking UK;
Knopf US; rights sold in six European territories).
JANKLOW & NESBIT
Hypeology is by rising star of psychology Dr Stuart Ritchie, who tackles PEW LITERARY
the Replication Crisis, showing why a great deal of what we think we Luke Jennings’ Villanelle: No Tomorrow follows his thriller Codename Villanelle,
know about science is the result of hype, bias, fraud or incompetence the source of the BBC1 series Killing Eve (John Murray UK; Mulholland US).
(Bodley Head UK; Norton NA; Thenan South Korea).
PFD
JOHNSON & ALCOCK Author and journalist Elizabeth Day’s first non-fiction book – part
Black Ghost of Empire: The Long Death of Slavery by Kris Majapra is an essential memoir, part manifesto – How To Fail is based on the premise that
contribution to our understanding of the history of slavery and an urgent reminder understanding why we fail ultimately makes us stronger (4th Estate UK;
of how slavery’s shadow extends into the present (Allen Lane UK; Scribner US). Goldmann Germany; Belfond France).

JULA UNITED AGENTS


In Queenie by Candice Carty-Williams, Queenie Jenkins is a 25-year-old Jamaican Dominick Donald’s acclaimed debut crime thriller Breathe is set amid the
British woman living in London, straddling two cultures and slotting smog, bombsites and gloomy desperation of Notting Hill in 1952, when police
neatly into neither (Orion UK; Scout Press NA; Lionsgate film and TV). probationer Dick Bourton finds himself on the trail of a serial killer (Hodder UK).

8
Frankfurt Rights Marketplace
PW’s Title Showcase
Welcome to PW’s 2018 Rights Marketplace, a new feature launched last year. Here you
will find a diverse list of titles, embodying a wide range of categories within the
industry. This section was created to give publishers the opportunity to promote
individual titles, open up rights opportunities, and generate brand awareness
within the international marketplace.

Astrotheology: The Spiritual Atheist:


Missing Link Books 1-5 Amazon No.1 USA & UK
Paul T E Cusack Nick Seneca Jankel
Lulu.com Paul T E Cusack Switch On Books
ISBN 978-1-300-48474-5 ISBN 9781999731526

Hailed as one of the most gifted “Eye-opening. A nuanced way to


and brilliant minds of our century, expand the views of even a hardened
Paul T E Cusack has authored over atheist.” — Kirkus Reviews
40 books, including the well known
Astrtoheology Series of 6 books on A philosophical masterpiece
the most advanced Mathematical presenting an accessible history of
Physics since Relativity. Western & Eastern thought — and
how to unite them to thrive in life,
All rights for sale International Rights Available
love, and leadership in the Digital Age
(506) 652-6350 St-michael@hotmail.com Sophie Wells | sophie@switchonnow.com
lulu.com www.switchonnow.com

Protected by Muslims
during World War II
Feature Your Books at Upcoming Shows
A Robert Neurath
Neurath Publishing PW will continue to produce our Title Showcase
ISBN 978-0-692-15061-0
section in all of our upcoming Show Daily
Describing the employment of
German professionals by Turkey
publications including:
after the rise of Hitler; the protection
of Jews by Muslims in Europe; and
their successful carers after the war.
Contrasts with recent xenophobia,
• London Book Fair (March 12-14)
disdain for immigrants in the US;
admiration of Russian communists,
• Bologna Childrens’ Book Fair (April 1-4)
Copyright 2018 by Robert
Neurath
and endorsement of far-right politics. • BookExpo (May 29- 31)
http://www.historyibooks.org
http://www.historyibooks2.org

For more information regarding this low-cost


advertising opportunity, please contact Joe Murray at
jmurray@publishersweekly.com.
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

International publishers – based in Britain


David Shelley on globalism and diversity

As Brexit draws closer, it feels like a natural publishing sector, there have also been steep
time for all British industries to reflect on rises over the past five years in particular
their place in the world. And the creative regions: notably Europe, the Middle East/
industries are the fastest growing part of the North Africa, and East and South Asia.
UK economy. In 2016, the Creative Industries For decades – for generations, in fact – the
Federation reported that the sector was UK publishing industry has invested in its
bigger than the automotive, life sciences, export markets. Even when those markets have
aerospace, and oil and gas companies not been profitable, publishers have taken a
combined, contributing £91.8 billion GVA long view. At Hachette UK, we have offices in
(gross value added). Publishing represented Australia, India, New Zealand, Hong Kong,
a substantial 8.5% of that figure. Ireland and the Caribbean, and multiple sales
Breaking the numbers down for our industry, David Shelley agents across other territories. These markets
one of the most eye-catching statistics from the 2017 have helped to counter-balance a UK retail environment
Publishers Association Publishing Yearbook was that last fraught with challenges, and have grown to such an extent
year total exports of physical and digital books from the that, whilst our main offices are in the UK, our increasing
UK rose by 7%, to £1.6 billion. This equates to 43% of UK focus is on publishing for a truly international market.
publishers’ reported turnover of £3.7 billion. In the past I expect that in years to come there will continue to be a
five years there have been particularly sharp rises in sales of subtle but significant shift in thinking from seeing ourselves
non-fiction and reference books, school books and as British publishers who export books to seeing ourselves as
children’s books in export markets. And, depending on the international publishers who happen to be based in Britain. In
WEDNESDAY 10 OCTOBER 2018 FRANKFURT SHOW DAILY

the academic, educational and STM


sectors this is already largely the model,
“Last year total exports 2018 (Publishers Association)
documents the extraordinary impact
and trade publishing is increasingly of… books from the UK that UK-originated books have had when
adopting this mindset. filmed. From Harry Potter to Bridget
Given our global reach and the
rose by 7%, to £1.6 Jones’s Diary to Lord of the Rings to the
continued increase in non-UK sales for billion. This equates to Bond franchise, films based on novels by
UK-based publishers, the industry’s British authors have been amongst the
focus on reflecting the world we live in,
43% of UK publishers’ biggest film successes of all time.
increasing diversity in our publishing reported turnover.” If, in the years to come, we publish
and our staff – and, as a priority, more books out of the UK that can
increasing this diversity at senior levels that are likely to speak to a truly international audience, it will only increase
influence culture and strategy – is a particularly important the amount of terrific source material for international
mission. As well as being a moral imperative for our industry, film, television and theatre, and will only increase the value
the more we are able to make our publishing truly reflect the added globally by our sector.
world we live in, rather than just London, or just the UK, the The real opportunity as UK publishers become more
more we will be able to thrive in the international marketplace internationally focused, more diverse, and with a better
and reach new readers, as well as to better weather whatever understanding of global consumers, is – as well as
storms come our way on the home front. maintaining stability for our publishing industry – that UK
 It is also worth noting that our global influence and, more authors will see new markets open up for their writing.
importantly, the global influence of our authors, goes way That will mean new possibilities for their work to inspire
beyond book sales. Books by British authors are a leading globally successful films and TV, as well as providing more
source of material for films, television, plays and now ways in for a more diverse range of writers. ■
games. Publishing’s Contribution to the Creative Industries David Shelley is CEO of Hachette.
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

Fake news, propaganda and plain old lies


In the golden age of newspapers, printing who created it, and why they created it.
formats came to be identified with the Information doesn’t just happen. It’s not a
reliability of the published information naturally occurring substance.”
found on their pages – there were Publishers, of course, deliver information
broadsheets and tabloids, writes in books and other media for all sorts of
Christopher Kenneally. Broadsheets were reasons, including for remuneration. As
boring and gray, but factual. Tabloids were Barclay pointed out, the profit motive is
salacious and sensational, yet undependable. not inherently pernicious. Other motives
In the internet age, such simple rules for can be, however.
determining credibility are hard to come by. “People will present information to try to
Apps, blogs, websites, down to memes on gain control or gain power or gain
social media proliferate by the thousands Donald Barclay followers, whether those are political
today, making the work of discerning followers or Facebook followers,” he said.
credible sources from fake news ever harder. And while all of us want to believe that we can’t be fooled
In Fake News, Propaganda, and Plain Old Lies (Rowman – or at least, that it would take a lot of effort to fool us –
& Littlefield) author Donald Barclay offers a timely guide the many confirmed instances of social media chicanery in
for professionals and members of the public who want to the 2016 US presidential election demonstrate not only
better sort fact from fiction. Fake news has become a that we do get fooled, but also how often and how easily
popular term in the wake of Donald Trump, but it’s we can fall for lies.
nothing new. When it comes to historical and
contemporary examples of propaganda and fake Cognitive bias
news, there are plenty of examples to go around. “We all have a cognitive bias. We see the world
So, what’s new, then, in 2018? in a certain way. If you read something or see
something that either makes you really angry
Lies, half-lies and half-truths because it’s so opposite of what you believe, or
“People have used lies and half-lies and half- something that makes you feel really good about
truths for a long time to get what they want: to yourself, that you were right all along, that you
mislead people, to get their way, whether it’s for knew what was going on, that’s the time you have
money, power, whatever. What we face in the to be really careful,” Barclay warned.
digital age is the sheer amount of such Information literacy as a term first appeared in
information,” Donald Barclay noted in a recent 1974, in a report for the US National Commission on
interview for Copyright Clearance Center’s “Beyond the Libraries and Information Science. In 1989, a Presidential
Book” podcast series. Committee on Information Literacy led to the formation of
“In the eighties, if you wanted to share some crackpot a coalition of more than 90 national and international
theory, and you didn’t have access to newspapers and TV, organisations concerned with “techniques and skills… for
you would have to pay to have a lot of copies printed and utilising the wide range of information tools as well as
then distributed. That’s a very expensive proposition, and primary sources in molding information solutions.” The
very limiting,” Barclay said. “Today, you can sit at your digital revolution in the generation since has only made the
computer and send out one thing after another after challenge greater than ever, according to Barclay.
another. Most of those things won’t get picked up, but if “When I was coming up in the profession, information
one of them breaks through, you might get a million people literacy was something librarians did. Maybe they got an
to read something you wrote. That’s a very tempting hour to talk with students, and that was it,” he recalled.
proposition for someone who wants to put out a After the furore that broke about “fake news” in 2016,
[fabricated] story.” people are now paying much more attention.
Not surprisingly for a librarian – he is deputy university “As a culture, we need to start teaching students to think
librarian at the University of California-Merced, the tenth about information credibility at a really early age. I’m
and newest of the University of California campuses, which talking grade school. And keep working with them on that
opened in 2005 – Barclay advocates “information literacy” all the way through their education. You can start pretty
as an antidote to the poison of fake news. For more than 25 early with kids. Kids understand how playground rumours
years, he has given classes where students learn to think work, how somebody tells a lie on the playground, and
critically and to evaluate information carefully. His new then suddenly people believe it. That’s not much different
book puts those lessons into textbook form. than what’s happening with fake news.” ■
“The idea is to think about information as a commodity,” Christopher Kenneally hosts “Beyond the Book”, a podcast series from
he explained. “You need to think about how it was created, Copyright Clearance Center.

12
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

A good face for audiobooks


Audibooks are getting starrier – but not always to the benefit of the productions,
Nicholas Jones argues
It used to be said of actors who didn’t have Here at Strathmore we have sometimes
matinée idol or screen-star looks that they had to coax performances out of actors a
had “a good face for radio”. “A good face line at the time. One of these even won a
for audiobooks” might be expected to have best-reader prize, so the method can produce
a similar meaning, and indeed I wrote in this great results, but it takes at least three times
column a couple of years back about how as long as it should, and when increasingly
not having to consider physical looks studios and productions teams are paid by
liberated the possible choice of readers and the finished hour that is not a fair
how therefore audiobooks could be leaders distribution of cost and benefit.
in diversity of casting. The need for plot secrecy on high-profile
But this is not what has happened. A good titles like Game of Thrones means that
face for audiobooks seems increasingly to be Nicholas Jones screen actors are frequently given no more
one that is already known from film or of the script than the pages they appear on.
television. An article in the trade press
“It is by no This leads to an expectation, particularly
earlier this year announcing a major audio means a given among younger actors who know no other
project reported that: “Casting is currently way of working, that they are not
underway, with the focus on ‘strong new
that a good responsible for characterisation and that
television acting talent’.” Famous names will television actor there will always be somebody else on the
bring publicity and may capture the production who knows what is required, or
attention of new listeners, but I am worried will be a even that it is not necessary to have read the
lest marketing considerations play too large compelling and book in advance of the recording.
a part in casting. There is certainly an It’s an exciting time to be in the business
overlap of the skills needed, but it is by no effective reader of creating and publishing audiobooks, but I
means a given that a good television actor of audiobooks.” do hope the marketing tail doesn’t wag the
will be a compelling and effective reader of storytelling dog. If listeners are going to
audiobooks. If you want a portrait in oils, you don’t go to a spend 15 or 20 hours in an actor’s company, that actor
watercolourist, or vice versa. Yes, there are certainly artists must be chosen because he or she has proven skills, and the
who do both to the highest standards, but the different skills right experience and vocal qualities for the characters in
required for each are not always found in the same person. the book.

Doing the voices Shifting priorities


Reading an audiobook and acting are closely aligned, but The priorities have certainly shifted. One audiobook reader
there is one fundamental difference. When the characters in recently told me that when she auditioned for the BBC
a story are being played one-actor-one-part on stage or Radio Repertory company some 20 years ago, there was a
film, the responsibility for the overall vision of the curtain between her and the judges. She joked that to her
production lies with the director, who gives notes to each ears some radio castings now seem to be done more for the
actor to meld the individual performances towards a pictures that will appear on the BBC website programme
coherent whole. That remains true for a play on radio. pages than for voice.
With an audiobook, responsibility shifts: performers who A week later, we happened to record one of those
are going to create compelling listening in a single-voice mentioned as “fresh television talent”. She has turned out
reading have to have complete visions of the stories in their undoubtedly to be both “oil painter” and “watercolourist”,
heads, and then “describe what they see”. An experienced but we know from experience that not all actors are. Over
reader will make characterisation decisions when preparing lunch, astutely self-aware, she remarked: “When they first
so as to ensure that it is as clear as possible in any dialogue asked me to read an audiobook, it did bother me that
scenes which character is talking. The capacity to create they’d cast me because of how well known I am and not
and remember many voices during the course of three or how well I can do the job.”
four days’ reading is one not given to all actors. There are We owe it to our listeners to cast for known skill, not
some who are very good at taking notes from a director but just for fame. ■
apparently not capable of generating or remembering Nicholas Jones founded Strathmore Publishing, an audio and printed book
effective characterisations themselves. production house, in 1995 and has since produced more than 1,000 titles.

