Frankfurt Show Daily, Day 2, Oct 9

Frankfurt
THURSDAY, OCTOBER 9, 2014
VISIT PW AND BOOKBRUNCH AT HALL 8, STAND R28
Big deals mark Frankfurt opening

Rick Horgan, in one of his
first major acquisitions since
joining Scribner this summer,
has paid seven figures for US
rights to Angela Duckworths
GRIT, writes Rachel Deahl.
The book, by the University
of Pennsylvania Associate
Psychology Professor,
explores the concept that
perseverance and hard work
really do allow otherwise
unexceptional people to
achieve exceptional goals.
Richard Pine at Inkwell
Management represents the
book, and confirmed that UK
rights had also sold, following
a heated auction, to Ebury.
Pine called Duckworth, who
has a PhD and is a MacArthur
fellow, a research pioneer,
and said Grit will offer new,

scientifically-based ideas and
strategies that hold the promise
to transform readers lives.
The book is subtitled
Passion, Perseverance and
the Science of Success, and is
Duckworths debut. She was
a management consultant at
McKinsey and a high school
math teacher in New York
Citys public schools before
becoming a professor. Her
research has featured in
numerous publications, and
her TED talk on the subject
of grit has been viewed over
5 million times.
Inkwell has also sold
Canadian, Brazilian, Spanish,
Dutch and Arabic rights.
In what was rumoured to
be a high six-figure deal,

Andrew Miller at Knopf
pre-empted North American
rights to journalist Michael
Finkels THE STRANGER
IN THE WOODS. The book
is expanded from Finkels
September GQ article The
Strange & Curious Tale of the
Last True Hermit, about a
man who lived in the Maine
woods for 27 years without
any human contact. Agent
Stuart Krichevsky, who has
an eponymous agency in the
US, represented Finkel, the
author of True Story: Murder,
Memoir, Mea Culpa (Harper,
2005)which explored
Finkels discovery, after being
disgraced for fabricating a
story while working as a
Italian publishers launch VAT campaign

Printed books and ebooks
should carry the same level
of VAT, said Italys Minister
of Culture in an address at
Frankfurt yesterday. Dario
Franceschini was launching
a campaign centred on the
idea that a book is a book
for only a bureaucratic mind
could think of separating
the two.
The President of the Italian
Publishers Association, Marco
Polillo, said that the Association was fully behind the
campaign. #unlibrounlibro
News Day 2.indd 1
aims to engage readers and

public opinion. Through
www.unlibroeunlibro.org,
authors, librarians, the
publishing world as well as
readers will be invited to join
the campaign. We are well
aware that we do not only
need the commitment of
European Ministers of Culture,
but of governments as well,
Polillo said. We hope to
see this cultural challenge
endorsed by the entire Italian
Government: Italy could lead
Europe on this fight during
the Italian Presidency and

beyond. At the same time we
ask our Government to go
forward and act autonomously if Europe shouldnt
be ready to follow us.
Franceschini said he and
his colleagues were doing
our very best to complete the
documents of the Council of
European Ministers of Culture
on 25 November to find a
unanimous position or at least
as unanimous as possible to
equalise the VAT rate on ebooks
and the rate for paper books.
reporter for the New York

Times, that a convicted felon
had been using his identity.
In Stranger, Finkel tells
the story of Christopher
Thomas Knight, known in
central Maine as the North
Pond Hermit. Depending on
which community member
you asked, the hermit was
either a scourge, an oddity
or an urban legend.
Krichevsky said hundreds of
journalists tried to interview
Knight over the years, but
Finkel is the only one who
was able to make contact.
At press time, Krichevsky
confirmed that no foreign
sales had closed, but that
multiple offers in several
territories had come in.
INSIDE:
SAMSUNG
AT THE
FAIR
COPYRIGHT
CENTRE
STAGE
SHOW DAILY
AT THE
HACHETTE PARTY
08/10/2014 16:11
Cheers
Prost
Sant
Kippis
Gesondheid
ivjeli
Salud
Skl
Sade

Chok dee
erefe
Slinte
Chin chin
Salute
Lchaim
Proost
Join us for a drink
Na zdravi
Thursday October 9, 5:30 PM

at Stand G9 in Hall 8.0
Kanpai
Gn bi
Sade
Iechyd da
FRANKFURT SHOW DAILY
Four questions for Samsungs Rory ONeill

Andrew Albanese: Tell
me a little about your mission
here in Frankfurt. Are you here
to learn, as well as to show off
the latest Samsung technology?
Rory ONeill: Both, you
know, because content is a huge
part of the mobile experience. A
lot of people who now absorb
content today will do it first
Rory ONeill
from a mobile device. At
Samsung, were interested in a very innovative, rich, full
experience. That comes from hardware, software and
content, and we feel that partnership and collaboration is
the right way for us to do that.
AA: You presented Tuesday at ConTec, can you share

some of the major themes you hit on there?
RON: Well, a couple of things, but foremost is that
tablets have transformed the way we all look at content. And
I think the second thing is that we are just sort of teasing out
how future generations are going to expect to use content. I
think its fabulous the way that digital natives, you know,
those born after the year 2000 or so, are going to expect
content to be. It is fabulously exciting to think of the ways
those people are going to change the way that this industry
and other industries produce content for them to consume.
something we can partner on, and at Samsung we would have

a very collaborative approach, because we recognise our value,
and we recognise the value in the publishing industry. I think a
third thing, and arguably the most exciting thing, is
transforming the way content experiences are shared.
AA: This is your first Frankfurt. What are you looking

forward to?
RON: I am just really looking forward to learning more
about the industry. There is a lot of appetite among
publishers to see people like Samsung here at the Fair, and
refreshing to be here.
Rory ONeill is Marketing Director for European Telecommunications
Operations at Samsung
OConnor memoir
David Rosenthal at Blue Rider Press (Penguin) has bought
world rights in a memoir by Irish singer-songwriter
Sinad OConnor, through Simon Watson at Sidewinder
Management. Penguin Ireland will publish in Ireland, the
UK, and the Commonwealth. OConnor said: I look
forward to dishing the sexual dirt on everyone Ive ever
slept with. Rosenthal described OConnor as a fearlessly
honest and incredibly talented artist. She is one of the
most distinctive cultural gures of our timeand she
always has something interesting to say, Michael
McLoughlin of Penguin Ireland added. Publication will
be in March 2016.
AA: What are the strengths you see Samsung brings to

publishing?
RON: Its a couple of areas. First and foremost, yes, were

already innovating the hardware experience. But sometimes
the challenge isnt on the technology side but with the business
model. How do you monetise this new experience? This is
To contact Franfurt Show Daily at the Fair

with your news, visit us on the Publishers
Weekly stand Hall 8.0R28
Reporting for BookBrunch by
Nicholas Clee in London and Liz Thomson in Frankfurt
Reporting for Publishers Weekly by
Andrew Albanese, Rachel Deahl, Calvin Reid and Jim Milliot
Project Management: Joseph Murray
Layout and Production: Heather McIntyre
Editorial Co-ordinator (UK): Marian Sheil Tankard
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
Ingram adds Polish

distributor Azymut to
Global Connect
The Ingram Content Group has added Poland to its
Global Connect network, striking a deal with Azymut, one
of the largest media publishing and distribution groups in
the country. Ingrams relationship with Azymut gives
publishers access to print-on-demand book manufacturing,
as well as to Azymuts established relationships with more
than 2,700 retail points of sale, including online, chain
and independent booksellers and distributors.
There is strong demand for English-language books in
Poland. Through our Global Connect relationship with
Ingram, we can now offer a substantial range of content
with near-immediate availability to meet the needs of our
bookselling customers, said Jerzy Majewski, CEO of
Azymut. Todays marketplace is no longer bound by national
borders or languages, and we are pleased that through Global
Connect, books that are in demand will reach readers.
Poland is the fourth country to become part of Ingrams
Global Connect network, joining Russia, Germany and Brazil.
3
News Day 2.indd 3
08/10/2014 15:56
ONE PARTNER TO PRINT, DISTRIBUTE, AND SHARE C
ARE CONTENT WITH THE WORLD
PEOPLE
PUBLISHING
Trusted by more than 30,000 publishers worldwide, Ingram
simplifies content distribution. With comprehensive publisher
services, Ingram helps publishers expand reach, open new
streams of revenue, and deliver more content in more
formats to readers around the globe, quickly and efficiently.
LIBRARIES
A partner to public and academic libraries, Ingram ensures
libraries remain critical information centers, well-suited
to meet their communitys needs, by providing valuable
services focused on curating and building collections to fulfill
patron demand.
RETAIL
Ingram understands customers want the titles they want,
fast! From distribution points around the globe, Ingram offers
fast, reliable order fulfillment and access to an extensive
inventory of titles.
EDUCATION
From textbooks to digital courseware, Ingram connects
educators, students, administrators, and researchers to the
most relevant and innovative content in the world. With smarter
services for academic institutions, Ingrams VitalSource spells
success in todays quickly evolving educational environment.
www.ingramcontent.com/bookseverywhere
IFFRO: reclaim the copyright debate

Copyright is more important than it has ever been, but has
the debate been hijacked by anti-copyright forces, including
those in the tech sector? Yes, according to Olav Stokkmo,
Chief Executive of the International Federation of
Reproduction Rights Organisations (IFRRO). Speaking on a
panel in Hall 8.0 at the Fair, Stokkmo argued that publishers
and creators must make a better effort to educate the public
about the importance of strong copyright protection.
While many people acknowledged the need to pay publishers
and creators, the reality was, in the internet age, that few
wanted to pay. We need to expose that contradiction,
Stokkmo said.
Stokkmo noted that the public was, thanks to the
internet, finally engaged with a subject once considered too
wonky or specialised. He spoke about an IFFRO campaign
launched at Frankfurt to provide information, a website
dubbed CopyrightLink.org, offering news, legislative
updates, and useful facts and details on the value of the
protection of literary and artistic works.
Those who have dominated the debate so far have not been
accurate, Stokkmo said, but had been influential. I hope that
we can make it possible for people to know where they can find
accurate information on copyright.
Stokkmo was joined on the panel by Robert Levine, author
of Free Ride: How Digital Parasites Are Destroying the
Culture. People tend to see this as a conflict between authors
and audience, Levine said. I reject that. I think it is a conflict
between authors and illegitimate distributors. Levine said he
had no problem with the person who wanted to read his book
for freeThe problem I have is with people who distribute it
for free, and make money from it, and build businesses on it,
and dont compensate me. Stokkmo seized on that theme,
acknowledging that solutions to piracy problems relied on
publishers. He suggested that collective licensing was the key.
Enforcement has to be combined with providing

reasonable access, and legal access, Stokkmo offered.
Levine agreed. He said that efforts to date had tended to
focus on consumers, but that targeting illegal businesses
was the better plan. Get the worst offenders, pirate sites
offline, block them, he said. There has to be an
international way to do that.
Chinese deals for Trajectory,

