London Show Daily, April 9, Day 2

9 April 2014
London
F o r t h e l a t e s t f a i r c o v e r a g e , g o t o w w w. p u b l i s h e r s w e e k l y. c o m / l b f a n d w w w. b o o k b r u n c h . c o . u k
Great Debate: bigger, better?
ith the recent

consolidation
of Penguin
Random
House fresh in
everyones minds, and Amazons
dominance always a contentious
topic, this years London Book
Fair Great Debate argued the
proposition: Its all about size,
bigger is always better.
Moderated and co-hosted by
the Copyright Clearance Centers Michael Healy, and Susan
Danziger, organizer of The Publishing Point and founder of Ziggeo, the debate featured blogger
and consultant Mike Shatzkin
and McGraw Hills Ken Brooks
arguing for the proposition, and
Faber & Faber CEO Stephen
Page and agent and founder of
Diversion Books Scott Waxman
arguing against.
In defence of big publishing,
Shatzkin opened by focusing on
the need for scale. Size was a
huge competitive advantage.
Youd think digital might
change that, but it hasnt, he
said, noting that a handful of
large firms dominated the digital
realm. Would there be a Hugh
Howey or a Bella Andre without
Amazon? he asked. In the end,
being big meant power, including
the power to hire, or buy, whatever smaller services, or talent,
you might need.
Brooks also seized on the idea of
scale. If a small publisher makes
an author, that author moves on,
he noted, because larger companies could take larger risks and
make larger investments. But he
also asserted that innovation was
often erroneously credited to small
companies. Who tracks the failed
innovations, he asked? He referenced the large number of ebook
innovators that were not around
anymore, noting that the ebook
News Day 2.indd 1
market had not worked until

Amazon came along. In the end,
all big companies started small,
and being big was simply a byproduct of sustained success.
Page, opposing, opened by noting two words that did not appear
in his opponents argument: readers, and writers. Any digital novice will tell you that [size] doesnt
matter at all any more, Page
argued. The things that did mat-
ter, he said, were taste, the relationship with the reader and the
ability to communicate with a
writer, and to connect with an
audience or a community. On
these scores, big companies try
really hard to imitate small.
Bigger is always slower,
Waxman noted, and in the changing digital world, that gave a distinct advantage to upstart digital
companies. Smaller publishers
Visit us at
Stand G470
were also better situated to compete for writers, by offering them
higher royalties. They can also
move faster to market, and better
collaborate with other innovators.
Perhaps weary of consolidation, the audience at the start of
the debate voted in support of
smaller is better by a nearly 2-1
margin, 54-28. At the end, only a
few minds were changed, with the
score at 5232.
First Book Industry Excellence Awards winners
ublishers from Belorussia,

Pakistan, India, Denmark,
Australia, Malaysia,
the US and China were among
the winners of the first London
Book Fair International
Book Industry Excellence
Awards, given in association
with the Publishers Association
and presented at the Fair
yesterday.
IPA Freedom to Publish Award:

Ihar Lohvinau, Belarus
Korea Market Focus Outstanding Contribution Award: Eric
Yang Agency
The Bookseller International
Adult Trade Publisher Award:
Fixi, Malaysia
The Crossmedia Award for
Best Use of IP: Robert Kirkman,
Skybound, US
The International Academic and

Professional Publisher Award:
University of Chicago Press, US
The International Education
Initiatives Award: Indigenous
Literacy Foundation, Australia
The International Educational
Learning Resources Award:
Penguin Australia
The International Literary
Agent Award: Anneli Hier,
Leonhardt & Hier Literary
Agency, Denmark
The International Literary
Translation Initiative Award:
Best Translated Book Award,
US
The International Trade
Childrens and Young Adult
Publisher Award: Tara Books,
India
The UK Publishers Association
Copyright Protection Award:
Oxford University Press,
Pakistan
The Market Focus Achievement
Award: Motilal Books of India
The Publishers Weekly International Book Industry Technology Supplier Award: Publishing
Technology, China
As previously announced, the
London Book Fair Lifetime
Achievement Award went to
Deborah Rogers of Rogers,
Coleridge and White.
08/04/2014 16:33
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9 APRIL 2014
LONDON SHOW DAILY 3
FAIR DEALINGS
LBF 2014The books making the running
hile no single
title has
emerged as
the hot book
of this years
London Book Fair, a number of
titles were generating buzz as the
Fair kicked off on Tuesday,
writes Rachel Deahl.
One of the hottest of those
titles is a memoir represented by
William Morris Endeavors Bill
Clegg called DARLING DAYS.
Dan Halpern at Ecco acquired
North American rights to the
book in the States about a week
before the fair in a deal insiders
have said was worth $700,000.
Halpern won the book in a ninebidder auction and the title, by
iO Tillett Wright (whose various
credits include being a TED
speaker and the founder of an
independent photography magazine), chronicles the authors
unusual childhood in the East
Village. Raised by hippy, yet
neglectful, parents, Wright
chose, from age six to 14, to live
life as a boy. The proposal is
only 30 pages. As of this writing,
the book has also sold in the UK,
to Virago, and Clegg has
accepted a pre-empt from the
French publisher Le Seuil.
Another buzzed-about book
which sold for a rumored six figures is Jax Millers FREEDOMS CHILD. Miller made
headlines in the European press

shortly before the Fair for selling
this book to Harper UK in a sixfigure deal. Now the novel,
which Claudia Ballard at WME
represents, has also sold to
Crowns Zack Wegman. Crown
called the book a propulsive,
raucous thriller about a
woman in the witness protection
programme who risks everything to save the daughter she
gave up for adoption. Miller, a
pen name, now lives in Ireland,
but grew up in the States. Under
her real name, Aine O Domhnaill, she was shortlisted, last
year, for the CWA Debut Dagger for unpublished writers.

A second non-fiction title generating attention is THE TELOMERE SOLUTION, which
Grand Central acquired in a
major deal shortly before the
Fair. Karen Murgolo at GCP
took North American rights in a
12-bidder auction for a sum the
publisher declined to discuss,
but that agent Doug Abrams at
Idea Architects called quite
high. The subtitle of the book is
How the Nobel-Prize-Winning
Discovery Can Help You Fight
Cellular Aging and Improve
Lifelong Health, and the author

is PhD and Nobel prize winner
Elizabeth Blackburn. The book,
which Blackburn is writing with
fellow PhD and colleague Elissa
Epel, is about fighting the aging
process through simple changes
in matters such as exercise, diet
and stress management. One
insider said the book was particularly hot because the material it
traversed was based on the
research for which Blackburn
won her Nobel. The book has
also sold in a six-figure deal in
the UK, where Weidenfeld
acquired at auction.
Young African authors unveiled
loomsbury unveiled its list

of young African authors
under 40, a project developed in partnership with Hay
Festival and Rainbow Bookclub
to provide a snapshot of the
future. The project follows
Bogota 39 and Beirut 39.
AFRICA 39, edited by Ellah
Allfrey, features work from 20
countries and contributions from
17 men and 22 women, a great
turnaround from two decades
ago when Margaret Busby published Daughters of Africa, its
stated aim to give voice to
unheard women. The new book
is in celebration of Port Harcourt
To contact London Show Daily at the

Fair with your news, visit us on the
Publishers Weekly stand G470
Reporting for BookBrunch by
From left: Ellah Allfrey, Christina Fuentes, Peter Florence, Koko Kolongo,
Bill Swainson, Margaret Busby
UNESCO World Book Capital.

Bill Swainson at Bloomsbury paid
tribute to Busby, having started
his career with her at Allison &
Busby, and said that projects such
as this were what I came into
publishing to do.
The collection of the best new
writing from Africa south of the
Sahara and the diaspora is scheduled for October, and the authors
featured include Chimamanda
Ngozi Adichie, Abubakar Adam
Ibrahim, Chibundu Onuzo and
Nobel Laureate Wole Soyinka
whose The Swamp Dwellers was
filmed by Hay Director Peter
Florences father.
Nicholas Clee and Liz Thomson
Reporting for Publishers Weekly by

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

or go to www.publishersweekly.com
Subscribe to BookBrunch via www.bookbrunch.co.uk
or email editor@bookbrunch.co.uk
London Show Daily produced by Jellysh Print Solutions 01489 897373
www.publishersweekly.com
News Day 2.indd 3
n e w c r i m e n ov e l
from the Salomonsson Agency, MADE
IN SWEDEN by Stefan
Thunberg and Anders
Roslund, was the subject
of a film option and of
several multi-publisher
auctions as the Show Daily
went to press. The novel
(Piratfrlaget) is based
on an actual criminal
conspiracy.
im Walker, owner of
Walkers Bookshops
in Stamford and
Oakham, has succeeded
Patrick Neale of Jaff &
Neale as President of the
Booksellers Association.
The Associations VicePresidents are unchanged
Sam Husain of Foyles and
David Prescott of Blackwells.
Neale will remain on the BA
Council.
www.bookbrunch.co.uk
08/04/2014 16:38
9 APRIL 2014
4 LONDON SHOW DAILY
FAIR DEALINGS
Severn House celebration
Rights round up
Venetia Buttereld at Viking Penguin
has bought an autobiography by
Damien Hirst. Butterfield, buying
jointly with Scott Moyers at Penguin
Press US, signed world English rights
from Ed Victor, and will publish in
autumn 2015. The book will be cowritten with James Fox, who wrote
White Mischief and co-wrote Keith
Richards memoir, Life, also represented by Victor. Hirst said: Im really
pleased to be working with Penguin
on my autobiography, they are a very
cool and creative publisher with a
huge amount of energy and enthusiasm.They care about all their readers
from top to bottom and are not afraid
of pushing the boundaries.
Jason Arthur at William Heinemann
has signed a new novel by Jonathan
Lee, author most recently of Joy.
Wm Heinemann has world English
rights in BRIGHTON HEIGHTS (February 2015) from Clare Alexander at
Aitken Alexander Associates, and
has sold North American rights to
Knopf. Brighton Heights centres on
the bombing of the Grand Hotel in
Brighton during the 1984 Conservative party conference.
Faber has announced a new novel
by Sarah Hall, THE WOLF BORDER
(2015). Lee Brackstone at Faber
bought UK and Commonwealth
rights from Clare Conville at
Conville & Walsh. HarperPress will
publish in the US. Stephen Page,
Faber CEO, described the novel as
a major publication for Faber.
Fiona Kennedy at Indigo has bought
a first YA novel by Carl Hiaasen.
Indigo has UK/Commonwealth
rights via Jonny Geller at Curtis

Brown. This is the third Hiaasen
novel to be published by Orion, following Scat and Chomp. SKINK: NO
SURRENDER (11 September, with
Knopf publishing in the US) reintroduces the character from Hiaasens
adult novel Double Whammy.
Henry Rosenbloom has bought for
Scribe UK Nina Teicholzs THE BIG
FAT SURPRISE: WHY MEAT, BUTTER, AND CHEESE BELONG IN A
HEALTHY DIET, signing the book
through Simon & Schuster. Teicholz
argues that nutrition science has
been mistaken for 60 years, and that
scientists have been guilty of
shockingly distorted claims. Scribe
plans to publish in August.
Jon Appleton at Hodder Childrens
Books has bought LUPO, a series of
younger fiction titles by debut
author Aby King. Lupo will star rst
in Lupo and the Secret of Windsor
Castle (September 2014), a story
prompted by Kings speculations
about the Duke and Duchess of
Cambridges cocker spaniel. Hodder
Childrens has world rights, having
beaten off four rivals, through Piers
Blofeld at Sheil Land.
dwin Buckhalter hosted a

family dinner at the
Mandarin Intercontinental on Tuesday, a celebration of
40 years of Severn House.
Buckhalter was joined of
course by his wife Mandyvery
much the good woman behind a
successful man, and in addition
to overseeing contracts and signing cheques apparently a wiz
with domestic engineering problems, according to son James. Dr
Buckhalter, as we should officially call Edwins son and likely
heir, holds a PhD in philosophy
and is poised to joined Deloittes.
On this occasion, he had quite
a lot to do with choosing the
menu, and both the food and
wines were five-star. The pork,
everyone joked, was properly
kosher, and the beef as rare as
can be. The cheeseboard, for
those who made it through all
the courses and the dessert, was
spectacular.
Buckhalter Senior, in a gracious speech, sketched the history of Severn House and the
part played by every guest in its
success and longevity-not least
Mark Williams, to whom he had
gone all those years ago, this son
of a bookseller, to say he wanted
to be a publisher. Williams, at
what was then Tiptree, offered
help, contacts and encouragement. Other guests included
Dianne Moggy of Harlequin
Canada, Mark Ouimet and Marcus Woodburn of Ingram, agents
Carole Blake and Barbara Levy,
Severn House publisher Kate
Lyall Grant andrepresenting
the companys many authors
Graham Masterton and Cynthia
Harrod-Eagles.
It was an altogether splendid
occasion, and the toast, made
with the magnum of exquisitely
pale rose that accompanied the
eye-popping degustation de charcuterie, was to the next 40 years.
Rachel Denwood at HarperCollins