14
We Are Quarto

Please come and visit us at


Stand 6.0 E 10/6.0 E 11

#wearebooks #wearepeople #wearequarto


quartoknows.com

Creatively Independent
WEDNESDAY 10 OCTOBER 2018

Be a secret lemonade thinker


Duncan Calow looks at how trade secrets can be a

EU copyright reforms and


the GDPR have been front-
page news this year –
seemingly a threat to
civilisation as we know it.
By comparison, the
introduction of new trade
secrets law feels like it has
been kept, well, a secret.
That is a pity, because trade
secrets are not just for fizzy
drinks manufacturers Duncan Calow
wanting to keep their pop recipes a mystery. They can also
be a useful back-up media right. Something to keep in mind
when discussing business in and around the Buchmesse.
This summer, a minimum level of trade secrets
protection has been implemented across the European
Union. The relevant UK regulations – which build on
existing confidentiality law – will continue to apply
regardless of Brexit. Indeed, the law is based on WTO

SAVE
initiatives and is not dissimilar to recent US legislation.
Under it a “trade secret” means information which: (a) is,
you guessed it, secret – in the sense that it is not generally

THE DATE
known or readily accessible to the circles of those who
normally deal with such information; (b) has commercial
value because it is secret; and (c) has been subject to
reasonable steps to keep it secret. Trade secrets are given
special protection against unauthorised acquisition,

06 Nov
disclosure and use.
Judging the value of trade secrets depends in part on
their inter-relationship with other rights and, in particular,
how they can help cover gaps in protection. Intellectual

08 2018
property and related rights obviously come in many
flavours, but let’s take four of the main ones.

Limits of copyright
‫ﻣﺮﻛﺰ اﻛﺴـﺒﻮ اﻟﺸﺎرﻗﺔ‬ Obviously, copyright is the lifeblood of the media and a
pretty adaptable legal animal. But it does have limits. It is

Expo Centre Sharjah often cited that there is “no copyright in an idea – only
the expression of an idea”. That’s a bit of a simplification,
but it captures the fact that where an idea is expressed in
the form of, say, a literary work it is that particular form
of literary expression which copyright protects. If the idea
can be extracted without copying a substantial part of
that particular work – then there is no infringement.
The classic example of this is television formats, where
the courts have consistently declined to give protection to,
or find infringement of, high-level programme
descriptions (rather than the detailed production bibles
#SIBFALA18 producers use). But the same limitation can crop up in
many other parts of the media. We discussed the limits of

16
WEDNESDAY 10 OCTOBER 2018

ker
s can be a useful back-up right in media

character rights in “The Fifty Shades of Noel Coward”


fan-fiction article (LBF Show Daily, 2015).

Content usage data


We have also discussed on these pages how content usage
data can be as valuable as the content itself. But EU
copyright won’t protect databases which lack sufficient
intellectual creativity. That leaves the fall-back of the
database right – a right the Commission at one point
threatened to scrap. More recently it concluded that it
failed to “apply broadly to the data economy”, not least
because investment in creating database content – rather
than collecting it from external sources – is not protected.
Copyright will generally not protect names either, but
registered trade mark rights take time and money to
establish and are usually only practical for certain
projects. There are also unregistered brand rights, but
these will require a publisher to demonstrate existing
goodwill, which won’t exist at pre-production stage.
Finally, whilst patent rights exist to protect inventions,
the required industrial application and the exclusion of
computer programmes and business methods (at least in
the EU) have always limited their relevance – even at the
digital end of publishing and media.

Sufficient detail
Confidentiality and trade secrets can’t solve all of these
deficiencies. The requirement for secrecy means that the
focus here is pre-publication and in-house content. In several
of the media cases the courts have been unwilling to protect
content ideas as trade secrets because they lack sufficient
detail: whilst “a fully developed format is not a pre-requisite
for protection as confidential information… [a] very
generalised description of [a] concept [falls] far short”. The
impact of the new requirement for “commercial value” and
the scope of the “circles” of persons dealing in any given
information will also need to be established.
That said, wherever ideas, concepts, formats, synopses
or outlines and even names, brands, logos, mock-ups,
covers and characters are being discussed at a planning
and production stage – or when internal insights, know-
how, data and databases are being created – trade secrets
may provide all-important back-up protection.
More than ever, it will be worth remembering to use
confidentiality clauses, non-disclosure agreements and
appropriate engagement/employment terms. But this is
more than just buying a new “confidential” stamp. Under
the new law, actively thinking about and identifying trade
secrets and ensuring they get treated as such will have a
real value. So just what is your secret sauce – and how are
you protecting it at Frankfurt? ■

17
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

VAT on ebooks – will we get a zero rate?


Numerous publishing associations throughout Europe are The UK’s departure from the European Union should be
no doubt lobbying their governments following an irrelevant to the decision, Lotinga argued: “The
agreement by the Economic and Financial Affairs Council government’s preoccupation with Brexit should not delay
(ECOFIN) of the European Union to allow member states [the chancellor] – if the UK does not act quickly it risks the
to apply reduced rates of VAT to electronic publications, UK digital policy falling behind its European competitors.”
including ebooks, writes Nicholas Clee. The proposal The PA put forward an argument about inclusivity to
allows member states, but does not oblige them, to align back up its case. The discrepancy between a zero rate for
the rates of e-publications to those of printed publications. printed titles and a 20% rate for ebooks, the association
The proposal has already been supported by the European said, was “discriminatory, as it hits vulnerable groups
Commission and Parliament, and now requires sign-off by hardest. These include the blind or visually impaired, who
the Council of the EU. listen to audiobooks; students, who pay more to read
In the UK, the Publishers Association was quick off the academic journals; and young people from disadvantaged
mark, issuing on the day of the announcement last week a households, for whom ebooks are increasingly the first or
call to chancellor of the exchequer Philip Hammond to only kind of book they have access to in the home.”
remove the 20% tax on digital publications in his The announcement came the day after the European
forthcoming budget on 29th October. Union ratified the Marrakesh Treaty, which facilitates access
Stephen Lotinga, ceo of the Publishers Association (PA), to published works by visually impaired people and people
said: “The government must act now to remove this unfair with print disabilities. International Publishers Association
and illogical tax on ebooks, magazine and newspaper president Michiel Kolman said it was “a great week for
online subscriptions. It makes no sense in the modern European readers”. He added: “While both these outcomes
world that readers are being penalised with an additional are logical, it has taken great efforts from the industry and
20% tax for choosing to embrace digital. We should not be politically to make this happen. Let’s hope other regions
taxing reading and learning.”
NBD_Global_Book_Discovery_Advert_185x130mm_HR.pdf 1 follow
28/09/2018 these great examples of reducing barriers to books.”■
19:53

CM

MY

CY

CMY

18
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

The future of (alternative) revenue


In the last ten years academic, scholarly and is perceived. Yet, advertising can create a
trade publishing have all changed dramatically, powerful revenue stream that would enable
writes Scott Winner. Digital publishing has a much broader reach of vital information to
become an ever-present reality. Open Access the world without relying as heavily on
has expanded the reach of research, but limited government or non-profit funding
impacted subscription income and author sources. It is likely scholarly and educational
payments; the internet, self-publishing, ebook publishers will need to find a way to
pricing and trade subscription services have navigate the ethical dilemmas to keep both
eroded the earnings of the written word; and high content integrity while enabling some
consumers have begun thinking that content additional revenue streams.
should be “free”. Trade publishing has been somewhat
Increasingly, publishers and authors are Scott Winner resistant as well and had difficulty finding the
looking at adjacent markets to provide appropriate way to incorporate advertising
alternative revenue models to unlock their
“Increasingly, into paper works. In fact, there is a long history
full monetary potential. A few methods on publishers and of advertising in mass market novels, it has just
which publishers are starting to focus are generally been focused on selling that author’s
profit sharing with authors, advertising and
authors are next book or a book by a similar author, which
product placement. looking at is featured on the last page or the inside cover.
Today, with more sophisticated advertising
Profit sharing with authors adjacent markets delivery and tracking systems, and digitally
Probably the most prevalent revenue to provide delivered content, a more targeted approach
restructure is publishers shifting their financial to deliver appropriate advertising to the
relationship with authors. Historically,
alternative reader can greatly enhance earning potential.
publishers have borne far more of the risk revenue models.” Moreover, what content providers are
for a published work’s success through large learning is that segments of consumers are
advance payments, the financial risk of high print runs and willing to watch ads in order to have free content – whereas
marketing costs, and therefore reaping most of the profits. other segments will pay a premium to avoid advertising as
However, when faced with declines in individual journal seen through successful models like Netflix and Spotify.
and book revenues, payments to authors have reduced with
a shift to profit-sharing arrangements on the back end. To a Product placement
large degree this is aligning more with models that have Another form of advertising that may become more
been heavily used in media and the music industries. prevalent in publishing, largely due to its success in the
To allow publishers to maintain their position and be a vital movie and gaming industries, is product placement. Authors
part of the process, they have turned to new ways to engage and editors are wrestling with the idea that by shifting the
authors and partner with them on each publication. products and how they describe them in books they can earn
Publishers can leverage profit-sharing systems that allow both additional revenues. It is an area where an artist may decide
parties to be equally invested in the success of the publication to make a trade-off from their original idea to use a different
and make sure that their costs are better covered in the brand so that they can earn the product placement revenues.
process. Once a publisher has recouped the publication If you look at how social media influencers (YouTubers
costs, both parties share in the profits and future rewards. and Instagrammers in particular) generate revenue though
By giving authors more transparency into the complete the promotion of brands to their audiences via sponsored
process, publishers have seen unified support for the content, it is likely a matter of time before we see more
marketing and promotion of the work, and increases in lucrative product placements throughout books.
author participation throughout the process as well as a And as brands and advertisers become increasingly savvy
better, more equitable financial relationship. at understanding consumers and finding ways to serve up
targeted ads and promotions, this methodology may be far
Advertising less intrusive than ever before.
In scholarly and educational publishing, there has been a strong Publishers will need to adapt their thinking, and establish
resistance to advertising because the validity and integrity of the new sorts of relationships with their authors, forge new types
content is vitally important. There cannot be any consideration of relationships with advertisers, and work with vendors who
that research and studies are being influenced by companies will enable them to take advantage of these opportunities and
looking to increase sales through advertising alongside provide transparency in the publishing process to all parties. ■
scholarly works. Even the perception of influence through Scott Winner is acting CEO of Ingenta. He and the Ingenta team are in
advertising can negatively impact the way in which the research hall 6.2, stand A16 at the fair.

20
WEDNESDAY 10 OCTOBER 2018 FRANKFURT SHOW DAILY

Characterful Georgia
Nicholas Clee looks at how a unique alphabet provides the theme for this year’s
Guest of Honour programme
British-Georgian singer Katie Melua was the star turn last with the help
year as France handed over to Georgia as the Frankfurt Book of a Georgian
Fair Guest of Honour (GoH). This year, Georgian classical calligraphist, to
superstars Khatia Buniatishvili and Lisa Batiashvili, both of compose messages
whom wowed audiences at the BBC Proms this summer, are in Georgian
contributing their glamour and flair to their country’s characters and
presentations. Pianist Buniatishvili performed at the Frankfurt get them printed
opening ceremony; and violinist Batiashvili will perform on on postcards.
Friday (12th October) at the presentation of the SABA The pavilion
award, Georgia’s most prestigious literary prize. has been created
Georgia, with a population of 3.7m, certainly punches above by George
its weight on the music scene. The Guest of Honour programme, Bokhua Studio Old Tbilisi
featuring a year-long schedule of events, is a chance to and Multiverse
demonstrate the richness of its entire cultural life. From the Architecture of Tbilisi. The number of Georgian characters sets the
Georgian literary community, some 70 authors have been agenda for the design: “We will open,” the designers say, “33 doors
performing or will perform at 500 events in Germany, with 33 keys, pass 33 mountains and 33 valleys, sail the sea with
Switzerland and Austria this year. This week, events are taking 33 ships, conquer 33 castles, flee 33 labyrinths, sing 33 songs,
place in the fairground and as part of the Open Books festival in bake 33 breads, on the 33rd day put down the roots of vines, and
the city. Sixty Georgian adult titles and 15 children’s titles will at the end of the route write a book with 33 letters, a book with
have appeared in German editions by the end of 2018. There has the story of 33 characters that lead us to reveal Georgia.” The
been some movement the other way, too: as part of Frankfurt’s event stages are designed to evoke the spirit of the past, with
“Get Together” initiative with further Guest of Honour ancient Khevsurian ornaments providing the inspiration. The
countries, Erlend Loe from Norway (GoH next year) and Michel pavilion will house an exhibition of books about Georgia, and
Houellebecq from France (2017) visited Georgia earlier this year. a photography hub will feature photos of Tbilisi by Magnum
This is not a big market. According to figures released by the photographers. The multimedia hub will introduce the Georgian
GoH organisers, book sales in Georgia in 2015 were worth language, and 33 sculptures will encapsulate Georgian stories.
€4.3m. The country’s publishers released 4,173 titles, with an Forty Georgian publishers are represented at the country’s
average print run of about 1,000 copies. Fifty-five per cent of national stand in Hall 5.0. Georgia is also exhibiting in the ARTS+
them were by Georgian authors, and 45% were in translation. pavilion, and has a children’s stand in 3.0. In the foyer of Hall 5,
There are about 100 publishing houses, the largest of which, by an LED screen will showcase the works of Georgian illustrators.
title output, are Palitra, Bakur Sulakauri and Intelekti. There Juergen Boos, president of the Frankfurt Book Fair, said:
are about 50 bookshops, some of them part of the country’s “Georgia’s geographical position between Europe and the
only chain, Biblus, but the larger portion independent. Nineteen Caucasus, and its unique identity despite – or perhaps because of –
per cent of sales of printed books are through online channels. the various cultural and political influences, have made the country
The tagline for Georgia’s into one of the most exciting Guests of Honour in recent times.
Guest of Honour appearance “The Georgian book industry has established new structures
is “Georgia: Made by while making preparations for its Guest of Honour appearance:
Characters” – a neat way of the Georgian National Book Centre (GNBC) was founded as a
tying its cultural endeavours direct response to the Guest of Honour status. A translation
to its unique, 33-character funding programme was also implemented, and the publishing
alphabet. Frankfurt visitors companies are said to have reached a new level of professionalism
wishing to explore the nuts with regard to the rights trade. It has been incredibly exciting to
and bolts of Georgian writing see how the programme takes shape and to get a glimpse of the
should visit the country’s wide range of topics. We have reached a milestone today: there
pavilion, where, in the words are currently 80 Georgian titles translated into German.
of the promotional material, “The close ties that emerge during the planning of such a
“you can get most intimate major exhibition have an impact in both countries… Both
with the Georgian alphabet”. countries will benefit enormously from this exchange, with
An installation hosted by longevity and reciprocity as essential components of the
Tsminda Sameba Cathedral Monotype will enable you, Guest of Honour programme.” ■

21
WEDNESDAY 10 OCTOBER 2018

Crime or romance: Most tr


Over the past 11 years, the
Translation Database at
Publishers Weekly has proven

2020
invaluable for helping
delineate this particular sector
of the publishing industry,
writes Chad Post, helping
cultural agencies evaluate
initiatives, motivating
publishers to do more books
The year Canada will be the from more regions and in

GUEST OF HONOUR at
more languages, and it can Chad Post
help freelance translators get a

the FRANKFURT
better read on where to send their proposals.
But one thing that none of this data has explained is what
types of books are being published in translation – until now.

