Frankfurt Show Daily, Day 3, Oct 10

Frankfurt
FRIDAY, OCTOBER 10, 2014
VISIT PW AND BOOKBRUNCH AT HALL 8, STAND R28
Spanish authors short novel causes stir

Amid a flurry of sevenfigure deals igniting this
years Frankfurt Book Fair
many for books by firsttime American authorsa
short Spanish novel has
generated buzz, and some
hefty advances, writes
Rachel Deahl. Milena
Busquets THIS TOO
SHALL PASS (or
TAMBIN ESTO PASAR)
has been pre-empted by
Molly Stern and Alexis
Washam at Hogarth for a
sum rumoured to be in the
substantial six-figure range.
The US sale comes after a
flurry of pre-fair acquisitions
by publishers around the
world. In the UK and
Commonwealth, the novel
has gone to Hogarths
fellow Random House
imprint Harvill Secker.

(Hogarth UK is part of the
Chatto & Windus list at
Random Houses Vintage
division.)
In Spain, where
Anagrama has the rights,
the book is set for a
February 2015 release. At
press time, Pontas
confirmed that the novel
had sold in 11 territories.
Busquets is based in
Barcelo na, and the novel is
being handled in Frankfurt
by the Spanish agency
Pontas Literary & Film.
Pontas said the book was
about loss, love and sex.
Its narrator, Blanca, is
about to turn 40, and has
just lost her mother. To
cope, she decides to
decamp for her familys
summer home, in an
upscale Catalan fishing
village, accompanied by
her kids, both of her
ex-husbands, her lover and
various friends.
A short, confessional
work, at 150 pages, the
novel was written shortly
after the author lost her own
mother, Esther Tusquets.
(Tusquets founded the wellknown Spanish publisher
Lumen, which is now part
of Penguin Random House
Grupo Editorial.)
Speaking about the novel,
Washam said it featured
an unforgettable
narrator and was a true
literary escapist pleasure.
Busquets currently
works as a journalist and
translator.
Nobel to French author Modiano

French author Patrick
Modiano has won the 2014
Nobel Prize in Literature,
it was revealed yesterday.
In its announcement of the
Prize, the Swedish Academy
heralded 69-year-old
Modiano for the art of
memory with which he
has evoked the most
ungraspable human
destinies and uncovered
the life-world of the
occupation.
News Day 3.indd 1
Modiano made his debut

in 1968, with La place de
ltoile (Gallimard). His
major works translated to
English include Missing
Person (Cape), Out of the
Dark (University of
Nebraska Press), and
Catherine Certitude (David
R Godine).
Modiano, the 11th
literature laureate born in
France, according to the
Academy, beat out favourites
Ngugi Wa Thiongo, Haruki

Murakami, and Svetlana
Aleksijevitj for the
prestigious Prize. The award,
honouring a body of work,
comes with a purse of
SEK8million ($1.1 million;
689,000).
Canadian short story
writer Alice Munro won the
Prize in 2013, when she was
praised by the Academy as a
master of the
contemporary short story.
Jackal plays
Shark
Andrew Wylies lead
titles at the Fair include
Will Selfs latest novel.
Here, The Jackal
bids for a change of
nickname.
INSIDE:
LOWER
PRICES
COELHO
DEALS
ROUND-UP
FRANKFURT
FACES
09/10/2014 15:42
Stand G9 in Hall 8.0
FRANKFURT SHOW DAILY
CCC hosts open access town hall

A decade ago, the open access movement was riddled with
questions about sustainability, and viewed almost as
insurrection around the Frankfurt Book Fair, writes
Andrew Albanese. A decade later, it has fundamentally
changed scientific publishing. At a packed, two-hour town
hall, the Copyright Clearance Center examined the shift to
open access, and the next steps in its development.
Now 13 years on, all big publishers have open access
programmes, noted Wileys Natasha White, though she
told moderator Christopher Kenneally she was not
surprised. An early employee at open access pioneer
BioMed Central, she said she recognized early on the
power of open access to change scientific publishing.
Frederick Fenter, of open access provider Frontiers, said
that the key word for open access now that it had gained
wide acceptance was innovation. Whether stressing
article-level metrics, improving the review process, and
using social networking, he said the challenge was to
find good ways to disseminate the content, and good ways
to make it discoverable, to make it more connected.
Brandon Nordin, from the American Chemical Society
(ACS), said he did not view the shift to open access as a
shift in power. As a publisher, we have to constantly
examine how we assist the author and the researcher.
Nordin spoke about the ACSs decision to use CCCs
Rightslink for Open Access platform to manage its open

access processes. We had none of the transactional
apparatus, and quite frankly, the mental workflows
mapped in terms of serving [open access publications].
Indeed, as CCCs Jennifer Goodrich noted, it can get
confusing, from managing institutional and funder
mandates to keeping track of licences, as well as the need
for standards. But there had been a surprising level of
harmony as publishers and authors worked together on
open access initiatives.
Its just messy for everybody right now, Goodrich
observed. There is common sentiment that funders have
upped the ante [with OA mandates], but the funders arent the
ones creating the infrastructure. So it is really falling to the
institutions, and the publishers, and both are trying to help their
authors so their authors can focus on research and publishing.
150m Wimpy Kids

With the 4 November publication of the next Diary of aWimpy
Kid book, The Long Haul, Jeff Kinneys series will surpass 150
million copies in print worldwide. Amulet Books, an imprint of
Abrams, announced that The Long Haul, ninth in the series,
would carry a 5.5 million copy rst printing. Pufn is Kinneys
UK publisher.The rst book in the series appeared in 2007.
Dont be greedy, Coelho tells publishers

At a standing room only session at the Fair, bestselling
Brazilian author Paulo Coelho had a message for publishers:
embrace change. And, lower your ebook prices.
Change could not be arrested, said Coehlo, who appeared
alongside Fair Director Juergen Boos. It is a lost case, he
To contact Franfurt Show Daily at the Fair

with your news, visit us on the Publishers
Weekly stand Hall 8.0R28
Reporting for BookBrunch by
Nicholas Clee in London and Liz Thomson in Frankfurt
Reporting for Publishers Weekly by
Andrew Albanese, Rachel Deahl, Calvin Reid and Jim Milliot
Project Management: Joseph Murray
Layout and Production: Heather McIntyre
Editorial Co-ordinator (UK): Marian Sheil Tankard
To subscribe to Publishers Weekly, call 800-278-2991

or go to www.publishersweekly.com
Subscribe to BookBrunch via www.bookbrunch.co.uk
or email editor@bookbrunch.co.uk
said. Paulo, youre saying the war is lost? Boos asked.

Im not saying the war is lost, Coelho replied. Im
saying we humans are still here because of our capacity of
adapting ourselves. The war is not lost. It is the opposite.
The war is won. Culture is now available all over the
world. People can read.
Chief among Coelhos advice to the industry: embrace
the lower prices digital enabled. The system believes that
all pirates are not honest. They are not dishonest. They
have a problem of accessing culture. Im not here to defend
piracy. But if you change the system of pricing books, that
is one of the solutions. He spoke of his own experience,
lowering his ebook prices for a promotion, saying he ended
up making the price differential in volume, and with an
increased profit.
Over the course of the 45-minute talk, Coelho
acknowledged the tension points in the book business,
including the need to defend and to help independent
bookstores adapt, saying he considered bookstores to be
temples. He also acknowledged that the growing number
of voices enabled by the internet could make it harder to
discover great works. But he added: Either you adapt
yourself, or you die. We cant try to stop time.
Asked again about price at the end of his talk, Coelho
said: There is a golden rule. Dont be greedy.
3
News Day 3.indd 3
09/10/2014 16:05
HarperCollins Murraypublishing has transitioned well

Analysts had begun to realise that publishers were doing a
good job of transitioning to become print and digital
businesses, HarperCollins CEO Brian Murray told
representatives from the leading industry journals at a
Wednesday session at the Fair., writes Andrew Albanese
Asked about the benefits of its recent corporate spin off,
Murray said the News Corporation reorganisation had helped
open investors and analysts eyes about the health of the book
business. The book publishing industry I think has done a
very good job, and I think analysts are just starting to realise
that now that collectively we have transitioned well from a
primarily print business to what is now both print and digital...
Often I think they just lump publishers into other media
segments and think, oh, digital is all bad. And its not all bad,
its actually quite good. So the split has been a very good thing
for HarperCollins.
Speaking about the recent successes of Veronica Roth,
Murray said: You know, it comes down to the books at the
end of the day. The Veronica Roth Divergent seriesthat was
spectacular, the kind of thing that I wish could happen more
frequently. But there are a lot of other things besides that one
property. Many of our markets around the world have had
improved profitability... And then on the digital side weve
been investing in new marketing techniques, and new business
models, and new ways to reach readers. So were constantly
trying to get the right balance between resources that are tied
to the slowly declining print business, and making sure we
reinvest to get the growth on the digital side.
He was optimistic about independent bookstores: Weve
seen this reinvigoration in the independent channel, and were
very supportive of that channel, and have done a number of
initiatives to help support independent bookstores, and were
going to continue to do that. Because we want to make sure all
of these sales channels can coexist with one another, and

hopefully complement HarperCollins.
Murray said that he had been very happy with early
returns from subscription services, and that he planned to
expand those ventures. Subscription has turned out to be a
model that is very successful in really merchandising and
mining the backlist in the catalogue. And thats been a surprise
to us, and how much churn there is in that deep catalogue.
Xenophobes thriving
The Xenophobes Guides (Oval Projects) has reported a
21% sales increase year-on-year as it celebrates its 21st
anniversary. in print with a sales increase of 21% year on
year. Publisher AnneTaute said: Its a great way to
celebrate 21 years in print with such a sizeable increase in
turnover. And its especially heartening when so much
publishing news is gloomy to report such strong sales.
Furthermore, new developments in printing now allow the
company to reprint more often which ensures that the
guides are fully revised and up to date.The Guides have
sold more than 3 million copies worldwide.There are 30
titles in print, and editions in Dutch, Portuguese and Polish.
Nielsen ebook survey

