Frankfurt

WEDNESDAY 11 OCTOBER 2017 VISIT PW AND BOOKBRUNCH AT HALL 6.0 STAND D42

PRH CEO Dohle highlights resilience

Penguin Random House CEO
Markus Dohle, addressing the
opening press conference of
this years Frankfurt Book
Fair, highlighted the stability
of the global book publishing
business and underscored
positive signs for the future,
despite increasingly divisive
political and challenging
financial situations facing
nations around the world,
writes Ed Nawotka.
Book markets have seen
growth in most countries,
slow, but continuous growth,
Dohle said, noting that some
emerging markets had seen
double-digit growth. One
contributing factor was the
re-invigoration of the print
market and the now healthy
co-existence of the print and
digital markets. Overall the
markets have stabilized, with
print accounting for 80% of
sales and digital 20%. Who
would have predicted this five
years ago? Dohle asked
Looking forward, he pointed
to the increase in global literacy
and a boom in childrens and
young adult book sales over the
past decade as developments
likey to lead to future growth
for publishers, and for Penguin
Random House specifically.
India has a young population
of 1.3 billion people with 10%
of them speaking English,
Dohle said. That is twice the
population of the UK, making
India the second largest English
book market in the world.
India, along with Brazilwhich
also has a large, young
populationare our most
important emerging markets.
Dohle acknowledged that
several challenges remained for
books and publishing, not the
least of which was discovery.
There are 50 million books
available from Amazon, he
said, acknowledging the The viability of the book
growing importance of self- business resided not only on
publishing as an avenue for growth markets, but on an
authors. Yet, while we are increasing appetite for story,
growing in titles, we are still as well as on its role as
thirsty for the next great story. promoter of free speech.
Publishers, he went on to say, Penguin Random House
had a key role to play as invests $750 million in new
curators of content. Publishers stories each year, he said.
stand for quality and perfect We have a position to play in
each product before it makes the future discourse about
it to the market, he said. politics and society.

Andrew Wylieno fan of global publishing

In his opening keynote at the
Frankfurt Book Fairs pre-
conference, The Markets,
International literary agent
Andrew Wylie gave a strong
defense of diversity in literature,
Readers want to experience
what they do not know, Wylie
told attendees. The publishers
value, he added, lives in the
backlist, the exquisite reflection
over time of the different ways
different perspectives, because
thats the way the world is.
This is the human condition.
But while a supporter of
publishing global voices,
Wylie made it clear he was not
Wylie said he found it
advantageous for publishers
to be able to offer rights in
other territories, and called
the HarperCollins model
bewildering.

and the importance of hearing
from international voices,
especially at a time when
nationalist movements are
growing around the globe,
writes Andrew Albanese.
of seeing the familiar.
Noting the rise of nationalist
movements, and a disjointed
political reality facing the
world, Wylie suggested that
reality would win out. I think
that autocrats and autocratic
societies are doomed to fail.
Why? Because the desire
politically to enforce a single
view of the world is inevitably
destined to run afoul of the fact
that a diversity of views is what
we have. People want more.
They want to travel locally and
globally, and to encounter
INSIDE:
fan of HarperCollins global
publishing strategy. In a short
Q&A session, he was asked
whether such efforts to publish 7-FIGURE DEALS
authors globally through BIG DEALS ON
divisions in other territories
was good for authors.
EVE OF FAIR 3
I dont know, I find the
whole thing pretty amusing, BUZZ
frankly, Wylie said, focusing THRILLER
on HarperCollins. BEAUTIFUL BAD 4
Its kind of saying were
going to take this author off FRANKFURT
the table, globally. Im
BRIEFCASE
tempted to say who cares, he
HOT TITLES 6
said, beginning to chuckle.
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 WEDNESDAY 11 OCTOBER 2017
The return of the seven-figure advance
With a flurry of big deals
closing in the run-up to the
Frankfurt Book Fair, the
seven-figure advance is back,
writes Rachel Deahl. While
big advances are nothing new
in the heady days before a
major rights fair, the fact that
at least five bookstwo
novels and three non-fiction
titleshave sold for $1
million (or more) indicates Adrienne Brodeur
that publishers are going to Germany with money to spend.
In one of the buzziest deals to go down before the fair,
Molly Stern at Crown spent a rumoured $2 million for
North American rights to a non-fiction work by Ethan Kross
called Chatter. Kross, a neuroscientist who works at the
University of Michigan, was represented by Doug Abrams at
Idea Architects. Abrams, who would not comment on the
advance, said the book was pre-empted within 24 hours of
submission. Subtitled The Conversations We Have With
Ourselves, Why They Matter, and How To Control Them,
the book, Abrams said in his pitch to editors, presents
startling research to reveal why we have an inner voice and
we can control it. As of late Friday (6 October), Abrams
said the book was either at the centre of an auction, or a
serious negotiation, in a dozen countries.
One of two memoirs that have earned their authors seven-
figure advances is Adrienne Brodeurs Wild Game.
Houghton Mifflin Harcourts Lauren Wein bought US rights
to the book, which is subtitled My Mother, Her Lover and
Me. Brettne Bloom at the Book Group, who represented
Brodeur, said 14 editors were in the US auction. (UK rights
to the book were sold, just before the US auction closed, to
Chatto & Windus.) Brodeur co-founded Zoetrope magazine
To contact Frankfurt Show Daily at the
Fair, please visit us at the Publishers
Weekly stand in Hall 6.0, D42.
Publisher: Joseph Murray
BookBrunch Executive Chairman: David Roche
Editors: Andrew Albanese, Nicholas Clee, Neill Denny
Reporters: Rachel Deahl, Ed Nawotka
Project Coordinator: Bryan Kinney
Layout and Production: Heather McIntyre
Editorial Coordinator (UK): Marian Sheil Tankard
For a FREE digital trial to Publishers Weekly go to
publishersweekly.com/freetrial
Subscribe to BookBrunch via www.bookbrunch.co.uk
or email editor@bookbrunch.co.uk
FRANKFURT SHOW DAILY
with Francis Ford Coppola
and runs Aspen Words (which
is part of non-partisan forum
the Aspen Institute), and
Bloom said the book explored
her complicated relationship
with her larger-than-life
mother, Malabar, adding
comparisons with bestselling
memoirs such as The Glass
Castle and Dont Lets Go to
Ethan Kross the Dogs Tonight.
Another memoir that some might think reads like a great
novel and which is drawing intense buzz is Sara Seagers
The Smallest Lights in the Universe. Sold for a rumoured
seven figures to Crown by Mollie Glick at Creative Artists
Agency, the debut is from a professor of physics and
planetary science at the Massachusetts Institute of
Technology who, just before 40, found herself a widow and
single mother. In Glicks pitch letter, which PW obtained,
she said Seager, who has Aspergers Syndrome, found
herself raising two boys and struggling to do basics from
food shopping to using her credit card.
The two novels that have drawn million-dollar
advances were both represented by agents at the Book
Group, and both are debuts. Julie Barer sold a work of
historical fiction by Whitney Scharer called The Age of
Light to Judy Clain at Little, Brown. Entertainment
Weekly reported last week that the book, about
photographer Lee Miller and her relationship with the
artist Man Ray, fetched a sum north of $1 million. In
the UK, the book has been pre-empted by Picador, and
Barer confirmed a number of other foreign deals have
closed; among the foreign sales are deals in Germany (to
Klett Cotta); the Netherlands (Nieuw Amsterdam); France
(LObservatoire); Italy (Mondadori); Brazil (Intrinsica);
and Israel (Matar).
The other big fiction deal coming out of the Book Group,
and a second major sale for agent Brettne Bloom, is for
newcomer Kate Hope Day. Her debut If, Then was
acquired in a two-book deal, for a rumoured seven figures,
by Andrea Walker at Random House. (A UK sale for the
book has also closed, with Transworld buying rights there.)
Walker pre-empted the book, which Bloom said follows
four characters in a sleepy Oregon town who start having
visions of other lives they could have had.
LBF AUTHORS OF THE DAY
Kristina Sabaliauskaite, Nora Ikstena, and Mihkel Mutt are
to be the Authors of the Day for the Baltic countries at the
London Book Fair (LBF).They will represent Lithuania,
Latvia and Estonia respectively.The Authors of the Day
programme is run by the London Book Fair with the British
Council and the Publishers Association.
3
 FRANKFURT SHOW DAILY
Park Row nabs buzzed- HC in world rights deal
about thriller by Annie Ward with Winslow
A psychological thriller and
sophomore novel has been
acquired in a high six-figure
deal by Park Row Books.
Annie Wards Beautiful Bad,
which has been drawing buzz
in the run-up to the Frankfurt
Book Fair, was nabbed by
Erika Imranyi at Harlequins
recently-launched literary
imprint in a two-book deal,
after a seven-bidder auction. Annie Ward
The novel (due out in winter 2019), represented by
UK-based agent Madeleine Milburn, is being billed by Park
Row as one that transcends its genre. Acknowledging that
the market for psychological suspense remains unusually
crowded, Imranyi said Beautiful Bad stood out because it
brought something wholly original to the category. Citing
the two novels credited with reigniting the publics current
obsession with the sub-genre, Imranyi added that Beautiful
Bads unreliable narrator will join the ranks of Gone Girls
Amy and Girl on the Trains Rachel.
The book opens with a call to the police. Responding to a
domestic dispute, the cops arrive on the scene to discover a
terrible crime, which serves as the entry point for an
examination of the unravelling of a marriage. Told from
alternating perspectives, the book, Park Row said, builds to
a stunning and explosive climax as it explores the
darker side of good intention and shows the myriad ways
that we are haunted by the past.
Ward, who has a BA in English from UCLA and an
MFA from the American Film Institute, published her
debut, The Making of June (Putnam), in 2002. Her short
screenplay Strange Habit (which stars Joey Lauren Adams
and Adam Scott) won the Grand Jury Award at the Aspen
Film Festival.
SECURITY AT FRANKFURT
The Frankfurt Book Fair said that security at the event was
the highest priority, and that the exhibition management
will once again do everything possible to ensure that
exhibitors can participate in the fair successfully and safely.
The fair is working with the Frankfurt police, Messe
Frankfurt and a private security company, as well as the
citys fire brigade and emergency services. Vehicle
inspections will take place throughout the week of the fair,
and there will be bag searches at all of the entrances to the
exhibition grounds: We recommend leaving backpacks
and trolley suitcases at home since they can lead to longer
waiting times at the entrances, said Gabi Rauch-Kneer, vice
president exhibition management.
Uniformed police officers and security staff will be on
duty in all the halls.The operation and security centre is in
the centre of the exhibition grounds.
4
WEDNESDAY 11 OCTOBER 2017
HarperCollins has signed a two-book, world rights deal
with author Don Winslow. Under the agreement, HC will
publish the forthcoming novels in 12 languages.
The first of the two thrillers will be released in 2021 by
William Morrow in the US and HarperFiction in the UK.
The books will also be published directly by HarperCollins
in Brazil, Denmark, France, Germany, Holland, Hungary,
Italy, Japan, Poland, Portugal, Sweden, and in the Spanish
language in Spain and the Americas.
The Winslow deal is the latest in HCs ongoing efforts to
publish select major commercial authors in different
languages in countries where the publisher has a presence.
The programme began about two years ago with Karin
Slaughter and Daniel Silva, and has grown steadily. I am
really happy with the progress of the programme, Brian
Murray, HC ceo, said. He expects foreign-language sales to
account for about 10% of all HC revenue in 2017, up from
about 1% three years ago. Murray acknowledged that the
worldwide programme isnt for every author, but said
Winslow was thrilled to work with HC across the globe.
David Highfill, v-p executive editor for Morrow, negotiated
the deal with Shane Salerno of the Story Factory.
Lerner Publishing Services
sees steady gains
Lerner Publishing Group formed its distribution arm, Lerner
Publishing Services, in 2011 and will add its 13th client in 2018.
According to David Trexler, Lerner v-p who heads up LPS, the
secret to its success is that it is committed to remaining focused
while other distribution companies are becoming larger and
larger. That strategy has resulted in a 33% revenue increase at
LPS through September, with, Trexler says, sales up across the
board for its client publishers.
While sales for Gecko (New Zealand), which joined LPS
in 2011, are up 25%, Lorimer, which moved to LPS in
2016, has seen an 87% spike in sales. Its the books,
Trexler notes. And we only do childrens: pre-K to age 18,
with strengths in both the trade and school/library markets.
We look for clients who complement other clients, and our
[LPG] titles, so theres no cannibalism. Were looking for
the perfect fit for themas well as for us.
One of Trexlers objectives at Frankfurt is to introduce LPS
two newest client publishers: Full Tilt Press, a Seattle company
founded in 2016 that is debuting this fall with 12 hi-low titles
for the school library market, and Lantana Press, a London-
based small press that publishes picturebooks by authors and
illustrators from diverse cultural backgrounds. Theyre
coming right out of the gate, making news, creating a buzz,
Wexler comments.
 FRANKFURT SHOW DAILY
Frankfurt Briefcase 2017
By Rachel Deahl in New York, and Nicholas Clee and Neill Denny in London
US
AEVITAS CREATIVE MANAGEMENT
The biggest name on Aevitass slate is actor and author Neil Patrick Harris,
whose debut middle grade series, the Magic Misfits, will see its eponymous
first volume released this November. The series, the shingle says, follows
six friends who use magic tricks and teamwork to rid their sleepy town of
a band of thieves. Rights have sold in 15 foreign markets to date.
CURTIS BROWN
Wendy Mass and Rebecca Stead team up for what Curtis Brown calls a
heartwarming novel about friendship and family, the power of childhood,
and a little bit of magic in Bob (Feiwel & Friends, 2018); foreign rights
have gone to Text Publishing in Australia and New Zealand, Complex/
Rye Field in China, and De Agostini in Italy. Orphan #8 author Kim van
Alkamedes Bachelor Girl (St. Martins, March 2018) is inspired by the
story of former New York Yankees owner Jacob Rupert. Its a fresh and
intimate novel about the destructive power of secrets and the redemptive
power of love, per the shingle.
THE CHENEY AGENCY
A big non-fiction title on Cheneys hot list is Oona Hathaway and Scott
Shapiros The Internationalists: How a Radical Plan To Outlaw War
Remade the World (Simon & Schuster, out now), about how a little-
discussed treaty, the Kellogg-Briand Pact of 1928, gave birth to an
international system that has brought unprecedented stability and peace
to the world. On the fiction front is the latest from The Imperfectionists
author Tom Rachman, The Italian Teacher (Viking, March 2018), about
the son of a world-famous painter striving to create his own legacy and
come out from beneath his fathers shadow.
THE CLEGG AGENCY
Among the big titles Clegg will be promoting is Lauren Groffs short
story collection Florida (Riverhead, June 2018), which the shingle says is
about the contradictions of motherhood, the savagery within us, and the
inscrutability of the natural world. On the non-fiction side is H Is for
Hawk author Helen Macdonalds Midway (Grove Atlantic, no pub date
yet), which is an elegiac and personal exploration of the collision of
nature and mankinds fate on Midway Island.
FOUNDRY LITERARY + MEDIA
A major non-fiction title for the agency is Lorin Lindners Birds of a
Feather (St Martins, May 2018), which chronicles a therapy programme
conducted on the grounds of a unique facility the author founded: the
Serenity Park Sanctuary. The book documents how the programme
proves that just as the common foundation for trauma is exposure to
horrific abuse or violence, so is the road to healing paved with
compassion, empathy, and unconditional acceptance. And from Jenn
Lyons is The Ruin of Kings (Tor, no pub date yet), about a bastard
orphan raised on fairy tales and dreaming of his own happily-ever-after
until he witnesses a princes treason and is then claimed against his
will as the long-lost scion of the same royal house.
6
WEDNESDAY 11 OCTOBER 2017
THE GERNERT COMPANY
One big novel for the agency is Alice McDermotts The Ninth Hour
(Farrar, Straus & Giroux, out now), which PW called a brilliant work
about the limits of faith, the power of sacrifice, and the cost of
forgiveness. On the non-fiction side is Room To Dream: A Life in Art
(Random House, February 2018) by David Lynch and Kristine McKenna,
the anticipated memoir from the renowned filmmaker; rights have sold in
numerous countries.
SANFORD J GREENBURGER ASSOCIATES
From Jasmine Warga is the YA novel Here We Are Now (HarperCollins/
Balzer + Bray) about music, family, and friendship. Another big novel
for SJGA is Howard Frank Moshers Points North (St Martins, January
2018), completed just before the authors death in January and, once
again, focusing on the Kinneson family living in a fictional version of
Vermonts Northeast Kingdom.
ICM PARTNERS (HANDLED BY CURTIS BROWN)
The big novel ICM Partners is bringing to Germany is The Perfume
Burned His Eyes (Akashic, April 2018) by actor Michael Imperioli.
Imperioli delivers, in his debut novel, a coming-of-age tale set in 1970s
New York; the agency says it is a beautifully written... homage to the
artists and eccentrics of the era. One of a few major non-fiction titles for
the agency is Michael Pollans How To Change Your Mind: What the
New Science of Psychedelics Teaches Us About Consciousness, Dying,
Addiction, Depression and Transcendence (Penguin, May 2018). ICM
calls the book an exploration of the renaissance of research into
psychedelics, from the bestselling author of The Omnivores Dilemma.
INKWELL MANAGEMENT
A big fiction title for the agency is Lionel Shrivers Property: Stories
Between Two Novellas (HarperCollins, April 2018); the agency says the
collection, which features 10 stories and two novellas, explores the idea of
property in every meaning of the word. Another major work of fiction
on the agencys hot list is Diane Clehanes Imagining Diana (on
submission), which posits an alternate reality in which Princess Diana
survives the fateful car crash in 1997 and wakes up from a coma with her
famous facethe most photographed in the worldforever changed.
JANKLOW & NESBIT (HANDLED BY CULLEN STANLEY
INTERNATIONAL)
One novel handled by Janklow & Nesbit sure to turn heads at Frankfurt
is an as-yet-untitled book by Angie Thomas, the bestselling author of this
years smash YA hit The Hate U Give (HarperCollins/Balzer + Bray, fall
2018), which has been sold in 28 languages. Another exciting novel by a
big name in the YA space is Becky Albertallis follow-up to her novel
Simon vs the Homo Sapiens Agenda, called Leah on the Off-Beat
(HarperCollins, April 2018). A supporting character from Simon, Leah
Burke, is the protagonist, in what the agency calls a novel of first love
and senior-year angst.
Continues on page 8 g
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 FRANKFURT SHOW DAILY
f Continued from page 6
TRIDENT MEDIA GROUP
One of the big fiction titles Trident will be touting in Germany is Andrew
Maynes The Looking Glass (Thomas & Mercer, March 2018), which is
the second book in the authors Theo Cray series; the agency says the
books are ideal for people who like the problem-solving science of The
Martian and the noir tone of True Detective. Another novel the agency
will be pushing is Tiffany Parkss Midnight in the Piazza (Harper, March
2018), a middle grade title that follows a 13-year-old in a race through
Rome trying to solve the mystery of an art theft ring.
WILLIAM MORRIS ENDEAVOR
The big non-fiction book WME will be pushing in the rights centre is Kurt
Andersons Fantasyland (Random House), which the shingle calls a
sweeping, eloquent take that shows how this strange, post-truth, fake
news moment were all living through is not new but rather the ultimate GEORGINA CAPEL ASSOCIATES
expression of a country founded by wishful dreamers, magical thinkers, and
true believers, by impresarios and their audiences, by hucksters and their
suckers. On the fiction side is Amy Blooms White Houses (Random House)
about the relationship between Eleanor Roosevelt and Lorena Hickok.
WRITERS HOUSE
The big titles for WH this year are all fiction, including Rachel Kushners
The Mars Room (Scribner, 2018): the agency says its the ferocious
story of a former stripper living in a San Francisco womens prison who
decides to try to break out. Another big fiction title for WH is Tim
Willockss Memo from Turner (only UK rights sold), a literary thriller
about an honest and skillful black cop in a corrupt South Africa. From
child actor (Once and Again) and from audiobook narrator Julia Whelan
is the debut novel My Oxford Year (Morrow, 2018), about a 24-year-old
American at Oxford who gets off to a rocky start with her professor, but
then finds herself falling for him.
THE WYLIE AGENCY
One of the big novels for Wylie is the Swedish work Pappaklausulen (The
Dad Clause) by Jonas Hassen Khemeri, a celebrated and bestselling
author in Sweden. The agency says the book is an addictive saga about
contemporary parenthood. Another big name on the agencys list is
Dave Eggers, who has The Monk of Mokha (Knopf, January 2018), a
non-fiction work about a Yemeni-American man brought up in San
Francisco who dreams of resurrecting the ancient art of Yemeni coffee,
but finds himself caught up in a civil war in his homeland.
UK
AITKEN ALEXANDER
The protagonists of Sebastian Faulks new novel Ghosts of the Paris
Metro are Hannah, a 31-year-old American post-doctoral researcher on
the lives of women during the German Occupation of Paris, and Tariq, a
19-year-old boy who has run away from his home in Morocco, and is
searching for sex and adventure (Hutchinson UK; agent Clare Alexander).
DARLEY ANDERSON
Emily falls in love with her perfect match, Adam, but lurking in the
shadows is a rival: another woman who shares a deep bond with the man
Emily loves, in Sandie Jones debut novel The Other Woman (Pan
Macmillan UK, Minotaur US; agent Tanera Simons).
8
WEDNESDAY 11 OCTOBER 2017
DIANE BANKS ASSOCIATES
In The Shock of the Old: Confronting the Financial, Medical and Emotional
Challenges of Ageing, Camilla Cavendishformer Times journalist and head
of David Camerons Policy Unit at 10 Downing Streetexamines the
demographic timebomb facing Western society and offers global solutions
with in-depth investigations in the UK, US, Germany and Japan.
FELICITY BRYAN ASSOCIATES
When Caroline and Francis organise a house swap as a first step towards
rebuilding their faltering marriage, Caroline slowly begins to suspect that
the person theyve swapped with is someone she used to know and was
very much hoping to forget, in Rebecca Fleets The House Swap
(Transworld UK, Viking US, Viking Canada; nine translation deals).
In Technological Unemployment, Oxford economist Daniel Susskind
explores how jobs will disappear in future and what the development will
mean for human beings (Allen Lane UK, Holt US, Flammarion France,
Bompiani Italy, Mirae N Co Korea, Los Libros del Lince Spain).
CONVILLE & WALSH
Testament is a literary debut by by Kim Sherwood, winner of the Bath Novel
Award 2016; Eva discovers a letter in the studio of her recently deceased
grandfather which reveals the truth about a family trauma with its roots in
Hungary in the Second World War (riverrun UK; agent Susan Armstrong).
CURTIS BROWN
Whistle in the Dark is the second novel by Emma Healey, author of the
bestselling Elizabeth Is Missing, and is told from the point of view of a
mother unable to reach her depressed teenage daughter (Viking UK; agent
Karolina Sutton).
FURNISS LAWTON
Marianne Powers Help Me is a warm and poignant memoir about the
authors quest to find happiness though the pages of self-help classics
(Picador UK; numerous international deals).
DAVID GODWIN ASSOCIATES
Poet and writer Nancy Campbell combines scientific and cultural history
with memoir in The Library of Ice (Scribner world English).
GREENE & HEATON
Sabine Durrant follows her bestselling and Richard & Judy book club
selection Lie With Me with her new psychological thriller, Take Me In: a
stranger saves Tessas and Marcus son from drowning, but seems to want
more than just their gratitude (Mulholland Books UK).
GREGORY & COMPANY
Minette Walters returns with The Last Hours, set in Dorset during the
Black Death (Allen & Unwin UK, Mira US, HarperCollins Canada, Leo
Commerce Croatia, Modtryk Denmark, Laffont France, Heyne Germany,
Gyldendal Norway, Xander Netherlands; WF Howes audio).
THE HANBURY AGENCY
Freedom Fighter is a memoir by Joanna Palani, a 23-year-old Danish
Continues on page 10 g
 Frankfurt Rights Marketplace
PWs New Title Showcase
Welcome to PWs 2017 Rights Marketplace, a new feature launched earlier this 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.
BABY LOVE
a Ray Myers Mystery
Ronald Argo
HotDamn University Press
ISBN 9780996980210
In this dramatic and gripping
Library Journal 1st Place Mystery,
reporter Ray Myers discovers a desert
massacre, and babies missing. He ties
up with renegade smuggler Maggie
Frazier in a deadly search to nd the
infants. Highly entertaining. (Kirkus
Reviews)
Foreign rights available
Hardback and paperback available at Ingrams, Amazon, and B&N
www.ronargo.com
Lexies Village- A New
Kind of Family (Book 1)
Natalie Lovett
Lexies Village Publishing Pty Ltd
ISBN 9780992401559
You wont be able to put this book
down. A magnicent story of now and
I challenge you not to cry. Best-
selling author, Nikki Gemmell
A courageous personal account of
the toll of IVF treatment, and the
surprises, challenges and rewards of
Natalie Lovett 2017
embryo donation. - Prof. J Millbank
Call: +61 410 332 262
www.lexiesvillage.com
The Gummy Bear Book
Dan Golden
Knock Knock
ISBN 9781683490111
Satisfy your visual sweet tooth with
this photographic collection of gummy
bears captured behind the scenes in
their natural habitat. Featuring forty-
eight full-color gummy scenarios,
The Gummy Bear Book is irresistibly
gifty and imaginative.
World Rights
Chris Lee, wholesale@knockknockstuff.com
http://www.knockknockstuff.com
Sense of Touch
Rozsa Gaston
Renaissance Editions
ISBN 9780984790623
A romance and an interesting novel
about a little-known French queen.
A striking story of heartache and
forbidden love, of women in the 15th
century French court, who fought
with passion and determination for
what they wanted.Historical Novel
Society
Worldwide rights
linda@schulmanagency.com
www.schulmanagency.com
Chasing Nirvana
Ellyn Oaksmith
Emoticon Publishing
ISBN 9781549739347
A girl, a band & a dream. In 1993 a
young lesbian named Fran is about
to graduate from Aberdeen High in
Washington State. Her comfortably off
the radar life turns public when shes
nominated for prom queen. Fran &
four friends road trip to a California
concert, sneak backstage & ask
Foreign/Film rights available
October 2017
Nirvana to come home to play prom.
EllynOaksmith@gmail.com
www.EllynOaksmith.com
Feature Your Books at Upcoming Shows
PW will continue to produce our Title Showcase
section in all of our upcoming Show Daily
publications including:
Bologna Childrens Book Fair (March 26-29)
London Book Fair (April 10-12)
BookExpo (May 30- June 1)
For more information regarding this low-cost
advertising opportunity, please contact Joe Murray at
jmurray@publishersweekly.com.
 FRANKFURT SHOW DAILY
f Continued from page 8
citizen who has become famous for her role fighting on the front line of
the Syrian conflict (Atlantic UK, Politikens Poland, Polaris Sweden).
HARDMAN & SWAINSON
The Call Of The Curlew by Elizabeth Brooks is the atmospheric story of
Virginia Wrathmell, who in 1939 is an orphan arriving to meet her new
adoptive parents at their mysterious house, Salt Winds, situated on the
edge of a vast, beautiful and dangerous marsh (Transworld UK; agent
Joanna Swainson).
AM HEATH
Snow: A Bible For Addicts by Giles Whittell is part compendium, part
quest, exploring the human need for snow (agent Bill Hamilton).
DAVID HIGHAM
And So It Begins is a first standalone novel by self-published bestseller
Rachel Abbott, about an abused womans trial for the murder of her
husband (agent Lizzy Kremer).
JANKLOW & NESBIT
Tom Chivers examines the threat posed by Artificial Intelligence in The
Rationalists (Weidenfeld UK; agent Will Francis).
JOHNSON & ALCOCK
Lucidity by Louisa de Lange is a high-concept psychological thriller debut about
WEDNESDAY 11 OCTOBER 2017
a woman in a controlling marriage, a virtual prisoner in her own home, whose
only escape is in her sleep, and a dream world where anything is possible.
JULA LTD
Thought-provoking and political, Queenie by Candice Carty-Williams
tells the painful and comic story of a young black woman looking for
love, and finding something very different.
LUTYENS & RUBINSTEIN
Tackling everything from the infant brain to the way in which some
classrooms have become unsuspecting Islamist grooming halls, Alex
Beards Natural Born Learners will show us what learning in the 21st
century must be in order to access our better future selves. UK:
Weidenfeld. Germany: Piper. Japan: Toyokan. Romania: Publica. Korea:
Geuldam. Agent: Jane Finigan.
MADELEINE MILBURN
Beautiful Bad by Annie Ward is a cinematic suspense thriller playing out
on an international landscape from a major new voice at the agency.
Agent: Madeleine Milburn; UK: at auction, US: at auction.
MBA LITERARY AGENTS
Scandi domestic noir by Alex Dahl, The Boy at the Door sees a doting,
respectable mother thrown together with a small, strange child, who
appears from nowhere in a wealthy Scandinavian town where nothing
 WEDNESDAY 11 OCTOBER 2017 FRANKFURT SHOW DAILY