BOOK FAIR Earlier this year, I was curious to find out how many short
story collections are published in translation in a given year
(turns out, between 24 and 28, less than 6% of all translated
works). And as I was going through Ingram’s iPage, book by
book, I thought it would be interesting to compile information

Join us!
about the other types of books being published in translation.
So, to come up with these stats, I went back and assigned
every translation published in 2016, 2017 and 2018 a given
Networking reception at genre based on their BISAC codes. As long as one of the genres
– Historical, Romance, Horror, Speculative, Crime, Young
Canada stand, Hall 6.0 B67 Adult or Short Stories – appeared in the three-to-five listed
Wednesday, Oct. 10, 5 pm BISAC codes attributed to the book in question, I assigned the
title to that category. Otherwise I labelled it as General.
A couple more notes: Crime includes all variations – thriller,
This year, meet us in Frankfurt
noir, detective, mystery, etc. For our initial count they are
Rencontrez-nous cette année à Francfort lumped into one category. And Speculative was my catch-all
Canada stand, Hall 6.0 B67 for science fiction, fantasy or anything of the like. And while
Stand du Québec, Hall 5.1 E111 Short Stories and Anthologies aren’t really genres per se, it
seemed worthwhile to break them out, to demonstrate how
few story collections are being published in translation.
• Translation Incentives
Of course, BISAC subject codes are assigned by the
• Online Rights Catalogue, publisher, so there will inevitably be some noise in here – and
French and English Selection indeed, there were dozens of titles that included codes for more
than one of the genres I was tracking – for example, a common
• Fellowship Opportunities to Canada overlap was Historical and Romance, which for now I simply
put into the Romance category. So, yes, the methodology will
À bientôt ! be more refined over time, and these first numbers shouldn’t be
taken as absolute. Still, I’m confident enough in the relative
differences between categories to share them here.

Crime in translation
canadafbm2020.com So, what did we learn about what types of books were being
translated? The fact that more than 25% of the translations
@CanadaFBM2020 published in the US since 2016 are crime novels isn’t shocking,
but it does confirm the belief that crime novels from all over
the world can appeal to American readers.
The general lack of romance novels isn’t terribly surprising
either, given the sheer number of English-language romance
WEDNESDAY 10 OCTOBER 2018
Visit us in Hall 4.2, Stand J72

anslated?
IMF Publications
writers who are working today. But the fact that almost a third
of translated romance books are published by AmazonCrossing and Southeast Asia
is worth noting. And Speculative fiction is another area that
could see an increase over the next few years given the success
of Cixin Liu’s The Three-Body Problem series, and the fact that
internationally this remains a rather untapped market.
The existence of a Western on this list – In Search of New
Babylon by Dominique Scali, translated from the French by
Donald Wilson and published by Talonbooks – might seem
like the most surprising result. Except that Scali is Canadian –
so maybe it’s not that weird by geographical association.

Young adult books


Meanwhile, the big, gaping hole here has to be Young Adult novels
in translation. Again, YA is not really a genre, but given the success
of so many YA books and franchises, it is useful to break out and
track, as publishers would presumably be interested in taking a
chance on such works. While there has been a recent push by
smaller presses to publish more children’s books in translation, The forces that will shape the economic future
it’s possible that this market will become a much bigger thing of the largest economy in Southeast Asia are
over the next few years – indeed it is a particular focus at this uncovered in this book.
year’s Frankfurt Book Fair. And there is certainly an argument $25. 2018. Paperback. ISBN 978-1-48433-714-1
to be made that introducing younger readers to translations
will help the field as a whole grow, by showing readers at an
early age that international literature is worth their time.
Another interesting aspect of this data is how stable the numbers
are across the three years I tracked. For example, Crime books in
translation made up 26.21%, 25.30% and 25.53% over the last
three years. Anthologies: 2.23%, 2.01% and 2.66%. And the
number of Historical translations published – which includes a
good number of books about the First and Second World Wars
– has also been nearly dead on over the last three years.
This consistency could be a result of the fact that most of the
presses doing translations are smaller, with more focused
editorial lists. It is also possible that it is marketplace forces at
work – international crime books sell, for example. Which is
why parsing our translation numbers by genre can be so
useful. Getting a better sense of what’s being published offers
us more data about which books to pursue, and how those As global risks test the ASEAN-5 countries’ resilience,
books fit into the international publishing ecosystem. ■ this timely book explores ways to help tackle the
challenges ahead.
TRANSLATED WORKS BY GENRE, 2016-18
$25. 2018. Paperback. ISBN 978-1-51355-890-5
“GENRE” NO OF BOOKS % OF TOTAL
Crime 363 25.71%
Historical 133 9.42%
Horror 18 1.27%
General 657 46.53%
Romance 48 3.40%
Speculative 69 4.89%
Anthologies 32 2.27%
Short Stories 78 5.52% Bookstore.imf.org/fbf18a
Western 1 0.07%
Young Adult 13 0.92% I N T E R N AT I O N A L M O N E TA R Y F U N D
1412 100.00%

23
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

UK publishing – beyond the book


At any given time on stages and screens across the publisher. However, it perhaps wasn’t fully
world, films, plays, musicals and television understood just how significant this impact of
programmes based on books are captivating books as source material for other creative
audiences, writes Ruth Howells. The film based outputs is. Earlier this year, the Publishers
on The Little Stranger is out now in UK cinemas, Association launched research conducted by
a new adaptation of Vanity Fair has just Frontier Economics that showed that the UK
concluded on the terrestrial channel ITV, a play publishing industry significantly increases the
based on White Teeth will open this month in commercial and cultural value of film, television
London – examples are everywhere you look. and theatre productions.
For those familiar with the book in question, It demonstrated in detail that film, TV and
adaptations can cause the reader to look at the theatre adaptations of books attract more
original in a slightly different way, to find Ruth Howells revenue, viewers and critical acclaim, showing
something new, or to hold on more tightly to the that when compared to original scripts and
way they’d imagined it. For those that are unfamiliar, the screenplays book adaptations attract on average: 44% more in UK
adaptation can mean they discover and read the book, or indeed film box office revenue (and 53% more globally); 58% higher
the author’s wider body of work. viewership of “high-end” TV productions; and nearly three times
When thinking about the wider cultural impact of the book, it is more ticket sales for theatre productions. These effects really are
of course important not to gloss over the power of the original staggering. And, of course, a high-profile production can hugely
format. Books are unique in that it is the reader that creates the increase the sales of the original book – a virtuous circle in motion.
visual and brings the world held within the pages to life. Between 2007 and 2016, 52% of the top 20 (by domestic box
Books are a long-established source of content for film, TV and office gross) UK-produced films were based on published material.
theatre, and it is well known that the extended audiences those These films grossed £1.5bn in UK box office revenue and £22.5bn
formats reach can be hugely beneficial for the book, writer and globally, accounting for 61% of total UK box office gross and

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65% globally. Because these adaptations earned on average 44% family musicals generating 2.3 and plays generating 2.8 times
more revenue in the UK than films based on original screenplays, more revenue than original shows.  Shows based on books also
they made an extra £5.4m per film. As this rises to 53% globally, tend to run for a longer period of time, with the top four longest-
that equates to $91m extra per film. running productions in London’s West End based on books.
The research highlighted that adapted films not only perform This all equates to truly exceptional cultural relevance on a
better financially, but also perform better in terms of critical global scale. From the sprawling Harry Potter universe to the
acclaim and awards. On a 5-star rating scale, adapted source colourful stage adaptations of Roald Dahl’s timeless stories, the
material adds half a star, with the effects being felt predominantly creative impact of UK publishing goes far, far beyond the book.
for bestselling novels, literary classics and adaptations of non- The rapid evolution of digital platforms and the resultant flood
fiction books. of film, TV and gaming content means competition for people’s
Books are also a popular source for high-budget TV series. Out leisure time is tough. And in political circles, it is often those
of the 35 “high-end” series produced in the UK during the period creative industries that seem more glamourous that get taken
January to September 2017, 40% were based on books. Only notice of. Publishing punches above its weight. Not only are we
26% were based on original material, with the rest either a true one of the biggest direct contributors to the economy from the
story or adapted from another TV or film production.  Of the top creative industries, our impact is felt beyond that.
100 television dramas broadcast between 2013 and 2017 on the We act as the foundation of the wider creative industries – a
UK’s free-to-air channels, those with literary origins attracted on foundation that is only possible because of a number of things,
average an additional 1.3m viewers per episode, equating to 58% including our gold-standard copyright system.
higher viewership than dramas based on original material. In times of unprecedented political change, it is worth holding in
Not only do books translate well to the screen, but also to the mind this much wider creative impact beyond the book – and
stage. During 2016, 27 theatre productions adapted from books doing all we can to champion it and protect it. ■
generated £25.8m of revenue. Book-based productions make
Ruth Howells is head of communications at the Publishers Association. Link to the
almost three times more in ticket sales than an original script, with report: https://www.publishers.org.uk/policy-research/value-of-uk-publishing/.

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WEDNESDAY 10 OCTOBER 2018

Brexit – what might


change, what won’t?
It is less than six months until
the UK’s official withdrawal
from the EU at 11pm on 29
March 2019, yet the terms of
the withdrawal agreement
and the key principles of
future relations are not
agreed. Whilst both parties
are aiming to make significant

ndon e London
progress at the EU summit
this month, it is possible that
an agreement will not be Zoey Forbes

Th
reached until November or

Fair Book Fair


December, or will not be reached at all. Given the current
state of flux, the legal implications of Brexit for both the
UK and the international publishing industry are far from
certain; but Shireen Peermohamed and Zoey Forbes
explore the potential outcomes for three key issues for the
nsisting
Bo ok Fa ir’ s Ma rket Focus for 2018, co industry: the copyright regime, rights exhaustion and VAT.
OCUS
The Lo nd on cs.
ountries will be dent republi
ia and Lithuan ia, ce leb
M A
ra
RKET
tin F
g the ce ntennial of their indepen
Copyright framework
Brexit is likely to have a limited impact upon the copyright
framework, as much copyright harmonisation is derived
from international treaties (such as the Berne Convention
and the WTO TRIPS – Trade-Related Aspects of Intellectual
Property Rights – Agreement), which will be unaffected by
Indonesia will be The London Book Fair’s Brexit. However, there are a number of existing EU
Market Focus for 2019, introducing the copyright directives which provide important cross-border
copyright mechanisms and exceptions. The UK government
country’s “17,000 Islands of Imagination”
currently intends to take a “snapshot” of all EU law
to the international public and directly operative on 29 March 2019 for incorporation
symbolising the intellectual and artistic into UK law, which would capture these existing directives.
richness of this incredibly diverse nation. Following this snapshot, the UK and European copyright
regimes could diverge unless the UK Government actively
seeks alignment. The UK Government could choose to
follow the European regime (although it will not have any
say in future developments); “cherry pick” certain elements
DISCOVER MORE: from the European regime; or forge its own regime (within
the boundaries of the international treaties and any future
trade deal with the EU).
www.londonbookfair.co.uk/Indonesia A case in point is the new EU Copyright Directive, which
seeks to introduce significant changes such as the “press
publishers’ right” or “link tax” (which seeks to protect
investment by press publishers in the production of content
by giving them the right to authorise or prohibit use of their
y

publications by online service providers) and “value gap”


S R a
ES TE d
BU N bi PY

proposal (which would require some online service providers


H U th
t HAP

to introduce measures to proactively enforce copyright


C KF r

E!
M R

law). Although it remains to be seen whether the new


FR h

Directive will be passed into law before Brexit, it is likely


A
70

Continues on page 28 g

26
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

f Continued from page 26 the EEA whilst safeguarding against UK


that the UK Government will seek alignment publishers’ export editions being resold
with the Directive given its participation in (potentially at lower prices) into the EEA
negotiations so far and its interest in related market and maintaining the value of the
issues such as press sustainability, and online UK’s book export market.
regulation and enforcement. If the UK shifts to an “international”
However in a “no-deal” scenario, the EU exhaustion regime post-Brexit, the rights-
cross-border mechanisms and exemptions holder will not, in most cases, be able to
would no longer apply. For example, this prevent the books it puts on the market
could mean that a work made available elsewhere in the world (for example in the
online in the EEA under the orphan works US, Norway or Japan) from being resold in
exception may infringe copyright from Shireen Peermohamed the UK. For example, a UK rights-holder
29 March 2019 and those transferring will no longer have a mechanism to prevent
accessible format copies between the EU and the UK may international editions being sold in the domestic market,
have to obtain permission for cross-border transfers (at for example through online marketplaces. There are also
least until the Marrakesh Treaty is ratified by the UK). concerns that this may allow overseas publishers to “land-
grab” European rights, which have historically been
Rights exhaustion granted exclusively to UK publishers.
The UK Publishers Association has identified copyright Whilst the current regional regime is expected to remain in
exhaustion as the number one concern for the UK publishing place during the implementation period (which will run from
industry post-Brexit. Currently the UK subscribes to a 29 March 2019 to 31 December 2020, provided a withdrawal
“regional” exhaustion of rights within the EEA. This means agreement is agreed), the UK Intellectual Property Office is
that once a physical book has been put onto the market in still considering which exhaustion regime would work best
the EEA with the rights-holder’s consent, the book can be for the UK post-Brexit. The UK publishing industry will
resold within the EEA without the rights-holder’s consent. therefore need to make a strong case to the UK Government
This regional regime allows free movement of goods inside against international exhaustion of rights, particularly as
other industries may be lobbying in its favour.
In the event of a no-deal scenario, the UK Government

Come Visit Us! has confirmed that the UK will continue to recognise the
EEA regional regime in the immediate term. Although this
Hall 6.1, E133 will have no impact on the importation of goods into the
UK, goods placed on the UK market with the consent of the
rights-holder may not be considered exhausted in the EEA
The Gold Standard in recovery... and the consent of the rights-holder would have to be
obtained to export from the UK to the EEA.

VAT
As part of its Digital Market Strategy, the EU has agreed a
proposal that will allow member states to apply the same
VAT rates to digital publications as are applied to printed
publications, which include reduced, super-reduced and
zero rates.
The UK is separately considering the future of its own VAT
regime. Earlier this year, the UK Parliament launched an
inquiry into the UK’s VAT regime, including the opportunities
and challenges of Brexit. The UK Publishers Association
has submitted a response to the inquiry, calling for the
Government to zero-rate VAT on e-publications (which are
currently charged the standard rate of 20%).
We await the results of the inquiry and to see whether the
How to Heal the Underlying Causes • UK elects to zero-rate VAT on e-publications prior to Brexit.
How to End Relapse • How to End Suffering We are also waiting to see whether the UK will seek to remain
(if permitted by Brussels) within the EU VAT regime or leave
From the bestselling author of Zen and the
Art of Happiness (published in over 25 languages) and make its own rules, which may or may not revisit the
application of VAT to physical and digital publications. ■
Foreign rights: Nigel J. Yorwerth • nigel@publishingcoaches.com
Hall 6.1, E133 (next to SCB Distributors) Shireen Peermohamed is a partner and Zoey Forbes is an associate at
Harbottle & Lewis.

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FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

On Trump and American leadership


In her outstanding new book, Leadership: In is that this highlights the importance of not
Turbulent Times (Simon & Schuster), losing hope – we will get through this. As my
Pulitzer Prize-wining historian Doris Kearns book shows, we’ve been in worse trouble
Goodwin revisits four great American before, and we got through it, but it depended
presidents – Abraham Lincoln, Theodore on citizens not just our leaders. Right now we
Roosevelt, Franklin Delano Roosevelt and have to depend on citizens. And here is one
Lyndon Johnson. Ahead of this year’s fair, citizen who is taking a risk to do something
Andrew Richard Albanese spoke with the he or she thinks is really important.

