Frankfurt Show Daily, Day 2, October 11, 2012

Frankfurt
11 October 2012
F o r t h e l a t e s t f a i r c o v e r a g e , g o t o w w w. p u b l i s h e r s w e e k l y. c o m / f r a n k f u r t a n d w w w. b o o k b r u n c h . c o . u k
CEO panelLessons learned
ublishers had failed to

remain in charge of
their own destinies,
the panellists at the
CEO session at Frankfurtchaired by UK Publishers
Association CEO Richard Mollet-yesterday agreed, writes
Andrew Albanese. I dont think
weve invested enough in helping
authors reach out and use this
technology, Bloomsbury Executive Director Richard Charkin
said. Weve allowed other intermediaries to come in and take
some of that away.
For George Lossius of Publishing Technology, We have
allowed ourselves to be governed or directed by big players
like Amazon or Apple, and perhaps in the books area, unlike
the academic area, [trade] books
publishers havent as yet sorted
out the opportunities to create
their own marketplace, their
own brands, and loyalty. Matt
Handbury of Murdoch Books
(recently sold to Allen & Uwin)
said: Some of the early things
like doing deals with Amazon
and Apple at these ridiculous
levels of discount for the tasks
they provide - it just bedevils me
that these big international
[publishing] companies could
make these atrocious deals.
Mollet asked Hanbury about
his criticism of those publisher
deals with big players, and
whether there was really any
choice but to play ball, given the
consumer pressure. The only
thing you can do to resist something which is undesirable is not
to do it, which is always tough,
Hanbury said. But you have to
say no sometimes. Maybe doing
so wouldve led to a more bookindustry friendly retailer coming
forward.
However, Charkin believed
Day 2 News.indd 3
that publishing has adapted

remarkably quickly. Although
still afraid around the edges,
on the academic side publishing
was probably now a 90% digital business, he noted, and on
the trade side, maybe 15% to
20%. What publishers had not
done, however, was adapt their
print systems to the new digital
world. For example, there are
still 24 handlings of a book
between manufacture and pur-
chase. Thats an awful lot for a

$10 thing.
On the subject of collaboration in the book industry, Charkin mentioned the elephant in
the room: the Department of
Justice. On the trade side it is
very difficult to collaborate
because of antitrust, and we
know what happened there. On
the question of bad decisions,
not because I think people are
stupid or anything like that, but
Visit us at
Stand R925
clearly the Apple agency model
has cost our industry a huge
amount of money in terms of
legal expenses and things like
that, money that couldve gone
into developing new things.
Asked for predictions, Lossius
offered the most optimistic
thoughts: he said that print
would stay around, and that the
reading community would
double in size as all these
e-readers proliferate.
NBA shortlistsindies do well
he 20 finalists for the

2012 National Book
Awards, which were
announced Wednesday
morning, include five debut
works, two memoirs, and a
short-story collection. Among
the finalists are five Pulitzer
Prize winners, two recipients
of MacArthur genius grants,
one previous National Book
Award Winner, three

previous National Book Award
Finalists, and a recipient of the
National Book Foundations
Literarian Award. Six of the 20
books come from small,
independent, or university
presses.
The Awards will be presented on
14 November.
Fiction
Junot Daz, This Is How You Lose
Her (Riverhead)
Dave Eggers, A Hologram for the
King (McSweeneys)
Louise Erdrich, The Round House
(Harper)
Ben Fountain, Billy Lynns Long
Halftime Walk (Ecco)
Kevin Powers, The Yellow Birds
(Little, Brown)
Non-ction
Anne Applebaum, Iron Curtain:
The Crushing of Eastern Europe,
1945-1956 (Doubleday)
Katherine Boo, Behind the
Beautiful Forevers: Life, Death,
and Hope in a Mumbai
Undercity (Random House)
Robert A Caro, The Passage of
Power: The Years of Lyndon
Johnson, Volume 4 (Knopf)
Domingo Martinez, The Boy
Kings of Texas (Lyons Press)
Anthony Shadid, House of Stone: A
Memoir of Home, Family, and a
Lost Middle East (Houghton
Mifflin Harcourt)
Poetry
David Ferry, Bewilderment: New
Poems and Translations
(University of Chicago Press)
Cynthia Huntington, Heavenly
Continues on page 3
10/10/2012 16:49
350
45
6
ONE
PARTNERS
CONTINENTS
PUBLISHERS
MILLIONS OF DEVICES
COMPLETE
DIGITAL
SERVICE
Visit us at The Perseus Books Group stand G903 of hall 8.0
D I G I TA L
P U B L I S H I N G
P O W E R
www.ConstellationDigital.com
A Service of The Perseus Books Group
PW Ad.indd 1
9/14/12 4:33:47 PM
11 OCTOBER 2012
FRANKFURT SHOW DAILY
FAIR DEALINGS
Ebooks grab 16% share of
Canadian book purchases
Ebooks accounted for about 16% of Canadian book purchases
in the rst half of 2012, a new survey commissioned by BookNet
Canada found. According to the report, The Canadian Book
Consumer 2012: Book-Buying Behaviour in Canada January to
June 2012, the most popular format in the period was paperback,
which accounted for 57% of sales, while hardcovers represented
24% of unit sales. Ebooks share of sales declined slightly between
the rst and second quarters, down from 17.5% to 15%, which
BNC speculated was due to the high rate of e-readers given as
presents over the holidays that resulted in a burst of ebook
buying in the rst quarter.
Among ebook buyers, Kobo, developed in Canada, was the
most popular e-reading device, with 27% saying they planned to
use a Kobo device to buy their next ebook, followed by Kindle at
19% and the iPad at 14%. Despite the inroads made by digital
books, 86% of Canadians still purchased print books in the JanuaryJune period. According to the report, 20% of print purchases (and
27.5% of all purchases) were made online in the rst six months of
2012. Bricks-and-mortar stores commanded the largest market
share, with all bookstores taking a 37% share, and and non-book
retailers a 32% share.
BNC plans to continue the survey, conducted by Bowker
Market Research, through 2013. More information is available at
http://consumer.booknetcanada.ca.
NBA shortlists
Continued from page 1
Bodies (Southern Illinois

University Press)
Tim Seibles, Fast Animal
(Etruscan Press)
Alan Shapiro, Night of the
Republic (Houghton Mifflin
Harcourt)
Susan Wheeler, Meme (University
of Iowa Press)
Young Peoples Literature

William Alexander, Goblin
Secrets (Margaret K McElderry
Books)
Carrie Arcos, Out of Reach
(Simon Pulse)
Patricia McCormick, Never Fall
Down (HarperCollins/Balzer +
Bray)
Eliot Schrefer, Endangered
(Scholastic)
Steve Sheinkin, Bomb: The Race
to Build and Steal the Worlds
Most Dangerous Weapon
(Flash Point)
Tallack takes pre-empt in Ananthaswamy book
eter Tallack has accepted

a substantial pre-empt
from Stephen Morrow at
Penguin Dutton US for WEL
rights in Anil Ananthaswamys
Maladies of the Self.
An offer for German rights is
on the table and other sales are
expected at the Fair. Translation
rights are being sold on behalf of
the Science Factory by the

English Agency in Japan, Duran
Kim in Korea, and Louisa
Pritchard Associates in the rest
of the world. Delivery of the
manuscript will be in 18 months.
From Autism to Out-ofBody ExperiencesWhat
Mental Disorders Are Telling Us
About Who We Are,
To contact Frankfurt Show Daily at

the Fair with your news, visit us on the
Publishers Weekly stand Hall 8.0 R925
Reporting for BookBrunch by
Nicholas Clee in London and Liz Thomson in Frankfurt
Reporting for Publishers Weekly by

Andrew Albanese, Rachel Deahl, Calvin Reid and Jim Milliot
Project Management: Joseph Murray
Layout and Production: Heather McIntyre
Editorial Co-ordinator (UK): Marian Sheil
To subscribe to Publishers Weekly, call 800-278-2991

or go to www.publishersweekly.com
Subscribe to BookBrunch via www.bookbrunch.co.uk
or email editor@bookbrunch.co.uk
Frankfurt Fair Dealer issue printed by Henrich Druck + Medien GmbH,
Schwanheimer Strae 110, 60528 Frankfurt am Main
www.publishersweekly.com
Day 2 News.indd 5
Ananthaswamys book sets out

to disentangle the threads that
form ones identity and to
provide a new view of the self.
He introduces readers to the
regions of the brain responsible
for disorders including
schizophrenia, autism, epilepsy,
Alzheimers, and out-of-body
experiences.
A consultant editor for New
Scientist, Ananthaswamy is the
author previously of The Edge
of Physics.
Tallack has five WEL offers
on the table for another project,
Lifes Greatest Secret: The Story
of the Race to Crack the Genetic
Code by Matthew Cobb, Professor of Zoology and an Associate
Dean at the University of Manchester and the author of awardwinning Egg and Sperm Race.
Apparently the first popular
book to tell the story of the dramatic race to crack the genetic
code, it explores the competition
between some of the twentiethcenturys most outstanding and
eccentric mindsa scientific
story and a story about how
science is doneand what it
holds for the future.
Rights round up
Quercus has acquired WEL rights
in two new novels by Richard
North Patterson, previously with
Pan Macmillan.The rst novel in
the deal, LOSS OF INNOCENCE,
will appear simultaneously in the
UK and the US in autumn 2013.
The second, Eden in Winter, is
scheduled for 2014. Loss of
Innocence will be on the launch
list of Quercus North American
publishing programme, revealed
in yesterdays Show Daily. David
North, Executive Director and
Publisher, negotiated the deal
through Cullen Stanley at
Janklow & Nesbit in NewYork.
Clare Reihill of Fourth Estate has
acquired from David Godwin
AssociatesWEL rights for the third
installment of Nikki Gemmells
best-selling trilogy, begun by The
Bride Stripped Bare and With My
Body.The booksprecursors to the
recent erotica movement have
enjoyed a resurgence in the wake
of Fifty Shades.
Hodder and Hachette Ireland have
paid a signicant six-gure sum
for a further two novels by Ciara
Geraghty.The agent is Ger Nichol.
The publishers released
Geraghtys fourth novel,
Lifesaving for Beginners, at the
end of September.
YouTube sensation Annoying
Orange has been the subject of
licensing deals in the UK and
Ireland. Annoying Orange books
will be published by Egmont,
while Pedigree Books will release
annuals. Other deals cover
clothing, toys, gifts, all brokered
on behalf ofThe Collective by
Rocket Licensing.
Legendary Pictures has
pre-empted an option in
REVIVER, the rst novel in a
three-book series by debut author
Seth Patrick.The deal was handled
by Sylvie Rabineau at RWSG
Agency on behalf of Luigi
Bonomi.Tor publishes Reviver in
June 2013.The novel focuses on a
small group of people who have
the talent of pulling the recently
deceased back into their bodies.
Rebecca McNally and Helen
Garnons-Williams at Bloomsbury
have signed Brian Conaghans
uproariously funny, life-afrming and moving novel WHEN MY
DOG BITES, about a teenage boy
withTourettes Syndrome.They
plan to publish jointly in adult and
YA editions in January 2014.The
publisher has world rights
following a pre-emptive bid
through Ben Illis at AM Heath.
www.bookbrunch.co.uk
10/10/2012 16:49
11 OCTOBER 2012
FAIR DEALINGS
The German ebook market is

growingand so is piracy
he German ebook
market is small but
growingjust like
German ebook
piracy, according to
a report by the German Book
Publishers and Booksellers
Association delivered at a press
conference at the Frankfurt
Book Fair, writes Calvin Reid.
German publishers continue to
rely on legal challengescease
and desist letters, take down
notices and financial penalities
levied against end usersactions
the report acknowledged are
ineffective.
Susane Barwick and AdilDominik Al-Jubouri, legal counsel for the German Book Publishers and Booksellers Association, outlined actions taken
against peer to peer networks
and sharehosters such as Rapidshare, Library.nu and iFile, file
hosting services that allow fast
downloads for a fee. These sites,
Barwick said, were often paired
with link resource pages that
show the desired content and
offered links to the sharehosters
that would provide the illegal
downloads. She also outlined
how individuals on internet
newsgroups bought discounted
ebooks, then removed DRM
and resold them. Library.nu and
iFile.it, Barwick said, at one time
offered more than 400,000 illegal ebook titles from an interna-
tional array of book publishers.