Nielsens next deep dive survey, Understanding the ebook
consumer in 2014, will examine such issues as consumers
attitudes to pricing; are readers hoarding ebooks, or selecting
only what they know they will read?; do they understandor
care aboutself-published ebooks vs those from traditional
publishers?; and how near market saturation is the ebook
market? Further information about this survey, and about
Nielsens existing data on ebook consumers, from Hazel
Kenyon: Hazel.kenyon@nielsen.com.
Canadian author to FSG in major deal
Esi Edugyan
In a deal closed shortly before the

Fair got underway, Trident Medias
Ellen Levine sold a debut novel to
Farrar, Straus & Girouxs Jonathan
Galassi for a figure rumoured to be
in the substantial six-figure range.
Galassis lauded literary house is
famously low-paying when it
comes to advances, which makes
Steven Price
the price tag for Steven Prices
historical novel, BY GASLIGHT, all the more notable.
Price is based in British Columbia and is an award-winning
poet; his collection Anatomy of Keys (Brick Books, 2006) won
Canadas Gerald Lampert Award. Though he published one
novel with the small Canadian press Thomas Allen2011s Into
That Darknessthe title was never released in the US. Therefore,
Levine said, By Gaslight was being published as a debut.
The Victorian-set work opens in London in 1885, three

years before the citys string of infamous Whitechapel
murders. When a womans body is pulled from the Thames,
William Pinkerton is drawn back into an old case. The
murder winds up intertwining Pinkerton, known as one of
the top detectives of his era, with a thief named Adam
Foole, who, Levine explained, has a past inextricably
linked with Pinkertons own.
The novel spans two decades and unfolds in myriad
locales, taking its characters from London to the American
battlefields of the Civil War to the diamond mines of South
Africa. Levine described it as epic in scope and brilliantly
atmospheric, calling it a journey into a cityscape of grief,
trust, and its breaking.
At press time, no foreign deals had closed. Levine said
publishers in the UK were reading the manuscript, and that
she intended to sell the book separately in Canada.
4
News Day 3.indd 4
09/10/2014 15:40
Rights round upFrankfurt day 2

Chicken House has announced that it
will publish THE FEVER CODE, the
fifth novel in James Dashners Maze
Runner series, in 2016. The series has
sold 7 million copies worldwide.
Twentieth Century Foxs film of The
Maze Runner opens in the UK this week.
Barry Cunningham at Chicken House
signed UK and Commonwealth rights
through Caspian Dennis at Abner Stein
on behalf of Lauren Abramo at Dystel
& Goderich Literary Management.
Cunningham said: More than any other
author we have had the good fortune to
work with, James understands and
believes in his audience.
three books through Ed Wilson at Johnson & Alcock. Sawyers

ARTEFACT (spring 2015), the first part of a trilogy, is an explosive SF
adventure about an elite military team who remotely operate avatars in
a war against an alien race. The author is a barrister. Orbit has world
rights from Rob Dinsdale at A M Heath. Jackson said: Were thrilled to
welcome two fantastic new authors who we believe will appeal to a
broad spectrum of readers.
James Dashner
With Will Atkinson on parade in his first week as Atlantic MD, Maddie
West, Editorial Director of the Corvus imprint, has added to its
burgeoning Robert Fabbri franchise, buying three more titles in a WEL
deal from Ian Drury at Sheil Land. Corvus has published five of Fabbris
Vespasian novels in what is intended to be a sequence of 10the next,
Romes Lost Son, will come in March 2015. Our aim at Corvus is to
make Robert Fabbri into a major global brand and this long term deal
allows us to do exactly that, said Atkinson. This is a great day for
the business.
Candlewick Press has acquired Kate DiCamillos seventhas yet
untitlednovel in a major deal. Karen Lotz, Group MD and Publisher,
bought world rights from Holly McGhee at Pippin Properties. Parent
imprint Walker will publish in the UK. The novel, for ages 10-plus,
features three girls over one tumultuous summer, discovering a
friendship that changes their lives. Lotz said: I am absolutely and
deeply in love with this bookit is truly extraordinary. DiCamillo is the
US National Ambassador for Young Peoples Literature through 2015,
and boasts numerous awards, including the Newbery Medal. Her tally
includes 12 New York Times bestsellers, and there are 22 million copies
of her books in print in 41 languages.
Angus Cargill at Faber has pre-empted two novels in a new thriller
series by Jeff Gulvin. Faber has all rights (except for film, already sold)
through Robert Kirby at United Agents. THE LONG COUNT
introduces Texas ranger John Q, and is set in 1967, when a soldier
returns from Vietnam to his hometown in Texas to find his father dead
and his twin brother missing. Cargill described it as a truly creepy
read, with an incredible sense of place and atmosphere. It will appeal to
fans of Shutter Island, Sharp Objects and True Detectiveto readers
who like their thrillers to have a serious sting in their tail. Gulvin
published thrillers with Headline in the UK over a decade ago before
going on to ghost various non-fiction titles, including Ewan McGregor
and Charley Boormans Long Way Down.
Jane Lawson at Doubleday (Transworld) has bought AMERICAN
EVERLASTING, a new novel by Annie Barrows, co-author of The
Guernsey Literary and Potato Peel Society. Doubleday, with Random
House Australia, bought UK and Commonwealth rights to two books in
a pre-empt from Random House US. Lawson said: This captivating
novel immediately set my heart racing. Both funny and moving, at its
heart is a devastating secret in a prominent family fallen on hard times in
a small town in the American South in the aftermath of the Great
Depression. It is such an exciting prospect to be working with Annie
Barrows, whose first novel I loved so much.
Anna Jackson at Orbit UK has signed up science fiction authors Rob
Boffard and Jamie Sawyer. Boffards TRACER (summer 2015) is a debut
thriller set in a space station holding all that remains of the human race.
Boffard is a UK-based South African journalist. Orbit has world rights in
Stephanie Jackson at Mitchell Beazley (MB) has signed a new book by

Sunday Times cook Gizzi Erskine, most recently published by Quadrille
and Virgin. GIZZIS HEALTHY APPETITE (August 2015) is a collection
of 100 favourite recipes. Jackson said: Not only is Gizzi Erskine a
ridiculously talented chef, widely admired amongst chefs and foodies, but
shes everywhere. With a platform thats growing by the day on both sides
of the Atlantic, Gizzi is a force to be reckoned with. MB has world rights
from Severine Berman at Roar Global.
Liz Gough at Hodders Yellow Kite has signed a new book by author
and former Winchester Headmaster Anthony Seldon. Yellow Kite has
world rights in BEYOND HAPPINESS (June 2015) through Ed Victor.
Seldon (Sir Anthony) introduced happiness, or well-being lessons at
Winchester. In 2011, he co-founded Action for Happiness, a body to
raise awareness of the discovery of happiness and reduction of
depression. Gough said: Anthony Seldon is someone I have long
admired for what he has done in terms of raising awareness of
wellbeing and encouraging young peopleand indeed all peopleto
strive to live well. This original and powerful book explains why we all
have a deep need to searchbeyond happinessfor something more
profound within ourselves, and shows us how we can discover the
unique meaning and purpose of our lives.
Eleanor Dryden at Avon has bought two further novels by Claudia
Carroll, a number one bestseller in Ireland and a top 10 bestseller in the
Sunday Times. Avon (HarperCollins) has UK and Commonwealth rights
in the novels, due in 2016 and 2017, through Marianne Gunn OConnor.
Carroll said: Im absolutely overjoyed at this new book deal; Ive been
so happy with Avon where every author really is made to feel so special
and very much part of a dynamic and cutting-edge team. Dryden said:
We have bold plans for Claudia Carroll and look forward to cementing
her place as one of the leading commercial womens fiction authors
writing today.
Palazzos Colin Webb has signed three deals for a Woody Allen
retrospective that will mark the directors 80th birthday in late 2015 and
the 50th anniversary of his screenwriting debut. The book is in the
tradition of Palazzos lavish monographs on Clint Eastwood, Steven
Spielberg, Roman Polanski and, most recently, Martin Scorcese, all of
which have met with international success. WOODY ALLEN: A
RETROSPECTIVE will be written by Tom Shone, the former Sunday
Times film critic and now a resident of New York, where he writes for the
New York Times and New Yorker and teaches film history at NYU.
Rights have been sold to Thames & Hudson in the UK, Abrams in the
US, Knesebeck in Germany, Blume in Spain, Grund in France, Fokal in
Poland, and Rizzoli in Italy. There is no confirmation of whether the
mercurial Allen will engage personally with the book, but Webb knows
him from when as a young editor at Hamish Hamilton he published
Allens Without Feathers back in 1976.
Indonesia will be next years Frankfurt Guest of Honour, and in
preparation for this international bow the Lontar Foundation of Jakarta
has signed a partnership deal with Londons AmpiMargini Literary
Agency to work together for the promotion of Indonesian literature.
Under its terms, AmpiMargini will act as sub-agent for a number of
Lontar titles. Ines Pierucci, the agencys Director, and John H McGlynn,
co founder of Lontar, who signed the contract on the Indonesia national
stand at the Fair, said the Lontar catalogue gives us a beautiful
panoramic view of Indonesian culture from colonial to modern times.
6
News Day 3.indd 6
09/10/2014 12:55
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Faces at the Frankfurt Book Fairday 2
Simon & Schuster CEO Carolyn Reidy doing business at the S&S stand
Publishers Association CEO Richard Mollet (left) with London Book Fair
Director Jacks Thomas and Julio Trujillo of Conaculta celebrated the Mexico
Market Focus for LBF 2015
At the Kogan Page party, Helen Kogan and Kyle Cathie
At the Orange Peel Nightclub in Kaiserstrasse, Ken Follett (right) took to the stage
with his band, Damn Right I Got the Blues, which also featured Ant (Antony
Harwood) on rhythm guitar, and Floella Benjamin on vocals
Mike Shatzkin sports a shirt from Kinsale Harbour, a business venture

