London Show Daily, Day 1, April 14

London
Tuesday 14 April 2015
visit pW and Bookbrunch at stand 6C91
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Digital Mindsbeyond the gladiatorial

In his opening keynote at
the 2015 London Book Fair
Publishing for Digital
Minds conference, David
Nicholls, bestselling author
of One Day and Us, spoke
of a book business angling
toward equilibrium,
although he expressed some
wariness of the ongoing
digital debate, writes
Andrew Albanese.
In the years since I
published One Day, the
debate between digital
and physical has had a
kind of gladitorial flavour,
Nicholls told a full room at
the Olympia Conference

Centre. On one side, he said,
was the book as object,
traditional publishers,
libraries and shops; on the
other, online retail, digital
downloads, new models of
publishing and social media.
Hovering over the debate:
the L word: Luddite.
But we should remember
that the Luddites were not
simply against technology,
they were for social justice
and a fair deal, Nicholls
said, raising the spectre of
Amazon. When bookshops,
independent or otherwise,
are under threat from

ruthless and predatory
competition, it is hard to
discard old allegiances.
Nicholls was followed by
Facebooks Rob Newlan,
who urged publishers to
think people over pixels,
warning publishers against
getting caught up in the
technology while missing
its point: to connect people.
Market for them, he
stressed, not at them.
The morning keynotes
closed with a talk from
Penguin Random Houses
Hannah Telfer, who riffed
Harper expands further overseas

HarperCollins has moved
aggressively to expand its
foreign-language publishing
programme, announcing the
opening of new offices in
four regions. The new
operations are HarperCollins
Holland, HarperCollins
Japan, HarperCollins Nordic
(Sweden, Norway, Finland,
and Denmark), and
HarperCollins Polska
(Poland, Czech Republic, and
Slovakia). Similar to the

other international offices
it has opened since last
autumn, the new operations
will build on the presence of
Harlequins publishing
operations in the different
regions. That is why the
Harlequin acquisition was
so transformative for us. It
is helping us grow our
international reach, said HC
CEO Brian Murray.
To help launch the

operation, HC has signed the
international bestselling
author Karin Slaughter to a
four-book deal in which the
publisher has acquired both
world English rights as well
as foreign language rights in
about a dozen languages. It
is the first time HC has
simultaneously bought world
English and foreign rights
Continues on page 3 g
on an Alice in Wonderland
theme, characterizing the
digital era as the white
rabbit everyone was chasing
to some unknown
destination in a hurry.
Telfer urged publishers to
be cautious, but not
complacent.
We experiment, and we
learn, Telfer said. But we
also must be mindful of the
potential impacts. We should
not pull the tablecloth out
from under the value we are
able to capture for our
authors in the name of
experimentation alone.
inside:
Groupon
Books
Offering
Pre-Fair
The big deals
JasinDa
wilder
Interview
4
6
Stand 2C80
london show daily
Groupon to launch books offering

Books will soon be part of the dish-of-the-day offer from
gifts certificates company Groupon, which has 14m
subscribers in the UK alone. The aim is to give publishers
backlist titles a new lease of life.
The as-yet-unnamed platformunveiled here at LBFwill
launch in Britain this June, and has the potential to roll out in
35 countries. They include North America and ANZ, where
Groupon works with E-Careers, the digital education and
skills provider founded four years ago by Jazz Gandhum, the
youthful entrepreneur who is also the founder of iPro Sport.
Gandhum is working with IP broker and publishing consultant
Rick Mayston of Agent Fox Media Limited. The two men were
brought together by Groupon, which offers discounts on
E-Careers range of courses. The aim is a digital sales platform that
will open a new revenue stream for publishers, allowing them to
revisit and repackage backlist titles for sale at discounted rates.
Maystons role is to look for maximum value, which he
believes can be extracted from remainders. These might be recent
remainders, new titles to all but the most obsessive buyers, but
CUP launches OA service

Cambridge University Press is launching an open access
(OA) monograph publishing service, offering authors a
way to publish their books via open access in a fairly priced
way. The service gives authors the option of publishing
their work under the Gold OA model, under which works
are made freely available.The standard charge for
publication of books under the model at the Press is 6,500.
CUP also supports Green Open Access Archiving across
books and journals, allowing authors to post portions of
their work on personal websites and repositories without
compromising any aspect of the publishing process.
To contact London Show Daily at the

Fair with your news, visit us on the
Publishers Weekly stand 6C91
Reporting for BookBrunch by
Nicholas Clee and Liz Thomson
Reporting for Publishers Weekly by
Andrew Albanese, Rachel Deahl and Jim Milliot
Project Management: Joseph Murray
Layout and Production: Heather McIntyre
Editorial Co-ordinator (UK): Marian Sheil Tankard
For a FREE digital trial to Publishers Weekly go to

publishersweekly.com/freetrial
For the digital edition of the LBF Show Daily or to download the PW app, go to digital.publishersweekly.com
Subscribe to BookBrunch via www.bookbrunch.co.uk
or email editor@bookbrunch.co.uk
they may also be older titles that can gain a new lease of life by
promotion linked to a news event or anniversary. By way of
examples Mayston cites the Queens 90th birthday next year and,
also in 2016, the 50th anniversary of Englands World Cup win.
Titles could be offered singly or in thematic bundles and, in
many cases, would be available for order in multiple copies,
enabling high street booksellers to buy in timely titles to offer to
their own customers at promotional rates.
Mayston added: We want to build partnerships with
publishers and see what works both with them and with the
Groupon audience. We also want publishers to come to us
with their own ideas they will decide where the market is. We
are open to any business discussion.
Joshua Baker01279 79807 and joshua.b@e-careers.com;
Rick Maystonrick@agentfoxmedia.com.
Nielsen deal with Openbook

Nielsen has announced a collaboration with Openbook in
China under which Openbook will publish weekly overall
and genre-specific US and UK book sales charts, as well as
rights information, and Nielsen will introduce Openbooks
research services to Nielsen Book clients worldwide.
Jonathan Nowell, President of Nielsen Book, said: This
is a fantastic opportunity for our US and UK clients to gain a
deep understanding of the tremendous opportunities that
exist in the worlds second largest book market. I also
believe that the exposure of US and UK charts on
Openbooks systems will stimulate rights and export sales
opportunities for international publishers.
f Continued from page 1

with the intention of publishing across all HC locations
worldwide. Slaughters first book under the new deal, Pretty
Girls, will be released in September 2015 in all countries where
HC operates except the UK, Australia, New Zealand, and the
Netherlands.
Murray said it had been the enthusiasm of authors to have
their works published simultaneously in foreign markets that
had encouraged the company to push ahead with plans to
expand its translation programme. Previously, HC signed
Daniel Silva to a multi-language agreement, and Murray said
he expected soon to sign further authors to similar deals. I am
really pleased with the momentum weve got going in a short
period of time, Murray said. It is clear authors see value in
what we are doing. Slaughter said she was excited to take part
in a unique opportunity for global publishing on a completely
new scale.
The HC overseas offices will look to publish between 30 and
50 titles annually in the native languages in the countries in
which they are located, while Harlequin will continue to
manage its own publishing programme. Lists will be drawn
from HC authors as well as from other authors who want to
take advantage of HCs foreign language platform, Murray
said. He added that he hoped overseas divisions would identify
talent that could sell well in English.
london show daily
Among big pre-Fair deals, debut to Knopf for

rumoured seven figures
Quashing any early concerns about a seeming dearth of big
projects circulating in the run-up to LBF, a number of major
sales closed in the US on the eve of the show, among them the
acquisition of a debut novel, by a 25-year-old, for a rumoured
seven figures, writes Rachel Deahl.
That rumored seven-figure deal is for a book that some
think will be one of the most talked-about of the Fair, a novel
called Homegoing by Yaa Gyasi. Eric Simonoff at William
Morris Endeavor just closed a North American rights deal
with Knopfs Jordan Pavlin, who won the book in a 10-bidder
auction. The novel is about two half-sisters in 18th-century
Ghana, born in different villages and unknown to each other,
whose lives take wildly disparate paths. Pavlin called it as
beautiful and relevant a novel as any Ive ever read. At press
time, auctions were underway in the UK, Sweden, the
Netherlands, Spain, Hungary, France, and Italy.
Another much-talked about novel, The Wangs V. the World,
has just sold to Houghton Mifflin Harcourt. Also a debut, the
book, which is rumoured to have fetched a mid-to-high six
figure advance, was won by Helen Atsma, who took US rights
M&B, Kobo,WHS writing competition

Mills & Boon, Kobo and WHSmith are to launch Romance
Writing Life, a competition for new romance writers.
The winner will receive publication by Mills & Boon,
promotion from Kobo, and WHS support in-store. Kobo
and WHS have a retail partnership.
Entrants will be invited to submit synopses and first
chapters. Joanna Kite, M&B Marketing Manager, said:
Mills & Boon has always supported new writing talent, so
we wanted to create an initiative collaborating print, digital
and retail, to offer a unique heavyweight publishing deal as
a global platform for a new author.
The closing date for entries is 13 July.
3M expands Cloud Library

After years of preparation and anticipation, 3M Library
Systems (3M) has announced today that it will expand its
Cloud Library Digital Lending System to libraries in the UK,
Australia and New Zealand.
Already in over 1,000 libraries in the US and Canada, 3M
Cloud Library is highly regarded by librarians and users for its
easy-to-use ebook lending service. With the launch, library users
in the UK, Australia and New Zealand will soon be able to
borrow library ebooks on their smartphones and tablets, via the
dedicated 3M Cloud Library apps; via their PCs or Macs; or they
can side-load on to Nook, Sony or Kobo dedicated e-readers.
Borrowers will also be able to browse a librarys digital
collection in physical library spaces through 3Ms Discovery
Stations, interactive touch-screens set up for browsing and
checking out ebooks or audiobooks.
in an auction that began with 12 editors from eight different

publishers. Marc Gerald at the Agency Group handled the sale
for Jade Chang, an arts journalist (Glamour, the BBC) who
lives in Los Angeles and currently works at Goodreads. The
book follows an American clan, the patriarch of which arrived
in this country, built a successful cosmetics empire, then lost it
all. The acquisition marks Atsmas first since joining HMH last
month; she described the book as an epic story of
immigration, riches to rags, and family. At press time, Gerald
said he expected to have a UK auction closed by Monday and
that rights had sold in Canada, Brazil, and the Netherlands.
On the non-fiction front, Kirk Johnsons The Feather
Underground has been garnering a notable amount of interest.
The book was just acquired by Kathryn Court at Viking for a
sum rumoured to be in the mid-six figures. Katherine Flynn at
Kneerim, Williams & Bloom handled the sale for the
University of Chicago graduate and current fellow at
University of Southern Californias Annenberg School for
Communication and Journalism. The book, which is subtitled
A Tale of Beauty, Obsessions, and the Worlds Greatest
Natural History Crime, is about a 2009 heist pulled off by
Edwin Rist, an American studying in London, who nabbed
hundreds of bird specimensboth exotic and extinctfrom the
British Museum.
Sillitoe novels to Open Road

Open Road Integrated Media has secured rights to a large
body of British writer Alan Sillitoes work, as well as the rights
to his last, unpublished novel, Moggerhanger. The new novel,
the final instalment of a trilogy that includes A Start in Life
and Life Goes On, will be published worldwide in English in
spring 2016.
Beginning next spring, Open Road will release 24 of
Sillitoes backlist titles, 18 of them throughout the world in
English and six in the US only. An additional 19 titles will be
distributed by Open Road Distribution.
We are beyond excited to welcome Alan Sillitoes backlist
and his last, unpublished novel to the Open Road catalogue,
said Jane Friedman, Open Road CEO and cofounder. This
addition is a prime example of Open Roads commitment to
reinvigorating the backlist catalogues of great writers.
Charlotte Greig, strategic advisor for Open Road in London,
acquired the rights from Peter Straus and Cara Jones at
Rogers, Coleridge & White, in conjunction with Sillitoes
widow, Ruth Fainlight.
Said Fainlight, I know that Alan would have been as
delighted as I am that so much of his backlist is being made
available by Open Road in digital form and, most exciting of
all, that in due course, the final volume of the Moggerhanger
trilogy will be published both in print and as an ebook.
Chicago-based distributor Independent Publishers Group is

adding foreign rights help to the menu of services it offers to its
publisher clients. Through a deal with PubMatch, co-owned
by PW and Combined Book Exhibit, IPG publishers will
automatically have access to PubMatchs complete foreign
rights management and sales toolkit. Part of our job as a
distributor is to offer as many tools as we can to help our
publishers thrive, said IPG COO Joe Matthews. PubMatch
is a game-changing solution for improving rights visibility,
simplifying rights management, and increasing rights sales.
The deal marks the first partnership between the rights
platform and a distributor. Distributors are a natural fit to
work with PubMatch as another tool for making books
available around the world. Were really excited to be that
outlet for IPGs roster of publishers, said PubMatch
Director of Product and Business Development Seth Dellon.
IPG is thrilled to be the first distributor to integrate with
PubMatch and make this powerful platform available to all
of our publishing partners, added Matthews.
One of the biggest benefits of the partnership is the ability
for IPGs publishers to have their titles automatically fed
into their PubMatch title database before they activate their
PubMatch accounts. PubMatchwhich recently rolled out
new additions to its rights management platform, and this
spring is re-launching the transaction engine Rights@
PubMatchis making its complete toolkit available to IPG
publishing partners. Added Dellon: We anticipated that
with IPGs diverse roster, it would be hard to pick a limited
level of service that would appeal to everyone, so we made
all of the management, networking and selling options
available to them.
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IPG adds PubMatch

services
Sage, CCC Partner on open access

fees
SAGE has announced that it will use the Copyright
Clearance Centers (CCC) RightsLink for Open Access
platform to manage article processing Charges (APCs) for
its Open Access publications.
The CCCs RightsLink platform is designed to manage the
Open Access publishing process, including the collection of
page and colour charges, as well as offering compliance
reporting for authors who must comply with public access
funding mandates.
SAGE officials said it selected the CCC platform for its
speed and agility. We needed to move fast because of a
considerable expansion of the number of open access
articles we needed to process, said David Ross, Executive
Publisher for Open Access, SAGE Publications.
Open access publishng will again be a hot topic at the
London Book Fair. Ross will serve as a panellist on the CCC
presentation You Made the Move to Open Access: Whats
Next forYour Business,today (14 April) at 4pm at The Faculty.
Visit us at imfbookstore.org.org/pwl25
INTERNATIONAL MONETARY FUND
london show daily
Jasinda Wilderfrom indie publishing to seven-figure

advance
A handful of indie authors closed major
deals with Big Five publishers just before
LBF. Rachel Deahl caught up with one of
them, Jasinda Wilderthe husband-and-wife
team of Jack and Jasinda Wilder.
RD : What made you decide to selfpublish? Did you consider trying to go the
traditional route?
JW: Id say we thought about the
traditional route to publication for about
Jasinda Wilder
four seconds. A neighbour first suggested
self-publishing, and I spent the next 12 hours in front of my
computer, reading every single thing I could find on it
mostly Joe Konraths amazing blog. Doing it ourselves just
really appealed to us. Not relying on anyone else to decide
whether our work might be palatable to readers, not
waiting months and months and months for some agent to
go no thanks, or if we managed to score an agent and
THEN a contract, having to jump through a million hoops.
But now, were in a different place. Were approaching the
traditional publication process from a

different perspective where we can give it a
shot. And were excited for the opportunity.
RD: How have you been able to capture

such a large audience, on your own? Was
there any specific thing you didor
something that happenedthat you think
initially tipped the scales?
JW: What really got us our audience, what
really broke us through to being successful
was [the series] Big Girls Do It. Those books
appealed to thousands and thousands of women who needed
to feel like there were books that catered to them, specifically.
RD: A lot of strategy talk, when it comes to indie
publishing, seems to focus on pricing. How important do
you think this is?
JW: Part of what set indies apart from traditional
authors, early on, was that we were putting out good
stories at cheaper prices. But now, its not just about cheap.
We now have to find a price point that demonstrates a
confident valuation of our hard work, while still being
accessible. As traditional publishers are starting to, some of
them, trend down in price for ebooksthank God, because
who in their right mind wants to pay $11.99 for an
ebook?indies are trending up.
RD: Why, and when, did you seek out a literary agent?
JW: When Falling Into You blew up and hit #1 on
Amazon and #4 on the New York Times, we knew wed get
queries from domestic publishers, and we wanted someone
who knew how to talk to those houses. So we contacted
Kristin Nelson, because shes awesome and was highly
recommended to us by our friend Hugh Howey.
RD: When your deal with Berkley was announced, you

said that fans of yours had been asking for a long time
when they could buy your books in stores. Was that the
main impetus to signing with a big house?
JW: It was a lot of things. Yes, getting print distribution to
the big box storesin airports and grocery stores and all
thatis tough as an indie. Not impossible, but very hard.
That was part of the decision. Were bestsellers in France and
sell really well with over 20 traditional publishers overseas.
Were bestsellers in audiobooks. Weve sold a ton of POD
books. Now, its time to try something new. We wanted to
see how traditional publishing felt for us, see if it could bring
us to readers who may not have discovered us. We will try
just about anything once, because you wont ever make
progress or see huge results if you dont risk big, too.
A longer version of this article will appear in Publishers Weekly.
london show daily
London Briefcase 2015

By Rachel Deahl in New York and Nicholas Clee in London
US
from 1914 to 1938. On the non-fiction side, Gernert has Garry
DYSTEL & GODERICH LITERARY MANAGEMENT
THE ENEMIES OF THE FREE WORLD MUST BE STOPPED
DGLM will be touting If I Stay author Gayle Formans BYPASS (on submission
(PublicAffairs, October), a take on the Russian leader from the worlds
in the US), a novel about a woman who goes in search of her birth mother while
former chess champion.
Kasparovs WINTER IS COMING: WHY VLADIMIR PUTIN AND
recovering from a heart attack. For non-fiction, the agency will be shopping
LIFE PLUS 30 (on submission in the US), by attorney Rabia Chaudry, a
SANFORD J GREENBURGER
friend of Adnan Syed, the subject of the 2014 podcast phenomenon, Serial.
A hot book on SJGAs list is Brad Thors CODE OF CONDUCT (S&S/

Emily Bestler, July), in which counterterrorism operative Scot Harvath
FOUNDRY LITERARY + MEDIA
tries to stop a terror attack of global proportions. From Duff
Among Foundrys big titles in London is the new novel from Brothers
McKagan, writing with Chris Kornelius, is HOW TO BE A MAN (AND
Sisters author Patrick deWitt, UNDERMAJORDOMO MINOR (Ecco,
OTHER ILLUSIONS) (DaCapo, May), which the agency says is a guide
September). The agency calls it a love story, an adventure story, a fable
to life by the former Guns N Roses member.
without a moral, and an ink-black comedy of manners. Another major

fiction title for the agency is Ernest Clines ARMADA (Crown, July), a
ICM PARTNERS (handled by Curtis Brown)
coming-of-age tale from the author of Ready Player One that is, also, a
One of the novels ICM will be touting at the Fair is the currently untitled
surprising thriller and an alien-invasion tale.
work by National Book Award finalist Adam Haslett; it will be published

by Little, Brown in the States in 2016. Then theres Nelson DeMilles
THE GERNERT AGENCY
RADIANT ANGEL (Grand Central, May), the newest in the authors
On Gernerts hot list is Peter Behrenss KARIN (Pantheon, February
John Corey series; and Barbara Ehrenreichs OLD ENOUGH TO DIE:
2016), a novel inspired by the life of the authors father, unfolding
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london show daily