Annie Leibovitz
author about American leadership, the
current state of American politics, and why AA: That’s interesting, because the general
the world should look beyond the current take has been that this person is a coward
occupant of the Oval Office. Doris Kearns Goodwin and should resign. You see it as courageous,
and cause for hope?
AA: We live in interesting times, and to get started, I have DKG: Oh, absolutely. It feels authentic that this person is
to ask you about the anonymous New York Times editorial staying on because that’s the best they can do at this moment
about resistance within the Trump administration. As a to help things from getting worse. And, yes, that’s an act of
presidential historian, was that as extraordinary as it seems? courage. Always in history, people have stood up. And we
DKG: Yes, I think so. To write an anonymous op-ed, and have to trust that more people will stand up. It’s not just a
the idea that the New York Times had enough confidence matter that history offers some wispy hope, I think history
in the source to print it, just shows the anxiety that people provides evidence of who we are as a nation, and how
around Trump are feeling. It is extraordinary. Actually, I citizens have responded to even more difficult situations in
can’t think of another example like it, but I can’t think of the past. Every day it seems something worse happens. But
another time like this in general. What I really feel, though, on the other hand, we are also seeing more and more
people stand up, like the writer. I think that’s a sign.

AA: President Trump’s reaction to the op-ed was to


Come Visit Us! demand that the writer be handed over and to call it an act
Hall 6.1, E133 of treason, a word he throws around a lot. Having written
at length about Abraham Lincoln, who guided us through a
civil war, do you shudder when you hear Trump throw
around words like treason so trivially?
DKG: Yes. I mean, words matter. That’s one of the things
that is so concerning to me about the situation today, and
these words being thrown around – fascism, treason – these
words have huge, real meaning to people. It used to be that
words had consequences.

AA: You’ve already written epic, prize-winning books


about each of these four presidents. What made you go
back and revisit them through the lens of leadership?
DKG: You know, we have had this long period where
there just couldn’t be bipartisan leadership in Washington,
and people felt like the political system was failing them –
even five years ago, when I started this, there was a sense
that Washington was broken then, which seems trivial
compared to now. So I thought it would be important. I
figured this is a democracy, and these four leaders got us
through really tough times.
Breakthrough new perspectives on
ADD, ADHD, OCD, and autism AA: For me the book worked as a source of hope, it gave me
a little confidence and perspective. Was that your intention?
Foreign rights: Nigel J. Yorwerth • nigel@publishingcoaches.com
Hall 6.1, E133 (next to SCB Distributors) DKG: What I think is really important is that, no, I don’t
Access Consciousness Publishing think there’s an easy answer to today’s situation, but unless
we can imagine that we will find an answer, then we won’t

30
WEDNESDAY 10 OCTOBER 2018 FRANKFURT SHOW DAILY

even have the confidence to try. Put yourself in Lincoln’s and excitement again about public life. That’s what’s
shoes when he started in office – he once said he didn’t essential in a democracy, and the world must see that we
think he could have lived through it had he known what have that active citizenry that’s not only fighting against
was going to come. Or in FDR’s shoes – he comes what they see happening, but also bringing a
in and the banks have collapsed and people are sense of idealism back into politics.
on the streets, and it feels like the end of
capitalism, and democracy. Both Lincoln and AA: Historically, presidents have always
FDR were able to imagine something different. had contentious relationships with the press.
And that’s what we have to do now. That’s why I Is turning the press into the opposition party
think history can really be our guide. But, I also as dangerous as it seems, or is it just a twist in
think that we cannot allow ourselves to think that relationship?
that what we’re going through now is normal. DKG: Oh, no, no, no, it’s never been as bad as
this. Way back in the 1850s when you have the
AA: In writing this book, you’ve said you partisan newspapers and all you read was your
found no “master key” of leadership, but that partisan newspaper, you’d see things very
you did find a “familial resemblance”. Did these differently, and every president gets angry at the
four leaders share many common leadership traits? press for particular things. But they’d never embrace the
DKG: Oh, absolutely. I think the most important thing is idea that the press is, not just the opposition party, but the
that they were each able to keep growing as leaders. They enemy of the people – those are words thrown around by
were self-reflective. They could acknowledge errors. They dictators and authoritarian regimes. But as I say, I think
had humility, and an understanding of their limitations. people in the other parts of the world have to see where
Teddy Roosevelt for example understood that he’d gotten America still is. They have to have faith that the basic core
a swelled head in the state legislature, so he stopped his of America is still strong. ■
blistering language. FDR battled through polio, so he
knew what it was like to take a sense of triumph from
crawling up the stairs, one by one. FDR said he could get
through all the pressures of being president because he
Come Visit Us!
spent two years just trying to move his big toe. And all of Hall 6.1, E133
them had the confidence to surround themselves with
people who were willing to argue with them, to create a
culture that shares credit and shoulders blame, and with A Compelling Guide to Fearless, Creative Living
an emotionally intelligent part as well, so that all these Written by a Female Martial Arts Grandmaster
different people would want to work together. Plus, the big
thing: that their personal ambitions transformed into
ambition for a larger goal.

AA: Politics has been centre stage in recent years at the


Frankfurt Book Fair, especially in terms of defending values
like free speech. With Trump embracing authoritarian
leaders, how should the world view American leadership
on the world stage today – should the world accept the
current occupant of the Oval Office as representative of
American leadership?
DKG: I think that’s a really important question, even just
as it regards the press. I mean despite Trump’s argument
that journalists are enemies of the people, just look at the
vibrancy of the American press today. They’ve not been
cowed in the least. Yes, it’s a terrible thing for the president
to say the press is the enemy of the people. But I think the
important thing for people in the world to know is that we “An exciting new voice in self-transformation.”
haven’t folded as a result. And I think the other thing the —New York Times bestselling author Marci Shimoff
world must see is that our citizens are beginning to
Foreign rights: Nigel J. Yorwerth • nigel@publishingcoaches.com
activate. Just look at the kinds of candidates winning Hall 6.1, E133 (next to SCB Distributors)
primaries. They are bringing a fresh perspective and energy

31
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

The joy and wonder of reading


Emma Taylor on how Book Aid International’s Children’s Corners are changing lives

Last year a rural village called Mphako in Malawi received


books for the very first time from Book Aid International.
Representatives of the Book Aid team were there to join in
the celebrations, and see the joy that every book sent by the
charity brings.
Mphako is one of many places around the world where
books are truly rare. Poverty is the norm and schools are
hugely over-crowded and under-resourced. I visited alongside
representatives of the Gumbi Education Fund, a UK NGO
which focuses on improving the lives of children through
access to education and works in the region, to celebrate the
opening of a new community library built by the Fund. We
provided a collection of brand new, carefully selected books
for the library, including many children’s books.
When we arrived, the new library was not difficult to Absorbed in colourful photos of helicopters at the library opening in
Mphako, Malawi
spot as it was surrounded by a crowd of children. As soon
as the doors opened, the children’s enthusiasm was by images of helicopters told me: “I have never seen so
irrepressible. They were entranced by the books – gathering many colours. I have never seen pictures like these.”
together around the pages to look at pictures, talking As the initial excitement wore off and the children settled
excitedly to each other. A boy who was utterly transfixed down to read, look at pictures or play with touch-and-feel
books, I was struck by a sense of déjà vu. While Malawi is
a long way from my local library in London, the excitement

Come Visit Us! and wonder on the children’s faces as they read would be
familiar anywhere in the world.
Hall 6.1, E133 The déjà vu surprised me, but it shouldn’t have – after all,
a child’s reaction to beautiful books full of rich illustrations
and imaginative stories is universal.
At Book Aid International we send more than one million
brand new books every year to people who have limited or
no access to books, more than two thirds of which are for
children. We cannot visit every one of the thousands of
schools, libraries and refugee camps where children are
discovering the books we send, but we do know that the
challenges that Mphako’s children face are not unique.
Millions of children around the world do not have books at

The Original Version, Restored and Revised™


Worldwide bestseller. The copyright-protected
edition that makes all others obsolete.
Foreign rights: Nigel J. Yorwerth • nigel@publishingcoaches.com
Hall 6.1, E133 (next to SCB Distributors)
© The Mindpower Press
Waiting patiently to enter the new library in Mphako, Malawi

32
WEDNESDAY 10 OCTOBER 2018 FRANKFURT SHOW DAILY

“To date, more home and schools have only


a few old tattered textbooks.
than 500,000 They are growing up in a
world without books.
children have Our charity works for a
benefited from future when everyone has
access to books at every age,
a local Children’s but we also know that
Corner – but we children’s books are
especially precious.
know that there Childhood is when a life-
are still too many long love of reading and
learning takes root and
children who children need books to help
are growing up them learn to read and A story time at Ungunja Library’s Children’s Corner on the Tanzanian
archipelago of Zanzibar
succeed in education. As I
without books.” saw in Mphako, the impact Children’s Corner programme and step up our work
of those books can be immense – particularly when creating and supporting school libraries. Together, we can
combined with the support of a trained children’s librarian. reach out to more children around the world, introducing
In Tanzania, we recently heard from a father about the the next generation to the joy and wonder of reading. ■
impact of the Children’s Corner we created in his local Emma Taylor is head of communications at Book Aid International. It
library: “We bring the children daily to the library because extends its sincere thanks to all of the publishers who donate the brand new
books it sends and to the donors who give generously to support readers
it is preparing them for school. I have been bringing my
around the world. To find out more or get involved visit www.bookaid.org.
three-year-old son to the library daily for five months. I am
happy that he can count up to ten and sing the letters of the
alphabet. He is also bold and can relate well with people.”
In every Children’s Corner we train a librarian in
how to support young readers and fund the creation of a
welcoming space full of murals and comfortable furniture.
To date, more than 500,000 children have benefited from a
local Children’s Corner – but we know that there are still
too many children who are growing up without books.
That is why, with the support of our publishing partners
who donate every single one of the books we send and the
generosity of our donors, we intend to expand our

Enjoying reading in a Children’s Corner in Pemba Library on the


Tanzanian archipelago, Zanzibar

33
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

How ‘Bigness’ is failing America


Tim Wu, author of acclaimed books including straightforward thing about antitrust is that
The Master Switch: The Rise and Fall of you cannot allow companies to get together
Information Empires and The Attention and fix prices. If you don’t do that kind of
Merchants: The Epic Scramble to Get Inside case, I don’t know what you do.
Our Heads, has pulled off an incredible feat –
he’s written a short, remarkably compelling AA: In The Curse of Bigness you write that
book on antitrust. Andrew Richard Albanese the tech sector is ripe for antitrust action –
recently caught up with the author to talk something publisher and author groups
about his latest book, The Curse of Bigness: would certainly agree with. Can you briefly
Antitrust in the Gilded Age (Columbia explain why?
Global Reports), and why a return to trust TW: This gets a little bit complicated, because
busting is essential for American democracy. Tim Wu America’s economic vibrancy for the last
hundred years has a lot to do with its tech
AA: Before I get to the book, I have to start with the most industries. But to keep that going requires that you control the
obvious question for publishers – the 2013 price-fixing case power of the monopolists every few decades. Because what
involving Apple and a group of major publishers. Covering happens in tech is that one big company grows to control a lot
this as a reporter, I got the sense that this was just too blatant of stuff, and if it’s allowed to stay there for too long, it slows
a case for the government to ignore. Is that about right? down the sector. So, we’re kind of due – the last time we did
TW: Basically, yes. I’m an antitrust enforcement guy. And something like that was Microsoft in the 1990s. But I also think
I don’t think you can tolerate price fixing, even for a good that companies like Google and Facebook have come to hold
reason, because every industry believes it has its own good too much power. There’s a growing sense that they have too
reasons for price fixing. I get that the Apple case was about much control over information, news, advertising, even who we
authors, and ebooks, and a certain problem. But the most are and what’s going on. I’m actually most concerned that we’ll
cut some kind of deal that effectively nationalises or weakly
regulates Facebook, and that that deal will endure for a long
New from Columbia University Press time. That’s the trajectory we’re on, and I would resist that.

AA: How did we go from antitrust enforcement once being


so vital in America to all but disappearing in the 2000s?
TW: After the experience of World War II, with Nazi Germany,
and Japan, and Spain, there was a widely held belief that a
reasonable functioning democracy had to control corporate
power. We have strong antitrust laws to control concentration,
and we used them. But in the 1960s, there began this effort to
portray antitrust law as out of control and government intrusion
as illegitimate. And it was successful. By the George W Bush
“Superb . . . In this incisive “Balibar’s writing
administration, antitrust action was basically down to zero.
a collection of six and forceful on religion and It was almost as if Section II [of the Sherman Act], the
of Zoshchenko’s book, Jeffrey D. politics contains antimonopoly law, was repealed in favour of this sort of hard
marvelous longer Sachs provides remarkable right ideology, which viewed the market as constitutionally
stories written the blueprint for insights for superior to Congress, to the people, even to the president.
between a new foreign scholars working
1923 and 1929.” policy that
embraces global
on secular ethics
and contemporary
AA: You write about Robert Bork, and his role in making that
—Los Angeles
cooperation, religious quarrels.”
shift happen. How did Bork help that philosophy take root?
Review of Books
international law, TW: Bork’s a fascinating figure. What he did in the sixties was
“[Dralyuk’s] new —Publishers
and aspirations to tie the backlash against the establishment – you had the Civil
translation . . . Weekly
for worldwide Rights movement, race riots, hippies – to antitrust. So you had
is a delight that
brings the author’s
prosperity. this strange coalition of right wing economists and right wing
wit to life.” social conservatives, who thought that judges were out of control
—The Economist and needed to be shut down, and not just in terms of affirmative
action or equal rights, but even in terms of antitrust.
Visit Columbia University Press in Booth 6.2B14 Over the next 40 years, government actions became almost
taboo, when this was how the law had been enforced for more
CU P . CO LU M B IA . E D U
than 50 years.