by former Penguinite Richard Heffernan, and a custom-designed
Frankfurt tie made by Robert Riger of Pimsleur, S&Ss language line
At the Penguin Random House stand, UK CEO Tom Weldon (left) and Deputy
CEO Ian Hudson
8
News Day 3.indd 8
09/10/2014 13:22
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ALL TERRITORIES AVAILABLE
Defending the copyright sy s

Olav Stokkmo argues that sustainable econo m
copyright system
Development largely depends
on the ability to advance the
digital economy. The copyright
sectors are among the main
contributors to the economy
and employment, in addition
to being pivotal in upholding
national culture and cultural
identity. Copyright fuels the
knowledge-based sector and
the digital economy, making
it a fundamental component Olav Stokkmo
in any strategy to create sustainable economic growth.
The fundamental principles of the copyright system work.
Authors rights and copyright are also a fundamental human
right, recognised in the Universal Declaration of Human
Rights. They provide creators with a living, stimulating them
to create new works, and guarantee a return on the investment
for publishers, thereby offering an incentive to develop new
dynamic ways of making copyright works available to users.
There are those who ask whether the current copyright
system appropriately addresses the challenges of the digital
economy? I think it does. At present, I can see no mechanism
that could replace the current one, with the same legitimacy,
flexibility and equity.
The fundamental principles of the copyright system grant
some exclusive rights to the copyright holder to exploit the
work, and protection for the publishers, combined with the
possibility for exceptions and limitations to those rights in
national legislation, based on internationally acknowledged
principles. I have repeatedly challenged those who claim
that the system is outdated to present an alternative one,
last in an open letter to EC Vice President Neelie Kroes (see
www.ifrro.org). I have yet to get an answer.
The free information model is a direct threat to the
livelihoods of creative and professional people and, therefore
to the economy. Those who urge copyright reforms advocate
more use without remunerationoften without examining the
consequences of this approach. For example, recent changes
to copyright rules in Canada, which were interpreted as
allowing more free use, have led to serious consequences for
the domestic creators and publishing industry:
An immediate drop in sales of published editions to the
educational sector by 11%, and in income of more than
20 million from secondary uses
A publishing houses sales of its anthology of poetry to
Canadian educational institutions declining by 70%;
published editions cannot compete with compilations of
copyright works created without paying royalty to authors
and publishers, or a licensing fee
10
Olav Stokkmo - letter to Kroes 2
06/10/2014 14:40
y stem
o mic growth depends on a functioning
G
IN
M ON
CO SO
Collapse and Revival:
Understanding Global
Recessions and Recoveries
by M. Ayhan Kose and Marco E. Terrones
As the debates
Publishing houses closing down publishing programmes
for schools, reducing their overall investment into educational
publishing and laying off personnel, impacting, in particular
the transition to digital publishing
Naturally, these changes have been rigorously criticised by
authors and publishersat home and abroad. A drop in
yearly income of more than 20 million would impact
negatively on any industry; the Canadian creative sector is
no exception. At stake globally, if governments were to
follow the Canadian example, are expected annual losses of
some 1 billion, in the income from secondary uses via the
Reproduction Rights Organisations (RROs), the collectives
in the Text and Image sector of the International Federation
of Reproduction Rights Organisations (IFRRO).
A strong publishing sector depends upon income from
secondary uses of works. A PwC study documented that, in
the UK, a drop of 20% in the income from secondary uses
to UK authors would result in some 2,800 fewer new
works being created annually. For publishers, the income
from secondary uses more or less equals their investment in
new digital content and new ways of making content
available. I fail to see that anyone would benefit from such
a development. Does anyone reasonably imagine that the loss
of a yearly income of 1 billion would leave the creators and
the publishing industry unharmed? Canada is not an example
to follow for those who want to stimulate the creative and
copyright industries, and build the knowledge economy.
A world that values knowledge and culture values its
creators. A growing knowledge economy needs a vigorous IP
industry. Copyright legislation must promote creativity and
innovation, and reward creators and publishers. This can only
be achieved through stimulating the economic conditions
necessary for the creative sectors to flourish. Exceptions are
important, but unremunerated exceptions must be limited to
instances where primary and secondary markets cannot fulfil
a market need effectively. In a fast changing world where
technologies move with an unprecedented speed, regulations do
not have the ability to offer the required flexibility. Agreements
with rightholders and their collectives do.
Sustainable economic growth requires sufficient certainty
for individuals and companies to take the necessary risks to
create and invest. How can this environment be maintained
if people are not rewarded for their efforts? The computer
scientist Jaron Lanier notes that a fundamental problem is
that web information being free obscures the fact that
people created the data that is being made available; it is
necessary to restore the value of data. Sustainable
economic growth depends on it.
about the
recent global
financial
crisis and the
subsequent
recovery
have clearly
shown, our
understanding
of these
destabilizing
events has been very limited.
This comprehensive text puts the latest
global recession and ongoing recovery in
perspective. The authors track and analyze
the interactions
between
fluctuations in
global growth
and national
growth over the
different phases
of the global business cycle.
A companion website with
several unique toolssuch
as interactive timelines and
videoswill help readers to
understand the basics.
Olav Stokkmo is Chief Executive Officer of the IFRRO.
Visit us in Frankfurt in Hall 8, Stand N1
11
INTERNATIONAL MONETARY FUND

Olav Stokkmo - letter to Kroes 3
06/10/2014 14:41
A window on the world

Celebrating 40 years since the founding of the OBrien Press, Michael OBrien
looks at the role Frankfurt and other fairs have played in its success
Despite operating in a challenging publishing
climate, right on the doorstep of giant UK
publishers and with a small local market, the
OBrien Press has long been at the forefront of
independent publishing in Ireland, with
groundbreaking history and biography titles,
award-winning childrens fiction and our new
graphic novel and literary fiction programmes.
But achieving this has required continued
innovation and a strong international focus.
Frankfurt has played a significant role in the
Michael OBrien
development of OBrien from the start. My
first Frankfurt was in 1976, two years after my father Tom
and I founded the press. The experience was bizarre and
somewhat disheartening, but ultimately inspiring. I arrived at
Frankfurts Hauptbahnhof carrying a huge, heavy suitcase full
of material, and the city was wrapped in snow and ice. At the
Fair, I approached all sorts of publishers with my two prized
projects, but they all politely declined. At the last hour of the
Fair, all work stopped and a dramatic wave of applause
rippled across the Fair. Wow, I said to the man next to me,
what was that? Its our way of showing appreciation and
thanks for the Fair, he said. That man turned out to be Don
Sutherland, Director of McGill Queens University Press, and,
amazingly, he then proceeded to buy US/Canadian rights to
both my projects. The author of Tinkers and Travellers,
Sharon Gmelch, had been his student in Toronto, and he also
knew and admired the author of The Skellig Islands, Des
Lavelle. We all need luck in this business, and at Frankfurt all
kinds of luck can happen.
Over the decades since, having an OBrien stand at
Frankfurt helped us build a worldwide network of 21 rights
agents, find partners in translation for nearly 500 titles in 40
languages, and keep up to date with dramatic and sometimes
daunting book industry developments. It has proven to be the
best organised fair in the world, and has reflected a rapidly
changing sector. A particularly proud moment for me was
watching Irelands President Mary Robinson open the Fair in
1996, with 24 television stations covering the celebration of
Ireland as Guest of Honour, where our expanded national
stand accelerated Irelands impact on world publishing.
Strategic support from the Irish government for a national
stand at Frankfurt has continued despite the economic crisis,
and this Irish Village, along with springtime in London and
Bologna, give OBrien a window to the world.
Soon after first attending Frankfurt, we realised the
importance of appointing sub-agents and the significance of
the German translation market. Liepman in Zurich came
highly recommended, so I met the legendary Ruth Liepman
and Ruth Weibel. They were happy to come on board as our
very first agents. It was years before we built

