Frankfurt Show Daily, Day 3, Oct 10

Frankfurt

INSIDE:

8FRANKFURT FACES

6DEALS ROUND-UP

3LOWER PRICESCOELHO

Jackal plays SharkAndrew Wylies lead titles at the Fair include Will Selfs latest novel. Here, The Jackal bids for a change of nickname.

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

Modiano made his debut in 1968, with La place de ltoile (Gallimard). His major works translated to English include Missing Person (Cape), Out of the Dark (University of Nebraska Press), and Catherine Certitude (David R Godine).

Modiano, the 11th literature laureate born in France, according to the Academy, beat out favourites

Ngugi Wa Thiongo, Haruki Murakami, and Svetlana Aleksijevitj for the prestigious Prize. The award, honouring a body of work, comes with a purse of SEK8million ($1.1 million; 689,000).

Canadian short story writer Alice Munro won the Prize in 2013, when she was praised by the Academy as a master of the contemporary short story.

Nobel to French author Modiano

Amid a flurry of seven-figure deals igniting this years Frankfurt Book Fairmany for books by first-time American authorsa short Spanish novel has generated buzz, and some hefty advances, writes Rachel Deahl. Milena Busquets THIS TOO SHALL PASS (or TAMBIN ESTO PASAR) has been pre-empted by Molly Stern and Alexis Washam at Hogarth for a sum rumoured to be in the substantial six-figure range.

The US sale comes after a flurry of pre-fair acquisitions by publishers around the world. In the UK and Commonwealth, the novel has gone to Hogarths fellow Random House

imprint Harvill Secker. (Hogarth UK is part of the Chatto & Windus list at Random Houses Vintage division.)

In Spain, where Anagrama has the rights, the book is set for a February 2015 release. At press time, Pontas confirmed that the novel had sold in 11 territories.

Busquets is based in Barcelo na, and the novel is being handled in Frankfurt by the Spanish agency Pontas Literary & Film. Pontas said the book was about loss, love and sex. Its narrator, Blanca, is about to turn 40, and has just lost her mother. To cope, she decides to decamp for her familys

summer home, in an upscale Catalan fishing village, accompanied by her kids, both of her ex-husbands, her lover and various friends.

A short, confessional work, at 150 pages, the novel was written shortly after the author lost her own mother, Esther Tusquets. (Tusquets founded the well-known Spanish publisher Lumen, which is now part of Penguin Random House Grupo Editorial.)

Speaking about the novel, Washam said it featured an unforgettable narrator and was a true literary escapist pleasure.

Busquets currently works as a journalist and translator.

Spanish authors short novel causes stir

FRIDAY, OCTOBER 10, 2014 VISIT PW AND BOOKBRUNCH AT HALL 8, STAND R28

News Day 3.indd 1News Day 3.indd 1 09/10/2014 15:4209/10/2014 15:42

Stand G9 in Hall 8.0

3150m Wimpy KidsWith the 4 November publication of the next Diary of a Wimpy Kid book, The Long Haul, Jeff Kinneys series will surpass 150 million copies in print worldwide. Amulet Books, an imprint of Abrams, announced that The Long Haul, ninth in the series, would carry a 5.5 million copy rst printing. Puf n is Kinneys UK publisher. The rst book in the series appeared in 2007.

Rightslink for Open Access platform to manage its open access processes. We had none of the transactional apparatus, and quite frankly, the mental workflows mapped in terms of serving [open access publications].

Indeed, as CCCs Jennifer Goodrich noted, it can get confusing, from managing institutional and funder mandates to keeping track of licences, as well as the need for standards. But there had been a surprising level of harmony as publishers and authors worked together on open access initiatives.

Its just messy for everybody right now, Goodrich observed. There is common sentiment that funders have upped the ante [with OA mandates], but the funders arent the ones creating the infrastructure. So it is really falling to the institutions, and the publishers, and both are trying to help their authors so their authors can focus on research and publishing.

A decade ago, the open access movement was riddled with questions about sustainability, and viewed almost as insurrection around the Frankfurt Book Fair, writes Andrew Albanese. A decade later, it has fundamentally changed scientific publishing. At a packed, two-hour town hall, the Copyright Clearance Center examined the shift to open access, and the next steps in its development.

Now 13 years on, all big publishers have open access programmes, noted Wileys Natasha White, though she told moderator Christopher Kenneally she was not surprised. An early employee at open access pioneer BioMed Central, she said she recognized early on the power of open access to change scientific publishing.

Frederick Fenter, of open access provider Frontiers, said that the key word for open access now that it had gained wide acceptance was innovation. Whether stressing article-level metrics, improving the review process, and using social networking, he said the challenge was to find good ways to disseminate the content, and good ways to make it discoverable, to make it more connected.

Brandon Nordin, from the American Chemical Society (ACS), said he did not view the shift to open access as a shift in power. As a publisher, we have to constantly examine how we assist the author and the researcher. Nordin spoke about the ACSs decision to use CCCs

CCC hosts open access town hall

FRIDAY, OCTOBER 10, 2014 FRANKFURT SHOW DAILY

To contact Franfurt Show Daily at the Fair with your news, visit us on the Publishers Weekly stand Hall 8.0R28

Reporting for BookBrunch byNicholas Clee in London and Liz Thomson in FrankfurtReporting for Publishers Weekly byAndrew Albanese, Rachel Deahl, Calvin Reid and Jim Milliot

Project Management: Joseph MurrayLayout and Production: Heather McIntyreEditorial Co-ordinator (UK): Marian Sheil Tankard

To subscribe to Publishers Weekly, call 800-278-2991 or go to www.publishersweekly.com

Subscribe to BookBrunch via www.bookbrunch.co.ukor email [email protected]

said. Paulo, youre saying the war is lost? Boos asked. Im not saying the war is lost, Coelho replied. Im saying we humans are still here because of our capacity of adapting ourselves. The war is not lost. It is the opposite. The war is won. Culture is now available all over the world. People can read.

Chief among Coelhos advice to the industry: embrace the lower prices digital enabled. The system believes that all pirates are not honest. They are not dishonest. They have a problem of accessing culture. Im not here to defend piracy. But if you change the system of pricing books, that is one of the solutions. He spoke of his own experience, lowering his ebook prices for a promotion, saying he ended up making the price differential in volume, and with an increased profit.

Over the course of the 45-minute talk, Coelho acknowledged the tension points in the book business, including the need to defend and to help independent bookstores adapt, saying he considered bookstores to be temples. He also acknowledged that the growing number of voices enabled by the internet could make it harder to discover great works. But he added: Either you adapt yourself, or you die. We cant try to stop time.

Asked again about price at the end of his talk, Coelho said: There is a golden rule. Dont be greedy.

Dont be greedy, Coelho tells publishersAt a standing room only session at the Fair, bestselling Brazilian author Paulo Coelho had a message for publishers: embrace change. And, lower your ebook prices.

Change could not be arrested, said Coehlo, who appeared alongside Fair Director Juergen Boos. It is a lost case, he


4FRIDAY, OCTOBER 10, 2014FRANKFURT SHOW DAILY

Xenophobes thrivingThe Xenophobes Guides (Oval Projects) has reported a 21% sales increase year-on-year as it celebrates its 21st anniversary. in print with a sales increase of 21% year on year. Publisher Anne Taute said: Its a great way to celebrate 21 years in print with such a sizeable increase in turnover. And its especially heartening when so much publishing news is gloomy to report such strong sales. Furthermore, new developments in printing now allow the company to reprint more often which ensures that the guides are fully revised and up to date. The Guides have sold more than 3 million copies worldwide. There are 30 titles in print, and editions in Dutch, Portuguese and Polish.

