Frankfurt Show Daily, Day 2, Oct. 15 2015

Frankfurt
Thursday 15 October 2015
visit pW and Bookbrunch at HALL 6.0, Stand B29
MORE IMPORTANT THAN MONEY

ROBERT KIYOSAKI
A Rich Life Series Book
RichDad.com
Two debuts stand out amid day 1 buzz

Despite deals closing apace,
and no shortage of strong
advances coming in from US
editors and those abroad,
many in Germany have been
saying that no single title has
emerged as the book of the
Fair, writes Rachel Deahl.
This fact is something insiders
have met with either
optimism or disappointment;
as one scout noted, the
potential for a big book
means the biggest title of the
season may still be on the
horizon. But, as another scout
opined, the absence of a book
drawing everyones attention
points to a weaker crop of
titles overall for the season.
Nonetheless, two debut
novels, which both drew
rumoured seven-figure
advances in the US alone,
have been among the bigger
books at Frankfurt so far.
Canadian screenwriter Elan
Mastais debut, All Our
Wrong Todays, which sold to
Maya Ziv at HarperCollins
in a North American rights
deal last week, continues to
be among the higher-ticket
acquisitions of the pre-Fair
and Fair period. (Insiders
have put the price tag HC
paid for Mastais book at
$1.25m.) The other big novel
making the rounds is Gail
Honeymans The Bumper

Book of Eleanor Oliphant,
to which Pamela Dorman
nabbed North American
rights, in a two-book deal,
just before the show.
Mastais debut, which
Writers House agent Simon
Lipskar is handling, has been
described as a Jonathan
Tropper-esque novel with a
sci-fi bent. (Lipskar, as it
happens, also represents
Tropper, whose books include
the bestseller-turned-recentfilm, This Is Where I Leave
You.) In All Our Wrong
Todays a man from a Utopian
alternate universe winds up in
the 2015 of the real world
thanks to a time travel
glitch. He must then decide
if he wants to build a life in

the grittier 2015 we all know,
or return to the alternate
reality he came from. Lipskar,
in describing the book, said
it was as if Kurt Vonnegut
had decided to tell a story
like The Time Travelers Wife
with the narrative voice of
Jonathan Tropper.
While All Our Wrong
Todays marks Mastais first
foray into fiction, he is
somewhat established in
Hollywood, best known for
penning the screenplay to
the rom com What If?,
which was released in the US
in 2014 and starred Daniel
Radcliffe and Zoe Kazan.
Eleanor Oliphant, which
was pitched as in the vein of
Elan Mastai
recent bestsellers The Rosie

Project and The Unlikely
Pilgrimage of Harold Fry,
was bought in a high sixfigure deal in the UK by
Martha Ashby and
Kimberley Young at
HarperCollins after an eightway auction. Additionally,
Continues on page 3 g
inside:
Arnaud
Nourry
the ceo talk
Peter Gardos
Author stars
on day 1
Hachette Chairman and Chief Executive Arnaud Nourry

(left, in conversation with Ruediger Wischenbart), starred
at the CEO Talk yesterday. See page 3.
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There are always lots of opportunitiesNourry

Arnaud Nourry, Chairman and Chief Executive of
Hachette Livre, tackled some of the big questions on the
future of publishing, from self-publishing to agency pricing,
to Hachette Livres appetite for global expansion to threats
to copyright, in a wide ranging session at Frankfurt Book
Fairs Business Club on Wednesday, writes Liz Bury.
At the launch of Livres Hebdos ranking of the worlds
leading publishers, produced in partnership with Frankfurt
Book Fair, the host Ruediger Wischenbartalong with the
editors of book trade magazines from China, France,
Germany, Latin America, the US and UKput questions
relevant to their markets to the global publishing leader.
Nourry explained that when he had stepped up to his
leadership role, he saw that Hachette needed to expand
overseas in order to produce stable growth, which it did
through acquiring Time Warner. While Hachette remained
hungry for smaller acquisitions, especially in English
language markets, as well as Spanish language, Nourry
confirmed that it had little immediate appetite for further
very large investments, and that he expected no more major
market consolidation in the short term.
Nourry named segments where Hachette could be
stronger, such as non-fiction in the US and UK (Hachette had
looked at acquiring Perseus Books), and commercial fiction
in France, saying, There are always lots of opportunities.
On the question of pricing, Nourry reiterated his support
for the agency model. Publishers should try not to
undermine their price point. I was convinced of that in
2010 [when the agency model switch first occurred in the
US], and I am still convinced. I am very happy with the
agency model. He added that in the US, 80% of Hachettes
catalogue was sold for less than $10.
Nourry described self-publishing as the contrary of my
business. We look at books and decide what we do and do
not want to invest in. Sometimes publishers are wrong, as
with Fifty Shades of Grey, but even in this case EL James

wanted a traditional publisher. When print is 85%of the
market, you need it. I am not competing against selfpublishing and it will not change my business.
When it came to copyright, and especially potential
European Union initiatives that could result in a softening
of the rules, Nourry was definite: We should defend
copyright as much as we can. He continued, My guess is
that behind the scenes this is another version of the fight
between some of these large US companies and Europe. Its
a concern.
Livres Hebdos ranking showed revenue from publishing
and distribution of 58.5 billion euros, through 56
publishing groups from 15 different countries. Companies
must generate 150 million euros to be included in the list.
The top 10 accounted for more than half of the total, and
their share is rising. Two Chinese companies entered the
top 10 this year.
Arnaud Nourry and novelist Alaa Al Aswany are to speak at

the 31st International Publishers Congress at The London
Book Fair 2016. The Congress, organised by the International
Publishers Association in partnership with the UK Publishers
Association and the London Book Fair (LBF), takes place
from 9 to 12 April.
Richard Fisher and Michael Healy are joining the LBF
advisory board. Fisher is former MD, Academic Publishing
at Cambridge University Press, and Healy is Executive
Director (International Relations) at the Copyright Clearance
Center. The board is led by Non-Executive Chairman David
Roche, who said: Jacks Thomas [LBF Director] and I are
delighted Richard and Michael will be joining the LBF
advisory board.Their combined experience and knowledge
of the publishing industry in the UK and on a global level,
as well as their clear passion for the Fair, will make them
an asset to the board. Im very much looking forward to
working with both of them.
f Continued from page 1
To contact Frankfurt Show Daily at the

Fair with your news, visit us on the
Publishers Weekly stand in Hall 6.0, B29
Publisher: Joseph Murray
Editors: Andrew Albanese, Nicholas Clee
Reporters: Rachel Deahl, Liz Bury
Project Coordinator: Cathy Schofield
Layout and Production: Heather McIntyre
Editorial Coordinator (UK): Marian Sheil Tankard
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or email editor@bookbrunch.co.uk
beyond the sale to Dorman (who acquired the novel for her
eponymous imprint at Penguin), it has sold in Germany, Italy,
Serbia, France, the Netherlands, Israel, Sweden and Brazil.
The book is represented by British agent Madeleine
Milburn, who has an eponymous shingle based in London;
she said that it was about a loveable oddball struggling
with mental health issues who, with unabashed wit, goes
on a journey to find out that the only way to survive in the
real world is to open her heart to friendship, and maybe
even love. Dorman noted that the novel grappled with
the very real issues of bad mothering, as well as how
social dysfunction, and being somewhere on the oddball
spectrum, affects a person to her core.
Honeyman, who is Scottish, has won a handful of literary
prizes for her short fiction, and the opening of Eleanor
Oliphant won the 2014 Lucy Cavendish Fiction Prize for
an unpublished first novel.
Rays of hope in Italian

market
There were signs of improvement in the Italian publishing
industry, Italian Publishers Association President Federico
Motta said at the Fair yesterday.
The book market in Italy was down 2% by value in the
first eight months of 2015 (Nielsen BookScan data)an
improvement on the 2014 performance. But, Motta added:
We are working to change the trend in the Italian book
market but were alone, without the institutional support
that other countries provide for the sector. About 40% of
the Italian ruling class, including politicians, are not
reading.
Motta added: The French Centre national du livre has a
budget of 33 million [euros], whereas the budget of the
Italian Centro per il Libro is less than 1 million.
Ilaria Borletti Buitoni, State Secretary for Cultural
Heritage and Activities and Tourism, said: Im at the
International Book Fair in Frankfurt to demonstrate how
important the book is for the Italian Government. Books
remain crucial for citizenship even beyond cultural and
social value, regardless the paper or digital format, and the
significant Italian presence at Buchmesse proves it.
Ingram adds three to

Global Connect
The Ingram Content Group has struck deals with companies
in China, India and Italy to expand its Global Connect
network to these three countries.
Under the Global Connect programme, Ingram offers
publishers the ability to make content available globally
through local print-on-demand and distribution facilities
located in particular countries.
In China, Ingram is working with China National
Publications Import & Export (Group) Corporation
(CNPIEC). Under its agreement, publishers will have
access to a new digital print facility, nationwide
distribution and channel connectivity to physical
bookstores, online retailers, libraries and universities.
Ingrams Indian partner is Repro India Limited, which
provides content, print and fulfillment solutions to
publishers, education institutions and corporations.
Repro also provides publishers with a solid distribution
infrastructure, including two state-of-the art bookprinting plants on Indias west coast.
Ingram will work with Rotomail, a digital printing
house in Italy, to offer publishers a presence in the Italian
market. Rotomails integrated platform allows for book
distribution to both physical and online bookstores.
The new facilities join existing Global Connect locations
in Germany, Russia, Brazil, Poland and South Korea.
Perseus upgrades metadata