up a substantial list of books with strong
international potential, but as we grew and
introduced wonderful childrens authors such
as Marita Conlon-McKenna, Morgan
Llywelyn, Conor Kostick and Celine Kiernan,
and future Childrens Laureates Siobhn
Parkinson and Eoin Colfer, the contracts
started to come. The German market is now
one of the most receptive for OBrien Press
authors; for 2014, rights for two of our
autumn YA titles (Finding a Voice by Kim
Hood and A Crack in Everything by Ruth Frances Long)
were snapped up by CBTs Michelle Gyo long before
publication, and for crime titles from Sam Millar and Sheila
Bugler by Atrium and Droemer.
Of course, there have been marked successes in other
territories, with properties such as Brendan OCarrolls
Mammy Trilogy (which inspired Mrs Browns Boys)
notching up 14 rights deals and becoming bestsellers in the
US and Italy for Penguin and Neri Pozza. But Irish writers
have always punched above their weight, and it was with
the aim of providing them with a strong new literary
imprint that we recently developed Brandon Fiction. We
had bought Brandon Books after the untimely death of its
publisher, Steve MacDonogh, a stalwart of Irish publishing,
in 2011. As well as crime fiction, the imprint now includes
renowned playwright Frank McGuinness, Colin C Murphy,
Mary Morrissy (whose The Rising of Bella Casey will be
published in France by La Table Ronde), and wonderful
new historical fiction Anyush by Martine Madden and
White Feathers by Susan Lanigan.
Throughout the decades, Frankfurt has been one of the
major focal points of the publishing year. While we always
come with a bulging appointment book, some of the best
deals are a result of the pure serendipity of a publisher
spotting a book on a shelf as they walk past (such as the
recent Czech rights deal for Tomi Reichentals holocaust
memoir I Was a Boy in Belsen) or a chat over a drink at a
post-Fair party or meal. Its moments like that which make
Frankfurt so special, even when its snowing outside!
In its first 40 years, OBrien Press has seen Irish
publishing mature, bringing with it success and challenging
times in equal measure, and unprecedented developments
in the publishing industry. Now with my son and MD, Ivan
OBrien, I look forward to continuing to publish the best in
new and established Irish writing talent, and promoting it
to the widest global readership.
Michael OBrien is Publisher at the OBrien Press (stand 8.0 C 96/99 or

contact rights@obrien.ie).
12
Michael O'Brien - 40 years 2
05/10/2014 19:09
IRemes_SD_convertoidut.indd 3
29.9.2014 11.43
What we discard: A dialogue at Walker Books

Deirdre McDermott joined Walker Books in 1989 as Assistant
Paperback Designer. She has seen many changes in her 25 years
with the company; here she shares her memories with Karen Lotz.
DMD: For one thing, we could be more personally direct
KL: I think many of our early hits were in house

DMD: Yes. Were Going on a Bear Hunt was just about to win
KL: So completing the design of each book took a team, and

now it could be done by an individual and a machine?
DMD: Yes, theoreticallybut of course we still do have a
team. But roles have evolved to become creative and technical.
the Smarties, and there was immense excitement about Wheres

Wally? Sebastian [Walker, the founder] was there, David Lloyd,
Wendy Boase. Wendy was fierce and wonderful, but not in a scary
way. And Amelia Edwards, the Art Director, was so generous. It
was never about the deadlines; it was only about your best work.
She listened to everyone; she would give your ideas credit and
was very supportive. We had about 70 employees altogether.
KL: And no computers.

DMD: Quite right. My first week I ordered paintbrushes,
pencils, a full set of fancy Rapidographs, and even a proper
Windsor & Newton box of watercolours. It was wonderful;
like an extension of art school. We all worked as a team to put
a book together. I remember drawing text boxes freehand for
days, mimicking Charlotte Voakes line until I got it just right.
KL: What happened when the Macs came?
A Leader in LGBT Fiction
about creating repro as printing in the Far East had also

begun to changeand it all galloped on from there.
KL: When I came to Walker there was still a covers group

of six people, all working under Liz Wood on picture book
jackets. That was extraordinary to me, and fabulous.
DMD: The whole point was to get it right. Sebastian always
used to say, I trust you to make it, and Ill go and sell it. In the
early days, we juniors had very little knowledge about sales.
No consciousness of Bologna or Frankfurtthat was all a very
different part of the business. Now of course its more integrated.
KL: Youve begun to work with a lot of non-English

illustrators. Tell me about what it was like when you went
to see your artists in Taiwan and China.
DMD: I loved it. Theres a huge tradition in Taiwan of beautiful
illustration for adults, but picture books for children are much
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Karen Lotz - Walker - What We Discard.indd 2
05/10/2014 20:39
newer. Now you will see all the Western classics in the bookshops.
And there are so many fabulous artists to publish. I adore working
with Jimmy Liao and Chinlun Lee; language is no barrier.
KL: Have computers changed illustration?

DMD: The graphic look of art on screen has influenced
art style. Chris Haughton, Jon Klassen, many others, all
began in animation. And in animation, theyre used to
working on a large team to create the end product.
KL:
So in some ways, design has moved from team to

solo, and artwork from solo to teammore collaborative
book-making. That changes your role as Art Director?
DMD: Yes. Back in the early days, you would rarely see
anything after sketches; the artist would go away and work
alone, then, bang!full artwork would be in.
KL: Whats the challenge now?

DMD: I think its really about too much choice. Artists can
make a piece of art so quickly; its very easy to constantly change
their minds. Its all about helping them rule things out now
looking at what to discard. What matters, ultimately, in a picture
book is the emotional truth. You can have artwork that looks
fantastic and is quite seductive at purchase, but if it doesnt have

emotional honesty, you will not get that again, again factor
going. For me, thats what it is all aboutthe 18-month-old or
two-to three-year-old, having an immersive narrative experience.
KL: And an enduring connection to that book. We are a

culture of neologists now, but children havent changed
much; they still appreciate whats timeless in language and
art. David Lloyd retires this year; what is his legacy?
DMD: His utter honesty and his incision. He is truthful
in reacting to whats in front of him. And he is very funny.
KL: What do you love?

DMD: Colour. Its visceral, really. The juxtaposition of orange
against red; great drawing; and white spaceI love white space.
KL: What is not there, but is evoked.

DMD: Yes. Unlike in animation or an app, in a picture
book, youve only got 12 or at most 16 images that have to
carry the whole storytheres no music or voice, no tricks.
The very best are just pure and honest on the page.
Karen Lotz is Managing Director of Walker Books and Publisher of Candlewick

Press. Deirdre McDermott is Publisher of Picture Books at Walker Books.
Transcript is an international grant

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

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

for non-fiction books.
For your information:

The Transcript program supports
the translation from Russian into any
foreign language;
Applications are accepted year round
and decision is made four times a year
(January 31, April 30, July 31,
and October 31);
Publishers may apply for a grant
before they have signed a contract
with the rights holder.
15
www.prokhorovfund.com
Karen Lotz - Walker - What We Discard.indd 3
05/10/2014 19:14
Apple settlement settles little

In June, Apple and government attorneys
announced a deal to settle damage claims arising
from its epic ebook price-fixing case. But, in the
short-term, the Apple settlement settles little,
writes Andrew Richard Albanese.
Despite the announcement, no one should
hold their breath waiting for their Apple
windfall; it could be months, even years before
settlement funds are issuedif everas any payout under the
deal is contingent upon Judge Denise Cotes 2013 liability
verdict surviving on appeal, and the case could wind all the
way to the US Supreme Court. If the verdict
is upheld, Apple will pay a hefty $400
million to consumers vs. $50 million if the
decision is remanded to Cote for further
proceedings. If the verdict is reversed, Apple
will pay nothing.
Meanwhile, the deal puts the major publishers
in bit of a tricky spot. Do they root for, and
perhaps file amicus briefs supporting Apples appeal, hoping
to claim vindication if Apple prevails? Or, do they sit this
round out and secretly root for Apples appeal to fail, and
hope to reap a $400 million injection of Apples

cash into their customers accounts?
A few factors complicate that decision. For
one, Apples settlement funds can be used on
any product or service offered by the retailer
creditedunlike the $166 million distributed via
the publisher settlements, which mandated that
refunds be spent on books, print or digital. In
that the vast majority of Apples refunds will be credited
through Amazon accounts, much of Apples money might
well be used toward a Prime membership or lawn chairs,
rather than books.
But however Apples settlement eventually
shakes out on appeal, its largely academic
at this point. As the Hachette vs. Amazon
dispute over terms of sale shows, hashing
out the post-agency ebook market without
the benefit of collective action, is going to be
a complicated balancing act for publishers,
especially considering that Amazon has not just a majority
of the US ebook business, but a large share of the print
book business as well.
No one should
hold their breath
waiting for their
Apple windfall.
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Andrew - Apple 2
05/10/2014 20:40
The advocacy of a good agent

As giant companies battle over the future shape of the book market, the committee of
the UKs Association of Authors Agents reflect on the position of agents and authors
Diane Banks, Diane Banks Associates
A publisher or booksellers essential product is the authors
intellectual property. Its expert management and exploitation is
therefore equally essential, particularly in a market exhibiting
a flat to downward trend. Agents detailed industry knowledge
and awareness of trends allow them to maximise share of the
book market for their clients. But increasingly important are
the alternative revenue streams, such as speaking and corporate
deals which, with their own agendas and layers of middlemen,
arent the giant companies expertise or their place to control.
Lizzy Kremer, David Higham Associates

The industrys appetite for fantastic storytelling is undimmed.
Marketing-savvy authors have more control over their careers
and relationships with their readers than ever. But as new
routes to market open up and others decline, terms between
publishers and authors are changing rapidly, so authors also
need the advocacy of a good agent more than ever. And agents
need a good overview of the industry, from high street to virtual
platforms and the corporate landscape, in order to offer

advice that is good for now and the future. Good agencies and
engaged authors are not passive observers of battles fought
between corporate giants; we are in constant conversation.
Gordon Wise, Curtis Brown

