London

TUESDAY 12 MARCH 2019

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Page: new tools,

enduring truths
Faber CEO urges industry to ‘fight for
the values we believe in’
Drawing from a 1934 lecture titled “Are Publishers Any
Use?” delivered by founder Geoffrey Faber, Stephen Page
told the Quantum conference yesterday he found some of
the challenges outlined decades ago to be “spookily
familiar” today – including the political chaos around the
world, writes Andrew Albanese. “We are again living in a
time when new ideas and stories as well as new approaches
to society and art are urgently needed,” the Faber CEO
said, suggesting that publishers must value both “the
exciting new tools” at their disposal, and the “lasting and
important truths” that had always guided the industry. ideas and diverse voices, and to embrace the new
In his 30-minute talk, Page spoke of multiple generation now entering the publishing industry.
“revolutions” in publishing over his career, and of the “We need to have the courage to fight for the values we
dawning of a new era marked by social media, digital believe in: free speech, respect for ideas and intellectual life,
marketing, transparent data, and “listening as reading”. for copyright, and for the right of an artist to make a living
Despite predictions that technology would upend the and for our local markets. We need to put writers first, and
book business, Faber said that the industry today found partner with them beyond the commercial, and we must
itself “on comparatively solid ground”, adding that the remember that what we do matters, and because of that we
last four years had been the most successful in Faber & have to act responsibly,” he said. “To achieve this, we need
Faber’s history. to be clear about the things we do uniquely well in the
Citing the “chaos” and rising prejudice associated with world. Yes, there are new tools, new structures, and new
Brexit, Page rallied publishers to focus on more than their opportunities. And they’re very important. But there are
own bottom lines, to stand with writers in defence of new eternal truths too.”

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 TUESDAY 12 MARCH 2019 LONDON SHOW DAILY

HC launches international imprint, HarperVia

HarperCollins has The HarperVia US team includes Juan Milà, executive
released details of editor, whose responsibilities include acquiring titles and
its long-gestating overseeing the translations of the editions; Tara Parsons,
international who is associate publisher; and editor Alice Min. In
imprint, writes Jim addition, Paul Olsewski will join HarperOne on 18
Milliot. Headed by March from Atria (where he worked with Curr) as senior
HarperOne president publicity director for HarperVia as well as for Amistad
and publisher Judith and HarperEspañol.
Curr, HarperVia will Curr said she intended to build HarperVia into a
release its first three recognized brand. “We’re building a new model for world
titles this September English-language publishing, creating a platform where
and will do another books can be discovered,” she said, adding that she saw
three next spring HarperVia as “something like Netflix, telling stories from
as it builds to all over the world”.
publishing 24 The launch title for HarperVia is Lost in the Spanish
books annually, Quarter by Heddi Goodrich, an American who lived in
Curr told the Show Naples for 10 years, wrote the book in Italian, and did the
Daily. HarperVia will Judith Curr English translation herself. It will be followed by It Would
focus primarily on Be Night in Caracas by Karina Sainz Borgo, currently set
publishing fiction in translation with “an eye for books to be published in 22 countries, and The German House
that celebrate the universal desire for discovery, by Annette Hess. Other authors who have been signed by
understanding and connection through exceptional HarperVia include Norwegian author Maja Lunde, Eric
storytelling”, HC said. Dupont of Canada, Amir Ahmadi Arian from Iran, and
Working with Curr on HarperVia are David Roth-Ey, Korea’s Won-pyung Sohn.
executive publisher at HarperCollins UK, and James Harper is holding a HarperVia launch party at the
Kellow, CEO of HarperCollins Australia. HarperVia will London Book Fair, and will also be meeting “with our
look to acquire world English rights to the titles it buys. network of scouts to discuss new titles”, Curr said.
Each of the three HC offices will be acquiring books, and

FEATURES INSIDE
once a title has been approved for purchase by one of the
offices it will appear on the HarperVia list, Curr said, and
the other offices will publish the book after making
modifications for their specific markets. The plan is for
books to be released simultaneously in all English- BRIEFCASE LIFETIME ACHIEVEMENT
6 18
language markets, but Curr acknowledged that it might
AGENTS’ TOP TITLES BROMBERG
SAM EDENBOROUGH
take some time to get to same day and date releases.
WELCOME BILL MCKIBBEN
JACKS THOMAS
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Fair, please visit us at the Publishers WESTCHESTER
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 LONDON SHOW DAILY TUESDAY 12 MARCH 2019

LBF rights – the big pre-fair deals

There have been deals Ebury signed The Children’s Block (19 September) by Otto B Kraus, an
worth seven figures for autobiographical novel based on the author’s experiences at Auschwitz-
Seven Lies, a debut thriller Birkenau. The publisher has world rights (including TV & film) from
by Transworld editor Lizzy Kraus’ wife, Dita Kraus, herself an Auschwitz survivor and the subject of
Goudsmit, writing as The Librarian of Auschwitz by Antonio Iturbe, which Ebury will publish
Elizabeth Kay. Sphere UK in April.
and Pamela Dorman Books/
Viking US won the rights Coronet (Hodder) UK and Hachette US are to publish The Age of
for substantial sums at Anxiety (November), a debut novel by rock legend Pete Townshend.
auctions, and there have (World English rights through the Blair Partnership.) There are also to be
been numerous an Age of Anxiety album and art installation.
international deals (agent
Madeleine Milburn). Seven Pan Macmillan UK and Putnam US won auctions for “festive feel-good”
Lies (2020) is “a seductive, story The Twelve Dates of Christmas (November 2020) by debut author
hypnotic thriller that Jennifer Bayliss-Jennings. (Agent Hayley Steed at the Madeleine Milburn
explores the complexity of Literary Agency; three European deals).
tangled and toxic
friendships”. Simon & Schuster US, Knopf Canada and Allen Lane UK signed Naomi
Klein’s On Fire: The (Burning) Case for a Green New Deal (agent
Anne Hathaway signed film Anthony Arnoveat at the
rights in Liberation by Roam Agency).
Imogen Kealey (Imogen
Robertson and Darby Elizabeth Kay Transworld UK pre-empted
Kealey), a novel based on the story of SOE heroine Nancy Wake. Sphere Last Stop Auschwitz by
has world rights (agents Broo Doherty at DHH Literary Agency and Eddy de Wind, a Holocaust
Rachel Clements at Abner Stein). Grand Central will publish in the US survivor’s memoir that is
(spring 2020). thought to be the only
complete book written in
John Irving moved UK publisher from Transworld to Scribner, to be Auschwitz. Paul Sebes at
published by Simon & Schuster imprints on both sides of the Atlantic. Sebes & Bisseling Literary
Irving’s next novel is Darkness As a Bride (2020; agent Deane Cook of Agency in Amsterdam
Cook McDermid). handled the sale, as well as
16 further deals.
Atria won an 11-house auction for Janet Skeslien Charles’ The Paris Library
(summer 2020), a novel based on the real librarians of the American Library Picador pre-empted The
in Paris and the work they did to preserve the library’s collection during Reluctant Carer after a
WWII (agent Heather Jackson; Hodder UK; six further deals). Guardian article by an
anonymous author about
Picador won a seven-way auction in the UK, and Atria won a 17-way caring for his parents in
auction in the US, for books by Jamaican-born poet Safiya Sinclair (agent their 80s went viral (spring
Aevitas Creative Management; Caspian Dennis at Abner Stein handled 2021; world English rights
the UK sale). Sinclair’s memoir, How To Say Babylon, tells her story of through Eugenie Furniss). Safiya Sinclair
being born into a strict Rastafarian family in Montego Bay.

Houghton Mifflin Harcourt struck a “significant” deal for NA rights in

The Cherry Robbers, a second novel by Sarai Walker, author of the
critically acclaimed Dietland. The new novel is a genre-bending feminist
gothic tale that follows Sylvia Wren, a reclusive artist, as she tells the
Riddell’s laureates
surreal story of her many sisters and how they died in mysterious This caricture by Chris Riddell of Julia Donaldson,
circumstances decades earlier (agent Alice Tasman at Jean V Naggar the seventh Waterstones
Literary Agency). Children’s Laureate, is
part of a set of his
For Emily by Katherine Slee is “a brilliant debut novel from a future star
in commercial reading group fiction” (spring 2020). Orion has world portraits of all 10
rights (agent Hayley Steed at Madeleine Milburn), with Italian rights sold laureates – including
and further offers coming in. himself – on display at
the London Book Fair.
Cape UK and Random House US announced a new novel by Salman The portraits also
Rushdie. Quichotte (29 August) is a modern-day tale inspired by
feature in Flights of
Cervantes (agent Andrew Wylie).
Fancy: Stories, Pictures
HarperCollins has pre-empted for its new HarperVia imprint (see page 3) and Inspiration from Ten
Korean author Won-pyung Sohn’s Almond, and there are deals in eight Children’s Laureates,
further countries (agent Barbara Zitwer). The coming-of-age novel, published by Walker
translated into English by Sandy Joosun Lee, has sold more than 200,000 Books in partnership
copies and received numerous literary awards in South Korea, where it with BookTrust.
was published in 2016 by Changbi.

4
 LONDON SHOW DAILY
London Book Fair Briefcase 2019
By Nicholas Clee and Neill Denny in London, and Liz Hartman in New York
UK
AITKEN ALEXANDER
The new book by Jung Chang is Big Sister, Little Sister, Red Sister: Three
Women at the Heart of Twentieth Century China, the story of the
powerful and influential Soong sisters from Shanghai (Cape UK; Knopf
US; numerous international deals).
BLAKE FRIEDMANN
Belladonna by Anbara Salam is set in a silent convent in 1950s Italy, where
two American schoolgirls and a mixed-race nun are caught in a twisted
romance that will change their lives forever (Fig Tree UK; Berkley US).
LUIGI BONOMI (LBA)
Consultant neurologist Dr Guy Leschziner’s The Nocturnal Brain explores what
happens to our brains when we sleep, and elucidates various sleep disorders
(Simon & Schuster UK; St Martin’s Press US; several international deals).
FELICITY BRYAN
In Yesterday’s Worlds, 29-year-old palaeontologist Thomas Halliday takes us
back in 16 episodes through 550 million years of life on our planet (Allen Lane
UK; Random House US; Penguin Canada; rights sold in Russia and Korea).
C&W
Ben Macintyre’s new book is Sonya the Spy, about Ursula Burton, an
undercover operative for Soviet intelligence and the most important
woman spy in history (Viking UK; Crown US).
CURTIS BROWN
Aria by Nazanine Hozar is described by Margaret Atwood as: “A sweeping
saga about the Iranian revolution as it explodes – told from the ground
level and center of the chaos. A Doctor Zhivago of Iran” (Knopf Canada).
FURNISS LAWTON
Colin Butcher’s Molly & Me is the extraordinary tale of how a dog and
her owner became the ultimate pet-detective duo (agent Rowan Lawton;
Michael Joseph UK; Celadon US; numerous international sales).
GREENE & HEATON
Theoretical physicist Christophe Galfard, whose The Universe in Your
Hand sold in 20 countries, explores the connections between biology,
space, physics and Earth in Life Is in Your Hands (agent Antony Topping).
AM HEATH
Twisted is a standalone thriller by Steve Cavanagh, bestselling author of
Thirteen – “Never let a murder get in the way of a good story...” (Orion
UK; Flatiron US; Obsidian Bulgaria; Albatros Poland).
SOPHIE HICKS
Highfire is the first adult novel by Eoin Colfer, about Vern, a vodka-drinking,
Flashdance-loving dragon who lives an isolated life in the swamps of Louisiana
(HarperCollins US; Quercus UK; Flammarion France; Heyne Germany).
6
TUESDAY 12 MARCH 2019
DAVID HIGHAM
The new book from Guardian columnist Owen Jones, author of The
Establishment, is The Alternative: And How We Build It, a call for
change from the neoliberal consensus (Allen Lane world English; rights
sold in Catalan, Dutch, Italian, Japanese, Korean, Spanish).
JANKLOW & NESBIT
In An Immense World, bestselling author of I Contain Multitudes Ed
Yong examines animal senses, and argues that in order to understand the
world we must see it through other eyes (agent Will Francis; Bodley Head
UK; Random House US).
JOHNSON & ALCOCK
The first book in Menna Van Praag’s fantasy trilogy The Sisters Grimm
introduces four Cambridge girls who don’t know each other and whose
mysterious father, a sorcerer named Grimm, opens the gate to an alternate
reality (Transworld UK; HarperVoyager US).
LUTYENS & RUBINSTEIN
Debut novel What Red Was by Rosie Price follows two university friends
whose relationship is forever changed when one of them is assaulted
(Harvill Secker UK; Crown US; four European deals; film rights optioned).
MADELEINE MILBURN
Elizabeth Kay’s Seven Lies is an upmarket and arresting page-turner in
which seven lies result in a death (Sphere UK; Penguin/Pan Dorman
Books US; numerous international deals).
MMB CREATIVE
Come Again, the first novel by Robert Webb, is reminiscent of David
Nicholls and Audrey Niffenegger: a clever, commercial love story
combined with high-octane adventure set in contemporary London and at
York University in the Nineties (Canongate UK).
PEW LITERARY
Bestselling historian Tom Holland traces the evolution of Christianity as
history’s most revolutionary force, ranging from Babylon to the Beatles,
in Dominion (Little Brown UK; Basic Books US; deals in five other
territories).
PFD
From Melanie Gideon, the author of Wife 22 (published in 33 languages),
comes The Invitation, “the story of a friendship steeped in obsession and
duplicity, the split between our public and private selves and the things
mothers really think, but would never say”.
SHEIL LAND
From internationally bestselling author Graham Hancock, America
Before explores the new archaeological and geographical discoveries that
point to human civilization’s unexpected origins (Hodder UK; Thomas
Dunne Books US).
Continues on page 8 g
 TUESDAY 12 MARCH 2019
I N T E R N AT I O N A L
M O N E TA R Y F U N D f Continued from page 6
P U B L I C AT I O N S UNITED AGENTS
Braised Pork by An Yu is a short literary debut that aims to capture modern life
in Beijing, “and the strangeness of this period of drastic change in contemporary
China” (Harvill Secker UK; Grove US; DTV Germany; Mondadori Italy).