The Perseus Book Group and RR Donnelley have reached
an agreement designed to improve the management and
distribution of the metadata of Perseus titles and its 600
publisher distribution clients.
The new joint metadata platform will launch initially at
Faber Factory Powered by Constellation, a separate joint
venture between Perseus and Faber UK that provides
digital services to UK publishers. Under the agreement,
management of a titles metadata will be handled by
Perseuss BookMap platform, while the optimisation and
distribution of metadata to book retailers and other third
party vendors will be done by Donnelleys Libre Digital
unit and its Harvest platform.
In todays digital marketplace, the effective use of
metadata can be a critical enabler of discovery and sales,
said Perseus Books CEO David Steinberger. Working
together with Donnelley, we are ready to take our
metadata capabilities to the next level.
According to Perseus and Donnelley, the alliance will
enable publishers to change ebook pricing quickly, making
it easier to take part in retailer-specific promotions. The
platforms will also allow publishers to utilise local
currencies, quickly adopt new pricing strategies and deliver
daily data feeds and updates to retailers. The agreement is
also said to simplify inbound and outbound data delivery
through Onix, including retailers using Onix 3.0.
Following the Faber Factory pilot programme, the
new joint metadata platform will be gradually rolled out
to all Perseus imprints and eventually all of Perseus
distribution units.
Hungarian author Peter Gardos, whose novel FEVER AT

DAWN was the most talked-about title at the 2015 London
Book Fair, was among the stars of day one at Frankfurt.
Doubleday will publish in the UK in early 2016 (agent Sarah
Lutyens at Lutyens & Rubinstein), Houghton Mifflin
Harcourt will publish in the US, and Anansi will publish in
Canada. Fever at Dawn is inspired by the post-Holocaust
love story of Gardos parents.
INDIA BOOK MARKET REPORT 2015
UNDERSTANDING THE INDIA BOOK MARKET

Government initiatives:
Support foreign investment
Encourage a culture for

reading and education
Fund literacy schemes
An essential tool for anyone who wants to produce and sell books in India. Find
out more visit Stand B133 Hall6 or email salesbookresearch@nielsen.com.
nielsenbook.co.uk
nielsen.com
Frankfurt 2015early scenes
Early arrivals in Hall 3
Agent Barbara Zitwer with Max Porter of Granta
Above Exhibitors seek guidance for the new layout in Hall 6

Frankfurt held a dinner to celebrate rising stars. Above left, Martha Sedgwick (Sage)
and Frankfurts Stefan Nickel; left, Helen Yentus of Riverhead (Publishers Weeklys
Star Watch delegate) and Anna Jean Hughes (The Pigeon Hole); below Andrew
Wilkins (Wilkins Farago) and Daniel Lamiera (Brazil Young Talent winner)
Focus on
creating content
not on
managing
business data
knkPublishing
Inspiring Publishing Software
Hall 4.0 Stand F1
Rights round up
Helen Garnons-Williams at 4th Estate (making her first acquisition for
the imprint), Claire Wachtel at Harper Books US, and Iris Tupholme at
HarperCollins Canada have pre-empted Miranda Emmersons debut
novel, MISS TREADWAY & THE FIELD OF STARS (agent Caroline
Hardman at Hardman & Swainson Literary Agency). The novel is billed
as a darkly beguiling mystery and love story set against the backdrop of
the Moors murders, political scandals and the aftermath of the Notting
Hill riots in London in the Sixties. When American star Iolanthe Green
disappears one evening after a West End performance, her dresser Anna
Treadway leads a diverse group of migr Londonersan Irish policeman,
a Turkish coffee house owner and a Jamaican accountantinto a world
of Soho music clubs, back street abortionists, police brutality and
seaside ghost towns, in search of the missing actress.
Previous New Scientist bestsellers include Does Anything Eat Wasps?

and follow-ups from Profile. The launch title for the list will be THE
ORIGIN OF EVERYTHING, illustrated in colour and launched in
September 2016. There will also be an Instant Expert series of
subject introductions.
Ruth Hogans debut novel THE KEEPER OF LOST THINGS, signed in

his first acquisition for Two Roads UK by Federico Andornino, has gone
to publishers in seven territories: the US (Rachel Kahan at William
Morrow, in a pre-empt), Germany (Ullstein), Italy (Rizzoli), Norway
(Cappelen Damm), Serbia (Vulkan), France (Actes Sud), and Portugal
(Presena). Hogans agent is Laura Macdougall at Tibor Jones &
Associates. The novel, described by Andordino as a perfect book club
read, is about retired writer Anthony Peardew, his assistant Laura, and
a collection of lost objects spanning space and time. Publication will be
in early 2017.
Joel Richardson at Twenty7 (Bonnier) has bought two psychological

suspense novels by television producer Deborah OConnor. Twenty7 has
UK and Commonwealth rights from Nicola Barr at Greene & Heaton.
MY HUSBANDS SON (2016) is about Heidi and Jason, a married
couple brought together by the damage they have experienced by both
losing children. And then Heidi thinks she sees Jasons son OConnor is
a graduate of the Faber Academy.
John Murrayfirst publisher of Darwins On the Origin of Specieshas

signed a three-year publishing partnership with New Scientist, and is
presenting the list at Frankfurt. Nick Davies at John Murray signed
world rights in 18 titles from Toby Mundy at Toby Mundy Associates.
Listen Like a Dog
Connecting with Coincidence

The New Science for Using Synchronicity
and Serendipity in Your Life
Bernard D. Beitman, MD
800-851-9100 www.hcibooks.com/trade
3201 S.W. 15th Street Deerfield Beach, Florida 33442 U.S.A.
HarperNonFiction and Dey Street have bought a memoir by Bruce

Dickinson, lead vocalist of heavy metal band Iron Maiden. Jack Fogg at
HarperNonFiction bought world rights through Adrian Sington at Kruger
Cowne, Dave Daniel at Celebrity Speakers and the bands management,
Phantom Music Management. Denise Oswald is the publisher at Dey
Street. As well as being a rock star, Dickinson is a qualified airline pilot,
an aviation entrepreneur, a motivational speaker, a fencer, novelist, movie
script writer, and radio broadcaster. He is using his simulator at Cardiff
Aviation to learn to pilot the massive Boeing 747, Ed Force One, which
will carry the band, crew and equipment over 55,000 miles round the
world for concerts in 35 countries next year. The book will appear in
autumn 2017.
Klett-Cotta in Germany has made a major pre-empt for anthropologist
David Graebers BULLSHIT JOBS, signed by Thomas Penn for Allen Lane
UK for six figures. Sylvie Rosofkoff at Trident Media Group, handling
sales on behalf of agent Melissa Flashman, is set to auction US rights at
Frankfurt this week. Graeber is the author of the bestselling Debt: The
First 5,000 Years, and is credited with having coined Occupy Wall Street
movements rallying cry We are the 99%,. Bullshit Jobs is an expansion
of an article Graeber wrote for the bi-monthly publication Strike! that
went viral.
Hall 6.0 Stand C51
And Make Your Mark on the World

Jeff Lazarus
Faber UK and Spiegel & Grau in the US (paying six figures) have bought
THE LUCKY ONES, a debut story collection by UEA graduate Julianne
Pachico. Hannah Griffiths at Faber bought the book at auction through
Clare Alexander at Aitken Alexander. Anna Stein of Aitken Alexander
handled the US sale. The Lucky Ones is a loosely linked collection set in
the authors native Colombia. The stories follow charactersguerrillas,
rich kids, hostageswhose lives are caught up in violence.
The unfolding refugee crisis is the source of a clutch of manuscripts on

offer at this years Fair. Daniel Simon at Seven Stories Press is shopping
a second book by Italian journalist Loretta Napoleoni, MERCHANTS
OF MEN: THE KIDNAPPING BUSINESS INSIDE THE REFUGEE
CRISIS, which goes further than the news headlines, combining
investigative reporting, economics and political philosophy, the
publisher says. Guardian Faber UK Publisher Laura Hassan acquired
world English rights in THE NEW ODYSSEY: THE STORY OF THE
EUROPEAN REFUGEE CRISIS by Patrick Kingsley, the Guardians
migration correspondent, from Jonathan Conway at Jonathan Conway
Literary Agency, for publication in summer 2016. At Virago, Lennie
Goodings, who admits to being sometimes wary of journalists
accounts of something as complex as this, because their stories are often
only skin-deep and immediate, has acquired UK and Commonwealth
rights, excluding Canada, to a memoir by Souad Mekhennet, from
Devon Mazzone at Holt, for publication in spring 2017. Goodings said:
What makes me feel confident that this is going to be a great book for
us is not only her boldness, but also that she has been part of a
movement across the Middle East and Europe, that she comes from
parents who have crossed religious lines, that she is a progressive
Muslim who has the nous and the knowledge, who knows how to ask
the pressing questions of today.
Publishing 2020: The next five years