LIFE, DEATH AND DYSTOPIAN BIOLOGY (Hachette/Twelve, 2017),
which tackles living in the face of death.
UK
AITKEN ALEXANDER
Sara Baumes SPILL SIMMER FALTER WITHER (published in Ireland
by Tramp Press) is a story about a man, a dog, and loneliness (Wm
INKWELL MANAGEMENT
Heinemann UK).
A big book for Inkwell is the novel DARK MATTER (Crown, manuscript
delivery set for summer 2015) by Blake Crouch, which has already sold
DARLEY ANDERSON ASSOCIATEs
in a number of foreign countries (as well as to Sony for film). The agency
In THE CURIOUS CHARMS OF ARTHUR PEPPER by Phaedra Patrick,
will be handling unsold foreign rights to Katherine Dunns cult classic,
69-year-old Arthurs discovery of a mysterious charm bracelet in his late
GEEK LOVE, which celebrated its 25th anniversary last year. (While
wifes possessions sends him on an epic quest to find out the truth about
Knopf sold foreign rights to the book in a number of countries, many of
his her secret life before they met (Mira UK; Mira US; Rocco Brazil; Btb
those contracts have expired.)
Germany; Garzanti Italy; Luitingh-Sijthof the Netherlands; Forum Sweden).
JANKLOW & NESBIT
BLAKE FRIEDMANN
On J&Ns list of top books for the Fair is Stanford professor Jerry
AGAAT by Man Booker International-longlisted Marlene Van Niekerk
Kaplans HUMANS NEED NOT APPLY (Yale, August), which the agency
traces the effects of apartheid through the story of a nurse and her charge,
calls a timely and accessible analysis of the promise and perils of
a woman condemned to silence by a creeping paralysis (Little, Brown UK,
artificial intelligence. On the fiction side is Ann Beatties collection of
Tin House US, eight other publishers).
linked stories, THE STATE WERE IN (Scribner, August).
FELICITY BRYAN ASSOCIATES

TRIDENT MEDIA GROUP
Meg Rosoffs first adult novel is DUCK ZOO, about finding ones feet
A hot fiction title for Trident is EVERY FIFTEEN MINUTES by Lisa
and falling for the wrong person (Bloomsbury UK; Viking US; Doubleday
Scottoline (St Martins, April), a thriller centring on Dr Eric Parrish, a
Canada).
psychiatrist treating a teenage patient with OCD. UK rights have been

sold to Headline. Tridents hot non-fiction title is TO STEM THE TIDE:
CONVILLE & WALSH
MY FIGHT FOR THE FUTURE OF OUR PLANET (Thomas Dunne,
EVERYONE IS WATCHING by Megan Bradbury (Picador UK) guides
spring 2016) by Peter Willcox with Ronald Weiss. In the book Willcox
the reader through New York via the lives of Robert Mapplethorpe,
documents being captain of the Greenpeace ship The Rainbow Warrior.
Robert Moses, Edmund White, and Walt Whitman.
ED VICTOR LTD
CURTIS BROWN
Ed Victor will be shopping Alastair Campbells WINNERS (no US
Curtis Brown is certain to attract huge interest at the Fair in the sequel to
publisher), a book from Tony Blairs former chief spokesman that was
Nelson Mandelas Long Walk to Freedom, based on the late South
recently published in the UK. From Pulitzer Prize winner Edna OBrien is
African leaders text and on archive material (Macmillan UK).
THE LITTLE RED CHAIRS (Little, Brown, manuscript delivery set for
April), a novel about a war criminal, masquerading as a healer, who
FURNISS LAWTON
settles in an Irish village; rights sold in France and the UK.
Historian Neil Olivers first novel is MASTER OF SHADOWS, set in the

days leading up to the Fall of Constantinople (Orion UK).
THE WYLIE AGENCY

A big non-fiction book for the agency is one by Graeme Wood,
DAVID GODWIN ASSOCIATES
contributing editor at the Atlantic and lecturer at Yale, called THE WAR
THE MEMORY ILLUSION by Dr Julia Shaw explores all kinds of memory
OF THE END OF TIME: WHAT THE ISLAMIC STATE WANTS
errors - from puzzling but mundane ones to complex false memory constructs
(Random House, delivery expected in November). Another hot non-fiction
that have stupendous implications (Random House UK; Doubleday Canada;
title for Wylie is Julia Leighs AVALANCHE (on submission now, delivery
Carl Hanser Verlag Germany; Ponte Alle Grazie Italy; Prometheus
set for spring), which details the authors trials with IVF. On the fiction
Netherlands; Bertrand Editora Portugal; Business Weekly Taiwan).
front is National Book Award winner Colum McCanns new short story
collection, THIRTEEN WAYS OF LOOKING (Random House, October).
HARDMAN & SWAINSON

Ann Morgans debut literary thriller BESIDE MYSELF is about identical
WRITERS HOUSE
twins who swap places aged six, and the catastrophic consequences when
The agency has a lineup of novels for this years Fair. First up, theres
one twin refuses to swap back (Bloomsbury UK and US).
Megan Abbotts YOU WILL KNOW ME (Little, Brown, July 2016),

which delves into the world of a gymnast prodigy through the perspective
AM HEATH
of a devoted mother. Tim Johnstons debut thriller, DESCENT
THE LONG SHADOW by Harriet Edwards is the story of a brother and
(Algonquin, January 2015), follows the deconstruction of a family
sister who grow up blaming themselves for the death of their mother -
coping with the violent kidnapping of their daughter.
but what really happened that day? (btb Germany; Salani Italy).
london show daily
DAVID HIGHAM ASSOCIATES
follows a young woman with an unravelling life (Picador UK; Random
BLACK RABBIT HALL by Eve Chase is a gothic debut novel set at the
House US; Gads Denmark; Belfond France; Piper Germany; Newton
Alton familys Pencraw Hall (affectionately known as Black Rabbit Hall),
Compton Italy; Massolit Sweden).
where very little happensuntil the worst thing does (Michael Joseph
UK; Penguin Putnam US; Gyldendal Norsk Norway).
MADELEINE MILBURN
THE WIDOW is a debut crime novel by journalist Fiona Barton, and
SOPHIE HICKS AGENCY
narrated by the wife of a man suspected of a hideous crime (Transworld
Eoin Colfer and Andrew Donkin reunite for their first original adult
UK; NAL US; publishers in 16 other territories).
graphic novel, ILLEGAL (with art by Giovani Rigano), about two

brothers who undertake an epic journey through North Africa and across
PETERS, FRASER & DUNLOP
the Mediterranean in the hope of a better life.
Allison Pearsons new novel is SANDWICH WOMAN, featuring the

return of Kate Reddy from I Dont Know How She Does It
JANKLOW & NESBIT
(HarperCollins UK; St Martins US; Cherche Midi France).
THE ALMOND AND THE SEAHORSE is a proposal by neuroscientist

Professor Sarah-Jayne Blakemore for a book about her research into
UNITED AGENTS
brain development and how we misunderstand adolescence.
THE MARK AND THE VOID by Paul Murray, following his Man Booker-
Derek B Millers second novel, following the prize-winning Norwegian by
longlisted SKIPPY DIES, is perhaps the funniest novel ever written about a
Night, is THE GIRL IN GREEN, in which an ex American soldier and
financial crisis (Hamish Hamilton UK; Farrar, Straus US; Meridiaan Netherlands).
British journalist travel though post-war Iraq to try to rescue a girl they
once knew (Faber UK; HMH US; Scribe Australia).
WATSON, LITTLE
1666: PLAGUE, WAR AND HELLFIRE by Rebecca Rideal (agent
LUTYENS & RUBINSTEIN
Donald Winchester) is a narrative of the year of the Great Fire, the return
NOT WORKING is an in-demand debut novel by Lisa Owens, and
of the plague, and the second Anglo-Dutch war (John Murray UK).
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Visit us
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london show daily
Welcome to London Book Fair

Jacks Thomas gives a flavour of what is on offer in the three days to come
Hello and welcome to the 44th edition of the
London Book Fair at our new home, the newly
renovated London landmark, Olympia.
Rights trading is of course at the core of the
Fair, along with discovering the next big thing,
discovering new opportunities from emerging
territories or new sectors, innovative digital
advances, bestselling retail practices and so
onthere is so much that makes up the fun of
the Fair! Personally I never lose the thrill of
seeing books published in lots of different
languages, with many of those journeys having Jacks Thomas
begun at the Book Fair. Deals made one year, become
international hits the following year; how brilliant to have
watched the success of Jessie Burtons The Minaturist, the big
news of LBF 2013, becoming a breakout hit last year. This
years Fair offers a wealth of new rights opportunities for
publishers to exploit their assets across countries and sectors,
ECW Press
on the represented
Canada Stand
F500
with an arrayVisit
of creative
industries
from
film to
gaming, graphic novels to YouTube and, of course, the chance
to discover the opportunities that our Market

Focus country, Mexico, offers to publishers
from around the world.
LBFs Mexico Market Focus programme will
bring the best in contemporary Mexican writing
and publishing to the UK. It is a cornerstone
project of the Year of the UK in Mexico and
the Year of Mexico in the UK. The Cultural
Programme, curated by the British Council, in
partnership with Conaculta, will give UK
audiences a rare opportunity to meet and
interact with Mexican writers including Elena
Poniatowska and Enrique Krauze. The Professional Programme,
in partnership with the Publishers Association, will hear from
the crme de la crme of Mexican publishing.
Fresh from the agenda-setting digital conference Publishing
for Digital Minds yesterday, we now dive headfirst into
hundreds of events running all day, every day throughout the
Fair, not to mention a new conference, the Academic and
Scholarly Forum on Wednesday, and the established
educational conference What Works? on Thursday.
The new Literary Festival Forum on Thursday will focus on
this
ever-growing area of the industry. With more than 350
Music
festivals
around the UK, leading festival directors will discuss
Visit ECW Press on the Canada Stand 5D150
what makes them successful and the best way to work with
authors and publishers.
Keep an eye out for the Social Network, a new space on the
show floor for YouTubers and BookTubers. We have also
partnered up with Sequential to offer a dedicated celebration
ment
Environ
re
of the graphic novel, which will showcase the latest rights
& Natu
available from publishers around the world. As ever, LBF is
keen to nurture upcoming talents, and our incredibly popular
Author HQ is back for another year (see right).
And, dont miss the events taking place for consumers across
London as part of London Book & Screen Week (13 to 19
April), the celebration of the books central role in the creative
and knowledge economies. There are hundreds of events, with
Chronicling Taylor Swifts rise to international
something for everyone, from author talks, writing masterclasses,
stardom, this book includes details on her
2012 album Red and coverage of all her recent
film screenings, a comics draw-along, cook book demonstrations,
adventures in the spotlight.
bookshop crawls, literary salons, poetry parties, fiction prizes and
much moretruly a testament to this amazing city and its love
Internationally renowned environmental
affair with the book (www.londonbookandscreenweek.co.uk).
lawyer David Boyds hopeful, inspiring, and
honest take on the remarkable number of
Finally, please do look out for the LETLBFKNOW kiosks
ecw press ecwpress.com | info@ecwpress.com
environmental problems that have been
around the Fair where you can give us your feedback. We are very
solved over the past 50 years.
aware that moving to a new home can be disruptive and, while
every effort has been taken with the elements we can influence
Find more curiously compelling books
to make the transition as smooth as possible, we are keen on
Biography Business
Canadian fiction Canadian poetry Entertainment Games Health History
atDrama
ecwpress.com
Hobbies Humor Literary collections Literary criticism Memoir Mystery Pets Photography Popular science
hearing about what works, and what could work better, so that
Self-help
Selfhelp Science fiction Sports Travel TV companion guides True crime Wrestling Young adult Biography
Business Drama Canadian fiction Canadian poetry Entertainment Games Health History Hobbies Humor
we can ensure that LBF 2016 is the best it can possibly be.
ecw
press
Literary collections Literary criticism Memoir Mystery Music Pets Photography Popular science Self-help
Science fiction Sports Travel TV companion guides True crime Wrestling Young adult Biography Business
info@ecwpress.com
Drama Canadian fiction Canadian poetry Entertainment Games Health History Hobbies Humor Literary I wish you an enjoyable and successful Fair!
collections Literary criticism Memoir Mystery Music Pets Photography Popular science Self-help Science
Jacks Thomas
fiction Sports Travel TV companion guides True crime Wrestling Young adult
adult Biography Business Drama
Canadian fiction Canadian poetry Entertainment Games History Hobbies Humor Literary collections
10
is Director of the London Book Fair.
Author HQ
Author HQ (organised with Kindle Direct Publishing), the selfpublishing strand of the Fair, is now in its fourth year, and is one of
the most popular features at LBF. In addition to the seminar
programme, a series of Agent One-to-One meetings has been
pre-arranged to give authors an opportunity to talk to an agent from
a leading literary agency.Back for another year, The Write Stuff, a
Dragons Den-style panel event, will see ten authors pitch their books
to a panel of literary agents in front of an audience in Author HQ
(Thursday, 2pm to 4pm), for the chance to win a follow-up meeting
with an agent. Each pitch must be under two minutes long, with
agents providing on-the-spot feedback. Seminar highlights include:
Daily
10.45-11.30 Kindle Direct Publishing
Hear about the writing and publishing experiences of some bestselling
KDP authors and learn how they did it. Mel Sherratt, Stephanie Hudson
and Keith Houghton will be joined by Mark Dawson on Tuesday; CJ
Lyons on Wednesday and Rachel Abbott on Thursday. Events will be
chaired by Darren Hardy, UK Manager, Kindle Direct Publishing.
Tuesday
11.45-12.30 Know Your Rights: Legal and Contracts
Advice on how to navigate the legal issues of an evolving industry,
from intellectual property rights in traditional and digital media, to
contract negotiation.
13.45-14.30 Effective PR & Marketing
What are the principles of good PR and marketing, what opportunities
are available and what can authors do to promote and market their
books more effectively?
15.45-16.30 The Principles of Successful Book and Book Cover Design
A guide to the golden rules of book cover design from industry
experts involved in all stages of the process.
16.45-17.30 Genre Spotlight: Crime and Thrillers
A look at trends in this genre, and at what publishers and agents in
this area are looking for.
Wednesday
09.45-10.30 Crowdfunding
A session on running a successful crowdfunding campaign, including
how to get started, creating strong pitch materials, campaign
managementand what to do when your campaign reaches its end.
11.45-12.30 How To Sell Your Book
Looks at what booksellers need to know when deciding on what to
stock, and how to approach them.
14.45-15.30 Genre Spotlight: Non-fiction
European Song Contest winner Conchita Wurst will be discussing her
autobiography Being Conchita, which comes out in May.
15.45-16.30 Successful Social Media Strategies
The dos and donts for authors looking to build a platform for
themselves and their books on social media.
Thursday
09.45-10.30 Publishers and Agents: How They Are Discovering
New Talent
What they are looking for, and what is the best way to pitch to them?
12.45-13.30 Kobo Writing Life: It Takes a Village: The Rise of
Author Collectives
Are co-operatives really capable of making a difference to a writers
success?
Bio
11
london show daily
Its rights, Jim, but not as we know it

Paul Riley argues that, in an age of online and digital forms of publishing,
publishers need to rethink the way they approach content if they are to come
up with the best formats and business models for their products
I have been coming to the London Book
Fair for more years than I care to admit, and
it continues to serve a useful purpose for
developing new business streams. However,
the nature of rights conversations has
transformed in recent yearsas has our
experience of the event.
At the heart of the change is a
fundamental shift in the way in which the
publishing industry operates. Put simply, in
a print world, publishers moved physical
objects down a distribution chain in specific Paul Riley
regionsadding value through their content
and designwith the fixed format of paper
and ink helping to define the playing field.
Anything outside of the scope of this model
could be neatly handled via licensing
relationships with businesses in other
territories, which has traditionally been the
focus of activities at the London Book Fair.
With the evolution of online and digital
forms of publishing, however, these models
of value creation and simple licensing
relationships are often challenged.
Publishers with lower content standards can
raise their game through expertise in
algorithms and new types of user
engagement, while the low cost of copying
and moving digital books undermines the international
licensing model.
We move from
publishing fixed
books to
creating flexible
pieces of
content that
can be used
in a range of
different
contexts.
New business models

In this disruptive digital environment, we are finding
that traditional methods of selling rights are slowly
making way for new business models. While of course
translation deals and the like remain important sources
of revenue, its no longer enough to just show up to the
Fair, set up a stand and hand out rights catalogues. It is
important for publishers to consider how the content
itself is developed in order to assess the most effective
formats and business models for bringing their products
to the market.
One way of achieving this change (and one which is
appreciated by technology companies large and small) is
adopting a more open approach to publishing, in which we
start to view our content as a service. In doing so we move
from publishing fixed books to creating flexible pieces of
content that can be used in a range of different contexts.
12
In this new world, publishers can increase

the value of their content by developing it in
standard formats that can be syndicated via
other platforms (for example, dictionary or
assessment content that can be integrated
into third-party websites). Conversely it is
also possible to do the reverse; call in
content and services from external sources
to enhance the publishers own products
(say, integrating an adaptive-learning layer
into a digital textbook platform). If
developed properly, these service-based
products can be quickly scaled and
integrated into numerous product forms,
providing many opportunities for publishers
to repurpose their content.
Service models
There are a number of trends that highlight

this move towards a service model. The first
is the growth of appification. Whereas
publishers used to create large and complex
products, content is increasingly being
broken into bite-size apps that have an
ability to communicate with each other via
application protocol interfaces (or API)
layers. A key benefit of this approach is that
publishers are able to develop small
products quickly with less investment, but in a way that
gives them continued control over the user experience as
well as the ability to capture user data.
The second is a move to subscription models, long in
the domain of journals publishing, to sell timed access
to collections of applications or individual pieces of
content. Services such as Netflix or Spotify have become
popular for consumption of entertainment media, and
recently ebook and audio book services such as Kindle
Unlimited, Scribd and Oyster are bringing this model
into the publishing world, and more recently the
educational space.
The Internet of Things

Finally, we have seen the expansion of the Internet of
Things, where new hardware platforms and smart devices
are interconnected, and serving up increasing levels of
content. Recent developments that are relevant to content
providers include streaming dongles (which easily bring
electronic whiteboard-type functions to cheaper screens),
london show daily
entrepreneurs
Publishers can Inventive
The collaboration gives us access to
increase the
inventive entrepreneurs who are trying to
disrupt education for the better. This helps
value of their
to support a quicker cycle of innovation and
delivery, which produces tangible benefits
content by
OUP, while helping to improve the lives
developing it in for
of learners and teachers.
Through partnerships of this kind, we are
standard
able to bring our pedagogical expertise to a
formats that can range of new digital forms and expand our
network of channels to marketwhether
be syndicated
they be web-based, mobile platforms, or via
via other
global or regional service providers through
the licensing or syndication of our content
platforms.
smart watches and virtual reality headsets.