HarperCollins Murraypublishing has transitioned wellAnalysts had begun to realise that publishers were doing a good job of transitioning to become print and digital businesses, HarperCollins CEO Brian Murray told representatives from the leading industry journals at a Wednesday session at the Fair., writes Andrew Albanese

Asked about the benefits of its recent corporate spin off, Murray said the News Corporation reorganisation had helped open investors and analysts eyes about the health of the book business. The book publishing industry I think has done a very good job, and I think analysts are just starting to realise that now that collectively we have transitioned well from a primarily print business to what is now both print and digital... Often I think they just lump publishers into other media segments and think, oh, digital is all bad. And its not all bad, its actually quite good. So the split has been a very good thing for HarperCollins.

Speaking about the recent successes of Veronica Roth, Murray said: You know, it comes down to the books at the end of the day. The Veronica Roth Divergent seriesthat was spectacular, the kind of thing that I wish could happen more frequently. But there are a lot of other things besides that one property. Many of our markets around the world have had improved profitability... And then on the digital side weve been investing in new marketing techniques, and new business models, and new ways to reach readers. So were constantly trying to get the right balance between resources that are tied to the slowly declining print business, and making sure we reinvest to get the growth on the digital side.

He was optimistic about independent bookstores: Weve seen this reinvigoration in the independent channel, and were very supportive of that channel, and have done a number of initiatives to help support independent bookstores, and were going to continue to do that. Because we want to make sure all

In a deal closed shortly before the Fair got underway, Trident Medias Ellen Levine sold a debut novel to Farrar, Straus & Girouxs Jonathan Galassi for a figure rumoured to be in the substantial six-figure range. Galassis lauded literary house is famously low-paying when it comes to advances, which makes the price tag for Steven Prices historical novel, BY GASLIGHT, all the more notable.

Price is based in British Columbia and is an award-winning poet; his collection Anatomy of Keys (Brick Books, 2006) won Canadas Gerald Lampert Award. Though he published one novel with the small Canadian press Thomas Allen2011s Into That Darknessthe title was never released in the US. Therefore, Levine said, By Gaslight was being published as a debut.

Canadian author to FSG in major deal

Steven Price

of these sales channels can coexist with one another, and hopefully complement HarperCollins.

Murray said that he had been very happy with early returns from subscription services, and that he planned to expand those ventures. Subscription has turned out to be a model that is very successful in really merchandising and mining the backlist in the catalogue. And thats been a surprise to us, and how much churn there is in that deep catalogue.

The Victorian-set work opens in London in 1885, three years before the citys string of infamous Whitechapel murders. When a womans body is pulled from the Thames, William Pinkerton is drawn back into an old case. The murder winds up intertwining Pinkerton, known as one of the top detectives of his era, with a thief named Adam Foole, who, Levine explained, has a past inextricably linked with Pinkertons own.

The novel spans two decades and unfolds in myriad locales, taking its characters from London to the American battlefields of the Civil War to the diamond mines of South Africa. Levine described it as epic in scope and brilliantly atmospheric, calling it a journey into a cityscape of grief, trust, and its breaking.

At press time, no foreign deals had closed. Levine said publishers in the UK were reading the manuscript, and that she intended to sell the book separately in Canada.

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Nielsen ebook surveyNielsens next deep dive survey, Understanding the ebook consumer in 2014, will examine such issues as consumers attitudes to pricing; are readers hoarding ebooks, or selecting only what they know they will read?; do they understandor care aboutself-published ebooks vs those from traditional publishers?; and how near market saturation is the ebook market? Further information about this survey, and about Nielsens existing data on ebook consumers, from Hazel Kenyon: [email protected].


6three books through Ed Wilson at Johnson & Alcock. Sawyers ARTEFACT (spring 2015), the first part of a trilogy, is an explosive SF adventure about an elite military team who remotely operate avatars in a war against an alien race. The author is a barrister. Orbit has world rights from Rob Dinsdale at A M Heath. Jackson said: Were thrilled to welcome two fantastic new authors who we believe will appeal to a broad spectrum of readers.

Stephanie Jackson at Mitchell Beazley (MB) has signed a new book by Sunday Times cook Gizzi Erskine, most recently published by Quadrille and Virgin. GIZZIS HEALTHY APPETITE (August 2015) is a collection of 100 favourite recipes. Jackson said: Not only is Gizzi Erskine a ridiculously talented chef, widely admired amongst chefs and foodies, but shes everywhere. With a platform thats growing by the day on both sides of the Atlantic, Gizzi is a force to be reckoned with. MB has world rights from Severine Berman at Roar Global.

Liz Gough at Hodders Yellow Kite has signed a new book by author and former Winchester Headmaster Anthony Seldon. Yellow Kite has world rights in BEYOND HAPPINESS (June 2015) through Ed Victor. Seldon (Sir Anthony) introduced happiness, or well-being lessons at Winchester. In 2011, he co-founded Action for Happiness, a body to raise awareness of the discovery of happiness and reduction of depression. Gough said: Anthony Seldon is someone I have long admired for what he has done in terms of raising awareness of wellbeing and encouraging young peopleand indeed all peopleto strive to live well. This original and powerful book explains why we all have a deep need to searchbeyond happinessfor something more profound within ourselves, and shows us how we can discover the unique meaning and purpose of our lives.

Eleanor Dryden at Avon has bought two further novels by Claudia Carroll, a number one bestseller in Ireland and a top 10 bestseller in the Sunday Times. Avon (HarperCollins) has UK and Commonwealth rights in the novels, due in 2016 and 2017, through Marianne Gunn OConnor. Carroll said: Im absolutely overjoyed at this new book deal; Ive been so happy with Avon where every author really is made to feel so special and very much part of a dynamic and cutting-edge team. Dryden said: We have bold plans for Claudia Carroll and look forward to cementing her place as one of the leading commercial womens fiction authors writing today.

Palazzos Colin Webb has signed three deals for a Woody Allen retrospective that will mark the directors 80th birthday in late 2015 and the 50th anniversary of his screenwriting debut. The book is in the tradition of Palazzos lavish monographs on Clint Eastwood, Steven Spielberg, Roman Polanski and, most recently, Martin Scorcese, all of which have met with international success. WOODY ALLEN: A RETROSPECTIVE will be written by Tom Shone, the former Sunday Times film critic and now a resident of New York, where he writes for the New York Times and New Yorker and teaches film history at NYU. Rights have been sold to Thames & Hudson in the UK, Abrams in the US, Knesebeck in Germany, Blume in Spain, Grund in France, Fokal in Poland, and Rizzoli in Italy. There is no confirmation of whether the mercurial Allen will engage personally with the book, but Webb knows him from when as a young editor at Hamish Hamilton he published Allens Without Feathers back in 1976.

Indonesia will be next years Frankfurt Guest of Honour, and in preparation for this international bow the Lontar Foundation of Jakarta has signed a partnership deal with Londons AmpiMargini Literary Agency to work together for the promotion of Indonesian literature. Under its terms, AmpiMargini will act as sub-agent for a number of Lontar titles. Ines Pierucci, the agencys Director, and John H McGlynn, co founder of Lontar, who signed the contract on the Indonesia national stand at the Fair, said the Lontar catalogue gives us a beautiful panoramic view of Indonesian culture from colonial to modern times.

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

With Will Atkinson on parade in his first week as Atlantic MD, Maddie West, Editorial Director of the Corvus imprint, has added to its burgeoning Robert Fabbri franchise, buying three more titles in a WEL deal from Ian Drury at Sheil Land. Corvus has published five of Fabbris Vespasian novels in what is intended to be a sequence of 10the next, Romes Lost Son, will come in March 2015. Our aim at Corvus is to make Robert Fabbri into a major global brand and this long term deal allows us to do exactly that, said Atkinson. This is a great day for the business.