If one thing defines the last five years in
publishing, at least in English, Id argue its
retail consolidation, writes Michael Bhaskar.
That Amazon carried on growing and
dominated ebooks is unarguable. When I
started in publishing, Amazon was a small
account to most of the big houses. Now it
bestrides the entire industry and everyone
plays catch-up. But it wasnt just that: the
loss of Borders, the consequent focus on
B&N and Waterstones, it all added up to the
fact that books were being sold through a
Michael Bhaskar
decreasing number of channels.
This had all kinds of knock-on effects. For example two of
the other great trends of the past five years, direct-to-consumer
marketing and the vexed question of discoverability, can
both be seen as directly stemming from this consolidation.
There were of course other powerful trends: Open Access,
increasingly globalised markets, experiments on the product
side, innovations in workflow, but above them all were the
sea changes in how books of any kind were bought and sold,
whether print or ebook, and what this meant for the whole
process and structure of publishing.
Too many books

What about the next five years? What will be the defining
change? Id pick out two dynamics to watchtake your pick.
The first involves a surplus of available product. What do
businesses do when the problems are of too much, not too
little? That there are too many books published is hard to
dispute. With more than a million new titles in English alone
(worldwide), there is already a wealth of books. Add on all
the newly self-published material, all the unorthodox stuff,
and it becomes an unmanageable tidal wave of books.
Compound the situation with the generalised information
overload we all suffer, and its clear that readers dont want
for content. Quite the opposite.
Sure, a monopoly on certain must-have titles is still a pretty
safe bet to bring people in. But something has to give. A
new focus on selection, filtering systems, recommendation
engines, imprints as stores of editorial judgement, publisher
brands as selectors will come into play. Without this I think
the economics of the industry, first at the margins but heading
towards the centre, will fray. Pricing, copyright, marketing,
everything is and will be shaped by the fact publishing is
the ultimate saturated market. Publishing across the board
will become more curated. Indeed, its such a trend that I
even wrote a book about it. Irony of ironies.
Secondly, I think well see the ongoing after-effects of retail
consolidation. This drives a move towards bigger and smaller
publishers. While the middle has struggled for some time,
we are entering a new era of supergiants. Companies such
as Pearson, Bertelsmann, Reed Elsevier and Lagardre are
big business by any standards. Compared to what would
10
have been regarded as large publishers 20 or

30 years ago, they are behemoths. Penguin
Random House and the merger of Nature
with Springer are two examples of how the big
are getting bigger. And we should expect this
to continue. The nature of the modern world
is predicated on network effects, whereby
the benefits of scale become amplified.
There will be, regulators permitting, at least
another two mergers or acquisitions of this
scale in the trade and educational/STM area. The
fire power required to maintain market share
at the top of the market has escalated. Gamechanging acquisitions are the order of the day for businesses
where traditional growth is no longer sufficient to compete.
Centralisation and fragmentation

But just as the internet and the fast, connected world
promotes scale and centralisation, so it also allows for and
encourages fragmentation. I think well see a continued
growth in the diversity of publishing and publishers. This
includes: the rise and rise of self-publishing as a viable
option; the super-charged growth of writing and publishing
platforms, the most notable being Wattpad, the YouTube
for words; a spread in the number of imprints, both
founded as independent entities and within larger
publishers; more content-related start-ups, all the way from
Vice and Buzzfeed to niche newsletters; and lastly the move
into content publishing from non-traditional actors
including NGOs, businesses and colleges. Its all thriving,
and in my view will not only continue to do so, but at an
accelerated pace.
Nor does this last trend run counter to the idea of a more
filtered environment. Within this proliferation, each will
focus more intensely on their own areas.
If youd have asked me what the biggest trends were
likely to be over the next five years in 2010, I would have
undoubtedly said ebooks, apps and digital publishing. These
have indeed been huge stories, but there was another even
bigger narrative looming behind them. The next five years
then are about the ongoing waves from this centralisation;
a centralisation that at once transformed the balance of
power and unleashed an unprecedented flow of content.
In response we will hear more about curationof lists,
books, content and brands. Editorial will be back. We will see
a new super-league of publishing giants emerge, on a new scale
adapted for a world of digital media, big retail and austere
government spending. This wont just be the odd lone tower,
but a Manhattanand to go with it a new, vibrant, complex
ecosystem of publishers furrowing their own paths.
Michael Bhaskar is Co-founder of Canelo, a new digital publisher, and

author of The Content Machine, a book about publishing, and the
forthcoming Curation: The Power of Selection in a World of Too Much.
He can be found on Twitter as @michaelbhaskar.
For BEA 2016, its sweet home Chicago

After a decade-long run of shows in New York
City, BookExpo America in 2016 is heading
home to Chicago, the shows home turf from
1994 through to 2004 (except for 1999, when
BEA was in Los Angeles), writes Andrew Richard
Albanese. And while this years BEA wont be a
home game for New York-based publishers, BEA
organisers say they are excited about the return to Chicago.
BEA is thrilled to return to a city with a perfect venue in
McCormick Place, that offers abundant meeting space and easy
transportation access, says BEA Director Steve Rosato. Not to
mention, he adds, Chicago is one of the great American cities,
with great culture, great restaurants and great transportation.
Attendees will surely appreciate that Chicago is also significantly
more affordable than New York. And, Rosato says, Chicago is
the perfect city to host Poland, 2016 BEAs Global Market
Forum Country of Honor. Chicago may have the largest Polish
population of any city in the world not named Warsaw, he notes.
In addition to BEAs return to Chicago, Rosato is also
excited about new offerings that will roll out for BEA 2016.
For example, BEA will be piloting a recommendation engine
for show registrants that will offer suggestions for companies
and contacts based on an attendees areas of interest. BEA is
also expanding the 2016 conference to include a

dedicated track for childrens publishing. And,
Rosato says, attendees can expect more Buzz
panels in new genres, noting that the graphic
novel and translated book Buzz panels launched
in 2015 were hits. There is also a new exhibit
option that will simplify and lower exhibiting
costs substantially for collective stands and distributors.
BEA 2016 will mirror the revised format launched in 2015.
The conference programme will open on Wednesday morning
11 May, with the exhibits opening at 1:00pm followed by two
days of exhibits and programming. In addition, the Audio
Publishers Association and the IDPF (International Digital
Publishing Forum) will once again run their conference
programmes adjacent to BEA. And, of course, BEA will also
bring the consumer event BookCon to Chicagoa smash hit in
its second year last yearon Saturday 14 May.
But while Chicago is known for its cheap air fares and
plentiful hotel rooms, attendees should make their plans soon.
Microsofts Ignite Conference will be in Chicago at the same
time as BEA. And while BEA has set aside a large hotel block
with discounted rates, rooms will be going fast, Rosato says,
and the early bird will get the room in this instance.
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The futures in the digital detail

Gordon Wise argues that publishers accounting statements for authors need to
itemise digital sales as explicitly as they do print book sales
The publishing year has a number of milestones to enable
us to mark the passing seasons almost without even
looking at the calendar. The Frankfurt Book Fair in its
mists of mellow fruitfulness means its October; London
Book Fair heralds April and the joys of spring; and large
envelopes of royalty accounting statements squeezing
through agents letterboxes means its
either the end of March or late
September.
The first several pages of these
statements cover a familiar litany of
categories of sale: high and low
discounts; specific types of sales channels like clubs
and particular agreed promotions; sales outside the
publishers home territories (often described
regionally); and subsidiary rights sales (where the
publisher itself has not supplied the physical book or its
contents to the reader, but licensed an approved third
party to so).
COME VISIT US!

at the Frankfurt Book Fair.
In HALL 3, stand H 153

you can meet our
newest friends.
Little Dog Lost by Guido van Genechten
14
We make childrens dreams come true

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Invaluable information
The majority of these line entries do not specify a retailer,
so there is no risk of breaching confidentiality around a
publishers commercial terms. But an author and his or her
agent can see at a glance the spread of sales, and the
markets in which a book was best received in volume terms
and the commensurate revenues at
whichever price point. This has always
been invaluable information, not only
in terms of checking accounting, but
also in identifying target areas for
growth and strategies for format,
pricing and marketing of a writers work over the course of
their career. And for agents its reassuring to know that
publishers appreciate the importance of this accounting.
However, the present situation is that towards the final
pages of a statement there tends to be a single line, itemised
ebook or digital, and often with a single royalty rate
applied. Yet this single line can speak volumes more in
terms of a books publication trajectory and an authors
earnings than the ream of pages that has preceded it.
For into this line can often be poured aggregated ebook
sales at a multiplicity of price points, and within those price
points a range of sales where the royalty may have been
calculated at publishers list price or at the retailers
advertised price, depending on the nature of the sale and
the publishers terms with the e-tailer. And to compound
things, these price points may have varied over the course
of the prior six months, whether for publisher-led price
promotions or because the print price changed to follow
the shift from hardback to paperback format.
Some publishers include here the authors share of
revenues from a loan platform, whether these are calculated
out of a share of a pool or assigned the same value as a
saledepending on the platforms agreed terms of trade
with the publisher. Not to mention bundled or omnibus
editions, without the authors share in these being defined,
or whether the sale was at a premium or bargain price. It
will also include sales from a wide range of international
territories, each with their own price points. And it may
even, depending on how the head contract is constructed,
include earnings from digital sales of entirely separate
audio rights.
Without indicating the basis on which a receipts clause
was calculated, how can we know if the accounting is
accurate? The parameters for these, and digital pricing as a
whole, can vary considerably. Without clarity on all these
points we rely either on supplementary questions and often
anecdotal evidence, or in extremis invoking auditing
The clean proof that science needs. Now.
Demo of Proof Central, an elegant way to proof STM content and page, at M90. Hall 4.2. October 14 - 18.
To preview, visit http://www.tnq.co.in/proong.html
Special TNQ Event: Single URL Publishing. 16:30 - 17:00 hours. October 16. Hall 4.2 L101. White Paper at
http://www.tnq.co.in/tnqfrankfurt2015.html
Visit us in Hall 6.2, Stand E55