To challenge pirates in court,
she outlined a multiple step legal
process starting with evaluating
a publishers claim of unauthorized downloading, filing a legal
claim against the ISP supporting
the service, and eventually issuing cease and desist letters to the
sharehoster. Publishers who
challenge illegal downloads
must use specialized legal firms
the Association can only advise,
it does not take on these cases
and the process, Barwick
emphasized, was costly as well
as ineffective. Violators, of
course, often remove the files,
which are generally reuploaded
in short order.
Publishers can get injunctions
against violating sharehosts and
against the end users doing the
downloading. Barwick said
under German law violators
could be required to cover the
publishers legal costs1000 or
more in some casesbut the German public does not support
onerous legal sanctions against
individuals. The public is
against targeting end users,
Barwick said, noting often fines
were levied against kids and
teens. "Most people believe only
the lawyers benefit from these
actions, Barwick noted.
Textbooks were hardest hit
by piracy in the German market,
she said.
Collins extends Big Cat series
In what is being described as described as a unique crossdivisional collaboration, the primary resources specialists at Collins Education and the ELT specialists from Collins Language have
worked together to create an extension to the Collins Big Cat reading series for learners of English, producing close to 600 ISBNs in
just one year.
A 16-page ELT workbook is now available to accompany each of
the 198 Collins Big Cat readers(99 ction / 99 non-ction), and all
readers and workbooks are now available in American and British
English.
Big Cat ELT workbooks have been written and edited by
English-language learning professionals to enableYoung Learners
of English to practise topic-related vocabulary, key language
structures, and skills relevant to their language abilities, through a
range of traditional and fun exercises.
Day 2 News.indd 6
At the Tools of
Change conference,
TOC's Kat Meyer
and keynote
speaker Dr Naif
Al-Mutawa,
creator of the
Arab super hero
publishing venture,
The 99: Lessons
From a Journey
Across Cultures
and Media.
CCC launches tool for Open

Access management
The Copyright Clearance Center this week announced the launch of

Open Access Solutions, a tool to help publishers manage variable
Open Access (OA) models. Supported through the CCCs RightsLink platform, Open Access Solutions includes secure tools for
managing author publication charges, as well as colour charges,
page charges and reprint orders, and compliance options.
The tool is designed to make it easier for publishers to manage
different Open Access fees based on variables, such as author
afliation or institutional membership, as well as communicating
publisher-specied reuse rights post-publication to users seeking
permissions.The tool will also capture data about user interest, and
reuse of publishers Open Access publications.
VATdont target
books, IPA urges
espite the revenue-raising imperatives of the

global economic crisis
and subsequent VAT reforms in
many countries, books remain
consistently among the goods
and services that merit a reduced
VAT/GST rate or an exemption.
The findings emerged from the
IPAs Literacy and Book Policy
Committee meeting in Frankfurt. The IPA launched an
updated version of its annual
global survey on VAT on books
and electronic publications, with
88 countries surveyed, including
for the first time the US.
However, the IPA stated that
much progress remains to be
made for most countries to
adopt a real non-discriminatory,
consistent tax regime for paper
and e-publications in conformity with OECDs guidelines
and benchmarks.
IPA Secretary General Jens
Bammel commented: Lower
VAT rates for publishers are
justified because they help

publishers and bookshops offer
more diverse and better books at
affordable prices. It is a proven
and effective tool to promote
literacy and encourage reading.
Lower VAT rates on books help
secure a stronger national
publishing industry with more
employment, supporting local
bookshops, and small and
medium-sized publishing
companies.
Despite progress, the
discriminatory tax treatment of
print and ebooks continues in
more than 40% of the countries
surveyed in violation of OECDs
guidelines and benchmarks
recommending a nondiscriminatory policy and the
application of concessions to
e-publications. As ebook
consumption expands rapidly
worldwide beyond the
traditional English-language
markets, this issue is becoming
increasingly urgent to resolve.
10/10/2012 16:49
The Rowman & Littlefield Publishing Group

HALL 8, STAND E954
The Rowman & Littlefield Publishing Group is one of the largest and fastest growing
independent publishers and distributors in North America & the U.K.
Its numerous imprints publish in virtually all fields in the humanities and social sciences,
including academic, reference, and general interest books.
For more information about The Rowman & Littlefield Publishing Group and all of our
imprints, visit www.rowman.com
Waging War on
corruption
the obama Question

A progressive perspective
By Gary Dorrien
2012
inside the movement fighting

the Abuse of power
By Frank Vogl
2012
ebook
ebook
Digging through history
beyonD X anD y
inside the science of gender

By Jane McCredie
2013
inside the world of first century fAre,

with menus And recipes
By Douglas E. Neel and Joel A. Pugh
2012
ebook
ebook
ArchAeology And religion from AtlAntis to

the holocAust
By Richard A. Freund
October 2012
titanic
A fresh look At the evidence by A former

chief inspector of mArine Accidents
By John Lang
2012
ebook
the Drum
european Directors anD

their Films
A history
By Matt Dean
2012 472 pages
essAys on cinemA
By Bert Cardullo
2012
ebook
ebook
ebook
DONT FORGET TO STOP BY Hall 8, STaND #E954

FOR MORE TITLES FROM
ALTAMIRA PRESS
JASON ARONSON
LEXINGTON BOOKS
the FooD anD Feasts

oF Jesus
ROWMAN & LITTLEFIELD

PUBLISHERS
THE SCARECROW PRESS
TAYLOR TRADE
INTERNATIONAL
ORDERING INFORMATION:
nbn international
10 thornbury road
plymouth pl6 7pp, uK
tel: +44 (0) 1752 202301
Fax: +44 (0) 1752 202333
e-mail: orders@nbninternational.com
Website: www.nbninternational.com
UNITED STATES
ORDERING INFORMATION:
rowman & littlefield publishing group

15200 nbn Way, p.o. box 191
blue ridge summit, pa 17214
tel: 1-800-462-6420
Fax: 1-800-338-4550
Website: www.rowman.com
like us on Facebook! Follow us on twitter @rlpgbooks
11 OCTOBER 2012
FAIR DEALINGS
Thematowards a global
standard of book data
ook industry representatives from 16 countries

meeting in Frankfurt have
announced the formation of a
new global standard to categorize and classify book content by
subject.
The project, initially known
as Thema, is a very important
step forward in creating a truly
global community of book
data, according to Jess Peraita, Technical Director of
DILVE, within the FGEE (Federacin de Gremios de Editores
de Espaa), the groups first
Chair. Thema will not only
facilitate the sale of content
across borders, but is also flexible enough to allow each market
to retain its unique cultural
voice.
A new, independent organization created to manage Thema
will be governed by a multinational board. Countries currently taking part in the project
include Australia, Canada,
France, Germany, Italy, Netherlands, Norway, South Africa,
Spain, Sweden, Switzerland, the
UK and USand, in a sign of a
shared seriousness of international purpose, the Pan Arab
Group.
Thema will continue the work
already begun by the iBIC project managed from the UK. Book
Industry Communication (BIC)
and Nielsen Book, which jointly

own iBIC, have donated the iBIC
intellectual property to the
Thema Board for the creation of
the global standard.
The new standard will be a
general purpose classification
scheme for the book industry,
meant initially to work alongside existing standards such as
BIC, BISAC, CLIL, etc. The
long-range goal is to move all
HC gets global system
arperCollins is to roll out

a new global publishing
system, which it claims
is one of the largest undertakings of its kind to be implemented
by a trade publisher.
Developed in partnership with
Publishing Technology and built
on its advance platform, Global
Product Manager will enable the
unifying of editorial, marketing
and business data around the
world, widening the reach of
HCs print and digital publications in its target markets. By
Palazzo offers film surveys
Colin Webb at Palazzo has unveiled two further lm retrospectives.

Johnny Depp by Steven Daly, Contributing Editor at Vanity Fair,
which will mark the actors ftieth birthday in June 2013, has been
bought by Abrams, which has WEL rights, and by Editions de la
Martinire in France, Knesebeck in Germany and Forma in Sweden.
The large-format title will feature some 250 stills and behind-thescenes images from Depps screen debut in Nightmare on Elm
Street in 1984 through to The Lone Ranger in 2013.
Published for Roman Polanskis 80th birthday on 18 August 2013,
Roman Polanski by James Greenberg, Editor-in-Chief of the DGA
Quarterly, the craft journal of the Directors Guild of America, has
also been bought by Abrams (WEL), with French rights again with
Martinire and German with Knesebeck.
Drawing on Polanskis own archive, it will cover the directors
long, distinguished and occasionally controversial career from its
beginnings in 1962 with Knife in the Water, which earned the
29-year-old an Academy Award nomination.
markets to the global standard,

helping to eliminate confusion
among both upstream and
downstream trading partners.
BIC will continue to have
responsibility for the application
of the standard in the UK.
integrating systems and assets

across the globe, the new system
will provide the company with
the infrastructure needed to
maximize its catalogue of books,
ebooks and apps, empowering
HC staff to explore content
delivery types and business models, while enabling better metadata management.
The system will be rolled out
first in the US, followed by the
UK and subsequently Canada
and Australia, as well as to the
Christian Publishing Division.
It is our responsibility to provide our authors with the broadest possible reach through our
global print and digital publishing platforms, regardless of
where their books originate and
what format they take, said
Larry Nevins, Executive VicePresident, Operations. Global
Product Manager will elevate
our publishing capabilities by
focusing on the content first, thus
enabling the flexibly to adapt to
various formats depending on
the needs of the business. Publishing Technology's international business view and strong
systems make them the right
partner on this project.
Hachette party
Faber animation app
aber has entered a partnership with Academy

Award-winning animator
Richard Williams, Director of
Animation on Who Framed
Roger Rabbit?, to publish an
iPad version of The Animators
Survival Kit, published a decade
ago and regarded as the definitive work on all forms of animation for professionals, students
and fans. The book has been a
bestseller around the world.
The Animators Survival Kit
for iPad will include more than
100 animated examples, scrubbable frame-by-frame on the
iPad, and previously unreleased

animations by Williams including Circus Drawings, as well
as a film of Williams introducing
the digital edition.
Faber has world rights.
Im astonished at the possibilities of this iPad app, said
Williams. Im sure we will
achieve a unique result combining the book with filmed animated examples. Its great for us
to be able to package animation
knowledge in this fascinating
delivery system. I only wish Id
had something like this when I
was starting out.
Day 2 News.indd 8
At the Hachette
party, the
traditional
opening night
event: (top)
Jonathan
Burnham
(HarperCollins)
and Caroline
Michel (PFD);
(below) David
Taylor (Ingram)
and David
Young
(Hachette).
10/10/2012 16:48
Proud to be promoting our 2nd Professional Programme connecting Arab and international
publishers providing opportunities fortranslationacrosstheworld
Welcoming over 50 international authors including
- William Dalrymple
- Gavin Esler
- Julia Gregson
Visit us at
Hall 5.0 Stand C975 or Hall 8.0 Stand R910

to nd out more or to register your interest
: 50
-
11 OCTOBER 2012
Working togetherdigitally
Michael Bhaskar looks at how digital publishing needs to develop the international collaboration
that is common in publishing generally
ublishing has always been international and nothing embodies that

more than the Frankfurt Book
Fair. Starting soon after Gutenberg invented the press just a few
miles up the road in Mainz, the Frankfurt
Book Fair quickly became the centre of the
15th-century book trade. All the great houses
would be here, from Florence and Venice,
Paris and Lyons, Antwerp, London and Krakow, a cosmopolitan mix of merchant booksellers, inky fingered pressmen and pan-European intellectuals: altogether that curious
combination of hustler and humanist, which
has marked publishing over the centuries.
Today Frankfurt fulfils a startlingly similar role. Publishers from around the world
come to do business with one another, to sell
and buy bookseither physical copies or the
rightsand meet suppliers and partners. So
far, so 1500. Now of course there is a new
element to publishingdigitalwhose difference is often overly-hyped, but nonetheless
presents some unprecedented challenges.
Discussion around digital is now a fixture of
the Book Fair. This year I am part of the
Frankfurt Book Fair Fellowship, a scheme to
bring a diverse group of foreign publishers
together to tour Germany, meeting publishers here to hopefully build lasting and profitable relationships.
Working internationally
Michael Bhaskar.indd 2
Networks and protocols

Michael Bhaskar
for building coalitions for co-creating compelling and competitive digital products.
Heres the rub. Digital is difficult and
expensive. Simply to compete with all the
other digital media producers out there
means constantly raising the bar. We are in a
kind of functionality and design arms race,
where coming out with what wowed people
last week bores them the next. You have to
constantly push the envelope and you have
to do this in a blizzard of competition in an
environment of colossal risk, where abject
failure is worryingly common. You are dealing with high upfront costs, at best uncertain
At present we dont even have a meaningful

rights market for digital products. We dont
have the networks, the protocols, the established business or product workflows and
sales tracks to function as a normal globalised industry. Which given the innately
global nature of digital is ironic. We are missing a huge opportunity to create world-beating reading products beyond what individual
publishers are capable of achieving. There
has been no shortage of impressive digital
innovation, but if anything that is a spur to go
further, not retrench or look inward.
As I see it the two major obstacles are that
firstly, English-language publishers are quite
often further advanced into digital
experimentation than others, the strong
traditions of digital story-telling in
East Asia excepted. If there are no
partners to be found, collaborating
is hard. Equally those Englishlanguage publishers (us), often
mono-lingual, perhaps havent engaged with
our foreign colleagues to the extent we
should have. In addition digital projects
usually involve a good deal of complexity,
both in terms of the deal-making and the
production, and adding extra parties doesnt
exactly simplify things.
Nonetheless I think it is time digital publishers embraced the spirit of 1500. Its time
we acted more like our publishing ancestors
working across borders, trading books,
using the undeniable advantages of face-toface meetings to build syndicates and
construct slick distribution systems. If publishing as a whole wants to remain in touch
with the bleeding edge, if we want to continue to be profitable and define the cultural
and informational environment we must
give ourselves every chance. Building international digital partnerships is part of that,
and I for one hope to start at this Book Fair.
We are in a kind of functionality and design arms race
If international collaboration, be it
sales, co-editions, rights sales or
simple friendship, is the norm in
publishing generally, it is, unfortunately, less
so for digital. With the notable exception of
the latter category, friendship, I can think of
only a handful of examples of publishers
working internationally on digital projects.
Generally the varied pace of digital adoption, the different approaches of different
countries, the territorial wrangling of the
English-language community, divergent
attitudes to the undeniable risks of digital
investment and the complications of working in multiple languages in such a fast evolving marketplace have stymied collaboration.
Simply making your books available in multiple territories on the Kindle does not constitute the full potential for internationalising digital publishing. The tendency has been
for publishers to work unilaterally in
national and company silos on digital projects, the many challenges, but also rewards
of working with foreign publishers put to
one side.
So begins my mission, for want of a better
word, on the Fellowship: to gauge demand
What I am describing is basically a coedition model for creating major apps. A

group of publishers collectively funds an app,
with translations coming in parallel, project
managed by a designated party according to
pre-agreed specifications, one hopes avoiding
the perils of design by committee, and then
synchronously launched, marketed and publicised. It wouldnt and shouldnt work for
everything. But it would massively increase
our collective clout in the blue ribbon productions I believe users increasingly expect.
demand, unstable, usually low pricing necessitating a high volume of sales and much
control ceded to giant technology corporations. Yes, its like booksonly more so.
Working with partners from around the
world can help in a number of ways. Firstly
and most obviously it means publishers
can pool resources, allowing for bigger
budgets to produce the kind of block-buster
digital projects that will garner attention and
attract consumers. Secondly we can do this
while, crucially, spreading the associated
risks, the decreased investment from each
party creating a greater willingness both to
go ahead with the project in the first place
and, if it does go badly, lessening the loss.
Thirdly by co-ordinating an international
launch the buzz-building process can be
amplified. Having focused interest around
the world is likely to create a greater sense
of occasion, fostering more anticipation
and sense of an event. This isnt as significant
as the above, Ill grant you, but it shouldnt
be discounted.
Michael Bhaskar is Digital Publishing Director at