While much of this hardware is still
immature, interesting uses for the
technology are emerging, and forwardlooking publishers will monitor these trends
and experiment when an appropriate
opportunity to do so presents itself.
It is not easy to keep up with
developments in the fragmented and
ever-changing world of technological
innovation, particularly for larger, more
established publishers. But, one of the ways
in which Oxford University Press (OUP) is
expanding its horizons is through a
partnership with Emerge Education.
Emerge is an accelerator programme that
offers ambitious education technology start-ups the
chance to gain expertise, customers and investment as they
look to take their ventures to the next level. Through the
collaboration, OUP is actively working with the start-ups
involved in the programme to develop their innovative
platforms and delivery systems, and combine them with
our world-class content.
and services.
While these new approaches to disseminating content
are not rights deals in their purest form, they can help
publishers such as OUP to find new uses and a wider
audience for our contentallowing us to live long and
prosper as the industry shifts.
Paul Riley is Director of Channels and Partnerships for the English

Language Teaching division of Oxford University Press.
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13
london show daily
Childrens print book sales buck the trend

Jonathan Nowell reports on fantastic sales growth in childrens booksand its a
pattern that is being repeated across many of the worlds book markets
At our Nielsen Childrens Summit in New
York in December, we talked about how
childrens print book sales around the world in
the last couple of years have been nothing
short of fantastic. Total print sales in the US
rose 2%, but childrens was the key driver,
with 13% growth. In the UK total print sales
fell by 2%childrens grew by 8%. In China
(where childrens sales are a smaller
proportion of the total than in the West) total
unit sales were up 3%, but childrens units
grew by 10%. With the exception of India, this
same pattern of childrens print sales growth
outstripping total market performance was
apparent in the seven other international
markets we monitor through Nielsen
BookScan. In the last six months of 2014 in
Brazil, childrens books were 28% ahead of
the second half of 2013!
Nielsen BookScan 2014: Broad sector declines across most marketswith childrens books
Why should this be? Well there are many
the standout performer
reasons. Some are local; for instance, the
down the age when children start reading ebooks. The
relaxation of family size legislation in China might have
mean age when an American child starts reading ebooks
something to do with their growth in sales of childrens
has dropped from seven-years-old to five-years-old in
books, and government investment in childrens literacy
just two years. The ebook share of all childrens books
will have had some impact in Brazil. But what of the US
purchased in the US is now 21%still lagging behind
and UK? The reasons are not so obvious
The growth percentages above do not include ebooks,
adult books and particularly adult fiction in the US, but
although the increased use of family tablets has brought
up from 7% in 2011.
In spite of this growth in ebooks, print
remains the touchstone for children and
families. Our research tells us that parental
attitudes towards print have strengthened
at the same time as they have increased
their own ebook purchases. All physical
formats of childrens books in the US have
grown, but board books have seen 22%
compound growth over the last three years.
Increasingly we see parents in mature
economies invested in younger childrens
literacy. The growth we are witnessing is
across all childrens categories including the
non-fiction categorieswe have Star Wars
branded Lego books and Disney Princesses
make great celebrity chefs!
There is of course another key trend in
the childrens market in the US and UK:
adults are buying a lot of childrens books
for themselves. Our research for the
Childrens Summit uncovered that, in the US,
Nielsen Books Understanding the Childrens UK Book Consumer 2014: Weekly
participation in pastimes
approximately 27% of juvenile non-fiction
14
london show daily
In the UK
childrens books
have grown
from 24% share
of our print
sales in 2004 to
35% in 2014.
books are bought by adults with no

childrenand not as gifts.
Then, of course, there is the young adult
category. In 2011, five of the US top 20
bestselling childrens books fell into the YA
category. In 2014, 11 of the top 20 were YA,
including three John Green titles and four
Veronica Roth titles. YA titles have started to
dominate the childrens books charts and the
reason is that in the US, 73% of YA books are
bought by US adults for themselves.
In the UK, childrens books have grown from 24%
share of our print sales in 2004 to 35% in 2014. British
childrens reading remains the number one pastime for the
0-10 age group, although for the 11-13 age group reading
drops to sixth placeovertaken by television, gaming,
social networking and texting friends. And for the 14-17
age group, reading falls way down the pastime list. I dont
think this particular challenge has changed much in the
last few years; the difference today, of course, is that
many of the preferred activities for teens are available to
them through the same device that they are increasingly
using to read.
At the Childrens Summit we ran some

teenage focus groups for the 14-17 age
range. The overriding impression I came
away with was that these teens preferred
reading print for pleasure and reading
digital for school-work (many did their
homework on their smart phones on the bus
to school!). But more importantly, they
wanted others to know what they were
reading for pleasure because their printed
book said something about them that the
generic digital device did not.
If we are to maintain this fantastic growth in childrens
book sales we must better understand the teen buttons we
need to push. My guess is that these buttons are no different
to those of the 20-somethings that they aspire to be. But
we need to get it right. It is time the industry invested
seriously in teen research; these are the heavy book buyers
of the futureor they are not book buyers at all.
Sources: Nielsen BookScan; Nielsen Books & Consumers US survey;

Nielsen Books Understanding the Childrens UK Book Consumer 2014
Jonathan Nowell is President of Nielsen Book.
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london show daily
Reversal of fortunes?
The number of big publishing lawsuits in the US is winding down, but some very
big legal losses could still be reversed on appeal. Andrew Richard Albanese
looks at where things stand
United States vs. Apple
At the end of 2014, Apple at long last got its shot before
an appeals court to argue that the 2013 verdict holding it
liable for fixing ebook prices should be reversed. And the
lively hearing did not disappoint, as a panel of three judges
aggressively questioned the governments case.
By all accounts, Apple had a pretty good day in court.
One judge, Dennis Jacobs, suggested that Apples (and the
publishers) actions may have been justified to break the
hold of a monopolist that had engaged in predatory
pricing. But while it may be music to the publishing
industrys ears to hear a federal judge imply that Amazon is
a monopolist, attorneys say Apple still has a big hill to
climb. It is one thing for judge Dennis Jacobs to base his
questions on an assumption that Amazon held a monopoly
and was engaged in predatory pricing, but the trial record
does not establish Amazon as a monopolist, or a predatory
price-setter, only as following a loss-leader strategy.
It could be months before the court rules, and much is on
the line: first and foremost, a reversal would mean Apple
would not have to pay the $400 million it agreed to refund
to consumers to settle state and class action claims
associated with the suit.
The Google book scanning litigation

Also in December, an appeals court heard oral arguments
in Authors Guild vs. Google, the Guilds nine-year legal
battle against Google over its programme to digitise out-ofprint library books.
To say the least, the case has followed a long, winding
and unsuccessful roadfor the Authors Guild (AG). Filed in
2005, the case was shelved in 2008 for three years while
the court considered a controversial settlement, which was
rejected in 2011. In 2011, the Authors Guild filed a parallel
suit against Googles library-scanning partners, the
HathiTrust. But in 2012, Judge Harold Baer delivered an
emphatic summary judgement in favour of the libraries. A
year later, Judge Denny Chin echoed Baers findings in his
ruling for Google. Last year the appeals court unanimously
affirmed Baers HathiTrust verdict, and in January, the
Guild announced it was dropping the HathiTrust case.
At Decembers oral arguments, AG attorneys sought to
differentiate the Guilds case against Google from its
unsuccessful HathiTrust bid, citing Googles commercial nature.
Unfortunately for the Authors Guild, the appeals court appeared
sceptical of that argument, with one senior judge all but telling
AG attorneys they would not prevail by arguing Google was a
commercial venture. A ruling is expected this year, and barring
16
a major surprise, it appears the AGs case against Google, like

its case against the HathiTrust, may finally be out of gas.
Cambridge University Press vs. Patton

Is the tide about to turn in what AAP (the Association of
American Publishers) President Tom Allen has called a test
case for fair use in the digital age?
In 2008, three academic publishers (Oxford University
Press, Cambridge University Press and Sage Publications)
alleged that administrators at Georgia State University (GSU)
systematically encouraged faculty to use digitised course
readings (known as e-reserves) as a no-cost alternative to
traditional printed course-packs. In 2012, Judge Orinda
Evans ruled against the publishers. But last year, an appeals
court reversed Evans, and sent the case back to her.
With the case now on remand, the publishers made a potentially
game-changing move in Februarythey asked to reopen the trial
record, and to use new evidence from the most recent academic
terms to evaluate whether GSUs practices are infringing.
If granted, the move would essentially mean a whole new
fair-use trial. And that matters because the publishers erred
badly with the evidence at their first trialof the 99 counts of
alleged infringement selected for the 2010 trial, only 48 got to
a fair-use analysis, with many knocked out by technicalities
and record-keeping issues. And for 33 of the works in
question, digital licences were not available at the time, which
weighed heavily against infringement in Evans fair-use
analysisa fact that would certainly not be the case in 2015.
James et al vs. Penguin Group

In late April of 2013, three authors filed suit against selfpublishing service provider Author Solutions, and its parent
company Penguin, alleging that the company misrepresents
itself as a publisher to lure authors in, then profits from
fraudulent practices. Last month, the plaintiffs moved to
make the case a class action, which could vastly expand the
potential liability for Author Solutions.
For Penguin, the parent company of Author Solutions,
the good news is that last spring it was severed from the
case. The bad news, however, is that Judge Denise Cote has
refused to dismiss the case, and there could be a trial
sometime as early as this autumn.
The complaint makes for fascinating reading. Coming at a
boom time for self-publishing, the filings recall the days of the
vanity press, when unsuspecting authors were wooed in, and
then saddled with expensive fees and garages full of poor quality
print books. Regardless of the legal outcome, it is a reminder of
the difficult road self-publishing still faces, even as it grows.
LONDON BOOK FAIR 2015
The DIGITAL SPOTLIGHT
An in-depth look at everything digital at the fair

APRIL, 2015
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APRIL 2015
Olympians

BY ANDREW RICHARD ALBANESE
With a new homethe refurbished Olympia London

a new era begins for the London Book Fair
f youre a regular attendee of the London Book Fair, you

probably remember the Olympia London, the fairs home
through 2005. But like the publishing business itself,
a lots changed in 10 years. The 2015 London Book returns
to Olympia following a more than 20 million refurbishment, which has restored the architectural gem in the heart
of West London to gloryand then some.
The Olympia of today is very different from the Olympia
we left in 2005, says London Book Fair director Jacks Thomas.
It is bigger, lighter, and enjoys much greater connectivity
among the halls, conference center, and gallerias.
Of course, one part of the fair that did not exist a decade
ago is the Tech Central digital hub and its digital theater
the Theatre @ Tech. Both have made the move to Olympia,
tooand have expanded. Once again, a wide array of digital solutions providers will be on hand among the more than
1,500 exhibiting companies. And, once again, the Theatre @
Tech will offer three full days of programming, featuring a

series of 20-minute presentations, ranging from talks on
digital trends to new product demos.
With publishing now a digital business, digital pervades
every hall of the fair, and it will be on full display in places
like the Author HQ, where talks on digital self-publishing
played to overflowing crowds last year, as well as at the
fairs academic hubthe Facultywhere, for a third year in
a row, Publishing Technology will host its popular panel
discussion What Is a Publisher Now? (Tuesday, April 14,
at 11:30 a.m.). According to the program description, this
years talk will examine scholarly publishing as it enters the
mature phase of its relationship with digital technologies.
The 2015 London Book Fair will kick off its new
Olympia era with some 25,000 attendees expected from
114 countries. And, once again, digital will be at the center
of it all.
APRIL 2015
Theatre @ Tech Schedule

Once again, the Theatre @ Tech offers a full slate of demos and presentations to keep you up
on the latest products and trends in digital publishing (consult the London Book Fair website
for last-minute changes or additions).
DATES
TIME
SEMINAR TITLE
SPEAKER
COMPANY
Tuesday
April 14
1010:20 a.m.
What Metadata Really Does
Tyler Ruse
Libre Digital
Tuesday
April 14
10:2010:50 a.m. Digital Spike in India:

Key Trends in Education & Publishing
Subrat Mohanty
Hurix Systems
Tuesday
April 14
1111:20 a.m.
Ravi Venkataramani
Solution Exeter Premedia
Tuesday
April 14
11:3011:50 a.m. The Emerging Digital Demand

Within Vocational Education
Martin Biron
Global Vocational Skills
Tuesday
April 14
noon12:30 p.m.
Animation in E-books
Floyd Fletcher
Allzone Digital
Tuesday
April 14
12:3012:50 p.m. Gamifying Books and Content on

Mobile Devices: New Ways to Attract
Millennials and Monetize Mobile Content
Marcin Skrabka
Young Digital Planet
Tuesday
April 14
11:20 p.m.
Markup Standards for the Books and

Journals Landscape
Evan Owens
Tuesday
April 14
1:301:50 p.m.
Chunking Book Content for Extra Profit
John Prabhu
SPi Global
Tuesday
April 14
22:20 p.m.
Storytelling in the Digital, Postdigital

and Analog Era
Silvia Schiavo,
Tutor, Scuola Holden
Tuesday
April 14
2:302:50 p.m.
How OpenBooks.com Is Transforming

the World of E-book Publishing
and Distribution
Michal Kicinski,
Bartek Filipek
OpenBooks.com
Tuesday
April 14
33:20 p.m.
The Future of Content Media
Beni E. Rachmnaov
iShook
Tuesday
April 14
3:303:50 p.m.
Five Ways to Supercharge

Your E-book Sales
Gareth Cuddy
ePubDirect
Tuesday
April 14
44:20 p.m.
Are Book Bloggers the Future of

Literary Criticism?
Dawid Piaskowski
BookLikes
Tuesday
April 14
4:304:50 p.m.
Backlist to the Future:

Tom Sawyer, a Case Study
Andreas Triantafillidis,
Aris Karatarakis
Vivl.io
Tuesday
April 14
55:20 p.m.
The Profitability Challenge:

How Distribution Platforms Can Help
Publishers Conquer New Audiences
Maurits Montanez
Manuvo
Tuesday
April 14
5:305:50 p.m.
Book Fairs and Technology:

How Will Technology and Connectivity
Affect the Future of International
Book Fairs?
Tom Chalmers
IPR License
Wednesday
April 15
9:309:50 a.m.
How to Attract More Attention from

Chinese Viewers to Your Content
and Voice
Xiaoguang Bai
Wednesday
April 15
1010:20 a.m.
Tackling the Technology-Driven Confusion:

Emerging Business Solutions on the
Publishing Market
Grzegorz Wszelaczynski
Young Digital Planet
Wednesday
April 15
10:3010:50 a.m. The End of the PDF Proof?

The Future of XML-Based Workflows
Darren Ryan
Deanta Global
Publishing Services
Exeters Collaboration Suite:

A Cloud-Based Publishing
digital.publishersweekly.com

DATES
APRIL 2015
TIME
SEMINAR TITLE
SPEAKER
COMPANY
Wednesday
April 15
1111:20 a.m.
Exeters Collaboration Suite:

A Cloud-Based Publishing Solution
Ravi Venkataramani
Exeter Premedia
Wednesday
April 15
11:3011:50 a.m. The Emerging Digital Demand within

Vocational Republishing
Martin Biron
Global Vocational Skills
Wednesday
April 15
noon12:20 p.m.
Steve Odart
Ixxus
Wednesday
April 15
12:3012:50 p.m. From E-books to Smart Adaptive Content:

The Story So Far
Sameer Shariff
Impelsys
Wednesday
April 15
11:30 p.m.
Gorilla Fighting Technology
Alex M. Dare
Trilogy Group
Wednesday
April 15
1:30-1:50 p.m.
High-Quality XML from Microsoft Word

Manuscripts: Session for Book
and Journal Publishers
Pradeep Jain
ICTect
Wednesday
April 15
22:20 p.m.
Maximizing the Value of Academic and

Scientific Publications
Borislav Popov
Ontotext
Wednesday
April 15
2:302:50 p.m.
The Benefits of E-book Watermarking and

Personalization over DRM
Huub van de Pol
Booxtream
Wednesday
April 15
33:20 p.m.
Audiobooks Are the Future.

The Future Is Already Now
Ivan Sabo, Michal Koci
Audiolibrix
Wednesday
April 15
3:303:50 p.m.
The Future of Content Media
Beni E. Rachmnaov
iShook
Wednesday
April 15
44:20 p.m.
Will We All Be Freelancers?
Laura Summers
BookMachine
Thursday
April 16
1010:20 a.m.
HarperCollins Fights Piracy in

the Digital Millennium: The Digimarc
Customer Experience
Neha Vyas (HC),

Blair Elefant
Digimarc Guardian
Thursday
April 16
10:3010:50 a.m. Introducing Transcend

Creative Services
Anand Krishnan,
President
Transcend
Creative Services Pvt. Ltd.
Thursday
April 16
1111:20 a.m.
Kelvyn Gardner
LIMA
Thursday
April 16
11:3011:50 a.m. Go Where the Readers Are:

Merchandising Your Titles Effectively
with OverDrive
Johanna Brinton,
OverDrive
Business
Thursday
April 16
noon12:20 p.m.
Paul Twelftree
Ixxus
Thursday
April 16
12:3012:50 p.m. New Business Models in the Digital Age
Javier Celaya, (Dosdoce.com),

BookMachine
Laura Ceballos-Watling (CEDRO),
Laura Summers
Thursday
April 16
11:20 p.m.
Rights on the Money:

Are You Fully Monetizing Your IP?
Randy Petway
Publishing Technology
Thursday
April 16
1:301:50 p.m.
Tackling Copyright Infringement
Claire Anker
The Publishers
Association
Thursday
April 16
2-2:20 p.m.
The E-book Market:

Lessons Learned So Far
Wei She
Thursday
April 16
2:302:50 p.m.
Indias Influence on the

Global Publishing Stage
Tom Chalmers
IPR License
Thursday
April 16
33:20 p.m.
Online Profiles:
Let Your Talent Do the Talking
Ciarn Burke
Hiive
Thursday
April 16
3:303:50 p.m.
Shorter Books: More Content,

Lukas Narutis
Text Hybridization, and Cloud-Sourced Content
Top Publishing Trends of 2015
From Physical to Digital and

Back Again: Licensing Games and
Multimedia Content
Your Journey Starts Here:

Five Steps to Digital Transformation
Scipta
APRIL 2015
E-books: Product or Service?

