London Show Daily, April 10, Day 3

10 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
Farewell, Earls Court, hello,

Olympia
Visit us at
Stand G470
o doubt youve
seen the signs.
So long Earls
Court, last one
out, turn off the
lights, writes Andrew Richard
Albanese. The London Book
Fair is moving for 2015 and
beyond. But what may have not
come through about the end of
the Earls Court era London
Book Fair, is that its new home,
the Olympia London (right), is
pretty spectacular.
I think the one clear message
Id like to get across is that this is
not the Olympia it was before,
LBF director Jacks Thomas
stressed. It has two enormous
new halls, which are very light,
and you can now connect to
them all, through different
points of access. We are not
losing anything, and what we
are gaining is a prettier venue.
Everyone who goes in reacts to
that glass ceiling. It is completely
iconic.
Indeed, many long time
London Book Fair attendees will
recall previous shows at
Olympia. But that was 10 years
and 30m ago. And after years
standing in fluorescent light for
so long, the new venues natural
light-filled exhibition halls,
which are surrounded by a large
second-level promenade
overlooking the floor, will be a
welcome change. In addition,
the meeting rooms are nicely
appointed, and there are theatres
and a state of the art main
auditorium on site.
In all, there will be more
than 42,000 square metres
of space, and the London
Book Fair will use all of it, one
of the only shows to make
News Day 3.indd 1
In a conversation with fellow Orion author Kate Mosse (right),

Anthony Horowitz revealed the title of his latest Sherlock Holmes
novelMORIARTY (October). As they finished speaking, the Duchess
of Cornwall arrived, on a walkabout that was due to end at the Orion
stand with a look at her husbands latest book on Highgrove.
use of the entire Olympia

complex for its conference.
And, Thomas said, there was
room to grow.
The change comes as Earls
Court, where the Fair has been
for the last decade, is ready to be

reclaimed for other uses. For
a generation of Fairgoers,
including a number of first-time
digital exhibitors, Earls Court is
all theyve known. And if worries
existed, it is because the last time

a Fair was anywhere other than
Earls Court, it was at the ExCel
Centre, far from Central
London, or in Olympia before its
upgrade.
Fair organizers are now busily
preparing for the move, and still
figuring how the Fair will
exactly set up. But for a Fair that
has been steadily re-thinking
itself over the last few years, that
is not a problem. I think this
year we re-thought the Fair quite
a bit, Thomas said. We
looked at every single sector, at
every single geography with the
Fair, and we honestly turned it
inside out.
Thomas said that additions
like the Academic Zone, Author
HQ, and Tech Central would
move to Olympia, and that more
consumer-facing events might
be added. And perhaps most
importantly, the International
Rights Centre will have an
attractive new home, with
plenty of natural light.
Photosynthesis, Thomas
said. To help grow more deals!
09/04/2014 16:20
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10 APRIL 2014
LONDON SHOW DAILY 3
FAIR DEALINGS
Koboevolving into a content business
ith ebooks a
big part of the
conversation
at the Fair,
A n d r e w
Richard Albanese caught up with
Kobos recently named President
and Chief Content Officer
Michael Tamblyn.
it is a slow process. Independent

stores are of course independent by
nature, so there is no centralized
training or testing facility.
ARA: Congratulations on your

promotion. Tell us whats on
your plate.
MT: If you look at the development of Kobo over time, we
started as an apps-only company
who then figured out that devices
were a great way to acquire customers, so we succeeded in building a lot of devices and released
them into a lot of markets, and we
have now figured out how to get
partners selling those devices, in a
lot of different territories. Now,
were coming back with a greater
focus on the content side of the
business. Now that we have all of
our partners putting devices on
shelves well, and putting them in
customers hands well, how do we
get those partners more engaged in
the promotion of the digital titles?
ARA: How are your independent

partnerships going?
MT: They are going well. We have
partnerships with independent
bookstores in the US, with big
chains like WHSmith in the
Michael Tamblyn
UK, with FNAC in France, and we

have the two largest book chains in
Italy. We are starting to see that
some stores have really embraced
digital and are doing quite well. But
Lifetime award for Rogers
resenting his long-time agent

Deborah Rogers with the
London Book Fairs Lifetime Achievement Award, Kazuo
Ishiguro painted a charming and
revealing portrait of a woman
whose love for high art is balanced
by a fondness for high kitsch.
It is true there is an eccentric
quality to Deborah, Ishiguro
suggested. No doubt having an
inkling of what was to come,
Rogerssitting with her husband,
composer Michael Berkeley
blushed but did not deny the
charges. The late Angela Carter
had advised Ishiguro that kitsch
To contact London Show Daily at the

Fair with your news, visit us on the
Publishers Weekly stand G470
Reporting for BookBrunch by
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 +1-800-278-2991

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News Day 3.indd 3
ARA: What kinds of things do

you do at the London Book Fair?
MT: The London Book Fair is
always a place where people come
to check in and find out how were
progressing. There is a big team on
the ground here and we are working and meeting with UK and
European publishers, and we have
a great presence here from our selfpublishing team. And there is the
steady beat of new partners wanting to learn more about Kobo. So it
is a big fair for us.
ARA: Whats your take on the

current self-publishing boom?
MT: Its become a very significant
piece of the business for us. It is
now quite easily 10% or 11% of
unit sales on any given day. That
means self-publishing in any given
country is as big as a big five publisher, if you look at it weight for
weight. Id say its a transformative
force when we look at authors and
their relationship to publishers.
Authors now know this other
means is available to them and
that in turn has made publishers
step up their game. To me, this is
kind of the Golden Age of the
author, and were happy to help
move that along.
was the way to the agents heart.

Even now, he said, I never walk
past a junk shop without thinking
of Deborah, and Angelas advice,
he said, to much laughter.
In the lengthy but always entertaining encomium, the muchgarlanded novelist said that had
Rogers chosen to be a banker or a
folksinger, publishing and literature would have been much the
poorer. Deborah didnt teach me
to write, but she taught me to be
writer, he said. A defender of, and
fighter for, her authors, when
Deborah wins a battle, everyone
gets closer to winning the war.
Accepting the award, the ever-
Deborah Rogers and Kazuo Ishiguro
modest Rogers said she didnt

know about achievementits
been a lifetime of indulgence.
Ive done what Ive loved.
French Lessons, Hausfrau are hot
memoir by New Yorker staff writer Lauren Collins, signed

by Ann Godoff at Penguin Press for a rumoured seven gures (agent Elyse Cheney) and by Fourth Estate in the UK,
emerged as one of the hottest titles of the Fair on day two. Collins, a
provincial American, chronicles her attempts to master French after
marrying a Frenchman and moving to Geneva. In its catalogue copy
for the memoir, provisionally titled FRENCH LESSONS, the agency
describes the work as a story of two romances: Collins falls in
love anew with her husband across the linguistic divide; and falls
for the world she comes to inhabit in a foreign tongue.
Another big book at the Fair is a debut novel called HAUSFRAU,
pre-empted by David Ebershoff at Random House.The novel, which
is set in Switzerland, is by poet Jill Alexander Essbaum and, as RH
described it, explores family and adultery. Ebershoff touted the
fact that the work was only the second debut novel he has acquired
in recent years. He bought Hausfrau from Sergei Tsimberov and
Kathleen Anderson at Anderson Literary Management.
www.bookbrunch.co.uk
09/04/2014 16:09
10 APRIL 2014
4 LONDON SHOW DAILY
FAIR DEALINGS
Rights round up
Amanda Harris at Weidenfeld has
struck a major two-book deal with
the DUMPLING SISTERS through Ariella Feiner at United Agents. Amy and
Julie Zhangs first book will come
fromWeidenfeld in May 2015.They are
New Zealanders of Chinese descent
a much less hairy version of the Hairy
Bikerswho were nalists in Jamie
Olivers Search for a Food Tube Star.
Their Chinese New Year potsticker
dumplings recipe has recorded more
than 88,000 hits. Harris said: The
Dumpling Sisters are, simply, awesome.They are talented, encouraging
and make me truly believe I, too, can
make delicious dim sum.
Margaret Stead at Atlantic has

bought UK and Commonwealth
rights in GIRL MEETS WORLD (September 2015) by Dr Lisa Damour from
Arabella Stein on behalf of the Ross
Yoon Agency in the US. Atlantic will
publish in September 2015. Ballantine bought US rights at auction. Girl
Meets World explores the seven key
transitional phases of a teenage girl
on the path to womanhood. Damour
directs the Centre for Research on
Girls at Laurel School in the US, maintains a private psychotherapy practice, consults and speaks nationally,
and serves on the advisory board of
the Eating Disorders Network.
Alice Nightingale at Titan has bought

BURNT TONGUES: AN ANTHOLOGY
OF TRANSGRESSIVE SHORT STORIES, edited by Chuck Palahniuk, Richard Thomas and Dennis Widmyer.
Titan has UK and Commonwealth
rights through Ella Kahn at Diamond
Kahn & Woods Literary Agency on
behalf of Medallion Press in the US.
The anthology features writing from
20 of Palahniuks online writing workshop students from the US and UK.
Titles include Zombie Whorehouse,
Mind and Soldier, and Engines,
O-Rings, and Astronauts.
Suzanne Baboneau at Simon &

Schuster has bought three further
novels byTV presenter Richard Madeley. S&S has world English rights
through Luigi Bonomi at LBA Associates. We publish Richards second
novel, The WayYou LookTonight, this
summer, Baboneau said, and to
have three further novels under contract shows how committed Richard
is to his new career as a novelist. He
is a wonderfully gifted writer... and is
a complete joy to work with.
Amanda Ridout at Head of Zeus has

signed a multi-book deal with thriller
writer Joseph Finder, whose previous
UK publisher was Headline. HoZ has
UK and Commonwealth rights
through Clare Alexander of Aitken
Alexander, and will publish two new
titles and seven backlist titles over the
next two years. SUSPICION, the rst
title, comes in June (and in the US from
Dutton). Ridout said: Joe is a hugely
accomplished and successful thriller
writer who has great potential to grow
his readership outside the US. We will
be energetically building his brand in
both e and p. The seven backlist titles
will appear in ebook in September.
Bea Hemming at Weidenfeld has
signed a new book by Tim Spector,
author of Identically Different. Weidenfeld has world rights in THE DIET
MYTH: THE NEW SCIENCE OF THE
MICROBIOME from Sophie Lambert
at Conville & Walsh, and will publish
in May 2015. Spector, Professor of
Genetic Epidemiology at Kings College London and Hon Consultant
Physician at Guys and St Thomas
Hospital, says that because of the
way in which our attitudes to food
have changed over the last few
decades, we are no longer exposed
to the microbes that have always
been an invisible but essential part of
our physiology. He explains why
some diets succeed in the short term,
and why all fail in the long term.
Kate Elton and Sarah Hodgson at