Attwooll
Trajectory Inc, a Marblehead, MA network that claims
more than 300 international points of distribution, has
announced partnerships with Chinese publishers
Guangxi Science &Technology Publishing House Ltd
and Anhui Science &Technology Publishing House Ltd for
the worldwide export of Chinese ebooks.The deal covers
more than 11,000 titles.
China is one of the important publishing markets in
the world and our multi-channel approach is well suited
for publishers wanting to reach a global market, said
Scott Beatty,Trajectorys Chief Content Officer. Reaching
readers simply through a handful of ebook retailers is not
sufficient. A multi-channel, multi-device approach serves
both readers and publishers in the most efficient manner.
Trajectory says that its distibution points cover 230,000
digital endpoints including every relevant ebook retailer,
library distributor, school distributor and alternative
digital sales channel.
In the UK, Attwooll Associates has concluded a raft of digital
licensing deals with Chinese publisherswho have heretofor
been averse to such arrangements. Among them are six
university presses, as well as the China Publishing Group, the
countrys largest and most influential trade and professional
group, which includes Zhonghua Book Company (classics
and academic monographs), Peoples Music Publishing
House, and Peoples Literature Publishing House.
Lerner looks to broaden distribution business

Lerner Publisher Services, a US distributor for independent
childrens book publishers, has added two new clients in
the last year, and is hoping to keep the momentum going at
the 2014 Frankfurt Book Fair. It will be joining its parent
company, Lerner Publishing Group, at the Fair, meeting
with current and prospective clients to build their sales
presence in the U.S. and Canada, according to David
Wexler, Executive V-P, sales at Lerner Publishing Group,
and General Manager at Lerner Publisher Services.
The two new clients, UKs Walter Foster Jr, publisher of
how-to-draw titles, and Big & Small, an Australian-based
childrens publisher, have signed up with Lerner for US and
Canadian distribution. They join 10 other publisher clients,
including Andersen Press, the British publisher of the bestselling
Elmer series, and New Zealand house Gecko Pressboth of
which are exhibiting at Frankfurt this year.
Lerner Publishing Group had been providing services to

small childrens book publishers since 2003, but formalised its
distribution offerings with the creation of Lerner Publisher
Services in 2011. While it has added seven clients in the last
three years, bringing the total list to 12 publishers, the group
has reinforced its commitment to remaining small and selective.
By partnering with publishers whose lists complement our
own as well as the lists of our other clients and working our
relationships in each market, weve cultivated the steady
growth of our distribution business for 10 years running, all
while keeping our list of clients relatively small, said Wexler.
For the most part, Lerner distributes to the trade, school,
library, and digital markets, and is looking for childrens
publishers whose digital and print titles work well in those
spaces. In addition to distribution, Lerner Publisher Services
offers printing, binding, and ebook conversion services.
6
News Day 2.indd 6
08/10/2014 16:10
Utilizing technology
to develop &
deliver relevant,
engaging
learning content
& assessments
Hall 4.2 | Stand C92
Dont forget to catch LearningMate on the Education Hotspot Stage!

Digital Innovation: Insights from Leading Education Publishers
10 October at 10:30 am
Education Hotspot Stage (Hall 4.2)
Join LearningMates CEO Samudra Sen in a must-see

panel featuring senior executives from Wiley, Cengage,
and Wolters Kluwer as they discuss new ideas that
are changing the course of education content and
assessments today.
Moderator:
Samudra Sen
The panel will talk about next generation authoring

workflows, content enrichment strategies, recent
advances in instructional technology, big data and
content analytics in the context of digital first product
development. Join the conversation and learn why these
themes need to be a part of your strategy to compete
and succeed in a fast changing education marketplace.
Jim Donohue
Learningmate.com
Panelists:
Paul Labay
Reid Sherline
CEO, LearningMate Solutions

VP & Director, Digital Delivery for
Global Education, John Wiley
EVP & Chief Product Officer,
Cengage Learning
VP, Publishing, Wolters Kluwer Health
Frankfurt Book Fair 2014the Hachette party
A 40th Frankfurt for Patrick Janson-Smith (right), with

Pan Macmillans Anthony Forbes Watson
The Mail on Sundays Marilyn Warnick with Profiles Andrew Franklin and
Ed Victor
Hachette boss Arnaud Nourry and Richard Kitson of Hachette UK
Blake Friedmanns Isobel Dixon with her compatriot Benjamin Trisk of

South Africas Exclusive Books
At the CONTEC conference (from left) Richard Charkin of

Bloomsbury, Georgina Atwell fromToppsta.com, Michael
Bhaskar from Prole, Jacob Larsen from Schilling
Morgan Entrekin of Grove and Michael Pietsch of HBGUS
8
News Day 2.indd 8
08/10/2014 12:51
Winner of the PROSE Award

for Biography & Autobiography
THE NEW YORK TIMES, EDITORS CHOICE:
ONE MAN
VOLUNTEERED
FOR AUSCHWITZ,
AND NOW WE HAVE
HIS STORY
Rights round up
David Ebershoff at Random House has closed what is rumoured to
be a seven-figure deal for North American rights to a debut novel by
Cameroon-born newcomer Imbolo Mbue. THE LONGINGS OF
JENDE JONGA, which US agent Susan Golomb is handling, opens in
New York City in 2007 and follows two couples: the West African
immigrant of the title and his wife, and their wealthy, white employers.
Ebershoff said the novel was written with equal amounts of
intelligence, empathy, and talent, and compared Mbue to writers
ranging from Chimamanda Adichie to Jhumpa Lahiri. Mbue, who
moved to the US in 1998 and now lives in Manhattan with her husband
and young son, has a BS from Rutgers and an MA from Columbia.
Her first published story will be appearing in a forthcoming issue of
Threepenny Review.
Max Porter, Senior Editor at Granta, has signed a deal to publish his first
novel with Faber. Hannah Griffiths at Faber has bought world rights,
direct from Porter, in GRIEF IS THE THING WITH FEATHERS (autumn
2015), the story of a father and two young boys in the days and weeks
following the death of their mother. In this moment of grief, they are
visited by Crowantagonist, trickster, healer, babysitter. Griffiths said: In
this short fiction, Max conjures the lives of his characters and shapes a
profoundly affecting story that surprises on every page.
Simon & Schuster is to publish Bob Dylans THE LYRICS: SINCE 1962
as a limited edition hardback ($200) on 28 October. S&S describes the
1,034-page book as the first comprehensive, rigorously annotated, and
definitive collection of Bob Dylans lyrics to be published. The book
arises from a collaboration between Dylan and a team of editors led by
Sir Christopher Ricks, Warren Professor of the Humanities and codirector
of the Editorial Institute at Boston University. Jonathan Karp at S&S
bought world English rights from Andrew Wylie of the Wylie Agency.
There is a signed, boxed and numbered edition priced at $5,000.
EXTRAORDINARY.
Deserves to be read
alongside the accounts of
PRIMO LEVI and ELIE WIESEL.
THE NEW REPUBLIC
Remarkable revelations.
PUBLISHERS WEEKLY
A Featured Selection of the History Book Club
A Selection of the Book-of-the-Month Club
and the Military Book Club
Distributed by National Book Network,
www.nbnbooks.com
Watch the
BOOK TRAILER
www.polww2.com/AuschwitzVolunteerTrailer
AQUILA
POLONICA
www.AquilaPolonica.com
RIGHTS SOLD: Germany, Italy, Japan, Portugal, Taiwan

IN NEGOTIATION: Mainland China
AVAILABLE: All other territories
Visit us at: NBN International, Hall 8.0, #E112
Legend Press has signed THE SQUARE, a debut novel by journalist

and broadcaster Rosie Millard. Legend has rights through Cathryn
Summerhayes at WME, and will publish in August 2015. The novel is
a comic romp featuring the bored, overprivileged and vain London
bourgeoisie. Full of controversy, gossip, affairs and drama, this book is
a hilarious summer read.
Daniel Bunyard at Michael Joseph has signed the autobiography of Sir
Tom Jones. The publisher has world rights through Mark and Donna
Woodward of Valley Music, and will publish in autumn 2015. Bunyard
said: When someone as unique and as talented as Sir Tom prepares to
share their experiences with readers it presents a very special moment
and opportunity.
Stephanie Jackson at Mitchell Beazley has won a bidding war for
MAMUSHKA (June 2015), a debut cookbook by Olia Hercules, signing
world rights from Ariella Feiner at United Agents. The book will
explore the food of the Wild East, with over 100 recipes from the
Black Sea to Baku and Kiev to Kazakhstan. Jackson said: Mamushka is
a totally unexpected and truly groundbreaking cookbookand I dont
say that lightly. With her mouth-watering recipes from Ukraine and
beyond, distinctive writing style and accessible approach, Olia will not
only banish any preconceptions you may have about the food of this
region. Jackson added that the book was already attracting strong
international interest.
In a major six-figure deal, Rosie de Courcy at Head of Zeus (HoZ)
has bought two further novels by Conservative MP Nadine Dorries,
who made her debut with The Four Streets. HoZ has world rights
through Piers Blofeld at Sheil Land Associates. The Four Streets has
sold more than 250,000 copies in ebook. It will be followed later this
autumn by Hide Her Face. De Courcy said: Nadine is one of the most
gifted natural storytellers I have ever published. I have loved working
with her and look forward to even greater things in the future.
10
News Day 2.indd 10
08/10/2014 13:00
</>
Turnaround times, quality,

and composition have
improved continuously this
year. Weve been able to
reduce the turnaround times
in the schedule, reflecting
your performance over the
past 18 months!
Hendrik Wittkopf, Global Supplier
Manager SAGE Publications Ltd
DIGITAL
BOOKS
JOURNALS
MAGAZINES
e : i n f o . p s g @ c e n v e o . c o m | p : +1.267.640.9158 | www.cenveopublisherservices.com
Canadian copyright: Unfair dealing?

People on both sides of the debate about how to balance access
to educational materials with copyright have been closely watching developments in Canada following changes to Canadian
legislation in 2012, writes Leigh Anne Williams. Publishers and
creators in Canada say the impact of those changes has hit them
hard and argue that the Canadian model should only serve as an
example for other countries of what not to do.
To say that the rest of the sophisticated and developed
world is stunned by the permissiveness of Canadas new
Fair Dealing clause is an understatement, says Jacqueline
Hushion, Executive Director of the Canadian Publishers
Council and Chair of the Canadian Copyright Institute.
She hears regularly from concerned parties abroad who
dont want the Canadian law to serve as a precedent for
changes to legislation in their countries.
Publishers and creators in Canada are frustrated that
warnings about the negative consequences of expanding
the acts Fair Dealing guidelines were not heeded before the
legislation was amended. Previously, copyrighted materials
could be freely reproduced for the purposes of criticism,
private study, research and news reporting, but the new law
added education, parody and satire to the list.
New from New York Times bestselling

author of Healing the Shame That Binds You,
Homecoming, and Creating Love
The publishing industry was most concerned about the

exemption for education. Roanie Levy, Executive Director of
Access Copyright, a Canadian non-profit that administers the
licensing of copyrighted content, explains that in educational
institutions interpretation of the law, it is fair for them to use
up to 10% of a work or a chapter of a book. And they believe
it is fair to copy a chapter, put it on a course-management
website, and share it with a class of 10 students or a class of
150 students... It would be fair to take chapters from multiple
publications, journal articles, and 10% of a book, compile it
all into a course pack, and use that as the readings for a given
class, without paying any of the rights holders.
Following the legislative change, many educational institutions decided not to renew collective licensing agreements
administrated by Access Copyright. Under those agreements,
universities pay C$26 per student and colleges pay C$10 per
student as flat fees for the reproduction of copyrighted material, and Access Copyright distributes royalties to the appropriate publishers and creators. According to Access Copyright
figures, the drop-off in licensing renewals in 2013 resulted in
a C$4.9 million decline in Access Copyrights payments to
publishers and creators last year. It lost another C$13.5 million
in 2013 because provincial education ministries also stopped
paying licensing fees for children in public schools. There are
still colleges and universities that are under licence, but many
of those licences expire at the end of 2015.
Christine Tausig Ford, Vice President of the Association of
Universities and Colleges of Canada (AUCC), says the guidelines
it issues to its members are in keeping with the two rulings from
the Supreme Court of Canada, in 2004 and 2012, which were
intended to balance the rights of users with the interests of copyright owners, but which broadened the scope of fair dealing. She
believes the guidelines were carefully thought out and are fair.
Greg Nordal, CEO of Nelson Education, said the changes
have already taken a toll. He points to Oxford University
Presss closure of its school division as a bit of a canary in the
coal mine. John Degen, Executive Director of the Writers
Union of Canada, says an informal survey of the unions 2,000
members revealed that many depend on royalty revenues as an
important part of their income.
Rudy Wiebe, an award-winning author, offers the example
of lost revenues from one popular short story that provided a
standard fee for a textbook of C$1,400. In 2010, the publisher
permission requests suddenly stopped, though Wiebe says he is
sure the story is still being used. That the education system in
Canada would refuse to pay Rudy Wiebe for his service to our
culture is a national embarrassment, says Degen.
Rick Wilks, Director of Annick Press, made a presentation to
the Copyright Board on the impact of the loss of collective
licensing in the school sector. Its really hurting us, and its
really hurting creators, and its hurting Canadian content, he
says. There will be fewer books because of this, fewer voices,
and authors wont be able to afford to write.
12
Leigh Anne Williams - Canada 2
05/10/2014 19:00
Think human. Think reader