JO UNWIN (JULA)
We Must Be Brave by Frances Liardet is about a woman who finds an
unclaimed child on a bus during the Second World War (4th Estate UK;
Putnam NA; Nieuw Amsterdam Netherlands).

THE WYLIE AGENCY

In Salman Rushdie’s Quichotte, “an aging travelling salesman, obsessed
with the ‘unreal real’ of TV, falls in impossible love with a queen of the
screen and sets off to drive across America on a picaresque quest to prove
himself worthy of her hand”.

US
AEVITAS CREATIVE MANAGEMENT
In First Steps, Jermey DeSilva, a Dartmouth College paleoanthropologist,
tells the story of how our hominid ancestors began walking on two legs,
which, he is convinced, happened at the same time humans became sociable.

BAROR INTERNATIONAL
Based on a five-year research project, Couples That Work: How Two-
Career Couples Can Find Fulfilment in Love and Work by Jennifer
Petriglieri contains real-life stories and analysis as well as exercises and
activities to help couples combine love and work.

THE CHENEY AGENCY

Preet Bharara, the former federal prosecutor for the Southern District of
New York, offers an overview of the way our justice system works and
why the rule of law is essential in our society in Doing Justice: A
Prosecutor’s Thoughts on Crime, Punishment, and the Rule of Law.

THE CLEGG AGENCY

Visit IMF
Mona Auad, the author of 13 Ways of Looking at a Fat Girl (a finalist for
the Scotiabank Giller Prize), tells the story of a woman who is an outsider
in her MFA program in Bunny. Things change when she receives an

in Booth 7G10a
invitation to join the “Bunnies”, a cliquish in-group, and takes part in
their off-campus “workshop”.

DEFIORE AND COMPANY

Browse new publications

The agency calls CJ Hauser’s Family of Origin “exuberant and wise”. The
novel follows estranged half siblings yoked together on a Gulf Coast

and pick up a copy of our

island after their biologist father’s drowning.

DYSTEL, GODERICH & BOURRET

latest catalog! Longlisted for the National Book Award, the debut novel Blood Water
Paint by Joy McCullough weaves the life of artist Artemisia Gentileschi
with those of the ancient heroines at the centre of her paintings.

FOUNDRY LITERARY + MEDIA

bookstore.imf.org Cameron McWhirter and Zusha Elinson, two Wall Street Journal
reporters, detail the history of the AR-15, the rifle that has become a
symbol of America’s culture wars, in American Gun.

8
 TUESDAY 12 MARCH 2019

THE GERNERT COMPANY

Set against the opioid crisis in Philadelphia and a string of murders, Long
Bright River is a suspense novel from Liz Moore, the author of Heft and
The Unseen World, and tells the story of sisters, addiction, and the ties
between place, history, family, and fate.

SANFORD J GREENBURGER ASSOCIATES

For Backlash, his 19th entry in the Scot Horvath series, Brad Thor turns
to ancient tales of men who lived in the shadows, seemingly beyond the
reach of death – part angels, part demons.

ICM PARTNERS (HANDLED BY CURTIS BROWN)

The World That We Knew, Alice Hoffman’s newest novel, is set in a time
of war when men became monsters, children navigated a world without
parents, and women were willing to sacrifice everything for those they loved.

INKWELL MANAGEMENT
The Starless Sea is Erin Morgensten’s sophomore novel following The
Night Circus. In it grad student Zachary Ezra Rawlins stumbles upon a
strange book hidden among the stacks in his school’s library and is
transported to a secret underground world of pirates, lovers, liars, and
ships that sail upon a starless sea.

JANKLOW & NESBIT (HANDLED BY CULLEN STANLEY

INTERNATIONAL)
In A Wonderful Stroke of Luck, Ann Beattie writes about the relationship between
a charismatic teacher and his students, and the secrets we keep from those we love.

MASSY & MCQUILKIN LITERARY AGENTS

Pushcart, Lambda, and Flannery O’Connor award-winning author EJ
Levy offers in The Cape Doctor, per the publisher, a gender-bending novel
that tells the true story of James Miranda Barry (1795-1865), a
flamboyant, brilliant, 19th-century Irish physician who rose to the rank
of inspector general of military hospitals in the British colonies –
performing the first successful caesarean in Africa – and was discovered
on his deathbed to have been a woman.

JEAN V NAGGAR LITERARY AGENCY

The Clergyman’s Wife is the debut from Molly Greeley, and stars Charlotte
Lucas, who at 27 married the only man who had ever asked her, thinking
she could be content. But then she falls in love with an unsuitable man.

TRIDENT
From Giller Prize-nominee Steve Price, Lampedusa is a novel set amid the
decadent Italian aristocracy of the late 1950s, centred on the real-life last
prince of Lampedusa, Giuseppe Tomasi, as he struggles to complete his
only novel, The Leopard.

WILLIAM MORRIS ENDEAVOR

Jacqueline Woodson, the author of YA and adult books, delivers Red at
the Bone, a new novel for adults that explores a family that is changed by
a teen pregnancy and the child it produces.

WRITERS HOUSE
In Cemetery Road, his first standalone thriller in over a decade, Greg Iles
serves up what the publisher is calling a sweeping tale of friendship, betrayal,
and long-buried secrets that threaten to destroy a small Mississippi town.

9
 LONDON SHOW DAILY
Welcome to LBF
It is wonderful to welcome publishing’s international citizens back
to London for the London Book Fair’s 48th edition; each year is
slightly different and it is always great to see the bustling halls, a
full events programme and packed meetings, writes Jacks Thomas.
Rights and IP sales are the heart of the London Book Fair
(LBF) and today we welcome literary agents, publishers
and TV producers from around the world. With television
and film undergoing a huge digital change, the appetite for
publishing content has never been greater, something that
LBF data partner Nielsen revealed in exclusive research at
Quantum yesterday. As the market for new content and
original voices keeps growing, there will, no doubt, be
some incredible and groundbreaking deals done this week.
Each year we welcome friends old and new. Japan has a
pavilion for the first time and we are celebrating Ukraine’s
first participation in the Fair. Recent Market Focus markets
Poland and the Baltics (2017 and 2018 respectively) will have
characteristically lively stands and will definitely be worth a visit!
Market Focus 2019 – Indonesia – promises a variety of
events and insights. Do check out their stand or the Spice
Café where there will be cookery, events and networking.
In celebration of Market Focus they are also giving away two
trips to Indonesia during the Fair; take a look at #LBFIndonesia
Translating Indonesia
A common Indonesian saying is ‘lain lubuk, lain
ikannya’, which might freely be translated as ‘other
countries, other customs’. Indonesian literature has
been slow to find its place on the world stage - both
by means of active promotion, but also because
non-European languages tend to struggle to find
translation in the West. Using Indonesian literature
as a case study, this panel of experts will explore the
challenges to introducing Indonesian literature, and
other non-Western literatures, to the Western world.
Speakers : Chanwoo Park, Jérôme Bouchaud,
Judith Uyterlinde
Chair : Susan Harris
Venue : Literary Translation Centre (5F150)
@ LBF
Time : 10:00—11:00
#ImagineNation #LBFIndonesia
10
TUESDAY 12 MARCH 2019
on Twitter for details.
Winners will be
announced on Thursday.
This year LBF will
welcome European
authors Stefan Hertmans
(Belgium), Simone
Buchholz (Germany)
and Antoine Laurain
(France), and critically
acclaimed Indonesian
author Seno Gumira
Ajidarma, alongside US
author Karin Slaughter
and UK authors David
McKee, Holly Bourne
and Caryl Phillips.
Jacks Thomas We are delighted to
welcome such an outstanding line-up of authors whose
audiences encompass millennials to boomers and beyond.
Their work reminds us of the timelessness of great literature –
from inspirational storytelling to stimulating non-fiction where
cultural, social and geographical boundaries are put on one side.
We wish everyone a fantastic, productive and stimulating
three days and extend a warm welcome to everyone. ■
Jacks Thomas is director of London Book Fair.
Programme Highlights
Tuesday, 12th March 2019
Olympia Centre
The Many Identities of Indonesia Memory: Facts and Fictions
Indonesia is a nation of thousands of islands and Indonesia’s complex and often violent and repressive
hundreds of ethnic groups—so is it possible to say that political history has provided the inspiration for many
there is one Indonesian identity, or many competing works of fiction by both Indonesian and foreign
identities, each affected by geography, generation, authors. Seno Gumira Ajidarma published two books
religion, gender, and individual experience? Writers about Indonesia’s troubled past in East Timor; Leila
Agustinus Wibowo and Faisal Oddang consider the S. Chudori’s first and second novels deal with the
changing identities of modern Indonesia, and how their Indonesian exile experience and the abduction of
own personal histories have affected their sense of political activists respectively; and Louise Doughty
self. Agustinus Wibowo is a travel writer whose work has written a fictional account of the horrors of 1965.
has taken him to China, Afghanistan, Central Asia, In this panel, these three esteemed authors consider
Papua New Guinea, and Suriname. His latest book, the question of whether fiction writers have a duty to
Us and Them, explores human identity and national a country’s history, and its relationship to the nation’s
conflict. Faisal Oddang is an award-winning writer who collective memory.
has recently been awarded residencies in Germany, the
US, and the Netherlands. They will appear alongside Speakers : Leila S. Chudori, Louise Doughty,
Anglo-Indonesian poet and critic, Will Harris. Seno Gumira Ajidarma
Chair : Michael Vatikiotis
Speakers : Agustinus Wibowo, Faisal Oddang, Venue : Cross Cultural Hub (3D10) @ LBF
Will Harris Time : 16:00—17:00
Chair : Elizabeth Pisani
Venue : Cross Cultural Hub (3D10) @ LBF
Time : 13:00—14:00
 TUESDAY 12 MARCH 2019 LONDON SHOW DAILY

Westchester bullish on The strength of the

company’s editorial

UK market group for book and

journals project
management and
Seven months have passed since Westchester Publishing Services copyediting services has
opened its Stratford-upon-Avon office, and managing director also played a role in the
Tim Davies says projects from UK clients have been rolling expansion. “We have a
in, writes Teri Tan. For the 50-year-old American company, team of project editors
the UK expansion has been in the works for some time. in New Delhi, India,
“Our core clients have always been the large American to offer an alternative
university presses, and over the years, that roster has grown to US-based editorial
to include major trade and STM publishers,” says president services,” Crecca says,
and CEO Paul Crecca. “Our experience throughout 2017 “and a newly established
pointed to significant opportunities within the UK team for creating
publishing market for a prepress publishing services vendor educational content.”
such as Westchester, and so we resolved to put in place a When asked about the
permanent commitment to this market.” Paul Crecca addition of chief revenue
Much of the expansion credit, says Crecca, goes to Davies, officer Tyler Carey onto the Stationers’ Company register last
who joined the company with great experience from History year, Crecca said it was “a very big deal” to be included in the
Press, Oxford University Press and HarperCollins, and opened London-based guild for publishing. “It looks like our effort in
“multiple new client accounts” within months. “Westchester UK support of British publishing has been duly recognised.”
has had a great first year, adding UCL Press, Lion Hudson and Both Crecca and Davies are now looking to expand further.
Pluto Press, for instance, to our client list.” Davies says. “Our Adding a customer service and editorial manager to the Stratford
trading history and employee-ownership have resonated strongly office this year, and investment in people and infrastructure in
here, as have our conscientious approach and premium services.” 2020 and beyond to serve the UK market, are all on the to-do list.■

11
 LONDON SHOW DAILY
Holding their attention
New media companies would kill for the
kind of engagement that book publishers
command, writes Michael Bhaskar
While times have been upbeat in the book world, with almost
universal good results for publishers, the same cannot be said
of news media, and in particular digital news media. Whereas
a few years ago startup news companies, backed by aggressive
venture capital and touting technologically turbo-charged
journalism, were riding high, now they are in full-on crisis
mode. Large-scale layoffs have occurred at former darlings
of the internet economy including the HuffPo, Buzzfeed, Vice
and the Pool. For those working in the field, the news has
been grim; prospects are shrinking; jobs are going; budgets
are being slashed; the promised future is not coming to pass.
Ultimately this is all about the currency that powers the
media environment and, in the digital age, has become the
most prized asset of all: attention. Getting, keeping and,
crucially, monetising attention are harder than all of these
companies had bargained for. Nonetheless, there is a huge
lesson and positive message here for publishing companies.
Digital journalism
But first some background. The theory behind the new wave
of digital journalism companies – from Vox and Quartz to
the higher end like Longreads, and more salacious sites from
the Mail Online to Gawker and Perez Hilton – was that the
fault with traditional media was their lack of understanding
of technology. Instead, by being digitally native, and by
attempting to become content platforms rather than traditional
publications, these sites would be able to ape the profitability
and valuations of the tech giants. On one level this wasn’t
stupid: Facebook and Google have achieved eye-watering stock
prices and profit levels from precisely that aforementioned
currency these new organisations trade in: people’s attention –
their eyeballs, in Silicon Valley parlance. While both Facebook
and Google invest heavily in R&D and have their roots in
computer science, their real value was and still is in advertising.
They are above all attention brokers, and they live and die
on how much they command global human attention.
It was not therefore unreasonable to suggest that, updated
and built for ecosystems reliant on attention, these new
media organisations might work – might indeed reinvent
the whole business of content. They failed because their
cost base was equivalent to the old world of journalism
while their audience was nowhere near the levels of
aggregation achieved by the traditional tech platforms.
All of which suggests two things. Firstly, that the market for
attention is the critical battleground of any media company
today; and secondly, it is a fiercer battle than ever before. Which
is where we reach a possibly surprising idea: book publishers are
winning the battle for attention, but are not capitalising upon it.
12
TUESDAY 12 MARCH 2019
Part of the issue for
media companies is
that attention is
fragmenting. Most of
the time when people
seem to be engaging
with something, they
aren’t really doing so:
we are all only half
present, sat behind the
two screens of our
phones and TVs, or
phones and computers,
our continuous partial
attention scattering to
become very partial
indeed. Netflix,
Michael Bhaskar Facebook or the
Guardian may accrue a lot of eyeballs, but how many of these
eyeballs are truly focused or engaged? This represents a problem
for the media companies: they are not truly adding value, either for
their funders (advertisers for the most part, but also subscribers)
or their core users. What an opportunity for book publishers.
All-consuming
We already have a considerable amount of this valuable
commodity, and we have it in the highest grade quality of all.
When people are reading a book, they are, mostly, truly engaged.
Reading books is pretty much all-consuming. It happens in
the most intimate times and places of people’s lives. It’s deeply
involved, personal, subjective, unfolding over long hours, days,
weeks and years. In the so-called attention economy this should
represent diamond-like value: unfettered, raw, deep, meaningful
human eyeballs. Probably only video games, cinema and events
like concerts have anything like this full absorption of attention.
TV and news media would kill for the depth and quality we
command. While the raw numbers may not match Facebook or
Netflix, the annual human engagement of, say, Penguin Random
House is surely competitive. Indeed, if measured by traditional
tech metrics the engagement levels for a business like PRH would
be absolutely off the charts. And yet PRH has a valuation that
is meagre by comparison with those of the new media giants.
This implies a huge opportunity for publishing. We are
capturing the single resource that powers the most valuable
companies of our time, and we are doing it at a level that
would be the envy of, on the face of it, far more “exciting”
companies. Yet we have not shouted about this enough, nor
perhaps have we figured out how to capitalise on it further.
Other companies are turning the base metal of eyeballs into
something extremely valuable. If I had the answer to what we
should do, well, I’d be doing it. But in an age when others have
tilted for mass attention and failed, we, as an industry, find
ourselves in a place others would love to be. Book publishing
could be, and should be, and is, at the centre of it.  ■
Michael Bhaskar is co-founder of the publisher Canelo, author of The
Content Machine and Curation, and co-editor of the Oxford Handbook
of Publishing. He can be found on Twitter @michaelbhaskar.
 Introducing HarperVIA
A new imprint from the HarperOne Group at HarperCollins

