Frankfurt Fair Dealer, October 13, Day 2

13 O C T O B E R
2 011
For round-the-clock Frankfurt Book Fair coverage go to www.publishersweekly.com and www.bookbrunch.co.uk
New prize takes aim at Booker
xplicitly aiming a barb at the

Man Booker Prize, a group
of publishers and agents with
Andrew Kidd of Aitken Alexander
as its spokesman has announced the
Literature Prize, to establish a clear
and uncompromising standard
of excellence.
The organisers said that there was
a vacancy for such a prize, because
as numerous statements by (the
Man Bookers) administrator and
this years judges illustrate, it now
prioritises a notion of readability
over artistic achievement. They have
the support of authors including
former Booker winners Pat Barker
and John Banville, as well as Mark
Haddon, Jackie Kay, Nicole Krauss,
Claire Messud, Pankaj Mishra and
David Mitchell. Other high-prole
writers are oering strong support
behind the scenes.
There will be an announcement
about funding for the new prize,
and about the composition of the
Literature Prize advisory board, soon.
The organisers added: We
believe though that great writing
has the power to change us, to make
us see the world a little dierently
from how we saw it before, and that
the public deserves a prize whose
sole aim is to bring to our attention
and celebrate the very best novels
published in our time.
A number of literary publishers
and journalists have been strongly
critical of the apparent agenda of the
2011 Man Booker judging panel.
Dame Stella Rimington, Chair of the
judges, said that they were looking
for enjoyable books. I think they are
very readable books. Chris Mullin
said that a big factor for him was
that a novel had to zip along. Susan
Hill tweeted: Hurrah! Man Booker
judges accused of dumbing down.
They mean our shortlist is readable

and enjoyable.
In the New Statesman, Leo
Robson commented: I think we can
all agree that if a book is to be given a
prize, it ought not to be unreadable,
but some of us recoil from the use of
readable to mean (essentially) can
be read without struggle/thinking/
turning o the telly.
Some critics believe that it goes
against the original spirit of the Man
Booker to include genre novels among

the contenders. AD Millers Snowdrops
was also on the shortlist for the Crime
Writers Association Gold Dagger
Award, and Patrick deWitts The Sisters
Brothers was described by Man Booker
Literary Director as the rst western
to appear on the shortlist for the Prize.
But there was widespread surprise that
there was no place on the list for Alan
Hollinghursts widely acclaimed novel
The Strangers Child.
Perseus expands
HBRP deal
he Perseus Books Group is

expanding its distribution
agreement with Harvard
Business Review Press to include
international distribution of both
its print and ebooks. Perseus,
which distributes HBRP in North
America, began selling the Presss
titles into Latin America and the
Caribbean on 1 September.
Beginning 1 January, the
company will take over sales into
Europe through Perseus UK and
will also begin distribution into
Asia including China, Japan and
Korea as well as Australia and
New Zealand.
We see only upside in partnering
with Perseus to extend our reach
internationally, said Joshua Macht,
Group Publisher for HBRP. This
expanded partnership will give
our books the widest possible
distribution wherever and in
whatever format readers want to
purchase and read the content. We
are excited about this important step
forward in the global growth of our
publishing program.
The Press will continue to market
and promote its titles from oces
in the UK and India as well as in
the Middle East, including Dubai,
Qatar, Egypt, and Saudi Arabia.
Liz Foley at Harvill Secker has
signed up UK & Commonwealth
rights to the second volume of
Ngugi wa Thiongos memoir, In
the House of the Interpreter, in
a deal with Caspian Dennis at
Abner Stein on behalf of Gloria
Loomis. The memoir will appear
in September 2012, and will
cover the authors schooldays in
1950s Kenya.
Frankfurt Fair
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Thursday 13 October 2011
! "# $% $% &
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$300,000 translation fund marks Sharjahs

thirtieth anniversary
hmed Al Amri,
Director of the Sharjah
International Book
Fair, has announced a $300,000
translation fund to mark the
events thirtieth anniversary.
The SIBF Translation Rights
Centre, which is sponsored
by Etisalat, the largest
telecommunications company
in the UAE, and supported by
American University of Sharjah
(AUS), will oers grants for deals
concluded or initiated at the
Fair, and it will include books
being translated between any two
languages. In its rst year, the
fund will have a pot of $300,000.
The initiative reects the
international reach and inuence
of SIBF and is driven by the
vision of its Director but it also
underscores the commitment
of the Emirate to the cultural
economy, a commitment which
comes absolutely from the
top. HH Sheikh Dr Sultan bin
Mohammed Al Qassimi is the Fairs
Patron (his memoir is published
by BQPF), and at last years event,
the talk was of a cultural march...
a global road map opening up
the world to book-lovers. His
Sheikha Bodour, centre, with left to right, Orions Fiona Kennedy, Lauren St John,
Lisa Milton and Alex Williams, also both from Orion
daughter, Sheikha Bodour, founder

of the award-winning childrens
publisher Kalimat and of the
Emirates Publishers Association,
is the driving force behind
Knowledge Without Borders, a
programme which aims to engrain
the habit of reading among Sharjah
families by donating libraries, each
of 50 books, cleverly shelved within
a coee table, to 42,000 families in
the Emirate.
HE Sheikha Bodour Al
Qasimi, President of the
Emirates Publishers Association,
To contact Frankfurt Fair Dealer at

the Fair with your news, visit us on the
Publishers Weekly stand Hall 8.0 R925
Frankfurt reporting by Nicholas Clee and Liz Thomson for BookBrunch and
Andrew Albanese and Rachel Deahl for Publishers Weekly
Project Management: Cevin Bryerman
Advertising: Joseph Murray and Fiona Valpy
Layout and Production: Heather McIntyre
Editorial Co-ordinator (UK): Marian Sheil
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Frankfurt Fair Dealer issue printed by Henrich Druck + Medien GmbH,
Schwanheimer Strae 110, 60528 Frankfurt am Main
said: We are proud to launch

the SIBF Translation Rights
Centre to celebrate our
thirthieth anniversary. It will
mark a signicant gathering
of international publishers
and we will facilitate as
many translation deals as we
can, conrming Sharjahs
important role as an inuential
international book fair.
Crucially, the launch of the
SIBF Translation Rights Centre is
supported by a hugely expanded
professional programme, which
will take place on Monday 14
and Tuesday 15 November, prior
to ocial opening of SIBF on
Wednesday 16. It will include
individual meetings, networking
and talks, and will bring together
professionals from across the
international rights community
to do business at the Fair.
Already more than 50
international publishers
have conrmed attendance
from some 16 countries,
including Japan, Russia, US,
Romania, UK and Mexico. The
programme will also be attended
by Arab publishers from across
the region keen to build their
networks with international
publishers. All attendees will
receive a list of books currently
available in Arabic that are
Frankfurt Fair
recommended for translation,

and the opportunity to meet
their Arabic publishers.
Literary agent Toby Eady said:
Books dont succeed unless
they are very well translated.
But brilliant and inspiring
translation is not just the bedrock
of international publishing, it is
the key to better understanding
between cultures. Opportunities
to meet with publishing
professionals from across the
world, like the one aorded at
Sharjah Translation Rights Centre,
are invaluable in helping us break
down the barriers. Hopefully, this
will lead to more authors being
translated and appreciated in
more languages across the world.
A partnership with the British
Council will this year see a
roster of international authors
heading to Sharjah for the Fair,
among them Andrew Rawnsley,
Robert Lacey, Amit Chaudhuri,
Kate Mosse, Sunetra Gupta
and Lauren St John, who was
among the attendees at Tuesday
nights Sharjah dinner, held at
the Schloss. Guests hosted by
Al-Amri and the Sheikha included
publishers from Italy, Spain and
France, as well as Richard Mollet
and Emma House from the UK
PA, Steve Rosato from BEA,
Margaret Obank from Banipal,
Jane Tappuni of Publishing
Technology, and Orions Lisa
Milton, who, at Sharjah 2010,
bought UK rights in Kalimats My
Own Special Way, which will be
published in spring 2012.
The Fair itself will also be
attended by Arab authors,
booksellers and wholesalers,
and key English-language book
buyers from institutions such as
universities and libraries.
The translation grant will
be available to any attending
publisher or agent. The full
guidelines for 2011 will be
announced shortly via www.
sharjahbookfair.com.
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Its all about the pre-sales

and the big Swedish trilogy
ith a number of
big deals closing
the days and hours
before Frankfurt got underway,
conversations have trended less
toward pinpointing the big book,
and more toward sifting all the
mini-major deals that have already
gone down, writes Rachel Deahl.
While Ecco made a splash buying
the forthcoming memoir from Amy
Winehouses dad, and Amazon
Publishing made an arguably bigger
splash nabbing Penny Marshalls
memoir, it seems every agent is
trying to take advantage of Frankfurt
to make a big book even bigger.
But one thing everyone is buzzing
about is a new Swedish trilogy being
shopped by the Salmonsson Agency,
the outt that represent Norwegian
bestseller Jo Nesbo.
Amid a frenzied round of
deal-making before the fair, Leyla
Belle Drake, at Salomonsson, is
selling a debut trilogy by Alexander
Soderbergh called The Andalucian.
The agency was going to hold o
on selling the series until London,
but, after the scouts picked up on
it, rushed a translationin a week
they got the rst 100 pages of the
book translated into English to
have ready at Frankfurt. The trilogy

was pre-empted in Sweden in what
Bell called a huge deal, and a
signicant auction has also closed
in Italy and Germany. A number of
oers are in from other countries,
but the agency is planning to hold
on a US sale at the fair and, instead,
to shop the rights in the States in
November. A UK auction, the
agency said, may or may not close
in Germany. The central character
in the trilogy is a middle-aged
female nurse and Drake said that
the rst book was very cinematic
and featured explosive action.
Another book people are
buzzing about is the sophomore
novel from Laurie Frankel,
Deadmail. Molly Friedrich, at the
Friedrich Agency, has reportedly
coordinated a US auction for the
book today. The novel is described
as a melding of highbrow science
ction with Nicholas Sparks, and
it is a decided departure for the
author, whose debut novel, The
Atlas of Love, was published by
St Martins Press in August 2010
and sold very modestly. (That
book, a womens ction entry,
put a female-friendly, and serious,
Continued on page 6
Agents cautious debut makes waves