HarperFiction have acquired three
further crime novels by ex-Metropolitan Police Detective Luke Delaney.
HarperFiction has UK/Commonwealth rights from Simon Trewin at
WME.The rst novel in the deal,THE
JACKDAW (spring 2015), continues
Delaneys DI Sean Corrigan series.
Michael Bhaskar, digital supremo at
the Profile Group, has acquired
DEATH BY VIDEO GAME by Simon
Parkin for SerpentsTail. SerpentsTail
has world rights from Jane Finigan
at Lutyens & Rubinstein, and will
publish in spring 2016.The book is A
wide-ranging portrait of the 21st
centurys most vibrant cultural
medium, and uncovers the human
stories behind obsessive gaming in
an attempt to nd out why we spend
so many hours of our lives inhabiting virtual worlds.
Liz Gough at Yellow Kite (Hodder)
has bought New York Times bestseller 10% HAPPIER by Dan Harris.
Hodder has UK/Commonwealth
rights from Carolyn Bodkin at HarperCollins US.The book tells the story
of how after having a nationally televised panic attack on Good Morning
America, ABC News correspondent
and spiritual sceptic Dan Harris
embarked on a self-help odyssey.
Gough described it as a spiritual
book written forand bysomeone
who would otherwise never read a
spiritual book.
News Day 3.indd 4
Taking an American approach

to agenting in Scandinavia
stri von Arbin

Ahlander is not your
average 29-yearold, and not your
average literary
agent, writes Rachel Deahl.
Having moved back and forth
between the US and her native
Sweden throughout her life, she
returned to Stockholm to launch
the Ahlander Agency in 2012.
She quickly put her name on the
map when she sold Joakim Zanders debut thriller, The Swimmer, to Harper, in a seven-figure
deal shortly before the 2013
Frankfurt Book Fair. Since then,
her small agency has continued
to garner attention.
Bilingual in Swedish and English, Ahlander feels she brings a
unique perspective to agenting
because of her background.
After moving to the US at age
seven, she went back to Sweden
for junior high and high school,
then returned to the States for
college and graduate school.
Ahlander sees herself as someone who comes from a very
American background, and
this, she feels, significantly
shapes how she does business.
When Ahlander returned to
Sweden to start her agency, she
found that most local authors did
not have literary agents who functioned independently from their
publishers (as they do in America). Instead, she explained, a lot
of the agencies in Sweden were
rights centres that were part of
the publishing houses. What I
wanted to do was start something
new and independent, and work
more in an American way.
Ahlander currently represents
six Scandinavian authors, and she
creates full English translations
of each project before she brings
it out. (The more standard
approach, for foreign publishers
shopping a project in English-language markets, is to present a portion of the work in translation.)
Why all the extra effort? Ahlander
thinks European publishers are
more willing to buy a book that
has succeeded in the authors

home country, while American
houses want more than proof of
strong domestic sales and a very
short sample of the work.
The Swimmer has now sold in
28 countries, and Ahlander has
been busy with other projects. At
the 2013 Frankfurt Book Fair, she
was shopping a buzzed-about
novel called Im Traveling Alone
by a Norwegian author writing
under the pen name Samuel
Bjork; the work sold after the Fair
to Viking US, in a two-book deal.
At the London Book Fair,
Ahlander is shopping two
smaller projects that are, nonetheless, still in her wheelhouse.
She has the literary short story
collection Karate Chop by
Dorthe Nors, which Graywolf
translated from Danish and published in the US in February (PW
gave it a starred review); and
there is a new work by Norsa
novella called Minna Needs
Rehearsal Spacewritten entirely
in one-sentence paragraphs.
That these quieter books are
on Ahlanders list is not a fluke:
it is because her decisions about
what projects to take on are, ultimately, taste driven... What
Im interested in is a really good
story, originally told.
ditions Lefebvre-Sarrut
(ELS) has signed an
agreement with Publishing Technology to roll out
the advance Order to Cash
solution across three of its
subsidiary companies: Editions Francis Lefebvre, Editions Legislatives and Editions
Dalloz. The new system will
allow ELS to package, market,
deliver and sell all of its content from one single application.The tax, law and business
publisher will now be able
to integrate and exploit all
available sources of revenue;
customise its products; and
experiment with both new
business models and exible
pricing structures.
09/04/2014 14:21
New spring and summer reads from

Please visit us at stand i605 to see our new releases!
Disturbing
Conventions
Decentering Thai
Literary Cultures
Edited by Rachel V Harrison
the Moses virus

A Novel
By Jack Hyland
Taylor Trade Publishing
Rowman & Littlefield International
brunCh
A History
By Farha Ternikar
the Dawn of tibet
The Ancient Civilization on the

Roof of the World
By John Vincent Bellezza
twilight of
the belle epoque
privaCy in the age

of big Data
The Paris of Picasso, Stravinsky,

Proust, Renault, Marie Curie,
Gertrude Stein, and Their
Friends through the Great War
By Mary McAuliffe
Recognizing Threats,
Defending Your Rights, and
Protecting Your Family
By Theresa M. Payton
and Ted Claypoole
the referenCe
interview toDay
the enCyClopeDia
of the inDustrial
revolution in
worlD history
Negotiating and Answering

Questions Face to Face, on the
Phone, and Virtually
By Dave Harmeyer
Edited by
Kenneth E. Hendrickson III
3 volume set
International Ordering
Information:
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Tel: +44 (0) 1752 202301
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United States
Ordering Information:
Rowman & Littlefield

15200 NBN Way
PO Box 191
Blue Ridge Summit, PA 17214
Tel: 1-800-462-6420
Fax: 1-800-338-4550
Website: www.rowman.com
10 APRIL 2014
6 LONDON SHOW DAILY
FAIR DEALINGS
LBF 2014scenes from Day 2
Harlan Coben (centre) visited the Fair to meet with his publishers
Jon Wood (left, of Orion) and Ben Sevier (Little, Brown US).
Eric Visser of Dutch Publisher De Geus has

launched World Editions in the UK and Ireland.
Visser, who has published from 35 languages and
authors from 90 countries, including 14 Nobel
Prize-winners, will begin by publishing Dutch
and Flemish authors. World Editions will be
launched in the US in 2015.
Ricardo Almeida (centre), founder of Clube de Autores in Brazil, received the

British Council YCE Digital Publishing Entrepreneur of the Award 2014 from
Gavin Esler and Caroline Meaby of the British Council.
Oneworld held a hen party at its office to celebrate THE HEN WHO DREAMED SHE
COULD FLY by Sun-mi Hwang. Left to right, agents Barbara Zitwer and Joseph Lee, Sun-mi
Hwang, Juliet Mabey of Oneworld, and John Siciliano of Penguin US.
Carolan Workman and Kristina Peterson of Workman presented the Melia Publishing team with a
commemorative crystal book to mark their 20th year of collaboration. Back, left to right: Rob
Richardson (Melia), Kristina Peterson, Sara High (Workman); front: Bob Cripps, Jo Melia,
Carolan Workman, Terry Melia.
News Day 3.indd 6
Michael Palin revealed his new book, DIARIES

1988-1998: TRAVELLING TO WORK
(Weidenfeld), which begins as he sails out of
Venice on his 80-day journey round the world.
09/04/2014 14:20
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10 APRIL 2014
8 LONDON SHOW DAILY
A place in the future

As the OED celebrates 130 years, free digital resources threaten reference publishing.
Julia Kostova argues that this crisis should be viewed as an opportunity
his year marks the 130th

anniversary of the Oxford
English Dictionary: the first
fascicle, or instalment, was
published in 1884. The OED
took on the seemingly impossible task of
cataloguing and organising the English
language. This extraordinarily ambitious
scholarly and publishing project was not
only the study of language, but of our
understanding of culture and human
experience.
A hundred and thirty years later, as we
wander the aisles of the London Book Fair,
we are confronted with a sense of crisis. The
publishing industry is in turmoil. The demise
of reference publishing appears imminent, as
publishers, squeezed by crowd-sourced sites
like Wikipedia and by tight library budgets,
discontinue their print dictionaries and
encyclopedias. The digital realm, we are
frequently reminded, is cannibalising
print. The inevitable announcements,
in 2012, that Encyclopedia Britannica
and Macmillans dictionaries would
cease print publication, symbolised the
end of a long and thriving intellectual
tradition of which publishers were a
crucial part, and stoked fears about our
own death.
The crisis narrative
In light of these disruptions, it can be

hard to resist giving in to the anxiety
about our own relevance and survival.
As an acquisitions editor at OUP,
overseeing the Presss scholarly reference
programme in the humanities, I am all too
familiar with the crisis narrative; is there
shakier ground than the intersection of the
humanities (in crisis), academic publishing
(both terms in crisis) and reference
publishing (most definitely in crisis)?
In spite of our seemingly tenuous place, I
would like to suggest an alternative
narrative, one of opportunities stemming
from all these disruptions. The anniversary
of the OED seems to be an appropriate
occasion to reflect on these matters, as the
OED is a good example of how we
understand our place in the future.
The dictionary, begun in 1857, published
in 10 volumes in 1928. The second edition,
double the size of the first, appeared in 1989.
The emergence of electronic resources led to
its publication on a CD-ROM in the 1990s
and then, in 2000, online. Since then, OED
Online has been considerably enriched with
quarterly updates, additional relevant
Julia Kostova - Reference publishing.indd 2
whose needs are not adequately served by

what they currently find online. Scholars, for
instance, need more than a quick look-up of
facts; they need rigorously vetted
information, nuanced expert opinions
informed by research and understanding of
scholarship, carefully curated bibliographic
and other materials, and so on. These
conventions, of course, are pillars of the
academic publishing OUP already does.
Online research
Julia Kostova
content such as a Historical Thesaurus,

seamless links to related OUP resources and
a sophisticated online platform.
The OED has enjoyed steady increase in
usage, even though it exists alongside many
free dictionary sites, including OUPs
recently redesigned free dictionary and
The OED has enjoyed

steady increase in usage,
even though it exists
alongside many free
dictionary sites there is
a constituency of readers
who require deeper and
authoritative information.
grammar site Oxforddictionaries.com. This
may seem paradoxical, but in fact it
demonstrates the value that traditional
reference publishers provide. While the
quick look-up sites proliferating online are
sufficient for many users needs, there is a
constituency of readerslinguists, scholars in
various fields, wordsmiths and students, to
name a fewwho require deeper and
authoritative information. They want to
learn about etymological development, see
usage examples over time, understand the
social and cultural context of the definitions,
and so forthall of which the OED uniquely
does. They place a premium on accuracy,
quality and authority. The OED offers
unparalleled value precisely to these readers,
as it presents not just a set of definitions,
however large it may be, but language as a
living system of knowledge.
It is along those lines, broadly, that we
understand the role of reference publishing
today. We focus on a defined readership
At the same time, the centre of gravity

for reference materials has moved online,
as scholars overwhelmingly conduct
their research online. Traditional publishers
have an opportunity to respond to these
changes. The new publishing environment
is helping us rethink how to deliver
such specialised knowledge to our readers in
the ways that they demand itquickly,
accessibly and without compromising
scholarly quality.
These principles are at the heart of
the Oxford Research Encyclopedias
project, which we are developing as an
authoritative, scholarly alternative
where researchers can find more
depth on a topic when they need it.
Digital publishing enables us to
develop works that aspire toward the
comprehensiveness, up-to-date
accuracy and nimbleness that
online encyclopedias are expected to
deliver, while maintaining the highest
scholarly standards.
The explosion of quick look-up sites
has given reference publishers an
opportunity to reassert our value. Since the
Renaissancean age that, like ours,
witnessed a flood of information (resulting
from the invention of the printing press)
reference books have served as an index of
what was significant and worth knowing. In
our era of information overload and of
ubiquitous online resources of questionable
provenance, the need for reliable and precise
information is greater than ever. Far from
being obsolete and irrelevant, reference
continues to play a critical role, curating,
validating and delivering authoritative
content, and guiding readers to serious
scholarly resources.
In this context, the challenges that
lie ahead may be big, but so are the
opportunities.
Julia Kostova is Acquisitions Editor, Global

