London Show Daily, Day 3, April 17, 2013

17 April 2013
London
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 / l o n d o n a n d w w w. b o o k b r u n c h . c o . u k
Self-publishing surges in
packed Digital Zone
rom its beginnings in

2009 as a sleepy corridor of Earls Court,
the London Book
Fairs Digital Zone is
quickly becoming the pounding
heartbeat of the Fair, driven
by two major trends in the
industry: the steady march of
technology, and the rise of selfpublishing that such technology
has enabled.
What started five years ago
with just a handful of exhibitors
and a cramped, 23-seat theatre
on the show floor, is now one of
the most crowded areas of the
Fair, with nearly 70 exhibitors,
two theatres and three days of
programming, a networking
bar, and perhaps the Zones
most popular new attraction, a
revamped Authors Lounge
sponsored by publishing consultancy Authoright.
Ive just recently finished my
book, and Im trying to feel out
the environment, said Ian
House, a first-time author mingling outside a packed session
featuring Smashwords Mark
Coker. And the information
Ive gotten has been pretty cool.
Over the course of the fairs
first two days, the Authors
Lounge has hosted packed sessions with representatives from
Amazon, GoodReads, and
Smashwords, as well as chats
with self-published authors
along with established, traditionally published stars such as
Will Self and and William Boyd.
Similarly large crowds are
jamming into the Digital Zones
two theatres, and milling outside, to hear presentations on a
range of nuts and bolts topics,
Day 3 News.indd 3
from self-publishing, to
HTML5, selling direct to customers, Apps, platform-building, ebook lending, metadata,
and semantic-tagging.
All of which is likely to have
an impact on coming London
Book Fairs, organizers concede,
both in terms of who attends

(with more would-be authors
surely looking to swell the attendance) and of who comes to
exhibit. While it is too early to
announce plans for next year
while this years Fair is only midway through, chances are good
Visit us at
Stand G470
the Digital Zone will expand

once again in 2014especially
considering that this week we
learned that, for the second time
this year, a self-published book
(The Bet by Rachel Van Dyken)
has topped ebook bestseller lists
in the US.
Scribe launches in UK
enry Rosenbloom has

launched Scribe UK, a
subsidiary of his
Australian indie. The plan is to
publish several books a month
of serious non-fiction and
quality fiction drawn from
around the world.
Rosenbloom is deeply
committed to publishing books
of uncompromising quality
about real people and real
issues, newly appointed

publicist Rina Gill told Show
Daily. Born in Paris, the son of
Holocaust survivors, and
educated at the University of
Melbourne, Rosenbloom
worked for the Minister for
Environment and Conservation
in Gough Whitlams Labor
government. In 2010 he was
presented with Australias
highest publishing honour, the
George Robertson award.

Among its first titles, Scribe
UK has acquired acquires CTH
and UK rights to Pulitzer Prizewinning author David Finkels
latest, Thank You for Your
Service. Rosenbloom, who
bought from Devon Mazzone at
FSH, described it as a searing
account by an engaged and
brilliant writer of the modernday consequences of war. Steven
Spielberg is making a movie
based on the book.
Rosenbloom has also bought,
from Doubleday, The
Dispensable Nation by Vali
Nasr, author and former State
Department advisor for
Afghanistan and Pakistan, who
offers a sharp indictment of
Americas foreign policy and
outlines a new relationship with
the Muslim world. The book is
a game changer for America as
it charts a course in the Muslim
world, Asia, and beyond.
The first UK title will be
J M Coetzee: A Life in Writing
by J C Kannemeyer, who has
been given access to the Nobel
Laureates private papers,
including the manuscripts of
his 16 novels. The study
explains aspects of Coetzees
personal life kept largely hidden
until now.
16/04/2013 17:08
17 APRIL 2013
LONDON SHOW DAILY
FAIR DEALINGS
Online communities boom
esearch conducted
by Bowker and
released today
shows that the
number of publisher-owned online communities is set to more than double
over the next two years.
Bowker Market Research
(BMR) found that two thirds of
responding publishers hosted
reader communities, and that this
number was set to rise to over
90% over the next two years. A
quarter expect to have seven or
more networks up and running
by 2015, with many respondents
predicting a huge growth in the
number of online communities
for their companies, from a
current average of 2.1, to more
than five.
The survey, which included UK
and US trade and academic

publishers, revealed that trade
publishers were most engaged in
this area, with 86% of respondents
owning an online community in
some shape or form.
Eighty-four per cent of
publishers said that their
spending on online communities
would increase in the next two
years, with only 14% expecting
it to remain stagnant. Most of
them believed that the
investment was already paying
off. But only 16% saw the
communities as viable sales
channels.
Jane Tappuni, Business
Development Director at
Publishing Technology,
commented: These results send
a clear message that both trade
and academic publishers want to
To contact London
Show Daily at the
Fair with your
news, visit us on the
Publishers Weekly
stand G470
use these platforms to establish

closer relationships with their
core readers, be it to communicate
with them directly or to better
understand their needs.
BMR Director Jo Henry
said: There is a substantial
amount of activity going on in
this area as publishers seek new
ways in which to engage directly
with their consumers. It is
interesting to note that in this
survey US publishers were not
significantly more advanced
than UK onesand that trade
publishers appear to be leading
the way in developing online
communities.
Trade and academic publishers
in the UK and US were invited
to contribute to the survey. The
full results are available on
publishingtechnology.com/blog.
HC has football expos
t HarperCollins, Rory Scarfeson of Jane Asher and Gerald

Scarfehas acquired The Dark Game (spring 2014), a
compelling and controversial insight into global matchfixing in football from journalist Brett Forrest. HC has UK/
Commonwealth rights from Joe Veltre at the Gersh Ageny, and
Morrow has US rights; lm rights have gone to Fox. Scarfe said:
The scale and malignancy of match xing in football has yet to
be addressed and Brett Forrest has dedicated himself to the task
of uncovering this seismic threat to the beautiful game.This will be
a timely, thriller-esque account of one of sports great corruptions,
as all eyes turn to the World Cup next year.
Reporting for BookBrunch

Nicholas Clee and Liz Thomson
Reporting for Publishers Weekly

Andrew Albanese, Rachel Deahl,
Calvin Reid and Jim Milliot
Project Management
Joseph Murray
Layout and Production

Heather McIntyre
Editorial Co-ordinator (UK)

Marian Sheil
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
London Show Daily produced by
Jellysh Print Solutions 01489 897373
Sceptre, Grand Central have

genetic study
rummond Moir at
Sceptre has bought
a new book from
Sharon Moalem, a thirtysomething American who paid
his way through two doctorates,
the second in medicine, by
working as a professional
clown. Sceptre has UK and
Commonwealth rights (exc
Canada) in Inheritance: You,
Your Family, and the End of
Genetic Destiny from Nicole
Bond at Grand Central.
Were taught that we dont
have much of a choice in the
Day 3 News.indd 5
matter of what we get or what

we give, because our genetic
legacy was fixed when our
parents conceived us. Not so,
argues Moalem: our genes are
constantly on the move, with
some turning on while others are
turning off, all in response to
what were experiencing. These
stimuli can be changed, and
Inheritance is a guidebook for
that change.
Moalem made his debut with
Survival of the Sickest. The new
book will appear simultaeously
in the UK and US next spring.
OReilly/
Paperight deal
Reilly Media has

signed with South
African rm Paperight
to enable photocopy shops in
the developing world legally
to print books on demand.
The deal allows over 150
Paperight outlets throughout
South Africamany in rural
villages and poor townships
where traditional bookstores
do not exist-to supply
OReillys titles. These copies
may be up to 20% cheaper
than they would be in
bookshops.
Arthur Attwell, Founder
and CEO of Paperight, said:
The irony of the digital
revolution is that while
democratising knowledge
production, it has increased
the gap between the Internethaves and have-nots... Many
of our printing outlets
directly supply schools and
computer training centres,
and these books will give
them a huge advantage.
Translation
prize opens
he Harvill Secker Young

Translators Prize, now
in its fourth year, will this
year go to a translation from
Portuguese. Entrants will be
asked to translate O sucesso,
a short story by Brazilian author
Adriana Lisboa. The judges will
be author Naomi Alderman,
translator Margaret Jull Costa,
literary journalist ngel GurraQuintana, and Harvill Secker
editor Ellie Steel.
The winner will work alongside Margaret Jull Costa at the
British Centre for Literary
Translations mentor scheme,
and will also be invited to participate in the Crossing Border
Festival in the Netherlands and
Belgium in November 2013.
The Prize is annual, and open
to translators between the ages
of 18 and 34, with no restriction
on country of residence.
www.bookbrunch.co.uk
16/04/2013 16:32
17 APRIL 2013
LONDON SHOW DAILY
FAIR DEALINGS
Resolution at LBF
New
Campbell
novel
utchinson has
acquired UK/Comm o nw e a l t h r i g h t s
to a new novel by Alastair
Campbell, Tony Blairs righthand man, from Ed Victor. My Name Is... is the
uncompromising story of
a young girls descent into
alcoholism. Campbell said:
I have been fascinated by
alcohol, peoples relationship
with it, the countrys relationship with it, for as long as I
can remember, and certainly
since I developed a problem
with alcohol in my twenties.
I wanted to show a character
with important relationships
in her life but, as she gets
into her mid and late teens,
it is the relationship with
alcohol that dominates, not
just her life but the lives of
others too.
Hutchinson will publish in
September 2013.
effrey Bergs new agency

is still young, but its
looking to the future and, to
that end, has a presence at
this years London Book Fair.
Berg, an ICM veteran, got
Hollywood types talking
when he announced in January
that he was forming a new
agency, called Resolution. Rich
Green, who was at CAA, is
heading the agencys media
rights department.
Green oversees his department with Shari Smiley (another
former CAA agent), and said he
and Smiley were the first two
hires Berg made. The overall
company, which Green said
was less than 40 work days
old, has roughly 20 to 25 agents
on board. When asked about
the number of clients Resolution
has, Green said the transition
process was still happening,
as agents who were at other
shingles remain in the process
of negotiating which clients
they will be able to bring to the
new agency.
The media rights department is up and running, and a

music department, a television
department and a motion
picture department have also
been set up.
Green represents books from
commercial YA to the toniest
of literary fiction, including
novels by Jonathan Franzen,
Tom Rachmann and Andrea
Cremer. At London, he is
shopping the film rights to
Rachmanns new novel, The
Rise and Fall of Great Powers,
which Sceptre acquired in the
UK. He recently sold Nathaniel
Philbricks Bunker Hill to
Warner Brothers, with Ben
Affleck attached to direct, and is
still fielding offers on The Rosie
Project, an Australian novel that
was one of the big books of this
years Frankfurt Book Fair.
Green said the goal was to
provide comprehensive, full
service representation for its
clients... with a much leaner
group of agents then our larger
competitors.
Ingram adapts CoreSource to

comply with UK deposit Law
n an agreement that marries

one of the oldest collections
of print publications with
modern technology, the Ingram
Content Group has expanded its
CoreSource platform to include
direct distribution to the British
Library, making it easy for publishers to comply with UK legal
deposit law. Since 6 April, publishers have been able to submit
ebook content to comply with
their obligation to submit one
copy of all their books to the
BLs Legal Deposit Office.
Ingrams upgrade enables
publishers to submit content to
the Library. The distributor
noted that many publishers use
the CoreSource platform for digital asset management in the UK,
and that two of those companies,
Taylor & Francis and Kogan
Page, would be among the first to
use the new facility. According to
Ingram, the BL intends to work

with up to 25 UK ebook publishers in 2013 to ramp up digital
collecting under the digital legal
deposit regulations.
Through new legal deposit
regulations, we are now begin-
Day 3 News.indd 6
ning to build a comprehensive

library of electronic publications,
and we are pleased that Ingrams
CoreSource platform will help us
achieve that, said Andrew
Davis, the BLs Legal Deposit and
Digital Acquisitions Manager.
PA launches careers site
he Publishers Association (PA) has launched a Working in

