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Frankfurt Show Daily, Day 1, October 10, 2012

Frankfurt Show Daily, Day 1, October 10, 2012

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For t he l at es t f ai r cov er age, go t o www. publ i s her s weekl y. com/f r ankf ur t and www. bookbr unch. co.

uk
Frankfurt
Visit us at
Stand R925
includes Stieg
Larsson’s Millenniumtrilogyand
Stef Penney’s The Tenderness of
Wolves, is poised to launch a US
publishing operation and has
established a New York office in
preparationfor the autumn2013
publication of its debut list,
writes Liz Thomson. The
company has announced a sales
anddistributionpartnershipwith
Random House Publisher Ser-
vices (RHPS), a division of Ran-
domHouse, Inc.
Founded in 2004 by two
former Orionhands, MarkSmith
and Wayne Davies, respectively
now CEO and Execut i ve
Di rector–Di gi tal , Quercus
publishes fiction, non-fiction and
children’s books across imprints
that include MacLehose Press, Jo
Fletcher Books and Heron
Books. Last financial year,
Quercus turned in operating
profit of £5.9m on turnover of
£24.8m, and analysts expect a
similar result this year.
Its entry into the American
market will be with a list of 40
titles reflecting the breadth of its
UK catalogue–commercial and
literary fiction, SF, fantasy, hor-
ror and children’s; non-fiction
and gift books–with highlights
including Roberto Costantini's
international bestseller The
Deliverance of Evil and Philip
Ziegler’s definitive biography of
Laurence Olivier, plus Mikhail
Shishkin’s The Light and the
Dark, Frank Schätzing’s Limit,
and Gregory Hughes’ highly
acclaimed children’s book
Unhookingthe Moon. RHPSwill
provide exclusive sales and distri-
bution for all physical and digital
titles intheUSandCanada.
“We’ve been planning this
move into the US for some time
now and see great opportunities
in this most vibrant of markets,”
said Smith, who last year dipped
a toe into the water with a suc-
cessful co-publishing venture
with Sterling. “This is a start-up
operation and we plan to take
things one stepat atime toorgan-
ically grow our offering and
learn, alongside our partners
RHPS, what we as a company
can bring to such an exciting
marketplace. Our teamwill focus
on publishing commercial titles
with broad appeal and giving
each title and author the market-
ing, publicity and outreach sup-
port they will need to maximize
their potential. We could not
have a better partner than Jeff
and his team at Random House
and we look forward to a long
andsuccessful partnership.’’
Speaking for RHPS, Jeff
Abraham, President, praised
Quercus’ “dramatic growth and
success”and“aggressive plans to
expand into North America. The
quality and breadth of their
publishing programme nicely
complement those of our robust
roster of clients.”
Quercus has weatheredstorms
in its short life, but under the
direction of Smith and his MD
David North, appointed in
October 2008, a tight and loyal
team has staged a remarkable
comeback. ■
Quercus to publish in US
T
wo data-driven keynotes
at Tool s of Change
Frankfurt kicked off the
2012 show with yet more evi-
dence of the vast potential digital
offers publishers. “The first
thing to say is that it looks like
growth rates are quite fast, par-
ticularly in emerging markets,”
Jo Henry of Bowker told ToC
attendees, adding that while
established markets were seeing
“exponential growth”, in ebook
adoption, emerging markets
“look like they are going to go
stratospheric.” Leading the way
was India, where some 39% of
respondents said they had paid
for an ebook or an extract in the
last six months, up from34%in
January. In the US it was 26%,
up from 22%; and in the UK it
was 24%, up from 22%. The
data comes fromthe most recent
instalment of Bowker’s Global
E-Book Monitor, a survey of
1000 consumer respondents in
10 countries, completed in Sep-
tember, which follows up on a
survey done inJanuary of 2012.
Roughly a third of respon-
dents saidthey hadreducedtheir
print purchases or stopped them
altogether. However, a signifi-
cant number said they had
increased their print purchasing
because of ebooks, and a signifi-
cant number who said they were
not print buyers at all were actu-
ally enticed into buying print
from ebooks. “The formats
clearly work hand in hand,”
Henry said.
Most respondents indicated
that anebookshouldbe valuedat
about half the price of a hard-
cover book, or 80% of a paper-
back. And then there is the issue
ToC: Ebook growth and
opportunity
10 October 2012
Continues on page 3 ➝
Q
uercus, the Lon-
don-based pub-
lisher whose ros-
ter of interna-
tional successes
Day 1 News.indd 3 09/10/2012 16:15
www.publishersweekly.com www.bookbrunch.co.uk
FAIR DEALINGS
10 OCTOBER 2012 FRANKFURT SHOW DAILY 3
To contact Frankfurt Show Daily at
the Fair with your news, visit us on the
Publishers Weekly stand Hall 8.0 R925
Reporting for BookBrunch by
Nicholas Clee in London and LizThomson in Frankfurt
Reporting for Publishers Weekly by
Andrew Albanese, Rachel Deahl, Calvin Reid and Jim Milliot
Project Management: Joseph Murray
Layout and Production: Heather McIntyre
Editorial Co-ordinator (UK): Marian Sheil
To subscribe to Publishers Weekly, call 800-278-2991
or go to www.publishersweekly.com
Subscribe to BookBrunch via www.bookbrunch.co.uk
or email editor@bookbrunch.co.uk
Frankfurt Fair Dealer issue printed by Henrich Druck + Medien GmbH,
Schwanheimer Straße 110, 60528 Frankfurt am Main
T
he first fruits of the
Penguin and Dar El
S h o r o u k j o i n t
venture, launched
two years ago, are
unvei l ed t oday, wi t h t he
inaugural 12 Arabic translations
of Black Classics on show here
at Frankfurt.
They include The Prince by
Niccolò Machiavelli, The Lady
With the Dog and Other Stories
by Anton Chekhov, The Strange
Case of Dr Jekyll and Mr Hyde
by Robert Louis Stevenson,
Tortilla Flat by John Steinbeck
and, perhaps surprisingly,
The Taming of the Shrew by
WilliamShakespeare.
The Shorouk-Penguin proto-
col was signed by John Makin-
son, Penguin CEO, and Ibrahim
El Moal l em, Chai rman of
Shorouk, in the Manial Palace in
Cairo, in those now far-off days
before the ArabSpring. The plan
is to publish 12 translations of
Penguin’s international classics
anduptoeight local Arabic titles
annually. The project “opens
new horizons for cultural coop-
eration” and is a significant
addition to the library of quality
translations from, andinto, Ara-
bic and English. The books will
carry the PenguinClassics livery,
with Arabic text and joint
Shorouk-Penguinbranding.
Shorouk-Penguin unveils first
list of Classics in Arabic
OUPhas licensedtwoof its
leadingchildren’s series to
appdevelopers.
Gazoob, a UK-based
developer of educational
apps, ebooks, andgames, is
behindtheReadwithBiff,
ChipandKipper learn-to-read
app, whichis launchinghere
at Frankfurt. It feratures
characters fromtheOxford
ReadingTreereadingscheme,
whichis usedin80%of UK
primary schools.The 48-title
series has beendevelopedby
leadingeducational experts
andcarefullytailoredtomatch
current readingpractice.
RodTheodorou, OUP
Primary Business Director,
said: “We are constantly
lookingat excitingnewways
of bringingour content to
children.This appallows
childrentointeract withtheir
favourite storybook
characters, while developing
essential readingskills.”
Meanwhile Mobile
Systems has developedapps
for a range platforms using
content fromThe Oxford
EnglishDictionary for
Schools, The Oxford
Student’s Dictionary, and
accompanyingthesauruses,
andThe OxfordLearner’s
French, Spanish, and
Germandictionaries. ■
OUP launches
apps
of free. “One thing we can say
nowis that free is driving engage-
ment with paid digital content,”
Henry said, noting that in the
more established market, there
was clear evidence that free
downloaders were moving on to
becomepayingcustomers as well.
AndrewBud, Global Chair of
trade body MEF, followed
Henry wi th i nsi ghts from
another consumer survey that
indicated a huge opportunity for
publishers in the mobile space.
While a growing number of
readers were already using
mobile devices to read, Bud said
the survey showed that books
ranked among the last things
Said Makinson: “We are hon-
oured to be partnering with Dar
El Shorouktolaunchthe Penguin
Classics in Arabic. This is a part-
nership not just between two of
the industry’s most distinguished
and celebrated publishing houses
but between two of the broadest
anddeepest literarycultures inthe
world. We very much hope that
this project will be a commercial
success but also one of cultural
andsymbolicsignificance.”
The books will also feature
prominently in upcoming MEA
book fairs. Cairo-based Dar El
Shoroukwas establishedin1968
and has since expanded into a
significant mediagroup. ■
purchased for mobile devices.
Roughly 17% of respondents
said they had purchased books
for their mobile devices, a “twi-
light zone” number, he noted,
not negligibly small, but not as
large as it shouldbe.
He noted the advantages of
mobile: consumers had them to
hand most of the time; mobiles
had the ability to “push” con-
sumers; they offeredinformation
about buying and consumption;
andtheymade it easytopay.
Now in its fourth year, the
Tools of Change conference has
become the Frankfurt Book
Fair’s “unofficial hot spot for
innovation”, noted FBF orga-
nizer Holger Volland, kicking
off the conference with a slate of
cutting-edge programming. ■
Continued from page 1

Gadsby to head new division at R&L
R
owman & Littlefield
Publishing Group has
hiredformer Continuum
CEO Oliver Gadsby to head a
new international academic
publishing division. Rowman &
Littlefield International will be
based i n London and wi l l
acquire titles in the humanities
and social sciences categories for
not just the UK and European
markets but for all markets out-
side the US, Gadsby said. He
told PW that he was starting to
recruit a small teamfor the Lon-
don office and that he expected
to release the company’s first
books in the third quarter of
2013. “Given the resources of
Rowman&LittlefieldI thinkwe
can have a fast start,” he noted.
The division’s first titles would
have international appeal.
The support of Rowman &
Littlefield includes distribution
by R&L’s sister company,
National Book Network Inter-
national, and access to Fusion,
NBNi’s digital distribution arm.
Gadsby said R&L International
would use technology in “every
aspect of the business” from
production to distribution.
Given the international scope of
the company, “digital delivery
will be key,” Gadsby said. He
said that he expected to use
“newmodels of collaboration in
working withauthors.”■
ToC
Day 1 News.indd 5 09/10/2012 15:26
FAIR DEALINGS
www.publishersweekly.com www.bookbrunch.co.uk
FRANKFURT SHOW DAILY 10 OCTOBER 2012 4
I
n a venture designed to
bring giant mobile phone
carriers more directly into
the book market, German
ebook retailer Txtr has
unveiled plans at Frankfurt to
release a new e-ink digital read-
ing device that can be offered as
an i nexpens i ve pr emi um
through phone plans, writes
Calvin Reid. The new device,
called the Beagle, is a small, bat-
tery-powered e-reader with a 5”
e-ink screen that would cost less
than $19 when offered via a
mobile data plan.
Txtr chief commercial officer
Thomas Leliveld said the Beagle
would be one of the smallest and
lightest (128 grams) e-readers in
the market. Leliveld claimed the
device could run on two AAA
batteries for “up to two years,
there are no cables or charger”,
joking that it was, “No wi-fi or
4G–it’s ano-Gdevice,”designed
strictly for reading. But it is
designed to work in conjunction
with a cell phone, and once it’s
synced to a consumer’s phone
with access to ebooks, he or she
can wirelessly move up to five
ebooks from their phone to the
Beagle for reading. Alimit onthe
number of titles (five) that canbe
placed on the Beagle and the
device’s lack of any transmitting
capability is not arbitrary–
Leliveld acknowledged that this
was intended to prevent illegal
content sharing.
The Beagle looks to be able to
support the display of any ebook
no matter where it is purchased.
It will launch with Android
phones, and support for Apple
iOS devices will be next. Support
for BlackBerry devices is not
planned, Leliveld said, “But I see
Windows 8 phones as the third
platform.”
Leliveld said the targets of the
venture were the giant global
phone carriers like Sprint and
AT&T, and the plan was to have
them subsidize the device and
offer digital reading as a cool
value-addfor phoneconsumers. ■
Txtr e-reading–a cool
add-on to phone plans
A
ndr ew Bud’ s TOC
Frankfurt keynote (see
page 1) on mobile con-
tent and commerce was appro-
priatelyfollowedbythe Evolving
Role of Readers, a panel that
examined the proliferation of
new kinds of online collabora-
tive writing models, writes Cal-
vin Reid. Moderated by Book-
Camp founder Ami Greko, the
panel included Wattpad founder
Allen Lau, Marketing Manger
Amy Martin, and Say Books
cofounder AnnavonVeh.