Academic, Oxford University Press.
03/04/2014 15:38
10 APRIL 2014
10 LONDON SHOW DAILY
US publishers prep for the World Cup
erhaps nothing can

substitute for learning
about the beautiful
game over a couple of
pints in a dark pub, but
football books have
become perennial bestsellers in America as the game
continues to grow in popularity, writes Chad W Post.
The classics include: How
Soccer Explains the World
by Franklin Foer; Among
the Thugs by Bill Buford;
Fever Pitch by Nick Hornby; Soccernomics by Simon Kuper; The
Ball is Round by David Goldblatt:
and The World is a Ball by John
Doyle, to name a few. With
the World Cup this June, a
number of presses are looking to score with new or
reissued football-themed
books; these include:
Futebol Nation: The Story
of Brazil through Soccer by
David Goldblatt (Public Affairs

Books): David Goldblatts latest
chronicles the only country to participate in every World Cup, and the one
thats won the most championships,
Brazil. Home to both the
beautiful game and crippling poverty, Brazil is a fascinating country of paradoxes
and various racial and class
tensionsall of which
can be explored
through the myths
and tragedies of its
national soccer team.
Soccer in Sun and Shadow
by Eduardo Galeano
(Nation Books): If youre
more interested in the evolution of the game itself,
Galeanos classic history
of the sport was recently
republished with an
added section covering the
2010 World Cup. Told in
short vignettes, this depicts
the history of the game, how it

spread throughout the world,
and the ongoing tensions
between individual
creativity and structured
corporate football.
Soccer Diaries by Michael J
Agovino (University of
Nebraska): Set for an early
June publication,
Agovino chronicles his lifelong love of the game, starting in 1982 and running
through the demise of the
North American Soccer
League, the USs hosting of
the 1994 World Cup, and
beyond. Personal and passionate, this book runs parallel to
footballs rise in popularity in
America and provides an example
of how one can become obsessed
with this game.
Inverting the Pyramid : The
History of Soccer Tactics by
Jonathan Wilson (Nation
Books): For anyone interested in understanding football tactics, this is a perfect
place to start. Editor of the
football magazine The Blizzard, Wilson does a fantastic
job explaining the history and evolution of various tactics, and this book
will greatly enhance your understanding of the strategies behind
each match, and deepen your
understanding of the game itself.
Eight World Cups: My Journey
Through the Beauty and Dark
Side of Soccer by George Vecsey
(Times Books): New York Times
long-time sports-writer Vecseys
latest book chronicles the past
eight World Cupsfrom the way
that each host country
makes the World Cup its
own (remember South Africas vuvuzelas?), to profiles
of the star players, along
with the back room deals
that can occasionally cast a
shadow on the event itself.
Due out in May.
The Mammoth Book of the World
Cup : The Definitive Guide 19302014 by Nick Holt (Constable &
Robinson): This 800-page mammoth book starts with the first
D3_p10_Chad Post - WorldCupBooks.indd 2
World Cup in Uruguay in 1930

and runs through Spains 2010
victory in South Africa. It
is packed with features,
reports, charts, essays,
evaluations and explanations of various tactical
decisions. Impressively
comprehensive, this is an
excellent book for anyone
interested in the nittygritty aspects of the World Cup
and its 84-year history.
The Damned Utd
and Red or Dead by
David Peace (Melville House): For
those who want a
little fiction, these
two books are the
place to start. Peace
is most well known
for his Red Riding Quartet about
the Yorkshire Ripper, but is also
the author of two of the most
unique sports novels of the
past century. The Damned
Utd relates the story of
Brian Cloughs 44-day stint
as the head of Leeds
United, and Red or Dead
is a 700-page, heavily
stylised, fictionalised
biography of Bill Shankly and the
rise of Liverpool FC.
Club Soccer 101:
The Essential
Guide to the Stars,
Stats, and Stories of
101 of the Greatest
Teams in the
World by Luke
Dempsey (WW Norton): Due
out in September this is the antidote for anyone who gets hooked
on international soccer and wants
to become a fan of the club-level
game. A primer on all the
best teams and players,
this will provide readers
with a background to the
worlds leagues, teams and
stars, helping all casual fans
to find the club that they
want to follow in the long
years between World Cups.
Chad W Post is the Publisher of Open
Letter Books at the University of Rochester
and manages Three Percent, an online
resourceforinternationalliterature.
06/04/2014 16:55
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10 APRIL 2014
Head of Zeus: The story so far
book fair, as a
constant in an everchanging world, is
always a good time
to take
stock, and for Head of
Zeus this London Book
Fair marks an important
moment, writes Amanda
Ridout. Our first full
calendar year of trading
ended at the turn of the
calendar year 2013/14
and we are now in a good position
to share our progress against
our founding principles and
where we go next in pursuit of
our strategic aims.
The company was founded on
the belief that great storiesreal
or imagineddont date, but can
be brought to readers in different
formats at the most appropriate
times. All stories are new to those
who havent yet read them.
E-publishing is an important
part of the realisation of this
principle; we have already sold

more than 1.6 million ebooks
and had three number ones in the
Kindle chart, plus four others
that have spent many
weeks in the top three.
Our commitment to
new talentas a new
companyis an energising
and obvious principle,
and we are genuinely
welcoming and nurturing
fresh voices. We have
started to build three new fiction
brands over the past yearAmanda
Prowse, Lesley Thomson
and Jonathan Holtand
we look forward to
launching James
Naughtie and Nadine
Dorries as brands over
2014. As testament to
the calibre of our first
year of publishing in the crime
genre, HoZ received CWA
Dagger shortlisting for two
debuts (Mark Oldfields The
Visit ECW Press on the Canada Stand F500
Fiction
Twitter phenom Arjun Basu breaks free

of the 140-character box to pen a novel full of
yearning, soulfulness, cool wit, and
precise social commentary.
JONATHAN GOLDSTEIN, AHLMH?<;<K:=BHLWIRETAP
AND AUTHOR OF BEEL>BS>MA>=:RMHFHKKHP
Celebrate 40 YEARS of ECW
ecw press
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D3_p12_Amanda Ridout - Head of Zeus.indd 2
Sentinel and Hanna Jamesons

Something You Are).
Our Fiction Publishing Director,
Laura Palmer, has been acquiring
some of the most exciting new
fiction from around the world
for us to publish in
2014, including: The
Swimmer by Joakim
Zander (a sophisticated
thriller whose winter
denouement takes place
in an atmospheric
Swedish archipelago, to
be published in July);
Black Dog Summer
by Miranda Sherry (a
powerful tale of loss
from South Africa,
reminiscent of Lovely
Bones, to be published
in August); and Tiger
Milk by Stephanie de
Velasco (an edgy coming-of-age
novel set in the tough streets of
Berlin, out in September). There
is more information about these
at headofzeus.com/newvoices.
We are also working hard to
bring established writers to new
readers, either by partnering with
them to take a new direction
(such as Graham Masterton with
his new Katie Maguire crime
series) or by bringing new audiences to great writers in
e-format. In 2014 much
of Fay Weldon's greatest
work and the entire
Cadfael Chronicles
series by Ellis Peters will
be published by HoZ for
the first time in ebook for a
new generation of readers.
Another fundamental determinant of our editorial strategy
is our own ability to match great
authors with interesting and
sometimes unexpected subjects.
Victoria Hislops selection of the
best short stories by women
writers in The Story anthology,
published as a glorious object,
was a 2013 autumn bestseller.
Our non-fiction list, due to
launch in autumn 2014,
will be built around six
major seriesfrom miscellanies of intelligent
trivia to complex subjects made accessible by
great authorities in the
Ten Chapter Series.
Highlights for
this year include
The Wisdom of
Trees by Max
Adams (a quirky, but incisive,
miscellany on all matters
arboreal, landing in
October) and the launch
of our Milestone series
with Magna Carta, The
Making and Legacy of the
Great Charter by Dan
Jones (December). The
great majority of books
in these series will be
developed to our specification,
with authors of our choosing,
and will be brought to a global
audience by a network of international publishing partners.
Running through the
companys DNA from its
foundation is a commitment to
quality, not only in the excellence of its content,
but also in its production values
across all its outingswhether it
be an attractive,
keenly priced fiction hardback; a
glorious non-fiction gift with all the bells and
whistles; or an ebook with the
most robust metadata
and smart formatting.
All the founding
principles from when
Head of Zeus was set up
as a new independent
publishing company
are, of course, underpinned by a culture that
is nimble, flexible, innovative
and energetic. Unafraid to take
risks, we are committed to be
self-determining early in the
companys life. To that end
there are 17 of us in leafy
Clerkenwell controlling our
own, and our authors, destiny
across all the key publishing
functions, and from where we
can reach the world. And the
London Book Fair, where
we can trade ideas and
build partnerships, is the
perfect time to do it.
Amanda Ridout is CEO and
Publisher, Head of Zeus
(www.headofzeus.com)
06/04/2014 11:55
10 APRIL 2014
A barometer for quality

As the Sheikh Zayed Book Award completes its eighth year, Dr Ali Bin Tamim looks
at some of the many awards that the Arab literary world offers
ere we are
approaching the
end of a new
round for the
Sheikh Zayed
Book Award, with the recent
announcement of the eighth
session winners. It has been a
thrilling journey in search of
originality, creativity and magic
inked on paper; a pursuit of
creative works that are the
product of the passion for the
written word and in honour of
the Arabic language.
Throughout the past eight years,
the Sheikh Zayed Book Award has
celebrated the achievements of
exceptional writers, intellectuals,
publishers, Orientalists, and
cultural figures and entities from all
over the world, including
UNESCO, renowned historian
From left to right: Fathi Al Meskini from Tunisia, Abdulla Ibrahim from
Iraq, Beatrice Dillon (on Behalf of Marina Warner, UK), representative of
Kuwait Council for Culture and Arts, Dr Sheikh Ahmed Al Tayyeb
(Egypt), HH Shaikh Hazza Bin Zayed Al Nahyan (UAE National Security
Adviser), Dr Ali Bin Tamim (Secretary General of Award), Elizabeth
Suzanne Kassab from Lebanon and Adil Hadjami from Morocco.
and mythologist Marina Warner,

