Frankfurt
THURSDAY 11 OCTOBER 2018
FROM ROBERT KIYOSAKI AND THE RICH DAD ADVISORS
MORE IMPORTANT
THAN MONEY
AN ENTREPRENEUR'S TEAM
John Sargent – we still do it better
John Sargent, CEO of
Macmillan, gave this year’s
Frankfurt CEO Talk in the
new Frankfurt Pavilion on
Wednesday, writes Ed
Nawotka. The conversation
ranged across topics from
the future of print books to
Sargent’s battle with the
White House over the
publication of Fire and Fury.
Publishing consultant
Ruediger Wischenbart led the
conversation, which included
questions from the editors of
several international trade
magazines, including
PublishNews, Publishers
Weekly, Buchreport,
Bookdao, and Livres Hebdo.
Fabrice Piault of Livres
Hebdo opened the questions
by asking Sargent how the
company defined itself as a
publisher in the age of the
internet. “There are things
that can be done better on
the internet,” Sargent
replied. “Travel books really
struggle because the internet
can give you better answers.
Those parts of the business
have fallen away and fallen
away globally. The focus is
to do what we are good at
and what the internet does
not do effectively.”
Piault went on to ask if
book reading was threatened
by the growing popularity of
streaming television series.
“I think there are things that
we do better,” Sargent said.
“There is a thing about
storytelling that is done better
than on the television… Book
reading in long-form narrative
is a different experience.”
On the subject of the
conglomerate publisher’s
role, he said: “Millions and
millions of people are self-
publishing their own books.
But every day people come
up to me and say they want
me to publish their book.”
Asked about President
Trump’s efforts to stop the
publication of Fire and Fury
by Michael Wolff, Sargent
acknowledged that his first
reaction was that the
interventions would “sell a
Assault on freedom
Freedom of expression
across Europe is
threatened by a wave of
populism, while Turkey is
now under a fascist
government, according to a
session on press freedom
held at the fair on
Wednesday.
Christian Mihr, director
of Reporters Without
Borders Germany, called on
the EU to step in following
VISIT PW AND BOOKBRUNCH IN HALL 6.0 STAND D42
BUILDING 6.2
STAND A22
sh*tload of books”. But he
quickly rethought his position.
“I thought initially it was a
commercial decision [to
continue with the publication],
but then realised it was an
extremely important decision.
Freedom of speech is the very
foundation of democracy.”
Trump’s efforts to block
the book “were not “Most people are interested
acceptable to us, to any in books in their home
employee, and it should not language written about their
be acceptable to any citizen home countries,” Sargent
of America no matter how said. “Music and movies have
they vote”, he noted. been more global in nature.
Carlo Carrenho of The question is: is the content
PublishNews cited the rapid we produce global in its
global growth of companies nature or isn’t it? There are
like Sweden’s Storytel and many countries in the world
Canada’s Wattpad, and asked where it is difficult for us to
whether Macmillan was compete at scale. We are not
going global fast enough. Penguin Random House.”
INSIDE:
repressive measures in
AUDIO
Turkey and elsewhere. “In
new member states the EXPLORED 3
constitutional freedom of
the press is forgotten about.
The EU has closed its eyes RIGHTS
to this for too long.”
Turkish writer Asli
MEETING 4
Erdogan, now an exile in
Germany, said, “I’m afraid.
The 1930s in some ways is MAYER
coming back. The Turkish RECALLED 6
regime is now fascistic.”
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 THURSDAY 11 OCTOBER 2018
Panellists explore audio growth
At the Frankfurt Book Fair’s
inaugural Audiobook
Conference on Wednesday,
experts told attendees that
the audio boom was indeed a
global trend, with more
growth to come, writes
Andrew Albanese.
Henrik Lindvall, head of
rights team Management for
Swedish-based Storytel, a
major new player in the John Ruhrmann
audio market, said the format
was hugely popular in Scandinavia, growing fast in the UK
and in many European countries, and was poised for major
growth in emerging markets. Storytel was planning a
concerted push in India. “The opportunity in India is
huge,” he said, noting a massive smartphone market, and a
large middle class that was used to the subscription model
thanks to Netflix and Amazon Prime.
John Ruhrmann, md and co-founder of Bookwire, also
offered a view on audiobook growth and potential. A
former music industry employee, Ruhrmann suggested that
trends in music were worth watching for audio publishers,
especially when it came to streaming services. “Streaming is
now making a really big portion of the revenues of the
music industry,” he said. “I know it is difficult to say that
the music industry might be the same as the book industry,
but it is a trend, and we should watch this trend and know
how to deal with it.”
Rurhmann acknowledged that some publishers might be
sceptical of such claims. But in audio, a digital revolution
had already materialised.
Amanda D’Acierno, president and publisher of Penguin
Random House Audio in the US, offered insight into the
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FRANKFURT SHOW DAILY
publisher’s strong growth in the format, telling publishers
that since 2014 – the first year of Penguin Random House
post-merger – its audio output had more than doubled,
from 652 to more than 1,300 titles.
“What’s really changed is that agents and authors want
their audiobooks produced. So when they are selling rights
to publishers, they expect the audiobook will be produced
simultaneously with the book,” D’Acierno said. The
popularity of audio had also changed the way authors
approached their work, she said, citing a book that is certain
to be a huge bestseller in both print and audio: Michelle
Obama’s forthcoming memoir Becoming. In the past,
major celebrity authors and politicians would only go into
the studio to do abridged audio editions of their books.
“Michelle Obama spent six and a half long days in the
studio, recording morning until evening,” D’Acierno said.
Technology – the positives
Technology is giving the arts the means to imagine a better
future, one that does not have to be a grim dystopia: that
was the message of the first session at the Arts+ digital
future lab in Hall 4.
“We need more vision about what a desirable future
looks like, about positive visions,” said Harald Neidhardt,
ceo and curator of future/io. “We are all building a future,
there are no superheroes, you can buy something plastic
and throw it away – or you can recycle it.
“Read a book or get out of the way, technology is really
coming, into your life, your world, your work.” Neidhardt
is running a competition with Red Bull this autumn
inviting people from all over the world to upload
60-second films of their ideas for a more positive
technological future: winners will meet at a conference in
Lisbon, and a book may result.
Neidhardt called for Europe to take a more active role in
digital. “The story of the last 20 years has been Silicon
Valley, and now the Chinese are coming – and they have a
300 year plan – but we in Europe invented www at CERN,
we invented graphene, but we need to shape up.”
Holger Volland, co-founder of Arts+ and the host of the
session, said: “Being creative about what could be our
future is the first step, and art has the power to help people
look into the future and improve it.”
Dirk Heitmann, chief digital officer at computer giant
IBM, said the first task was to inform people better about
what technology could already do. He had hosted a
conference for 1,000 European SMEs in Frankfurt on
Tuesday: “When we [IBM] talk about what we know is
possible today, people have no insight into what is
possible.” AI was a source of unfounded fear, whereas,
Heitmann said, “I’m not scared, it provides new elegance at
the fingertips of the user.”
3
 FRANKFURT SHOW DAILY
Rights Meeting looks at Poland, Romania, and Russia
The annual Rights Meeting on Tuesday focused on the
Polish, Romanian and Russian publishing markets. The
region, which has gone through political, social and
economic upheavals – a hard turn to the political right in
Poland, Romania’s faltering economy, Vladimir Putin’s
questionable reputation abroad – has affected publishers
in each country. In all instances, print runs are dropping,
even as the number of titles being published is on the rise.
Book buying is largely centralised around the big cities,
and distribution to more rural parts of each country is
a challenge.
One bright spot for the speakers at the session – Joana
Maciuk (Prószyński Media in Poland), Bogdan Stănescu
(Polirom Publishing House in Romania), and Irina
Prokhorova (New Literary Observer in Russia) – was the
growth in children’s books.
“Up until the end of the 2000s it was very hard to sell
new children’s books,” said Prokhorova. “It was as if
everyone remembered the Soviet times and people were
nostalgic for those books. Now there has been a
generational shift and people are more open.”
Romania’s Stănescu concurred. “Sales of children’s books
are growing,” he said, while noting that even so Romania
remained the smallest book market in the European Union.
“People in Romania spend just three euros per person per
year on books,” he said, “and annual sales amount to just
60 million euros.”
The panellists offered several words of advice to the
Rights round up
Pan Macmillan is to publish in the UK the St Martin’s US title An
Anonymous Girl, the second collaboration between Greer Hendricks and
Sarah Pekkanen, authors of The Wife Between Us. The new novel
(February 2019) follows a woman who becomes entrapped in a
psychologist’s manipulative experiments. Wayne Brookes, who signed UK
and Commonwealth rights for Pan Macmillan through Kerry Nordling at
St Martin’s, said; “The Wife Between Us showed that two heads were
better than one when it comes to plotting those hidden twists and was a
bestseller on both sides of the Atlantic as well as a Richard and Judy
book club pick. An Anonymous Girl does even more to show that this
thriller-writing duo are here to stay.” Hendricks is a former Simon &
Schuster editor, and Pekkanen is an established author. They are repped
by Victoria Sanders of Victoria Sanders & Associates.
Polly Whybrow, commissioning editor at Bloomsbury Children’s Books,
has signed world rights “for a future classic picture book” by Hollie
Hughes and Sarah Massini. Hughes’ agent is Jodie Hodges at United
Agents, and Massini’s is Eunice McMullen. Bloomsbury will publish
Hughes and Massini’s The Girl and the Dinosaur, about a young girl who
finds something extraordinary on a beach, in September 2019. Whybrow
said: “The Girl and The Dinosaur is one of those very rare and special
books where the words and pictures take you on a magical journey far
beyond the page.” Bloomsbury secured two international deals before
Frankfurt, and expected to attract further interest at the fair.
Pavilion Books commissioning editor Stephanie Milner has bought world
rights to Sardine: Simple, Seasonal, Southern French Cooking by head
4
THURSDAY 11 OCTOBER 2018
From left: Irina Prokhorova, Bogdan Stănescu, Joana Maciuk
audience, which included foreign rights directors, scouts
and literary agents. For example: when it comes to selling
rights, it is important for overseas publishers to assist with
the eventual marketing of the book.
“If you sell a book into the Polish market, if the author
can make a short YouTube video of appreciation to the
Polish reader it would go a long way to introducing the
book to the market,” said Maciuk. Stănescu, who publishes
Jonathan Franzen in Romania, said that he’d just hosted
the author and took him birdwatching. “That is a form of
marketing,” he said, adding dryly, “or at least it is for the
ornithological society of Romania.”
chef and restaurateur Alex Jackson. The agent is Emily Sweet at Emily
Sweet Associates. Of Jackson’s cooking, noted food writer Diana Henry
says: “Provence is back. And I’m in love again.” Jackson said: “I’m
thrilled to have the chance to write a book about a cuisine I find
intriguing, exotic and romantic in equal measure, and I hope it will go a
small way to convincing readers of the same.” Pavilion will publish in
June 2019.
Scott Moyers at Penguin Press and Ben Brusey at Century have signed a
memoir by actor Will Smith (repped by CAA; Abner Stein handled the
UK sale). Writing with Mark Manson, author of the bestselling The
Subtle Art of Not Giving a F*ck, Smith will offer “an inspirational tale of
how his true self-knowledge helped to propel him to extraordinary
success, and then evolve further to a place of deeper peace – with himself,
his loved ones, and the world”.
Kathy Dawson of Kathy Dawson Books (Penguin Young Readers) and
Emma Jones of Penguin Random House (PRH) Children’s UK have
signed Harrow Lake, a YA horror thriller by Kat Ellis. In the UK, PRH
Children’s made a two-book, six-figure pre-empt through Molly Ker
Hawn at the Bent Agency. The heroine of Harrow Lake (2020) is a
famous horror movie director’s daughter, who is swept up in real-life
terror when she is sent to the sinister small town where his most famous
movie was filmed. Jones said: “Kat has crafted a smart, bold and skin-
crawlingly menacing thriller that kept me frantically turning pages into
the early hours.” The author lives in North Wales, “where she spends her
spare time exploring ruins and watching horror movies”.
 FRANKFURT SHOW DAILY THURSDAY 11 OCTOBER 2018