34
WEDNESDAY 10 OCTOBER 2018 FRANKFURT SHOW DAILY

AA: On the other side of the debate, you write about heel. And if they are willing to make a deal, if they
the great Supreme Court justice Louis Brandeis. Talk are willing to come to heel, that could lead in some
a little about the “Brandeisian” view of antitrust. terrifying directions.
TW: This is actually why I wrote this book –
because I feel like Brandeis and his vision have in AA: You argue compellingly in this book that
some Orwellian way been rubbed out. A huge goal monopolists fundamentally subvert democracy, and
of this book is to try to bring his ideas back into that antitrust action is a powerful, necessary check.
focus. Brandeis was Woodrow Wilson’s number Do you think that’s a message that might resonate
one guy for economic policy, and he spent a lot of with Americans today?
time thinking about what the economy was for. He TW: Yeah, I think people have become aware of the
was less limited than we are today by ideas about government fact that the political process in the United States does not
or business, and was really focused on what makes for a good reflect what the majority wants. Just look at the issues: the
life – that people needed jobs, for example. And by that I mean, majority wants gun control, campaign finance control, the
steady work, not come-and-go jobs, but secure work where majority supports immigration. The majority probably wants
you have some kind of control over your destiny. He thought a tax cut for the middle class, not for large corporations. But the
the happiest people were those with stable, small businesses. outcomes are almost never what the majority wants. So you have
He believed that if people became serfs, or passive actors in to ask, what’s going on here? And one of the most obvious things
large corporations who had to work all the time, that’s not is that the more concentrated industry is, the easier it is for
what makes for a good, Republican form of government. them to have political influence. Look at mobile phone carriers,
or the pharmaceutical industry. They are very organised. The
AA: The book makes clear the historic link between middle class is not organised. And these companies see that
monopoly and fascism – a timely message given what’s going throwing millions of dollars to candidates is a great investment.
on in the world today. Explain that correlation? I think it is an existential threat to American democracy. ■
TW: I think it starts with Theodore Roosevelt, who had very
acute democratic instincts. He realised that when people are
economically unhappy or mistreated they turn to more radical
solutions. And he recognised that this enormous gap between the
giant monopolists of his day and their workers was bound to
lead somewhere bad unless government did something to prove
Can balloons
it was in control. Other countries didn’t do this, especially and baskets fly
Germany. Ahead of World War II, German corporations had felt high in the sky?
disadvantaged against British and American competitors, and
the darkest part of German history comes when the German
monopolists start to think this Hitler guy might be good for
them. But the rise of a figure like that doesn’t happen unless Why do planes
you’ve allowed corporations to centralise. It doesn’t happen in
a nation of small businesses that’s even moderately decentralised.
leave white trails
I think this is actually something to watch out for in our behind them?
times. A country like China is a good example. China looks to
have some of the features of 20th-century authoritarian
governments. And the scary question is whether we get caught
up in this. Mark Zuckerberg recently said that if we break up
or weaken Facebook, some Chinese company will just step in
How does
and take over. So, now we have to support our monopolies? a rainbow
Once you’ve engaged in this sort of conversation, you’re
heading in a very dangerous direction.
appear?
AA: You write about Teddy Roosevelt calling JP Morgan to the
Oval Office and taking him on. Do you think there is any chance Find answers to
that Donald Trump does the same to Mark Zuckerberg? CLEVER QUESTIONS
TW: Trump is complicated. Trump scares me. I think his IN HALL 6.1 B5
administration might actually try to break up Facebook, but www.clever-publishing.com
only because he believes it is a sort of rival power. And I think facebook.com/cleverbook.org @cleverbook

it’s possible he could try to bring companies like Facebook to

35
FRANKFURT SHOW DAILY WEDNESDAY 10 OCTOBER 2018

Frankfurt Book Fair Academic and STM Preview


This year’s Frankfurt Book Fair promises to Today at 11am, Dr Niels Peter Thomas,
be as busy as ever for the scholarly and STM Springer’s chief book strategist, will
sectors, writes Alastair Horne. The annual contribute to a half-hour discussion of
STM Conference took place yesterday, Artificial Intelligence in Scholarly
celebrating the STM Association’s 50th Publishing, followed immediately by an
anniversary with a focus on the twin themes exploration of Research Integrity: A
of diversity and innovation. Publisher’s Perspective led by his colleague
At the fair itself scholarly publishers are Dr Suzanne Farley, Springer’s research
divided amongst several halls – university integrity director. At 1.30pm, Phil Leahy of
presses, for instance, can be found in halls OpenAthens will introduce the Wayfinder
4.0, 4.2, 5.0, 5.1, 6.0 and 6.2. Most of the organisational discovery service, which
biggest beasts – Elsevier, Springer and Wiley, Alastair Horne enables academic patrons to log in via their
for instance – are in 4.2, though, which is own institutions, while at 3pm Chandi
also home to the Academic and Business
“The weekend Perera, CEO of Typefi Systems, will discuss
Information Stage. Located at N101, this is brings... the how his company makes accessible
the venue for a series of talks, panel publishing easy.
discussions and product presentations on
chance to Tomorrow, the first English-language
scholarly subjects in both German and engage with the session of the day at 11.30am will see
English. Not all the events have been Markus Kaindl, Springer Nature’s senior
announced at the time of writing, but
next generation manager for semantic data, discussing text
Springer Nature appears to be ahead of the of authors and and data mining, and offering an overview
game, providing speakers for many of the of the tools the publisher provides to
sessions that have already been scheduled.
colleagues.” support this increasingly important area of
research: APIs (Application Program Interfaces) for full-
text, metadata, open access, ontologies and citations will
feature heavily. At 3pm, his colleague Dr Michele
Cristóvão, project and innovation manager, will consider
how cutting-edge technology can be used to make research
more efficient in a talk entitled Applications of Artificial
Intelligence in Life Sciences and Nanotech Research.

Public-facing events
Any publishers staying on into the fair’s closing days will
find that the weekend brings with it a series of more public-
facing events and the chance, perhaps, to engage with the
next generation of authors and colleagues – a particular
plus for those looking to engage more closely with their
future users or build a more inclusive workforce. The
Academic and Business Information Stage, along with

Stay Ahead of the


other participating stands in Hall 4.2, will be given over to
the Campus Weekend, which offers a mostly student
audience a programme of science slams, scientific lectures
Global Publishing and careers advice.
De Gruyter HR manager Marc Erdorf has bravely seized

Market the opportunity to address this audience, taking on the


challenging but necessary task of convincing students that
publishers have a part to play in the new research
environment: From Idea to Publication – Quality Content
Made by De Gruyter runs from 11 to 11.30am on Saturday
Subscribe today at (13th) at the Academic and Business Information Stage.
And towards the end of the day, the 15X4 Munich Science
PublishersWeekly.com/subscribe Communication Platform brings its popular format of four
15-minute scientific lectures aimed at public audiences to
the same venue, from 5 to 6.30pm. ■

36
November 11-18, 2018
MIAMI, FLORIDA
MIAMIBOOKFAIR.COM
/miamibookfair #MiamiBookFair2018

POETRY, FICTION & NONFICTION FROM ALL OVER THE WORLD


STREET FAIR / PUBLISHERS & BOOKSELLERS / CHILDREN’S AUTHORS & ACTIVITIES
WEDNESDAY 10 OCTOBER 2018

New Indian prize


Since 2008, BookBrunch has been
shortlist announced
keeping publishing professionals
On the 3rd October, the JCB Prize for Literature released
round the world informed about its first ever shortlist of the five most distinguished Indian
the latest developments in the novels of the year, writes Alastair Giles. The JCB Prize for
Literature was founded this year to create greater visibility
book industry on a daily basis. In for contemporary Indian writing globally by highlighting
the last 10 years we’ve published the excellence of literary achievement in India. The prize is
run by the JCB Literature Foundation, an organisation set
thousands of news stories and up by JCB (which has had a substantial and long-standing
opinion pieces, and interviewed involvement in India’s social and economic life), in order to
create an enduring cultural legacy in the country.
some of the most influential Under the guidance of the literary director, Rana Dasgupta,
book trade figures. each year a jury of distinguished individuals with different
types of expertise will be appointed
to ensure a fair and fresh decision-
making process. Every work on the
shortlist received Rs 1 lakh, with the
winning author awarded Rs 25
lakhs; if the winning work is a
translation, the translator receives an additional Rs 5 lakh.
The JCB Prize for Literature has a special focus on
translation, with the objective of introducing readers not
just within India but around the world to the rich and
vibrant literature being produced in India. The 2018
shortlist perfectly exemplifies this, including as it does two
translated texts and one from a debut author. However,
despite the brilliance and complexity of the writing on
display, only one of the shortlisted titles is currently
published in the UK, meaning that a wealth of Indian
www.bookbrunch.co.uk literature is currently inaccessible to Western audiences.

Shortlisted titles
• Sign up now to receive our Daily • Half the Night is Gone (Juggernaut Books) by Amitabha
Newsletter email for FREE Bagchi – an exploration of class and masculinity, and the
interplay between inner and outer lives
• Subscribe to gain full access to all our
• Jasmine Days (Juggernaut Books) by Benny Daniel/Benyamin
stories, and keep up to date with – a complex novel that describes the lives of foreign workers
what’s going on in a Middle Eastern country on the brink of rebellion and
confronts some of the most pressing political issues
• We offer discounts on annual subs to
• Poonachi (Westland Publications) by Perumal Murugan –
members of the IPG, Society of Authors a powerful modern fable about a lonely goat written
and SYP, as well as freelancers with warmth and humour that gently encourages us to
• BookBrunch subscriptions are FREE question how we may contribute to inequalities
• All the Lives We Never Lived (Hachette Book Publishing)
for booksellers and students
by Anuradha Roy – Roy’s beautiful novel set in South-
East Asia in the 1930s is a compelling story of a woman
For more details contact who rebels against tradition for her artistic freedom
editor@bookbrunch.co.uk • Latitudes of Longing (HarperCollins Publishers India) by
Shubhangi Swarup – Swarup’s vast debut novel blends
the natural with the supernatural, and the human with
* Applies to annual subscriptions the other worldly ■
Alastair Giles is director of Agile Ideas.

38
10,000 PROFESSIONALS FROM
85+ COUNTRIES
WILL CONVENE IN NEW YORK CITY AT
THE BIGGEST AND MOST IMPORTANT U.S.
PUBLISHING EVENT OF THE YEAR

May 29-31, 2019


Jacob Javits Convention Center
NYC

Connect with publishers, rights professionals and others from every


part of the book business and every corner of the globe.

Visit us at Stand 6.0/D43 to learn how to participate.


www.NewYorkRightsFair.com

Presented by
Visit Us!
Hall 4.2, Booth K35

WWW.ROWMAN.COM | 800-462-6420
FRANKFURT BOOK FAIR

The DIGITAL SPOTLIGHT


An in-depth look at everything digital at the fair
OCTOBER 2018

Is Digital Headed
For a Reset?
From privacy issues to copyright reform,
the tech industry is drawing fresh scrutiny
from lawmakers and regulators
1
2

a r vi e w s
Cha rt s a n d cl e
anage
o n ti tl e s to m
ro ce ss e s
y o ur qu a li ty p

Klopotek_PW_Digital_Spotlight_FBM_2018_paths.indd 1 01.10.2018 15:30:54


OCTOBER 2018 The DIGITAL SPOTLIGHT
Dealing with Digital
From privacy issues to copyright, the tech industry is drawing fresh
scrutiny from lawmakers and regulators
By Andrew Richard Albanese

O
ver the years, Facebook’s infamous corporate motto cused itself to pursue a more focused public-policy mission.
has been a rallying cry for the entire tech sector: The move appears well-timed. In his forthcoming book,
“Move fast and break things.” But a wave of new The Curse of Bigness: Antitrust in the Gilded Age, Tim Wu,
laws and policy proposals in Europe and the U.S. author of the acclaimed books The Master Switch: The Rise
suggest lawmakers today are interested in slowing and Fall of Information Empires and The Attention Mer-
the digital world down a bit, and in keeping some things chants: The Epic Scramble to Get Inside Our Heads, argues
unbroken. that the tech sector is ripe for antitrust action. “America’s
The European Union has been especially aggressive. Last economic vibrancy for the last hundred years has a lot to do
May, the General Data Protection Regulation (GDPR) went with its tech industries, but to keep that going requires that
into effect, the most important change in data privacy laws you control the power of the monopolists every few decades,”
in more than 20 years. Over the last year, players in the digi- Wu explains. “I think that companies like Google and Face-
tal space—including publishers—have been working to book have come to hold too much power. And there’s a grow-
update their terms of service to align with the new regula-
tion. And by early next year we will know what GDPR
enforcement will look like. The 2018 Frankfurt CEO
In addition, the European Union last month advanced the
Directive on Copyright in the Digital Single Market, a hotly Talk Will Feature
debated proposal intended to update copyright law for the
digital age. In a statement, International Publishers Associa-
Macmillan’s John Sargent
tion president Michiel Kolman said the vote to advance the Go to the Frankfurt Pavilion to watch John
measure recognizes “the value of Europe’s creative indus- Sargent, CEO of Macmillan, share his views on
tries,” and that the directive reinforces “the underlying prin- an eventful year for

© MACMILLAN
ciple of copyright: that creators and publishers deserve fair
his company, and for
financial reward for their work.” The measure is now back
with lawmakers, and it will no doubt generate more heated the industry, at the
debate before it reemerges for another vote in early 2019. 2018 Frankfurt CEO
Talk on Wednesday,
In America October 10, from
The policy debates have also ramped up in the U.S. as well.
Amid the rise of fake news, data breaches at Facebook as 2 to 3 p.m. Sargent
well as companies like Equifax, and a foreign plot to sway will be interviewed
the 2016 presidential election, tech executives have found by the editors of
themselves hauled before Congress. And from Google and industry trade maga-
Amazon to Facebook and Twitter, there is a growing sense in
the U.S. that regulation, even antitrust action, may be
zines Livres Hebdo
needed—something publisher and author groups have been (France), Bookdao (China), Buchreport
pressing for years. (Germany), PublishNews (Brazil), and
Indeed, the Association of American Publishers has been Publishers Weekly (U.S.) and chaired by
retooling for a policy push. At the AAP’s annual meeting last
Rüdiger Wischenbart. The talk is open to all
month, Penguin Random House CEO Markus Dohle greeted
attendees by exclaiming, “Welcome to the new AAP,” before registered book fair visitors.
explaining how the AAP has over the last 18 months refo-

3
The DIGITAL SPOTLIGHT OCTOBER 2018

ing sense that they have too much control over information,
news, advertising, even who we are and what’s going on.”
Media scholar Siva Vaidhynathan, author of the recent
Copyright in the
book Antisocial Media: How Facebook Disconnects Us
and Undermines Democracy, agrees. “We should have been Crosshairs
considering ways of reining in the power of these compa-
nies before they became more valuable than General Elec-
The president of the International
tric. Before they became more powerful than many govern- Publishers Association argues
ments. And before they became more influential than the
BBC,” he says. “It would be great if we could jump in and that publishers must step up their
regulate these companies just enough to maximize the
good stuff and minimize the bad stuff. Unfortunately, copyright advocacy
that’s going to be hard, and I think we’re going to lose more
than we win for a while.” By Michiel Kolman
Perhaps the most positive sign yet for change in the U.S.,
however, came last month when both houses of Congress
unanimously passed the Music Modernization Act—the
first substantive copyright reform bill in decades. The bill
streamlines the way online services license music and pay
artists, and federalizes the patchwork of state laws that
govern music recorded before 1972—a necessary step in the
age of Spotify. But the most important thing about the bill
may be this: it’s a true compromise.
“The bill managed to get the support of several groups
that are normally at each others’ throats: music publishers,
record labels, songwriters, major technology companies,
and digital-rights groups,” Ars Technica reported after the
bill passed the Senate. The question now is, can that bill serve
as a template for stakeholders in other realms of copyright to
work from?