Led by President and Publisher Judith Curr in the United States and
partnering with Executive Publisher David Roth-Ey in the UK and CEO
James Kellow in Australia and New Zealand, HarperVia is dedicated to
publishing international voices, offering readers a chance to encounter
other lives and other points of view Via the language of the imagination.

Our diverse inaugural list will launch in Fall 2019, and celebrates the
universal desire for discovery, understanding, and connection through
exceptional storytelling.

Lost in the Spanish
Quarter
by Heddi Goodrich
It Would Be The German House The End of the Ocean
Night in Caracas by Annette Hess by Maja Lunde
by Karina Sainz Borgo Translated from the German Translated from the
Translated from the Spanish by Elisabeth Lauffer Norwegian by Diane Oatley
by Elizabeth Bryer

The American Fiancée Then the Fish The Florio Almond

by Eric Dupont Swallowed Him by Stefania Auci by Won-pyung Sohn
Translated from the French by Amir Ahmadi Arian Translated from the Italian Translated from the Korean
by Peter McCambridge by Katherine Gregor by Joosun Lee

FOR EDITORIAL ENQUIRIES, PLEASE CONTACT:

Juan Mila Catherine Milne

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Tara Parsons Anna Kelly

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 LONDON SHOW DAILY TUESDAY 12 MARCH 2019

Copyright: plastic, not thought. Over the

subsequent 300 years,

elastic the core legal concepts

it promoted and the
creative supply chain
There are thousands of unanswered (and perhaps built within them
unanswerable) questions about Brexit, writes William proved to be
Bowes. One which receives less attention than any is what remarkably elastic,
exactly the Prime Minister meant when she said we would flexing and stretching
“leave the Digital Single Market” but remain aligned on to encompass all
our approach to Intellectual Property (IP). How could this manner of new
be when the EU’s flagship IP policy was the Digital Single technological
Market? Whilst I’m sure this conflicting message came innovations, political
about more by accident than design, recent months have developments, user
shown there is a rationale for differentiating between the needs and a globalised
two which could spare some political blushes. and (finally) a
digitised economy.
Core policy comparison William Bowes The core policy
That rationale can be found by comparing the core policy purpose of the DSM is
purpose of copyright and the core policy purpose of the to create just that – a
Digital Single Market (DSM) copyright file. single market for
Copyright was created in 18th-century England to digital products and
encourage learning. Its purpose was to create an ecosystem
“Perhaps it is no services across the
within which the information and knowledge society longer possible to European Union. It is
needed could be created and accessed whilst ensuring a package of
available levers for issues arising from inaccurate or illegal expect copyright to measures, some of
constantly contort which relate to
copyright and some of
itself into which don’t. But the
New from Columbia University Press something for copyright file is
proving to be hugely
which it was not controversial,
intended.” particularly due to
disagreements around
Article 13, the so called “value gap” provision.
I would suggest this is because whilst a small number of
the DSM copyright file’s provisions relate to the core
policy purposes of copyright, many do not. Instead,
copyright is being conscripted by politicians and policy
makers in an effort to solve three other policy objectives –
completion of the Single Market, a context of promoting
Emancipation In the Ruins of Fu Ping
After Hegel Neoliberalism
scientific and technological “innovation” rather than
A Novel
“creativity”, and competition law (anti-trust) issues
Achieving a The Rise of
Wang Anyi arising from the dominant position and behaviour of large
Contradictory Revolution Antidemocratic Politics
technology platforms.
in the West Translated by
Todd McGowan Perhaps this attempt to try and twist copyright into a
Howard Goldblatt
Wendy Brown shape that can solve macro problems that go well beyond
May 2019 August 2019
copyright’s normal sphere is creating the legal and political
July 2019
tension that may ultimately mean the package does not
pass and/or fails to achieve its original objectives.

The plasticity of copyright

Which brings me back to the plasticity of copyright. We
keep being told that “copyright must change” and “reform
is necessary”. But perhaps it is no longer possible to expect
copyright to constantly contort itself into something for
which it was not intended. It is there to incentivise and

14
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also ensuring that
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maker that we would ever have a world without enough

books, so why build policies to incentivise their creation?
Policy focus is now on “democratising knowledge” and
ensuring as many people as possible can tap into this rich
and (they wrongly think) inexhaustible natural resource
of mankind.

What has all of this got to do with Brexit?

For that reason, irrespective of where DSM ends up, there
is no doubt that we have to win the case for copyright
again. Whilst the UK has not as yet come up with any
radical or different proposals to address concerns about the
way 21st-century copyright can continue to achieve its
policy objectives, perhaps in preparation for a world where Come and visit us
EU law no longer applies in the UK, they are coming out at Stand 6D105
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disasters
Countries with the largest Energy flux
Forests: loss and gain number of venomous
Number of migrants
animals
ALASTAIR BONNETT is Professor of Water stress New Views is a unique and beautiful
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of topics, such as world population and Air pollution languages Alastair Bonnett’s expert text provides
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radical nostalgia. Alastair was editor of Solar energy World nut trade vivid insight on each topic. From
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STUPENDOUS SCIENCE

is beginning to think afresh about its approach to digital

regulation from a social and economic perspective. Maybe STUPENDOUS
it will come to realise that it is better to leave copyright to SCIENCE
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 LONDON SHOW DAILY TUESDAY 12 MARCH 2019

Funders, the Forum for public feedback. The

plan’s potential impact

and the Faculty on the industry will be

one of several key issues
addressed this year at the
Alastair Horne looks at the key issues London Book Fair’s
annual half-day Research
for scholarly publishing and previews and Scholarly Publishing
Forum, taking place
some of the seminars which will tomorrow, and
address these themes co-chaired by Rachel
Bruce of UKRI and Alicia
Wise of Information
If years in scholarly publishing had names, as per the Chinese Power. David Sweeney,
calendar, then 2018 might as well have been called “The Year of who in addition to his
the Funder”, so strongly did it see those bodies flex their muscles. role as executive director
A foretaste of what was to come could be seen at last February’s of Research England is
second University Press Redux conference, held at the British Alastair Horne co-chair of the Plan S
Library. Steven Hill – then of government research funders Implementation
HEFCE, since rebranded as Research England – drew his “Data remains as Committee, will be
audience’s attention to a hitherto little-noticed announcement in hot a topic as ever, giving the keynote
an annex to a HEFCE document published late the previous year. speech; the future for
It stated that all monographs submitted for the next round of the with sessions monographs will also
Research Excellence Framework assessment exercise, beginning at addressing data be discussed in a session
the start of 2021, would need to be made available through open featuring Roger Kain
access. The strength of the response from publishers to the maturity, metadata of the University of
suggestion that they entirely tear up the model on which most base and data-driven London. Other sessions
their business soon prompted a “clarification” and the promise of include Michael Healy of
consultation, but the tone of the year had already been set. research.” the Copyright Clearance
September then saw the launch of cOAlition S, an international Center in conversation
alliance of 13 research funding organisations and three charitable with Jonathan Nowell of the Book Trade Benevolent Society
foundations focused on making all research publications funded and Alison Tweed of Book Aid International, and a panel
by its members open access by the start of 2020. Its members discussion on stakeholder perspectives featuring representatives
include UK Research and Innovation (UKRI), the newly-formed from the British Academy, LIBER, Portland Press, Taylor &
government body responsible for £7bn in research funding, and Francis and the University of Manchester.
Wellcome, the UK’s largest non-governmental funder of scientific Alongside the Forum, there’ll be another busy schedule of
research. The ten principles that form the coalition’s plan to seminars taking place at the Faculty, addressing several other of the
achieve this end include the standardisation and capping of key issues occupying the scholarly publishing industry. Sessions
article processing charges, the retention of copyright by kick off this year at 10am today with a discussion of the Six Life
authors, the ineligibility of publication in hybrid journals, and Stages of an Academic Author run by the writing productivity
the provision of unspecified incentives for the creation of new start-up Prolifiko, led by Bec Evans, former head of innovation at
journals and platforms to match these rules. Emerald, and Chris Smith. Data remains as hot a topic as ever,
Though the plans were welcomed widely, if perhaps not with sessions addressing data maturity, metadata and data-driven
universally, by open access advocates, concerns were immediately research. Politics too is more relevant than ever, with a panel
raised by several critics, particularly those working in scholarly discussion this afternoon considering the likely impact of Brexit on
publishing. An article in Nature warned that the plan “would bar the industry – a mere 17 days before the UK is scheduled to leave
researchers from publishing in 85% of journals”, while those the EU – while tomorrow morning starts with a discussion of
working in learned societies cautioned that the move could scholarly publishing’s role in fighting fake news.
devastate their business models, putting at risk the activities Other sessions today cover Creative Commons and machine
currently subsidised by the surpluses that their publishing activities learning, while tomorrow’s talks focus on content reuse, preprints,
generate. Additionally, some working in the humanities were women coaching women and the future of the book in higher
unimpressed by a model which seemed designed for the sciences education. Thursday, meanwhile, sees an analysis of the impact of
and whose guidance on monographs was largely restricted to the Marrakesh Treaty on accessibility and Cambridge’s launch of
the comment that “the timeline to achieve Open Access for a new fast-track medium-form publishing format. With a lively
monographs and books may be longer than 1 January 2020”. programme of seminars on all three days, the Faculty will remain
The months since September have seen Plan S remain in the the place to be for anyone looking to intersperse their meetings
headlines, with the issuing of implementation guidance and a call with catch-up sessions on industry developments.  ■

16
 TUESDAY 12 MARCH 2019 LONDON SHOW DAILY

High tech rights publish What Does It

Mean to Be American?,

management acting as a partner in

Creative Mint’s first
“brand ecosystem”. The
Christopher Kenneally talked to partnership is the latest
chapter between DiOrio
Rana DiOrio about how she is using and Sourcebooks, which
in January 2017 acquired
blockchain technology and AI to the publishing, foreign
explore publishing’s cutting edge and audio rights in all
previously published
Little Pickle titles.
As publishing ambitions go, they don’t come much loftier “We are in the
than those held by Rana DiOrio. In 2009, DiOrio – a process of formulating a
lawyer, investment banker and private equity investor – comprehensive product
founded Little Pickle Press, a cutting-edge children’s book development roadmap
publisher dedicated to “helping parents and educators cultivate Rana DiOrio and brand strategy that
conscious, responsible children through media, technologies and will include relationships
techniques”. Her lastest venture, Creative Mint, is arguably her “The unusual with other channel
most cutting edge yet: it seeks to leverage the power of blockchain editorial approach is partners to make an
technology to “democratise and decentralise” rights transactions. album, create a
The platform that underlines bitcoin and other cryptocurrencies, applicable not only for video series, license
blockchain is already taking a transformative role in supply chain new works, but also rights to toys, games and
management, music licensing and even healthcare recordkeeping. merchandise,” DiOrio
And the publishing world is intrigued, as evidenced by a packed for backlist titles.” said. And Creative Mint
session at last year’s London Book Fair that detailed both the will take its reliance on
technology’s significant promise – and its myriad challenges – for leading-edge technology even further than blockchain through
authors and publishers. But blockchain enthusiasts like DiOrio a partnership with Austin-based start-up StoryFit, which
are convinced that the technology will have a transformative uses artificial intelligence algorithms to analyse creative
impact on publishing – and DiOrio’s track record suggests she content and identify works most likely to succeed.
enjoys good odds for success with Creative Mint. “The AI piece is critical, and we’re going to get smarter and
“As Brian O’Leary (executive director of the New York-based better at picking the intellectual properties that will excel in our
Book Industry Study Group) brilliantly stated when I first model, because we can fine-tune as we get more data,” DiOrio
presented the idea to him, intellectual property transactions are said. As DiOrio envisions it, Creative Mint AI will evaluate content
the ideal taxonomy for the blockchain,” DiOrio said in a recent according to a 100-point scale similar to Robert Parker’s 100-
interview for Copyright Clearance Center’s “Beyond the Book” point scale for wine. All criteria will be in advance not only for its
podcast series. “Rights transactions happen for creative works in publishing partners, but also for authors, artists, photographers
myriad ways. Obviously, you have your book deal, and then you and other creatives who submit to the Creative Mint platform.
have your video deal, and you have your ed-tech licensing deal, or “Today nobody knows what any given publisher is looking
your video game deal or your merchandising deal,” she explained. for. There is a black box – you submit, and then you don’t hear
“With blockchain, all of those deals can be committed to ‘smart anything. And if you do hear ‘no’, you don’t really know why.
contracts’, which then reside in a blockchain for all to see, so Well, we’re going to create some transparency, which is another
there’s checks and balances built into the system.” fundamental tenet of blockchain,” said DiOrio. “Once vetted, the
That’s the promise that has publishers so intrigued. highest-scoring properties will then go into our [publishing] system
Imagine a digital ledger of so-called “smart contracts” that is to be ‘germinated.’ We will develop a product development
permanent and irreversible, and you will begin to understand strategy and then watch to see if it’s taking root.”
why blockchain promises The unusual editorial approach is applicable not only for
so much for the online new works, but also for backlist titles, DiOrio noted. For
world. With blockchain, example, publishers could feed data about their backlists
transparency and certainty into the Creative Mint algorithm to help identify which
are inherent in every titles that are out of print might be worth reviving. “We’re
e-transaction. And with going to be able to unlock the value of that idle IP,” she
Creative Mint, DiOrio said. “We’re bringing new life to the work, and of course,
hopes to blaze a path for benefiting the author or the underlying brand owner.” ■
the industry to follow. In Christopher Kenneally hosts “Beyond the Book”, a podcast series from
April, Sourcebooks will Copyright Clearance Center.