Brill Publishing House, Korean
Paju Bookcity, novelist Waciny
Laredj, Orientalist Pedro Martinez
Montavez, novelist Ibrahim
al-Kouni, and many more.
D3_p14_Ali Bin Tamim - Zayed Prize.indd 2
This session has witnessed

an impressive number of
nominations1,385 across the
Awards nine categories. That is
a growth rate of 12% over the
last sessions record, and
underlines the Awards perceived
status and its fruitful associations
with authors, academics,
publishers and key cultural
entities around the world.
The nominations pass through
a series of assessments to arrive
at the final list of winners,
starting with the reading panels,
followed by the Awards judging
panels assessment of filtered
works, to ensure the decision is
truly reflective of their
independent and expert views.
The assessment results are then
collectively evaluated by the
Scientific Committee for the
Award and then finally presented
to the Awards Board of Trustees
for approval. As a result, the
Award has become the
barometer for quality in the
regions book sector.
Yet the Sheikh Zayed Book
Award is but one in a series of
Arab awards recognising lauded
literary works. Over the past few
decades, this form of recognition
has become a vibrant component
of the modern Arab book
industry, that frames literature as
a public form of art.
The official awakening of the
Arab Literary Award showground
was in Egypt. As early as 1958,
Egypts Higher Committee for
Culture launched a series of

literary prizes, including the State
Recognition Prize and the Literary
Creativity Prize, which are still
awarded today.
Then the Gulf in 1977 saw the
establishment of the King Faisal
International Prize, awarded to
scholars and writers who have
made outstanding contributions
to Islamic studies, Arabic
literature, medicine and science.
The United Arab Emirates soon
followed, hosting a number of
literary prizes, the first being the
Sultan Al Owais Cultural
Award, founded in 1988. Still
considered among the most
important literary recognitions
in the Arab world, it celebrates
the achievements of winners in
the fields of poetry, story writing,
drama, and literary and criticism
studies, as well as the humanities.
The year 1996 witnessed the
establishment of the Sharjah Prize
for Arab Creativity, which is
awarded to young writers up to
the age of 40. In 2007, the United
Arab Emirates launched the wellknown International Prize for
Arabic Fictionthe Arabic version
of the Man Booker Prize funded
by the Abu Dhabi Authority for
Tourism and Culture.
Perhaps what distinguishes the
Sheikh Zayed Book Award from
others is the scale and breadth of
cultural achievement that the
Award honours. Each of the nine
categories highlights more than
just a book and a winner; it
celebrates the topic and particular
field of creativity itself, which
collectivelyreflect a holistic view
of the literary landscape in the
Arab World, combining the
panorama of cultural and social
development of the Arab society.
With this thought in mind, and
with the opening of our nominations for the ninth session to be
announced soon, we are looking
forward to a renewed adventure
in search of creative talents till
then, keep well, and keep reading!
Dr Ali Bin Tamim is Secretary General
of the Sheikh Zayed Book Award.
05/04/2014 00:09
10 APRIL 2014
LONDON SHOW DAILY 15
The return of Poirot
or the legions of fans of the

eccentric, obsessive-compulsive
Belgian master-sleuth Hercule
Poirot, the character that helped
to make Agatha Christie among
the bestselling authors of all time, 2014 was
shaping up to be a sad year, writes Lenny
Picker. After 24 years and 70 programmes
the series ended in the UK, fittingly with
Curtain. US viewers will see the final
shows later this year on PBS.
But, in the fine tradition of false endings, a
hallmark of the Golden Age of Detection
in which Christie began writing, Poirot, it
turns out, will sleuth againin an authorised
new novel by Sophie Hannah, to be
published in September by Morrow/Harper
Collins. Fans of Poirot have reason to be
excited; Hannah is the author of the Simon
Waterhouse/Charlie Zaller psychological
mysteries, a series Publishers Weekly
dubbed addictive.
While Poirots main rival for the title of
best-known fictional sleuth, Sherlock
Holmes, has been the subject of hundreds of
pastiches, this will be the first time an author
is attempting the same for Poirot.
The bookits title has not yet been made

publiccame about through serendipity. It all
began when Hannahs agent Peter Straus
suggested to HarperCollins, Christies
publishers, that Hannah, a fan of
Christies work, write a new Poirot
novel. Fortuitously, the Agatha Christie
Estate itself had also thought a continuation of the series was worth exploring.
For a couple of years, Id had an
idea for a crime novel that I hadnt
been able to make work in one of my
psychological thrillers, Hannah
recalls. Then something weird
happened when Straus called with news
about writing an authorised Poirot novel: I
suddenly thought, Oh, wow, thats why I
havent been able to make it work; its not a
contemporary idea, its a Golden Age
detective ideait would be the perfect case
for Hercule Poirot. Once Id had that
thought, I was very keen for Poirot, and
nobody else, to solve this case. I wanted to
give it to him almost as a present, to say:
Look how much I love you!
Christies grandson, Mathew Prichard,
found Hannahs plot idea utterly
compelling. And the detailed synopsis,

in which her skill as a writer and her
huge affection and empathy for Agatha
Christies books shone through, says
Prichard, sealed the deal.
Excited as she was, Hannah says
she approached the challenge with
humility. I have absolutely not
tried to imitate Christie, she
stresses. Christie is a brilliantly
sharp, clear, elegant and economical
prose stylist. Anyone trying to
imitate her would be doomed to
failure. What I tried to do, and I hope
I have succeeded, is create a challenging
mystery for Poirot to solve that is consistent
with the style of the period.
Anticipation is building, meanwhile, for
Poirots return, and editor Dan Mallory is
optimistic about the market. There is a
surging enthusiasm for Golden Age
mysteries in the US, he notes. And
Downton Abbey has whetted a particular
demand for stories set in interwar England.
Lenny Picker is a regular contributor to Publishers
Weekly, based in New York.
%227+)
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VDOHVGLVWULEXWLRQSULQWLQJHERRNVPDUNHWLQJ
powered by
third Party Logistics
D3_p15_Lenny Picker - Poirot.indd 3
ZZZPLGSRLQWWUDGHFRP
06/04/2014 12:52
10 APRIL 2014
Korea Market Focusdigital comics

Dae-gun Lee looks at the future of comics as the Webtoon visits London
orea Creative
Content Agency
(KOCCA), which
manages the
content industry
in Korea, will hold a Webtoon
exhibition at the Korea Market
Focus Pavilion during the
London Book Fair this year.
Webtoon, a compound
word derived from Web and
cartoon, is a new form of content that originated in Korea,
and is made possible (and popular) by the countrys advanced
infrastructure and technology.
Webtoon readers peruse the
pages by scrolling down vertically on the computer screen,
making the reading experience
much more dynamic compared
to structured panel-by-panel
static viewing. Better technology
and faster broadband connection have also given Webtoon
creators various ways of displaying their comic pages.
Originally, Webtoons were
provided as standard Web pages
that were viewed via desktops
Webtoons and Webtoon-related

services: Naver (Koreas most
established Webtoon service
provider), Balhae Communications (famous for Confidentially,
Greatly), and Art Pig (an application development company).
They will also hold a special seminar, Webtoon: The Future of
Digital Comics, to communicate the values of Webtoon and
further publicise this new digital
comic format to the world.
and laptops. But new devices
such as smartphones and tablet
PCs have made it easier for everybody to access Webtoons even
while they are on the go. The
popularity of such smart devices
throughout the world means
that Webtoon is now poised to
go beyond the Korean shores.
At the Webtoon exhibition,
visitors will get to see various
Webtoon themes. A short clip
will also be screened to show
how Webtoons are read. Visitors will have the opportunity to
read popular Webtoons such as
Noblesse and Tower of the God,
D3_p16_Korea Market Focus - Day 3.indd 2
and learn how to scroll through

the pages on tablet PCs.
Three companies will be
on hand to showcase various
Dae-gun Lee is the Manager of

Korea Creative Content Agency
(KOCCA).
09/04/2014 15:48
www.sibf.or.kr
Twitter twitter.book_festival
Facebook facebook.com/seoulbookfest
naver blog blog.naver.com/sibfsibf
18 - 22 June 2014
Hall A, COEX
organized by
managed by
Guest of Honor_ Oman

Culture Focus_ Italy
supported by
10 APRIL 2014
Republic of letters
o help him get to grips with

Aussie rules (of publishing),
Scribes latest recruit, Philip
Gwyn Jones, put some questions
to Henry Rosenbloom.
PGJ: So, it wasnt enough for you Australians to annihilate the Poms in the Ashes?
Now you and A&U are trying to muscle in on
the British publishing scene. Why?
HR: Good question. From my perspective,
there were a few imperatives. First, I was sick
of continually having to argue the case for the
splitting of ANZ rights from UK & Commonwealth rights. Id been making this case for
decades, and we were making headway, but I
was often frustrated at missing out on books
that I felt would suit Scribe, either because
British houses would refuse to bid if there was
an ANZ offer, or agents were afraid to split
rights because they were worried theyd end
up with no UK deal if they did.
We could get creative at times, and bid
jointly with a collaborative UK houseas I did
with you at Portobello when we co-acquired
Katherine Boos magnificent Behind the Beautiful Foreversbut it was often hard to synchronise bids in auctions, and I felt that, while
we could triumph in a few battles, this was a
war we could never win.
It struck me at some stage, that I had to join
them to beat themthat is, I had to become a
UK publisher to be able to acquire UK &
Commonwealth rights myself. I could see
that I was very often competing with UK
houses when I was trying to acquire ANZ
rights, so I felt reasonably confident that the
books Id now be able to go after would have
a good chance of working in the UK market.
Second, I wanted a larger market for our
locally originated books, and those I was
acquiring from Europe and other places. The
effect of the UK publishers stranglehold was
that we were being denied an export market.
Everybody else was allowed to export, but
we Aussies were expected to be a good little
neo-colonial market that sold rights in its
occasional gems, and the rest of the time kept
to our own deprived territory and took whatever our imperial masters sent our way.
Third, I wanted a chance to demonstrate
the range and depth of our list, especially its
international character. Id long admired the
high-quality independent UK houses, and I
wanted to fight the good fight alongside
them, as it were, and to offer our goods with
our own distinctive taste and flavour.
PGJ: Whats your physical set-up in the UK?
HR: We have three part-time staff members:
Publicity Director, Rina Gill; Publicist and
Logistics Manager, Sarah Braybrooke; and
Editor-at-large (you), operating out of a
Henry Rosenbloom - Scribe.indd 2
(l to r) Rina Gill, Philip Gwyn Jones and Sarah

Braybrooke
vaulted basement office in a converted redbrick Victorian junior school in Clerkenwell.