Will a recent decision by the European Court of Justice
harm Europes e-book market?
n early March, the European Court of Justice (ECJ)

issued a major ruling, invalidating reduced value-added
tax (VAT) rates on e-books in France and Luxembourg.
But most troubling, the court held that e-books are in
fact digital services under the law, as opposed to products. If left unchanged, the ruling will result in significant
price hikes for e-books in the European Uniona disastrous
development for an e-book market that is still emerging.
The ruling stems from an E.U. challenge to reduced VAT
rates that were being charged on e-books sales in France and
Luxembourg. Under the E.U.s VAT law, physical books,
newspapers, and periodicals (with the exception of pornography) are permitted a reduced VAT rate. And based on the
not unreasonable assumption that downloadable e-books
are equivalent in function to print books, France and Luxembourg had applied lowered VAT rates to e-books.
But in its March ruling, the ECJ asserted that the reduced
VAT rates for books apply only to those supplied on a
physical medium. Although the ECJ recognized that a
physical device is necessary to read an e-book, it held that
e-readers, tablets, smartphones, and similar devices are not
intrinsically part of supplying e-books. Rather, the supply
of goods as defined by the law refers only to tangible
property, while e-books, which are delivered over the
Internet or an electronic network with minimal human
intervention, fall under the definition of an electronically
supplied service.
Uncertainty
The immediate problem is that national VAT rates for electronic services are significantly higher than those applied to
physical goods (see chart, p. 8), meaning that VAT rates on
e-book salesand thus consumer pricesare set to increase
dramatically.
In France, for example, VAT rates for e-books will jump
from 5.5% to 20%. In Italy, where the VAT rate on e-books
was cut from 22% to 4% just last fall, the tax will now likely
rise back to 22%.
In Luxembourg, a rock-bottom VAT rate of 3% had helped
to entice e-book retailers like Amazon, Nook, and Kobo to
base their European businesses there, since the VAT rate had
intitially been based on the e-books country of origin. As of
2015, however, E.U. laws mandate that taxes on e-books be
charged according to where the customer is located, limiting
the tax benefit for retailers headquartered in Luxembourg,
BY PETER BRANTLEY
where e-book VAT rates will

now likely rise to 17%.
European publisher, author,
and bookseller organizations
are vociferously protesting the
ECJ ruling. We, the representatives of the book value chain, strongly believe that the value
of a book does not depend on its format or the way it is accessed
by readers, reads a joint statement from the Federation of
European Publishers, the European and International
Booksellers Federation, and the European Writers Council.
We urge the Commission to take swift action to amend the
relevant legislation to ensure it reflects technological progress, and remove a serious hindrance to the development of
the e-book market.
Copyright Impact?
Meanwhile, there is another potential impact stemming from
the courts ruling that e-books are services: it could stop the
resale of digital products. In a widely noted 2012 ruling in
UsedSoft v. Oracle, the ECJ opened the door for the potential
resale of legally purchased digital files, essentially stating
that downloading a legally acquired file exhausts the distribution right for that copy. Thus, the court ruled, a purchaser
could theoretically resell a digital file (A subsequent ruling
has since narrowed that position somewhat).
But if the ECJs VAT ruling becomes policy and e-books are
regarded as electronic services, it could further complicate
digital resaleafter all, how do you exhaust the distribution
right of an intangible digital service? Consequently, any possible resale of downloaded digital content will almost certainly
require the consent of the copyright holder, and the ability to
own e-books as digital assets is likely to be more tightly
constrained than ever before.
The E.U. has long made it a policy priority to create a level
playing field for digital and physical products, aiming to
encourage efficient, electronic marketplaces and promote the
digital delivery of goods. But the courts VAT decision was a
catastrophe almost waiting to happen: E.U. laws and directives are a confusing mesh of clashing rules that are not easily
rationalized. And thats unlikely to change anytime soon.
It remains to be seen whether the E.U. will approve a policy
change to address the VAT decision, and how it will square
the ruling, or any policy change, with copyright regulations.
continued on p. 8
APRIL 2015
continued from p. 6
But most European countries, even while trying to sustain

and support traditional bookselling, are not eager to punish
emerging digital book markets. And the publishing community certainly recognizes that fostering book sales
irrespective of formatis essential as competition for consumer
attention intensifies in a pervasively networked world.
Peter Brantley is director of digital library applications at

the New York Public Library, and a contributing editor at
Publishers Weekly.
VAT Rates on Books in E.U. Countries and FEP Members 2015

Country
Standard
rate (%)
Book
rate (%)
Audio- and e-book

E-book download/
physical support rate (%) online rate (%)
Austria
20
10
20
20
Belgium
21
21
21
Bulgaria
20
20
20
20
Croatia
25
54
25
Cyprus
19
19
19
Czech Republic
21
10
21
21
Denmark
25
25
25
25
Estonia
20
91
20
20
Finland
24
10
24
24
France
20
5.5
5.5
5.5
Germany
19
75
19
Greece
23
6.5
23
23
Hungary
27
27
Iceland
24
11
11
11
Ireland
23
23
23
Italy
22
Latvia
21
12
21
21
Lithuania
21
21
21
Luxembourg
17
Malta
18
55
18
Netherlands
21
21
Norway
25
25
Poland
23
23
Portugal
23
23
Romania
24
24
Slovakia
20
10
20
20
Slovenia
22
9.5
9.5
22
Spain
21
21
Sweden
25
United Kingdom
20
25
203
20
source: Federation of European Publishers

1
0% on certain textbooks
Only for audiobooks (subject to interpretation) and books in braille

Reduced rate for audiobooks provided to charities for people with disabilities and the visually impaired
4
Need further inquiry on limits and conditions
5
Only for audiobooks
2
3
Note: Lithuania plans to increase standard VAT to 23% at some point in the future; the Netherlands is considering increasing its reduced
rate to 7%8%; Italy is set to increase its standard VAT to 24% in 2016.
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APRIL 2015
Digital Evolution in the Spanish Markets

When it comes to digital, the Spanish-language
market is vast and advancing rapidly
panish is the third-most-widely-spoken language in

the world after English and Chinese, and the revenue potential of a market consisting of 550 million
Spanish speakers worldwide is not being overlooked by the publishing sector. There are 50 million
Spanish-speakers in the U.S. alone. And while a single digital Spanish market remains elusive, as each country and
territory is progressing at its own pace and has unique
characteristics, there are some notable general digital trends
emerging.
Over the last 10 years, Latin America has witnessed a significant increase in its middle class (50% according to the
World Bank), access to education (school enrollment rates
have soared, despite high levels of poverty and inequality),
and Internet usage, with projections forecasting a 53%
penetration rate by 2016, and annual growth of 13%.
Without question, we are witnessing a digital maturation
BY JAVIER CELAYA
in the Spanish-language markets for publishers. Lets take a

look at some facts:
The number of e-books has
increased. According to research
published by CERLALC (the
Regional Center for Book Fostering in Latin America and the
Caribbean), the number of titles published in digital format
accounted for around 17% of overall publishing production
(194K titles) in 2013, up from 8% in 2010, and it is expected
to surpass 25% by the end of 2015.
E-commerce volume via B2C channels has been significant
over the last year. In addition, many Spain-based publishers
have acknowledged that their digital sales in Latin America
now account for 25% to 50% of their total turnover.
A foreseeable (and already visible) decrease in print sales
should correspond to an increase in e-commerce, particu-
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APRIL 2015
larly in libraries, universities and other institutions. Based on
reasonably forecast figures, some 60% of purchases by
libraries and universities in Latin America will be digital in
just two to three years.
The Latinobarmetro (an annual public opinion survey
conducted in Latin America since 1995) recently added the
following question to its survey: Do you read books, newspapers, magazines, and blogs directly online? The replies
suggest that digital reading is growing in importance in
some countries in the region. In Colombia and Uruguay,
about 19% of respondents indicated that they read directly
on the Internet. In Argentina, the number was 16%, followed
by Chile and Mexico (13%), and Brazil and Peru (11%).
In the remaining countries in the region, fewer than 10%
reported reading online. And in Spain, just 6.5% of people
reported reading books in digital format and only 4.1% read
books online.
Although figures highlighted by the Latinobarmetro
relating to the purchase or download of books online revealed
a market in its beginning stagesunder 10% in every countrythe potential is evident.
According to Bookwires report on the Spanish and
Portuguese digital markets, governments in the region will
continue to play an important role in promoting digital
content creation and demand. All of the data available indi-
cates that there is a direct correlation between reading and

levels of social and economic development. The emergence
of the digital era is providing governments and publishers
with a new opportunity to increase the number of readers in
the region. Public library e-lending will be key in achieving
an increase in the number of readers by providing free access
to e-books, thereby removing a key economic barrier.
Its still early days, but the convergence of these facts and
trends suggest a likely explosion in digital commerce in the
region within the next decade. To achieve this goal, it is essential to develop solid e-commerce and distribution platforms
capable of adding highly varied catalog content.
A new digital economy offers a unique opportunity for the
publishing community to create a global Spanish digital
marketplacea market that will encourage greater visibility
for Spanish-language content from all over the world. And
thats truly excellent news for readers.
Javier Celaya is a member of the executive board of the

Digital Economy Association of Spain and CEO and founder
of Dosdoce.com, an online portal that analyzes the impact
of new technologies in the publishing sector. Dosdoce.com
has published over 40 studies and reports on the use of new
technologies in the publishing sector, and provides strategic
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APRIL 2015
Hurdles remain, despite an influx of market players
n May 22 of last year, after a Boeing 737 landed at

Rio de Janeiros Santos Dumont airportfamous for
a short runway that forces pilots to slam on their
brakesa flight attendant announced: Dear passengers, a Kindle device glided to the front of the plane
during landing. Please check if it is yours. Thats surely one
sign that digital reading is coming to Brazil.
Digital reading kick-started in Brazil on Dec. 5, 2012, with
Google, Kobo, and Amazon all launching e-bookstores on the
same day. Apple had started to sell Brazilian Portuguese
books two months prior, and Livraria Saraiva, the largest
bookstore chain in the country, had been experimenting with
digital since 2010. But it took a mass influx of players to
motivate readers. By the end of 2013, e-books had grown
400% over 2012, though total sales represented just 2.5% of
trade book units sold. As a result, expectations for 2014 were
high. However, e-books simply didnt samba in Brazil last
year, with Brazilian publishers estimates showing that only
3.5% of trade books were sold in digital format.
Despite the limited growth, digital is poised to take off in
Brazil. And, not surprisingly, Amazon has emerged as the
e-book market leader over the last two years. Although official
numbers are not available, publisher and retailer estimates put
Amazons share around 30% of the digital market, followed
by Apple (25%), Saraiva (20%), Google (15%), Kobo (5%),
with smaller players picking up the remaining share.
In August 2014, Livraria Saraiva launched its own device
the LEVproduced by French company Bouquin. But the real
news may be in the roughly 9.5 million tablets sold in Brazil in
2014, and the 47 million smartphones. These numbers alone
portend a relatively strong position for Google and Apple
as e-book retailers. In Googles favor, Android has a 90%
share of the market for both tablets and smartphones; Apple
iOS users, however, have much more purchasing power.
Three Hurdles
But the question remains: What is holding digital back growth
in Brazil? I see three major hurdles.
First, Brazil lacks state-of-the-art aggregators. Until now,
companies such as Ingram and OverDrive have ignored
Portuguese content and have not made any serious attempts
to distribute Brazilian titles. The strongest digital distributor in Brazil is a consortium created by seven top Brazilian
publishers called Distribuidora de Livros Digitais (DLD).
Remarkably, DLD was able to include limitation clauses in
12
BY CARLO CARRENHO
OLA KJELBYE
Brazils Race to Digital
its contract with Amazon which

restrict discounting: Amazon
can offer a maximum 5% discount
applicable to no more than 10%
of each publishers catalogue.
Unfortunately, DLD has not yet
expanded its distribution network to include other publishers.
This scenario hasnt gone unnoticed by German aggregator
Bookwire, which opened operations in Brazil at the end of
2014 and is now fully engaged in acquiring content from
Brazilian publishers to distribute locally and worldwide.
Another hurdle is the lack of a clear regulatory policy for
e-books. Print books are sold tax-free in Brazil, but there are
no official regulations concerning e-books sales tax, even
though they have been on sale in Brazil since 2009. The market has simply decided to apply the tax-free laws that apply
to print books and is not collecting taxes on digital sales.
Most publishers, however, have foregone exporting their
e-books to avoid facing even more complicated tax issues,
since rules for export are more rigid. The result is that many
Brazilian e-books are not available for purchase in the U.S.
or Europe. The legality of agency pricing also remains a very
controversial issue in Brazil.
Finally, a third hurdle facing the digital development of
Brazil involves the educational market. In 2012, the Brazilian
government started to demand digital content from publishers. However, there have been no specific regulations
pertaining to how e-books are to be made availablein
what formats, on what platforms, or at what price. The result
is that Brazilian educational publishers are slow to invest
further in digital, waiting for the governmentwhich is
responsible for an average of 25% of publishers annual
revenues, mostly due to its acquisition of educational books
to show what path it is going to take.
None of these hurdles are insurmountable, of course. And
once they have been cleared, we will likely see more e-readers
gliding down the aisles of landing airplanes in Brazilor
even better, on the beaches of Rio de Janeiro. And though progress has been slow, the transition to digital in Brazil reflects the
spirit of the countrys unofficial motto: Everything will be
alright in the end. And if it isnt alright, it isnt yet the end.
Carlo Carrenho is a Brazilian trade journalist and publishing consultant. He founded PublishNews in 2001 and
helped to launch Thomas Nelson in Brazil in 2006.
APRIL 2015
Ka-Pow!
Scribds latest e-book subscription collection
returns some eye-opening data
BY HEIDI MACDONALD & ANDREW ALBANESE
xplosive. Thats how Scribd chief technical officer

and cofounder Jared Friedman described the rollout
of the companys latest addition to its e-book subscription servicea collection of
comics and graphic novels.
Launched in February of this year, the
move added 10,000 illustrated titles to
Ratio of Comics to Prose E-books Read
Scribds roughly one million e-book titles
by Region
available to subscribers for $8.99 per
month. And, according to Friedman, the
launch yielded the companys biggest and
fastest adoption yet, generating an astounding 570 million media impressions and the
biggest day of social media engagement in
company history, with Scribd being mentioned in a tweet every 10 seconds on average over the course of the launch day.
Certainly, e-book subscription services
have been a hot topic in the publishing
world over the last year. Three of the Big
Five publishers are now active in the market, with initial participants like HarperCollins and Simon & Schuster already
reporting their satisfaction with the early
returns, not only in terms of revenue,
but in terms of the data and audience
insight subscription access offers. And
Most Popular E-book Genres Among Comics Readers
the initial metrics from Scribds recent
comics launch offers a glimpse into
the kinds of data subscription access
can yield for publishers.
The Data
So, what does early data gleaned from
the Scribd comics launch tell us? For
one, Friedman says, the numbers show
strong reader engagement with comics, outlining who is reading, and for
how long. It may be too early to compute reliable averages, but Friedman
points out that one user spent 131
hours in the first month, reading 216
comics in totalincluding almost the
entire Witchblade series.
On a title level, Avengers: Red Zone
SOURCE: SCRIBD.
14
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was the top individual comic, while Valiants Harbinger was

the most popular series. In fact, readers are discovering a
range of titles from top comics publishers including Marvel,
IDW, Top Shelf, Dynamite, and Valiant, as well as graphic
novels like March, the nonfiction civil rights epic by Rep.
John Lewis.
Scribd can also see where the readers areand comics
enthusiasts are everywhere. Readers in more than 157 countries have accessed the collection: in Brazil, the top territory
for comics outside of the U.S., Scribd users read 42% more
comics than prose e-books, followed by users in the U.K.
(25%) and Canada (12%). But who knew that comics had
such robust interest in Bonaire, Botswana, Curaao, the
Faroe Islands, Guyana, the Isle of Man, Malta, New Caledonia, Rwanda, Seychelles, St. Maarten, and even the Vatican?
Because Scribds internal discovery model does not segregate comics from the rest of the e-book collectionmeaning both comics and text e-books will show up in a users
searches and algorithmic recommendationsScribds data
revealed tons of crossover. Some 73% of comics readers
also read prose e-booksand the data shows which titles
they are viewing. The leading genres: science fiction, humor,
and fantasy. This is one reason why comics publishers
were eager to work with us, Friedman says. Because its a
way to get new fans, and work with new audiences.
Scribds early numbers also back up recent demographic
studies that show comics and graphic novels are no longer
merely a boys club. While superheroes are more popular
among male readers, the gender gap, Friedman says, appears
to be moderate. Scribd data showed that comics with
female leads are read by 50% more women than men, and the
overall audience for manga is more female than male.
Entry Points
Curating the collection, meanwhile, was key to the success of
the comics launch, Friedman says. To that end, Scribd hired
respected cartoonist and comics journalist Shaenon K. Garrity to help organize the comics library, breaking it down
into genres and featured collections such as women cartoonists and comics autobiographies.
We wanted readers to have an easy way in, making it
friendly for readers who are not hardcore comics fans and
may not know where to start, says Friedman, who called
Garrity a rock star for her efforts helping new readers
navigate the sometimes daunting world of comicsalso
aiding Scribd to secure data on which genres appeal to
which readers.
Its still earlyand Friedman says the figures will reveal
more in the coming months. But the successful uptake of
Scribds latest subscription offering reflects more than the
strength and appeal of the comics marketit also shows the
reach and potential power of subscription access in engaging
millions of readers.

Sony Debuts New
DRM for Publishers
n recent ears, the big question surrounding digital rights

management (DRM) software in publishing has been
whether or not publishers should use it at all. But with its
new offering, the Sony User Rights Management System
(URMS), Sony is betting that better DRM can change the
narrative.
Sony is not new to the DRM businessit has a strong
15-year history, primarily in gaming, and entertainment
media. But, according to Spiros Rally, v-p at Sony DADC
DigitalWorks, after publishers reached out to the company
about a solution for e-books, Sony decided to take a fresh
approach, evaluating the publishing DRM market from scratch,
to see where it could add value. So, how did Sony set about
improving DRM for publishers? First, with greater flexibility.
DRM is just technology, Rally says, adding that most of
the problems we see with DRM are more about business
rules. To that end, Sony built its URMS to support many different types of business cases, including lending, gifting, sharing,
or if the business rules allow it, even reselling an e-book. And,
he adds, the DRM is manageable on a title-level, allowing for a
wider array of opportunities.
Of course, the Sony URMS also offers superior content protection, Rally says. The URMS is renewable, meaning that if
the DRM is crackedand all DRM will be at some point, he
stressesquick updates plug holes. And with the URMS, publishers dont have to send unencrypted files to retailers or other
distribution partners, closing a worrisome hole in some DRM
products now on the market.
For consumers, the goal is for them not to know that the
DRM is there. To that end, no special log-in credentials are
requiredbuy the e-book, and thats itno need for a separate
Adobe ID, for example. The system also offers a feature called
common bookshelf, where users can combine content from
several sources, and the DRM can easily allow for multiple
devices. Rally also stresses the DRMs design: the software is
Marlin-based. Its an open system, Rally says, Its not a
closed system like Adobe, where its one company. Thats a
key benefit.
Sony is targeting the corporate, library and educational
markets, where the URMS product could help with a number of current issuesfor example, sharing in classroom settings. But the solution will likely be attractive for trade publishers, too, as their digital businesses mature and diversify.
Were not pretending were going to replace proprietary systems at Amazon and Apple, Rally says. However, we do think
that we offer a powerful alternative for trade publishing in the
library space, and around direct-to-consumer sales.