17
 LONDON SHOW DAILY TUESDAY 12 MARCH 2019

LBF Lifetime
Achievement Award –
Dorotea Bromberg
The 2019 London Book Fair Lifetime Achievement Award,
to be presented this evening, goes to Dorotea Bromberg,
co-founder with her father of the Brombergs publishing
house in Sweden. The independent company has published
many of the leading authors of our time, including four
Nobel prize-winners.
Sam Edenborough writes: The accolades from her
authors given to Dorotea Bromberg on the news that she
will receive the 2019 LBF Lifetime Achievement Award
are quite wonderful, and entirely unsurprising. My Dorotea Bromberg
favourite is Richard Ford’s remark that “she is the model
of what we mean when we reverently refer to a publisher
of the old school. There aren’t many pupils left in that
school, alas.” He is completely right about that. In my
years of selling translation rights I’ve been fortunate to
encounter a number of publishers who could plausibly be
described as fellow pupils, but Dorotea is truly in a class
of her own.
4147_LBF_Dailies_Children's_Advert_185x130mm_HR.pdf 1 28/02/2019 16:00

UNDERSTANDING UK CHILDREN'S SUMMIT

THE CHILDREN'S THURSDAY 14 MARCH
OLYMPIA ROOM
BOOK CONSUMER LONDON BOOK FAIR
NIELSEN BOOK'S CHILDREN'S REPORT REVEALS
C
THE LATEST TRENDS:
M
● 74% of 0-17s read or listen to books/magazines weekly for fun,
Y down 1% from 2017
● LEGO is the favourite brand among boys aged 5-10, while older
boys prefer Fortnite
CM

MY
● Helping relaxation is the top benefit of audiobooks among
children who listen to that format
CY
● Visiting YouTube overtook gaming as the most common activity
CMY on smartphones among 0-17s

K
With more money being spent on Children’s and Educational books
in 2018 vs. 2017 join us for our UK Children’s Summit and discover
more about children's latest interests. To purchase tickets visit:
www.londonbookfair.co.uk/en/Whats-On/conferences/
Nielsen-Books-UK-Childrens-Summit/

For more information, email: infobookresearch@nielsen.com

18
 TUESDAY 12 MARCH 2019 LONDON SHOW DAILY

The prestige that Brombergs’ authors enjoy in Sweden

and the cultural weight of the publishing house go hand in
“She is an expert in way of celebrating the
relationships she’s
hand with its commercial success. Dorotea is rightly helping books forged are a major
celebrated as someone who can turn an author’s fortunes
around after they join her list, just as much as she’s known
travel across the part of her success. As
is her business
for bringing important new voices to the attention of boundaries acumen, a quality that
Swedish readers.
I always look forward to my encounters with Dorotea,
between cultures, has helped the
Brombergs publishing
whose legendary energy always feels like a shot in the and a great house stay afloat on
arm. (She is commonly referred to as “a whirlwind” by an even keel, and
those who know her.) In conversation she has a way of
champion of writer enabled some
getting to the heart of the matter that is elegant and and reader alike.” ambitious acquisitions
irresistible, and I come away from our meetings feeling over the years. In a
inspired and encouraged. market that is dominated by a few very large companies,
While Dorotea’s enthusiasm for superb writing and Brombergs has managed to stay independent, healthy and
writers is what drives her, I think her curiosity about the punchy as it challenges even the greatest of its competitors
people she meets in the course of doing business and her on a regular basis.
It’s wonderful to see a winner this year who so
perfectly embodies the values that this award celebrates.
During her career Dorotea Bromberg has created a
formidable network of friends and connections who
span every generation of the publishing business. She is
an expert in helping books travel across the boundaries
between cultures, and a great champion of writer and
reader alike. ■
Sam Edenborough is director at ILA Ltd.

19
 LONDON SHOW DAILY TUESDAY 12 MARCH 2019

Bill McKibben: planet’s fever spikes,

photo: Dave Brenner (https://www.flickr.com/photos/snre/7986316538/)

QA
these antibodies are

Engagement, emerging to try and

fight the infection.
Some of these are
not despair activists, some are
engineers building
solar panels, and some
In Falter: Has the Human Game Begun to Play Itself Out? are thinkers and
(Holt, April) pioneering science writer and environmental writers. And between
activist Bill McKibben assesses the future of humanity. all these groups,
Lenny Picker recently caught up with McKibben to talk there’s a chance.
about the book, and the perilous state of our existence. And writers are as
important as engineers
Why this book, now? in some ways, because
This is the 30th anniversary of the publication of The End a new sort of
of Nature, and I wanted to step back, and really see where metaphor is as
we were, what had happened over these past 30 years. And Bill McKibben important to us as a
I found myself overwhelmed by something that I already new kind of wind
knew, but hadn’t really let myself fully understand – which “In the course of turbine. Because so
was that we’d gone from a world in which climate change my adult life, much of the problem
was a very, very dangerous, but abstract, future threat to a has been getting
world where it was the overwhelming physical reality of [climate change] across to people the
our time, where you could not escape it on any continent, has gone from peril that we’re in.
on any hour of any day. And it struck me, hard, that I’d
spent my adult life working on this question, and in the being a possibility Has all that writing
course of my adult life, it had gone from being a possibility to being a hideous made a difference?
to being a hideous fact. Yes. We’re at a kind of
fact.” inflection point in the
How different is 2019 from what you thought it would be? general public’s
The reality now is very difficult, far more difficult, even than understanding of climate change. Over the last year, the
we thought it would be 30 years ago. Things have happened combination of lots of new scientific reports, the images of
much faster. But this book is written very much out of a flooding, and in particular these horrific wildfires on the
sense of engagement, not of despair. It’s depressing as hell, West Coast [US], and all the writing that’s gone with them,
but there’s no use just lingering in that emotion because it I think has taken our concern to a new level. And when you
can be paralysing. And we still have immense amounts of look at the polling, it’s no longer fourth, or fifth, or sixth,
work to do. I don’t feel like I owe readers anything other or seventh on people’s list of critical issues, it’s first or
than honesty. But the honest truth is I’m still working hard second, which is where it needs to be.
on these things and will to the end of my life.
Should people view the possible re-election of President
Do you think other writers have been using the tools of their Trump as furthering the likelihood that we’ll continue
trade, words, thoughts and the power of logical argument, down the path towards ecological disaster?
to do what you do, which is to Well, that’s definitely true. But I don’t think, and take some
provide a kind of honesty to pains in the book to say it, that while Trump is the most
readers on climate issues? obvious sort of symbol of our plight, I don’t think really
In that sense, I’m very, very most of it can be blamed on him. And I do my best
heartened. When I wrote The historical detective work to try and figure out sort of where
End of Nature, it was the first the blame really does lay. That’s why I spend a fair amount
book about climate change, of time talking about Ayn Rand and the world that she and
and it wasn’t like there were her followers built. Because I think really that’s where
many more for a while. Now, things went seriously astray to begin with. We’re now
there are all kinds of good paying a very deep price, and Trump is one of those prices.
writers at work. A lot of them
are journalists. There are good You mentioned climate change activists on Twitter, but
people who are covering does social media also make it harder to get people to read
climate on Twitter on a daily non-fiction that’s more than a couple of paragraphs, and to
basis. It’s almost like as the really engage with complex issues like climate science?

20
 TUESDAY 12 MARCH 2019
I think it does. I spend a lot of time as an activist, and I’ve
probably written a book’s worth of tweets in the last five
years, because the need to engage in ways that reach people
is really crucial. But, we haven’t yet come up with anything
that replaces a book for serious, deep thought about the
most important questions. So, at some point or another, it
has to be in a book, and the book better be a good one. I’m
under no illusion that everyone’s going to read Falter, but
I’ve had good luck in the past with having enough people
read things to go out and to be useful in helping move us
on to the next stage of this work.
Is the inertia about climate change somehow different? And
how do we combat that – does civics education play a part
in getting people to act?
Inertia’s always a problem, right? Newton figured that out.
But in this case, the unique part of it is that you’ve had the
biggest, richest industry on Earth – the fossil fuel industry –
working around the clock with endless resources to try and
make that inertia just as powerful as it could possibly be.
The real literary campaign around climate change has been
a campaign of lying and deception. And so I try to trace
that in the book, and try to understand its roots. But part
of overcoming that is recognising it. Part of overcoming it is
people getting angry about the fact that they’ve been misled
and lied to. Given 50 or 100 years, we’d be okay. We’d
make the changes we’d need to make. We’re starting to do it.
But the ability of the fossil fuel industry to delay that change
in an effort to preserve their business model for another
generation, that’s the story of our time in a lot of ways.
For many parents, it’s really a challenge not to be paralysed
by guilt and the overwhelming aspect of the problem. That’s
part of this, isn’t it?
I completely agree. And that paralysis is a difficulty in and
of itself. One of the things that’s so hard about climate
change is that it seems so large, and we seem so small in
comparison to it, that it’s difficult for us to imagine that
anything we could do as individuals might matter. And to a
certain degree that analysis is actually correct. My roof is
covered in solar panels, but I do not fool myself that that’s
how we’re going to solve climate change. But what we’ve
tried to do over the last 12 or 15 years is build movements
large enough that people can look at them and think, yeah,
there’s actually a plausible way of working together.
Together we can put enough pressure on the system to
cause widespread enough change that perhaps we can catch
up with physics.
It’s such a serious, important, complex subject – though not
exactly the feel-good book of the year. I have to ask, how do
you plan to market Falter?
You know, at some level it can’t help but be a story about
me, which I’m not exactly 100% comfortable with. But
there are not very many people who have gotten to watch
the whole of this story unfold, and I have. And so I think
I’m going to spend a lot of time talking with people about
LONDON SHOW DAILY
that, trying to help them situate themselves in what is the
greatest drama underway on our planet. It’s the greatest
drama there ever was, in fact, and it really is a drama. And
we don’t know how it’s going to come out. Which means
it’s not a melodrama where we can pretty well predict
what’s going to happen, it’s a real drama. We don’t know.
And that’s what makes it profoundly interesting.
And, you do write about times when people have acted
together to do wonderful things…
Yes. The fact that human beings have come together before
to make real change is the most hopeful thing that there is.
And when I get to despairing, I think about the history of
the 20th century, and the emergence of movement building
and non-violent direct action. And then I think about the
revolution we think we’ve organised, about 20,000
demonstrations around the world over the last decade.
Pretty much every country – not North Korea – but
everywhere else. And I think about that, and I think about
all those people, especially those people in places that did
nothing to cause this problem. And I don’t know whether
the hope I feel is irrational or not, but I do have hope. In
the end, the reason that I wrote the book is because I really
do believe in our species. I hope to hell I’m right about that.
I look forward to writing a sequel to Falter in 30 years,
about how we managed to turn things around. ■
IN THE SHADOW OF WAR:
Spies, Love & the Lusitania
by Colleen Adair Fliedner
When the RMS Lusitania was torpedoed by a German
U-boat off the coast of Ireland in 1915, nearly 1,200 people
drowned, including 128 Americans. The British government
wanted the U.S. to join the Allied Forces in WWI. Did
they set in motion actions allowing the luxury liner to be a
target for a German U-boat’s torpedo to achieve that goal?
This compelling novel is the story of a family torn apart by
death, and lovers who are separated when the ship slides
into the icy sea. German
spy rings in New York,
America’s $500 million
dollar loan to replenish
England and France’s
empty war chests and
much more are woven
into this gripping drama.
ISBN: 978-1-937818-93-7 ( PB )
ISBN: 978-1-937818-94-4 ( HC )
Sand Hill Review
Press, LCC ... Available
from: Ingram Content
21
 LONDON SHOW DAILY
A growing children’s
non-fiction market
While the children’s market has remained flat in sales year-
on-year, the Children’s Non-Fiction market is thriving. The
Nielsen BookScan category for Children’s and YA Non-Fiction
has grown by 8% volume (units) and 10% value in 2018,
writes Annie Woodfield. The five-year trend doesn’t look
positive with a volume sales drop of 9%, but we mustn’t forget
the effect that Minecraft book sales had in 2014, adding 1.9m
volume and £10.2m value to the Children’s Non-Fiction
sector. Despite the long-term volume decline the value sales
are up by 11%, which equates to an extra £5m in 2018.
with award-winning children’s books
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TUESDAY 12 MARCH 2019
This suggests that the average price has increased
significantly over the years. In fact the Children’s Hardback
Non-Fiction average price is at an all-time high of £9.40,
up from £8.48 in 2017.
In Adult Non-Fiction the sales growth has been prompted
by an appetite for self-improvement, and political and social
issues. To some extent it is the same for the children’s market.
Inspirational women
Within Children’s and YA Non-Fiction alone there is a 54%
volume increase and 53% value increase for books about
inspirational women, bringing the total sales for these books
within the category to 290k volume and £2.2m value.
Leading the charge are the Fantastically Great Women
books by Kate Pankhurst, published by Bloomsbury
Children’s. Across seven ISBNs the total volume sales add
up to 136k in 2018, which was a 36% increase on 2017.
Whilst the focus is largely on inspirational women, boys
have not been forgotten. Stories for Boys Who Dare to Be
Different by Ben Brooks, published by Quercus, sold 86.7k
copies and made just under £1m in 2018.
Personal and social issues
Following the adult market, there is also a trend towards
books about personal wellbeing for children. The Personal
& Social Issues sub-set of the market has grown by 107%
in volume sales year-on-year and includes the number one
children’s non-fiction book, Matthew Syed’s You Are
Awesome, published by Wren & Rook. Coupled with The
You Are Awesome Journal, sales for 2018 are 162k volume
and £992k value.
Other topical and relevant themes have also helped boost
the market. Forty-eight new books about football were
published as Children’s Non-Fiction in 2018, likely
influenced by the World Cup. These books and existing
football titles add up to volume sales of 332k in 2018,
which more than tripled the sales from 2017. Furthermore,
Children’s Poetry book sales have increased by 48% in
value making just under £2m in 2018. ■
Annie Woodfield is publisher account manager, Nielsen Book Research.
The Nielsen Book UK Children’s Summit will take place on Thursday in
the Olympia Room from 9am. Tickets can be purchased at: https://www.
londonbookfair.co.uk/en/Whats-On/conferences/Nielsen-Books-UK-
Childrens-Summit/
Yale Publishing Course
Leadership Strategies
in Book Publishing
July 28–August 2, 2019
Yale University, New Haven, Connecticut
yalesom.io/exec_books