Publishing section at its website. The section will include
information on publishing courses, links to recruitment
agencies for job searches and career advice, and information about
networking events and seminars.
It also features interviews with a diverse range of professionals
working in publishing.
Richard Mollet, PA Chief Executive, said: To continue its success,
British publishing requires people with a range of different skills
and it needs to offer a range of rewarding career paths. This site
highlights some of these and will hopefully help the sector to attract
the brightest and best people into the industry.
The site, Mollet added, has been developed as part of the PAs
wider strategy to promote workforce development in the sector.
Rights round up
Jane Sturrock at Orion has won an
auction to sign Girls Will Be Girls
and a second book by Emer
OToole. Orion has UK and Commonwealth rights through Juliet
Pickering at Blake Friedmann, and
will publish in April 2014. OToole,
a feminist academic, challenges
received ideas about what it is to
be a woman with real wit and clarityno one is better placed than
Emer to persuade readers to take
control of their bodies and their
brains, Sturrock said.
HarperCollins is to publish the
third instalment of Radio 2 host
Chris Evanss memoirs in September. The publisher has world
rights in Dear Me: Dont Panic!
Memoirs of a Midlife (What) Crisis
through Michael Foster of Peters
Fraser and Dunlop.
Joel Rickett at Viking has bought
world English rights to a narrative
history of ocean rowing by debut
author Adam Rackley. Salt,
Sweat, Tears, Rickett said, celebrates the pinnacle of human
achievement, of those who have
dreamed, and dared to make
those dreams a reality. It will leave
you ready to face your own challenges in life, whatever they may
be. The agent is Alex Christo at
Conville & Walsh.
Crime writer Brian McGilloway,
who rst appeared on the Macmillan New Writing list, moves to Constable & Robinson for the sequel to
the bestseller Little Girl Lost. Publisher James Gurbutt bought
world rights in two novels featuring DS Lucy Black from Jennifer
Hewson at Rogers, Coleridge &
White, for an undisclosed sum.
Preface Publisher Trevor Dolby
has bought world rights to
Hunan: Mr Pengs Food From the
Heart, a cookbook from the restaurant that Times critic Giles
Coren said may be the best Chinese restaurant in the world.
Dolby said: The Preface cook
book list is developing into one of
the best in the UK. The addition of
Mr Pengs Food From the Heart
puts the list on the world stage.
Preface has world rights through
the author, and will publish in
spring 2014.
Hot Key has signed Terror Kid by
Benjamin Zephaniah, his first
novel for seven years. Emma Matthewson at Hot Key said: Combined with a dramatic and sadly
topical terrorism storyline, and
narrated in Benjamins ever distinctive voice, this book will speak
out to teenage readers today.
16/04/2013 15:16
Stand # i605
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Water, peace, and War
ConfrontinG the Global water CriSiS

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17 APRIL 2013
LONDON SHOW DAILY
FAIR DEALINGS
People at London Book Fair 2013
From left: Tim Coates of Bilbary, editor Geraldine Cooke, Lewis Pennock of Ingram,
publisher Stephen Davies
At the memorial service on Sunday for Maeve Binchy:

the author's widower Gordon Snell (second from left),
with (left to right), Carole Baron, Kate Binchy, Christine
Green and Nigel Anthony
Granta unveiled its 2013 Best of Young British Novelists at the British Council offices
At the Womens Fiction Prize shortlist announcement, Chair of the judges

Miranda Richardson (left) with Prize founder Kate Mosse
Day 3 News.indd 8
David Baldacci (Pan Macillan) visited the fair for a trade

reception and dinner
Bloomsbury held a dinner for Neil Gaiman (left) and Chris Riddell
16/04/2013 15:23
17 APRIL 2013
LONDON SHOW DAILY
FAIR DEALINGS
Breakthrough on library e-lending
n a long-awaited breakthrough, Simon &

Schuster officials this
week announced a pilot
project to enable library
ebook lending of its titles.
S&S was the last big six holdout
on library ebook lending, and
while limited in scope at this
time, the S&S pilot represents
progress on one of the most
contentious issues of the digital
transition.
Under the pilot program,
S&S will make its complete
catalogue available to New
York area libraries for unlimited
checkout for a period of one
year, after which the ebooks
must be repurchased. And in a
new twist, S&S books will also

be available for retail purchase
via the library web site, with
the libraries sharing in the sales.
In making our full list available,
we think we will get a better
sense of lending patterns and
patron behaviour, said S&S
CEO Carolyn Reidy. I am
particularly eager to start seeing
the actual data so that we can
better understand this still-new
phenomenon.
The news is also a breakthrough for vendors 3M and
Baker & Taylor, which will be
servicing the pilot. While both
companies are stalwarts in the
library market, they are
relatively new in the ebook
(Childrens Innovation Theatre)
IPA
417
Earls Court Conference Centre
IPA
:Liz Pichon
41711301230
English PEN
2020
Tom Gates is Absolutely

Fantastic20134
Book Industry Communication Supply Chain
4179301230
Cromwell Room, EC1
info@alicialiu.co.uk
Day 3 News.indd 10
lending game, with OverDrive

still dominating the market.
From their stand at the
London Book Fair, 3M officials
said they were delighted to have
relationships with all the big
six publishers in the US, and
were setting their sights on the
UK library market. We would
like to build on the progress of
the Sieghart Reivew, said 3Ms
Collection Development Manager Heather McCormack.
New agency
has hot
Swedish thriller
n a buy before the London

Book Fair officially got
underway, Laura Tisdel at
Little, Brown bought world
English, in conjunction with
Ed Wood at Sphere in the UK,
to a Swedish thriller thats
being shopped by a new agency.
Chain of Events by Fredrik
Olsson, a Swedish novelist and
screenwriter, has deals in the
US, UK, Germany and Holland,
with Warner Brothers optioning
the film rights.
Jonas Axelsson, a former
editorial director at Bonniers, is
representing the book, as a
member of a new Swedish
agency called Partners In Stories.
Axelsson said that the agency,
which is a joint venture with the
Swedish publisher Natur &
Kultur, plans to produce in
diverse formats, including
books. It intends to go beyond
selling rights for translation and
for film/TV adaptation into
representing artists in all their
professional endeavours,
potentially publishing their
works direct to market.
Tisdel said that the novel
featured thriller-pacing and an
ominous mood. The novel
follows a washed-up cryptologist
and his ex-wife pitted against a
ticking clock with more than
they know at stake.
LBF Staff Picks
Today's Highlights
I am always
thrilled to see
a bustling
show floor
a s i t s t h e
product of a
y e a r s h a r d
work come
together,
writes LBF
Marketing Manager Katie Morris.
Im really looking forward to
the IPA Education Conference,
which takes place today; its a
new and unique event looking
at effectiveness of learning
resources and learning
technologies. Its a high level
event including Andreas
Schleicher from OECD and
MichaelTrucano from World Bank
(From 9.30am, Conference
Centre.This is a ticketed event).
LBF is famed for its networking
and Im excited that Luigi
Bonomi Associates are hosting a
How to Get an Agent Seminar
(10am, Westminster Room). The
seminar includes a 10-minute
talk on how to get an agent
followed by the chance for
aspiring authors to pitch their
book ideas to four agents. Each
aspiring author can bring their
synopsis and first pages (no
more than three) to the event and
sit with an agent for ve minutes
to discuss their book. (This event
has limited capacity).
The AuthorLounge has been
packed out so far this week. This
l a r g e r- t h a n - e v e r a u t h o rdesignated area provides an
interactive and collaborative
programme of events, seminars
and networking opportunities
for writers. And, for the rst time,
we have been able to create a
space where unpublished
authors can meet and network
with literary agents via the
LitFactor pitching sessions.
Finally, Im really excited about
the Childrens Innovation Theatre
programme. Weve revamped it
this year and its been buzzing
with sessions packed with new
ideas and information on the
trends that are shaping the
industry at the moment. The
Illustrators Afternoon (2pm) is
definitely one to check out. Ed
Natwotka will be exploring the
evolving world of childrens
illustration and cover design with
top art directors from leading
childrens book publishers.
16/04/2013 15:22
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17 APRIL 2013
10 LONDON SHOW DAILY
Can we end the copyright Tower of Babel?

Robert Spoo looks at the problems caused by having different copyright regulations in different
countries and regions
here copyrights end, the

public domain begins.
What you think about
the public domain
reveals your politics of
authorship. If you imagine the public
domain to be a joyous commons of collective
opportunity, a place where cultural expression may be unearthed and freely recycled,
then you probably believe authors should
receive copyright protection for a limited
time, if at all. If you think of the commons as
a graveyard that blots the fair acres of
authorship, and of copyright expiration as
what the French poet Alfred de Vigny called
a fatal plunge into a sinkhole, then you
likely hold that copyrights should be longer
and stronger. But the public domain is not
just a conceptual battleground, it is a real
one, expanding and contracting according
to the views of lawmakers, the pressures of
lobbyists and prevailing notions of property.
And the battle has now gone global.
In my forthcoming book, Without Copyrights: Piracy, Publishing, and the Public
Domain (to be released this August by
Oxford University Press), I not only trace the
evolution of the American public domain,
but also the global public domain, a supercommons that the internet makes more relevant every day. But that global commons is
an endangered habitat because it is increasingly, profoundly fragmented: a
work may reside in the public
domains of some countries while
still being subject to copyright in
others. There is no such thing as
the public domain; there are only
public domains.
Take, for example, James Joyces famous
book, Finnegans Wake, first published in
1939. In 1992, 50 years after Joyces death,
the book entered the public domains of the
European Union (EU), but shortly returned
to copyright there as a result of an EU
directive that purported to harmonise
copyright terms by adding 20 years to them.
In non-EU countries such as Canada,
Australia and Switzerland, however, the
book remained in the public domain. Then,
in 2012, Finnegans Wake re-entered the
public domains of the EU. But it did not in
the United States, where it is protected until
2035. This chequerboard effect created by
jarring laws burdens the world market for
new Finnegans Wake-based projects for
decades to come, even as new editions begin
to appear in some countries.
The copyright Babel does not end there.
The same EU directive that compelled the
Robert Spoo - Copyright.indd 2
Robert Spoo.
Photo: University of Tulsa College of Law
harmonisation of copyrights contained a

special provision granting 25 years of new
protection to any person who first lawfully publishes or makes available a work
that has never before been published and
whose copyright has expired. On its face,
this is finders-keepers copyright, an incentive for making old works available for the
first time. Just as soon as an unpublished
work enters the EU public domains, it is
restored to copyright, but not as property of
the authors estate, but to the first disseminator, a transmigration of sole entitlements
after a brief sleep in a legal coma.
When we view the world

copyright map, we see an
emerging tragedy.
Joyces unpublished writingsmany of
which are crucial for understanding
Finnegans Wakeno sooner entered the EU
public domains in 2012 than they became
the subject of new copyright controversies.
In February 2012, the Irish Times reported
that Ithys Press of Dublin had published a
previously unpublished letter by Joyce under
the title The Cats of Copenhagen, based on
the original letter held by the Zrich James
Joyce Foundation. The Foundation
promptly complained that it had never permitted, tolerated, condoned or connived in
this publication.
Then, in April 2012, House of Breathings,
a new imprint in the United States,
announced that it was issuing The Dublin
Ulysses Papers, a six-volume edition of
unpublished Joyce materials previously purchased by the National Library of Ireland
(NLI) for millions of euros. A few days after
this announcement, the NLI (of which I was