bad has ever happened. Head of Zeus UK. Rights sold to Berkley (US),
Goldmann (Germany), Newton Compton (Italy), Planeta (Portugal), and
Norstedts (Sweden).
ANDREW NURNBERG ASSOCIATES
Une Vieille Histoire (An Old Story) is the new novel from Jonathan
Littell, author of the Goncourt winner Les Bienveillantes: a provocative
tour de force, it takes the reader into the deep, and often uncomfortable
crevasses of desire, hatred, and fear (France: Gallimard).
PEW LITERARY
Nemesis by Anita Anand is the true story of how an 18-year-old orphan,
Udham Singh, was caught up in the Amritsar massacre of 1919, vowed
revenge, and 21 years later killed the British general responsible in
London. Just sold in 7-way BC auction to Ian Marshall at Simon &
Schuster UK.
PETERS, FRASER & DUNLOP
Max Hastings returns with a comprehensive examination of one of the
most controversial wars of the 20th Century in Vietnam: an Epic Tragedy
1945-1975. To HarperCollins in the UK & US, to Critica in Spain,
Hollands Diep in Netherlands and Intrinseca in Brazil.
SHEIL LAND ASSOCIATES
Rosie: Scenes from a Vanished Life by Rose Tremain is the memoir of
multi award-winning, internationally bestselling novelist. Chatto UK;
agent Vivien Green.
CAROLINE SHELDON LITERARY AGENCY
Brigid Coadys Persuading Austen and Emma Ever After bring Jane Austen
into the 21st century with Hollywood glamour, slick PR agencies and the
wicked humour of modern matchmaking (HarperCollins/HQ Digital UK).
UNITED AGENTS
Joe Heaps The Rules of Seeing is a debut novel that explores what it
would be like suddenly to gain sight after being blind from birth. Vision
is overwhelming for Nova and as her world turns upside down she meets
Kate who is facing her own demonsneither is prepared for the obstacles
they have to face. UK: Harper Collins; agent: Laura MacDougal.
WME
The King Is Always Above the People by Daniel Alarcn is a novel
concerning migration, betrayal, family secrets, doomed love and uncertain
futures, revealing experiences both unsettling and unknown, and yet
eerily familiar. US: Riverhead; UK: 4th Estate; agent: Eric Simonoff.
THE WYLIE AGENCY
By turns devastatingly sad and winningly strange, The Flame by Leonard
Cohen is a superb new collection of poems, lyrics, sketches and notes,
showcasing the full range of his lyricism. Rights sold: Canada, UK, US.

Magination Press publishes beautifully

written and accessible picture books,
middle school readers, teen guides,
and workbooks to help children deal
with a wide variety of psychological
concerns and challenges.

Life Skills Special Needs

Family Issues Health Issues
Bullying Self-Esteem
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 FRANKFURT SHOW DAILY
Magic Paper Worldpaper as play
Hong Kong-based print manufacturer Leo
Paper, which counts major childrens book
MPW [can be
publishers around the world as clients, will used] to create
celebrate its 35th anniversary at Frankfurt
this year, writes Teri Tan. The highlight of
new products
the celebrations will be a cocktail reception that are
on 12 October (at 4.00pm at stand B70
in Hall 5.0).
interactive, and
Henry Woo, general manager for OEM fun for kids.
business development, told PW that Leo
Paper has been exhibiting at Frankfurt for 19 consecutive
years, and that this years slogan Inspiring, Sharing,
Creating is reflective of the groups mission. We want
to share and collaborate with clients to create even more
unique and differentiated products than we have done
in the past. In order to do this alongside supporting our
clients needs for sustainable growth, we are taking a
big step forward in working with clients to create
products that will enrich the childrens world, which is
something that we have been doing since our
establishment in 1982.
The soft launch of Magic Paper World (MPW) at the
Special Innovation Gallery at Frankfurt, said Woo, is
aimed at highlighting how Leo Paper is striving to make
HarperCollins turns 200
This year marks a special year for HarperCollins: the
company is celebrating its bicentennial. It was 200 years ago,
in 1817, that Harper Printers (later Harper Brothers) first
opened its presses in New York City. Founded by brothers
James and John Harper, Harper published its first book,
Senecas Morals, later that year. Meanwhile, in Glasgow,
Chalmers & Collins Bookshop and Printing Works opened
in 1819, and published its
first work, The Christian
and Civic Economy of
Large Towns. After a
long and winding road of
mergers and acquisitions,
the two companies
merged in 1990 to form
HarperCollins, and
now, as part of Rupert
Murdochs News Corp empire, HC pulls in roughly $1.65
billion in revenue annually, ranking it as the worlds 12th
largest publisher in this years list.
A bicentennial celebration has been going on since
March, through the companys HarperCollins 200
(www.hc.com/200) campaign, which includes the
HarperCollins 200, an impressive list of 200 iconic
12
WEDNESDAY 11 OCTOBER 2017
paper products more inspiring and
engaging, by creating products with
interactive fun and engaging play for
children. The trademarked MPW product
was born out of an innovation called
Haptic Magic, a collection of basic
technological applications based on the
sense of touch, which has been absorbed
into MPW.
MPW integrates six different elements
technology, format, design, sourcing, printing and
secondary processes to create new products that are
interactive, and fun for kids. The Leo Paper team, Woo
said, will work with clients to apply the MPW product
creation process to transform ideas into new products, or
to existing products, to increase the play value.
Another innovative solution that will be showcased by
the team is the Leo Touch series. This summer, Leo Touch
expanded to include a licensed character, Rody, which
clients can license to use in their markets. Whats more at
this fair, we are promoting Leo Touch secondary processes
exclusively for application on casebound books, said
Woo, whose team will be offering more innovative ideas
and solutions from its stand B70 in Hall 5.0.
HarperCollins titles published by the companys various
divisions around the world. The site also includes a
timeline of key moments in HarperCollins history; a
collection of literary artifacts available for viewing; and a
campaign called Why I Read, in which HarperCollins
authors from around the world discuss why they write,
what they read, and what books have influenced them
with visitors invited to
join the conversation via
social media, using the
hashtag #hc200.
The celebration
continues at this years
Frankfurt Book Fairand
fairgoers may want to go
and see a display of some
of the companys
historical artifacts in the companys stand in Hall 6.0
(D129). Earlier this year, HarperCollins CEO Brian
Murray said the anniversary has served to remind him
that the book publishing industry is incredibly resilient.
The business has been through a lotwars, depressions,
and proved to be very durable, Murray said. That is a
cause for celebration.
 FRANKFURT SHOW DAILY
Frankfurtits not just for October
Nicholas Clee talked to Juergen Boos and Kathrin Gruen about their plans for
the Frankfurt Book Fair
The role of publishing in an era
of fake news, the alt-right and
hair-trigger political sensitivities
is sure to be a significant theme
at this years Frankfurt Book
Fair. The Fair has always been a
highly charged event, of course:
veteran Fair-goers will
remember pro-Palestinian
demonstrations in the
Seventies, and more recently
there have been controversies Juergen Boos
such as the Spanish protests
against the Catalan Guest of Honour
[Boos] sees
programme in 2007, and Irans withdrawal as a the role of
result of Salman Rushdies presence in Frankfurt
in 2015. But now it seems that everywhere you
Frankfurt as
look there are rows about the giving or denial of demonstrating
platforms to certain organisations and
individuals. Earlier this year, authors including the central
the distinguished Kenyan novelist Ngugi wa place of the
Thiongo boycotted the Gothenburg Book Fair,
the most important book event in Scandinavia, book business
over the presence there of a far right newspaper. in society.
Frankfurt director Juergen Boos and his
colleagues are addressing such issues head-on, with several
debates in the Business Club programme of the Fair. Today
(Wednesday 11 October), Boos is talking to acclaimed
Norwegian author Asne Seierstad, whose most recent book is a
portrait of the killer Anders Breivik and of the ideology that fed
his damaged psyche, and to Hans Leyendecker, head of the
German newspaper that broke the story of the Panama Papers.
A Bloomberg event at 4.30pm on Thursday will address the
subject of Reporting truth in the time of fake news. A
conversation between the Show Daily and Boos in advance of
the Fair makes it clear that he sees the role of Frankfurt as
demonstrating the central place of the book business in society.
There are more politicians at the Fairamong them the high-
ranking ones at the opening ceremony (Boos was not allowed
to reveal their identities when we spokebut you can
speculate)than ever before. Their presence raises another
issue that is a symptom of the current highly charged
atmosphere: security. Everyone brings their own secret service,
so I think well have the highest level of security ever, Boos
says. The Fairs own security arrangements will be as before,
and will remain, he hopes, discreet. There will be a lot of
securitywhich you dont see. We dont want to scare people.
Boos and his colleague Kathrin Gruen, head of PR at the
Fair, point out other, less divisive ways in which Frankfurt
demonstrates the reach of books. ARTS+ is now a well-
14
WEDNESDAY 11 OCTOBER 2017
established part of the Fair,
demonstrating the synergies
between publishing and other
sectorsand not just cultural
ones. An intriguing feature of
Frankfurt 2017 will be the
presence in the ART+ arena of
two robots: as Gruen
describes the initiative, one of
them will write and hand out
manifestos, and the other will
Kathrin Gruen conduct interviews. Someone
asked me just today why the
hell we have robots at the Fair, Boos says.
Were trying to show the new possibilities in
publishing. Its all about artificial intelligence.
It might help in writingnot novels of course,
but non-fiction books.
Just as Frankfurt is ambitious to promote the
centrality of books in our lives, it also aims to
show the central role of the Frankfurt Book Fair
in the international book business. At one point
in the conversation, Boos mentions our friends
in Walesmeaning the Hay Festival. Frankfurt
has observed the growth of Hay and of other
book festivals, and the expansion of Hay internationally, and is
making moves into the same space. There is something
changing in peoples perceptions, Boos says. Authors are
becoming superstars; theres a red carpet phenomenon that we
previously associated with the film industry. This year, Frankfurt
is staging its first ticketed author event for the public, with Dan
Brown. I think this is what were going to do nextcurate
content and authors. In the past, we left that to publishers. Hay
also stages music events, and Frankfurt is hosting a concert with
Katie Melua; the singing star was born in Georgia, which will be
Guest of Honour at Frankfurt 2018.
Frankfurt is also broadening its trade activities. When the
internet began to be a factor in publishing, certain observers
predicted that book fairs would become outmoded, because
most transactions could take place via email. They were very
wrong. Nevertheless, an online rights trader such as IPR
License might be seen as a competitor to Frankfurt, which has
responded with the classic move of buying the upstart. Boos
says that the IPR service is complementary. I see it also as a
tool for visitors to Frankfurt, he says. Implementing that will
be one of our next steps.
We have also been active in Brazil, setting up with our sister
company MVB Metabooks Brasil [a Brazilian Books in Print].
What we see is that data is of value to our customers. It is all
part, Boos says, of Frankfurt all year round.
 WEDNESDAY 11 OCTOBER 2017