“ YPC has offered me the opportunity to share an

intense week of training with publishers around the
world. At the end of the week, I cannot say from
whom I learned more: the speakers or the attendants.”
Alejandro Fernandez General Manager, Spanish Association of University Presses
 LONDON SHOW DAILY TUESDAY 12 MARCH 2019

Faber & Faber: Cocoa for Kingsley

Amis be promoted as

The untold story “another winner from

Faber, the firm that puts
the TRY in POETRY”.
In January 2017, I succumbed to a long-standing temptation and There were failures
decided to pitch a history of Faber & Faber, writes Toby Faber. too. Timidity meant
There was a clear arc to the story: the early struggle and the Faber lost the chance to
arguments with shareholders that accompanied the foundation publish Ulysses; Joyce
of the firm, the luck and insight that led Geoffrey Faber to recruit dubbed the firm “Feebler
TS Eliot as an editor, the need to adapt to the post-war world, the and Fumbler”, but still
almost-bankruptcy in 1970, the turnaround fuelled by money looked to it for the
from Cats in the 1980s, and then, finally, the restructuring in 1990 publication of Finnegans
that reinforced the firm’s independence when all its competitors Wake. The Faber reader
were being swallowed into conglomerates. I knew many of the could not see the point of
individual stories that I wanted to tell, too: the elaborate jokes Paddington – “Moreover,
the directors played on each other in the 1930s, Lord of the Flies the Brown family are
being rescued from the slush pile, the rejection of Animal Farm, Toby Faber perfect fools” – and
and Eliot’s handwritten note on a memo about Ted Hughes: “I all Philip Larkin’s
think we ought to take this man now. Let’s discuss him.” “I would tell the story enthusiasm was unable
not in my words, but to persuade the firm to
In their own words publish Barbara Pym.
Corporate histories can be amazingly dry, but I was determined in the diaries, letters Working to a tight
that this one would be different. As much as possible I would and memoranda of deadline for the firm’s
tell the story not in my words, but in the diaries, letters and 90th anniversary, I built
memoranda of the people living it at the time. Not only were the people living it hundreds of short
they great writers, they could convey their hopes and fears at the time.” extracts into a narrative.
with an immediacy that a historian could never match. It went to Faber last
My proposal could only go to one publisher, of course. For a summer, but I was still working – and making more discoveries –
start, it already owned the copyright in all those internal memos until the final proofs went off to print in the middle of February.
and outgoing letters. I don’t know how much internal debate
there was before I heard the good news, but it didn’t take too Wider appeal
long: Faber & Faber: The Untold Story, by Toby Faber, would I am proud of the book. It tells the story I wanted to tell. I hope
be published by… Faber & Faber. it speaks to anyone interested in the history of publishing or of
So I began the process of research. I sat at the octagonal oak 20th-century literature. The potential market is wider than that,
table in Faber’s archive, the same one at which my grandfather however. The drama of how Faber managed to survive has
would chair the Book Committee every Wednesday, and the universal appeal. Some of the jokes are pretty good too.
archivist brought me boxes. Geoffrey died in 1961, four years People often ask me what surprised me most during those 18
before I was born, but I grew to know him. I built a picture of months of research. My standard answer is that – for all his
how the firm survived and eventually prospered, fleshing out greatness as a poet – I had not expected to be so impressed by
the half-remembered stories of my childhood. That gave me a TS Eliot. He shines through as someone who would have been
structure into which I could insert the pieces of correspondence brilliant at any job he did. There was another surprise,
showing the arrival of the however. While I was writing the book, Peter Straus at RCW
authors with whom the name sold a novel I’ve been working on for the past decade to
Faber is now almost Muswell Press. Its premise is that a young woman sees a man
synonymous: Siegfried Sassoon falling in front of a train on the Tube. I was some months into
being told that a £100 advance my research when I read my grandfather’s description of his
for the initially anonymous first recruit – a key director – being killed in a very similar
Memoirs of a Fox Hunting accident in 1945. Had my imagination been sparked by a
Man was thought to be a little vague memory, or perhaps a parental warning?
steep, Eliot apologising to Louis So now I have two books coming out within a month of
MacNeice for keeping his poems each other. One is fiction, the other is fact, but both involve
for so long, Samuel Beckett death on the London Underground. ■
regretting the way Faber had
Toby Faber is the author of two previous works of non-fiction,
published a bowdlerised version
Stradivarius (2004) and Faberge’s Eggs (2008).  Faber & Faber: The
of Waiting for Godot, Wendy Untold Story will be published on 2nd May 2019.  Toby’s first work of
Cope suggesting that Making fiction, Close to the Edge, will be published on 4th April 2019.

24
 LONDON SHOW DAILY
Indonesia: 17,000
islands of imagination
In spring 2018, British Council took a group of publishers
from the UK to Makassar, the largest city in Eastern
Indonesia, which lies on the southern tip of Sulawesi, one of
the Indonesian islands of imagination that we are celebrating
photo: Cortina Butler
this year at the London Book Fair (LBF), writes Rebecca
Hart. We were there to visit the Makassar International
Writers Festival, as well as catch up with publishers and
booksellers in the capital Jakarta. In Makassar we listened
to impassioned feminist writers lay down challenges to the
next generation, rode a library boat to a small island about
as far removed from Jakarta’s megacity as you can imagine,
and met with authors and publishers excited to tell us all
about the breadth and depth of literature of Indonesia.
Over the course of this study trip we realised that while
the UK and Indonesia are both friendly, creative, archipelago
countries, there is surprisingly little contemporary cultural
exchange. For British Council, the LBF Indonesia Market Focus
Cultural Programme is the culmination of UK/ID – a three-year
campaign to change that relationship by helping artists and
creative communities to meet, spend time together, collaborate
and share the outcomes with the public in both countries – in the
process, building creative partnerships that will last a lifetime.
Lack of awareness in the UK
Recognising the UK’s historic lack of awareness of Indonesia
(the country has the world’s fourth-largest population), the
Cultural Programme works on redressing the balance with
an ambitious programme throughout 2018-19 designed to
build dozens of new, lasting relationships between writers,
publishers and other literature professionals.
In the past five years, Indonesia has been promoting its
literature and writers internationally through various
government initiatives. Indonesia was Guest of Honour at
Frankfurt Book Fair in 2015 and shortly thereafter
established the National Book Committee, which runs a
translation funding programme (LitRi), book fairs and
festivals, and a publication promotion programme, as well
as offering research and training.
These formal initiatives have developed alongside more
grass-roots enterprises, which include the “pustaka” movement
– a series of mobile libraries popping up all over Indonesia to
deliver books to remote villages and communities. These libraries
include the Perahu Pustaka (book boat) in Sulawesi, Kuda
Pustaka (library on horseback) in Java and Noken Pustaka (a
traditional handmade bag) in West Papua amongst many others
– all crucial initiatives in a vast country that struggles with
infrastructure and distribution in its most remote reaches.
The publisher visit in May 2018 was the start of the Cultural
Programme and included attendees from Granta, Harvill
Secker, MacLehose Press, Oneworld, Tilted Axis and Wrecking
Ball Press. A second trip with representatives from the Emma
Press, Kube, Monsoon Books, Raintree and Zoblit visited the
26
TUESDAY 12 MARCH 2019
Makassar International Writers Festival
Jakarta International Book Fair in September. Since then UK
writers have participated in Ubud Writers and Readers Festival,
Wallacea Week in Jakarta and Salihara Literature Festival.
Now we welcome 12 of Indonesia’s most exciting and
respected authors to London to take part in more than 30
literature events at LBF, across London and around the UK.
It’s a complicated undertaking to develop a delegation and
programme which represents Indonesia – a nation of more than
264 million people, more than 17,000 islands (at low tide!) and
in excess of 700 spoken languages – but this group includes
novelists, poets, screenwriters, journalists, singer-songwriters,
children’s writers, critics, food writers, comic artists and
non-fiction writers from a range of backgrounds to give UK
audiences a flavour of the riches of Indonesian literature.
Visiting authors and poets
The London Book Fair Author of the Day on Wednesday,
Seno Gumira Ajidarma, writes novels and short stories that
take as a starting point some of the most traumatic periods
of Indonesia’s recent history; Dee Lestari, formerly a pop
star, has since become a bestselling author with 12 books
that cross genres and formats; Norman Erikson Pasaribu is
one of the youngest writers on the delegation and his
poetry has been described by English PEN as “part of a
long tradition of queer Catholic writing”; and Intan
Paramaditha is an academic whose disruptive collection of
feminist horror stories includes subversive rewritings of
well-known fairy tales and Indonesian myths.
There will be events on themes including identity,
retelling traditional tales, morality in children’s literature,
cultural perspectives on the upcoming election, world
poetry, the tensions between life in the city and the remote
islands, and much more. The 12 authors are appearing in
London, Aberystwyth, Glasgow, Norwich and Southend on
Sea and there is a large amount of content on our website
(www.britishcouncil.org/literature) for those who cannot
make it to a live event.
We are confident that this year’s programme will raise the
profile of Indonesian literature and help these writers to join the
ranks of Han Kang, Olga Tokarczuk or Nora Ikstena, whose
profiles have soared since participating in the Market Focus.  ■
Rebecca Hart is literature programme manager, British Council.
“Rupi Kaur: The Poet Who Touched a Nerve”
– The Sunday Times

Andrews McMeel and

Simon & Schuster are honoured
to be the publishers of Rupi Kaur,
international #1 bestselling
author of Milk and Honey and
The Sun and Her Flowers.

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28
TUESDAY 12 MARCH 2019
Marcos Pereira:
QA Challenges in
Brazil
Brazil has never been more present in the news than it is
today. However, it’s not the potential of its economy nor its
football talent that is grabbing the headlines at the moment,
but rather it far right-wing president, Jair Bolsonaro, and
his controversial agenda. The Brazilian book market,
meanwhile, is facing the toughest crisis in its history. Carlo
Carrenho recently caught up with Marcos Pereira,
president of the Brazilian Publishers Association (SNEL)
and publisher of Editora Sextante, one of the largest trade
publishers in Brazil, to get his views on the crisis facing the
book business, on the Bolsonaro government and the state
of the Brazilian economy in general.
The Brazilian book market is facing probably the largest
crisis in its history, and its two largest bookstore chains now
face bankruptcy. What are your expectations for 2019?
It’s important to note that Saraiva and Cultura are going
through Judicial Recovery, an instrument similar to
Chapter 11 reorganisation under the US bankruptcy laws.
This means that they still have almost 100 stores all around
Brazil. They also are the most recognised brands associated
with books, and are trying hard to turn around their
businesses and survive. Both companies need new
management and capital investment, which will probably
mean changes in ownership. My expectation for 2019 is a
decline of about 10% in total sales, as a result of fewer
novelty sales, and fewer bookstores.
There is a new government in Brazil, as Jair Bolsonaro took
office last January. What are your expectations for this
government in relation to the Brazilian book market?
Jair Bolsonaro has an economic agenda that is very positive,
I would say essential, for our country. With the reforms, we
expect more investment and a decline in the unemployment
rate. We also expect optimism, which is always good for
the book industry. On the educational side, it’s very
important that the new Ministry of Education continues
the policy of promoting readership in public schools, which
includes investments in libraries, development of teachers
and distribution of books to the students.
You have been a great advocate for the fixed price policy in
Brazil. Do you think it will eventually become a reality?
I became an advocate for the fixed price policy when I was
elected president of the Brazilian Publishers Association at
the end of 2014, when I decided to study the international
experiences with fixed pricing more thoroughly. There is a
bill currently being discussed in the Senate, and we are
working with our new congressmen in order to turn it
 TUESDAY 12 MARCH 2019
MEET OUR FAMILY OF SHOWS AT
into a reality. It’s not an
easy task, considering
BOOKEXPOAMERICA.COM
the disinformation
and negative public
opinion.

Penguin Random
House recently
acquired control of
Companhia das Letras
in Brazil. Do you expect
a fiercer competition
with them and other
international groups or
do you feel protected
by the Portuguese-
language barrier?
One characteristic of Marcos Pereira
the Brazilian market is
the number of strong “Brazil is not for
competitors, local and amateurs – one has
international, in all
categories. In the to understand the
trade market you peculiarities of our
can name Planeta,
HarperCollins market to succeed.”
(Thomas Nelson and
Harlequin), Leya and now Penguin Random House, all
with very different business strategies. Competition is
part of the game, and I don’t think the Portuguese
language barrier is that strong. But as I have said before,
Brazil is not for amateurs – one has to understand the
peculiarities of our market to succeed.