a board member at the time) placed on its
website digital copies of most of the manuscripts that had been announced for The
Dublin Ulysses Papers, thus accelerating
plans for making the materials available to
the public. House of Breathings responded
in the press that the NLI had infringed its
copyright, though to date there has been
no litigation.
In a short space, the unpublished Joyce
works had gone from being copyright-free
throughout most of the EU, to being the subject of competing monopoly claims. And
these post-copyright copyrights raise as
many questions as they answer. Does a mere
announcement of plans to publish trigger the
new right? Irish law, for example, requires
actual issuance of copies to the public. Must
publication occur within the European Economic Area for the right to be validly
acquired? British regulations say it must.
And though the EU directive appears to vest
the new copyright in the first disseminator,
French law suggests that the right initially
belongs to the owner of the manuscript. In
1993, in a case involving unpublished manuscripts by Jules Verne, a French court held
that the right belonged in principle to the city
of Nantes, which had acquired the manuscripts from Vernes heirs, not to a biographer who had obtained copies and published
their contents without securing the
citys permission. So, are these
after-rights intended for finders or
for owners?
When we step back to view the
world copyright map, we see an
emerging tragedy of the
uncoordinated commonsall the more tragic
now that it is easier than ever to distribute
texts throughout the world. It is certainly
one kind of dystopia, this world of
patchwork monopolies and precarious
freedoms. In a world of copyright gridlock,
one response might be to turn pirate out of
sheer frustration with encountering endless
No Exit signs. But a better (though
possibly utopian) solution would be a
concerted effort by legislators to harmonise
the worlds public domains along with
authors copyrights. The stability of archives
and libraries, and the practices of publishers,
may depend on it.
Robert Spoo is Chapman Distinguished Chair at

the University of Tulsa College of Law and author
of Without Copyrights: Piracy, Publishing, and
the Public Domain (Oxford University Press,
August 2013).
12/04/2013 16:13
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17 APRIL 2013
The fall and rise of dictionaries

Print dictionary sales may be in decline, but the role of language publishing is more important than
ever, asserts Casper Grathwohl
love running across the various

depictions of James Murray, the
venerable Founding Editor of the
Oxford English Dictionary,
thoughtfully consulting a lexicon,
surrounded by the scenery of his cluttered
scriptorium. Its a brilliant piece of late
19th-century marketing, casting a divine
halo over the mystical art of dictionary
making. Here Murray is a holy monk of
language crafting a temporal bible to guide
us into enlightenment. His wizened beard is
my favourite touch, appearing lightly singed
from the obvious alchemy at work.
Propaganda it may be, but it does accurately
reflect the role dictionaries occupied within
the publishing industry for most of the last
century. Dictionaries form the foundation of
the church weve built. Everyone needed a
dictionary. And almost everyone had one.
That is, until now.
Citing a steady decline in the print
dictionary market, late last year Macmillan
portentously announced that it will cease
publishing print dictionaries in order to
exclusively focus on its digital dictionary
programme. Obviously they are not the only
dictionary publisher experiencing the
deterioration of print, particularly
in the United States. Although
some print market segments are
proving surprisingly counterintuitivethe thriving print
newspaper business in India comes
to mind as a prime exampleit is
clear that print dictionaries in the general
interest market are going the way of the
carrier pigeon. I can only imagine what
Murray and his band of lexicographers
would think.
So I find it rather ironic that while
dictionaries gather dust on bookshelves, we
are witnessing an unprecedented explosion
of global interest and activity in the English
language. The rise in numbers of English
speakers around the globe is proving one of
the most transformational market forces.
There are currently two billion Englishlanguage learners right now and in some
estimates that number will double by 2020.
Annual global advertising revenue on free
mobile and internet dictionary sitesmainly
the domain of web start-ups rather than
publishershas grown to almost $100
million. Theres no mistaking it, the English
language is booming and its big business.
But is there a way for traditional dictionary
publishers to take advantage of this
opportunity rather than be sidelined by new
entrants that are more nimble and
Casper Gratwohl - OUP dictionaries.indd 2
Casper Grathwohl
technologically savvy? Macmillan rightly

points to a variety of its new digital initiatives
that are gaining traction and are indeed
impressive. It demonstrates that there is a
quality and authority that dictionary
publishers can provide in the digital sphere.
This is most true in formal educational
environments, in which dictionary content
accompanies a variety of other learning
materials and requires high levels of
validation. But it will take more than simply
results. This may sound like highly technical

activity, but weve only begun to understand
how the skills that went into dictionary
making can add value in these new environments and scenarios.
Im reminded of the classic statement by
Harvard business professor Theodore
Levitt: People dont want to buy a quarterinch drill. They want a quarter-inch hole.
What the customer really wants is a hole; the
drill is just a means to make the hole. Its a
simple and brilliant illustration of the
importance of focusing on the need rather
than products or their features. If you define
yourself by the products you make rather
than by the need being satisfied, then youre
only in business until someone figures out a
better way to satisfy that need.
Its an imperative for dictionary publishers
to adopt this mentality. Although Murray
and his colleagues toiled away on volume
after volume, we are not in the business of
making dictionaries. And the truth is we
never really were. We are in the business
of better enabling language-based
communication. Thats the need we are
trying to meet: the need for precision in
language. And its one of the worlds most
basic and prized capabilitiesthe
more accurately you are able to
convey what you want, the better
chance you have of getting it.
Once that perspective shift has
been achieved, the landscape for
language publishers starts to look
surprisingly fertile. Of all the publishing
segments trying to redefine themselves, there
are few better positioned to do so than our
masters of language.
Theres no mistaking it, the

English language is booming
and its big business.
inserting ourselves and our traditional value
proposition into most of these digital spaces.
It requires a different mindset altogether, one
that begins with a redefinition of dictionary
publishing itself (a task suited for a band of
lexicographers if ever there was one!).
Take the proliferation of online
language communities, such as LiveMocha
for learners or the Urban Dictionary covering slang. Most of these sites are driven by
pure language lovers yet rooted in practical
language needs. They are participatory,
open by nature, non-hierarchical and often
have a staggering number of members from
a diverse geography. On the surface one
would have difficulty identifying the role of a
dictionary publisher in this environment.
But the skills of dictionary publishers extend
beyond simply providing definitions.
Scores of lexicographers and language
engineers at OUP, for instance, are involved
in developing language solutions ranging
from sentiment analysis and tracking
shifting collocates, to building specialised
corpora and improving search engine
Casper Grathwohl is Senior Vice-President,

Group Strategy, at Oxford University Press.
James Murray, the Founding Editor

of the Oxford English Dictionary
12/04/2013 16:11
Advertisement
Pter Tarjnyi & Rita Dosek The Popes Men

EXCERPT: Leaving the premises that the others had already started to clean up, they went to the garden in the
back. Meanwhile, the car that had been ordered to the house
had whisked the Cardinal away. Though it was summer,
the night was cool. There was a light but persistent drizzle, soaking everything it came in contact with, but neither
of them cared. By the weak light of some scattered street
lamps, Andrej and Kippel looked like two dark figures walking under the trees.
Im telling you for the first and last time. Dont you dare
go against me, especially in front of the others, Andrej
hissed, his voice cracking with rage. I know all about you.
That you like rhubarb and roses, love listening to Bach, and
your wife loves gardening. Your mother, who is retired, goes
to the farmers market at precisely six thirty in the morning
to do her shopping. If you know whats good for you, you will
keep your mouth shut from here on it and do whats expected
of you. Otherwise, Imay end up sticking that letter opener
into your charming wife!
Kippel thought it wiser not to say anything. His chest almost burst with tension, he felt the pounding of his heart
from the top of his head down to his toes, there was a buzz
in his ears, the veins bulged out on his forehead, but he held
himself in check. He was scared. He knew that Andrej meant
what he said.
Fyodor likes you. He considers you an efficient agent with
an exceptional gift for dealing with people.
Kippel wrinkled his forehead. He had almost recovered,
and was again the analyst analyzing the situation. Threats
and praise in quick succession, he concluded. Which means they
need me.
You are in charge of a well organized Hungarian network
which, lets admit it, is not your doing, Andrej went on. Then
after a brief pause, he added, We helped you to it.
A reminder that Ive gotten in line and have accepted their
magnanimous present, Kippel thought, his brain continuing to
size up the situation.
Well, there was a reason for you being given all this.
Weexpect results. In one year you will be sitting in your superiors place, and the entire intelligence unit of the service in
charge of religious affairs will be in your hands.
Kippel nodded. So much for the compliments. And now comes
the but, he thought wryly.
Andrej moved closer to him and looked him steadily in
the eye. His midnight-black eyes could have killed. At least,
thats how Kippel felt.
However, you have not convinced me, he said flatly.
Good cop, bad cop situation, the agent noted.
Youre new to this game. Youve never seen a murder before. Well, get used to it. And dont throw sand in the machinery again, and dont get on the wrong side of me! Andrej
said, and walked away.
Kippel watched the others retreating figure immersed in
the dark of night, then exhaled the air hed kept in his lungs
all this time without realizing it. This was the first time he
experienced first hand the methods familiar to him from
his textbooks. At least, it was the first time they were used
against him. Hed used these methods on others, of course,
but much more subtly wrapped. He knew that the black-eyed
man wasnt just flinging words around; he also acted on them.
The Popes
Men
A desperate madman, a cold-blooded killer and a born professional
fused into one, he mused. A lethal combination. A monster. And
now Im working for him.
He spotted a partially soaked pack of cigarettes on a garden bench, with a lighter on top. He never smoked, but now
he picked it up without thinking, and stuck a cigarette between his lips. His hands shook so violently, that he could
barely light it. He sat down on the wet bench and let the raindrops wash down his cheeks. He took a puff, but the smoke
made him cough.
Oh. One more thing, came a deep voice from the dark.
Kippel was so startled, he instinctively leaped to his feet and
turned round to face the speaker.
You were okay, Andrej said, laughing softly. You do realize, dont you. Without you, this operation would have never
worked.
(Translated by Judith Sollosy)
Foreign rights represented by the

Srkzy & Co. Literary Agency
www.sarkozyandco.com
Contact:
sarkozy.bence@libri-kiado.hu
17 APRIL 2013
Canongate celebrates 40 years