Childrens Books has bought LOVE
FROM PADDINGTON, a new book
by Michael Bond, now 88. HC has
world English rights from Hilary
Delamere at The Agency, and will
publish in November 2014 in a gorgeous highly illustrated hardback
gift edition. Love From Paddington
is a series of letters from Paddington
to his Aunt Lucy back in Peru.
Buy-to-view books
new video platform

giving people who pay
full RRP for their books
access to live, streamed events and
exclusive e-content is launching in
September. The buy-to-view
(BTV) concept is the brainchild of
former Turner Broadcasting
Television chief Richard
Kilgarriff, who came up with the
idea while producing Books for
Breakfast events for authors.
Bookomi Live brings together
former Waterstones, Borders
and HarperCollins executive
and LBF Non-executive
Chairman David Roche, video
streaming specialist Groovy
Gecko, and wholesaler
Gardners.
Revenue from the resulting

book sales is shared between
Bookomi, the publisher and any
third party media partners
involved in the promotion of the
live event. There is also scope to
donate a percentage of sales to
charities such as the Reading
Agency. As well as selling specific
titles around live events, Bookomi
will sell a curated range of books
before and after events, to be
reported to Nielsen BookScan.
The first public event will take
place in September, and will feature
AKQA founder and author Ajaz
Ahmed talking about his book
Limitless: The Six Characteristics
of Organisations That Endure
(Vermilion 12.99).
News Day 2.indd 4
Buckhalters three- (from left) Mandy, Edwin, and James
PA, IPG take over EQUIP
he Publishers Association (PA) and the Independent

Publishers Guild (IPG) have taken over the Equality in Publishing
(EQUIP) project.
EQUIP was previously based at City University, where it had support
from the Arts Council. It was built on the work of Dipnet, which had been
set up in response to the Decibel In Full Colour report on diversity in the
book industry, and aims to bring together businesses with a commitment to best practice in equality and diversity in publishing.
The PA and the IPG said that they believed the relaunch would give
the project fresh impetus, and they encouraged members to join the
publishers already signed up to the EQUIP charter. Richard Mollet, PA
CEO, said: Workforce development is a key challenge for publishers.
We see Equality in Publishing as the best way for businesses to engage
with the issue, create dialogue on best practice within the sector and
help develop a diverse and vibrant workforce for the industry.
08/04/2014 14:23
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9 APRIL 2014
6 LONDON SHOW DAILY
FAIR DEALINGS
LBF 2014scenes from Day 1
A busy scene as LBF 2014 gets underway.
Sign of the times: John A Walker promotes his Kindle

self-published book.
First meeting of the Fair at the Felicity Bryan stand.

News Day 2.indd 6
Peter James signed a contract with Jeannette Ploeger of De Fontein in the

Netherlands for his tenth Roy Grace novel WANT YOU DEAD while his
agent, Carole Blake, looked on.
Colin Lovrinovic, Head of Digital Sales at Batsei Lubbe, and Yvonne Uelpenich,
Junior International Sales Manager, launch Bastei Entertainment, a new digital
division at the publisher.
Roberto Calasso of Adelphi with agent Geraldine Cooke.

08/04/2014 15:14
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8 LONDON SHOW DAILY
Traditions and transitions
ts a balmy evening in March, and

traditional wooden dhowsretrofitted
with noisy, smoky diesel enginesputter
through the Gulf of Arabia against the
backdrop of the ultramodern Doha
skyline, writes Arend Kster.
A group of book enthusiasts have
gathered at the edge of this bay for the first
Bloomsbury Qatar Foundation (BQF)
Literary Majlis, our localised version of a
traditional literary salon. In Arab society,
the majlis is the traditional meeting space; a
deceptively relaxed setting where, amid
endless cups of spiced coffee, betrothals are
arranged, politics are discussed and business
deals are signed.
Our majlis showcased two of our leading
Arab authors, both of whom offered
presentations and readings that highlighted
not just their unique literary voices, but also
hinted at the challenges, and opportunities,
facing publishing in the Arab world today.
First, Mai Al-Nakib, author of a beautiful
collection of short stories, The Hidden Life of
Objects, addressed an issue thats almost a
taboo among the Arab literary eliteMai is a
Kuwaiti academic who chooses to write in
English. Due to her schooling, the politics of
Kuwait as she was growing up, and her
subsequent career in academia, she views
Arabic as her second language; her story is not
unusual, with millions of Arabian diaspora
growing up with similar experiences.
Then, author Abdulaziz Al Mahmoud
gave an excellent talk on the historical
research he undertook for his upcoming
novel, The Holy Sail, in which he made a very
serious pointin the Middle East, possibly
more than anywhere else on Earth, history is
still very much alive. Events from one or two
centuries ago are still percolating through
tribal societies, and facts are constantly
changing; the most innocuous seeming
statements can set off long, simmering
arguments with remarkable speed.
Less esoterically, though, he also raised
the issue of professional editing and
publishing, and the lack thereof, in the
region. It was refreshing to hearboth at this
event and our last translation conference in
2013that authors in the Arab world are
crying out for the full-service publishing
services we provide, complete with reader
reports, structural editing, effective
marketing and global distribution.
Since 2010, BQF has been actively
building this capacity within Arabic
publishing. Its never easy. One cant simply
impose what we assume is best practice from
one part of the world onto another. In fact,
the subtleties, nuances and often frustrating
aspects of Arabic publishing exist for very
real reasons; if the end result is to get books
Arend Kster - Bloomsbury.indd 2
Mai Al-Nakib and Arend Kster at the inaugural

Bloomsbury Qatar Foundation Literary Majlis,
held in Doha on 11 March 2014
into peoples hands, then what they call

best practice in Cairo is a very different set
of skills from New York and London.
But this is what makes our job so exciting.
There are some 450 million Arabic speakers
in the world, and literacy rates are rising
throughout the region. But readership levels
are still proportionally low. Bestsellers in the
Arab world are measured in thousands, not
millions, of copies sold. There has been
encouraging progress. The International
Prize for Arabic Fiction, the so called
Arabic Booker, has in a few years
established itself as a major international
prize. Untainted by regional, national or
political bias, a shortlisting can ensure
bestseller status for the authors.
And then there are the serious challenges.
We are constantly surrounded by cultural
sensitivities. While we are enjoying a very
constructive and pragmatic dialogue with
our stakeholders, cultural, political and
religious themes frequently cross highly
moveable red lines elsewhere in the
region, meaning books and topics deemed
acceptable in some countries may be
impossible to distribute in others.
Difculties with dialect

Dialect, too, is an issue. Anything not
written, edited and published in Modern
Standard Arabic, is at best an unknown
quantity in terms of sales, at worst actively
resisted by the literary elite. Were keen to
experiment. We think a book in Moroccan
dialect, for example, may well fly in the
streets of Casablanca and Marrakesh, but
what about in the book-buying circles of
Cairo? And how about even outside the
geographically defined Arab World, such as
Berlin, Paris or Chicago? Lets find out!
We also know first-hand that bringing
sophisticated editing, quality control,
protecting authors rights and high
production values for the end product itself,
can push up the costs of books to unrealistic
levels. In countries where copyright
enforcement is lax, to say the least, this opens

up the field to any number of pirate editions
rushed out on cheap paper with identical
text and poorly designed covers to fill
demand on the streets of Cairo, Beirut and
Baghdad. That raises the possibility of a two
track publication in the region itselfhigh
quality production for the richer Gulf
countries, lower cost for the bigger markets
in Egypt and Lebanon. Thats something we
would hope to avoid. And there is one
development, still very much in gestation in
the Arab world, which could well render the
above points moot.
The Arab Spring may have mutated into
something much less optimistic, but the
increasing democratisation brought to the
region, not through political processes but
wider adoption of smartphones, social media
and digital devices in general, will have a
profound effect on regional publishing.
Up until now, e-publishing platforms have
struggled with Arabic; ePub 3 looks like
changing this, and this is an area in which we
are concentrating significant resources. Just
look at that figure again: 450 million
speakers of Arabic. Factor in the fact
that this is an incredibly young region
60% of those speakers are under 30 and
technologically well-equipped and digitally
fluent. What a demographic! Under the glass
and steel of the Doha skyline, turning pages
on a digital device might just be more
attractive to the nascent reader.
This brings us to, essentially, the core of
our activities in the region, education. As Mai
Al-Nakib said at our Majlis: Writers begin
as readers. Its not just about reading, its
about developing a love for reading. Our
educational outreach is a cornerstone of our
activities here. Physically going out and
speaking to schools and libraries; ensuring
the right books are in place; and explaining
the importance of reading to society, is an
essential part of our mission. With schools
experimenting with iPads for every pupil and
library systems being built from scratch with
digital delivery at their core, we believe digital
will, eventually, make that process easier.
Its easy for publishers to be nostalgic,
especially in the Middle East, amid the souqs
and stalls of Alexandria or the bustling fairs
in the Gulf, and where a physical book still
carries so much resonance. However, a book
is just one of many reading devices. The need
for publishers to deliver high-quality
publications is as important as ever, and if
digital helps us address the challenges of cost,
distribution and bureaucracy, we will want
to be among the first to embrace the future.
Arend Kster is the Managing Director of
Bloomsbury Qatar Foundation.
04/04/2014 22:36
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3/24/14 3:59:29 PM
9 APRIL 2014
10 LONDON SHOW DAILY
Bigger, better, faster

Charlie Redmayne looks at what it means to be a publisher in the 21st century
n an age where retailers, tech companies,

authors and now even agents are
becoming publishers, we have to ask
ourselves: What does it mean to be a
publisher in the 21st century? How
can we add most value in a marketplace
where the value chain is changing so fast?
There is one thing that all of us agree on.
We are nothing without the content. So
content is king; the author is king. So the
question we really need to be asking
ourselves is: How can we best serve our
authors? What do we need to do to ensure
that they dont want to be published by
anyone else? How do we continue to really
add value? If the only value we bring is in the
size of the advance then ultimately we lose.
What this doesnt mean is throwing out all
the tried and tested practices. We need to do
all the things we have always doneonly
betterand complement them with new skill
sets and expertise. And we need to do it
bigger, better and faster.
Great authors and editors

At the very heart of every successful
publishing business sit the editors.
Harnessing the most talented editors in the
industry is key. Great authors work with
great editors, and everything else we do
builds on that foundation.
But we also need to build new skillsets
in the areas of marketing, product development
and business/channel developmentthat will
enable us to maximise value. We have to
revolutionise the way we market books. Trade
marketing continues to be an important part of
the marketing mix, but with more and more
content being purchased through digital
channels, the role of consumer marketing
becomes increasingly important.
We have to invest in real consumer
marketing expertise (and many publishers
are). We need to understand how best to
exploit social media and blogs to really
build brands, and to build consumer
insight capabilities, which will inform and
support editorial instinct, help shape our
publishing and provide expert guidance on
the most effective way to market that
publishing. At HarperCollins we now
include social login in our products, enabling
us to forge direct relationships with
consumers and to understand what content
they find most engaging.
And its about data analysis. Publishing
companies have always collected huge
amounts of data, but havent necessarily
been the best at using it. We need to harness
that data and understand its value
Charlie Redmayne - HC 2
spend more time on YouTube than they do

watching TV. It is a fantastic platform for
both content and the marketing of that
content. One of the things were doing is to
expand our own culture podcast BookD
(which features audio interviews with a wide
range of writers, actors and artists) into
video, creating a new channel and marketing
platform for our publishing divisions.
Sales channels
Charlie Redmayne
learning more about what consumers are

interested in and providing it; understanding
how they use social media and search, and
exploiting it; building advantage by really
understanding price elasticity; and building
ECRM (electronic customer relationship
management) tools and getting them used by
the business. We all profess to want to sell
directly and make our marketing budgets
work harderwell, step one is to make use of
the data to understand your customers.
As publishers we also need to drive
product development, not just assume that
the limit of digital opportunity is ebooks or
maybe a basic app. Its about telling stories
across multiple platforms and devices,
making the most of the functionality of that
particular product to create the most
compelling experience. We should not limit
ourselves by the rights we own. We must first
design the best consumer experiencethe
perfect way for that story to be toldand
then partner with other rights holders and
device manufacturers to deliver it.
Setting the agenda

We need to be innovative and creative, and
setting the agendato challenge the way
people think about books and storytelling. I
was recently in San Francisco and was
listening to a panel of young (seriously
young) entrepreneurs. They were fascinating
(even if sometimes misguidedjust because
you disrupt does not mean you will succeed),
but they thought differently and challenged
us. My favourite comment was: The
process of reading is inefficient because you
have to move your eyes; we could blast text
into your eyeballs at thousands of words a
minute and you could read a novel in 10
minutes. Lunacy? Maybe. But have a look
at Spritz; its amazing whats possible.
At HarperCollins we are also focusing on
the use of video platforms, which offer a
huge area of opportunity that the book
world has yet to get to grips with. Kids now
We also clearly need to support traditional

sales channels and open up new ones. At
HarperCollins we try hard to bring our
authors to new audiences and generate new
revenue streams. In the autumn, we were the
first major publisher to enter into an ebook
subscription model with a large partner. The
deal with Scribd offers our authors the
benefits of extended reach (100 million
active users) with increased discoverability
and improved revenue streams. Plus we are
also participating in the start-up Oysters
subscription platform, helping to bring new
players into the bookselling market
One of our challenges is that of perception.
There are brilliant publishing businesses
across the board adding huge value, but there
are some who look to benefit from proposing
a different point of view. As publishers
we do a huge amount for our authorsin
editorial, production, marketing, sales and
distribution. We are spending money
innovating and investing across all these
areas and fighting hard to protect the value of
our authors IP against those who have
alternative agendas. We need to continue to
do all this, and we need to keep our authors
informed about it too. In addition to
demonstrating the value we bring, we also
need to be transparent with our authors and
our agents. If we promise something, then we
deliver it; if we cant, then we should not
promise it in the first place.
At HarperCollins we are in the process
of launching a portal to give our authors
real visibility of every aspect of their
business with us. The Author Direct portal
will show authors their sales by week and by
channel, their marketing reach and social
buzz, their recent royalty statements, as well
as social media tutorials, analysis of
consumer feedback and general market
news. It is about being more inclusive. In a
21st-century publishing house the
powerbase has changedas someone once
said, were all in it together.
Charlie Redmayne is Chief Executive Officer,
HarperCollins UK.
04/04/2014 22:53
Publishing solutions from the inside out
Stand Q510
Publishing Solutions
Tech Zone
DIGITAL
BOOKS
TECHNOLOGY | CONTENT | DELIVERY
JOURNALS
e : i n f o . p s g @ c e n v e o . c o m | p : +1.267.640.9158 |
MAGAZINES
WWW.CENVEOPUBLISHERSERVICES.COM
9 APRIL 2014
What works in education?
hile there is
no longer
any argument about
whether
technology belongs in the
classroom, the problem of how to
harness it effectively is vexing
educators, policy makers, parents
and publishers alike, writes Dougal
Thomson. To examine which
combination of policy, pedagogy,
content and technology works best
to improve learning outcomes, the
International Publishers
Association (IPA) and the UK
Publishers Association (PA) have
brought together international
experts for a one-day What
Works? conference on 10 April.
As any visitor to a primary or
secondary school will notice, the
hardware is largely in place:
computer labs, terminals and
laptops. And not just in the rich
world; Kenyas government is
just the latest to have come to
Dougal Thomson
power on a pledge to provide

every primary school pupil with
a laptop, while in India, Pearson
and IBM have announced a
project to deliver 22,000 digital
classrooms across the country.
Everywhere, the hope is that
technology will enable new
teaching models and methods,
opening up access to resources,
increasing pupil engagement,
and ultimately improving
educational outcomes.