What is your take on digital books in Brazil? What is the

size of the market and do you expect it to grow?
The digital book market in Brazil is very concentrated, as
in other countries, in one player. My guesstimate is that
sales in 2018 represented 6% of the trade market, which is
very healthy. I believe there is room for growth, and my
forecast for our companies is 15% in 2019. Keep in mind
that there is no distribution crisis for ebooks.

What about audiobooks?

Yes, absolutely. We will have new companies coming to the
audiobook market in 2019, and we are producing more than
50 titles right now to launch our programme at Sextante.

What Brazilian author is the world missing because he or

she hasn’t been translated into English or other major
languages?
I would say Jorge Caldeira, author of Mauá: Empresário
do Império and also História da Riqueza no Brasil, the
latter published more recently. These are two great books
to understand Brazilian history. ■

Carlo Carrenho is a publishing consultant and founder of PublishNews.

29
 LONDON SHOW DAILY TUESDAY 12 MARCH 2019

The Selfies awards

lfies
Self-publishing has traditionally been viewed with some
The Se
suspicion, given that in the past deals often involved the author Sponsored by
paying for the publication of their book while only receiving
a small percentage of any income, writes Jo Henry. Since the
In association with
advent of digital self-publishing platforms in the late 2000s the
world of the go-it-alone author has been revolutionised, and
there have been cases of authors with “traditional” publishing
deals now choosing to publish their books themselves. 2019 Selfies Award
Over the past few years the self-publishing sector has
been booming: Nielsen’s Books & Consumers survey For the best fiction title self-published in the UK in 2018
reports that self-published books accounted for 6.2% of all SHORTLIST
consumer book sales in the UK in the 12 months to
October 2018, up from 5.5% in the year to October 2016.
And self-published titles take an even larger share of ebook
sales: 18.4% at the latest count.
This growing band of highly professional independent
authors, however, can find it difficult to reach their audience
without the marketing and publicity muscle of more
Anita Belli Susan Grossey
established publishers, as well as being effectively outside the Once Upon a Blue Moon Faith, Hope and Trickery
prize culture of the publishing world. In 2018, in order to
recognise the growing importance of the sector, BookBrunch
– with the enthusiastic support of the London Book Fair –
launched a new prize for self-published authors to recognise
not just a book’s readability, but also the professionalism with
which it was published. And thus the Selfies awards were born.
With sponsorship from IngramSpark, the award-winning
publishing platform offering global print and ebook Jane Davis Kathleen Jowitt
Smash all the Windows A A Spoke in the Wheel
distribution, the inaugural Selfies committee set out to find
the very best self-published adult fiction title of 2018.
Spreading the word via the Alliance of Independent Authors
(ALLi), and a host of writing agencies, submissions flooded
in. The preliminary judging panel managed to whittle these
down to a shortlist of 8 (see right), and the final judging
panel (literary agents Kate Barker and Annette Crossland,
Ingram’s Robin Cutler and LBF’s Emily Laidlaw, with me Caroline Goldsworthy Heleen Kist
Tangent In Servitude
as chair) reviewed the books and marketing, publicity, sales
and design of all eight titles in order to choose a winner,
which will be announced at the Fair later today.
The judges were hugely impressed with the quality of
entries for the first Selfies award. As Kate Barker said: “The
winner and runner up stood out from an excellent, eclectic
shortlist. There’s some impressive self-publishing out there
and it’s great to have an award celebrating that.” Mel Gough Jane Steen
The shortlisted books cover a wide variety of genres, He is Mine Lady Helena Investigates
from chic lit to historical crime fiction, and topics such as
lfies
The Se
physical disability and LGBTQ relationships. All eight of
the shortlisted authors are women, hailing from all round
the UK, though one author is originally from Belgium and
another from Holland. The winner will be awarded £1,500 Jo Henry is managing director of BookBrunch.
plus a special self-publishing package from IngramSpark
for their next book. In addition, PR agency Bookollective The 2019 Selfies winner will be announced in the Author HQ at 4.30pm,
today. It is hoped to be able to add additional genres for the second year
has joined the roster of prize supporters to offer the winner
of the Selfies Awards, and submissions will open in November 2019. For
a bespoke book cover design and a book publicity further details email theselfies@bookbrunch.co.uk, follow
campaign worth £1,000 for their next book. ■ #theselfiesaward or go to www.theselfies.co.uk.

30
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FROM 85+ COUNTRIES
WILL CONVENE IN NEW YORK CITY AT THE
BIGGEST AND MOST IMPORTANT
U.S. PUBLISHING EVENT OF THE YEAR

NEW YORK
&
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May 29-31, 2019 | Jacob Javits Convention Center | NYC

Connect with publishers, rights professionals and others from every

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Visit us at stand #6C93 to learn how to participate.

NewYorkRightsFair.com
 Visit Us!
Hall 6, Booth 6A40

WWW.ROWMAN.COM | 800-462-6420
 LONDON BOOK FAIR 2019

The DIGITAL SPOTLIGHT

An in-depth look at everything digital at the fair

MARCH 2019

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MARCH 2019
Momentum...
Fear of digital disruption may be a thing of the past, but technology
continues to push publishers in new ways BY ANDREW RICHARD ALBANESE
Tom Goodwin, head of innovation for Zenith Media, keynoting last year’s Quantum Conference.
I
n his opening keynote at the London Book Fair’s 2018
Quantum conference, Tom Goodwin, head of innova-
tion for Zenith Media, described the publishing industry
as slogging through the “mid-digital” age. “We live in
this amazing age where incredible things are possible,
but routinely people are quite disappointed,” he observed.
“It always appears that when new technology arrives, we
think about how we’ve done things before, and sprinkle a
little bit of technology around the edges,” he said, urging
publishers to instead get “much better at looking ahead, not
behind.”
But as publishers arrive for the 2019 London Book Fair,
they’re feeling pretty good about their old technology. For
a fourth straight year, publishers gather in London against
a backdrop of rising print sales. According to NPD Book-
Scan, print sales in the U.S. topped 695 million units in
2018, up 1.3% from the year before. In the U.K., sales rose
just over 2.1%, on sales of 190 million units. And despite
slowing growth for traditional publishers’ e-books in the
U.K. and another year of declines in the U.S., downloadable
audio continues to fuel publishers’ digital businesses. Digi-
tal audio was a major focus at last year’s London Book Fair,
and it will feature prominently again in 2019, as the for-
mat’s double-digit annual growth shows no signs of slowing
down.
The DIGITAL SPOTLIGHT
COURTESY THE LONDON BOOK FAIR
Of course, 2019 also holds its share of challenges for the
publishing industry. The Trump administration continues to
sow chaos in the U.S., while Brexit concerns have U.K. pub-
lishers on edge. In Europe, a new open access movement
threatens to roil scientific publishers, and a major copyright
revision is sparking a tough political battle ahead of this
spring’s E.U. elections. And all around the globe, regulators
continue to scrutinize the tech sector, including players such
as Amazon, Facebook, and Google.
These issues and others will be on display at this year’s
London Book Fair. The Quantum Conference once again
offers an insightful, data-driven program. And throughout
the week, the fair’s professional program will feature a full
slate of talks and panels on the key issues facing the industry,
including rights and translations, copyright, the freedom to
publish, open access and scholarly publishing, and new
opportunities for authors at the Author HQ. And of course,
in the exhibit halls, there will be no shortage of vendors
displaying new products and technology to help publishers
better manage their workflows in the digital age.
At the close of the 2017 London Book Fair, Pan Macmillan
managing director at Anthony Forbes Watson said publishers
were “feeding off the chaos in the world outside, rather than
being depressed by it.” In 2019, that appears to be holding
true. Including the “chaos” part. ■
3
 The DIGITAL SPOTLIGHT
The New Network
Revolution
BY ANDREW RICHARD ALBANESE
In his new book, former FCC chairman
Tom Wheeler explains why the
history of network revolutions is
the history of social and economic
upheaval
Tom Wheeler
W
hether in a meeting or at a panel presentation,
you’ve surely heard it said around the London
Book Fair in recent years: technology is bring-
ing about “unprecedented change.” Not
exactly, explains former FCC chairman Tom
Wheeler. PW recently caught up with Wheeler to talk about
his forthcoming book, From Gutenberg to Google: The His-
tory of Our Future (Brookings Institution), and the past,
present, and future of our networked world.
In From Gutenberg to Google you very effectively capture
the ways technology and innovation have affected, con-
nected, and disrupted the world over some 500 years of
history, right up to the present day. Certainly, you could have
written an entire book on just the last couple decades alone,
but what were the historical through lines you wanted to
make sure we recognized in today’s networked world?
There are two main through lines I wanted to explore. The
first is that our “new” technology is derivative of earlier tech-
nologies. We often have this image of a lone genius and a
eureka moment when it comes to innovation, when Darwin-
4 www.publishersweekly.com
MARCH 2019
ian evolution is probably a better metaphor. And the second
is that those earlier technologies each resulted in upheaval,
uncertainty, and unrest. The effect of new networks is always
the destruction of the status quo. From Gutenberg to Google
was an exercise to scratch an itch. I’m fortunate to have
spent my professional life involved with new technology,
especially new networks. And what I wanted to bring for-
ward is that while the challenges of our times may be trying,
they aren’t unique. We often describe our times in terms like
“there’s never been anything like this before.” But it simply
isn’t true.
In the book you write that it is never the primary network tech-
nology that is transformational, but the secondary effects
made possible by that technology. Can you explain that?
Technology is just an enabler—it is how that technology is
used that drives transformational change. For example, the
printing press mechanized what monks had been doing in
scriptoriums, but its transformational effect was to remove
those monks and their superiors from determining what
information would be made available. Once liberated by
new technology, knowledge and information flowed more
freely, and with that came the significant upheavals of the
Reformation, the Renaissance, and the scientific method.
The same is true of the railroad, the first high-speed net-
work, and the telegraph, the first electronic network. Those
technologies meant the death of distance and time as con-
trolling factors in the human experience. Eliminating those
constraints enabled the industrial revolution. The railroad
inexpensively transported natural resources to central sites
for mass production, and then reshipped the completed
products back to an interconnected market. The telegraph
coordinated movements on the railroad, managed produc-
tion activities, and also created the national media and the
financial markets. So while the networks are essential, social
and economic transformation is actually driven by how net-
works are put to work.
On that score, you observe that today’s new digital networks
are triggering economic and social change that is “new in
new ways.” How so?
Historically, networks delivered people and products to a
common point where they connected with other pathways.
The railroad, telegraph, and telephone all followed the same
model—whether boxcars or phone calls, the asset was
hauled to a central point where it was switched to a line lead-
ing to its final destination. Chicago became the Second City,
for example, because of the meat packers and millers who
congregated there to process the product from the plains to
be transferred to lines heading to eastern markets.
But today’s digital networks reverse that topology. Digital
network activity is no longer centralized but is pushed out-
ward to distributed routers at the network edge. With smart-
 VITAL INSIGHTS BEYOND LONDON
BEYOND THE BOOK PODCAST
Available on iTunes, Stitcher, Spotify and Google Play. New episodes
twice weekly featuring leaders and disruptors from across publishing.
beyondthebookcast.com