Profile Books. He is on Twitter as @ajaxlogos.
08/10/2012 22:56
Frankfurt Ad_New.indd 1
9/28/12 4:20:38 PM
Customised
Print-on-Demand
solutions
Across
media
Across
Geographies
P-Books &
E-Books
Tel.: 91-22-2483 4000 Fax: 91-22-2483 4001 E-mail: info@reproindialtd.com www.reproindialtd.com
VIS
REPRO INDIA LIMITED
Educational Books
Childrens Books
Trade & Retail Books
We will MANAGE your CONTENT to give you

a ZERO INVENTORY solution
by DIGITISING, PRINTING & DELIVERING
e-books and p-books
to fulfill your clients requirements
Wherever,
Whenever
EDUCATIONAL CONTENT
MANAGEMENT
TO DELIVERY SOLUTIONS
from ONE to
a MILLION copies
H 967
AL
UR ST
Content
Digital and
Print Production
Fulfillment
OUR ST
IT
O
IT
Comprehensive
Publishing
Solutions
VIS
Wed be delighted to welcome you to Repro, one of Indias largest education publishing solution companies.
Partnering publishers globally
EDUCATIONAL CONTENT MANAGEMENT

TO DELIVERY SOLUTIONS
AL
11 OCTOBER 2012
10 FRANKFURT SHOW DAILY
A billion dollar process

Andrew Richard Albanese talks with Niko Pfund of OUP USA about the Presss digital investments,
its stellar year and its vision for the future
araphrasing Frank Sinatra, for

Oxford University Press, fiscal
year 2012 was a very good year.
Despite a challenging global
economy, OUP saw a 10%
growth in sales worldwide, with sales
hitting $695 millionthats more than $1
billion for the year ended 31 March, making
OUP the worlds first billion dollar
university press.
AA: OUP made headlines with stellar

FY2012 results, and, unlike your trade
counterparts who posted big numbers,
you did it without a Fifty Shades of Grey,
or a Hunger Games. What is fueling
OUPs growth?
NP: Ah, a question every publisher yearns to
be asked. Broadly speaking, our growth has
been fueled by strategy. For some time now,
our investments have been driven by the
need to innovate and to digitise. More
specifically, several developments drove our
performance. Last year was an excellent year
for our journals, schools, medical and bibles
publishing. We also enjoyed an exceptional
year of trade publishing in the US. And sales
of our online products were extraordinary.
Sometimes people in my position tend to
focus too much on macro factors, at the
expense of things like staff continuity. We
have an extraordinary group of acquiring
editors who have now worked together for a
long time. Editorial stability is a huge plus,
and the sustained quality of our acquisitions,
and the way books are designed, marketed,
publicised and sold, are crucially important
components of our success.
AA: You are making significant digital
investments, are there moments when you
look at the money you are pouring
into new platforms, such as Oxford Scholarship Online (OSO), and wonder, given the
rapid changes in the business, if theyll be
worth it?
NP: Platform development does require a
certain stout-heartedness, but it is essential
in this time of transition. You have to
experiment. One of the great challenges is to
implement a broad, coherent strategy while
still allowing for the kind of entrepreneurial
energy that originates with a few individuals
who have a vision. OSO, for example, was a
direct result of vision and passion among my
UK colleagues, and it is one of the publishing
initiatives Im genuinely proud to be
associated with.
Looking ahead, our strategy must be to
make our content available in the formats
Andrew - Niko Pfund.indd 2
Niko Pfund
our customers want, and be ready to respond

rapidly to new market needs. For example,
weve seen a great shift in recent years in the
way people access and engage with our
content online. In our last fiscal year alone,
we saw a $5,000 increase in the number of
people using an iPad to access OSO.
AA: Speaking of OSO, youve now

expanded it into University Press
Scholarship Online (UPSO), and inked deals
with publishers, including major presses
such as California and Chicago. What is it
like to be sharing your platform with
publishers who are technically competitors?
NP: It has been far more natural and
uncomplicated than wed dared hope. It
helps that the university press world is one of
mutual support and commonality of
purpose. Ultimately, I think the benefits to
the scholarly and the university press
communityin terms of access, learning,
collaborating with other mission-driven notfor-profits, and tackling some challenges
together as a communityfar outweigh any
competitive advantages that may be derived
from our platform. So I dont fret about the
competitive aspect of UPSO at all.
Technology is important, but university
presses have strong personalities.
AA: For so long the conversation has been

about the death of the monograph. Now,
with digital, the monograph seems to have
new life. How do you prepare for the next
generation of digital monographs?
NP: The death of the monograph has been
anticipated for at least a half century, but in
the same way that all the early
hyperventilating prognostications about
ebooks overshadowed a mundane, but
actually very dramatic shift (the rise of
digital printing, which resulted in
considerable efficiencies), the emphasis on

new forms of digital scholarship often
overlooks the resilience of the singleauthored research work. In other words,
even as we tinker with making monographs
available as discipline-based modules, or by
chapter, scholars and authors will always
write books.
That said, the key to the next generation
of monographs is flexibility. For example,
we laid the foundation for device-agnostic
access to our content nearly a decade ago
with the launch of OSO, allowing it to
accommodate shifts in technology. Take our
decision to invest in XML: XML isnt cheap,
but when it comes to discoverability, even
the latest iteration of PDF pales in
comparison. Yet, despite XML vs. PDF
often being framed as oppositional, people
want both. XML enables search, discovery
and access; PDF is preferred for long-form
engagement. In fact, one of the recent
enhancements built into OSO, in direct
response to user feedback, is the ability to
create full-chapter PDFs, to be saved locally
or sent to a device.
AA: In the trade publishing realm, ebooks

are surging. But, in academic publishing, I
feel like you are entering a post ebook phase:
your content is sliced, diced and served any
way the reader wants, in whatever format, to
any devices. Is there a lesson from your
digital transition that you think might apply
to the trade side?
NP: Youve highlighted the first fork in the
road when we consider our approach to
what goes online and how: the difference
between someone at a university accessing a
book for which their institution has paid,
and everyone else who buys ebooks for their
own readers with their own money.
It is important to note that a large majority
of our book revenues still come from print.
But weve all been infected by the bug of
futurism. The challenge is to build
sustainable models of author support,
sponsorship and dissemination. If I had to
distill what Ive learned so far into one basic
message, its that the future will require us to
reach more people in more ways, and to
charge them less. For a long time weve been
an industry with narrow vertical markets
willing to pay a premium. But well need to
expand readership into demographics and
geographies weve not reached well with our
traditional models.
Niko Pfund is President of Oxford University
Press USA.
08/10/2012 23:10
IN COLOUR
Our Lightning Source inkjet technology is now able to
print more on-demand titles than ever before.
POD is now open to a whole new range of colour titles.
Hall 8.0 | Stand M902
ingramcontent.com
11 OCTOBER 2012
Frankfurt offers ebook overviews
hen it launched the

Frankfurt Academy
in 2010, Frankfurt
Book Fair organisers
endeavored to make the
Fairs professional programme and
discourse a year-round affair, from a range
of conferences and events, to a quarterly
journalthe FAQ (Frankfurt Academy
Quarterly), writes Andrew Albanese. With
this years Fair, comes the next step, a set of
ebooks published on a range of hot topics
facing the publishing business. Published in
conjunction with Jouve, a leading provider
of digital ebook solutions, the ebooks are
now available and are downloadable as
ePubs, Kindles or PDFs, for free.
The four ebooks contain some 55 articles
from 50 authors, offering practical input,
inspiration and orientation for publishers
as the publishing business shifts. Our
position in the international publishing
network means that we can bring the
intelligent minds of the industry together
and make their knowledge available to the
world, says Holger Volland, VP Media
Industries at the Frankfurt Book Fair. We
do this through our conferences, as well as
PW - Frankfurt Academy.indd 2
through our publications. These four ebooks

represent a new approach for us. They
provide an excellent overview of the issues
that, in our opinion, will play an important
role in publishing over the next 12 months.
Curious to know why childrens book
sales in the US jumped 275% in 2011? Or,
how game-maker Rovio, the creator of
Angry Birds, generates 30% of its revenue
from merchandising and licensing? Or how
it is most Indian children have little or no
access to digital technology, yet 60% of
international publishing outsourcing is
based in India? Look no further.
The ebooks include:

Innovation & Technology: Featuring 15
international authors, including Anna Lewis
(Valo Box), Huw Alexander (SAGE
Publications) and Ingrid Goldstein (Oxford
University Press), this ebook examines the
innovation and technology driving the
publishing industry, from social media, to
ebook marketing in the US, and more.
Rights & Licensing: With 45 pages of
knowledge from nine international
contributors including Lynette Owen, Paul
Chen (Rovio) and James Kay (Sheridans
Solicitors), this ebook tackles how successful

stories travel to new mediums and markets,
including success stories from film agents,
copyright lawyers and others.
Markets & Trends: As digital gains more
significance around the globe, this highlights
new trends and developments in Brazil,
Russia, India and China (BRIC countries),
with 12 international experts including
Daniel Kalder and Manasi Subramanian.
New Business Models: No question about
it, publishing is changing. This ebook looks
at new start-ups and fan fiction, and offers a
best practices peek at Lonely Planets
transition from classic business to multiplatform innovator. It features 15
international writers including Jesse Potash
(Pubslush), Christian Damke (Skoobe) and
Amma von Veh (Say Books).
The ebooks are part of the Frankfurt Academys
robust programming for the 2012 Frankfurt Book
Fair. Among this years debut sessions are panels
and workshops on metadata, HTML5 and EPUB3,
licensing and merchandising, marketing strategies
and childrens and mediafor more details consult
your programme or the Frankfurt Academy
programme at: www.book-fair.com/fap
08/10/2012 22:51
Accelerate your eBook Business

with your own branded eStore
powered by Qbend
eBook and Print Book Sales

Online Reading
Multi-channel Publishing
Custom Publishing
Consumer Analytics
yOuR eSTORe BuIlT And MAInTAIned fRee Of COST
Todays Presentation
Hot Spot - Professional and Scientific

Information (Hall 4.2, P457)
HALL
4.2
WAlk-In fOR lIve deMO
STAND
N443
11
OCT
15:00
www.qbend.com
11 OCTOBER 2012
The trouble with boys

Jo Henry reports on a study of childrens reading habits in the UK, looking at how much and what they
read, and how this relates to other leisure activities
e all know boys who are

keen readersin fact, Ive
got one myselfbut it
is fair to say that, in
general, boys are much
less interested in books than girls. The real
question iswhy? We can begin to glimpse
some answers to this from a recent study
carried out in both the UK and the US by
Bowker Market Research on behalf of a
consortium of major childrens publishers,
Understanding the Childrens Book
Consumer in the Digital Age. In the UK,
the study asked a representative sample
of parents of children aged nought to 13,
and children themselves aged 14 to 17, a
series of questions around reading and
buying books, and how this related to other
leisure activities.
Reading peaks among 5-7 girls and 8-10 boys

Read themselves DAILY
Read themselves WEEKLY
100%
100%
90%
90%
70%
59
60%
40%
60%
50
41
45
36
40%
39
30%
33
30%
31
28
19
20%
10%
12
3-4
5-7
8-10
11-13
14-17
(compared to 91% of girls) reportedly

reading at least weekly, and more than half
doing so on a daily basis. But when boys hit
secondary school, their propensity to read
daily or even weekly drops dramatically, far
more quickly than that of girls: by 14, only
12% of boys are reading daily (with another
third saying they read on a weekly basis),
compared to 19% of girls who read on a daily
basis (and 52% weekly).
Girls 3-17
100%
80%
80%
60%
60%
Read books
VisitYouTube
40%
Social
websites
20%
20%
Text
0%
0%
% doing weekly
Jo - Boys reading.indd 2
14-17
10%
3-4
5-7
0-2
3-4
5-7
8-10
11-13
14-17
Girls
Boys
40%
20%
0%
0-2
Hobby/
interest
website
52
50%
54
44
Boys 3-17
11-13
61
52
50%
100%
8-10
78
70%
63
Boys and girls both switch from books to new media
5-7
85
88
77
0%
3-4
91
80
80%
80%
Learning to read
There are clearly issues around how quickly
boys in Britain actually learn to read
independently. In the five to seven age group,
45% of boys were reported to be reading for
themselves daily (85% at least weekly),
compared to 63% of girls (with 95% reading
weekly). In addition, only half of the boys in
this age group are being read to daily,
compared to 54% of girls. So their interest in
readingand ability to readis already at a
lower level than that of girls as they enter
primary education.
Interestingly, boys do catch up with girls in
the eight to 10 age group, with 88% of boys
95
8-10
11-13
14-17
A significant proportion17%of
the children in the study were classified
as occasional readers, i.e. they were
reading on less than a weekly basis. Nearly
half of these occasional readers were boys
aged 11 to 17.
The lure of technology

So, what are boys doing instead? As one
might expect, the lure of technology
holds rather more appeal to boys than to
girlsalthough not always. While texting,
social networking, visiting hobby/interest
websites and YouTube all become
increasingly important to boys as they get
older (with more than half of boys aged 11
to 13 engaged in these activities on a
regular basis), they are outgunned on the
texting and social networking front by girls,
with nearly all those aged 14-plus doing
both at least weekly.
However, playing games electronically
is where boys are most likely to be investing
their time: 60% of boys aged five to seven
are reportedly playing on games consoles,
compared to 40% of girls. This activity
peaks for boys at between 11 and 13,
when nearly 90% are playing with game
consoles on at least a weekly basis. Playing
games online and using apps are also
popular activities, with around two-thirds of
boys aged over 11 doing the former, and
around half engaged in the latter on a
regular basis.
Continues on page 16
08/10/2012 23:09
Make Copy Changes While Changing Trains