Stable
For years, the digital conversation came with an element of
fear for publishers. Among the common topics of discussion
at Frankfurt Book Fairs in recent years were piracy, pricing,
open access, and the growing competition for readers’ atten-
tion. But as publishers gather in Frankfurt in 2018, one
senses a shift. These challenges persist—but they no longer
seem quite so threatening.
Indeed, at the fair’s opening press conference last year,
PRH’s Dohle all but declared an end to those anxious
days of impending digital disintermediation. “Many were
predicting the death of print books, yet today’s reality shows
exactly the opposite,” Dohle told reporters, noting that

P
“print books have experienced a veritable renaissance.”
And like the book business, the Frankfurt Book Fair has ublishing today is a $150 billion global industry that
also shown resilience, and has even taken on added continues to satisfy the increasing demand for
importance in the digital age. “Our industry is very vola- authoritative, professionally curated, edited, and
tile on the one hand, but on the other hand, if you look peer-reviewed content to help humanity decipher
into the numbers worldwide, it’s one of the most stable these turbulent times. Yet copyright continues to
industries you can speak of,” says Juergen Boos, president suffer from a coordinated, determined, and well-funded
and CEO of the Frankfurt Book Fair. “I think Frankfurt attack—particularly from powerful technology companies.
reflects this.”  ■ This is based broadly on two main perceptions: that copy-
continued on p. 6

4 www.publishersweekly.com
The DIGITAL SPOTLIGHT OCTOBER 2018
continued from p. 4
right protection no longer applies in our increasingly digital dents facing the prospect of an education based on imported
online world, and that it prevents content from being used. books.
First, the idea that copyright is somehow broken has led to The situation in Canada improved somewhat in 2017,
various reviews of current copyright legislation around the with a court ruling determining that the educational excep-
world. In 2018, the most notable has been the European tion was “unfair” to rights holders. However, as of this writ-
Parliament vote on the E.U. Copyright Directive. On one ing, a government review of the exception is ongoing, and
side of the intense debate, there is Big Tech lobbying to the International Publishers Association (IPA) continues to
weaken copyright so that they can access lucrative content be vocal in support of Canadian publishers.
that they have not paid for. On the other side, publishers According to Michael Healy, executive director of interna-
stand alongside other creative industries, such as music and tional relations at Copyright Clearance Center, the chal-
film, to argue that protecting and securing the rights of lenges in the international-copyright arena are real, but there
authors and industry partners will continue to enable con- is some room for optimism. “Today’s content networks have
tent to be produced easier, faster, and cheaper. Ultimately, facilitated sharing to an unprecedented degree,” he says.
what is at stake is publishers’ ability to continue to provide “Content consumers addicted to free sharing appear to
reliable, high-quality, and culturally diverse content. The advocate for efficiency, while actually committing the laziest
vote in the E.U. stands as a landmark that will influence kind of intellectual property theft. But the publishing indus-
other regional reviews of copyright law, for instance in coun- try has demonstrated remarkable resilience in the face of
tries such as Australia, Canada, and South Africa. these challenges, investing in innovation, protecting the
A second trend to be aware of is the perception that rights of creators, and working alongside IPA, CCC, and
copyright law only favors rights holders, so we see Big Tech organizations like them to advocate strongly and globally
lobbying hard around the world to evangelize for increased for copyright to be respected.”
fair use exceptions at the national level. When applied In the face of a systematic attack on copyright, we must
broadly, many of the exceptions being proposed hardly redouble our advocacy efforts in these uncertain times.
seem fair for the rights holders—in some cases, allowing Copyright forms the bedrock of publishing. It is what makes
100% of a protected work to be reproduced. For example, in our industry viable and sustainable. It would be reckless to
2012, the Canadian government added the word education let our adversaries define the fate of copyright.  ■
to their fair use exceptions. That one word, we have been
told by the Association of Canadian Publishers, has cost Michiel Kolman and Michael Healy will present “Publisher
Canadian creators as much as $50 million a year in lost roy- Voices Raised for Copyright” on Wednesday, October 10,
alties. Consequently, educational publishers in Canada have at 2:30 p.m. on the Academic & Business Information
been shutting down and pulling out, leaving Canadian stu- Stage (Hall 4.2 N101).

Europe in Flux
Last month, the European Parliament voted to advance the
Brexit, GDPR, the Copyright Directive on Copyright in the Digital Single Market, which
Directive—the legislative landscape could bring important changes to the digital copyright
arena if passed next year. Among the more controversial
governing digital rights in Europe is proposals is Article 11, which would create a neighboring
changing. Copyright Clearance Center’s right for “press publications,” targeting online news
aggregators and may require, for example, that snippets of
Roy Kaufman recently caught up with journalistic content be licensed. Critics have called this a
Frankfurt attorney Nils “link tax.” What’s your take? Is this proposal prudent in
order to encourage a free press, inconsistent with the ethos
Rauer, to get his take on of the internet, or something in between?
where things stand. Personally, I am hesitant to believe that the new neighboring
right for press publishers will be a major success. It is by no
means clear that the new right will allow press publishers to
negotiate better terms with online service providers. We have
By Roy Kaufman seen similar rights in Spain and in Germany both fail, and the
right set out in Article 11 of the E.U. directive does not seem
continued on p. 8

6 www.publishersweekly.com
The DIGITAL SPOTLIGHT OCTOBER 2018

continued from p. 6

any new developments, it is expected that this bill will be


reintroduced to the U.K. Parliament. So, existing protection
for U.K.-copyrighted works will remain. However, the U.K.
could lose the benefit of other E.U. cross-border measures, or
rules constructed for the benefit of copyright holders and
users—for example, rules that simplify rights clearance
within the E.U., or that allow mutual use of protected works,
such as the orphan works regime.

We will soon learn how General Data Protection Regulation


[GDPR], which came into effect on May 25, 2018, will actu-
ally be enforced. Is there a potential clash looming between
GDPR and the E.U. Copyright Directive in the Digital Single
Market [DSM]? For example, is the creation of an exception
for data mining in the copyright directive—as opposed to
text mining—consistent with the spirit of GDPR, a question
that seems especially relevant after the Cambridge
Analytica scandal?
Privacy and copyright issues do overlap, for instance in
metadata relating to works that are displayed online. How-
Nils Rauer
ever, these issues are usually not difficult to resolve, as having
metadata and using it can be justified as a “legitimate inter-
est,” recognized by the GDPR.
to be free of similar flaws. We are dealing with a phenome- As to the exception for data mining, it still must function
non of mass exploitation. Thus, collective rights manage- within the larger context. In other words, the exception
ment and the distribution of revenues amongst those who alone may not serve as a justification for mining into per-
take part in the generation of quality content seems to be the sonal data. Any use of personal data must be in line with the
right answer. At least, this is my personal view. GDPR and other privacy laws. However, the exception for
data mining can also foster the argument that a particular
The directive also includes an exception that would allow use of personal data in the context of data mining is a legiti-
text mining of lawfully acquired materials by research mate interest recognized in the GDPR.
organizations. Commercial text mining is outside the
exception, meaning that it would need to be done via Could the GDPR hamper the development of open science,
license between the user and the rights holder. Is this a or otherwise have impact on the dissemination of research
good compromise? data?
I am in favor of this idea. The differentiation should be that The GDPR imposes far-reaching information and disclosure
private research should owe a fair compensation to the copy- obligations on those controlling or processing personal data,
right holders, whilst purely scientific research should be per- and this is a challenge for all players in the market. The mere
missible without such compensation. Again, my personal fact that the penalties can be substantial can make people
view. hesitant to take a risk. However, research, the exchange of
information, and the examination of Big Data remain possi-
We’re still wrestling with the aftermath of the U.K. Brexit ble, and there are even improvements the GDPR brings. With
vote. Will Brexit have impact on copyright law within the good legal guidance, one can certainly steer clear of the exist-
U.K.? ing traps.  ■
The U.K.’s copyright laws will not change on the day of
Brexit. Al Shaw, of our London office, tells me that the U.K. Roy Kaufman is managing director of both business
has implemented the relevant E.U. directives into the U.K. development and government relations for Copyright
Copyright, Designs and Patents Act and other secondary leg- Clearance Center; Nils Rauer is a partner at Hogan
islation, and that this will form part of the body of law which Lovells in Frankfurt, Germany, where he heads the global
the U.K. will retain upon leaving the E.U. In the absence of copyright team.

8 www.publishersweekly.com
OCTOBER 2018 The DIGITAL SPOTLIGHT

In Spanish
Markets, Audio Is
The New Black

By Javier Celaya

A
udio currently represents less than 10% of Penguin So far, Spanish-language audio offerings skew heavily
Random House’s digital sales in the Spanish-lan- toward fiction, with some 77% of available Spanish-lan-
guage market, but not for much longer. Speaking guage audiobooks classified as novels. And roughly 60% are
last July, at Barcelona’s annual Forum Edita, orga- produced in Castilian Spanish, versus 40% in Latin Ameri-
nized by the Catalonian Publishers Association and can Spanish, thus providing a broad range of audio experi-
Pompeu Fabra University, Penguin Random House CEO ences to Spanish speakers on both sides of the Atlantic.
Markus Dohle told the audience that “audiobooks are the In addition, with the growth of mobile content, subscrip-
future.” And he predicted that in just seven years’ time, dig- tion culture is also radically transforming consumer habits in
ital audio would be bigger than e-books in the Spanish-lan- the Spanish markets. Bookwire, one of the leading e-book
guage market. and audio distribution platforms in the region, forecasts
The strong and growing interest by publishers and literary publisher revenue through streaming platforms will reach
agents in Spanish-language audiobooks coincides with a 42% of total revenue in 2020—incredible growth, especially
spike worldwide, in which digital audio has registered signif- considering that in 2015, streaming represented just 1% of
icant double-digit annual increases in sales over each of the revenue. The rationale behind this forecast is that the
last three years, becoming the fastest growing revenue model recent arrival of leading international entertainment and
in the entire publishing world. According to an infographic cultural content platforms in the Spanish market—Netflix,
published in June at CONTEC Mexico, hosted by Storytel, HBO, Spotify, and Storytel, among others—is rapidly trans-
the number of available audio titles in the Spanish-language forming consumer habits and is expected to alter even the
publishing sector has increased to more than 5,000 titles, most avid readers’ behavior.
from fewer than 1,000 only a few years ago. It’s a reasonable conclusion. The business of storytelling
In nascent markets like Latin America, the arrival of digital has always evolved alongside historical, economic, social,
audiobook platforms including Storytel, Kobo, Google, and and technological contexts—the printing press, movies,
soon Audible, among others, is not only expanding access to radio, and television all transformed the way we tell stories,
a new format, it is in essence creating new readers. More and and created new audiences. And it is clear that mobile today
more consumers are reporting listening to books on their is empowering publishers to reach new audiences, trans-
phones, a potentially huge boost for publishers, especially in forming once-idle periods into lively new “audio reading”
regions where literacy rates remain unfortunately low. sessions by offering readers immediate access to hours of
book content that can accompany an individual throughout
So, Who’s Listening? the day.  ■
Several market reports indicate that as much as 30% of today’s
audiobook listeners in the Spanish-language markets are Javier Celaya is a member of the executive board of the
under 35 years of age, and on average they listen to more Digital Economy Association of Spain (Adigital), a member
than one audiobook a month via their phone. Some 52% of of the executive board of the newly created Ebook Associa-
digital audiobooks are consumed on the way to or from work. tion of Spain (Aselid), and CEO and founder of Dosdoce.com.

9
The DIGITAL SPOTLIGHT OCTOBER 2018

Global and Digital, Hand in Hand


PW talks with Chantal Restivo-Alessi, HarperCollins’s chief digital officer
and executive vice president, international By Andrew Richard Albanese

I
f it sounds like a big job—it is. In we’ve learned is that there are
2015 Chantal Restivo-Alessi readers who are comfortable
took over HarperCollins’s ambi- with either print or digital, but
tious foreign-language publish- there are very few consumers in
ing program, to go with her any research that I’ve done who
stewardship of the company’s digital are uniquely invested in one for-
strategy. But to hear her tell it, global Chantal Restivo-Alessi
mat or another. I think it often
and digital are two sides of the same depends on the book, and the
coin. Ahead of this year’s Frankfurt Book Fair, we caught up category. And now digital audio is another choice that is
with Restivo-Alessi to get her take on the global digital land- working for more consumers. There is still a lot of innova-
scape. tion happening in the digital space, but today it’s more prod-
uct and channel focused—trying new business models and
At last year’s Frankfurt Book Fair, the agent Andrew Wylie new ideas. Our job is getting great content, number one, and
told an audience in the Business Club that HarperCollins’s then making sure consumers can get it in as may ways as
global strategy was “bewildering” to him. So, good place to possible. That’s always been and still is the biggest strategic
start: how is Harper’s global strategy working? Have challenge for the industry.
authors and agent bought in?
I think we’re doing really well. As you know, it all stems from Do you have a sense of how digital self-publishing might
a very smart acquisition that Brian Murray did, with Harle- be impacting what you do at HarperCollins?
quin, because having that preexistent global network I don’t, really—I mean, I look at the same stats you do, and
allowed us to expand in a few different ways. And we’ve obviously Amazon doesn’t share their data with us. I do
since grown the business significantly. It is still a journey, and think self-publishing is a factor, especially in the genres, but
no, a global strategy won’t necessarily work for all authors. I think the two worlds have learned to coexist. What I can
It’s a balancing act of having global properties and at the say is that we continue to see authors who want to be pub-
same time a local sensibility. But I do believe it is a great lished by a publisher, and who recognize the difference in
growth element for us. And the fact that so many of our roles, and the difference in service.
global authors have signed new deals with us, like Karin
Slaughter and Daniel Silva, and also the fact that we have You mentioned downloadable audio, which has been
had authors, like Don Winslow, increase the scope of our surging in the U.S. Are you seeing that growth globally?
services for them, that’s the most reassuring element for me. Yes, the rest of the world is moving in the same direction.
Scandinavia is actually ahead of the curve—they actually
The decline in e-book sales for traditional publishers has have entire catalogues that go straight into a subscription
been a persistent headline, but publishers for the most
part don’t appear terribly concerned about it. Has the
model in audio there. Obviously the English-language mar-
ket is moving faster because there is so much more content A
digital conversation moved on from the e-book? available. But yes, around the world, once the content is
Well, I’ve always said it was never going to be one format or
the other. Digital is about offering consumers a choice. What
available, the interest and the consumer uptake is there, and
we are definitely seeing growth.
A
P
10 www.publishersweekly.com
OCTOBER 2018 The DIGITAL SPOTLIGHT
In 2018, we’ve heard a lot about regulation coming in the digital world; it shouldn’t be a free-for-all.
digital space. For example, with social media it seems like
changes may be coming after the 2016 election. Does Before the 2016 fair you were pretty bullish on the
that change the way you approach your digital marketing subscription model. Are you still?
efforts—for example, are you concerned that some of the You know, I am. I still believe subscription services have their
networks you depend on will start to change? role. We’re still working with Scribd very successfully, and
I think about it, but I have to say it’s not really impacting the we have actually expanded our relationships in audio, and
day-to-day activity of the various marketing teams in the we’re working in a lot of different markets with different
organization. There’s always something else, something new, subscription models. What I always tell people is that we’ll
and we’re used to constantly working with different plat- do everything as long as the value of our content is properly
forms. And that’s why for us it comes back to experimenta- recognized.
tion. We’re always trying to stay aware of what is happening,
and we have instituted a culture of innovation here, which is As we gather for the 2018 Frankfurt Book Fair, how are
what’s really important. you feeling about publishing as a digital business?
Very positive, and I think HarperCollins in particular has
The GDPR has been a big topic of conversation, too, both demonstrated that growth is possible, even in an industry that
in the E.U. and the U.S. Has that impacted your work? has been around for 200 years. I really believe that global and
It did in the sense that I had to have a lot of the teams work digital go hand in hand. And that digital is not just a product
hard on understanding the new rules and how they were category—it’s really a different mindset. I’ll explain it this
going to roll out. But it hasn’t really had much of an impact; way: if you started your publishing business today, how
it just created a lot of work for us—I hope that stays pretty would you set it up? I believe with that mind-set, in conjunc-
much it! Frankly, I think it’s a pretty good regulation, ulti- tion with the creative part of the business, and the wealth of
mately. I personally believe we do need to protect people’s content in our catalogues, that we are sitting on a treasure
privacy. I’m European so maybe I’m more conservative on trove. We just have to find more ways to expose more con-
that front, but I think there should be some boundaries in the sumers to it—which we will. We will figure it out.  ■

Advancing Copyright. Visit us at Hall 4.2 Stand E18


Accelerating Knowledge. Complete program information available at
Powering Innovation. copyright.com/Frankfurt2018
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The DIGITAL SPOTLIGHT OCTOBER 2018

Where Do You Go Next?