Peter Mayer remembered at the Hessischer Hof

Some 200 friends of former Penguin CEO and Overlook
Press co-founder Peter Mayer gathered in a ballroom at the
Grandhotel Hessischer Hof in Frankfurt on Tuesday to
remember the late publisher. Mayer, whose legendary
publishing career spanned both sides of the Atlantic, passed
away in May, at the age of 82.
Born in London and raised in New York, Mayer began
his publishing career in 1961 as an editorial assistant at
Orion Press, then quickly moved to Avon Books, where,
over the course of 14 years, he rose to the position of
publisher. After serving as publisher of Pocket Books from
1976 to 1978, he was appointed by Pearson, owner of
Penguin, to run the troubled company. When he left in
1996, Penguin had become one of the largest and most
profitable publishers in the world.
In an interview with PW discussing his departure from remarkable life. It doesn’t seem like a Frankfurt Book Fair
Penguin, Mayer said that Pearson had wanted him to take a without him, many remarked, recalling Mayer’s
seat on the company board and to oversee some of the surprisingly good German, and his love for the fair.
conglomerate’s other businesses. “I didn’t want to retire as Kicking off the toasts, Grove Atlantic executive editor
a corporate executive, but as a book publisher,” said Mayer, George Gibson said: “It is I feel a luxury when a mentor
who was 60 at the time, to PW’s John Baker. Upon Mayer’s also becomes one’s great friend. You were larger than life,
exit, Lord Blakenham, Pearson chairman, said the company and you loved life to the fullest. You were courageous and
owed its former boss “an enormous debt of gratitude” for opportunistic – Salman Rushdie to Sudoku. Your tastes
turning what had been largely a money-losing British were wide-ranging – mass-market to art. You were as at
publisher into a worldwide publishing powerhouse. home in a corporate corner office, as in a fierce
At the Hessischer Hof on Tuesday, there were some tears independent. And you were indomitable.”
– but mostly smiles and laughs as Mayer’s friends offered In his toast, Richard Charkin summed up Mayer in a
tributes and remembrances, recalling his many adventures single word: he was a mensch. (By happy coincidence,
throughout the world, his publishing acumen, his abiding Charkin’s new publishing venture is called Mensch
love of family and friends, his legendary penchant for Publishing.) “He was to me a sort of godfather, I confess,”
smoking, and the many careers he helped along in his Charkin said. “I worshipped him, to be honest.”

Lerner Publisher Services keeps its list focused

Even as Lerner Publisher Services announced that it would
distribute the Creston Books list from spring 2019, Lerner
Publishing Group executive v-p David Wexler, who heads
its distribution arm, reiterated the Minneapolis company’s
commitment to providing personalised service to a small
number of children’s presses.
Creston Books, a publisher of non-fiction picture books,
launched five years ago, and is LPS’ 14th publisher client.
LPS currently distributes in the US and Canada for 13
small presses, just over half of them based in North
America, including Full Tilt Press, which has seen a 311%
increase in revenues since it signed with LPS last year,
Wexler says. LPS distributes what Wexler calls
“Americanised” editions of the books published by its
international publisher clients including, since last year, the
UK’s Lantana Publishing, which has seen a 305% spike in
revenues in the past 12 months.
“The whole strategy is keeping [the client list] small.
They all complement each other and Lerner Publishing
Group. There’s no cannibalisation and they all have unique,
clear identities,” Wexler says of LPS, which was launched in
2011. It distributes about 100 frontlist titles each year as
well as backlist.
Lerner Publishing Group, which is celebrating its 60th
anniversary in 2019, is best known for publishing children’s
books for the library market as well as for the trade. Wexler
notes that the company, including LPS, is ramping up its
entire publishing programme by increasing its presence in
the gift market, as well as its outreach into classrooms.
FBF LIMA partnership
The Frankfurt Book Fair has entered into a partnership with
the International Licensing Industry Merchandisers’
Association (LIMA).The partnership is launching at the fair
on Friday, with LIMA president Maura Regan discussing
licensing opportunities for publishers (10am, Foyer 5.1/6.1).
There will be further events in SE Asia and the Middle East.

6
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 FRANKFURT SHOW DAILY THURSDAY 11 OCTOBER 2018

Can copyright reform succeed in the US?