Dougal Thomson - IPA.indd 2
Educators and policy makers

are realising that upfront
technology investments deliver
precious little if they arent
supported by a wider framework
of curriculum design, teacher
training and relevant (i.e. locally
appropriate) software and
learning resources. Reliable
wireless access helps too
remarkably, the US government
recently admitted that less than
30% of schools have sufficient
access to high-speed internet.
Mobile devices
Computer labs and terminals are
relatively old hat; the fastest
growth now is in the use of
mobile devices within classrooms. Schools are increasingly
moving towards tablet, rather
than PC or laptop acquisition; a
UK survey conducted with the
National Education Research
Panel has forecast that by 2015
there will be an average of 86
tablets in each secondary school.
In many cases, pupils are encouraged to bring their own device
and learn through it.
School pupils appetite
for access to technology is
tremendous, presenting a
wonderful opportunity to improve
educational outcomes. There are
also significant commercial
possibilities for publishers as
technology revolutionizes the
global education sector. The
market is huge, and growing; in US
schools alone, the education
software sector already represents
$8 billion a year.
What Works?
The What Works? conference
was launched last year,
bringing together policy
makers, international agencies,
academics, teachers, publishers
and technology advocates to
analyse what works best in
applying technology in the
classroom. At this years event we
will delve deeper into the
relationship between access to
technology and academic
achievement, sharing experience
and expertise from case studies in
Europe, North America, Asia and
elsewhere. While there is no single
best answer, and every country or
school is different, the evidence

from international surveys, widescale projects and practical
experience is increasingly
converging around key principles,
which the conference speakers
will reveal.
This years discussions will
explore the following:
What do new case studies
reveal about the most effective
ways to harness technology in
schools?
Understanding technologys
impact on education results
(with the latest figures from
OECD).
How to overcome the barriers
to wider technology adoption in
the classroom.
What kind of training and
resources do teachers need?
How to ensure that gadgets
concentrate young minds, rather
than distract them.
How can schools identify the
tools that are right for them.
What will the learning
resources of 2050 look like?
Speakers will include WIPO
Director-General Francis Gurry;
Jeffrey Brand from Bon
University; IPA President
Youngsuk YS Chi; Pablo Zoido
from the OECD; Mike Trucano
from the World Bank; Ricardo
Ferreira from the European
Commission; David Langridge
from Microsoft; as well as experts
from Oxford University Press,
YBM Korea, Denmarks
Ministry of Education, Kennisnet
and many more. The format has
been designed to be as interactive
as possible, allowing delegates to
quiz the expert panel on the issues
that concern them most.
The knowledge economy
is moving faster than ever,
making it difficult for policy
makers and educators to design
and apply pedagogic plans. The
What Works conference will
help make sense of the
opportunities, as well as the
challenges, which technology
brings to education. There will
be a special focus on how
publishers can play a leading role
in transforming the classroom.
Dougal Thomson is Director, Communications and Programmes at the IPA.
04/04/2014 22:57
9 APRIL 2014
Korea Market Focus

Yi Hyung-shik talks about the roots of contemporary Korean literature
ontemporary
Korean literature
was born from the
confrontation
between the old
and new. It was created through
tension between the traditional
form of Korean literature and
contemporary Western literature, which was introduced to
Korea by Japan. Through the
process of modernisation,
Koreas contemporary literature
continued to develop in two
major categories: realism and
modernism. Both categories
opposed Japans colonial rule of
Korea in different ways, and
helped to form the identity of
contemporary Korean literature.
Popular literature came to
Korea through the inflow of
modern capitalism. But while
Japanese imperialism was
tolerant of popular literature,
it was hostile towards the
Yi Hyung-shik
The Museum of Korean Modern Literature
development of Koreas belliterature (pure literature). Writers

of bel-literature also disliked early
popular literature. Since the newly
introduced popular literature
and bel-literature styles had
supporters and detractors, both
categories have continued to
grow. The conflict between the
two categories formed the
characteristics of contemporary
Korean literature.
Although Korea was liberated

from Japan, the country was
soon devastated by the outbreak
of the Korean War, which lead
to a divided peninsula. Through
these difficult times, its literature
continued to develop, creating
the roots of the Korean culture,
which we now call Hanryu, or
the Korean Wave.
In 2013, the development of
contemporary Korean literature
Korea Market Focus - Day 2.indd 2
was put into the spotlight when

the Incheon Foundation for Arts
and Culture opened the Contemporary Korean Literature
Hall. Incheon, now synonymous
with contemporary Korean literature, has been named by
UNESCO as the World Book
Capital for 2015.
Yi Hyung-shik is Director of the Museum
of Korean Modern Literature.
04/04/2014 23:18
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(185x130).indd 1
2014. 11. 6 > 8

KINTEX 3 Hall
2014-03-26 2:40:29
9 APRIL 2014
Publishing the worlds best stories

Nicholas Clee looks at the success Pushkin Press is having in publishing writing from
around the world, and at the new directions the publisher is taking
ushkin Press defies the generally

held view that the UK and US
markets are insular. Dedicated to
acclaimed writing from around
the world (outside the UK,
largely), Pushkin has grown rapidly in the
last two years, and in 2014 is set comfortably
to pass the 1m turnover mark.
There are several poster authors for this
success. With the help of various influential
critics and other readers, Pushkin has revived
the reputation of Stefan Zweig, best known
for his 1939 novel Beware of Pity, available
from the publisher in a specially
commissioned translation by
the acclaimed Anthea Bell.
Since bringing out Beware of
Pity in 1998, Pushkin has
reissued, and in many cases
published in English for the
first time, 19 further works
by Zweig, as well as The
Society of the Crossed Keys, a collection
tying in to Wes Andersons Zweig-inspired
film The Grand Budapest Hotel. Pushkin
was the first publisher to translate into
English Journey by Moonlight and other
works by the Hungarian writer Antal Szerb,
like Zweig a Jewish victim of the Second
World War (Zweig committed suicide, while
Szerb died in a concentration camp).
Pushkins recently launched childrens list
has been doing well with its two Oksa
Pollock novels by former librarians Anne
Plichota and Cendrine Wolf. The recently
published paperback of Oksa Pollock: The
Last Hope has reprinted twice, and was a
Waterstones Childrens Book of the Month;
the hardback of Oksa Pollock: The Forest of
Lost Souls has also reprinted.
Marketing air
Adam Freudenheim and Stephanie
Seegmuller, proprietors, have retained the
ethos of Pushkin, but have brought publishing
and marketing flair to the list since
taking it over in spring 2012. Pushkin
had been founded in 1998 by Melissa
Ulfane, who after more than a decade
in charge was looking for someone to
take the company forward. She had
lunch with Freudenheim, then
Publisher at Penguin Classics, and
asked if he knew anyone who might be
interested. It was good timing. I loved my
Penguin job, which was a great privilege, he
says. But I had been thinking for a while
about doing something different. In part it was
because I was meeting agents who would tell
D2_p16_Nick - Pushkin Press.indd 2
me about great books

that had been published
in just about every
language but English,
but that I couldnt do at
Penguin. (The Oksa
Pollock novels have been
a great endorsement of
Pushkins policy of
taking on such works
they had been translated
into 26 languages before
Pushkin came along to
sign English-language rights.)
With a Penguin colleague, Stephanie
Seegmuller, Freudenheim bought the
company. He is Publisher and MD, while
Seegmuller is Associate Publisher and COO.
Freudenheim is a Harvard graduate in
German, and has an MPhil in European
literature from Cambridge; Seegmuller has
Masters degrees from Paris Dauphine and
the Institut dEtudes Politiques de Paris, and
a London Business School MBA. They read
in German, French and Italian; when
assessing works from other languages, they
might be able to read already existing
German, French or Italian versions, or they
make use of readers reports and
commissioned translations of extracts.
Pushkin also employs Editors Gesche Ipsen
and Daniel Seton, Editorial
Assistant Julia Nicholson
and Publicist Tabitha Pelly. It
offers paid internships. In the
US and Canada, it employs Publicist Brittney
Inman Canty.
The list is represented by Faber Factory
Plus, and this summer is moving in the US
from Consortium to Random House.
Pushkin almost always buys world
English rights, and distributes its classics
list in the US, while it may try to sell rights
in its contemporary titles. Butterflies in
November by Auur Ava lafsdttir went
to Grove Atlantic; Bonita Avenue by
Peter Buwalda went for a good fivefigure sum to Hogarth; and The
Rabbit Back Literature Society by
Pasi Ilmari Jaaskelainen went to
Thomas Dunne/St Martins. These
deals can help offset translation
costs, which present the biggest
challengeas its liabilities on
advances are not substantialto Pushkins
cash flow stability, even though in many
cases subsidies can be found.
Freudenheim and Seegmuller have
refreshed the designs of Pushkins classic
titles, while maintaining Ulfanes policy of

using elegant type and premium paper, with
printing by the independent, Cornish-based
company TJ International.
The company publishes 20 to 24 new
adult titles, including classics, a year, and
from spring 2013 has run a childrens list of
10 to 12 titles a year. In
addition to the Oksa Pollock
novels, Pushkin Childrens
includes the Danish picture
book series starring mischiefmaker Vitello (by Kim Fupz
Aakeson and Niels Bo
Bojesen); and Save the Story,
a series of classic tales retold
by authors including Jonathan Coe, Dave
Eggers, Ali Smith and Umberto Eco. In June,
it publishes the paperback of The Letter for
the King by Tonke Dragt, and is working
with PR agency Riot to try to make it one of
our biggest books of the year.
Contemporary works
A departure for Pushkin, in that it is devoted
to new and contemporary works, is the
imprint ONE, curated by Elena Lappin and
releasing one new title a season. ONEs
autumn 2013 title, Jamie Masons Three
Graves Full, is a Waterstones Book Club
choice, and the imprints spring 2014 title,
Gideon Lewis-Krauss A
Sense of Direction, was a
Radio 4 Book of the Week.
Boris Fishmans A
Replacement Life, for which ONE signed a
pre-emptive deal, is a HarperCollins US title
(June) due in the UK this autumn. ONEs
have not been the first US titles on Pushkins
list, which also includes Edith Pearlmans
Binocular Vision, a volume
that alerted commentators to
Pearlmans status as one of the
great contemporary short
story writers.
While many publishers
bemoan the state of the book
market, the power of
Amazon, and the reliance on
an embattled Waterstones for high street
book sales, Freudenheim does not join them.
He is confident in Pushkin. If you listen to
people in publishing, its always the end of
the world, he says. We have to live with
the market as it is; were not going to
determine how people read, or how they
buy, or where they buy. Now is a good time
to be a small publisher. We can be quick and
nimble, and offer something different.
06/04/2014 12:35
FrankFurter Buchmesse
Business
Club
Welcome
to the Club
A Club to grow
your business
In our conversations with customers all over the world, weve
asked them what they expect
from the Frankfurt Book Fair
and how we can offer them more
support. The responses have
been surprisingly unanimous:
More effective networking with
new business partners. More
inspiration. More practical
business tips. More discussions
about new business models.
The launch of the Frankfurt Book
Fair Business Club is our response
Early-Bird
lasting contacts are made.

The place for experts and conversations that make a difference.
Plus, it will be a real oasis of calm
right in the middle of the busy Fair.
As a global city of ideas, the Book
Fair is a meeting point for over
100 publishing nations and now
it also has a place for all these
professionals to take a break and
relax.
Get inspired
Our speakers are among the best

in their fields. In spontaneous
conversations, at roundtables
or during interviews, they let you
in on the secret of their success.
NETwOrkiNG
Get connected
Every day at the Business Club

starts with a Business Breakfast
and ends with a get-together.
In between, we introduce you
to future business partners via
networking and pitching formats.
Lets talk business!