The discussion focused on the
growth of collaborative writing
online–from informal posting of
chapters for feedback to the
explosive growthof fanfiction, to
experiments in which “readers”
join with “authors” in way that
blurs thelines betweenthetwo.
Wattpad, an online writing
community focused on mobile
devices, is a magnet for young
users, and a hotbed of interest in
genre fi cti on, parti cul arl y
romance, vampire/romance fic-
tion and fan fiction. Lau pointed
out that while Wattpad writers
like Abigail Giggs and Brittany
Geragotelis generated millions
of reads by posting their super-
natural fiction on Wattpad, they
Smartphones, reading and a new
world of collaborative writing
The highlight at theFrankfurt Book Fair for Ebook Services will be
its Ebook Engine, a newsystemlaunchedearlier this year. Ebook
Engine allows publishers tosell ebooks fromtheir ownwebsites,
withfeatures includingretail, rental andpromotional options, all
without visitors leavingthe retailer’s site.
The service is adaptable toeachpublisher’s ownplans and
strategies. “Every publisher we speak tohas a newandingenious
way that the Ebook Engine functionality canhelpthemtoincrease
revenues,” saidPresident of Ebook Services Suzanne Cole, who
notedthat Ebook Engine hadbeeninthe pipeline for a longtime
andits releasewas a long-awaitedmilestone for the company,
whichis basedinLondonandhas offices inthe USandAustralia.
“Ebook Engine builds onour tailoredofferings topublishers for
direct distributionandpromotionof their ebooks.”
In2011, Ebook Services enteredthe e-galley arena withits Digital
Comps service, creatinga portal for endusers toplace requests
andredeempromotional vouchers.The newEbook Engine aims to
enhance a publisher’s distributionstrategy at higher margins than
offeredby existingretail partners.The service has noupfront costs
or annual fees. Ebook Services will be at stand8.0 R933. ■
Ebook Services touting Ebook
Engine
JamesGrimmelmann, Professor of Lawat NewYorkLawSchool, hasjoined
PublishersWeeklyasaContributingEditor for legal affairs. Grimmelmann
frequentlywritesabout intellectual property, virtual worlds, searchengines,
onlineprivacy, andother topicsincomputer andInternet law.
Faber hasbought anovel writtenfor digital publicationbyIainPears, best
knownfor hishistorical mysteryAnInstanceof theFingerpost.Thepublisher
signedworldEnglishrightsintheappeditionthroughFelicityBryan, whois
sellingUSrightsinthebook. AndrewNurnbergishandlingtranslationrights.
ARCADIApresentstime-slipstoriesthat maybereadinlinear fashionor
otherwise, asreaderschoose.
AsOrionandKnopf preparetopublishMaeveBinchy’sfinal novel, AWeekin
Winter, JeremyRobsonisofferingrightsin“anillustratedreminiscence”of
thelateauthor byPiersDudgeon.TheRobsonPresshasworldrightsinthe
project, acquiredontheeveof Frankfurt direct fromtheauthor.
NanTalese, withRonit Feldman, wonaneve-of-Fair deal for thestoryof a
Jewishdanceinstructor RosieGlaser, whowasbetrayedtotheNazisbyboth
her husbandandher lover, yet managedtosurvivethroughacombinationof
luck, optimism, charm, bluff, andinventiveness. DANCINGINAUSCHWITZ
(workingtitle), byGlaser’snephewPaul, wasbought inaheatedauction
conductedbyBarbaraZitwer, andTalesehasWELrights.
HarperFictionhasannouncedathree-bookdeal withnovelist andOxford
academicHarrySidebottom, for aseriesof novelscalled Throneof the
Caesars. SidebottomwaspreviouslywithMichael Joseph. KatieEspiner at
HCbought UKandCommonwealthrightsintheseriesfromJamesGill at
UnitedAgents. IRONANDRUST, volumeone, will appear inspring2014.The
novelswill beset aroundthe“Year of SixEmperors”, atimeof crisisfor the
RomanEmpireinthethirdcentury.
had gone on to sign book deals
with conventional publishers.
Conventional notions of copy-
right, he argued, were not appli-
cable to fan fiction: “Publishers
are not losing sales, they’re get-
ting an enormous about of mar-
keting for free. This is how the
worldworks today.”
Martin outlined how Watt-
pad worked with Sony Music in
marketing tie-ins to create fan
fiction around the members of
the One Direction boy band.
Using a Wattpad writer, Sony
created a background fiction for
each band member that attacted
more than a million readers,
who in turn created tens of thou-
sands more pieces of fan fiction,
generating still more readers and
interest inthe band.
Wattpad has released new
online tools that allow its mem-
bers to write on their phones:
“For a generation that lives
online, through their phones,
writing is part of their entertain-
ment, it’s a hobby and with frag-
mented times, when the inspira-
tion comes you can write, right
on the spot.” Even bestselling
writers, including Margaret
Atwood and Paulo Cuehlo, are
trying out the service. ■
Frankfurt briefs
Day 1 News.indd 6 09/10/2012 16:17
The Rowman & Littlefield Publishing Group
HALL 8, STAND E954
ALTAMIRA PRESS
JASON ARONSON
LEXINGTON BOOKS
ROWMAN & LITTLEFIELD
PUBLISHERS
THE SCARECROWPRESS
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INTERNATIONAL
ORDERING INFORMATION:
nbn international
10thornbury road
plymouth pl6 7pp, uK
tel: +44 (0) 1752 202301
Fax: +44 (0) 1752 202333
e-mail: orders@nbninternational.com
Website: www.nbninternational.com
UNITED STATES
ORDERING INFORMATION:
rowman & littlefield publishing group
15200 nbnWay, p.o. box 191
blue ridge summit, pa 17214
tel: 1-800-462-6420
Fax: 1-800-338-4550
Website: www.rowman.com
DON’T FORGET TO STOP BY Hall 8, STaND #E954
FOR MORE TITLES FROM
The Rowman & Littlefield Publishing Group is one of the largest and fastest growing
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like us on Facebook! • Follow us on twitter @rlpgbooks
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www.publishersweekly.com www.bookbrunch.co.uk
6 FRANKFURT SHOW DAILY 10 OCTOBER 2012
US
The Baror International list
features Gabriel Bakrim’s debut
novel, THE WEIGHT OF SOULS,
which the agency calls “an epic
tale of greed, salvation, and love
against all odds”. Curtis Brown/
Gelfman Schneider has Jeffery
Deaver’s latest, THE KILL ROOM
(Grand Central), the 10th entry
in the author’s Lincoln Rhyme
series; rights
sold in the UK,
Czech Republic,
Germany,
and Holland.
DeFiore &
Company
will be pushing
Joel Fuhrman’s
THE END
OF DIETING
(Harper One), a
book about the
dangers of fad
diets from the
author of the
current bestseller
Eat to Live.
A big title for Sandra Dijkstra
Literary Agency is Amy Tan’s
VALLEY OF AMAZEMENT
(Ecco), which follows a Chinese-
American courtesan from the late
19th century into the 1930s. On
Dystel & Goderich’s hot list
is Maze Runner author James
Dashner’s new YA series, The
Mortality Doctrine; book one,
THE EYE OF MINDS (Delacorte),
follows a gamer in a virtual world
who gets ensnared in a dangerous
situation. Among Foundry
Literary + Media’s big books
is Sasha Grey’s THE JULIETTE
SOCIETY (Grand Central), a debut
erotic novel from the porn star;
The Agency Group (in the UK)
is co-repping.
The Gernert Company will be
pushing Iowa Writers’ Workshop
fellow Mario Zambrano’s debut,
LOTERIA, about an 11-year-old
girl who uses the titular game to,
as the agency explains, “piece
together the story of how her
family has fallen apart”. One of the
notable fiction titles for Sanford
J Greenburger Associates is
Nancy Bilyeau’s THE CHALICE
(Touchstone), a historical romance
set in 1538 and a sequel to the
author’s historical thriller The
Crown. ICM(handled by Curtis
Brown) will be talking up
Michael Pollan’s latest, COOKED:
A NATURAL HISTORY OF
TRANSFORMATION (Penguin),
which focuses on the four classic
elements: fire, water, air, and earth.
A highlight from Inkwell
Management is Lionel Shriver’s
BIG BROTHER (HC, US/UK/
Australia/Canada), about an Iowa
family turned upside down when
their son/brother
visits from New
York and shows
up 200 pounds
overweight.
Janklow &
Nesbit will be
selling William H
Gass’s MIDDLE
C (Knopf), about
an Austrian
father/husband
who flees his
country before
WWII, and his
son, raised in
Ohio, who years
later “turns to
music and fantasy to reconcile
unanswered questions of his life”.
William Morris Endeavor
has Fast Food Nation author Eric
Schlosser’s COMMAND AND
CONTROL (Penguin Press, US/
UK), the subject of which will be
announced at the Fair.
Among Trident Media Group’s
big books is Maya Banks’s
Breathless trilogy, about three men
and the women they fall for; it
sold to Berkley in the US for seven
figures. Ed Victor will be selling
a new book by John Banville
(writing as Benjamin Black)
featuring Raymond Chandler’s
famous PI, Philip Marlowe. (The
deal for the book was struck,
in part, with Chandler’s estate.)
Writers House is talking up the
new adult book from Neil Gaiman,
THE OCEAN AT THE END OF
THE LANE (HC), a work the
agency says is “about memory and
magic”. The Wylie Agency has
Elif Batuman’s THE TWO LIVES,
the debut novel from the lauded
essayist/journalist and author
of The Possessed; the agency
described the novel as “eight
self-standing but interconnected
chapters” that “revisit the territory
of eight articles Batuman actually
reported in Italy, Israel, and
Turkey… but interwoven with the
kinds of human backstories that
never make it into a non-fiction
feature”; no rights yet sold, and
delivery is set for September 2014.
UK
The Blake Friedmann list
includes Elizabeth Chadwick’s new
historical novel, THE SUMMER
QUEEN, which is the first volume
in a trilogy about Eleanor of
Aquitaine (Little, Brown UK), and
the suspense novels THE SECOND
LIFE OF AMY ARCHER by RS
Pateman (pre-empted in the UK
by Orion) and UNTIL YOU’RE
MINE by Samantha Hayes (pre-
empted in the UK by Century
and in the US by Crown). From
Luigi Bonomi, THE DEAD
WIFE’S HANDBOOK by Hannah
Beckermann is about a woman
who has died but who can still see
what happens to her loved ones
on earth (world rights, Penguin
UK). THE HIVE by Gill Hornby
(Felicity Bryan) is about a
group of scheming school mums
(Little, Brown UK; Reagan Arthur
Books US; sales in seven other
territories). THE
ILLUSION OF
SEPARATENESS
by Simon Van
Booy (Conville
& Walsh) centres
on a simple act
of courage on
the battlefield
in the heart of
France during
World War Two
(HarperCollins
US; XO France;
under offer in
Germany).
Curtis Brown
has new novels
by Tracy Chevalier (THE LAST
RUNAWAY, set in rural Ohio
during the last days of slavery –
HarperCollins UK; Penguin US)
and John le Carré (“a furiously
paced story of moral dilemma,
personal guilt, bold action and
unexpected love” – Penguin UK
and US). Lottie Moggach’s KISS
ME FIRST (Greene & Heaton),
about a young woman who wants
to commit suicide without her
family knowing, was the subject of
an 11-publisher auction in the UK
(Picador UK; Doubleday US; seven
further deals). Rebecca Carter
(Janklow & Nesbit), in one
of her first deals as an agent, has
sold at auction Alec Ash’s portrait
of China, YOUTH TRIBE, to
Picador. There have been numerous
international deals for Marina
Chapman’s THE GIRL WITH
NO NAME: THE INCREDIBLE
TRUE STORY OF THE GIRL
RAISED BY MONKEYS, her
account of spending five years of
her childhood with monkeys in the
Columbian jungle (Mainstream
UK; agent Andrew Lownie).
The Marsh Agency has
Kate Atkinson’s new novel, the
standalone LIFE AFTER LIFE
(Transworld UK). Researching
VIVIEN LEIGH: AN INTIMATE
PORTRAIT, Kendra Bean has had
access to private correspondence
between Leigh and Laurence
Olivier, as well as to many of their
friends (agent Laura Morris).
Jonathan Coe’s THE BROKEN
MIRROR, with illustrations by
Chiara Coccorese, is about an
8-year-old who finds a piece of
mirror that reflects the world
back at her in strange and
mysterious ways
(Feltrinelli has
world rights;
agent Tony
Peake).