Catch us at Stand M988
cP
Title Management
MANUSCRIPT TO MARKET
U.S. +1 610-940-1700;
UK +44 (0)1865 261437; Spain +34-607 261 801
www.codeMantra.com info@codeMantra.com
11 OCTOBER 2012
While it is true that boys are more likely

than girls to say that they would rather
do other things than read (peaking at 80%
of boys aged 14-plus), a surprising
number remain relatively positive about the
reading experience: 40% of boys aged 14 to
17 claim to love books, with 20%
admitting to talking about books with their
friends. So perhaps not all is lost if the right
books can be got into their hands in the
right way and offering the right
reading experience.
So, what sort of books do boys
most enjoy, and how does
this differ from what girls are
reading? For those aged under
four, the top genres for both
boys and girls are very similar:
cartoon books, books about
animals, puzzle and quiz books,
traditional fairy stories and
(yes, for boys too!) books about
fairies. The only genre higher up the list for
boys than girls at this age are books
about monsters and beastsand a
fondness for this genre lingers on for boys
aged five to 10 too.
However, by five boys are beginning to
show a preference for non-fiction genres,
something that will continue into adult life,
with men much more likely to buy nonfiction genres than women. For children
aged five to 10, there is only one top six
genre that features for both boys and girls:
jokes/funny books. Those boys who are
reading are now enjoying science and nature
books, annuals and history books, while
retaining their earlier enthusiasm for puzzle/
quiz books. Girls have moved on to enjoy
classic fiction and books about other
children. The divergence among the genres
Ebooks appeal
Does the prospect of digital reading seem
likely to attract more boys into the fold?
Only time will tell, but early indications are
quite encouraging. Although girls are more
likely to have read electronically than boys
or want to if they haventin most age
groups, a significant proportion of boys
either have, or would like to, read
electronically too. This peaks among those
aged five to seven, where nearly eight in 10
are reported as having read or
wanting to read electronically.
In fact, more than 50% of boys
in all age groups (except for
under twos) have or would like
to read ebooks, even those
teenage boys who are so busy
doing other things; and well over
half of those occasional readers
seem likely to be attracted by the
prospect of ebooks.
Perhaps not all is lost if the

right books can be got into
their hands in the right way
and offering the right
reading experience.
enjoyed by the different sexes is maintained
in the 11 to 17 age group, with only two top
genres the same for both boys and girls:
fantasy/adventure and history books. Boys
of this age continue to list joke books and
science/nature books among their top six
genres, adding in general knowledge and
spy books too.
A report on the childrens book market in

the US is available separately from the UK
study. Both offer further insights into
devices, discoverability and channels to
market; more information is available from
james.howitt@bowker.com.
Jo Henry is Director of Bowker Market Research.
Quote
US | India Call: 917.464.3518 (US) Write to us at: sales@ditechps.com Visit: www.ditechps.com

Jo - Boys reading.indd 4
08/10/2012 23:09
11 OCTOBER 2012
A global village
s the worlds biggest book fair

bursts into life for
another year, DK
makes its annual
pilgrimage to Frankfurt, and we
are looking forward to it as much
as we always do, writes John
Duhigg. Here, in no particular
order, are just some of the reasons
why it remains such an important
event in the DK diary.
Frankfurt brings together the
entire publishing world, and this
neatly mirrors how DK
approaches its products and marketsin a thoroughly international way. Our books (and apps
and ebooks) are designed for
readers wherever they may be,
covering a range of subjects broad
enough to suit every taste and age,
and can be localised by regional
publishers without ever losing the
very distinctive DK look and feel
that grabs the readers attention
in the first place. Stroll the cavernous hangers and you cant help
John Duhigg
but be amazed by the sheer diversity of the Fair, with every part of
the globe in attendanceand DK
will be hoping to do business with
many of them.
Although the immediately
recognisable style of DK products
is one of our greatest strengths,
we are continually looking for
new ways to surprise and engage
readers. Frankfurt gives the DK
#-.,#/.#(!
*,)').#(!3)/,
))%-$/-.
'-#,
Use our Digital Comps system to provide
instant, secure access for reviewers,
academics and colleagues. Or experiment
with marketing campaigns and mail-out
vouchers to consumers. With our intuitive
follow-up and feedback tools marketing
your books is a whole lot easier.
Go to www.ebookservices.com,
email info@ebookservices.com, or
visit us for more information at 8.0 R933.
John Duhigg - DK 2
team a unique opportunity to talk

directly to international markets
about our creative vision, sharing
editorial plans for the future,
inviting feedback and thoughts in
a dialogue that is both creatively
and commercially minded. We
always return from the Fair with a
genuine sense of excitement
about our upcoming products,
and a host of new ideas were
impatient to get started on.
Many of us at DK spend a
great deal of time contemplating
the future of publishingand
there is no better place than
Frankfurt for energised, informed
debate about the big questions
the industry faces. What does
the digital revolution really
mean for the kind of content
publishers produce, and the reading experience itself? How do we
compete for peoples attention
in a world with so many new
forms of entertainment?
While we at DK may not know
all the answers, were certainly
enthusiastic about the possibilities. We are fortunate that our
publishing is very much suited to
the world of the tablet and the
App store, and we studiously produce our content so that it has the
flexibility to bring out the best of
different formats and devices.
With 35 multi-touch titles in
the iBookstore that span cookery
to nature, and a plethora of apps
and ebooks that can help a toddler with their first words or
guide a tourist around Manhattan, we have already moved
firmly into the brave new world
of publishing. But Frankfurt provides one of the best platforms for
publishers to collectively gaze
into our crystal balls, and swap
opinion and insight. I think I can
safely state that no-one ever
leaves the Fair without hearing a
thought-provoking view or learning something invaluable.
Similarly, with all the apocalyptic warnings about the end of
the publishing industry, Frankfurt
serves as a timely riposte to those
prophecies of doom. Yes, we face
unprecedented change and structural upheaval, but at Frankfurt,
the focus is all about the opportunities that change presents. There
is bold decision making, innovation, a huge amount of passion
and, crucially, a determination to

respond to the ever changing
demands of readers.
Frankfurt is where we see our
top titles really fly. Its here that
English-language successes begin
their journey to global hits as they
are acquired by partners around
the world. Books we are particularly excited about in 2012
include blue-chip, heavyweight
titles such as Fashion, Craft, The
Economics Book and 20th Century, as well as a swathe of childrens products, including stunning new LEGO books such as
LEGO Friends Brickmaster,
LEGO Star Wars and LEGO
Batman. (In one of those geeky
statistics that we all secretly enjoy,
DK has now sold enough LEGO
pieces with our books for every
person in the US to have at least
three each.)
Frankfurt gives DK an opportune moment to come together as
a company. As well as teams in
London, New York, Indianapolis
and Germany, we have transformed our small office on the
outskirts of New Delhi into a
major publishing hub, and have
dedicated sales teams around the
world. We have deliberately
adopted a global village approach
at DK, with a very clear sense of
shared purpose, and its fantastic
to see so many DK staff in one
place, excited and energised
about our future.
The arrival of the Fair always
represents a good moment to
pause and reflect on the last year.
Coming to the Fair buoyed by
success boosts a companys confidence and were encouraged that
DK has performed so well across
the board in the last 12 months.
Digital sales are growing positively and we have made fantastic
progress in markets such as
Japan, China, Brazil and Mexico.
Our partnerships with some of
the biggest properties and companies in the worldsuch as Star
Wars, LEGO and DC Comicsgo
from strength to strength, and we
have had our first hardback number one bestseller in the UK. Im
cautiously optimistic that we will
feel the same this time next year.
John Duhigg is Chief Executive
Officer of DK.
08/10/2012 23:02
LESEN SIE BEI
SONNENLICHT
ODER IM
COMFORTLIGHT
Kobo Glo rckt eReading in ein vllig neues Licht. Unser innovatives,
einstellbares ComfortLight ist die perfekte Ergnzung zu unserem
hochauflsenden E-Ink-Display. Die Auflsung ist um 28% hher als bei
unserem Kobo Touch, so werden Wrter und Bilder so gestochen scharf
angezeigt, als seien sie auf Papier gedruckt.
EIN eREADER FR
R JEDERMANN
www.kobo.de
BERZEUGEN SIE SICH SELBST IN HALLE 8, STAND G919
11 OCTOBER 2012
Looking for magic doorways
deas for The Secret Keeper began

to percolate years ago, and a halffinished version of chapter one sat in
an old notebook for ages before I
finally started work on the book officially, writes Kate Morton. Id long carried
the stubborn image in my mind of a teenage
girl at the top of a tree on a warm, summer
afternoon, the scene infused with the peculiar potency of its adolescent narrator, and I
knew the idyllic picture would be shattered
by something shockingI just wasnt sure
exactly what. I tried to force that girl into
other books, but she seemed to know better
than I that she didnt belong in those stories.
And then, in 2008, I went to live in
London for three months. London is a
special city for me: there, more than
anywhere else, I feel conscious of the past
brushing against me. Ive always been
fascinated by the Second World War, in
particular life on the Home Front, and I
arranged to meet a guide who walked me
around central London and brought the
Blitz to life. Once I discovered my wartime
character, Dorothy, I finally knew what it
was her daughter would witness on that
summers day, 20 years later
Kate Morton
Plotting is one of my favourite parts of

writing, and the structuring involved in
sleight of handmaking readers feel
comfortable with what seems to be
happening, while ensuring the truth is
hidden in plain sightis a bit like playing an
elaborate game. Writing can be such a
solitary pursuit, but putting the narrative
puzzle together in a way that will be fun for
my reader reminds me that storytelling is, by
its nature, a shared activity. I like that.
The Secret Keeper is certainly my most

complex mystery so far, and there were
periods during its composition when I felt
utterly confuddled and couldnt make the
puzzle pieces fit together, but I am learning
that that is just part of this wonderful,
frustrating, exhilarating book-writing thing.
There were times, too, of enormous thrill:
when things just worked, or really difficult
sections came right.
Most of all, though, this book reminded
me what I love about writing
about storytelling. It reminded me that I
write because Ive always loved disappearing
inside the world of a made-up story. Fiction
is powerful, and it is magical; a strange
alchemy takes place when we read or write,
in which black marks on a white page
become doorways to other places.
Ive been chasing those magic doorways
all my life. Building them for myself
sometimes, too, and then leaving them ajar
so that other like-minded travellers can
follow me through.
Kate Morton will be at Frankfurt to celebrate the
publication of The Secret Keeper, which is
published this month in the UK and US.
bridging the gap... from PDF to ePUB
evolve
Visit us at
R924 Hall 8.0
speed
accuracy
automation
Presentation at the Hotspot Mobile, Hall 6.1 on Oct 12 between 1.15 PM and 1.45 PM
www.newgen.co
Kate Morton.indd 2
08/10/2012 22:59
The trusted U.S. partner for
State-of-the-art,
inkjet-powered,
digital printing
and full-color
offset printing!
Distribution
Visit us at
Hall 8.0 R 905
Printing
eBooks
File conversion,
worldwide
distribution,
and multiple
visibility tools!
Minimize risk and

maximize sales
through our POD
distribution options
globally!
To receive a custom proposal:

Scan the QR code,
call us at 1.419.281.5100,
or visit www.bookmasters.com
for more information.
11 OCTOBER 2012
Making copyright work in a digital age

Olav Stokkmo of IFFRO explains how the proposed Linked Content Coaltion will work, and how
it relies on the use of established and newer identifiers
hen, in 2010,
the European
Commission
called for
Big Ideas
in support of its Digital Agenda,
the European Publishers
Council (EPC) presented a
concept based on the premise
that existing copyright law is fit
for purpose for the digital age;
it just needs to be properly
managed to meet new expectations. That idea has now found a
new form and new supporters in
the shape of the Linked Content
Coalition (LCC).
The aim of the LCC is that
through interoperability, the use
of existing open standards (such
as the International Standard
Text Identifier and the International Standard Name Identifiersee right), and commonality
in the area of rights management, to produce a cross-media
framework for a standardsbased communications infrastructure that will enable businesses and individuals to manage and communicate their
rights more effectively online.
The idea is for an automated
rights clearance system in which
content from all sectors is tagged
and can be identified with a single click. The system would then
allow users to request permission for specific uses and access
the appropriate licences.
The project has attracted
partners from 40 organisations
across the creative/media sector
and has a board consisting
of Axel Springer, EMI Music
Publishing, EPC, Fremantle
Media, the International Federation of the Phonographic Industry (IFPI), the International
Federation of Reproduction
Rights Organisations (IFRRO),
the International DOI Foundation, Microsoft, Pearson and
Reed Elsevier.
It has also been recognised
by the Hooper report as an
important tool in the modernisation of the copyright regime
to meet the digital challenge
(following up on the UK
Olav Stokkmo
Governments Hargreaves
report), which calls for the establishment of an independent
Copyright Hub. Recognising the
In a comment, EPCs Executive

Director Angela Mills Wade
explained: The LCC will provide standard ways to identify
rights, to grant and communicate
information about these rights
throughout our supply chains
and with our end users. In this
way we provide more options,
markets and business opportunities to media and creative industries to expand the European
digital media economywhether
through collective or individual
rights management systems.
Olav Stokkmo is ISNI Chair,
ISTC Treasurer and CEO of
IFRRO.
New kids on the block

he family of international identiers,
which includes ISBNs for books, ISANs for
Audio visual works and ISWCs for musical
works, has got two new members in the last
couple of years: the International StandardText
Identier (ISTC) and International Standard
Name Identier (ISNI).
that wish
to digitalise their collections.They are also the
foundation of the Linked Content Coalition (LCC) and
Rights Data Integration (RDI) programmes, which are
designed to encourage existing standards organisations to work together to create interoperability in
rights management on the internet.
What exactly do ISTCs and ISNIs do?
Who is behind these standards?
Most are familiar with the ISBN to identify the

publication.The ISTC helps link the text to the
different titles and editions, under which it has
been published. Readers can more easily identify
the book they want, publishers and librarians
can manage the publications for which they
are responsible and collective management
organisations the rights they manage.
ISNI identies the name(s) that creators,
publishers, producers and others involved in the
publication process use publicly across the whole
range of creative activities from books and theses,
through lms to music. For creators, an ISNI helps
establish their reputations unambiguously and
enables them to be paid more quickly for more
works and more uses of their works.
ISNIs provide a bridge identier between
proprietary rightholders identier systems and
resource discovery tools such as VIAF. Indeed the
key to the ISNI process is matching against the VIAF
database (the Virtual International Authority File
maintained by 19 major world libraries).
ISNIs and ISTCs are already being used as the
basis of the ARROW (Accessible Registries of Rights
Information and Orphan Works towards Europeana)
project to speed up rights clearance for libraries
Both ISNIs and ISTCs represent an international

consensusas standards of the International
Organisation for Standardisation (ISO)and are
the product of the collaboration of many interests.
IFRRO, the International Confederation of Societies
of Authors, Composers (CISAC) and ProQuest/
Bowker are members of both the ISTC and ISNI
International Agencies.
They are joined in ISTC by Nielsen Book and in
ISNI by an unprecedented coalition of industry
players: the Conference of European National
Librarians (represented by the Bibliothque
Nationale de France and the British Library),
International Performers Database (IPDA) and
OCLC, which is also operating the database.
Olav Stokkmo - LCC and emerging identifiers.indd 2
LCCs aim to develop a common

language and set of communications standards, the report
concludes: We would urge not
only the UK Government, but
also the wide range of organisations operating across the
creative industries in the UK and
in other countries to get engaged
and support the LCC.
The concept will be tested in a
related projectthe Rights Data
Integration (RDI) demonstrator for which LCC partners are
also seeking EC sponsorship. It
is scheduled to start later this
year and run for 18 months. RDI
will build an LCC prototype and
use cases to check that the LCC
is do-able and profitable
across all media sectors.
How do I get an ISTC or ISNI?