Stephanie Wolfe Murray, who founded the company, and Jamie Byng, who made it into a hip and prizew
tephanie Wolfe Murray
I will try to describe as succinctly as

possible the beginnings of Canongate.
So many know the story, yet I realise that
there is a generation of aspiring publishers
and editors who have never heard about the
days before Jamie Byng. Publishing was new
to meand to Jamie, funnily enough. Apart
from doing some reading for a publisher, Id
had four children by the time I was 28, waited
till the youngest went to school, then it was
into Canongate. A baptism of fire!
In 1973 my husband Angus, Robert Shure
(American) and I decided to start a publishing
house. We would put in 2,500 each. Ludicrous I know. Bob Shure never did. Within a
year Angus and Robert left the company and I
found myself holding the baby, along with
four other increasingly large, rumbustious
ones. I am not one to quit and I was lucky to
have Charles Wild, a protg of my husbands, who carried on doggedly, teaching me
much of what I know about publishing.
We published some iconic books during
our first 10 years: Scottish Love Poems edited
by Antonia Fraser was our first real success.
It put us in touch with the leading poets of the
day, many of whom we went on to publish,
and most of whom are now Scotlands leading poets. As importantly, though, it introduced us to the world of rights overseas
and mass-market paperback in the UK.
A thrilling moment for us in 1978 was getting a review on the entire front page of the
Times Literary Supplement for Alasdair
Grays Lanark, a seminal work of the 20th
century. By contrast we published around
that time A Sense of Freedom, the redemptive
autobiography of notorious gangland killer
Jimmy Boyle.
These were heady times for me, juggling
with my growing family, travelling on
numerous occasions to Barlinnie Prison or to
book fairs, three a year once we started to
publish childrens books (Frankfurt, the ABA
and Bologna), and struggling to make the
business profitable. But we were learning
there were book clubs to sell to, Waterstones,
foreign publisherswe had our successes and
our reputation was growing both at home
and abroad.
There were stirrings of Scottish nationalism back then. In 1979 there was a referendum to decide whether there was sufficient
support for a Scottish Assembly. There was,
but not by a big enough margin. People were
furious! But there was certainly a renaissance
of Scottish publishing in the sixties, and the
emergence of publishers like Paul Harris,
Canongate, Mainstream, to name probably
the three earliest and most active. The wellwww.publishersweekly.com
Jamie Byng - Canongate.indd 2
Jamie Byng (bottom left) and the Canongate crew celebrate the success of Life of Pi
known companies, apart from Collins, had

been very specialised in their fields: Bartholomews, Chambers, Blackwoods,Oliver
and Boyd, and so on. They had once been
household names and now they were disappearing or being subsumed by powerful
international conglomerates.
In 1984 we published our childrens series,
the Kelpies, a sort of Scottish Puffin, reprinting old and not-so-old favourites. Scottish
teachers had been lobbying the National
Book League and the Scottish Arts Council
for years about the dearth of Scottish literature for kids. Now was our chance, and for
many years it was a good earner for Canongate, soon to be joined by our Scottish Classics series.
Here I have to acknowledge my huge gratitude to the late Walter Cairns, then Literary
Director of the Scottish Arts Council, for the
encouragement he gave us to bid for the Classics series. We got it. Won it! I remember the
launch of the fiftieth classic in the Scottish
National Gallery. We had been bought by
Phaidon Press (part of the Musterlin Group),
but our bubble was soon to burst. Musterlin
went bust, Canongate was kept on by the
Receiver as a firm worth saving; we were
bought again, but the writing was on the wall.
We didnt have the capital to expand, which
was what the new owner was looking for.
To describe a little of our philosophy, we
wanted to publish good books, simple as
that. We had an eclectic list: the Russian poet
Anna Akhmotova, some fabulous American
books, unusual autobiographies, fiction of
course and some sumptuous Scottish art
books and my God, what did I not learn
about Scotland, its geology, its history, its lit-
erature; what a wonderful learning curve.

Then came Jamie, he will take over the
story now. Suffice to say Im proud of him
and proud of Canongate.
I write this now from our house on a
snowy moor in the middle of nowhere at the
beginning of April. There is deep snow outside and, after a gap of 35 years, Angus is
back again, the true founder of Canongate,
like an older Heathcliff striding the hills.
amie Byng
When I wrote to Stephanie Wolfe Murray, the founder of Canongate, back in

November of 1992, I had no idea that 20
years later I would still be working at the
company, and that the next two decades
would prove to be quite so eventful, and
rewarding and enjoyable.
I was particularly lucky to have Stephanie
as my first boss in books. She was an inspiring person to work forpassionate, instinctive, unpredictable and kind. And she was the
first of several mentors who have taken me
under their wings and taught me how to see
things differently.
I got Stephanies attention with chocolate.
The chocolate in question was a miniMunchie, repackaged with the bespoke
wrappers designed for Chocolate City (the
club my girlfriend and I ran in Edinburgh at
the time), and was included with the letter I
sent Stephanie asking whether she might consider offering me a job as an intern. I had
recently finished a literature degree at Edinburgh University. To be honest I was more
interested in buying records than books and
Chocolate City was churning cash. But I
loved books too.
13/04/2013 07:32
17 APRIL 2013
LONDON SHOW DAILY 15
ewinning international powerhouse, recall the history

It turned out that one of Stephanies four
sons, Gavin, was a record dealer, and unwittingly I had been buying records from him.
(He was based in Colorado and shipped the
rare vinyl to his partner in London.) We connected over that and over books, and as
Canongate was in a perilous financial position at the time and I offered my services for
free, I got my foot in the door. The only concession was that I didnt have to turn up until
lunchtime on a Friday because I rarely got to
bed before 7am due to the club.
With hindsight, the experience of working
in a small independent with its back to the
wall, but run by such a maverick publisher as
Stephanie, was a wonderful way to learn
about the business. Stephanie was so encouraging to me personally and although I was an
unpaid intern, she treated me as a valued
member of staff. When I expressed an interest
in Anna Akhmatova, she handed me Judith
Hemschemeyers stunning new translations
of the great Russian poets work and asked
Canongate's premises in 1976
me to do the publicity for the book. That was

the first book I ever worked on, and it remains
one of my happiest publishing experiences.
Within six months of my joining, Stephanie had been forced to sell the company to a
Glaswegian school and library supplier
called Albany, owned by a man whose first
comment to me was that I should cut my hair.
I didnt and surprisingly was still issued a
contract. It was the first time I joined Canongates payroll. That was in April 1993. My
salary was 7,500. Fortunately I was still
running Chocolate City!
Eighteen months later I came to be running Canongate. This strange turn of events
was partly because it had become increasingly clear towards the end of 1993 and in
the early months of 1994 that Albany was
running up substantial losses. The details of
exactly why are fairly boring, but even to a
24-year-old with next to no business experience, it was blindingly obvious how poor
Jamie Byng - Canongate.indd 3
most of the strategic decisions being made

were. And watching a company teeter on the
edge is an instructive way to learn how not to
run a business.
Stephanie confided in me perhaps more
than she should have. As did Neville Moir,
Canongates excellent Production Director.
And as the writing became clearer on the wall,
I started to wonder what might happen to
Canongate if Albany went bankrupt. Hugh
Andrew, who sold the Canongate list in Scotland along with Fourth Estate and Harvill
Press (both still independent in those days),
also sensed that Canongates future was looking precarious and so it was that we ended up
acquiring the business together in September
1994 (he was bought out in 1998).
Hughs knowledge of the Scottish market
combined with a shrewd brain was very helpful, as was the crucial involvement of Stephanie and Neville through this period of transition and beyond. And fittingly the first book
to be published by Canongate in its new
incarnation was Alasdair Grays A History
Maker. Alasdairs extraordinary debut novel
Lanark (1981) remains the literary foundation stone of the company, the book upon
which the list has been built.
Its hard to compress what happened over
the following years into a few hundred words,
but thanks to much sweat, blood, caffeine
and tears, we managed to muddle through.
We were learning on the hoof, taking risks
that often didnt work, but fortunately
enough of them did to keep our heads above
water through the 1990s, a decade that saw
the launch of the imprints Payback Press and
Rebel Inc, and our radical republishing of the
Bible, the Pocket Canons. And slowly we
grew. It was always a hustle, and we were
always struggling. But always learning, and
honing our game and craft. And making the
most of the breaks when they came.
The new millennium really felt like a new
dawn. David Graham joined the company
that year and was my partner for the next six.
We published Michel Fabers astonishing
debut novel, Under the Skin, that year and
along with Laura Hirds Born Free, we had
half the shortlist of the Whitbread First Novel
Award. That felt like a turning point. But the
game-changing year was 2002 when we published Yann Martels Life of Pi, Michel
Fabers The Crimson Petal and the White,
Louise Welshs The Cutting Room and Niccolo Ammanitis Im Not Scared.
Life of Pis success in particular allowed us
to invest and plan ahead in hitherto unimagined ways. We became truly independent for
the first time; the turnover of Canongate
doubled in 2003; and we bought a majority
Stephanie Wolfe Murray
stake in Text Publishing in 2004. We hired

some brilliant staff (Kathleen Anderson,
Jenny Todd, Anya Serota and Nick Davies),
all of whom became Directors and key
shapers of the business, and helped us take
Canongate to the next level. In 2005 we
launched the Canongate Myths series with
Margaret Atwood, Jeanette Winterson,
Karen Armstrong and David Grossman at
the Frankfurt Book Fair with 34 international co-publishers. In 2006 we had a third
of the Man Booker shortlist with Kate Grenville and MJ Hyland.
And then there was 2008 when we
published Barack Obama, David Simon
and Miranda July, and the Mighty Boosh.
This led to our second Publisher of the Year
Award in seven years. That felt particularly
sweet for a small independent house based
in Edinburgh.
There are inevitably many omissions in a
whistle-stop summary such as this. In the 20
years Ive run Canongate, we have employed
well over a hundred staff, almost all of whom
have made a positive difference, some incalculable, to our messianic mission to change
the way people see the world through words.
During this time we have published close on a
thousand different titles, most of which I am
glad we published and we have printed many
millions of copies of our titles. And during
this time we have co-published books with
hundreds and hundreds of truly great publishing houses around the world. This international dimension to our business has added
an extraordinary richness to my personal life,
as through it I have come to know and love
some of the most inspiring people I could
possibly have met. Including my remarkable
wife Elizabeth.
Canongate still feels like a young publishing house. My dream is that one day it will
become a great publishing house.
13/04/2013 07:32
17 APRIL 2013
Natural Resources
Put together by
leading experts,
this book addresses
concretely,
practically, and
comprehensively
the policies that
will accelerate
and sustain an
inclusive growth
pattern for the region.
Effective management of oil wealth is the
critical ingredient. The challenge ahead is
complex, but much less so as a result of
the clear roadmap and analysis that is
detailed in this excellent volume.
Michael Spence, Nobel Laureate in Economics, 2001
This book concerns

a crucial, practical
issue, always on, or
near, center stage at
the IMF: commodity
prices and their
variations. How to
buffer this volatility,
and how to respond
to it when it does
occur, are two of the
core topics of this book. Its ne-grained
treatment of practical, immediate problems
casts it at the very heart of economic
development.
George Akerlof, Nobel Laureate in Economics, 2001
imfbookstore.org/lbp1
Visit us at the
2013 London Book Fair, Stand K735
MONETARY
Emrah Ozpirincci - OUP Turkey.indd 2
ith its strategic

location, large
population
and advanced
economy,
Turkey has long been seen as an
attractive market for international organisations, writes
Emrah Ozpirincci. Now, thanks
to a renewed focus on learning
and growing investment from the
Turkish Government, the education sector is a key target for many
in the international educational
publishing industry.
The statistics speak for themselves. Turkey has a population
of 74 million of which 50% are
below the age of 29, there are
more than 18 million students in
the country, and 168 universities
teach 3.8 million students
between them; the education sector is booming.
Fatih project
Price Volatility
I N TE RN AT IONAL
Digital education
F U N D
A key development took place in