Frankfurt Book Fair/
Peter hirth
to these needs. Our Club will be

the place at the Book Fair where
new business is generated and
Juergen Boos
President / CEO
Frankfurt Book Fair
Book now to get your exclusive 25% London Book Fair discount
www.book-fair.com/businessclub
One ticket
to open many
doors
With our Business Club Ticket,
were introducing an exclusive
service package designed to meet
your individual needs. You will
benefit from the greatest flexibility
when putting together your personal schedule.
It includes access to all our key

conferences as well as many
special club conveniences: Meet
CONFErENCES
know future business partners

at networking and pitching sessions. Discover the many different
aspects of the Fair on our guided
tours.Experience the exclusive
working and discussion atmosphere of our lounges at the heart
of the Frankfurt Book Fair.
We look forward to welcoming

you in our Business Club!
Frankfurt Book Fair/
marc Jacquemin
the industrys decision makers

at workshops, roundtables or
in one-on-one meetings. Get to
CONSulTiNG
Get ahead
Any questions? In workshops,

master classes or one-on-one
talks, our experts provide
answers.
GuidEd TOurS
Get around
Let us show you the way.

On guided tours, professionals
and experts walk you through
the most exhilarating trends
and innovative projects at the
Frankfurt Book Fair.
Britta Friedrich
director Events & Programmes
Frankfurt Book Fair
lOuNGE
Nur im aPril:
Special offer
fr Business
Club Member
Book your Business Club Ticket in

April and profit from a special rate
at the Lindner Hotel & Residence
MAIN PLAZA Frankfurt.
www.lindner.de/en
GO TO THE BuSiNESS CluB
Feel at home
Workplace, meeting point, rest

area, concierge service the
Business Club lounges are the
perfect place to work and relax.
www.book-fair.com/businessclub
FBM_2014_03_BC_Advertorial_PW_London_Show_185x265_RZ.indd 1
31.03.14 10:13
9 APRIL 2014
Riding out the perfect storm

John Dyer explains how he found his way through the difficulties and challenges the
music industry faced with the arrival of digital
t takes a while to work out what is

important when physical sales drop off at
a rate which isnt compensated for by the
rise of digital revenues. You feel caught in
the middleworrying about overhead,
skill sets and declining income. The speed of
disruption throws youits a riot to the senses
with everyone having opinions mainly dark in
colour and hue. How do you retain your guiding
principles, but make sure they will be amplified
properly by new approaches and ideas?
Beyond the arrival of digital, there are other
factors that contribute towards this perfect
stormhigh street retailers are exposed to their
own disruptive forces, begin to change stocking
policies and shift pricing requests constantly as
they come under pressure from online
competitors, rising rents and decreasing footfall.
Suppliers are asked for further subsidies or
patiencefine if it helps create a coherent strategy
for the future, but not if it allows the contracting
status quo to perpetuate? The right ideas take
time to emerge yet tolerance is still at a premium.
John Dyer - Music.indd 2
Everyone starts to dangle on the same hook

of mutual needforced to ask, forced to give.
The music industrys very visible travails mean
I get asked for my opinion a lot, on a variety of
digital topics, but the constant riffs tend to
cluster around market decline, piracy, social
media, new services and new business models.
I run the day-to-day of Domino Recordings,
a UK independent record label, and Ive
gradually built up or altered our teams
structure to deal with these issues on a daily
basis. The label has been going for just over 20
years looking after some of the worlds most
culturally important, vibrant bands, and Ive
been wrestling with this in earnest over the last
seven or eight years. Domino is a company
where we hit above our weight culturally and
commercially, and one where we try to make
sure these two things go hand in hand.
Working for bands like the Arctic Monkeys, Jon Hopkins, Wild Beasts and Animal
Collective requires that digital delivery and
operations are at the heart of what we do.
Integrated delivery
We have integrated delivery with all the leading
digital services worldwide and structured our
international deals around these. Our industry
doesnt have DRM, so we are able to think
globally about everything we do, and to have
all our releases available simultaneously
physically and digitallyglobally takes a lot of
organisational focus and support.
Finding the right staff, putting in and
prioritising the right structure to survive and then
thrive is really tricky, as some of the required
roles or skills didnt exist or werent available 10
years ago, and its especially hard to do within a
declining market, but do it you must.
Another difficulty is to find third parties
that offer these new valuable services at a
price you can afford. You tend to have to
make do and task it yourself to do it better
with all its perceived imperfections, until the
market matures and you see coherent services
or adopt applications that you feel happier to
engage with.
04/04/2014 23:15
9 APRIL 2014
LONDON SHOW DAILY 19
Evaluating the order in which you

resource the skills you need might be
different for each entity or player in the
market, so priorities arent immediately
obvious; instinct should play an important
part in feeling your way through the issues.
Getting consensus to share the big decisions
can feel very slow. Sales patterns can be
perplexing. (If youre looking for
perspective about complexity and
making good decisions in a team, The
Checklist by Atul Gawande (Profile
Books) is a good primer. It speaks well to
how hard it is to know everything as an
individual in a complex world.)
Writers or musicians self-releasing and
choosing their own price points or finding new
routes to investment come from the lower
barriers to entry within digital distribution.
Some artists self-release well and others
badlyothers invest appropriately and
some unwisely. The market is always skewed
and unsettled by something.
New formats and new approaches create
the need for correlating the price across
physical and digital consumer products, and
forces constant monitoring. And release
schedule tools, updating daily across all

departments, to cope with the more spontaneous possibilities of the network age are
only two examples of market processes
speeding up and our responses to them. For
example, My 14-year-old son Luke watches
English lessons on YouTube to supplement
the ones he gets at school (and his grades
There are lots of challenges and new skills

needed, but orthodox thinking needs to be
celebrated in turn. Glastonbury headline slots,
worldwide TV show appearances and five-star
reviews power campaignstiming and strategy
doesnt change; the art is to blend all the sales
channels and communications channels together,
but to do so more within the moment. (I always
think Easyjets routes have helped Domino
internationals efforts just as much as the
internet. And Easyjet and Ryanairs business
models are another example of beneficial
disruption for the consumer.)
How do you repurpose what you have
and already own, and create revenue for all
of its participants across all the expanding
and contracting opportunities? How do you
shake off survival mode? How do you move
forwards? I still ask these questions every day,
but now at a pace to match the change and with
a team that understand the issues much more
readily than ever before.
So the hits dont hurt so much anymore, but
dont forget; having hits definitely helps. That
doesnt change.
The art is to blend all the sales

channels and communications
channels together, but to do so
more within the moment.
have improved as a result); if you are an academic publisher how do you respond and
embrace that?
In real time
Altering campaign spend in real time
through YouTube, Google, Twitter and
Facebook is my new norm, all now booked
on the corporate credit cardwhich has
made checking out of hotels interesting
for me countless times.
John Dyer is Director at Domino Records.
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:

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John Dyer - Music.indd 3
04/04/2014 23:15
9 APRIL 2014
A new era for Quarto
he figures are enough to make

every publisher envious: a
business thats 70% backlist,
writes Liz Thomson. Thats a
good position to be in, agrees
Marcus Leaver, CEO of the Quarto Group.
As we look for growth both in our existing
business and with any potential digital way
forward, it makes life slightly easier knowing
we have that solid foundation.
Leaver marks his second anniversary at
Quarto next month. Appointed COO in May
2012, he returned from a seven-year stint in
New York at Barnes & Noble and found
himself, as the year closed, being asked to take
over from founder and CEO Laurence
Orbach, his long-term mentor. He was a unity
figure who promised a new era for all
stakeholders, be they optimists for the future
or guardians of the past. In the 18 months
since, Quartos share price has climbed
steadily to a five-year peak: the company,
which busted the 200p-mark in 2005, suffered
badly in the downturn, bottoming out at just
over 50p. Cause for optimism then? Well,
Orbach remains a shareholder.
rich backlist, fantastic heritage publishing,

fantastic gardening and horticulture. And
Aurum has a real opportunity, especially given
that holes are appearing left, right and centre in
independent publishing, and a very good new
publisher, Iain Macgregor, who has a versatility
thats unusual, but also a hallmark of Quarto. I
am pleased with the appointment of David
Inman to lead that entire business.
Succession planning
Marcus Leaver
through 55,000 doors every two weeks,

doors spread across a vast territory thats
continuing to feel the after-effects of the
global slowdown, and where good books
and gifts at good prices are truly valued. Its
being turned round after a bad year by
former Sterling colleague, Joe Craven, but
Leaver acknowledges that Quarto may not
be the right owner long-term. That remains
to be seen. But while we own it, we want it to
do as well as it possibly can, and its now a
much more coherent business than it was in
December 2012.
Co-edition publishing
The be-jeaned Leaver cuts a very different
figure from Orbach, who set up Quarto in
1976 and took it to market a decade later. Its
grown both organically and by acquisition, the
latter sometimes more opportunistic than
strategic. The result was a sprawling
international business still driven by its
co-edition publishing, under the bushel of
which various imprints hid their lights and
identity. So back in February, along with some
pleasing results, Leaver announced a
rebranding that put the Quarto name front and
centre of its operations, while allowing such
venerable names as Book Sales, Motorbooks,
Frances Lincoln and Jacqui Small to retain and
burnish their identities as imprints.
From the outset of his tenure, Leaver
talked about transparency, not least so
shareholders might better understand the
breadth and depth of the Quarto Group. He
has moved swiftly to simplify what remained.
Debt is being steadily reduced. And 2013 was
a year of tactics, working with people at all
levels of the organisation and moving people
into the various roles that I wanted them in.
Now its about delivering on our strategy
which, from a publishing point of view, and
from the Books & Gifts Direct point of view,
is pretty clear.
The latter is the merged and rebadged
Australian and New Zealand operation
(formerly Lifetime Distributors and Premier
Books), the largest display marketing
business Down Underthink the Book People
or Books Are Fun, ANZ-style. We go
D2_p20_Liz - Marcus Leaver.indd 2
Traditional publishing
In both the UK and US, the tidying up has
seen the Aurum Publishing Group and
Quayside Publishing Group names dispensed
with in favour of the Quarto Publishing
Group UK and USA, respectively. Together,
those traditional publishing businesses
represent 48% of Quarto turnovera
surprise to the many who think of Quarto
merely as the worlds biggest packager.
The changes having been made, Leaver hopes
their publishers feel free to get on with the job
and to collaborate in a considered way.
One of the co-edition businesses could sell a
book to one of the US imprints if they thought
it was the best place for itI dont think that
would have happened before I hope
everyone feels an identity with their own
imprint, while at the same time feeling theres
an overall game plan for Quarto.
The CEO has been known on occasion to
sit in on acquisitions meetings if hes around
and reads the notes when hes notlast year
he was on the road for 23 weeks, meeting
customers as well as sharing his vision for
Quarto with international colleagues.
Meanwhile, Quarto has launched a joint
venture in Brazil with Grupo Nobel. Its an
exciting market and it might be a model we
develop, says Leaver, who is eyeing up
China, India and the United Arab Emirates.
People have sometimes been pejorative
about our collection of assets in the UK,
Leaver continues, with the exception of Jacqui
Small But Frances Lincoln has a stable and
David Breuer oversees the Co-Editions

Group, which sells between 35 and 40
languages a year and now comprises six
very talented publishers, each with a major
and a minor imprint, the latter helpful in
warming up the bench so that we have
succession planning and the ability to spawn
new imprints along the way A lot of people
have cut their teeth at Quarto, but not in a
very formal way. If we can continue telling
people what were trying to do as a company
and develop their careers at Quarto, I think
that will be very good for the business.
The continual re-invention of Quarto is key
to Leaver in this dynamic and changing
publishing environment. Ken Fund who leads
the US business has done an excellent job
bringing about a re-bound in 2013 after a
disappointing 2012. He re-conceived the entire
business and has built an excellent senior
team. He and his colleagues look for talent in
both obvious and less obvious placesat Walter
Foster, one key figure began her career at the
LAPD! Were not sitting at the Ivy looking to
agents for the next book, so we need diversity
because we need to come up with a lot of ideas.
As David Ogilvy said, your assets go down in
the elevator every evening. Yes, we have a
lovely backlistbut were only as good as our
peopleand today we need our people to be
creating the backlist of tomorrow.
There has always been, he says, a
humility about Quarto, where everyone
rolls up their sleeves and gets on with it
and where Leaver and his colleagues are close
not only to their customers, but also to their
customers customers. He says Quartos
ideal book is All New Square Foot Gardening
by Mel Bartholomew, a Long Island retiree.
It was first published in 1981 and still it did
over three-quarters of a million dollars last
year. A second edition was published last
month and Leaver is touching wood that
Quarto has hit pay-dirt again with Straw
Bale Gardens by Joel Karsten.
Theres a huge amount of energy at
Quarto and its an exciting place to be. Weve
got really good people in all our businesses
around the world, who are making and
selling great illustrated books. Our annual
revenue is $176mand no one really knows
who we are!
06/04/2014 12:28
9 APRIL 2014
Making Korean connections
bout 30 minutes drive to the

north of Seoul and close to the
border with North Korea is the
city of Paju, write Cortina
Butler and Rebecca Hart.
There are many Korean and American army
bases here, as part of the defensive forces for a
country still technically at war with its
northern neighbour, but on the edge of the
city is a very different kind of community. On
a typically bright cold November day, there
was a distinctly Scandinavian feel about the
gently winding streets lined with strikingly
beautiful low-rise modernist buildings, and
wintery trees and flower borders. This is Paju
Bookcityhome to a major part of the Korean
publishing industry.
When the British Council arranged a
research trip to Korea for six British editors
as part of the LBF Korea Market Focus
Cultural Programme, Paju Bookcity was
part of the itinerary, not just for meetings
with the distinguished Korean publishers
Munhakdongne and Open Books, or for the
visits to the living museum of printing, the
library of illustrated books and Open Books
striking modern art Mimesis Museum, but
because Paju demonstrates both the
similarities between the Korean and British
publishing industries and the differences.
Complementing business
British Council has partnered with the
London Book Fair since 2008 to curate a
cultural programme to complement the
business-to-business aspects of the Market
Focus. For the British Council the cultural
programme provides the stimulus to build
deep and long-lasting relationships for the UK
with the literary and cultural communities in
the featured country. We work closely with
the key cultural or literary organisation in the
countryoften the Ministry of Culture, but
this year the Literature Translation Institute of
Koreato create a reciprocal programme. Our
objective is to increase awareness of Korean
literature in the UK and British writing in
Korea among publishers, agents, translators
and readers, and to build a network of
contacts between people working in the
literature sectors that will ultimately result in
more books being translated, published and
read in both countries and a greater
understandingon both sidesof our cultures.
Work on the Korea Market Focus
programme started at the end of 2012 when it
was announced that Korea would be Market
Focus Country for 2014. Representatives
from the British Council, LBF and the
Publishers Association in the UK visited Korea
for the Seoul International Book Fair in June
2013, and the British Council team (from
London and Korea) made contact with the
Cortina Butler - Korea.indd 2
The mix of editors from specialist imprints

and larger publishing houses ensured that the
Korean hosts got a full picture of the breadth
of British publishing. The editors met with
authors, editors, publishers, agents and
translators both formally and informally,
and in turn gave presentations on different
aspects of the UK publishing industry. Their
impressions of the visit to Korea can also be
read on the British Council website.
Best of contemporary writing