A tango in Buenos Aires, a s

Carlo Carrenho looks at the two largest South A
To many in the outside
publishing world, Argentina
and Brazil (and often the
rest of Latin America) are
often viewed as a single
market. But any book
industry professional that
wants to do business in the
region should know better.
The relationship of these
nations in fact emulates one
of siblings. It involves
Carlo Carrenho
rivalry (especially when it
comes to football), and constant disputes and
provocations, but also a strong and underlying fraternal
love. Argentinians use the Portuguese-derived word
brasileros to refer to Brazilians in a kind way. And
Brazilians call the Argentinians (and only the
Argentinians) hermanos, the Spanish word for brothers.
But in the publishing world, these two hermanos could
not be more different. First there is the obvious fact that
Portuguese is spoken in Brazil, while Argentina speaks
Spanish. This alone changes everythingArgentina is part
of the global Spanish book market, while Brazils language
makes it a huge stand-alone market. And the Brazilian
Portuguese also differs a lot from the European one,
preventing any major crossover of books between Brazil
and Portugal.
For context, Brazil and Argentina are the two largest
South American book markets. And both have been
suffering from recent economic and political crises. In
2016, Argentinas book market generated 8.1 billion pesos
($507 million) in revenue, but suffered a massive 23.8%
fall in real terms from the previous year, according to the
Argentinian Publications Chamber (CAP). Meanwhile,
Brazilian publisher revenues in 2016 were 5.27 billion
reais ($1.619 million), which represented a 5.2% drop
from 2015, according to the Institute of Economic
Research Foundation (FIPE).

Government purchases
One notable similarity between Brazil and Argentina is the
importance of government purchases for publishers,
although the Brazilian market is considerably more
dependent. Since 2012, the Brazilian government has been
responsible for on average more than a quarter (25.4%) of
publishers revenues annually, while in Argentina,
government purchases represent about 10.6% of revenues.
And Argentina today, under Mauricio Macris elected
government, shows a much more stable economic and
political environment than Brazil, which is suffering deeply
from political scandals and a president, Michel Temer, with

16
 WEDNESDAY 11 OCTOBER 2017

a samba in Rio
h American book markets
not only low approval ratings, but questions of legitimacy
after his rise to power through the controversial
impeachment of former president Dilma Roussef.
Since Argentina is part of the global Spanish-language
book market, its publishing sector is much more
consolidated. In the trade sector, for example, Planeta and
Penguin Random House (PRH) dominate the South We Are Quarto
American market, and control as much as 35% of trade
sales to the private sector. Meanwhile, in Brazil, there is
much less consolidation and foreign presence. The top 10
Brazilian trade publishers, for instance, represent no more
than 40% of the market. And even though Planeta, LeYa,
HarperCollins and Companhia das Letras (a company in
which PRH holds a 45% stake) are among the top 10, they
are no more than 15% of the total book market.

Buenos Aires bookstores

When it comes to bookselling, a simple walk in Buenos
Aires reveals an amazing quantity of bookstores. For
instance, one can find a Cuspide bookstore just 50 metres
from the Ateneo Grand Splendid, the mesmerising Grupo
Yennys flagship store on Santa F Avenue. And there are
more stores within walking distance. According to the
CAPs annual report, there are 350 bookstores in the Please come and visit us at
capital, which makes for an incredible ratio of roughly one
bookstore for every 8,200 inhabitants. The presence of
Hall 6.0 Stand E 10
bookstores in Buenos Aires is so overwhelming that the
legend goes that Buenos Aires alone has more bookstores
than Brazil. #wearebooks #wearepeople #wearequarto
This is far from the truth, of course, as there are around quartoknows.com
1,000 bookstores and another 4,000 points of sales for
books in Brazil. Still, the number of Argentinian bricks-
and-mortar bookstores is remarkable for Latin America,
with roughly 1,190 stores.
There are probably a few reasons why physical
bookstores find such a fertile market in Argentina. But top
of the list is that only about 1% of book sales in the
country happen online. Its true that Argentina lacks good
logistics and has a deficient postal service, which could
certainly be part of the equation. But the question is: Does
Argentina have so many bookstores because there is limited
e-commerce? Or, is online bookselling limited because
there are so many bookstores in the most populated areas?
Meanwhile, in Brazil, market estimates put online book
sales somewhere between 20%-30%. Just another reason
why viewing Brazil and Argentina as a single market is like
confusing a tango with a samba.

Carlo Carrenho is a Brazilian publishing consultant and the founder and

CEO of PublishNews (www.publishnews.com.br), an online book trade
magazine in Portuguese. He will never support the Argentinian football
team, but loves Argentinian literature, food, wine and bookstores, and Lindpendance crative
basically anything Argentinian that doesnt involve a ball.
 FRANKFURT SHOW DAILY
Its going well but dont get complacent
Publishers like nothing more than to complain,
writes Michael Bhaskar. Times are always tough
and never seem to get better. But, whisper it, that
hasnt been true over the past few years. Sure,
making money from selling words is never
simple, but there has been a remarkable run for
the traditional trade publishing industry. Things
have been going well. What happened? What
went so right, from an industry on the rocks just
five years ago to the flourishing and confident
one today? And does that create its own new
dynamicand its own new risk? Michael Bhaskar
Principally this is a story built, as most
commercial success stories are, on a recovery in sales. From 2014
onwards, the huge trough that built up in the years after the
crash, which saw real term falls in sales across the UK, US and
many other territories, started to reverse. If anything was going
to deliver a surge in confidence this was it. Whats so interesting
about this recovery is how, in differing ways, it depends on a host
of unanticipated side-effects of digital technology, and how the
book world was creative, and lucky, in adapting to this. For
example, in the recovery of recent years hardbacks have come
back, especially in areas like non-fiction.
Offline culture
This can be seen as part of a wider turn towards material culture
in an age where we all spend about 95% of our lives staring at
our phones. Actually people wanted something else, something
real, and books were a good antidote. Part of this shift
towards artisanal, local and experiential forms stepped in to help
both live book events, like festivals and readings, and the classic
indie bookshop. Both could now be marketed as a kind of
explicit offline culture, tangibly present, unrepeatable, hyper-
local, idiosyncratically curated forms of business and life that
thrived in precisely the ever globalising and homogenising arena
of digital culture. Again, the book world had something,
responded and saw growth.
Another aspect was a growing unwillingness for parents to
condone a screen-first life, and a corresponding appreciation of
the value of books and education. In turn this led to a
phenomenal bull run for childrens books, clearly good news in
and of itself, but also a promising omen for the future: the next
generations of avid readers are being built before our eyes, and
like the Harry Potter generation before them could end up as
lifelong bookworms.
At the same time there seemed to be a shift in public mood
against the technology platforms. Not only in Brussels, but also
in Washington, there seemed to be a new willingness to look
closely at their businesses. These mighty behemoths not only
started facing regulatory scrutiny, but also mounting public
scepticism. Books had moved on from the eye of the storm. Now
only a small part of Amazons business, they were only ever a
small part of a wider mobile and content strategy for companies
like Google or Apple. TV is the new battleground for content and
18
WEDNESDAY 11 OCTOBER 2017
is being fought over by these giants at an epic
scale. All the time publishers have quietly
continued going about their business, finding
and publishing great books, cultivating readers.
In all it adds up to the new publishing, built
on the back of new-minted conglomerates, a
return of sales, a comfortable co-existence with
digital media (ebooks, blogs, social media), but
also a thriving place in an offline world. Its back
to the days of big rights deals and big advances.
But this is also a new publishing more conscious
of its gender, racial, class and geographic biases;
if it hasnt fixed them, it at least knows they are
there. At its heart this new publishing is basically identical to the
old publishing, but with a few additional bells and whistles.
But theres a but
And that is where the but comes in. This new publishing is an
altogether more comfortable and stable place than the publishing
of a few years ago, and is probably a better place for employees
and authors alike. Its also dangerously, and at times depressingly,
complacent. Publishing as a whole was given an opportunity to
reinvent itself. Some parts of the industry, like elements of
academic and education, grasped this opportunity and have
achieved an extraordinary transformation. Many of them
managed to entirely shift their business models and working
practices in only a few years, a difficult process, but one which
has seen the entire sector changed. This could be the way a giant
like Elsevier integrates a start-up like Mendeley, or it could be
more grassroots efforts like the Public Library of Science.
Its startling that when you look at trade, there is almost no
re-invention whatsoever. The amount of change over the past
decade has been wildly overstated. This isnt necessarily a bad
thing. Arguably its this that let publishing ride the digital wave;
that sticking to the tried and tested has been vindicated by the
results of recent years. It is satisfying to see the hyperbolic
discourse of disruption disproved in real time.
Yet I cant help but feel that this complacency isnt a good idea
in a world where those technology platforms have not gone
away, but rather are investing billions in new forms of
entertainment and information delivery, a world where peoples
time, money and concentration are all experiencing new
pressures. A few years ago book retail in some countries
(including the UK) was in a parlous, frightening place; that could
happen again. Being willing to take on huge, daunting
challengesto ask the hard questions, to actively pursue new
kinds of business, to imagine new models and productsis one of
the hardest things to do in any sector.
Just because times are, as we say in Britain, not bad, doesnt
mean ignoring these challenges. In fact, it could be just the time
to tackle them. We should do it.
Michael Bhaskar is co-founder and publishing director of the digital
publisher Canelo and author of Curation: The Power of Selection in a
World of Excess. He can be found on Twitter @michaelbhaskar.
Sterlings Top Picks

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 FRANKFURT SHOW DAILY WEDNESDAY 11 OCTOBER 2017

Exploring the audiobook boom

One perhaps slightly more unexpected
consequence of the digital revolution
has been a surge in interest in the
audiobook format, not just among the
more traditional market of younger
children but among consumers of all
ages, and particularly millennials,
writes Jo Henry. Last year, Nielsen
Book carried out their first deep-dive
into the consumer audiobook market
to investigate what has been driving this growth, publishing
Understanding the UK Audiobook Consumer 2016 in February
this year. A second survey to understand how the market has
matured and to trend the key findings from the 2016 study is
now underway, with results due this month.
We have a sense of the size and growing importance of this
market from Nielsens Books & Consumers survey, which
measured purchases of 13m audiobooks (in both physical and
digital formats) in 2016, worth some 99m; up by a sixth
compared to 2015, and with double digit growth in 2017. In
2016, 63% of audiobooks bought were downloads, compared
to 55% in 2014. In Q2 2017, Books & Consumers recorded
that around 10% of adults (5m people) had listened to or
bought audiobooks in the 12 months
before being interviewed.
Nielsens 2016 study delved further
into this market, revealing that 80%
of overall audiobook consumers
access them by downloading/
streaming, with 67% using physical
audiobooks (rising to 80% of those
aged 55+). Different factors influence
format choice: unsurprisingly,
downloading/streaming is favoured because of easy carriage of
multiple titles, as well as opportunity for free audiobooks; with
free access (e.g. library borrowing) also a leading reason for
physical. Wanting to own the physical object or lacking a device
to play it digitally, especially in the car, also influence use of
physical audiobooks.
So who are the audiobook consumers? They were more likely
than the average UK adult to be aged 18-44, to have children in
the home, to work full time, live in London, be affluent and be
from Black & Asian Minority Ethnic (BAME) groups.
Two-fifths of audiobook listeners were classified as heavy
users, consuming more than 16 audiobooks per year in both
physical and digital formats, with light consumers (1-5

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audiobooks) accounting for around some variance by age. The 18-44

a third of all listeners.
The most widely consumed
(listened to/bought) genres tended to
be fiction categories, with crime/
thriller the most popular overall,
ahead of general/popular fiction and
SFF/horror. Humour is much the
most popular non-fiction genre,
consumed by nearly a quarter of all
audiobook users, well ahead of the next most popular non-
fiction genres, biography and self-help/popular psychology,
which were consumed by 10-11% of all adult audiobook
userssimilar proportions to those listening to/buying YA/teen
fiction and audiobooks for children 0-12.
In fact, humour was the genre that appealed most strongly
to young men aged 18-34, with SFF/horror the most appealing
for men aged 35-54, and crime/thriller top of the list for men
aged 55-84. Crime/thriller also took the top spot among
women aged 35+, with popular fiction in second placethough
it was at the top of the list for younger women (18-34s).
The growth of audiobooks has to some extent been driven
by the ubiquity of portable digital listening devices, but with
year olds who consumed
downloaded/streamed audiobooks
tended to listen to them on
smartphones, whereas those aged
45+ were more likely to listen on
tablets. When not listening on phone
or tablet, consumers were more
likely to listen to audiobooks on a
PC/laptop than via an MP3 player.
So how has this market changed in 2017? Early findings
from the latest study indicate that there have been fewer new
entrants into the market, but that those already in the
market have been listening to/buying more. Use of
smartphones for audiobook listening has become more
widespread, with less use of tablets and laptops. Crime/
thriller is still the top audiobook genre overall, but with
popular fiction overtaking humour among younger males,
while the ability to do other things while listening is still the
top reason for using audiobooks at all. For more
information and details on the 2017 study please contact
hazel.kenyon@nielsen.com.
Jo Henry is VP insight & analytics at Nielsen Book.