2010, when the Turkish Government announced the Fatih project. One of the biggest and most
ambitious educational programmes in the world, the
scheme aims to integrate stateof-the-art computer technology
into Turkeys public education
system, providing 16 million PCs
to all students and teachers, with
e-content provided free of
charge. The project also promises to provide interactive touchscreen whiteboards in 620,000
classrooms, with a range of tablets and other devices also on
offer. Implementation is well
under way, and it is already starting to have a huge impact on the
countrys education market.
Turkey also boasts a very wellestablished and sophisticated
English-language teaching (ELT)
network, which has grown rapidly in recent years. There is a
firm commitment to English at
university level, and increasingly
schools are teaching curriculum
subjects, such as science, through
the medium of English, meaning
an increased demand for English
educational resources in a range
of subjects.
For OUP, which has been operating in Turkey for more than 30
years, these factors provide an
opportunity to further our mission by providing content and services that can help enrich the
learning experience for students.
One of our key objectives over
the years has been to ensure we are
helping to contribute to the quality
of English education in Turkey.
We have recruited experienced
English teachers and teacher trainers to assist local teachers, and
have held hundreds of teacher
training programmes through the
years. In doing so, we have been
welcomed as a valued educational
partner in the country.
Digital content
One of the challenges, but also
opportunities, of working in
Turkey is the constant technological innovation taking place.
Turkey is already one of the
greatest users of digital content in
the world, and there is growing
demand for digital materials to be
used on a range of applications,
from online platforms to interactive whiteboards and tablets.
Any publisher working in Turkey has to respond quickly to
these demands, and OUP has
invested heavily in products and
services developed specifically
for the Turkish market. One
recent example is the Oxford
Learners Bookshelf, a new app
for Apple and Android devices,
which offers students a range of
OUP course books in digital
form, complete with a range of
additional features, including the
ability to listen to audio tracks,
record speaking exercises and
send homework to teachers.
We have also responded to the
increase in English medium teaching with a new publishing programme, adding to our already
large range of International Baccalaureate Diploma titles.
By creating compellingand
increasingly digitalsolutions
that the local market needs, we
have been able to make a real
impact in Turkey, and, as the
country moves to a digital future,
there are likely to be many more
opportunities for OUP and the
wider publishing community.
Emrah Ozpirincci is Managing Director, Oxford University Press Turkey.
12/04/2013 16:04
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PW LBF 2013.indd 3
4/4/13 11:04:45 AM
17 APRIL 2013
The golden age of book publishing

Andrew Richard Albanese reports on two new books that recount the lives of publishing giants
Sterling Lord and the Roger Straus
ll it takes is a stroll around the

London Book Fair, or a stop in
the Digital Zone, to come to a
quick realisation; the book
business has changed. Which
makes two new, publishing-related books all
the more timely: Sterling Lords memoir
Lord of Publishing, which Open Road
released in February, recalls the legendary
agents more than 60 years in the business;
and Boris Kachkas forthcoming Hothouse:
The Art of Survival and the Survival of Art at
Americas Most Celebrated Publishing
House, Farrar, Straus & Giroux (Simon &
Schuster, August 2013) recounts the building of a literary powerhouse through the fascinating life of one of its architects, the
colourful Roger Straus.
Think of the people Sterling Lord has
known, think of the people that have confided in Sterling, asked him for advice,
notes sportswriter Frank Deford in Open
Roads promotional video for the book.
Hes a giant. IndeedDeford, Gloria Naylor, Jimmy Breslin, Ken Kesey, and Stan and
Jan Berenstain (whose Berenstain Bears
books have sold nearly 290 million copies in
North America), are among the many writers and public figures who have relied on
Lord, who over six decades built one of the
worlds premier agencies, and in turn
launched the careers of many of todays top
agents, including Flip Brophy, who began as
Lords assistant.
An occupation
When I came into the business in 1952,
publishing was not a business; it was an
occupation, Lord says. Houses were run
by their owners, and you never heard them
talk about the bottom line, or profits. They
talked about the quality of the books they
published and the writers they worked with,
writers who usually stayed with them for
their entire careers.
More than any other accomplishment,
Lord will surely be best remembered for his
role in ushering in the last great American
literary movementthe Beats. It was Lord
who represented Jack Kerouac, and without
Lords determination, On the Road, which
endured nearly four years of rejections,
might never have gotten on the shelves.
When I first read the manuscript for On the
Road, I certainly didnt know whether it was
going to be successful, says Lord, who at 92
is still working. I just knew his was a voice
that should be heard.
The New York book world is also rendered artfully in Kachkas account of Roger
Andrew - Giroux.indd 2
Sterling Lord; and a note sent to him by Kerouac
Straus and the house he helped build.

Although it remains months from publication of the book, advance copies have
already created a buzz, including at the
recently concluded Bologna Book Fair,
where publishing professionals were singing
the book praisesand searching for galleys.
The sagas charismatic ringmaster is
Roger Straus, FSGs ebullient, profane partowner and Publisher, reads a starred, boxed
review in the 18 March edition of Publishers
Weekly. His tangled relationships with a
string of brilliant writers, including Edmund
Wilson, Susan Sontag, Tom Wolfe and Philip
Roth, are equal parts paternalistic and
exploitative; authors loved FSGs support
and sympathyStraus and his editors championed difficult writers and nurtured
blocked, broke and addicted onesbut the
sub-standard advances, not so much.
Epic cultural story
age of big publishing conglomerates, and the

changes still to come,
changes that weighed on
Straus, and to this day
have left Lord to reflect
uneasily on the nature of
the book business.
Would I go into the
agency business now if I
had to start all over
again? Lord wondered
aloud. You know, Im
not sure I would. Im in a
business that is absolutely
captivating. I think its
enabling me to live forever. I dont want to retire, and I dont think
Im going to. But Im not sure that agents starting today can get as much out of the business
as I did. I think agents have to exhibit more
imagination now than they have in the past.
But, also, it has become so driven by money.
From the beginning, Ive always had one goal
in mind: to help my writer in any way I can.
But these days I hear of decisions being made
by agents that are not for the writer, but for the
benefit of the agency.
As for technology and ebooks, its telling
that Lord, who lived through many changes,
including the change brought by another
revolutionary format, the paperback, has
chosen to publish with Open Road, the
upstart digital publisher. As far as the
ebook, you know, Id just be guessing, he
says. I dont think the hardcover book that
we know will disappear. There are just too
many elements therethe tactile element, the
element of keeping it on your shelf. Whether
or not a totally new form will originate, I
dont know. All I know is that were in a
period of deep change, and that change is
going to continue.
At first glance, a book about Roger Straus

might strike even publishing professionals as
perhaps too inside to be of general interest. But Kachkas nails it. With a mix of deep
research, reporting and a
juicy narrative, the New
York Magazine Contributing Editor has, against all
odds, turned the story of
Straus and FSG, with its
shabby offices, lewd banter,
non-stop adulteries, dysfunctional quasi-familial relations between authors and
the publisher, and febrile literary passions, into an epic
cultural storyand one that
could contend for a major
book award.
Both books also tangle with
the changes wrought by the Boris Kachka and his forthcoming book about Roger Straus
12/04/2013 15:59
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4/8/13 4:50 PM
17 APRIL 2013
WTA celebrates 100 years
or a company thats been doing

business on a global scale for 100
years, World Transport Agency
Ltd owner Charles Sommer paints
a very modest picture of his
companys history and success, writes Gabe
Habash. The reality is WTA has offices on
five continents and it moves more than 250
million books per year.
WTA is still a family business: it was
founded in May 1913 by Ernest Sommer and
passed on to Paul and Charles, Ernests grandsons, in the 1990s. But much has changed in
between. Ernest founded the company predominantly to transport products (not just
books) from Switzerland to the UK. Today,
WTA focuses on the entire supply chain and
ships products all over the world.
But when it comes to books, it is WTAs
founding of BookFreight (the trade
association) in 2003 that most affected its long
history. WTA was one of the first transport
agencies to specialise in the shipment of
bookscreating customised online systems for
the publishing industry, says Sommer.
From that, BookFreight was established,
with WTA as the founding member; we now
have 14 members from around the globe and

we expect that to reach 20 by the end of
2013. BookFreight has offices on six
continents and among its services are: a rate
calculator, allowing clients to specify by
weight, volume or book specification; a
comprehensive online management system
including shipment tracking; logistic services
from origin to destination; and a CO2
calculator to allow clients to keep track of
their carbon footprint.
Sommer spoke further of the
changes occurring during his
career at WTA: The 1990s saw
the rationalisation of offices, a big
investment in information systems
and a greater focus on our
customers, he explains. Indeed,
Sommer says, the three biggest
changes WTA has seen in its 100 years are
containerisation, computerisation and the
huge increase in the global trade due to the
free movement of capital. Containerisation
dramatically improved the efficiency,
reliability and economics of moving
products around the world;
computerisation, in addition to improving
the quality and speed of data transmission,

led to greater transparency and control of
the total supply chain; and the increase in
global trade has developed and bolstered
economic markets and relationships that
never before existed.
Yet despite the fact that much of WTAs
business is now conducted vie electronic
communications, Sommer says that
digitisation appears to have had a limited
impact on the international
movement of books, specifically
in relation to childrens books
and illustrated books for adults,
which, he notes, continue to be
printed in China, Singapore and
India. In the paperback sector,
Sommer says, theyre more often
printed locally to the market
where they are consumed with resulting
little impact on the international volume
of books moved. Time will tell how
books, their transportation, and digital
will take shape. But with a century of
experience and the addition of BookFreight,
WTA will surely be at the forefront of what
is to come.
Meet
the
faces
behind
the
Fair
The London Book Fair team are delighted to welcome you to the show
Jacks Thomas
Director
Amy Webster
Sales
Andrew Menniss
Sales
Bon Sananvatananont
Sales
Broma Patel
Sales
Emily Delchar
Marketing
Katie Morris
Marketing
Orna O'Brien
Conferences
Rebecca Lighten
Operations
Sam D'Elia
Sales
Helen Clifford
Marketing
Jennifer Booth
Operations
Gabe Habash - WTA.indd 2
12/04/2013 18:36
17 APRIL 2013
Not always by the book

Jo Henry reports on an annual survey that examines the resources that students use
ts not news that the Higher

Education (HE) sector is particularly
challenged at the moment: the
introduction of fees of up to 9,000
per year has changed the way in
which students perceive that course
resources should be delivered and how
universities are positioning themselves
too, and there is increasing pressure on
copyright, with Open Access now part of
the landscape. All of this has huge
implications on the business of academic
publishers and booksellers.
In December 2012, Bowker carried out
the second round of an annual survey to
examine the resources that students use.
This time, the survey also looked at
student satisfaction with their courses and
the study activities they undertook, while
tracking how they find out about their
resources; how much they spend on them;
their views on core resources; the devices
used for digital resources; when and where
print is preferred to digital; and the use of
social media in study. The survey was
conducted online among 1,000 students,
with even numbers by sex and year, and six
major subject groups.
University experience
Overall, students appear pretty satisfied
with their university experience: 85% of
respondents really wanted to study the
course that they were on, and nearly as many
(79%) felt that it would give them the right
skills for the job. How students spend their
study varies hugely by discipline, but in
general most are still engaged in traditional
study methodsattending lectures (98%),
writing essays (86%), personal meetings
with tutors (70%)that have been in place
for generations. But the online revolution
perhaps quieter and more incremental in
Chart 1
Jo Henry - Student.indd 2
nature than disruptiveis underway, with