Its an area thats been associated with printing, writing and innovative thinking for centuries, from Cromwell to Lenin. Scribe UK
also hopes to turn the world upside down in
this great tradition
PGJ: Do you feel stretched, running two

publishing lists from Melbourne?
HR: A bit. I Skype the staff and Faber often,

and I come to London twice a year, for the Book
Fair and then before or after Frankfurt. I have
the feeling that I might need to come over more
often, but Im hoping that having a certain
Philip Gwyn Jones on the ground will limit that.
PGJ: What do you hope Scribe UK can

achieve in its first five years?
HR: I hope we can establish ourselves in the

market as publishers of significant non-fiction
and fiction, including UK-originated titles, and
I hope we can be profitable while doing so.
PGJ: How do the bookselling landscapes of

Australia and the UK compare at present?
HR: The most noticeable difference is the
relative scarcity in the UK of independent
bookstores, and the corresponding dominance
of Amazon. This adds up to a more brutal
bookselling environment than Australiasone
that is driven much more by format and price
in which there are no second chances. Im
constantly struck by how rigid the formats are,
and how low the price-points are. This is a
market that is driven almost entirely by price,
and has even decided that an original genre
paperback should cost no more than about two
cups of coffee. I think thats insane and
unsustainable, but what would I know?
UK cover designs, as Miriam Rosenbloom

our Art Designer, worked in the UK for several years and Jenny Griggs designed the
cover for last years Booker Prize-winning
book, The Luminaries.
The more important problem has to do with
formats. For example, in Australia, we sometimes publish original fiction in demy (or B+ in
Aussie) format, but that often doesnt align
with whats preferred in the UKwhere, in my
experience so far, it usually has to be either a
royal (C) format, or a B-format paperback or,
gulp, a hardback. In our early months, we were
skewered by booksellers seeing a demy novel,
and telling the reps that theyd wait for the B.
This means that, for these kinds of titles, we
have to print separate editions in the UK and in
Australia, and policing the logistics of that
dissonance is proving costly and taxing.
PGJ: Do you think every English-language

publisher now has to think globally to survive?
HR: I cant speak for others, but I certainly
believe that book publishing is a declining
industry under immense globalising pressures.
In these circumstances, voluntarily limiting
yourself to a shrinking local market feels like a
recipe for failure. I know that our little company has long felt that we need to acquire
books from the widest possible sources and, as
I indicated above, that we need to publish and
sell them as widely as possible. The CEO of a
significant Australian publisher came up to me
at a book fair about 18 months ago, shortly
after wed announced our initial UK plans, and
said: I think youre doing exactly the right
thing. Any Australian publisher that limits
itself to Australia is going to be a sitting duck.
PGJ: How do you find the Faber Factory
Plus experience so far? Is there a certain type
of camaraderie in the company of the likes of
Salt, Head of Zeus, Black and White,
Unbound, Pushkin and & Other Stories, not
to mention fellow Aussies, Murdoch and
Lonely Planet?
HR: Ive not had much directly to do with
other houses being looked after by FF+, but
its really heartening and energising to be in
such good company, with so many innovative and ambitious and different approaches
to the conundrums of modern publishing.
There is inspiration, as well as strength, in
numbers. I must say, though, I find the Faber
team excellent. Theyre thoughtful, caring
and wise, which is exactly what we need.
PGJ: How do you price and jacket efficiently for the two different markets with
their different needs?
HR: We sometimes have to change our cover
designs because of what we think or are told
the UK market expects, but were lucky in
having a degree of inside knowledge about
PGJ: Finally. In such a difficult climate, just

why do we publishers keep defying the odds
and trying to find readers for new writers
with new ideas and new ways?
HR: Because there is no better cause or
calling in the republic of letters.
04/04/2014 23:05
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10 APRIL 2014
Paying attention to copyright
e all need to be paying

attention to copyright,
and these days its a
subject thats difficult to
ignore, writes Michael
Healy. The world of copyright law today is a
controversial, complex and cacophonous one,
and it changes every day. Transformations in
the way content is produced, distributed and
used have had the effect of making copyright,
once the exclusive domain of attorneys and
academics, front-page news. Being in the
headlines has helped to fuel a much wider
awareness of copyright than ever before, not
least among the huge community of content
creators and distributors, such as bloggers,
with a keen and legitimate interest in how their
creations can be used and re-used.
This attention in turn has ignited a
worldwide debate about such issues as the
modernisation of copyright law and the
expansion or contraction of the reach of
copyright. Opposition to copyright per se is a
feature in this new landscape, and in some
places it is better organised, more vocal, and
more widespread than ever. A few would
abolish all legal constraints on how published
content is used and re-used. These controversial
and high profile views have caught the attention
of the wider news media and in turn fueled the
public debate about copyright.
Politicians have responded, in national
and regional forums, as well as through
international bodies such as World
Intellectual Property Organization (WIPO).
In that process, while many have recognised
the vital role that copyright plays in the
encouragement and health of the new
information economy, it seems as if every
week a government somewhere launches a
review of its intellectual property framework
or announces new legislation to deal with
the copyright problem.
Complex lawsuits
The lawyers and judges are being kept busy,
too. New lawsuits are launched regularly, or
old, complex, high profile ones announce
new twists and turns. It seems that copyright
is everywhere, and no one can afford to
ignore the often-passionate debate and the
complex issues related to it. They affect how
content is prepared, distributed, priced,
acquired, used and re-used. A return to
simpler times is impossible. Publishing is
today dependent on technology, and
technology is testing copyright laws in ways
that legislators never envisaged when they
first framed and enacted those laws.
Against this backdrop, the key legislative
development of the last 12 months on
the international stage was the WIPO VIP
Treaty, signed in June 2013. The Treaty was
Michael Healy - CCC.indd 2
defendants from producing the unauthorised

course packs until this case can be resolved.
The case has generated considerable criticism
from the academic community, which argues
that Indias copyright law allows for this use
and that local students simply cant afford to
buy textbooks. A trial court decision is
expected in 2014.
Controversial decisions
Michael Healy
developed to help provide a mechanism by

which book content can be made available to
visually impaired and print-disabled people in
formats they can access. According to the
World Blind Union, only 5% of books are
made available in accessible formats such as
large print, audio or Braille. This Treaty offers
a form of copyright exception for countries to
choose to write into their laws to allow for
copyrighted works to be converted into
accessible formats for the visually impaired
while still protecting the interests of copyright
holders; it will take some time for countries to
act on the Treatys suggestion and it remains
to be seen whether even those countries that
do will all choose the same mechanism.
Various governments around the world are
considering far-reaching changes to copyright
law at a national level. For example, in
February this year, the Australia Law Reform
Commission published a report that proposed
the introduction in law of a broad flexible
exception for fair use (as well as other
copyright exceptions). Many Australian
collective management organisations (CMOs)
are concerned that radical changes are coming
that will hurt the interests of rightsholders;
and the new Australian government
(following the one that appointed the Law
Reform Commission) has not announced
whether or how it will act on the report. In
Brazil, there are fears that profoundly anticopyright changes to the existing law will be
implemented shortly.
In courtrooms outside of the US, some
extremely controversial decisions have been
issued regarding copyright as more and more
copyright holders around the world have had
to litigate to protect their existing rights
against wide-ranging infringement. In India,
for instance, three major publishersOxford
University Press, Taylor & Francis and
Cambridge University Pressfiled a copyright
infringement suit against Delhi University
and a copy shop nearby for photocopying
content from textbooks to produce course
packs, which they then sold at a lower cost
than textbooks. The Delhi High Court
granted an interim injunction to stop the
Controversial judgments related to copyright

have come out of the US courts, as well. Few
were more high profile than Judge Chins
decision in November last year that Googles
programme to scan copyrighted works and
display snippets is fair use. The US Supreme
Courts ruling in the case of Kirtsaeng vs.
Wiley last March also hit the headlines. Some
saw in it a victory for American consumers;
others saw a direct hit to American
rightsholders; yet others saw a defeat for
consumers in developing countries who may
lose their less expensive editions.
The case revolved around the first sale
doctrine, a provision in US copyright law that
allows a person who holds a legally obtained
copy of copyrighted material (like a book or a
DVD containing a movie) to resell that copy
without getting permission from the copyright
holder. In 2008, John Wiley & Sons filed a
copyright infringement suit against a man
who profited by reselling books the publisher
printed overseas and sold at a lower price than
in the US. Kirtsaeng had family members in
Thailand ship the lower-priced books to him
in the US and then sold them online for a
profit. Despite two lower court decisions in
favour of Wiley, the Supreme Court ruled that
Kirtsaengs actions were protected by the firstsale doctrine, because the doctrine applies to
copies of content lawfully produced anywhere
in the world, and not just in the US. The
Association of American Publishers (AAP)
stated that this ruling will discourage the
active export of US copyrighted works. Wiley
called the ruling a loss for the US economy,
and for students and authors in the US and
around the world.
Publishers have learned to become adept at
managing disruption, as they have seen every
facet of their business transformed by
technology. They have adapted and learned to
produce, price, promote, market and sell
products in ways that were unthinkable just a
few years ago. The growth of the global digital
network and the revolution in the ways their
customers expect to discover, acquire and use
content are touching copyright, too, in ways
that suggest more disruption ahead. We all
need to be paying attention to copyright.
Michael Healy is Executive Director, International
Relations, Copyright Clearance Center.
04/04/2014 23:28
10 APRIL 2014
The Gingko Library: In memory of Mark Linz
he Gingko Library is a new

scholarly publishing project
relating to the Middle East
and North Africa that, over
the next 10 years, will publish
100 volumes and organise an annual
academic conference, writes Barbara
Haus Schwepcke. These works are to be
published in memory of the late Werner
Mark Linz, a lifelong publisher who brought
to countless readers books that exemplified
the principals expounded by Goethe in his
West-stlicher Divan, most poignantly in
the poem Gingko Bilobaa plea for a
more informed and compassionate
understanding of the East.
When considering the many books
Linz published, during a career that
spanned 50 years, first in New York and
later in Cairo, a distinct pattern is visiblethe
majority bear the hallmark of his deepseated belief in the need for a greater
understanding, appreciation and empathy
between peoples of different cultures,
languages and religions. Over the next 10
years, the Gingko Library will embrace and
build upon this legacy by publishing, in
English, the latest work of scholars from

both East and West across the full range of
humanities and sciences. Such a library was
the long-held ambition of Linzs: a dream he
had hoped to achieve after his retirement
from the AUC Press in 2012. However,
following his sudden death in February
2013, I, his long-term life as well as
publishing partner, decided to realise the
project in his memory.
Ambitious in scope and scale, the Library
will publish books in ten broad subject areas
including history and biography, philosophy
D3_p21_Barbara Haus Schwepcke - Gingko Library.indd 3
The Gingko Library will

represent the free flow of ideas
between East and West.
and religious studies, conservation and
sustainability, art and architecture, music
and performing arts, science and technology,
commerce and economics, education and
social development, literature and criticism,
and, lastly, political thought. The result, ten
years hence, will be a unique resource for
scholars and students alike. A fitting
testament to Mark Linzs life and work,

it will represent the free flow of ideas
between East and West, and will stand as a
paean to a more enlightened understanding
of cultures and peoples in the Middle East
and North Africa.
The belief that books are able to effect
such change, to alter minds for the better, is
one all publishers hold dear, yet there is to be
a second dimension to the Gingko Library.
To compliment the publications, Linz
believed the Library should be accompanied
by a series of dialogues in the form of an
annual conference, the first of which will
be held later this year. By bringing
scholars from East and West together, it
is hoped that a deeper and more nuanced
understanding can be fostered between
them, and that from these dialogues, and
the challenges posed as we seek to reconcile
conflicting ideas, will emerge publications
for the Library that are original, richer and
more informed.
Copies of the East West Divan, the first volume of

the Gingko Library, can be ordered from the
Gingko Library stand, G101.
06/04/2014 11:59
10 APRIL 2014
In the public domain: Sherlock is free!
e may be the worlds most

famous detectiveSherlock
Holmes, writes Lenny
Picker. And, in 2014, a crop
of new, inventive Holmesinspired books will aim to keep fans satisfied.
In November, Pegasus will bring out In the
Company of Sherlock Holmes: Stories Inspired
by the Holmes Canon, featuring entries by a
roster of distinguished authors including Sara
Paretsky, Michael Connelly, Harlan Ellison,
Larry Niven and Jeffery Deaver. As with its
predecessor anthology, 2011s A Study in
Sherlock, the co-editors are Laurie King and
Holmes scholar Leslie Klinger.
If Klingers name especially
resonates this year, it may be because
he was the plaintiff and driving force
behind the Free Sherlock lawsuit,
in which a US federal court, last
December, held that the legendary
sleuth, and other major characters,
are largely in the public domain.
Into the public domain