10 MILLION COPIES
SOLD IN ASIA
Keigo Higashino
MIRACLES IN GENERAL (Namiya zakkaten no kiseki)
Full English translation available
Contact us:
Rights: Chandler Crawford Agency, Inc., (6.3 20E)
Chandler Crawford (chandler@crawford-agency.com)
French Rights: Bureau des Copyrights Franais (5.1 E17)
Corinne Quentin (corinne.quentin@bcf-tokyo.com)
Eiji Shimazaki (japon@bcf-tokyo.com)

Novel Sold: Simplified Chinese, Traditional Chinese, Korean, Vietnamese, and Thai
Film Sold: Mainland China, Hong Kong, Taiwan, Korea, Singapore, Malaysia
Film adaptation rights sold for China and now shooting
 FRANKFURT SHOW DAILY
Its time to fix fair dealing in Canada
In what has become a well-known story in the
international publishing community, the
Canadian Copyright Act was amended in 2012
to include education as a purpose for fair
dealing, writes Kate Edwards. But with no
definition of education offered by the Act,
Canadian schools have over the last five years
operated under arbitrary guidelines, understood
to permit the uncompensated copying and
distribution of print and digital copies. These
copies amount to hundreds of millions of pages
each year and, unsurprisingly, the Canadian Kate Edwards
publishing industry has suffered significant
economic damage as a result.
Collective licensing revenue across the industry is down 80%
since 2013a loss of $53 million (CAD) in licensing royalties
alone after K-12 Departments of Education and the vast
majority of Canadian universities and colleges ceased paying
licensing fees to Access Copyright, the copyright collective that
administers Canadian licences outside of Quebec. Free copies
have become a substitute for finished books, with the loss of
those sales compounding the damage.
The net result: reduced investment in innovative products, and
fewer high-quality educational resources developed in Canada,
for the Canadian market. Some multinational publishing firms
have shuttered entire Canadian educational publishing divisions.
Others have moved warehousing and distribution to the United
States, weakening Canadian supply chains. Canadian houses,
meanwhile, are redirecting investment away from education, and
the financial impact on Canadian writers is dramatic.
But a recent legal decision has the potential to influence the
upcoming five-year review of the Copyright Act, with rights
holders calling on government to address the damage stemming
from the introduction of fair dealing for education.
The York University case
Since 2012, uncompensated copying and distribution of print
and digital copies has become the norm in Canadian schools.
And with the education sector unwilling to come to the table,
and the law silent on what constitutes fair dealing in an
educational context, litigation remains one of the few avenues
available to rights holders.
The first legal test of the education sectors copying
guidelines came in the form of a lawsuit against Torontos York
University. Filed by Access Copyright in 2013, the suit alleged
that Yorks copying guidelines authorise and encourage
copying that is unsupported by Canadian law. In July 2017,
the Federal Court of Canada ruled unequivocally in favour of
Access Copyright, finding Yorks guidelines to be unfair in
both their terms and application, and that tariffs issued by
Canadas Copyright Board (the regulatory body authorised to
establish royalty rates for the use of copyright protected works
administered by collective societies) are mandatory. In short,
the Court found that Yorks copyright policies and practices
22
WEDNESDAY 11 OCTOBER 2017
served primarily to obtain for free that which
they had previously paid for. The Court also
found that the universitys actions have had an
adverse effect on writers and publishers,
resulting in a wealth transfer from copyright
holders to educational institutions.
Though the case specifically examined Yorks
policies and practices, the propagation of similar
policies throughout the sector means that the
mass systemic and systematic copying
identified by the Court can be assumed to be
widespread. Indeed, for all practical purposes,
most Canadian post-secondary institutions and
K-12 schools have copyright policies identical to Yorks.
Though the Courts decision provided much-needed guidance
on fair dealing for education, and affirmed the position the
Association of Canadian Publishers and other rights holder
groups have put forward for years, resolution is far from certain.
Despite the Courts clarity, the response of universities across
Canada has been disappointing. York has announced its intention
to appeal the decision, and K-12 Departments of Education
have been silent. Rather than examine the Courts findings as
they apply to their own institutions, universities, colleges and
schools are instead maintaining the policies and procedures
that the Court found lead to illegal behaviour. At the same
time, the need for high quality Canadian curriculum resources
that reflect local realities has not diminished, and demand for
Canadian content remains high; however the ongoing supply
of Canadian learning resources remains uncertain.
Lets come to the table
In an article for last years Frankfurt Show Daily, I noted that
the Canadian experience serves as a cautionary tale for other
territories considering these kinds of copyright reforms. And
accordingly, international interest in Canadas situation is
growing, especially as the upcoming five-year parliamentary
review of the Copyright Act approaches.
As of this writing, the scope and timing of the review have
yet to be announced, though it is anticipated that the process
will launch in early November and extend into 2018. In the
meantime, as Canadian publishers and creators await details
of Yorks appeal, as well as the parliamentary review, financial
losses continue to grow, and Canadian students returned to
unlicensed schools this fall, in many cases relying on illegally
produced copies to support their learning.
A simple solution is available, however: a return to an
affordable collective licensing regime, providing Canadian
students with worry-free access to the resources they need, and
rights holders fair remuneration. Achieving this does not
require a review of the Copyright Act. All it requires is a
willingness on both sides to strike the right balance between
the interests of users and rights holders, and leadership on the
part of government to ensure this balance is upheld.
Kate Edwards is executive director of the Association of Canadian Publishers.
 FRANKFURT BOOK FAIR 2017

The DIGITAL SPOTLIGHT

An in-depth look at everything digital at the fair

OCTOBER 2017

Book Fairs Crossing

Boundaries...
As print and
digital find
balance,
publishers
focus on
innovation
C

CM

MY

CY

MY

K
OCTOBER 2017 The DIGITAL SPOTLIGHT
Rebalancing Act
Ten years after the Kindle and the iPhone, fears of digital disruption have
receded, and publishers are facing the future with renewed confidence
BY ANDREW RICHARD ALBANESE

W
hat a difference a
decade makes. This
year marks 10 years
since Apple intro-
duced the iPhone
and Amazon debuted the Kindle,
touching off what would become
an era of uneasiness for the pub-
lishing industry. As NPD Books
Kristen McLean wrote in Pub-
lishers Weekly earlier this year,
mobile devices have become so
powerful, and so ubiquitous, its
hard to remember how we lived
our lives without them. But as
publishers gather for the 2017
Frankfurt Book Fair, the early
fears of digital disruption sparked
in part by these new devices have
subsided, and a sense of confi-
dence is returning to the book
business.
For a third-straight year, tradi-
tional publishers e-book sales in
the U.S. and the U.K. have slowed,
while print books have ticked up,
and all indications are that print and e-books may have
found their equilibrium. Digital audio, meanwhile, is surg-
ing. For a third year in a row, downloadable audio has been
the fastest-growing format in the American market, with
sales through the first five months of 2017 up nearly 20%
over the same period the previous year.
A Winding Road
Of course, the digital path hasnt been an easy one thus far.
There was the Apple e-book price-fixing case in 2012, and a
brutal, headline-grabbing negotiation between Hachette and
Amazon in 2014. Also raising tensions was the nine-year
legal battle with Google over the scanning of out-of-print
books, which didnt conclude until last spring.
In 2012, libraries and publishers clashed over e-book lend-
ing, but those battles are now eas-
Simon & Schuster CEO ing somewhat, and new models
Carolyn Reidy are being tried to serve peak
demand in libraries. And though
consumer e-book sales have been
falling in recent years, library
e-book lending in the U.S.
remains on the upswing. Accord-
ing to OverDrive, the leading dig-
ital-reading platform for libraries
and schools, U.S. readers bor-
rowed more than 196 million dig-
ital books in 2016an increase
of 21% over 2015.
In the academic space, the
open-access movement continues
to evolve and show growth.
Meanwhile, budget and copy-
right concerns are among many
factors that have made the educa-
tional sector one of the industrys
most challenged.
Over the last five years,
self-publishing has managed to
shed its vanity publishing repu-
tation to become a popular, and
viable (if harder to measure) market. And social media com-
panies such as Facebook, backed by multibillion-dollar val-
uations, are thriving in the mobile era, presenting both a real
marketing opportunity for publishers, and also a real compe-
tition for publishings most precious assetthe consumers
attention.
Still, coming into the 2017 fair, there is a growing sense
that the book business has stabilizedespecially when it
comes to print. Even at the height of the e-book hypewhen
e-books were posting strong growth quarter after quarter,
and pundits and tech startups were imploring industry lead-
ers to get with the programpublishers were quick to stress
their commitment to physical books. Our basic strategic
assumption is that print will always be important, Penguin
Random House CEO Markus Dohle famously remarked at

3
 The DIGITAL SPOTLIGHT
the 2013 Frankfurt Book Fair CEO panel.
Not for 50 years, or 100 yearsalways.
That commitment appears well-founded.
I think people on both sides, the technol-
ogy side and the publishing side, got a little
carried away with print books versus
e-books, says consultant and publisher
Richard Nash, when asked to reflect on pub-
lishings recent digital history. Through all
the talk about digital disruption, it was never
really about, or ought not to have been
about, the technology of reading. Rather,
Nash says, the digital conversation is about
efficiencyhow technology can help pub-
lishers get books in front of readers, whether
thats through e-books, or improvements to Albin Michel v-p Guillaume will surely speak not only about the countrys
production, the supply chain, marketing Dervieux
through social media, or finding and connecting with new
influencers. The key question for the future of publishing is
not print books or e-books, Nash says. It is, how do you
connect to the reader?
Tyrelle Mahoney, who took over as president of Chronicle
Books in January, after nearly 21 years at the company,
agrees. There were a few years there where we were really
discovering all sorts of new digital platforms and distribu-
tion opportunities, and that has quieted down somewhat
because weve kind of hit a stride there, Mahoney says.
Now its more about services that can be provided rather
than transactional opportunities, and Im curious to see
what I can learn about things on the marketing side, or data
management.
A sense of stability can also be seen in the Frankfurt Book
Fairs attendance numbers. In the wake of a global recession,
professional attendance at the fair had taken a hit. But since
2014, attendance has been bouncing back, and has increased
for two years in a row. coming into this years fair .
Like the publishing industry itself, the Frankfurt Book Fair mation (Hall 4.2) features content and service providers in the
is showing its resilience. Recent changes to the fairs layout
and programming are proving successful, both in better serv-
ing the traditional needs of publishers who come to Frank-
furt, and in presenting new ideas, new opportunities, and
new ways of thinking about their businesses. For five days,
the focus is not only on the content business, Frankfurt
Book Fair president and CEO Juergen Boos told reporters
during a prefair press conference in September, but rather,
the book fair is the place where the industry proves it is keep- the ever-shifting boundaries of how we express ourselves, tell
ing step with the times, open to innovation, stable in its eco- stories, create, and communicate in the digital age. Now in
nomic developmentand as opinionated as ever.
Highlights
One of the fairs most successful changes in recent years is
the addition of the Business Club. Now entering its fourth
year, the Business Club offers a place for executives to meet
4 www.publishersweekly.com
OCTOBER 2017
and talk, and it attracts a good number of
attendees, often experts or tech startups, who
dont necessarily need a stand on the show
floor.
The Business Club also offers a solid slate
of programming from around the world.
Among the Business Club 2017 program
highlights is the annual Frankfurt CEO panel,
which will feature Simon & Schuster CEO
Carolyn Reidy and Guillaume Dervieux, v-p
of French publisher Albin Michel. The event
is set for Wednesday, October 11, from 2 to 3
p.m. in Hall 4.2, Room Dimension.
It should be a fascinating discussion. France
is this years Guest of Honor, and Dervieux
strong literary culture, but on Europes
broader future post-Brexit, and Frances leadership role
there. And Simon & Schusters Reidy comes into Frankfurt
on a major rollin a recent memo to staff, Reidy hailed the
publishers dominance on the New York Times bestseller
lists. For the week of October 8, the publishers books hit #1
on eight of newspapers lists, including Nelson DeMilles The
Cuban Affair on the hardcover fiction list, and Hillary Clin-
tons What Happened, at #1 on the hardcover nonfiction list.
Once again, the fair will feature four Hot Spots, stages
throughout the fairgrounds with presenters ranging from tech
specialists and platform providers to marketers and other dig-
ital experts. Each of the four Hot Spots focuses on one indus-
try sector of emerging innovation: Hot Spot Digital Innova-
tion (Hall 6.2) features innovative technology and service
providers, offering demos and new solutions for the future of
digital publishing; Hot Spot Education (Hall 4.2) brings
together buyers and suppliers from the fields of innovative
teaching, learning aids, games, digital whiteboards, and
e-learning solutions; Hot Spot Professional & Scientific Infor-
fields of specialist information, academic resources, and
libraries; and Hot Spot Publishing Services (Hall 4.0) offers a
place for print and digital service providers to meet and col-
laborate on innovative solutions in all phases of content pro-
duction and distribution. Check the Frankfurt Book Fair web-
site for a complete schedule of presenters.
And while print is bouncing back, Frankfurt Book Fair
organizers remain committed to helping attendees explore
its second year, the Arts+ program will again bring together
stakeholders from a wide range of creative sectors, to address
everything from virtual and augmented reality, to the impact
of Big Data, artificial intelligence, 3-D printing, and the
implications for copyright policy. For more info, check out
theartsplus.com/_2017/.
 The DIGITAL SPOTLIGHT OCTOBER 2017

A Talk with Franklin Foer

In his new book, World Without Mind: The Existential Threat of Big Tech,
former New Republic editor Franklin Foer offers a powerful critique of
Silicon Valley
B Y A NDREW R ICHARD A LBANESE

A
s the 2017 Frankfurt Book Fair opens, the cloud of

evy mages
digital disruption that has hung over the industry in
previous years has subsided, but points of concern
and contention remain. PW recently caught up with
Franklin Foer to talk about the growing power of
Silicon Valley in our information and creative economies, as
well as the rebound of print and the importance of books
and traditional publishers as cultural institutions.

The title of your new book indicates it is about

tech, but it is also very much about the publishing
business. What was the genesis of this book?
Really, I started to think about these issues with the Hachette
vs. Amazon showdown in 2014. Until that moment, I had
been fairly agnostic about Amazon, even though I have a
huge sentimental attachment to independent bookstores. But
as I watched what happened with Hachette, I started to think
about Amazons power, and when I started to think about
Amazons power, that sent me down the whole train of
thought, where I began to realize all the ways in which, as a
magazine editor, I felt the pull of Facebook and Google and
all the ways in which their power was distorting how I oper-
ated.
You have a very personal point of view on how
Silicon Valley is affecting publishers, and readers,
from your tenure as editor of the New Republic.
Tell us about your experience.
So, the really compressed history is that in 2012 the New
Republic was bought by Chris Hughes, who was Mark
Zuckerbergs roommate in college, and one of the original
Facebook employees. Chriss promise was that the magazine
would find a dignified way to exploit his understanding of
social media that would allow us to preserve and extend all
the serious and important things that we did. But after a
while he started to panic. Hed spent gobs of money, and he
wanted us to increase revenue. And there was really no other
way to do that except to produce things that appealed to a
mass audience on Facebook.
So, heres the thing about Facebook: it is a highly master-
able medium. There are formulas that work to induce
somebody to click, and they usually involve a fair amount of
trickery. We did manage to grow our traffic considerably
over a short period of time. But the New Republic is a small,
intellectual magazine. And suddenly, we were doing pieces
about Super Bowl ads, or the latest thing on the menu at
Chipotle, and it began to distort the character of our work.
So, I got fired because I wasnt with it enough when it came
to Facebook. The way we grew involved doing things that at
the time seemed mildly distasteful, and, as I look back now,
seem worse.
You write that you dont want your book to come
across as angry, but that you dont want to deny
your anger, which I think is how many publishing
people feel about tech these daysconflicted.
What has you most concerned, or angry, even,
about the way the future is unfolding?
Really, it comes down to our capacity for contemplation.
That is our most precious asset, attention, and tech compa-
nies today now harvest and use all this data that enables
them to capture more and more of our attention. Its like this
arms race in which companies keep extending their surveil-
lance of us to get more data, which they use to induce us into
this trance of clicking. These days, were meant to binge. We
binge watch, binge click; were constantly distracted by
notifications, and were umbilically connected to these cor-
porate stores. Im not saying that those things are in and of
themselves terrible. But they are terrible when they come at
the expense of sustained thought, of private thought, of the
type of thinking that comes with, say, reading a book on
paper.