35% doing online tests, 16% attending
recorded online lectures and 11% attending
live online lectures, although these latter
account for only very small percentages of
study time.
Core texts are still very important to
students, with more than a third saying they
were at the heart of their learning
experience. And printed books are still a very
important part of the resource mixused by
90% of respondents, and cited as one of
their three most-used resources by twothirds of the sample. In 2012, online journals
had replaced lecturer hand-outs as the
second most used resourceperhaps an
indicator of a more sophisticated, and less
spoon-fed, approach to learning.
Ebooks are used by two-thirds of
students and, in a big change from the 2011
survey, one in five students now cite ebooks
as one of their three main resources used.
Hand in hand with this significant growth is
an increased use of Virtual Learning
Environments (VLEs) among students,
with more than half now accessing these for
study purposes, up from just under a third
last year. Student satisfaction with the
learning experience provided by an ebook is
not yet proven, however. Print books are
preferred on most pedagogical measures,
with ebooks more highly rated for such
features as value for money or price, ease of
carrying, effects on the environment
and animations.
Despite a continuing engagement
with publisher-provided resources, the
majority of students are now obtaining most
of their texts for free. More than half usually
borrow their books from the library,
compared to just over a quarter mainly
buying new and one in six usually buying
second-hand. Rental, such a strong feature
of the US student book market, barely

registers as an important way of obtaining
books in the UK. Although only 28% of
students usually buy their printed books
new, just under two-thirds of students in
2012 had bought at least one new book,
although this was significantly less than the
73% who had done so the year before. And
alongside this, the survey measured a
reduction in the average spend among
students buying new printed booksdown
from 96 in 2011 to 91 in 2012.
Device of choice
While the PC remains the device of choice for
the student population, in 2012 a significant
number were using a smartphone to access
digital resources, with around one in eight
students using a tablet and the same
proportion using an e-reader. The use of
tablets in particular has seen a significant
increase over the previous year, more than
doubling from 6% using this type of device
in 2011, to 14% in 2012and this increase is
also seen in the use of tablets as a main device
for accessing course materials, up from 2%
last year to 6% in the most recent study.
Similar trends can be seen in the US,
where the latest BISG (Book Industry Study
Group) study (powered by Bowker) shows
ownership of tablets doubling in 2012 over
the previous year, and now standing at
12%although only 3% use a tablet as their
primary device for studying.
Jo Henry is Global Director, Bowker Market
Research. The full findings of the Students
Information Sources in the Digital World 2013
survey, including detailed excel tables, are
available from Bowker Market Research; contact
Liz McNaughton on liz.mcnaughton@bowker.
co.uk. An Executive Summary of the key findings
written by Linda Bennett is also available.
Chart 2
12/04/2013 16:02
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Riding the waves
ne of the best
aspects of my
new role as
Director of
Publishing
Connections, and indeed my
previous role as Director of the
London Book Fair, has been to
engage with the challenges and
opportunities in numerous
publishing markets across
the world, writes Alistair
Burtenshaw. Whatever
individual issues, it is clear that
the various elements of the
global book trade share an
increasing number of common
traits and that nothing about
the, now regular, tidal waves of
change suggests that publishers
are anything other than utterly
integral to the book business.
Indeed as everyone in the supply
chain re-assesses their value
proposition and tests new
responses to the changing
publishing landscape, I sense
that the very best publishing
values can be enriched by
innovation to deliver content
that is truly valuable to, and
valued by, consumers.
On a trip to Asia earlier this
year, the pummeling forces of
disintermediation were a regular
source of discussion with those I
met, such as a Beijing-based
digital specialist who talked of
the need for publishers to choose
how to respond to aircraft
carrier digital platforms during
our keynote debate.
Likewise the threats and
opportunities from
lean tech innovators
in Asia and
elsewhere clearly
show that digital
disruption is here to
stay. While ebook
sales in many parts of
Asia (and indeed the wider
world) still represent less than
1% of the market, it is clear that
in many major developing
markets, electronic distribution
also has an incredibly significant
role to play in solving physical
book distribution challenges
and engaging new readers.
The last few months have also
shown a desire for acquired scale
alongside a growing sense that
Alistair Burtenshaw
building communities and

aiming to be a major player in a
specific niche or genre can be a
safer haven than the squeezed
middle. While it is hard to
determine just how big a merger
or acquisition is big enough to
have any real negotiating power,
market coverage, brand
recognition and cost synergies in
the current landscape, it isnt
easy either to determine just how
specialist is specialist enough to
build and sustain a truly
competitive niche presence.
What is clear is that publishers
need to compete on the world
stage whether large or specialist.
Likewise, the term emerging
doesnt do justice to the major
emerged markets, which are
rightly playing an ever-greater
role on the global stage and
exerting an ever-stronger
influence internationally.
For those markets without
fixed pricing there
are, of course,
occasions when
targeted discounting
to build loyalty,
increase backlist
sales or convert
readers to a retail or
publisher brand make sense. But
the fear that generic discounting
builds a consumer expectation
of exceedingly low price, that
goes beyond being a special offer
to being the expected norm,
seems ever more prevalent. Im a
proponent of consumer choice
on price, but believe that
building an even stronger value
proposition that encourages
something closer to full-price
12/04/2013 16:01

!
LONDON SHOW DAILY
17 APRIL 2013
purchasing, while using targeted

discounts to help the consumer
feel they have bought something
special, is a way forwardnot
least as it enables publishers to
invest further in innovation and
customer value.
Having just returned from the
Paris Cookbook Fair, where the
range of incredibly high quality
cookbooks from every corner of
the planet was astounding, and
the Bologna Childrens Book
Fair, where sensational
illustration and beautifully
tactile books abounded, my
sense is that there remains an
incredible opportunity to entice
consumers into purchasing high
quality books that are valued,
cherished, and read and re-read
whatever the format.
Speaking on a digital panel at
the futuristic Niemeyer Center in
Spain at the end of last year,
questions also abounded about
new channels to market. It was
clear that consumers, authors
and publishers across the world
all need a vibrant eco-system of
digital and physical retail
channels. While the digital space
has been dominated since
inception by a very small number
of vitally important online
platforms, the debate in Spain
showed how the eventual
emergence of new market
entrants in the digital space has
the potential to give authors,
readers and publishers much
greater choicesomething we
should all hope becomes a reality.
But the drive towards an
enhanced physical retail
experience in shops and events
has been inspiring too. Howard
Jacobson was recently quoted at
Jaipur Literary Festival as saying
that everywhere sales of novels
are declining, yet attendances at
literary festivals are going up.
While retail gloom remains very
real in many markets, Ive seen
numerous rays of light from
great physical retailing, chain or
independent, here and abroad.
Indeed I have been in enough
great independent bookstores in
Brazil, Asia, South Africa, the
UK and many other countries
recently to believe that really
great bookselling seems to be
getting even better almost

everywhere. Whether by being
more innovative, thought
provoking, enticing, specialist or
focused, the best physical
retailers are clearly ready to
exploit the challenges of
discoverability and create a
much more sustainable physicalonly or hybrid physicaldigital retail future. Even if the
margins are challenging and the
prospects unknown, there are
definitely bookstores, literary
festivals and book events that
are matching the simplicity,
efficiency and low cost of the
best online platforms with the
unbeatable engagement,
interaction, discoverability and
personal experience of a great
physical retail environment.
My very real sense from
discussions and observations right
across the global book trade over
the last few months is that the vast
majority of those in the book
business are far more innovative,
open to change and better at
seeking out, and developing, new
models for publishing and book
retailing than they are given
credit for. After all, it is thanks
to the creativity and innovation
of our authors, agents, publishers
and suppliers, that publishing
still thrives across the world as a
vital tool for social, educational
and economic development,
not to mention the sheer
pleasure of a really great readin
whatever format!
While none of us can
accurately predict the changes
that lay ahead or the extent to
which print sales will decline
and traditional models come
under continued pressure, it
feels utterly clear that the
consumer remains at the heart of
the book trade. Likewise, a
vibrant eco-system of new and
existing market players clearly
benefits author, publisher and
readerall good reasons to
continue to embrace the change
all around us.
Alistair Burtenshaw is Director,
Publishing Connections Ltd
(www.publishingconnections.
co.uk) and Chair of Booktrust
(www.booktrust.org.uk).
Alistair Burtenshaw- Pub Connections.indd 3
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17 APRIL 2013
Towards speedier, open science publishing
pen access publishing arrived

more than a
decade ago, with
companies such
as BioMed Central and PLoS
promising to turn academic publishing on its head, writes Jane
Hunter. And despite questions
about sustainability, it has
grown from the disruptive new
kid on the block to an industry
standard that now accounts
for more than 10% of all STM
articles published, and has
wideand growingpublic and
governmental support.
Open access has served to
unlock research articles, but
other problems persist, and
some publishers, even the more
forward-looking ones, continue
to resist the pressure to innovate.
Too much vital information
remains locked behind the walls
of increasingly outmoded
publishing practices.
Jane Hunter
Whats wrong with the status

quo? What is it that scientists are
still complaining about? For one,
there remain significant publication delays. Despite living in the
age of instant communication, its
not uncommon to hear of one- or
two-year time-lags between
completing a paper and having it
published. This is a disaster for
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Jane Hunter - Open Access.indd 2
researchers. Until a paper has

been published it hasnt been
shared with the scientific community. Work that hasnt been
shared, cant be cited or built on,
and authors also run the risk of
having their results scooped by
other scientists who manage to
find a faster publisher.
Publication delays are typically caused by the peer-review
process. A key step in a journals
decision to publish, peer reviewers will often ask authors to
amend their papers or conduct
further studies before supporting publication. This takes time.
And, if the paper is ultimately
rejected, the authors must find
another journal and resubmit.
Then theres the peer review
process itself. Until now, peer
review has largely been a secretive processauthors dont know
the names of the people reviewing their work. A peer reviewer
may even be a competitor, opening up opportunities for conflicts of interest.
Another common complaint
is lack of reproducibility. Other
scientists need to be able to
reproduce the work described in
a paper in order to build on it or
even, to take a step back, to demonstrate that its valid, but
authors are not required to disclose their primary data or even
provide the protocol for the
research theyve conducted.
Readers are reduced to taking
the authors conclusions on trust
and, much of the time, scientists
who try to reproduce an experimental result based on the information provided fail to do so.
And there remains a fundamental problem. Most journals
pride themselves on publishing
the most interesting papers they
can find. It makes sense. They
want to attract readers, and
high-impact articles get noticed.
So if an authors work is valid,
but considered too dull, it may
not get published. And work
that isnt published is effectively
unknown. Not only is this a
potential loss of knowledge, but
there is nothing to stop other
researchers from doing the same
science all over againa waste of
time, effort and money.
The solution?
The solution is Open Science. As
a movement, it has been around
for some years and the term has
come to denote a range of initiatives (including open access) that
share the aim of making science
easier and faster to communicate. However, without support
from publishers, Open Science
has languished.
At Faculty of 1000 (F1000)
we challenge the science publishing industry to respond to the
needs of the scientists it serves by
removing barriers to publication, eliminating unreasonable
delays and opening up their peer
review processes. And in launching our new journal, F1000Research, we are hoping to help
define a new paradigm: Open
Science publishing.
F1000Research is the first true
Open Science journal. At
F1000Research, we publish
immediately and then conduct
all peer review after and with
transparency, with named
referees and all referee reports
available for all to read. Our
authors are able to respond
openly to reviewers suggestions,
and to publish updated versions
of their articles if they wish. All
good science is accepted,
regardless of potential impact.
And all papers based on
experimental data must be
published with their full datasets,
which must be available for
sharing and reuse by other
scientists. Our fastest time from
article acceptance to publication
is now just over one day, and our
fastest time to subsequent
indexing in PubMed, Scopus and
Embase for peer reviewed,
approved articles is 24 hours.
Progress in science depends
on the rapid and free communication of research findings.
We want scientists to hold
publishers to a higher standard,
to push for publication of all
good science, to support open
access and to help establish
Open Science publishing as
the new standard for the
communication of knowledge.
Jane Hunter is Managing Director of
Faculty of 1000 and F1000Research.
12/04/2013 16:18
17 APRIL 2013
Beyond the traditional marketplace
ts a challenge facing us
all: how to find new markets when the traditional
retail market faces such
fierce competition, writes
Denise Johnstone-Burt. We
must innovate not just to prosper, but to survive. Two years
ago, in the face of this continuing
test, we decided to see whether
Walker Books could come up
with a new format or idea that
would take us out of the traditional marketplace for childrens
books, and into new outlets.
We also wanted a product that,
while appealing to children,
would also be marketable to
adults. The result was our 3D
pocket guides, a stylishly designed
and illustrated extending pop-up
format. Each pop-up fits neatly
into a square slipcase and folds
out into 12 3D panels of art and
text. The concept of the neat little
format came first; how to apply it
taxed us next. After a considerable amount of discussion and
debate came inspiration: how
about using the format to create
both a guide to, and souvenir of, a
place or subject?
We realised that we were entering a fraught area of the market. Guide books jostle for space
on a crowded bookshelf and were
known to be declining as a genre.
How could we, a medium-sized
independent childrens publisher,
hope to make inroads to this market? Undaunted, we chose London as our launch title.
The first task was to select 12
sights of the cityquite a challenge, given all it has to offer.
Our artist Sarah McMenemy
then turned our final selection
into attractively accessible yet
sophisticated images, and we
provided the textrestricted to
the minimum necessary to
impart information with a touch
of fun. The publishing price was
carefully chosenonly 5. It was
a keen price, lower than a paperback, fiercely competitive and
aimed at the souvenir hunter
who could buy it on a whim,
without worrying about the
impact on the wallet. We hoped
people would see it as a
mementosomething beautiful
to remember a trip by.
In April 2011 the first title