PFD has Jeanette
Winterson’s THE
DAYLIGHT
GATE, written
for Random
House’s Hammer
imprint. The new
novel by poet
and Man Booker-
shortlisted
novelist Adam
Foulds (United
Agents) is set in
North Africa and Sicily at the end
of the Second World War (UK deal
to be announced); and, also from
United Agents, prize-winning
historian Margaret MacMillan
offers 1914, a new look at the
origins of the First World War
(Profile UK).
Ed Victor has titles from
big hitters including Frederick
Forsyth (THE TRACKER,
Transworld UK), Nigella Lawson
(NIGELLISSIMA!, Chatto UK),
and Pete Townshend (WHO I AM,
HarperCollins UK). ■
Briefcase: the highlights from agents’ lists at the Fair
Gill Hornby
Elif Batuman
(Photo: Muhsin Akgün)
Day 1 News.indd 8 09/10/2012 15:09
www.publishersweekly.com www.bookbrunch.co.uk
10 FRANKFURT SHOW DAILY 10 OCTOBER 2012
consumer ebook purchases are
walledoff withDRMandmust be
read in different e-reading appli-
cations depending on the retailer
they were purchased from. The
new BookShout function will
allowconsumers to organise their
ebooks as they choose in the
BookShout application.
Ebookretailer
But BookShout is also an inde-
pendent ebook retailer, and its
business model and“ebooks-all-
in-one-place technology” will
likely attract the attention of
major book publishers as well as
book consumers. Currently,
about 250 publishers offer titles
for sale onBookShout, including
four of the Big Six American
houses (Penguin and S&S are
not involved), totalling about
100,000 books. Only books
I
n a move that will delight
consumers, irritate some
ebook retailers, and focus
attention on its platform,
BookShout , a soci al
r eadi ng and book r et ai l
application, is introducing new
technology that will allow its
users to legally import their
previous and future ebook
purchases into their BookShout
account, free of charge, no
mat t er wher e t hey wer e
purchased. Announced at TOC
(Tools of Change) Frankfurt,
beginning today users can
import ebooks purchased at
Amazon and Barnes & Noble
into their BookShout accounts
and have all their ebook titles
available inone location.
The new function addresses
one of the biggest drawbacks of
digital reading at the moment:
available for sale via BookShout
will be aggregated. “Our agree-
ments allowconsumers toaggre-
gate their books onto our plat-
form. The publishers just want
tomake sure that the books have
been purchased,” explained
BookShout founder JasonIllian.
Its move to make consumer
titles available in one spot has
attracted the support of publish-
ers such as O’Reilly Media.
O’Reilly Media’s Publisher (and
Tools of Change President) Joe
Wikert said: “We are 100%sup-
portive of BookShout’s push to
free readers and empower pub-
lishers. We will continue to
work with BookShout to allow
readers to experience and define
ebooks in new ways.” Michael
Hyatt, former CEO of Thomas
Nelson, agreed with Wikert:
“BookShout continues to inno-
vate in ways that support the
entire publishing ecosystem. It’s
exciting to see BookShout and
publishers co-operating ina way
that is goodfor all readers.”
Knockingdownwalls
Founder IlliansaidBookShout is
“knocking down the walls that
ebook retailers have established
and putting users in control of
their digital bookshelves”. Illian
emphasised that “there is noth-
ing illegal about this, it’s not
Napster. Consumers can aggre-
gate the ebooks they own.” He
continued: “Retailers are put-
ting these blocks up, making
their ebooks platform specific.
We’re just enforcing the [con-
sumers’] contract. This is Joe
Reader’s content, can’t he readit
anywhere he wants?”
Originally launched as a social
reading platforminthe Christian
book market, BookShout is now
being promoted to the larger
book market. The application
allows its users to communicate
witheachother, comparereading
lists and notes, form book clubs
and purchase ebooks that can be
read in the BookShout environ-
ment. And while BookShout
allows its users to form book
clubs and read books collectively
online, users cannot read the
book in BookShout unless they
have purchasedacopy.
Completelylegal
While Illian emphasised that the
service is completely legal, he
also acknowledged the possibil-
ity of lawsuits. “It’s all legal but
that doesn’t mean we won’t get
sued,” he said. When consumers
buy ebooks they are actually
licensing the content–not buying
the ebooks outright like a physi-
cal book–and that licence comes
with restrictions. But Illian
repeatedly emphasised that the
ability to aggregate the ebook
content is legal as well as
empowering to book consum-
ers. “It’s all above board,” he
said, noting that BookShout has
the technical capacity to import
ebook content from any plat-
form. BookShout is startingwith
Amazon and B&N, he said, and
will likely addKobonext.
“There are no legal issues,” he
said, while also acknowledging
that e-tailers have not been noti-
fied about the technology, or
BookShout’s plans to use it. He
also stated that retailers cannot
block the service either. “Ama-
zon may not like it,” Illian said,
adding that: “We’re prepared to
talk about all of this with retail-
ers, but we’ re consumer
focused.” And pointing to
BookShout’s book retailing ser-
vice, he said they also want to
use it “to give publishers better
data, which books are selling,
what consumers are sharing,
andoffer ahigher level of discov-
erability. Stuff to help them sell
more books.”■
ISBN 9780757316937 ISBN 9780757316951 ISBN 9780757316890
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Calvin Reidreports on the BookShout technology that makes it possible for readers to import
books fromany platform, including Kindle, to read in one location
Shouting about books
( )
“This is Joe Reader’s content,
can’t he read it anywhere he
wants?”–JASONILLIAN
Calvin Reid - BookShout.indd 2 07/10/2012 21:19
www.publishersweekly.com www.bookbrunch.co.uk
FRANKFURT SHOW DAILY 10 OCTOBER 2012 12
and into the profession. It’s been so debased
and devalued. I’ve plied the trade of a
bookseller–I was proud to describe myself as
such at dinner parties–but it became
something that meant you were a failure in
some way: ‘What are yougoingtodonext?’”
Once, Waterstones was stuffed with bright
sparks working on novels or PhDs but, with
the chainrunby a former grocer, books were
treated liked the proverbial baked beans.
With staff forced to work to checklists and
planograms instead of being allowed to use
their literary initiative–in short, to be
booksellers–the enthusiasm (and sometimes
the calibre) of that staff was dissipated.
Newgenerationof booksellers
“Given how difficult our job is and how
intellectually demanding if you do it well, if
we’re going to train up a new generation of
booksellers then we need to invest. One of
the problems was that you’d only earn more
money if you followed a career path that
turned you into a manager. An absolutely
brilliant bookseller may well be a dreadful
manager. You end up saying: ‘If you want to
be paid more, stop doing what you’re
brilliant at front-of-store and go and sit in an
office.’ All that needs to be changed.” For
those who have a vocation that’s good
news–and should ensure that the in-store
experience beats online intoa cockedhat.
Which brings us to Amazon, which has
dictated that the Kindle will be launched
in-store on 25 October. Every branch will
sell them, though from a relatively small
corner (“customers know exactly what a
digital e-reader is”), and staff have been
trained. The Kindle is, he believes, “the best
product to put before our customers”, and
one of his first moves on arriving last
summer was to desist with the ragbag of
devices the chainwas half-heartedly selling.
James Daunt
F
or publishers, much depends on
the last quarter of the year. So,
too, booksellers, but perhaps
none more so than Waterstones,
Britain’s last remaining bookshop
chain, whichmust this year prove that it is, in
that over-used phrase, fit for purpose. If
Waterstones, in a desperate state of decline
for so many years as part of the (perhaps ter-
minally) ailing HMVGroup, can sell a lot of
books, not only will publishers breathe easy,
but confidence in what was once one of the
country’s best-lovedbrands will be restored.
For a man under pressure, Managing
Director James Daunt is remarkably calm.
He’s rushed home early from visits to three
disparately placed stores (the travelling time
used for a meeting with whoever is in the
passenger seat of his car) to pick up his
younger daughter from school–his wife is at
a conference. Over freshly brewed coffee, he
sits down to chat in a room whose cosy,
lived-in feel is a reminder of London NW3
before the bankers andTVcelebs tookover.
Arevolutioninbookselling
It’s almost 30 years to the day since Tim
Waterstone launched his mould-breaking
chain in Kensington’s Old Brompton Road,
beginning a revolution in bookselling. There
are now some 300 stores in the estate, and
refits are proceeding apace. “We’ve done an
old Waterstones in Brighton, a Dillons
on Argyll Street in Glasgow, an Ottakar’s in
Norwich and a Hammicks in St Alban’s.
They’re representative of four generic types
in the estate, so proving a solution ready to
roll out for any shop. The look will be
unified, but we’re working with the fabric of
each individual building so that we have the
best bookshop in each place. We’ve been
clever, andthe effect has beenvery successful
without costing toomuch.”
Booksellers as barristas
So, a makeover that isn’t cheap, but won’t
break the bank, for very obvious reasons.
Other changes are happening: cafés are being
installed in stores where Costa, Waterstones’
franchise partner, won’t go. “For example,”
Daunt continues, “Sutton had a café, but
Costa withdrew because they couldn’t make
it pay. But if booksellers make the cappuccino
it works well. The café drives people, andas a
result you sell many more books. We’ve
openedsix, andthey’ve all beenfantastic.”
Booksellers as barristas then! It’s a skill
that falls outside the Waterstones Academy,
a major investment in staff training. “We’re
trying to put some pride back into the trade
CompetingwithAmazon
But didn’t Daunt once describe Amazon
as “a ruthless money-making devil”?
He chuckles. “The essence is right if not
the words. Look, Amazon wants to sell a
lot of books. I continue to believe that it’s a
huge competitor of ours. But I hold my fate
within my own hands. If I have awful shops,
which are not particularly pleasing
environments and the prices are poor, I’m
going to lose the customer. If we play to
our strengths, create lovely environments,
which are places of relaxation, leisure and
enjoyment where people want to spend their
t i me–wel l , Amazon can’ t do t hat .
Waterstones discounts quite heavily and is
able to compete with Amazon if it retails
well and earns the loyalty of its customers–
and that’s what it had been failing to do.
Waterstones hadn’t been run by a bookseller
for a very long time. My predecessors
produced i ncreasi ngl y poor shops
and customers deserted them.” Under
Daunt, a widely admired bookseller, there is
“a culture of commitment. The good people
were still there, but they weren’t running the
company. If you run your own bookshop
and you’re interacting with customers, it’s a
fabulous job. But that wasn’t what they’d
beendoing.”
Steadyhands
So is Daunt’s new boss happy with the way
things are going? The Managing Director in
whose steady hands so much rests points
out that Alexander Mamut, a long-time
customer of Daunt Books, lives in Moscow
and isn’t here that much, but yes, he’s
pleased. Was it a big decision to step back
from the chain he founded and had so
lovingly created to take on the nightmare
that was Waterstones? He turns slightly
mischievous. “Waterstones was about to
disappear and I don’t think that was going
to be great for the British book trade. I’m
not sure how Daunt Books was going to
survive inthat environment. RandomHouse
doesn’t run a warehouse to supply the likes
of Daunts; it’s tosupply Waterstones. Where
would we have been a year on from there
being noWaterstones? I don’t know.”
A thought bubble seems to hang over
Daunt’s head. “Waterstones not being
there was going to be extremely damaging
to our ecosystem. A world of supermarkets
and online would have been a pretty
bleak one. Independents would have found
it very hard to carry on. The writing was on
the wall for a very long time. Somebody had
todosomething.”■
Liz Thomsontalks toJames Daunt about Waterstones’ newmakeover, major investment in staff
training and plans for the future
Putting the pride back into bookselling
Liz - Daunt feature.indd 2 07/10/2012 21:16
Proud to be promoting our 2nd Professional Programme connecting Arab and international
publishers providing opportunities fortranslationacrosstheworld
Welcoming over 50 international authors including
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Visit us at
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FRANKFURT SHOW DAILY 10 OCTOBER 2012 14
with the dominant genre high-end, illus-
trated non-fiction. We also have a good fic-
tion range and strength in other categories.”
Deputy Publishing Director Jenny Hellen
and Rights Manager Graeme Morrison are
both attending Frankfurt. “We’ve had huge
success with Paul Cleave’s dark, intense
thrillers, selling rights to Germany and nine
other countries,” says Jenny Hellen. “Our
other authors who will be at Frankfurt
include Witi Ihimaera, Kate De Goldi, Philip
Temple and Catherine Robertson, and all
are publishedinGermany.”
For ‘NewZealand is Cooking’ at the Fair,
Randomis taking its best-selling cookbooks,
and will also be pitching children’s titles,
including Kate De Goldi’s The ACB with
Honora Lee and Margaret Mahy’s The
MoonandFarmer McPhee.