Short Books has acquired
WEL rights in a debut novel
that turns out to be written by
one of the trades own New
York agent Barbara J Zitwer.
The J M Barrie Ladies
Swimming Society was
acquired by Aurea Carpenter,
whod been sent the novel,
then titled Skinny-Dipping in
Winter by an author named
Becky Eastwood. I didnt
know where it had come from
and it seemed too good to
be true. Inspired by a swim in
the Hampstead Ladies Pond,
the novel had at its centre a
group of women who swim
Barbara Zitwer
together every day of the year
in a freezing Cotswold lake. A number of Short staff swim in the Ladies
Pond, so the book struck a chord.
Becky didnt want to meet with Carpenter so, at the LBF a few
months later, she asked Zitwer if rights were still available. Barbara
considered her answer carefully, took her sunglasses off, and said,
Actually, I wrote that novel and its still available.
Carpenter couldnt resist, and describes the novel as being infused
with the spirit of JM Barrie. Its about nding your own Neverland, and
the healing power of friendship. Barbara has created a very special story,
which I am sure will speak to many as it did to me.
German rights have been sold to Lubbe, world Spanish to Planeta,
and publication next year of this warm-hearted, funny womens novel that
explores the hearts and minds of its female characters from the ages of
15 to 85 will coincide with the centenary of the publication of Peter Pan.
Zitwer can be found on table 24B in the Rights Centre.
More than 2,000 Chinese exhibitors expected at LBF 2012 BZRK bids
The London Book Fair celebrated
China as Market Focus 2012.
Some 2,000 Chinese publishers are
expected to participate, eager to boost
their business with western publishers.
Chris Paterson (second from left),
who is advising LBF on the China
programme, MC-ed the proceedings,
at which speakers Dr Steven Luk, a
former banker who is now Managing
Director of the Commercial Press
Hong Kong Ltd, and Doug Wright,
Director of PCG and International
Business Development at Publishing
Technology, which ramped up its
business with China at last months Beijing International Book Fair, spoke of the business opportunities that await.
Concluding the evening, the LBFs Emma Lowe said: As ever, our Market Focus choice poses the
question, Why now? Well, the UK and other international markets have a long history of trading with China.
Furthermore, our Market Focus programme is based on our exhibitor and visitor feedback which tells us that
there is an enormous amount of interest in the Chinese publishing world not only their cultural heritage but
also their fascinating contemporary literary environment.
Frankfurt Fair
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Egmont is reporting frenzied

bidding from publishers all over
the world for Michael Grants
game-themed thriller series BZRK.
The three-book series has already
attracted 0.5m in advances from
publishers in France, Germany,
the Netherlands, Norway and the
US. Egmont MD Cally Poplak
said: BZRK is a brilliantly original
thriller, a cracking story and our rst
transmedia project. Were delighted
that other publishers are as blown
away by it as we are.
BZRK is a unique storytelling
experience bringing together the
worlds of gaming and YA ction.
It is backed by a team of digital
specialists including Rich Silverman,
writer on Alternate Reality games
for Heroes and The Dark Knight.
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Continued from page 4
spin on Three Men and a Baby,

with two women coming to their
friends aid after her husband
abandons her and their newborn.)
It already has sales in Italy, Spain
and Germany.
There is also a buzz thanks
in large part to the snatching
of UK rights by Canongates
Tif Loehnis in Ben Fountains
Billy Lynns Long Halftime Walk.
Lee Boudreaux at Ecco bought
weeks before the fair and, as one
scout put it, people are even more
curious now that Canongate has
acquired the title. Fountain, a
PEN/Hemingway winner who,
like Frankel, does not have a
signicant sales record - his debut
was 2007s short story collection
Brief Encounters With Che
Guevera (which Harper Perennial
published as a paperback original)
is now very much on the radar
of foreign publishers. Curtis
Brown is handling the book at the
fair, on behalf of ICM.
Colin Dickerman bought

North American rights in the days
before the Fair to Scott Hutchinss
A Working Theory of Love, after
a 10-way auction conducted by
Bill Clegg at William Morris
Endeavor. WME, which said the
book was their big title at the
fair, has just taken a German preempt, and also closed in Holland;
auctions in France and Italy are
set to close soon.
The historical novel Amy
Einhorn bought before the fair,
Tanis Rideouts debut Above All
Things, also has some people talking.
The Cooke Agency brokered that
deal, on behalf of McClelland &
Stewart, which has world rights.
About George Mallorys wife waiting
to hear from the doomed explorer
while he was attempting to become
the rst person to ascend Mt
Everest, the novel was pre-emptied
in Italy, and a rep from the Cooke
Agency said the UK auction was
about to close, with oers coming
imminently from Germany, Spain
and France.
Hot Key signs Mussi

Sarah Mussi is
among the rst
signings at Hot
Key Books, the
new childrens
ction list from
Bonnier.
The publisher
has acquired
WEL rights
following a deal
with Sophie
Hicks of Ed
Victor Literary
Sarah Odedina and Sophie Hicks
Agency.
Sarah Odedina, Managing Director of Hot Key Books, said: I am
delighted to have done this deal with Sophie for a book for our rst list.
The novel is a wonderful story in which an angel falls in love with a very
unsuitable character. Part angelic romance and part urban tragedy, this
novel will grip young adult readers with its brilliant story-telling and
wonderfully realised world.
Sophie Hicks added: It was a persuasive pre-empt and an impressive
pitch for the novel so both Sarah (Mussi) and I are delighted to be in
business with Sarah Odedina and Hot Key books. I have worked with
Sarah for more than a decade and she is a fantastic publisher. One of
her greatest skills is in publishing authors not books. We are looking
forward to a long and successful partnership.
Frankfurt Fair
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Frankfurt pre-sales
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UN signs up to pub2web
The United Nations eCollection has become the latest signing to Publishing
Technoloys pub2web platform.
One of Publishing Technologys core solutions, pub2web provides custom
web platforms, tailor made to any business model and any type of content.
Louise Tutton, Chief Operating Ofcer of Publishing Technologys Online
Division, said: With 40 new agreements so far this year, we are continuing to
build on the success of our state-of-the-art solutions to the unique challenges
of digital publishing. The new United Nations eCollection will take full advantage
of the powerful combination of semantic web technologies and sophisticated
information commerce capabilities available within the pub2web platform as
standard. This combination allows for ease of breaking down content silos and
moving away from the traditional containers of journals, books and reference
works while allowing publishers to experiment with new business models (such
as Patron-Driven Acquisition) and to deliver an enriched user experience.
The United Nations eCollection will be built on a custom interface on the
pub2web platform that will allow cross searching, discovery and sales via
pay-per-view or by subscription for over 1,500 publications produced by the
international organization, and all new and forthcoming titles, including ebooks,
reports, periodicals and selected grey literature. It will benet library customers
and patrons in higher education institutions, as well as commercial and
individual end-users with centralized delivery of online content.
Valentina Kalk in the Department of Public Information of the United
Nations observed: Delivering a wealth of titles and serial publications to our
readers worldwide via a single multilingual online platform is very exciting. It
is increasingly important that we make information more discoverable and
searchable in the easiest and most environmentally-friendly ways possible.
Publishing Technology has the expertise to deliver this for us and we very
much look forward to working with them in this venture.
Liz Foley at Harvill Secker has
acquired an extraordinary debut:
both a completely terrifying and
gripping thriller and a novel which
brings something new and fresh
to the genre. Aftermath by Koethi
Zan is the story of Sarah Farber,
who has spent the last 10 years
rarely leaving her apartment after
surviving an abduction, and whose
abductor comes up for parole.
Foley bought UK/Commonwealth
rights (excluding Canada) from
Dorothy Vincent at Janklow &
Nesbit, New York. Zan is a lawyer
at MTV, where she is Senior
Vice-President and Deputy
General Counsel.
At Portobello, Philip Gwyn Jones
has commissioned a book from
investigative journalist Mike Power,
who broke the story about the
accelerated rise to widespread
use of the untested new
recreational drug mephedrone
(aka miaow) and has become
a pre-eminent commentator on
the rise of research chemicals
. Portobello has world rights in

the book from Andrew Gordon
at Higham Associates, for
publication in 2013.
Jeremy Robson arrives at Frankfurt
this year rebranded as the Robson
Press, working under Iain Dales
Biteback umbrella. His highlights
include From Russia With Love,
the autobiography of Viktoria
Mullova, the ddler who defected
to the West in 1983 with her
Georgian lover, a conductor,
leaving behind the priceless
Stradivarius with which shed
won the International Tchaikovsky
Competition. (She is now married
to cellist Matthew Barley.) Robson
has world rights in her book
through Robert Dudley, and
told FFD that the memoir told
through a close friend contained
tremendous insight into what its
like being a young musician and
how difcult it was to assimilate,
personally and musically, into the
expansive liberalism of the West.
UK publication is in April 2012.
Abu Dhabi International Book Fair

your marketplace in the
Arab world!
28 March 2 April 2012
Join our seminars for academic and educational
publishers at the Frankfurt Book Fair.
Success Stories of Educational Publishers in the MENA Region
Thursday 13 October | 16.00 16.30
Venue: Forum Education Stage | Hall 4.2, B1448
Visit us at our stand | Hall 5.0 E943
www.adbookfair.com
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A shop window for ebooks