was ready and we held our
breath. Would it soar away? Or
not? In line with our starting
strategy, the Walker sales team
had approached non-traditional
outlets such as museums and
galleries throughout the capital. Fortunately there was
enthusiasm: the British
Museum was an early
adopter and quickly
showed that the project was going to fly. In
the first year the
Museum sold
almost 5,000
copies, and
sales from
other outlets
throughout
the city have
been growing
strongly ever since. In just over
18 months we sold close to
100,000 copies of this one title.
Other capitals soon followed
London; so too did foreign editions. A wide range of international publishers, adult and childrens and specialist art publishers
have come to the idea and helped
us take it forward. All shared our
desire to reach beyond the traditional book trade. When the
French-language edition of the
Paris title sold out in two months,
we found sales of the Englishlanguage edition rocketed in St
Pancras and at WH Smith in Paris.
Having published the first
series of cities we realised that
we had a format that was ideal
for partnering with an eclectic
range of retailers and organisations. For example, we worked
on our Edinburgh title with
Bookspeed, which distributed
the first print run, and on the
Dublin one with Easons, which
took 5,000 in return for a years
exclusivity in the city.
We then approached the Metropolitan Museum in New York
and agreed with them to create a
bespoke edition featuring some of
the key artefacts of that breathtaking collection. This was a particular challenge: how does one
recreate the work of Andy Warhol or Edgar Degas in such a
small format? And how can one
convey the scale and scope of
Denise J Burt - Walker.indd 3
such a vast and diverse collection

in just a few panels? Working
with the museum, we agreed to
create views of
the galleries
rather than
individual
works. The
result, I think, is
enchanting. We
have now moved
on to the marvels
of the Louvre and
the Palace of Versailles in France, and
of the Historic Royal Palaces in London.
There is, inevitably, a
finite number of great cities
suitable for our pop-ups. As a
result we decided recently to
focus on subjects rather than
exclusively on places. What better than starting with those perennial evergreens, dinosaurs and
creepy crawlies? Both appeal to
all generations, and both can sell
outside bookshops. These first

two subject titles, aimed at
younger readers, have sold well
through the Natural History and
Science Museums, as well as in
bookshops. Other titles are in
preparation, including partnerships with other museums around
the country.
In under two years we have
published more than 20 titles,
with more in preparation. Sales
across the range are close to half
a million. A further benefit of
wor king with some new and
emerging retail outlets is that the
3D pocket guides have raised
opportunities for the wider
Walker list, with other books
following where our pop-ups
blazed a trail. This success has
shown that there can be a way
forward for printed works in
these challenging times.
Denise Johnstone-Burt is Publisher,
Walker Books.
Visit ECW Press on the Canada Stand F500
Myster y
Whellamss sophomore entry (after Walking

into the Ocean) sweeps the reader away with its
elaborate plot, insightful observations about
human character, and genuine spy adventure.
LIBRARY JOURNAL
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12/04/2013 16:18
17 APRIL 2013
Myriad opportunities
yriad Editions spent its

first 15 years as a packager of the acclaimed
State of the World infographic atlas series,
writes Candida Lacey. Then in 2009, we
applied for an Arts Council England Grant
for the Arts and created our own imprint.
The rationale for this grew out of Myriads first foray into trade publishing with
The Brighton Book in 2005. This mixedmedia anthology was designed not only to
celebrate the city, but also to create a platform for new writers alongside well-known
names (including Jeanette Winterson, Nigella Lawson and Meg Rosoff). We went on to
publish two of the featured debut novels and
to commission Woodrow Phoenixs first
full-length graphic work, Rumble Strip.
These books laid the foundations for Myriads publishing programme. Our aim: to
seek out home-grown talent, to launch the
careers of new writers and to develop fresh
audiences for their work.
This was an ambitious development and,
to many observers, an unexpected diversion
from the core business. However, we had
spotted an opportunity. In the southeast
there are several excellent creative writing
courses and arts organisations helping
writers to hone their skills, but it is hard for
first-time novelists to find a publisher or an
agent. And Myriad was based in Brighton, a
city with a thriving creative community, yet
there is no literary publisher in the region.
We felt we could draw on and feed a fertile
ground of local writers and eager readers.
ACE grant
It was a risk but, with the help of the ACE
Grant for the Arts in 2009 and again in
2011, we could afford to build the list carefully and selectively, publishing only titles
that were the very best of their kind, whether
that was literary fiction or crime thrillers.
(We invite direct submissions from new
writers who do not have agents to help them
gain access to publishers, and we offer intensive editorial direction and support.) With
Vicky Blunden at its helm, our fiction list
soon contained some outstanding debuts,
with titles regularly appearing on Best of
the Year lists.
The success of the fiction gave us the confidence to apply a similar strategy to building
our graphics list. We were fortunate to have
comics and graphics expert Corinne Pearlman already on boardoverseeing the design
of the atlas series. She quickly established
Myriads graphics list as one of the most
thought-provoking and characterful in the
UK, publishing some of todays most exciting
cartoonists, including: Darryl Cunningham,
Candida Lacey - Myriad Editions.indd 2
Candida Lacey
whose Science Tales was shortlisted for Best

Book British Comics Awards; and Nicola
Streeten, whose Billy, Me and You was
Highly Commended in the BMA Popular
Medicine Book Award. In total, 10 of our 26
titles have won or been nominated for prizes
an impressive strike rate by any standards.
Quality alone could not be our only goal.
We could not have chosen a tougher economic climate in which to launch new
authors. A turning point was Elizabeth
Haynes debut novel Into the Darkest Corner. Within weeks of publication in February 2011, the novel became a genuine wordof-mouth bestseller, with more than 500
five-star Amazon reviews and a fan base that
extended beyond traditional crime readers.
When it became Amazons Best Book of the
Year, we saw a surge in foreign rights interest. To date we have sold nearly a quarter of
a million copies (print and ebooks) of the UK
edition, as well as translation rights and
licences in more than 30 languages and territories. It became a New York Times bestseller, and a film is now under way.
Clearly this kind of success has been hugely
important for Myriads finances, helping us
to achieve sustainability within the ACE
time-frame. In addition, it has increased
Myriads profile, bringing all our authors to
the attention of the book trade, literary editors and festival programmers as well as to
scouts, agents and foreign publishers through
Adrian Westons literary agency. The success
is especially sweet because Into the Darkest
Corner exemplifies what we set out to
achieve: as a direct result of being discovered
by Myriad, Haynes has been able to take a
career break in order to write full time.
Strategic alliances
Another important part of our mission to
support new writers is to forge strategic
alliances. Myriad staff and authors speak on
panels and offer advice on getting published
to students and aspiring writers. We
collaborate with universities, colleges and

arts organisations to initiate creative
projects. Currently we are working with the
WEA (The Workers Educational
Association) to design a series of creative
writing weekend masterclasses, called Write
Now, each led by a Myriad author. We
joined forces with West Dean College to
administer and judge the Writers Retreat
Competition. And last year we partnered the
University of Sussex to launch First Fictions,
a festival of events and an opportunity for
audiences to engage with authors.
As well as editorial input from the earliest
stage, we promote authors with passion and
commitment. Each new book has a launch
event, and we help authors engage directly
with readers through Twitter and Facebook,
and book groups. We pitch our authors to
festival organisers and send our graphics
authors to comics fairs. As our list grows, so
do the number of events, and we all find ourselves with fewer free weekends and evenings, but this kind of hand-selling really
helps to build audiences. Given the right
opportunity and platform, authors are the
best people to sell their books.
Success has also brought with it some
difficult choices, the toughest of which has
been whether to compete with larger
publishers in order to retain authors. Shortly
after commissioning Into the Darkest
Corner, we signed up Haynes next two
novels, but when she was offered significant
sums for novels four and five, we stepped
back and decided it was our job to find and
nurture the next brilliant new writer.
And what of the future? We are always
exploring innovative ways to curate and
distribute fiction, and have embraced digital
publishing, co-producing the interactive
flash fictions app Quick Fictions with Aimer
Media and the University of Sussex. Quick
Fictions grew out of an annual flash fictions
event at the University (every story under
300 words) and is a new form of digital
storytelling, designed to continually evolve
and provide a platform for Myriad authors
and other new writers.
People often remark that independents
take risks while larger publishers play it safe.
Myriads development is driven by our belief
that independent publishers are increasingly
important as the seedbeds of new talent,
which larger companies can no longer
nurture. But it is only by investing in the
editorial time needed to cultivate authors
and marketing that any of us can continue to
publish excellent and original books to
enrich our literary landscape.
Candida Lacey is Publisher and MD of
Myriad Editions.
12/04/2013 15:58
17 APRIL 2013
The page is turning

Laurel Sutherlin looks at the changes the publishing industry is making to protect Indonesias
endangered rainforests
n forest-rich countries such as Indonesia, the pulp and paper industry is rapidly destroying some of the worlds
most biologically diverse forests. In
their place, massive fibre plantations
bring devastating consequences for the
regions people and ecology. This destruction,
led in large part by logging giants Asia Pulp
and Paper (APP) and Asia Pacific Resources
International (APRIL) has elevated Indonesia
to the status of the worlds third largest greenhouse gas-emitting nation, with upwards of
80% of the countrys emissions stemming
from deforestation. Indigenous and forestdependent communities lands and livelihoods are being uprooted, and iconic wildlife
species such as the Sumatran tiger and the
Sumatran elephant are being driven to the
edge of extinction by the loss of huge swathe
of their rainforest habitat.
overseas printers and others in the supply

chain that they must institute major reforms
to protect forests, and address land conflict
and human rights violations.
Then, in February 2013, in response to the
loss of contracts with more than 100
companies and years of campaigning by
Indonesian and international NGOs, APP
announced a new Forest Conservation
Policy that commits it to a series of
potentially historic environmental and social
reforms throughout its operations.
Broken promises
Laurel Sutherlin
to discuss improving the companys paper