For years, policy experts in the US have spoken AA: American publishers’ and authors’
of the need to update copyright law for the groups are also pushing Congress to require
digital age – without action. Andrew Richard that ISPs and websites monitor for “pirated”
Albanese caught up with UCLA law professor content. Critics say filters cannot make
Neil Weinstock Netanel, author of the new book crucial distinctions about copyright status,
Copyright: What Everyone Needs to Know and would have grave implications on free
(Oxford University Press) to talk about why speech. What’s your take?
copyright reform has been such a slow process. NWN: Concerns over filters’ implications for

Shalev Netanel
free speech are overblown, I think. YouTube’s
AA: Congratulations on the book, which is Content ID does make mistakes, sometimes
a wide-ranging, excellent look at the broader tagging non-infringing videos, for example. But
policy objectives of copyright. In the digital Neil Weinstock Netanel copyright owners almost always elect to monetise
age, the public has really become much more user videos tagged by Content ID rather than
interested in copyright and copyright issues – is this who remove them, so the end result is something roughly like a blanket
you wrote this book for? licensing system. It’s not perfect. But it’s a fairly minimal incursion
NWN: Yes. My previous books have been largely for academics, on user speech. Nevertheless, Congress should not require ISPs
but I wanted to write this book for a broader readership. and social media platforms to implement filters; that would
Copyright law and policy – and the vehement debates that impose a crushingly costly burden on new internet platforms,
surround them – are quite complex, and are often misunderstood most of which lack the immense resources of Google or Facebook.
even by educated lay people. This book aims to clarify copyright
law and policy for anyone who has questions about what the law AA: The US courts are now considering a case, Capitol
provides, and what issues are at stake in the copyright debates. Records vs. ReDigi, that could impact the doctrine of First
Sale in the digital age. Should licences be able to write out the
AA: I was especially interested in your last chapter on ability to transfer ownership of digital files, like we enjoy in
copyright reform. It’s been three years since Congress the physical world?
finished holding hearings on reform, and we’ve seen NWN: This is an issue that begs for Copyright
exactly one narrow bill, HR 1695, which would Office study and Congressional action. In principle, I
make the Register of Copyrights a presidential think the law should be based on the substance of a
appointee. What are your thoughts on that bill? transaction – in other words, the end result – not the
NWN: It’s telling, I’m afraid, that the one bill happenstance of how the technology facilitates that
that has passed a house of Congress in the wake of transaction. However, the creation of a secondary
Congress’s copyright reform hearings has been narrow market in electronic copies that do not degrade in
legislation that would increase lobbyists’ influence quality, unlike used books, for example, might
over the selection of the Register of Copyrights. The adversely impact the book market. So I think this is a
Copyright Office should serve the public interest. question that requires further study.
That should be true regardless of whether the Register
of Copyrights is appointed by the president, or the AA: Last year, I wrote a column bemoaning how
Librarian of Congress. But in our current political climate, keeping entrenched the two sides of the copyright debate have become –
the Copyright Office within the Library of Congress and and not red vs. blue, but tech vs. Hollywood, really. Maybe you
having the Librarian appoint the Register is probably a better are more hopeful than I am? Do you see any way to break the
guarantee of the professionalism of the Copyright Office. impasse, or any guiding principles emerging for lawmakers?
NWN: I generally share your pessimism about reaching a
AA: The other policy proposal we’ve seen is to establish a “small consensus on copyright reform. And now, the involvement of
claims” court for copyright. However, supporters acknowledge the public at large – by which I mean both the remix culture
that for legal reasons participation would have to be voluntary. and the growth of user-generated content – makes reaching a
Do we really need a volunteers-only traffic court for copyright? consensus even more difficult. Having said that, the proposed
NWN: There are probably a sufficient number of such cases Music Modernization Act gives me greater hope for copyright
to make establishing a small claims court for copyright a reform. The stakeholders, including online streaming services,
worthwhile experiment. However, participation should truly collective licensing organisations, music publishers and
be voluntary. Only defendants that affirmatively opt in, as songwriters, seem to have come to a compromise agreement on
opposed to those who merely fail to respond, should be subject how to reform music licensing – although with a compromise
to default judgment. And any small claims court should only that remains fragile at the moment. But perhaps that effort will
award damages commensurate with the actual harm caused, offer possibilities for copyright reform in other industries and
not punitive statutory damages. licensing sectors as well. ■

8
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 FRANKFURT SHOW DAILY
The search for common rules for books
In less than a year, notwithstanding the possibility of a
delay, the UK will leave the European Union, writes
William Bowes, and it will take with it a publishing
industry that, as the Publishers Association’s statistics
prove, has just had another record year.
Although we don’t yet know what circumstances we will
leave in (deal or no deal), here at the Publishers Association
(PA) we’ve been talking at length with our members about
what a post-Brexit world might look like. In the absence of
certainty, we’ve encouraged them to begin preparations
based on rational assumptions of what we can expect. So
even though we might not know the full picture, we can
start to fill in some of the blanks.
In April 2018 we launched our Blueprint for UK
Publishing, which set out to explain the ten policy conditions
necessary for a successful, export-driven publishing industry
in the UK. The Blueprint was well received by government
and we’ve engaged extensively with the various government
departments in the UK, prompting our members to use this
engagement as a forum to ask questions about issues
pertinent to their businesses and the post-Brexit future.
Most recently we held an event on future trade
agreements with a panel of representatives from the
Advancing Copyright.
Accelerating Knowledge.
Powering Innovation.
THURSDAY 11 OCTOBER 2018
Department for International Trade (DIT), the Intellectual
Property Office (IPO) and the Department for Culture,
Media and Sport (DCMS). Our speakers talked through
their priorities and our members were then free to
challenge any assertions made. During this thought-
provoking discussion, we learnt that our members aren’t
just concerned about long-term problems like the tone of
dialogue with EU counterparts post-Brexit. They also need
to think about day-to-day logistical practices. For example,
the importance of keeping supply lines open – because
whilst publishers need copyright to make good books, they
also need paper.
Events like the future trade forum allow us to bring
together our members and important stakeholders, whose
expertise is essential as our members prepare for March
2019. But it’s not just publishers learning from us: it’s also
the other way around. By listening to our members and
prompting discussion among them, we can assess where
difficulties lie and further strengthen our own approach to
Brexit preparation. That’s why we’ve pulled together
guidance documents for our members in which we give
them questions to hone their thinking and further drive
their Brexit preparations.
Visit us at Hall 4.2 Stand E18
Complete program information available at
copyright.com/Frankfurt2018
#FBM18CCC • @CopyrightClear
 THURSDAY 11 OCTOBER 2018
For example, in order to
understand how the end of free
movement between the UK and the
EU could negatively impact upon a
publisher’s business, it is first
helpful for the publisher to consider how many people
from the EU they have working in the UK and vice-versa. It
might also be sensible to plan how the business might look
if those working in the EU had to leave. However, it’s not
just about people. These hypothetical questions and
information gathering exercises can be applied to all
manner of issues, from supply chain to copyright to
communications.
To further broaden our members’ horizons, we’ve also
found it useful to contextualise our Brexit work by setting
our industry against a historical background. For example,
the UK doesn’t just operate in accordance with EU rules in
publishing. International laws and norms on issues like
copyright and free speech, and conventions that eliminate
tariffs on books, have all been key to ensuring the free flow
of knowledge and information between nations and cultures.
We also follow rules from the UN Declaration of Human
Rights, the Berne Convention and the WIPO copyright
FRANKFURT SHOW DAILY
treaty. Taking the Universal
Declaration of Human Rights as an
example, as a property right,
copyright is a form of intellectual
property (IP) and is protected as
part of the human right to property as per Article 17 of the
Declaration. Copyright, a key issue in publishing, is not
just a European system: it’s a global one. In the event of a
no-deal, a lot of infrastructure will remain the same due to
global rule regimes. We remind our members of this context
to reassure them, but also to encourage them to keep their
Brexit preparations global. There is a whole world out there
that isn’t limited by the borders of the European Union,
and this is key to preparing for a world beyond Brexit.
After all, whether or not the UK agrees a common rule
book with the EU in the coming months, what all of us in
publishing need are common rules for books. And with
WTO and trade disputes raging across the world, the
longer-term battle for the global publishing industry is just
beginning. Whatever the outcome of Brexit negotiations,
the UK industry is ready and willing to lead this debate. ■
William Bowes is director of policy and general counsel at the Publishers
Association.
 FRANKFURT SHOW DAILY
The two worlds within trade publishing
In 1959, the British scientist and novelist CP
Snow suggested that “the intellectual life of
the whole of western society” was divided
into two totally distinct cultures: those of
science and the humanities, writes Michael
Bhaskar. These two cultures neither
understood nor spoke to one another – both,
in his view, a source of mental impoverishment
and a hindrance to solving the world’s
greatest challenges.
On a somewhat smaller scale, publishing has
long had its two cultures, two separate and Michael Bhaskar
often mutually unintelligible worlds: on one
side trade publishing, the consumer mainstay that remains
the popular perception, and, on the other, the great mix of
educational, academic and STEM publishing, financially
much bigger than the trade and arguably more fundamental.
Within each there was always a huge degree of variation
and it is undoubtedly a simplification but nonetheless,
almost everyone at the Frankfurt Book Fair would easily be
able to identify either culture. What’s more it’s still the case
that these cultures don’t really communicate. Physically
isolated in different halls, they operate under different
norms and business models, with different webs of contacts
and knowledge governing each. A legend in one field is just
another anonymous publisher passing through when they
transfer to a different part of the fair.
Trade split
There is, however, a newly emerging version of the two worlds
of publishing within trade. While it’s always been the case that
trade publishing was diverse and multi-faceted, over the past
decade or so a clear divide has opened up, become starker and
clearer as new patterns of retail, technology and consumption
reshape the sector. Trade is fracturing, and this fundamental
split, along old fault lines yes, but driven by recent pressures,
is foundational to publishing strategy today.
So what is it? In the UK at least we are seeing one market
that is driven by hardbacks, big name authors, premium
products, high prices and a very “readerly” or up-market
sensibility: in design, production values, retail environments
and subject matter. On the other hand we are seeing a genre-
driven move towards low price, so-called “commercial” books
sold in large numbers from non-traditional outlets. What is
new is the sharpness of the distinction and how total it can be.
Sure, there are still books that cross over and work in both
areas of the market. But these are rare and getting rarer.
A typical book in the former might be a £30 ultra-
designed hardback from a niche but fashionable chef, or a
heavyweight hardback from an eminent historian. This
would be bought at a premium bookshop, a high-end chain
or an independent. It would be published by a major
conglomerate imprint, part of Penguin Random House or
maybe a sizeable indie like Faber, Profile Books or
12
THURSDAY 11 OCTOBER 2018
Canongate. On the latter the epitome of the
market would be the 99p ebook, perhaps a
crime thriller in a series, read on the Kindle
or Kobo. It would be published by Amazon
Publishing, Bookouture or my own publisher,
Canelo. It may be a paperback but this
might be focused on firm sale “special sales”
outside what are, with a degree of snobbery,
regarded as the principal trade channels. The
digital chart and the hardback non-fiction
chart are completely distinct.
Ebooks versus craft experiences
This is about ebooks versus craft experiences: or rather,
pure reading experiences versus reading as a signal, books
as artisanal, intensely designed, desirable and displayable
products. It is about the old stalwarts of book retailers
versus alternative channels, whether that’s web platforms
or emergent retailers like the Works or the Book People.
To some extent this is about fiction versus non-fiction;
books as vessels of ideas or lifestyles or books as pure
storytelling, fleeting escapism where the story not the
words, unlike in literary fiction, takes primacy. It is about
disposability against display, raw and accessible
experiences as opposed to premium, even in some cases
luxury goods. It is very much about price, the simple fact of
how much it costs to read – a huge and perhaps under-
discussed factor at a time when average wage levels and
disposable income have been flat-lining at a level not seen
since the 19th century. Inevitably this is, then, also a matter
of divides in class, geography and wealth.
In retail it’s long been known that the middle is falling
out of the market. At the upper ends, conspicuously luxury
brands and ultra-curated spaces thrive. At the other end,
discounters flourish, hoovering up market share with quality
products sold at extraordinarily low prices. In the middle
there is an existential crisis that translates into deserted
high streets and ghostly out-of-town shopping centres. The
point is, retailers increasingly have to choose; they have to
know who they are and what game they are playing.
I believe these forces are operational in publishing. Even
if trade has never been fully two cultures, and this is
admittedly a British-centric picture, this scenario of “two
trades” has never been truer than today. That means
strategic clarity, an unambiguous focus on who the target
reader is and how to get them, an overarching publishing
and business approach defined by the facts on the ground
of one or other world is essential. CP Snow saw the two
cultures as fundamentally negative, a problem to be solved,
a divide to be bridged, a relic of a world to be discarded.
For publishers the opposite is, for now, true. ■
Michael Bhaskar is co-founder of the digital publisher Canelo and author
of The Content Machine and Curation. He can be found on Twitter
@michaelbhaskar.