Already around 100,000 ISTCs and around 1.2 million
ISNIs have been issued, so many will already have
such identiers. A further 15 million records have
provisional ISNI status awaiting matching.The rst
thing to do is to check, for instance from the ISNI
website, whether an ISNI already exists. If not, ISTCs
and ISNIs are available by contacting a Registration
Agency. Contact details are available on the ISTC
and ISNI websites.
08/10/2012 22:55
Open Access Solutions from CCC
As a publisher, supporting Open Access (OA)

can be challenging.
Copyright Clearance Center can help.
Join publishers already using CCCs RightsLink to:
Provide authors with a convenient, web-based OA fee administration solution
Promote access to OA journal content and adherence to OA policies
Offer customized licensing and purchase options at the publisher, journal or article level
Capture valuable data about the reuse of their OA articles
Learn more at www.copyright.com/openaccess
CCC @ Frankfurt Book Fair

Visit our Booth
Hall 4.2, Stand F410
Book a Meeting
rightsholders@copyright.com
More Information
www.copyright.com/frankfurt
11 OCTOBER 2012
Ahakoa he iti, he pounamu

The headline means, although small it is a treasure; Rachel Buchanan looks at Mori publishing
ori publisher
Robyn Bargh
dreams of a
roomful of
books written
in te reo Mori: graphic novels,
dictionaries, cook books, novels,
poetry, histories, short fiction,
essays, interviews, memoir,
biography, political polemicsthe
lot, writes Rachel Buchanan.
Resting on a pedestal in this
imagined room would be Ng
Waituhi o Rhua, Katerina Te
Heikoko Matairas young adult
science fiction fantasy novel, just
published in Mori by Barghs
Huia Publishers (she is its
co-founder and Managing
Director). Readers who were
unsure of a word or phrase could
consult Tirohia Kimihia, the
first monolingual learner
dictionary in Mori, published
by Huia in 2007.
Robyn Bargh
Rehua
Matairas novel is set on Rhua,
a planet that has become a refuge for survivors of a spaceship
that blasted off from Earth, hit a
meteor then somersaulted into
space. It is a sequel to Te Atea
(Off into Space), an epic, bleakly
Rachel Buchanan - Maori publishing 2
poetic verse novel published, in

Mori, by New Zealands
Department of Education in
1975, and illustrated by artist
and sculptor Para Matchitt.
Rhua is about four teenagers
who raise four hkio (giant mystical birds) and then take flight,
journeying to other parts of the
planet, deciphering hieroglyphics on cave walls and using this
knowledge to appease a tipua
wheke (gargantuan octopus) and
help Turehu, the fair-skinned sea
fairies who have found a way to
get back to Earth.
The author, a leading advocate for the revival of te reo
Mori (the Mori language)
from 1970 onwards, uses the
utopian world of Rhua to teach
young readers about tikanga
(protocol or, literally, correct
behaviour) and to hand on traditional Mori knowledge about
conservation of the environment, sustainable food supply
and relationships.
Mataira died last year as the
book was being edited. Brian
Morris, Huias Mori-language
Publishing Manager, says that
because of the authors passing,
Rhua is likely to be viewed as
an ohk, an enduring legacy
from the author to younger and
future generations of Mori.
Rhua is a model, Morris
says from the front room of the
pioneering publishing companys headquarters in a wooden
Victorian house on Pipitea
Street, Wellington. Its a benchmark for where we want to get
to. Its written in such simple yet
elegant language, he says. Katerina Mataira made a conscious
decision to write stories in Mori
for the younger generations. It
was another way she contributed
to language revitalisation.
She could have easily written in
English for a wider audience, but
she chose not to.
The 379-page novel is one of
fewer than 10 written in te reo
Mori and it illustrates the huge
challenges that face publishers
working with endangered
indigenous languages such as
Mori: finding and fostering
fluent writers; appealing to the

select audience of fluent readers,
especially adult readers; balancing the need for a consistent
orthography with the contemporary Mori quest for tribal
autonomy, including the use of
tribal dialects; and funding.
Maori speakers
About 131,000 people can speak
Mori now, but there has been a
worrying recent decline in
Mori-language acquisition in
children. We dont have enough
books for readers to build up
stamina as readers of fiction in
Mori, says Robyn Bargh, who
this year was named Companion
of the New Zealand Order of
Merit for her services to Mori
language and publishing.
As well as the handful of novels
written in Mori, there are a few
translations of Mori novels written in English, such as the work of
Witi Ihimaera and Patricia Grace.
Keri Hulmes Booker Prizewinning novel The Bone People
has been translatedinto Finnish!
University presses have published
Mori-language academic books
and there are a handful of trade
non-fiction titles too.
Todays Mori language publishing is dominated by government-funded educational publishing to meet the needs of pre-school,
primary and high school Mori
immersion students. A small number of publishers, including Huia,
produce graphic novels readers,
magazines, novels and instructional texts as well as ebooks,
q-books (interactive childrens
books for touch screen devices
such as the iPad and iPhone) and
multimedia material (such as the
DVD that comes with Rhua).
Most books are written for
children or teenagers.
Rich tradition
We are only just starting to
tackle the serious task of recreating the rich literature of our
ancestors, Bargh says. It was an
oral and then written tradition
overflowing with metaphor and
simile, pace and rhythm, symContinues on page 28
08/10/2012 22:49
11 OCTOBER 2012
bolism and repetition, and

plenty of entertaining heroics.
In the 19th century, Mori
writing, composition, reading
and publishing was dynamic. In
1830 European settlers brought
the first printing press to New
Zealand. Missionaries were the
first Mori-language publishers.
They translated and printed
catechisms, hymns and extracts
from the Bible and they
produced dictionaries and
grammars. They also published
an eclectic range of secular texts,
including a manual on beekeeping and translations of
Wilberforce and Daniel Defoe.
Our ancestors were eager,
intelligent readers. Morilanguage editor Jennifer Garlick
and others have argued that it is
possible that about 35 per cent
of Mori were literate, a rate that
matched literacy in European
nations such as France.
In 1859, two young Mori
chiefs visited Austria and the
royal family presented them
with a printing press. The pair
returned to their Waikato home

and in 1862 they began to
publish Te Hokioi, e rere atu na,
the first of many political Morilanguage-only newspapers
published by Mori.
Mori became adept and prolific writers of letters, articles
and histories, but many of the
masterpieces of this
era, such as the writing
of Te Arawa chief
Te Rangikaheke, are
preserved only as
unpublished manuscripts in collecting
libraries or within
families. Or else the
writing appears,
edited, reordered,
bowlderized, in collections of Mori myths and
legends authored by Pakeha
(non-Mori) ethnographers.
Aside from the heroic work of
Sir Apirana Ngata and Pei
Hurinui Jones, whose three-volume collection of tribal songs,
Nga Moteatea, was published
by the New Zealand Polynesian
Society between 1959 and 1970,
Mori publishing withered in

the 20th century. Assimilationist
policies meant children were not
allowed to speak Mori at
school and the language was not
taught either. Mori was still the
first language for many, though,
especially people who grew up in
rural areas. In 1979, there were
64,000 Mori speakers, but most of these
people were over 40.
From the late 1960s
on, Mori thinkers and
activists, such as
author Katerina
Mataira, began to
revitalise the language.
They set up preschools and schools,
trained teachers and
pushed for Mori to become an
official language (which it did in
1987). Mori radio and Mori
TV followed.
Huia was set up 21 years ago
and it initially published works
by Mori in English, but the
demand from teachers in Morilanguage schools drove the company to find Mori-language
writers and editors, as well as

funding to develop a Morilanguage publishing programme. In 2002, Huias Eruera
Mnuera, Te Onehau Phillis
biography of the Ngti Awa
leader, won a special award in
New Zealands National Book
Awards. A Mori-language publishing award has subsequently
been established.
Huia is the only Morilanguage trade publisher in the
world. The company is working
hard to discover and foster new
Mori-language writing talent.
It has a mentoring programme
and the Pikihuia Awards for
Mori writers of short fiction
and short film scripts.
Precious novels such as Rhua
are an invitation for Mori writers and publishers to take flight
and map new worlds in te reo
Mori, the first language of
Aotearoa New Zealand.
Rachel Buchanan is a journalist,
historian, essay writer and short
story writer, widely published in
both in New Zealand and Australia.
JOIN ACADEMICPUB
WHILE THERES STILL ROOM!

FIVE REASONS WHY 150 PUBLISHERS HAVE ALREADY JOINED
No charge to include your content in the AcademicPubTM platform.
All publisher content is protected against unauthorized re-distribution.
Your Publisher brand is always preserved and optimized by AcademicPub.
)LUL[MYVTV\YTHYRL[PUN[V[OLOPNOLYLK\JH[PVUJVTT\UP[`
7\ISPZOLYZZL[YV`HS[`WYPJPUNHUKUVTHYR\WPZHKKLK
Provide educators with the best content for their course packs!
Connect With Us
4PJOHLS*HPYUZ*OPLM9L]LU\L6MJLY(JHKLTPJ7\I
Hall 8.0, booth # R928
Search for AcademicPub
TJHPYUZ'ZOHYLKIVVRJVT
@academicpub
/academicpub
Rachel Buchanan - Maori publishing 4
(908) 938-4889 USA
www.AcademicPub.com
@PERSONANONDATA
08/10/2012 22:50
The Problem:
Millions study English in school, but are uncomfortable using the language in life.
Generations of students say they are bored and have turned away from reading for fun
so they do not expand their vocabulary, reading and comprehension skills.
The Solution:
The L. Ron Hubbard Stories from the Golden Age
Read & Listen Program
READ,
REA
D, LISTEN AND LEARN!
Representing the literary, theatrical and musical works of L. RON HUBBARD
2012 Author Services, Inc. All Rights Reserved.
SEE
US AT HALL 8.0 A926
INFO@ASIRIGHTS.COM WWW.ASIRIGHTS.COM
11 OCTOBER 2012
Reading in the networked world
ecently relinquishing an elegant but

app-deprived
Nokia Symbian
phone, I migrated
to a hand-me-down Android
handset, only to find the complexity of setting up the phone
troubling, writes Peter Brantley.
It wasnt the technical aspects
that were perplexing. Rather,
what took me aback was the
work involved in choosing how
much information-sharing and
synchronisation to permit
between apps, and between
apps and the phoneshould
Google know of my location?
Through GPS, or just Wifi?
Should LinkedIn synchronise
with my contacts? Should I
backup settings to Google or
keep them local? Should I install
an alternative keyboard that
knows my use of language in
social networks, like Twitter?
This new conundrum of sharing also lurks deep in our digital
Peter Brantley
libraries. As I installed Amazons