Sydney Davies argues that bookshops are essential in putting a wide range of
books and ebooks in front of readers
t has become de rigueur to say

that the High Street bookshop
has no future. I could quote
numerous pundits and industry
insiders plus recent articles in the
national press. So what? I hear
publishers say, we still have the
internet retailers, supermarkets and the
burgeoning ebook market. Its tough
for some, but in reality its just another
readjustment of the retail market.
Well still sell books, only in dierent
channels. Remember how book clubs
used to be so important?
However book sales are down
across the board; year on year in the
UK they are currently down by 4.6%
(Nielsen BookScan TCM). How
much of this is simply down to the
economic climate we dont know, but
whatever the reasons, this is not good
news for anyone in our business.
In the face of deep cuts, weve heard
a lot about the cultural inuence of
libraries -- the same argument could be
used for bookshops on the high street.
But there are also good commercial
reasons why we need them, otherwise
publishers may nd that they may
be caught between a rock and a hard
place. And this is not just about the
dominance of a few multinational
corporations, its a bigger issue.
In bookselling, discoverability is
a key factor. Book Marketing Ltd
(BML) states that nearly half of
all purchases in bookshops can be
classied as impulse purchases.
However online, this gure drops
to less than a quarter. Furthermore,
as Marc Parrish at Barnes & Noble
(which is building up some very useful
data comparing print/bookstore sales
to digital/online sales) put it to Business
Week, the consumption pattern of
books is shifting as the discovery
model on ereaders is shifting: people
buy a narrower set of books.
In his blog on www.idealog.com,
industry guru Mike Shatzkin states
that he had thought that as more
books are sold online, sales should
be moving to the long tail, but that
it doesnt seem to be working out
that way. Instead, he says, it would
appear that ebook sales are even more
concentrated across a smaller title band
than print.
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Sydney Davies
Could some new ingenious

algorithm sort it out? I would argue
that Amazon has been around for
more than 15 years and it still hasnt
come up with anything that recreates
the serendipity of a good bookshop.
And heres another thing.
Newspapers, that useful tool for
marketing publishers wares, are selling
fewer and fewer copies every year, with
the three quality dailies and Sundays
down on average more than 10% over
the last year alone (ABC circulation
gures). Sure they are online and some
are very good at it, but how many
readers get past the front page?
for all that sales space being lost in

bookshops. BMLs Books & Consumers
2010 reported that with the demise
of Borders over half of the money
spent by Borders buyers in 2009
[was] eectively leaving the industry
altogether in 2010.
High street and academic
booksellers have seen their market
eroded, yet they are providing the
shop window for publishers product
at great expense. We all know the
anecdotes about consumers visiting
bookshops and then ordering online.
Some of them care so little that they
will even scan the barcode and order
right there and then. Already a little
more than half of UK consumers
now use their mobiles during the
purchasing process, and this is
expected to grow quickly, according to
a report quoted in City AM.
The basic nancial model, and the
organisation of the book supply chain,
is still largely as was when free pricing
came in in 1995. But times have
changed, not least with the advent of
the internet and now the ebook.
Something has to change. Publishers
need to review the way they do
business with booksellers if they want
to keep these shop windows, which
Nearly half of all purchases in

bookshops can be classied as
impulse purchases, but online, this
gure drops to less than a quarter
This over-reliance and
concentration on bestsellers (and the
discounting that inevitably goes with
it) is pushing the book buyer down
an ever narrowing tunnel, and it is
becoming more and more dicult to
shed light on the fantastic range that
publishers produce.
If bookshops are forced to
compensate by diversifying too much
into other products to keep their
margins up, then the book range will
be further diluted and publishers will
suer even more. Publishers might
get away with selling some books in
niche outlets selling upmarket goods,
but theyre hardly going to make up
put a wide range of titles in front of

readers, and engage them in ways
online can never do. Crucially, they
also need to address how to help
booksellers access and sell their ebooks.
These are trusted retailers we are
talking about, with a track record and
a desire to support copyright.
We are seeing ebooks start to
take hold in the UK, but the vast
majority of those sales are through one
company. Publishers can, and should,
do more to help their long time
partners, the high street booksellers, to
get into this market.
The French website 1001libraires.
com launched in April this year
and Germany has had the libreka.

de site since 2007 as central sites for
the sale of ebooks by independent
booksellers. The ABA in the US was
in at the launch of Google eBooks in
December last year.
Here in the UK, the BA has
followed the ABA in keeping up a
continuing dialogue with Google
to enable bookshops to sell Google
eBooks from day one of their launch,
either through wholesaler Gardners
Hive website or through an Aliate
scheme. This includes in-store and
online marketing materials, and help
guides for both booksellers and their
customers. The BA has also had
discussions with Anobii, the social
networking site for books, about how
independent booksellers could use
their knowledge and experience to
attract consumers to the site.
But publishers seem reluctant
to engage with booksellers directly,
preferring to use one or more of the
online retailers or aggregators such
as Amazon, Apple, OverDrive or
Hive. They could do more to use the
network of high street bookshops to
entice readers into sampling or buying
ebooks while browsing the printed
versions in-store.
Checklist for Publishers
Do consider high street bookshops

as an outlet for ebooks.
Make it as easy for them to obtain
ebooks as it is for printed books.
Ensure you supply in industry
standard formats (e.g. epub/pdf).
Please dont undermine booksellers
with pricing strategies that may put
them at a competitive disadvantage.
Consider ways in which ebook
and print sales can be linked in the
bookshop to benet both.
Make it clear in your promotional
material to consumers that they
should ask about ebooks at their
local bookshop.
Put simply, books are wonderful
products and bookshops are the
best places to tempt people into
buying them, but they need help
and they need it now.
Sydney Davies is Head of Trade & Industry at
the Booksellers Association.
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How IFFRO supports copyright
FRRO (International
Federation of Reproduction
Rights Organisations), with
its 131 member organisations, is
the biggest existing network of
organisations representing authors
and publishers in the text and imagebased works sector, writes Olav
Stokkmo. It is made up of 76 RROs
and 55 national and international
publishers and authors associations
in some 70 countries worldwide.
RROs are collective management
organisations set up and governed
by authors and publishers. Active on
all continents, IFRROs mission is to
increase the lawful use of copyright
works, and to eliminate unauthorised
copying by promoting ecient
collective rights management.
Copyright is at the top of the
agenda globally, with initiatives to
digitise and make available cultural
heritage, orphan and out-ofcommerce works, and to improve
access for libraries and persons
Olav Stokkmo
with print disabilities. Collective

management and licensing are vital
elements to enable legal access to
intellectual property, and the EC has
announced a proposal for a Directive
on Collective Management in 2012.
IFRROs tasks include: nding
solutions to challenges posed by
demands for enhanced legal access to
copyright works; providing accurate,
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reliable information and constructive

suggestions for policy-makers
and others; and ensuring that the
interests of authors and publishers
are properly addressed and respected.
At IFRRO we believe that
interchanges between interested parties
on a voluntary basis often provide for
the most appropriate solutions. We
therefore participate in stakeholder
dialogues and platforms, which
have led to proven results. Tools to
facilitate the digitisation and making
available by libraries of works, which
authors and publishers have decided
not to commercialise, have been
agreed. These include recommended
guidelines for works registries, rights
clearance and licensing, and model
licensing agreements.
IFRRO supports the European
Commissions aim to provide legal
certainty for access to orphan works
contained in publicly accessible
libraries. They should be administered
through collective management and
licensing, and the conditions for
uses should be decided by authors
and publishers of the categories of
works concerned. IFRRO is already
working to facilitate ease of access to
works that are protected by copyright,
while ensuring that authors and
publishers are properly remunerated.
To further enable library digitisation
projects and to implement solutions
proposed for the handling of orphan
and out-of-commerce works, IFRRO
took part in the EC-sponsored
ARROW project a system to
identify the authors, publishers and
rights status of a work, to build an
orphan works registry and smooth
the process of rights clearance and
copyright licensing.
The piloting of the system in
France, Germany, Spain and the
UK revealed time and cost benets
of between 73% to 97% by using
ARROW, as compared to manual
searches. At a conference in Brussels
in March this year EC Digital Agenda
Commissioner Neelie Kroes expressed
high ambitions for ARROW, which
she said had huge potential. The
EC-sponsored ARROW Plus project
will increase the number of countries
using ARROW, and broaden its
scope to include visual material.
IFRRO and its members are also
contributing with organisations
representing authors, publishers
and persons with print disabilities

to develop innovative solutions
to facilitate broader legal access to
copyright works for the print disabled.
Two pilot schemes, with the aim
of implementing networks of Trusted
Intermediaries for the cross-border
transfer of les and works in special
formats, now exist: TIGAR (Trusted
Intermediary Global Resources)
a WIPO initiative; and ETIN
(European Trusted Intermediary
Network) an EC initiative.
The European initiative resulted in
a Memorandum of Understanding,
which was signed in September 2010
by IFRRO, and others including
the European Writers Council, the
Federation of European Publishers and
the European Dyslexia Association.
Facilitating legal access to copyright
works in digital environments requires
interoperability. IFRRO is actively
involved in the development of
technical standards and identiers,
and various projects to build rights
information and management
structures for the 21st century.
ONIX for RROs standardises
repertoire and distribution data. With
Bowker (ProQuest), Nielsen and
the International Confederation of
Societies of Authors and Composers,
IFRRO is a founding member of the
ISTC (International Standard Text
Code), the unique identier of the
text in a publication, with agencies
in 10 countries just two years after
its launch. The ISTC supplements
the ISBN and allows us to keep track
of the text in any granularity and
whatever form it has been published.
IFRRO with Bowker and
others is also a founding member
of ISNI (International Standard
Name Identier), the unambiguous
unique identier of names used by
authors and publishers of copyright
works. ISTC and ISNI are open
ISO standards.
It is in the interests of both users
and creators that copyright material be
made available as widely and eciently
as possible, while ensuring that authors
are encouraged to continue producing
new works and publishers have the
incentive to publish them. IFRRO
has a central role in this.
Olav Stokkmo is Chief Executive and
Secretary General of IFFRO.
www.iro.org
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Fawaz Haddad
George Goodwin
Greg Mosse
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Peter James
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20 years of Frankfurt For Dummies