Candlewick Press has acquired Kate DiCamillos seventhas yet untitlednovel in a major deal. Karen Lotz, Group MD and Publisher, bought world rights from Holly McGhee at Pippin Properties. Parent imprint Walker will publish in the UK. The novel, for ages 10-plus, features three girls over one tumultuous summer, discovering a friendship that changes their lives. Lotz said: I am absolutely and deeply in love with this bookit is truly extraordinary. DiCamillo is the US National Ambassador for Young Peoples Literature through 2015, and boasts numerous awards, including the Newbery Medal. Her tally includes 12 New York Times bestsellers, and there are 22 million copies of her books in print in 41 languages.

Angus Cargill at Faber has pre-empted two novels in a new thriller series by Jeff Gulvin. Faber has all rights (except for film, already sold) through Robert Kirby at United Agents. THE LONG COUNT introduces Texas ranger John Q, and is set in 1967, when a soldier returns from Vietnam to his hometown in Texas to find his father dead and his twin brother missing. Cargill described it as a truly creepy read, with an incredible sense of place and atmosphere. It will appeal to fans of Shutter Island, Sharp Objects and True Detectiveto readers who like their thrillers to have a serious sting in their tail. Gulvin published thrillers with Headline in the UK over a decade ago before going on to ghost various non-fiction titles, including Ewan McGregor and Charley Boormans Long Way Down.

Jane Lawson at Doubleday (Transworld) has bought AMERICAN EVERLASTING, a new novel by Annie Barrows, co-author of The Guernsey Literary and Potato Peel Society. Doubleday, with Random House Australia, bought UK and Commonwealth rights to two books in a pre-empt from Random House US. Lawson said: This captivating novel immediately set my heart racing. Both funny and moving, at its heart is a devastating secret in a prominent family fallen on hard times in a small town in the American South in the aftermath of the Great Depression. It is such an exciting prospect to be working with Annie Barrows, whose first novel I loved so much.

Anna Jackson at Orbit UK has signed up science fiction authors Rob Boffard and Jamie Sawyer. Boffards TRACER (summer 2015) is a debut thriller set in a space station holding all that remains of the human race. Boffard is a UK-based South African journalist. Orbit has world rights in

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Faces at the Frankfurt Book Fairday 2

At the Penguin Random House stand, UK CEO Tom Weldon (left) and Deputy CEO Ian Hudson

Simon & Schuster CEO Carolyn Reidy doing business at the S&S stand

At the Kogan Page party, Helen Kogan and Kyle Cathie

Publishers Association CEO Richard Mollet (left) with London Book Fair Director Jacks Thomas and Julio Trujillo of Conaculta celebrated the Mexico Market Focus for LBF 2015

Mike Shatzkin sports a shirt from Kinsale Harbour, a business venture by former Penguinite Richard Heffernan, and a custom-designed Frankfurt tie made by Robert Riger of Pimsleur, S&Ss language line

At the Orange Peel Nightclub in Kaiserstrasse, Ken Follett (right) took to the stage with his band, Damn Right I Got the Blues, which also featured Ant (Antony Harwood) on rhythm guitar, and Floella Benjamin on vocals


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10

Development largely depends on the ability to advance the digital economy. The copyright sectors are among the main contributors to the economy and employment, in addition to being pivotal in upholding national culture and cultural identity. Copyright fuels the knowledge-based sector and the digital economy, making it a fundamental component in any strategy to create sustainable economic growth.

The fundamental principles of the copyright system work. Authors rights and copyright are also a fundamental human right, recognised in the Universal Declaration of Human Rights. They provide creators with a living, stimulating them to create new works, and guarantee a return on the investment for publishers, thereby offering an incentive to develop new dynamic ways of making copyright works available to users.

There are those who ask whether the current copyright system appropriately addresses the challenges of the digital economy? I think it does. At present, I can see no mechanism that could replace the current one, with the same legitimacy, flexibility and equity.

The fundamental principles of the copyright system grant some exclusive rights to the copyright holder to exploit the work, and protection for the publishers, combined with the possibility for exceptions and limitations to those rights in national legislation, based on internationally acknowledged principles. I have repeatedly challenged those who claim that the system is outdated to present an alternative one, last in an open letter to EC Vice President Neelie Kroes (see www.ifrro.org). I have yet to get an answer.

The free information model is a direct threat to the livelihoods of creative and professional people and, therefore to the economy. Those who urge copyright reforms advocate more use without remunerationoften without examining the consequences of this approach. For example, recent changes to copyright rules in Canada, which were interpreted as allowing more free use, have led to serious consequences for the domestic creators and publishing industry: An immediate drop in sales of published editions to the educational sector by 11%, and in income of more than 20 million from secondary uses A publishing houses sales of its anthology of poetry to Canadian educational institutions declining by 70%; published editions cannot compete with compilations of copyright works created without paying royalty to authors and publishers, or a licensing fee

Defending the copyright sy sOlav Stokkmo argues that sustainable econo mcopyright system

Olav Stokkmo

FRANKFURT SHOW DAILY

Olav Stokkmo - letter to Kroes 2Olav Stokkmo - letter to Kroes 2 06/10/2014 14:4006/10/2014 14:40


11

FRIDAY, OCTOBER 10, 2014

Olav Stokkmo is Chief Executive Officer of the IFRRO.

Publishing houses closing down publishing programmes for schools, reducing their overall investment into educational publishing and laying off personnel, impacting, in particular the transition to digital publishing

Naturally, these changes have been rigorously criticised by authors and publishersat home and abroad. A drop in yearly income of more than 20 million would impact negatively on any industry; the Canadian creative sector is no exception. At stake globally, if governments were to follow the Canadian example, are expected annual losses of some 1 billion, in the income from secondary uses via the Reproduction Rights Organisations (RROs), the collectives in the Text and Image sector of the International Federation of Reproduction Rights Organisations (IFRRO).

A strong publishing sector depends upon income from secondary uses of works. A PwC study documented that, in the UK, a drop of 20% in the income from secondary uses to UK authors would result in some 2,800 fewer new works being created annually. For publishers, the income from secondary uses more or less equals their investment in new digital content and new ways of making content available. I fail to see that anyone would benefit from such a development. Does anyone reasonably imagine that the loss of a yearly income of 1 billion would leave the creators and the publishing industry unharmed? Canada is not an example to follow for those who want to stimulate the creative and copyright industries, and build the knowledge economy.

A world that values knowledge and culture values its creators. A growing knowledge economy needs a vigorous IP industry. Copyright legislation must promote creativity and innovation, and reward creators and publishers. This can only be achieved through stimulating the economic conditions necessary for the creative sectors to flourish. Exceptions are important, but unremunerated exceptions must be limited to instances where primary and secondary markets cannot fulfil a market need effectively. In a fast changing world where technologies move with an unprecedented speed, regulations do not have the ability to offer the required flexibility. Agreements with rightholders and their collectives do.

Sustainable economic growth requires sufficient certainty for individuals and companies to take the necessary risks to create and invest. How can this environment be maintained if people are not rewarded for their efforts? The computer scientist Jaron Lanier notes that a fundamental problem is that web information being free obscures the fact that people created the data that is being made available; it is necessary to restore the value of data. Sustainable economic growth depends on it.

y stemo mic growth depends on a functioning

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Michael OBrien is Publisher at the OBrien Press (stand 8.0 C 96/99 or contact [email protected]).

Michael OBrien

Despite operating in a challenging publishing climate, right on the doorstep of giant UK publishers and with a small local market, the OBrien Press has long been at the forefront of independent publishing in Ireland, with groundbreaking history and biography titles, award-winning childrens fiction and our new graphic novel and literary fiction programmes. But achieving this has required continued innovation and a strong international focus.