By Thad McIlroy

I
n his valuable annual report The Business of Books open educational resources.
2018, published by the Frankfurter Buchmesse Business And traditional academic
Club, Rüdiger Wischenbart talks about the challenges publishers compete with a
and ambiguities in the publishing business, many of range of new, freely accessi-
which call for “new and costly technologies, which come ble online competitors—
from far outside the publishers’ core competency.” As a including Sci-Hub, which pirates scholarly articles.
longtime digital-publishing consultant, I know firsthand What seems clear to me is that the big problems publishing
that the list of technology hurdles that can trip up my clients faces today won’t be solved by stronger editorial, or by shuf-
is as long as ever—content management, metadata, accessi- fling your conventional sales and marketing. They’re going
bility, rights management and copyright issues, supply-chain to be solved with better technology, efficiently adopted: tech-
operations, digital strategies, standards adoption, mobile, nology that aids authors and editors; that enables more
and emerging technologies like blockchain. Living at the efficient workflows; that smooths the supply chain; that pro-
intersection of publishing and technology is never dull. duces better books, faster and cheaper; that makes reading
For me, the Frankfurt Book Fair is an annual opportunity accessible to the disabled; that monitors and enforces your
to take stock of the issues faced by my book-publishing rights. And, to be future-proof as possible, all of this technol-
clients, as well as in my own consulting work. And over the ogy must be based on standards, so you don’t have to throw
years, I’ve found it helpful for publishers to frame the issues everything out and start over down the road.
they face more broadly, before getting into the weeds with A tech executive from Apple once said to me, “Today the
specific technologies. In 2018, broadly speaking, the key only sustainable competitive advantage comes from imple-
challenge I see facing publishers is that readers are facing menting new technology faster than your competitors.” As
fierce competition for their attention. Never have there been you explore the 2018 Frankfurt Book Fair, please keep that
so many distractions as there are today in our 24/7 net- in mind. You’ve already consolidated most of your tradi-
worked online world. tional publishing processes. Where do you go next? ■
Yes, publishers compete with other publishers. But a
publisher like Penguin Random House competes as much Thad McIlroy is a veteran digital publishing consultant and
with Netflix and Facebook as it does with Hachette and a principal in the newly formed firm Publishing Technology
Simon & Schuster. Education publishers compete with Partners.

Introducing PW’s New Column: Digital Perspectives


Look for more from Thad McIlroy and his partners via the recently
launched Digital Perspectives column, appearing monthly in the
pages of Publishers Weekly as well as on publishersweekly.com.
Each month, the column will feature insights from the partners of
the newly formed consultancy Publishing Technology Partners,
founded and run by McIlroy, Bill Kasdorf, Bill Rosenblatt, and Bill
Trippe. “What makes us special is the depth of expertise we bring
to the table, and the breadth of expertise we bring, both in the
U.S. and internationally,” McIlroy says of the firm. “If you have a
technology challenge, we can find a solution.” To contact Pub-
lishing Technology Partners, email info@pubtechpartners.com.

14 www.publishersweekly.com
OCTOBER 2018 The DIGITAL SPOTLIGHT
Keeping Up with Digital Demands and
Challenges
The digital path continues to wind its way through areas of
new opportunities and patches of persistent skepticism By Teri Tan

S
imply digitizing content does not make for a digital ers are requesting personalized and well-targeted multichan-
publishing transformation, says Nizam Ahmed, nel content as well as marketing campaigns.”
founder and CEO of DiTech Process Solutions and For Uli Klopotek, CEO of Klopotek, content is becoming
3ClicksMaster. “Publishers need to go beyond mere more granular, and so are rights. “This means that getting
content digitization. They need to think digitally, the rights business right is a major challenge. In our case, the
build up their e-books and interactive publications, offer solution lies in creating a user-friendly rights portal with
innovative pricing bundles for digital/print combos, partner integrated rights-sales solutions to optimize the communi-
with OEMs to push content through built-in apps, and find cation between rights sellers and buyers, enabling both par-
new ways to generate revenues—and that is just the start. ties to manage and contribute to the core business processes.
They need to develop and produce digital-first publications At the same time, it is also about developing apps that make
that are both adaptive and interactive to attract those smart- the rights business safe and secure. Our STREAM app—
phone-toting and tablet-hugging consumers out there.” Permissions and Compliance Manager—for instance tracks
and manages acquisition and usage of licenses to ensure
New Business Mind-Set and Needs compliance, thus allowing publishers to exploit their rights
Information is at the heart of publishing, Ahmed adds. “There with confidence.”
are many tools to tap into the information that is available Meanwhile, products are becoming hybridized, and there
online, and publishers need to find a way of integrating those is a growing trend in which consumers and readers want to
online data—reviews and social media conversations in par- assemble these hybrid products themselves in a smart and
ticular—with their internal tracking metrics to generate simple way. Klopotek explains: “Our industry has to support
insights on their target consumers and publications.” these users and give them the right tools and technology
Publishers need to encourage the formation of online com- to do so. We have already developed a number of powerful
munities around their publications, Ahmed continues. “They tools such as the Klopotek Portal, which allows users to
should leverage their audience both as a sounding board for combine and bundle hybrid products as they like, while our
new ideas as well as to provide word-of-mouth publicity.” Order to Cash system ensures correct calculation.”
This means changing the publishing mind-set, which will
require publishers to relinquish their control while allowing Smarter and Faster Workflows
readers to take a seat in the editorial and content-develop- Disruption to the publishing outsourcing market typically
ment process. comes from outside the industry, simplifying a complex
“We read about data being the new currency almost every offering and thus making the field more competitive. But
day,” says Knut Nicholas Krause, founder and CEO of KNK for Rahul Arora, CEO of MPS, the last three years have been
Business Software. “But data is only useful if we can access it about intentionally developing a thriving platform-solu-
and learn from it. Unfortunately, a lot of publishers are cur- tions business—in a separate business line—that allows his
rently unable to really benefit from the data that they have, team to disrupt from within. Its platform business, which
since this data is locked in different silos across the company grew by 20% last year, represents around 20% of its rev-
without any chance of being combined for the bigger picture enues. The three platforms suites—DigiCore (for content
on trends and customer analysis.” creation, production, and transformation), Magplus
Redesigning business processes—and unlocking the data (mobile-app production and delivery), and Think360
in the process—is urgently needed. “A lot of processes still (content management, delivery, fulfillment, and client
come from a print-first world and mind-set, not only within management)—is aimed at disrupting the status quo by
the publishing houses themselves, but also within the publish- solving complex publishing problems through intuitive yet
ing systems. We are now seeing media companies, especially deep platform technology.
those in B2B publishing, transforming to become custom- While MPS’s content-solutions business—authoring,
er-centered full-service media agencies because their custom- development, production, and transformation—continues to

15
The DIGITAL SPOTLIGHT OCTOBER 2018

be sought after by its client partners, Arora points out that able to provide value. The problems may lie in incorrect
“it is our emphasis on technology-led thinking and imple- identification of company goals and/or choice of the right
mentation that differentiates us. Our objective is to power technology, or issues related to the organization’s current
the differentiation and competitiveness of our customers technology stack and implementation of the new tools. This
through smarter publishing. We are transforming publishing lack of uniformity, cross-functionality, and awareness has
by making it transparent, real-time, and focused on learning created distrust about the value of these technologies. And
outcomes.” this is hampering the adoption rate and speed of digital
Making MPS agile and client-focused to adapt to market publishing technologies within the industry.”
trends is one major goal for Arora. “The acquisition of four The rise of the internet and crowd knowledge sourcing
companies—Element, Electronic Publishing Services, TSI have brought about free access to information, which
Evolve, and most recently, Tata Interactive Systems, includ- leads to shrinking revenues at scholarly publishing houses,
ing its entities in India, Germany, and Switzerland—in as Majithia says. “Since reining in free web information is
many years will take us from $40 million to $60 million in nearly impossible, the next best thing to mitigate shrinking
revenues. Going forward, inorganic growth continues to be revenues is to provide value-added products and a wide
an important part of our business.” assortment of content in the form of e-books, videos, and
Over at Newgen KnowledgeWorks, the past five years even digital courses.”
have seen the company’s production time and costs reduced The arduous journey from authoring to distributing a
by 40% and 30%, respectively. “We have accelerated the journal versus the immediate and anytime-anywhere demand
overall publication speed to provide publishers with shorter for content from readers is another issue. Majithia adds,
time to market, which is one of the critical factors for any “A one-stop shop for all-inclusive academic publishing
publisher today,” says Maran Elancheran, president of the services, from content engineering to editorial workflow
company. solutions to digital technology for delivery and marketing,
The application of AI in publishing processes, Elancheran is required to meet today’s readers. Our iPublishCentral
adds, “is definitely the single most important development platform is one such solution.”
we are investing in. Publishing, like other industries, will be Another publishing challenge concerns transparency.
revolutionized by how we use AI to streamline content Klopotek, of the eponymous company, says, “It is no longer
creation, production, and delivery. Once it matures, all sufficient for publishers to support internal processes in
workflows may be different, and tools will be re-envisioned. the best possible way. There is now a growing trend for
From content creation to consumption, everything can authors to ask for more transparency regarding titles, sales,
potentially change, with AI bringing about a completely and royalties. With apps such as Authors Online on Klopo-
new paradigm to both the publishing and the digital-solu- tek STREAM, we are helping publishers to make such
tions industries.” information transparent and readily available.”
Electronic publishing has not only revolutionized the pub- Demographic shifts are a big concern in the publishing
lishing industry, but it has also changed the fundamental industry, according to Krause, of KNK Business Software.
economics of the business, observes Ahmed, of DiTech/ “This does not only impact the products and content that
3ClicksMaster. “For publishers, production costs appear to the industry is creating but also the way the publishers posi-
have increased rapidly, which is mostly due to the cost of tion themselves as employers. Millennials growing up with
new technology and increasing volume of publications. The technology and mobile devices have high expectations in
need to go digital and move online adds to the costs. For us, their employers with regards to work environment and
the development of cloud-based cross-media publishing flexibility in organizing their daily work schedule. Boundar-
platform 3ClicksMaster solves these challenges by taking ies between personal and professional lives are blurring.
away worries about technology installation and training So technology can be a differentiator especially in enabling
costs, output levels, or even quality control. It allows pub- teams to work together efficiently from anywhere and at
lishers to focus on their content and business while letting us any time. We all face the challenge in establishing modern
take care of the production.” workplaces that allow teams to collaborate across loca-
tions, demographics, and skill sets.”
Battling Industry Challenges Another major concern lies in interacting with readers
Skepticism toward embracing emerging technologies, bring- and building long-term relationships with them. “At KNK,
ing operational efficiencies through automation, and exper- we continue to experience high demand in CRM and mar-
imenting with new business models is prevalent among keting-automation systems, which are tools that interact
publishers, notes Uday Majithia, assistant v-p of technol- with readers and clients more efficiently across different
ogy services and presales at Impelsys. “Publishers have been channels,” Krause says. “This is an indicator that customer
experimenting with various tools, but not all have been engagement and retention are big issues for the industry.”

16 www.publishersweekly.com
The DIGITAL SPOTLIGHT OCTOBER 2018

Bookish (for STM books), Jmaster (journals), SchoolMaster


(K–12), Travelfy (travel guides), and DigiCon (digital conver-
sion from one format to another). “Each solution addresses
specific publishing requirements. For instance, Bookish
includes MathML conversion, PubMed reference, and index
markup capabilities, whereas JMaster offers issue and vol-
ume management and multichannel distribution,” Ahmed
explains. “But all five solutions share two major characteris-
tics—being device-agnostic and cloud-based—which give
3ClicksMaster 3CM the capability to work from anywhere at any time.”
Developed and owned by DiTech Process Solutions, 3Clicks-
Master (3CM) is now a separate company that offers a Check out 3ClicksMaster solutions and demos at
cloud-based automated cross-media publishing platform Booth J69 in Hall 4.2.
of the same name. “3CM is about meeting the challenges
and changes in the marketplace, which is defined by ever-
shorter turnaround time, higher-quality expectation, and
cross-media publishing requirements at low costs,” founder
and CEO Nizam Ahmed says, adding that these can only
be addressed “by deploying technology, and that technol-
ogy must also guarantee top quality as well as high-volume
output with minimal human intervention.”
The 3CM platform combines three separate processes:
create (which covers copyediting and XML conversion), Impelsys
design (autoflowing-created XML into InDesign or predeter- Providing solutions for enterprise learning, health care,
mined document–type definition), and publish (creating and point of care is currently the focus at Impelsys. “We are
print PDF, XML, ePub3, and HTML5 on the fly). Customiz- immersed in building vanguard products that leverage
able, flexible, and editable, the 3CM platform is designed our technologies, specifically iPublishCentral Scholar and
for web, print, and mobile content. iPublishCentral Health, which were launched in the past 12
One of the largest STM books and journal publishers, months,” says Pandith Jantakahalli, assistant v-p for product
which was struggling to achieve the required level of out- management, whose team uses machine learning to enhance
put—on roundtrip XML, index generation, layout design, learning solutions such as question-bank creation.
and producing ePDF and XML on the fly—from using 3B2 Scholarly publishers, for instance, are wowed by iPublish-
software to 3CM for a one-stop solution. “The publisher’s Central Scholar’s capabilities in eliminating the cumber-
production costs are now reduced by half, since manual some tasks of maintaining multiple platforms for different
intervention in 3CM is minimal,” Ahmed says. “The editors content types, including journals, e-books, videos, and con-
are able to get hold of 100% automated first proofs, thereby tinuing-education courses. “This powerful platform increases
dramatically cutting down on the turnaround time. And as a operational efficiencies by interacting with just one vendor
result, their books and journals can now be designed in a for all digital publishing requirements while delivering a uni-
couple of hours instead of days.” fied customer experience and valuable consumer analytics,”
For one German trade book publisher, Ahmed saw 3CM Jantakahalli says.
used for trade and business books instead of the usual STM Meanwhile, new Impelsys solutions—Decision Support
and scholarly texts. “We received multiple file formats from Tool (DST) and Enterprise Assessment Repository, for
the publisher that required outputs in print and web PDFs, instance—are taking the company beyond its core interests
XML, and ePub for Amazon and e-bookstores. The language in e-books and e-learning platforms.
posed a challenge, since almost 70% of the books are in Ger- One recent big project involving DST was for the Royal
man,” says Ahmed, whose team went on to develop a German College of Nursing platform. “DST is an interactive tool to
base dictionary, which took care of any hyphenation issues. help nurses to make informed decisions when assessing and
As of now, 3CM offers five customized platform solutions: caring for patients,” Jantakahalli explains, adding that “it is
continued on p. 20