I N T E R N A T I O N A L
M O N E T A R Y
F U N D
ECONOMIC ISSUES
Available This Fall
THE NEW MACROPRUDENTIAL POLICY

APPROACHES FOR REGULATING
THE FINANCIAL SYSTEM AND PROTECTING THE
GLOBAL ECONOMY

clauses in order to get sales and revenue information that
has granular meaning.
Regardless of who you listen to in the debate about
forecasting the print/e balance, these sales are a significant
force for the future of publishing. But at present, they tend
to be all boiled down to one little, largely uninformative,
line that you can feel discouraged from interrogating. And,
ironically, this in the era of data as king.
Its been reassuring that publishers are now agreeing that
we shouldnt throw away decades worth of finessing the
most quintessential method of communicating the business
health of a book where it relates to authors earnings, at the
very moment when we may have more platforms for selling
open to us than ever before.
Surmountable challenges
The financial crisis that began in 2007

brought much of the global economy to
its knees and nearly triggered another
Great Depression. The financial storm
gradually died down in 2009, at least
in the United States, but even after
five years, much of the world had yet
to fully recover from the enormous
economic damage caused by the crisis.
The authors describe what happened
and outline a new approach to
financial regulation that aims to prevent
such crises from happening again.
Preventing the Next Financial Crisis is the first title

in the IMF Economic Issues digital series. Titles in
the series will explain key concepts in finance and
economics in clear and concise language. The series
will provide students and the general reader with
an easy-to-read introduction to the research of
the International Monetary Fund.
Order now at imfbookstore.org/pw25
Following on from our recent positive collaboration on

improving contract drafting and exchange processes, the
UKs Association of Authors Agents has initiated a
dialogue with British publishers to marry the reality of the
present and the potential of the future, with the quality of
information actually presented to authors. Initial feedback
suggested that there may be challenges within accounting
software, but the way in which the suite of subsidiary
rights can vary from contract to contract and still be
accounted for (and new formats such as audio digital
download coming on stream with their own royalty rate
being itemised) indicate that this is surmountable. The need
for confidentiality around commercial terms remains
acknowledged; but as I say, the royalty accounting we have
enjoyed up until now has never needed to court
controversy in this regard, and been useful for both sides.
Im not saying that we dont want in due course to talk
about frequency of accounting too; in a world of rising
non-returnable digital sales, and e-tailers who account at
least monthly, agents would argue that it neednt take six
months to prepare a royalty statement. And Im not saying
that, away from this, we arent also having individual
conversations on an author-by-author basis about what a
fair digital royalty rate is. And in
a digital age, of course, online
accounting is also welcomed; its
a great service when publishers
offer the option of remitting
accounts as PDFs that can be
easily chunked up and sent on to our clients after checking,
and archived for future reference, without indulging in
planet-risking paper printing. But we look forward to our
first step together towards catching our accounting up with
reality, in order to look forward constructively to our
future publishing seasons together.
Gordon Wise is a senior agent at Curtis Brown Group, London and Vice
President of the Association of Authors Agents.
THE ORANGE GROVE

by
Larry TREMBLAY
Would you sacrifice
your child for faith?

Winner of 7 Prizes in Qubec
Published in 8 countries
30 000 copies sold so far
in Qubec and soon to be
adapted for the stage.
Before your next meeting, grab your phone,

read an excerpt here (and be convinced).
And then send us an email
info@editionsalto.com
Finding your next bestseller is that easy !

www.editionsalto.com
Stand E111 Hall 5.1

Qubec and French-Canadian publishers collective stand
A long ride in a slow machine
They say the wheels of justice grind slowly, and th

industry lawsuits in the US. Andrew Richard Alban
United States vs. Apple
Climb aboard the boxcar!
Now a featurelength film!
Over 60 million
copies sold!
At the end of June, an appeals court upheld the entirety of

Judge Denise Cotes 2013 verdict holding Apple liable for
fixing ebook prices. And as expected, Apple has now
confirmed that it will pursue its final appeal option at the US
Supreme Court. Apple now has until 28 October in which to
file its petition for review. But court watchers say it is far
from certain that the Supreme Court will agree to hear Apples
appeal. Despite Apples arguments otherwise (and the opinion
of one dissenting judge), observers say there may not be a
significant enough question of law at stake.
Apple attorneys, of course, believe there is. They contend
that Judge Cote erred by finding Apple guilty of a per se
antitrust violation (that is, a case where the restraint imposed
on competition is so clearly outside the law that it is deemed
per se illegal, thus precluding examination of other market
factors, such as pro-competitive effects on the ebook market
overall). But an appeals court in June soundly rejected that
argument, finding that Cotes handling of the case was correct,
and her decision well-reasoned and amply supported.
If the Supreme Court refuses to hear Apples appeal, Judge
Cotes liability finding would be considered final under a 2014
settlement with 33 states and a consumer class, and would
trigger $400 million in rebates to consumers from Apple. But
unlike the previous publisher settlements, which mandated
that the $166 million in publisher refunds be spent on books
(print and digital), Apples refunds may be used on any
product or service offered by the retailer in question.
Meanwhile, another case against Apple (and the five agency
publishers) is also proceeding. In that case, three upstart
retailers (led by Australian company DNAML) argue that
the 2010 price-fixing scheme destroyed their businesses
and are asking for damages. Motions for summary
judgment and all replies are due in that case, also before
Judge Cote, by 30 October.
The Google book scanning litigation

Yes still going. The Authors Guild vs. Googlethe AGs
legal battle against Googles programme to digitise and
index out-of-print library booksclings to life, although an
appeals court decision is expected at any moment.
Visit Albert Whitman & Company

in Hall 6.0 C32 for information on
the Boxcar Children and more!
www.albertwhitman.com
18
L @AlbertWhitman
Cambridge University Press vs. Patton

Tom Allen, President of the Association of American
Publishers, has called this litigation a test case for fair use
in the digital age. In 2008, three academic publishers sued
administrators at Georgia State University (GSU), accusing
them of systematically encouraging faculty to use digitised
course readings (known as e-reserves) as a no-cost,
unlicensed alternative to traditionally licensed course-packs.
achine
OUR K-20 Solutions
James et al vs. Author Solutions
Devault Graves Agency vs. the JD Salinger

Literary Trust
In a case that emphasises the complexity of international
copyright, Memphis-based indie publisher the DevaultGraves Agency filed suit against the JD Salinger Literary
Trust in March, accusing the Salinger estate of tortiously
interfering with the foreign edition of its book, JD Salinger:
Three Early Stories, a collection of three early Salinger
works that have lapsed into the US public domain.
Attorneys for the Devault-Graves Agency hold that Article 7
of the Berne Convention, known as the Rule of the Shorter
Term, mandates that copyright protection in foreign
territories cannot exceed the term mandated in a works
country of origin, and have asked for damages and a
declaration that the Salinger estate has no rights in the works
in question. Salinger representatives do not dispute that the
stories in question are in the US public domain, but insist they
are not automatically in the public domain overseas. The Berne
Convention is subject to many caveats, Salinger attorneys
argue (including other treaties and the copyright laws of each
country). Bolstering their position, a German court blocked
publication of the book in Germany last spring.
Salinger attorneys have asked the court to toss the case,
arguing that the extraordinarily complex work of
determining rights ownership in 168 foreign territories is
best left to foreign courts.
Accessibility
Compliance
Instructional
Design
Project
Management
content
development
HTML5
In 2013, three authors filed a class action suit against selfpublishing service provider Author Solutions alleging
fraudulent practices. But in late June of this year, citing
no evidence of a systematic fraud, a district court delivered
a fatal blow by denying class action status. The remaining
representative plaintiffs swiftly settled the case, and the
litigation officially ended in September. But while Author
Solutions prevailed in a court of law, it must now battle in the
court of public opinion. With a growing array of self-publishing
platforms available to authors, can Author Solutions
overcome the negative attention the case has generated?
mobile
learning
editorial
services
Quality Assurance
Engineering
& Architecture
Development
Interactive
Media
In 2012, Judge Orinda Evans ruled against the publishers,

finding GSUs digitised excerpts were protected by fair use.
But last year, an appeals court sent the case back to Evans
with instructions for a new fair use analysis.
After a round of briefs this summer, the case is back with
Evans for a new decision. But, however the new ruling falls,
the case could still be years from resolution, pending further
appeals. Meanwhile, the digital academic publishing market
continues to transform, and the bigger question may be, after
10 years and millions of dollars, will it even matter?
Where Innovative Content &