Frankfurt has played a significant role in the development of OBrien from the start. My first Frankfurt was in 1976, two years after my father Tom and I founded the press. The experience was bizarre and somewhat disheartening, but ultimately inspiring. I arrived at Frankfurts Hauptbahnhof carrying a huge, heavy suitcase full of material, and the city was wrapped in snow and ice. At the Fair, I approached all sorts of publishers with my two prized projects, but they all politely declined. At the last hour of the Fair, all work stopped and a dramatic wave of applause rippled across the Fair. Wow, I said to the man next to me, what was that? Its our way of showing appreciation and thanks for the Fair, he said. That man turned out to be Don Sutherland, Director of McGill Queens University Press, and, amazingly, he then proceeded to buy US/Canadian rights to both my projects. The author of Tinkers and Travellers, Sharon Gmelch, had been his student in Toronto, and he also knew and admired the author of The Skellig Islands, Des Lavelle. We all need luck in this business, and at Frankfurt all kinds of luck can happen.

Over the decades since, having an OBrien stand at Frankfurt helped us build a worldwide network of 21 rights agents, find partners in translation for nearly 500 titles in 40 languages, and keep up to date with dramatic and sometimes daunting book industry developments. It has proven to be the best organised fair in the world, and has reflected a rapidly changing sector. A particularly proud moment for me was watching Irelands President Mary Robinson open the Fair in 1996, with 24 television stations covering the celebration of Ireland as Guest of Honour, where our expanded national stand accelerated Irelands impact on world publishing. Strategic support from the Irish government for a national stand at Frankfurt has continued despite the economic crisis, and this Irish Village, along with springtime in London and Bologna, give OBrien a window to the world.

Soon after first attending Frankfurt, we realised the importance of appointing sub-agents and the significance of the German translation market. Liepman in Zurich came highly recommended, so I met the legendary Ruth Liepman and Ruth Weibel. They were happy to come on board as our

very first agents. It was years before we built up a substantial list of books with strong international potential, but as we grew and introduced wonderful childrens authors such as Marita Conlon-McKenna, Morgan Llywelyn, Conor Kostick and Celine Kiernan, and future Childrens Laureates Siobhn Parkinson and Eoin Colfer, the contracts started to come. The German market is now one of the most receptive for OBrien Press authors; for 2014, rights for two of our autumn YA titles (Finding a Voice by Kim

Hood and A Crack in Everything by Ruth Frances Long) were snapped up by CBTs Michelle Gyo long before publication, and for crime titles from Sam Millar and Sheila Bugler by Atrium and Droemer.

Of course, there have been marked successes in other territories, with properties such as Brendan OCarrolls Mammy Trilogy (which inspired Mrs Browns Boys) notching up 14 rights deals and becoming bestsellers in the US and Italy for Penguin and Neri Pozza. But Irish writers have always punched above their weight, and it was with the aim of providing them with a strong new literary imprint that we recently developed Brandon Fiction. We had bought Brandon Books after the untimely death of its publisher, Steve MacDonogh, a stalwart of Irish publishing, in 2011. As well as crime fiction, the imprint now includes renowned playwright Frank McGuinness, Colin C Murphy, Mary Morrissy (whose The Rising of Bella Casey will be published in France by La Table Ronde), and wonderful new historical fiction Anyush by Martine Madden and White Feathers by Susan Lanigan.

Throughout the decades, Frankfurt has been one of the major focal points of the publishing year. While we always come with a bulging appointment book, some of the best deals are a result of the pure serendipity of a publisher spotting a book on a shelf as they walk past (such as the recent Czech rights deal for Tomi Reichentals holocaust memoir I Was a Boy in Belsen) or a chat over a drink at a post-Fair party or meal. Its moments like that which make Frankfurt so special, even when its snowing outside!

In its first 40 years, OBrien Press has seen Irish publishing mature, bringing with it success and challenging times in equal measure, and unprecedented developments in the publishing industry. Now with my son and MD, Ivan OBrien, I look forward to continuing to publish the best in new and established Irish writing talent, and promoting it to the widest global readership.

Celebrating 40 years since the founding of the OBrien Press, Michael OBrien looks at the role Frankfurt and other fairs have played in its success

A window on the world

Michael O'Brien - 40 years 2Michael O'Brien - 40 years 2 05/10/2014 19:0905/10/2014 19:09

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FRANKFURT SHOW DAILY FRIDAY, OCTOBER 10, 2014

What we discard: A dialogue at Walker Books

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DMD: For one thing, we could be more personally direct about creating repro as printing in the Far East had also begun to changeand it all galloped on from there.

KL: So completing the design of each book took a team, and now it could be done by an individual and a machine?DMD: Yes, theoreticallybut of course we still do have a team. But roles have evolved to become creative and technical.

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

KL: Youve begun to work with a lot of non-English illustrators. Tell me about what it was like when you went to see your artists in Taiwan and China.DMD: I loved it. Theres a huge tradition in Taiwan of beautiful illustration for adults, but picture books for children are much

Deirdre McDermott joined Walker Books in 1989 as Assistant Paperback Designer. She has seen many changes in her 25 years with the company; here she shares her memories with Karen Lotz.

KL: I think many of our early hits were in houseDMD: Yes. Were Going on a Bear Hunt was just about to win the Smarties, and there was immense excitement about Wheres Wally? Sebastian [Walker, the founder] was there, David Lloyd, Wendy Boase. Wendy was fierce and wonderful, but not in a scary way. And Amelia Edwards, the Art Director, was so generous. It was never about the deadlines; it was only about your best work. She listened to everyone; she would give your ideas credit and was very supportive. We had about 70 employees altogether.

KL: And no computers.DMD: Quite right. My first week I ordered paintbrushes, pencils, a full set of fancy Rapidographs, and even a proper Windsor & Newton box of watercolours. It was wonderful; like an extension of art school. We all worked as a team to put a book together. I remember drawing text boxes freehand for days, mimicking Charlotte Voakes line until I got it just right.

KL: What happened when the Macs came?

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Karen Lotz - Walker - What We Discard.indd 2Karen Lotz - Walker - What We Discard.indd 2 05/10/2014 20:3905/10/2014 20:39

FRANKFURT SHOW DAILYFRIDAY, OCTOBER 10, 2014

15

We offer:Full or partial payment of the rights;Full or partial financing of translation costs;Partial support of printing costs for non-fiction books.

For your information:The Transcript program supports the translation from Russian into any foreign language;Applications are accepted year round and decision is made four times a year (January 31, April 30, July 31,and October 31);Publishers may apply for a grant before they have signed a contract with the rights holder.

Transcript is an international grantcompetition launched in 2009 bythe Mikhail Prokhorov Fund, a privatecharitable foundation, to promote contemporary Russian literature andthought throughout the world.

We provide translation support for:Russian non-fiction (history, philosophy, political, social and cultural studies, sociology, anthropology, interdisciplinary studies, etc.);Russian fiction (prose, poetry and drama, including childrens literature).

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fantastic and is quite seductive at purchase, but if it doesnt have emotional honesty, you will not get that again, again factor going. For me, thats what it is all aboutthe 18-month-old or two-to three-year-old, having an immersive narrative experience.

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

KL: What do you love?DMD: Colour. Its visceral, really. The juxtaposition of orange against red; great drawing; and white spaceI love white space.

KL: What is not there, but is evoked.DMD: Yes. Unlike in animation or an app, in a picture book, youve only got 12 or at most 16 images that have to carry the whole storytheres no music or voice, no tricks. The very best are just pure and honest on the page.

newer. Now you will see all the Western classics in the bookshops. And there are so many fabulous artists to publish. I adore working with Jimmy Liao and Chinlun Lee; language is no barrier.