Chris Kubica suggests how we might create the worlds best e-bookstore, one to
outcompete Amazonin eight easy steps
In August 2014, I presided over a meeting of some of the
brightest minds in the ebook business, rounded up from the
Read20 listserv, to address the following proposition: If we
had no budget or other constraints, what would the perfect
e-bookstore look like? Over two days, we filled several
whiteboards with ideas. Since then, Ive worked every day to
turn that vision (hashtag #altbookstore) into reality.
I wrote about the experience in Publishers Weekly, and
have continued to develop the idea since then. I hope to one
day cut the e-ribbon on the earths best e-bookstore, but,
more than that, I long to see the growing social web combine with the love of reading in ways that we have not yet
achieved. From my perspective, the book business has so
far been too content to put the future of reading in the
hands of otherslike Amazon. Id like to change that. Id
like to outcompete Amazon. And, Id like your help.
If there is one thing weve learned in the internet age it is that
nothing lasts forever. Just look at the landscape: Borders is
gone, Barnes & Noble is reducing space for books in its stores
to make way for more toys. Who knows what will happen to
Nook? Amazons Fire Phone is a flop, and its stock is down
20% this year. Apple is more post-Jobs than ever: yeah, theres
a new watch, but nothing new in store for i-books.
The guts of my vision are here, outlined as the eight
principles that are guiding me. Whats yours?
1. Think like a non-profit

Many of you will scoff at this. How can authors, editors,
agents survive without making a profit? But if we focus on
reading, first and always, profit will follow. The thousands
of oral storytellers represented by the composite Homer
didnt do it for profit. They used their imaginations to
explain their world. Only later did we invent the economics
that would commoditise culture into things like books.
Obviously, the world has changed. But so far, the online
reading experience is focused more on commerce than the
reading experience. The perfect e-bookstore experience
would strip out all unnecessary clicks, walls and distractions, and put the reading experience front-and-centre.
2. Foster communities
There have been limited, small-scale efforts over the years
to create reader-writer communities onlineFictionaut,
Book Country and Red Lemonade to name a few. But I
dream of an e-bookstore where the connections between
readers, writers and publishers are open, transparent and
direct: where writers can speak directly to readers; where
readers have absolute control over the information they
share with others; where the feedback loop is immediate;
where publishers and authors can maintain their own
communities and email lists; and where everyone thats

part of a book can engage with others as little or as much
as theyd like to, with no one throttling or filtering them. In
the spirit of industry-upheaving companies such as Uber,
AirBnB and Square, democratisation is keymaybe we can
make the perfect e-bookstore by empowering readers to
become bookstores?
3. Embrace the human

Companies like Netflix and Amazon have boiled movie and
book recommendations down to a science. But humans
read books. Humans write books. And books and readers
are connected to one another in ways algorithms will never
understand fully. To me, in this age of the online sharing
and the social web, taking the humanity out of book
discovery is silly. The perfect e-bookstore would enable
readers, as well as authors, librarians, whomever, to
recommend books directly to readers, whether a big
bestseller, or a self-published gem. How can we encourage
readers to create reading rivers where they lay out the
inexplicable ways in which one book led them to the next?
4. Offer every option

In todays world, you can buy a book at one site (though
of course you are only really licensing it); you can rent
books on another site; and lend books at another (but only
if you follow certain cumbersome, confusing rules). You
can listen to a book over here, but only in this app. Or, you
can read unlimited books over there, except in the many
ways that you are limited. The perfect e-bookstore would
offer all options in one place. It would offer free books;
books you can buy outright (books you can really own,
lend or resell); all-you-can-read plans; library checkouts;
and audiobooks. The perfect e-bookstore would never
allow the question: Can I have this book or not? to form
in the readers head. Rather, it would always present them
with the choice: How would I like to enjoy this book?
CONTINUES ON PAGE 16
14
Chris Kubica - Amazon.indd 2
05/10/2014 18:48

CONTINUED FROM PAGE 14
5. Demand openness
By now its obviousDRM doesnt prevent people from pirating
ebooks. What DRM does do is limit what your legitimate
customers can do with the books theyve paid for, and lock
customers into vendor platforms. The perfect e-bookstore would
strive for openness. It would embrace open standards that might
stand the test of time or at least be easily converted to the next,
greater ebook format. The perfect e-bookstore would never ask
readers to convert, download or sideload their books. Reading
should be effortless from one device or app or site to another, as
opposed to the current market of incompatible, proprietary
platforms. The reader should be able to buy a book in any place
they choose, and have it always available, anyplace, on any device.
6. Free data
Amazon will always be a data-driven business. Data is their most
important and valuable asset, and its competitive edgeAmazon
will thus never free its data. But you can, and should. The perfect
e-bookstore would find a way to protect reader privacy, but
would also let everyone see who is reading what (anonymised,
of course), and offer real, objective, precise sales numbers and
ranks. Let publishers and authors know everything they can
about readers. Let anyone have access to the data on what we
read, how we read, what we find engaging, popular, or of high
quality. Not only would this help blunt the data-driven advantage
of companies like Amazon, it would expand the ability to mine
data, and help us discover profound new things about ourselves.
Discussion Panels
Translation Trends Around the World- What is
selling well in translation by geographic region.
Speakers: Seth J Russo/ Amir Muhammed/ Pierre
Astier/ Jasmina Yrissati, Raya Agency/ Chaired by
Nadia Wassef, Diwan Bookshop, Egypt
Seminar Two Digital Seminar- New business
models including ebooks, subscription services,
mobile
Speakers: Lisa Gallagher/ Nathan Hull/ Antonio
Tomboloni/ Ashraf Maklad
Seminar Three The Impact of Prizes and Festivals
on Translated Works
Speakers: Monsieur Farouk Mardam-Bey/ Michel
Moushabeck/ Daniel Hahn/ Chaired by: Susie Nicklin,
Marsh Agency
7. Reinvent reading
Its 2015 but, for the most part, all we have is set-in-stone,
solid-object ebooks that basically mimic their analogue
counterparts. I am astounded. Where are the never-ending
cookbooks? Where are Massively Multi-Author Online
Novels (MMAONs)? Where are digital car manuals with
built-in recall alerts and tips from mechanics, and the collective
wisdom and maker-hacks of thousands of owners? Where is
a library book that can be checked out by dozens of patrons
at the same time? Sure, there have been experiments, but we
need more, always. Everyday. The perfect e-bookstore would
encourage readers and authors to always be looking toward
the next generation of reading, whatever form that might take.
8. An elegant API
With all the above in place, well need to build the interfaces
necessary to share the reading experiencethe content,
annotations, reader/writer/publisher interactions, metadata,
or the web of relationships among all of the abovewith the
world. What programming wizardry can bring this to life
and, what might that clever coding mojo add? Surely, we
havent thought of everything in our perfect e-bookstore.
When it comes to e-reading, lets think human; lets think
reader. Wanna? Tweet your ideas to #altbookstore.
Chris Kubica is editor of Letters to JD Salinger and Associate Producer of

Salinger, the Weinstein Company feature-length documentary film. He is
co-founder of the Book2 unconference in New York and the Read Ahead
unconference, which premiered in London last year.
16
Chris Kubica - Amazon.indd 4
05/10/2014 18:49
Where Will You

Get Your Next
Million Customers?
Wireless providers made $32 billion on global
mobile goods in 2014.
How much of that was your eBooks: 0%.
How will you change that? We do that.
We Get You There.

Page Foundry is a specialized distribution solutions provider that
connects publishers with leading brands like wireless providers and
their consumers. Become a publisher marketing partner on our
platform and see how we can make their customers your customers.
REACH | INSIGHT | EMPOWERMENT
www. pagefoundry.com
Stop by our booth to receive a free 60 day trial subscription.Visit Booth Halle 8 M130
International impossibilities
Lenny Picker looks at the popularity of impossible crime stories in some parts of
the world, and at how these are being translated to be enjoyed by wider audiences
A woman stands at a window calling for help, but when the
police break down her locked door, they find only her and
her dead husband inside. Another body suddenly appears
in a room, which has just been searched, and a fourth is
discovered inside a house with all its doors bolted and
windows barred. A fifth person dies in a building
guarded on all sides by police. Each time the
fiendish killer vanishes without a trace.
Who could resist that premise for a novel? Its the
kind of tantalizing, impossible crime plot one might
mistake for the work the Anglo-American masters
from the Golden Age of Detective Fiction: John
Dickson Carr, Clayton Rawson, Hake Talbot or
Ellery Queen. But it is from Six Crimes sans Assassin
(1935), by French writer Pierre Boileau, who is best
known as one of the authors of Dentre les Morts, the
inspiration for Alfred Hitchcocks Vertigo.
In fact, such crime puzzle fiction from Europe and
Asia is experiencing a rebirth, as new readers discover
that writers outside the US and England have devised

plots every bit as ingeniously fiendish as their betterknown counterparts.
John Pugmire, founder of specialty publishing imprint
Locked Room International (LRI), cites Boileaus literary
forebearsAlexandre Dumas and Henry Cauvinas
seminal. Cauvins Maximilien Heller may even have
been the prototype for Sherlock Holmes, he saysa
misanthropic, drug-taking private detective,
conversant with chemical science and forensic
practices, and a master of disguise, whose cases
were chronicled by his friend and confidante, a
doctor. The Killing Needle, (featuring Heller and
first published in 1871) was published for the first
time in English in May by LRI.
As Locked Room Internationals name indicates,
Pugmire is devoted to bringing authors whose books were
not written in English to a wider audience. Founded in
2010, the publisher launched with the first English
KX`g\`@ek\ieXk`feXc9ffb<o_`Y`k`fe
>l\jkf]?fefiE\nQ\XcXe[
Meeting with Asian Publishers
11 16
February 2015
18
Registration Deadline: 31 October 2014
Lenny Picker - Crime.indd 2
For Further Information: www.tibe.org.tw
05/10/2014 18:57
translation of The Lord of Misrule by Paul Halter, a