An Editor at Heart
Four questions for John Pettigrew,
founder of Cambridge Publishing
Solutions, whose first product,
Futureproofs, offers a suite of
digital tools to take book proofing
and editorial workflows
into the 21st century
or all of the innovative new digital

products aimed at consumers, digital
has continued to revolutionize the
behind-the-scenes work of publishers.
But editorial staff will tell you that they
could use a little more help. The art department still has all the fun. And when it comes
to proofing and editing, editors are often left
wanting. Which is why John Pettigrew, an
APRIL 2015
editor with a love of technology, quit his publishing job, and

set to work developing a suite of tools for editors. We caught
up with Pettigrew ahead of the London Book Fair to talk
about his new product, Futureproofs.
So much of the digital focus today is on
e-books, but you decided to take on a behindthe-scenes publishing problem: proofing and
editorial workflow. Why?
While Im a huge fan of reaching readers with
new technology, Im an editor at heart. And I
believe that the question of how we ensure quality content will remain fundamental whatever
format our product takes, and that editors are
the key to quality. As a result, enabling them to
better perform their often underappreciated job
means developing the tools they need to do it
across all product types.
The digital future is uncertain, but dont let paper hold you down. Unfold your potential and bring your content to life with a tailored solution from our full spectrum
of extensible software and industry services. Visit Publishing Technology at stand 7G41 in the Publishing Solutions area of the National Hall to learn how we can
transform your business.
publishingtechnology.com/london
APRIL 2015
What does Futureproofs offer that some of the workflow
solutions currently available lack?
The traditional way of checking book proofs on paper is
simple, mostly reliable, and accessible. But its surprisingly
expensive, especially for color projects, and it doesnt
enable collaboration or provide useful data. With publishers
always looking to cut costs, all that printing is an obvious
target. However, the digital solutions so farusually PDF
softwareare clumsy and not designed expressly for the job.
Futureproofs, by contrast, is designed specifically for editorial workflows. We provide very precise, intuitive, on-screen
markup based on traditional markup standards. And we
enable effective collaboration, which reduces the time spent
on queries and gives project managers real-time information,
meaning they can better spot problems as they arise, rather
than having to react after the fact.
You recently closed a round of seed fundingtell us
about that.
Yes, weve just signed the agreement on our first seed funding, which will help us to hire another developer and push
ahead. I was fortunate to bootstrap the business through its
first milestoneslaunching our platform at the Frankfurt
Book Fair last year and securing our first paying customer,
Cambridge University Press. However, like any startup, we

need money to grow, and it takes time to get investors interestedespecially for a publishing tech business. A lot of
investors think books are dead or that publishing is simply
too small an industry in which to invest. But we did find
some investors who understand what we are trying to do and
believe in our teamand thats a great feeling.
With those first milestones passed and some new funding,
whats next?
Were definitely going to add e-book proofing, which will
allow editors to ensure that their e-books are editorially correct and not merely technically valid. Were also talking to
other publishing tech companies about integration. If you
have several great tools, each of which solves a problem
really well, you really need those tools to talk to each other.
For example, you dont want to have half a dozen sets of
login details, or be copying book titles and ISBNs around
manually. Enabling seamless communication will be something we look at over the coming year, because that will help
everyone.
If your Production Workflow looks like this,

youre talking to the wrong Lucy.
Visit our Lucy Sharp at stand 3B19 to find out more about
codeMantras Technology-Enabled Services
Lsharp@codemantra.com or go to www.codemantra.com
Manage. Transform. Publish.
19
APRIL 2015
The Ever-Evolving Digital Space

Digital companies are working to address new
publishing demands and market trends
BY TERI TAN
igital users today, observes James McQueen, director

of digital media at Cenveo Publisher Services, are
fluid and dispersed. He notes: The scientific and
medical publishing sector, for instance, has successfully demonstrated its approach to these new types
of audiences by publishing chunked or atomized content,
while constantly and continuously feeding the Web with
articles and information about their specialty. The more
buzz it creates, the more people are interested and engaged.
So the new publishing model should therefore be fluid yet
constant.
Meanwhile, small publishers are showing interest in leveraging technology to rationalize and automate the author-toreader processes. Nishith Arora, chairman of MPS Limited,
says, The anticipated benefits from adopting publishing
technology platforms have driven them to overcome their
size constraints while encouraging them to think strategically
in this area. They are doing away with ad hoc publishing
workflows with manual tracking systems, and with decentralized and disparate systems.
Automation is, indeed, the key to speed and cost competitiveness. For Nakul Parashar, v-p of ECM at SourceHOV,
this shift to automation has seen his company and its sister
company Rule 14, a big-data specialist, getting involved in
content creation and enrichment. We are seeing some very
interesting products emerging from direct Rule 14 applica-
tion, as publishers begin to integrate their legacy information

with real-time data to provide a current context.
At the same time, the shift from print delivery to a marketplace dominated by digital solutions, custom publishing,
and solution-based services is gaining momentum. This has
created the need for new tools that will help publishers
manage their businesses, says David Hetherington, executive v-p and COO of Klopotek North America. Our mission
then is to provide many of these newly required tools to
manage the changing marketplace.
The undercurrent of discontent among publishers about
e-book sales is also growing, says Gareth Cuddy, CEO of
Vearsa (formerly ePubDirect): Growth in direct-to-consumer models, with publishers gaining access to more
advanced data services and niche subscription services, will
improve the situation.
For Publishing Technology CEO Michael Cairns, the biggest challengeand opportunityin the trade segment is
going to be the growing popularity of phablets. He notes
that publishers now have a lucrative opportunity to capture
the mobile reading audience by riding an emerging and dominant platform that no longer uses small screens or offering
eye-straining short-burst reading.
The following pages offer more insights into the digital
space and highlight what some digital companies are doing
at this years London Book Fair.
But to effectively engage an audience across platforms, adds

digital media director James McQueen, it is critical to measure
audience usage and understand the key metrics at play. You
have to track who visits your website, where they came from
organic search or social media, for instanceand how many
are tied to apps. The more information you have about your
audience, the more you understand about them, and the more
profitable you are going to be.
Central to the making digital pay proposition, adds
Calilhanna, is XML. Employing an XML-early workflow
enables fast and cost-effective production of, say, online versions of a book or journal. In-app issues are processed quickly
and fluidly while repackaging XML-based content for monetization. Cenveos Mobile
dPub platform, for instance,
enables such solutions while
providing user metric insights.
Head over to Theatre @ Tech
Working with publishers on driving digital engagement and

boosting digital profitability is Cenveo Publisher Services
specialty. Publishers audiences no longer exist within separate buckets, but rather move across different media to
access both print and digital content, explains marketing
director Marianne Calilhanna. Harvesting the investment
that has been put into building up digital portfolios and
workflowsor making digital payis now crucial.
Calilhanna points to the multijournal app from the Society
of Petroleum Engineers (SPE) as a successful content-centric
digital strategy. The app enables the SPE to reach many of
its readers who are literally out in the field with limited or
no access to the Internet. It enables offline
reading, while also allowing the SPE to
offer single-issue purchases via digital
storefronts to non-members. This is about
reaching readers wherever they are.
20
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on April 14 at 1 p.m. for Markup Standards for the Books
and Journals Landscape, or visit booth 3A18 for information on more of Cenveos digital solutions.
CodeMantra
The past year has seen significant change at CodeMantra.
The fundamental shift in the approach to publishing has
been the catalyst for this change, says president Walter
Walker, referring to the re-alignment at educational, technical
and professional publishers, where digital is no longer the
stepchild to print. In many cases, production workflows are
being rewritten for digital-first business. The progressive
publisher, he adds, will look into a blended product if, say,
a 25-page printed instruction can be better conveyed through
an online video, an interactive widget, or a learning objective.
For CodeMantra, its technology-enabled services are
increasingly relevant, specifically the CollectionPoint (CP)
platform. With CP collaborative workflow, we deliver a
cohesive editorial and production environment where clients
and all third-party vendors can take a coordinated and
accountable approach to edits and revisions, explains
Walker. It can be deployed across an array of global stakeholders, and bridged to their CP integrated workflow for
multiple output deliveries.
Ever explain to a customer why the eBook with

DRM they just bought isnt readable anymore?
Protect and enhance your eBooks with BooXtream
Social DRM - eBook watermarking and personalisation
for eBook web shops and publishers selling D2C

versatile eBook download delivery platform
easy to integrate web service (API)
multilingual (including Arabic, Cyrillic, Hebrew)
consumer and support desk friendly
compatible with ePub2/3 including ePub3 fixed layout
automatic converion to watermarked Mobi eBooks
New: create and send personalised eBook review copies
Shortlisted for Publishers Weekly International

Book Industry Technology Supplier Award
LBF International Excellence Awards 2015
www.booxtream.com
22
LBF stand 3B26
APRIL 2015
Walker, in a
bid to fulfill publishers demands
for an optimal
single-source XML production workflow that utilizes traditional content-creation tools such as Adobe CS6 suite and
Word, acquired Massachusetts-based Media Entities last year.
This software developer has created a powerful XML publishing engine with Word and InDesign plug-ins, and this
engine and its development team are the key contributors to
the CP integrated workflow architecture.
Publishers are always looking for ways to save money but
that is no longer enough to differentiate a service offering.
The technology-enabled services that we provide cover a wide
spectrum, and our clients know we can meet their demands
with a flexible and scalable solution. We are now expanding
to include an educational social media network, as well as
enhanced services and support of K-12 learning management
systems, says Walker, who will be at booth 3B19 to further
elaborate on CodeMantras products and services.
Exeter Premedia Services

Empowering reviewers, copy editors, project managers, production editors, indexers, and authors with the right set of
tools is the main objective of Exeter Collaboration Suite (ECS).
This cloud-based content and production management system,
says CEO Ravi Venkataramani, provides rules to correct and
enforce style preferences and publishing
conventions, as well as autoproofing
templates to generate proofs on demand,
and also allows files to be exported in
formats such as XML, ePub and Mobi
at the click of a button. ECS offers
many tools, allowing users to add controls to stop unauthorized access and
unintended content changes, for
example, and displaying tracked
changes at every stage of the workflow.
ECS is always on the next iteration. We are currently
looking into integrating, say, an image repository system, or
an interface for e-product distribution to multiple portals and
content warehouses, adds Venkataramani, who is considering
adding an automated metadata-updating and cover-creation
component to ECS. This idea was fueled by our success with
a unique project for a multimedia publisher. In that project,
an automated script was developed to invoke an appropriate
InDesign cover template and cover image from an internal
repository. Information specified in the clients brief was then
inserted onto the cover. The script effectively reduced the cover-creation process from two hours to 10 minutes.
Another project, involving an assessment/answer key series
in three European languages, required editable RTF files that
matched highly stylized InDesign pages. Structured DITA
XML, which enables chunking and multichannel content
APRIL 2015
deliveries, was used to produce the RTFs. Venkataramani,
who will be at booth 3B64 to answer inquiries about ECS
and other Exeter solutions, adds: Our experienced team
has also been converting 300,000 pages annually for online
databases such as Atypon, HighWire Express, CrossRef, and
PubMed Central.
Icontact
BooXtream, flagship product of Amsterdam-based software
developer Icontact, is the leading social DRM (digital rights
management) watermarking and personalization delivery
platform for ePub books. It is used by a diverse list of clients,
including publishers Verso and Cappelen Damm; Ellys
Choice, an e-book subscription service; and Firsty Group, a
solutions provider. The company works with about 500
publishers and several major libraries, as well as online
retailers, indie authors, and content aggregators.
Huub van de Pol, the manager and founder of Icontact,
says that the basic BooXtream technology is offered as a
Web service with an API and is easily integrated into e-book-

stores or e-commerce solutions. He adds, We also offer a
Dashboard app where an individual book can be manually
watermarked and personalized. There are different watermarking modes available. In the email mode, for instance,
BooXtream creates and sends out personalized email messages containing download links to the watermarked
e-books, making it ideal for galleys and review titles.
BooXtream is device agnostic and configurable to client
specifications, enabling visible watermark enhancements
such as a personalized chapter or bookplate. Van de Pol
notes: It operates in real time at the transaction level, and
so the technology has to be integrated at the point of sale.
The API, Web service, and Dashboard are free, and there
are no start-up costs or subscription fees. Our business
model is based on usage: every e-book watermarked costs
a credit, and you buy a bundle of credits in advance. The
more credits purchased, the cheaper they are, which makes
our technology affordable and cost-effective for both small
and large customers.
Catch The Benefits of E-book Watermarking and
Personalization over DRM with van de Pol
at 2:30 p.m. on April 15 at the Theatre @
Tech, or visit booth 3B26 for the latest updates
on Dashboard and the new WordPress/
WooCommerce plug-in.
23

Inkubate
Inkubate was launched to simplify and streamline the way
that writers submit manuscripts to agents, editors, and publishers (AEPs). We help different parties in the creation and
content commercialization value chain to manage titles and
collaborate digitally, says chief marketing officer David
Bass, explaining that writers can submit unlimited numbers
of manuscripts (in PDF or Word) with metadata and tags
for AEP discovery.
Writers can set up profiles unique to themselves and their
work, and their dashboard will provide details such as who
has looked at or downloaded their manuscripts, while also
highlighting submission trends and
popular genres
within AEP searches
and title downloads. AEPs remain anonymous until they opt
to contact the content creator, adds Bass, explaining that
Inkubate offers several unique tools for writers and AEPs
to engage with one another. Tweet-like PitchIts, for instance,
allows writers to broadcast works to selected Inkubate users,
and receive responses from interested AEPs.
Meanwhile, its patented Stylometrics, developed exclusively with Duquesne University (specifically with the team
that identified first-time author Robert Galbraith as J.K.
Rowling), enables AEPs to assess a works market viability
and return on investment (ROI). Premium services such as
Stylometrics and PitchIts are chargeable through our free
membership platform, says Bass, who is focused on growing
Inkubates writer base to 15,000, while adding 2,000 AEPs
within the next 12 months. It currently has 2,500 subscribers
offering 5,000 manuscripts. Upcoming months will see several strategic community partnerships aiming to drive adoption, the beta launch of Stylometrics tools, and a new editor/
publisher tool.
Visit booth E610 and obtain your Golden Ticket for a
chance to win an iPad and other prizes. To set up an appointment at the show for a sneak peek at new Inkubate products,
contact david@inkubate.com.
Ixxus
A lot of the work that Ixxus is doing with clients, explains
chief innovations officer Paul Twelftree, revolves around
building long-term strategic partnerships to guide them
through a multiyear roadmap to change.
For Dorling Kindersley (DK), for instance, Ixxus developed
a customized cloud-based application that archives around
7,000 products, allows for cross-platform granular and scalable discoverability, and opens up potential for content reuse,
new products, and additional revenue streams. Ixxus now
manages the platform, which
uses Alfresco, Amazon SQS,
ElasticSearch, and MongoDB
technologies.
24
APRIL 2015
For another client, Pearsons global English-language
teaching division, the task was to define, design, and implement a content management and collaboration platform
using Alfresco, MarkLogic, and custom Ixxus components.
The four-month deadline saw Ixxus working across two
publishing centers (London and New York) to carry out
configuration, testing, and training. The projects success,
says Pearsons director of platform strategy Ernst Kallus,
was largely attributed to Ixxuss industry-specific knowledge of the publishing process and challenges faced by publishers, as well as the accessibility and technology expertise
of its offices in both locations.
Later this year, Ixxus will launch a standalone publishing
product that allows users to collaborate and flexibly create
products, and to manage the authoring process. Our thinking
around the platforms functionality is influenced by some of
the worlds largest publishers, and so we are quietly confident
that this product is a game-changer, says Twelftree, whose
team works with 40% of the worlds top 20 publishers and
is being pushed to add a new West Coast office and increase
partnerships with Continental European publishers.
Drop by booth 3B32 for a preview of Ixxuss products
and services, and attend its sessions at the Theatre @ Tech
Top Publishing Trends of 2015 and Your Journey Starts
Here: Five Steps to Digital Transformationat 12 p.m. on
April 15 and 16, respectively.
Klopotek
Two new Web-based
products from publishing software company Klopotek take center stage in
London: Rights Sales Manager and Rights, Licenses, and
Permission Manager. Both client applications run on
Klopoteks Stream platform, which has been adapted based
on the companys classic applications that are deployed at
more than 350 publishers worldwide.
Rights, Licenses, and Permission Manager simplifies specific tasks, delivering key data to the rights manager. For
instance, it enables seamless use of third-party vendors such
as Getty Images and Shutterstock by mapping and integrating their APIs, says U.K. sales director John Lawson,
pointing out that the new module integrates with CCCs
RightsLink, thus enabling automated copyright registration
and receipt of payments. It also offers features such as license
extension alerts and product obsolescence reports.
Meanwhile, Rights Sales Manager module guides users
through the entire process of selling rights. It includes fully
searchable title informationsuch as the authors details, a
description, a thumbnail of the cover, a publication date, and
the list price. It offers shipping of review materials, advance
and royalty claims with payment tracking, and extensive
reporting tools. Two market challengeshazy knowledge
of rights restrictions and the lack of an automated tracking
system for rightshave prompted us to offer this module.
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Integrating a rights sales system with the contract process,
something that Klopotek Stream does well, makes rights
managers work easier and more effective, explains Lawson.
Klopotek Stream, which supports the entire print/digital publishing value chain, includes apps such as Early Title Manager,
Contact Manager, Subscription Manager, and Renewal
Manager. U.S.-based Bookmasters, for instance, has implemented Title Management, while France-based EDP Sciences
uses the SAAS (Software as a Service) version of modules such
as Title Management & Product Marketing and Order to Cash.
Lawson, wholl be at booth 7K30 with his team, adds: We
offer publishing-specific software that is modular and configurable, integrated and complete, and ready for global use.
MPS Limited
Solving the biggest issue in publishingtime to market
requires technology. But this is only achievable, says MPS
Limited chief marketing officer Rahul Arora, if the applied
solutions are smart, intuitive, and user-friendly, and the
average user is able to leverage it. Our cloud-based MPSTrak
has many of these attributes.
Arora cites the partnership with a U.K.-based leading STM
publisher as an example of strategic technology implementation to reduce time to market.
We replaced the publishers
12-year-old legacy production
management system with
MPSTrak, and integrated it
with their internal systems for
charging information. It was a
significant change for a company that produces 80 journals
and upwards of 8,000 articles per journal annually.
The team spent two weeks gathering information and
brainstorming with the publishers production staff. Then
we recommended two master workflows that cater to all 80
journals. We also built a comprehensive configuration
module so that the internal production managers can design
and specify user-interface screens, workflow rules, validation
checks, and other business rules to fit the unique needs of
each journal, explains Arora, pointing out that while
upgrading technology was the prime reason for the new
platform implementation, the publisher was amazed by the
new functionalities that come as a part of MPSTrak.
Meanwhile, software development, branded under MPS
Technologies, has grown exponentially in the last six months.
Two exciting projects with a leading Australian medical
information providerfor the development and implementation of a content-creation system and content-delivery
system, respectivelyleverage several modules of our flagship DigiCore platform. We created seamless and integrated
systems that provide faster time-to-market workflows, says
Arora, who will be at booth 7H50 with his team to present
various publishing technologies, products, and solutions that
MPS Limited has to offer.
26
APRIL 2015
OKS Group
By creating a better product
more efficiently, says OKSs
CEO and chairman Vinit
Khanna, we can help publishers to grow end-user customer satisfaction and revenues through product and service enhancement, and quality.
Publishers, he believes, cant see the forest for the trees when
they focus purely on cost and less on quality. We encourage
them to see that they do not have to sacrifice one for the other.
For Khanna, one of his companys biggest developments
going into 2015 is the two-month-old strategic partnership
with Superior Media Solutions (SMS): It provides customers
with comprehensive technology solutionsfrom authoring,
collaborative production workflow, and digital asset management to delivery via the full range of media channels. For
publishers struggling with digital strategy issues, we can help
to simplify the decision-making process, allowing them to
focus on developing quality content.
Then there is e2e, the groups latest offering. The cloudbased workflow system shortens the publishing cycle,
enhances author experience and involvement, and facilitates
print and electronic deliveries. The biggest e2e advantage,
explains Nigel Wyman, president of OKS Prepress Services,
is its zero reliance on conventional typesetting to generate
structured content, create pages, and incorporate author
corrections. That offers significant cost savings for onlineonly titles while also allowing for parallel product deliveries
in, say, XML, HTML, PDF and ePub. The e2e workflow is
also developed with an eye on addressing the needs of
open-access (OA) publishers, where much of the actual production work rests with the authors.
Our e2e workflow is perfectly poised to take on the early
stages of the production activity, from authoring through to
editorial. It works tremendously well in keeping production
costs in check, which is one big challenge faced by OA publishers, Wyman adds.
To learn more about e2e and the many solutions provided
by OKS Group, contact nigel.wyman@oksgroup.com.
Publishing Technology
News that Egmont Publishing launched a global contracts
and rights system on Publishing Technologys Advance platform recently reached the industry. Now live in Egmonts
U.K. and Scandinavian operations, the system provides a
single, transparent view, incorporating streamlined management of rights,
sub-rights, fragments, and permissions. Easy
visibility of contract stipulations and rights owned will modernize Egmonts
business, making it efficient to remain in compliance, while
APRIL 2015
readily exposing untapped revenue potential, explains executive v-p for business development Jane Tappuni, who will
be at booth 7G41.
She adds: Publishers tend to invest in developing new
products at the expense of cataloguing and mining rights
they already own, thus missing the opportunities to generate
new revenues from current assets. To find out more about
IP strategy, head over to the Theatre @ Tech on April 16 at
1 p.m. for Rights on the Money: Are You Fully Monetizing
Your IP, presented by executive v-p of global product
strategy Randy Petway.
Another client, Macmillan Distribution, runs a new subscription platform based on Advances Order to Cash
module. The system provides tools to manage, package, sell,
and distribute content in innovative ways that until now
have been too challenging to administer.
The challenges and issues in the STM segments are a key
focus in more talks being held by Publishing Technology
executives. CEO Michael Cairns will explore the topic What
Is a Publisher Now? Academic Trends to Watch at the
Faculty on April 14 at 11:30 a.m. Melissanne Scheld, managing director of PCG (a division of Publishing Technology),
will chair a panel titled The Scholarly Communication
Chain: Linking Publishers, Librarians, and Researchers on
April 15 at 10 a.m., as well as a panel titled University Presses
Today: How to Stay Relevant in an Era of Disruption,
Innovation, and Industry Contraction on April 16 at 11:30
a.m, both of which are also at the Faculty.
SourceHOV and Rule 14