Kindle app, I considered my
reading parameters. I evaluated
which books I wanted to store
locally, and which I wanted
Amazon to forget that I had ever
(dementedly) purchased;
whether I wanted it to sync reading positions across devices; and
whether I wanted to share my
annotations with others, know-
ing that all of these actions might

affect my Amazon profile and its
recommendations. E-Ink devices
owners wrestle as well with privacy and sharing, but when you
make choices on a smartphone
or tablet, you make them in the
context of a vast array of services
that can readily feast at the table
of your reading offerings.
This embedding of books in a
networked environment is
something we have not seen
before. I can appreciate startups
like MobNotate, for example,
that semantically tag books to
embed links within and between
titles. I might follow the trail of a
character from one David
Downing mystery to another,
for example, and if that trail led
me to a book that I didnt have in
my library, then indeed maybe I
would want to buy or borrow it.
But would I want Amazon to
know what I am interested in,
inside the books whose very
access I have licensed from
Amazon? And more critically,
do I want to share my reading
choices with Google Now,
so Google can alert me that a
4K Ultra HD version of
Casablanca has just come out
in Google Play?
Given how increasingly
pervasive the linkages are
between network services, our
adoption and accommodation
of technology are akin to
walking step by step, into an ever
deepening pool whose bottom
continually recedes beneath us.
Where years ago, each of us
stood among a small circle of
friends and family, now we float
together in a sea of connections.
Our personal libraries, as well,
are beginning to melt away from
their isolation, once one book on
a shelf next to another, now not
only talking to each other, but
becoming part of a larger
network as well. Reading used
to just be reading, but digital
reading is part of a common
network fabric.
Deep sea
This is a deep sea we are now
swimming in. It is not difficult to
imagine Yelp, Google travel
services and my ebook library all
capable of exposing data to each
PeterBrantley - libraries.indd 2
other. The choice to permit each

of these apps to embed itself in
the fabric of my use of another is
made in the context of a dizzying
array of potential ramifications:
sharing my phone contacts with
Google means that Google
Voice can recognise who called
me, and each contacts avatars
might appear in a network of
Goodreads users, whose ratings
might appear in Kobo Books.
Each applications individual
data horizon is short, but the
world keeps going well beyond
its vision. Setting up my Android
phone, the disquieting sensation
I frequently felt was uncertainty:
what will happen when I say
yes to the app knocking on
my door?
Networked selves
In this environment, our
librariesour old conception of
them, at any ratelies in shards,
increasingly ripped apart by
apps that tease out one piece and
then another from our books.
We so often think about the
privacy of what books we buy,
but the important questions now
are much harder, because they
are embedded in the entirety of
our networked selves.
The reality today is that we
must manage something much
larger than our librarieswe
have to manage our entire online
existence. My digital reading is
simply part of that interwoven
fabric. I can learn to ascertain
patterns in that fabric, learn to
anticipate what one application
might want from another, and
not be surprised when data from
one place is shared with another.
And I can train myself to
consider what my digital self
looks like to others. The hard
part is determining when its
worth caring about.
Peter Brantley is a contributing editor at Publishers Weekly, and director of the Internet Archives Bookserver Project, a not-for-profit digital library, and a former director of
the Digital Library Federation. He is
also the founder and moderator of
the Read 2.0 listserv, which brings
together a range of stakeholders and
thinkers in the book business to discuss the issues of the day.
08/10/2012 23:17
IBS Bookmaster
The only integrated business system for
print, POD and digital delivery that includes
Rights, Royalties and Permissions.
For more information contact info@ibs.net
Americas
Oliver Holden
+1 781-929-0205
EMEA
Andy Lancaster
+44 7887-557774
APAC
Paul Nobbs
+61 458-882-024
11 OCTOBER 2012
Second-hand books: the writing on the wall

Jo Henry looks at the impact that growing sales of ebooks is having on the second-hand
book market
t has always been a minor

irritant to publishersand
authors toothat there is a
healthy market in secondhand books on which they
dont make any money. In the
British book industry there was
a bit of a stir some years ago
when Oxfam announced that
they were intending to open
specialist book-only charity
shops, and with 12m-worth of
book-related turnover were one
of the leading booksellers in the
UK. But is the growth of ebooks,
which currently can't be lent or
given away in the UK, changing
this situation?
Books & Consumers, the
book buyer tracking study run
by Bowker Market Research,
now collects data on the secondhand book market in the UK as
well as in the US, where second-
hand book sales have been

tracked for the past four years.
In the UK, 50% of those
buying new books each month
say that they are also buyers of
second-hand books. These
second-hand book buyers are
the keenest of book-lovers: not
only do they buy more new and
second-hand books than
average, they are also more
likely than other book buyers to
obtain books by borrowing
from libraries, and from friends
and relatives too.
Demographically, these
second-hand book buyers are
more likely to be older females,
retired and living in small towns
or rural locations; they are also
more likely to buy their books
from independent bookshops.
While perhaps being rather less
technologically minded (owning
New vs second-hand book share of US consumer

book market, 2010-2012
Second-hand books
Ebooks
New print books
100%
80%
60%
40%
20%
0%
Q1 2010 Q2 2010 Q3 2010 Q4 2010 Q1 2011 Q2 2011 Q3 2011 Q4 2011 Q1 2012 Q2 2012
ordinary phones rather than

smart phones, and desktop PCs
rather than laptops or tablets),
they are as likely as the average
book buyer to own a Kindle and
to have downloaded ebooks
especially free ones. They are
also keen newspaper readers
(particularly the Daily Mail) and
involve themselves in the arts,
being more likely than other
book buyers to go to galleries,
the theatre and music concerts.
Are they also the people who
are providing the stock for
second-hand book sellers? This
is a possibility, given that their
new book purchases are concentrated on adult fiction, especially
paperbacks, and in genres such
data from the comparative US

tracker study shows something
very interesting. In Q1 2010,
with the ebook share of the
market only 4%, second-hand
book purchases accounted for 3
in 10 of all book purchases and
new printed books for twothirds of the book market.
By Q2 2012, the growth of
ebooks has squeezed both of
these sectors significantly. With
ebooks now accounting for
nearly 3 in 10 of all purchases,
new book sales have declined to
less than 50% of the market,
while second-hand book sales
have declined to under a quarter.
So, whether it is because
cheapor even freeebooks
In the UK, 50% of those

buying new books each month
say that they are also buyers of
second-hand books.
as fantasy, thriller, literary and

historicalgenres to be found in
any well-stocked and successful
second-hand book shop. So,
given that they are Kindle owners and downloaders, what
impact may this have on the second-hand book market over the
next few years?
The UK Books & Consumers
has only been monitoring
second-hand book purchasing
since the beginning of 2012, but
Jo - secondhand books.indd 2
are taking up the slack of

second-hand book buying, or
because those impulse purchases
that used to be donated to charity
shops are now being bought as
ebooks, it seems likely that the
second-hand book market will
decline, in the UK as in the US.
But only timeand Books &
Consumerswill tell.
Jo Henry is Director of Bowker
Market Research.
08/10/2012 23:04
www.ipublishcentral.com
Your eBooks
Your Direct Selling Channel
Your iPublishCentral
The Worlds Most Powerful eBook Delivery Platform
Your branded eBookstore | Your customer data | Your mobile app strategy
| Your digital marketing strategy | Your pricing | Your discounts & promotions
| Your institutional market | Your readers | Your customers...
Meet us at Hall 8.0, L988 or at Hall 4.2, P440

to see how iPublishCentral can help you with your eBook strategy.
an Impelsys solution

DIGITAL

NETWORK

IDEAS &

Visit our stand H8.0 H907

BUSINESS
Judith Rosen - Little Brown 175.indd 2
11 OCTOBER 2012
NEW

Little, Brown at 175
ittle, Brown is 175

this year, and it has
published a huge
variety in its history,
writes Judith Rosen.
Looking back at the range of
books that Little, Brown has
published over the past century
and three-quartersliterary fiction, popular fiction, practical
non-fiction history, current
affairs, and memoirs, going back
to the writings of George Washingtonits always cast this very
broad net, says Michael Pietsch,
long-time Executive V-P and
Publisher of Little, Brown, who
will take over the reins of the
Hachette Book Group, of which
Little, Brown is a division, as
CEO in March. Little, Brown
has done it all. Weve published
daring books like Journey to the
End of Night (1932) by LouisFerdinand Cline, memoirs by
the great female dramatist Lillian
Hellman (An Unfinished
Woman: A Memoir, 1969), Pete
Hamill (A Drinking Life, 1993),
Keith Richards (Life, 2010), and
Nelson Mandela (A Long Walk
to Freedom, 1993). Weve
published great useful books
like Fanny Farmers cookbooks
(The Boston Cooking-School
Cook Book, 1896) and the
Stokes bird guides. Were incredibly fortunate to have James Patterson, an author who brings
seven No.1 bestsellers every
year. Thats the happiest dream a
publisher can have. Keeping
Little, Brown fresh hasnt
required much change.
Given that, perhaps no book
encapsulates the 175-yearhistory of Little, Brown better
than Bartletts Familiar Quotations, which has been in print
since the 4th edition of 1859
just a dozen years after it opened
its doors with a list that included
John Adamss letters, as well as
Edward Gibbons The Decline
and Fall of the Roman Empire.
The newest edition, the 18th,
edited by the Library of America
Editor-in-chief Geoffrey
OBrien, exemplifies Little,
Browns sense of history and
innovation, and will be available
as both a book and an app.
Although Bartletts is arguably
Little, Browns it book for the
anniversary, the press is also putting a 175th logo on the spine of

all 2012 releases. Earlier this
year, it launched a social media
campaign with giveaways and
contests, and created a booklet
with a timeline of notable books
and events.
Pietsch declined to choose
favorites among all the books he
has worked on during his twodecade career at Little, Brown;
he is enthusiastic about them all.
Instead he agreed to single out
four key publishing moments in
his career. One was when Little, Brown published Alice
Sebolds amazing The Lovely
Bones (2002), and I got to feel
how powerful it is when the
whole world embraces a novel,
he says. Two, The Historian
(2005) by Elizabeth Kostova,
the first time a debut novel hit
the New York Times list at No.1
the first week it was on sale,
showed the power of web-based
marketing. Three, feeling the
universal affection for Keith
Richardss Life, the bestselling
musical biography of all times.
And four, working with David
Foster Wallace on his monumental novel Infinite Jest was
the most joyous editorial
engagement Ive ever been privileged to have.
To be viable in 2012 every
publisher must look forward,
even while casting a backward
glance. At Frankfurt, Little,
Brown is bringing a strong selection of fiction, ranging from
Mary Simsess Irresistible Blueberry Bakeshop and Caf
(licensed in the UK, Italy, Germany and Brazil) to Nick Toschess Me and the Devil (licensed
in France) and Peggy Rileys
Amity and Sorrow (licensed in
the UK, Holland and France).
The Mulholland list has two
standout fiction titles: Warren
Elliss Gun Machine (licensed in
Italy, Germany, France and
Poland) and David Morrells
Murder as a Fine Art (licensed in
Italy, Poland, Czech and Russia). On the non-fiction side, two
works have been garnering
attention: Jake Tappers The
Outpost and Alex Pangs The
Distraction Addiction (licensed
in Holland).
08/10/2012 23:01
ISBN: 978-0-9843081-2-5
ISBN: 978-0-9843081-4-9
ISBN: 978-0-9843081-9-4
ISBN: 978-1-936332-22-9
ISBN: 978-0-9843081-5-6
ISBN: 978-1-936332-98-4
ISBN: 978-0-9843081-1-8
ISBN: 978-1-936332-76-2
ISBN: 978-1-936332-78-6
ISBN 978-1-936332-67-0
BETTIE YOUNGS BOOK PUBLISHERS

We specialize in DAZZLING memoirs with
an international flair and bringing
these significant works to film
ISBN: 978-0-9882848-0-7
ISBN: 978-1-936332-46-5
ISBN: 978-1-936332-05-2
ISBN: 978-0-9882848-2-1
ISBN 978-1-936332-37-3
ISBN: 978-1-936332-00-7
Bettie Youngs Book Publishers Global Distribution Foreign Rights Subsidiary Rights
Motion Picture Rights Distributed to the trade by Baker & Taylor
www.BettieYoungsBooks.com Info@BettieYoungsBooks.com
For a catalogue and to see more of our titles, visit our foreign rights agent:
Sylvia Hayse, Hall 8 R956, call 541-347-7145 (US), or email hayses@caat.com
11 OCTOBER 2012
Where Middle Earth was brought to life

Lenny Picker surveys the strong fantasy and science fiction titles coming from New Zealands authors
having already gained acclaim in
the US, and a history in the genre
going back to the late 19th
centuryincluding perhaps the
highest-ranking government
official anywhere to write such
fiction (of which, more later).
Unsurprisingly, Tolkien was a
profound influence for Philippa
Ballentine, whose father read
her The Lord of the Rings at
bedtime when she was only
eight. Ace has just released
Wrayth, the third in Ballantines
Book of the Order series, which
centres on the Order of the
Deacons, who protect their
empires residents against
demonic possession.
Ballentines books have been
praised for their emotional intelligence and subtle approach to
world-building. She shifted
gears effortlessly in another
series, co-authored with
ISBN 9780757317309
efore Peter Jackson,

few would have
associated New Zealand with fantasy fiction. But Jacksons
Oscar-winning adaptations of
Tolkiens seminal The Lord of
the Rings trilogy, filmed in
Matamata (the stand-in for
Hobbiton) and Mount Ruapehu
(Mount Doom), among others,
forged that link, a link that will
only be strengthened by the
directors return to that world
this December. Just three
months after New Zealands
stint as the Guest of Honour at
the Frankfurt Book Fair, the first
of three movies based on Tolkiens prequel, The Hobbit, will
hit movie theatres around the
globe. But theres more that
New Zealand has to offer fans of
science fiction and epic fantasy,
with several native authors
Millions of people
appear to be living normal
lives, yet they are secretly
numbing their emotional
pain with alcohol, drugs,
food, and many other
lifestyle addictions.
The good news is that

there is hope. Believable Hope.
Discover a World of Knowledge and Passion!
Learn more at
www.hcibooks.com
Lenny Picker - NZ sci fi.indd 2
husband Tee Morris, about

the Ministry of Peculiar Occurrences, a London-based secret
agency whose motto, concealed by the shadows, against
the fury, reflects its mission to
protect the British Empire from
of Need, was published by

Berkely in May.
For three years in a row, from
2008 to 2010, geographer Russell Kirkpatrick, published in the
US by Orbit, has won the Sir
Julius Vogel Award for best
International awareness
of what New Zealand science
fiction and fantasy authors
have to offer could get a
bump from the Fair.
paranormal threats. Harper