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The year Canada will be the
GUEST OF HONOUR at
the FRANKFURT
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Venez célébrer !
Networking reception at
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This year, meet us in Frankfurt
Rencontrez-nous cette année à Francfort
Canada stand, Hall 6.0 B67
Stand du Québec, Hall 5.1 E111
• Translation Incentives
• Online Rights Catalogue,
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À bientôt !
canadafbm2020.com
@CanadaFBM2020
THURSDAY 11 OCTOBER 2018
Coates supports indie
In a gesture of support for
independent black publishing
in France, writes Calvin
Reid, National Book Award-
winner Ta-Nehisi Coates and
his US publisher, One World
(a division of Penguin
Gabriella Demczuk
Random House), have
released the French edition of
his bestselling We Were Eight
Years in Power: An American
Tragedy through Editions Ta-Nehisi Coates
Présence Africaine (EPA),
a historic French-African publishing house based in Paris.
The French edition was published on 24th September,
according to Gloria Loomis, Coates’s agent. In mid-October,
Coates will arrive in Paris to begin a series of public events,
including print and broadcast interviews in support of the
EPA edition of We Were Eight Years in Power.
Inspiration
Coates says that his interest in publishing with EPA was
inspired by a similar effort made by another popular black
author – Walter Mosley. In 1996, Mosley offered Gone
Fishin’, an instalment in his bestselling Easy Rawlins crime
series, to Black Classic Press (BCP), an independent house
founded by Coates’s father, W Paul Coates. The book sold
more than 100,000 copies, making it one
of the biggest books ever published by
BCP, and was a key factor in the
development of BCP, which celebrated
its 40th anniversary this year.
After discussions with Coates’
publisher, One World, a division of
Penguin Random House, Coates and
his father travelled to France in spring
2017 to meet the three generations of
women who oversee EPA and Librairie
Présence Africaine, its historic bookstore in
Paris. He met with publisher Christiane Yandé Diop, the
92-year-old widow of the press’s founder, and her daughter
Suzanne, who currently directs the press with Diop’s
granddaughter Mari.
EPA is a renowned literary press that was founded in
1947 as a literary quarterly by Alioune Diop, a Senegalese
professor, along with a group of writers associated with
négritude, a 1930s French-African critical theory focused
on the value of black African diasporic culture in the West.
“To sit with Madame Diop, someone who ran a
bookstore that served Malcolm X, James Baldwin and
Richard Wright... It’s been really fruitful,” Coates said.
“I’m big on history and lineage, so when I was in a position
to work with a historic black press, it was a clear
no-brainer for me.” ■
 FRANKFURT SHOW DAILY
The wheels of justice
In the US courts, two high-profile copyright cases
remain undecided, writes Andrew Richard
“Cengage
Albanese, while a closely watched case for the attorneys
textbook industry appears to be over.
argued they
Cambridge University Press vs. Patton are fully within Can there be – should there be – a market for
What’s taking so long? In April, this case became 10
years old, and it has now been nearly 15 months
their rights to reselling digital files, like the secondary market that
since the case was heard before a court of appeals make the
panel. First filed in April of 2008 by three academic
publishers – and supported by the Copyright
model switch” August
Clearance Center and the Association of American
Publishers (AAP) – the suit claims that administrators at Georgia
State University (GSU) are systematically encouraging faculty to use
unlicensed digital copies of course readings (known as e-reserves)
as a no-cost alternative to traditionally licensed course-packs.
After years of legal manoeuvering, in 2012 Judge Orinda Evans
first ruled against the publishers, finding that GSU’s digital reserve
reading was fair use. In 2014, however, an appeals court reversed
and remanded the case back to Evans. In her 2016 remand
decision, Evans again found for GSU, which brought the case back
to a second appeal, which was heard in July of 2017. As of this
writing, we’re still waiting on the second appeal decision – though,
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16
THURSDAY 11 OCTOBER 2018
observers say, however the current appeal is
decided, barring a settlement, the case could still be
far from over.
Capitol Records vs. ReDigi
exists for books or CDs? That’s the question now
before an appeals court in New York, after an
2017 hearing in the case of Capitol Records
vs. ReDigi.
The appeal comes four years after district court
judge Richard Sullivan ruled that the First Sale doctrine was limited
to “material items, like records”. ReDigi was an online service that
enabled consumers to resell legally purchased iTunes files.
The case has been closely watched by the publishing industry, as
ReDigi (and other players including Amazon) have expressed
interest in creating a resale market for digital files, including
ebooks. That idea has alarmed publishers, however. In an amicus
brief, the AAP argued that enabling consumers to resell their
legally purchased ebooks would be “catastrophic for the entire
publishing industry”.
Knox et al vs. Cengage
Filed in May in the Southern District of New York by two
authors, David Knox and Caroline Schact, this suit claimed
that Cengage’s pivot from printed textbooks to a digital
subscription product called Cengage Unlimited wrongfully
imposed “a unilateral change to the compensation structure”
switching from a traditional “royalty-on-sale” compensation
model to a “relative use” model, which pays authors a
“fractional percentage” of Cengage’s subscription fees.
In addition, the authors claimed that Cengage is not properly
compensating authors for “digital courseware” and other add-ons
such as “multimedia displays, homework, quizzes, tests and other
supplements” derived from the authors’ work, and refuses to allow
the authors to audit their royalty payments. The suit sought class-
action status on behalf of Cengage authors.
In a July filing, Cengage attorneys argued they are fully within
rights to make the model switch, noting that the author
agreements include both a full and complete transfer of copyright
to the publisher, and the explicit right to publish digital editions in
exchange for a cut of net receipts. Lawyers agreed that Cengage
did indeed obtain “broad rights” by assignment, and noted that
contracts also do not contain an audit clause for the authors, but
the case was nevertheless setting up to be closely watched, as a
predictor of what lies ahead for educational publishers making
such a digital switch.
Alas, late last week, the parties announced a settlement. Under
the agreement, Knox and Schacht will be allowed to buy back one
of their titles, while Cengage will retain the exclusive rights to other
titles from the authors. According to court filings, the case was
officially dismissed on 4th October, with prejudice, following
notice of the settlement. ■
 “What I value about our relationship
with IPG is their focus on sales. They
are alert to market developments and
constantly seeking new outlets and
new ways to present our titles to
suitable customers. They keep us
informed of developments.”