In Paju Bookcity
Literature Translation Institute of Korea (LTI

Korea) and the Arts Council (ARKO).
Together with the Korean Cultural Centre in
London, these have been our main partners in
putting together the programme.
The centrepiece of the cultural programme
is the visit by ten distinguished Korean
writers to the Fair, but this is just part of an
18-month schedule of interactions. The
British childrens writers Tim Bowler and
Julia Golding visited Korea for the Paju
Booksori and WOW literary festivals in
October 2013. As well as appearing at the
festival, they spent time visiting local schools
and running workshops. Scottish author
Kerry Hudson then spent a month in
residencies in Korea, first in a traditional
community in Gongju and then at Seoul
Art Space; Yeonhui, her blog, can be read on
the British Council Literature website.
Reciprocal residencies have been arranged
for the authors Bae Su-ah and Kim Ae-ran
who will be spending 12 weeks in the UKs
two UNESCO Cities of Literature (Norwich
and Edinburgh respectively) in the spring
and summer of 2014.
As part of the programme of building a
network of understanding and connection
between literature professionals, six Koreans
visited the UK in November. They came from
organisations including Toji Cultural
Foundation, Korean Board on Books for
Young People and Paju Booksori, and their
punishing schedule included days in
Edinburgh and Norwich and presentations
from representatives of UK publishers, and
literature and reading organisations.
A few weeks later six editors from the UK
visited Korea. We sent out an open call for
interest in the tripa unique opportunity to
get an in-depth introduction to the Korean
literature sectorand selected the six editors
on the basis of their expressed interest in
literature in translation and the Korean
market: Laura Deacon from Blue Door, Paul
Engles from Quercus, Maria Rejt from
Mantle (Macmillan), Daniel Seton from
Pushkin Press, Katie Slade from Comma
Press and Stefan Tobler of & Other Stories.
The ten writers from Korea visiting the UK

for the Fair represent the best of
contemporary writing in Korea. Some are
already translated into English, and all have
interesting things to say about what it is to be
a Korean writer in the first decades of the
21st century. They address the challenges of
responding to a society still coloured by the
legacy of the Korean War in the early 1950s
and the explosive transformation from rural
to industrial society under the presidency of
the current President Parks father. At the
time of writing there has been the first
meeting for more than 60 years of family
members split apart in the partition of
Koreaa theme explored by one of the
visiting authors, Hwang Sok-yong, in his
haunting novel The Guest.
The Korean writers are appearing at
events at the English PEN Literary Salon, in
the Whitehall Room and in the Literary
Translation Centre. The writers are also
appearing at public events in London,
Cambridge, Edinburgh and Aberystwyth.
The cultural programme continues after
the Fair doors close with visits by Korean
writers through the summer to Hay Festival,
Edinburgh International Book Festival and
the Times Cheltenham Literature Festival.
British authors will again be appearing at the
Seoul International Writers Festival and
World Childrens Literature Convention.
Our experience with previous Market Focus
programmes shows that the connections
built during this intense 18 months will bear
fruit in many different waysfrom rights
deals and increased sales in both countries to
stronger high-level political, commercial and
cultural relationships. There may not be
anywhere quite like Paju Bookcity in the UK,
but we have our own unique literary culture
to share, and the British and Korean authors,
translators, editors and readers, who have
made connections through the Cultural
Programme, will have gained lasting insights
that will inform and enrich interactions
between our two countries for years to come.
Cortina Butler is Director Literature and Rebecca
Hart is Programme Manager Literature for the
British Council.
04/04/2014 22:55
books in TranslaTion:
Libros en Traduccin Livres en TraducTion

Libri in Traduzione KsiKi w tumaczeniu
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Wanderlust for the Written Word
nEW! The Translation Market
a totally nEW program that shines a bright spotlight on books in Translation

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9 APRIL 2014
Books ahoy!
Alice Bolton looks at Frankfurt Book Fair from a different perspectiveas an hotelier
with a twist
he weeks prior to
the Book Fair will
be consumed with
last minute organisation. For exhibitors and visitors alike, meetings
and networking parties must be
planned, with exhibitors also
prepping products and doublechecking shipping and delivery
times, and stand access.
As a supplier its not so different for us at Crossgates; every
fair is like putting on a theatre
production, just on a larger
scalewith a stage that floats.
Crossgates is at the top of a
very niche market. For 40 years
the company has been providing
alternative accommodation at
Germanys largest trade fairs,
including the Book Fair,
on-board river cruise hotelships.
The TUI Allegra in Frankfurt
Frankfurt has changed a lot in

the 15 years that I have been
with the company. Now there
are large corporate hotels, especially near the Messe, but years
ago this was not the case. There
was a lack of good, affordable,
clean accommodation and
hotels with a habit of doublebooking rooms. In summer the

hotelships cruise the rivers of
Europe, but the cruising season
finishes in the autumn. So we
started bringing them into the
city and mooring them up to
create a hotel on water.
The moorings are alongside
Nizza Park, a 10-minute walk
from the city centre, but the view
from the windows is water. The
old-fashioned idea of a berth on
a barge is well and truly over.
Cabins have en-suite facilities
and all the hotel amenities
youd expect, but there is
one aspect that allows no
competitionthe setting.
Calm environment
The Book Fair is demanding,
and the stamina of our guests
amazes me. They are on their
feet for eight or nine hours a day.
The Messe is noisy, busy and
airless. The benefit of the
hotelships is the contrast they

provide. Rarely bigger than 90
cabins, its a calm environment,
and there is tranquillity to river
life; it is not every day you could
watch the ducks while eating
your breakfast.
The guest list is diverse; the
Royal Collection at Buckingham
Palace, the Met from New York
and Hung Hing from Hong
Kong are among the guests
who all enjoy the on-board
opportunity to meet and mix
with others in the industry.
As our guests have
experienced massive change in
their industry, so ours has also
modernised to keep up. Fifteen
years ago, 50% of guests came
to the hotelships after visiting
the Tourist Office stand, suitcase
in tow. Now, not only are 95%
of bookings done via the
internet, but the hotelships
themselves also offer full WIFI
availabilitywe know a business
decision will be made over Skype,
not an exchange of faxes.
Just like everyone else at the
Book Fair, as soon as its over
the planning begins again,
booking the ships, scheduling
the bus transfers, always
focusing on the right fit for our
guests. The best thing is seeing
the familiar faces in the bar of an
evening knowing well all be
back again next year.
Alice Bolton is Project Manager at
Crossgates Travel.
One of the cabins on the TUI Allegra

D2_p24_Alice Bolton - Crossgates.indd 2
06/04/2014 10:07
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9 APRIL 2014
The changing body of publishing
he publishing industry is
changing, and as it does so too do
the skills needed by employers,
writes Emma House. Practically
every element of publishing now
involves digital technology, requiring at least
some level of digital skills. From author to
consumer, through the supply chain to social
media, nearly everything in publishing now
happens on a screen.
Despite this recent radical transformation
of how roles are performed, little has changed
in terms of what the roles are. Publishers still
perform the ever essential tasks of investing in
new authors, and providing them with
advances to be able to write for their job and
career. Publishers run the editorial process, PR
and marketing, and invest in the distribution
of their titles, both physical and digital, raising
global awareness by promotion and selling
translation rights, and ensuring that authors
receive the appropriate royalties.
Speaking to this transformation in digital
skills requirement, George Walkley, Head of
Digital at Hachette UK, highlighted (at the
FutureBook conference in November 2013)
the need for everyone in the publishing sector
Emma House - Changing Face of Publishing.indd 2
publisher training sources) and through

reaching outside of the traditional talent
pool to seek people who are able to bring
something different to the sector.
Traditional routes
Emma House
to understand a) workflows b) mark-up

language and c) data. Sara Lloyd of Pan
Macmillan emphasised the need for social
media skills, understanding SEO (search
engine optimisation) and consumer insight.
Yet business management and leadership also
feature highly on skills required by publishers,
and skills such as pitching, selling and
negotiating remain high on the wish list.
One way in which publishers have
responded to these new needs is through
investing in training (including looking at
new types of training from non-traditional
Thats not to say that the traditional routes

have become closed off. Graduates remain
firmly in the limelight for entry level jobs and,
although there are some publishers looking
at apprenticeship schemes and school
leavers, there remains a widespread need for
degree level education. However, employers
are looking beyond just English graduates to
a broader spread across the humanities,
sciences and foreign language graduates. The
MA in Publishing courses report high levels
of employment for their graduates.
Employers regularly report that having an
MA in publishing is no guarantee for a job,
but it will generally get you an interview.
Diversity is an area where publishing has
traditionally performed badlyalthough not
for want of trying. When questioned about
why the sector doesnt employ more people
from a BME background publishers often cite
the fact that people from ethnic minorities
03/04/2014 15:35
9 APRIL 2014
simply dont apply for jobs in publishing in

the first place. A charity called Creative
Access is aiming to address this. It was
set up in 2012 by philanthropist and agent
Michael Foster to help tackle the underrepresentation of ethnic minorities in media.
As the website (www.creativeaccess.org.uk)
states: Media cannot reflect society if society
is not reflected in the media. Creative Access
works with partners to deliver paid-for
internships across the creative industries for
people from ethnic minority backgrounds. In
the first year 100 interns were placed, with 20
of them in the publishing industry. There are
high targets for the next two years with an
aim to significantly increase the number of
Creative Access interns in the media sector,
and it is hoped that publishing will take a
good share of them.
As well as Creative Access, the Publishing
Equalities Charter (EQUIP) was launched at
the London Book Fair 2010 with an aim to
create a network of businesses with a
commitment to equality and diversity in
publishing. The charter is the centre of a
much wider network of people working in,
or wanting to work in publishing. The
Publishers Association (PA) and Independent

Publishers Guild are taking over the charter
and network as of the London Book Fair
2014, with the intention to sign up more
businesses to the Charter as well as growing
the network, the diversity of the network and
providing a database rich in information
about working and careers in publishing.
Wider talent pool

As a further way of developing diversity, the
wider creative industries are also providing a
talent pool for publishing to explore, and
people are recognising that skills from the
music, TV and gaming industries are all very
transferable to publishing. The publishing
industry is looking for people who can
demonstrate a wider cultural understanding
(and especially where publishing fits into it);
consumer insight skills and experience;
database management and social community
building skills; entrepreneurialism; and the
thinking outside the box abilities, that are
harder to train but easily demonstrable by
those who have developed these skills
elsewhere. We are also seeing freelance
contracts becoming more prevalent.
I N T E R N A T I O N A L
The PA is also using our Workforce

Development workstream to reach
schools, universities and broader clusters
of talent pools to educate them about
working in publishing, and in teaming up
with Inspiring the Future we are
encouraging publishing employees to sign
up to be matched to schools to give careers
talks. University careers talks by the PA
and the Society of Young Publishers have
also played a hand in spreading the word,
and there will be further social media
campaigns to demystify publishing and the
roles available.
So its not just the face of publishing which
is changing, but its whole body. Such
transformation is not an entirely new
phenomenon; publishing has always shown
itself to be capable of moving with the times.
As the attitudes and expectations of readers
continue to develop, the sector will be ready
to accommodate them through developing
an increasingly digitally-skilled, ethnically
diverse and multi-faceted workforce.
Emma House is Director of Publisher Relations at
the Publishers Association.
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This is a remarkable book: insightful and timely. It raises all the relevant issues
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Emma House - Changing Face of Publishing.indd 3
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03/04/2014 15:35
9 APRIL 2014
On appeal: US legal cases

Publishings legal landscape remains active in 2014. Andrew Richard Albanese
reports on the latest developments, and the cases to watch
emember when book scanning

was the big threat looming over
publishing? Thankfully those
days appear to be nearing a
close in 2014. But new legal
fronts are emerging, particularly over digital
rights issues, and it remains a busy time for
publishing industry lawyers. As the London
Book Fair opens, there are new cases to
report, some key cases lingering on appeal,
and some cases just beginning to heat up.
United States vs.Apple