Technology Meet Advanced
Learning Design
assessments
wly, and that is certainly the case for publishing

ard Albanese looks at where some key cases stand
data & analytics

Authoring Tools
Hall 4.2 | Stand C78

Hot Spot Education
www.learningmate.com
19
Outliers rather than outsiders

You would had to have been on a long
vacation from planet publishing not to be
aware of the high profile success stories in
indie publishing from the last few years.
Hugh Howey, Joanna Penn, Amanda
Hockingno matter which routes to market
they have ended up taking, these are the
often-quoted big beasts, the patron saints of
DIY. But you can perhaps be forgiven for
never having heard of Dan Gennoe. Gennoe
has been a London-based freelance writer
and journalist for 16 years, and recently self- John Bond
published his first novel All Neon Like Love under his own
Joe Bones imprint.
What makes this particularly interesting from where we
sit at whitefox, managing a range of publishing services, is
that Dan represents a new generation of writers, often wellconnected, sometimes already published, always intensely
curious, who look upon self-publishing as a proactive
choice, not a practical necessity when traditional channels
have failed to materialisean option that represents
freedom and control.
I put so much of myself into the book, I wanted to be
able to be just as involved in the publishing of it, says
Dan. He took a hands-on approach to many of the
specialist roles usually dependent on in-house publishing
expertisetypesetting, pricing and metadataand saw
that process as valuable learning. At the same time, he
prioritised finding the right people, at the right cost, for
the things he couldnt do himself. He made his e and p
publication as professional as possiblethe best copyeditor, proofreader, cover designer and PR. Crucially, he
wanted to ensure someone was looking out for the book
throughout its life. For Dan, publication was the
beginning, not the end.
Seldom alone
Perhaps the on-going debate about the best way of defining
authors within this space stems from the fact that, for
many of the most successful ones, self-publishing seems a
misnomer. Seldom do they seem to be working alone. As
another indie writer flying under the radar, this time based
in the US, Joel Ohman (author of Meritropolis) says, there
is a common misconception about DIY. When you think
of a typical small business owner, or a typical indie
publisher, you think of someone that wears many hats, and
does every little thing in their business: they sweep the
floors, they do the cover design, they do it all. But you have
to ask yourself a crucial question. Are you maximising your
strengths by doing the things you are really good at? How
can you transform a writer from someone who merely
works in their businesseven if that business is the business
of writingto someone who can truly build their business
by working on it?
20
We may even be getting to a point beyond

the trench warfare that has characterised
some of the youre either with us or against
us rhetoric of the past few years. Now,
some writers increasingly see their own
efforts as a means of supporting their agent
and existing publishers, the positive hybrid
approach. Take Marti Leimbach, bestselling
author of Dying Young and Daniel Isnt
Talking. She has formulated her own ebook
publishing and marketing plans for her
reverted backlist titles, even though her
latest novel, Age of Consent, will be published next year by
4th Estate in the UK and Penguin Random House in the US.
Indie publishing doesnt have to be in competition with
traditional publishing. I see my efforts as the most direct
route to support my publishers. Im not confined to this
seasons titles, nor do I have to think about a number of
different authors, she says.
In the evolution of publishing, what defines the most
recent changes is less what the respective branches of the
family tree are called, but more the approach and attitude.
Many of the writers we are working with genuinely relish
taking greater control of the business of how they are
published. If they are spending money, they want to
understand how their creative priorities represent a
tangible return on investment. They like the higher royalty
rates, but almost as much they like the option of being in
the middle of a process, the hub of the wheel, rather than
part of a relay team where, seemingly inevitably, someone
will at some point drop the baton.
They like determining their own timeline (by which I
mean obviously that they like the speedfewer meetings,
fewer people to convince at every decisive stage) and the
demystification of what taking your book to market really
involves. And finally, they like the collaboration. It turns
out self-publishing doesnt mean doing everything all by
yourself at all.
Perhaps these maverick self-starter authors have learned
from the tech industry, launching their single products,
understanding the iterative process of development,
sometimes ending up with being bought by one of the big
players. They are the outliers rather than outsiders. What
seems undeniable is that there are more choices, more
options, more advice and support available than ever
before. As Dan Gennoe puts it: Ive been in and around
publishing for years, and was up for the challenge of being
an independent author rather than being daunted by it. I
wanted to embrace the business side of publishing. And its
been both an education and really good fun. Plus it feels
like the future, and its always better to embrace the future
than hang on to the past.
John Bond is CEO of whitefox, the UKs largest curated network of

publishing services.
LERNER
PUBLISHER SERVICES
Visit us at Hall 6 Stand A75
Lerner Publisher Services is the only US

distributor for top independent publishers
that focuses exclusively on childrens books.
We offer distribution, sales, eBook conversion, printing and
binding, and other publisher services. We reach the markets
including bookstores, libraries, and classroomsyou need to
expand your business.
PUBLISHER SERVICES
www.lernerpublisherservices.com
www.lernerbooks.com
A division of Lerner Publishing Group
Its up to us to fight for peace

I wonder if I am a literary agent who is brave or
one who is a coward, writes Barbara Zitwer.
Am I someone who would risk physical harm to
help assure freedom of speech or will I continue
to be satisfied with only writing a cheque in
support? Horrified at the murders at Charlie
Hebdo and the beheading of Daniel Pearl and
others, my mind has reeled with what I could do
to help stop the terror that is threatening our
free world. I have watched men wage wars, fight,
kill, destroy and make the same mistakes they
have made for centuries. Nothing is changing in the world
controlled by men. I have taken a back seat to history while
admiring others who make grave, personal sacrifices.
Before now, I had never been in a position to actually take
such a stand. That all changed when agent Christie Proske
in Munich sent me the proposals for The Girl who Beat
ISIS by Firada Abbas and Dr Claudia Andrea Hoffmann,
and Raif Badawi, the Voice of Freedom: My Husband, Our
Story by Ensaf Haidar. Both writers had endured
unimaginable horrors; their survival alone is a true
testament to the bravery and the power they possess. And
now, I was asked to help them. What would I do?
24
I read their English-language translated

partials. I was overwhelmed by their powerful
stories and I didnt think twice about helping
Firada and Ensaf. Their portraits became my
screen savers; their proposals splashed over my
desk. It is only now, as their books are close to
publication, that any fear has seeped into my
consciousness. Would my name find its way to
some hit list; would I or the women I work with
become targets and be killed?
During my long imprisonment I kept telling
myself: One day I will write a book about all the things
those monsters did to me and my friends. Nothing shall
ever be forgotten. Firada Abbas was 17 when she was
kidnapped from her hometown in Iraq and sold into
slavery by ISIS in Syria. She was shackled while imprisoned
and raped daily, living among other young girls who were
also stolen from their homes. Five-year-old girls raped
before her eyes, girls stabbed, shot and hung, or burned
alive. After trying to kill herself five times and not
succeeding, something else happened to Firada Abbas.
Inside her a very powerful force had grown and had
finally emerged. Firadas genius of observation made her
watch her captors and begin to resist. She used her

intelligence against her captors, and used her voice to keep
them at bay. She also taught the other girls how to survive
day to daymethods to limit rapes and beating, and how to
manipulate the men so they would leave the girls alone. In
a short time, Firada dared to imagine hope and even
escape. When the opportunity presented itself, she acted
with speed and took four others with her, left the
compound where she was held and walked back home
through the desert. Vintage UK, Atria Books, HarperCollins
Holland, along with Lubbe and ten other international
publishers will publish The Girl who Beat ISIS soon.
Ensaf Haidar, a wealthy Saudi girl, was being carefully
groomed and prepared to fulfill the silent, pre-ordained life
of wife and mother. She had no idea that she would become
one of the most outspoken, forceful advocates for free
speech in the world. She is now one of the most vocal
critics of the Saudi governing royal family and is working
to free her husband, activist-blogger Raif Badawi. Badawi,
now more famous for his sentence of 1,000 lashes and ten
years imprisonment than for his free-speech blog, would
have most certainly been dead by now if it werent for his
remarkable wife.
Although only speaking Arabic, Ensaf has made her

cause international. She has successfully reached out to
heads of state, politicians, celebrities and opinion makers,
and to masses of people worldwide, and has become a
voice for her husband, and for imprisoned men and
women in her own country and elsewhere. She is also a
mother to three small children making a new life for her
family in a foreign country, but, once Ensaf found her
voice, no one could stop her. Her book will be published
this October by Lubbe and in the spring by Little Brown,
UK. LArchipel has pre-empted it in France and Other
Press has US rights.
Now planning for Frankfurt, I feel relieved that some
foreign publications plans have been set in motion for both
my authors, and I am chomping at the bit to sell
international rights. I have been reluctantly thrust into a
potentially dangerous position, because I was inspired by
the words of Firada and Ensaf. But, would I do things
differently if I weighed the pros and cons of handling such
controversial and shocking womens writing? No, not for a
minute. I realise that now it is our turn; it is women who
must bring peace to the world.
Barbara Zitwer is the founder of the Barbara J Zitwer Agency in New York.
25
An Asian crime wave