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#LBF19CCC
 The DIGITAL SPOTLIGHT
phones, for instance, the individual becomes the ultimate
network hub at the ultimate edge of the network. Yet this
functional distribution has resulted in a recentralization, in
the form of algorithmic platforms pairing people and infor-
mation. And the new network’s low cost of collecting and
distributing data has allowed a handful of companies to
recentralize economic activity. It used to be that the central-
ized nature of networks drove economic activity. Today, com-
panies like Google and Facebook use the distributed network
to establish a new kind of centralization, via algorithm.
In your various roles, including most recently as FCC chair-
man during the Obama administration, you were instrumen-
tal in trying to balance technological change and public
policy, no easy feat given the complexity of technology, and
the speed with which it now comes. Can you talk about that
challenge? Because it seems to me that policymakers will
never be able to understand our rapidly changing technology
enough to effectively regulate it.
It should not surprise us that governments struggle to deal
with rapidly changing technology. The people’s representa-
tives in government are indeed representative—they are no
different from the people themselves in their technical under-
standing. And this is not unique today. In From Gutenberg
to Google I tell the story of how 19th-century members of
Congress simply could not comprehend the telegraph. In
fact, the bill funding the test telegraph line barely passed the
House of Representatives, with about a third of the House
abstaining rather than having to explain to their constituents
why they were spending money on this idea of sending mes-
sages by sparks.
One of the things that was most intriguing about my time
as FCC chairman was that I knew stories like this, I had stud-
ied the effects of previous network revolutions, and I had the
rare opportunity to put into practice the lessons of history
that I had studied. But you’re right, there
used to be an adaptation time buffer
that allowed individuals and institu-
tions to better come to grips with the
impact of new technologies. The
internet has erased that buffer.
In the book you write that the
“creation of data is the manufac-
turing activity of the 21st century.”
In recent years we’ve seen the
negative effects of that hunger for
data—and yet in the U.S. all we’ve
seen in response is a handful of
hearings. Do we need regulation
in this space?
Digital information is the capital
asset of the 21st century. We
6 www.publishersweekly.com
MARCH 2019
have no choice but to establish policies for the use of that
digital asset—especially personal information—and we
must do it with dispatch.
Previously, whether gold, or oil, or any other hard asset,
there was a finite supply, and a finite demand. But in today’s
digital environment, every activity creates new data. Thus,
the asset is in infinite supply. And, the application of that
asset is also inexhaustible. Now, it is one thing when that
data is about jet engine performance, or the predictive main-
tenance of equipment. It is something completely different
when it is personal information collected, aggregated, and
monetized by targeting us, which is what the dominant digi-
tal companies of today do. They take our private informa-
tion and convert it into their corporate asset. Currently, these
companies are making the rules in their own interests. But it
is essential that the people’s representatives step up and
establish rules in the public interest.
In the book you observe how the domination of early net-
works, like the railroads, led to the formation of monopolies
like Standard Oil and Carnegie Steel. And you write that
you see the same patterns emerging with companies such
as Facebook, Google, and Amazon. Well, we know what
happened to Standard Oil. Does the same fate await these
tech giants?
Historically, pioneers make the rules for the new territories
they discover, until those rules begin to impinge on the
well-being of the public. The antitrust laws were established
precisely for this purpose: to create a countervailing force to
corporate power. What we are experiencing now is the estab-
lishment of new dominant corporations: both the digital
platforms, and the networks on which they travel, are acting
as gatekeepers for the most valuable assets of our era.
Companies like Google and Facebook, for example, began
with a simple proposition: that users would trade some of
their information for services. When it became
clear that such information could be mone-
tized, the demand for more information
became the prevailing business plan. And these
companies have been successful beyond their
wildest expectations. They have amassed huge
databases that they now exploit to dominate
markets. And I believe we should pursue all
available remedies. In addition to maintaining
antitrust vigilance, including merger approval,
we also need to import the same competition-
enhancing and consumer protection concepts
to legislative and regulatory oversight.
I have to ask about net neutrality, which the
FCC codified in 2015 on your watch, only to
see the current administration repeal it last
year. What happens next?
MARCH 2019
I believe that we have yet to see the ultimate resolution of the
open internet question. The Trump FCC may have destroyed
net neutrality rules, but that decision has been appealed to
the courts, and Congress has a renewed interest in the topic.
So I am hopeful we will see sanity return.
We just discussed how dominant gateways control mar-
kets, and the underlying dominant gateways today are the
networks that connect us to the internet. The entire concept
behind net neutrality was that those networks should be fair
and open. But net neutrality isn’t just about competition. It is
also about freedom of expression unconstrained by interme-
diaries. The networks today have the economic incentive and
the technological ability to discriminate among users to
maximize their own interests. Everyone who believes in the
free flow of ideas should be concerned about that.
In your epilogue, you describe this book as “a technological
travelogue,” which it certainly is. As we keep traveling, what’s
awaiting us down the road?
In the book I discuss four forces that will make this era as
The DIGITAL SPOTLIGHT
transformational as the earlier great network revolutions—
the evolution to Web 3.0 and a network that orches-
trates rather than simply transports information; artifi-
cial intelligence; blockchain; and the expanding threat of
cyberattacks.
But let me respond to your question with a broader brush:
the history of network revolutions is also the history of social
and economic instability, and insecurity. And working
through these issues in a democracy takes time. As individu-
als and institutions are impacted by new technology, and
liberal democratic capitalism appears slow in responding,
the political impetus is to search for quick solutions. We see
this now, manifested in the rise of authoritarianism, Brexit,
and Donald Trump. But it is not as if we haven’t been here
before. At the dawn of the industrial revolution, when the
rules that had worked for agrarian mercantilism were no
longer adequate, the result was antitrust legislation and
consumer and worker protection laws that established
guardrails on the excesses of capitalism. We are at a similar
moment today. ■

Toward a More Transparent Book Industry

BY SCOTT WINNER

I
n January, the Authors Guild in the U.S. released a survey of more than 5,000 authors
showing that the median annual income for American authors had declined 42% since
2009. The report followed a similar finding in the U.K. last June, in which the Authors’
Licensing and Collecting Society found that the median annual income of a professional
author was “well below the minimum wage.” Over the same period, however, income for both
U.K. and American publishers actually went up slightly.
Headline statistics likes these rarely tell the full story. For example, income is not the same
as profit, and there are many other market forces affecting author income these days. But for
Scott
those creating the content, the perceived discrepancy between returns for authors vs. those Winner
for publishers has been viewed with increasing suspicion. Nicola Solomon, CEO of the U.K.
Society of Authors, recently challenged publishers to reveal how much they pay writers. “Unless authors receive proper
returns,” she warned, “the supply of quality work will inevitably diminish.”
Of course, publishers and authors have a symbiotic relationship. Each party needs and benefits from the efforts of the
other. But the relationship can suffer when there is a perceived discrepancy or lack of understanding between parties.
The solution: greater transparency about costs and revenue, as well as greater access to information. Although publish-
ers typically provide authors with a window into revenue and sales through regular royalty statements, authors today are
looking for better ways to be assured that they are being properly compensated.
Looking at the music industry, Spotify recently launched Spotify Publishing Analytics, the first analytics tool from a
music streaming service to provide data on plays. And for book publishers, similar technologies are now on the market,
systems that can help publishers become more transparent with their writers, providing regular up-to-date sales informa-
tion. Why not take advantage of these innovations? More transparency can only enhance the relationship between pub-
lishers and authors and can help authors better understand the vital role their publishers play. ■

Scott Winner is CEO of Ingenta.

Join Scott Winner and a panel of experts from across the book and music industries for their panel discussion, “Increasing Transparency:
How to Create a Fairer Industry,” at the London Book Fair on Tuesday, March 12, 11:30 a.m.–12:30 p.m., at the Buzz Theatre.

7
 The DIGITAL SPOTLIGHT
Klopotek on Title Management,
Editorial, and Production
Stream puts the fun and intuitiveness into one essential part
of the publishing process
K
lopotek TEP (Title Management, Editorial, and
Production) is now available on Stream, the compa-
ny’s cloud-based technology platform. “Stream
makes all product-related tasks—including title
management, editorial work, planning, and produc-
tion—available to publishers as business-
and workflow-driven processes,” says
Uli Klopotek, CEO of Klopotek, a com-
pany that is known for providing an end-
to-end solution to support clients’ pub-
lishing businesses that is spread over different countries,
languages, currencies, and metrics. “It provides a truly state-
of-the-art technology with an interface that is responsive,
user-friendly, intuitive, flexible, and customizable.”
Creating Stream for TEP is a logical step, Klopotek says.
“Now that we have completed the CRR [Contracts, Rights,
and Royalties] and CRM [Customer Relationships Manage-
ment] elements, it is time to move all central TEP processes
to the Stream platform,” he adds. “This is a part of our long-
term technology road map. In any case, nine TEP apps were
already brought to market as Stream apps a while back due
to strong customer and market demand. Two more are cur-
rently in development. The goal is to offer smart and role-
based workflow support to the publishing industry.”
Title Metadata Editor (plus Scenario Manager) is one of
the two apps being developed to cover the very basic but
essential area of metadata management. “With this app, we
are reimagining the traditional workflow for title manage-
ment. The process-driven app Title Metadata Editor offers
various scenarios so that editors can completely focus on the
attributes they need at the very moment for titles that they
are working on,” explains Nella Klopotek, executive v-p for
UX design and UI development.
Scenario Manager, Klopotek adds, “enables publishers to
create their own scenarios for title management, with all
workflow steps and UI elements fully customizable.” The
use of Title Metadata Editor, together with Scenario Man-
ager, will help to reduce information overload in title man-
agement while focusing on the relevant metadata. “It will
improve both the quality and efficiency when creating and
managing title information,” she says. “With Stream for
TEP, life is easier for editors, who, in many cases, do not
enjoy working with software systems. Cloud-based apps on
8 www.publishersweekly.com
MARCH 2019
BY TERI TAN
Stream are intuitive to handle and fun to use, and they help
publishing staff to focus on their priorities and essential
processes in their day-to-day operations.”
Each app within Klopotek Stream focuses on specific
business processes for everything that a publisher (or editor)
needs in the area of TEP. “Title manage-
ment is one such area, of course. Then
there are product classifications accord-
ing to various publishing industry stan-
dards, price calculations, or scheduling,
for instance,” says Peter Karwowski, CTO and deputy CEO
of Klopotek, adding that Stream for TEP “covers both books
and journals—and their entire product lifecycle—as well as
digital and subscription products, including online data-
bases.”
Publishers, says Karwowski, can choose from a large
number of Stream web apps (of which there are now 25) to
cover the processes that are important to them. “All apps use
the same database and model, so that there is no loss of
information and/or time when switching between apps or
exiting one to the next,” he says. “By employing Stream
technology, publishers can create their own TEP suite that is
tailored to their operations and specific requirements.”
Existing clients have smoothly transitioned from the Klo-
potek Classic Line to Stream CRR, Karwowski says. “Our
solution allows for a department-oriented transition—i.e., a
step-by-step process instead of a ‘big bang’ migration, which
would be considered as risky,” he adds. “It will be the case
for switching to Stream for TEP.”
Up next for the company is the completion of all essential
Order to Cash processes to the Stream platform. “Once O2C
is completed, all parts of the Klopotek solution—covering the
end-to-end process in publishing—will be available on cloud-
based Stream,” Karwowski says. “The Stream world will con-
stantly have newly developed web apps to meet emerging
market requirements and new business processes. There will
also be continual updates to provide new functionality to
TEP apps such as Schedule Manager and Catalog Manager,
which we plan to do this year.” ■
To discover the fun of using Klopotek Stream apps, head
over to booth 3E10 and try out a live demo on a tablet or
desktop.
 Visit us at Booth 6B99 to learn how
Westchester's full range of pre-press
services can help you reduce costs
and condense schedules.

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• Best available US-based project management and
copyediting, with India composition
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• Long-term clients include Harvard University Press
and W.W. Norton
• Client Portal free of charge—manage all your
projects from one customized dashboard
• Many new clients say Westchester’s Domestic Full
Service is the only real option
• Full range of India-based composition services
offered to US customers
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DIY/cookbooks
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• US copyediting available with India project

management
• Author corrections, image and table placement at
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westchesterpublishingservices.com | info@westchesterpubsvcs.com | (203) 658-6581

 WEB APPS ON STREAM MAKE THE PRODUCT LIFE CYCLE EASY TO HANDLE

WEB

Fast and structured creation

WEB
of first drafts and titles

Choose the best scenario for managing

the title information at hand

Generate drafts for titles at the touch

of a button and do a first calculation?

Enter metadata as it becomes available?

We’ve just reimagined key Title Management processes for you and created a process-
driven workflow based on cloud-based apps on the STREAM platform:

Early Title Manager Title Metadata Editor

This is your web app for creating titles
even at an early point in time: Although
you’ll probably still be working with
drafts at this moment, you can use pow-
erful budgeting tools for doing a first
calculation.
From the very beginning of working on
an idea, Early Title Manager guides users
in Editorial through all essential process-
es of adding data in order to move to the
next stage of the title editing process.
If you choose not to go ahead with your
idea for a new title, it can easily be re-
moved without cluttering the database.
Processes tailored to your needs are your W
best option for title management. Using at
Title Metadata Editor, it’s you who de- w
cides which attributes and data should vid
be included in your workflow, e.g. title Re
and author information, product identi- Sc
fier, version and edition data, print runs, co
etc.: You can create your own user inter-
face to guide you through the processes
you want to rely on.

info@klopotek.co.uk

Klopotek_LBF_PW_Digital_Spotlight_Tuesday_FINAL.indd 1
 Add the
WEB
Scenario Manager
If you’d like to work with different
scenarios in Title Metadata Editor
that are not part of the standard
delivered by us, you can use the
Scenario Manager, our app to
design your own schemes.

Find out more at

our stand and see
live demonstrations
of the apps!

Stand 3E10

Add marketing texts and keep all information in one place?

Classify your titles according

to all relevant industry standards?

Blurb Manager Classification Manager

ur Which attributes require adding data WEB

Blurb
Manager Reduce classifying all types of
ng at which point in time? To keep a clear
products based on all industry
e- workflow, Title Metadata Editor pro-
ld vides different scenarios, e.g. ‘Product standards to a minimum of effort
le Release Milestone 1, Print’, ‘Standard
ti- Scientific Milestone 2’, etc. Each scenario
ns, comes with the appropriate attributes.
er-
es

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 The DIGITAL SPOTLIGHT
Cenveo Publisher Services on
Digital Learning, AI, and NLP
New products amp up the company’s tech solutions for
educational and scholarly publishing
T
his London Book Fair will see the launch of Cenveo
Learning, which will bundle curriculum-aligned rich
media solutions for publishers and corporate learning
strategies to improve employee performance into one
robust service. “Our experi-
enced digital learning teams turn ideas
into immersive experiences in both the
classroom and the workplace,” says
Waseem Andrabi, v-p for content ser-
vices at Cenveo Publisher Services.
Available across devices, platforms, and markets, Cenveo
Learning offers solutions including adaptive microlearning
modules, assessments and certifications, gamification, and
simulations. It supports mobile content for iOS and Android,
allows for integration with learning management and stu-
dent information systems, and is compliant with industry
standards such as Section 508, W3C, and WCAG.
To transform mundane training materials into engaged
and informed learning, the team has taken a systematic devel-
opment approach—Cenveo LEAD+ Framework—to lever-
age, engage, analyze, design, and transform e-learning.
“The HTML5-based games that Cenveo developed for
McGraw-Hill Education’s Everyday Mathematics program,
for instance, reinforces math concepts through concrete real-
world applications and practice,” explains Andrabi, adding
that the team created new games and redeveloped existing
Flash-based games as discrete, self-contained HTML5 inter-
actives that run on all devices and platforms.
Another noteworthy project involved reinventing ESL
instruction for GVE Online Education, a Canadian provider
of English learning solutions for Chinese students in grades
one to nine. “GVE went from concept to operational prod-
uct—with hundreds of animations, exercises, fun activities,
unit assessments, and exams—within six months,” says
Andrabi, pointing out that the “plot-oriented, charac-
ter-based, storylike instructional materials are changing the
way Chinese schoolchildren learn English.”
Smart Suite 2.0, which was launched at the previous Lon-
don fair has now been implemented by several customers,
including Taylor & Francis. “T&F estimates that 25% of its
journal submissions are high-quality, and, by using Smart
Edit—which is tailored to comprehend unique content prop-
12 www.publishersweekly.com
MARCH 2019
BY TERI TAN
erties and incorporate the requirements of specific publica-
tions—these articles can completely bypass manual copy-
editing,” explains Mike Groth, Cenveo’s marketing director.
“Aside from potential savings on time and resources, Smart
Edit also improves the author experi-
ence. This rapid publication process,
in turn, incentivizes more authors to
submit their articles to T&F jour-
nals.”
Smart Suite 2.0, a cloud-based eco-
system of publishing tools to streamline the production of
high-quality content, utilizes artificial intelligence (AI) and
natural language processing (NLP). This enables accelerated
publishing with editorial excellence, from copyediting and
conversion to composition and delivery. “We want to help
publishers understand the ways the AI and NLP behind our
technology can transform content and boost the immediacy
of science,” adds Groth, who will be offering copies of a new
white paper on that topic from the booth.
In the near future, AI and NLP in the scholarly informa-
tion chain can bring opportunities for streamlining every-
thing from content creation to peer review. “Automated
matching of articles to journals or reviewers, for example,
can further speed production and improve quality while
reducing bottlenecks for authors,” Groth says.
Cenveo’s recent partnership with HighWire is another
exciting story to share with London attendees: “This collab-
oration enables clients of both companies to integrate
complementary technology and services, simplify their oper-
ations with a single project management team, align stra-
tegic planning across vendor events and user groups, and
optimize pricing.”
Integrating metadata from HighWire’s BenchPress sub-
mission solution with Cenveo’s Smart Track automation
tool, for instance, is one major benefit. “Our combined team
is able to support the full publishing process, including peer
review, editorial services, author support, online platform
solutions, and analytics,” says Groth. ■
For information on Cenveo Learning, Smart Suite 2.0,
and more, visit booth 3E08, or check out cenveopublish-
erservices.com.
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 The DIGITAL SPOTLIGHT MARCH 2019