Margaret Thompson, Managing Director
of PenguinGroupNZ, says they runa strong
local list, with about 90 books published
each year. “The majority are non-fiction
(lifestyle, cooking, gardening, history and
natural history), but we also have a fiction
list and children’s and teen titles.” The run-
away best-selling non-fiction this year for
Penguin NZhas been Treats fromLittle and
Friday, a cafe cookbook by KimEvans. Pen-
guin NZ is the originating publisher for the
internationally popular Hairy Maclary and
Slinky Malinki picture book titles by Lynley
Dodd and owns ‘sell to the world’ hardback
andpaperbackrights tothe titles.
Kevin Chapman, Managing Director of
Hachette NZ, says the company’s NZ pub-
lishing list is 20 to 30 titles a year. One of its
strong points is a sports list, but it also does
well inother non-fiction. However, the main
title it will feature at Frankfurt is local author
Paul Thomas’ humorous crime fictionDeath
on Demand (English publication rights have
been sold already, plus film and audio).
Hachette NZ is confident there will be
strong interest inforeign-language rights.
Alison Brook, Head of Publishing for
HarperCollins NZ, says it publishes about 50
O
k, so we are small; NewZea-
land’s population is just
under 4.5million, thoughthe
country’s landmass is greater
than that of the UK, writes
Jillian Ewart. Also distant, with three and a
half hours flight time to nearest neighbour
Australiaandjust over 24hours toLondon.
We became a nation only in 1840. Our
publishing history is slightly longer, with the
first book either some “quite unprofessional
sheets” by William Yates in 1830, or by
WilliamColenso in 1835. Both were printed
in Maori and were translations of parts of
the Bible. (The first publication in English
was a Temperance Society pamphlet in
1836, but that’s another story.)
Our time zone is the reverse of the North-
ern hemisphere, so our catchphrase for
Frankfurt Book Fair is, “While you were
sleeping”. Our Kiwi nickname comes froma
flightless bird, but in reality we are great
travellers–and no one ever told us we
couldn’t go out to the world and punch
above our weight. So that is why we are
Guest of Honour country at Frankfurt Book
Fair in2012.
NewZealandhas publishedaround2,000
new titles in each of the past five years, cov-
ering the full spectrum: trade fiction and
non-fiction (cooking, gardening, history,
natural history, art and photography), liter-
ary fiction, poetry, academic, books for chil-
dren and teens, and educational books.
We’ve created an international market for
our early learning and other educational
publishing, and are forging ahead with
world-leading e-learning andapplications.
Non-fiction accounts for 38% of all titles
publishedeachyear, withfiction(tradeandliter-
ary) at 4%and children’s books at 17%. And
liketheinternational market, booksalesinNew
Zealanddeclinedby 7%inthe first quarter this
yearafterbeingflatforthe2010-2011year.
Cookbooks dominate the bestseller lists
for longperiods, representingas manyas five
of the top 10 titles at times. They make up
only 6%of sales but when they sell, they sell
very well. Annabel Langbein is probably our
most internationally recognised cookbook
author, and Robert Oliver’s Me’a Kai was
Gourmand World Cookbook Awards Best
Cookbookfor 2010.
“BigFour”local lists
RandomHouse NZ, Hachette NZ, Harper-
Collins NZand Penguin NZwill be familiar
names because of their international owners.
All newtitles on their local lists that are suit-
able for ebooks are simultaneously pro-
ducedinthose formats.
RandomHouse is headed by Karen Ferns.
She says: “Our local publishing is around 80
to 90 titles a year over a broad scope, but
newtitles each year. “We see Frankfurt 2012
as a real opportunity to promote our New
Zealand titles to the world, with a focus on
German translations,” she says. UK-based
Kiwi chef Peter Gordon will be there to pro-
mote his newrelease Peter Gordon Everyday,
published this month. The Search for Anne
Perry, Joanne Drayton’s biography of the
crimewriter, andKerrySpackman’s titles, The
Winner’s Bible and The Ant and the Ferrari,
are other titles with rights potential. Harper-
Collins NZ also has rights to many of their
book collaborations with Weta Workshop
(the design and effects company, which has
workedontheLordof theRings Trilogy, King
KongandAvatar, tonameafew).
Educational publishing
Educational publishing dominates book
exports. If trade publishing is the showy tip of
the Kiwi iceberg, there is serious mass below
thewaterlineineducational publishing. We’ve
been leaders in turning primary students from
reluctant and challenged readers to confident
and happy ones on the back of years of peda-
gogical research. Part of this success has been
with the whimsical, engaging early readers
from top international children’s authors
includingJoyCowleyandMargaret Mahy.
Reading may have been the catalyst, but
now our exports cover a wide range of sub-
ject matter and content. In fact, educational
publishers produce more titles than any
other sector of the New Zealand publishing
industry and are responsible for two thirds
of our publishing exports.
One of our well established companies,
Learning Media, has revenues of NZ$30
million annually and 20% of that comes
from export sales. Note too that nearly a
third of Learning Media’s revenue comes
from their digital output: they supply mate-
rial fromwebsites as apps and in ebooks for
all stages of learning. Digital is the major
growth area in educational publishing, and
New Zealand, already at the forefront, is
well set up to exploit this, with innovative
designers and a thriving IT industry that is
not afraid to push the boundaries. Eleven
NewZealand educational publishers will be
attending the Frankfurt Book Fair, and new
developments will be unveiledby many.
One of those is Kiwa Media. Its break-
through technology–they convert books to
i-apps, digital reading media and other plat-
forms, which are voiced in a number of lan-
guages–arose fromRhondaKite’s love of her
ownMaori language. Kiwa cannowmigrate
whole catalogues or libraries todigital media
with ease. Kite is a former audio post-
producer who saw the possibilities of iPad
usage for children’s entertainment andlearn-
ing. The two-year-old company has quickly
Continues on page 16 ➝
Jillian Ewart
Putting our “moko” on the global market
Jillian Ewart - NZ overview.indd 2 07/10/2012 21:27
Watch the trailer on YouTube!
The Auschwitz Volunteer:
Beyond Bravery
Visit us at:
National Book Network,
www.nbnbooks.com
Hall 8, Booth E954
and
Independent Book Publishers Association,
Hall 8, Booth K913
FIRST TIME IN ENGLISH!
The secret undercover
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“One man volunteered
for Auschwitz, and
nowwe have his story.
Unpublishable for
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OnE
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here is a portion of the Auschwitz
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— Professor Gerhard L. Weinberg,
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www.publishersweekly.com www.bookbrunch.co.uk
FRANKFURT SHOW DAILY 10 OCTOBER 2012 16
built up a reputation in its field
and now has joint venture part-
nerships, one recently opened in
NewYork and another about to
openinChina.
Small andversatile
The Publishers Association of
New Zealand has 85 members;
some of these publishers heading
to Frankfurt include Sydney-
basedAllen&Unwin, whichhas
a New Zealand arm that pub-
lishes some eight non-fiction
books a year. These include Lisa
Tamati’s accounts of ultra-run-
ning in Running Hot and Run-
ningtoExtremes, andendurance
cyclist Josh Kench’s Ride. After
Everest, Paul Little’s biography
of the later life of Sir Edmund
Hillary is a current release. Allen
&Unwin’s NZManagingDirec-
tor Melanie Laville-Moore will
be at Frankfurt.
Auckland University Press is
run by a small team of six,
headed by Sam Elworthy. It is
already selling its titles to inter-
national publishers, including
Veronika Meduna’s Science on
Ice: Discovering the Secrets of
Antarctica and Michael Corbal-
lis’ Pieces of Mind. Among
AUP’s advance titles is Card-
board Cathedral Christchurch.
It follows architect ShigeruBan’s
work on a temporary replace-
ment for Christchurch’s beloved
Cathedral, all but destroyed in
recent earthquakes. Poets Rob-
ert Sullivan, Anna Jackson,
Chris Price and CKStead will be
with Elworthy in Frankfurt,
where, he says: “We’ll be enter-
taining publishers and others
withtheir wit andwisdom.”
This will be the 26th time
David Bateman Ltd has had a
stand at the Fair. Paul Bateman
and Tracey Borgfeldt will be tak-
ing with them a rights catalogue
featuring some 30 books. “Gar-
dening, horticulture and natural
history are strong for us; we’ve a
lot of international expertise in
New Zealand,” says Borgfeldt.
“We alsohave Pure Vanillabyan
American pastry chef, who lives
part of the year here–astrongtitle
for us in a crowded market.”
Craft and travel books are also
on its list, along with a weighty
onefor handluggage, toogoodto
leave behind: artist Ray Ching’s
Aesop’s Kiwi Fables.
Awa Press specialises in high
quality non-fiction, creating
beautifully produced books in
genres from travel to sport, pop-
ular science and philosophy. In
its Frankfurt catalogue are So
BrilliantlyClever: Parker, Hulme
and the Murder that Shocked
the World by lawyer and true
crime writer Peter Graham;
Vinacular: AWine Lover’s A–Z,
a winner with everyone who
enjoys love, laughter and good
wine; and The Torchlight List:
Aroundthe Worldin200Books,
in which Jim Flynn explains
why reading great books gives
youa better educationthanyears
of university. Awa Press is an
active foreign rights seller and
Associ ate Publ i sher Sarah
Bennett will be at Frankfurt.
Retail bookmarket
Given that we are on the receiv-
ing end of the world’s English-
language book output, it is
pleasing to note that in 2011,
25%of all books, by value, sold
here were created in New Zea-
land. Our overall book sales
market revenue is estimated at
more than NZ$350 million a
year; per head of population, we
are some of the world’s biggest
bookbuyers andreaders.
New Zealand’s book retail
industry is dominated by large
players. Estimates are that Whit-
coulls (60 stores) has 30%of the
market; the Paper Plus (105
stores) and Take Note (43
stores) chain of franchised
owner-operated stores have
25%; and big-box, multi-retail,
discount format The Warehouse
(89 stores) has 20%. Indepen-
dent specialist bookstores have
13% of the market, library and
school wholesalers 7% and
internet retailers 5%.
A small nation should know
its place in the world. NewZea-
landers believe that is winning
Olympic gold medals; climbing
Everest; receiving Nobel Prizes
and collecting Oscars; and being
Guest of Honour at Frankfurt.
Moko is Maori for a tattoo that has
ancestral or tribal messages specific
tothe wearer.
JillianEwart writes for PANZNews
e-zine (Publishers Association of
New Zealand) and for The Read,
(Booksellers NewZealand). ■
Continued from page 14 ➝
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This bookencourages parents and
educators tohaveapositiveattitude
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All of us encounter situations inlife
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card, acluecard, tosteer us backin
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FRANKFURT SHOW DAILY 10 OCTOBER 2012
T
he last year was
supposed to be one
of progress f or
libraries and major
publishers in the US
on the digital front, after the two
sides engaged in a series of meet-
ings on how to offer library
access to popular frontlist
ebooks. I nst ead, remarks
offeredat a late September meet-
ing, between publishers and
leaders of the American Library
Association (ALA), suggest the
two sides are at an impasse, and
tensions are mounting.
Last month ALAofficials, frus-
trated by a lack of progress on the
ebook issue, took their case
directly to the public, via an open
letter. In the letter, ALAPresident
Maureen Sullivan stressed that
readers should “rightfully expect
the same access to ebooks as they
have to printed books,” and
demandedthat publishers explore
morecreativesolutions. “Wehave
met and talked sincerely with
many of these publishers,” Sulli-
vanwrote. “Wehavesought com-
mon ground by exploring new
business models and library lend-
ing practices. But these conversa-
tions only matter if they are fol-
lowed by action.” In a response,
AAP (Association of American
Publishers) officials, who have
been helping to broker talks
between libraries and publishers,
expressed“disappointment”with
theALA’s public-facingtactic.
Regression
Statements aside, however, since
direct talks beganinlate January,
library ebook access among the
Big Six American publishers has
in fact regressed. In February,
Penguin pulled out of the library
ebook market entirely (although
it has since launched a pilot proj-
ect withvendor 3Mandthe New
York Public Library). In March,
Random House nearly tripled
ebook prices to libraries. Last
month, Hachette, which does
not offer libraries frontlist ebook
titles, more than doubled prices
on the nearly 3,500 backlist
ebook titles it does offer. Simon
&Schuster does not sell tolibrar-
ies at all, and HarperCollins
restricts the number of times an
ebook may be lent, currently
cappedat 26times. Inwhat qual-
ifies as good news, long-time
holdout Macmillan confirmed
that it has a pilot ebook lending
plan, but as of press time, was
not preparedtoshare details.
At ameetingon27September,
hosted by AAP at its New York
offices and attended by some 70
publishers, Sullivandefendedher
letter. Among librarians, she
said, patience is wearing thin.