Crime fiction transcends borders, observes Lenny Picker, and fans of the genre
will find a rich trove of deeply satisfying works now flowing from Asia
Most people are aware that many innovations we take for
granted, such as the compass, gunpowder, papermaking and
printing, originated in Asia a thousand years before they
reached the West. But fewer know that the Chinese also
anticipated one of the most popular and enduring genres of
Western literaturecrime stories.
Commonly regarded as having been created by
Edgar Allan Poe in the early 19th century, crime was
practised by the Chinese as early as the 16th century.
Gongan, or crime-case stories, were popular.
The leads were often based on
historical figures. The best known
of these is Judge Dee, a jurist and
statesman during the early years of
the Tang dynasty in the seventh
century. Sometime during the 17th
century, The Celebrated Cases of Judge Dee
was published. A Dutch diplomat, Robert
van Gulik, found a used copy in Tokyo, and
26
translated it into English. He went on to

write more than a dozen Dee novels of his
own. Today, Asian crime fiction continues
to thrive, and is breaking out worldwide.
In 2002, the Philippine National Book
Award went to Smaller and Smaller Circles,
which was published in expanded
form by Soho Crime in August. A landmark work,
the book is considered by critics to be that countrys
first crime novel. Author F H Batacan made use of
her decade working in government intelligence in
crafting what PW called a richly detailed and deeply
unsettling mystery centred on the murder of six boys
whose corpses were left in a dump in Quezon City;
the killings are a political embarrassment, making
the investigation even more of a challenge.
Readers interested in pitting their wits against the
authors will love The Decagon House Murders by Yukito
Ayatsuji, which was published by Locked Room International
in June. Originally published in Japanese in 1987, the book
evokes the Golden Age of Detection and is an homage to the
Agatha Christie suspense classic And Then There Were None.
But Ayatsuji has cleverly made the victims themselves experts
on detective fiction. In a starred review, PW called it a
brilliant and richly atmospheric work.
In 2011, Minotaur brought the superb plotting and
characterisations of Keigo Higashino to English readers
with the first novel featuring physicist Dr Manabu
Yukawadubbed Professor Galileoin The Devotion of
Suspect X. Galileos brilliant second outing, Salvation of a
Saint (2012), was more howdunnit than whodunnit. And
in February 2016, Galileo will sleuth again in A
Midsummers Equation, after his attendance at a
conference to discuss the implications of underwater
mining enmeshes him in a homicide investigation.
Also from Minotaur, Qui Xiaolongs 2013 book Enigma
of China features Chief Inspector Chen Cao of the Shanghai
Police Department. It was a PW Best Book of the Year. And
last month, the Inspector returned in Shanghai Redemption,
which again movingly depicts the struggles of an honest cop
to maintain his integrity under an authoritarian regime.
Malaysian author Shamini Flint has
already charmed American audiences with
her six-book Inspector Singh series. The
most recent, Inspector Singh Investigates:
A Calamitous Chinese Killing, in which
the egoistic, portly Singapore sleuth must
solve the murder of the son of a Singapore
diplomatic official in China, was released
in 2013 by Piatkus Press.
Asia continues to be irresistible for non-Asian authors as

well. Martin Limns The Ville Rat (Soho Crime, October)
shines a light on 1970s South Korea, through the cases
handled by American military cops George Sueo and
Ernie Bascom.
Jade Hart spent three years in China researching
Jade Dragon Mountain (Minotaur, September), a
historical mystery set in the 18th century, and
featuring a disgraced librarian as the sleuth.
Sonchai Jitpleecheep, John Burdetts Royal Thai
Police Force detective, returned in August in The
Bangkok Asset (Knopf).
In March, 2016, Scribner will release reporter Nick
Seeleys Cambodia Noir about a photojournalists
search for a missing woman.
Colin Cotterill is perhaps the best-known
Anglo in the field, maintaining two
Southeastern Asia series simultaneously,
both marked by acerbic gallows humour:
the Dr Siri Paiboun books, featuring a
Laotian coroner, the most recent of
which, Six and a Half Deadly Sins, was
published this year by Soho Crime; and
the Jimm Juree novels, about a Thai
journalist, the latest of which, The Axe Factor, was
published by Minotaur in 2014.
There are also short story options: Akashic Press
acclaimed series has already included Delhi Noir (2009),
Manila Noir (2013), Mumbai Noir (2012) and Singapore
Noir (2014). And Cambodia is the setting for the 14 hardedged stories in Phnom Penh Noir (Asia Document
Bureau, 2012), which includes a contribution from
Roland Joffe, the Director of the acclaimed film The
Killing Fields.
Meanwhile, the recently established Crime Wave Press
only publishes crime fiction set in Asia. Last month it
published The Curious Corpse, the fourth in the Father
Ananda series, by Nick Wilgus, set in Thailand, about an
ex-cop turned Buddhist monk.
Tom Vater has written three novels about Detective
Maier, a German detective working in
Southeast Asia: The Cambodian Book of the
Dead and The Man with the Golden Mind,
set in Laos, which are being reprinted by
Crime Wave this year; and The Monsoon
Ghost Image, set in Thailand, which is due
in 2016.
Crime Waves recent list also includes
Ghost Money, Andrew Nettes Cambodia
private-eye novel set in 1996; Brian
Stoddarts historical A Madras Miasma: A
Superintendent Le Fanu Mystery; and Jame DiBiasios
Gaijin Cowgirl and Cowgirl X, thrillers set in Hong Kong,
Burma, Thailand and Cambodia.
Another small indie pressBlaft

Publications, co-founded by Pritham
Chakravarthyfocuses on making
bestselling Indian and Pakistani crime
fiction available in English. Blafts
titles include: The Blaft Anthology
of Tamil Pulp Fiction Volumes 1 & 2; and
translations of Ibne Safis Jasusi Dunya novels, such
as Doctor Dread, originally published between
1952 and 1979, and described by the publisher as
an intricately demented world of larger-than-life
villains, mad genius detectives, and beautiful femmes
fatales. The books have a huge cult following
among readers in both India and Pakistan, and are
some of the bestselling books in Urdu.
As any fan of crime fiction will tell you,
their love knows no bounds. Those seeking to
broaden their horizons will find all the crime
and mystery subgenresnoir, pulp, classic
fair-play detection, politically-sensitive
procedurals, cosiesare well-represented in
the current crop of Asian crime fiction now
available to English-language readers.
27
Star Watch: the inaugural class of 2015
From left: Paul Buckley (VP Executive Creative Director for the Viking
Penguin Art Department); Superstar winner, Helen Yentus (Art Director,
Riverhead Books); Madeline McIntosh (President, Penguin Publishing
Group US); and Geoff Kloske (VP and Publisher, Riverhead Books)
The Start Watch honourees were selected with the help of judges
from the American Booksellers Association, the Association of
American Publishers, the Frankfurt Book Fair, industry consultant
Richard Nash and PW staff. In all, PW received more than 250
nominees from every part of the book ecosystem: booksellers,
designers, digital specialists, editors and publicists.
To learn more about the programme, and to read about all 40 honourees,
visit www.publishersweekly.com.
ALL DIGITAL. ALL EUROPEAN.
One thing about the publishing industrythere is no shortage of

great young talent, writes Andrew Richard Albanese. At a
September reception in New York, 40 young staffersincluding 4
finalists and one superstarwere honoured as the inaugural
class of Publishers Weeklys Star Watch programme. Launched in
association with the Frankfurt Book Fair, the annual StarWatch
programme is designed to recognise the best young talent in
publishing, across all departments, with one honouree, a superstar,
chosen to receive an all-expenses-paid trip to the Frankfurt Book
Fair. This years superstar is Riverhead Books Art Director Helen
Yentus, whom Penguin Publishing Group President Madeline
McIntosh calls a star magician of the very first order.
Among Yentuss work, she created the cover for Elizabeth
Gilberts blockbuster Eat, Pray, Love, assembling that now
iconic image of words made of pasta, prayer beads and
flower petals. A decade later, Yentus reunited with Gilbert to
create the cover for Big Magic: Creative Living Beyond Fear,
published last month. Yentus is also behind the worlds first
3D-printed book cover: a bioplastic slipcase for the deluxe
limited edition of Chang-rae Lees On Such a Full Sea, for
which Yentus collaborated with Brooklyn-based MakerBot.
The project earned Yentus a 2014 ADC Art & Craft Design
Awardand it won the book significant media attention.
28
Book Aid Internationals Childrens Corners