French writer widely regarded as the contemporary heir
to the legendary John Dickson Carr. Since then, Pugmire
has translated seven more Halter novels, including The
Crimson Fog, named a Best Mystery of 2013 by
Publishers Weekly. He also published the first English
translation of Jean-Paul Toroks captivating The
Riddle of Monte Verita in 2012.
In 2015 LRI will publish its first Swedish lockedroom mystery, Hard Cheese by Ulf Durling,
originally published in 1971. And Pugmire says he
is looking to expand LRI to include Japanese,
Chinese and Taiwanese authors as well.
While the English Golden Age of detection
ended generations ago, the Japanese equivalent
known as Honkakuis in its prime. Many
consider the Japanese to be the most fervent writers and
consumers of impossible crime stories today, even though
Japans tradition only started in the 1940s with Edogawa
Rampos The D-slope Murder Case (1945) and the stellar
The Tattoo Murder Case by Akimitsu Takagi (1948),
which was eventually published in English by Soho Press
in 1998.
Published in the early 1980s, Soji Shimadas tour-de-force,

The Tokyo Zodiac Murders, is widely considered the book
that kicked off Honkakunow a popular genre that extends
to young adults, who enjoy locked-room murders in manga
form, and whose popularity is manifested in the large
number of television dramas devoted to impossible crimes.
Taiwan is another source of brilliant crimewriting waiting to be tapped for the English
market. The 2006 classic Taiwanese impossible
crime novel, Death in the House of Rain, by Lin
Sih-Yan, is still awaiting translation into English,
and features yet another irresistible storyline: a
detective joins a weekend gathering in a strangelybuilt house, and a series of impossible murders
occur as a storm approaches.
As Otto Penzler observes in his erudite introduction
to The Black Lizard Big Book of Locked Room
Mysteries (Vintage Books, October 2014): The locked
room mystery, or impossible crime story, is the ultimate
manifestation of the cerebral detective story. And, clearly,
there a host of talented writers around the globemany
never before available in Englishjust waiting to surprise
and engage readers.
Transcript is an international grant

competition launched in 2009 by
the Mikhail Prokhorov Fund, a private
charitable foundation, to promote
contemporary Russian literature and
thought throughout the world.
We provide translation support for:

Russian non-fiction (history,
philosophy, political, social and
cultural studies, sociology, anthropology,
interdisciplinary studies, etc.);
Russian fiction (prose, poetry
and drama, including childrens
literature).
We offer:
Full or partial payment of the rights;
Full or partial financing of translation
costs;
Partial support of printing costs

for non-fiction books.
For your information:

The Transcript program supports
the translation from Russian into any
foreign language;
Applications are accepted year round
and decision is made four times a year
(January 31, April 30, July 31,
and October 31);
Publishers may apply for a grant
before they have signed a contract
with the rights holder.
www.prokhorovfund.com
19
Lenny Picker - Crime.indd 3
05/10/2014 20:24
Fethullah Glen
at Islams crossroads
the path of dignity and peace
I link, therefore I am
or politicization and viol

ence
magazines 100 most

Time
"'`.'-"%)()%%",->6457
Grand Prize
Manhae(+>6457
Institute Peace
EastWest
@."%"' A0+>6455
The Worlds Top Public
'-%%-.%HE(+" '(%"2
+(,)->644<
On a global scale, Islam is the greatest victim of political

abuse and armed violence. Fethullah Glen aspires to
put everything back on track: religion cannot be a tool for
violence; a believer cannot abuse power to take advantage
of the public. His call is to virtue, noble ideals, a respect
for human dignity, and inter-cultural dialogue. And this
&$,!"&I('-+(/+,"%_ .+H2 -! .%)+"-,> ' '
author worth reading
Visit us at 8.0 E70

Fethullah Glens books are available through
NBN (US & Canada), Gazelle (UK & Europe)
In the brave new digital world

(or even the slightly paranoid,
foxed-around-the-edges, callthe-IT-helpdesk landscape that
most of us actually inhabit), the
simple act of linking from A to B
is fundamental, writes Duncan
Calow. Consider how many
times a day you now click, press
or swipe a link. In part, the link
is our GPS sat-nav on what was
Duncan Calow
once called the information
superhighway. Weve largely dropped the embarrassing hyper
prefixtoo Sixties sci-fi, too much a reminder of internet 1.0but
the power of linking goes beyond simple navigation. If content
is king and data is the new oil in the digital economy, then
links are a combination of the Earl of Warwick and JR Ewing.
No prizes for guessing then that, right from those early days
online, many have sought to exploit and monetise linking, and
asked their lawyers to try and control it. I learnt my own digital
contractual trade drafting linking agreements with the rise of the
Portal (just after the CD-Rom market came and went, and before
the dot-com boom and bust). Portal websites, often linked to
dial-up internet access providers, grew up out of the proprietary
services that had predated the web and offered a user-friendly
online starting point. Other sites would agree to link to the Portals,
share content and perhaps agree specific promotional and commercial activity. These often short-term arrangements were set out
in contracts that had to be easy-to-use and flexible, allowing them
to be negotiated and agreed quickly. The need to sign up a regular
stream of deals sometimes obscured the underlying dynamics: was
the Portal promoting the link or the link supporting the Portal?
The rise of the search engine, and the rapid development of a
more sophisticated internet audience, largely brought an end to
the Portal concept. But linking, and the power dynamics behind
it, remain at the heart of search and the forms of online
advertising that fund it. And the dominant social networks,
virtual worlds, user-generated content sites and major
e-commerce platforms also need linking arrangements in various
forms. Indeed the value, and potential liability, in directing users
from one online destination to another is greater than ever.
Despite this, it remains a matter of debate in many countries
as to how far A can take legal action against B if A objects to
Bs linking without As consent. Cases around the world have
featured such disputes and courts have heard a range of legal
arguments from claims in copyright, trade mark and database
rights to unfair competition law, trespass and breach of contract.
The outcome of these has varied. Much has depended on the
context of the link and the particular circumstances of the
parties (and yes, I know lawyers always say that). In most of
the cases, additional content usage has been involved: such as
the copying of titles and headlines within a link, the creation of an
20 www.tughrabooks.com
Duncan Calow - Links.indd 2
05/10/2014 20:52
Global economic
knowledge
at your finger tips.
Subscribe to the IMF eLibrary
More than 14,000 IMF publications
Easy browsing and full-text searching tools
Curated country and topic sites
Citation and sharing tools
A variety of reading formats for
PC and mobile devices
Visit us in Frankfurt in Hall 8, Stand N1
elibrary.imf.org
Visit us in Frankfurt in Hall 8, Stand N1
Innovative Content Management

Solutions for Publishers
Offshore and Onshore Project

Management
Content Creation & Development
Editorial Services
Content, Software and Product
Testing
Content Conversion, Transformation
and Fulllment
Come nd us in Hall 8.0 L132 - we can help
transform your business processes.
See the Rule14 presentation in the Digital Hot
Spot stage, Hall 8.0 on Thursday at 1.00pm
Results that Exceed Expectations
www.rule14.com
www.ecm.sourcehov.com
abstract or summary of the content from the linked site and other
forms of re-use or so-called content scraping. A significant body
of law has developed around this including establishing in the EU
this year that the act of browsing website content, i.e. where the
user does not retain a permanent copy of its content, should be
treated as falling with a copyright exception for temporary use and
not requiring specific rights-owner consent. It was also not until
this year, however, that a similar EU ruling appeared on the status
of linking itself. It would be nice to call it a definitive judgment, but
there are still some unanswered questions (we always say that too).
The European Court of Justice ruled that the act of including a
link in website A to website B is a communication to the public,
which is a restricted act under EU copyright law. Therefore linking
can potentially infringe the copyright in the content of website
Beven if it is a simple link and none of the content is replicated
on website A. To actually be an infringement, however, the
Court said that there must be communication to a new public
and not the same audience that the owner of the content on
website B had already contemplated. So a publisher who agreed
to make its content freely accessible on the pages of website B
will be treated as having authorised a very wide public of all
internet users. In that case, website As links to the content will
not involve a new public and will not infringe (at least under
copyright) even if they are deep-linked, framed or embedded,
such that the content appears to be within website A.
The Court highlighted that a link circumventing a publishers
pay-wall or technical restriction on access would involve a
communication to a new public not contemplated by the content
owner and would infringe. Beyond that, though, it did not clarify
what else might prevent a website being considered freely
accessible. So the status of something that falls short of payment
or DRMsuch as a registration requirement or standard
contractual limitations set out in website T&Csremains unclear.
What this decision also doesnt touch on is if A can take legal
action against B if A objects to Bs linking to material on Cs
website: whether because the material infringes As copyright or
is defamatory of Aand regardless of whether A can also take
action against C direct. So far, courts have generally avoided
holding that B can never be liable in such circumstances.
Certainly, UK defamation courts have been reluctant to rule that
linked content can never be taken into account in the way that a
Canadian court has: the latter seeing links as footnotes, the former
seeing them as more central to a publication. Publishers own content may be judged differently from hosted material, with many
jurisdictions, including the EU and US, offering specific statutory
defences for intermediaries and new defamation law in the UK has
increased protection for user-generated content. So there is still
room for argument over the legal status of the link with its unique
role as broker, promoter and gatekeepera status and role that
may be complicated further when machines are doing the thinking
and linking in an Internet of Things. Which should prove as a
warning that, as with privacy or fair use/dealing or many other
online topics, ubiquity and simplicity are no guarantee of legal
certainty. And if lawyers dont always say that, they should.
Duncan Calow is a partner at DLA Piper UK.
22
Duncan Calow - Links.indd 4
05/10/2014 18:47
Thorsons: Making life better

Its shaping up to be an exciting year ahead at
HarperCollins as we move forward with the
relaunch of the prestigious Thorsons imprint
in January, writes Carolyn Thorne. Focusing
on its established reputation as market leader
in all matters of self-help and personal development, the relaunch will encompass a new
brand identity across the three main strands of the list: Thorsons Classics, Thorsons New Talent, Thorsons Key Brands.
Thorsons was launched in 1930 by Leonard Woodford when,
with Oliver Newman, they planned to publish a range of popular
instructional books on such subjects as psychology, self-improvement and unconventional medicine. The company went from
strength to strength as the interest in these subjects grew and the
self-help category is still a global leader in publishing today. The
imprint quickly established itself as a trusted and reliable source
of advice and it still embodies the core values of authority,
expertise and accessibility and holds an enviable backlist of
bestselling authors. We are celebrating 85 years of publishing
with the unveiling of a new Thorsons logo and a new imprint.
Thorsons Classics launches in January. The first eight titles
have all seen considerable commercial success, selling more
A Leader in LGBT Fiction

No LGBTQ Collection? No Problem.
Riptide Publishing is a boutique publisher of some of the
finest LGBTQ fiction available in print and ebook. From
high fantasy to romance to upmarket historicals, Riptides
offerings would be at home not just on your LGBTQ shelves,
but also on your genre and popular fiction shelves. Let our
sales and marketing team assist you with all aspects of
collection development and promotion.
[O]ne of the most prominent digital
publishers of LGBT fiction.
RT Book Reviews
For wholesale ordering info, please visit: wholesale.riptidepublishing.com.