Marc Mikulich explores why they are so successful, and looks at where they go now
his year Wiley will mark 20

years since the inception of
the For Dummies series in
November 1991 and ten years since
the Company acquired the brand.
It also marks 20 years since the rst
foreign rights to a For Dummies
title were oered and licensed at the
Frankfurt Book Fair.
In 1991, IDG Books Worldwide
was exhibiting at Frankfurt for the
rst time. We came with a small
list of computing titles, including
one that stood out for its audacity
DOS For Dummies.
At that time, most computer
book publishers did a decent job of
helping beginner computer users do
their work, but often the books were
as jargon-lled as the user manuals
they were designed to replace. We
asked: What if a computer book
helped the user and was actually
fun to read? And thought that
readers needed a book that acted as
a trusted friend, using a lighthearted
approach to make concepts
manageable. DOS For Dummies was
the rst computer book to dene
and speak to this audience.
The book sold out its initial print
run of 7,500 copies in less than two
weeks, and in the rst 14 months,
the book sold more than 1.5 million
copies. In late 1991, the rst foreign
edition was published in Dutch.
That title, Eerste Hulp Bij DOS (First
Aid for DOS), was typical of the
early foreign language Dummies,
avoiding the delicate question
of the title, and the bold yellow
and black cover design. French,
German and Spanish publishers
followed suit with LEssentiel du
DOS (Essentials of DOS), DOS Feur
Ahnfanger (DOS for Beginners) and
DOS Para Inexpertos (DOS for the
Inexperienced), respectively. All tried
to be not for dummies. And all
failed to make a similar impact as
we had done in the US.
readers; sex, on the other

hand, had a more global
appeal! Sex For Dummies
would go on to be the most
widely translated in Dr
Ruths book writing career.
By following the same
consistent approach, For
Dummies is able present any
topic in an easily accessible
way to meet the needs of
all consumers. Expanding
into more general topics
and reducing our reliance
on computing books also
The Dummies Man cuts the birthday cake; below,
proved to be a good strategic
the Dummies Roundtable meeting
move, as it ensured the brand
But once noted, they got bolder,
would ride out the dot.com crash at
LEssentiel du DOS was republished a
the turn of the Millennium.
year later as DOS Pour les Nuls, with
By the time Dummies came to
the trademark cover. And sales in the
Frankfurt as a Wiley imprint in 2001,
rst quarter exceeded LEssentiels sales
there were more than 100 million
for the whole of the previous year.
Dummies books in print globally,
Two years later, Dummies books
and they had been translated into 30
were being published in 17 languages, languages. Under the Wiley umbrella,
and we held our rst Dummies
the imprint was able to expand its
Roundtable meeting of these
subject range through local publishing
publishers at Frankfurt. We presented
in Australia, Canada, Germany and
new titles, discussed marketing and
the UK, complementing the foreign
sales activities, and learned from
language editions.
each other. With everyone serving
The mandate of publishing
a dierent language market, we
consumer/business/lifestyle topics,
could freely share best practices
as well as local interest, was extended
and collectively strengthen the
to licensee publishers too. This has
brand. The tradition of Roundtable
proved to be successful with Editions
meetings expanded to include
First in France, which published
London Book Fair and continues
one of the bestselling Dummies
to this day. This years Roundtable
titles published in a language other
will be special for this anniversary,
than English LHistoire de France
but each meeting is distinctive for
Pour les Nuls. All of this has helped
the unique exchange of ideas that it
to make our Frankfurt Roundtable
fosters. I always look forward to it.
meetings more dynamic than ever,
At Frankfurt 1995, we had special
with original publications from
guest author Dr Ruth Westheimer
all these locations being shared for
on the stand with her attentionconsideration and adaptation.
getting title, Sex For Dummies.
The Dummies brand licensing
By then, the series had expanded
programme, which began in the
beyond computing, with Personal
US in 1996, also began to explore
Finance For Dummies publishing the
foreign language markets, creating
previous year. Of course, personal
opportunities for cross-selling
nance was a title for American
and bundling software, videos,
music CDs, games and musical

instruments with books in various
languages. This added a whole new
dimension to the conversations.
This is a special time in the life of
the series that revolutionised how
the world learned about information
technology, and then applied and
expanded that learning to every area of
human interest and endeavour. As we
embrace new technologies, Dummies
continues to evolve to give consumers
the information they want, wherever
and however they want it.
We can provide our customers
with various ways to access our
content, through ebooks, enhanced
ebooks and mobile apps, as well as
Dummies.com, with its arsenal of
how-to videos and subject specic
articles. These platforms oer new
ways for us to fulll For Dummies
core purpose of enriching peoples
lives by making knowledge accessible.
Through our rapidly growing digital
platform, we have already seen
notable successes in providing our
customers with must-have apps,
including Spanish For Dummies and
Digital SLR Photography Toolkit For
Dummies. As these opportunities
for digital content on the Dummies
platform grow in all of our language
markets around the world, we will
have even more to share, discuss,
learn from and grow with at future
Frankfurt gatherings.
I often think back to the early
days when the standard publisher
response to selling foreign rights
for this series was: Oh, that might
be OK for you Americans, but not
for the [ll in nationality of the
publisher]. And now we meet with
Dummies publishers from every
continent except Antarctica. Its
funny, because now it seems obvious
to everyone that Dummies was, and
is, a great idea. And in the ten years
since Wiley took over the series, it
has become more global and more
accessible than ever before. Twenty
years of making everything easier
has been a lot of hard work. And a
lot of Frankfurt Book Fairs!
Marc Mikulich is VP Brand
Management and International Rights
at John Wiley & Sons.
12
Frankfurt Fair
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March 7 - 11, 2012
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To tweet or not to tweet?

Social networking a vital tool or the digital equivalent of timewasting fag
breaks? Peter James is a convert
o tweet or not to tweet?

That is the (140 character
limit) question. And what
about Facebook, MySpace, Bebo,
Google+ and Blogging? Or erm
just getting on with writing a novel.
(Wozzat? Ed. Do peeps still read
em 2day?)
In February 2009, I bumped
into my friend Anthony Horowitz,
literally, on a wet chute in the Wild
Wadi water park in Dubai, where we
were both guests of the rst and
fabulous Dubai Literary Festival.
Full of glee, he told me he had
started tweeting, and within three
weeks had amassed a (seemingly
amazing then) 41 followers!
I was already an avid blogger
and, at that time, a disenchanted
MySpace user, which I found was
hijacked by people trying to sell
things, and was reluctant to take on
something else that would mean
yet more demands on my time,
especially as I was also toying with
Facebook. But Geo Dueld,
Group Sales and Marketing
Director of my publishers, Pan
Macmillan, got very excited when I
discussed it with him and urged me
to have a go at both.
Now, two and a half years later,
I have 4,500 Twitter followers and
15,000 acolytes on Facebook, and
I genuinely think the eort I put
into both is worthwhile in several
dierent and very important ways.
First of all, I can have direct, realtime communications with my fans
something that would have been
impossible a few years ago. Heres
a post by one on my Facebook
page today: Peter For a man
that writes about the darker sides
of human nature You are always
so cheerful on here Always look
forward to reading your posts whilst
waiting for the next book! :-)
Before email, fan letters to
authors were a slow process,
often taking a month or more to
arrive. Theyd be posted rst to
the publishing house, and after a
couple of weeks of being shunted
around the mail room would get
forwarded on to the authors agent,
and a week or two later, nally
14
Frankfurt Fair
DEALE R
Peter James: bonding with fans
hit the authors doormat. Worried

about stalkers, like many authors,
I used to reply on my agents
headed paper. I do still occasionally
get these snail mail letters. They
arrive in a small envelope, with
spidery handwriting a sure sign of
someone elderly. I received one two
weeks ago, from a retired building
engineer, telling me Id confused
concrete and cement in my last
novel, and very sweetly explaining,
over six barely decipherable pages,
about ballast and gravel, and what
the dierences were. Ill never make
the mistake again!
But research help is one of the
greatest of all the virtues of the
social networking sites. Frequently
Another, of incalculable value,

is the self-promotion potential.
This year, mindful that my new
hardback, Dead Mans Grip, was
coming out head to head with
the new James Bond book, Carte
Blanche, by Jeery Deaver, I put
extra special eort in seeding the
book to my fans months in advance;
giving links to the Amazon and
Tesco sites for advance purchasing;
and in the weeks before the May
26th launch, I tweeted the opening
chapter, 140 characters at a time!
We beat Carte Blanche to No. 1 one
week by just 94 books, and kept it
o No. 1 the following week too.
It was a narrow, but utterly crucial
margin. Do I think my social
networking helped? Undoubtedly it
played a role.
An important aspect of this is that
my fans feel that they are talking to
me and bonding with me. Take this
example of a tweet from a female
fan this week: Itll be gr8 when we
read these parts in your book, social
media used this way is brilliant!! All
these insights into whats coming in
future novels are fascinating!
Ive also learned so much about
what my readers like and dislike.
One early lesson was that you can
be as brutal as you like to a human
being, but never, ever, ever harm
an animal! Another real eye opener
Research help is one of the greatest

virtues of social networking sites
Another, of incalculable value, is the
self-promotion potential
on Twitter and Facebook I will
ask my mortuary technician fans
for the latest model of band-saw
used for removing skull-caps in
post-mortems, a cruise line fan for
the fuel consumption of a particular
ship, my criminal fans how to steal
a 2011 model Audi A4 (dicult),
and my farmer fans how to stop our
aggressive hen, Myra Hendley, from
killing newly hatched ducklings in
the run (eat the hen).
has been hearing which characters

in my Roy Grace series they love
and which they loathe and most
especially of all, the ones they love
to loathe! And of course the ongoing hook of Roy Graces missing
wife Sandy provides me with the
ability to do a huge amount of
teasing of my readers!
Its invaluable to have behind me
a publishing team and an agent,
Carole Blake, who are so plugged-
in to this technology. Any review