KL: Have computers changed illustration?DMD: The graphic look of art on screen has influenced art style. Chris Haughton, Jon Klassen, many others, all began in animation. And in animation, theyre used to working on a large team to create the end product.

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

KL: Whats the challenge now?DMD: I think its really about too much choice. Artists can make a piece of art so quickly; its very easy to constantly change their minds. Its all about helping them rule things out nowlooking at what to discard. What matters, ultimately, in a picture book is the emotional truth. You can have artwork that looks

Karen Lotz is Managing Director of Walker Books and Publisher of Candlewick Press. Deirdre McDermott is Publisher of Picture Books at Walker Books.

Karen Lotz - Walker - What We Discard.indd 3Karen Lotz - Walker - What We Discard.indd 3 05/10/2014 19:1405/10/2014 19:14


No one should hold their breath waiting for their Apple windfall.


16

Apple settlement settles little

hope to reap a $400 million injection of Apples cash into their customers accounts?

A few factors complicate that decision. For one, Apples settlement funds can be used on any product or service offered by the retailer creditedunlike the $166 million distributed via the publisher settlements, which mandated that refunds be spent on books, print or digital. In

that the vast majority of Apples refunds will be credited through Amazon accounts, much of Apples money might well be used toward a Prime membership or lawn chairs,

rather than books.But however Apples settlement eventually

shakes out on appeal, its largely academic at this point. As the Hachette vs. Amazon dispute over terms of sale shows, hashing out the post-agency ebook market without the benefit of collective action, is going to be a complicated balancing act for publishers,

especially considering that Amazon has not just a majority of the US ebook business, but a large share of the print book business as well.

In June, Apple and government attorneys announced a deal to settle damage claims arising from its epic ebook price-fixing case. But, in the short-term, the Apple settlement settles little, writes Andrew Richard Albanese.

Despite the announcement, no one should hold their breath waiting for their Apple windfall; it could be months, even years before settlement funds are issuedif everas any payout under the deal is contingent upon Judge Denise Cotes 2013 liability verdict surviving on appeal, and the case could wind all the way to the US Supreme Court. If the verdict is upheld, Apple will pay a hefty $400 million to consumers vs. $50 million if the decision is remanded to Cote for further proceedings. If the verdict is reversed, Apple will pay nothing.

Meanwhile, the deal puts the major publishers in bit of a tricky spot. Do they root for, and perhaps file amicus briefs supporting Apples appeal, hoping to claim vindication if Apple prevails? Or, do they sit this round out and secretly root for Apples appeal to fail, and

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Andrew - Apple 2Andrew - Apple 2 05/10/2014 20:4005/10/2014 20:40


The advocacy of a good agent


18

As giant companies battle over the future shape of the book market, the committee of the UKs Association of Authors Agents reflect on the position of agents and authors

Diane Banks, Diane Banks AssociatesA publisher or booksellers essential product is the authors intellectual property. Its expert management and exploitation is therefore equally essential, particularly in a market exhibiting a flat to downward trend. Agents detailed industry knowledge and awareness of trends allow them to maximise share of the book market for their clients. But increasingly important are the alternative revenue streams, such as speaking and corporate deals which, with their own agendas and layers of middlemen, arent the giant companies expertise or their place to control.

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

platforms and the corporate landscape, in order to offer advice that is good for now and the future. Good agencies and engaged authors are not passive observers of battles fought between corporate giants; we are in constant conversation.

Gordon Wise, Curtis BrownHowever large or small your publishing company or literary agency, whats crucial is how an authors work is going to be discovered. Whats going to make either an editor or a consumer spend hours of their life immersed in someone elses story? Whats the balance between short-termist marketing on price and the need to offer value in a competitive market? Books and their writers need advocates within the industry and without, and we have to strive to connect with an increasingly plural consumer world. For agents and publishers alike, whether wooing publishers or readers, the corporates need to milk every last drop of opportunity from their resources and independents have to assert the added values they bring. None of us can take anything for granted.

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Gordon Wise - AAA.indd 2Gordon Wise - AAA.indd 2 05/10/2014 19:2005/10/2014 19:20


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

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

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

Oli Munson, AM HeathThere are opportunities opening up in all kinds of directions. But if you gave me three contracts, two from authors with agents and one from an author going it alone, I would almost certainly be able to tell which was the odd-one out. An author with an agent will have more power and routes to market than one without. And the agent community is always looking for new ways to add value to the services we provide. When one part of an industry goes through significant change, every other part has to recalibrate accordingly or risk being left behind.

Gordon Wise - AAA.indd 3Gordon Wise - AAA.indd 3 05/10/2014 19:3605/10/2014 19:36


Juliet Mabey is Publisher at Oneworld Publications.The Mexico Market Focus Cultural Programme is jointly curated by the British Council and Conaculta. Please visit www.britishcouncil.org/mexicomarketfocus for more information about the programme and upcoming events in both the UK and Mexico.


are already discussing protective measures. Another key difference is the lack of literary agents both representing authors at home and selling foreign rights overseas, but this could be changing soon. And one thing stood out to all of usthe very high production values, especially from the indie publishers, who showcased gorgeous hardback volumes of short stories beautifully illustrated by prominent artists, with unusual text paper and imaginatively chosen textile coverings.

The Mexican literary scene has been rather overshadowed in the past by the larger Spanish and, to a lesser extent, Argentinian publishers, but with a recession in the Iberian peninsula and strong economic growth in Mexico, there are signs that this is changing. This is the home, after all, of the Nobel Prize winner Octavio Paz, and of Juan Rulfo and Carlos Fuentes, to name just a few iconic Mexican writers. With a population almost twice the size of Britain, and a literacy rate of around 90%, the prospects for the Mexican book industry are rosy. Ranging across essays, short stories, poetry, fiction and non-fiction, Mexico offers a rich literary store for the adventurous publisher to explore, and generous subsidies are available through

Protrad for translation and marketing.

Indigenous publishing sceneWhile in the past many of the Spanish-language bestsellers were imported from Spain, it is clear that the vibrant and diverse indigenous publishing scene in Mexico is thriving, and 2015 offers plenty of opportunities for publishers on both sides of the Atlantic to familiarise themselves with their counterparts. A delegation of Mexican writers and publishers will be holding events and meeting publishers at LBF in April, and Guadalajara International Book Fair, the worlds second largest book fair, will in turn be hosting a delegation of British writers and publishers in the autumn. Both Book Fairs will offer fertile ground for any publishers or agents wishing to build valuable bridges of co-operation.

Next year is set to be Mexicos year. Mexico is designated the Market Focus country for the London Book Fair, and a whole range of cultural events is being set up to foster closer relations between the two countries publishing industries over the next 12 months. First among these was a delegation of six UK editors on a fact-finding mission to Mexico City last month, jointly organised by the British Council (in the form of Cortina Butler and her indefatigable team) and their Mexican counterpart, Conaculta (the National Council for Culture and the Arts in Mexico).

Finding ourselves in a city that names its streets after famous thinkers and poetsKant, Copernicus, Milton, Descartesour expectations from the trip were high from the outset, and we were not to be disappointed. In a whirlwind tour of the Mexican publishing and bookselling scene, we visited the impressive Vasconcelos Librarythe largest in Latin America, which showcases a stunning sculpture of a life-size whale skeletonand a fabulous bookshop in a turn-of-the-century villa in the heart of a residential district.

We were introduced to key figures in the Mexican literary world, from literary critics and journal editors to brilliant writers and translators, who discussed contemporary Latino writing, the Cuban effect, magical realism, and what might be dubbed tragic realism the rise of Mexican narco-literature, the more recent penchant for violent fiction focused on the drug wars in the north of the country, which includes Down the Rabbit Hole by Juan Pablo Villalobos (shortlisted for the Guardian First Book Award). And we met with publishers large and small, from the feisty young independents Sexto Piso and Almada to the state-owned Fondo de Cultura Econmica with its own bookshop-cafes, to the large international houses of Planeta and Penguin Random House.