However large or small your publishing company or literary
agency, whats crucial is how an authors work is going to be
discovered. Whats going to make either an editor or a
consumer spend hours of their life immersed in someone elses
story? Whats the balance between short-termist marketing
on price and the need to offer value in a competitive market?
Books and their writers need advocates within the industry
and without, and we have to strive to connect with an
increasingly plural consumer world. For agents and publishers
alike, whether wooing publishers or readers, the corporates
need to milk every last drop of opportunity from their
resources and independents have to assert the added values
they bring. None of us can take anything for granted.
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18
Gordon Wise - AAA.indd 2
05/10/2014 19:20
Sam Edenborough, ILA
Jodie Hodges, United Agents
The increasingly large publishing giants more and more often

demand translation rights of authors, to limit their risk. But
although some have effective rights departments, they inevitably
license sub-rights according to their own interest first. When
the agent markets foreign rights, the author retains maximum
control, gains the most direct relationship possible with their
foreign publishers and readers, and receives a larger and more
direct share of the proceeds. And with authors making the
running through social media in enhancing their engagement
with readers across global markets, it is their literary agents role
to assist them in converting this into direct partnerships.
Agents offer navigation through the mergers, shrinking

retail space and narrowing promotional avenues of the
current book market. In childrens, this final factor means
that authors and illustrators are expected by publishers to
share the job of promotion and get out and present their
books (and themselves) exhaustively in schools, libraries,
festivals and events. Its inarguably changed the idea of
what a childrens author or illustrator isnow both creator
and showperson, and they need the benefit of their agents
experience in this crucial aspect of their publishing journey.
Ed Wilson, Johnson & Alcock

The megaliths of publishing would be wise to remember
that market dominance can be fleeting. Size is not of itself a
benefitbig is lumbering, big is slow. Whereas small is nimble,
small is reactive. Sometimes big is beautiful, but the bigger you
are (as they say), the harder you fall. Penguin, Random House,
Hachette, Amazon, each could be the next Ozymandias:
Look on my works, ye Mighty, and despair! Yet authors
will still be here, and their agents will be right behind
themor rather, as is their essential role, leading the way.
Oli Munson, AM Heath

There are opportunities opening up in all kinds of directions.
But if you gave me three contracts, two from authors with
agents and one from an author going it alone, I would
almost certainly be able to tell which was the odd-one out.
An author with an agent will have more power and routes
to market than one without. And the agent community is
always looking for new ways to add value to the services
we provide. When one part of an industry goes through
significant change, every other part has to recalibrate
accordingly or risk being left behind.
19
Gordon Wise - AAA.indd 3
05/10/2014 19:36
Enchiladas, tequila and a rich literary world

Juliet Mabey reports on the British Council Publisher delegation to Mexico
Next year is set to be Mexicos year.
are already discussing protective
Mexico is designated the Market Focus
measures. Another key difference is the
country for the London Book Fair, and
lack of literary agents both representing
a whole range of cultural events is being
authors at home and selling foreign
set up to foster closer relations between
rights overseas, but this could be
the two countries publishing industries
changing soon. And one thing stood out
over the next 12 months. First among
to all of usthe very high production
these was a delegation of six UK editors
values, especially from the indie
on a fact-finding mission to Mexico
publishers, who showcased gorgeous
City last month, jointly organised by the
hardback volumes of short stories
British Council (in the form of Cortina
beautifully illustrated by prominent
Paul Baggaley, Suzie Door, Ellie Steel, Anna
Butler and her indefatigable team) and
artists, with unusual text paper and
Kelly, Juliet Mabey and Stefan Tobler in the
their Mexican counterpart, Conaculta
imaginatively chosen textile coverings.
National Library of Mexico
(the National Council for Culture and
The Mexican literary scene has been
the Arts in Mexico).
rather overshadowed in the past by the
Finding ourselves in a city that names its
larger Spanish and, to a lesser extent,
streets after famous thinkers and poets
Argentinian publishers, but with a recession
Kant, Copernicus, Milton, Descartesour
in the Iberian peninsula and strong
expectations from the trip were high from
economic growth in Mexico, there are signs
the outset, and we were not to be
that this is changing. This is the home, after
disappointed. In a whirlwind tour of the
all, of the Nobel Prize winner Octavio Paz,
Mexican publishing and bookselling scene,
and of Juan Rulfo and Carlos Fuentes, to
we visited the impressive Vasconcelos
name just a few iconic Mexican writers.
Librarythe largest in Latin America, which
With a population almost twice the size of
showcases a stunning sculpture of a life-size
Britain, and a literacy rate of around 90%,
whale skeletonand a fabulous bookshop in
the prospects for the Mexican book industry
a turn-of-the-century villa in the heart of a
are rosy. Ranging across essays, short
residential district.
stories, poetry, fiction and non-fiction,
We were introduced to key figures in the
Mexico offers a rich literary store for the
Mexican literary world, from literary critics
adventurous publisher to explore, and
and journal editors to brilliant writers and
generous subsidies are available through
translators, who discussed contemporary Latino writing,
Protrad for translation and marketing.
the Cuban effect, magical realism, and what might be
dubbed tragic realism the rise of Mexican narcoIndigenous publishing scene
literature, the more recent penchant for violent fiction
While in the past many of the Spanish-language bestsellers
focused on the drug wars in the north of the country, which
were imported from Spain, it is clear that the vibrant and
includes Down the Rabbit Hole by Juan Pablo Villalobos
diverse indigenous publishing scene in Mexico is thriving,
(shortlisted for the Guardian First Book Award). And we
and 2015 offers plenty of opportunities for publishers on
met with publishers large and small, from the feisty young
both sides of the Atlantic to familiarise themselves with
independents Sexto Piso and Almada to the state-owned
their counterparts. A delegation of Mexican writers and
Fondo de Cultura Econmica with its own bookshop-cafes, publishers will be holding events and meeting publishers
to the large international houses of Planeta and Penguin
at LBF in April, and Guadalajara International Book Fair,
Random House.
the worlds second largest book fair, will in turn be
hosting a delegation of British writers and publishers in
the autumn. Both Book Fairs will offer fertile ground for
Low profile of Amazon
any publishers or agents wishing to build valuable bridges
There are key differences between the British and Mexican
of co-operation.
markets. First among them must be the low profile of Amazon,
which has only very recently set up shop in Mexico to sell

Juliet Mabey is Publisher at Oneworld Publications.
ebooks, and with so few people owning ereaders, it has
The Mexico Market Focus Cultural Programme is jointly curated by the
had little impact on that market so far. Mexican publishers
British Council and Conaculta. Please visit www.britishcouncil.org/
and booksellers have watched with interest the growing
mexicomarketfocus for more information about the programme and
upcoming events in both the UK and Mexico.
dominance of Amazon in Europe and North America, and
With a
population
almost twice
the size of
Britain, and a
literacy rate of
around 90%,
the prospects
for the Mexican
book industry
are rosy.
20
Juliet Mabey - Mexico 2
05/10/2014 19:08
A brand new picture book

from Henries-Award nominated
illustrator Jo Rose!
At Frankfurt
Contact Lisa Hryniewicz, lisa@koko-media.com +4478 1140 6366 www.deerlittleforest.com
A queen of the night

There is, I think, something of a queen of the night
about rights selling, writes Kate Wilson. You prepare
for months, like a plant establishing roots underground, you book appointments for October from
early July, investigate pricing, pull together proofs and
dummies and then you have just a few days to flower.
You have to be organised, animated and responsive
for half-hour appointment after half-hour appointment, decoding across cultural and language divides. You
spread your seeds. And then, after the fair, you do your best to
see that those seeds germinate, sending material, and negotiating schedules and prices until the cycle begins again.
Nosy Crow is well-known for its innovative digital products,
but traditional, international co-edition and rights deals are central
to our business plan and our success. Our co-edition sales grew
by 37% between 2012 and 2013, when we did 187 individual
co-edition deals. This is in line with growth in UK sales of our
full-colour publishing; by the end of 2013, with just 27 picture
book titles in print, Nosy Crow was the 13th biggest publisher
of picture books in the UK in terms of sales to consumers.
Meanwhile, driven by both fiction and the sale of picture books
to markets like China that are resistant to co-edition buying,
our rights revenue grew by 48% between 2012 and