“What we want to have is a
healthy reading ecosystem and
we clearly see publishers and
others in that chain as critical.
We want you to be successful,”
she said. “But I felt compelled to
issue that letter to make the case
for why we in ALA, and librari-
ans around the globe, think it is
critically important to achieve
this outcome of equitable access
at reasonable prices.”
While cordial, however, the
meeting provided some tense
moments. Penguin V-P for Digi-
tal Tim McCall took umbrage
with how he interpreted a part
of Sullivan’s open letter, saying
it indicated “a lack of under-
standing on the part of librari-
ans,” and calling it “unfair”.
John Wiley Director of Digital
Content Sales Peter Balis later
chastised the ALA for not pro-
viding publishers withmore spe-
cific information on how pub-
lishers could sell their ebooks,
challenging librarians to “come
back to us with more than just
‘equitable access at afair price.’”
It remains unclear, however,
exactly what would ease major
publisher fears that library
ebook lending will cut into con-
sumer sales, both digital and
print–a fear that has not been
eased by recent survey data from
the Pew Foundation (among
others) that suggests that librar-
ies actually spur consumer sales,
or by the actions of their inde-
pendent counterparts.
While the impasse with the
major publishers gets the head-
lines, the overwhelming majority
of publishers do allow libraries
tooffer ebookaccess, notes Steve
Potash, CEO of OverDrive, the
dominant vendor in the library
ebook market. “By sheer
percentages of publishers,” he
notes, it is a “small group” not
playing ball, although, he con-
cedes, it is a significant group. “I
like to focus on the 97%of trade
publishers who have been enjoy-
ing the benefits of public library
promotion, marketingandexpo-
sure for their books.”
Vendor marketplace
Indeed, if the vendor marketplace
is any indication, library ebook
lending certainly appears headed
for better days, withahost of new
players entering or expanding
their footprint in the field includ-
ing 3M Cloud Library; Library
Ideas’ ebook “rental” product,
Freading; and traditional power-
house Baker & Taylor’s Axis
360. ProQuest, meanwhile, has
fully integrated its acquisition of
ebrary into its portfolio; EBSCO
has integratedits purchase of pio-
neer ebookbrandnetLibrary; and
Ingramhas MyiLibrary.
While the US library market
may be at the tip of the spear, the
library ebook issue is also heat-
ing up globally as ebooks gain
popularity–most notably in the
UK, where the government could
take the issue upandgroups such
as the Society of Authors (SoA)
have issued statements support-
ing a libraries right to lend
ebooks, with conditions. For
example, library ebook lending
“must be sensitively managed
and controlled to ensure that it
does not compete with ebook
purchasing,” the SoA argues,
and payments should be made to
authors, via the Public Lending
Right scheme. ■
Publishers and libraries in the US continue to spar over ebook access. AndrewAlbanese explains
Tip of the spear
18
Andrew - E-lending.indd 2 07/10/2012 21:18
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20 FRANKFURT SHOW DAILY 10 OCTOBER 2012
I
n today’s cross-media world, with all
the threats and opportunities it holds
for the bookindustry, more publishers
are mining their backlists for intellec-
tual properties that can be extended
into merchandise and digital content, writes
Karen Raugust. They also are increasingly
considering associating with characters and
brands that might give their titles a higher
profile online and on store shelves. In that
context, the Frankfurt Book Fair is hosting
its first Licensing Day on 12 October. The
intention is to help publishers increase their
knowledge of the licensing business, make
contacts and see how other companies are
using licensing effectively.
Caroline Vogel, the Fair’s Head of Digital
and Creative Industries, says the growth of
children’s publishing and media at Frank-
furt, along with the fact that an increasing
number of licensing companies attend and
exhibit, spurred the idea. “There’s lots of
licensing business going on here that people
don’t know about,” she says. “We want to
helpopencommunications.”
Some of the media and publishing compa-
nies involved in licensing that are exhibiting
this year include Nickelodeon; Angry Birds
licensor Rovio; Warner Bros, showing a
range of its licensees’ Hobbit products;
Smurfs licensor IMPS; For Dummies licen-
sor and publisher Wiley; and WDR Media
Group, which licenses the children’s pre-
school property Die Sendung mit der Maus.
Licensingmoves bothways
“There’s always been a lot of licensing at
Frankfurt,”says KelvynGardner, Managing
Director of the Licensing Industry Merchan-
disers Association (LIMA) UK. “Publishing
is one of those media where licensing moves
both ways.” He points out that as digital
technologies are causing big changes in both
licensing and publishing, they can help each
other navigate throughthe challenges.
For owners of television, film and digital
licences, “publishing is unique in that it
advances the story, character backgrounds
and depth of the property,” Gardner
explains. “Even if you’re a small or medium-
sized publisher, you’ll be surprised at what a
warmwelcome you’ll get fromIPholders.”
Meanwhile, publishers are strugglingwith
how to keep print relevant while succeeding
in new digital formats. “Licensing is ideally
placed to help publishing cross that divide,”
Gardner says. Publishers can associate with
a popular licence to help consumers discover
their digital and print titles, or extend into
licensed merchandise for additional revenue
streams andexposure.
Licensing Day will feature anopening talk
on “Cross-media Brand Building: Star
Wars,” with Carol Roeder, Director of Pub-
lishing at Star Wars licensor Lucasfilm, and
Marlies Rasl of TLC The Licensing Com-
pany. Afternoon seminars will cover topics
ranging from finding the right partner to
negotiating contracts, with speakers includ-
ing Oliver D’Agay, Director, Saint Exupéry-
d’Agay Estate; Emma Cairns Smith, Licence
Acquisition Director, Egmont UK; Paul Lin
Chen, General Manager, Rovio China;
Ursula Feindor-Schmidt, Partner at lawfirm
Lausen Rechtsanwälte; and Gardner. A net-
working happy hour will endthe day.
Vogel reports particular interest in a retail
tour of publishers and licensors that is also
part of the day’s programme. “Many people
newto licensing think it’s horribly expensive
or incredibly complicated, but it’s not,”
Gardner says. “If publishers have some con-
tent witha fanbase, however niche, there are
opportunities inlicensing.”■
Inaugural Licensing Day at Frankfurt
bridging the gap... from PDF to ePUB
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Presentation at the Hotspot Mobile, Hall 6.1 on Oct 12 between 1.15 PM and 1.45 PM
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Karen Raugust - Licensing.indd 2 07/10/2012 21:29
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10 OCTOBER 2012 FRANKFURT SHOW DAILY 21
Kiwi’s in the kitchen
I
’m a New Zealander who
has lived in London for 23
years, but I return“home”
five times a year to look
after my restaurants there,
writes Peter Gordon. And what
always impresses me is the speed
at which newideas pass through
the nation (talking to young
New Zealanders you’d think
coffee was a Kiwi invention–
they’re obsessed with it) and the
high quality and consistency of
our produce.
Things have changed. Grow-
ing up in 1960s New Zealand,
olive oil was something that you
bought from a pharmacy as a
treatment for sore ears–at great
cost. Nowthe liquid loveliness is
to be found growing in many
locations around our beautiful
country, with differing terroirs
giving a varied impact on pep-
pery-ness, spiciness or fruitful
banana overtones.
Likewise the growing of
grapes and production of wine
has had a huge impact on dinner
parties around the country. As a
child I only knew of sweet, one-
dimensional and, mostly, badly
made wines fromgrapes such as
Muller Thurgau and Moselle.
These varietals are now pretty
much a thing of the past as New
Zealanders prefer a Gisborne
Chardonnay, a Central Otago
Pinot Noir or the legendary
Marlborough Sauvignon Blanc
that put NZ on the global wine-
making map.
We’re rightly famous for our
lamb (the best in the world, I
proudly say), whether it be
t radi t i onal breeds or t he
growing-in-popularity Merino.
Our farmed venison and beef,
like our sheep, are free range and
all rearedoutside.
Our seafood is one of the culi-
nary highlights that I miss when
I’m out of the country as our
nation is surrounded by pristine
waters and quite frankly, no
other seafood in the world
comes near to it for flavour or
quality. However, you’ll need to
travel to the other side of the
world to taste our day-boat
caught Hapuka, Trevally, Snap-
per, Blue Cod or Flounder. At
this time of the year you can also
taste delectable and rare white-
bait–much like tiny baby eels.
The best way to enjoy themis in
a simple fritter. Kina (Maori for
sea urchin) are sweetly rich and
delicious, and nothing beats tak-
ing one from the ocean and eat-
ing it while your feet are still in
the sea. We have wonderfully
under-exploited beds of clams
around our coastline, and mus-
sels and oysters are to be found
inthe wild, andfarmed, as well.
The cuisine of NZ is some-
thing that is in constant flux:
changing and adapting as new
immigrants arrive, bringing with
them family traditions genera-
tions old, which sometimes get
absorbed into our own tradi-
tions of baking and barbequing,
home gardens, hunting and
gathering. New ingredients are
grown, imported or sourced
from afar because the average
NewZealander often looks out-
wards for inspiration. As world
culinary trends ebb and flow,
some will end up on our menus
or on supermarket shelves, and
some we’ll laughat andflickoff.
One thing we do like to do
though is cook at home, every-
day. New Zealanders all seem
capable of baking a cake, roast-
ing a leg of lamb, or conjuring up
a pot of delicious, healthy soup
with vegetables from their gar-
denor farmers market. Our food
is fresh. It’s tasty. It’s delicious.
Peter Gordon is taking part in the
Culinary Festival Frankfurt: New
Zealand is Cooking. His new book,
Peter Gordon Everyday, is published
i n t he UK by J acqui Smal l
Publishing. ■
Peter Gordon
(Photo: Jonathan Gregson)
Peter Gordon - NZ Cookery.indd 3 07/10/2012 21:14
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Do you see what I see?
Business as aservice
The business as a service is central to Audi-
ble’s identity. Lopes talks of “working really
hard creating a service that finds time-poor
people and gets themto consume great qual-
ity content”. Under the membership model,
customers sign up for monthly payments that
give them credits that can be used to buy
downloads at a significantly lower cost than
thelist price–typically£7.99intheUKagainst
£15-25. It’s quite hard to find out howto buy
recordings “àlacarte”whenyoufirst visit the
website, and although Lopes recognises that
some people might want todothat, he clearly
believes that the membership model is so
advantageous to the customer that it would
be foolishnot tosignup.
Member s hi p gi ves Audi bl e t he
opportunity to engage directly with the
community and the focus is all on pointing
the customers to the right content, including
making it easy to find series of books or all
the recordings by a particular narrator.
Close attention to customer profiles is
paying off. An average member will
consume 19 books this year (“unheard of in
the industry”) and membership has grown
40%year onyear for the last twoyears.
W
ill Lopes, the Managing
Director of Audible UK
since September 2011, is a
quietly spoken, charming
man imbued with a sense
of mission, writes Cortina Butler. He first
joined Audible in 1999 in the early days of
internet growth and worked across the
marketing, product development and
operations disciplines, before spending four
years as Vi ce-Presi dent of Busi ness
Devel opment pri or t o hi s London
appointment. His time spent managing
Audible’s mobile and social networking
acquisition strategies, creating new member
acquisitionchannels anddevelopingstrategic
partnerships will be put to good use in
continuingthe growthof Audible inthe UK.
Audible was founded in 1995 by Donald
Katz, CEO, who still operates out of their
Newark, New Jersey headquarters. As
Lopes tells it, Katz noticed that people were
consuming fewer and fewer books as they
commuted longer, losing the time to
consume long-format content. He put
together an “ancient” format called
audiobooks withdeveloping technology and
started to digitise audio–“probably way too
early given that the iPod didn’t launch until
2004 and it probably took two years after
that for people to really understand what
MP3was, let alone what anaudiodownload
was,”Lopes says.
Audible commercialised the first digital
audio player in 1997. Soon they started to
see a pattern in consumption. Rather than
the irregular purchases that would be typical
of a bookstore model they saw that people
were using Audible as a service supplying
regular entertainment for their daily
commute. In 2005 they introduced Audible
Membership and in 2008 the company was
bought by Amazon.
Will Lopes
FRANKFURT SHOW DAILY 10 OCTOBER 2012 22
US | India Call: 917.464.3518 (US) Write to us at: sales@ditechps.com Visit: www.ditechps.com
Cortina - Will Lopes interview.indd 2 07/10/2012 21:21
www.publishersweekly.com www.bookbrunch.co.uk
says: “We are forging a new customer
business and these people are just as
demanding as someone who walks into a
high street bookstore”–they, too, are
interested in some of the 95% of titles not
publishedinaudio.