Giving children a dedicated space in a library opens doors
to literacy, learning and a lifetime of opportunity, writes
Jessica Faulkner.
Before, the community had a perception that the library
was for older people, says Abdu Sseggane, Librarian, Zigoti
Childrens Corner, Uganda. There was no way a kid could go
and visit the library when there were older people there. Now
they have a separate section, they feel free to read and enjoy,
and this has helped them improve their literacy skills.
In 2014, library development charity Book Aid International
set itself an ambitious target: to establish 60 Childrens
Cornersdesignated spaces for children in African public
librariesover a three-year period. The project, which is
based around a Childrens Corner model already developed
by Book Aid International, aims to reach six African
countries (Tanzania, Uganda, Malawi, Cameroon, Zambia
and Zimbabwe) and will cost an estimated 600,000.
Just over half way through the project, things are progressing
well. Book Aid International, together with its library partners
in Africa, has already supported the establishment of 21
new Childrens Corners in Tanzania, Uganda, Malawi and
Cameroon, and work is due to begin on extending the
project to six libraries in Zambia in September 2015. The
Childrens Corners have seen increased numbers of users
appeal has raised more than 300,000 in funding and

thousands of children in Africa are now benefiting from
their new Childrens Corners.
Each Childrens Corner receives: 2,500 brand new, carefully
selected childrens books; a small grant to purchase locally
published books, including books in local languages; a grant for
minor refurbishments and child-sized furniture; and training
for two librarians in engaging and inspiring young readers,
and running outreach programmes in the local community.
Jill Haynes, Head of Programmes at Book Aid International,
says: Were delighted with the progress of our Open Doors
29

project. The newly opened Childrens Corners are making a huge
difference to library services in Africa and, in some, we have seen
user numbers increase fourfold. The combination of a vibrant
space for children, new and relevant books, and librarians who are
trained to work with young people makes for a place where a love
of books and reading can start to develop. And, she adds: The
Open Doors project has got off to such a positive start that we
are now looking at ways in which we can build on the original
model, such as exploring digital components and increasing
outreach programmes in the beneficiary libraries.
Children enjoy a reading activity in Bonna Baana Childrens Corner, Uganda
Digital futures
Children enjoy their new Childrens Corner in Mamfe, Cameroon
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hall 6.2 stand D40
Last year, Book Aid International ran a digital pilot in three

established Childrens Corners in Kenya, to explore ways in
which digital content could complement printed books. Each
of the Childrens Corners (Meru, Isiolo and Kisumu) received
30 tablets and e-readers, preloaded with educational content
and content in local languages. Librarians attended training
that covered helping children get to grips with the tablets, as
well as how to use these resources to reach children who
might not otherwise be able to make the most of the library,
such as children with special education needs.
The pilot has proved successful in these libraries and Book Aid
International is now ready to roll this programme out to more
Childrens Corners, beginning with five libraries in Uganda later
this year. We believe in the power of the written word in all its
forms, and this digital pilot has been really important in building
up our knowledge of how a digital element can go hand-inhand with more traditional printed books, says Book Aid
International Project Manager and Trainer Judith Henderson.
We are excited to be able to offer children not only more
access to a wide variety of content, but also ways of developing
IT skills, which will set them up better for the future.
Case study
The first Open Doors Childrens Corner in Cameroon was opened
in November 2014 in Limbe City Council Library. Before the
project, there was a space for children in the library, but it was
cramped, uninspiring and had a small collection of old books.
In 2014, the library received more than 2,500 new childrens
books donated by UK publishers, as well as a grant to purchase
locally published books. Another grant also helped the library
to provide a range of practical and comfortable childrens
furniture, colourful murals on the walls and educational
toys. The library is now an engaging and exciting space for
children to develop a love of reading.
Lizette, a primary school teacher in Limbe, says: I would
like to thank you for these books, they are going to go a long
way. I am so happy for what I have seen today and I will
make time in our school schedule to visit the library.
If you want to find out more about Book Aid Internationals Open Doors
programme, visit www.bookaid.org/opendoors.
Jessica Faulkner is Head of Communications at Book Aid International.
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Amazons true competitive thr

For all the talk in the publishing
industry about Amazonfrom
its pricing practices, to a recent
article about working
conditionsthe publishing
industry has yet to recognise
Amazons true competitive
threat: its self-publishing
business, writes Mark Coker.
In fact, when I ponder the
industrys ignorance of
Mark Coker
Amazons self-publishing
strategy, Im reminded of a scene in Douglas Adams Hitchhiker
novel, Life, The Universe and Everything, in which an alien space
ship lands in the middle of a cricket match, but no one noticesits
an SEP. As described by the character Ford Prefect, an SEP is
something our brain doesnt let us process because its Somebody
Elses Problem. Thats how traditional publishers have viewed
and some still viewself-published authors, as somebody elses
problem. Amazon, on the other hand, has been quick to recognise
the shifting balance of power. And it is recruiting legions of selfpublished authors to feed the beast that could eventually devour
traditional publishingAmazons KDP Select.
KDP Select 101

Introduced in 2011, Amazon KDP Select is an opt-in ebook selfpublishing service that requires authors to make their books
exclusive to Amazon worldwide for a period of at least three
months. In exchange for exclusivity, KDP Select titles receive
preferential discovery, merchandising and sales ranking in the
Kindle store.
KDP Select has been enormously successful for Amazon. And,
perhaps more importantly, it is damaging Amazons competitors.
There are more than one million ebooks enrolled in KDP Select,
titles that cannot be purchased at other retailers. And the flip side
of Amazon giving preferential treatment to KDP Select titles is that
it punishes those authors not in the programme, by making their
books less discoverable, less desirable and seemingly more
expensive to Kindle customers.
Thus far, KDP Select has been largely ignored by traditional
publisherswhich is not a surprise. Titles in the programme are
almost entirely supplied by self-published authors, and most
traditional publishers still hold the belief that self-published books
are low-quality, and not worth their attentiontheyre somebody
elses problem, right? Wrong.
KDP Select is publishings problem. While the publishing world
(and to some extent, the media) still focuses on the prices of
bestselling ebooks from the Big Five publishers, Amazon is using
self-published exclusives to drive prices lower, and to slowly
undermine the single-copy sales upon which traditional publishers
and retailers depend. And the lynchpin of Amazons self-publishing
strategy is Kindle Unlimited, Amazons ebook subscription service.
Kindle Unlimited is Amazons end run around agency pricing
because, with Kindle Unlimited, retail price becomes irrelevant.
ive threat
For a monthly fee less than the cost of a single Big Five bestseller
($9.99 a month in the US), Kindle Unlimited subscribers enjoy
unlimited access to the million-plus titles enrolled in KDP Select.
Amazon in turn pays publishers and authors from a shared
revenue pool, the size of which Amazon determines on its own,
without transparency, based on the number of pages read.
Currently, authors and publishers earn about a half-cent per page
read. This means a book Amazon pegs at 300 digital pages (yes,
Amazon determines the page count too) earns about $1.50.
When a customer visits the page of a title enrolled in KDP Select,
the first option they see is to read it for free by subscribing to
Kindle Unlimited. Next, they can borrow the ebook for free if
they are Amazon Prime members. Or, they can purchase the ebook
for the single-copy priceof course, Amazon makes single-copy
purchases look unreasonably expensive when compared to what
feels like free. And when a customer searches for any book on the
Amazon site, Kindle Unlimited books are sprinkled within the
search results and also bought recommendationsa diversionary
trail of breadcrumbs that seeks to lead single-copy ebook buyers to
become Kindle Unlimited subscribers.
Much has been made about how publishers regained control of
consumer ebook prices by moving Amazon to agency publishing.
But that was a pyrrhic victory. Amazon is using self-published,
indie authors to slowly marginalise traditional publishers over
time, and to deny other retailers the ability to compete.
Its time for traditional publishers to pay attention. Despite the
perception that self-published books are low quality, inferior
products, in reality, self-publishing is yielding a growing stable of
high-quality, commercially successful authors. Readers are
embracing self-published books. And self-published authors are
hitting international bestseller lists with increasing frequency. And
with a critical mass of exclusive, good quality, self-published titles,
Amazon is slowly, but effectively turning Kindle customers away
from higher-priced, non-exclusive books.
Innovation?
As the Frankfurt Book Fair opens, trade publishers have reported
consecutive months of anaemic ebook sales. Enjoy the anaemia
while it lasts, I say, because its difficult to imagine how things will
get better. Every author rejected by a traditional publisher can now
become an Amazon author. And unless publishers develop a
broader spectrum of services for indie authors, theres little they
can do to stem the bloodletting.
Indie authors, of course, have the power to stop KDP Select, by
refusing to enroll their books. But that appears increasingly
unlikely, even as Amazon turns the screws on its authors by
reducing royalties. Earlier this year, one Amazon official reported
that 95% of KDP Select authors renew their books each month.
And Amazon knows that many of these authors would rather earn
25 cents a book rather than nothing at all.
Amazon is innovating, supporters will claim. Sure, if you think
tenant farming on Amazon soil is innovation.
Mark Coker is the founder of Smashwords, a leading distributor of

self-published ebooks. Follow him on twitter @markcoker.
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Talking to yourself
There are benefits for print editors, argues Nicholas Jones, in understanding the
production process for the spoken word.
Would you like to see what goes into the making of an
audio book? I once asked an editor who had come along
to chaperone a high-profile author visiting our studio
when his book was being recorded. No. Id better get
back to the office. After all, its only someone reading a
book out loud.
Well, yes in the sense that Simon Russell Beale only
has to say the right words in the right order to play his
acclaimed Macbeth or Lear. What about interpretation,
characterisation, consistency, engagement, involvement,
vitality, sincerity, clarity, conviction, subtlety,
enthusiasm?
Attention to detail
If listeners are going to invest 10 or 15 hours listening to
an audiobook, then the production team owes it to them
to invest attention to detail. Our role as a production
company is to select a reader, and then support that
reader so that between us we achieve a recording that
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34
Nicholas Jones
expresses as closely as possible our perception of the