2013, when we did 40 individual rights deals.
We can produce digital products for the world, and
distribute them ourselves. About three quarters of our
app revenue comes from outside the UK, and this is
growing, and will increase further when we produce
multi-language versions of our apps. But though we
could in theory translate our books into other
languages ourselves and get them printed, the costs of selling,
marketing and distributing the books in other countries would
be more than a small company could easily stomach.
With a growing list of new books each year, our sales focus
remains those countries that have been the core of UK childrens
publishers co-edition and rights business for decades: the USA
and European countries, particularly, in our case, Germany,
France and Holland. Its been good to see the revival of certain
European markets; we are reprinting books for Greece and we
are once again selling books to Portugal. Countries in which
weve seen growth include China, Turkey and Poland.
Were seeing the opportunity for sales across our range of
titles for children from 0 to 12. Theres a strong international
appetite for novelty books. Our series of Bizzy Bear titles,
22
Kate Wilson - Rights and Co-eds 2
05/10/2014 20:42
illustrated by Benji Davies, has sold 700,000 copies to date

in 14 languages, excluding US and UK English, for example.
But increased costs in China (particularly, reasonably enough,
increased labour costs) have put a bit of a ceiling on our
inventiveness in this area; we are struggling to make our more
innovative and sophisticated novelty ideas work in terms of
costs when we print in China, and seem to struggle with quality
control when we take our printing elsewhere. Picture books are,
in terms of costs, an easier prospect, and, if you get the story
and artwork right, can sell strongly. A book like Nicola
OByrnes Open Very Carefully, has sold in 11 languages,
not including US and UK English, since its publication in late
2012, and has reprinted in many of those languages. Well be
selling her two follow-up books this Frankfurt.
And book fairs remain particularly important for illustrated
books. We are still making up dummies of books late into
the night in the weeks before the key book fairs, because
while we do send out digital material, we find that our
potential co-edition partners want to know how a finished
book will look and feel.
We acquire world rights in all languages in our childrens
fiction and illustrated books, and are currently particularly
Distributors, representatives...
What if there was a product to help students who
struggle to read remain in the classroom to learn
alongside their peers using the same curricula?
pleased with the renewed interest in UK pre-teen fiction, after

a rather dry period when the focus was on US-originated
books for teenagers. In May 2014, we acquired rights in My
Brother is a Superhero, David Solomons debut novel for readers,
particularly boys, of nine and up, and in its sequel. We sold US
rights (to Viking) on the basis of a pre-emptive bid, and then ran
an auction for German rights (won by Klaus Humanns new
imprint, Aladin)and are confident of a lot more offers to come.
Were seeing ever-increasing involvement in childrens
fiction sifting by scouts, and an interest in looking at fiction
titles earlier and earlier in their development. Its certainly
possible for fiction selling to be done outside book fairs, but
when the timing works out, book fairs remain the best time
to build international buzz around a title; I think wed have
sold more rights more quickly if wed bought My Brother is
a Superhero in the run-up to Bologna rather than a month
after. Still, theres always Frankfurt
The technology may have changed, but for many of us
the business model has not; the old system of appointments
at book fairs as the basis of forthcoming international
business remains remarkably resilient.
Kate Wilson is Managing Director of Nosy Crow.
To learn more,
see Richard Flower in
Hall 8.0, Booth D147.
He will tell you how you can
become part of an exciting initiative
to create independent, confident
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23
Kate Wilson - Rights and Co-eds 3
05/10/2014 19:15
Flying solo, but never alone

Sophie Hicks talks about her first months running her own authors agency
After 25 years at the same company, even
contemplating taking those first steps as the
Sophie Hicks Agency felt slightly unreal. It
was a new beginning, a reinvention of
myself, both exhilarating and terrifying. The
planning, setting up and getting started was
thrilling, satisfying, challenging and
liberating all at the same time. There have
been days when I felt overjoyed and days
when I felt terrified, and days when I have
had life lessons in patiencesetting up the
Sophie Hicks
new printer, for example.
So why now? February 2014 represented a massive
milestone for memore than half of my life with the same
company. It suddenly felt like a cavernous amount of time
and maybe it was the perfect moment to begin again. Close
friends have often asked over the years, Why dont you go
it alone? and earlier this year I started to formulate my
vision for the next 10 to 20 years. With feelings of
optimism, the excitement of new possibilities, and a sense
that the industry was coming out of the recession, it felt
like a good time to stretch my wings and jump.
Advice, support and encouragement

In the first few hours of the press release going out, the
messages of congratulations and support were overwhelming
(although the first 100 submissions into my new beautiful,
blue-branded website were daunting). The advice came in
from all quartersfriends and family, and publishing pals. My
authors were excited and delighted, and the generosity of
others was phenomenal, sometimes surprising, but always
appreciated. Even after years of working successfully in the
business I know that I have much to learn from others. It is so
important to connect and collaborate, and not be afraid to ask
questions. One of the most helpful pieces of advice I received
was possibly the most simple and came from a wise woman
who said: Be careful about money, but dont be frightened of
money. Another interesting piece of advice, from a smart
publisher, was: Intuition gets you further than aggression.
Now several months in, and after more generous lunches than
is probably healthy (and enough brain-picking sessions to
satisfy a zombie), we are up and running.
I believe that it is important to be proud of your
accomplishments without pride. That may seem like a
nonsensical argument, but pride can get in the way of doing
this job. It is essential that I am able to listen. Listening to
authors, editors, in fact, to anyone with an opinion,
especially if it differs from my ownit is often these that
can be the most valuable. This job is about finding a voice
that must be heard and making sure that it is. I simply
cannot do that if I am not listening to everything and
everyone around me.
Being a beginner again

I love this quote from Steve Jobs: The
heaviness of being successful was replaced
by the lightness of being a beginner again.
In the early days of starting SHA it was
abundantly clear to me that it wasnt just
about P&L and budgets, but far more
importantly, it was about defining my vision
and fully realising my values as an agent. I
want to try to be flexible, open and nimble,
otherwise there is a danger of missing
opportunities, of becoming weighed down
with the baggage of complacency. By shedding weight and,
in a sense, by simplifying, you are able to find clarity. By
beginning again, I feel that I can see clearlyand I can see
that bigger is not always best.
I want to be receptive to everything that comes across my
desk. I think you have to love getting stuck into the
reading, finding the gems that may be hidden there and
working with your author on a manuscript that you fall in
love witheven if it takes years. And of course there is the
excitement of making deals, when an editor shares your
enthusiasm for a book. The thrill of the first few SHA deals
felt very special. In July, SHA doubled in size when Sarah
Williams joined the agency and signed a well-known
lifestyle and food writer, and a very exciting debut
novelistwatch this space.
Evolution
Not being afraid of huge change and being willing to adapt
is crucial. Technology, market forces, business models, and
industry hot topics evolve and we must constantly
re-evaluate and learn as we go. In a time of merger and
consolidation, and of homogenisation, it is important for
me to try to remain small and nimble, and focused on what
matters; everything we do is for and about our authors. I
never want to lose sight of that. Relying on a wealth of
knowledge is, of course, incredibly useful, but following
your instinct can bring even greater rewards.
I believe that my job should be about the long view. As an
agent, do I want the flash in the pan bestselling celebrity
book? Or would I find greater satisfaction in working with
authors, building careers and watching them evolve? My
job is about finding the right editor and home for my
authors. Its about the story within the pages of their books,
whether it be fiction or non-fiction, adult or childrens, and
championing these stories and these authors throughout
every stage of their careers. Working with authorssurely
this is why agents and editors get into this business? For me
the big picture is the small picture. It is about people and
about relationships, and ultimately the purpose of my job is
to get great books into peoples hands.
24
Sophie Hicks - Agent 2
05/10/2014 19:05
Utilizing technology
to develop &
deliver relevant,
engaging
learning content
& assessments
Hall 4.2 | Stand C92
Dont forget to catch LearningMate on the Education Hotspot Stage!

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

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

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

VP & Director, Digital Delivery for
Global Education, John Wiley
EVP & Chief Product Officer,
Cengage Learning
VP, Publishing, Wolters Kluwer Health
To pastures new, but familiar

Jacks Thomas talks about LBFs return to the refurbished Olympia London
Transformation and change are in the air for
book fairs, just as they are for the industry
itself. As our friends here at the Frankfurt
Book Fair prepare for a switch of halls
themselves next year, so the London Book
Fair is beginning a new life too, returning to
its former home in one of the capitals
architectural gems, Olympia London.
The more seasoned among you might think you know
Olympia from the LBFs previous years there, but I urge
you to think again. A lot has changed at the venue since the
Fair happily ran there from 1994 to 2005. There has been
more than 30m of investment from owners EC&O
Venues, whose vision has led to a re-birth of the venue as
Olympia London. It now boasts seven
connected spaces that give an exhibition
complex fit for the 21st century, one that is
already seeing the return of many big names,
such as the Ideal Home Show. The LBF will
be the first show to take all seven halls.
However, before we look ahead, I want to
take a moment to look back, to consider
what we introduced at Earls Court last year
and to explore where it has taken us. Our
aim was to create a show that brought
together all sides of the industry, from
academic to apps, and crucially, to create a
show that embraced all notions of what we might mean
when we talk about content. So we reached out to gamers
with backing from UKieUK Interactive Entertainment, the
gaming industrys trade bodyand we had a Tech Theatre
and a Start-Up Zone. The FT reported on the fevered
excitement at LBF around gaming tie-ups in the wake of
the success of the gamification of Bedlam by crime novelist
Christopher Brookmyre. The hall was fizzing with ideas.
The core of the fair remained, and remains, the same
of coursethe trading of rightsand we are confident that
our author-themed International Rights Centre, easily
accessed from the exhibition floor, will more than meet
requirements. We have a Rights Relationships Manager
who will facilitate meetings across geographies and sectors.
Our business breakfast for Chinese publishers was
especially rewarding last year and as a result we have
already arranged a number of meetings for Chinese
publishers at next years Fair, for which we are offering a
translation service.
The Publishing for Digital Minds conference that is
once again part of the Fair will also be simultaneously
translated into Chinese and Spanish. And, talking of
Spanish, we extend a warm welcome to our Market Focus
country Mexico, whose pavilion, I can promise you, is
something special.
Change is entering the academic space too