—Anthony Werner, Publisher,

Shepheard-Walwyn

Come meet your global distribution

solution in Hall 6.0 A56

Independent Publishers Group

www.ipgbook.com
 THURSDAY 11 OCTOBER 2018

H
FR

AP
AN

70
PY
KF
BI RT
A mobile direction for lear

U
RT R

th H BU
E
DA CH
Y M
As small as it is, a

ES
smartphone screen is often

SE
!
mistaken for a diminished
experience where it comes to
media consumption,
including books. But what if
we shift our thinking, writes
Christopher Kenneally, and
view mobile media as a new
and expanded pathway for
reading and learning? That’s

20 Awards the question Michael Greer

enjoys putting to students of
Michael Greer

his online course “The Technology of the Book: Past,

FROM LITERARY TRANSLATION
Present, and Future,” which he developed for the University
TO DIVERSITY IN PUBLISHING
of Arkansas-Little Rock.
For his class, the question isn’t merely theoretical. “Many
of my students are working full-time. Many are parents,
too. Being able to pull out their phone and check on the
reading assignment for the week, that gives them access to
course content that they did not have before,” Greer

9 explained in a recent interview for Copyright Clearance

Center’s “Beyond the Book” podcast series. “They might be
at their daughter’s gymnastics practice, or they might log
into class in the middle of the night.”

Supplementing print
The International In the college classroom today, smartphones and tablets are
already ubiquitous. And while some instructors may

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global business of publishing, these prestigious
awards celebrate a comprehensive range from the
book ecosystem from rights selling, literary translation
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libraries and bookstores, and all in between.
London, the creative capital of the world, is the
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and sought-after awards.
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harbour lingering doubts about the shift away from print,
most students have no such qualms, Greer observes.
Indeed, for visually impaired students, “screen reading”
software installed on a phone lets them listen to course
materials, offering a chance at an education otherwise
unavailable. “I’ve been an evangelist for mobile for some
time, and I want to reassure people that we’re not talking
about replacing print,” Greer stressed. “We’re talking
about supplementing print.”
Author of the latest editions of the popular titles The
Little, Brown Handbook and The Little, Brown Compact
Handbook, Greer urges colleagues in education and
publishing to use the mobile revolution as an opportunity
to take learning in a new direction.
“If we think about mobile as one part of a learning
ecosystem that includes print and web-based platforms,
that’s a nice way to think of it, and it helps to connect with
themes about a new pathway or a new opening up,” he
explained. “Let’s stop comparing it to a print book and
think about what mobile can do as mobile.”
According to Mary Meeker, an online media analyst who
publishes the annual Internet Trends Report, the average
length of time that a person in the US spends on digital
media per day is 5.9 hours, with about half that time spent
on handheld devices. Students also report they use mobile

18
 THURSDAY 11 OCTOBER 2018
Visit us in Hall 4.2, Stand J72

ning
IMF
eLibrary
about half of their studying time to access course materials
and read course texts. Complicating matters further,
students may be sitting in a coffee shop or reading in a
library with a mobile phone in one hand and the print book
in the other.
“We’ve long passed the point where [online reading]
was 50-50 mobile versus laptop. We know now that most

Global economics
website visitors in the world now are coming on mobile
phones,” said Greer. Meeker has noted, too, that 70% of
people visiting YouTube’s site, for example, are there to
learn how to do something – whether that’s changing an
air filter in a car or designing a mobile app. “People are at your fingertips
hungry for learning. And people are turning to the
internet for videos and for tutorials of all different sorts,”
Greer explained.

A personal experiment
For those with doubts about mobile as an educational
medium, Greer suggests a personal experiment: try
regularly reading long-form texts on a mobile phone to
understand better what the experience is like.
“Learn what that medium can do. Because it can do a
lot of things that a print book can’t do. I encourage
people to view their own course websites on a mobile
phone and see how that works, or pull up their book if
they’re a textbook author,
to see what that looks like.
One way to build the
comfort level is to become a
mobile reader, and to
experience the world
through your students’ eyes.
When you’re doing that,
you’re not looking at a
book any longer,” Greer said. “You’re looking at the
format that the student is receiving all the material on. I
think it is a potentially amplifying experience. You can
• User-friendly platform
include audio. You can include video. You can link to
other things. The phone becomes the gateway to a whole • Extensive archive to 1945
world of information.” The difference is an empowering
one, Greer said. But one that also requires new ways of • Instant access to IMF
thinking about how we read today.
“Mobile reading is nonlinear by its nature, so we need to analysis and research
be careful to design content that can be read in multiple
pathways. Somebody might come in at chapter 1 and read
2, 3, 4, 5 and 6, or they might come in at chapter 5 and
bounce around, and then go back to chapter 1,” Greer said.
“It’s a matter of serving the audience and educating
students in the way that they need and want to be
educated,” he insisted. “Of course, that’s the goal of what eLibrary.imf.org/fbf18b
we do in educational publishing – we try to meet people’s
needs, not give them what we think they need.” ■ I N T E R N AT I O N A L M O N E TA R Y F U N D
Christopher Kenneally hosts “Beyond the Book”, a podcast series from
Copyright Clearance Center.