Moreaudiobooks
In response to this, and to encourage all of
the different players to be producing more
audio versions of books, Audible launched
the Audiobook Creation Exchange (ACX)
i n 2011 to connect authors, agents
publishers and other rights holders with
producers and narrators, and facilitate the
process of getti ng more audi o i nto
production. In a further initiative, designed
to get authors more focused on the
commercial potential of audio, in 2012 they
introduced Audible Author Services, which
rewards authors who take advantage of the
facility to promote audio versions of their
books with an additional payment on top of
their usual royalties.
Lopes wants the publishing industry tosee
audiobooks as an important part of the any-
format anywhere content future. “We just
want to create more content because we
really do believe that this is a business of the
future. We’re here to help. If they want to
produce the content, great we’ll support it. If
Although Audible has built exponentially
from having 10,000 customers in 1999 to
millions globally, he believes that attitudes
towards the audio download industry are
still in a transition phase. While Audible is
firmly established as a consumer-facing
service, creating brands and assisting in the
discovery of content in ways they weren’t
doing three or four years ago, many in the
publishing industry still see audio download
as a niche for historical reasons–because
“maybe they don’t see what we see yet”.
But he thinks they are rapidly getting past
that stage with productive partnerships
within and beyond the publishing industry,
and pal pabl e enthusi asm for audi o
download as a medium for introducing
people tocontent. As he says: “Youcan’t not
pay attention to a company that has millions
of customers globally.”
When a new title like J K Rowling’s The
Causal Vacancy comes out, it’s pretty much
guaranteed now that the audio will be
available. But Lopes wants toget past the top
100toa situationwhenall suitable newtitles
published in a year are available in audio.
Audible lists 100,000 titles in English
globally, but this still reflects only about 5%
of suitable titles publishedlast year.
Getting more content into audio form is
the main business focus for Lopes. As he
they can’t afford to produce the content, call
us; we’ll figure out a way we could
strategically produce more content. If they
don’t want to deal with it all and would like
to sub-license the rights, we would be happy
totalkabout it.”
He also urges a change of mindset about
the way the economics are calculated:
“The return on an investment in creating a
piece of content today isn’t going to end a
year from now, it will continue for four or
five years down the road, because we see
it through our sales. People discover an
author and they’ll go back and listen to an
entire backlist.”
The launch of Whispersync in the
US, which allows customers to sync
ebook and audio, provides additional
cause for excitement as it further extends
the audience. “If ever there was a message
that, OKyou have to pay attention to audio
now, this is it, as the industry is really
moving very quickly towards ebooks, and
now for every ebook that’s out there
there’s an opportunity to continue the
experience with audiobooks. There’s over a
million ebooks in the UK today and just
60,000 audiobooks so the opportunity
is vast.” Getting the publishing industry
to see that opportunity as well is Will
Lopes’ mission. ■
10 OCTOBER 2012 FRANKFURT SHOW DAILY 23
lntroduqng our New Trade lmprînb
Smæt_ îmagînadve_ e·o mn books
t|et c.'tete e love Nr readg|
Vìsìt our booth ìn
Hall 8.0J1918
Cortina - Will Lopes interview.indd 3 07/10/2012 21:22
www.publishersweekly.com www.bookbrunch.co.uk
FRANKFURT SHOW DAILY 10 OCTOBER 2012 24
bands and cultural performers such as the
kapa haka group Te Matarae i Orehu,
the New Zealand kapa haka champions.
They could learn to weave or carve in
the traditional Maori way, while tasting
our f ood and dri nki ng our wi ne.
Museumsuferfest was a magnificent success
and for the project team was an illustration
of howvaluable the GoHinvitationcouldbe
in delivering our wider New Zealand story
to the people of Germany. It also kicked off
the major part of the GoHprogramme.
September andOctober are the core of our
year as GoH. Our cultural programme has
visual artists in art galleries around the
country, museum exhibitions, a tour of
New Zealand films, performing artists
such as dance troupes, music from opera to
rock, and more kapa haka. Our books
programme has writers in literary festivals,
Literaturhauses, bookstores,
libraries and cafes. Writers are
touring, launchingbooks, reading,
debating and being interviewed.
Our writers havebeeneverywhere.
Sowhat about this week? Surely
the Fair itself is the focus? Yes,
the week of Frankfurt is the
absolute centrepiece of the GoH
year. We hope that you will not be
able tomiss us.
After the Frankfurt Book Fair Opening
Ceremony yesterday, at which our Deputy
Prime Minister was the keynote speaker, we
officially opened our national pavilion. The
Guest of Honour Pavilion is on level one of
the Forum, andif youare exiting throughthe
City Entrance or the exhibitors doors by the
Maritime, you have to walk past it. Go and
take a look. At a cost of about €1 million,
architect Andrew Patterson and visual ideas
artist Mike Mizrahi have combined to create
an island on the first floor that tells you all
about what New Zealand is and who New
Zealanders are. Visually stunning and
intellectually rigorous, our pavilion is
designedfor calmor for enquiry.
Part of the Pavilion is an events space, and
between Wednesday morning and Sunday
afternoon there is a complete programme of
authors and cultural performers. Drop by
the NewZealandstand(8.0M950) andpick
up a copy of the programme, or go to
www.nzatfrankfurt.govt.nz. And at the end
of each trade day (Wednesday, Thursday
and Friday) there will be a happy hour at
the Pavilion.
There is also a stage and a marquee in
the open space (the agora), which will
feature kapa haka and Pacific dance, as well
I
n the case of the Guest of Honour
at the Frankfurt Book Fair, perhaps
it is understandable that people do
not understand. The natural reaction
is to think that it is a programme
about books, and it is conducted at the Book
Fair itself.
But that is, of course, completely wrong.
To be Guest of Honour (GoH) is to have an
opportunity to promote your country across
the German-speaking world. This is what
attracted New Zealand to the opportunity,
andwhat we have experienced.
Books and publishing are naturally at
the core of a GoH programme. That is true
of ours as well. But wrapped around that is
a cultural programme. As soon as a country
is announcedas GoH, museums andcultural
institutions get in contact asking what can
be done in partnership. And, of course,
the GoH programme requires
a cultural programme as part of
the contract.
What al so happens qui te
naturally is that around those
two required elements (books
and culture) grows a national
promotion.
Sowhat about the NewZealand
GoH programme? Our theme is
“Whi l e You Wer e Sl eepi ng”, an
acknowledgement that we live at the
opposite end of the world from our hosts,
but also a pointer to the fact that we have an
incredibly creative economy in very many
ways that happens while Europe is sleeping.
Added to that theme is our focus on
“Manaakitanga”, a Maori word that has
broad meanings, but includes showing
respect for others and providing hospitality.
We wanted to make all the guests of our
programme events feel respected, and that
we were hospitable inour treatment of them.
So how have we delivered on these aims?
Our GOH started last October at the Book
Fair with a fewevents around writers. But it
really started to move in March of this year
with the Leipzig Book Fair and the
involvement of the NZ Film Commission in
the filmfestival inBerlin.
Since then there was a steady stream of
events around Germany until late August,
when the cultural and business streams
really ramped up for the Museumsuferfest.
Run over three days on the banks of the
Ri ver Mai n here i n Frankfurt, the
Museumsuferfest is an orgy of culture, food
and drink. The museums along the banks
of the river are the centre of it, but as the
focus country, New
Zealand had a stage
a nd 100 me t r e s
of stalls promoting
food, wine, tourism
and e duc at i onal
opportunities.
Museumsuferfest
was opened by the
Mayor of Frankfurt
and the New Zealand
Ambassador being
paddled up the river
in a waka, a Maori
war canoe, andfor the
l as t we e ke nd i n
August visitors could
watch New Zealand
What's in a name?
Kevin Chapmandescribes the strong cultural aspect to the Guest of Honour programme
Continues on page 26 ➝
( )
“To be Guest of Honour is to
have an opportunity to pro-
mote your country across the
German-speaking world.”
Kevin Chapman
Crowds on the riverbank at Museumsuferfest (Image credit: Manat
Taonga; Photo: Simon Birkenfeld)
Kevin Chapman - GoH 2 07/10/2012 21:31
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FRANKFURT SHOW DAILY 10 OCTOBER 2012 26
Braubachstrasse, and our chefs
will deliver New Zealand food
and wine to those lucky enough
to have a booking. Check it out
(06913066501).
There are plenty of author
events outside the Fair as well, in
museums, libraries, even the
Hauptbahnhof on Saturday. We
have transplanted our Writers’
Walk (a series of installations,
each containing a quotation
about the city of Wellington by
New Zeal and wri t ers) t o
Frankfurt this week; and I hope
you will take the opportunity to
sample some of New Zealand’s
writing, culture, foodandwine.
The Gues t of Honour
programme has been long and
varied. Just at the Fair this week
we have nearly 70 writers under
the programme, plus many more
outside the programme, and
more than 100 performers.
More will continue after the Fair
as well. The books and writing
programme will have delivered
more t han 80 wri t ers t o
Germany, 300 events in 50 cities
and towns, with add-ons to
another sixcountries as well. We
set a target of 100 translations
by the end of 2013, and we have
almost that many in 2012 alone.
We wanted to showcase New
Zealand creativity in all its
forms, with writing and culture
at the centre. That is what we
have done. I hope you get a
chance to enjoy some of it while
youare at the BookFair.
Kevi n Chapman i s Managi ng
Director of Hachette New Zealand
and President of the Publishers
Associationof NewZealand. ■
as car vi ng and weavi ng
demonstrations by the Maori
Arts andCrafts Institute.
We have other events around
the Fair, including demonstra-
tions by some of our most gifted
chefs in the Gourmet Gallery in
Hall 3.1, and author events in
the Comics Zone (Hall 3.1) and
Travel Gallery (Hall 3.1). Goon,
get out of Hall 8 and sample
NewZealand.
In addition to activities with
authors and performers, our
national collective stand (8.0
M950) is showcasing many
great NewZealand books; there
is an editor’s buzz panel at 11am
on Thursday (8.0 N988); and
our educational publishers are
showing why New Zealand is
one of t he hi ghest - rat ed
countries in the educational
world on Thursday afternoon
(2-5pm, Hall 4.2, Hot Spot
EducationStage).
Also at the Fair,
this year we have a
N e w Z e a l a n d
cosplay event. Those
who stay through
weekends may have
wondered about all
those young people
dressed in costumes,
especially on Sun-
day. This is a long-
standi ng cospl ay
competition, around
a manga t heme,
organised by a Ger-
man cosplay organ-
isation; the winners
are announced at the
Fair on Sunday. This
year, with the release of The
Hobbit film, which is being
made inNewZealand, there will
be a Hobbit cosplay with the
winners being announced at the
Fair on Saturday. Weta Work-
shop founder, Richard Taylor,
and some of his partners are
heavily involved in GoH, and
he will present the cosplay prize.
There will also be an event in
the PaviliononSaturday, talking
about Weta’s special effects
for The Lord of the Rings and
The Hobbit and many others,
and how it is involved in books
i n pri nt and di gi tal , apps
and film. Transmedia is a New
Zealandskill.
We have taken over a restau-
rant this week, the Margarete on
Continued from page 24 ➝
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“Perusing the book, which is intended as much as an objet d’art…
provides an exhilarating visual experience.”—Apollo
And of these new & forthcoming titles:
Balthus: Cats and Girls
Punk: Chaos to Couture
Madame Cézanne
Regarding Warhol: Sixty Artists, Fifty Years
Matisse: In Search of True Painting
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World Book Night - sharing the love
Changingreadinghabits
Ray Bradbury foresaw all this in Fahrenheit
451whenhe wrote: “Youdon’t have toburn
books to destroy a culture. Just get people to
stop reading them.” But is it anything new?
Academics including John Carey in his The
Intellectuals and the Masses and Jonathan
Rose in The Intellectual Life of the British
Working Class have charted something of
the history of reading and culture. They tell
tales of shepherds leaving Shakespeare in the
crook of trees for the next passing shepherd
to enjoy; of reading groups for factory
workers; of a devouring of books from
penny dreadfuls to the classics; and a pride
and pleasure in reading, discussing and
appreciating books. In short a society in
which the phrase, “I don’t do books” would
never have beenheard.
Steadily from the Second World War
onwards things changed, including changes
in entertainment possibilities and education,
that have eroded reading habits. But more
dangerous and pervasive is the concept that
reading is for a certain kind of person–the
preserve of an elite–and that books and
stories aren’t a universal right and pleasure
tobe appreciatedby all.