Subsidiary Rights: Ethan Ellenberg, ethan@ethanellenberg.com
Sales: Rachel Haimowitz, rachel@riptidepublishing.com
Marketing: Andrea LeClair, andrea.leclair@riptidepublishing.com
than 100,000 copies each, and several of these

titles were published more than 20 years ago
and are reflective of the popularity and longevity of the Thorsons backlist. The launch
includes Raising Boys by parenting expert
Steve Biddulph, the groundbreaking relationship
guide from John Gray Men Are from Mars,
Women Are from Venus, holistic health expert Ian Gawlers
You Can Conquer Cancer, The One-Minute Manager from
business guru Ken Blanchard and an updated edition of the
much-loved Jonathan Livingston Seagull. Adding to the lineup is Paolo Coehlos The Pilgrimage (precursor to The Alchemist), the Dalai Lamas Book of Wisdom and Iyengars Yoga
classic. The breadth of the launch list is representative of the
key subject areas in which we will be looking for new talent.
To complement our Classics series, we have some exciting
new releases under the Thorsons imprint which reflect the
range of subjects within the brand. In January, building on
our successful health and well-being strand, we have a fresh
and exciting new voice in the nutrition arena with Amelia
Freers first book Eat. Nourish. Glow. No fad diet, just 10
principles to help with wellness and weight loss, and recipes
that are easy to make.
The new year also sees the release of Dr William Davis
Wheat Belly Plan (and Wheat Belly Cookbook), a programme
that explains how to eliminate wheat from your diet for weight
loss and better health. With a million copies sold internationally, we will be introducing this franchise to the UK.
Best of new science

We have our new pop-psychology releases, which represent the
best of the new science coming out of the US. Hot off the
acquisitions list is Amy Morins 13 Things Mentally Strong
People Dont Do, based on her phenomenally successful internet article of the same name. Coming in on the business front,
we have a new book from internationally bestselling author
Jack Welch called The Real Life MBA, which is an up-to-date
take on his title Winning.
Our brand extension plans with key authors move along
apace with a complete repackage of the JuiceMaster Jason
Vales bestselling titles (900,000 copies sold), and an eagerly
awaited new title for next year.
All of this will be supported by a digitally led marketing communications strategy targeting core communities, and by events
and PR with key brand and media partners throughout the
year. Kicking off with a big launch in January, our aim is to
build new names in the field as well as celebrate our backlist
successes. With my background in publishing in these fields,
most recently at Hay House, I am thrilled to be at Thorsons at
this key time, with the opportunity to attract new authors and
agents to publish the very best in new content.
Carolyn Thorne is Editorial Director at Thorsons.
24
Carolyn Thorne - Thorsons 2
05/10/2014 18:50
Nordic Noir? Try Finnish Weird

This Christmas everyone will believe in Santa Claus. Thats
the tagline for Rare Exports, a film that Finnish author
Johanna Sinisalo saw in 2010, writes Lenny Picker. Despite a
hook that could have come straight out of Hollywood, Rare
Exports couldnt be less Miracle on 34th Streetthe story
features reindeer herders who happen upon the largest burial
mound in the world, a discovery that leads to some unsettling
violence, and the disappearance both of children and
supplies, an experience Sinisalo says led her to coin
the classification Finnish Weird to describe a
growing literary movement in her native country.
Finnish Weird is not a genre, but an umbrella term
under which all the Finnish writers who experiment
with the non-realistic genres can be collected, Sinisalo
explains. Finnish Weird books really cannot be classified
as fantasy, or sci-fi, horror, or the surreal. Most of
Finnish Weird has a strong connection to realismjust an
unreal twist or two. So, it was handy to come up with a term
that would not force the works into any a tight pigeonhole.
Sinisalo is regarded as one of the pre-eminent members of the
Finnish Weird community. In Troll: A Love Story, a young Finnish
photographer makes a pet of an orphaned troll in a strange, sexually charged contemporary folk tale. Publishers Weekly described
the ferocious ending as thoroughly unsettling. And the book

won Finlands most prestigious literary award, the Finlandia Prize.
Desirina Boskovich edited It Came From the North, an
anthology of Finnish fiction with contributions from Leena
Likitaloa finalist in the Writers of the Future contestand Marko
Hautala. Among Finnish writers, Boskovich believes that Sinisalo
may be best-positioned for a breakthrough in the US. Her Finlandia
win was a big shake-up for the literary community, she
says, as it was unusual for a novel with such overt
fantastic elements to win such a highly regarded prize.
Boskovich prefers Sinisalos 2011 book Birdbrain,
about a somewhat mismatched couple as they hike in the
wilderness of Tasmania and New Zealand, increasingly
alienated from both civilisation and each other, and kept
company only by an inscrutable and possibly sinister
species of bird. Its a carefully crafted fever dream,
she says, a slow-motion descent into the wildness inside of
everything, and its brilliant. This October, a third Sinisalo
book, The Blood of Angels, will be published by Peter Owen.
Her latest novel, The Core of the Sun, is an alternate
history in which Finland is the North Korea of Europe. As
Sinosla characterises it, a totalitarian society that claims
to concentrate on the health of citizens, but which, in practice,
NEW HOLLAND PUBLISHERS

London Sydney Auckland
Vi s i t u s a t o u r s t a n d a t F r a n k f u r t H a l l 8 S t a n d A 3 0
P u b l i s h i n g N o n - F i c t i o n f o r t h e Wo r l d
26
Lenny Picker - Finland 2
05/10/2014 18:55
means that almost everything is forbidden.

For example, the protagonists deal in illegal
chilli peppers. An imaginary future Finland is
also featured in one of the other major Finnish
works available in English, Emmi Itrantas
Memory of Water. Itranta chose her native
country for two reasons: I needed a place that might credibly
have freshwater resources left in a drought-stricken world, but
also because I had just moved to the UK and felt homesick.
While international trends do, inevitably, bleed into Finnish
literature, Itranta says: Finns seem to produce their own
original take on these trends, drawing from Finnish mythology
and informed by Finlands position as a small, eccentric country
and culture squeezed between larger, more powerful countries.
For more grimness, Antti Tuomainens novel The Healer
features the ravages climate change has wrought on Helsinki.
This month, Pushkin Press will release The Rabbit Back
Literature Society, by Pasi Ilmari Jskelinen (which was a
Waterstones Book of the Month), in which an elite group of
writers known as The Society, participate in an unusual ritual.
And Jskelinens novella Those Were the Days, features a
world in which people live seven alternate lives simultaneously.
Finlands Leena Krohn was a World Fantasy Award nominee
for Tainaron: Mail from Another City, and Cheeky Frawg is

coming out with a 900-page omnibus in 2015 that will include
all of Krohns short novels. For even more offbeat work, its hard
to top Jyrki Vainonens The Explorer & Other Stories. And fans of
more traditional science fiction can check out Hannu Rajaniemis
trilogy about a legendary thief imprisoned in a virtual prison. The
final volume, The Causal Angel, was published by Tor in July.
Boskovich believes that Finnish Weird differs from such fiction from other countries because its contributors have a tendency
to look to the wilderness as inspiration. Despite humanitys
efforts, there are still pockets of wilderness throughout the world.
Places where nature remains impenetrable and untamed. Finland
heavily forested, sparsely populated, and situated in the cold, dark
north where winters are truly long and fierceis one of these places.
And I think a lot of Finnish writers draw on this.
Unsurprisingly, Sinisalo perhaps summarises the
Finnish Weird literary movement best: The genre
isnt the point of writing, its merely one of the writers many tools, she notes. I would be more than
happy for my works to be categorised as Finnish
Weirdthe name doesnt conjure up prejudices
or old ideas, but promises the reader that when
they open the book, anything could happen.
27
Lenny Picker - Finland 3
05/10/2014 18:56
Content, community and commerce

Ten years ago I was working on publishing
sector-related projects for a technology plc that
provided website hosting services for Magicalia,
at the time the UKs leading broad-based
consumer magazine and online communitybased publisher, writes Michael Collins. Founded
in 1999 as a digital-only publisher, by the time
it was acquired by Exponent Private Equity for
13 million in 2006, it had evolved into a highly
sought-after online content creating, community
development and e-commerce business.
Michael Collins
I wondered what elements of Magicalias
business model could be successfully emulated by trade and
academic publishers, in a world where, we are told,
purchasing behaviour is increasingly promiscuous and
customer loyalty is often a matter of short-term convenience.
Last year a survey by Bowker Market Research, commissioned
by Publishing Technology, revealed that some two thirds of the
publishers surveyed already hosted online communities, with
many predicting they would be investing more time and effort
in this over the next two years. The survey findings included:
84% of publishers felt their spending on online
communities would increase in the next two years with
only 14% envisaging expenditure remaining stagnant
73% felt that online communities helped or would help
them to engage better with their audiences
64% of publishers with online communities were convinced
that their investment in this market was already paying off,
and a further 24% believed it would do so in the short-term
72% of trade publishers said they helped or would help to
increase direct relationships with customers, and 45% claimed they
did or would provide good marketing support to sales channels
Time and commitment

Growing and sustaining an active online community takes time,
resource commitment and specialist community management
skill and experience. Facilitating engagement with community
members that translates into meaningful outcomes for the hosting
organisation is a challenging aspiration. The processes, skills and
technology applications required will be different depending on
whether this engagement is in the form of a sector or subject
focus; research; knowledge or best practice sharing; discussion;
and/ or recommendation. Deriving useful business information
from this activity, will require quite different types of analysis
and analytics, depending on the type of engagement involved.
Engaging with their potential communities of interest will
take many publishing organisations outside their comfort zones,
and require new investment and skills to be brought into their
businesses. How many publishers already have a dedicated
Community Manager or community management team? How
many have invested in training from specialists such as FeverBee,
whose Virtual Community Summit this year was attended by
many dozens of Community Managers from a range of sectors?
Amongst Magicalias successors we should

probably count social commerce businesses
such as MyTime Media and media companies
like F+W Media, which has been assiduously
implementing a community verticals-centric
business model for the last few years, including,
via the Digital Book World brand, with publishing
professionals in its own vertical. How would
your business qualify here?
Publishers should be learning from other
sectorsfrom the best online retailers, of course,
for e-commerce best practice, and from those
membership organisations, professional associations and charities,
who have been growing member networks and communities as a
natural extension to their core service offerings, sustaining loyalty,
with clear content, participation and commitment strategies.
My i-Publishing colleague and bridge builder Steve Bridger
gave a presentation (available on Slideshare) earlier this year
reflecting on 10 years of consultancy work developing, nurturing
and renewing the Chartered Institute of Personnel and Developments online communities. The insights of people like him should
be invaluable for publishers who are experimenting in this area.
Cautionary tales
At i-Publishing we also have cautionary tales to share of
online community projects too hastily conceived, with unclear
propositions, ill-defined parameters, inadequately resourced
by inappropriately skilled staff and with exaggerated or
transparently maladroit commercial aspirations.
On the technology front, many successful community
platforms, both private and public, are little more than
enhanced forums. Others have more sophisticated features,
including, for example, incentivisation and rewards to drive
user activity, and, where the objective is to facilitate community
engagement and a direct-to-consumer sales channel, a
competitively discoverable and usable e-commerce facility.
Technologyfeatures, usability, analytics etcmatters, of
course, but the more challenging business questions are:
How serious are you? Is community engagement a strategic
business investment with key business decision makers involved,
or is it just a tactical bolt-on to your existing marketing activity?
How well prepared are you? Have you developed a practical
action plan that covers the different processes in a typical
community lifecycle, or is this something you feel we just
need to have a go at?
Are your business goals realistic? Have you considered the
limitations as well as the opportunities implicit in your
community engagement aspirations?
And, finally, are you in for the long-term? What timescale
have you applied to the process of transforming your
business from being product to community-centric?
Michael Collins is Director of i-Publishing Consultants Ltd