and we had fantastic feedback from STM
publishers, who were delighted with our
academic theatre, the Faculty. The
International Publishers Association
Education Conference was a huge success
too and will also be moving with us to
Olympia. This conference is the only one in
the world that brings together policy-makers, publishers,
teachers, researchers and technologists to discuss smarter
ways of raising educational standards.
For those of you who have never been to Olympia, youre
in for a treat. In an industry that combines heritage and
innovation, that is exactly what Olympia is all about. We
have conducted around 100 tours in the last
12 months and we hope we have given people
a flavour of this historic and special venue.
The famous Grand Hall is one of the capitals
finest Victorian buildings. Fair goers the
world over often bemoan the lack of natural
lightat Olympia it comes flooding in. The
views across the hall from the first floor
gallery are stunning, and I love the idea of
new approaches, new developments being
discussed and traded in this historic setting.
And once again, to toast that dealor
celebrate that new partnershipthe Club at
the Ivy returns to a new home on Olympias Gallery.
We will host our second International Book Industry
Excellence Awards, at which people will be able to hear
more about the fabulous initiatives taking place around the
world. I am lucky enough to see some of these myself
through the wider Reed family of book fairs in Beijing,
New York and Tokyo, for example, and our outreach to
these fairs has helped bring new customers to London.
The Fair will be the centrepiece of Book and Screen Week
in London, which will see author activities across the
capital. And that leads me to say that, as a Londoner, I am
immensely proud that the LBF remains in the heart of that
great city. Creativity is Londons gift to the world and it is
thrilling for all of us to be able to play a part in that
contribution. We look forward to meeting you there.
Five things to know about Olympia before you fly:
The majestic Grand Hall is Grade II listed
Rudyard Kipling watched the military spectacle the
Royal Tournament here in 1928
Jimi Hendrix played here in 1967
Margaret Thatcher opened the LBF at Olympia in 1995
There are 65 Michelin-starred restaurants within a mile
of the venue
In an industry
that combines
heritage and
innovation, that
is exactly what
Olympia is all
about.
Jacks Thomas is Director of London Book Fair.
26
Roger Tagholm - Jacks Thomas - LBF 2
05/10/2014 19:06
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Quadrille: not so square

Twenty years ago, when the plans for the first
Quadrille list were being hatched, Jamie Oliver
and Nigella Lawson were a few years away
from publishing a book, and the term British
Foodie seemed something of an oxymoron,
writes Sandy Grant. But the passion for
food was coming, and so the new business
included a couple of cookery titles by wellknown authors, as well as some strong
groundbreaking titles with Country Living.
Co-founder Alison Cathies knowledge was
built up at groundbreaking packager Rainbird, Sandy Grant
and refined as the Managing Director of Conran Octopus,
where she worked closely with Paul Hamlyn, and with Terence
Conran. Her background put Quadrille in a unique position to
set new standards of creativity. The rise of the celebrity chef was
on the horizon, and Quadrille signed up Antonio Carluccio and
Michel Rouxat a time when mainstream trade publishers were
still somewhat dismissive of illustrated books.
Working in that era had also taught Alison that if you were
willing to invest in the very best photography, artwork and
design, and use the Rainbird model of matching household
names with popular subjects, you could produce books with the
potential to succeed in multiple markets and multiple languages.
By 1997, I had left my job as Managing Director of Reed
Books in the UK and had decided to launch a new business
in my home in Australia. The companies we hoped we
could emulate in Australia were Quadrille in London and
Chronicle Books in San Francisco. Quadrille, because they
had a strong list in a growing market, and Chronicle were
producing the most visual, collectible list in the world.
Hardie Grant became the distributor for both Quadrille
and Chronicle, and has been ever since. Twenty years later,
Quadrilles integral strategy is unchanged, but now there
are expansive digital plans and new routes to market.
The Naked Chef with Jamie Oliver, heralded the birth of
the celebrity chef, and Quadrilles publishing of Gordon
Ramsays books launched one of the most far-reaching global
brands. His books sold in millions (in 20 languages) and still
reprint every year. Similarly, Michel Rouxs titles on Eggs, Sauces
and Pastry have become classics, while his forthcoming The
Essence of French Cooking is expected to establish itself as the
authority on the subject. Quadrille has also attracted cool new
authors from blogs like LibertyLondonGirl, built up authors
like The Medicinal Chef Dale Pinnock and Scandinavian chef
Trine Hahnemann (now published in 11 and seven languages
respectively), and published ahead of the curve with cake-maker
Peggy Porschen (now in print in nine languages).
This Frankfurt, Quadrilles International Sales Director
Margaux Durigon and her team are selling the Hardie Grant
London and Australian lists for the first time. From Hardie Grant
London, there are the superb food and travel titles covering
Cairo, Venice and the Greek Islands, while Hardie Grant
Australia has a major new work on Middle

Eastern Vegetarian food from 3-Star Michelin
chef Greg Malouf, sitting alongside the hugely
successful Food of Vietnam by Luke Ngyuen.
Besides food Quadrille also has a consistent
and successful strand in craft, recently
headlined by two national bestsellers
accompanying the BBC series The Great
British Sewing Bee. These stylish,
contemporary and quirky books have
consistently sold well, particularly in the
international markets. Cath Kidstons Sew!
is one of the bestselling craft books of all time, with more than
400,000 copies in print. Indeed Kidstons craft books have sold
more than 1 million copies worldwide (in 14 languages), and
Quadrille has sold more than 1.5 million pieces of her
stationery line. The blogger Tilly Walnes emerged from The
Great British Sewing Bee, with her sharp debut Love at First
Stitch, and with Woolly Woofers and The Belle and Boo Book
of Craft, Quadrille Craft has moved a long way from the
traditional craft market and style of publishing.
Partnerships are an essential part of illustrated publishing
and Quadrilles collaborations with internationally recognised
brands like Vogue (whose series on designers has had such
outstanding impact), and Liberty (glorious sewing books and
knock-out stationery), have been another key part of its success.
In Alisons words: We recognised, long ago, that craft with
leading authors would be a key part of the business. Erika
Knight and Debbie Bliss have been at the forefront of craft, and
each of their titles reflects their enormous influence and vision.
For a business that creates high quality, beautiful books, the
future shares much with the ideals of the past: establishing
brands; identifying trends; finding original and fashionable
authors; market-leading design and production solutions;
and working with authors and partners to bring the books
to a broad audience. What has changed is the route to
market and, to a degree, the market itself. The decline of
the high street and the rise of the online retailer, has forced
illustrated publishers to find new retail outlets and partners
where the physical book, best purchased after it has been
seen and held, can be appreciated.
And Quadrille will look to build on some of Hardie Grants
digital successes. Cooked.com (launched in Australia and
due in the UK this autumn) is a subscription-model recipe
website offering thousands of recipes from our books,
alongside news and magazine-style material. This and our
Australian sites, winecompanion.com.au and
beautifulaccommodation.com.au, are the channels to
market we are developing to get closer to our end consumer.
The market for quality illustrated publishing has never
been more exciting!
Sandy Grant is Chief Executive of Hardie Grant Publishing.
28
Sandy Grant - Quadrille 2
05/10/2014 20:36
A bigger and better Shanghai Childrens Fair

After a successful inaugural run that attracted
20,000 attendees and 154 childrens publishers
from 15 countries last year, the next China
Shanghai International Childrens Book Fair
(CCBF) is set to have a much bigger exhibit space and a host of
new programmes, writes Teri Tan. Running from 20 to 22
November at the Shanghai World Expo Exhibition Centre, the
2014 event will welcome more than 190 publishing houses from
22 countries. Visitors will find popular publishers Scholastic,
Random House, Pearson, Oxford University Press and McGrawHill alongside Bloomsbury, Capstone, Ravensburger, Dargaud,
Bayard, Poplar Club, Kyowon and many more. From China, at
least 36 childrens publishers will be attending, including big
names such as Anhui Childrens Publishing House, 21st Century
Publishing House, Tomorrows Press and Zhejiang Childrens
Publishing House. Online retailers Dangdang and Amazon
China have also confirmed their participation. Presently, more
than 96% of the booths have been booked.
For Randy Wang, Senior Project Manager at Fair organiser
Reed Exhibitions: This years event has evolved into a
one-stop business platform that caters for all aspects of the
childrens publishing industry, both upstream and
downstream. There will be more professional

forums on sharing of experiences, best
practices and industry solutions at domestic
and international levels. CCBF and the
London Book Fair, for instance, will launch a joint forum,
Partnering for Transmedia Success: Creative and Business
Perspective, for industry professionals.
With 230 million children under the age of 16, Chinas
childrens publishing industry has maintained a double-digit
growth in the past couple of years. The relaxation of its onechild policy is only going to increase its market size and
potential further. Adds Wang: Publishers near and far are
drawn to the fact that 90% of the bestselling childrens
books on Amazon China are either direct imports or
translations. Additionally, around 70% of urban Chinese
parents buy books for their children every month, with a
clear preference for imports to expose their children to
varied content and increase their understanding of world
cultures. So, CCBF is set to take advantage of this thriving
sector to become the top childrens event for the region.
For more information: www.ccbookfair.com.
30
Teri Tan - Shanghai.indd 2
05/10/2014 20:36
Join
90,000
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And Important Updates for the
Global Rights Marketplace
Head to booth 8.0 R28 or 4.2 E88 and register

to receive FREE this valuable information.
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PublishersWeekly.com/subscribe to join today!
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Self-publishing goes digital to go global