Low profile of AmazonThere are key differences between the British and Mexican markets. First among them must be the low profile of Amazon, which has only very recently set up shop in Mexico to sell ebooks, and with so few people owning ereaders, it has had little impact on that market so far. Mexican publishers and booksellers have watched with interest the growing dominance of Amazon in Europe and North America, and

Paul Baggaley, Suzie Door, Ellie Steel, Anna Kelly, Juliet Mabey and Stefan Tobler in the National Library of Mexico

With a population almost twice the size of Britain, and a literacy rate of around 90%, the prospects for the Mexican book industry are rosy.

Juliet Mabey reports on the British Council Publisher delegation to Mexico

Enchiladas, tequila and a rich literary world

20Juliet Mabey - Mexico 2Juliet Mabey - Mexico 2 05/10/2014 19:0805/10/2014 19:08

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our rights revenue grew by 48% between 2012 and 2013, when we did 40 individual rights deals.

We can produce digital products for the world, and distribute them ourselves. About three quarters of our app revenue comes from outside the UK, and this is growing, and will increase further when we produce multi-language versions of our apps. But though we could in theory translate our books into other

languages ourselves and get them printed, the costs of selling, marketing and distributing the books in other countries would be more than a small company could easily stomach.

With a growing list of new books each year, our sales focus remains those countries that have been the core of UK childrens publishers co-edition and rights business for decades: the USA and European countries, particularly, in our case, Germany, France and Holland. Its been good to see the revival of certain European markets; we are reprinting books for Greece and we are once again selling books to Portugal. Countries in which weve seen growth include China, Turkey and Poland.

Were seeing the opportunity for sales across our range of titles for children from 0 to 12. Theres a strong international appetite for novelty books. Our series of Bizzy Bear titles,

There is, I think, something of a queen of the night about rights selling, writes Kate Wilson. You prepare for months, like a plant establishing roots under-ground, you book appointments for October from early July, investigate pricing, pull together proofs and dummies and then you have just a few days to flower. You have to be organised, animated and responsive for half-hour appointment after half-hour appoint-ment, decoding across cultural and language divides. You spread your seeds. And then, after the fair, you do your best to see that those seeds germinate, sending material, and negotiat-ing schedules and prices until the cycle begins again.

Nosy Crow is well-known for its innovative digital products, but traditional, international co-edition and rights deals are central to our business plan and our success. Our co-edition sales grew by 37% between 2012 and 2013, when we did 187 individual co-edition deals. This is in line with growth in UK sales of our full-colour publishing; by the end of 2013, with just 27 picture book titles in print, Nosy Crow was the 13th biggest publisher of picture books in the UK in terms of sales to consumers. Meanwhile, driven by both fiction and the sale of picture books to markets like China that are resistant to co-edition buying,

A queen of the night

Kate Wilson - Rights and Co-eds 2Kate Wilson - Rights and Co-eds 2 05/10/2014 20:4205/10/2014 20:42


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illustrated by Benji Davies, has sold 700,000 copies to date in 14 languages, excluding US and UK English, for example. But increased costs in China (particularly, reasonably enough, increased labour costs) have put a bit of a ceiling on our inventiveness in this area; we are struggling to make our more innovative and sophisticated novelty ideas work in terms of costs when we print in China, and seem to struggle with quality control when we take our printing elsewhere. Picture books are, in terms of costs, an easier prospect, and, if you get the story and artwork right, can sell strongly. A book like Nicola OByrnes Open Very Carefully, has sold in 11 languages, not including US and UK English, since its publication in late 2012, and has reprinted in many of those languages. Well be selling her two follow-up books this Frankfurt.

And book fairs remain particularly important for illustrated books. We are still making up dummies of books late into the night in the weeks before the key book fairs, because while we do send out digital material, we find that our potential co-edition partners want to know how a finished book will look and feel.

We acquire world rights in all languages in our childrens fiction and illustrated books, and are currently particularly

pleased with the renewed interest in UK pre-teen fiction, after a rather dry period when the focus was on US-originated books for teenagers. In May 2014, we acquired rights in My Brother is a Superhero, David Solomons debut novel for readers, particularly boys, of nine and up, and in its sequel. We sold US rights (to Viking) on the basis of a pre-emptive bid, and then ran an auction for German rights (won by Klaus Humanns new imprint, Aladin)and are confident of a lot more offers to come.

Were seeing ever-increasing involvement in childrens fiction sifting by scouts, and an interest in looking at fiction titles earlier and earlier in their development. Its certainly possible for fiction selling to be done outside book fairs, but when the timing works out, book fairs remain the best time to build international buzz around a title; I think wed have sold more rights more quickly if wed bought My Brother is a Superhero in the run-up to Bologna rather than a month after. Still, theres always Frankfurt

The technology may have changed, but for many of us the business model has not; the old system of appointments at book fairs as the basis of forthcoming international business remains remarkably resilient.

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Kate Wilson - Rights and Co-eds 3Kate Wilson - Rights and Co-eds 3 05/10/2014 19:1505/10/2014 19:15


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Being a beginner againI love this quote from Steve Jobs: The heaviness of being successful was replaced by the lightness of being a beginner again. In the early days of starting SHA it was abundantly clear to me that it wasnt just about P&L and budgets, but far more importantly, it was about defining my vision and fully realising my values as an agent. I want to try to be flexible, open and nimble, otherwise there is a danger of missing opportunities, of becoming weighed down

with the baggage of complacency. By shedding weight and, in a sense, by simplifying, you are able to find clarity. By beginning again, I feel that I can see clearlyand I can see that bigger is not always best.

I want to be receptive to everything that comes across my desk. I think you have to love getting stuck into the reading, finding the gems that may be hidden there and working with your author on a manuscript that you fall in love witheven if it takes years. And of course there is the excitement of making deals, when an editor shares your enthusiasm for a book. The thrill of the first few SHA deals felt very special. In July, SHA doubled in size when Sarah Williams joined the agency and signed a well-known lifestyle and food writer, and a very exciting debut novelistwatch this space.

EvolutionNot being afraid of huge change and being willing to adapt is crucial. Technology, market forces, business models, and industry hot topics evolve and we must constantly re-evaluate and learn as we go. In a time of merger and consolidation, and of homogenisation, it is important for me to try to remain small and nimble, and focused on what matters; everything we do is for and about our authors. I never want to lose sight of that. Relying on a wealth of knowledge is, of course, incredibly useful, but following your instinct can bring even greater rewards.

I believe that my job should be about the long view. As an agent, do I want the flash in the pan bestselling celebrity book? Or would I find greater satisfaction in working with authors, building careers and watching them evolve? My job is about finding the right editor and home for my authors. Its about the story within the pages of their books, whether it be fiction or non-fiction, adult or childrens, and championing these stories and these authors throughout every stage of their careers. Working with authorssurely this is why agents and editors get into this business? For me the big picture is the small picture. It is about people and about relationships, and ultimately the purpose of my job is to get great books into peoples hands.

After 25 years at the same company, even contemplating taking those first steps as the Sophie Hicks Agency felt slightly unreal. It was a new beginning, a reinvention of myself, both exhilarating and terrifying. The planning, setting up and getting started was thrilling, satisfying, challenging and liberating all at the same time. There have been days when I felt overjoyed and days when I felt terrified, and days when I have had life lessons in patiencesetting up the new printer, for example.