Working with legal publishers for the past 15 years has provided SourceHOV with incredible insight into the segment.
The biggest challenge lies in providing the headnotea
summary that appears before the text of a legal decision
more quickly in the face of rising volumes of court documents, says business development director Gary Rodrigues,
whose company has invested in state-of-the-art machine
learning tools that significantly reduce the time taken to
create a headnote for a case law or judgment.
Thats where sister company Rule 14 comes into play. The
artificial intelligence engine that powers Rule 14 is able to
continuously monitor large data feeds, applying pattern detection to time-intensive classification tasks such as data relevance, topic identification, and sentiment analysis. In headnote
creation, our goal is to minimize the level of human involvement. By extracting all of the key elements automatically from
the primary law, and then having an editor focus on writing
the headnote from the salient information, there is an efficiency gain of over 50%and sometimes up to 80%, adds

Rodrigues, recalling one particular project where Rule 14
monitored several websites for the latest court judgments, and
then sent summarized results based on a specific client brief
to the publisherall within 60 minutes of publication.
In the financial services sector, Rule 14 has been used to
access multiple Web sources to monitor and track specified
data points, including company representatives, general lines
of business, company history, and acquisition and merger
information. It can also be configured to identify new records
or updates to existing records, and then return the results
via an automatically generated human-readable output
format such as Excel.
To find out how Rule 14 and SourceHOV can help with your
projects and data, contact gary.rodriques@sourcehov.com
to set up a meeting at the fair.
Vearsa
The company previously known as
ePubDirect is relaunching its product
line with expanded services. Our
new name, Vearsa, or verse in Gaelic,
refers to Irelands long history of
storytelling. It is about us wanting to continue this storytelling tradition by helping publishers to get their stories out
to the world, explains CEO Gareth Cuddy, adding that the
company has evolved from being an e-book distributor to a
cutting-edge technology company working to solve publishers most pressing issues, which include driving profitable
sales, identifying new markets, and turning big data into
actionable insights.
An integral piece of Vearsas expansion is Tracker, a new
product that monitors millions of titles on retailers websites
on a daily basis, giving publishers powerful data regarding
availability, pricing, geographic rights enforcement, and
competitive strategy. It enables publishers to monitor print
and online data for the first time in one place, optimizing
their pricing and metadata, and getting ahead of trends,
adds Cuddy, whose team works with over 350 publishers to
distribute half a million titles to more than 1,000 retailers
and 65,000 libraries. The average publishers e-book sales
grow 12% month on month using Vearsa, and we want to
drive this growth with our new products.
Meanwhile Vearsas e-book analytics services have been
providing clients with interesting insights into what is happening (and working) in the marketplace. Cookbooks, for
instance, have seen a threefold year-on-year increase in earnings, while photography titles have grown 80% year on year.
This shows that well-produced image-rich e-books can grab
the attention of people who are now used to looking at
photographs on screens instead of paper with a matte finish.
For more information about Cuddys viewpoints on
e-books, visit booth 3A50, or head over to Theatre @ Tech
on April 13 at 3:30 p.m. to listen to his presentation, Five
Ways to Supercharge Your E-book Sales.
APRIL 2015
Frankfurt Book Fair Unveils New Opener

Replacing ConTec, a new preconference seminar will
focus on international markets
BY HANNAH JOHNSON
GESCHAEFTSLEITUNG
hrough countless discussions, experiments, challenges,

and conferences, the digital transition has been front
and center in the publishing industry for over a
decade now. And, through it all, the industry has
found its way forward. We no longer ask whether to
invest in digital infrastructure, create online products, or if
our customers want digital services. The key questions today
are, what are the next business opportunities, and where can
we find them?
This is why the Frankfurt Book Fair will debut a new
flagship event to kick off the 2015 gathering: The Markets:
Global Publishing Summit. The conference will replace
ConTec, which, for the last two years, had taken the place of
the defunct Tools of Change digital conference. Set
for Oct. 13, 2015, the new event will serve as the
The Markets is not a conunofficial start of the 2015 Frankfurt Book Fair
ference, it is the unofficial
(October 1418).
starting point for the most
With publishing now a largely digital business,
this new conference will shift the focus from the
international book fair in the
broader digital questions of the past to more specific
world. One day before the
ones facing publishers today: which print-on-demand
options are available in Asia? What is fueling
fair begins, we will host a
growth in Turkeys book market? What kinds of
focused event that supports the most important
childrens books work in South Korea? Who can help
optimize and distribute mobile content? How can
needs of our customers: doing international
publishers license content from Germanys leading
business in Frankfurt by hearing about new
STM publishers?
Co-organized with Publishing Perspectives, the
opportunities and meeting new partners.
one-day summit will showcase publishing segments
Holger Volland, v-p of business development
from seven regions around the globe that offer
for the Frankfurt Book Fair
opportunities for international business and partnerships, including:
With this new opening summit, the Frankfurt Book Fair is
Chinainternational partnerships and joint ventures
providing a platform for furthering the economic future of
GermanySTM publishing
publishing, building on collective knowledge about the evoIndonesiamarket overview
lution of content, and working together to create global
Mexicotrade publishing
opportunities for authors, content, and services.
South Koreaeducation and childrens books
Turkeytrade publishing
Hannah Johnson is the deputy publisher of Publishing
U.S.digital publishing and innovation
Perspectives.
As a result of increased digital innovation, communication, and logistics, publishing in the 21st century is more
global than ever. Content today quickly and easily travels the
The Markets: Global Publishing Summit
world, and mature markets are finding common ground with
Co-organized by the Frankfurt Book Fair and
Publishing Perspectives
those still emerging, initiating partnerships, and sharing
Oct. 13, 2015
knowledge and resources.
themarkets2015.com
28
Transform
your bottom line
From challenges to results

Real-world case studies
Reinvigorated with a new digital life, the extensive backlist of titles from a
university press is now available from the major online vendors (Amazon,
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OverDrive, 3M, JSTOR, and Project MUSE).
In just 6 months, Cenveo Publisher Services delivered full-text XML
compliant to journal archive requirements and the NLM DTD for a major
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Streamlining the production process with off-shore project management
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london show daily
What Works? Funding for learning resources

There is
evidence that
the returns
from education
in the younger
years are huge.
Over the last decade, the development

community has seen an overall increase in
financing for education globally, writes Luis
Benveniste. This coincides with an increase in
the number of children and youth in school
around the world. Between 2000 and 2012, we
witnessed a decrease in out-of-school primary
age children of 42%, from 100 million to 58
million. Despite these recent gains, we know
that kids are not learning the skills needed to
excel in school, work or life. Today, an estimated 250 million
children are unable to read and write, even after spending three
or more years in school (UNESCO 2013). Nearly 25% of the
worlds youth is functionally illiterate (EFA GMR1 2014). In
Kenya, for example, 70% of children who complete grade four
are unable to read (EFA GMR 2014). And in Pakistan, only
half of students in the third grade can solve basic multiplication
problems (World Bank GMR 2014/15).
So how can we get more bang for our buck to ensure that
the resources spent on education are reaching students in the
classroom and ultimately improving learning? Well, first and
foremost, we need to ensure that we are spending still scarce
financial resources on the right goods or policies, and on the
right people. Though early childhood development has been
shown to have enormous impacts on learning and earning
levels, spending is often disproportionately skewed toward
the higher education sector.
There is international evidence demonstrating that the returns
from education in the younger years are huge. An impact
evaluation of an early childhood development programme in
Jamaica, for example, demonstrated an increase in future earnings
of 25%. It is estimated that the rate of returns for investments
in human capital is highest for early childhood education, with
returns gradually decreasing with each level of schooling.
Resources are also often disproportionately spent on
wealthier families, though learning levels are typically the
lowest amongst the poorest and most disadvantaged
communities. These persistent gaps will continue to widen
if resources are not properly allocated, especially since
poorer families have fewer resources themselves to invest in
effective early childhood education.
The second issue pertains to the widespread failure of
education inputs and policies to reach the students themselves.
This trend can be seen across the globe from absent teachers, to
poor infrastructure, to missing textbooks. In one case, in Sierra
Leone, a textbook provision for schools programme showed no
apparent effects. When this was looked into, it was discovered
that many of the new textbooks had not been distributed to the
students, but had been locked away. The World Bank Group
has recently begun examining policy implementation through
the Systems Approach for Better Education Results (SABER)
programme, which gauges how reforms are actually shaping
classroom practice and affecting children in schools.
Weak governance can also limit learning,

when, for example, textbook procurement and
delivery is inefficient and lacking in quality. In
the Philippines, where it could take up to
two years for a school to receive a shipment
of poor quality textbooks, a programme was
put in place to monitor the bidding process,
inspect the quality of the textbooks, and track
the deliveries. In just three years with greater
monitoring and increased accountability,
textbook prices had fallen by 50%, the physical quality of the
books had improved, and volunteer observers reported 95%
error-free deliveries with 53 million textbooks provided to
public schools. The textbook procurement and delivery
cycle had also been reduced by half. Ultimately, spending in
education does matter, but spending wisely to ensure that
necessary inputs reach the classroom matters more.
1: Education for All Global Monitoring Report

Luis Benveniste is the Education Practice Manager for Global Engagement
and Knowledge at the World Bank. He will be delivering a keynote speech
at the What Works? education conference, which takes place on Thursday
at 9.30am to 5.15pm. To book: www.londonbookfair.co.uk/whatworks.
IF THERE IS GOING
TO BE A WAR, I DO NOT
WANT TO MISS IT.
Julian Kulski, age 10
VISIT US IN LONDON AT NBN INTERNATIONAL, BOOTH 6F40
AQUILA
POLONICA
Distributed by National Book Network,

www.nbnbooks.com
For rights queries:

www.AquilaPolonica.com
info@aquilapolonica.com
17
london show daily
Should I sell my company?

Kit van Tulleken explains the process that needs to be gone through if you are
selling a publishing companyhow and when to make a move, how to prepare,
how to value
There is no counsel of perfection for selling
a companyno formula exists that will
guide you to the right moment and the right
buyerbut it is possible to draw a map of
the uncertainties and the decision points in
a sale.
Many people imagine the market place is
a homogeneous sea of acquisitive buyers
and eager sellers with some decades being
very good for sellers and others very good
for buyers. The truth is that the market
Kit van Tulleken
place is extremely specific and has to be
looked at for each company and sector. It is
less about overall trends and more about
the position of each buyer or seller at a
particular moment in time. That is not to
say that cataclysmic events (9/11 or the
collapse of Lehman and world economies)
wont have an impact on deals, regardless of
size or sector. But, even in stable periods, at
any one moment there is likely to be only a
handful of interested partiesfor whom
buying makes sense, with compatible
strengths, financial resources and, most
important, the ineffable human chemistry
that drives most transactions. The art of selling is to tap in
to those potential buyers.
How then to discover if this small specific market exists
for you? Here I focus on independent small-to-medium size
book publisherssellers more than buyers.
The decision to explore selling is more often a lifestyle
decision than a well-planned exit. The incentive comes in
many forms: age, health, family; a wish for liquidity; to
take out some or all of the risk; or the prospect of new
ventures. As a rule of thumb if you start to think about
selling, you should at least explore the possibility. The
question is not should I sell, but should I try to sell.
(always), and your paper work, including

accounts and contracts, should be in good
order. In my view, however, you should not
make strategic and management decisions
for a potential sale; do not stop investing in
marketing or new titles or technology to
improve your bottom line. It may damage
the business for both you and a buyer. Run
your company as if you will own it forever,
until the moment you do not own it.
Do not start a process with unrealistic
expectations as to the value of what you
are selling. Discuss value with your adviser,
whose views, based on knowledge of
your specific market, should be aligned
with yours.
If you are a general trade publisher, for
example, the valuation will be enhanced by
top authors under contract, a strong
backlist, and the quality and focus of your
portfolio. It will be about durability and
the competitive environment. It may also
have a digital twist: a self-published list
that has some scale and interesting authors;
or a list that includes both print and digital
booksnot just ebooks, but those prepared for reading on
tablets. This is especially true of childrens titles. There
may also be the possibility of exploitation of materials in
film or video.
In the case of academic and education publishers,
technology is important and may include services and
solutions. The relationship with the customer (academic
libraries, schools and education authorities) is essential,
but increasingly technology provides a channel to the
end user.
Small, independent, entrepreneurial companies often will
have taken some risks, successfully entered new markets,
deftly used a digital platform that will support content,
teachers, students and parents. Increasingly, such
companies are using subscription, recurring revenue
models. These characteristics may well make the business
more attractive, and result in a premium valuation. In
this sector, it is about content and solutions as much as
specific titles.
Education Technology (EdTech) companies attract
premium valuations, but behind the headline numbers
there may be significant investment in both time and
resources. Under-resourced technology businesses have
There are broad

guidelines,
but an almost
infinite number
of variations,
and the only
real test is to go
to the market.
How to approach the market

Is 2015 a good year for sellers? What will affect the
outcome and the valuation? While all transactions
have certain common elements, each one has its own
characteristics and complexities. The question of timing is,
for most sellers, directly linked to valuation. There are
broad guidelines, but an almost infinite number of
variations, and the only real test is to go to the market.
In terms of preparation, as a matter of good
housekeeping you should have up-to-date tax advice
18
london show daily
difficulty surviving; those that thrive often have taken

private equity investors, and the founders may own only a
small, if valuable, stake in the business.
The professional sector is different again. Increasingly,
corporations and the professionsmedicine, law, science,
financerequire online information and data that can be
interrogated and cross-referenced. It must be timely and
accurate. There are niches in these markets and with the
right platforms, technology and information, such
businesses attract valuations many times the revenues.
These are markets dominated by large corporations.
Other valuation drivers

Other valuation drivers include financial performance
(growth and future growth), competition, barriers to entry,
management and staff, technology and rights. Is it easy
for someone to enter and steal your market or are you
embedded? Is there obviously more to come? It is always
best to leave something on the table for the buyer.
Are there risks in trying, but failing, to find a buyer at
your valuation? It will be disappointing, but in a wellmanaged process it is unlikely to be damaging. Your
obvious buyers, usually large companies, are unlikely to
change direction. Furthermore, most confidential

information dates very quickly. On the positive side, you
will be more knowledgeable about your business at the end
of the process.
There are good reasons to retain an adviser to guide and
protect you. Choose someone you like and trust; this will
be a close working relationship for several months and
your advisor may be the only person who knows what is
going on; who will understand your concerns; who knows
the buyers; and, more importantly, knows the decisionmakers. An adviser should manage the process with a clear
structure and timetable, and will leave you free to run your
business. It is the sellers role to make sure the business is in
good shape, that the forecasts are met, and that the
company is run in a consistent way.
The deal business is all about people and relationships.
People, their strategies and ambitions, drive deals. You
need to be committed, and it should be an interesting, even
exhilarating process. It represents change, and heralds a
beginning as much as an end.
Kit van Tulleken, Founder Partner of Kit van Tulleken LLP, is an

independent strategic adviser to publishing and data companies in the
UK, Europe and the US (kit@vantulleken.co.uk).
IgNiTe ImAgInAtIoN wItH
aNd
Out
September
2015
TM
Giggle-fueling fun
Booklist
Visit Capstone Booth 1E41

and enter to win copies of these titles!
TM
capstoneyoungreaders.com
fl
curious-fox.com
TM and DC Comics. (s15)
19
london show daily
Books are dead; long live the book