19
 FRANKFURT SHOW DAILY
What’s next for the audiobook market?
Just a few short years ago, Audible/Amazon
was the only dominant audiobook retailer of
note globally, writes Colleen Prendergast. As a
publisher or author, you could easily sign an
exclusive distribution agreement with Audible
and sleep soundly that your content was reaching
the ears of almost all audiobook listeners.
Times have changed. While Audible still holds
a dominant position in developed markets,
there are now multiple competitors throughout
the world. Just this year, Google and Kobo have
invested heavily in launching new audiobook Colleen Prendergast
platforms, and Kobo has partnered with retail
giant Walmart to broaden its reach. Storytel, which has been
the leading audiobook provider in Scandinavia for many years,
aggressively launched local operations in multiple new
territories in 2018, with more to come. And with literally
dozens of local retailers growing or just getting into the game in
nations as diverse as Mexico, Czech Republic, UAE and Japan,
the audiobook market is no longer a one-company show.
If 2018 was the year of growth and hype for audiobooks,
2019 will be the year of reckoning. More and more marketing
dollars will be spent globally to draw listeners away from
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THURSDAY 11 OCTOBER 2018
Audible and, more excitingly, to convert new
audiences into audiobook consumers.
Lurking on the sidelines are the major music,
radio and podcast streaming services. Music and
radio attract far more consumers than traditional
book outlets, and with behemoths in the industry
like Spotify either already offering or exploring
audiobook delivery, publishers will need to come
to terms with a new reality where book content is
merchandised directly next to other media types.
Savvy publishers are already testing audiobooks
on these platforms, but globally most audiobook
creators are resisting. This is driven by fear of the
unknown, the painful process of adapting to other business
models, and, on occasion, an outdated viewpoint that literature
should be reserved for “real” bookstores.
Risk or opportunity?
Whether you view it as a risk or an opportunity, the power of
subscription models cannot be left out of any discussion of
audiobooks. Globally, the subscription economy has grown
by more than 100% every year for five years, and the average
subscriber of any subscription service (including audiobooks) is
younger and more affluent than the traditional book buyer – and
the people who will be shaping the book market in years to come.
There is no reason to fear this new frontier. Distribution
companies such as Findaway have already proven that these new
models can be successful. Findaway distributes one of the world’s
largest audiobook catalogues to more than 30 retail and library
partners across the world, and we have seen more than 120%
growth in subscription channels from 2016 to 2017. Publishers
are employing multiple creative strategies to successfully navigate
the new subscription market to limit cannibalisation of sales
across other channels. Windowing frontlist content, strategically
offering only first-in-series, and promoting debut authors over
established brands are just a few of the options publishers have
to explore and test content on subscription platforms.
Besides subscription models, emerging markets are opening
more opportunities for publishers. In the Philippines and
India, increasingly powerful anglophone markets, Findaway’s
channels have seen 30% year-on-year growth, and that number
is likely to rise with growing access to smart phone technology
and targeted marketing campaigns by global and local retailers.
Beyond the English-speaking world, audiobooks are spreading
like wildfire throughout Latin America. With 25% growth
year-on-year in Mexico alone, it’s little surprise that Mexico is
seeing the launch of multiple new retailers this year.
The future for audiobooks is bright. The growth of audiobook
listening across both new and established retailers will create a
more balanced marketplace, putting power in the hands of
publishers. In a time when books are increasingly crowded out by
other media, it’s time for publishers to get serious about audio. ■
Colleen Prendergast is international content partnerships manager for
Findaway, an audiobook distributor and a leader in audio creation.
 FRANKFURT SHOW DAILY
International man of mystery
Lenny Picker looks at the popularity of Sherlock Holmes, 130 years after he
was first introduced
It’s been more than 130 years since Sir Arthur
Conan Doyle introduced Sherlock Holmes, in
1887’s A Study in Scarlet, and more than 90
years since the last of Conan Doyle’s 60 Holmes
stories was published. But in 2018, the iconic
character sleuths on in new adventures by
authors whose stories range from faithful
emulations to inventive tales in untraditional
settings far beyond Britain’s shores.
In November, Bonnier Publishing Australia/
Echo will publish Sherlock Holmes: The
Australian Casebook, edited by Christopher Sequeira.
It’s an anthology of 16 short stories, including a
contribution by Phryne Fisher’s creator, Kerry
Greenwood, and the tantalisingly-titled “The Adventure
of the Purloined Bunyip”. Sequeira told Publishers
Weekly that the book’s conceit “has Holmes and Watson
travelling to Australia in 1890 to handle a major case,
and ending up spending many months going from place
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THURSDAY 11 OCTOBER 2018
to place being asked to lend their skills to
local mysteries”.
More international settings
In Sherlock Holmes: A Scandal in Japan
(Vertical, April), bestselling Japanese mystery
author Keisuke Matsuoka partners Holmes with
the first prime minister of Japan, Hirobumi Ito,
in Japan during the period leading up to the
Russo-Japanese War, when Tokyo was rife with
Czarist spies scheming to influence its citizens.
No publisher is a more prolific source of new
Holmes works than MX Publishing, which bills itself as
the world’s largest specialist Sherlock Holmes publisher.
From September 2018 to June 2019 alone, MX will
publish 27 Sherlock titles, including the acclaimed work
of Denis O Smith (The Further Chronicles of Sherlock
Holmes, Volumes 1 and 2, published in October and
November, respectively). Steve Emecz, one of MX’s owners
along with his wife Sharon, said their goal was to give an
opportunity to as many “Sherlockian” writers as possible.
In Gaslight Gothic: Strange Tales of Sherlock Holmes
(EDGE Science Fiction and Fantasy
Publishing, July), the fourth
anthology edited by Charles Prepolec
and J R Campbell pits “the supreme
rationalist, Sherlock Holmes, against
the weird, the supernatural and the
uncanny”. Prepolec says, as the series’
“Holmes and horror” theme suggests,
there is “more colouring outside the
lines” these days in the world of
Sherlock Holmes.
Titan Books, which publishes the
most celebrated of all pastiche writers –
basketball legend Kareem Abdul-Jabbar, whose second
mystery, Mycroft & Sherlock, co-authored with Anna
Waterhouse, is due this month – has a total of nine
Sherlockian titles coming out over the next year. And 2019
will also bring a third Mycroft Holmes-centric mystery
from Abdul-Jabbar, which Miranda Jewess, acquisitions
and managing editor, states “will continue the development
of the character, revealing how the young Mycroft became
the enigmatic genius of Arthur Conan Doyle’s novels”.
Bringing in new readers
Pegasus has also been a reliable source of reading pleasure
for Sherlockians. December will see the publication of For
the Sake of the Game: Stories Inspired by the Sherlock
Continues on page 24 g
 FRANKFURT SHOW DAILY
f Continued from page 22
Holmes Canon, the fourth such anthology edited by Laurie
R King and Leslie S Klinger featuring, as Klinger
puts it, “authors who we know are Holmes fans,
but who haven’t been identified as pastiche
writers”. The latest impressive roster includes
Reed Farrel Coleman and Harley Jane Kozak.
Pegasus deputy publisher Jessica Case has
found that the “Klinger-King volumes are
bringing in new readers based on fans of the
writers within the collection for their non-
Sherlockian works”. Pegasus’s forthcoming
list also includes Gyles Brandreth’s Oscar
Wilde and the Return of Jack the Ripper
(April), which pits Wilde and Conan Doyle against the
infamous serial killer.
Two other notable titles are also on the
horizon: Paul Gilbert’s Sherlock Holmes: The
Four-Handed Game (Crowood, November), in
which Holmes, Watson and two allies from the
Yard battle a sophisticated criminal
organisation. And Leah Moore and John
Reppion’s Sherlock Holmes: The Vanishing Man
(Dynamite Entertainment, December) is a trade
paperback collection of a critically-acclaimed
limited series comic book.
THURSDAY 11 OCTOBER 2018
The cycle of Sherlock Holmes
How long will so many new Holmes stories fill actual or
virtual bookstore shelves? Swedish expert
Mattias Boström (From Holmes to Sherlock:
The Story of the Men and Women Who
Created an Icon, Mysterious Press) confirms
that the number of Holmes stories shows no
signs of slowing, and is still on the rise. “Ten
years ago, there were 10 to 15 new Sherlock
Holmes pastiches every year. Nowadays we see
30 to 40 printed books every year, and many
further stories only published as ebooks.”
But Boström puts those statistics in historical
context: “The interest for Sherlock Holmes
pastiches has fluctuated ever since the first pastiche
boom in the 1970s, following The Seven-Per-Cent
Solution, and will continue to do so.” But, he
concedes, there is an ongoing interest in Holmes at
the moment, with new major movies and popular
TV series. “Sooner or later that comes to an end,
and then the publishers too will have less interest
in Holmes. That is only natural,” he says. “And
then there will suddenly come a new Holmes
success – a bestselling pastiche, a film, a TV series
or something else – and that will create a new
boom. It’s the cycle of Sherlock Holmes.” ■
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The right(s) investment
The future is exciting for people in the content
game, writes Clare Hodder. Emerging
technology like AI and Blockchain could
fundamentally transform the way we create,
acquire and license content. Even now, we could
create a dynamic content market place where
elements of our published content can be traded
online to enable people to legitimately access
the content they want, when they want it, at an
affordable price. The Copyright Hub was set up
to facilitate exactly this, but publishers haven’t
yet embraced the possibilities it offers. We have Clare Hodder
content, the world wants content, governments
will amend our IP laws if we don’t make it easy
for people to license our content, so why
wouldn’t we invest in the infrastructure to make it possible?
Publishers have invested in providing digital access to whole
works, and even to articles or chapters, but not for all the
content on their backlists and crucially not for more granular
content. I believe there are two main reasons for this. Firstly, it
is hard to gauge the size of the potential market, or the extent
to which it might cannibalise existing sales. Secondly, it
involves opening up a very large can of worms,
NBD_E-book_Advert_185x130mm_HR.pdf 1 namely the
26/09/2018 16:54
CM
MY
CY
CMY
26
THURSDAY 11 OCTOBER 2018
rights and royalties data required to make this
kind of licensing work.
The first issue could be resolved with
experimentation, but publishers are prevented
from experimenting with new models because
of the second issue. Unless you can identify
what rights you have in the parts of your
content you want to license, and to whom and
how much you need to pay in royalties, it’s
difficult to trade it.
Broken processes
The processes publishers use to manage rights
data are broken – really broken. As any rights
professional will attest, when new licensing
opportunities emerge, the lack of detailed, accessible rights data
can seriously delay or even prevent those opportunities from
being exploited. There are huge swathes of publishers’ lists
which aren’t available electronically because the rights position
is uncertain. For any content you wish to license, you need to
establish whether or not you have the rights. Did the author
assign or license the relevant rights to you? Have the rights been
Continues on page 28 g
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 FRANKFURT SHOW DAILY
f Continued from page 26
reverted? Has the list been sold? Does the content contain other
items, not covered by the author’s agreement e.g. illustrations,
quotations, figures? If you can track down all the agreements,
satisfy yourself you have the rights, and can pay any royalties
involved, you can proceed to license. Establishing the answers
to these questions is often difficult. Information may still be
held in analogue form (dusty filing cabinets in basements) and
isn’t always comprehensive. Rights metadata is not routinely
collected and there are no data standards to ensure that
publishers are all collecting the same information in the same
way. The upshot of all this is that many licensing opportunities
are given up before they are even started, and experimentation
with new models is too painful to contemplate.
Re-use permissions are a case in point. For those unlucky
enough to have to make a request, they can look forward to a
wait of 4-6 weeks (the embarrassing industry standard) before
they get a response. Tools like PLSClear and RightsLink are
doing much to help automate the licensing process, but unless
and until the publisher has been able to identify that the
content being requested is theirs and that they control the
rights in it, the log jams at the publisher’s end will remain.
Need to act more quickly
From memes and mashups, to blogs, vlogs, podcasts, newsletters
and websites, the need for quality content is growing. People
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Registration
Deadline:
Oct. 20, 2018
Contact :
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2818.5-13.indd 1
THURSDAY 11 OCTOBER 2018
want content and expect to be able to get their hands on it
quickly. If we don’t find a way of addressing our rights issues,
those outside of our industry will resolve the problem for us,
with serious repercussions for our current business. We’ve seen
governments make changes, or threaten to make changes, to
copyright legislation, because it is deemed not to work well in
a digital environment (and in the case of Canada, the
decimation of the educational publishing industry as a result).
We’ve seen big tech pushing the boundaries of copyright law
with the Google Books Project, and more recently successfully
opposing European copyright reforms that would see them
take greater responsibility for unauthorised content uploaded
to their sites. We’ve experienced large scale digital piracy, but
when we can’t produce the documentation to prove we control
the rights, we struggle to defend ourselves from it.
We are pushing back against broadening copyright
exceptions, and advocating more copyright education, but
who will take us seriously unless we can demonstrate that the
market isn’t broken and that we are making our content
available to those who want to access it, in a convenient and
affordable form? If we want to embrace our digital future, we
must invest in tackling our analogue legacy. ■
Clare Hodder is a consultant with Rights2 Consultants and co-founder
and director of RightsZone, a cloud-based rights database and workflow
tool that supports rights professionals in maximising licensing
opportunities. She will be demonstrating RightsZone at the Frankfurt
Bookfair (www.rightszone.co.uk or contact clare@rightszone.co.uk).
2018/9/26 下午 05:19:54
 THURSDAY 11 OCTOBER 2018
An Open Access storm is approaching
Emma House argues for the need for more consultation on the UK’s commitment
to “Plan S”
It may not be immediately obvious when
you look around the stands at Frankfurt this
week, but a storm is brewing in UK academic
publishing. At the eye of this storm is Open
Access (OA) – free, unrestricted online access
to research outputs such as journal articles
and books. Although they often wrongly get
positioned as “anti” OA, academic publishers
are anything but. They have demonstrated
their very clear support for the OA approach:
adjusting business models, and working
closely with stakeholders and the UK Emma House
government in pursuing a programme of
shared knowledge for the public good.
The progress made is reflected in a report published by
Universities UK last year, which found that the UK-authored
proportion of articles which were freely accessible for public
view 12 months after publication surged from 37% to 54%
between 2014 and 2016. In comparison, the proportion of
FRANKFURT SHOW DAILY
global articles published Open Access only
rose from 25% to 32% in the same period.
As the report noted, this puts the UK “well
above” global averages of OA publishing and
at the “forefront of a global shift which is
changing the way that research is conceived,
conducted, disseminated and rewarded”.
Last review
The last time OA policy in the UK was
comprehensively reviewed was five years
ago. The progress made since then can be
attributed in part to the approach taken at
that time – there was comprehensive consultation with the
sector and additional funding committed to assist the
transition to OA.
The role and value of academic publishers in the ecosystem
was clearly recognised and there was an appreciation for
Continues on page 30 g
29
 FRANKFURT SHOW DAILY
f Continued from page 29
both research and research publishing as a
global industry. Crucially, because of the
global interconnectedness of the research
community, there was also an understanding
that, whilst the UK should take a leading
role in this field, a careful balance must be
struck. In recent times, that understanding
seems to have fallen by the wayside.
The news that UK Research and
Innovation (UKRI) has signed up to Science
Europe’s “Plan S”, which as a core agenda
“foresees that from 1 January 2020, all
scholarly publications resulting from public
research funding must be published in Open
Access journals or on Open Access
platforms”, sent rumbles through the sector.
The addition of the major UK research
funder, which comes ahead of their own OA
review and without consultation or
publication of any kind of economic impact analysis, has
raised many questions for the community.  consideration of the role publishers play.
Shortcomings
“Plan S” has shortcomings, which affect many stakeholders.
The principles in the plan need to be fully worked through,
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30
THURSDAY 11 OCTOBER 2018
“In 2017, total but there are some assumptions we can
make about its implications. Once the Plan is
journal income operational, the principle that the “hybrid”
was £1.6bn, of model of publishing is not compliant and a
cap on Author Publishing Charges (APCs)
which £1.4bn means that academic freedom will be
(88%) came curtailed. This is a key reason suggested by
German funders for not signing up, while
from exports. others in the wider research community have
This export raised similar concerns. Not only does “Plan
S” restrict the right to choose where to publish,
revenue is it risks discriminating against those who can’t
growing year- pay to publish OA. There are also questions
around the additional costs that may be
on-year and is incurred by the government and universities.
By committing the UK to “Plan S”, UKRI
nearly all derived has laid out the next phase of OA policy in
from digital the UK without a full and proper
consultation of affected stakeholders. A
products.” unilateral policy direction has been set by a
non-government agency without clear understanding and
This is also all completely at odds with the current UK
government agenda. Since the Brexit referendum decision,
the UK government has established a new Department for
International Trade (DIT) specifically to drive export growth,
repeating the message that the UK is “open for business”. 
Leading exporter
UK academic publishing is a leading export sector and
driver of economic growth. In 2017, total journal income
was £1.6bn, of which £1.4bn (88%) came from exports.
This export revenue is growing year-on-year and is nearly
all derived from digital products.
This success and continuing growth enable the academic
publishing industry to pay hundreds of millions in tax,
employ thousands of people, invest in digital and pay returns
of millions of pounds to universities and learned societies.
OA policy cannot exist in a silo. It is too important. UKRI have
effectively taken over the UK government’s role and have done
so with blinkers on. Unless the government provides proper
oversight of UKRI’s review, the UK stands to lose a world-
leading academic publishing industry along with its £1.4bn of
export revenue, and the millions in direct and indirect taxation
revenues that, in effect, mean that UK students and researchers
get access to journals at no net cost to the taxpayer.
We are calling on the UK government to set up an
independent working group under the oversight of an
independent chair to examine and make recommendations
to ministers on how to expand open access in ways that are
aligned to the government’s stated policy ambitions.
Without this, when the storm hits fully it could irreparably
damage a world-leading UK industry. After all, if UK Open
Access policy simply becomes a proxy for open season on
publishers, it is not just those working in publishing, but
also our students and researchers who will lose out. ■
Emma House is deputy CEO of the Publishers Association.
November 11-18, 2018
MIAMI, FLORIDA
MIAMIBOOKFAIR.COM
/miamibookfair #MiamiBookFair2018