So why now? February 2014 represented a massive milestone for memore than half of my life with the same company. It suddenly felt like a cavernous amount of time and maybe it was the perfect moment to begin again. Close friends have often asked over the years, Why dont you go it alone? and earlier this year I started to formulate my vision for the next 10 to 20 years. With feelings of optimism, the excitement of new possibilities, and a sense that the industry was coming out of the recession, it felt like a good time to stretch my wings and jump.

Advice, support and encouragementIn the first few hours of the press release going out, the messages of congratulations and support were overwhelming (although the first 100 submissions into my new beautiful, blue-branded website were daunting). The advice came in from all quartersfriends and family, and publishing pals. My authors were excited and delighted, and the generosity of others was phenomenal, sometimes surprising, but always appreciated. Even after years of working successfully in the business I know that I have much to learn from others. It is so important to connect and collaborate, and not be afraid to ask questions. One of the most helpful pieces of advice I received was possibly the most simple and came from a wise woman who said: Be careful about money, but dont be frightened of money. Another interesting piece of advice, from a smart publisher, was: Intuition gets you further than aggression. Now several months in, and after more generous lunches than is probably healthy (and enough brain-picking sessions to satisfy a zombie), we are up and running.

I believe that it is important to be proud of your accomplishments without pride. That may seem like a nonsensical argument, but pride can get in the way of doing this job. It is essential that I am able to listen. Listening to authors, editors, in fact, to anyone with an opinion, especially if it differs from my ownit is often these that can be the most valuable. This job is about finding a voice that must be heard and making sure that it is. I simply cannot do that if I am not listening to everything and everyone around me.

Sophie Hicks talks about her first months running her own authors agency

Flying solo, but never alone

Sophie Hicks

Sophie Hicks - Agent 2Sophie Hicks - Agent 2 05/10/2014 19:0505/10/2014 19:05

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In an industry that combines heritage and innovation, that is exactly what Olympia is all about.


26Jacks Thomas is Director of London Book Fair.

Transformation and change are in the air for book fairs, just as they are for the industry itself. As our friends here at the Frankfurt Book Fair prepare for a switch of halls themselves next year, so the London Book Fair is beginning a new life too, returning to its former home in one of the capitals architectural gems, Olympia London.

The more seasoned among you might think you know Olympia from the LBFs previous years there, but I urge you to think again. A lot has changed at the venue since the Fair happily ran there from 1994 to 2005. There has been more than 30m of investment from owners EC&O Venues, whose vision has led to a re-birth of the venue as Olympia London. It now boasts seven connected spaces that give an exhibition complex fit for the 21st century, one that is already seeing the return of many big names, such as the Ideal Home Show. The LBF will be the first show to take all seven halls.

However, before we look ahead, I want to take a moment to look back, to consider what we introduced at Earls Court last year and to explore where it has taken us. Our aim was to create a show that brought together all sides of the industry, from academic to apps, and crucially, to create a show that embraced all notions of what we might mean when we talk about content. So we reached out to gamers with backing from UKieUK Interactive Entertainment, the gaming industrys trade bodyand we had a Tech Theatre and a Start-Up Zone. The FT reported on the fevered excitement at LBF around gaming tie-ups in the wake of the success of the gamification of Bedlam by crime novelist Christopher Brookmyre. The hall was fizzing with ideas.

The core of the fair remained, and remains, the same of coursethe trading of rightsand we are confident that our author-themed International Rights Centre, easily accessed from the exhibition floor, will more than meet requirements. We have a Rights Relationships Manager who will facilitate meetings across geographies and sectors. Our business breakfast for Chinese publishers was especially rewarding last year and as a result we have already arranged a number of meetings for Chinese publishers at next years Fair, for which we are offering a translation service.

The Publishing for Digital Minds conference that is once again part of the Fair will also be simultaneously translated into Chinese and Spanish. And, talking of Spanish, we extend a warm welcome to our Market Focus country Mexico, whose pavilion, I can promise you, is something special.

Change is entering the academic space too and we had fantastic feedback from STM publishers, who were delighted with our academic theatre, the Faculty. The International Publishers Association Education Conference was a huge success too and will also be moving with us to Olympia. This conference is the only one in

the world that brings together policy-makers, publishers, teachers, researchers and technologists to discuss smarter ways of raising educational standards.

For those of you who have never been to Olympia, youre in for a treat. In an industry that combines heritage and innovation, that is exactly what Olympia is all about. We

have conducted around 100 tours in the last 12 months and we hope we have given people a flavour of this historic and special venue. The famous Grand Hall is one of the capitals finest Victorian buildings. Fair goers the world over often bemoan the lack of natural lightat Olympia it comes flooding in. The views across the hall from the first floor gallery are stunning, and I love the idea of new approaches, new developments being discussed and traded in this historic setting. And once again, to toast that dealor celebrate that new partnershipthe Club at

the Ivy returns to a new home on Olympias Gallery.We will host our second International Book Industry

Excellence Awards, at which people will be able to hear more about the fabulous initiatives taking place around the world. I am lucky enough to see some of these myself through the wider Reed family of book fairs in Beijing, New York and Tokyo, for example, and our outreach to these fairs has helped bring new customers to London.

The Fair will be the centrepiece of Book and Screen Week in London, which will see author activities across the capital. And that leads me to say that, as a Londoner, I am immensely proud that the LBF remains in the heart of that great city. Creativity is Londons gift to the world and it is thrilling for all of us to be able to play a part in that contribution. We look forward to meeting you there.

Five things to know about Olympia before you fly: The majestic Grand Hall is Grade II listed Rudyard Kipling watched the military spectacle the Royal Tournament here in 1928 Jimi Hendrix played here in 1967 Margaret Thatcher opened the LBF at Olympia in 1995 There are 65 Michelin-starred restaurants within a mile of the venue

To pastures new, but familiarJacks Thomas talks about LBFs return to the refurbished Olympia London

Roger Tagholm - Jacks Thomas - LBF 2Roger Tagholm - Jacks Thomas - LBF 2 05/10/2014 19:0605/10/2014 19:06

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28Sandy Grant is Chief Executive of Hardie Grant Publishing.

Australia has a major new work on Middle Eastern Vegetarian food from 3-Star Michelin chef Greg Malouf, sitting alongside the hugely successful Food of Vietnam by Luke Ngyuen.

Besides food Quadrille also has a consistent and successful strand in craft, recently headlined by two national bestsellers accompanying the BBC series The Great British Sewing Bee. These stylish, contemporary and quirky books have consistently sold well, particularly in the international markets. Cath Kidstons Sew!

is one of the bestselling craft books of all time, with more than 400,000 copies in print. Indeed Kidstons craft books have sold more than 1 million copies worldwide (in 14 languages), and Quadrille has sold more than 1.5 million pieces of her stationery line. The blogger Tilly Walnes emerged from The Great British Sewing Bee, with her sharp debut Love at First Stitch, and with Woolly Woofers and The Belle and Boo Book of Craft, Quadrille Craft has moved a long way from the traditional craft market and style of publishing.

Partnerships are an essential part of illustrated publishing and Quadrilles collaborations with internationally recognised brands like Vogue (whose series on designers has had such outstanding impact), and Liberty (glorious sewing books and knock-out stationery), have been another key part of its success. In Alisons words: We recognised, long ago, that craft with leading authors would be a key part of the business. Erika Knight and Debbie Bliss have been at the forefront of craft, and each of their titles reflects their enormous influence and vision.

For a business that creates high quality, beautiful books, the future shares much with the ideals of the past: establishing brands; identifying trends; finding original and fashionable authors; market-leading design and production solutions; and working with authors and partners to bring the books to a broad audience. What has changed is the route to market and, to a degree, the market itself. The decline of the high street and the rise of the online retailer, has forced illustrated publishers to find new retail outlets and partners where the physical book, best purchased after it has been seen and held, can be appreciated.