6 www.publishersweekly.com
 The DIGITAL SPOTLIGHT
Do you think leaders in Silicon Valley are just
following the technology, or are they actually
hostile to the old way of doing things, to the
legacy institutions of journalism and publishing?
I think theyre actively hostile. Maybe theyve toned down that
hostility over time, but go back a few years and read what
Jeff Bezos wrote about elite gatekeepers, and the way he
would talk about book publishers. There was a raw, open, rank
hostility to the old guard, which he sees Amazon replacing.
Yet Bezos today is being praised for revitalizing
the Washington Post, which you write about in
the bookyou say we shouldnt applaud too
loudly for Bezos just yet. Why not?
The Washington Post has gotten a lot better. And Bezos has
spent money on it, and he has presided over an admirable
renaissance. But that shouldnt be the limit of our horizon.
Id actually argue that the best thing to happen to the Wash-
ington Post was hiring Marty Baron, maybe the greatest
newspaper editor of his generation. What often happens
with oligarchical figures like Bezos is that they try to launder
their reputations over time. But I think we can say job well
done with the Washington Post and still not lose sight of the
fact that Amazon is incredibly problematic, not just for book
publishing but the entire retail economy.
This fall marks five years since the U.S. imposed
sanctions on three major publishers for fixing
e-book prices. Looking back, an antitrust case
involving Amazon and big corporate publishers
was surely not the ideal venue to address the
deeper issues that lurked there. But what else is
available? Are we left to rely on antitrust law to
regulate our emerging digital culture?
No. In the Apple price-fixing case, antitrust was used as a
bludgeon against the publishing industry. It was kind of a
cut-and-dried case, but the law clearly isnt right if its inca-
pable of addressing the core problem, and in fact, in this
instance antitrust law actually became a vehicle for beating
back competition. We really need to consider the problem of
gigantism, and not just focus on price, because I suspect
Amazon, because of its size, will always be virtuous when it
comes to price, and it will use price as a guise for expanding
into every nook and cranny of every market, making produc-
ers ever more dependent on them. That is a huge problem not
just for the health of industry, but for our democracy.
The tech industry often touts the democratiza-
tion they offer. But we are now seeing evidence
that Facebook in the last election was manipulated
in ways that may have distorted the democratic
process, right?
Thats right. And its not just Facebook: Google, Amazon
8 www.publishersweekly.com
OCTOBER 2017
these companies are eroding the institutions that protect
democracy, and creating conditions among the citizenry
that actually make good democratic decisions less likely. But
Im ultimately hopeful that well see some sort of reversal. In
the book I have an analogy to food. What makes me opti-
mistic is that 50 years after we got fat from processed food
and TV dinners, weve started to awaken to the problems
there. My hope is that something similar occurs with the
stuff we ingest with our minds. And I think with the out-
come of the last election, a lot of people are starting to
rethink the power of these large tech companies. If you look
back at some of the 19th-century monopolies, they had
incredible power and prestige, but the backlash against
them came very quickly. Perhaps, were in an analogous
place, and what looks like immovable power now may actu-
ally be quite vulnerable.
Your book features a chapter on authorship. At a
time when we are seeing more avenues for authors
to get published, especially in terms of the ability
to self-publish books, how do you see authorship
challenged?
I look at what happened to the publishing business over my
career. The first book advance I got was paid out in thirds.
And over time as Ive had different deals, the advances get
chopped up into ever-smaller parcels. I think whats happen-
ing with book advances is something that most of the world
just doesnt fully appreciate. Especially when it comes to non-
fiction, because writing a book of investigative journalism is
an expensive endeavor, and the system works best if you
have publishers making bets on authors. Self-publishing is
fine. But in a world of self-publishing, where everything is
about what you get on the back end, theres a serious disin-
centive from embarking on really important, vital projects.
The last chapter of your book is called The
Paper Rebellion. There are lots of opinions as
to why print book sales are ticking back up.
Whats your theory?
At one point, as you remember, people expected all these
new digital devices would displace paper. But that hasnt
happened, and there are many reasons whypublishers, for
example, have been quite serious about preserving the value
of the books they sell, and I think thats laudable. But I also
think there is an almost subconscious gravitation back to
paper that stems from our exhaustion with screens. I think
people have this innate sense that they need a breakthat
they need to tend to themselves, and their minds, and that
they actually need some privacy, some moments where they
know they are not being tracked. Because its in those
moments that were able to think more freely, and more
deeply. And theres really no better way to do that except for
the time we spend with words on paper.
 The DIGITAL SPOTLIGHT
What OERs Can Teach Us
With flexibility, publishers can turn the boom in open
educational resources to their advantage
T
he latest twist in educational publishingopen edu-
cational resources, or OERs as they are knownis
poised to dramatically disrupt textbook publishing.
Case in point: according to a 2016 report by the
Rand Corporation, in just four years, Eureka Math,
an OER K12 curriculum developed by the nonprofit Great
Minds (and funded by a federal grant to the New York State
Dept. of Education) has become the most widely used math
curriculum in the United States.
Out of the 1,168 elementary school teachers Rand sur-
veyed, more than half (52%) said they used Eureka. In
comparison, only 32% said they used the most popular math
textbook.
What does that mean for traditional publishers, as the
market morphs to make room for OER publishers? In short,
while there is an obvious risk, its also an opportunity for
traditional publishers to broaden their offerings, adapt
their business models, and to reap new revenue streams.
High-quality content
is never truly free;
it needs some type
of funding to be created,
supported, and updated.
What OERs Offer
The startling OER-adoption statistics were driven, in part,
by the recent need for school districts to quickly find teach-
ing materials that aligned to the switch to Common Core
standards. The Eureka Math curriculum filled this obvious
need. As an OER, it appeals because it can be updated, cus-
tomized, and revised for new pedagogy more quickly than
the typical three-year revision cycles of traditional text-
books. Also, OERs are free to use, offering the impression
that moving to an OER curriculum is cheaper than investing
10 www.publishersweekly.com
OCTOBER 2017
ROY KAUFMAN
in traditional textbooksalthough with OER training and
implementation, associated costs remain significant and the
overall cost may actually be higher than using traditional
texts.
There are other challenges with OERs, too. For one thing,
just like the pitfalls in Open Access Publishing, where it can
be tough to pick out quality content, in their early iterations
OERs are serving up an online smorgasbord of lesson plans
of varying quality. That means teachers must spend more
time searching out the best of the bunch, aligning them to
ensure students are receiving adequate instruction on all the
relevant skills, and in proper sequence. This only adds to a
teachers already-heavy class prep. A well-designed text-
book, on the other hand, is designed to ensure quality and
complete instruction and is backed by a sustainable business
model.
Which brings us to the next key point: like traditional pub-
lishers, the new breed of OER publishers will also need to
develop a sustainable business model. As Kate
Gerson, formerly of the New York State
Regents Research Fund, told Education Week,
you have to solve the who-pays-for-it question
if youre going to develop good material.
Are OERs sustainable from a business per-
spective? Im not so sure. The truth is, unless
there is a model to underwrite funding for
OERs, its producers will run into trouble.
High-quality content is never truly free; it needs
some type of funding to be created, supported,
and updated. Initially, governmental agencies
and private foundations in the United States
may provide funding for OER materials. But to
survive, OER publishers will have to adopt new business
models such as paid wrap-around services, or required
book purchases, that allow OER publishers to maintain
their desired ideology as open, but also create a stable,
predictable cash flow for ongoing support and development.
Traditional publishers should pay special attention to
what happens here. How OER publishers address the chal-
lenge of becoming sustainable could provide a road map to
competing in the market.
OCTOBER 2017
Math Is Not English
Heres another reason Eureka Math and other OER math
curricula have succeeded: math content, unlike that required
for English language arts, doesnt call for third-party
sourcesi.e., novels and nonfiction books, poetry, articles,
and excerpts. There happens to be good, quality math con-
tent available under Creative Commons licenses. And if
Eurekas math content is equal to that offered by traditional
publishers, than traditional textbook publishers will need
to look to new business models that focus more on the
unique services they can provide.
Specifically, publishers of math and science textbooks
must develop the kind of services that complement the cur-
riculum: teacher training, online test prep, and homework
help to name a few possibilities. Publishers might also
develop a superior delivery system for content, which should
Chief Evangelist
Four questions with Srinaath Krishnamachari, managing director of UI Tech Solutions
Youve chosen to
launch a new product,
PageMajik, at this
years Fair. Tell us
about that?
Ive been in the publish-
ing-services business for the
past 17 years and have wit-
nessed many technological
changes. But what we saw
was the need for one inte-
grated system that could automate some of publishings
redundant tasks, throughout the stages of publishing:
formatting, proofreading, chasing down assets, planning
meetings, and following up with colleagues to make sure
the project is moving along through the process. Based on
decades of work consulting and working with publishers
around the world we developed PageMajik, and in tests
with clients it has shown as much as a 40% improvement
in efficiency.
What are the kinds of innovations that you
believe lead to better efficiency for publishers?
PageMajik is a publishing workflow aware content
management system. We have been able to integrate
editing and typesetting software, for example, so it really
is one place where everything happens. PageMajik is
cloud-based and is constantly updated with enhance-
ments, so theres no need to retrain staff on a new system
that becomes obsolete every few years.
The DIGITAL SPOTLIGHT
be part of an overall, intelligence-based digital transforma-
tion. Print too can be part of the strategy, as most school
systems and students are ill-prepared or unwilling to adopt
an all-electronic curriculum.
No question, the fast pace of change in technology calls
for publishers to refine, and in some cases redefine their
businesses. But with a good online platform that allows
them to offer new services, developments like OERs can
be an opportunity for traditional publishers to expand.
But that expansion will only happen if those publishers
aspire to be as nimble as their new OER publishing com-
petitors, focus on what OERs dont offer, and jump in to
fill the gaps.
Roy Kaufman is Copyright Clearance Centers managing director of new ventures,
responsible for expanding CCCs service capabilities into new markets and services.
Flexibility is key for publishers when it comes
to their systems, especially with technology
changing all the timeis PageMajik easily
customized?
Absolutely. Pricing is based on the number of titles that go
through the system, or on a subscription basis. And
licenses can be procured for the full suite or for parts of a
publishers workflow that need the most help. We want
publishers to be able to adopt what works for them. By not
forcing publishers to buy a costly new system or spend
weeks on training staff, they can focus on their workflow.
Is there a certain sector you see PageMajik
having more traction in?
They call me the chief evangelist for technology-driven
publishing solutions because I am trying to help publish-
ers focus less on housekeeping, and more on finding new
ideas, news, and stories to share with the world. Currently,
were working with Wolters Kluwer and Springer, but we
dont see ourselves as focusing on just one sector. Our goal is
to help any content creator take advantage of the revenue
opportunities that exist in this new digital marketplace.
We are also working to develop a manuscript-submission
portal to simplify the experience for authors, for example.
And we will also look to enhance PageMajiks functional-
ities using AI and machine learning. Andrew Albanese
Krishnamachari and company will officially launch
PageMajik on Thursday, October 12, at 5 p.m. in
Hall 4.2, Stall E75.
11
 Building the
Publishing Software
of the Future using
Machine Learning (AI)
in Hall 4.0 Booth F1.

knkPublishing
Inspiring Publishing Software
Hall 4.0 Booth F1
 The DIGITAL SPOTLIGHT
Harnessing Technology
For the Digital Future
From XML-first workflows to machine learning, automation
is the key to solving publishing challenges and changes
I
t has been said time and again that while technology
comes fast and furious, adoption tends to be slow and
sluggish. The latter is often caused by skepticism toward
a new product or service.
As a digital-solutions provider, we put a tremendous
amount of time and effort in building new products that we
know will work well, says Uday Majithia, assistant v-p for
marketing and presales of Impelsys. But convincing pub-
lishing clients on the products positive impact on their busi-
ness often takes a very long time, with multiple rounds of
discussions.
Technology-Driven Tools Are the
Answer
Publishing, Majithia adds, is now a technology-driven indus-
try that is inundated by evolving new technologies that are
continuously altering the market curve and user behavior.
Publishing production is also technology-based, with many
tools and platforms available. Publishers make their choices
and adopt a technology, and they need to wisely choose
the tools that will serve them best.
Microservicesor modular solutionsare now in vogue,
addressing unique needs of different publishers, Majithia
says. This is because monolithic architecture will not be
able to provide the flexibility required by publishers for
their products. In the market, there are many tools that do
not comprehensively address the technology challenges in
publishing, while at the same time, publishers often have
some niche technology requirements. Microservices is the
answer, Majithia explains, pointing out that process opti-
mization and standardization will further remove ineffi-
ciencies in publishing workflow.
More publishers are looking at technology as the game
changer to provide a better experience for their authors and
publish faster, observes Ravi Venkataramani, CEO of
Exeter Premedia Services. They are searching for publish-
ing partners that can help them realize this goal and stay
nimble to respond quickly to shifts in the marketplace. At
Exeter, our team forms a close collaboration with clients at
every stage of the development process to ensure that we
have a technologically driven product that delivers the
required results.
14 www.publishersweekly.com
OCTOBER 2017
BY TERI TAN
The difficulties lie in being flexible to meet the varying
needs of different publishers while sticking to our product
road map, Venkataramani adds.
Better Integration of Print and
Digital
Projects with one-day turnaround time are becoming the
norm, says Nizam Ahmed, founder and CEO of DiTech
Process Solutions. Now that publishing revenues are no
longer solely dependent on print products, cross-media
publishing is fast becoming an integral part of the industry.
At the same time, publishers are looking to capitalize on
their content in multiple ways. They are starting to sell con-
tent in smaller chunks in different formats, through various
platforms or apps, or via different channels apart from
print and e-book. This is happening in the STM and travel
guidebook sectors, and is becoming popular with consum-
ers, who can now purchase the exact information that they
need instead of the whole book or journal.
True integration of print and digital is the future of the
industry, says Vinit Khanna, founder and CEO of OKS
Group. We will have digital products that are no longer
derived from print products or functioning as supple-
mentary items, but are developed to work together with
print as a whole. At the same time, Khanna expects to
see products coming into the market to be driven by
demand from publishers consumer baseschools and
students, for instanceand not simply determined by the
publishers themselves.
Presently, publishers are expected to react to market
demands for interactive products and trends in learning at
short notice, Khanna adds. This is accompanied by a high
level of competition between top publishers, thereby plac-
ing additional pressure on production schedules and, by
default, digital-solutions providers. For publishers with
first-XML infrastructure and content repositories that are
set up properly, such turnaround is achievable.
The advantages of having a first-XML infrastructure
have seen publishers of all sizes looking into migrating to a
first-XML workflow, and checking out how much the
investment would entail, Khanna says. With the migra-
tionor intention to migratecomes the focus on stan-
 The DIGITAL SPOTLIGHT
dardization on creating and handling content within a cli-
ent-controlled authoring environment in order to facilitate
multi-format output, Khanna adds.
The aforementioned trends present challenges and
changes that digital solutions providers like DiTech need to
answer and meet head-on. Delivering multiple outputs
with ultrashort turnaround time while maintaining mini-
mum cost is the biggest issue, Ahmed of DiTech says.
Changing consumer behavior and preferences have driven
publishers to become even more demanding in terms of
output formats and time-to-market deliveries.
Unfortunately, there is no single product in the market
that addresses all issues or requirements, Ahmed adds.
Many major publishers have developed in-house tools
customized to fulfill their needs while bringing in some
other tools created by various solution providers. There
remains a huge gap between what is demanded technologi-
cally and what is available in the market. And this gap has
driven us to create 3ClicksMaster, which has begun to
address some of these technological requirements. We hope
to address most of the industry challenges with the next
iteration of 3ClicksMaster, which will be available come
BookExpo 2018.
Machine Learning to the Fore
Chatbots, which are an application of machine learning,
have been discussed at length at almost every publishing
event this year, observes Knut Nicholas Krause, founder
and CEO of KNK Business Software. But we are at an
early stage of applying machine learningand/or artifi-
cial intelligencewithin the publishing industry, especially
when it comes to combining it with business solutions.
We do, however, see that there is also a lot of interest and
curiosity within the industry on such applications, and
we look forward to getting even more feedback at this
Frankfurt fair.
Marketing automation, which is on the agenda of many
publishers, is perhaps one of the best examples on how
intelligent systems can be used to efficiently support busi-
ness processes in terms of customer communication. In
many cases, only the marketing department uses these
kind of systems. As a standalone application, it is hard
to realize the systems full potential, which will only be
unleashed once it is combined with the rest of the IT
infrastructurebusiness-software applications, and proj-
ect-management tools, for instance, adds Krause.
Krause points out that the major challenge in embedding
machine learning and AI technology in everyday business
processes is that the proposition remains very futuristic
sounding to most people. But the future is here, and these
technologies are available, and even more importantly,
they are affordable. In addition to creating awareness that
these technologies are beneficial for publishers, there is still
16 www.publishersweekly.com
OCTOBER 2017
a need to find out all the areas that the new technology can
be applied, and where it can lead to the biggest advantages.
For Krause, discovering the full potential for the publishing
industry is going to take some time.
While publishing trends remain unpredictable, AI and
Big Data are undeniable. Majithia of Impelsys adds, It
remains to be seen how they impact publishing trends, but
analytics are significant in business strategy, and so our
analytics tooliPublishCentral Insightsprovides pub-
lishers with amazing insights on user behavior and product
performance.
Pushing for Production
Efficiencies
Publishers continue to look for streamlined solutions to go
to market faster, says Rahul Arora, CEO of MPS. And they
want to do this while maintaining high-quality require-
ments for dynamic content that will engage and captivate
their audience. So providing a quality, tech-forward prod-
uct that drives and retains readership while maintaining a
self-sustaining and efficient production process is our goal.
Mag+, a division of MPS North America, for instance, has
reacted to this trend by offering more scripting capability in
the development of mobile apps. This capability helps auto-
mate the process of laying out content from InDesign, while
preserving design flexibility.
Arora finds that new technology, business models, work-
flows, demands from authors and readers, and growing
competition among publishers and from newer entrants
have created the demand for increased automation and
faster publishing. We support publishers in managing var-
ious challenges in their workflows: eliminating duplicate
and redundant workflow stages, offering adequate data val-
idation and automated controls and procedures, empower-
ing users through efficient custom controls, and integrating
with other systems and processes.
In some cases, Arora and his MPS team supported publish-
ers by standardizing 30 production workflows down to just
five or six, and reducing data-entry repetition by as much as
80%. At the start of any platform implementation, we
always carry out a workflow-discovery workshop. Addi-
tionally, there are often overlaps between editorial and pro-
duction, with different teams doing the same things in differ-
ent ways. We recommend publishers adopt a transparent
workflow platform through a capable and experienced part-
ner to help drive a common agendafaster time to market.
Successful organizations, Arora adds, are the ones that
have figured out an end-to-end creative process that powers
an engaging and interactive learning product in record
times. Effective platforms offer an intuitive user interface
with global visibility across the publishing process, faster
time to market, increased transparency between process
stakeholders, and support for flexible business models.
 The DIGITAL SPOTLIGHT
Whichever system you work with, make sure it delivers the
capacity, flexibility, and adaptability to deal with an
increasingly changing publishing workflow. Our cloud-
based digital publishing platform DigiCore delivers such
strong outcomes.
So the tools to solve various production challenges are
DiTech Process Solutions
It has been exactly one year since DiTech
launched 3ClicksMaster, a completely auto-
mated end-to-end publishing platform. The 3
stands for three well-defined processes: Create
(covering copy editing and XML conversion), design (auto-
flowing created XML into InDesign or predetermined docu-
ment-type definition), and publish (creating print PDF, XML,
ePub3, and HTML5 on the fly). The three processes are easily
reconfigured for, or integrated into, any publishing workflow.
Soon after the launch, 10 clients from different verticals
have used the customizable and flexible publishing work-
flow. Mary Jo Casey, director of editorial services at Thieme
Publishers (New York), says, We are testing the system, and
so far we are finding that accuracy and speed are the high-
lights of this platform, and we are expecting to see that the
efficiency will also save money. David Rosenfeld, director of
operations at Quality EDGAR Solutions, considers 3Clicks-
Master to be one of the best single-source solutions, while
Christopher Mueller, v-p of EDGAR Agent, touts it as the
next-generation platform.
For founder and CEO Nizam Ahmed, the creation of
3ClicksMaster was prompted by the dynamic changes in
the publishing industry and demands from end consumers.
Factors such as short turnaround time, higher quality
expectation, cross-media publishing requirements, and low
costs can only be addressed by deploying technology, and
that technology must also guarantee top quality as well as
high quantity with minimal human intervention. These will
bring about fast turnaround time and low pricingtwo
challenges faced by publishers of all verticals. And this,
Ahmed adds, is where 3ClicksMaster comes ina solution
to the challenges and changes in the marketplace.
There are actually two different products within 3Clicks-
Master, namely 3CM Enterprise and DiGicon. 3CM Enter-
prise comprises the end-to-end publishing solutions with a
slew of automated functions. Technical and language editing,
for instance, are done automatically with tracked changes
within a cloud-based copy editing tool. The edited product is
auto-dispatched for simultaneous reviewing to predeter-
mined copy editor, editor, and author. At the same time, all
cross-reference citations are linked through auto-generated
identification and designed per journal or book style. PubMed
reference links are also auto-identified during the typesetting
stage, and reflected in the ePDF at the later stage.
18 www.publishersweekly.com
OCTOBER 2017
available. The question is, are publishers willing to adopt
and integrate them into their work processes? The following
pages illustrate some of these solutionsfrom micro-
services to end-to-end workflow platforms to machine learn-
ingand how they can help publishers to meet evolving
industry requirements and consumer demands.
Index mark-up and XML gener-
ation are also automated, and at any
given point in time, the index can be
auto-generated from the typesetting
system itself, Ahmed explains, add-
ing that the whole system is a dynamic XML-first workflow
that can accept either Word or XML as the input. All math
equations, for instance, are automatically converted into
MathML and TeX coding.
As for DiGicon, it is a cloud-based conversion solution
that can be tweaked to fit specific business requirements.
This is very much an any-format-to-any-format approach
that can be done faster and more accurately than any other
solutions out there and is available at a minimum cost, adds
Ahmed, who is offering DiGicon as a pay-as-you-go module.
Head over to booth J71 in Hall 4.2 to view demos on
3ClickMasters and other DiTech services.
Exeter Premedia Services
Kriya is the name of Exeters integrated project-management
and content-production system. Launched in October 2015,
it forms the backbone around which Exeters publishing ser-
vices are built, including full project management, multiplat-
form XML-first page composition, copy editing, proofread-
ing, indexing, data conversion, and reproduction of illustra-
tions and artworks.
Kriya creates PDF proofs and JATS/BITS/DITA-compli-
ant XML at the click of a button, aside from supporting mul-
tiple output formats, including HTML, PDF, XML, and
ePub, CEO Ravi Venkataramani explains, pointing out that
Kriya supports integration with most submission and host-
ing systems to allow fully automated ingestion and delivery
to shorten production cycles.
To date, Kriya has been adopted by several journal pub-
lishers and is proven to increase productivity while
significantly reducing production costs. At Frankfurt, we
are promoting Kriya as a solution to help publishers build
quality products in short turnaround times by empower-
ing authors, publishers, and other project stakeholders with
the right tools at the right time, Venkataramani says,
adding that the soon-to-be-
released 2.0 version will
support book production,
transform the entire author
experience, and improve the
OCTOBER 2017
bottom line for publishers.
One medium-size STM publisher with several print and
online journals, for instance, recently transitioned from a
traditional workflow by implementing Kriya. This has
resulted in a significant increase in publication volume with
a simultaneous decrease in production costs, explains Ven-
kataramani, whose team has also developed an automated
XML workflow built on Kriya for a medium-sized edu-
cational publisher to produce repurposable content with
complex layouts. This implementation, he says, allows the
publisher to quickly produce content and generate multiple
revenue streams.
Kriya, according to Venkataramani, is designed to give
authors and publishers full control and visibility over the
entire publishing process. We believe in giving the control
back to the author, and giving them the comfort and confi-
dence that their work is presented in the best light. We are
continuously working on enhancing its features to meet
ever-growing needs of the researcher and authorthereby
allowing the publisher to keep the work in-house and utilize
their staff effectively.
Increased author involvement in all stages of the publish-
ing process to reduce publication times and improve the
efficiencies of publishing operations is one major push for
the development and enhancement of Kriya. Publishers are
also looking at ways to integrate the various processes to
build a more efficient business, Venkataramani says. Solu-
tions like Kriya help publishers in this effort, and allow small
and medium-size publishers to achieve the efficiencies
enjoyed by their larger counterparts.
For more on handing back the control to authors, attend
Exeters presentation Get Your Authors to Do the Work and
Save $250,000, at Hall 4.2s Hot Spot Professional &
Scientific Information at 10:30 a.m. on Wednesday, October
11. Or head over to booth L38 in Hall 4.2 to check out Kriya
and other Exeter solutions.
Impelsys
This Frankfurt will see Impelsys launching a new product
that is specifically designed for STM publishers: iPublish-
Central Scholarone platform for all scholarly productsis
a cloud-hosted solution that can store and securely deliver all
types of scholarly content and online learning courses to
researchers, professionals, and students directly through pub-
lisher-owned branded portals, according to Uday Majithia,
assistant v-p for marketing and presales. This platform
supports multiple content formats, including e-journals,
e-books, videos, SCORM courses, MOCs (maintenance of
certifications), PDFs, and PowerPoint presentations.
With iPublishCentral Scholar, publishers will never again
have to maintain multiple portals for different content types,
Majithia says, adding that it leverages proven iPublishCentral
Reader technology to work in complement with online
The DIGITAL SPOTLIGHT
readers and native apps
for iOS and Android
devices, thus providing
users with anywhere, anytime access to content.
Another Impelsys product (or microservice), iPublish-
Central Gears, brings efficiency in content production by
eliminating unnecessary steps while automating others. It
helps publishers to speed up the production and bring the
products to the market on time. We believe that in the near
future, publishers will understand this, and there will be a
demand for significant improvement in publishing work-
flows and platform capabilities, Majithia says.
This new product is an example of workflow optimiza-
tion and standardization, which are crucial to the publishing
industry, Majithia adds. We see disarray caused by the pleth-
ora of products out in the market. Adoption of a new
technology typically necessitates significant changes in oper-
ational systems, or the addition of complementary tools,
which may result in chaos. This is like the dots are scattered,
and the connection is not a straight line. So the industry
requires standardization in processes and workflow-optimi-
zation solutions.
Other microservices include iPublishCentral Reader (that
can be seamlessly integrated with publishers existing
infrastructure), iPublishCentral Insights (to generate deep
analytics on user behavior and product performances), and
iPublishCentral EZ MARC (for library records). Clients
that have been using these microservices have experienced,
and seen for themselves, the advantages that we had antici-
pated, adds Majithia, whose team continues to build new
reseller partnerships across emerging markets, such as Africa,
Eastern Europe, and the Middle East, and have initiated
several strategic alliances with a few customers.
One such collaboration is with a Japanese editorial-service
provider, which provides scientists and researchers with
editorial support and assistance to get their papers published
in international journals. But their traditional editorial
workflow was hampering production lead time, output,
and revenues, Majithia explains. We offered our technolo-
gies in editorial and content transformation, and these helped
to ramp up their editorial capacity in terms of speed and qual-
ity. Some manual processes were also automated to increase
efficiency.
For more on Impelsys, its flagship platform iPublishCen-
tral, and various microservices, head over to booth J55 in
Hall 4.2.
MPS
Now that the acquisition of Think Subscription has been com-
pleted, work is in progress to further integrate the subscrip-
tion-order management platform into its product offerings.
Rebranded simply as Think, the acquisition has enhanced
our platform capabilities and expanded our reach in publish-
19
 The DIGITAL SPOTLIGHT
ing markets with additional offerings that include subscrip-
tions and order-lifecycle management, says Ravish Agarwal,
director of platforms. We have further enhanced Think with
the latest technologies in the market, such as web-based mod-
ules for order processing, REST-based architecture for existing
SOAP APIs, flexibility in bundling products from various pub-
lications, PCI-DSS compliance, and support for Internet Pro-
tocol Version 6.
Think is now synergized with MPS ScholarStor (for con-
tent delivery and e-commerce) and MPS Insight (MPSs
cloud-based usage-analytics platform) to form a unified dig-
ital ecosystem for capturing and increasing additional mar-
ket share for its publishing clients.
On the journal-publishing side, MPS has been continu-
ously innovating and developing new products, services, and
technologies to maximize value for the changing needs of
publishers in a dynamic market, CTO Naren Kumar says.
Content profiling, exception-based processing, and cogni-
tive-production systems with machine-learning techniques
are deployed in the workflow to ensure high automation
while managing different variations, reduced touchpoints
with consistent and improved content quality. This also helps
towards achieving faster time to market and reduces overall
cost of production.
The team has also worked
closely with clients to modify
their DTDs (document type
definitions), standardize lay-
outs and XML, and simplify/
standardize pre-editing and copy editing rules to achieve
greater automation. This includes the integration with
PubMed and Crossref, for instance, for DOI look-up and
fetching missing metadata, Kumar explains.
MPSs expertise is obvious from a key project involving an
open-access journal with more than 200,000 pages. Custom-
ized rules, scripts, and profiles within the MPS WordEditPro
Blackbox solution, for instance, were used to automatically
identify and structure the input manuscript file and generate
XML. An Adobe InDesign server-based DigiComp solution
was later rolled out to automate page proof generation. This
was followed by the deployment of MPS Trak (Supplier
Module) with an advanced business-process management
engine for workflow tracking, automated routing, alerts, and
dashboard reporting. We achieved consistent quality of
XML and PDF outputs, and met the publishers requirement
for a rapid end-to-end workflow right from manuscript
acceptance to first proofs with a 24-hour turnaround time,
adds Kumar, whose team completed the implementation
project within two weeks.
Visit booth N10 in Hall 4.2 to learn more about MPSs
technology-driven tools and solutions for the publishing
industry, and a demo on Think.
20 www.publishersweekly.com
OCTOBER 2017
OKS Group
For OKS Group, the focus remains on supporting clients,
including small and medium-sized publishers, with their
XML transition. We help them form a migration strategy,
flesh out their XML schemas based on their publishing
requirements, and map out authoring tool specific to their
requirements, explains Vinit Khanna, the company founder
and CEO.
The OKS team is currently busy evaluating and adding
new features to its cloud-based workflow platform e2e.
Now browser- and version-compatible, e2e is accessible by
authors at educational institutions that are restricted to
using only Internet Explorer to write their works directly on
the platform. The platform is currently live at a leading
academic publishing house, where editors and authors are
collaborating seamlessly across locations and time zones.
While working on this platform, Khanna finds that clients
are also tapping into their legacy content, asking for XML
conversion, and producing pre-InDesign layout/typeset-
ting titles.
One recent project, for instance, saw the team reconstruct-
ing a legacy title using only the original print PDFs as input
materials. The team first extracted the text using an in-house
pre-editing tool, which was specifically developed to handle
restructuring of non-XML content and can be customized to
any DTD. Once the math equations were re-created and cor-
rections made, character-by-character proofreading took
place. In such conversion projects, 100% accuracy is imper-
ative, since the reconstructed content cannot deviate from
the original source content by even a single character,
Khanna says.
Next, the layout and style elements were re-created from
scratch based on the source input. By anchoring elements
and ensuring consistency of the reconstructed content, our
client can now extract the same content in XML format for
repurposing within their author-
ing-tool environment or content
management system. Our team
essentially gives the content,
which would have lay dormant in
a physical repository, a new lease
of life, Khanna says.
As for MarkSharks, its unique flip classroom e-learning
app, the cumulative downloads have now exceeded 300,000.
We went into pay mode in February and set up a small call
center and home-demo sales team in Delhi, and we are making
good progress converting free downloads into paid subscrip-
tions, says Aditya Tripathi, CEO of OKS Education. Math
content for grades eight, nine, and 10 is now available, and
grade-seven science is set for release soon. Tripathi says, Aside
from the large number of downloads on personal devices at
home, we are now working with 12 schools at different eco-
nomic and learner levels, including a Delhi government
 S AV E T H E D AT E