In terms of the work itself, and the court
decision it spawned, Pegasus Publisher
Claiborne Hancock regards the upcoming

book as a very big deal, calling it the most
important pastiche the company has ever
done. It is a rewarding feeling to know that
Pegasus played a vital part in bringing
Holmes and Watson into the public
domain, Hancock says. Leslie deserves the
credit, for his vision and backbone, and his
success in the courts. But, Hancock adds, it
was Pegasuss refusal to play ball with the
so-called estate, that got the ball rolling.
Pegasus will also publish Donald
Thomas Death on a Pale Horse: Sherlock
Holmes on Her Majestys Secret Service, in
trade paperback.
Klinger believes that his lawsuit
will make it possible for many
pastiche writers to proceed with new
Holmes stories. And, since a licence
is not required and the Estate doesnt
get to approve the content, we may
see edgier material, he says.
Pegasus is far from the only publisher
labouring to satisfy the continuing
appetite for Holmes contentan appetite stoked
by the successes of recent TV and film versions
of the character, in particular BBCs Sherlock.
Watsonian narrative voice

This month, Running Press brings out Denis
O Smiths The Mammoth Book of the Lost
Chronicles of Sherlock
Holmes, a collection of 12
stories that Publishers Weekly
described as, a pitch-perfect
Watsonian narrative voice
with clever plots that allow
Holmes to demonstrate his
deductive brilliance.
MX Publishing has a full
slate of pastiches on the
horizon. In April alone, they will bring out
three: A Bedside Book of Early Sherlockian
Parodies and Pastiches, edited by Charles Press;
Warwick Downings The Widow of
Dartmoor, a sequel to The Hound of the
Baskervilles; and John Heywoods The
Investigations of Sherlock Holmes, which
reveals the truth behind the puzzles of the Quiet
Crescent and the Apprentices Notebook.
Court decision aside, Steve Emecz of MX
still advocates a more conservative approach
to the Doyle Estate: We always recommend
our authors review, obtaining the Conan
Doyle Estate seal for their pastiches, he
Digital Piracy Exists Everywhere.

Do you know where your content is hiding?
Visit booth #S530 to learn more.
Lenny Picker - SherlockHolmes.indd 2
www.digimarc.com/guardian
guardian@digimarc.com
04/04/2014 23:23
10 APRIL 2014
says. Many of ours do. We leave it up to the

authors to decide.
Traditional or modern settings

While MX publishes pastiches with modern
settings and ones that are fantasies, its
bestsellers are traditional collections (The
Secret Files of Sherlock Holmes, The Secret
Chronicles of Sherlock Holmes and The Secret
Documents of Sherlock Holmes) that stick
close to the original format, style and writing.
And fans of the traditional approach can look
forward to reissues of June Thomsons
collections from Allison & Busby in October.
In 2015, meanwhile, Dan Simmons The
Fifth Heart (Little Brown) will send Holmes
to America, where he partners
with Henry James on the trail
of a political conspiracy.
Mulholland Books editor
Joshua Kendall promises
readers that no one has
experienced a Holmes like
this, a bold representation
for a character interpreted
in so many different ways since his
1887 debut.
Anthony Horowitzs The House of Silk was

one of the more acclaimed efforts to recreate
the gaslight atmosphere of the original
Holmes works. And its long-awaited sequel
whose title will be revealed at the London
Book Fairwill be published by Orion Books
in the autumn. (A US publisher has not been
announced.) Horowitz teases us about the
book, stating that: Sherlock Holmes does not
appear, but many Doyle characters do.
New adventures
Titan Books list for 2014 includes three new
adventures: James Lovegroves Sherlock
Holmes: Gods of War, is set for June; in
August, comes George Manns Sherlock
Holmes: The Spirit Box Holmes; and
November sees the latest in Titans The
Further Adventures of Sherlock Holmes
series, The Devils Promise by David Stuart
Davies, in which a vicious attack on the
detective and the doctor may be connected
with devil worship.
The mix of storylines reflects Titans
approach, says editor Miranda Jewess. We
like to maintain the feel of the [Doyle] canon,
while offering a new puzzle to unravel,
Jewess says. Sometimes we like to

introduce a little twist of the supernatural/
paranormal, steam-punk in our New
Adventures line, whereas our Further
Adventures line is more traditional.
Hardboiled PI master Loren D Estleman
again ventures down Londons mean streets
in Octobers The Flesh Pedlars and Other
Adventures of Sherlock Holmes, from
Adams Media. And in Sherlock
Holmes and the King of
Clubs, by Steve Hayes and
David Whitehead (Hale,
April), a retired Holmes is
again teamed with Sigmund
Freud and Harry Houdini to
deal with both a brazen
daylight robbery and a
shadowy terrorist group.
Fans are still hungering for new Sherlock
Holmes material, and its plain that theres no
shortage of authors trying to fill that demand.
And especially in light of the courts recent
decision, its a trend thats likely to continue.
Lenny Picker is a regular contributor to Publishers
Weekly, based in New York.
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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04/04/2014 23:23
10 APRIL 2014
Putting poets rst

The Poetry Book Society was set up to get the best new poetry to a wider readership.
Chris Holifield explains its work
ounded by T S Eliot and a group

of friends in 1953, at the suggestion of the poet Stephen Spender,
the Poetry Book Society (PBS) had
as its mission to propagate the
art of poetry. Eliot was supported by the
recently established Arts Council, which
instigated the setting up of the new poetry
organisation early in the new Queens reign
and soon after the Festival of Britain. Eliot, a
publisher as well as a great poet, teamed up
with other luminaries such as the Gaffer,
Basil Blackwell, founder of the bookshop
chain, to set up an organisation with the
entirely practical aim of getting poetry to a
bigger audience of readers to encourage a
wider readership of the best new poetry.
For more than 61years the PBS, operating
as a small charity, has been doing just that,
evolving into an upmarket and highlyregarded club, which has at its heart the aim
of connecting great poets with great readers.
The Poet Selectors choose the best new
books of the quarter to go in the Bulletin
with their reviews, which are complemented
by the poets own comments on what they
have written. The Choice book is sent to all
full members and there are four Recommendations, a Special Commendation, a Recommended Translation and a Pamphlet Choice,
as well as short reviews of a number of other
new books.
National art
Sales of poetry books are rarely impressive
and there are only a handful of poets who
can make their way through poetry-writing
alone. Some poets write novels or nonfiction as well, and many support themselves
by teaching, with university creative writing
departments proving a real lifesaver. Poetry,
recognised by many as our national art,
has long been funded by the Arts Councils
Literature department on the grounds that it
is a key part of literature but needs public
funding to survive.
The poetry publishing world in the UK is
made up of two large, funded publishers,
Carcanet and Bloodaxe, a small handful of
poetry lists, which are supported by the large
publishers of which they are a part (Picador,
Jonathan Cape, Chatto & Windus), the
independent Faber and a large number of
small presses subsisting on hard work and
very little remuneration.
Poetry is less well represented in
bookshops than it used to be and there are
relatively few places that stock a good range
of new poetry to browse through. It is
Chris Holifield - PBS.indd 2
Chris Holifield; picture by Adrian Pope
available online of course, but the curation is

lacking and it is difficult to find the best new
work. Live events do have much greater
importance now though and many books are
sold after a reading.
With poetry seeming a bit marginal commercially speaking, the PBS has a clear task to offer a curated quarterly selection of the
best new work available in printed form.
The book club model, outmoded in trade
publishing, works well for a committed
readership, such as exists for poetry. It introduces them to new poets, promoting poetry
across the board. T S Eliot, with his own
focus on building what became the best
poetry list in the Anglophone world, would
have approved of this.
Finding new and younger audiences is
key. A free student membership has been set
up, augmented this year by the PBS National
Student Poetry Competition, challenging
students to write as well as read poetry.
T S Eliot Prize
The PBS was happily able to mark its 40th
anniversary by establishing the T S Eliot
Prize in honour of its founder in 1993, and
has been running and awarding it ever
since. The prize money was given by Valerie
Eliot, the poets widow, for many years, and
is now kindly provided by the T S Eliot
Estate. Working through submissions
called in from British and Irish publishers
of single author poetry collections
published that year, a judging panel consisting of three poets comes up with the list of
ten shortlisted poets.
In January, at the biggest event of the
poetry year, the poets take part in the
T S Eliot Prize Readings at the Southbanks
Royal Festival Hall, in a wonderful
celebration of great poetry, which attracts an
audience of nearly 2,000. The following day
the judges meet and that evening the winner
is declared in the glamorous surroundings of
the Wallace Collection Courtyard at

poetrys challenge to the Oscars.
The 2013 Prize went to Belfast poet Sinad
Morrissey for her collection Parallax and the
2012 winner was the American poet Sharon
Olds, with her collection of moving poems
about her divorce, Stags Leap, a particularly
popular winner. She was only the second
American woman poet in 20 years to win the
Prize, the first being Anne Carson, who was
shortlisted again in 2013.
The Prize has developed a Reading
Groups Scheme, so reading groups can read
and discuss the poets work, and a Shadowing Scheme, run in partnership with the English and Media Centre, where A level students can take part in a writing competition
arguing for their own choice of winner.
The Readings do attract an audience from
outside London, but in 2013 the PBS was
delighted to receive Arts Council England
funding to take the shortlisted poets outside
the capital to take part in a ten-venue tour
involving 36 poets. During the T S Eliot Prize
20th Anniversary Tour the poets superb
readings received an enthusiastic response
from audiences across the country.
So, what lies
ahead? The traditional book club
will be transformed into a
sleek digital
model using the
existing curation
of new poetry
books as the
springboard for
meeting new
audiences online
and introducing Sharon Olds won the
t h e m t o h i g h 2012 T S Eliot Prize;
q u a l i t y n e w picture by Adrian Pope
poetry from new and established poets. The
T S Eliot Prize will grow and extend its range
and reputation, reaching a wider UK and
international audience. And lets hope the
PBS will receive the funds to repeat the big
and influential promotions of 1994 (New
Generation Poets) and 2004 (Next Generation Poets). Next Generation Poets 2014
would find and promote 20 high quality
poets whose first collections were published
in the last decade. And, as always, the poets
will be at the centre of our thinking.
Chris Holifield is the Director of the Poetry Book
Society and the Co-founder of www.writersservices.com, the largest writers website in the UK.
04/04/2014 22:54
10 APRIL 2014
Clear skies ahead