N
o one reading this article
will be in any doubt about
the value and importance
of reading and literacy,
but , even i n t he most
developed nations, they remain serious
issues, writes Julia Kingsford. In the UK,
the government reports that 16% of
people are functionally illiterate with the
reading age of an 11-year-old or lower, and
40% of people having level 1 literacy, the
most basic level as set by the government
and the equivalent of failing a GCSE in
English. And things aren’t getting any
better, with 43.3% of teenage boys failing
their GCSEEnglish this summer.
Attitudes to reading are little better. In
research by the National Literacy Trust,
22% of children said that they rarely or
never readintheir owntime and17%would
be embarrassed if their friends saw them
reading. Among adults it is as bad; a third
never read or buy a book, and in the UKthat
amounts to 15 million people. Recent
research by the Evening Standard revealed
that one inthree households inLondondon’t
have a book in them, despite the incredible
Bookstart scheme, whichsees books givento
every new child in the country. Books
aren’t in houses because the adults in those
houses don’t see the need to have them.
When those who don’t read are asked why
not, consistently the highest scoring answers
are to do with attitudes to reading: “It’s
boring”; “It’s not very social”; “I don’t do
books.” Yet research continually shows that
those who do read have more opportunities
in life, are more employable and suffer less
frommental illness.
Julia Kingsford
FRANKFURT SHOW DAILY 10 OCTOBER 2012 28
Hall 8.0 | Stand M902
ingramcontent.com
Ingram’s inventory of physical and digital content
and related products is the largest in the industry.
More content. More reach. More sales.
Julia Kingsford - WBN.indd 2 07/10/2012 21:28
www.publishersweekly.com www.bookbrunch.co.uk
roughly the equivalent of a day’s worth of
book sales or enough books to reach about
1% of the population. The authors waive
their royalties, the publishers pay for the
production, which is provided at cost by
the printers Clays and CPI, with the paper
sponsored by Holmen and the distribution
also sponsored.
Our givers are as diverse as the UK
population–they live in all the regions, in
cities, towns and the middle of nowhere.
They are, on average, a tiny bit better
educatedanda tiny bit better off thanthe UK
average, but 19%still come fromthe lowest
socio-economic groups and 24% have no
qualifications whatsoever. They are three
times as likely to be skilled manual labourers
as they are to be managers, with roughly
two-thirds in work and the rest made up of
housewives, retirees, students and the
unemployed.
Givinginthecommunity
Each giver has to tell us how they intend to
give their books when they apply and their
application is judged on their commitment
to reach those who don’t regularly read.
Our survey of 11,000 of our givers found
It was in response to this that World Book
Night was first celebrated in the UK and
Ireland in 2011 (and in the USA and
Germany in 2012). There have been many
charities andinitiatives that tackledattitudes
to reading before, but none by empowering
the readers themselves by putting a
passion for reading and the act of giving
at the forefront.
Volunteers
How World Book Night works is very
simple and each participating country
chooses the scale themselves. In the UK
we recruit 20,000 volunteers to give books
for us–about 1 in 2,250 of the adult
population. Each giver collects 20 specially
produced copies of their chosen book,
whi ch we have del i vered to a l ocal
bookshop or library. They choose from a
list of 20 titles representing a wide range of
writing. On 23 April, World Book Night
and the UNESCO International Day of the
Book, these volunteers press their books
i nto the hands of acquai ntances or
strangers who don’t regularly read with the
promise: “This one’s amazing, you have to
read it.” In the UK we choose to give
that 58% gave to members of their
communities, 12% to close acquaintances
and 30% to complete strangers. Of those
giving to specific areas of the community,
52% gave some of their books to parents
and teachers in schools, 54% to young
people, 30% to adult learners, 18% to staff
in hospitals or care facilities, 13% to
patients, 8%to homeless people and 4%to
prisoners. Overall 95% believed they were
successful in reaching those who don’t
regularly read.
Stories, books and reading are an
incredible cultural gift, and World Book
Night unites the many facets of the bookand
reading industries with readers to spread
that cultural gift to those who haven’t
discovered it. In 2012, 80,000 givers in the
UK, Ireland, the USA and Germany gave
more than two million copies of books by 70
writers. In 2013 this experience will be
repeated and, we hope, will steadily spread
to new countries, empowering thousands
more readers to spread a love of books and
reading tomillions more.
Julia Kingsford is Chief Executive of World
BookNight. ■
10 OCTOBER 2012 FRANKFURT SHOW DAILY 29
Julia Kingsford - WBN.indd 3 07/10/2012 21:28
L. RON
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CELEBRATINGTHE CENTENNIAL OF ONE OF
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owned by Bridge Publications, Inc. NEW ERA is a trademark and service mark.
www.publishersweekly.com www.bookbrunch.co.uk
FRANKFURT SHOW DAILY 10 OCTOBER 2012 32
ciation, makes it easier for universities,
schools and colleges to request text books in
electronic format. With 15-17,000 hits a
month, it has proved valuable to users, but
follow-up surveys show that publisher
response rates vary from 15 minutes to sev-
eral weeks. A new feedback option will
allowthose publishers providing a good ser-
vice toget the credit (andsales) they deserve.
Bronze
Supply chain wasting: No matter how acces-
sible a source file is, all the benefits can be
stripped out as it moves along the supply
chain. Awell-structured, accessible file is use-
less if the device that delivers it has no
“browse by heading” functionality, no text-
to-speechandlimitedmagnificationor reflow
implementation. Few hardware e-readers
have text-to-speechbuilt in. Manyof the plat-
forms through which books are delivered to
libraries have onlypartial accessibility.
Technology reviews: Accessibility is
beginning to creep into technology reviews,
but the majority of them still think the typi-
cal user is under 30 years old. Think again.
When Waterstones researched their “typi-
cal” ebook customer they turned out to be
from 45 to 60 years old. Interestingly, these
are the people whose disposable income is
rising as fast as their sight is falling.
As soon as reviewers seriously start to cri-
tique accessibility, we might get the positive
feedback accessibility aware suppliers
deserve to boost their market share. It’s
worth noting that–despite the price and the
“hip” image–iPad use is mushrooming in
education because it is the one product edu-
cators can recommend that is accessible to
all users. Publishers mayhave different views
of the Apple Empire, but disabled users are
among its most ardent supporters for one
very simple reason–they can use it out of the
boxlike anyone else.
Copyright and DRM: Some pessimists
would say this isn’t yet fit enough to qualify
for the Olympic team, but there is nodoubt a
N
o business would wilfully
exclude potential customers,
but many accidentally do so,
writes Alistair McNaught.
The shift to digital publish-
ing has the potential to create more readers
than ever before in history, yet the tools and
technologies that couldopenthe gates todis-
abled customers often remain locked for no
other reason than: “We didn’t think about
that.” Yet there have been some huge strides
forward, not least because things that are
goodfor people withdisabilities are goodfor
lots of other purposes too. Everybody bene-
fits from easily navigable electronic texts.
Many want to be able to magnify and reflow
text, or have text readout tothemwhenthey
can’t fully concentrate onreading.
Sointhis year of the Olympics let us have a
look at the Gold, Silver and Bronze “medal
winners" of accessible publishing, and see
howclose we are toa tipping point.
Gold
These are areas where significant progress
has beenmade.
Awareness and ambition: Accessibility is
permeating mainstream practice. The latest
Skillset Occupational Standards for publish-
ers has more than 40 mentions of accessibil-
ity. In the UK there are active, constructive
relationships betweenthe industry andadvo-
cacy groups. The Publishers Licensing Soci-
ety has a regular Accessibility Newsletter and
more recently an Accessibility slot in the
monthly e-bulletin. Joint recommendations
have been developed by the Publishers Asso-
ciation and the Right to Read Alliance. Sev-
eral large publishers are actively improving
the accessibility of their electronic products
and the ONIX accessibility metadata helps
make accessible products discoverable.
Technical developments: The mainstream
adoption of EPUB and the evolution of
EPUB 3 provides an exciting opportunity to
enhance the accessibility of digital text, pro-
viding standardisedways toenhance naviga-
tion, as well as incorporating rich content in
ways that can supplement accessibility
rather thanundermine it.
Training and guidance resources: This
has been an exciting area with highlights
including the WIPO Enabling Technologies
Framework, the RNIB Publisher Advice
Centre and free JISC TechDis/WIPO
accessibility courses online. In the UK
the Publisher Training Centre is adapting
training courses to take account of the new
Skillset Occupational Standards.
Silver
Customer liaison: The Publisher Lookup
Website (www.publisherlookup.org.uk), set
up by JISCTechDis and the Publishers Asso-
lot of discussion has taken place and some
are genuinely pushing the agenda forward.
Nobody disputes the industry’s right to pro-
tect IPR, but I recently spoke to a blind stu-
dent about his text books. He studies com-
puting and many of his books are published
by O’Reilly. These are DRM-free and work
seamlessly with his technology. I asked him
about other textbooks. “I get the Kindle ver-
sions,” he said, “but the DRMmeans I can’t
use themwithmy screenreader soI crackthe
DRMtoget the text intoa format I canuse”.
It’s not exactly legal, but what else can he
do if he can’t read what he purchased with
the technology he relies on?
Thetippingpoint?
I believe we are getting close to a tipping
poi nt where i naccessi bl e f ormat s,
software and hardware will be as culturally
unacceptable to the publishing supply chain
as dirty plates and dirty surfaces would be to
a restaurant chain. Both are symptoms of
either ignorance or idleness, or lack of
concern for customers. That’s not a way to
growbusiness.
Some colleagues believe nothing will
change until legislation is enforced. I’m not
convinced. Regulation leads to compliance
(a good thing), but also tends to tick-box
minimalism(a badthing). If we’dhada regu-
latory regime we would probably have
banned touch screen devices because we
couldn’t imagine them being accessible, but
the touch screen iPad is probably the most
accessible mainstreamdevice inthe market.
Technology evolves: Accessibility evolves
too and it’s more important to give develop-
ers afree reigntotrynewcreative things than
to fossilise the old technologies in the name
of accessibility. The questions all senior
product developers should be asking them-
selves is this: “Whowill test this for us? How
do we ensure good representation from dis-
abled users? How will we use the feedback
to enhance the product? How will we tell
people about the benefits of our product?”
We’re all getting older. Most of us will
have a disability of one sort or another inour
later years. Everyone has an influence. Use it
toreachthe tippingpoint as soonas possible.
Yes, it makes good business sense, but it’s
also an investment to keep you and your
friends all reading toa ripe oldage.
The huge opportunities for mainstreamaccessibil-
ity will be discussed in a seminar entitled “A
New Market: Accessible Ebooks in Mainstream
Channels”, today at 10am in Room Europa. For
further informationcontact sarah@editeur.org.
Alistair McNaught is a senior advisor at
JISC TechDis, a leading UK advisory service on
technologies for inclusion. ■
How close the tipping point?
Alistair McNaught
Alistair McNaught - Accessibility.indd 2 07/10/2012 21:17
SHOWCASE OF NEW ZEALAND
Come and see what the 2012 Guest of Honour
at Frankfurt Book Fair has to offer!
THE PAVILION (Forum Level 1)
A stunning representation of New Zealand – an island surrounded by water,
under starry skies.
• Mini-pavilions with books about New Zealand and a 20 minute creative
masterpiece, a showreel, every half hour
• An events space with New Zealand authors and performers,
from 11am to 5.30pm every day
THE AGORA (Open space by Hall 3)
• New Zealand champion kapa haka group ‘Te Matarae i Orehu’
• Tatau Pacifc dance group
• Carvers and weavers from the Maori Arts and Crafs Institute
NEW ZEALAND COLLECTIVE STAND (8.0 M950)
• 37 New Zealand publishers showing the best of New Zealand creativity
PLUS
• Editors Buzz Panel, Tursday 11am, Sparks Stage 8.0 N988
• Innovative Education from New Zealand, Tursday 2–5pm,
Hot Spot Education Stage 4.2
www.publishersweekly.com www.bookbrunch.co.uk
34 FRANKFURT SHOW DAILY 10 OCTOBER 2012
patient care” and it differs from
traditional search engines in that
all of the content is peer-reviewed
fromtrusted sources, and it deliv-
ers fewer but much more relevant
results, savingthephysiciantime.
Thethree“C”s
These are content, collaboration
and communities. Scholarly
publishers are focusing heavily
on understanding in great depth
how their various audiences
consume content during their
day-to-day lives and are tailor-
ing their online content delivery
experience to match. The rela-
tionship between content and
consumer is no longer one-way
and information providers are
constantly looking at growing
engagement, sharing and collab-
oration on their sites to boost
user experience andkeepreaders
coming backfor more.