purchasing practices.
Global commitment
Piling on the pressure
Recent, widespread changes in the paper
sourcing practices of the global publishing
industry are piling on pressure for APP and
APRIL to reform, but it remains too soon to
tell if the shifts underway will go far enough,
fast enough to preserve viable tracts of natural forest for future generations.
In 2010, Rainforest Action
Network (RAN) commissioned
forensic laboratory tests that
documented fibre from cleared
Indonesian rainforests in the pages
of top-selling childrens books.
RAN then launched a campaign to
convince major US publishers to
take action to eliminate paper
sources tied to land conflicts and
rainforest destruction.
By the end of 2010, eight of the
top ten US publishers had committed to
eliminating controversial Indonesian fibre
from their supply chains, including Scholastic, Hachette, Pearson/Penguin Group, Candlewick Press, Houghton Mifflin Harcourt,
Macmillan, Random House and Simon &
Schuster. Of the top ten, only Disney and
HarperCollins remained holdouts.
On 18 May 2011, employees at The Walt
Disney Companys headquarters in Burbank, California awoke to a surprise: two
RAN activists costumed as Mickey and Minnie Mouse blockaded the companys main
entrance gate, while a large banner, deployed
by climbers overhead, read Disney:
Destroying Indonesias Rainforests. The
risky tactic got the companys attention.
Within a week, several senior Disney executives travelled to RANs San Francisco office
In October of 2012, after 17 months of

intensive negotiations, Disney announced
sweeping global commitments to eliminate
controversial paper from its supply chains.
Disneys commitment is monumental on a
number of fronts. The policy covers all Disney products produced in any of nearly
25,000 factories in more than 100 countries,
Unfortunately, APP has a lengthy history of

broken promises and unfulfilled commitments. Also, it remains a grave concern that
the company is moving forward with plans
to build what may be the largest pulp mill in
the world in Sumatra and is involved with
dozens of land conflicts with local communities that remain unresolved. Only time will
tell if APP is truly serious about changing the
way it does business, but for now it cannot
be considered a responsible business partner
by the global market. Meanwhile, APPs
main competitor, APRIL, is still rapidly logging Indonesias remaining natural forests
with abandon and has no stated plans to
stop anytime soon.
It is more important than ever
that publishing companies remain
vigilant in communicating their values and contractually obliging
paper mills, printers and others in
their supply chains to meet their
policies. Scholastic, Hachette and
now Disney are examples of companies with leadership paper sourcing policies, and other major publishers, including Houghton Mifflin
Harcourt, Macmillan and Candlewick Press,
have made meaningful improvements. Continued care and due diligence is needed to
ensure that APP follows through with robust
implementation of its commitments and that
APRIL feels the pressure to follow suit.
From the Great Bear Rainforest Agreement in Canada to APPs new forest commitments in SE Asia, the publishing sector has
taken a lead in pushing environmental and
social responsibility. They will continue to
be a key catalyst driving suppliers and governments towards forest protection and
respecting human rights in the US, Europe
and around the globe.
The publishing sector will

continue to be a key catalyst
driving suppliers and
governments towards
forest protection.
Laurel Sutherlin - RAN.indd 2
including 10,000 in China. Disney is the

largest publisher of childrens books and
magazines, the largest brand licensor in the
world and the largest operator of theme
parks in the world, and the paper and packaging used for all arms of this media empire
are covered by the policy. In addition,
Disneys policy goes beyond purely environmental considerations to protect human
rights and to recognise the climate values of
high carbon stock forests and landscapes.
Two months later, HarperCollins became
the final top US publisher to announce it will
no longer purchase paper connected to rainforest destruction. This sector-wide shift in
the publishing industry added momentum to
dozens of previous contract cancellations by
major corporations, and sent a strong and
unmistakable signal to APP and APRIL,
Laurel Sutherlin is the Communications Manager

for the Forest Program at Rainforest Action
Network (RAN).
12/04/2013 15:57
17 APRIL 2013
Writing Tom Gates
was once asked: how

does a 50-year-old
woman write a childrens
story about a 10-year-old
boy at school, then?
writes Liz Pichon.
Id never thought of it like
that! So I tried to explain: I just
wanted to write a story that I
would have wanted to read when
I was 10which is true. Tom
Gates started off life as a picturebook idea, and it took quite a few
reworks before it eventually took
shape as a book for older
children. I wrote the first part of
the story in a real school exercise
book and imagined that Tom
was writing about a disastrous
family summer holiday, which
he called Camping Sucks.
Its all based on friends and
familys various grim camping
experiences, along with my own.
(Everyone has them, and anyone
who says they dont is probably
telling fibs.) Then I had Toms
Liz Pinchon
Photo: Zac Pinchon
teacher, Mr Fullerman, adding

in his own comments about the
storyall written in a different
font, like teachers do. This was
based on my sons teacher in
reception, who always used to
write really hilarious little
comments in his booksI looked
forward to reading them. In fact,
most of the ideas for the Tom

Gates books come from stuff
thats actually happened to me
or someone I know. Its got to
the stage now that if anything
funny happens, my family
tend to roll their eyes
and say: Thats going
in a book then.
(Probably.)
When you write
and draw a book,
firstly you just hope
the publishers will
want to publish
it. Then you get
excited about
seeing it in the
shops (which doesnt always
happen). So anything else is
a massive bonus. Which is
why the reaction Ive had to the
Tom Gates books has been
absolutely amazing.
Im also getting lots of positive
feedback from parents of
reluctant readers, which is not
something I consciously thought

about, but Im obviously thrilled
that the books seem to be getting
some kids into reading.
Another question I was asked
from a child at a school visit was:
What do you like most about
being an author? I
answered: Thats
easy. Apart from
deadlines, I like
everything about
it. Imagine spending
all your working
days thinking of
funny things to write
and draw about; how
good is that? (Its
really good.)
Liz Pichon will be in conversation
with Martin Chilton, Telegraph
Digital Culture Editor, today at
11.30am, in the English PEN
Literary Caf. The event will
be followed by a book signing
at 12.00pm.
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London_D3_p33_Liz Pichon - Author.indd 3
12/04/2013 20:08
17 APRIL 2013
A bookshop on the Bosporus

John Hudson talks to the owners of Galeri Kayseri, the elegant and welcoming bookshop in
Istanbul, which offers the world a showcase of all things Turkish through its books
ike discovering hidden

treasure, were the words used
by Australian author Juliet
Marillier when she visited
Bookshop in the Divanyolu
Caddesiliterally Kings Street, the road to
Ancient Rome, in the Sultanahmet district of
central Istanbul. She found an Aladdins
cave of books in English on all aspects of
Turkish culture. Marilliers commentary
continues: Definitely the best bookshop I
have visited anywhere in the world. Writer
John Freely adds, the most elegant
bookshop I have ever seen and Barbara
Taylor Bradford comments, undoubtedly
one of the finest bookstores in the world.
Bookshop, also known as Galeri Kayseri,
has attracted film stars, US senators,
ambassadors, internationally renowned
writersincluding, of course, Ohan Pamuk
and Arabian royalty. It has featured in a
CNN documentary and a film made by
Wadek Khanfar for Al Jazeera. So, what is
just so special about Bookshop?
A large part of the answer lies with Galeri
Kayseri founder and President, Ali Tysz.
A sophisticated and refined figure who offers
warm hospitality, including
magically bitter Turkish coffee,
Ali evidently has a dream.
Our aim is to show Turkey
to the world, to act as an
international window for
Turkey, says Ali, seated in a fine
oak chair beside the spiralling steel
staircase designed by his prizewinning architect son Selahattin.
Bookshop is actually two shops
on opposite sides of the street,
rising six floors, midway between
the wonder that is Hagia Sophia
and the heady aromas and bustle of the
Grand Bazaar. You can easily feel that you
are at the centre of the world here, at the
western end of the Silk Road, in the
cosmopolitan, dynamic and fascinating
city of Istanbul, formerly imperial
Constantinople and legendary Byzantium.
As you enter the new shop, opened in
2004, it is as if the whole of Turkey is
unrolled before you like a magic carpet.
Books, face-forward, line the dark
wood shelves. The ambience, created by
Alis wife, Tlay, is spacious and seriously
elegant. Comfortable chairs and tables invite
you to relax and take your time. This is a
place to go on an adventure, to browse and
discover. Subjects range from cookbooks to
travel guides, Islamic architecture and art,
photography, Ottoman textiles and tiles,
John Hudson - Turkey bookshop.indd 2
and history. The revival in Turkish fiction

is well represented, as is contemporary
Turkish poetry.
In this land of marvels and fables Alis
son, Senert, sits with his wife Neslihan, who
is an interior designer and Executive
Academics, from professors to PhD

students, make special trips to visit and
purchase from Bookshop. Dr Judith Session,
Dean of Libraries, Miami University,
Oxford, Ohio walked into Bookshop and
selected 165 titles and left with the comment,
what a terrific experience!
Ali and his staff select their stock by
consulting the Bookshops 100 advisors,
something like Alis literary viziers, a group
of experts and academics from around the
world who alert Bookshop to new
publications. Quality information is vital in
the selection process, says Ali. We
purchase from all over the world, and we are
also the sole distributor for many excellent
imprints from Turkey that are published in
English. Our collection is first class, unique.
Bookshop also undertakes its own
publishing, always authoritative and of the
highest quality, and sometimes very daring.
Once such initiative is the 30 volumes on
Turkish art, architecture and culture sold as
a hand-bound, limited-edition, art-book
series exclusively available in Bookshop.
Galeri Kayseri is definitely a gem among
the 6,000 bookshops in Turkey. It seems to
break the rules and is successful
because of it. Bookshop eschews
the plastic-wrapped books in
serried ranks down alleys of
gloomy shelves that one used to
find in this land where the
Ottoman legacy still lurks. Like
Turkey today, Bookshop is open,
enlightened and proud of itself. It
calls out to passers-by: Come in
and get to know me!
Ali Tyszs dream isnt over.
We hope to expand our shops
overseas, to London, New York
and Paris, he declares proudly. If Alis
dream is realised more people will be able to
marvel at the wonder that is Turkish culture
and literature.
Sales are impressive,

with an average of more
than a thousand visitors in a
day most of the year,
increasing to double that
in the summer period.
Manager of the larger of the two branches,
as they tell me tales that seem more akin to
the Arabian Nights than the hard-headed
world of book publishing and sales figures.
In September 2012, the daughter of
the King of Saudi Arabia visited us. She
stayed more than six hours and collected
three copies of each book in our shops
in order to create three libraries in her
city. And another: Brazilian President
Dilma Roussef visited our Bookshop in
October 2011 accompanied by a group of
ministers from the Brazilian government.
She spent almost two hours looking at books
and purchased a great number. All the
same, sales are impressive, with an average
of more than a thousand visitors in a day
most of the year, increasing to double that
in the summer period.
John Hudson is an award-winning poet, writer

and performer. His latest collection, Earth, is
published by Luath.
12/04/2013 15:53
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rom its beginnings in

both in terms of who attends

the Digital Zone will expand

enry Rosenbloom has

issues, newly appointed

George Robertson award.

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Online communities boom

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HC has football expos

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Reporting for BookBrunch

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Subscribe to Publishers Weekly:

Sceptre, Grand Central have

matter of what we get or what

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encyclopedia of tHe fifa

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LONDON SHOW DAILY

People at London Book Fair 2013

At the memorial service on Sunday for Maeve Binchy:

At the Womens Fiction Prize shortlist announcement, Chair of the judges

David Baldacci (Pan Macillan) visited the fair for a trade

LONDON SHOW DAILY

Breakthrough on library e-lending

n a long-awaited breakthrough, Simon &

new twist, S&S books will also

(Childrens Innovation Theatre)

Tom Gates is Absolutely

lending game, with OverDrive

n a buy before the London

LBF Staff Picks

The new definition of high definition.

Subject to availability. Larger stores.

10 LONDON SHOW DAILY

Can we end the copyright Tower of Babel?

here copyrights end, the

Robert Spoo - Copyright.indd 2

harmonisation of copyrights contained a

When we view the world

this announcement, the NLI (of which I was

Robert Spoo is Chapman Distinguished Chair at