More than two years in, the most high profile
case in the US remains Apples fight against
ebook price-fixing charges. It took Judge
Denise Cote just 20 days to issue a decisive
opinion against Apple in July of 2013. But the
company is defiantly battling on.
In February, Apple filed its appeal brief with
the Second Circuit Court of Appeals, arguing
that Judge Cote simply botched the case. The
court repeatedly applied the wrong legal standards, Apple attorneys argue, which
led it to jump to the false conclusions of a
price-fixing conspiracy from Apples
lawful, unilateral and pro-competitive
business activities.
Meanwhile, in concurrent class
actions, Judge Cote could decide money
damages sometime this year. A damages
trial was set for May, but is now all but
certain to be delayed. Apple is now trying
to get that trial out of the hands of Judge
Cote. And, there is a chance the judge
could order damages in a summary judgment, without a trial. Whatever happens,
dont expect Apple to give up the fight
until its last appeal is exhausted.
Meanwhile, for publishers the ordeal is
nearly over. The $166 million they paid in restitution has been distributed to consumers,
and sanctions from their 2012 settlements
with the Department of Justice will begin to
expire later this year. And if Apple is assessed
damages, hundreds of millions of dollars
could be pumped into the book business,
especially if the funds are returned via ebook
credits to consumers, as they were with the
publisher settlements. But they are not out of
the clear yet. Three new antitrust suits have
now been filed against Apple and five agency
publishers, raising the possibility of another
legal front opening in the ebook antitrust battlethis one involving aggrieved retailers. The
suits (filed by Australian company DNAML;
Lavoho, LLC, a successor to the recently
closed Diesel eBook Store; and Abbey House
Media, formerly Bookson Board) allege that
the publishers conspiracy with Apple ended
Andrew - Legal.indd 2
the retailers ability to bundle, discount, promote or otherwise engage in retail price competition, thus destroying their businesses. The
publishers and Apple are seeking to have the
suits dismissed.
Still, the most revealing chapter in the saga
may be yet to comethe first round of postsettlement publisher negotiations with Amazon.
HarperCollins vs. Open Road

In a significant ruling last month, Judge
Naomi Reice Buchwald found that upstart
ebook publisher Open Road infringed
HarperCollins copyright with its ebook
edition of Jean Craighead Georges 1973
bestselling childrens book Julie of the
Wolves. Filed by HarperCollins, who signed
the Newbery-winning book in 1971 for
$2000 and went on to sell nearly four million
copies, the suit argued that two clauses in its
43-year-old contract gave it the exclusive
right to license ebook rights, with Georges
consent. Buchwald agreed.
If Apple is assessed damages,

hundreds of millions of
dollars could be pumped into
the book business, especially
if the funds are returned via
ebook credits to consumers,
as they were with the
publisher settlements.
While some have viewed the case as a follow-up to the 2001 landmark ruling in
Rosetta vs. Random House, HarperCollins
stressed all along that it was not. Among the
big differences from Rosetta, HarperCollins
contract contained a clauseparagraph 20
which referenced electronic means now
known or hereafter invented
Open Road countered that the clause,
inserted by Georges agent Curtis Brown,
was not a publishing grant, but pertained to
then-emerging abstracting and indexing services. After all, why would Brown insert language to give away rights to a format that had
scarcely been imagined and was more than
30 years from reality. But left to rely on a
plain reading of the contract, Buchwald
found the language sufficiently broad to
draw within its ambit ebook publication.
Because the language is Browns, and not
HarperCollins boilerplate, the ruling is
unlikely to offer much if any clarity to deep
backlist rights situations at HarperCollins, or

elsewherea fact the judge even acknowledged
in her decision. It is that point that makes
HarperCollins decision to litigate even more
interesting. Indeed, the case appears driven
more by digital royalty issues than rights
issues. In court filings, it was revealed that
George would have preferred to publish her
ebook with HarperCollins, her long-time
print publisher. But even after selling millions
of copies, and with an ambiguous contract,
the publisher chose to litigate, rather than raise
its digital royalty.
The Google Book Scanning

Litigation
In November of 2013, after more than eight
years of litigation (including three years
stumping for an ill-fated, controversial settlement), Judge Denny Chin finally dismissed the
Authors Guilds lawsuit over Googles library
book scanning project. More tellingly, in his
opinion Chin offered a ringing endorsement
of Google Books: Indeed, the judge
opined, all society benefits.
The Authors Guild has vowed to
appeal, but that appeal is complicated.
First, the Appeals Court has already heard
an Authors Guild appeal in its parallel case
against Googles library scanning partners, in the Authors Guild vs. HathiTrust.
In that case, decided in October of 2012,
Judge Harold Baer also held that Googles
scanning was both legal, and an invaluable contribution to the progress of science
and cultivation of the arts. A decision
from the court of appeals is pending, but
by all accounts the oral argument did not
go well for the Authors Guild, and if Baers verdict is upheld in the HathiTrust case, as is
expected, it is highly unlikely that the Guild
could succeed with an appeal of Chins decision.
Cambridge University Press vs.

Patton
In this closely-watched case, three academic
publishers (Oxford University Press, Cambridge University Press and Sage Publications)
allege that administrators at Georgia State
University systematically encouraged faculty
to commit copyright infringement via campus
e-reserve systems as a no-cost alternative to
traditional printed course-packs. But in
August 2012, Judge Orinda Evans ruled
against the publishers, and ordered them to
pay legal fees of almost $3 million.
In November 2013, however, a three-judge
panel of the 11th Circuit Court of Appeals
appeared sympathetic to the publishers argument. The appeals court could still affirm all or
04/04/2014 23:04
9 APRIL 2014
parts of Evans ruling, but court-watchers say

that given the oral argument, that seems
unlikely. More likely, the court will remand the
case back to Evans with new instructions, or it
could toss Evans ruling, and issue an injunction
of their own. There are also jurisdictional issues
that could come into play. Suffice it to say, the
11th Circuits decision is highly anticipated.
very same time the booksellers were alleging a

publisher conspiracy with Amazon, the US
attorneys were suing the publishers for
conspiring against the e-tailer.
James et al vs. Penguin Group

In late April of 2013, three authors filed suit
against self-publishing service provider
Author Solutions, and its parent company
Penguin, alleging that the company misrepresents itself as a publisher to lure authors in,
Book House of Stuyvesant Plaza,

Inc. et al vs.Amazon.com
In one of the most puzzling cases in recent
memory, three independent bookstores
alleged that Amazon conspired with the
major publishers to illegally ice Indie
booksellers out of selling Kindle ebooks,
through Amazons use of proprietary
DRM. After months of waiting, the case
was all but laughed out of court.
The plaintiffs have said they were
evaluating their appeal options, but dont
expect this one to go anywhere. In dumping
the case last December, Judge Jed Rakoff noted
that the booksellers claim had no supporting
evidence and no plausible motive. Indeed, why
would publishers want to limit the number of
retailers selling their ebooks? Meanwhile, at the
D2_p28-29_Andrew - Legal.indd 3
The judge assigned to the case

[James et al vs. Penguin Group]
recently got a crash course in
publishing in her courtroom
Judge Denise Cote, currently
presiding over the Apple case.
then profits from fraudulent practices. Filed
in the Southern District of New York, the suit
seeks damages in excess of $5 million.
Penguin has moved to dismiss the case,
deeming the complaint a misguided attempt
to make a federal class action out of a series of

gripes. The motion also seeks to sever
Author Solutions parent company Penguin
from the suit, noting that no specific misconduct by Penguin is alleged. At press time,
a decision is pending.
If it proceedswhich is no sure thingthis
case could strike a nerve. It comes at a boom
time for self-publishing, and recalls a dark
pastthe days of the vanity presswhen
unsuspecting authors were wooed in, and then
saddled with expensive fees and garages
full of sub-standard print books.
The complaint makes for fascinating
reading. And one can certainly imagine
a large contingent of discontented selfpublished authors who would love a
peek behind the Author Solutions
curtain. But twists abound; first, in
October of last year, Penguin merged
with Random House, and it remains to
be seen what the future of Author
Solutions will be under the new regime. And,
the judge assigned to the case recently got a
crash course in publishing in her courtroom
Judge Denise Cote, currently presiding over
the Apple case.
06/04/2014 13:11
9 APRIL 2014
The state of independents
hen the news broke in February that Constable &

Robinson had been bought
by Little, Brown, the collective sigh from the independent publishing community was audible, writes
Bridget Shine. Companies get bought and sold
all the timethats business. But to lose Constable
& Robinson (C&R) from the fraternity was a
blow. Winner of the Independent Publishers
Guild (IPG) Independent Publisher of the Year
award in 2012 and a slew of other trade and digital prizes since then, C&R was the poster child of
independent publishing. Agile and innovative, it
also possessed the trait you see in the finest publishersgenerosity. Staff freely shared their
expertise and experience with other publishers at
IPG conferences and seminars; they were always
willing to talk, not just about what had worked
well but, equally importantly, what hadnt.
C&Rs sale stemmed from the untimely
death last year of its owner, Nick Robinson.
The transaction happened to coincide with
the well-documented troubles of a few other
independent publishers, and the spotlight
was turned on our community. But as our
bumper recent annual Conference proved,
Bridget Shine
anyone who thinks independent publishing is

poorly needs to think again.
The IPG now has 580 members of all shapes
and sizes, from international heavyweights to
medium-size companies to small newcomers.
We represent publishers from across the disciplines: academic and professional, educational, trade, childrens and specialist consumer. Each sector faces its own well-known
challengesfrom open access in academic publishing, to National Curriculum changes in the
educational sector, to the rise of ebooks in the
trade. But as we talk to publishers we find that
some themes are common to all, whatever

their size or genre. Here are five things they are
doing particularly well at the moment.
Finding new routes to market: As routes
through retailers have dwindled, and bricks and
mortar stores reduce their range, publishers need
to be smarter than ever in their strategies for
reaching readers. Academic, professional, educational and specialist consumer publishers have
long prided themselves on strong links with their
customers, whether via email with the help of
their databases, on the web through their specialist communities, or face-to-face at subjectrelated events like conferences and trade fairs.
Many of the companies on the various shortlists
for our Independent Publishing Awards this
yearlike Edward Elgar, SAGE, Crown House,
Search Press and Quillerare testament to that.
More and more are developing their own
e-platforms to sell direct to consumers.
Trade and childrens publishers are catching
up with new ways to reach readers. Childrens
publisher Nosy Crow, winner of our Nielsen
Digital Marketing Award, provides a masterclass in how to connect via social media, and
countless other publishers are nimble and passionate on Twitter and Facebook, getting closer
Digital Piracy Exists Everywhere.

Do you know where your content is hiding?
Attend our presentation or visit booth
#S530 to learn more.
The Impact of Digital Watermarking on Piracy
April 9, Wednesday at 4:30pm in Tech Theatre One.
Bridget Shine - IPG.indd 2
www.digimarc.com/guardian
guardian@digimarc.com
04/04/2014 22:49
9 APRIL 2014
than ever before to the people who buy their

books. What specialists like Osprey also do so
well is build lively online hubs around their content. Another IPG member, Unbound, takes the
relationship even further, crowdsourcing funds
for authors to write and publish their books.
Reaching round the world: They might not
have the global clout of the big publishing
houses, but independents are getting better
and better at carving out new international
markets. Usborne, this years overall IPG
Independent Publisher of the Year, is a shining
example of what they are capable of. As well
as English-language export sales around the
world, Usborne has sold rights in more than
100 different languages and publishes under
its own brand in several territories.
Delivering on data: It has been dismissed as a
dull chore for far too long, but metadata really
is the new rock and roll. The need to polish your
bibliographic data to get the maximum
discoverability is something IPG has been highlighting, and many of even the smallest
independents are now becoming data whizzes.
Managing the money: Good financial management has always been essential, and ownerpublishers have more reason than most to keep a
beady eye on the bottom line. There will always

be pressure points, and starting up a publishing
business is not for the faint-hearted. But help is
always at hand, and the financial health checks
we offered at our Conference with the help of
Richard Balkwill were very well received.
Using the imagination: In their responsive
publishing, guerrilla marketing, creative publicity and dynamic pricing, independents are great
at thinking on their feet. They have to be; budgets are tight and competition is fierce. But evidence of imagination is everywhere: in Accent
Press partnership with Diversity Role Models
on Its OK to be Gay, which helped it win this
years IPG Diversity Award, for instance; or in
Rowman & Littlefield Internationals ambition
for a whole new business model of inventoryfree, always-available publishing that releases
content simultaneously in hardback, paperback
and digital formats. This approach is particularly interesting because it proves another theme
of our Conferencethat content is king. However publishers publish, their most important
job is to find great content and add value to it.
Publishing conglomerates will always have
the advantages of scale in cash and other
resources, and independents are the first to
admit they can learn lots from them. But as our