Emma Barnes, of Bibliocloud, argues that the biggest challenge facing publishing is
getting the workflow right
he biggest challenge facing publishing is probably not what you

think it is. Its not DRM. Its not
skills. Its not ebooks or searchability, neither is it the reshaping of
channels to market, nor metadata management.
Least of all, is it the threat of self-publishing.
Its none of these because you have the ability and creativity to deal with every one of
them. The biggest challenge is workflow. Its
deciding how much money youre going to
spend on a book, then sticking to it. Its about
deciding how long the publishing process
should take, and sticking to that as well.
Its getting the right information to the right
people at the right time without production
blowing a gasket or editorial having a meltdown, and having information available in
time to inform your measured decisions rather
than relying on gut feel. Its about staff knowing what they are responsible for, and who is
responsible for everything else.
Team work
Its about getting 50 people with 60 opinions
to work as a team, and automating the administrative drudge away so that these bright,
thinking and expensive individuals are put to
work on the difficult and creative aspects of
making and selling exceptional books, and
overcoming every new challenge to the industry. And its about doing all of that transparently, without turning the business into an FW
Taylorian nightmare of cogs and process
instead of spark and innovation.
This is not controversial. Cost control,
scheduling and efficient, consistent processes
are the basis of any successful company. But
its hard. The few who get it right find they
have enough time and creative head-space to
do whatever it takes to be notable. Lower
administrative and organisational overheads
lead to better books, better author relationships, better design, better thinking and better
imaginative publishing.
Look at some of the stand-out publishers
around todayNosy Crow, Osprey, Constable & Robinson, & Other Storiesand youll
find the workflow is thought-through and the
publishing process locked down.
Systems are one critical part of achieving success through efficiency. Dont settle for a mere
relational data-store; the data in your publishing system has to be accessible and easily repurposed into whatever shape you need it. Click a
button and your PDF AI should download to
your desktop. Click another, and 100 AIs, generated on the fly from your up-to-date data,
should start to download in a zip file. Need to
Emma Barnes - Bibliocloud.indd 3
Emma Barnes
send data to Waterstones? Amazon? ONIX or

Excel? Need to generate your catalogue in
InDesign? Click, click, click, click, clickfor the
correct and complete data in the correct format
and layout, within seconds.
What is your standard for metadata completion and correctness? BIC Excellence
should not be a struggle, but you need validation baked in to your systems and processes to
test your metadata against industry and your
own standards.
Less data entry

In fact, there should be precious little data
entry; templates and easy-to-use data import
tools remove the data-entry drudge for you.
And you should be able to set up all the data
for a new work and its various manifestations
in one go, without repeating yourself. Multiple editions of the same work should be able to
share common data such as subject codes,
contributors, reviews and marketing texts.
There are certain parts of the publishing
process that sound like admin, but which are
emotion-bombs waiting to go off. Royalties.
To an author, their book is their child. Authors
take any lateness as contempt, and the relationship is soured. You need a system that
handles a decade of line-level data in a second,
running calculations for the most fiendishly
complex multi-channel volume and discount
escalator terms. You need a system
that lets you check and re-run the
numbers as easily as breathing, and
which emails beautiful, informative,
clear PDF statements out automatically, and on time.
Your staff want you to have a system like this. If theyre typing data
into PubWeb in the morning, pasting data into AIs in InDesign over
lunch, and filling out the Waterstones grid and distributor spreadsheet in the afternoon, youre doing
it wrong. People wanted to work in
publishing to be Alpha creatives, and youve

turned them into Delta data monkeys. And
Deltas dont innovate!
To keep books on track you need a full,
flexible scheduling system. And you need a
military-grade forecasting and spend authorisation module in place, so your managers can
ensure they spend what was agreed when the
book was bought, and no more.
All this; this is my lifes work. For the last
eleven years Ive run Snowbooks, the little
publisher Rob Jones and I founded in a haze of
post-big-business-management-consultancy-working-for-the-man-blues, as a
means of doing something wed be proud of.
And, by Jove, we are; Snowbooks runs like
clockwork, and on a shoestring to boot, finding
cracking authors every year and publishing
award-winning books. Out of our decadelong experiment with efficiency has come
Bibliocloud, a web app we originally wrote to
help our own business. And of course, Bibliocloud is the system that Ive described here.
Osprey Group, Quercus, & Other Stories,
Inpress and Unbound are some of our valued
clients and, with the support of an Arts Council
England grant, the list grows weekly.
Were absurdly proud of Biblioclouds long
feature list, and of what our clients are achieving with it. We delight in how easy it is to use
Bibliocloud, how its built, the technology
behind it, the way we develop it, its accessibility, its security, the publishers were helping,
the books were enabling, the modest licence
fee we charge, the support we provide, the
things people say about us and our Futurebook Innovation award.
This is such an important industry. Get
your business workflow sorted out, whichever
system you use to manage it. We simply have
to make our businesses efficient, because the
future of books themselves depends on us.
Emma Barnes is a co-founder of Snowbooks and CEO
of publishing software house General Products Ltd.
04/04/2014 22:58
10 APRIL 2014
My mother, books and the London Book Fair

Kyung-sook Shin reflects on why she became a writer and explains how she hopes
that the Korean Market Focus will help bring Korean literature to a wider audience
was born in a small country town. My

parents were farmers. From morning
to evening, I spent more time in the
fields than in the house. My mother
never went to school. Most country
mothers of her generation were the same.
Because she had been born in the countryside,
never received proper schooling and spent
her entire adulthood as the wife of a farmer,
my mother would always watch with delight
when I, her daughter, read books.
I learned from an early age that the way to
love my mother was to read a book in front of
her. Whenever she looked sad, I would grab a
book, sit next to her, and start reading. She
would stroke my head. I also used to follow
her out to the fields and read while she
planted seeds and harvested crops. During
her work breaks, she would come over to me,
sweat beading on her forehead, and ask me to
read out loud. I would get excited and read to
her in my loudest voice. I can still picture my
tired mother quietly drifting off to sleep while
Kyung-sook Shin
listening to me read. I suppose its because of

this memory that, to this day, books still
remind me of her.
Wider worlds
These recitals, which I initially did to cheer up
my exhausted and lonely-looking mother,
gradually opened my eyes to other worlds,
people, histories and societies. It was a
surprising, and fascinating and beautiful

thing. Reading was a way for me to encounter
the whole world in my tiny country town.
When I turned 16, my mother took me to
Seoul and told me: You need to see more of
the world. You have to learn a lot and become
someone who does what she wants to do in
life. As we parted, I made up my mind to
become a writer and write stories that I could
read to her one daystories that would be
frightening yet beautiful, sad yet lovely.
I wrote and published my first story when
I was still a young girl of 22, the year I
finished college. I became a writer just as I
had wanted. Since then, for nearly 30 years,
Ive made my living as a writer, and have
published seven novels, seven short story
collections and three essay collections. In
2008, my novel Please Look After Mom was
translated and published in 34 countries,
including the United States, and I had the
unexpected fortune of winning the Man Asia
Literary Prize for it.
Global economic knowledge

at your finger tips.
IMF eLibrary contains more than 14,000 publications,
a million data series, and a deep archive going back to
1948 in searchable digitized formats.
Enhanced features include.
Access to the latest IMF research, forecasts,
analyses, and data
Easy browsing and full-text searching tools
A variety of reading formats for PC and mobile
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And more.
elibrary.imf.org/pwel4
Visit us at the 2014 London Book Fair, Stand K735
D3_p26-27_Shin Kyung-sook.indd 2
06/04/2014 09:54
10 APRIL 2014
And now, this coming June, my second

novel in translation, Ill Be Right There, will
be published in English. The Italian, Chinese,
Hebrew, Polish, Spanish and Norwegian
translations of this book, which tells the
story of young people living in tragic times,
came out first. It felt strange to open a copy
of my book published in a language that I
cant read. It was my book, and yet I felt like I
was standing before a world full of secret
codes. When I pictured my book-turnedcipher speaking to and communicating with
foreign readers, I was struck by a sense of
irony, and felt overjoyed and delighted at the
same time.
Korean literature, which was chosen
as the London Book Fair Market Focus
for 2014, is still an underexplored corner
of world literature, as only a small number
of books have been translated into
other languages. Ive published 19 books
in Korea, yet only two have been
translated. When Please Look After Mom
came out, I became at once a mid-career
writer in Korea and a new writer outside
of Korea. This odd double life was
personally refreshing.
Though the situation has improved over the

years, it is still not easy to get Korean literature
translated and published abroad. Yet
paradoxically, dozens of translations of
foreign books are published in Korea
practically every day. I too, since my twenties,
have never had trouble finding books by
European, Asian and American
writers in Korean bookstores. In a
sense, Korean writers are very
familiar with the literary worlds of
European and American writers,
while those writers know very little
about Korean literature. As a result,
before my books were translated,
whenever I met European or
American writers, I was meeting
them not as one writer to another,
but as just another reader meeting a writer.
Talented writers
In Korea, there are countless talented
writers, each crafting their own unique
literary worlds. I think of them as hidden
treasure chests for foreign publishers.
There is a wealth of untapped writing, from
the work of literary masters to the fine work
being produced by up-and-coming writers.