Digital self-publishing is giving authors easier access to international markets for
their storytelling. Colin Eustace explains
Who would have thought that in 2014 we
would describe the publishing industry as
rapidly evolving and full of disruptive
players developing innovative approaches to
getting books into the hands of readers? The
democratisation of publishing provides all
elements of the industry with opportunities.
Weve seen this with Nook Press, our
digital self-publishing platform. Nook Press
offers authors, agents and publishers a quick
and easy way to launch works as ebooks in
the Nook eco-system, with a revenue share
on ebook sales and royalties as high as 65%.
Self-publishing is not just democratising
publishing, its also giving authors far
easier access to an international market
for their storytelling.
Sales opportunities
Facing the challenges
Colin Eustace
The potential
of this market
for both
authors and
booksellers is
hugeand the
entrepreneurial
spirit that selfpublishing
authors bring
to the industry
is fantastic.
Designed with the input of independent

authors and publishers in the US, we
launched this platform internationally in
April this year. Nook Press is now available
to publishers in the US, UK, Germany,
France, Italy, Spain, the Netherlands and
Belgium. This expansion offers multi-lingual
publishers sales opportunities through our
partnership with Microsoft to have Nooks
Windows 8 reading app on all Surface
tablets. For English-language UK publishers,
the Nook Press international expansion
opens up the massive US market.
At Nook, one of our key goals is to get more people
reading digitally and this platform enables us to give
readers access to new voices they might not have found
through traditional booksellers. Theres no doubt that selfpublishing provides readers with what they want; titles
published through Nook Press make up 15-20% of the Top
100 ebooks at BN.com in the US. Books published through
Nook Press span all categories, including fiction and nonfiction from bestselling and award-winning authors,
though the vast majority of successful books are still
thrillers, crime novels or romance, with thriller and fantasy
novels both real growth areas. These categories dominate
Nook Presss Top 100 Sellers in the UK.
Joanna Penns novella Day of the Vikings, Helen Scott
Taylors Love is All Around boxed set and Nick
Alexanders The Half Life of Hannah are just a few of the
international independent titles that have found a large
readership at Nook both in the UK and in the US.
Although the opportunities created by

opening up an international market are
huge, we know that self-publishing isnt
necessarily an easy option for authors, so
weve built a platform that helps to diminish
some of the challenges self-publishing
authors face. These range from enabling
private collaboration by allowing authors to
invite their network of friends and editors to
read and comment on any Nook Press
project in a secure environment, to sales
reporting that lets authors easily track
earnings, monitor month-to-month sales and
adjust the price of books (if necessary) to
maximise profits.
Were also a founder sponsor of the
Frankfurt Book Fairs Self-publishing
programme. This series of events at the Fair
will provide information and connections
for anybody who wants to learn more about
global opportunities in self-publishing in the
English-language market. As part of this Ill
be running a session with Patrick Brown of
Goodreads, entitled From Inspiration to
Discovery: A Step-by-step Guide.
Promoting and merchandising
As in the world of traditional publishing,

once a book is published the authors
journey is far from over and the challenge
arises of promoting and merchandising their
precious content. Initiatives such as our new UK-specific
programme, Digital First, help to overcome the challenge of
discoverability by placing Nook Press content side-by-side
with commercially-published titles, with prominent
placement on Nook.co.uk and in the integrated Shops on
our Nook ereaders and tablets. This move towards
breaking down the segregation between marketing selfand traditionally-published ebooks is an important
indicator of where our industry is heading. As readers
cease to make significant distinctions between these two
categories, so will booksellers.
The potential of this market for both authors and
booksellers is hugeand the entrepreneurial spirit that
self-publishing authors bring to the industry is fantastic. I
hope that we see more self-publishing success stories at
this years Fair and beyond.
Colin Eustace is General Manager, International, Barnes & Noble Srl.
32
Colin Eustace - B&N 2
05/10/2014 19:09
BookExpo America (BEA) is the premier

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

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

Translation Market, Publishers Discovery Zone, and Writers Row.
Contact Tim Rohach at trohach@reedexpo.com for information
on exhibiting at BEA 2015.
NEW 2015 Show Dates2.5 Days Midweek
Wednesday, May 27 - Friday, May 29, 2015:
Exhibits, Conference & Special Events
Javits Center, New York City | www.bookexpoamerica.com
BookCon: Saturday, May 30 - Sunday, May 31, 2015
Javits Center, New York City | www.thebookcon.com
Sponsored by
Produced & Managed by
Question time
think how is all of this going to be viewed
and in what context.
We primarily work office hours, 9am to
5.30pm, but when will the consumer either
go online or beready to discover a great
new read? Even the worlds greatest Tweet
is worthless if no one sees it.
The first question I usually get asked as

amarketing consultantis whats the
answer? orworded slightly differently, but
meaning pretty much the same is whats
the trick? writes Anthony Keates. We all
know what the answer is, its42 (thanks to
Douglas Adams), but more importantly
whats the question? Marketing is about
asking the right questions, getting the right
answers and then applying them to your
business in the right way.
Anthony Keates
The creative process should always start
as broad and as open as possible, because its
implementation and application naturally limits and
reduces it. This isnt a one-off either, the trick
isrepeating and modifying these questions throughout
your business. Last years solution might not be
tomorrows as we live and work in a dramatically fluid,
changing world, where often the consumer doesnt know
who they are, what they want or where they want it from:
I dont know what I want, but I want it now!
Obviously the most important question is whos the
consumer for this book? But equally its how do they
discover your book, and where do they buy it from? Then
how do you build a direct relationship with them, and
from them?
Previously most marketing thought and effort would
have been put into the selling out of the book, but now
its a combination of pre-publication, on-publication and
post-publication work. The trick here across these three
areas is working out: where you allocate your energy
andbudget; where and when you engage the book
community to work with and for you; and what you need
to learn from all of this activity.
Who is already successfully getting to these

new potential readers? Instead of trying to
drag people to you, go to people who
already have a relationship with them. Third party
promotions shouldnt just be about free stuff and
getting more for your marketing buck, but aligning
yourself with like-minded promotional partners.
Once the reader has bought the book and read it, the
greatest marketing tool is the book itself. You clearly
want the reader to buy another book, but you also want
them to become part of your virtual online marketing
team. Buying the book isnt the end of the process, its the
start of building a relationship with the reader. So, how
can you support and feed this relationship, and use
readers to pre-promote other books?
What is their online journey? What is the prime digital
destination and activity? Then, out of the website, QR code
and social media sites, where are they supposed to go? Do
you want to scatter activity to create chatter or do you
want to focus activity and create a louder single voice?
The bigger question across most of this online activity is
how can you create channels and communities across wider
areas that become promotionalplatforms for many books?
Or,do these areas and communities already exist and how
do you become part of them and benefit from them?
Key trigger words
The next big thing
The first question to ask of the marketing of most books

is: the customer has never heard about it, how will they
discover it? Where will they be and what will they be
thinking about? If they are online, which search terms
would they use? Build these search terms and the key
trigger words into all of your copy and promotional text.
From the start, create your copy from thepoint of view of
the consumer.
And how can you make your copy, images and assets
work for you?What images, videos, maps and audio
extracts do you or the author already have? Start creating
a digital asset pack at the very beginning of the publishing
process, not at the end.
An A4 piece of paper is no longer the canvas for
marketing. Consumers discover, imbibe, communicate and
buy through a multitude of devices, and do so at times
when sitting, walking, talking and drinking. So always
Whats the next big thing in marketing? Is it discoverability,

insight, channel marketing, direct selling or something
else? Well, I do have one answer. Marketing should
always be about learning, adapting, filtering, being
reactive and being proactive. It shouldnever be dominated
by just one thing. Marketing is a mix. The trick is getting
that mix right to fit your businessand you do that by
asking questions.
Something strange happens when we go to work. We
change from being a consumer to a worker within the
industry spending most of the day working out who the
consumer is and how the consumer thinks. So how do you
create an internal working environment that is naturally
creative and is consumer facing?
Promotional partners
Anthony Keates has worked in marketing, publicity, sales and more

recently digital, within bookselling and publishing for more than 25 years
(thinkbigbooks@aol.com).
34
Anthony Keates - Marketing 2
05/10/2014 19:07
rowman & Littlefield is one of the largest and fastest growing

independent publishers and distributors throughout the world,
headquartered in the Us and the UK. We recently acquired
Globe Pequot Press and are now offering Globe and Lyons
backlist and new releases. Visit the booth to see our new trade,
reference, and library market titles.
Visit us in Hall 8, Stand E112
Railway Anthology
First Edition
Edited by deborah Manley
One Lucky Bastard

Tales from Tinseltown
By roger Moore
For more information about Rowman &

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Causes, Characteristics and

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The Other Jesus
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Edited by Joan Font,

donatella della Porta and
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By robin Hastings
Small Batch
A History of
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Pickles, Cheese, Chocolate,

Spirits, and the Return
of Artisanal Foods
By Malissa smith
By suzanne Cope
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Frankfurt Show Daily, Day 3, Oct 10

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Frankfurt

FRIDAY, OCTOBER 10, 2014

VISIT PW AND BOOKBRUNCH AT HALL 8, STAND R28

Spanish authors short novel causes stir

imprint Harvill Secker.

Nobel to French author Modiano

News Day 3.indd 1

Modiano made his debut

Ngugi Wa Thiongo, Haruki

Stand G9 in Hall 8.0

FRIDAY, OCTOBER 10, 2014