Conference heard time and again, our members
have much that the bigger boys might envy.
Fabers Stephen Page summed it up nicely in his
keynote speech when he pointed out: Independent publishers have thrived in the age of
attention and abundance because we are intimate with our product, our audiences, the writers we work with and, of course, our cash.
Faber has been a proud independent for
decades, of course, but it is also hugely encouraging to see the breadth of new talent rising
through the independent publishing ranks. The
shortlist for our Newcomer Award this year
very appropriately named in honour of Nick
Robinsonspotlighted three exciting new arrivals in Critical Publishing, Fine Feather Press and
Do Sustainability. These and many more are
picking up the baton from the likes of Constable
& Robinson, reminding us that independent
publishing is always renewing and evolving.
The future is bright, not least because our members are constantly striving to improve. As Peter
Usbornes motto puts it simply: Do it better.
Bridget Shine is Chief Executive of the Independent
Publishers Guild.
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Bridget Shine - IPG.indd 3
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04/04/2014 22:49
9 APRIL 2014
Will Schwalbe: Recipe for success
ARA: After quitting, what was the biggest
ith Macmillans recent

acquisition of digital
recipe site Cookstr,
veteran editor and
author Will Schwalbe is
back with a major publisher, writes Andrew
Richard Albanese, who recently caught up
with the Coosktr founder to talk about his
experience launching a digital startup, and
his new role at Macmillan.
ARA: Lets start at the top as they say; what

made you quit your job as Editor-in-Chief of
Hyperion to launch Cookstr?
WS: In 2006, I edited Chris Andersons The
Long Tail: Why the Future of Business is Selling Less of More. It totally changed the way I
thought about publishing and the web. Over
the course of 2007, thanks to that book, I
started thinking more and more about new
digital opportunities for cookbooks. I had
also become fascinated with search technology. I suspected there could be an enthusiastic audience for a site that featured quality,
curated, trusted recipes from the worlds best
cookbookssort of a Long Tail of Great
Recipes from the Long Tail of Great Chefs
initial challenge in making Cookstr happen?
WS: The biggest challenge was coming up
Will Schwalbe
and Cookbook Authors. I started to think

about how search could aid in the discovery
of recipes and, in turn, cookbooks.
More than anything, though, I was excited
to play with new technology. I had been in
publishing for 24 years and I really wanted to
learn something totally new. I had co-written
a book on email with my friend David Shipley. We had gone to SXSWi in 2007 to
launch it. And I met such amazing people
there, as well as through Chris Anderson. In
January 2008, I threw myself in the deep end.
I abruptly quit Hyperion to launch Cookstr.
with a revenue model, given that the global

economy began to collapse just a few months
into 2008, and display advertising cratered
along with it. Luckily, I found great partners in
Katie Workman, Cookstrs founding Editorin-Chief, and Art Chang of Tipping Point Partners, our strategist and business lead. Even
with the most minimal funding, we were able
to get the best recipes from the best cookbooks,
because, right from the start, we offered to
share revenue with rights holders, and because
we built the site from the ground up to address
the kinds of issues that most concern publishers and recipe creators. Cookstr now features
roughly 9,000 recipes from more than 100 different rights holders, and every recipe appears
verbatim; is extensively tagged; and has a full
nutritional analysis. We also have a newsletter
with nearly 40,000 subscribers. And weve
become a revenue stream for publishers and
authors, as well as a way to promote deep
backlist books. And Cookstr is still, I think, the
only multiple author website that shares
income and can properly manage rights.
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D2_p32-33_Andrew - Schwalbe Q&A.indd 2
06/04/2014 13:08
9 APRIL 2014
ARA: Can you tell us a little about your new

role at Macmillan?
WS: Im so excited about my new role
here. Cookstrs Director of Editorial and
Partnerships, Kara Rota, joined with me;
Macmillan has set it up so that we will
continue to run Cookstr as an independent
unit. Separate from Cookstr, we are also
going to be acquiring books in
conjunction with the various Macmillan
imprints. Well be doing six or so books
a year across genres: narrative nonfiction, business, a few cookbooks,
memoir, inspirational, and who knows
what else.
I also learned some new ways of thinking

about things. For example, we hired Pivotal
Labs, a brilliant software development firm,
to build our site. Watching the way they
worked taught me a ton about embracing
change, in a disciplined way, and about the
power of certain kinds of teams. I also learned
ARA: What did you learn from
launching a digital publishing startup

that will be useful in your new role?
WS: I very quickly learned how viciously
hard it is to raise money. Nothing I had
experienced in publishing could have
prepared me for the experience of being
grilled by venture capitalists. But that
experience has taught me different kinds of
questions to ask myself when evaluating
books and other projects.
Watching the way [the

software developers] worked
taught me a ton about embracing
change, in a disciplined way,
and about the power of
certain kinds of teams.
a fair bit about searching for new revenue
streams, and about partnering with different
kinds of organisations. We started design and
coding for Cookstr in July 2008 and launched
just four months later, so its fair to say we also
learned how to do things fast and lean.
ARA: With the internet, you are always a

click away from a great recipe, yet print
cookbooks continue to show strong growth

as a segment. Is there a lesson there for those
who might still question the future of print?
WS: Cookbooks are so much more
than recipes. They can include information
on history and culture, and often have
terrific and lively writing. Cookbooks are
also frequently among the most
beautiful examples of bookmaking,
with great photographs and
illustrations, thoughtful typography,
arresting covers, good paper and
properly sewn bindings. And,
Happy Birthday, heres a stunning
cookbook, is usually going to get
you way farther than, Happy
Birthday, let me tell you about an
interesting URL!
ARA: I cant let you go without a little food

talkfavourite British food, and what to
drink with it?
WS: I get incredible cravings for Scotch
eggs. And, I love to say: Give me a pint of
Courage. For dessert, Im crazy about
Nigella Lawsons Sticky-Toffee Pudding
which is on Cookstr.com.
Introducing
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What is The Great British Bookshop?

s .EWROUTETOMARKET
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D2_p32-33_Andrew - Schwalbe Q&A.indd 3
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06/04/2014 12:16
9 APRIL 2014
Gardners in a changing landscape
ardners holds the

largest range of
physical Englishlanguage media
products in
Europe, with more than
500,000 titles carried in a single
warehouse, offering same-day
despatch and next-day delivery,
free of charge to any UK address,
writes Bob Jackson. We are
still a family-owned business,
with owners who are actively
involved in the day-to-day
running of the company, and we
have continued to re-invest in
new technology, infrastructure
and staff to keep us at the head of
our field throughout the
companys 27-year history.
They are supported by an
experienced management team
with a wide-ranging knowledge
of all aspects of the entertainment
and book tradefrom studios
and publishers, through to high
street and internet retailing. Our
Bob Jackson
phenomenal success is the result

of a unique blending of the
factors above, coupled with a
passion to develop innovative
new services for our customers.
Technology is moving at such
a speed, which enables us as a
company to constantly evolve.
We were the first book
wholesaler to realise the benefits
electronic ordering could offer to
booksellers, and we developed
and released our sophisticated
stockholding

LARGEST
English

with over

## #$!##!#!"%
available same day

"
next dayany

Bob Jackson - Gardners.indd 2
ordering and stock management

system, Gardlink, in 1990. This
product has continued to evolve
over the years and in 2011 saw
the release of Gardlink 4, which
boasted touch-screen technology
and real-time information
to provide a full EPOS system
with EDI (electronic data
interchange) capability.
Working with publishers and
retailers, its been nearly 14
years since Gardners became the
first UK distributor to offer a
print-on-demand solution,
which allows publishers to print
and distribute a book in 48
hours. This service now offers a
range of more than 1.5 million
print-on-demand titles to
retailers around the world.
The internet has probably
presented the biggest change in
retailing in the past 20 years or
so, presenting challenges to
conventional high-street retailers
and opportunities for those who
sell as internet retailers. Our core
business has evolved from selling
physical books to high-street
retailers, to encompassing more
than 700,000 digital products
and 165,000 entertainment
products, and fulfilling online
sales in both physical and digital
formats. While we still put
physical goods in boxes and ship
to our retail customers, our
customer base and product range
has diversified significantly to
meet this change head on.
Our digital catalogue and
services have been evolving
rapidly with new ways of offering,
selling and delivering digital
content. Gardners Digital
Content Services provides an easy,
simplified packaged solution to
offer in excess of 700,000 titles to
outlets worldwide including:
consumer retail downloads;
educational and academic library
platforms; public libraries; and
file distribution.
There are in essence two
alternative services designed to
provide publishers access to a
wide variety of outlets. Firstly
there is the wholesale fulfilment
option, whereby the distributor,
Gardners, retains the publishers
source files, applies the
publishers DRM requirements
and fulfils the order. This means

that publishers can have the
confidence that their content is
securely managed, and that the
outlet does not have the expense
involved in managing their own
secure hosting solutions. This
fulfilment service is available to
outlets of any type including
retail, public library, academic
library and professional
institutions, with the distributor
applying the appropriate DRM
and the time-limited access
required for those commercial
environments.
The second choice is a
distribution option whereby
Gardners, acting as the
publishers distributor with the
publishers agreement, distribute
the source files to the outlet.
Under a managed service they
handle distribution, manage
reporting and payment on behalf
of the outlet. The commercial
relationship would be with the
distributor, meaning one single
accounts payment covering
all sales from all outlets.
Alternatively publishers and
outlets can opt for the hosted
services option, whereby the
distributor provides the outlet
with publishers source files, and
the publisher with sales reports.
All financial transactions operate
directly between the publisher
and the outlet.
With the rapid progression of
digital, Gardners has focused on
providing customers with all of
the information and support
they need to adapt, from pricing
and availability feeds to product
images, digital marketing
materials and new supporting
services and devices. Gardners
as a customer-focused company
is continuing to move forwards
and help retailers face an evermore demanding consumer
market by embracing a changing
retail landscape involving the
essential mantra: Offer your
consumers both physical and
digital products on the high
street and online; its an
unbeatable combination for
todays retailer.
Bob Jackson is Commercial Director
at Gardners Books.
04/04/2014 22:47
9 APRIL 2014
Signposts to poetry
npress is a sales and

marketing agency
representing a range of
brilliant, innovative,
critically acclaimed and
diverse publishers from around
the country, whose books
represent the very best that the
independent literary arts have to
offer, writes Sophie ONeill.
We are a unique in a number of
ways. Firstly we are Arts Council
funded, which means we have the
ability to support and represent
publishers that more commercial
agencies would be loath to take
on. Before I joined Inpress, I had
no idea that there were so many
small independent publishers in
the UK, run by really passionate,
professional and dedicated
people. Many of our publishers
are writers, many hold down
day jobs to support their
compulsion to publish, all of
them extremely awe-inspiring in
what they achieve.
We also differ from our
competitors in our collegiate
ethos and commitment to the
professional development of our
publishers. We see ourselves as a
mini Independent Publishers Guild
(IPG); we provide industry updates
on a regular basis, and our Festival
of Publishing, an annual conference
held in London, has been a sell-out
event for the last two years.
The majority of our presses
publish into that shadowy end of
the literary arena, the poetry
market. It is a world with its own
particular set of challenges and
rewards, and having come from a
more commercial sales background, the task of understanding
the poetry industry has, and continues to be, a fascinating journey.
A look at the eco-system is
interesting; within the poetry
world there is a wealth of
funding, prizes and awards for
new and emerging talent, and
there can be significant sales for
established names. However,
until you become an established
name, publishing profitably is an
extremely difficult proposition.
The time in-between emerging
and highly-successful is rarely
given focus or funding, and it is
here that our publishers are
doing excellent and essential
Sophie ONeill
work. Major poetry publishers

take on two or three debut
collections a year; in contrast, the
latest Inpress catalogue contains
38 debut writers. By supporting
our publishers in their business,
we believe we are helping nurture
and keep alive tomorrows
potential laureates.
There is one thing poetry
publishers, from the smallest to
the largest, do very well and that
is speak to their audience.
Engagement is such a buzz
word, but knowing your readers
and speaking to them on a dayto-day basis is a key part of what
we do. Our publishers were in
touch with their readers way
before the advent of social
media; they and their authors are
masters of hand-selling and
tireless in self-promotiontaking
part in readings, attending
festivals and poetry slams,
organising their own events,
going into schools, running
competitions. Its a wonder
theyve found room for
newsletters, Twitter feeds and
Facebook pages.
The question I havent yet
cracked, and that all poetry
publishers are constantly asking
themselves, is how to get regular
book readers into reading and
buying poetry. It feels like we are
undergoing a small renaissance at
the moment. With people like Kate
Tempest bringing contemporary
poetry to a younger audience,
there have never been so many
poetry slams and events, and
poetry festivals are flourishing.
One of our publishers, CBeditions,
created the Free Verse festival,
which is now so popular that we
had to haggle to get a stand space
at the most recent event.
Sophie O'Neill - Inpress.indd 3
The Poetry Archive, the

brainchild of Andrew Motion, has
more than a million pages of poetry
read and browsed every month,
the Southbank constantly runs sellout poetry events, the TS Eliot Prize
award ceremony had an audience
of more than 2,000 people and
creative writing courses are
flourishing nationwide.
But despite all this, poetry still
has an elitist or too
challenging stigma for most
people, or perhaps they are
lacking good signposts to refer
them to poetry that they will be
guaranteed to enjoy? Everyone
has heard of the big names in
poe tr y, but your ave r age
bookshop punter is probably not
familiar with names beyond that.
Which is where we come in.
We are the curators of poetry for
the book trade. There are
bookshops out there with
fabulous poetry sections, but
more often than not, there are
shops who cant afford to give

much of their space to a section
where the turnover can be slow.
Its our job to breathe life into
their poetry sections, whatever
the size. Then theres the formats
to be worked through, pamphlets
and chapbooks can be things of
absolute beauty and affordable
too, but are spineless; unless
displayed in a stand they get lost
in the bookshelves. A great shame
as many of these are hand-made
pieces of art.
Its a minefield, but an interesting
one, filled with extremely
talented and generous people.
I challenge you to read some
poetry this week, preferably by
someone youve never heard of
before. We are at the IPG stand
(J205), if youd like some advice;
were always happy to talk
about our poets and publishers.
Sophie ONeill is the Managing
Director of Inpress.
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04/04/2014 23:34
9 APRIL 2014
The same road
Teenagers as authors
ulky, passionate,
opinionated, stubborn
and blissfully ignorant
of tradition, teenage
behaviour is reflected
perfectly back in the work of our
hugely successful young adult
novelists, writes Barry Cunningham. But perhaps they are already
old and past itright? What
happened when The Chicken
House took on a batch of real
teenage novelists to blast the
socks off the older generation?
M Anjelais, Jade Ngengi and
Cat Doyle all came to us in their
teens from our writing competitions or from agents who needed
a special home. And thats what
we had to give themmentoring
and encouragement mixed with
strict homework assignments to
get them to finish and revise
(You mean I have to do it
again?) and to manage their
expectations (Its going to take
that long? No way!). Sometimes our editors, Rachel
Leyshon and Imogen Cooper,
had to be the firm older sisters;
sometimes I needed to be their
publishing dad: You are not
going out until this is done.
But heres the difference. As
publishers for young people, we
are so used to working with a
filtered, managed and structured
experience; adults looking back on
their teenage problems, trying to
recall what it was like, how they
felt and what it all meant. Working
directly with teenagers gave us the
raw material: the hurt; the anger;
the pain of being misunderstood,
ignored or patronised; and the love
of action and conflict to face up to,
and solve, problems. Our job was
to help form thisto show how
words can be even more effective,
how characters can speak part of
what they mean, while showing
the real truth.
But, my goodness, they really
showed us too. Showing the raw
emotion of a love with a boy
who has no real feeling, Breaking Butterflies by M Anjelais is
out this April, an astonishing
Bront-like debut. Anjelais has
been home-schooled in the US
and wanted poetic realism
each strong feeling matched in
thought. We helped her add
heres a saying that