I get, or award nomination, or
indeed any praise from a fellow
tweeter, is immediately retweeted
by Carole to her 6,500 followers, by
her colleagues as well, by my editor,
Wayne Brooks, my publishing
director, Jeremy Trevathan, and by
the whole team at my US publishers
so upward of 50,000 people see
this each time.
Then there are the real, out
of the blue, bonuses of celebrity
endorsements. Just a few weeks ago,
Joan Collins began tweeting to her
35,000 followers about how much
she loves my books. To have such an
iconic gure doing this totally o
her own back is a true money-cantbuy advertisement.
Word-of-mouth is that elusive
alchemy that no marketing director
in the world, with any budget, can
ever buy. It is the elixir of bestsellers.
I believe from my own experience
that using Twitter, Facebook and my
blog, has helped to fuel that wordof-mouth, and that gets stronger by
the day as my numbers of followers
continue, hopefully, to rise.
It has been said that, New
technology is like a steamroller. You
are either sitting on the steamroller
or you are part of the road. I
would agree with that, but with
one caveat: if you handwrite a letter
drunk, you can always rip it up
the next morning. But never, ever
tweet or post on Facebook drunk.
I did once, slagging o the BNP
and mistakenly called them the
UKIP. The barrage of abuse I got
the next day was far worse than
my hangover! And I had to feel
sorry for a very high prole crime
ction journalist who fetched up in
his hotel room, clearly very much
the worse for wear, and banged
out tweet after tweet after tweet
complaining about the lack of porn
channels on his hotels television.
Quite what his very attractive
wife said to him the next day was
strangely absent from all social
networking sites
2011 Peter James / Really Scary
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A year of social reading

Sophie Rochester looks at the proliferation of social reading platforms and at
what distinguishes them from each other
igital platforms are

enabling people from
around the world to
share their reading experiences.
GoodReads, which was launched
in 2006, boasts more than 5.6
million members, adding more
than 180 million books to their
shelves, and describes itself
as the largest social network
for readers and best place for
discovery in the world.
But theyre not the only
business building itself around
social reading. Copia launched
its social reading platform last
year with built-in social features
to make reading and studying a
shared experience, encouraging
readers to share notes, highlight
text and bookmark important
pages. LibraryThing aims to
connect people with the same
books, while Shelfari (launched
in October 2006 and acquired
by Amazon in August 2008)
is a community-powered
encyclopedia for book lovers.
Then there is Kobo Books
Reading Life, which connects
your reading life with friends
on Facebook, discovering and
sharing favourite books and
passages, characters and places;
ReadSocial, which allows readers
to weave conversations (and)
create virtual groups that ow
across dierent reading systems;
and Wattpad, which positions
itself as the best place to discover
and share stories, describing
social reading as a new form of
entertainment where you can
interact and share stories across
text, video, images and through
conversations with other readers
and writers.
At this years Tools of
Change Frankfurt Conference,
representatives of Anobii,
ValoBox and Readmill explained
where they believe social reading
or social retailing will go next.
With so many social reading
platforms, Anobii CEO, Matteo
Berlucchi, explains how they
intend to stand out from the rest:
There arent yet any platforms
18
Frankfurt Fair
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Sophie Rochester
that allow readers to socialise

while reading an ebook in a
structured way, says Berlucchi.
The main ereading platforms
only oer notes and highlights
sharing with all other readers at
present, which I wouldnt really
classify as social reading. There
are a couple of start-ups looking
at social reading, but they are just
out of the gate. Anobii stands
out against the rest because it is
based on a social network. Anobii
users can follow each other (like
on Twitter) and this is something
that I am not aware readers can
do on Kindle, Kobo, etc.
ask questions directly from their

Kindles, or post them to Amazon
Author Pages.
The ipside of this is that
established reading platforms are
considering their retail options.
Last year GoodReads started to
sell ebooks, initially by selling
out-of-copyright ebooks and
then later enabling authors to sell
ebooks directly via their platform.
But how do these worlds of
social reading and social retailing
sit together? Berlucchi explains:
Anobii is a social retailer at heart
as we are combining the power of
the social network to help people
discover new books which we
will then hopefully sell to them
too! The social reading component
of our oering is focused on giving
additional value to people who
buy ebooks from us, through a set
of features designed to enhance
their reading experience.
James Bridle, founder of Open
Bookmarks warns, however, that:
No single service should try to
do everything. Good ereaders
should connect to good social
reading services and let readers
make up their own minds about
how their data is collected,
handled and distributed. This is
There are also some ground rules

for publishers wanting to engage
with social reading platforms
If they try to hijack the communities
by trying to overtly sell books,
I think that would backre
Kindle has indeed started to
consider some social reading
features. This year it launched
its @author feature in a limited
beta release on Kindle and
Amazon Author Pages. The
aim is to connect readers with
their favourite writers and their
books. Readers are invited to
the danger of Amazons Kindle

infrastructure; in eect, Amazon
owns not only your books, but
your experience of them.
There are also some ground rules
for publishers wanting to engage
with social reading platforms: I
think publishers can participate in
the community in a similar way
that brands do with Facebook,

says Berlucchi. If a publisher
brings value to the community by
bringing editors and authors in
to contribute to the conversations
with reviews, insights, etc. they
will benet greatly. If they try to
hijack the communities by trying
to overtly sell books, I think that
would backre.
With a choice of places to
interact, keeping ahead of the
competition is crucial. Anobii
believes that the key is features,
saying: Readers will be attracted by
the features that resonate most with
their reading habits. For example,
if you belong to a book club, you
will want features that give value to
readers in a book club.
Readmill is based on the
premise that creating an open
platform for social reading is
central, hoping to make social
reading available on any reading
device a principle also shared by
Open Bookmarks.
Bob Stein, who gave the
keynote speech at TOC, says
of his new project, SocialBook,
that he hopes that its traditional
aspects of social reading
conversation, comments,
experts notes combined with
author engagement will create
a uniquely rounded experience.
The Institute of Network
Cultures, at the Unbound Book
Conference in 2011, reported
that SocialBooks creators want
to build an ecosystem for
publishing that assumes that
books are places where people
gather. Works will appear in the
browser, not in mobile apps or
proprietary non-browser-based
readers. This is made possible
with HTML5.
With so much thought given
to this growing market, it will be
interesting to see how retailers
and publishers try to sell to and
interact with these audiences, and
how those audiences will respond.
Sophie Rochester is Editor of the
Literary Platform.
www.theliteraryplatform.com
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An academic treasure t
Star-crossed love, Martial arts,
and supernatural evil meet at
the abandoned tracks in the
quaint town of Middleburg . . .
. . . The overall effect is that of a summer action flick,
with all the expected over-the-top situations, sequences,
and dialogue.
Publishers Weekly
/i/>V\ U- nxx{

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Clocks are
ticking:
sixty-six murders
souls will bring about
the end of the world.
Discover a truth that could only
be uttered by the lips of the dead.
Creepy, suspenseful, with a

Stephen King like quality. . .
Utterly brilliant!
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Scan this code to learn more

or visit jgabrielgates.com
Hannah Perrett introduces a traditionchallenging new model for marketing

academic books
rom the earliest days of

publishing, dierentiation
has been the name of the
game. Putting clear blue water
between your oering and that of
your rivals is the accepted way to
do business and consolidate your
own niche.
So setting up a state-of-theart electronic product to oer
your wares and then opening it
out to your rivals is far from the
traditional approach to business.
But, although we are a publisher
with a long history, we dont
always do things the traditional
way. Recently launched,
University Publishing Online
(UPO) is Cambridges new service
for academic publishers, allowing
them to oer their products over
an integrated ebook and digital
content product.
UPO will oer access to
a potentially vast variety of
academic works in one place, by
providing libraries with ebooks,
journals and other materials from
academic publishers worldwide.
Our aim is to make it one of
the largest and most signicant
repositories of digital academic
material in the world.
An ambitious objective, but
one that we are condent is
achievable given the benets of
such an oering, especially to
small academic presses which, to
compete in the modern world
of book retail, need an ebook
presence that they cant aord
to develop alone. Quite a few
smaller publishers dont have
an easy, cost eective route to
sell content directly, other than
through a major aggregator, with
whom they have little control and
run the risk of getting lost in big
packages of thousands of titles.
UPO oers them a much better
option to develop their presence
and one that is completely cost
and risk free for them.
Already signed up are
Liverpool University Press,
the Mathematical Association
Hannah Perrett
of America and India-based

Foundation Books, with
announcements of new partners
imminent. These early adopters
have been quick to see that,
unlike the traditional publishing
model, a service like this allows
the publisher to be agile in
responding to an exceptionally
fast-moving market.
Another reason for
Cambridges condence in our
new oering is the success of
the Cambridge Books Online
(CBO) ebook delivery platform,
which, from launch last year, has
attracted institutions from more
than 30 countries, with new
customers coming on board
every week. Customers already
familiar with CBO will nd UPO
very similar in concept, oering
access to thousands of titles in a
fully searchable environment,
with the frequent addition of
new titles and comprehensive
library support tools. Three
functionality upgrades a year
will ensure that the UPO site is
consistently developing according
to users needs.
Libraries can buy a wide range
of subject-based collections or
make an individually customised
selection of titles from the
12,000 currently on oer. The
primary customers are university
libraries, but we are also targeting
corporate libraries, specialist
libraries, medical schools, law
F R A N K F U R T
F A I R
D E A L E R
e trove
libraries, further education
colleges and public libraries.
We know that exibility of
purchasing plans will be allimportant. We are launching with
perpetual access, where customers
pay an up-front fee for content
and then a small annual hosting
fee, and by the end of this year
we will oer subscriptions and a
limited concurrency model. We
are also exploring other models
to make the service as exible as
possible for our customers.
One model we will not be
adopting, however, is pile
them high, sell them cheap.
This undermines the value of
content and could open us up
to accusations of underselling
to benet our own products
something that is completely
contrary to the ethos of the new
service which is to bring similar
publishers together and give them
access to a wider audience, while
oering users anywhere in the
world a treasure trove of material.
For us, UPO is all about our core
mission to advance learning and
research worldwide.
and access material previously