Voyager released the latest Ministry of Peculiar Occurrences
novel, The Janus Affair, in May.
And, impressively, she has created a third world in her Shifted
World fantasy series, which
debuted in June, with Hunter
and Fox from Pyr. There, the
shifting is literal, with geological
formations such as mountains
changing shape to become bodies of water or flatland.
Harper Voyager has also
brought kiwi Helen Lowe to
American audiences. Two of her
The Wall of Night books have
appeared so far, with the debut,
2011s Heir of Night, the winner
of the David Gemmell Morningstar Award for Best Fantasy
Newcomer. Lowe has linked her
being a New Zealander with her
choice of fictional subject-matter. Given that her country is so
far away from the worlds biggest urban centres, her compatriots have two fundamental
choices: to turn inward, or to
look outward to the larger
world. Epic fantasy, she has
written, allows its readers one of
those choices, the chance to
look beyond ourselves, outward
to a wider world, and to events
and issues that take us beyond
the everyday.
Paranormal romance fans
may have already encountered
New York Times bestselling
writer and New Zealand
resident Nalini Singh; her latest
Psy/Changeling novel, Tangle
adult novel. The Awards are

named after New Zealands
eighth Prime Minister, a man
widely credited with writing the
countrys first science fiction
novel, 1889s Anno Domini
2000: A Womans Destiny.
Vogels book, set in New Zealand, imagined a future in which
women would hold many positions of authority. Kirkpatricks
honours came for his Husk trilogy, his second series, which
continued the story introduced
in his Fire of Heaven books, and
which has been compared
favourably with George R R
Martins A Song of Ice and Fire.
As with other genres,
international awareness of what
New Zealand science fiction and
fantasy authors have to offer
could get a bump from that
countrys place at the centre of
the Frankfurt Book Fair, and
result in American book deals
for those not yet published in the
US. While the nature of fantasy
writing makes it hard, if not
impossible, to link an authors
country specifically with his or
her fiction, the hunger for
imaginative world-building
means that an audience for highquality speculative fiction can
always be found. Welcome news
for those following in the
footsteps of Ballantine, Lowe,
Singh and Kirkpatrick.
Lenny Picker is a regular contributor
to Publishers Weekly, based in New
York City.
08/10/2012 22:57
11 OCTOBER 2012
New ways to reach people
s the publishing
world picks its way
through one of the
more challenging
economies in
recent memory, we are also struggling with the way technology is
changing how readers find our
booksand Im not just talking
about ebooks versus print books,
writes Rachel Zugschwert. The
very nature of the way readers
learn about books, and the process they use to determine what to
buy, has changed, and publishers
are trying to identify ways to get
ahead of the curve and stay there.
As a distributor, Consortium
has both a wide and a narrow
angle on the discovery problem.
We are able to learn from the
plethora of creative marketing
ideas that our publishers are
employing, but we suffer from a
lack of recognition by the reading
public as to who we are and what
we doif readers dont recognise a
publishers name, you can be sure
they dont recognise a distributors. Nonetheless, were throwing the metaphorical spaghetti
against the wall to see what sticks.
Twitter
Twitter has been proclaimed the
best social networking tool for
recommending books by experts
at every book show since 2008.
While that may be true, the statistics for book purchases resulting from Twitter activity are
slim to none. So what do we do
with Twitter if we dont know
that it works?
We are trying a number of different things, but most notable
are our weekly #indieview book
chats. Open to anyone interested
in publishing (especially independent publishing), we discuss topics ranging from poetry to marketing tools to whats coming out
in the next few months. Our chat
attendees include publishers
(both those we distribute and
those we dont), bloggers, authors
Rosemont College
invites you to learn about the
changing world of ePublishing
from the comforts of your home or
ofce anywhere in the world.
and other people in various facets

of the publishing industry. We
frequently wind up making book
recommendations to one
another, and we are making great
connections with others facing
the same challenges.
Goodreads
Goodreads broke the 10 million
users mark in August, which is a
strong recommendation for the
community of book lovers it has
been able to build. When people
gather to talk about books, there
is a great opportunity for books to
be discovered but how?
Goodreads offers many more
tools to publishers than simply
dividing books into read and
to-read lists. Giveaways,
advertising and official author
pages offer opportunities for
publishers to promote their
upcoming titles to a targeted
group of readers.
What is most interesting, however, is the use of discussions and
groups on Goodreads. More
interactive than a simple rating
and review, both groups and
discussions allow entire book
club meetings to take place
online; can host author
interviews/Q&As; and can connect readers with publishers,
authors and one another. Such
an opportunity for conversation
and discovery surrounding
books is rare online, and publishers should put greater focus on
spending time where dedicated
readers are already gathering.
Bloggers
In as little as 21 weeks
(three 7 week sessions),
you can earn your graduate
OHYHOFHUWLFDWH
Five classes cover

all areas of ePublishing:
Introduction to ePublishing
(pre-requisite for other classes)
Content Creation for New Media
Design for New Media
Marketing the New Media
Sales & Distribution for New Media
For more information and

admissions criteria:
ZZZURVHPRQWFROOHJHHGX
rosemont college schools of graduate and professional studies
Rachel Zugschwert - Consortium Discovery.indd 2
Bloggers became the darlings of

publicists well before BookExpo
purchased the Book Blogger Convention earlier this year. Generally prolific readers, who blog for
fun and no profit, bloggers are
becoming more and more crucial
to the lifetime sales of a book.
Their posts help to make a book
visible in basic search engine
searches; their reviews and links
to purchase can help drive an
authors visibility and help him or
her gain more direct fans. Bloggers provide authors with a number of opportunities to do free, or
near-free, promotion: interviews,
Q&As, guest blogging, book club
appearances and giveaways.
Bookslinger
One of the categories of books
that is always been more difficult to discover is short fiction.
At Consortium, we decided to
approach the issue of short story
discovery from a different angle
a mobile one. When people are
waiting in a queue or in a doctors waiting room, they may not
necessarily have a book with
them, but they have time to read,
and they probably have their
phone with them. We created an
iOS (Apple operating system)
application called Bookslinger,
which sends new short stories to
the userss device on a weekly
basis all for free. The stories are
all published in books that are
available as both print books
and ebooks by our publishers, so
if the reader is interested, they
can get more from the author
with just a few clicks of a button.
With stories ranging from bigname authors such as Ry Cooder
and Holly Black to unknowns,
theres something in Bookslinger
for every reader.
The future
While it appears that the physical
bricks and mortar bookstore is
still the best way, for now, for
readers to discover new books to
read, publishers should be continuing to explore the digital universe for opportunities to get
their books in front of people
searching for the next book to
read. And not just for new books;
frequently backlist books are a
rich source of opportunity for
online discovery, as there is
potentially some name recognition among readers, room to
play with ebook pricing, and
news hooks to hang an older
book on. A book is always
new to the person who has just
discovered it for the first time.
As the tradition of browsing in
a bookstore and picking up anything with an interesting cover
dwindles, it is imperative that we
find new ways to reach people
where they are and help them
learn about what publishers
have to offer.
Rachel Zugschwert is the Marketing
Manager for Consortium Book Sales
& Distribution.
08/10/2012 22:48
one man volunteered

for Auschwitz, and
now we have his story.
Unpublishable for
decades in Communist
Poland and now
translated into english.
A HIstorICAl doCUment
of tHe greAtest
ImPortAnCe.
ThE NEw York TimES
COULD
his repOrt have
ChaNGeD
histOrY?
Vibrant with fresh perspectives.

As we turn his pages we
unforgettably commune with
the voice of courage.
It Is An extrAordInAry book.
Martin Amis, bestselling author of
Times Arrow and Lionel Asbo: State of England
First time in english!

the secret undercover
mission at Auschwitz
essentIAl reAdIng for anyone

interested in the Holocaust.
Rabbi Michael Schudrich,
Chief Rabbi of Poland
Visit us at:
National Book Network,
www.nbnbooks.com
Hall 8, Booth E954
and
Independent Book Publishers Association,
Hall 8, Booth K913
Watch the trailer on YouTube!

The Auschwitz Volunteer:
Beyond Bravery
11 OCTOBER 2012
A cloud or two can't stop the picnic

Karen Lotz explains the ethos of the Walker Books Group, and how this has helped make it an
international success
avid Lloyd,
Founding Editor
of Walker Books,
often likes stories
that end with a
picnic. I havent done any formal
statistics on the number of titles
he has touched during his distinguished career that feature some
kind of picnic, feast or party, but
Ill bet it would be an impressive
proportion. And why is this?
Why do we associate these
things togetherchildren, reading, books and eating?
Its not just at Walker. The
current motto of the American
Booksellers Association for
Children is: Snack, Nap,
Read (a junior version of its
adult motto: Eat, Sleep,
Read). Muse about nearly any
work for children that has lasted
a century or more, and youll see
Karen Lotz
images of a table laden with

food, and some kind of good
time being had around it. As far
as contemporary classics go
same, same. Think of the feasts
that appear in the dining hall at
Hogwarts. Even the Cornucopia
at the centre of the Hunger
Games (note: Hunger
Games) is a resonant, dystopian
flip of this trope.
Perhaps this is
because books, like
food, are essential to
what we consider the
good lifeand to community. We have to
ingest them by ourselves; no one else can
do it for us, but everything tastes better once
the experience is shared
with others. A picture
book on the lap, or an
iPad propped on the restaurant
tableboth enjoyable. This of
course is easier to discover
when youre lucky enough to be
born where the good life is a
real possibility.
But even when you are not,
there is the truism that books
founding visionary of Walker

Books, Sebastian Walker, to
launch an American branch.
The peripatetic Wally of
Martin Handfords Wheres
Wally?, who just turned 25; a
young mouse named Maisy,
created by Lucy Cousins; and
the beautifully hypnotic Were
Going on a Bear Hunt by
Michael Rosen and Helen
Oxenbury, all helped Walker
establish itself in the
Antipodes, where we now
proudly sell the rights of a third
home-grown publishing list.
We will be celebrating the 20th
anniversary of Walker Books
Australia in 2013.
What unites all three companies uniquely is the fact that we
What weaves all of these

togetherauthors, readers,
apps, artists, ebooks, multimedia and imaginationis story.
are employee-owned, and that

can save liveseven create lives
best of all, our long-standing
by providing an alternative to
authors and illustrators can be
real existence. Books can give
invited to join that pool of ownhope, inspiration, and, most
ers. At Walker, we remember
importantly, a sense of virtual
that its the creators of story who
community. It is very possible
that the book where you
discover your own community wont even
come from your countryit may come to you
from the other side of
the world. Books and
food are two of the
great global uniters.
And this is all as true
when we are children as
when we are adults.
Candlewick Press, a John Klassen
company born from the
get the whole picnic rolling. And
act of selling rights and co-edithat is also true of our newest
tions, is 20 years old this year.
enterprise, Walker Productions,
Thanks to the prowess of Walkled by Helen McAleer, who
ers international rights team,
helps talented bookmakers find
which has been ably led for so
the opportunity to bring their
long by Caroline Muir, enough
characters to life in new ways
books and characters went from
and placessuch as Polly Dunreader to reader around the
Continues on page 42
world to realise the dream of the
Karen Lotz - Walker.indd 2
08/10/2012 23:00
e
Tools of Chang
for Publishing
Content
:
k
o
o
B
Marketing
s
t
s
ri
tu
u
F
A
Every Boopk Manifesto
Is a Startu
e
Tools of Chang
for Publishing
e Guide to
The DefinitivContent an
ur
Making Yo rketing Tool
Effective Ma
siness
The New Bu
ing
of Publish
ersten
Todd Satt
of Essays
A Collectionding Edge
ee
from the Blof Publishing
Hugh McG
uire
ary
& Brian OLe
J. S. McDoug
all
Connect with
the people
inventing
the future
of publishing.
OReilly Tools of Change delivers
a deft mix of the practical and the
visionary, giving you the tools and
guidance you need to succeedand the
inspiration to lead changein the
publishing industry.
Visit toc.oreilly.com today for:
Free weekly newsletters
News & commentary

Free reports
Free webcasts & podcasts
Events & conferences
Books
Videos
2012 OReilly Media, Inc. OReilly logo is a registered trademark of OReilly Media, Inc. 12854
11 OCTOBER 2012
Discover the worlds largest book fair

with Publishers Weekly in Frankfurt!
FREE Access to our digital App.
OCTOBER 10 - 13, 2012
bars freshly debuted television

series Tilly and Friends.
Candlewick is enjoying its
near-majority age by kicking off
a year-long video celebration of
picture books (you can join in at
www.readingstartshere.com),
and this years US rights
offerings include new works
from long-time owner-partners
such as Paul Flesichman and
Kate DiCamillo, as well as
Kate DiCamillo
{ }
During the Frankfurt Book Fair
PW Show Daily offers
FREE
access to our digital editions,

available on all devices. Scan the
QR code and get all the latest news
directly from the show floor.
For additional coverage
on the publishing industry visit
publishersweekly.com
bookbrunchco.uk
Karen Lotz - Walker.indd 4
recognise all of these people as

equal partners, and all have a
place at the proverbial table.
So many forces have put pressure on our industry in the past
few years. The feeling that storm
clouds are gathering is hard to
shake; if winds are too strong,
publishing life as we know it will
literally be blown apart. Thats
dire. When I find it easiest to forget all that is when I walk up to a
table where an author, illustrator, editor and art director are
communing over a feast
of new sketcheslike as
not with a design technician by their side; or
when Walker Group
Production Director
Alan Lee hands over an
advance copy of the latest soon-to-be-blockbuster, hot and beautiful
off the press. And Id feel
the same rush if I powered up a reader to
find our title promoted
in ebook on the front page.
What we think at all the
Walker Books companies is that
a cloud or two in the sky cant
stop the picnic. If we keep doing
our best to feed the souls and
minds of young readers with the
very best books we can, we can
trust to the global gods of Feast
and Famine that everything else
will take care of itself.
What is one of the things
Walker UK is most famous for?
Serving lunch! However all this
adds up. I know for myself that
every day when I come into
work, I have a very lucky feeling
that Im in the right place at the
right time. Pass the sandwiches,
please!
newer community members

such as Jon Klassen, of I Want
My Hat Back fame (whose
protagonists may or may not be
eaten, in another twist on the
picnic theme).
Although our whole group of
companies takes pride in being
able to create products beautifully and well in many forms,
and we have a strong desire to
play with every form of storytelling out there, the logical extension of a book is not actually a
television show or an app. The
logical extension of a book is a
reader. And where a book really
lives is not on a shelf or a device,
but in the imagination. What
weaves all of these together
authors, readers, apps, artists,
Karen Lotz is President and
ebooks, multimedia and imagiPublisher of Candlewick Press and
nationis story.
Managing Director of the Walker
And what puts power behind
Books Group.
the story are people: most
importantly authors
and illustrators, but
also editors and
designers; finance,
production and
operations staff; and
rights, sales and
marketing staff. These
days, information and
graphics technology
specialists are hugely
important in telling the
story. At the Walker
B o o k s G r o u p , w e Lucy Cousins
08/10/2012 23:00
FROM ONE TO MANY