This means that a lot of people are
wondering what impact the London Book
Fair will have on Korean literature.
More than anything, I hope that the Fair
will create more opportunities for valuable,
yet untapped, Korean literary works to be
translated, because I truly believe
that communicating through
literature is nothing less than
communicating from soul to soul.
But, if there is no translated text
through which we can connect,
that is such a lost opportunity.
Like that little girl who read
books simply to make her mother
happy, only to discover the world
and become a writer herself, the
Korean literature that has not yet
been translated and introduced to the world,
could be full of beauty and a certain trust in
humanity that people of the world are
missing out on. My hope is that this years
London Book Fair will help bridge that gap
between Korean literature and the world.
Translated by Sora Kim-Russell.
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D3_p26-27_Shin Kyung-sook.indd 3
06/04/2014 09:54
10 APRIL 2014
Students and ebooks

Jo Henry looks at what resources students use and how they use them
ith the decline

of 11% in
the 2013
Specialist
Non-fiction
print book market measured by
Nielsen BookScan over the
previous year, does this mean that
the academic and professional
market is moving to digital
formats, as the consumer market
has done so spectacularly?
The latest survey on this
sector undertaken by Nielsen
Research, Students Information
Sources in the Digital World
2013, shows that ebooks
specifically (rather than digital
and online resources more
generally) are indeed now being
used by undergraduate students;
some two-thirds are using them
as a study resource, with almost
a quarter using ebooks as one of
their three top study resources.
This is an increase over the
previous year and particularly
over the results of the 2011
study, when no students
reported using ebooks as one of
their key resources.
The latest students survey,
undertaken online in December
2013, asked 1,000 students (an
equal mix of male and female
students in six broad disciplines,
four different types of universities
and years 1, 2, 3+) a broad range
of questions, including what
study resources they were using
and how they acquired them.
Half of the students using ebooks
said they usually downloaded
them for free, with a further 38%
usually borrowing them from the
library; only 7% usually bought
them. Among those using
books for study purposes (some
88% of students), a rather larger
proportionjust over half
usually borrowed them from the
library, but nearly a quarter of
book users usually bought them
new, with a further 1 in 5 usually
buying their printed books
second-hand.
Students are a well-connected
audience; nearly all use a PC to
access their digital study resources
(although the proportion doing
so had dropped to 85% from

97% two years ago), with nearly
1 in 5 now using a tablet device,
up from only 6% two years ago.
A similar proportion use
smartphones to access their
digital resources. Although this
was a decrease on a year ago;
clearly tablet devices have proved
more effective for these purposes.
Theres a growing use of social
media among undergraduates
too75% of students use some
form of social media for study
purposes, up 3% from the
previous year, with 96% using
social media overall. Some 60%
use FaceBook to help with their
studies, almost double the
number (32%) who use
YouTube, and three times the
number using Twitter.
Interestingly, the proportion
of law students using social
media for study purposes is
much lower (59%) than that of
students overall. The main use of
social media for undergraduate
study purposes is to share
information with other students.
More than half of all students
claim to be doing this, with 2 in 5
saying that they connect to
online study groups or
communities via social media.
Print books, however, remain
students preferred format for
delivering learning materials on
most of the criteria we tested: for
ease of annotating and making
notes; for highlighting; for use as
core textbooks, revision books
Jo Henry - Students.indd 2
and other general course books;

and for ease of reading and
navigation purposes. Ebooks
come into their own on relatively
few aspects, generally not
pedagogical: ease of searching;
ease of holding; animations; ease
of carrying; being environmentally
friendlyand price.
This last is not surprising. The
price students pay for their
ebookswhen they actually buy
themis rather lower than one
might anticipate. On average, they
claim to pay a mere 4.60 per
ebook; Business and Management
students claim to pay the most, at
some 6.30 per ebook.
Of those students downloading
free ebooks, the vast majority8 in
10say that they acquire (at least
some of) their ebooks legally via
the university intranet, VLE
(virtual learning environment) or
delivered from their institution in

another way. However, some 9%
admit to downloading ebooks
illegally, with a further 12% saying
they have received free ebooks via
email from a possibly illegal source.
The real figure is probably
somewhat higher than this.
With the introduction of
larger fees two years ago into the
UKs Higher Education system,
students are on an ever tighter
budget. Half of the students in
our sample said that they were
finding it difficult to fund their
coursewith 1 in 5 finding it
very or extremely difficult.
Second-year students, and
those studying at post-1992
universities, were having the
hardest time financially.
Nielsen Researchs Student
Survey points to some resilience in
the HE sector. Owned print
books are still a key source of
study information, but there is a
quantifiable move towards
(usually free) digital resources
often provided by the institution
despite continuing resistance to
the ebook format as suitable for
study purposes. For further
information or to order Students
Information Sources in the
Digital World 2013, please
contact, Liz.Mcnaughton@
nielsen.com.
Jo Henry is Global Research
Director at Nielsen Book
(www.bookconsumer.co.uk
and www.nielsenbook.co.uk).
04/04/2014 23:13
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4/1/14 3:46 PM
10 APRIL 2014
Singing from the same hymn sheet

Graham Bell describes Thema, the new subject classification for the global book trade
ubject classification of books lies

at the heart of discoverability,
improved merchandising, sales and
market intelligence. Describing
what books are aboutin a
consistent and controlled manneris critical
for publishers, booksellers and readers. For
readers, subject classification drives physical
shelving schemes and online browse by
subject. For booksellers, subject data is
used to ensure the right mix of products is
available. And for publishers, learning from
the successes and failures of previous, similar
books is crucial to developing their lists.
The book business has become ever more
international, aided in part by the ubiquity
of the ISBN, and by international exchange
of metadata via frameworks like ONIX for
Books. Yet subject classification has
remained resolutely bound to national
schemes. In the UK, the BIC subject scheme
from Book Industry Communication is all
but universal, but in North America, the
BISAC scheme maintained by the Book
Industry Study Group holds swayand the
remainder of the English-language
publishing world is forced to use both.
The French book trade uses the Thmes
CLIL scheme, and in Germany the trade uses
the Warengruppen-Systematik classification
scheme. All this adds cost and complexity to
international bookselling, leading Michael
Tamblyn of Kobo to coin the term map-orama for the complex cats cradle of
translations or mappings between schemes.
The potential value of a single, global
classification scheme is clear; it lies in
reduced duplication of work where more
than one scheme is in use, in the elimination
of costly and imprecise mapping processes,
and in avoiding the loss of precision thats
inevitable in such mappings. A global
scheme also enables international market
research, comparisons and benchmarking,
and this value grows with the increasingly
international nature of the book trade.
Bridging the fault lines

Yet until very recently, these national
schemes, fault lines in the metadata
landscape, were seen as unavoidablejust a
part of the geography. Thema is a new
subject classification scheme thats intended
to bridge these faults. Development involved
book trade representatives from nearly 20
countries. As a result, its been designed from
the outset for international use, and it has
already gathered widespread international
support including an endorsement from the
International Publishers Association.
D3_p30_Graham Bell - EDItEUR.indd 2
The origin of Thema lies in an attempt to

internationalise BIC. The UKs BIC
subject category scheme is clearly and
deliberately British in flavour, attuned to
the needs of the UK book trade. During 2011
and early 2012, a proposal for a more
internationally-balanced version of the BIC
scheme named IBIC emerged. This built on
the experience of modified versions of the
BIC scheme that were already in use in Italy,
Spain and other countries. IBIC itself was
never properly released, though an early
version of it is in use in Spain. But the IBIC
project led to the formation of a much larger
group of stakeholders willing to work on a
global scheme that ultimately became
Thema. Critically, this larger group included
the developers of the BISAC subject scheme.
Thema aims to be global in scope, multicultural and multi-lingual. Its applicable to
all parts of the book supply chain, and is
flexible enough to allow each market to
retain its unique cultural voice, while
remaining a unified and simple-to-adopt
standard. Initially, it can be used alongside
the existing national schemes, and has the
potential to eventually replace themthough
this is not an immediate goal.
The Thema project was launched in
October 2012, gathering immediate support
from trade organisations in more than a
dozen countries. Frankfurt 2013 saw the
formal launch of version 1.0 of Thema, plus
the first meeting of the Thema International
Steering Committee, the body that will
oversee its future evolution. Some software
vendors are now building Thema into their
publishing management applications.
Differences of emphasis
Since Thema grew from IBIC, it looks and
works a lot like the original BIC scheme.
But close up, there are some very significant
differences; Thema has incorporated
ideas and experience from a number of
other established national subject schemes.
It lays out a hierarchy of subjects: 20
top level categories, each subdivided into
many sub-categories, and each having a
heading (e.g. Geological surface processes
(geomorphology)), an alpha-numeric code
(e.g. RBGD) and, in some cases, associated
notes. There are around 2,500 subject
headings in total. In addition, there are postcoordinated qualifiers that can be used to
refine the meaning of the main categories
with geographical, historical or stylistic
nuances. For anyone used to BIC, this is
seemingly familiar stuff, but there are
significant differences of emphasis, and
uniquely, Thema has a mechanism to add

country-specific details to the qualifiers too.
Multiple languages
Although most of the Thema headings are
defined originally in English, the intention is
to translate the scheme into multiple
languagesso the subject code MKE is
labelled dentistry, Zahnheilkunde,
odontologa and
and so on. The
codes are language-independent, so metadata
that includes Thema categorisations is highly
portable. In the few months since launch, a
full German translation has been completed,
and French, Italian and others are under way.
Thema is managed by EDItEUR, the
international trade standards body for the
book trade. This puts it under the same roof
as ONIX, EDItX and other metadata,
identifier and e-commerce standards. And
like those other EDItEUR standards, Thema
is free of charge for anyone to use. Although
EDItEURs work on Thema and its other
standards is funded through membership
fees (and new members are always very
welcome), there is no requirement for
membership. This is possible because BIC
and Nielsen have kindly donated the
relevant intellectual property (derived from
the original BIC scheme) to EDItEUR.
Publishers who are concerned with the
difficulties of using multiple national subject
classification schemes, or with the cost of
maintenance and imprecision of mappings
from scheme to scheme, should consider
implementing Thema alongside their own
national or internal subject scheme and
should embed the Thema codes in the
metadata they distribute to their supply chain
partners. The global nature of Thema makes
this particularly important for publishers
who expect growth in the ebook market or
who trade with international ebook retail
platforms, or those who export a significant
proportion of their physical products.
Retailers selling books or ebooks that are
traded internationally should also consider
making use of Thema as a source of subject
information, to drive browse by subject and
search functionality on websites and in
internal systems, and to guide physical
merchandising plans. There are various
Thema resources available from the EDItEUR
website to get you started.
Thema brings huge value to the global
book trade, and if the first six months since
its release is a guide, it has a bright future.
Graham Bell is newly-appointed Executive
Director of EDItEUR (Stand Q625).
06/04/2014 11:28
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10 April 2014

Farewell, Earls Court, hello,

News Day 3.indd 1

In a conversation with fellow Orion author Kate Mosse (right),

use of the entire Olympia

for the last decade, is ready to be

existed, it is because the last time

Visit us at The Perseus Books Group stand H900

LONDON SHOW DAILY 3

Koboevolving into a content business

it is a slow process. Independent

ARA: Congratulations on your

ARA: How are your independent

UK, with FNAC in France, and we

Lifetime award for Rogers

resenting his long-time agent

To contact London Show Daily at the

Reporting for Publishers Weekly by

To subscribe to Publishers Weekly, call +1-800-278-2991

News Day 3.indd 3

ARA: What kinds of things do

ARA: Whats your take on the

was the way to the agents heart.

Deborah Rogers and Kazuo Ishiguro

modest Rogers said she didnt

French Lessons, Hausfrau are hot

memoir by New Yorker staff writer Lauren Collins, signed

4 LONDON SHOW DAILY

Margaret Stead at Atlantic has

Alice Nightingale at Titan has bought

Suzanne Baboneau at Simon &

Amanda Ridout at Head of Zeus has

Kate Elton and Sarah Hodgson at

News Day 3.indd 4

Taking an American approach

stri von Arbin

has succeeded in the authors

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 2

Eric Visser of Dutch Publisher De Geus has

Ricardo Almeida (centre), founder of Clube de Autores in Brazil, received the

News Day 3.indd 6

Michael Palin revealed his new book, DIARIES

Ingram makes it easier

8 LONDON SHOW DAILY

A place in the future

his year marks the 130th

The crisis narrative

In light of these disruptions, it can be

Julia Kostova - Reference publishing.indd 2

whose needs are not adequately served by

content such as a Historical Thesaurus,

The OED has enjoyed

At the same time, the centre of gravity