I share with only
those dearest to me:
Let bygones be
bygones, writes
Sun-mi Hwang. To an extent,
my inner circle of friends is
determined by how much one is
willing to agree to this saying.
I spent an impoverished
childhood growing up in a
war-ravaged country that was
struggling to rebuild streets that
had been reduced to rubble. I was
one of the many mouths to feed in
our house, and the luxury of
having a warm, cozy home was
out of the question. And the adults
did not help brighten the future;
they had defeated minds and were
as devastated as the street outside.
Actually, there was no future at all
to ponder about, but just the bleak
reality before our eyes, holding
not the slightest hint of hope.
It wasnt a set of circumstances
that encouraged lofty reveries.
My having tuberculosis was
only a natural manifestation of all
that combined to make my
childhood miserable.
But ironically, this deficiency
has only served to galvanise the
imagination that had been
dormant within me, and once my
imagination had been ignited, I
took a totally different approach
to life itself. Even before I
knew what a writer was, I had
already been pounding out draft
after draft that my newborn
imagination was dictating.
Writing royalty
But still, I felt leagues away from
being a writer in the truest sense.
Those who were established in
the trade felt like those of a sort of
high blood to me, a royal breed
that I couldnt imagine myself
fitting into. So when someone
called me a writer for the first
time, after I had won second place
in a short story contest, I felt an
emptiness overcome me, because
I felt disappointed at how low the
threshold for entering the
profession seemed to be. But then
again it was in my nature to write,
so I kept up the practice, while
making ends meet through
various activities that were rather
closer to reality.
Sun-mi Hwang
I often dreamt about running

away from the street I spent my
childhood on, and walking out
of the college gates after my graduation I was sure I would not
come back. There was no reason
to feel wistful about a place
where no family, or memory that
could be cherished, existed. It
was probably from these circumstances that a tendency not to
look back took root in me.
But theres something I realise
more and more as I write. Its
that I cannot actually run away
from that miserable street of my
childhood memories. Virtually
everything in my writing is
something reproduced, derived
but altered, or expanded from
that street. I now humbly admit
that it was that very street, bleak
as it was, that gave colour and
vitality to my imagination. Now
I do not try to run away when
my childhood memories haunt
me, because I know the road I
am proudly standing on right
this moment is only a point
further down from the road of
my younger years, and that I will
be treading this very road until
the day I let my pen drop.
I now do not walk hurriedly
down the road to get further
away from the harsh memories
of my childhood. Instead I take
long and light strides out of
curiosity for whats around the
corner, waiting for me. Because
time has taught me that life is
bound to get better, as long as
you retain some, not even much,
expectation for whats ahead.
Translated by David Hong. Sun-mi
Hwang will be in conversation with
Maya Jaggi at 11:30am today in the
PEN Literary Salon.
D2_p36_Sun-mi Hwang - Barry Cunningham.indd 2
Barry Cunningham
action and to tease out the reality

of the relationships, while she
fought back when we wanted
love to be sentimental and silly.
Mirage by Jade Ngengi comes
in early 2015, a from-the-inside
story of a young genie trapped
and sold in a modern day auction. Jade is our youngest and
most impatient author, with brilliant all-action ideas, which run
away with herand she wants to
write five sequels at once!
Cat Doyle wrote her Valentine Vendetta, the story of a girl,
five brothers and a crime family
at odds with each other, and the
love which threatens to tear their
BadFellas clan apart. Cat
writes like the movies and stories
she loved growing up in Ireland
with an American mom and an
Irish dad. She wanted to write
about how a real teenager would
feel in a criminal world, where
love is really more deadly than
the bullets. She told us when
what we were asking was dumb
or what real teenagers would
think of boys/men/guns!
We all know that publishing is
changing, opening up direct
routes to audiences and using
social networks to establish popularity and reach real readers.
Part of this has got to be to give
young peoples own voice a
place in the industry that is supposed to be for fulfilling their
needs. Isnt it about time that
childrens books really means
what it says on the tin? To paraphrase the famous Who song:
Why dont you all fade away if
you dont dig what we all say.
Barry Cunningham is Publisher and
Managing Director of The Chicken
House (on Stand E350).
06/04/2014 12:07
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LondonSDfp.indd 1
4/1/14 3:46 PM
9 APRIL 2014
The Curious Fox turns one
his spring Curious Fox celebrates its first birthdaya year

of publishing fiction series and
novels for young people on a list
designed to open minds to new
worlds, new characters and new authors,
writes Miles Stevens-Hoare. And what a
year its been.
The idea was first conceived two years ago
over croissants and coffee, and when we told
people that wed decided to launch a fiction
list, some people thought we were mad. Trying to stand out from the big boys in this
crowded marketplaceimpossible, surely?
But we were confident in our expertise
and commitment. Our sister imprint, Raintree, has been publishing non-fiction books
for libraries and the educational market for
more than ten years with great success.
Because of that weve got strong links with
thousands of schools and libraries; we hear
about gaps in the market first and weve got
an enormously creative in-house team who
are up for a challenge.
Inspiring curiosity
Our aim was to acquire stories that inspire
curiosity in young readers minds. Thats
where the curious part of Curious Fox comes
from. (As for the fox part, well, who doesnt
love a cute fox?) Curiosity means stories that
answer the question what if? In our
search, the ideas needed to be strong,
the worlds to be unforgettable, the
characters instantly identifiable, and
the packaging had to jump off the shelf.
We firmly believe in finding such stories by whatever means possible. There
are some truly great ideas out there if
you look hard enough, and we left no
stone unturned. This diversity is
reflected in the list. We found our
authors from submissions on the slush
pile, through literary agents, and we took on
some interactively written stories produced
online via Fiction Express too.
Its important to have authors who are
expert in their field. For a book about climatechange (Red Rock), we needed
somebody who knew their stuff,
and theres no better choice for
that than marine scientist Kate
Kelly, who has studied rising
sea levels and knows what
might happen if predictions
come true. When it comes to
knowing what teenage girls
like to read, no-one is more
in touch than Luisa Plaja, so when she
asked the question: What if you lived in a
shopping mall? we couldnt resist.
Having peeked under every stone, having
ploughed through dozens of manuscripts,
Miles Stevens-Hoare
asking ourselves what if? countless times,

and having made sure we chose only the very
best stories we could find, our launch list
included books from Kate Kelly and Luisa
Plaja, and Stewart Ross dark dystopian
adventure The Soterion Mission,
which asks: What if you knew
you were going to die the moment
you turned 19 years old?
Beyond one-off novels, our experience with libraries and librarians
showed us how important series fiction is for keeping young readers
hooked. So we also launched with
some series were immensely proud of:
City Farm, Hyperspace High, Roller Girls
and Secrets and Spies.
We firmly believe in finding

such stories by whatever means
possible. There are some truly
great ideas out there if you look
hard enough, and we left no
stone unturned.
Miles Stevens-Hoare - Curious Fox.indd 2
quest to forge an identity. Its a landmark

book for us, and one thats sure to get noticed.
It goes without saying how important
marketing and promotion are when starting
from scratch to build the profile of a new list.
Weve aimed big in our first year, launching
Diary of a Mall Girl (Luisa Plaja) in partnership with Westfield shopping centre and
Bliss magazine; taking over Canterbury for
Zed Day to launch The Soterion Mission,
which gave the Waterstones there their bestselling events day ever; and we worked with
a jewellery design course to challenge students to create a piece of jewellery inspired
by the book Amber by Julie Sykes.
Cracking into the market has been a challenge, but in the very best way. Weve had
some great reaction from retailers on the
high street, but were still in the process
of turning this support into firm sales.
Weve not yet opened doors to the
supermarkets, but we hope our new
agreement with Warner Bros will be
our key here. Independents are critical to a new list like ours, so to make
sure they are well looked-after
weve appointed MMS to help
make our contact and offers more
enticing and efficient, and were growing our
well-established direct supply routes to
schools and libraries.
Innovation is crucial, too. Its easier
than ever to talk directly to our readers,
with so many dedicated bloggers online
and readers on social media. Keeping
that dialogue going means we get the
best feedbackgood and badand helps
build the grass-roots support thats vital
to our success. Team Fox, our reviewer
panel, and our loyal band of bloggers
and librarians are all part of the Curious
Fox family, and mean we
know almost instantly
what people think of our
books. Without their support,
this first year simply wouldnt
have been possible.
As we begin our second
year and reflect on our first,
theres such a lot of success
to look back on. Its been
tough, incredibly so at times, but the
response weve had is overwhelmingly positive, and proves that if you get it right, theres
always a place for a really good story. Broadening our appeal and diversifying into new
areas is a key theme for Curious Fox in the
coming monthsthere are some really exciting things coming from the Foxs den, and
well always stay curious.
On trend
Reacting to trends is something we focus
ontrends, not fads, that is. In launching
Roller Girls we spotted a new trend for
tweenagers rediscovering roller skating in
the United States, so we quickly developed a
series to reflect this.
Social media expert (and heavy-metal
loving mum of two teenagers) Jackie Buckle
has given us a hilarious novel for young
adults, Half My Facebook Friends Are
Ferrets, which taps into the teenage
obsession for social media. And were about
to a launch Wanted, a new Western revenge
epic that ties in to the rise of chic noirchick
lit with a darker twist.
Later this spring were breaking new
ground with the truly inspirational Alex As
Well by Australian author Alyssa Brugman,
which is the story of an intersex teenagers
Miles Stevens-Hoare is Managing Director of

Curious Fox.
04/04/2014 23:29
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9 April 2014

Great Debate: bigger, better?

ith the recent

News Day 2.indd 1

market had not worked until

First Book Industry Excellence Awards winners

ublishers from Belorussia,

IPA Freedom to Publish Award:

The International Academic and

Visit us at The Perseus Books Group stand H900

LONDON SHOW DAILY 3

LBF 2014The books making the running

headlines in the European press

year, for the CWA Debut Dagger for unpublished writers.

Lifelong Health, and the author

Young African authors unveiled

loomsbury unveiled its list

To contact London Show Daily at the

UNESCO World Book Capital.

Nicholas Clee and Liz Thomson

Reporting for Publishers Weekly by

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

News Day 2.indd 3

4 LONDON SHOW DAILY

Severn House celebration

rights via Jonny Geller at Curtis

dwin Buckhalter hosted a

Rachel Denwood at HarperCollins

new video platform

Revenue from the resulting

News Day 2.indd 4

Buckhalters three- (from left) Mandy, Edwin, and James

PA, IPG take over EQUIP

he Publishers Association (PA) and the Independent

New spring and summer reads from

the Moses virus

Taylor Trade Publishing

Rowman & Littlefield International

the Dawn of tibet

The Ancient Civilization on the

privaCy in the age

The Paris of Picasso, Stravinsky,

Negotiating and Answering

Rowman & Littlefield

6 LONDON SHOW DAILY

LBF 2014scenes from Day 1

A busy scene as LBF 2014 gets underway.

Sign of the times: John A Walker promotes his Kindle

First meeting of the Fair at the Felicity Bryan stand.

News Day 2.indd 6

Peter James signed a contract with Jeannette Ploeger of De Fontein in the

Roberto Calasso of Adelphi with agent Geraldine Cooke.

8 LONDON SHOW DAILY

Traditions and transitions

ts a balmy evening in March, and

Arend Kster - Bloomsbury.indd 2

Mai Al-Nakib and Arend Kster at the inaugural

into peoples hands, then what they call

Difculties with dialect

enforcement is lax, to say the least, this opens

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9th April 2014

Selling Direct to Consumers and

LBF 2014 Day 1.indd 2

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