Where Publishing &

Innovation Intersect
TUESDAY, MARCH 6, 2018 9:00 AM 5:00 PM
New York, NY

I walked away feeling that I had been given a fresh perspective

and new insights that would enable me to take a more creative
and proactive approach to growing the business at Ballantine
Bantam Dell.
Kristin Fassler, Vice President and Director of Marketing,
Ballantine Bantam Dell division of Penguin Random House

I found the insights provided by the speakers

and participants to be of great value as I
analyze the marketplace.
CONFERENCE PRESENTED BY:
Chantal Restivo-Alessi, Chief Digital Officer,
Executive Vice President, International,
HarperCollins Publishers

Receive updates or register at

PubTechConnect.com
 The DIGITAL SPOTLIGHT
school. We continue to conduct our pedagogical research and
experimentation to discover ways to teach students more
effectively. This has resulted in a global patent application as
well as some very exciting developments on teaching algo-
Machine Learning at KNK Business Software
The application of machine learn-
ingor cognitive services, which
overlaps somewhat with AIin the
publishing industry is all about
enabling publishers to work more
efficiently in different areas of their
business. This is one of the goals at
KNK Business Software, where AI
applications are now being integrated
into their product offerings.
For instance, in intelligent purchas-
ing, sales, and inventory planning,
KNK is recommending the usage of
AI to analyze legacy data in order to
predict future sales patternsduring
high seasons such as Christmas busi-
ness, for instanceand provide pub-
lishers with recommended actions
such as adjusting the inventory to meet
the anticipated surge in demand.
Then there is intelligent metadata
to increase discoverability. In the case
of picture recognition, for example,
uploaded pictures are automatically
tagged, with the tags later used for
Onix exports or categorizing the
specific product within e-commerce
platforms. This is the case with KNK
Media Library, a light version of a
media-asset management system that
is directly integrated into KnkPub-
lishing, which is the only Micro-
soft-certified publishing software in
the world. Uploaded pictures for the
Media Library are categorized auto-
matically with suitable keywords
added, and these are then archived
for use in different publications.
EMIL, on the other hand, is KNKs
machine-learning app that uses
machine text recognition to analyze
the text of incoming customer requests,
testing them against predefined use
casessuch as changing the delivery
22 www.publishersweekly.com
rithms, which are being incorporated into our content.
Contact OKS Groups German office at (+49) 69-82376202
for a demo on e2e, or email enquiry@marksharks.com for
more information on MarkSharks.
address of a subscrip-
tion contract. Based on
the results of the text
analysis and its align-
ment with the use cases
defined by the com-
pany, we calculate the
probability that the cus-
tomer request can actually be
assigned to one of these use cases,
founder and CEO Knut Nicholas
Krause explains.
In recent months, KNK is seeing a
huge demand in bundling communi-
cations across all digital channels
through its CRM and marketing
automation software. This is about
providing our clients with well-tai-
lored and relevant information that
tracked their customers whole
journey, Krause says, adding that
intelligent systems support publish-
ers in analyzing their customers com-
munication preferences, interests, and
their mood or attitude towards a
brand, author, or publisher.
As a Microsoft Partner, KNK is
able to link information from differ-
ent parts of a customers journey using
different components of Dynamics
365. This means that the Social
Engagement engine extracts relevant
information from different social
media platformssuch as Facebook,
Twitter, and LinkedInand aggre-
gates them in a central CRM system.
Then it uses workflows to define per-
sonas, and provides customers with
relevant information based on their
behaviors and actions. This is what
we call the closed-loop approach,
Krause adds.
Machine-learning technology,
recently integrated into standard
OCTOBER 2017
Microsoft Dynamics,
will be available as a
part of KNKPublishing
with its first release in
2018. It was announced
at Microsoft Inspire in
Washington, D.C.,
three months ago. As
this is really a new technology, we
do not have any actual client imple-
mentations yet. We announced the
latest developments and showcased
processes with embedded machine
learning in publishing-specific work-
flows during our annual customer
meeting last month, and are opti-
mistic about starting a first project
with a pilot customer next year,
Krause says.
From his perspective, intelligent
and connected business applications
will be a critical success factor for
the publishing industry of tomorrow.
Our customers demand that we are
relevant at any time and on any
channel in order to inspire them
and know what might be interesting
for them before they know the
answers themselves. Fulfilling such
demands while being profitable
requires efficient processes and
advanced technological support.
And going the machine learning/AI
route is the way to achieve all these
and more.
The KNK team, led by Krause, will
present Building the Publishing
Software of the Future with Micro-
soft Stack at Hall 6.2s Hot Spot
Digital Innovation at 11 a.m. on
Thursday, October 12. More on
KNK and its services, especially
machine-learning solutions, can be
found at booth F1 in Hall 4.0. T.T.
 DRIVE GLOBAL SALES
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Hall 6.2 - Stand C38