Colin Hughes discusses what the near future holds for educational publishing
And what do you do for a living? Well, I
publish textbooks. Really? That must be a
struggle now you can get it all free online? And
anyway, bookssurely theyll be replaced with
tablets/MOOCs/videos/games wont they?
That is a standard conversational
exchange for most of us in the business
of providing schools with curriculum
resources. My answerthat is, what do I
think the near future holds for educational
publishing?runs something like this
Books are dead; long live the book. Modern Colin Hughes
textbooks (which our interlocutors are often clueless about,
because they havent actually seen one since they left school
20, 30, 40 years ago) are not dry dusty tomes. They are builtfor-purpose aids to the complex business of learning
progressively, one step after another, brick on brick. So-called
free content (much of which isnt truly free anyway) doesnt
do that. Its not organised into an approach to teaching and
learning that works; in fact, its not coherently organised into
anything at all. What we do as publishers is construct ways of
learning effectively; the core knowledge content doesnt vary
much between us, but we do vary enormously in the way we
enable teachers and students to teach and learn.
Up to our armpits in digital

We dont really care whether we do that with paper and ink, or
some other tool. No UK education publisher is promoting only
books for the current phase of curriculum change; all of us
are into digital up to our armpits. Schools now wholly expect
us not only to deliver content in books, online, via app where
appropriate, with rich media, etc., they also expect us to enable
track-able assessments and homework online, and even train
their teachers in how to use it all, remotely and on-site.
In that sense, the future has already arrivedat least in
most schools, though the range of variation in digital
take-up remains enormous, even with our relatively
advanced connectivity. Where next then, if schools are
already up and running with the digital latest?
Edtech investorsmost of whom would gain hugely from
spending just a day or two in real life schools, by the way
think the next things are MOOC-like delivery of lessons by
filmed ace teachers, with whizzy entertaining graphics and
game tech Pixar-style.Or they think its teach yourself peerlinked platforms. Or cyber-tutes. Surely we dont need teachers
to impart information anymore? We can make it all so much
fun that students will lap it up on screen and then pitch up to
lessons full of vibrant questions and ideas. Ha! If only.
Students need teachersliving, breathing ones. But they
need teachers who have the best tools, some of which will
be digital, and some not. And incidentally, when you ask
students what they most like to revise from (tablet, mobile,
20
PC, whatevs), more answer books than

any other device. Funny that.
The bookyes, the honest to goodness
textbookis a long way from breathing its
last. But it is staying alive by morphing,
rather cleverly.
Adaptive learning
Having said all that, my bet is that there is,
in truth, a really big digital change coming.
And its imminent. The tech, and the ideas,
have been around for a couple of decades.
But now the time has arrived. Its adaptive learning.
The most interesting platform tech being built out there
isnt some new version of digitised drill and practice, or,
alternatively, edutainment. Its not look and learn, either
(video is a very passive medium incidentally, easily snored
through, let alone switched off). Adaptive is none of the
above. Its about me (or you)and its about engagement.
Lets take maths (why wouldnt you, its rather important,
after all). At the end of most maths lessons there is a high
likelihood that 10-15 per cent of the students didnt really
get a crucial point. Another 10-15 per cent (even in groups
of close ability) are ready to move on swiftly. The teachers
can (and do) assess whats gone in with whombut its
laborious. Supposing your platform, instead of merely
testing kids to check, actually took them back through
what they hadnt grasped (because the ones who didnt get
the lesson are different each time)? And the ones who have
got it are given greater depth?
In other words, supposing the machine devised the right
progression for each student, as they went along? But also
kept everyone on tracknot mayhem, but clarity. This is a
world in which all homework is directly relevantnot a
parade-ground duty, but a genuine out and out exercise in
self-development.
This stuff costs huge amounts of time and care to build.
You have to have curriculum specialists alongside techies
alongside designers, all working in each others interest.
But once youve got it, the gains are real, quick and very,
very visible.
So while one strand of policy-makers rightly focus on
bringing back the textbook to UK schools (because they
work, and because they raise standards), we as publishers
are happily continuing to explore genuine next generation
learning. It wont replace books, at least not for a long while
yet. It wont replace teachersever. But adaptive learning will
offer another precious tool to help ensure that students dont
slip unnecessarily behind, or fail to push on when theyre
able. Books aint deadlong live the adaptive platform.
Colin Hughes is Chair of the Education Publishers Council at the
Publishers Association.
london show daily
The year of Mexico

Not only is Mexico the Market Focus country at the Fair, but this year also sees the
Dual Year of the UK and Mexico, a celebration of cultural, educational and
business exchange between the two nations. Cortina Butler explains
The Mexican authors visit to
The flavour of 2015 is
London is the highlight of the
undoubtedly Mexican, both
Cultural Programme, but there
inside the halls of Olympia
are other events in the UK and
and across the UK. Not only is
in Mexico over a 12-month
Mexico the Market Focus
period designed to bring the
country at the London Book
literary and publishing
Fair, but this year also sees the
communities of the two
Dual Year of the UK and
countries closer together. In
Mexico, a celebration of
September, six commissioning
cultural, educational and
editors from UK publishing
business exchange between
Paul Baggaley, Suzie Door, Ellie Steel, Anna Kelly, Juliet Mabey and
houses (And Other Stories,
our two nations.
Stefan Tobler visiting the Cuidadela Library during their visit to
Hodder and Stoughton, Picador,
The LBF Mexico Market
Mexico City as part of the Market Focus programme
Penguin Random House and
Focus is bringing more than 50
publishers across all sectors from Mexico to the Fair, providing Oneworld) met with authors and publishers in Mexico City
following an open call by the British Council. The connections
both British and international publishing attendees with the
opportunity to develop or strengthen business links with a
vibrant market of more than 120 million people. The Market
Focus is led on the Mexican side by the National Council
for Culture and Arts (Conaculta) working with the British
Council on the Cultural Programme and with the Publishers
Association on a substantial Professional Programme of events.
The giants of Mexican literature, Octavio Paz and Carlos
Fuentes, are well known in the UK, and there is interest
Discover the new generation of
in certain strands of contemporary writingespecially
bestselling writers from the Black Sea states
so-called narco literaturebut relatively few books by
todays Mexican writers are translated and published in the
UK every year, and this is a lost opportunity. The objective
of the Cultural Programme is to change that situation, and
also to increase the profile of UK writers in a country
where writers from north of the Mexico-US border
dominate the English-to-Spanish translation market.
Eleven leading writers from Mexico are visiting London
during the week of the Fair and taking part in the Cultural
Programme with readings, seminars and round-table
discussions in Olympia, and at venues in London and
Romania
Armenia
Wales including the British Library, the Free Word Centre
Bogdan Hrib,
Hovhannes Tekgyozyan,
and the London Review Book Shop. The writers include the
The Greek Connection
Fleeting City
distinguished historian, essayist, critic and publisher Enrique
Georgia
Turkey
Krauze; Elena Poniatowska, whose fictionalised account of
Dato Turashvili,
Bedri Baykham,
the life of the painter Leonora Carrington (translated by
Flight from the USSR
The Bone
Amanda Hopkinson) was published by Serpents Tail in
Publication dates: Fall/Winter 2015/16
March; the Latin American Childrens Laureate Francisco
Hinojosa; the courageous investigative journalist Lydia
www.mosaic-press.com
Cacho; and the novelist and essayist Valeria Luiselli, whose
latest work The Story of My Teeth (translated by Christina
Visit us at the London Book Fair
MacSweeney) has just been published by Granta. Luiselli
April 14-16, Booth #6A21
will be the Author of the Day on Wednesday.
The New Mosaic Press

Black Sea Literary Series
ad-90mmx130mm.indd 1
21
2015-03-26 1:40 PM
london show daily

formed there have already resulted in one acquisition: Juliet
Mabey at Oneworld has bought world English-language rights
to Umami by Laia Jufresa, a novel published simultaneously
in Mexico and Spain by Literatura Random House.
The poets Sir Andrew Motion and Owen Sheers took part
in events in Mexico City at the start of this year and there
will be further visits to other Mexican cities through the
summer, along with competitions for Mexican translators
from English to Spanish and for Young Poets (organised
with the Poetry Society). Other Mexican writers will appear
at festivals in the UK including the Belfast Literary Festival,
Hay Festival, Worlds Literature Festival in Norwich and the
Edinburgh International Book Festival.
As part of the Professional Programme, a day-long briefing
on the Mexican market for publishers, agents and translators,
organised by the Publishers Association and LBF, was held at the
British Council offices in December, with speakers from Mexican
publishing houses and other parts of the publishing sector.
The Dual Year of the UK and Mexico will see hundreds of
exhibitions, concerts, festivals, academic workshops and
artistic residencies taking place in the two countries. It
presents the opportunity to enhance existing links and build
new connections, repositioning each country in the popular
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perception of the other and enriching relationships at all levels

of society through culture, arts, education and business.
The grand finale of the British programme in Mexico will see
the UK as Guest of Honour at the Feria Internacional del Libro
de Guadalajara (FIL) at the end of November. FIL is the most
important publishing gathering in Ibero-America and combines
business-to-business meetings with a cultural festival. Founded
28 years ago by the University of Guadalajara, the Fair is aimed
at professionals and the general public alike. More than 1,900
publishers and 750,000 people visit over the nine-day period.
The UK will be taking a large delegation of authors and
academics, and fielding nine nights of live music performance,
a film festival and visual arts exhibitions in historic buildings
in the centre of Guadalajara. The Publishers Association is
leading a delegation of British publishers. Seasons of cultural
exchange are not rarethis year is also seeing exchange
between the UK and Chinabut a year where so much of
the focus is on literature and publishing is unusual. Mexico
is a country with a rich literary and publishing heritage. It
is a global powerhouse of Spanish-language publishing and
this year presents a unique opportunity for publishers and
readers in the UK, and internationally, to strengthen and
deepen their connections with Mexico.
Cortina Butler is Director Literature at the British Council.
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london show daily
Professional Programme highlights

Tuesday
Wednesday
10.00-11.00am Mexican Publishing Industry

An insight into the Mexican publishing industry, with one of Mexicos
top cultural officials, leading independent publishers and the Mexican
publishers association.
Gallery Suite 1
11.30am-12.30pm UK Guest of Honour at Guadalajara Book Fair

The Feria Internacional del Libro de Guadalajara (FIL), next taking place
in November 2015, is one of the most important book fairs for the Latin
American region. With the UK as the Country Guest of Honour, this
looks at the opportunities for UK publishers and writers. Gallery Suite 1
11.30am-12.30pm How Does the Conversation Between Childrens

Authors and Publishers Go?
Two writers, Juan Villoro and Melvin Burgess, who have each gone beyond
what was hitherto allowed in childrens and young adult literature, talk
with their editors about the creative process.
Childrens Hub
12.45-1.30pm What We Talk About When We Talk About Writing and
Reading in the Digital Era
The influence that the internet has on reading and writing habits is
undeniable. But how beneficial is this influence? Authors talk about
their personal literary processes in new technological platforms linked
to the written word.
Author HQ
5.30pm Presentation by Rafael Lozano-Hemmer
Entitled Anti-monuments: A Draft of Shadows, this sees the influential
Mexican artist present his interactive installations that combine architecture
and performance art. Introduced by Rodrigo Orrantia.
Gallery Suite 1
For details of Cultural Programme events please visit the British Council
Literature website: www.britishcouncil.org/mexicomarketfocus.
1.00-2pm Bright Minds: Childrens Publishing, Talent Working

What are publishers strategies for bringing books to children and
young adults who are mesmerised by the world of visual communication?
Publishers discuss ways of bringing together images, words, emotions
and ideas.
Childrens Hub
2.30-3.30pm Why Do Children Read?
A conversation between UK and Mexico publishers, and literacy
experts, about the experiences in each country. With case studies of
reading promotion strategies.
Childrens Hub
Thursday
1.00-2.00pm Translating Mexico: The Hows and the Whos
Translators will be discussing how they came to establish a
relationship with their authors, acting as champions and agents for
them in the English-speaking world, and how the avenues that have
already been created can be used to increase the visibility of Mexican
literature.
Mexican Pavilion, Stand 6D100
Cooks gardeners artisans Craftsmen
Unlimited ways to express your creativity
Backyard
Tauntons
Mug
Meals
ALL
NEW
I D E A
ARTS & CRAFTS

FURNITURE PROJECTS
A skill-building guide featuring
9 beautiful projects
B O O K
GREGORY PAOLINI
SANDRA S. SORIA
Taunton
Paperback
EAN 9781600854989
Distributed by Ingram Publisher Services, Inc.

For more information about our titles visit www.Tauntontrade.com
Facebook.com/tauntonbooks
MU8527_PW_March_Ad_half_Horizl2_sized.indd 1
Paperback
EAN 9781940655079
L UCKY
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FIBER
Paperback
EAN 9781600857812
2015 The Taunton Press
Paperback
EAN 9781627109161
23
3/25/15 2:40 PM
london show daily
Alices adventures in publishing

Alices Adventures in Wonderland has been in print with Macmillan continuously since
1865. Alysoun Sanders looks back over the 150 years since it was first published
On 19 October 1863, an unknown mathematician, called
Charles Dodgson, was introduced to the publisher
Alexander Macmillan in Oxford by Thomas Combe, an
eminent figure, Director of the Clarendon
Press and Printer to Oxford University.
Macmillans publishing business was
growing. He had just moved his
headquarters to London from Cambridge,
had been appointed Publisher to the
University of Oxford and had built a
reputation amongst scholars and authors as
a leading academic publisher.
Charles Dodgson
Charles Ludwidge Dodgson was born in
Daresbury, Cheshire into a large rectory
family and is better known by the
pseudonym, Lewis Carroll. He was a great
storyteller and also very gifted academically; by the age of
24 he had become a Master and Tutor at Christ Church,

Oxford, where he got to know the family of the Dean,
Henry George Liddell. On 4 July 1862,
Carroll, the Revd Duckworth and the three
eldest daughters of the Liddell family, Lorina,
Alice and Edith, had rowed up the river
Thames to Godstow for a picnic. This
became known as the golden afternoon,
when Carroll first told the stories of Alice
and her adventures. Alice Liddell then
asked for the stories to be written down
and a manuscript, Alices Adventures
Underground, illustrated by Carroll, was
created and presented to her.
Just before Carroll and Macmillan met,
Macmillan had ventured successfully into
publishing for children, with Charles
Kingsleys The Water Babies. He was likely to have been
looking to expand this area of publishing, and, realising
the potential for a story that entered into a childs world
in a new way, he agreed to take on Carrolls story on a
commission basis. This was the beginning of a long and
very profitable publishing relationship between the
two men, although one that was not without challenges
and difficulties.
A most particular author

Carroll and Macmillan had a great respect for one another,
a mutual love of poetry and stories, and family loyalty.
However Carroll was a
most particular author and
tried his publishers
patience at times, with his
demands on the quality of
printing, his instructions to
the printers to let the paper
dry for long enough before
binding and the number of
times that he withdrew
copies of his books because
of poor quality. Repeatedly
he asked Macmillan to
delay publication rather
than have a hastily done,
poor quality book. Despite
this they remained loyal
to one another and
Carroll was invited to
Macmillans home on
various occasions.
24
london show daily
Realising the
potential for a
story that
entered into a
childs world in
a new way,
[Alexander
Macmillan]
agreed to take
on Carrolls
story.
In 1864 Carroll decided

upon Alices Adventures in
Wonderland as the title and
asked the Punch cartoonist
John Tenniel to illustrate it
for him. These classic
drawings have become as
well-known as the story, and
beautifully capture the
character of Alice and of
those she meets.
In order to print from
the drawings they were
transferred onto woodblocks
from which electrotypes
were made and the printing
done without damaging the
original blocks. The
innovative positioning of the illustrations on the page
cleverly incorporates the illustrations into the text,
bringing the story to life.
Carroll was most particular about presentation and
requested that his book be covered in bright red rather
than the usual Macmillan green as used for The Water
Babies. Macmillan sent Carroll a copy of an earlier
childrens poetry book, The Childrens Garland (edited by
Coventry Patmore, 1862), as it was covered in a red cloth
such as I fancy you want.
The first copies of the book, printed by the Clarendon
Press, were sent to Macmillan on 27 June. However
Tenniel was unhappy with the quality of the printing
and the copies were withdrawn. A reprint was arranged
with Richard Clay and a second edition was published
on 11 November 1865. Within three weeks 500 copies of
the book had been sold. On 23 December the London
Review appeared saying: Alices Adventures in
Wonderland is a delightful book for children and
for grown-up people, provided they have wisdom or
sympathy enough to enjoy a piece of downright hearty
drollery and fanciful humour
(1890), with illustrations

coloured in by Tenniel
(Alice in a yellow dress),
and The Little Folks
edition (1903 and 1907,
Alice in a red dress).
Macmillan went on to
publish all the books
written under the name of
Lewis Carroll, as well as
many of his works on
mathematics, geometry
and logic, and puzzle
books, under Carrolls real
name, Charles Dodgson.
Alices Adventures in Wonderland has been in print with
Macmillan continuously since 1865, and copies have sold in
many languages around the world; the story and that of its
creator has captivated children and adults the world over.
The Complete Alice will be published by Macmillan on 4th July.
The cut out images are from Alices Adventures in Wonderland.
Illustrations Macmillan Publishers Ltd, 1995.
Alysoun Sanders is Archivist at Macmillan Publishers.
Wisdom Publications
RIGHTS AVAILABLE
BUDDHISM
The Dalai Lama and Thubten Chodron
Cloth | 352 pages | 9781614291275
MINDFULNESS
A TO Z
Arnie Kozak
240 pages
9781614290575
Sales in the thousands