(michael@i-publishingconsultants.com).
28
Michael Collins - Community Engagement 2
05/10/2014 18:24
MID P O I NT AT F RA N K F U R T B O O K FA IR
WE BELIEVE
SUCCESS
I S A TEAM SPORT.
A coordinated team effor t is what you need to
get the job done right. Midpoint Trade Books
provides you with comprehensive planning
and feedback on your titles. And with a simple
web por tal, access to fast and accurate data
on inventor y, sales, and shipments is just a
few clicks away.
WE GET IN VO LVED
M I D P O I N T T R AD E B O O K S
POWERED BY
3 PL
C onta ct Er ic Ka mpma nn a t
e r i c @ mi d p o i n t t rad e.co m 212.727.0190
www.mi d p o i n t t rad e.co m
PW_AD_Sep24.indd 2
9/25/14 5:02 PM
The price of change

The increase in sales of books and ebooks online is leading to a decline in the
number of bookshops the world over. Peter Newsom laments this loss
A conversation in the last week with a
leading European wholesaler rather summed
up a lot of what recent changes in our
industry have led to. This person is a trained
bookseller and is passionate about books,
but spends most of his time with
spreadsheets analysing data. Why not go
back into bookselling then? Well, we all
know the answer to that. Bookshops are in
decline the world over, whether in Delhi or
Singapore or Warsaw, all symptoms of the
Peter Newsom
drift to online sales of either physical or,
increasingly, ebooks.
The effects of this have been very keenly felt in the
Australian and New Zealand markets, where the local
reader can select a book from a UK internet seller and
have it shipped in very quickly for less than it costs to pick
it up from the local bookshop, and this has become an
increasing issue in the South African market. The increase
Books from Japan
www.booksfromjapan.jp
The only website to go to
for detailed information in English
on Japanese books and publishing trends
Japanese Literature Publishing and Promotion Center
in sales of English books through Amazon in

Germany and France has also been dramatic
and that is changing the visibility of Englishlanguage titles in retail outlets in those
countries. No doubt many of those internet
sales have come about because a publisher
has enthused a distributor who has enthused
a bookseller, each of whom has invested time
and money in making those items visible in
the market. What happens when that
visibility disappears?
This is a big concern in India, where local
internet sellers such as market leader, Flipkart, have
dominated the same transition. The major publishing
groups have all invested heavily in the market and it is
gratifying to see the rise of local publishing and local
authors like Chetan Bhagat, Amish Tripathi, Ashwin Sanghi
and Ravinder Singh, who are each selling more than
200,000 copies, but sales of other new titles and backlist,
which dont have the same investment in public profile, are
suffering badly.
It was not so long ago that the perceived wisdom was
that the market would see a rapid expansion of Bordersstyle superstores across the country and that this would see
an expansion of choice both in-store and in locations
outside the major cities, and there were any number of
players in that game: Crossword was one of the first, but
now mostly sells remainders; Landmark has closed many of
its main stores and has halved the amount of space given to
books; Reliance has closed down completely. Economics
has obviously played a partwas it ever going to be a
realistic or even wise investment on items with such a
relative low value?
Additional competition on price from internet sellers was
only ever going to bring one winner and maybe we dont
mourn the demise of soul-less superstores. However, in the
process, passionate booksellers like Teksons in Delhi are lost,
a pattern repeated across the world, a sad but inevitable part
of the changes sweeping through our industry.
For people like myself who have been in the international
side of the publishing industry over many years, we have
mostly learnt to adapt. From telex to fax to email, the tools
of communication have enhanced our abilities to get our
message out into the world. But are we now in danger of
losingas we increasingly spend our time filling in
spreadsheets for the data hungry online worldthe very
thing that has made our industry so enjoyable to work in,
our passion?
Peter Newsom is an International Sales Consultant.
30
Peter Newsom - India 2
05/10/2014 18:54
YA Trasmedia Fiction has Arrived
French Rights: ditions AdA,mylene.archambault@ada-inc.com, at Frankfurt: Livres Book Canada, Hall 8, Stand K92
Eastern Europe, Greece: Milena Kaplarevic, Prava I Prevodi, milena@pravaiprevodi.org, Frankfurt: Hall 6 IRC Tables, 1 and 2
English Speaking and ROW: Lisa Hryniewicz, Koko Media, lisa@koko-media.com; Tel +4478 1140 6366
www.theredharlequin.com
Paddington goes to the pictures

Fifty-eight years ago a man
His first book did so well
called Michael Bond bought a
that Bond continued to write
small bear, writes Karen Jankel.
about his bear from Darkest
He named the bear Paddington
Peru and by 1965, with six
after the London railway
Paddington titles under his
station. Almost six decades
belt and several translations,
later Paddington is about to
he felt confident enough to
make his film debut.
give up his job with the BBC.
The man who made that
By 1975 Paddington had his
impulse purchase all those years
own television series. Animation
ago is my father and, at the time,
hadnt reached the sophisticated
he was a television cameraman at Paddington and Paddington Bear Paddington and Company
levels of today, but the relatively
Limited/Studiocanal S.A. 2014
the BBC. He was also an aspiring
simple technique developed by
writer and seeing the bear on his mantelpiece sparked an idea and
the inspired animator Ivor Wood worked perfectly for
he began to write. He didnt set out to write anything specific, but Paddington. The five-minute episodes, produced by FilmFair,
after only ten days, he realised hed completed a bookA Bear
combined the three dimensional Paddington puppet with drawn
Called Paddington was published by William Collins in 1958.
two dimensional backgrounds and other characters. However,
The fact that he didnt consciously write for children is almost
while the concept might have been simple, the execution certainly
certainly one of the reasons that his books are so successful. The
wasnt and the labour-intensive process of creating 25 frames
stories have a level of sophistication that makes them appeal to
for every second of animation meant that the episodes were
a wide age range. Children enjoy the scrapes that Paddington gets
costly to make. Thus the first Paddington merchandise deals
into, while parents can take pleasure from the witty dialogue.
were struck in order to finance the making of the series.
(!*&%!,#*+*)#)+%
#*),'$#&) ,
,%"*+'*")+%,*+,)*'!%('),(!*&%!,*+*)#)+%,'(&(+
%(%( &"(& '$$(&"(&"&'(!#$(&"(!%&#($#&#''"#$(
(&"('&$ (&"('$&# ( '&!( %'$(%(#'(#%(
%!( %"#!#%!$(&#(&(%'"#$("% '(#($%"$(
'"#'!!$'('' ( %$#(' ' '($%&!'(
%'(&"($''($(&"(%!((!&"'(%(!% #$(&#(*&&, ,'%*+,

&"&& ,,,

!%' ,, ,
'& $+(''(+ (#
''(+ (#
*")%,&)*$+,'(&(+',(",*+,))",)(&$+,&$'$+,$+'%"!
32
Karen Jenkel - Paddington 2
05/10/2014 18:59
This was the point at which Paddingtons popularity began

to rise dramatically. The classic soft toy bears, first created
by Gabrielle Designs in 1972, were soon joined by Coalport
china, greetings cards, stationery, bedding and a whole host
of other products. The FilmFair series was aired on the BBC
just before the six oclock news and, at its peak, attracted
audiences of up to eight million viewers in the UK. And by
then the books had been translated into many languages and
Paddingtons fame had reached all around the world.
Needless to say, Paddingtons increasing popularity
provoked interest from the film world, but back in the 1970s
the sophisticated techniques required to bring Paddington
to the big screen simply hadnt been invented. Its amazing
what animal trainers can achieve, but convincing a South
American Spectacled bear to walk down the Portobello
Road in a duffle coat would have been a step too far!
Even so, the lack of a movie career didnt stop Paddington
achieving celebrity status and by the 1980s hed appeared on
stage in the West End of London, floated in the skies of
Colorado on a hot air balloon, and was promoting ski tours
in Japan. It was during that decade I went to work alongside
my father, helping to look after Paddingtons business
interests. It was only supposed to be for a few months, but

more than 30 years later, Im still there.
The books continued to be the backbone of Paddingtons
success and in 1997, by which time there were dozens of
titles across many formats, my father was honoured with
an OBE for Services to Childrens Literature.
Then in 2005 we received an approach from the film producer,
David Heyman. It was clear from the outset that he had a
genuine understanding of Paddington, and the fact that his list
of credits included the Harry Potter films certainly helped.
It has taken nine years since that first meeting for the film to
be madeit opens in the UK on 28 November. The cast alone
is enough to convince most people that this is going to be big.
Add to that the incredible talent of the director Paul King, the
animators at Framestore, and Studio Canal, the film company
behind it all, and its easy to see why excitement is mounting.
As for the bear that my father bought, he is still very much part
of our family. Hes such a down-to-earth character, that I would
like to think movie stardom wont change him too much; it would
be nice to imagine him in another six decades, still visiting his
friend Mr Gruber in the Portobello Road for his morning elevenses
and politely raising his hat to everyone he meets along the way.
Were looking for the worlds best

resources for teaching and learning.
The REVERE Awards are the Oscars for the educational resource
community. If you publish or produce tools that help teachers teach
or learners learnbe it in the classroom or beyonddont miss your
chance in the spotlight.
This years call for entries opens October 15; visit REVEREawards.org
to nd out all you need to know to about the 2015 season.
REcognizing Valuable Educational REsources
REVEREawards.org
The REVERE Awards are presented by the PreK-12 Learning

Group, a division of the Association of American Publishers.
33
Karen Jenkel - Paddington 3
05/10/2014 18:59
The copyright wars

With the US undertaking hearings on copyright
reform for the digital age, Andrew Richard
Albanese caught up UCLA professor Peter
Baldwin, whose new book, The Copyright
Wars: Three Centuries of TransAtlantic
Battle, is a primer on whats at stake.
AA: Why the title Copyright Wars? Has

copyright historically been a war zone?
PB: There are two wars, partly overlapping.
The historical war, which the book, as a work
Peter Baldwin
of history deals with, examines opposing
visions of authors rights. Should copyright be seen as a
temporary monopoly granted authors in order to stimulate
them to further creativity? Or should copyright be seen as a
form of property, much like more conventional property, that
belongs to its owner wholly and perpetually. That war was
largely won by the mid-20th century when the US adopted the
European position of strong authorial rights, and the British,
as founding members of the Berne Convention, were pulled
along by their international obligations in the same direction.
But as digital technologies became widespread, the whole
battle erupted anew. Digital has made it possible to reproduce
JOIN US
and distribute almost for free. How were authors

and owners going to assert claims to their works,
now that they were no longer protected by the
sheer physical inconvenience of the old analogue
techniques of reproduction and distribution?
AA: How closely has copyright been tied

to analogue expression, and can it keep up
in a rapidly changing digital world?
PB: If you mean, has copyright been closely tied
to the technologies of expressing content, then,
yes, thats absolutely true. Books were the first
works covered, closely followed in the early 19th century by
engravings. Then followed the whole panoply of cultural productionsheet music, photography, painting, film, sound recordings
and so forth. Copyright law is constantly driven by technological
developments. One of the most striking examples comes from the
late 19th century, when mechanical music reproduction first developedmusic boxes, wax cylinders, Victrolas, phonographs and so
forth. At the time, the law protected only sheet music. The new
technologies could therefore do what they wanted with content,
reproducing it at will without having to pay royalties. By the time
legislators got around to passing laws, some 20 years later, a
HALL 5.0
E109
AN
EGYPTIAN
MESSAGE
TO GEORGE
CLOONEY
After politics and politicians had ruined all other
possible means of communication between those
two worlds; here comes a great book of an
artistic, political and intellectual dialogue from
the heart of the Middle East to the West. All
through a glorious American Symbol who owns
the hearts of millions of people around the world
and an intellectual activist whose standpoint has
always been presented loud and clear.
COME VISIT US!

at the Frankfurt Book Fair.
In HALL 3, stand H 153
you can meet our
newest friends.
nds.
We make childrens dreams come true

W
www.clavisbooks.com
ks.com
&
34
Andrew - Peter Baldwin Q&A 2
05/10/2014 18:53
huge new music industry existed that could not be ignored.