Library | School | Corporate

 WEDNESDAY 11 OCTOBER 2017
Women authors lost in translation
Chad Post looks at how more translations into English in the US are written by
male authors than female authors
Women in Translation Month was launched in
August 2014 by literary blogger Meytal
Radzinski to generate discussion about the
disproportionately low number of books by
women published in translation in America.
Over the past few years, the movement has
grown significantly. What started with a series
of blog posts now includes programmes from
bookstore displays to events sponsored by
literary organisations, such as PEN America,
and a trending hashtag, #WITMonth.
For years, a lack of reliable data has made it Chad Post
hard to track exactly what was being published
in translation in America, and thus, hard to see
Between 2008
exactly how much worse the situation was for and 2017, only
women. After all, books in translation
represent such a small niche in Americajust
29% of all
3% of books published in America are in translations
translationand some readers might naturally
assume that because theres a general lack of
published were
international literature making its way into written by
English, that its as bad for men as for women
especially given the recent successes of authors
women, 1,417 by
like Elena Ferrante and Valeria Luiselli. women versus
A decade of data 3,351 by men.
But with the advent of the Translation Databasewhich I
founded at the University of Rochester, and as of this year, is
now supported and hosted by Publishers Weeklywe can dig
into a decades worth of data on the translation market, and
get a better sense of whos being translated.
So, how many books in translation are written in their original
language by women, and how many by men? The data shows
that between 2008 and 2017, only 29% of all translations
published were written by women, 1,417 by women versus
3,351 by men. Yes, thats bad. Stunningly bad, especially
considering recent surveys from Pew Research show that women
make up the majority of the book-buying audience, and that the
Publishers Weekly annual salary surveys reveal that the majority
of employees in the publishing industry are women.
The good news: we can see at least some marginal
improvement. In 2008, for example, only 24% of books in
translation were by women. In 2016, that number was 34%.
Thats still awful, a 2-1 imbalance, but it is an improvement.
In terms of publishers, of the top 10 publishers of works in
translation between the years 2008 and 2017, only two
AmazonCrossing and Feminist Presshave published more
women in translation than men in that time. In fact, no one else
even reaches 40%, and four of the top 10 dont even reach 30%.
In other words, the presses doing the most books in translation are
mostly publishing books by men. And given their overall market
FRANKFURT SHOW DAILY
share, if these 10 presses had more balanced lists,
the overall gender gap would be nearly eliminated.
Its not surprising that Dalkey Archive has
the second most books published by women
among the top 10, having published 302 total
translations in this 2008-2017 perioda figure
only topped by AmazonCrossing, which has
brought out 323 since 2010. What is surprising,
however, is that Dalkey has the lowest percentage
of women of any of the top 10, just 19%.
Some good news
But there is a bit of good news to share. When
you look at the gender of the translators for
books published in 2017, there is no gap
between books translated by men and those
translated by women. Thats encouraging,
especially if you consider translators as
ambassadors who can help shape editorial lists
by providing recommendations, sample
translations and general information about books
by women to publishers. That, in combination
with initiatives like Women in Translation Month,
could really make a long-term difference.
Of course, the overarching question remains:
why are women so underrepresented in the
translation market? Thats a question for a different, much
longer, and more speculative article. But speaking as the
publisher of Open Letter, my gut feeling is that this is part of a
systemic problem within the publishing industry
Anecdotally, it is my experience that foreign agents pitch us
far more books by men than women, and often in ways that
emphasise the classic nature of the male authors. The same is
true of submissions directly from translators.
And while this too is anecdotal, books by women at Open
Letter are less frequently reviewed by tastemaker publications
than are books by men. At any point in time, there seems to be
one international female author getting the bulk of reviews
Lispector, Ferrante, Luiselliwhile other women published
around the same time are quietly ignored. That doesnt happen
with male authors.
Its hard to envision a quick and simple fix for this
inequality, but the hope is that by being more aware of the
issues, publishers, agents, editors and translators will together
work to address the problem. Given the time that it takes to
sign a book, have it translated and then marketed to the public,
its possible that we will start to see the positive effects of this
awareness, and the efforts by Women in Translation Month,
showing up in our 2018-2020 data. And as more and more
publishers start to pay attention to the gender imbalance on
their lists, perhaps we will get closer to equity. 
23
 FRANKFURT SHOW DAILY
Diversity: Down to the real work
What do we talk about when we talk about
diversity in publishing? Well, we talk about
the industry and publication data, writes
Emma Paterson. For instance: of the top 100
titles of 2016, only one was by a British
writer from an ethnic minority background.
Or, as reported in a recent Guardian article:
in a survey of more than 1,000 people
working in UK publishing, 90% of
participants identified as white.
Sometimes, if the conversation becomes
more textured, we talk about the emotional Emma Paterson
data, too: how it feels to be the only
minority in a crowded industry party, for example, or at an
acquisitions meeting, or on an entire company floor.
Imagine that. No, please, do imagine it.
More recently, the conversation has turned proactive: if
we agree that things are broken, how can we fix them? What
should we actually do? This year and last have seen a wave
of corporate and independent initiatives forged in that spirit,
from Penguin Random House UKs Inclusion Tracker,
intended to measure the diversity of its authors and staff; to
the Jhalak Prize for Fiction for British writers of colour
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WEDNESDAY 11 OCTOBER 2017
launched by Sunny Singh and Nikesh Shukla;
to the Sharmaine Lovegrove-spearheaded
imprint Dialogue Books, which seeks to
nurture writing talent from areas currently
under-represented in mainstream publishing.
Using your cultural power
Since becoming an agentand as an agent
from an ethnic minority backgroundI have
spoken at numerous events organised to
discuss the problem of diversity. It is a
problem I have also spoken about at events
that have nothing to do with diversity at
all, because it is much on peoples minds. What I talk
about there, and what I want to talk about here, is in my
opinion significant because it starts the conversation
before any of the stages above, and at arguably the
earliest point in the chain of formal (and traditional)
publication. I want to talk about our role as gatekeepers
an impossibly grand term, but one that nonetheless speaks
clearly to our cultural power.
Our role as literary agents is to represent authors; to
ensure that their work finds the best possible publishing
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 WEDNESDAY 11 OCTOBER 2017
home and for the best possible terms. Our role is also, of
course, to find authors to represent in the first place. In
doing this, we need not just to open our doors (or our
gates) to the talent that knocks on them; we need also to
venture into the world and build a list of authors that looks
something like it. It has always struck me as noteworthy
that people will pass daily through a diverse worldjust
think of your tube journey to work, for examplebut
continue to nurture client lists that fail to reflect that
experience. I say this not as any form of accusation, but to
hold those with power and responsibilityincluding
myselfaccountable for the books and stories dominantly
shaping our culture.
Good intentions
It is clear from both the number and the sincerity of
conversations around the subject of diversity that peoples
intentions are not the problem. The first part of all this is
understanding that there is work to do. The second part:
intending to do it. But, as the data I opened this piece with
will attest, good intentions are simply not enough. The
most important step of all is actually doing the work. Some
of that work will be hard work, but when has working in
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publishing and striving to keep books at the centre of
peoples attention not been hard?
What, you ask, might the work look like? Well, it will be
varied, and I am by no means an expertnor does my
identity as mixed-race make me an authoritybut it will first
involve some recognition that you are not seeing diversity
in the submissions you receive or the recommendations you
are given. It might necessitate reading and research, and
extensive, expansive late-night googling to find, online
and in real life, writers and work you havent seen before.
It might also require you to make yourself available to
emerging writers in new and unorthodox ways, in
acknowledgement of the reality that a disproportionately
small number of writers know what a literary agent is in
the first place, let alone how to go about finding one. I,
myself, had no idea that the role existed until I was 25.
Now that Ive been in the role for the best part of three
years, part of the joy of agenting for me is that at the end of
the day, its up to you. Who you seek to represent. How and
where you find them. Its time we used the privilege of that
freedom to insist upon change.
Emma Paterson is a literary agent with Rogers, Coleridge & White and
Treasurer of the Association of Authors Agents.
FIND OUT MORE
AT STAND B133 HALL 6
25
 FRANKFURT SHOW DAILY WEDNESDAY 11 OCTOBER 2017

Being SaaSy about audiobooks

Things change all the time, but if businesses pay attention to who their customers
are and adapt the supply channels they will survive, says Nicholas Jones
Movies will kill theatre. Television will kill cinema
and radio. Ebooks will wipe out printed books.
CDs will destroy vinyl
The arrival of new technology certainly causes
a shakedown in markets and some assumptions
to be cast aside, but if you look at recent
developments in the media worldof which
publishing is of course a major partit is
surprising how the old ideas last and adapt.
As recently as 2010, John Oakes, of the New
York self-described digital upstart OR Books,
was heading his (actually optimistic) article: This Nicholas Jones
Halloween, Im going as a book publisher. Traditional publishing
seemed to be a zombie. But publishing models like his OR, and
Unbound in the UK, which are either print-on-demand or
subscription models, have helped make the printed book flourish
againas his article foresaw1. As widely documented, printed
books are resurgent where ebooks have stagnated. Audiobooks
are growing fastest of all, perhaps because they have all the benefits
of digital delivery but remain the same familiar product: the end
result for the consumer is sound waves in the
listeners ears regardless of the carrier, be it tape,
CD, download or streaming. Thats not true for
the written word, where the experience of reading
from a printed book is very different from seeing
it on screen.
The expectations of users can change
astonishingly fast: as recently as 2008, in a
podcast for the Times, Alison Flood could say that
downloads are around 10 per cent of sales, so
are they the future for audiobooks? It seems
astonishing that this remark can be so recent given
the download dominance nowalthough it is worth noting that
this year at the Booksellers Association Conference president Ros
de la Hey specifically said, Dont abandon the physical CD
market, and also that in 2008 panellist Peter Crawshaw of Love
Reading was quite accurate in his prediction that CDs would
continue to be important for childrens books. Again comparing
expectations now to those of ten years ago, think of how we
Continues on page 28 g

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 FRANKFURT SHOW DAILY
f Continued from page 26
obtain and use software. Then: physical DVDs with complex
installation procedures; now, subscriptions and more or less
immediate access from web browsers: Software as a Service.
So publishing a decade ago had the sense of a rabbit in
headlights: Amazon had burst on the scene, Borders sold off its UK
stores (they lasted another two years before liquidation), and
Waterstones was in turmoil. Now, some optimism has returned. As
Derek Thompson recently pointed out2, if you allow for different
technologies, the history of Amazon closely follows that of Sears,
Roebuck; founded in 1886 as a mail order company, its first store
was 1925. To the average American of the first half of the 20th
century, the Sears catalogue was the equivalent of the Amazon
website. It was a familiar, friendly place offering almost anything
you could need. The internet of the 1890s was the burgeoning mail
system of the US, supported by rapidly expanding railways. In the
decade from 1895 to 1905, Sears revenue grew by a factor of 503.
(Amazons has grown by a mere 10 times in the last decadeand
in the same time, Sears has halved.) Thompson points out that
Sears success followed from matching their offering to American
demographics, for example expanding into car parts, insurance
and hire following Americas love affair with automobiles.
Ironically, Sears lost its way when it failed to spot the move back to
remote shopping rather than retail stores.
Perhaps publishing has now realised that what is crucial has
actually remained the same: publishing is about finding someone
we make books
come alive
Find us at
Hall 6.0
Stand D53
www.pikidsmedia.com
@pikidsbooks
28 Phoenix International/ PW ad / October 2017
WEDNESDAY 11 OCTOBER 2017
who has knowledge and delivering it to someone who wants that
knowledge. That has been at the heart of any successful business
throughout modern times. Identifying those peopleat both ends
of the chain, supplier and customeris the secret of remaining
relevant, of being ubiquitous in customers lives. And that can now
be done with astonishing accuracy: see, for example, www.
viantinc.co.uk.
My audiobooks studio Strathmore has noticed a sharp new
direction in the kind of audiobook being recorded in the last year,
with several You Tubers (Emma Blackery, Arron Crascall, Carrie
Hope Fletcher, Jim Chapman, to name just a few) bringing their
less formal, but often brilliantly performed, material to the
medium. And we have been recording memoirs and diaries from
radio presentersJeremy Vine and Eddie Mair. So the supply end
adapts, broadening the offer.
At the delivery end, there are new entrants into the UK audio
market with different modelsin particular Bonniers BookBeat,
with its subscription model; it is also interesting to note that the
latest version of iTunes has greatly enhanced support for
audiobooks, perhaps suggesting that Apple isplanning
toenhanceits offering in this area, following the German anti-trust
agencys action in early 2017 which resulted in Audible and Apple
agreeing to end their audiobook exclusivity agreement.
What will the market expectations be for pricing? Audible at
7.99/$14.95 for a credit for one book seems to be flourishing, but
BookBeat has already cut its all-you-can-eat subscription price by
a couple of pounds from its launch. Although in theory it is better
value for even moderately heavy users, it does not (yet?) have the
title range of Audible, and range is crucial to success. It is hard to
gain traction in a market so dominated by an established player
who delivers what customers want. But there are new offerings:
the short audio market is being met by podcasts and by services
like Blinkist4.
In a parallel field, one of the Netflix founders, Mitch Lowe, is
planning to revolutionise cinema-going and has just launched in
the US a service called Moviepass, providing unlimited visits to
cinemas for $9.95 per month, whilst behind the scenes paying the
cinema the full admission price, absorbing the difference. How is
that financed? In due course, it is hoped, by taking a percentage of
all the add-ons of a night at the movies related meals, popcorn,
drinks, etc. It requires deep pockets to sustain such an offer for the
time it will take to establish it, but thats what Blockbuster said
about Netflix when the latter started: We rent movies for $5how
can you possibly make renting at $1 viable?
What is the audiobook equivalent? I think we need to be SaaSy
about it: theres software as a service, television as a service, and
now movies in a cinema on subscription. The audio industry
needs to keep these models in mind. We need to offer
Storytelling-as-a-Service.
Nicholas Jones founded audio production company Strathmore
Publishing in 1995. It has since produced more than 1,000 audiobooks
with readers ranging from Richard Dawkins to Cara Delevingne.
1
www.huffingtonpost.com/john-oakes/this-halloween-im-going-a_b_317903.html
2
Atlantic magazine: www.theatlantic.com/business/archive/2017/09/
sears-predicts-amazon/540888/
3
Alfred D Chandler Jr, The Visible Hand, Harvard University Press, 1977
4
www.blinkist.com
 FRANKFURT SHOW DAILY
Finding readers in a perma-free world
The day starts with its usual cascade of free
offers, writes Nick Wells. Im on my way to
work, my phone pings in a variety of
delightful-to-irritating siren calls. I spin
through Facebook, Twitter, Google+,
WeChat, distracted from a long-form
newspiece on the New York Times app.
Email notifications begin to shake at my
mobile: Groupon, Amazon, HMV,
Techcrunch, Runners World, Musicnotes,
YouTube, YoSushi! Im listening to a stream
of nostalgic music, suitable for blocking out Nick Wells
the sounds of travel all around me, looking
forward, tonight, to the release of the new Star Trek
Discovery on Netflix, to fill the gap left by The Handmaids
Tale and The Man from the High Castle series. Ive just
checked my podcast app and downloaded a couple of
episodes of an American SF channel for late night listening
as I potter around, before forcing myself to bed.
Free, its all free. At least it feels like it. Certainly, its all
convenient and we can make choices about where to direct
our fragmented attention. Variously insignificant monthly
fees allow me, my family and their friends (apparently, so I
30
WEDNESDAY 11 OCTOBER 2017
discovered recently) to consume as much
music and TV as often as we can stomach,
whenever we want. We can order gifts
overnight, with various tempting buy-one-
get-one-free offers, or the latest click-and-
collect excitement. Remembering my sisters
birthday tomorrow, I type a quick note on my
notebook app, knowing Ill be able to read it,
synced, on my computer when Im at work.
Out of habit, I reach absently for my
book, and realise Ive left it at home. I sigh,
and return to the New York Times article,
noting the number of unread emails blinking
gleefully at me from the nest of entertainments buried in
the launch bar of my mobile. A few seconds of
subscription-free reading slips by as my memory is
atomised by the journeys end, and I dive for the exit.
So many demands on our attention
At work, released from traffic, and forced to engage, briefly,
with humans, a pile of manuscripts awaits, both
metaphorically and physically. I am surrounded by
submissions for our new fiction list, Flame Tree Press, and
see an ever-increasing spreadsheet with short story
submissions for our new sf and dark fantasy anthologies,
promising further long reads. There is a small pile of letters;
some of these are elaborately and quaintly handwritten by
ladies and gentlemen of a certain age, offering me the
opportunity of a lifetime to publish a unique gem of
personal recollections. Of course, such treasures are buried
amongst the invoices and other such demands for attention
that clutch at our daily working lives.
Time to breathe
In publishing, battling with meetings, phone calls, emails,
urgent demands for attention from social-media-saturated
colleagues, finding the time to breathe, and think, is a
luxury. But it is an essential luxury, and we all have to force
ourselves to do it. When I was young I remember
marvelling at TV magicians who could whisk away a
tablecloth, leaving everything intact, if wobbling, on the
table. In publishing, though, we must occasionally let it all
fall over, and scatter, let chaos prevail for a few moments
while we take some time to pause. Thinking leads to
consideration. Consideration leads to empathy. Empathy
leads to sensibility. Sensibility leads to (good) sense. And
thats good publishing. If we are bombarded with free
offers, competing for our mental space, then so are our
end-users, consumers, or as we like to call them, in our old-
fashioned way, readers; as are the great intermediators in
publishing, the retailers and the literary agents with whom
we compete in the world of the perma-free, for the
attention of such readers.
Continues on page 32 g
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The London Book Fair
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WEDNESDAY 11 OCTOBER 2017
f Continued from page 30
Our personal lives are
dominated by technology
Thinking leads
and family, by the onslaught to consideration.
of the perma-free, the
always on, the instant
Consideration
gratification of ill-defined leads to
search results. And so are
our readers. If we publishers
empathy.
are to survive as worthwhile Empathy leads
contributors to the modern
world we must work to our
to sensibility.
strengths, pause, think, Sensibility leads
study the long term, watch
the terrain all around, not
to (good) sense.
just in front of us, and make And thats good
our publishing judgements.
To do this effectively, we
publishing.
must find our readers in the
places they lurk, we must rise above the seductions of the
always-free, engage, listen and enjoy. Last week, for
instance, I discovered three book festivals in the UK, and in
the US another four genre writers groups I didnt know
existed. They are packed with dedicated readers, who love
their subject, and seek out their special interest. This is
where our readers go when they dispense with the buzzing
distractions of the perma-free, and the lowest common
denominator. This is where we must be.
Marketing trash-talk
Marketeers talk about influencers, personas, and tell us
still that content is king (especially when promoted
organically, with the latest digital jargon). But this
marketing trash-talk always ends up splattered against
the wall, replaced by the next generation of fast-moving
consumable blue-sky thinking. For publishers, authors
and readers, its value that matters, authenticity, passion
for the subject, the format, the people, its the deep
understanding that comes from caring, from inhabiting
the places we frequent together, whether its libraries,
independent bookshops, literary festivals, comic-cons,
cookery events, writing workshops, or online forums and
blogger communities. To thrive around the perma-free
culture of keywords and SEO phrases (the phrases that
help people find your content) we have to seek
out the places we wish to be ourselves, make friends
with our readers, understand our common interest, our
mutual understanding, and live our lives in sentences and
whole paragraphs.
In publishing, the one thing that unites us all, online, in
print, and in STM, childrens, illustrated non-fiction, and
literary and genre fiction, is that we all read. And we all
need our readers, so we must find them in the places they
love to go. And those places need to be the ones we love
to go too.
Nick Wells is publisher at Flame Tree Press, the new trade fiction imprint
of Flame Tree Publishing, which focuses on horror, crime, sf and fantasy.
 WEDNESDAY 11 OCTOBER 2017
Celebrate a 75-year
Brexit: securing legacy with the book
publishers needs
that started it all!
The process of extricating
ourselves from the European
Union was never going to be
a straightforward task,
writes Stephen Lotinga. The
number of players involved,
the complexity of the issues,
the range of competing
interests and the uncertainty
of the political situation in
both UK and other European
countries were always going Stephen Lotinga
to test even the most skilled negotiators. But despite these
challenges I have generally been optimistic that ultimately
the UK would manage to secure a good deal from the
Brexit negotiations, and that the decision to leave the
European Union would not scupper the strength of our
publishing industry, despite the importance of the
European market to our sector.
But the progress of the negotiations has been slower even
than what was suggested by the involved nature of the
process. With just 16 months until the date we are scheduled
to leave the European Union, it is remarkable how little
clarity there still is about what the final outcome might
look like. When we surveyed the industry immediately after
the Brexit vote, business uncertainty emerged as one of the 978-0-8075-0925-8 Oversized Hardcover US $34.99
top concerns for publishers. Whilst I understand that a
certain amount of uncertainty is inevitable at a time when
the country is embarking on such a complicated process, it
is disconcerting that almost a year and a half since the
Featuring all-new full-color artwork as
Brexit vote many fundamental decisions about the future
of the country remain unresolved. well as an afterword about the author,
the history of the book, and the Boxcar
Questions need answering
I welcome the confirmation that the UK government will be Children legacy, this illustrated edition
seeking a two-year transition period with the EU, which I
celebrates Gertrude Chandler
am sure will help businesses adjust to any new
arrangements, but there are still many questions which Warners timeless story.
need answering. What will the transition deal look like?
Will it be accepted by the EU? If so, on what terms? And
beyond this, what will the UKs relationship with the EU
ultimately look like? Despite Theresa May toning down her
Available this November!
rhetoric that no deal is better than a bad deal following Visit Albert Whitman and Company
the outcome of the General Election, the idea that the UK in Hall 6.0 C32 to find out more!
might still be willing to walk away without a deal has not
been completely taken off the table. Therefore, publishers
are having to prepare themselves for all possible
eventualities, making it difficult to plan for the future.
As well as putting businesses in a constant state of
uncertainty, the slow pace of the negotiations could www.boxcarchildren.com
Continues on page 34 g
 FRANKFURT SHOW DAILY
f Continued from page 33
jeopardise some of the advantages the publishing industry
currently gains from the UKs membership of the EU
single market. Even the issue of EU citizens rights,
something which both sides of the EU negotiations were
keen to find an early solution on, has still not been
resolved. Reports that some EU nationals are already
leaving the UK due to the state of uncertainty is concerning,
and is a situation where the government must provide
clarity as soon as possible.
Potential positives
However, Brexit does not have to be a disaster and I do still
believe that there are potential positives for an export
facing industry such as publishing to thrive post-Brexit. But
there are still a huge number of issues that need to be
sorted through and as such at the Publishers Association
we will be ramping up our lobbying efforts in this area to
ensure that the publishing industrys voice is heard across
all parts of government. As part of this work, we are
working to produce a publishing chapter which will
outline the key asks that the publishing industry would
want from any free-trade deal with the EU post-Brexit, as
well as preparing for any changes to the international
trading environment with other countries the UK trades
with after we leave the EU.
Giant @ Mikal, Dargaud Benelux, 2017
34
WEDNESDAY 11 OCTOBER 2017
This piece of work will address the key issues of interest
to publishers that will be impacted by Brexit. Some of
which are more specific to publishing, such as around
copyright exceptions, exhaustion of rights and
enforcement. Others, such as free movement of goods and
services, employment and immigration, science funding,
tax and trademarks, are areas that cross cut with other
industries, but which are still likely to have a big impact on
the publishing industry. Once we have put together this
publishing chapter we will use this to communicate clear
and key asks to government officials so that we can try to
ensure that our key policy objectives are enshrined in a
legally binding way. The key objective will be to maintain
the UKs status as the best place to operate a publishing
business once we leave the European Union.
I still believe that despite the unconvincing start to the
negotiation process, common sense will prevail and we will
end up with a deal that works for both the UK and the EU,
as well as for the publishing industry. But this does not
mean that we can sit back and hope for a positive outcome.
We will therefore continue to make the case for a Brexit
that works for the publishing industry, as well as seeking
out and taking advantage of any areas of opportunity
which might present themselves.
Stephen Lotinga is chief executive of the Publishers Association.
 WEDNESDAY 11 OCTOBER 2017 FRANKFURT SHOW DAILY