unavailable online an especially
valuable oering for students in
developing countries where the
cost of access to a wide range
of materials can be prohibitive.
Having this range in one place
will help drive down the costs
of studies in these emerging
economies.
We have already seen
signicant interest from
publishers, but we are determined
to focus on academic publishers.
It is important to stress,
also, that we do not demand a
Cambridge-branded one look ts
all. Dr Andrew Brown, Director
of Academic Publishing, says:
A key concept of UPO is to
preserve the individual identity
of each publishing partner, as
every academic press makes a
unique contribution to the world
of scholarship through its own
particular process of selecting,
editing and presenting material.
We very much want to respect
these dierences.
Above all, we want to make
UPO a market-responsive,
The ethos of the new service is

to bring similar publishers together
and give them access to a
wider audience
So what are the benets for
libraries, universities and students?
Because it is based around scholarly
presses, UPO allows libraries to
ensure that they are providing
the nest scholarly research and,
because it is a multi-disciplinary
resource, to provide something
useful to the whole university rather
than just one department.
For students, UPO can be
accessed on PCs and laptops,
and is also compatible with the
iPhone and iPad, with other
channels and technologies
being explored. Students can
nd more content in one place,
giving them unique access to
research. UPO also allows them
to create personal libraries
constantly developing and

innovating product, in line with
Cambridges overall strategy
of commitment to electronic
development. UPO is just
the latest manifestation of
our determination to explore
non-traditional ways to full a
traditional mission.
Hannah Perrett is responsible
for growing global academic and
professional ebook revenues at
Cambridge University Press, and
for developing the sales, marketing
and development strategy for
Cambridges epublishing. You can
nd Cambridge University Press
in Hall 8.0, stand C901.
www.cambridge.org
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Lightning Source in Australia
s all the management

textbooks will tell you, one
of the most critical success
factors when entering a new market
is timing, writes David Taylor.
Ingram Content Groups decision
to bring the Lightning Source
print-on-demand (POD) model
to Australia in 2011 chimed most
happily with the astonishing success
of the English cricket team Down
Under. Four years before would have
coincided with a truly pitiful display
and would have made market entry
a much more painful proposition;
maybe not for the Americans for
whom cricket is a game of complete
baement, but certainly for the
English employees at Ingram.
Leaving aside this happy
coincidence, the opening of the fth
Lightning Source POD plant, in
Melbourne, has come at a time of
great change in the Australian book
trade. Also some Australian-specic
factors make it, probably, the most
David Taylor
perfect place for POD anywhere in

the world.
Before we get into these, lets be
clear about what is meant by POD.
The Lightning Source model is a
unique combination of single-copy
digital printing linked to a network
of reselling channels and third-party
distributors. (It is not short-run
digital printing, although Lightning
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Source does do a signicant amount

of that.) The genuine POD model
allows a publisher to sell the book rst
and then print it as no inventory is
required before a sale is made. So far
more than 23,000 publishers have
placed six million titles with Lightning
Source, reaping benets including
reduced inventory, increased sales
due to improved availability and cost
savings in the supply chain.
In Australia, the decision on
whether or not to carry inventory
presents a particular dilemma. For
the local oces of the larger UK
or US publishers, carrying the
inventory speculatively in Australia
involves signicant transportation
costs, usually carried by the local
Australian operation; not carrying
the inventory means, typically, an
oer to the local market that is poor
in terms of availability and costly in
terms of transporting the book from
inventories held overseas even if a
sale is made.
Clearly an Australian POD
operation oers a compelling solution
that is nancially and environmentally
attractive, and improved availability
drives sales rather than seeing them
leach oshore to non-Australian
internet vendors.
Many publishers that already
had thousands of titles set up with
Lightning Source in the US and
UK are making these titles available
for local fullment via Lightning
Source Australia. There is no extra
cost as the title is already set up for
production. In addition, publishers
are now moving titles into POD
just for the Australian market to
avoid shipping costs and to improve
availability of their titles locally.
The domestic Australian publishing
scene is a healthy and vibrant one with
a wide variety of small and medium
sized publishers. Some already
used Lightning Source to get their
books into the North American and
European markets, but the arrival of
Lightning Source Australia has further
galvanised the market, with more
companies choosing this option.
For third-party book distributors
in Australia, who represent many
hundreds of US and UK publishers,
the arrival of the Lightning Source
model has been welcomed they
face the same dilemma about
inventory. The typical distribution
agreement will be exclusive with the

distributor having the rights to sell a
publishers titles in the local market.
But do they carry inventory or not?
If they do, they will typically buy on
consignment and pay for the costs of
shipping, storage and returning any
that do not sell.
If they do not, they will show outof-stock or an only-to-order status,
but be obligated to get the book if
they get an order. The great majority
of the publishers they represent
already have many thousands of titles
set up at Lightning Source, which
allows their local Australian distributor
to order directly from Lightning
Source Australia. This is already
driving additional sales as well as
saving a lot of carbon and cash.
The absence of a wholesaler in
the local market and the paucity
of local inventory has meant that
local booksellers, both physical and
internet, have struggled to compete
with the oshore vendors, who
have access to large inventories, can
often supply faster and cheaper and
arent obliged to pay Australian GST
(Goods and Services Tax).
The Aussie book trade, as with
many others, is going through some
big changes at the moment. The loss
of the Angus & Robertson chain,
the growing inuence of the oshore
retailers and issues around parallel
importation are all still playing out.
However, the arrival of Lightning
Source, is giving the local book trade
a boost. Australian publishers and
distributors are now able to realise
the supply chain benets that their
counterparts in the US and UK have
access to.
And booksellers are beneting
from greater availability of local
inventory especially important
for the Australian-based internet
players. Virtual inventory is a pretty
attractive number Down Under.
It remains, of course, to be seen
whether the arrival of Ingram in
Australia will have any positive
eect on the Australian batting and
bowling. I think their problems go a
little deeper.
David Taylor is Senior Vice President,
Content Acquisition International, Ingram
Content Group and Group Managing
Director, Lightning Source UK. He is also
Director of Lightning Source Australia.
On May 9th, 1950, Dianetics: The Modern Science of Mental Health exploded into the US market,
igniting the potential of independent thinkers around the world.
A<1.F;2.?9F:6996<;0<=62@5.C2/22;@<91D<?91D612
.C.69./926;"9.;4B.42@
@22B@.A.&$%5.99%
PUBLICATIONS INTERNATIONAL APS
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2011 NEW ERA APS. All Rights Reserved. NEW ERA is a trademark owned by NEW ERA Publications International ApS and is a registered trademark in Denmark among other countries.
;OL>H`[V/HWWPULZZ (words and logo) are trademarks owned by L. Ron Hubbard Library.
P U B L I S H E R S
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&
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F R A N K F U R T
F A I R
D E A L E R
Books in Print
Jo Grange explains how Bowkers bibliographic analysis tools are being used by
mass media players
ast month saw the tenth

anniversary of the terrorist
attacks in the United
States. For many this was a time of
reection on the sequence of events
that led to the deaths of nearly
3000 people. Many books have
been published over the subsequent
years trying to address the reasons
behind the attacks or conveying
personal stories of those involved.
In August this year the BBC
published an article entitled Is
There a Novel that Denes the
9/11 Decade? that examined the
variety of books published in the
US in the wake of the attacks,
and how the subject had been
interpreted into ction and nonction works. It made reference to
Bowkers Books In Print database
and cited, 164 such works have
been written so
far that either
directly address
the event or use
it as a peg to
hang greater
literary concerns
about love, life
and loss.
It wasnt just
the BBC which
was examining
the number of
books directly
published on the
subject of 9/11
over the last decade. In the US,
an article in the St. Louis PostDispatch looked at the books
published around the whole
subject area, and asked whether
books such as The Kite Runner
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Bowker.com
(by Khaled Hosseini) would

have had the same appeal had
Afghanistan not been put at
the forefront of peoples minds
due to the search for Osama
Bin Laden?
The common research tool for
both of these articles was Bowkers
Books In Print database. This has
been a major reference tool for
librarians, researchers, bookshops
and analysts for many years now,
but it is only the publication of
articles such as the ones above,
Bowker receives direct feeds

from publishers, as well as price and
availability information from the
main distributors. Bowker also has
links to third parties who supply
additional content. All of these
important links to industry players
allow Bowker to deliver up-to-date,
accurate information that users
such as media companies, libraries
and government institutions have
come to expect.
As the world moves on from
the tenth anniversary of 9/11,
The BBC [using Books In Print]

examined the variety of books
published in the US in the wake of
the 9/11 attacks, and how the subject
had been interpreted into ction
and non-ction works
and also two mentions in US
Today in August, that the value
and use of such a database across
the media, has been brought to
the public domain.
Bowker, however, has been at the
forefront of collating bibliographic
data for many years in the US, the
UK, Canada and Australia. Being
the ocial ISBN agency for the US
and Australia, the Books In Print
database is well respected within the
publishing industry and a major
reference tool around the world.
books will continue to lay

down a historical narrative and
reection of social understanding
and personal resolution of such
events. Post analysis will always
prove interesting and Bowker
will continue to be the facilitator
through its Books In Print
database for many key media
companies around the world.
Jo Grange is Marketing Manager at
Bowker UK Ltd.
Visit Bowker in Hall 8, stand M935.
F R A N K F U R T
F A I R
D E A L E R
Franchise authors
n author dying doesnt

always mean the end of great
characters, as publishers and
literary estates often ask new writers
to pick up where the original creators
left o, especially when it comes to
mysteries and thrillers, writes Lenny
Picker. No surprise, there are a host
of great new oerings coming from
some famous, popular series there
are a few blockbusters in the pipeline.
New Holmes
After 120 years of writers, other than

Sir Arthur Conan Doyle, trying to
recreate 221B Baker Street, the Doyle
Estate has tapped Anthony Horowitz
to take up Dr Watsons pen. This
November, Mulholland Books will
publish House of Silk, an account
billed as too shocking to have been
revealed before, and the plot of which
has been kept tightly under wraps.
Bournes creator, Robert Ludlum.