Interestingly, it is that music industry, which profited from the
gutting of sheet music publishers rights, that is now the loudest
in lamenting its loss of control over content to downloaders.
AA: Which of course, brings us to moral rightsa big difference

between US and European law. Can you talk about difference?
PB: Moral rights are effectively the authors claim to retain
aesthetic control even after he has assigned his exploitation rights.
So, even after a book has been published, or a film released, the
author can intervene to insist that it not be used or changed in
ways he does not approvein a new, cheaper, abridged edition,
perhaps, or a novel turned into a film or an opera.
Moral rights are a product of the Romantic era, when the
individual author was seen as creating alone and thus deserving
absolute control over his work. Whatever we may think of postmodernism, some of its central tenets have become second nature
in our own day. The Romantic view of creativity is accordingly
discounted in favour of one that emphasises the social nature
of cultural productionauthors are products of their time and
place, they work with a large cultural baggage produced by others.
Nothing of the outcome is singularly theirs, but belongs instead
broadly to society. Is our culture better off without moral rights? A
century and a half after the original was published, Victor

Hugos great-great grandchildren tried to prevent sequels to Les
Miserableswhat, really, is the point of such faux cultural piety?
AA: You write about the Europeanisation of copyright

explain that for our readers?
PB: Though the first copyright laws were broadly similar in
most nations, the continental Europeans quickly began to
expand authorial rights in ways that were resisted in the
Anglophone world. Most obviously, the copyright term was
lengthened dramatically in France, reaching 50 years post
mortem by the 1860s. On the whole, the Europeans
developed a system of copyright that focused more on the
authors and rights owners claims than on the audience and
its access, while the Anglophones took the opposite approach.
The reasons for this are clear. The European authors and
publishers were exporters. Without strong laws to protect
them, their products were pirated abroad. The US on the other
hand, especially, was an importer and a copyright roguethe
US pirated European literature to its hearts content because it
saw its national interests as a fledgling country best served
by being allowed to pile up its plate at the worlds cultural
TM & DC Comics. (s15)
Exciting, magical and informative

books for young readers!
Please visit our booth in Hall 8, J36 to check out our huge range of titles and digital products.
Capstone Press, Raintree, Curious Fox, Switch Press, Capstone Young Readers, Compass Point Books, Heinemann-Raintree, Picture Window Books, Stone Arch Books,
Capstone Classroom, Maupin House, myON, Pebble Go, Capstone Interactive, Raintree Online
35
www.capstonepub.com
05/10/2014 19:37

smorgasbord. The US was the China of the 19th century. That

dramatically changed in the 20th century. The Americans,
who had imported European culture, now became
exporters. Eventually they came to have the same attitude
as the Europeans, craving protection. By the late 20th
century, the US had become the global policeman of IP.
AA: Can you talk about the ways international treaties

have changed the way copyright functions?
PB: Copyright is governed by a series of international treaties,

VISIT OUR STAND
FOR MORE
INFORMATION:
HALL 8, STAND H13
OLYMPIA
WERE ON
THE MOVE!
Join us for an exciting new
chapter as we move to
Olympia London for 2015.
LBF is part of London Book and Screen
Week, an entire week of events and activities
taking place in the worlds leading creative
industries hub, on 13-17 April. The Fair is at the
heart of the week, from Tuesday Thursday.
www.londonbookfair.co.uk
since protection in one nation does not help rights owners

much if their property can be pirated abroad. The first of these
was the Berne Union, from
1886, which the US refused to
join until a century later, and
even then in only a grudging
manner. In the 1990s, the US,
along with the Europeans and
the Japanese came up with the
idea of coupling trade and IP
enforcement. The so-called
TRIPs agreement meant that the
developing world now had to enforce protection of Western IP at
home if it hoped to sell its products in first world markets. In effect,
the first world nations, which had themselves been pirates during
the early phases of their development, had now ruled out this
low road to prosperity for the up-and-coming economies.
All this was simply a reflection of how important IP was becoming to the economies of the developed world. But since the late
20th century, the route towards stricter enforcement of IP rights
has hit some bumps, as important business interests have emerged
that are not aligned with the content industries: Google, Facebook,
Amazon, even Microsoft and Apple, have tended to be against
further strengthening of copyright. As a result, the SOPA and PIPA
bills were withdrawn from Congress in 2012. And ACTA failed
too, when the European parliament voted it down. Notably, the
votes for that defeat came largely from the new EU nations of the
former Eastern Bloc and younger Western MEPsin other words,
from constituencies more favourably inclined towards the
internet, and its possibilities of vast and easy dissemination.
The US was the

China of the 19th
century. That
dramatically
changed in the
20th century.
AA: As a copyright historian, what would you say to the US

Congress as it approaches a digital overhaul of copyright?
PB: First, do not be misled by the historical precedent of
copyright, which was created to defend the rights of
independent authors. Authors are inspired to be creative by
many more motives than just royaltiesso do not fixate on the
profit motive alone. And remember that the publishing industry
flourished in the US when copyright was short and only partly
enforced. We dont need to go back to the 14-year terms of
1790, but cutting current terms in half would be good start.
And, a system of universal licensing, coupled to a workable
micropayment mechanism, is probably the best way of reconciling
authors and rights owners justifiable desire to be rewarded with
the audiences clamour for access. Setting the legal parameters
for that to emerge and flourish would be a big step forward.
36
05/10/2014 18:52
Much more than freighting books

Kevan Childs, head of Woodland Media, talks to Teri Tan about effective and
innovative logistics, and supply chain solutions for the publishing industry
Airfreighting more than 50,000 copies of Dan
Browns Inferno from the US to London for its
global launch is what logistics and supply
chain solutions provider Woodland Media
does well. But the specialist division of
Woodland Group offers publishers much more
than just timely delivery and confidentiality.
For instance, Woodland Media has set up
a complete supply chain that starts from one
publishers overseas printers, on to its
UK-based pick-and-pack/fulfilment service
Kevan Childs
centre, and ends with deliveries to highstreet stores and online distribution centres. The team also
provides journal distribution services from the UK to
international conferences via reverse logistics solutions.
We offer fulfilment services from simple splitting of
consignments to pick-and-pack, labelling, quality checking
and even repairs, explains Kevan Childs, head of
Woodland Media, whose team has worked with book and
periodical publishers for the past 20 years.
Order-wise, nothing is too small for the team. We ship
from one copy of a book to upwards of tens of thousands
through our consolidated and full-load services, says
Childs, adding that high-volume and dense freight on both
air and ocean have their advantages and disadvantages
depending on lead times. There is a maximum cube and
weight that can fit into shipping containers and airline
pallets, and it is our job as the logistics provider to find the
most cost effective and efficient method to move the freight
while meeting our clients budget.
Historically, publishers do not deem it necessary to include
their logistics supplier right at the start of a project. We are
generally asked to price a project on a particular route
without any knowledge of the time sensitivity until the order
is placed, he continues, pointing out that such an approach
does not take into consideration seasonal peaks and troughs
within the international logistics market. There is a finite
supply of vessels and aircraft to move the freight so
inevitably in the peak season, rates are at a premium due to
space limitation. It is to our clients benefit that we are
informed as early as possible about timing of book launches
or promotions, for instance, so that we can get the products
to the required markets in the most economical and efficient
manner. This will hopefully give publishers the best chance
to maximise their sales revenues.
So the sharing of advance book production and launch
schedules with the logistic supplier would go a long way in
determining the best and most efficient freight method.
For instance, if the printing is done in China or Hong
Kong, the port-to-port ocean services to the UK and
Northern Europe would take around 23 to

27 days and in comparison is significantly
cheaper than airfreight. Then there is also a
cost difference between direct and indirect
airfreight services. Additionally, freighting in
volumethrough air or ocean into the UK
and then distributing overland to Northern
Europe would reduce freight costs, and in
most cases, improve the lead times. There
are ways to manage the overall cost, and for
Woodland Media, it is about understanding
the clients need and finding tailored
solutions to fit their budget and needs.
Major savings are not necessarily achieved by focusing
on per-kilo freight cost, he adds. A supply chain has to be
fully analysed end to end. In some instances, there may be
too many links in the supply chain. So, for a publisher, the
real cost savings may be achieved through simplifying the
end-to-end supply chain, from commissioning a publication
to putting the title on the shelf, physically or digitally.
Costs aside, service is still a key factor, as is ensuring that
the publication is delivered timely and priced competitively
into the market. But knowing that per-kilo rate is the way
the current publishing market looks at cost, Childs team
seeks to work directly with airlines and shipping companies
to achieve some of the best market rates.
Woodland Media is always looking for ways to
innovate and move with the market so that even low
margins are workable through good consolidation services
and by leveraging on our Groups freight purchase. Within
the international market, as we control a larger portion of
the total supply chain with our own offices, warehousing
and transport fleets, we can react very quickly to any
global changes to the market. Again, it is about working on
an open and consultative basis with clients to find the
simplest supply chain method that will optimise services
available while maximising the clients potential returns
and meeting of agreed deadlines.
The move to set up its Hong Kong office five months
agoin collaboration with long-term partner IFB
(International Freightbridge)is to position ourselves
within the region and open up new services, particularly
with clients in Australasia and the Americas, says Childs,
adding that magazines account for about 30% of
Woodland Medias business, which in turn contributes
nearly 15% to the Groups turnover. Publishers will find
that our core values (Easy to do business with, Keeping it
simple and Customer-first attitude) are relevant and
important to their business, and we will support them by
offering the very best possible logistics solutions.
38
Teri Tan - Woodland Media 2
05/10/2014 18:23
BookExpo America (BEA) is the premier

publishing event in North America.
BEA is the place to conduct rights, network with the industry,
increase distribution channels, and get media exposure.
BEA 2015 moves to midweek and is now

2.5 streamlined days of all business.
This new weekday format delivers the high level industry
connections you need in a compact timeframe.
New low-cost and totally turnkey booth packages available:

Translation Market, Publishers Discovery Zone, and Writers Row.
Contact Tim Rohach at trohach@reedexpo.com for information
on exhibiting at BEA 2015.
NEW 2015 Show Dates2.5 Days Midweek
Wednesday, May 27 - Friday, May 29, 2015:
Exhibits, Conference & Special Events
Javits Center, New York City | www.bookexpoamerica.com
BookCon: Saturday, May 30 - Sunday, May 31, 2015
Javits Center, New York City | www.thebookcon.com
Sponsored by
Produced & Managed by
Changes to EU VAT on e-services