BookMap: the global book trade

How big is book publishing worldwide?
Which book markets are growing? Whats
happening in territories like Brazil, Russia
or China? A new non-profit initiative
called BookMap is issuing its first report
at this years Fair, with hopes that better data about the
state of publishing today will yield better insights on the
future of publishing, writes Andrew Richard Albanese.
Good news first: the international publishing market is big,
estimated to be around 122 billion Euros annually ($143
billion). And the report also appears to confirm what
publishing executives have been saying ahead of this years Fair:
the current market is broadly seen to be nominally flat at best,
not sliding as badly as the newspaper or consumer magazine
industry, yet certainly not growing either, unlike video games,
or in-home video entertainment services like those offered by
Netflix and Amazon, which are showing strong growth.
A number of partners are contributing to the BookMap
project, and the efforts chief researchers, consultant Ruediger
Wischenbart and Carlo Carrenho of Brazils PublishNews, say
the goal is to provide a roadmap to stakeholders in the book
trade, not only publishers and booksellers, but also librarians,
professional educators, as well as regulators and
policymakers. The data for the study
include consumer books (print and digital),
as well as educational, professional and
academic titles (STM). At this point, self-
published literature is not part of the
coverage. This is not to ignore the tremendous expansion of
such independently created works, by individuals or by
organisations, the report notes. But we simply lack any
meaningful data, and sources, for a solid assessment of this
new, and important, sector.
Bookmap organisers stress that this first report is not a
final exercise but an ongoing process, and urge
participation from the industry in offering and vetting data.
BookMaps aim is to rally stakeholders and interested
users in a collaborative effort to produce reliable roadmaps
on international trends that are critical to navigate the
ongoing transformation of the book business, Wischenbart
says. In this ambition, BookMap invites stakeholders to
sign up and share insights, recommendations, but also
financial support, by becoming members.
To download the free report, visit www.bookmap.org.
Information about joining or contributing to the effort can
also be found there.

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 FRANKFURT SHOW DAILY
Guest of Honour: France
The organisers of this years Guest of Honour programme hope it will add new impetus
to the Franco-German relationship and cultural Europe. Nicholas Clee reports
UK visitors to Frankfurt may look at
Frances Guest of Honour programme
somewhat wistfully. France and its
German hosts clearly see the
programme as enhancing the bonds
between their countries, now
identifying themselves more
determinedly than ever as the heart of
Europe as the UK conducts its Brexit
negotiations. France is a very special guest of honour on many
different levels, Frankfurt director Juergen Boos told the Show
Dailyand the levels include the political as well as the literary.
The invitation will allow us to rediscover and give new
impetus to the Franco-German relationship and cultural
Europe... [and] marks France and Germanys commitment to
the European project and the values that we have reaffirmed as
part of the celebrations for the 60th anniversary of the Treaty
of Rome, says Jean-Yves Le Drian, the French minister of
Europe and foreign affairs.
Important cultural project
At the Institut franais, which has responsibility for Frances
Guest of Honour appearance, president Bruno Foucher says:
Francfort en franais will be the most important cultural project
ever performed by France and its French-speaking partners in
Germany. I hope Frances appearance as Guest of Honour will be
perceived in the spirit of a new Europe, a Europe of youth,
hospitality of cultures, of innovation and knowledge-sharing.
Already, Francfort en franais has been responsible for 350
events in Germany, involving more than 200 French-speaking
authorsthe organisers have invited authors from all over the
French-speaking world. Translations of some 1,500 new and
backlist French-language titles will have appeared in the
German market by the end of 2017last year, the total number
of translations coinciding with the Netherlands and Flanders
Guest of Honour programme was 400.
About 200 French-speaking authors are in Frankfurt for the
Fair. Among the star names: author, screenwriter and film
director Emmanuel Carrere, whose most recent title in English is
The Kingdom; Philippe Claudel, another writer and director,
who has won the Independent Foreign Fiction Prize; Marie
Darrieussecq, whose novels include the acclaimed and bestselling
Pig Tales; Michel Houellebecq, controversial author of Atomised
and Platform; the philosopher and critic Julia Kristeva; Catherine
Millet, author of The Sexual Life of Catherine M; the prolific
Belgian author Amlie Nothomb; and the playwright Yasmina
Reza, author of Art and God of Carnage.
The French Guest of Honour pavilion has been developed
with the support of the city of Saint-tienne, which ran a
design competition won by a group of students at the Saint-
tienne Higher School of Art and Design. Two lecturers at the
36
WEDNESDAY 11 OCTOBER 2017
school did further work on the
project, and the design director is
Rudi Baur. As Baur describes it: A
structure comprising lengths of
wood set the tone for all the built
elements. Partition walls between
different subjects, information
media, tables and backdrop became
the receptacles for an immense
thematic library presenting the great wealth of French-
language publishing. The warm atmosphere emanating from
these elements contrasts [with] the high-profile signposting
more reminiscent of an urban centre than of a comfortable
interior. Indeed, the strong presence of digital technology, the
many activities presented continuously in the pavilion and the
themes devoted to young visitors will produce something more
akin to a sort of convivial fab-lab. The role of the pavilion will
be equivalent to that of a cultural centre for a city, and to be
a cultural event and not just a promotional initiative.
It will feature exhibitions on the history of French
publishing, on books for children and young people, and on
the culture of French-language comics; a working
reconstruction of Gutenbergs printing press; a media zone
where visual and verbal media will be produced in real time
and distributed at the pavilion as well as by social media; and
bars along with zones for listening and reading.
The comic books exhibition, which will occupy almost 300
square metres, will include original plates by 24 authors; Charlie
Hebdo will be among the featured journals. Meanwhile,
contemporary comic book artists will be out and about in
Frankfurt, drawing their observations of Francfort en franais.
Back at the pavilion, Biblioboxes will enable children wearing
3D goggles to enjoy multi-sensory experiences of picture books.
Replica Gutenberg Press
Again with poignant resonances for UK visitors, the history of
French publishing exhibition will celebrate Frances fixed-price
book market, among other achievements. Leading French
authors will use the replica Gutenberg Press to print, in French
and German, the first pages of the books of theirs that have
most recently been published in Germany.
America comes to the pavilion in the form of Walden in
Frankfurt, a virtual reality forest where visitors may wander
and encounter writers including Samuel Beckett and Milan
Kundera. Further innovation will be on show from eight start-
ups, selected to present their proposals at the Fair.
Among the events in the pavilion will be the announcement of
the shortlist for the Prix Goncourt, with president Bernard Pivot
and all the members of the jury in attendance, as well as the
presentation of the Prix des 5 Continents in the presence of Jean-
Marie Gustave Le Clzio, the 2008 Nobel Literature laureate.
 FRANKFURT SHOW DAILY
Inspiring even the most isolated readers
Emma Taylor explains how Book Aid International is getting books to adults and
children in remote places where previously they were rare
As members of the publishing industry, we live in a world
full of books. Most of us have books at home and went
through school surrounded by books, but in many places
books are rare.
For isolated rural communities like Chesongoch in
Kenyas Great Rift Valley, accessing books can be especially
challenging. Chesongoch is a tiny village in an area made
up of rugged hills with poor, unpaved roads. Many
residents only leave the community a few times over the
course of their lifetime, and most still practise a pastoral
lifestyle, leaving them vulnerable to frequent droughts.
Poverty is rife and few adults were able to complete school.
Many are illiterate or semi-illiterate.
Our team here at Book Aid International included
Chesongoch in our Inspiring Readers programme in 2016.
Inspiring Readers is a London Book Fair International
Excellence Award-winning programme that creates small
school libraries where children would otherwise have only
a few textbooks to share. In addition to supplying brand
new books, we also provide training for teachers in using
Celebrating
25
Years
at
Frankfurt!
Dorothy Hall Smyk
and
New Harbinger
Publications
Come by
6.0, A72 &
say hello!
newharbingerpublications
1-800-748-6273 / newharbinger.com
38
WEDNESDAY 11 OCTOBER 2017
those books and link schools
with local libraries to
provide on-going support.
Inspiring Readers has given
many of Chesengochs
children their first
opportunity to read a
beautiful new book in their
classrooms, and teachers
report that pupils reading
and writing is improving.
Inspiring readers of
all ages
Inspiring Readers is designed An adult learner at Murkutwo
for primary school pupils, primary school
but in Chesongoch it is also changing the lives of local
adults. When parents saw their children reading, they also
saw an opportunity. They decided to put the books we
provided for their children to work in their own adult
reading classes. Supported by a government programme to
fund a teacher, they are now using the Inspiring Readers
books to learn to read and the effects are transformative.
Florence, in her 60s, has learned to read for the first time
in her life. She can now ensure that she gets a fair price
when shopping and use a mobile phone to stay in touch
with friends and family.
Forty-four-year-old Joseph studies in the reading class
with his father, who is over 70. He explained how
important the books are for his learning: If the books
were not here, we would not be learning. Our teacher has
no other materials to teach us. I would like to complete a
distance learning course through this adult education. Then
I will be able to teach other people.
Books where theyre needed most
Book Aid International is committed to ensuring the books
we provide reach African communities like Chesongoch,
but we also know that there are many other places where
readers face enormous barriers to accessing books.
Millions have been forced to flee their homes in Syria and
across the region, arriving in Southern Europe with little more
than the clothes on their backs. Last year, we supplied a small
shipment of books to a refugee camp on the Greek island of
Chios, and these books are having a huge impact on displaced
children. One of the camps volunteers, Jamie, described the
change he saw: In the first few days, it would only take half an
hour for the children [visiting the library] to lose concentration,
even fighting. Many had never been to school, or if they had,
it was several years ago and theyd been through some terrible
Continues on page 40 g
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 FRANKFURT SHOW DAILY
f Continued from page 38
Pupils excited about reading at Murkutwo primary school
things. But after just three weeks, they stayed on for hours
without getting distracted. Reading became a space for them,
away from the stress of the camps, where they could be excited
in productive and enriching ways, not traumatic ones.
The books donated to our charity by the book trade are
at their most precious in places like Chesongoch and Chios
where the challenges to accessing books and reading are
greatest. We could not support these vulnerable
communities without the generosity of our partners in the
book trade who donate more than one million new books
every year. These books change the lives of those who read
40
WEDNESDAY 11 OCTOBER 2017
Florence (in yellow) and her fellow readers
them, and we look forward to sending books to more
readers around the world in the years to come.
At Book Aid International, we believe that books change lives and that
everyone should have access to books, whatever their circumstances.
Every year, our charity provides more than one million new books,
donated by the publishing industry, to thousands of libraries around the
world and runs library development projects which help libraries support
readers. Learn more by visiting www.bookaid.org.
Inspiring Readers reached Chesongoch and other Kenyan communities
thanks to funding from players of Peoples Postcode Lottery.
Emma Taylor is head of communicationsat Book Aid International.
 NEW YORK RIGHTS FAIR
The International Adult & Childrens Content &
Licensing Marketplace

May 30 -June 1

2018
Metropolitan Pavilion, 125 W. 18th Street, New York City

BUY, SELL & SHOWCASE AT THE

NEW YORK RIGHTS FAIR
The New York Rights Fair is a global event and the first U.S.-based fair dedicated exclusively to
international rights and the distribution and licensing of content.

This one-stop marketplace is the new hub for rights sales negotiation and distribution of content, both adult
and childrens, across all formats, including print, digital, audio, film, and television.

WHO YOULL MEET:

Acquiring agents and co-agents Publishers IP companies
Rights managers Licensees Content professionals
Scouts Film production houses

WHAT YOULL FIND:

Dedicated kiosks for content and titles Seminars to enrich international negotiation Translation center
Agent tables Global rights showcase Special cultural events

The New York Rights Fair is an essential meeting place for the international publishing
community and the U.S. market.
Visit us at Stand 6 0 D43 to learn how you can participate!
www.newyorkrightsfair.com

Presented by

A daily serving of news and
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42
WEDNESDAY 11 OCTOBER 2017
Chronicle Books at 50
Heres something else that
was conceived in San
Francisco during the famous
Summer of LoveChronicle
Books! And befitting such
an auspicious beginning,
writes Andrew Albanese,
some 50 years later, the
publisher has gone on to
become one of Americas
most colourful, and
distinctive brands. The Tyrelle Mahoney
company has been
celebrating its golden
Frankfurt is
anniversary throughout the still the most
year, and the celebration
continues here in Frankfurt, influential of
with giveaways at the fairs for us
Chronicle Books stand (Hall
6.1 stand B76)and because it
Chronicle hopes to take crosses over all
away some deals.
Frankfurt is still the most the pieces of
influential of fairs for us our business.
because it crosses over all
the pieces of our business, Tyrelle Mahoney
says Tyrelle Mahoney, who
took the helm as president of Chronicle Books in January,
after 21 years at the company, starting in international
sales. Its not just the rights stuff, but we also spend a lot
of time identifying potential publishing partners, she says,
pointing to Chronicles relationship with British publisher
Laurence Kingit started, she notes, with a relationship
struck up in Frankfurt.
At this years Fair, Chronicle has a number of key titles
on offer, including Myles McNutts Game of Thrones: A
Viewers Guide to the World of Westeros and Beyond, a two-
book volume that explores the complex stories, characters,
relationships and world-building behind HBOs Emmy-award
winning series. And there is Dave Eggers The Slide of the
Great Wall of China, illustrated by Shawn Harris, a playful
look at some of the worlds most famous architectural
monuments, with beautiful cut-paper illustrations.
Mahoney says she is looking forward to her first
Frankfurt as president of the companyand is hoping to
find the time to take in some of the Fairs programming in
addition to meetings. Though, she concedes this years Fair
will probably not match the Beatlemania she experienced
at the 1999 Fair, when Chronicle had the publishing rights
to The Beatles Anthology. That was such a big deal, she
says, recalling the excitement of having every publisher
big and small from every country stopping by our little
stand to get at that book. That was one of the few times we
were actually holding auctions on site, at the Fair.
 Celebr ating 15 Ye ar s
THE ART OF HARRY POTTER
Hardcover | $75.00
9.75 x 13 | 364 Pages | November 7, 2017
ISBN: 978-0- 06-282075-4
HARRY POTTER AND THE SORCERERS
STONE ENCHANTED POSTCARD BOOK
Hardcover | $12.99 | 6.5 x 4.8
20 Postcards | November 28, 2017
ISBN: 978-0- 06-282163-8
V ISIT US AT THE FR A NK FURT BOOK FA IR
H A LL 6.1 B77
FROM THE FILMS OF
A P O P - U P G U I D E TO
FINAL COVER TO BE REVEALED
FINAL COVER TO BE REVEALED
HARRY POTTER:
HARRY POTTER: A CINEMATIC GALLERY
A POP-UP GUIDE TO HOGWARTS Hardcover | $40.00
Hardcover | $75.00 10 x 11 | 180 Pages | December 5, 2017
9.25 x 11 | 5 Pops | October 2, 2018 ISBN: 978-1- 68383-189-1
ISBN: 978-1- 68383-407- 6
HARRY POTTER AND THE CHAMBER OF
SECRETS ENCHANTED POSTCARD BOOK
Hardcover | $12.99 | 6.5 x 4.8
20 Postcards | November 28, 2017
HARRY POTTER: THE WAND COLLECTION ISBN: 978-0- 06-282164-5
Hardcover | $29.99
12 x 6 | 154 Pages | November 14, 2017
ISBN: 978-1- 68383-188-4
 Visit Us!
Hall 4.2, Stand# K35

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