And Quadrille will look to build on some of Hardie Grants digital successes. Cooked.com (launched in Australia and due in the UK this autumn) is a subscription-model recipe website offering thousands of recipes from our books, alongside news and magazine-style material. This and our Australian sites, winecompanion.com.au and beautifulaccommodation.com.au, are the channels to market we are developing to get closer to our end consumer.

The market for quality illustrated publishing has never been more exciting!

Twenty years ago, when the plans for the first Quadrille list were being hatched, Jamie Oliver and Nigella Lawson were a few years away from publishing a book, and the term British Foodie seemed something of an oxymoron, writes Sandy Grant. But the passion for food was coming, and so the new business included a couple of cookery titles by well-known authors, as well as some strong groundbreaking titles with Country Living.

Co-founder Alison Cathies knowledge was built up at groundbreaking packager Rainbird, and refined as the Managing Director of Conran Octopus, where she worked closely with Paul Hamlyn, and with Terence Conran. Her background put Quadrille in a unique position to set new standards of creativity. The rise of the celebrity chef was on the horizon, and Quadrille signed up Antonio Carluccio and Michel Rouxat a time when mainstream trade publishers were still somewhat dismissive of illustrated books.

Working in that era had also taught Alison that if you were willing to invest in the very best photography, artwork and design, and use the Rainbird model of matching household names with popular subjects, you could produce books with the potential to succeed in multiple markets and multiple languages.

By 1997, I had left my job as Managing Director of Reed Books in the UK and had decided to launch a new business in my home in Australia. The companies we hoped we could emulate in Australia were Quadrille in London and Chronicle Books in San Francisco. Quadrille, because they had a strong list in a growing market, and Chronicle were producing the most visual, collectible list in the world. Hardie Grant became the distributor for both Quadrille and Chronicle, and has been ever since. Twenty years later, Quadrilles integral strategy is unchanged, but now there are expansive digital plans and new routes to market.

The Naked Chef with Jamie Oliver, heralded the birth of the celebrity chef, and Quadrilles publishing of Gordon Ramsays books launched one of the most far-reaching global brands. His books sold in millions (in 20 languages) and still reprint every year. Similarly, Michel Rouxs titles on Eggs, Sauces and Pastry have become classics, while his forthcoming The Essence of French Cooking is expected to establish itself as the authority on the subject. Quadrille has also attracted cool new authors from blogs like LibertyLondonGirl, built up authors like The Medicinal Chef Dale Pinnock and Scandinavian chef Trine Hahnemann (now published in 11 and seven languages respectively), and published ahead of the curve with cake-maker Peggy Porschen (now in print in nine languages).

This Frankfurt, Quadrilles International Sales Director Margaux Durigon and her team are selling the Hardie Grant London and Australian lists for the first time. From Hardie Grant London, there are the superb food and travel titles covering Cairo, Venice and the Greek Islands, while Hardie Grant

Sandy Grant

Quadrille: not so square

Sandy Grant - Quadrille 2Sandy Grant - Quadrille 2 05/10/2014 20:3605/10/2014 20:36


30


For more information: www.ccbookfair.com.

A bigger and better Shanghai Childrens Fair

downstream. There will be more professional forums on sharing of experiences, best practices and industry solutions at domestic and international levels. CCBF and the

London Book Fair, for instance, will launch a joint forum, Partnering for Transmedia Success: Creative and Business Perspective, for industry professionals.

With 230 million children under the age of 16, Chinas childrens publishing industry has maintained a double-digit growth in the past couple of years. The relaxation of its one-child policy is only going to increase its market size and potential further. Adds Wang: Publishers near and far are drawn to the fact that 90% of the bestselling childrens books on Amazon China are either direct imports or translations. Additionally, around 70% of urban Chinese parents buy books for their children every month, with a clear preference for imports to expose their children to varied content and increase their understanding of world cultures. So, CCBF is set to take advantage of this thriving sector to become the top childrens event for the region.

After a successful inaugural run that attracted 20,000 attendees and 154 childrens publishers from 15 countries last year, the next China Shanghai International Childrens Book Fair (CCBF) is set to have a much bigger exhibit space and a host of new programmes, writes Teri Tan. Running from 20 to 22 November at the Shanghai World Expo Exhibition Centre, the 2014 event will welcome more than 190 publishing houses from 22 countries. Visitors will find popular publishers Scholastic, Random House, Pearson, Oxford University Press and McGraw-Hill alongside Bloomsbury, Capstone, Ravensburger, Dargaud, Bayard, Poplar Club, Kyowon and many more. From China, at least 36 childrens publishers will be attending, including big names such as Anhui Childrens Publishing House, 21st Century Publishing House, Tomorrows Press and Zhejiang Childrens Publishing House. Online retailers Dangdang and Amazon China have also confirmed their participation. Presently, more than 96% of the booths have been booked.

For Randy Wang, Senior Project Manager at Fair organiser Reed Exhibitions: This years event has evolved into a one-stop business platform that caters for all aspects of the childrens publishing industry, both upstream and

Teri Tan - Shanghai.indd 2Teri Tan - Shanghai.indd 2 05/10/2014 20:3605/10/2014 20:36

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32

The potential of this market for both authors and booksellers is hugeand the entrepreneurial spirit that self-publishingauthors bring to the industry is fantastic.

Digital self-publishing is giving authors easier access to international markets for their storytelling. Colin Eustace explains

Colin Eustace is General Manager, International, Barnes & Noble Srl.

Facing the challengesAlthough the opportunities created by opening up an international market are huge, we know that self-publishing isnt necessarily an easy option for authors, so weve built a platform that helps to diminish some of the challenges self-publishing authors face. These range from enabling private collaboration by allowing authors to invite their network of friends and editors to read and comment on any Nook Press project in a secure environment, to sales reporting that lets authors easily track earnings, monitor month-to-month sales and adjust the price of books (if necessary) to maximise profits.

Were also a founder sponsor of the Frankfurt Book Fairs Self-publishing programme. This series of events at the Fair will provide information and connections for anybody who wants to learn more about global opportunities in self-publishing in the English-language market. As part of this Ill be running a session with Patrick Brown of Goodreads, entitled From Inspiration to Discovery: A Step-by-step Guide.

Promoting and merchandisingAs in the world of traditional publishing, once a book is published the authors journey is far from over and the challenge arises of promoting and merchandising their

precious content. Initiatives such as our new UK-specific programme, Digital First, help to overcome the challenge of discoverability by placing Nook Press content side-by-side with commercially-published titles, with prominent placement on Nook.co.uk and in the integrated Shops on our Nook ereaders and tablets. This move towards breaking down the segregation between marketing self- and traditionally-published ebooks is an important indicator of where our industry is heading. As readers cease to make significant distinctions between these two categories, so will booksellers.

The potential of this market for both authors and booksellers is hugeand the entrepreneurial spirit that self-publishing authors bring to the industry is fantastic. I hope that we see more self-publishing success stories at this years Fair and beyond.

Who would have thought that in 2014 we would describe the publishing industry as rapidly evolving and full of disruptive players developing innovative approaches to getting books into the hands of readers? The democratisation of publishing provides all elements of the industry with opportunities.

Weve seen this with Nook Press, our digital self-publishing platform. Nook Press offers authors, agents and publishers a quick and easy way to launch works as ebooks in the Nook eco-system, with a revenue share on ebook sales and royalties as high as 65%.

Self-publishing is not just democratising publishing, its also giving authors far easier access to an international market for their storytelling.

Sales opportunitiesDesigned with the input of independent authors and publishers in the US, we launched this platform inter

Frankfurt Show Daily, Day 3, Oct 10

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Transcript of Frankfurt Show Daily, Day 3, Oct 10