18 www.publishersweekly.com
OCTOBER 2018 The DIGITAL SPOTLIGHT
Klopotek on Managing Contracts, Rights,
and Royalties
Employing isolated applications— ments on contracts, rights, and roy- executive v-p for UX design and UI
that are not integrated with meta- alties management. Our solution development. “Stream CRR guaran-
data management and distribution supports the transition from tradi- tees response times in less than a sec-
processes—to manage contracts, tional to digital business models in ond for searches of hundreds of
rights, and royalties is the norm in an unrivaled and comprehensive thousands of titles and contracts. It
the publishing industry. “But this fashion.” provides the usability that has been
often requires great efforts and high Klopotek CRR is now available on discussed in our industry for so long,
expenses for data provision and con- STREAM, the company’s cloud- and helps publishing personnel to
trol,” says Uli Klopo- maintain the business
tek, CEO of Klopotek, more quickly and in a
a company that is better and self-intuitive
known for providing way. With Stream CRR,
an end-to-end solution we have created a one-
for handling publish- of-a-kind experience for
ing-related processes, handling these key pro-
which includes the management of based technology platform, which cesses.”
rights, contracts, and royalties. makes publishing processes intuitive With such UI/UX capabilities,
“Using Klopotek, which covers the and easy to handle. The reliable and adopters of STREAM can now skip
whole publishing process, there is no audit-proof parts for secure transac- the deployment of Citrix technology.
loss of information or time. We have tions and information processes of “There is an immediate reduction in
created a global solution in one Klopotek’s Classic Line are now infrastructure costs since the termi-
physical installation to support our combined with the innovative nal server and Citrix are no longer
clients’ business that is spread over browser-based parts of the cloud- needed to run STREAM,” says Peter
different countries, languages, cur- based Klopotek STREAM to offer Karwowski, CTO and deputy CEO
rencies, and metrics.” an enriched and visually pleasing of Klopotek. “There is also no need
Klopotek CRR (Contracts, Rights, user experience. A total of 16 cloud- to use Microsoft, which can be
and Royalties) provides full trans- based apps, seamlessly integrated on replaced with a UNIX-based operat-
parency for all CRR-related pro- STREAM, have been developed to ing system. At the same time, the
cesses, managing contracts, royalties, handle all CRR requirements. rolling out of software, upgrades,
and rights for books, e-books, jour- Even before STREAM CRR comes and patches in STREAM happens
nals, articles, audio titles, tracks, and into the picture, Klopotek’s CRR more smoothly because of our con-
apps in an integrated system. “Roy- Classic Line is already winning over tinuous-delivery approach, and this
alty payments are made in accor- publishing clients. “Royalty-state- results in further savings on costs
dance with international evaluation ment calculation time is reduced and time.”
standards,” Klopotek adds, pointing from more than 16 hours down to a Klopotek is currently rolling out
out that “the solution is being used little more than two hours, which one central Klopotek CRR environ-
to calculate the royalties for more allows more time for analysis at each ment for HarperCollins’ regional
than 1.5 million authors’ contracts month’s end,” says Troy Edens, business units. When the first phase
on more than 4.5 billion publishers’ senior v-p and CFO at HarperCol- is completed next month, the solu-
revenues. It manages more than four lins Christian Publishers. “The cre- tion will serve about 120 users
million titles and is subscribed by ation of royalty statements is ideal, working on more than 145 million
about three million people world- in that we are able to print not only sales lines and more than 300,000
wide in eight languages. With Klopo- periodic statements as a whole but contracts.  —T.T.
tek CRR’s solution, author relation- also able to recall or create ad hoc
ships become the center of your pub- statements as questions arise.” Demos on Klopotek STREAM web
lishing operations.” STREAM CRR has further apps, including Stream CRR, are
Digital business models, Klopotek improved on the advantages of the available from Booth D12 in Hall
adds, “place demanding require- Classic Line, says Nella Klopotek, 4.0.

19
The DIGITAL SPOTLIGHT OCTOBER 2018

continued from p. 18

the only such tool created exclusively for nurses in the U.K. within six weeks, this particular version includes several
It is evidence-based and includes in excess of 100 peer-re- modules of DigiCore (such as the auto-composition tool
viewed topics across more than 20 fields.” The DST, which DigiComp, and DigiEdit, a tool for XML-based review and
took over a year to develop, is accessible on mobile devices corrections) and integration with third-party services.
and computers. Reviewed and updated regularly, the tool “New and evolving content-authoring tools continue to
can be customized to alert users of changes in local policies impact the way content is developed and delivered. And
and nursing procedures. MPS is a leader in providing content solutions through
The massive growth in the healthcare industry has been third-party content-authoring tools, such as Gutenberg
instrumental in the development of iPublishCentral Health, Technology and Habitat,” says CEO Rahul Arora.
an exclusive aggregator platform for the delivery and Then there was the new journal platform for the Royal
management of healthcare learning and skill-development College of Nursing, which is based on the MPS ScholarStor
resources. Jantakahalli adds, “In India alone, there will be an technology. “The mobile experience is significantly enhanced
additional three million beds, 1.5 million physicians, and through adaptive design to ensure that the latest develop-
2.4 million nurses by 2025. This creates a huge market for ments and best-practice guidance are easily available on
quality service and compliance, which in turn demands any device,” Arora says, adding that “users can access jour-
enhanced learning resources and technology for health care nal content ahead of print and advanced article metrics,
publishers.” including usage, captures, mentions in news articles or blog
The iPublishCentral Health platform, Jantakahalli says, posts, social media interactions, and citations. Users can
“connects the burgeoning Asian hospital market with health also personalize their experience, select their areas of inter-
educators and global publishers of health care and medi- est, and choose the frequency of their e-alerts.”
cal-science content. It acts as a conduit to deliver authori- MPS was also approached by Project Counter, which pro-
tative content to hospitals in Asia, and in turn helps these vides the standards that enable the knowledge community
publishers expand to newer markets.” to count the use of electronic resources, to build a cloud-
based custom platform for validating report formatting per
Head over to Hall 4.2 to hear Kotesh Govindaraju, Counter 5 standards. “Additionally, we developed another
executive v-p and head of the Americas for Impelsys, custom tool for harvesting consortium reports per the
present “Leverage Technology to Deliver a Wholesome Release 5 code of practice,” Arora says, adding that the
Digital Experience,” on Wednesday, October 10, at Counter 4 validation platform, which has been running for
5:30 p.m. at the Education Stage; learn more about the past five years, was developed and maintained by MPS.
Impelsys solutions at Booth J55. Increased demand for publishing U.S. content in interna-
tional markets, on the other hand, has seen MPS ramping
up its capacity to translate, develop, and produce content
in other languages, as well as adapting existing U.S.-centric
programs to other markets. Recently, the team translated
large volumes of English textbooks into Arabic. “In some
cases, deep knowledge of cultural sensitivities aligned with
certain geographies is required,” Arora says. “It is not just
about having the right workflow or the latest automation.”

CTO Narendra Kumar will present “How SaaS-based


MPS Platforms Are Disrupting the Traditional Publishing
Delivering large-scale and complex production projects is Services Landscape” at Hall 4.2’s Hot Spot Academic
nothing new at MPS, which is closing in on its 50th anni- Business on Wednesday, October 10, at 4:30 p.m.
versary, in 2020. For one nonprofit educational publishing On the following day at 10 a.m., at the same hall’s
client, the team offered a customized version of DigiCore Hot Spot Education, Anna Kuehl, senior v-p of MPS
that fully integrates the production process (from author Interactive, will give a talk titled “Learning Trends
submission and Word-based lessons and chapters to print for Science, Technology and Medical.” For more on
and platform delivery) using cloud-based solutions, edito- MPS, head over to Booth N10 in Hall 4.2.
rial tools, and scalable production services. Implemented

20 www.publishersweekly.com
OCTOBER 2018
NEW READER EXPERIENCE
WITH PUBLISHERS WEEKLY
DIGITAL EDITION

Newgen KnowledgeWorks
At Newgen, the focus is on digital-first workflows to acceler-
ate manuscript publication for dissemination in multiple for-
mats, platforms, and media. Pubkit is one such solution. A
digital-first workflow with a highly intuitive and unified
platform that facilitates the management of projects, con-
tent, and communication, it integrates tools via APIs to enable
cross-functional processes. “It can monitor folder or FTP loca-
tions for incoming files, pick them, and auto-trigger appro-
priate workflows,” president Maran Elancheran says, adding
that “its analytics and reporting capabilities provide real-time
updates for greater transparency between collaborators. At
the same time, Pubkit prompts the bottleneck and human-in-
tervention scenarios for resolution.”
Pubkit’s all-in-one portal also allows authors and editors
to view schedules, access files, and check on rights and per-
missions, for instance, without needing to access any FTP
server. A built-in mail-management system further eliminates
the need to maintain and manage two systems—one for mail
and the other for project status. “In fact, the emails are paired
with, and clustered within, the project itself. A shared dash-

MAXIMIZED
board for editors and project managers makes the process
even easier. Pubkit also offers collaborative issue compila-
tion and analytics,” Elancheran says.
Then there is Newgen’s editing tool, CEGenius. It com-
prises AI and NLP-based modules for manuscript and refer-
ence structuring, and it offers validation against external
FOR MOBILE
databases automatically.
Composition tool RedShift speeds up the proof generation. 500,000 MOBILE USERS
The composition rules are prefixed to produce PDFs using the rely on PW mobile as a daily source of information.
XML semantics. “RedShift—which is already used by many
publishers—is smart, fast, and accurate,” Elancheran says.
The process then continues with Newgen’s proofing tool,
which is designed to work with Word, LaTeX, and XML. “The
XHTML interface enables authors, editors, and contributors Early Access of the
to correct their manuscripts in a controlled environment. We
are doing everything that we can to reduce production time Digital Edition on Saturday
and costs for our clients.” Available on the PW App or Your Desktop
At the same time, Elancheran is looking at producing
“born-accessible” content right from the start alongside other
print and digital formats. “For publishers, the regulatory
requirements for accessible content will translate into increased

21
The DIGITAL SPOTLIGHT OCTOBER 2018

spending, investment, and efforts. For the digital-solutions with born-accessible content as well as backlist content that
industry, there is an urgent need to build processes and change needs to be reworked to include accessibility features.”  ■
workflows to cover accessibility while retaining competitive
pricing. At Newgen KnowledgeWorks, we have a special For the latest on PubKit and other Newgen
accessibility division to monitor developments in this area, KnowledgeWorks products, head over to Booth C2 in
and amend our workflows accordingly to provide publishers Hall 6.2.

Applying AI at KNK Business Software


Last year, KNK Business Software provide its readers with reports. “Imagine
introduced EMIL to the publishing ‘the right content at the how much time can
industry. A machine-learning app, right time.’ Publishers, be saved: you are
EMIL uses text recognition to ana- on the other hand, need sitting in your car
lyze incoming customer requests. to provide relevant con- driving back into the
It checks any incoming message tent to engage with office after a meeting
against predefined use cases—such their readers,” Krause with an important
as changing the delivery address for explains. “What we author or key
a subscription contract—with ease also see is that putting account. Instead of
and triggers the necessary processes this objective into practice can be writing a report when you are back
automatically. At this Frankfurt Fair, challenging, especially when the in the office, you can directly record
the team will present a lot of new use content is not locked behind a pay- a voicemail on your smartphone to
cases on AI. wall and the readers do not need to sum up the most important points of
“We know, of course, that AI is a log in.” the recent meeting and to-dos that
buzzword and currently hyped,” This is where AI unfolds its magic, you have to follow up while you are
says founder and CEO Knut Nicho- Krause says. “We can use AI to clus- in the car,” Krause says, adding that
las Krause. “Nevertheless, we see a ter anonymous readers or website “AI will convert your voicemail into
high potential for AI in supporting visitors to personas based on their text, and your notes will automati-
publishers in streamlining and auto- browsing history. We combine the cally be entered into your CRM
mating their business processes. information gathered with the help system as a task or reminder.”
There are many scenarios where AI of AI to find the persona that best This is a trend that is becoming
might come in handy for publishers fits the website visitor. You need only more obvious. “Modern publishing
and media companies. In intelligent one cookie. No personal data are systems have to support modern
purchasing, sales, and inventory collected, and so the whole concept ways of working, which is becom-
planning, for instance, AI can be is fully compliant with GDRP ing more independent of device and
used to analyze legacy data in order [General Data Protection Regula- location. And AI can help in achiev-
to predict future sales patterns— tion].” ing such independence. Intelligent
during high seasons such as Christmas Publishers can define personas and connected business applications
business, for example—and provide according to their specific target will be a critical success factors for
publishers with recommended actions market, Krause says. “Assigning an the publishing industry of tomor-
such as adjusting the inventory to anonymous website visitor to a per- row,” adds Krause, who will be at
meet the anticipated surge in demand.” sona allows the publisher to supply Booth F1 in Hall 4.0 with his team
Product and content recommenda- predefined and unique content that to present more AI-related cases
tion, personalized content distribu- is relevant for this particular reader. and applications.  —T.T.
tion, audience building, intelligent Additionally, digital ads can be placed
chatbots for customer service, voice with far greater precision, and an COO Sebastian Mayeres and head
commands, and forecasting are just entirely new business model—such of social CRM solutions Alexander
some of the applications that Krause as context- and person-related digi- Woge will talk more about AI in
and his team think of. tal ads—then becomes feasible.” their presentation, “AI in Publishing
“Audience building is one case Another example for the applica- and Media Companies,” at Publish-
that we currently see a lot of interest tion of AI is the usage of voice-to- ing Services & Retail Stage in Hall
in the media industry. Every publish- text APIs, which can be used to 4.0 E94 at 11 a.m. on Thursday,
ing and media company wants to efficiently record and manage visit October 11.

22 www.publishersweekly.com
sales@newgen.co
www.newgen.co

Services and Solutions


• Business Solutions 10
• Content Solutions
Analytics
01
09 Integrated single platform
• Technology Solutions Collaborative issue compilation
02
• Design & Illustration 08 Article landing and auto-trigger
Alerts for risk mitigation

• Composition 03
• Manufacturing Services 07 Intelligent auto-scheduling
Shared dashboard

• Digital Marketing Solutions 06 04


Author / Editorial Office portal
Converse with external systems
• Digital Books 05
In-built mail management system

ACCESSIBILITY
INITIATIVE
Newgen can improve the accessibility of your content for
screen-reading and text-to-speech systems by tagging the
structure and the reading order of content and providing
new descriptive text for images making you compliant
with the regulations prescribed by the Web Content
Accessibility Guidelines (WCAG 2.0) Level AA

Alternate Text Solutions Born Accessible Consulting Digital Accessibility Audit