In 1866, a further 3,000 copies were printed and from then
on Carroll asked that the number of thousands be
printed on the title page. By the time of Carrolls death in
1898, there had been sales of more than 150,000 copies.
Carrolls sequel, also illustrated by Tenniel, Through the
Looking-Glass & What Alice Found There, went on sale to
the public in December 1871 (copies carried 1872 on the
title page) and was again very successful.
In 1911, Macmillan Publishers issued a one volume
edition of both works with the Tenniel illustrations
coloured in by Harry Theaker (Alice in a blue dress). It has
also published abridgements including The Nursery Alice
BUDDHISM
FOR DUDES
Gerry Stribling
144 pages
9781614292296
DONT WORRY,
BE GRUMPY
Ajahn Brahm
240 pages
9781614291671
Wisdom is distributed by PGUK. Visit booth 6E40 to learn more.
Wisdom_London_2015.indd 1
WISDOMPUBS.ORG
25
4/3/15 4:52 PM
london show daily
Developments in research and scholarly publishing

In recent months the policy landscape has been
dominated by discussions about the development
of the European Digital Single Market and how
consumer, business and cultural interests can all
be enhanced through greater adoption of digital
tools, writes Richard Mollet. At the Publishers
Association, one initial response to this challenge
from the European Commission is to say that the
Digital Publishing Single Market is already a
reality. Nowhere is this clearer than in the world
of research and scholarly publishing.
Richard Mollet
There are three main areas of policy
debate which touch on publishers interests: open access,
data analytics and research integration.
Open access
A number of years ago it was possible to see this movement as a
potential existential threat to publishing. Meeting the strongly
articulated demands that taxpayer-funded research should be free
to be read by all required a nuanced response in policy discussion,
but equally importantly an actual change in mind-set and business
approach. In the UK, the 2013 Finch Report set out a clear
framework for how the so-called Gold Open Access (Gold OA)
approach would see publishers revenue streams gradually shift
from payment for reading, to payment for publishing. We are
still very much in the transition phase of this adoption, and the
continued support and strength of subscription-based journals
suggests that there is some time to go before the world is fully
Gold. Meanwhile, publishers have worked to ensure that every
public library in the UK has a terminal dedicated to providing
any user with access to research data.
Data analytics
In data analytics, or data and text mining, the story is very
similar. Publishers have quietly been at the forefront of helping to
develop the technology to make the possibilities of analytical
tools a reality. The whole field is very much at a nascent stage of
development, with requests for data and text mining to all UK
publishers being countable on a couple of hands. For this reason,
it has always seemed to publishers that moves to legislate in this
area are unnecessary, premature and potentially damaging. It is
generally unwise for politicians to fix the statutory framework of
a market before that market really exists. While there may be an
argument for using statute to pre-empt unwelcome developments
(such as anticipating toxic drug crazes) it hardly seems fitting
that laws should run ahead of market arrangements.
However, this is the path the Government has taken and the
amendments to the Copyright Act introduced in July 2014 now
give miners the ability to reproduce the works they wish to mine,
but with three vitally important caveats. First, by restricting this
ability only to those who have legally acquired the work it ensures
that this measure will not lead to open season on publishers
content. Secondly, it remains possible for publishers to maintain
26
control over access to the content, so as to ensure

the bona fides of the prospective miner (i.e. that
they actually are someone with legal access) and
more importantly to regulate the flow of crawling
software to prevent the platform from degrading.
Thirdly, the exception is only permissible to those
whose research is for non-commercial purposes.
This prevents the law permitting an unjustified
transfer in value from publishers to any other
commercial sector (pharmaceuticals or search
engines), which would otherwise have to buy a
licence to mine.
The European Commission is currently considering whether
the Copyright Directive should be amended to permit data and
text mining. As we are taking great pains to point out, not only
are researchers already using developments within text and
data mining licensing to analyse huge corpuses of works to
discover hitherto hidden links between facts and data, but the
recent introduction in the UK of a limited exception for noncommercial text and data mining proves that changes to
European law are unwarranted. In addition CC-BY (Creative
Commons) licences, which are associated with the majority of
Gold OA journal articles, also enable data and text mining.
Research integration
Whereas both open access and data analytics have a strongly
political flavour, the drivers behind innovation in the development
of research tools are more consumer driven. In recent years
academic publishers have been changing the definition of the
services they offer to researchers, allowing them to increase the
efficiency of how they engage with the research community. It
would be invidious to pick examples from such a strong field,
but there are a number of such platforms which give the research
community incredible flexibility in the use of and linking of
academic research. Publishing is unique among the British creative
industries in having developed these tools and techniques
within its own borders, working with third-party technology
companies, but not being out-manoeuvred by them.
In each of these areas the sector is at the start of a journey. There
are no settled questions or ways of doing things, only exciting
opportunities. It may be too early to predict exactly how things will
stand in five or ten years time, but the features of the landscape are
becoming clearer. Articles published under open access will be
surely approaching a handsome majority, with Gold OA being the
preferred route, but with sustainable Green OA still having a part
to play. The data mining technologies and licensing arrangements
will be utilised by an increasing group of researchers.
Richard Mollet is Chief Executive of the Publishers Association.

A new research and scholarly publishing forum, organised by LBF in
collaboration with the Association of Learned and Professional Society
Publishers (ALPSP) and the Publishers Association launches at this years
Fair. Access All Areas: Global Trends in Research and Scholarly Publishing
will take place on Wednesday 15 April from 9.30am to 1.30pm.
london show daily
Can Times Square teach us about open access?

My office is located at Broadway and 43rd
Street in Manhattan. For my morning coffee,
the Starbucks across Broadway offers 78
combinations of coffee, cows milk and
sugar, writes Roy S Kaufman. A large
cappuccino costs $4.45, which is the same
price as the Starbucks on the corner where I
live. Seven miles away, in Jackson Heights,
Queens, the large cappuccino costs $4.25.
If I do not want to cross Broadway, which
usually involves being accosted by six adults
Roy S Kaufman
dressed as Elmo, I can cut across 43rd Street
to a fancy sandwich shop, for (slightly) fewer combinations
of coffee, cows milk and sugar, at slightly lower costs.
Alternatively, if I dont want to cross the street, I can choose
among fewer options at still lower prices from a food cart on
my corner, also known as man-in-a-can coffee.
So what does my daily coffee run have to do with open
access? These robust price and product variations are
typical of business-to-consumer (B2C) models. Prior to the
ongoing revolution in scholarly publishing known as open
access, business-to-business (B2B) was the predominant
business paradigm. Publishers and societies sold print
journal subscriptionsalong with reprints and advertising
spaceto corporations and academic libraries. There were
of course situations where publishers interacted directly
with consumers, such as with member subscriptions, but,
for the most part, revenues from institutional purchasers
funded the publishing process.
With open access, authors now pay so-called Article
Processing Charges (APCs). As a result, the publishers B2B
paradigm morphs into one of B2C; the authors role changes
from being a supplier and user, as in the subscription model, to
being the supplier, the user and, most critically, the buyer (or
consumer). In other words, the author holds even more power
than before and, most critically, holds the power of the purse.
As journal publishers develop business models for this
increasingly B2C world, they can look not only at the
actions of traditional competitors, but should also study
consumer-oriented businesses like Starbucks, and even the
man-in-the-can. If they do, what might they learn?
There is no one-and-only answer. In the debate
over journals and open access, parties often take absolutist
positions: Open access is the inevitable end-point of all
scholarly publishing.; or APCs are too high and
unsustainable.; and Unless a specific licence is used, open
access is not achieved.
Within a few blocks of my office, I can buy a t-shirt for $5
or for $100. Does the $5 vendor believe that the $100
designer store is unsustainable? Or, for that matter, are the
two competing? I seriously doubt it. And consumers
welcome the options. Likewise, in publishing, there is plenty
of room for cost-plus open access, premium open access,
hybrid open access, licence variation, and of

course publishing in subscription journals for
authors not interested in open access.
Brands matter and dont matter. If I
choose to buy a Starbucks cappuccino for
$4.45, I do so because of the Starbucks brand,
which provides me with an assurance of
quality. If I buy a large regular coffee from
the man-in-the-can, I still expect quality, but
I am not payingor willing to paya brand
premium. Sometimes the brand reputation
justifies the higher price and longer line at
Starbucks, and sometimes I just want a quick caffeine hit. In
addition, consumer-oriented companies often use brands to
segment and dominate different markets. For example, Gap,
Inc. owns Old Navy, The Gap and Banana Republic. Each has
a brand expectation and price and, by owning all three, Gap
Inc. can effectively segment the market for what is essentially
the same type of goods: t-shirts, jeans and sweaters.
Everyone loves a (perceived) bargain. All else being
equal, would you rather pay $1.75 for a Starbucks cappuccino
with a promotional coupon or $1.25 for a man-in-a-can coffee
at the normal price? What if the price is the same with the
coupon? Some people use coupons and some pay retail; some
buy generic while others prefer premium brands. Tailoring
products to different segments is the best way to maximise
revenues. Using promotions and coupons is a great way to
learn about consumer behaviour within each segment.
Customers require convenience. Some consumers will
pay a premium for convenience, while others will simply
make it a requirement of doing business. Regardless, as we
have learned from innovations in one-click ordering and
online payments, consumers prefer simplicity. When deciding
between two otherwise equal online merchants, I will choose
the one that offers the best buying experience.
Customers expect good service. And premium prices
require a premium experience. But this concept need not be
negative. Federal Express made a business out of upselling a
commoditypostal delivery, to customers who absolutely,
positively needed to send something overnightfor a 3,000%
mark-up. Some publishers already allow authors to pay more
to speed publication post-acceptance, but is there a class of
authors who would pay a premium to jump the queue on
submissions? Could concierge services be offered to authors
who publish frequently in your journals? What about issuing
rewards points for frequent authors?
You get the point; there is a paradigm shift underway in
the scholarly publishing industry. Initially disruptive, we
must now think of all of the ways in which other businesses
segment to increase revenues. And maybe find more than a
jolt of caffeine from that $4.45 Starbucks cappuccino.
Roy S Kaufman is Managing Director of New Ventures, Copyright

Clearance Center.
27
london show daily
Author on a runaway train
AA: So, this is largely thought of as your debut novel, but
AA: Lets talk a little bit about your own reading habits,
AA: Youre a London native, but this is
this is not your first book. Can you tell us a little about
your writing and publishing experience before this?
PH: I wrote four novels under a pseudonym which are, to
use the term, what youd call Chick Lit. The first one was
actually commissioned by somebody elsethe publisher had
the idea for a book, and I did it. But those books never
really felt like they completely came from me. And my
writing kept getting darker and darker, and more terrible
things kept happening to people, and eventually I knew
where I wanted to be. If I was really going to commit to
writing fiction, the thriller area of the market is where I
would be comfortable. So, for this book, I decided Id really
make it my own thing. The Girl on the Train really does
feel like a debut. But I think writing those other novels was
very useful for me. I was flexing my fiction-writing
muscles, trying things out, learning about pacing and how
to structure a story. And, I learned that you need a lot of
patience when it comes to publishing. Im having an
extremely fortunate experience at the moment, but I also
know thats not how publishing usually goes.
AA: As you were writing The Girl on the Train, did you
ever anticipate it would become such a hit?
PH: I certainly did not. I had an idea that I was on to

something good because I had a great response from my
agent. But still, you dont know until its actually out there
what the response is going to be like. And I dont think anyone
expects this kind of thing, do they? The last couple of months
have been a whirl of publicity and appearances, which has
been great fun. But I must say, Id also quite like to get back to
writing, because Im trying to write a new novel at the moment
and I basically havent been able to do anything on it!
(c) Kate Neil
your first London Book Fair. Anything you

are looking forward to?
PH: Yes, Ill definitely be about. And the
book has sold in 40 different territories, so
Paula Hawkins
were having a little party, and I am looking
forward to seeing all the editors from all these different places.
PH: Going to ALA was a great experience.

Obviously we have libraries here in the UK,
but I dont think theres a comparable kind
of conference like that, and I get the feeling
that librarians are actually more influential
in the States in terms of driving a books
success. It was so great to meet so many
people who were so enthusiastic, and to
have all these librarians coming up and
saying: Weve got this number of holds,
that number of holds. That was such an
amazing feeling, to know that people are
actually prepared to wait in line to read my book.
For years, Paula Hawkins was writing novels

under a pseudonym, but her debut novel has
been a life-changer. Andrew Richard Albanese
caught up with the author of this years
runaway bestseller, The Girl on the Train.
if we can. Do you read digitally?
PH: I dont, really. I dont own an e-reader yet. I have my

phone, but thats just kind of when Ive been caught short
in hotels and things. I still like physical books. But I
imagine I will eventually get an e-reader, because its
convenient when travelling. But for a book that I think Im
going to return to and love, I want a physical version.
AA: Technology has also opened up a new world of selfpublishing, especially in genre fiction. Any thoughts about that?
PH: Well, I know that its something that is working well
for lots of people, and I can see why its appealing. Its
incredibly difficult to get your work read by agents, and
even if you manage to get yourself an agent, its hard to get
a traditional publishing deal. Obviously there
are a lot of excellent writers who arent
getting picked up by the big publishers,
because we are seeing all these great selfpublished successes. I know someone, her
name is Rachel Abbott, for example, and
shes a crime writer whos done fantastically
well with her self-publishing route.
AA: Having had this great writing and publishing experience,

is there anything youd share with aspiring authors?
PH: I dont think I have any particularly original advice.
The one thing I always tell people, though, is to read
Stephen Kings book memoir/writing guide, because I think
its fantastic. Its really inclusive, and its not one of those
writers guides that frightens you off.
AA: In closing, I wonder if there has been any particular
experience that has stood out to you on this wild ride?
AA: I know you were in the US recently at the American
PH: Ooooh. You know, I mentioned Stephen King before,
Library Association Meeting in Chicago because I saw the

lines for you winding past the Publishers Weekly booth.
Any thoughts about what the library community has done
for your book?
and seeing Stephen King tweet about my book was

amazing. But mostly, you know, just going to bookshops
and meeting readers who are so genuinely enthusiastic.
Thats never going to get old.
28
BRING
YOUR BOOKS
TO LIFE
Find out more on
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london show daily
In defence of the midlist

Michael Bhaskar argues that the often-neglected midlist offers great opportunities
for publishers
Midlist: its come to be a pejorative. What
writer would volunteer to be part of the
midlist? Who wants to work on the midlist?
Not seeing many hands go up. Somehow the
midlist has become the forgotten, slightly
embarrassing, somewhat dull part of
publishing. Once, most books were in one
way or another midlistwhen the distinction
between worthy, but modest, seller and
super smash was in lesser contrast than
today. That was fine. The midlist then was a
Michael Bhaskar
more comfortable place; decent advances,
strong sales through a wide variety of channels, a good
chance of review coverage in the broadsheets were all part
and parcel of the experience.
Thats gone. Talk to almost anyone in publishing today
authors, agents, publishers and booksellersand the midlist
is something to be avoided.
Big brands
How come? What was once the engine room of publishing
became a liability. On the one hand, the tendency for
bestsellers to have increased market share of earnings became
ever more pronounced. The value of the big brands from JK
Rowling to Jamie Oliver grew as more and more content was
pushed out through the internet. People wanted names
they could recognise and trust. Bandwagon effects
where people want to read a book just because all their
friends are reading itbecame more obvious on
breakout titles. Just as in the technology world, they
have the Highlander Principle (that there can Only Be
One social network or search engine), which produces
so-called Unicorns, billion-dollar tech start-ups that dominate
an area and close out the competition. In publishing, we have
the global bestsellers such as Fifty Shades or The Hunger
Games. Get one, and you are home and dry for the year.
At the other end of the market (for want of a better term,
what we might still call the Long Tail), self-publishing,
Amazons KDP programme and a slew of POD initiatives have
meant that it has never been easier to get books published. If
all you want to do is make some text available, the options are
there. This is the democratic end of things, the open web that
some lionise and some think produces, well, a lot of crap. What
is clear is that, for some companies, aggregating enough of this
material cheaply and efficiently can be an excellent business.
In reality this is all one dynamic, which is hitting across
business and media sectors. Whether its taxis or finance, the big
get bigger and there are more options than ever for the very
small. Those in the middle? Ah, well. Publishers no longer see the
value in paying large advances for books destined to end up in
30
the midlist. Bookshops, which have to justify

every square foot of retail space, are disinclined
to stock midlist books that will have a relatively
slow turnover. Newspapers want big bangs
celebrities, hot new things, major new launches.
Caught between the very big and the very small,
midlist authors have been effectively abandoned
by the trade. What happened to the midlist is
that resources were diverted elsewhere. Its
hard, unfashionable and sometimes dangerous
for executives to make arguments for investment
in this area. This is a huge shame.
The best writing

Forget the negative connotations of the word for a second.
By necessity, most of the best writing in the world sits in the
midlist. Midlist authors remain the backbone of publishing.
These are the writers that still work incredibly hard for little
reward. They are the people who believe above all in books.
They care about quality. The midlist isnt just a place without
identity; its probably the richest and most under-appreciated
store of incredible creative material to be found anywhere.
Its in the midlist that the most opportunity is now to be
had. At the top, a few deep-pocketed publishers will dig
deep for the most premium content. Some of it will work
out, some of it will fail hard. At the bottom, a billion
writers will publish into the abyss. In the middle
great writers and clever publishers can, with a little
effort and intelligence, build solid audiences and
grow them into genuinely large ones.
At Canelo we want to publish bestsellers and, like
everyone else, are avidly searching for them. Find a publisher
that isnt. But we also think the midlist deserves better; that
chasing bestsellers neednt mean neglecting other books.
We want to give the midlist a better dealfinancially and in
terms of publishing effort. In some senses the flatness of the
digital worldthe fact the biggest bestseller has the same
page, the same download mechanism as the smallest title
can be turned to the midlists advantage. Many of the tactics
that work on big titles can, we think, be replicated for the
so-called midlist. Accuracy and optimisation; websites and
promotions; digital marketing spend; all these things neednt
be the preserve of a few major titles (as they all too often are).
Books arent just frontlist, backlist and midlist. They are
good and bad; worth reading or not. The challenge for
publishers is to find those that are worth reading and get
readers for them, whichever part of the list they are from.
Michael Bhaskar is co-founder and Publishing Director at Canelo, a new
digital publisher, and author of The Content Machine, a book about
publishing. He can be found on Twitter @michaelbhaskar.
The trade visitor ticket BUSINESS includes all

services of the standard trade visitor ticket
and much more!
The full-service
Fair experience
Get more out of your time in Frankfurt
Your benefits at a glance:

8.00 am access to the Frankfurt Book Fair & Business Club
(includes lounge & meeting areas)
Free use of the meeting facilities for your business appointments,
bookable from September
Exclusive access to Business Club events
Organised networking & matchmaking
Individual expert consultations
www.book-fair.com/businessclub
Exclusive working and lounge areas

Restaurant area with lunch catering
Free Wi-Fi and charging stations
Centrally located cloakroom (Hall 4.0)
Free coffee and water and daily happy hour
Free copy of the Exhibitors Catalogue
www.book-fair.com
blog.book-fair.com
www.hereweareinfrankfurt.com
#fbm15
Special
30% FAIR
DISCOUNT
only available 14
to 16 April 2015
Visit us in Stand 6F40

www.rowman.com

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Harper expands further overseas

Slovakia). Similar to the

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Tuesday 14 April 2015