The changes to the VAT rules affecting online
supplies of digital products and services in
the EU being introduced on 1 January 2015
will have a major impact on suppliers of these
services, writes Ian Singer. The services affected
include broadcasting, telecommunications
and e-services such as e-books. The overall
impact across the EU is predicted to be an
increase in VAT income of 2 billion with the
UK, as a major consumer of e-services,
expected to benefit to the tune of 250
Ian Singer
million, whereas Luxembourg will see its
VAT revenue fall by about 2% of GDP.
Publishers in particular should be aware that these
changes will have an impact on them if they trade directly to
any one of the 28 EU member states. Under the current rules,
VAT on e-services is charged in the country where the
supplier is established. This has resulted in countries such as
Luxembourg, which charges a reduced rate of VAT on such
supplies, attracting a significant proportion of suppliers of
e-services including some very high-profile businesses.
However, from January, the place of supply, and therefore
where VAT is accounted for, will switch to the country where
the customer is located (not necessarily straightforward to
determine) and, as a result, businesses will need to remit
payment to each EU member state where sales occur.
This means, for example, that customers in the UK will
pay 20% VAT for e-services regardless of the suppliers
location, as opposed to 3% currently if purchased from a
supplier based in Luxembourg. Suppliers of e-services to
multiple jurisdictions will therefore need to ensure that they
are fully prepared for the accounting/administration
requirements as well as the pricing/contractual implications
that will inevitably arise.
Mini One Stop Shop

To avoid the need to register in up to 28 different EU
member states, publishers can opt for the Mini One Stop
Shop (MOSS) alternative. This is a scheme that enables
businesses that supply e-services to multiple EU member
states, and who will therefore need to calculate VAT on sales
at the rate applicable in each relevant member state, to
account for VAT without having to resort to multiple VAT
registrations. Specifically, under this scheme, a business will
be able to submit one return and one payment to its local
indirect tax authority.
MOSS registration opened on 1 October. On the face of it,
MOSS is good news. However, businesses that register under
the MOSS system will need to be aware of the potential sanctions
applicable if they fail to comply with the MOSS requirements
in each of the 28 member states in which they trade.
Penalties for late return submission and late payment will
be subject to the rules in the member state of consumptionso
up to 28 different penalties could apply. If a

business receives reminders for three
consecutive quarters, and does not submit/pay
the return within 10 days of each of the
reminders, it will be considered a persistent
defaulter and will be excluded from the
MOSS scheme, unless the amounts unpaid are
less than 100 per quarter. Records will need
to be made available electronically to the
member state of registration or the member
state of consumption on request. Failure to
provide this within one month of receiving a
reminder will render the business a persistent defaulter, and
it will be excluded from the MOSS scheme.
If a business is debarred from the MOSS scheme it will have
to register for VAT in each member state where trading is
undertaken. It is therefore essential that businesses intending
to register under MOSS ensure they are familiar with the
requirements in each of the member states in which they do
business and ensure their systems can produce the information
required by the due date and that payment is made by the due
date. The alternative, of registering in every country, will prove
to be expensive and administratively cumbersome.
Third-party supply
For some publishers, there may be minimal or no impact
regarding their VAT registration and submissions, particularly
where the supply of their digital products is largely or entirely
fulfilled by a third-party such as Amazon. However, publishers
should not assume that they are not liable under the new regime
just because the fulfilment process is executed by another
company. Where the VAT liability lies depends on both the
contractual position between the publisher and the fulfilment
entity and the interpretation from the VAT authorities as to who
is actually the supplier of the digital product or service as
opposed to the entity merely responsible for the delivery.
There are also commercial and administrative implications
for all publishers regarding pricing, particularly in the
Eurozone. For example, where publishers may have
historically established single Euro retail prices for digital
products, this is likely to be unsustainable under the new
VAT regime as each jurisdiction will potentially have a
different VAT rate applicable, requiring up to 18 separate
Euro prices to be set up for each affected product.
The impact on software systems and internal processes could
be significant and the time to respond is rapidly diminishing.
If they have not already done so, publishers need to define a
detailed action plan involving all operational areas, including
finance, editorial, production, sales and marketing.
Ian Singer is IT Partner at PKF Littlejohn LLP. He will be speaking at a

BIC Breakfast on this topic on 23 October (www.bic.org.uk).
For further information contact rjones@pkf-littlejohn.com or
llungarella@pkf-littlejohn.com.
40
Ian Singer - VAT 2
05/10/2014 20:28
Join
90,000
E-newsletter Subscribers
Receive Free
International News Rights

And Important Updates for the
Global Rights Marketplace
Head to booth 8.0 R28 or 4.2 E88 and register

to receive FREE this valuable information.
Or visit www.GlobalRightsReport.com
PublishersWeekly.com/subscribe to join today!
BROUGHT TO YOU BY
It is still all about the authors

Christine Green looks back on 30 years of her authors agency
Of course, Maeve was our biggest client;
Ive no idea how it happened, but I seem to
there were few bigger than her in the UK
have stopped being one of the new kids on
and Ireland over the last three decades. In
the block and joined the eminences grises.
working together, we formed a trust,
When I wake up on 5th November, it will be
developed a short-hand; she was everything
30 years since the sign went up on the door
they said about herclever and brave and
of this agency.
funny. I miss her terribly.
It was 1984. Margaret Thatcher was in
Id had, of course, the best possible
her second term of office; the miners strike
training for all this. My first job in
was slowly and painfully coming to an end.
publishing was at Faber, working for the
The IRA had just bombed the Conservative
inestimable Frank Pike; and my first agency
Party Conference in Brighton; Robert
Maeve Binchy with Christine Green home was the then John Johnsonnow
Maxwell now owned the Daily Mirror.
Johnson and Alcockwhere Andrew Hewson became both
Nearer to home, Penguin was setting up a new imprint
mentor and friend. And of course, by the greatest good
called Viking; Michael Joseph and Hamish Hamilton were
luck, Ive had a succession of really fabulous people
still independent. Century hadnt yet acquired Hutchinson
working with me. These days, I am proud to have Natalie
and Random House was some years from scooping up
Butlin, whose fierce intelligence and editorial rigour keep
CVBC (Chatto, Virago, Bodley Head and Jonathan Cape).
me on my toes; and Kirsten Dear, whose duties include
Its hard now to recall a time before mobile phones, but it
hanging me upside down and shaking me until the receipts
was considered quite a triumph to get an extra phone line
fall out of my pockets.
installed at my home for office purposes within a few days:
a wait of weeks or even months was considered usual. The
first UK mobile phone networks were still to come; Tim
Relationships at the core
Berners-Lee had yet to invent the World Wide Web; faxes
And the editors, publishers, co-agents and scouts we count
were yet to become widespread and it would be some years
as friends have made the job such a pleasure over the years.
before I acquired that cutting-edge Amstrad 9512. Other
Relationships have always been at the core of this business.
things seem more familiar; the technology may be different
It is decidedly tougher out there than it has ever been. We
now, the process faster and more efficient, but the goal,
have always felt it important to work closely with our
after all, is just the same.
clients editorially; now its essential. We must hone and
polish, while at the same time looking constantly for new
ways to increase the revenue stream, not to mention the
Standing the test of time
social media, the crucial platform.
Publishing conversations, then as now, invariably centred
Then theres the move towards huge conglomerates; it
on difficult trading conditions. Nevertheless, titles
leaves room for small new independents, but not much.
published that year are still in print and still resonate: Iain
Amazon has changed retailing for ever. Sometimes it seems
Banks The Wasp Factory; Julian Barnes Flauberts Parrot;
were merely collateral damage as Google, Apple and
J G Ballards Empire of the Sun; and Douglas Adams So
Amazon slug it out for world domination and the very
Long and Thanks for All the Fish among them.
notion of copyright protection is under serious threat.
My first major task was to edit down a novel from
While it is genuinely exciting for an author to have the
400,000 words to 250,000. Echoes was the second novel
opportunity to connect directly with readers, I am
from a promising novelist called Maeve Binchy; her first, Light
dispirited by the self-publishing zealots who feel that it is
a Penny Candle, had been the lead title on the very first Century
not enough for them to succeed, traditional publishing
list. It had done well enough for the publishers to want another.
must fail. If one more lanky streak-of-nothing tells me, as
The typescript had been delivered on thin, almost
one did in Frankfurt recently, that we in print publishing
transparent paper; it had been written on a typewriter
are like all those people working in the horse industry
which randomly punched holes in the paper so that a,
shortly after the invention of the motorcar, I might forget
e and o were often indistinguishable. Much has
my manners entirely.
been said about Maeves legendary typing skills; entire
In the end, it is all about the authors; it has been privilege
paragraphs might be written in the form of a gigantic
to work with such fabulous storytellersand after 30 years it
anagram. And, of course, there was a deadline.
By the time I emerged, there was post addressed to the new is still thrilling to find the new voice and the new talent.
Nothing quite beats that moment when you realise that you
agency, there were phone calls to be made and responded to,
stopped breathing two pages agoexcept maybe the moment
there was even a cheque. It seemed that everyone else
when the call comes to say that an editor agrees with you.
assumed I was up and running, so Id better get on with it.
42
Christine Green - agent 2
05/10/2014 18:48
IRemes_SD_convertoidut.indd 2
29.9.2014 11.41
rowman & Littlefield is one of the largest and fastest growing

independent publishers and distributors throughout the world,
headquartered in the uS and the uK. We recently acquired
Globe Pequot Press and are now offering Globe and Lyons
backlist and new releases. Visit the booth to see our new trade,
reference, and library market titles.
Visit us in Hall 8, Stand E112
Thumbelina
The Culture and Technology

of Millennials
By Michel Serres
Translated by Daniel W. Smith
49 Myths about China

By Marte Kjr Galtung and
Stig Stenslie
Is My Husband Gay,
Straight, or Bi?
A Guide for Women

Concerned about Their Men
Cultural Encyclopedia
of the Breast
Secret Copenhagen
FirST EDiTion
By Jonglez Publishing
A Research Guide to
the Ancient World
Edited by Merril D. Smith
Print and Electronic Sources
Secret Naples
Secret Rome
By Joe Kort
With Alexander P. Morgan
International Ordering Information:

nBn international
10 Thornbury road
Plymouth PL6 7PP, uK
Tel: +44 (0) 1752 202301
Fax: +44 (0) 1752 202333
Email: orders@nbninternational.com
Website: www.nbninternational.com
2014-506-Frankfurt Ad 2.indd 1
For more information about Rowman &

Littlefield, please visit www.rowman.com
FirST EDiTion
By Valerio Ceva Grimaldi and
Maria Franchini
By John M. Weeks and

Jason de Medeiros
FourTh EDiTion
By Jonglez Publishing
United States Ordering Information:

rowman & Littlefield
15200 nBn Way
Po Box 191
Blue ridge Summit, PA 17214
Tel: 1-800-462-6420
Fax: 1-800-338-4550
Website: www.rowman.com
9/30/14 2:47 PM

Frankfurt Show Daily, Day 2, Oct 9

Transféré par

Informations du document

Copyright

Formats disponibles

Partager ce document

Partager ou intégrer le document

Options de partage

Avez-vous trouvé ce document utile ?

Ce contenu est-il inapproprié ?

Droits d'auteur :

Formats disponibles

Frankfurt Show Daily, Day 2, Oct 9

Transféré par

Droits d'auteur :

Formats disponibles

Frankfurt

THURSDAY, OCTOBER 9, 2014

VISIT PW AND BOOKBRUNCH AT HALL 8, STAND R28

Big deals mark Frankfurt opening

and said Grit will offer new,

be a high six-figure deal,

Italian publishers launch VAT campaign

News Day 2.indd 1

aims to engage readers and

the Italian Presidency and

reporter for the New York

Join us for a drink

Thursday October 9, 5:30 PM

THURSDAY, OCTOBER 9, 2014