The Publishing Lab
Comprehensive, Innovative Solutions
for Publishers
Cenveo Publisher Services has created
a global technology team to help
publishers develop and integrate
production solutions across multiple
delivery platforms.
The Publishing Lab offers an existing
portfolio of tools as well as custom
solutions that provide publishers the
opportunity to improve quality, expedite
the publishing process and reduce costs.
THE
FUTURE
We can help you with:

Simultaneous production solutions
for print and eDeliverables
eLearning production services
Enhanced editing tools, automated
workflows
New media solutions (including HTML5
and other applications)
Visit Cenveo Publisher Services

at the Frankfurt Book Fair, Booth K904 Hall 8.0.
Cenveo Publisher Services is a global publishing partner that combines the technology, experience and endto-end support of Cadmus Communications, KGL, Glyph International and Nesbitt Graphics.
For more information, contact solutions@cenveo.com
www.cenveo.com
CVO PS_PW Frankfurt SD Ad_1012_2.indd 1
2012 Cenveo. All rights reserved.
10/1/12 3:53 PM
11 OCTOBER 2012
And the winner is

Andrew Albanese talks to John Jenkins about the surge in popularity of the AAP's PROSE Awards
for Scholarly and Professional Publishing
he Professional and Scholarly

Publishing division of the
Association of American
Publishers Awards for
Professional and Scholarly
Excellence (PROSE) are now in their 37th
year, but like the industry itself, the last few
years have seen an amazing amount of
change. The awards have seen a massive
spike in submissions, and the reach of the
awards has never been greater, with an
expansion of award categories.
Only one PROSE prizewinner, however,
will take home the prestigious R R Hawkins
Award, which recognises the best scholarly
work in all disciplines of the humanities
and sciences. We caught up with PROSE
Awards Chairman John Jenkins to talk
about the awards.
AA: We talk a lot about creative

destruction in digital publishing, but
when it comes to the AAPs Prose Awards,
there seems to be more creative
happening, than destruction. Can you
talk about the surge in popularity the awards
are experiencing?
JJ: PROSE entries have doubled in the past
four years, so the awards programme now is
a real promotional force in helping
publishers gain recognition for their best
work. Creative destruction certainly is an
apt way to describe whats happening in the
industry right now; the future is digital,
business models are changing rapidly, and
the savviest publishers among us are riding
that trend, seeking to disrupt established
markets. But I think that creative
destruction is much more about how our
content is packaged and delivered.
Fundamentally, publishers still need to draw
attention to the great content they create,
and to the innovative ways that their content
is packageddigitally and otherwise. And
the PROSE Awards have really become a
showcase for publishers. An award from
ones peers is just such a huge honour, and
weve seen how that can spike sales.
AA: Talk a little about how the Awards

changed over the last digital decade,
and what hasnt changed. For example,
judging, the submissions process,
publicity opportunities?
JJ: The big changes have really come in
the last four or five years. Probably the
only thing that hasnt changed is the way
we judge. All the judges gather for two
early-January days in New York. We
discuss and decide each category as a
Andrew - Prose award John Jenkins.indd 2
John Jenkins prepares for the filming and webcast of the 2011 PROSE Awards luncheon
group, with the subject experts leading

the various discussions. There are 15 of
us and its a grueling but very satisfying
two days.
Everything else about PROSE is new and
continues to evolve, and the changes really
do mirror the creative change in our
industry. For example, we now promote the
awards and the winners through Twitter,
Facebook, LinkedIn and via our own
website (www.proseawards.com). Last year
we had our first live webcast of the event,
which was watched live all over the world,
and for the past four years the entire event
has been archived and viewable later on
YouTube. Also, for each of the past four
years, weve produced a short behind-thescenes filmeach one months in the making
that premieres at the PROSE event in
February. Our most recent film featured the
winner of the prior years Hawkins Award
(our top prize), Yale University Press, for the
Atlas of the Transatlantic Slave Trade by
David Eltis and David Richardson. That film
is actually making the rounds in various film
festivals now.
AA: Any trends youve noticed? For

example, are digital products supplanting
print in submissions, and are new digital
products at an advantage?
JJ: The proportion of digital has been pretty
much the same in recent years, about 10 to
20% of total entries. I think the number of
digital entries, and the very high qualify of
most of them, reflects the time it takes for a
professional or scholarly publisher to get
these sophisticated products out the door.
We expect to see the digital pace accelerate, and that would be a welcome trend for
our industry, I think. The digital products
are judged in their own categories, but they
also compete with the print products in subject-matter categories. A couple of years ago,
we awarded the Hawkins Award to a digital
product. Well no doubt see more such

winners as the market continues to evolve.
AA: If the awards are given regardless of

format, how do the judges handle comparing
digital and print products? Does the format
fundamentally influence the way a resource
is experienced and judged?
JJ: Were looking for winners that are truly
unique, or that break significant new
ground, or that represent a lifes work.
Thats true regardless of whether the product
is printed or digital.
AA: You mention the Hawkins award, and

a few years ago, you did a short film about
R R Hawkins and it is a fascinating tale.
Who was he, and how did he get his name on
the big prize?
JJ: When I became chairman of the
PROSE Awards a few years ago, finding
out more about R R Hawkins was something I very much wanted to do. But the
institutional history had been lost and
we actually didnt know much about him
at all, except that he had been the Chief
of the Science and Technology Division
of the New York Public Library. So, we
hired an investigator, and now you can
go to our website and read all about him
(we actually have a section titled Who is
R R Hawkins?) and, as you note, we made
a short film about him.
It turns out he had a dedication and passion
for scholarly and professional publishing that
makes him the ideal person to have the highest
honour in our industry named for him. But,
he was also a very private man. Even though
he had this great prize named in his honour,
he never attended the Awards ceremony.
When I came in as Chairman, the first thing
I did was to invite his family to attend, and
it was a huge reunion for them, a great
moment, and very touching. And, you can
watch it on YouTube!
08/10/2012 23:10
11 OCTOBER 2012
Open access or open season?
he Open Access movement

was born in 2004, writes
Linda Bennett. The rationale
behind it is described, rather
grandly, on the homepage of
the Budapest Open Access initiative:
Removing access barriers to literature
will accelerate research, enrich education,
share the learning of the rich with the
poor and the poor with the rich, make this
literature as useful as it can be, and
lay the foundation for uniting
humanity in a common intellectual
conversation and quest for knowledge.
(www.soros.org/openaccess/read). I believe
that Open Access undermines one of the
chief principles of copyrightthat the author
should be able to expect fair remuneration in
return for his or her workand seeks to
minimise the role of the publisher in the
commissioning, production and
dissemination of scholarly articles.
The first part of this argument has
ostensibly been made tenable by the fact that
most academic authors do not receive
payment for the work that they publish in
learned journals. Historically, the quality
and quantity of an academics article output
have been key counters in securing his or her
career progression, and this of itself has been
considered sufficient reward. Academics
main preoccupations have therefore been
with speed of publication (to get in first with
new research) and authentication
(principally established via the peer review
process). These key success drivers, along
with many other features, have been
supplied by the publisher. In turn the
publisher has gained remuneration by selling
learned journals worldwide to libraries, and
to some individuals.
Business models
Publishers have traditionally employed a
variety of business models, the most
common (and arguably most lucrative) of
which is access via renewable institutional
subscription. As almost all journals have
become available electronically, libraries
have also been able to take advantage of the
big deals offered by subscription agents
and very large publishers. These involve the
licensing of large packages of journals
under a single subscription.
How does Open Access change this? At
the start, the Open Access movement itself
identified two alternative business models
dubbed respectively Green O/A and
Gold O/A. The original Green model
involved the deposit of manuscripts that
have been accepted by the publisher (peerreviewed, but not published) into libraries
institutional repositories so that they could
then be accessed free of charge.
Linda Bennett - Open Access.indd 2
The Gold (author Subscriptions:

Subscriptions:
pays) model required Scientic,Technical and
Arts, Humanities and Social
the authoror more Medical Journals
Sciences Journals
usually his/her
institutionto pay for
the article to be
Would
Would
published, so that it
continue
continue
could be made available
42%
34%
Would
Would
35%
free of charge to readers.
56%
cancel
cancel
A great deal has been
Would cancel
Would cancel
10%
23%
written about the Green
some journals
some journals
and Gold O/A models,
and it is impossible even
to begin to summarise it Findings of research into the potential effect of making journals free
here, but one point must after a six-month embargo
be emphasised: the Gold
purposes. Given that, according the
model is free only at the point of use. It
Publishers Association, UK academic
requires very substantial funding; the most
publishers generate more than 1bn
successful and well-known Gold O/A sites
revenues annually, of which 80% derives
have been underpinned by millions of
from overseas subscriptions and licences,
pounds of philanthropic investment, for
this is somewhat suprising.
example, from the Wellcome Trust. In other
The burning question for publishers is
words, there is no such thing as a free read.
how this greater open access might be
By 2011, most publishers had come to
achieved without causing the collapse of the
terms with offering Green and/or Gold access
publishing industry. One of the options
to at least some of their journals. They were
considered by the Finch committee was the
also acutely aware of the need to keep on
mandatory across-the-board introduction of
reinventing pricing models as the environment
the Green Delayed Access model after a sixwithin which they operated changed. They
month embargo, regardless of the discipline
might well have succeeded in spontaneously
served by the journal or its estimated halfeffecting the necessary changes if they had not
life. The Publishers Association and the
suddenly been put under pressure from a
Association of Learned, Professional and
number of different quarters.
Society Publishers together commissioned a
Changing environment
piece of work to try to ascertain what the
Firstly, and in part because of increased
likely effect of this would be on academic
undergraduate fees, universities avowed
journals subscriptions (available at www.
priorities have changed. Students are now
publishingresearch.net); its headline
at the heart of the system. While
findings are displayed in the graphs.
publishing research papers still constitutes a
The Finch committee took on board these
key element of academic distinction, the
findings and other evidence about the likely
institutions ability to provide fine teaching
economic effects of various types of Open
and a congenial student environment now
Access. It concluded that funding should be
counts for more than it ever has in the past.
found to support Gold Open Access, and
Secondly, library budgets have been
also that learned journal articles should be
squeezed. And because of the cuts, and
made available free of charge to everyone in
because librarians and academics now prefer
the UK via the public library service.
to have more targeted collections than the
For many publishers, the Finch
eat-all-you-can opportunities provided by
recommendations represent a welcome and
the big deal, the blockbuster subscription
reasonable interim measure. However, the
model is falling out of favour.
issue of how to accommodate Open Access
Finally, the present government has taken
and develop viable business models in the
an acute interest both in copyright law and
wider (international) context still has to be
the business of journals publishing, with
addressed. Whether the publishing industry
their Hargreaves Review of Intellectual
continues to offer high quality academic
Property in 2011 and the Finch report on
publications, either provided free at the
Expanding Access to Journals Articles in
point of use or paid for, depends on the
2012. Although the Finch Report was not
financial health of that industry itself. The
hostile to publishers, one of its findingsan
alternative will be to rely on information
echo of the Budapest initiativeis that:
free-fall via the internet.
Support for Open Access publication
Linda Bennett is the Founder of Gold Leaf and the
should be accompanied by policies to
Chair of Research for the Association of Learned,
minimise restrictions on the rights of use and
Professional and Society Publishers.
re-use, especially for non-commercial
08/10/2012 22:56

Frankfurt Show Daily, Day 2, October 11, 2012

Загружено:

Сведения о документе

Исходное описание:

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Frankfurt Show Daily, Day 2, October 11, 2012

Загружено:

Авторское право:

Доступные форматы

Frankfurt

CEO panelLessons learned

ublishers had failed to

that publishing has adapted

chase. Thats an awful lot for a

NBA shortlistsindies do well

he 20 finalists for the

Award Winner, three

Visit us at The Perseus Books Group stand G903 of hall 8.0

FRANKFURT SHOW DAILY

Bodies (Southern Illinois

Young Peoples Literature

Tallack takes pre-empt in Ananthaswamy book

eter Tallack has accepted

the Science Factory by the

To contact Frankfurt Show Daily at

Reporting for Publishers Weekly by

To subscribe to Publishers Weekly, call 800-278-2991

Ananthaswamys book sets out

FRANKFURT SHOW DAILY

The German ebook market is

tional array of book publishers.

Collins extends Big Cat series

CCC launches tool for Open

The Copyright Clearance Center this week announced the launch of

espite the revenue-raising imperatives of the

justified because they help

The Rowman & Littlefield Publishing Group

the obama Question

inside the movement fighting

Digging through history

inside the science of gender

inside the world of first century fAre,

ArchAeology And religion from AtlAntis to

A fresh look At the evidence by A former

european Directors anD

DONT FORGET TO STOP BY Hall 8, STaND #E954

the FooD anD Feasts

ROWMAN & LITTLEFIELD

rowman & littlefield publishing group

like us on Facebook! Follow us on twitter @rlpgbooks

FRANKFURT SHOW DAILY

ook industry representatives from 16 countries

and Nielsen Book, which jointly

HC gets global system

arperCollins is to roll out

Palazzo offers film surveys

Colin Webb at Palazzo has unveiled two further lm retrospectives.

markets to the global standard,

integrating systems and assets

Faber animation app

aber has entered a partnership with Academy

iPad, and previously unreleased

Hall 5.0 Stand C975 or Hall 8.0 Stand R910

FRANKFURT SHOW DAILY

ublishing has always been international and nothing embodies that

Networks and protocols

At present we dont even have a meaningful

We are in a kind of functionality and design arms race

What I am describing is basically a coedition model for creating major apps. A

Michael Bhaskar is Digital Publishing Director at

Tel.: 91-22-2483 4000 Fax: 91-22-2483 4001 E-mail: info@reproindialtd.com www.reproindialtd.com

REPRO INDIA LIMITED