Professional networks are
increasingly being used to pro-
vide services that give real value
to the community and improve
engagement, alongside content
delivery. Examples of this cre-
de nt i a l e d, pe e r - t o- pe e r
approachinclude the Researcher
Exchange fromGSEResearch. It
has the facility for members to
comment on journal content via
the open peer-review model or
to ask questions of their peers;
and it enables corporations to
find expert consultants, and
authors to find collaborators,
via a sophisticatedauthor search
whereby a user can pinpoint
experts within a particular field
withina particular organisation.
With the increasing threat of
content getting lost inthe crowd,
it has never been more impor-
tant for publishers to take a
good, hard look at the way they
distribute their content online
and the essential lessons that we
canall take away fromthe schol-
arly marketplace.
George Lossius, CEOat Publishing-
Technology, will be on the panel
at the Lessons Learned from
Digital Publishing debate taking
place today at 9.45am at the
SPARKS stage, Hall 4.2.
Doug Wright is Director of Marketing
Services, PublishingTechnology. ■
A
minute is a long
time on the inter-
net–Google pro-
cesses approxi -
mately two million
searches and around 571 web-
sites are launched, writes Doug
Wright. It is estimated that in
2011 there were about 555 mil-
lion websites, more than dou-
bling in size from 2010. There
are now 2.27 billion internet
users. To put that into perspec-
tive, there were only 361 million
users in 2000, which is just one
thirdof Facebookusers today.
Inthis age of staggering online
growth and information over-
load, it is becoming increasingly
difficult for readers to identify
the content they need quickly
and easily. Publishers are faced
with the challenge of ensuring
their content stands out fromthe
crowdandcanbe easily accessed
and consumed amid changing
habits. Readers want to use and
manage content “their way”,
anytime, anywhere, and certain
publishers are adapting accord-
ingly to guarantee that they pro-
vide the optimal user experience
andremaincompetitive.
Many of the academic pub-
lishers we serve have invested
heavily to adapt their online
delivery and content to suit their
users; here are the toptrends that
we have observed.
User experienceis king
One of the biggest challenges
STMpublishers have had to face
in the digital world is a complete
change in perception of how
their content should be struc-
tured, disseminated and received
by the consumer. Traditional
journal publishers, many of
whom have only published via
the print medium (for decades),
have hadtolearnquicklythat the
online reader experience should
differ dramatically from that of
journal readership. Online read-
ers commonly want to search for
a specific topic or expert field, so
an online model that displays
articles and other material by
issue number, for example, looks
outdated, and makes searching
andnavigationdifficult.
The American Society for
Microbiology (ASM) is one such
publisher leveraging its content
platformto enhance user experi-
ence. Semantic technology
enables tagging and faceted
search, andallows site visitors to
access close to 100 years of
material quickly and efficiently.
ASM also provides flexible
delivery formats and is able to
bundle content, which can be of
huge benefit to readers who can
request a one-off journal issue
ona certaintopic, for example.
Semantic web
There is a growing need, partic-
ularly in the academic market,
for intelligent solutions that can
help reduce the amount of time
taken for a reader to find the
content they need. A number of
recent innovations in this area
are driven by semantic technol-
ogy, and Clinical Key fromElse-
vier is a good example of this
shift away from pure content
delivery to the provision of ser-
vices tailored to a particular
functionandaudience.
Designedas atool tobe usedat
the point-of-care to support clini-
cal decisions, Clinical Key brings
together journal and textbook
content from Elsevier, MedLine
and third party journals, which
have been semantically enriched
to drive more intelligent search
and discoverability capabilities.
The service is billed as the
“smarter, faster, search for better
The future of content delivery
Doug Wright
Wisdom Publications
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Doug Wright - Pub Tech.indd 2 07/10/2012 21:24
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FRANKFURT SHOW DAILY 10 OCTOBER 2012 36
Indie booth
CLMP is to play host to a number of small and
independent literary presses at the Fair. Calvin
Reid explains
I
n an effort to increase the
presence and profile of
Ameri can smal l and
i ndependent l i t erary
presses at the show, the
Frankfurt Book Fair organisers
invited the Council for Literary
Magazines and Presses to host
an exhibitor booth featuring
small US independent literary
houses. CLMP pi cked ten
presses, including several who
have never attended Frankfurt,
to exhibit at a collective booth at
this year’s Fair. CLMP will also
hold two panels on Thursday
at the show in addition to
throwing a “Party with CLMP”
reception that same evening at
its booth in Hall 8.
CLMP’s new independent
publishers’ booth will show off
titles from Akashic Books,
Archipelago Books, Bellevue
Li t e r a r y P r e s s , F e n c e ,
McPherson & Co, Open Letter
Books, Red Hen Press, Siglio,
Ugly Duckling Press and Versal.
Bellevue, Ugly Duckling, Siglio,
Archipelago and Fence have
never attended Frankfurt.
CLMP Executi ve Di rector
Jeffrey Lependorf was keen to
point out that while Frankfurt
officials have been, “extremely
helpful in terms of helping to
arrange meetings, connecting us
to folks over there and more, the
publishers are paying their own
lodging and flights”.
Lependorf said the invitation
i s a move by t he show’ s
organi sers to i ncrease the
participation of literary indies
at Frankfurt, which he says is
a reflection of an industry in
the midst of change. Small
and independent presses, he
says, have been quick to adopt
social media, and very quickly
began working to build online
communities and sell direct to
consumers. “Small publishers
can t urn on a di me, ” he
says. “They can change their
business models and change
them again if they have to.”
Furthermore, Indie publishers
often rel y on thi rd party
technology vendors and are
already “lean and mean”, and
s uppor t ed by a mi ni mal
staff. “Thi s i s what smal l
publishers do, they’re literary
boutiques with a clear brand
and they know their readers,”
Lependorf says.
On Thursday at the Fair,
CLMP will host two panel
discussions. The first, “The
Margins Move to the Middle:
Small Press Publishers Take the
Stage”, will be held at 10am on
the SPARKS stage in Hall 8. The
panel will discuss how small
presses such as Bellevue Literary
Press, whose Tinkers (by Paul
Harding) was a Pulitzer Prize
winner, have “taken centre
st age”, wi t h t hei r books
showing up on bestseller lists
and wi nni ng maj or book
awards. The panel will include:
Erika Goldman from Bellevue
Literary Press; Ira Silverberg,
Director of Literature at the
National Endowment for the
Art s; and Jul i e Schaper,
Pr e s i de nt a nd COO of
Consortium Book Sales. And at
4pm at the Weltempfang in Hall
5, there’s “Hello, Reader! How
Independent Literary Publishers
are Successfully Reaching Their
Audiences”–a panel featuring
Anna Moschavakis of Ugly
Duckling Press and Johnny
Temple from Akashic Books.
Both panels will be moderated
by Lependorf.
While a number of the presses
specialise in poetry, always a
tough sell in an international
r i ght s mar ke t pl ac e l i ke
Fr ankf ur t , many of t he
publishers also publish fiction
and works i n transl ati on.
“There’ s a real pot ent i al
for foreign rights sales and
some of the presses publish
translations,” says Lependorf,
“so we think this will work in
both directions. I’m very excited
and we hope that German indie
publishers will want to meet
with us.” ■
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Calvin Reid - CLMP 2 08/10/2012 15:41
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EbookBundlelaunch
The Humble EbookBundle works muchlike
the game bundles. The bundle will launch
with my novel Pirate Cinema; John Scalzi’s
Old Man’s War; Neil Gaiman and Dave
McKean’s Signal to Noise; Lauren Beukes’s
Zoo City; Paolo Bacigalupi’s Pump Six
and Other Stories; Mercedes Lackey’s
Invasion: The Secret World Chronicle; and
Kelly Link’s Stranger Things Happen and
Magic for Beginners. That is a pretty fine
list, but there is also a roster of secret bonus
books that will be released throughout
the two-week promotion, including some of
the best-loved works in web-comics and
a classic sci-fi trilogy never before released
inebookform.
I volunteeredtocurate the Humble Ebook
Bundle partly out of self-interest. I’ve
watched the sums involved in the Humble
Indie Bundles with amazement: these
promotions are generating payouts to
independent creators sufficient to buy a nice
house in a major world city. Partly, though,
it was to see how this mode of promotion
might apply toebooks.
So far, curating the Humble Bundle has
been an eye-opener. The writers we
approached were overwhel mi ngl y
enthusiastic about participating. Their agents
were sometimes more dubious. But where we
ranintoabrickwall was withpublishers. One
writer with several number one New York
Times bestsellers asked his publisher for
permissiontoinclude a years-oldbacklist title
in the promotion, and was turned down flat.
Cory Doctorow
M
y newest young adult
science fiction novel,
Pirate Cinema (Tor), just
went on sale, and it also
went online as a free
ebook, with a Creative Commons licence
that allows for free downloading and non-
commercial sharing of the file.
I’ve been offering free ebooks for
just under 10 years now, since launching
my first novel Down and Out in the
Magic Kingdom in 2003, right after
Creative Commons launched. At the time, I
wasn’t sure what would happen, but I
suspected that free ebooks would actually
entice readers to buy printed books. Now,
14 (!) books later, I’m confident in my
hypothesis that free ebooks can act as an
advertisement for printed books. After all,
my 2008 YAnovel Little Brother sold more
than 100,000 hardcovers, and hit the New
York Times bestseller list in both paperback
and hardcover.
Reciprocal relationship
Giving away my ebooks has had lots of
positives for me, among them that my
audience has responded positively to
a generous impulse. I believe that if
you’re going to convince people to pay
you, you must enter into a reciprocal,
sociable, ethically founded relationship.
For Pirate Cinema, I’m doubling
down on this public show of
generosity. I’ve joined up with the
Humble Bundle people to curate
the Humble Ebook Bundle, which
applies their successful formula,
for eliciting voluntary payments
for games, to ebooks.
For those unfamiliar with the Humble
Indie Bundle, it launched in May 2010, the
vision of a group of independent game
developers whosolicitedhalf-a-dozengames
fromtheir comrades in the industry, and put
them together in a name-your-price
commercial offering. Visitors to the Humble
Indie Bundle site were invited to download
the bundled games for Windows, GNU/
Linux or MacOS, and pay whatever price
they thought was fair. (Buyers are also
invited to divert as much of their payment as
they choose to one of two charities: the
Electronic Frontier Foundation or Child’s
Play, which donates toys and games to
children’s hospitals and hospices). The first
Humble Indie Bundle made more than
$1 million for the creators involved during
its first two-week run, and its most recent
launch made more than $4 million dollars in
the first week.
Why? Because the head office had decreed a
moratorium on DRM-free experimentation,
and all the ebooks in the Bundle must be
released without DRM. My own publisher,
Tor Books, has no problem with this DRM-
free stipulation, as they are the first imprint at
a major house to go DRM-free. John Scalzi is
alsoaTor author.
I realise that a lot has changed since I
offered my first free ebook in 2003. Back
then, my editor at Tor called ebooks a
venture “with the worst ratio of hours in
meeti ngs to dol l ars i n revenue” i n
publishing history. Now, ebooks have gone
mainstream. There are lots of ebook
readers, lots of markets and lots of
money being made. And, yes, there’s also
lots of piracy.
Convince, don’t coerce
Despite (or maybe because of) cumbersome
DRM systems, publishers have not made a
dent in unauthorised downloading; nor will
they. I believe it’s just not possible to stop
copying on the internet. And it is not
possible to convince humans that the ability
to share culture and knowledge at no
marginal cost is a sin. I personally accept
that anyone will be able to download
anything at no cost, and without any
appreciable risk. What this means, is that if
you want people to pay for ebooks you have
to convince them to do so, not
coerce them.
Yet, one of the biggest surprises
to me in curating the Humble
Ebook Bundle has been some
publishers’ unwillingness to
experiment with just one or two
DRM-free titles in a new kind of
promotion that carries a proven track
record of success in a related field.
I understand the industry is concerned
that the perceived value of an ebook is a
matter of credit andpsychology, andthat no
one among the Big Six American houses
wants the “fair price” for an ebook to drop.
But I also don’t think they can do much
about thi s: there are, by orders of
magnitude, more amateur and independent
ebooks entering the marketplace than the
Big Six produce, and many of them are at
lowprice points.
At the same time, the Humble Indie
Bundles have a record of enticing people to
pay more, on average, than they would pay
for the unbundled items. Sure, some people
pay nothing. But why not experiment? Isn’t
the idea of a successful business to make as
much profit as possible; not as much profit
as possible fromeachseparate customer? ■
FRANKFURT SHOW DAILY 10 OCTOBER 2012 38
Cory Doctorowurges publishers to support ideas such as the Humble Ebook Bundle
Name-your-price selling–it works
( )
“The writers we approached
were enthusiastic; their agents
more dubious.”
Cory Doctorow - Humble.indd 2 07/10/2012 21:23

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