POETRY, FICTION & NONFICTION FROM ALL OVER THE WORLD

STREET FAIR / PUBLISHERS & BOOKSELLERS / CHILDREN’S AUTHORS & ACTIVITIES
 FRANKFURT SHOW DAILY THURSDAY 11 OCTOBER 2018

Understanding the UK ebook consumer

Jaclyn Swope looks at how UK consumers of ebooks discover and choose their
titles, and at why a buyer might choose an ebook over print, or vice versa
Ebook purchases have risen 100%

in the UK in the first half of 90%

2018, after declining in 80%

2017, and have increased 70%
their share of the overall 60%
book market, according to 50%
Nielsen’s monthly Books & 40%
Consumers survey. To 30%
provide insights on how to 20%
maintain that growth and 10%
cater to the digital reader,
0%
Nielsen recently carried out the 2018 Understanding the Male Male Male Female Female Female
18-34 35-54 55-84 18-34 35-54 55-84
UK EBook Consumer deep dive, allowing us to examine
the impact that genre, author and price have in driving I have stopped buying print books since I started reading ebooks
book buyers to digital reading; to pinpoint how ebook I am buying fewer printed books since I started reading ebooks
buyers discover and choose their titles; to identify The number of printed books that I buy has not really changed
circumstances where a buyer might choose an ebook I am buying more printed books since I started reading ebooks
over print, or vice versa; and to measure the appetite for
ebook subscriptions.
Buying more ebooks
More than 40% of ebook consumers report buying more
ebooks now than they were buying five years ago, and
that goes up to 55% of daily e-readers and more than
60% of heavy book-buyers. On the other hand, 45% of
those that are buying more ebooks now are buying fewer
print books. As shown in the chart, older consumers are
more likely to say that they have stopped buying print
books in favour of ebooks, while younger males are the
most likely to be buying more print books since starting
to read digitally. But the largest segment for each sector
reported that they’ve maintained their print book
purchases since adopting e-reading.
When asked in which circumstances they would choose
an ebook over print, 45% of consumers who purchase both
said for commuting and/or travelling, which rises to 52%
of those that have increased their ebook purchases
compared to five years ago. The next most popular
situation was a book by an author not read before, while
the least likely was a book for study and/or work.