His sixth, published in July, Robert
Ludlums The Bourne Dominion,
will be followed in 2012 by Robert
Ludlums The Bourne Upset.
But while Lustbader has Ludlums
Bourne franchise all to himself,
another Ludlum creation, CovertOne, will be entrusted to its fth
author this October, when Grand
Central brings out Kyle Mills Robert
Ludlums The Ares Decision, which pits
a microbiologist against a terrifying
new bio-weapon. The challenge of
writing in anothers style appealed to
Mills, who found it a really interesting
exercise that enabled him, after 10
novels of his own, to learn a few tricks
from studying Mr Ludlums work.
More Ludlum
At this point, Eric Van Lustbader has

already written twice as many Jason
Bourne international thrillers than
Lenny Picker is a freelance writer in

New York City.
The death of Robert B Parker in

2010 does not spell the end for his
Boston PI Spenser and his small-town
police chief, Jesse Stone. Michael
Brandman (a collaborator with Parker
on several Stone telelms) launched
his series of Stone novels with
Robert Parkers Killing the Blues: A Jesse
Stone Novel in September.
And in June 2012, Ace Atkins, who
has amassed a following for his own
gritty, historical crime novels, will also
carry on the combination of sensitivity
and hardness that distinguished
Spenser from other contemporary
private investigators, with an, as yet,
untitled novel. Both books will be
published by GP Putnams Sons.
Asimovs Robots
Isaac Asimovs iconic positronic

robots again come to articial life
in a series of prequels penned by
Mickey Zucker Reichert. The rst, I,
Robot: To Protect, is set to come out
in November. Reichert was chosen
by the Asimov family to write three
prequels to the short story collection
I: Robot, focusing on the character
of Susan Calvin, whom Reichert
describes as Isaacs stony, almost
inhuman, robot psychologist.
UNIVERSITY
PUBLISHING
ONLINE
(MPCBM4DIPMBSTIJQ3FEFmOFE
Unnished Business: Spillane,

Crichton
In some cases, the authors themselves

are the franchises, and a few notable
forthcoming works are posthumous
collaborations. The patented
combination of suspense, action
and cutting-edge science that were
the hallmarks of Michael Crichtons
bestsellers is present in Micro, coming
from HarperCollins in November.
Crichton left an uncompleted
manuscript about a mysterious
microbiology lab in Hawaii, and it was
nished by Richard Preston, author of
The Hot Zone and The Cobra Event.
The prolic Max Allen Collins
has taken time o from his own
Nathan Heller historical mysteries
to honour a commitment to his late
friend Mickey Spillane, who, in the
last week of his life, asked Collins to
complete a Mike Hammer novel, and
arranged for his access to half a dozen
manuscripts. Collins has recently
completed his fourth Hammer novel,
Lady, Go Die!, set for a 2012 release
by Titan Books, an unnished sequel
to the rst in the series, I, The Jury.
Collins care with Spillanes legacy was
recognised this year when a Hammer
short story he wrote, A Long Time
Dead, was nominated for a Best
Short Story Shamus by the Private
Eye Writers of America. And this
month, Hard Case brings out The
Consummata, the second book in the
Morgan the Raider series that Spillane
set aside after about 25,000 words.
Spenser Lives
New from
Cambridge University Press
Showcasing content from Cambridge

and other academic publishers,
University Publishing Online is set to
become one of the most signicant stores
of digital academic material in the world.
www.ebooks.cambridge.org/upo
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Unlikely heroes
he publishing landmarks of the

early 21st century are probably
JK Rowling, Stephanie Meyer,
Dan Brown and Stieg Larsson, writes
John Peters. Their multi-million-selling
epics have been credited with turning
an entire generation of teenagers (and
a few adults) into avid readers.
But when they write the history of
publishing in the early 21st century,
I wonder if theyll list other heroes,
such as insurance salesman John
Locke, who, in 2011, became the rst
self-published author to clock up one
million sales of digitally-downloaded
books. Or Amanda Hocking, who
signed a $2m contract with St
Martins Press in March, on the back of
hundreds of thousands of ebook sales
on the Kindle Store. They are unlikely
heroes of a revolution in publishing
where authors can disintermediate
traditional supply chains and nd
ways to go straight to market.
The ultra-conservative eld of
scholarly research publishing was
John Peters
quick to embrace online technology,

but so far it has rmly resisted the
messy, disintermediated, democratised
philosophy of the digital era. Most
academic publishers have stuck to the
traditional business model and merely
replicated their content online.
But the tide is turning, and all
publishers need to get the right
technology in place to operate in
the digital world. Bowkers industry

stats show that in 2004, 275,000 new
titles were published, with a further
20,000 non-traditional books listed
less than 7% of the total output. By
2010, traditional titles had grown to
316,000 (up 14%). In the same period
non-traditional titles exploded to
2.7 million a 130-times increase.
And Locke, Hocking and other
digital revolutionaries seem to
have learned as much from Apple
iTunes and the open peer review
approach of the App Store, Trip
Advisor, and the like, as they have
from the publishing industry. Both
authors price at iTunes rates. If you
buy a song for a dollar and you decide
you dont much care for it, whats
lost? And why not take the advice of a
fellow reader rather than the word of
a paid critic? The subtext is not just to
ignore publishers discouraging advice,
but to ignore publishers altogether.
Revolutions typically come with
weapons and bloodshed. In our
industry the weapons are words,

websites, ebooks and Kindles. We need
to understand this revolution, create
some new rules (of choice, inclusivity,
fair dealing and author engagement)
and embrace the technology. And
we need to learn from the unlikely
heroes of this revolution the authors,
commentators and technologists.
GSE Research, in using
Publishing Technologys pub2web
system to drive its online publisher
platform, is determined to be part of
that history. GSE is building a new
publishing platform that will fully
exploit the digital era, using semantic
web technologies and a exible
infrastructure as the building blocks
to help drive new discovery routes
into content, and create topic based
channels, resulting in a product which
is user centric and highly relevant.
John Peters is CEO of GSE Research
Email: John.peters@gseresearch.com.
www.gseresearch.com
Copyright 2011 Warner Bros. Entertainment Inc. HARRY POTTER, characters, names and related indicia are trademarks of and Warner Bros. Entertainment Inc. Harry Potter Publishing Rights JKR. (s11)
THE DARK KNIGHT RISES and all related characters and elements are trademarks of and DC Comics. (s11)
C O - E D I T I O N S & R I G H T S AVA I L A B L E
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Jane Morpeth looks at how far Headline has c
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28
Frankfurt Fair
DEALE R
eadline was born in

1986 when the founding
directors, Sian Thomas, Sue
Fletcher and Tim Hely Hutchinson,
raised 1.3 million of venture capital
and opened for business. The aim was
to publish only books that kept the
Headline promise of entertainment,
and to provide authors and customers
with professional marketing and a
unique level of friendly service and
involvement. I joined as an editor in
the summer of 1986, and have been
here ever since.
Our rst Frankfurt was a cosy aair.
Only a handful of us went: we had lists
to build and foreign publishers were
very keen to work with us. Tim, who
was in charge of non-ction, roared
around the halls looking for books and
packages to establish our non-ction
list. One of his rst purchases was a
terrifying book called, simply, Shark!
It was a sort of non-ction Jaws, full
of pictures of every type of shark. It
was one of our rst bestsellers but,
interestingly, it didnt do anything to
dampen Tims love of scuba diving.
Our stand was tiny: probably the
smallest in the hall, but it was all
we could aord and all we thought
we needed. We had to assemble it
ourselves and, as neither Tim, Sue
nor I had a clue about DIY (despite
the Headline folk myth that Tim
personally erected the stand), we had
to rely totally on Sian Thomas who
was a demon with a staple gun and
double-sided tape. Though there was
barely room for the Headliners on
the stand, it was nevertheless buzzing,
and the crowd spilled into the aisles.
It was immediately after the 1991
Frankfurt that Sue made the preemptive acquisition of a rst novel
in a two-book contract with agent
Darley Anderson, by an author who
would become a phenomenon
Dangerous Lady by Martina Cole.
We kept a pretty small stand until
1993, when Headline consummated
a long courtship by buying Hodder &
Stoughton, a distinguished publisher
three times our size. Headline was
the largest division of the new group
under the leadership rst of Sian
Thomas and subsequently Amanda
Ridout. Sue moved over to Hodder, I
became Fiction Director, and Tim was
CEO of the group and Chairman of