Impelsys on Positive Customer

Experience
New products make publishers’ lives easier from the get-go BY TERI TAN

C
ustomers today seek convenience across all interac-
tion points, including retail portals, apps, and digi-
tal readers, and they need to find access while easily
interacting with the content,
observes Uday Majithia,
assistant v-p of technology, services,
and presales at Impelsys.
“When there is convenience in the
interaction, a sustainable relation-
ship between the brand and the customer is established,”
explains Majithia. “These are factored in during the cre-
ation of all Impelsys digital products,” he says. “The design
and conceptualization of our apps and platforms—espe-
cially iPC Scholar and iPC Health—start from the cus-
tomer’s perspectives.”
Scholarly publishers, adds Majithia, “produce a prodigious
amount of content in journal format but also publish ebooks,
create videos, and offer courses. In a traditional workflow,
these varied content require different tools to create, pub-
lish, and deliver, which results in a
discontinuity in customer experi-
ence as they access different con-
tent through different channels.
Publishers, on the other hand,
have to maintain different plat-
forms that do not provide a comprehensive insight on their
business.”
Impelsys’s iPC Scholar (previously known as iPublish-
Central Scholar), for example, is focused on the scholarly
publishing industry. “It solves their publishing concerns by
providing a seamless customer experience across all content
formats. It can single-handedly manage and deliver journals,
e-books, videos, courses, and much more.”
With iPC Scholar, publishers also “get comprehensive
actionable analytics—on consumer behavior, usage pat-
terns, likes, and dislikes—across multiple products to help
them deliver enhanced personalized experiences,” says
Majithia. “Publishers do not need to deal with multiple ven-
dors, further bringing efficiency to their operation and
shorter turnaround for service requests. This, to us, is a great
customer experience: it is about freeing the customer from
annoying digital hurdles even as we ensure a smooth and
flawless access of content.”
John Meiners, chief of mission in aligned businesses and
health-care solutions at the American Heart Association,
sums up Impelsys’s services this way: “It has been one of the
few technology companies that always delivered on time
and on budget, with high quality that does not require a lot
of reworking. That has led us continuing to invest in addi-
tional solutions and bring them into more of a business part-
nership than just a vendor.”
For Impelsys, the greater goal is to think beyond profit and
be an entity with a purpose. Majithia adds, “We want to
utilize our technologies to spread knowledge and help peo-
ple to learn and grow, professionally and personally.” ■

Head over to booth 3A48 for more information, and attend

WE MANAGE KNOWLEDGE

“Effective Knowledge Management & Digital Transforma-

tion Strategies Powered by iPC Scholar,” a session by Stefan
Kendzierskyj, Impelsys’s executive v-p and head of EMEA
and Asia-Pacific, on Tuesday, March 12, at 10 a.m. in the
Buzz Theatre.

14 www.publishersweekly.com
MARCH 2019 The DIGITAL SPOTLIGHT
What’s Next for Open
Access, Copyright?
Copyright Clearance Center’s Roy Kaufman offers
predictions on some key issues publishers are
tracking ahead of this year’s London Book Fair

BY ROY KAUFMAN

T
o say that open access scientific publishing will grow
in 2019 is akin to predicting that the sun will shine on
some days. The proportion of journals published
globally offering an OA option has for years been ris-
ing steadily. And in a major development last year, the
European Research Council launched the Coalition S consor-
tium, which has already won the support of a large and grow-
ing number of national research agencies and major institu-
tional funders toward its goal of making “full and immediate
Open Access to research publications a reality.”
The formation of Coalition S, of course, begat Plan S—a
controversial initiative that would require scientists and
researchers from Coalition S members to publish their work
in open access repositories or journals by January, 2020, as a
 The DIGITAL SPOTLIGHT
condition of their funding. Plan S also proposes other
reforms, including a cap on Article Processing Charges
(APCs). And though Coalition S has also taken aim at hybrid
journals (subscription-based journals in which authors can
pay a fee to make articles open), as of now it would allow
publication in hybrid journals “in transition.”
With Plan S taking center stage, my prediction for 2019
is that we will start to see some unintended consequences
take hold in scientific publishing.
Independent Publishers Suffer
With its call for open access over everything else, as well as
its proposed fee caps, Plan S will put even more revenue pres-
sure on publishers. But, ironically, while large commercial
publishers get most of the negative press, they are also
(through economies of scale) best suited to control costs. On
the other hand, society publishers—with mission-based pri-
orities, fewer journals over which to spread costs, and less
negotiating power over vendors—will have a much harder
time dealing with the fee caps proposed by Plan S supporters,
especially as the cap is likely to be at or below the rate of
$3,000 per APC .
Yes, many scholarly societies already charge APCs around
this rate for hybrid titles. But that rate that is market-based
and often does not reflect the true cost to the publisher. For
many societies, costs per article exceed $3,000, and that
price is only offered because it’s subsidized by subscriptions.
As the flip to full OA begins to appear inevitable, pressure
and fear will lead independent society publishers to increas-
ingly partner with larger publishers. This will both enable
them to lower costs and to participate in read-and-publish
(RAP) deals (more on that below).
The Pure-Gold Road Is Shut Out
Read-and-publish models, or “global flip” models of OA,
occur when large institutions—or indeed entire countries—
pay a (typically large) publisher a fee which gives affiliated
researchers both access to subscription-based content, and
the ability to publish open access articles in that publisher’s
journals without APCs. It is sort of a modified “big deal” and
is being embraced by large publishers and large societies.
But there are two groups of publishers who are almost
certainly not fans of this trend. First, are the “pure-gold
road” OA publishers. The RAP model effectively shuts out
these “heroes of OA” from the equation. That’s because RAP
deals are by their nature only available to publishers who
still maintain subscription models. Thus, a generation of
pure OA publishers not only stand to lose revenue and foot-
ing in their quest for a pure OA play, but they lose authors, as
the process of publishing becomes easier for authors inside
RAP deals. And despite hybrid journals being loathed by
many in the OA community, if they are easier for authors
they will grow at the expense of fully gold publishers.
16 www.publishersweekly.com
MARCH 2019
Second, RAP deals also exclude smaller publishers, espe-
cially smaller society publishers. This is not by design—it is
simply a function of scale. A librarian’s time is a scarce
resource, and the long tail can be easily ignored.
Copyright: New U.S. Legislation?
Though 2018 did not see much federal legislation make it
through to completion, we did see a major copyright revision
pass into law: the Music Modernization Act. In addition,
acting register of copyrights Karyn Temple and her staff at
the U.S. Copyright Office were busy publishing new recom-
mendations on the Section 1201 of the DMCA (Exemptions
to Prohibition Against Circumvention of Technological
Measures Protecting Copyrighted Works). And with a host
of RFIs and notices, work related to modernizing the Copy-
right Office and copyright registration practices are also pro-
ceeding. But will we see significant new copyright legislation
in 2019? My prediction is no, probably not.
We begin with the Register of Copyrights Selection and
Accountability Act of 2017. That bill, which died in the
Senate last year after passing the House, would have changed
how the U.S. register of copyrights is appointed. The bill
was supported by the publishing and entertainment indus-
tries, and opposed by the tech sector and the library com-
munity. But as one observer recently noted, the measure
seemed to matter a lot more a few years ago, when Barack
Obama appointee Carla Hayden took over as librarian of
Congress and swiftly removed then–register of copyrights
Maria Pallante, raising fears that Hayden would appoint a
register hostile to creators’ rights. But with Temple now in
her third year as acting register (and quite possibly the
eventual permanent appointee) the register bill is now seems
less pressing.
In other Congressional copyright-related news, new House
Judiciary Committee leaders from both parties have sig-
naled their support for a new federal resale royalty right for
visual artists. This right would give artists a share of auction
proceeds when works are sold publicly and at a profit. The
proposal has been understood as more like a tax on a
small number of auction houses. Close watchers of copy-
right consider this proposal likely to pass in 2019.
We can also expect some backdoor copyright exceptions
and exemptions to be introduced through appropriations
and other means, under the rubric of “open government.”
Content and data partially funded by government grants,
technical standards incorporated or referenced by laws,
and even third-party copyrighted content hosted on U.S.
government sites such as PubMed Central are all potentially
affected. Whether Judiciary takes notice and asserts juris-
diction over such efforts is an open question, though I
suspect it will. Could you imagine the Committee on
Agriculture not involving itself in a bill preventing farmers
who receive subsidies from charging for their grain?
continued on p. 18
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 The DIGITAL SPOTLIGHT
continued from p. 16
E.U. Copyright Vote Looms
For all the “Will they or won’t they?” over the past year, a
deal on a major European copyright revision, the Single
Copyright Framework for a Digital Single Market, has now
been struck. I predict the legislation will narrowly pass. A
final vote before the full E.U. Parliament is likely to come in
late March or early April. But with E.U. parliamentary elec-
tions looming in May, a tough political battle is taking
shape. And even if the bill passes, the battles will continue, as
member states look to implement the changes at the national
level.
The bill’s two most controversial articles remain (mostly)
intact in the final negotiated bill: Article 11 (the “Publisher’s
Right” as characterized by supporters; the “Link Tax” to the
those opposed) and Article 13 (the so-called value-gap pro-
vision, which aims to address the power imbalance between
platforms and content creators). If passed, neither will
“break the internet,” as the bill’s opponents argue.
Brexit?
Just as I began writing this, Theresa May’s Brexit deal was
voted down by historically large margins, and she then sur-
vived a vote of no confidence. From my outsider view of real-
politik, neither was surprising. Nothing is to be gained by
any MP voting for that Brexit deal, a negotiated agreement
that had something for everyone to hate. On the other hand,
Publishing Workflow Needs a Rethink
By Jon White
W
hen the digital revolution ramped up over a decade
ago, publishers were prompted to reevaluate their
traditional operations, as new formats and technolo-
gies demanded they find ways to improve efficiency. Unfortu-
nately, too many of the new processes that followed were
mere digital versions of existing analog-era systems, barely
improving productivity and, in some cases, even creating addi-
tional work.
To learn more about the pain points in the publishing
workflow, PageMajik and the Book Industry Study Group
last fall partnered on a survey of publishing professionals.
The goal: to identify issues and workflow solutions that would
help both the industry and individual publishers work more
efficiently.
No surprise, the survey revealed that 17% of respon-
dents spend 25%–50% of their time doing repetitive
tasks, while 47% of respondents said repetitive tasks
take up 10%–25% of their time. But here’s the kicker: 58%
of respondents felt that some of those tasks were avoid-
able, and over half said they’d be more effective in their jobs
18 www.publishersweekly.com
MARCH 2019
who (besides Jeremy Corbyn) would want May’s job, with
its 100% guarantee of failure?
I’m going to crawl out on a limb here. It’s no longer unimag-
inable to think there will be a second referendum. In fact,
that now seems likely as the defection of centrists from both
parties has pushed even Corbyn to offer support for a second
referendum (no doubt, he sees a clearer path to becoming
prime minister without the millstone of Brexit). Of course,
the second-most-likely scenario is the U.K. leaving the E.U.
without a deal, a so-called hard Brexit. For publishers, a hard
Brexit would mean a massive reduction in the ability to
recruit talent, and severe short-term market challenges.
It’s not alarmist to say that Brexit could seriously impair the
U.K. publishing industry and incentivize expansion into con-
tinental Europe in order to take better advantage of E.U.
labor and other markets.
If there is a second referendum, however, the outcome will
almost certainly be to reverse course away from Brexit. This
would be great news for publishers running global busi-
nesses with global employees, for academics seeking fund-
ing and collaboration, and indeed for any business where
freedom of movement is an issue.  ■
Roy Kaufman is the managing director of business devel-
opment and government relations for Copyright Clearance
Center.
if such repetitive work was eliminated.
Among the most-time-consuming
activities: updating metadata, provid-
Jon White
ing the same information in multiple
reports, tracking projects in various formats, and outlining
assignments.
The task at hand is clear: to develop systems that can
automate some of these processes, offering publishers
greater efficiency and freeing them to focus on higher-level
product work, such as acquisition, design, and promotion.
And we want to hear more from you.
On March 28, BISG will host a meeting in New York City
focused on cloud-based workflows. An interactive two-hour
workshop, the program is designed to solicit information
about the specific challenges the book industry faces. And
if you’re here at the London Book Fair, stop by the PageMajik
booth for more information about the survey, or to discuss
your own workflow challenges. ■
Jon White is the global vice president of sales and market-
ing at PageMajik.
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Immerse yourself in Knowledge

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