“Three advantages did rank higher

than free downloads, however, with
the ‘ease of carrying multiple
books’, ‘less space taken up’ and
‘access wherever you are’ were
deemed beneficial.”
Continues on page 34 g

32
 NEW YORK RIGHTS FAIR
The International Adult & Children’s Content
& Licensing Marketplace

TODAY!
And do we have a reason to celebrate! New York Rights Fair and BookExpo
are together in the Javits Center in 2019, in the content capital of the world.
Come meet the team and learn more about how, together, these shows will
impact every part of your book business, in every corner of the globe.

Frankfurt Book Fair

Stand 6.0/D43
Thursday, October 11—5:30-6:30 PM

www.NewYorkRightsFair.com

Presented by
 FRANKFURT SHOW DAILY THURSDAY 11 OCTOBER 2018

f Continued from page 32

However, those buying fewer ebooks than they were a
few years ago are slightly more likely than average to
7%
prefer digital for a book for study and/or work, with their 11%
lowest percentage stemming from the latest book from a
favourite author.
37%
Searching by author 12%
The author has a strong influence on purchase behaviour,
beyond format preference. Browsing by author name is
the leading discovery method for ebooks, with 44% of
ebook buyers reporting that they look for ebooks that
way, followed by 41% searching by genre. However, it’s
15%
heavy (those reading more than 16 ebooks per year) and 19%
medium ebook buyers that are more likely to search by
author, with genre moving into first for light (those
reading between one and five ebooks a year) buyers.
I have not considered an ebook subscription before and am not
Heavy ebook buyers over-index on all discovery methods, interested in one
apart from using the “people who bought this also I currently have an ebook subscription
bought” function, which is most likely to be used by I used to have an ebook subscription but not anymore
medium ebook buyers (6-15 ebooks per year). I have considered an ebook subscription but decided against it
Heavy ebook buyers are the most likely to currently have I have not considered an ebook subscription before but like the idea of it
an ebook subscription, at 25% compared to 24% of I am planning to take out an ebook subscription in future
medium and 20% of light. But when asked about future
plans, a higher share of light and medium ebook buyers while one in five heavy buyers said they had considered it
indicated plans to take out a subscription at some point, but not gone forward.
Overall, 37% of the ebook consumers surveyed do not
have and are not interested in a subscription, but those that
currently have one or show potential to consider a
subscription in the future add up to a similar percentage.

Your content on-the-go with Monthly cost

The monthly cost is the predominant deterrent keeping
consumers from taking out an ebook subscription. Even for
individual ebooks, the reason chosen most often for not
buying more was cost-based: 23% of ebook consumers are
Journals White Labelled App
put off by an ebook costing more than the print edition.
But in terms of advantages of ebooks, 37% of consumers
chose the availability of free books to download, so cost
considerations go both ways. Three advantages did rank
eBooks Audio higher than free downloads, however, with “the ease of
carrying multiple books”, “less space taken up” and
“access wherever you are” all deemed beneficial. ■

Continuing Education Video

Courses “When asked in which circumstances
they would choose an ebook over
print, 45% of consumers who
Personalized Personalization
Bookshelf Features purchase both said for commuting
and/or travelling.”
Understanding the UK Ebook Consumer surveyed 2,000 ebook
consumers and was conducted in summer 2018. To purchase the full
report on findings please contact infobookresearch@nielsen.com.

Jaclyn Swope is publisher account manager at Nielsen Book Research.

34
 THURSDAY 11 OCTOBER 2018

Independent – but even be

Being an independent publisher doesn’t mean
PUBLISHERSWEEKLY.COM Independent publishing is in
A Global Leader in the robust health in the UK in
2018, and with a steady
Publishing Marketplace stream of start-ups flowing
into the industry,
membership of the
GLOBAL Independent Publishers
Guild (IPG) is at a record
PUBLISHING high. Whatever the size or
NEWS specialism of our members,
independence – the freedom
to publish as they please, Bridget Shine
and to follow paths less
travelled by bigger corporates – has an enormous appeal
for them. Their individuality makes UK publishing a
CONFERENCES much more creative and diverse sector than it would
AND EVENTS otherwise be.
But even the most free-spirited of independent publishers
do not operate in a vacuum. They draw inspiration from
each other and, at fledging businesses in particular, rely on
the army of freelancers and suppliers that serve publishing
so well. As anyone who has been self-employed or has
worked in a small business will know, independence can be
BOOK a very positive thing – but so is stepping outside of the
REVIEWS office from time to time.

Sharing expertise
It is something the IPG aims to help with. At our recent
Autumn Conference in London, we saw at first hand the
remarkable generosity of individuals from across
independent publishing, who shared their expertise freely
PROFESSIONAL with more than 350 grateful delegates. Our members pool
knowledge and ideas in many other ways: such as through
DEVELOPMENT the IPG Skills Hub, our portal of training and professional
development resources; or via our mentoring scheme,
which partners experienced independents with those at the
start of their journeys in publishing.
This collaborative approach to publishing stretches well
beyond the UK. Contrary to what some might believe,
INTERNATIONAL independents are firmly outward-facing businesses, and a
survey for the IPG’s Harbottle & Lewis Independent
SUPPLEMENTS Publishing Report in 2016 found that more than four in
five (83%) IPG members export their content in some way.
On average, they generate more than a quarter (29%) of
their income from outside the UK, including a ninth of it
(11%) from rights. For decades, independent publishers
have been justly proud of their global outlook.
This mindset will be even more important when – or,
INTERNATIONAL some might say, if – the UK leaves the European Union.
RIGHTS Our poll of members ahead of the UK’s EU Referendum in
June 2016 found that the overwhelming majority of
DEALS
 THURSDAY 11 OCTOBER 2018

tter together
working in isolation, writes Bridget Shine

independent publishers were strongly opposed to

Brexit, and few are likely to have changed their mind
since then. As the proposed March departure date draws
closer, our members remain apprehensive about a host of
Brexit-related challenges, like the rights of EU nationals
in the UK, trade agreements, changes to copyright and
research funding.

International exchange of ideas

Perhaps most significantly, Brexit challenges cross-border
movement – not just of people, imports and exports, but of
cultural and scholarly exchange. For many independent
publishers, international collaboration and the sharing of
content are at the heart of strategies and principles. Our
members in adult trade and children’s publishing have a
vital role to play in taking UK literature to the rest of the
world, and in bringing diverse voices back the other way to
the home market. The many independent publishers who
work in the academic and professional sectors do a similar
job in the interchange of important scholarly research.
We very much hope that this exchange will not change
after Brexit. The UK’s standing with European countries is
inevitably going to alter in the next few years, but
independent publishers are determined that their working
relationships with their EU counterparts will be preserved.
In fact, by emphasising their passion for cross-border
partnerships in the face of Brexit, they will be hoping they
can be strengthened even further.
For that to happen, publishers are going to need the
support of the UK government, and we have already
contributed to consultations on post-Brexit policy relating
to business and culture. Like everyone else, we will be
watching closely, and hoping for a constructive settlement
and clarity on future business issues for British firms.
For our own part, the IPG continues to look for new
ways to work more closely with international colleagues.
At this year’s Frankfurt Book Fair we have organised
speed-dating-style meetings between UK publishers and a
host of international companies that will help each side to
better understand the other’s needs and aims. We are also
teaming up with our friends at the Australian Publishers
Association, our neighbours on the aisles of the Messe, on
our famous stand party on Thursday (11th October).
The Frankfurt Book Fair has been at the heart of cultural
dialogue for 70 years now, and we will see many more
examples of independent publishers’ international
partnerships during the 2018 fair. Whatever the next few
months have in store for the UK, we are sure that the spirit
of collaboration will not be dimmed. ■
Bridget Shine is chief executive of the IPG. Visit ipg.uk.com for more
about the work of the IPG.

37
 Frankfurt Rights Marketplace
PW’s Title Showcase
Welcome to PW’s 2018 Rights Marketplace, a new feature launched last year. Here you
will find a diverse list of titles, embodying a wide range of categories within the
industry. This section was created to give publishers the opportunity to promote
individual titles, open up rights opportunities, and generate brand awareness
within the international marketplace.

Astrotheology: The Spiritual Atheist:

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

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

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

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

For more information regarding this low-cost

advertising opportunity, please contact Joe Murray at
jmurray@publishersweekly.com.
 10,000 PROFESSIONALS FROM
85+ COUNTRIES
WILL CONVENE IN NEW YORK CITY AT
THE BIGGEST AND MOST IMPORTANT U.S.
PUBLISHING EVENT OF THE YEAR

May 29-31, 2019

Jacob Javits Convention Center
NYC

Connect with publishers, rights professionals and others from every

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

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

www.NewYorkRightsFair.com

Presented by
 Visit Us!
Hall 4.2, Booth K35

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