Headline. This necessitated a much
larger, frankly grander stand betting
the new Hodder Headline PLC.
Although we were now a major
player on the UK publishing scene and
a more dominant presence in Hall 8,
nothing had really changed. Headline
remained true to its founding
principles and the breakdown of the
Net Book Agreement ensured that the
combination of new pricing freedom,
and particularly innovative sales and
marketing, produced breakthrough
sales for our star authors, especially
Martina Cole, as well as for new
writers including Catherine Alliott,
Lyn Andrews, Janet Evanovich,
Neil Gaiman, Wendy Holden, Sue
Monk Kidd, Jonathan Kellerman,
Jill Mansell, Maggie OFarrell, Sheila
OFlanagan and James Patterson.
In non-ction, we were the
publishers of important books by
international names including Lauren
Bacall, Hillary Clinton and Jack
Welch, as well as UK household
names Kate Adie, Jo Brand and Cli
Richard. A key part of Headlines
non-ction has been sport, where we
have published enduring icons Bobby
Charlton, Paul Gascoigne and Martin
Johnson, and brands such as the Sky
Football Yearbook and the Playfair
Cricket Annual.
Martin Neild, a stalwart of
Frankfurt, took over as Managing
Director of Headline in 2002. By
now, we had a big team of people
attending Frankfurt: UK and export
sales under Kerr MacRae and a very
dynamic rights department led by
Sarah Thomson.
Headlines legendary Export Sales
Director, Peter Newsom, clocked up
his 25th Frankfurt during this time,
and Headline held a memorable
party for customers from all round
the world to celebrate this milestone.
The next step in our evolution
came in 2004 the year Andrea Levy
won the Orange Prize for Small Island
with the acquisition of Hodder
Headline by Hachette. This made us
part of the most diverse publishing
group in the UK and our stand at
Frankfurt reected that. There is a lot
to be said for a federal structure, but it
didnt work particularly well when it
P U B L I S H E R S
W E E K L Y
&
B O O K B R U N C H
F R A N K F U R T
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D E A L E R
s come in its 25 years

came to pulling together one stand for
Frankfurt. Our new sister companies
had their own stands and, in the early
days, we were clustered together on
Aisle G in what was then known as
the Hachette Village. Last year though
we made the transition to one group
stand: its sleek, with a top deck to look
down on the fair, but we are still able
to maintain our own identities.
The Headline author dinner
became a xed and enjoyable part of
the Frankfurt calendar, with authors
from Penny Vincenzi to Victoria
Hislop and Andrea Levy partying the
night away with a wonderful array of
international guests.
This year there will be a dozen of
us from Headline attending from the
UK export sales, editorial and the
rights departments. It has been a great
anniversary year. We have had nearly
20 bestsellers already, from new and
established Headline authors. These
Parks, Tasmina
Perry, Jill Mansell,
Sheila OFlanagan,
Simon Scarrow
and Jed Rubenfeld,
whose The Death
Instinct was one of
the R&J Summer
Book Club titles.
And The Family
was a massive No.1
paperback from
Martina Cole.
We have
Tim Hely Hutchinson, Jane Morpeth and Sue Fletcher, with
launched two
the original business plan, at Headlines 25th birthday party
outstanding new
include Andrea Levy with her Man
novelists straight on to the hardback
Booker-shortlisted novel The Long
and paperback bestsellers lists: A
Song, which won the Walter Scott
Discovery of Witches by Deborah
Prize and was picked for the TV
Harkness and When God Was a Rabbit
Book Club; and Maggie OFarrell,
by Sarah Winman. And we have a
whose novel The Hand that First
Man Booker-longlisted title with Far
Held Mine won the Costa Novel
to Go by Alison Pick, and are looking
Award; as well as Karen Rose, Adele
forward to an outstanding autumn.
There is no doubt we have come

a long way. Today we are a powerful
publisher of a broad range of bestsellers
with annual sales of 40 million and
a rapidly expanding ebook business.
Our presence in Frankfurt reects this.
We no longer rely on staple guns and
double-sided tape to put up our stand,
but we have stayed true to our original
principles of publishing books that
will entertain their readers, and striving
to provide friendly and ecient service
to authors and customers.
Book markets are changing at
a faster rate than ever before, but
Headlines founding principles will
not and, backed by the resources of
Hachette, we have ambitious and
innovative plans for physical and
digital publishing to carry us through
the next 25 years.
Jane Morpeth is Managing Director
of Headline.
Peel away conventions for

unexpected results
Supply chain consultancy Virtualized Logistics and

logistics company SBS Worldwide have developed
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in Asia into a highly-effective option for publishers.
Virtualized Logistics re-engineers publishers supply chains,
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SBS Worldwide provides fast and reliable supply chain solutions
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Virtualized Logistics is dedicated to assisting its clients

build effective supply chains to achieve high performance
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Tony Leach, Solutions Director at Virtualized Logistics
To see how we can help you to manage

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P U B L I S H E R S
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&
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D E A L E R
Taking the broader view of disability

Debra Ruh argues that making digital publishing available to a broader range of
people with disabilities is good for a companys image, and good for the bottom line
he advent of print-on-demand
(POD) and ebooks has
gone some way to making
books accessible to more people with
disabilities (PwD), but there is a long
way to go. Part of the problem is that
people think of disability in extreme
or narrow terms, such as blindness
and deafness, when it also includes
many other types of disability, such
motor and cognitive impairment,
and, in an ageing population,
increasing cases of visual and hearing
impairment. And part of the problem
is that some publishers seem to
consider accessibility something that
has to be done to avoid litigation risk
rather than understanding the real
opportunities to expand business.
But it is a potentially huge
market. Statistics show that more
than half the global population has
a connection to disability.
The American Association of
People with Disabilities estimates
that the number of people with
disabilities impacts an estimated
1 in 3 households in the US.
Worldwide, this group
numbers 500-750 million people.
People with disabilities have
almost two times the spending
power of teens and more than 17
times the spending power of tweens
(ages 8-12) two demographics
often sought after by businesses.
The New York Times reported
that spending by travellers with
disabilities exceeds $13.6 billion
annually.
Marketing studies of the
Atlanta Paralympics (Solutions
Marketing Group, 2003) reveal that
even households with no disability
connection felt goodwill towards
companies that included people with
disabilities in advertising and were
more likely to buy their products.
WE Magazine, a lifestyle
publication for people with
disabilities, reports that people with
disabilities spend $700 billion a year
on technology.
And as we age, more people
acquire disabilities.
According to AARP (formerly
the American Association of Retired
Persons), 4 million Americans
30
Frankfurt Fair
DEALE R
Debra Ruh with her daughter Sara
turn 50 each year. Many adults

will experience age-related physical
changes that may aect hearing,
vision, cognition and mobility
after age 50. And while they may
not think of themselves as having
disabilities, they often seek out
businesses that accommodate
those changes by oering more
accessible services.
There are 76 million baby
boomers in the US. AARP studies
show that more than 46% of people
over the age of 65 have a disability.
Likewise, the 2000 US
Census reported that almost 42%
of older adults (65+ years) have one
or more disabilities.
mainstream public too. Curb

cuts were created for people using
wheelchairs, but everyone uses them
now for strollers, shopping carts,
vendors delivering to a store, etc.
Text-to-speech was created for
people that could not communicate
in the traditional manner, but now
many kiosks and automobiles have
this feature. My Toyota communicates
with me via simple commands and
the keyless entry is convenient for
people with disabilities.
Captioning was created for
people that are deaf or hard-ofhearing, but is now used more
widely on TVs in gyms, fast food
restaurants and airports.
But sometimes the reverse can
happen and something designed for
the mainstream benets people with
disabilities. Outside the publishing
world, one example is the front-loaded
washing machine. A friend of mine,
who is 3 11, describes washing and
drying clothes before the front-loaded
washer and dryer were available. It is a
funny story, but the interesting part for
my purpose here is that she bought the
front-loaded machines as soon as she
saw them even though she had not
been in the market for these expensive
purchases before.
Of course ebooks and POD are
also examples; created for mainstream
It is a potentially huge market. Statistics

show that more than half the global
population has a connection to disability
In the same Census, the
percentage of PwD is larger than
any single ethnic, racial or cultural
group. At 19.3%, the number of
people with disabilities exceeds the
next largest group Hispanic people
(14.9%) by a fairly wide margin.
And these numbers do not include
the family and friends that support
inclusion for people with disabilities.
There may also be unexpected
benets for publishers other
customers. Many things that were
designed for people with disabilities
have, over time, beneted the
convenience, they have become

invaluable for people with disabilities.
One company that has seen the
business opportunities of embracing
our community is Apple. It is said to
be taking steps to make its iPhone and
iPad more user-friendly for people
with disabilities. Since the products all
use touch screens, someone with visual
or mobility impairments can have
trouble with the devices. However,
in a recent ling with the US Patent
and Trademark Oce, Apple has said
it is seeking to patent a method for
connecting its products to accessories
that could act in place of a touch

screen. Their products have always
been thoughtfully designed, with
assistive technology included in all
of their devices as a standard feature.
Now it looks like they are planning to
take it a step further raising the bar
for accessible mobile technology.
Why would a company as smart
as Apple care so much about this
market segment? I would say that
it is because Apple is getting a solid
return on investment. My family
will certainly continue to buy their
products not only because they
are convenient and easy to use,
but because we choose to support
companies that make their products
and services accessible to all people.
And there are examples from the
publishing world too. The Hachette
Book Group announced in June that
it was making its website accessible to
Americans with Disabilities, through
a new alliance with eSSENTIAL
Accessibility. A new tool will
extend Hachettes online services to
individuals with physical disabilities.
Readers are naturally curious
about their favorite books and
authors, says David Young,
Chairman and CEO of Hachette,
and our websites are rich with
information. Providing the disability
community with easy access to our
sites helps foster the connection
between reader and author. We are
proud to be the rst publisher to
work with eSSENTIAL Accessibility
in this initiative and to provide a
more comprehensive service to our
physically disabled customers.
Apple and Hachette are leading
the way and proving that this can
be good for the bottom line. I hope
others in the publishing community
consider reaching out to and
embracing this virtually untapped
market; it could be a real game
changer across the board.
Debra Ruh is the founder and CEO of
TecAccess and Chief Marketing Ocer at SSB
BART. Follow her blog at debra.ruh.tumblr.
com; email Debra.ruh@ssbbartgroup.com;
or visit www.ssbbartgroup.com. See also
Accessible publishing business case at
www.rnib.org.uk.

Frankfurt Fair Dealer, October 13, Day 2

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13 O C T O B E R

For round-the-clock Frankfurt Book Fair coverage go to www.publishersweekly.com and www.bookbrunch.co.uk

New prize takes aim at Booker

xplicitly aiming a barb at the

They mean our shortlist is readable

Booker to include genre novels among

he Perseus Books Group is

Thursday 13 October 2011

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$300,000 translation fund marks Sharjahs

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To contact Frankfurt Fair Dealer at

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said: We are proud to launch

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Thursday 13 October 2011

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Thursday 13 October 2011

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Continued from page 4

spin on Three Men and a Baby,

Colin Dickerman bought

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Thursday 13 October 2011

. Portobello has world rights in

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Thursday 13 October 2011

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Thursday 13 October 2011

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