authors intentions. In the case of non-fiction, that means
ensuring the logical flow of the explanation or argument,
and in the case of fiction it means ensuring that the
sound-pictures are well drawn, with every character
distinct and appropriately voiced.
The listener should be immersed in the ideas or the
story, and any distractions by jerky reading or wrong
pronunciations are a failure on the readers and
producers part. Listeners do notice. Here are a couple of
extracts from recent reviews I found on the Audible
website: The readers voice and characterisation were at
complete odds with the story, and, The downright
errors annoy, such as saying first instead of fist, and
word instead of Lord.
Performance
Recording an audiobook well, as opposed to merely
mechanically, is as much a performance as a stage play or
a film. It has elements of both forms. Analogous to a film,
there are the three stages: pre-production (casting,
research), principal photography (recording), postproduction (editing, checking, correcting, mastering). And
analogous to learning the lines before playing a part on
stage, an audiobook reader needs to work thoroughly
through the book, marking and annotating so that no
time is lost in the studio settling matters that could have
been decided or researched beforehand, and so that he or
she knows how to stress sentences and can consistently
produce characterisations.
No actor would contemplate going on stage
unrehearsed, yet on several occasions over the years we
have had well known readers arrive clearly having not
read the book and relying entirely on the producer in the
studio (good thing there is one!) to provide all the
background knowledge and shape the

performance. (Right, what are we doing
today? said a television star bounding
breezily into our green room one morning a
few years ago.)
Sympathetic reader
Sometimes,
a well-informed
interpretation
can even
enhance
understanding
and offer
more to the
listener than
the reading of
the printed
book would
have done.
The reader of an audiobook has to be

utterly in sympathy with what he or she is
reading. Pulitzer Prize winner Eudora Welty
(19092001) wrote in her autobiography,
Ever since I was first read to, then started
reading to myself, there has never been a
line read that I didnt hear. As my eyes
followed the sentence, a voice was saying it
silently to me. It isnt my mothers voice, or
the voice of any person I can identify,
certainly not my own. It is human, but
inward, and it is inwardly that I listen to it.
It is to me the voice of the story or the
poem itself. The cadence, whatever it is that
asks you to believe, the feeling that resides
in the printed word, reaches me through the reader-voice.
I have supposed, but never found out, that this is the case
with all readersto read as listeners and with all writers,
to write as listeners.
I think that encapsulates what a really good audiobook
should achievewe provide a physical embodiment of that
internal voice for listeners. Sometimes, a well-informed
interpretation can even enhance understanding and offer
more to the listener than the reading of the printed book
would have done.
writing. Of course, he said, a publishers

editor will make comments, but that usually
means working through a list of points on
paper rather than getting immediate feedback
from the producer on each individual idea
or the expression of that idea.
There is now a move, encouraged by
Audible with their ACX and by companies
like Bee Audio, towards audiobooks being
recorded in home studios by one person. If
we go down that route, we risk losing all the
polish that comes from having a
sympathetically critical listener, and the
benefits of co-operation with the print
production process. Can a solo reader also
pay due attention to the technical quality of
a recording while concentrating on the
performance? Talking to yourself and a
computer in a padded room is not the way.
Audiobook production needs a team to
achieve consistently good results.
Nicholas Jones runs Strathmore Publishing, an audiobook production

company based in Clerkenwell, London.
Casting is crucial
If this is to have any chance of happening, of course, the
casting is crucial. I have noticed some odd casting
decisions over the years, such as female readers for a
biography of Thomas Hardy and for the Lord Peter
Wimsey stories, or the consequences of a publisher or
agent insisting that a book be read by a high-profile, but
unsuitable, reader.
Authors reading their own works can also find the
process helps them refine the text. A couple of months ago
business psychologist Tony Crabbe (www.tonycrabbe.
com) was in our studio reading his book Busy (Piatkus in
UK, Grand Central in the US), about dealing with the
deluge of information we all receive since the internet has
become a normal part of business life.
A test of clarity
At the end of three days of intensive work, he told me that
he hadnt anticipated how it would be both enjoyable and
enlightening; it had been valuable for him to experience how
the act of reading a book aloud really tests the clarity of the
35
Fairs, festivals and cultural rel
ST
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LBF
The international round of book fairs and festivals is an

increasingly important platform for international cultural
relations work, writes Harriet Williams of the British Council.
The British Council was founded to create a friendly knowledge
and understanding between the people of the UK and the wider
world, by making a positive contribution to the countries we
work with using the cultural resources of the UK including
literature, publishing and English-language teaching.
Engagement with book fairs and festivals is a valuable part of the
overall cultural relations programme.
We work closely with the Publishers Association (PA), UK
Trade and Investment (UKTI) and the London Book Fair (LBF)
to engage with strategically important markets. Cultural
programmes organised by the British Council complement the
work of the PA and UKTI, which supports UK businesses in
developing international markets, whether through providing
financial aid to exporters or tailored support to small and
medium businesses.
We have a regular partnership with the PA and the London
Book Fair in the LBF Market Focus Programme, and we have
also recently co-operated with the PA and UKTI in Doha. This
year were engaging on a much bigger scale by programming the
UK as Guest of Honour at Guadalajara International Book Fair
(FIL) in Mexico, and we are excited to see its impact.
Promoting empathy
START PLANNING
YOUR JOURNEY
TO LONDON FOR
APRIL 2016
www.londonbookfair.co.uk
LBF Charity of the Year
Literature is perhaps uniquely well placed for use in cultural

relations, encouraging knowledge and understanding of other
peoples points of view, and promoting empathy. Book fairs are
effective commercially because they bring together publishers
with writers and translators, and because doing business in
person is still easier than digitally. Less obvious is the effect of
book fairs and festivals on cultural relations. Translation deals
are brokered, giving international readers an insight into cultures
different from their own. The Guest of Honour country is also
given a bump in press coverage, which reaches yet more readers.
So why Mexico, and why FIL? Mexico is emerging
economically, politically and with a keen interest in learning
English as a foreign languagean important market for the UK.
This year, 2015, has been designated a dual year of celebration of
the two countries, with a shared programme of cultural,
academic and trade projects. The ongoing bilateral exchange has
been supported at a high level, with a visit by Prince Charles to
Mexico to launch the year in November 2014 and a State Visit to
the UK by President Nieto in March 2015. Mexico was Market
Focus country at LBF in April 2015, where we worked with the
Mexican Council for Arts and Culture, Conaculta, to bring 11
writers to the UK to take part in conversations at the Fair, and
across London and the rest of the UK. This Market Focus
Programme also involved a series of bilateral exchanges, with
Mexican writers visiting festivals in Hay-on-Wye, Norwich and
Edinburgh, and UK editors, press and writers travelling to
Mexico for events there. The UK Guest of Honour at FIL (from
28 November) is the culmination of this dual year.
ral relations
BEA WILL BE IN
CHICAGO
IN 2016
The Guest of Honour Pavilion
Trade fair and a cultural festival

The opportunity of FIL is that it combines a book fair and a
book festival. It is the largest publishing gathering in IberoAmerica. It works as a business-to-business trade fair and a
cultural festival, with a literary programme of well-attended
talks, interviews and readings, as well as nine days of live
performances, exhibitions, films and music. FIL has a huge
audience, with 750,000 members of the public visiting. The
British Council has programmed the cultural offering, while the
Publishers Association leads the publishing delegation working
with UKTI on events to build productive links between British
and Latin American publishers. We will bring to Mexico a
delegation of writers, academics and scientists, as well as films,
musical and theatrical performances, and two visual arts
exhibitions of work by David Shrigley and David Hockney.
Fair attendees will enter FIL through the beautiful Guest of
Honour Pavilion, designed by Carmody Groarke, which will
serve as a memorable and attention grabbing focal point to the
programme. The pavilion serves as an exhibition space and a
place for doing business.
Our delegation of writers is a cross section of some of the
best the UK has to offer. Our programme includes former poet
laureate Andrew Motion and groundbreaking writer Jeanette
Winterson discussing their Shakespearean influencesa look
ahead to the 400th anniversary of Shakespeares death in 2016.
Award-winning historical novelists Joanne Harris and Philippa
Gregory will discuss the process of fictionalising historical
figures. Granta magazines once-a-decade Best of Young
British Novelists list is represented by novelist and games
writer Naomi Alderman, and Booker Prize longlist writers Ned
Beauman and Sunjeev Sahota. In non-fiction, exceptional
journalists Owen Jones and Jon Ronson will discuss the perils
of social media. Were bringing Scottish crime writers Val
McDermid, Louise Welsh and Philip Kerr, and Northern Irish
writer Claire McGowan together for a mini Celtic crime focus
within the programme.
The dual year of culture draws to a close after FIL, but
hopefully well be seeing the results of it for many years to
come, in both the Mexican and UK publishing scenes, and in
the wider context of improved understanding and cultural
relations between the two countries.
WEDNESDAY, MAY 11 - FRIDAY, MAY 13, 2016
McCORMICK PLACE, CHICAGO
WORLD CLASS EDUCATION

COVERING TOPICS SUCH AS
Marketing & Engagement
ABA Education
Business of Publishing
Content: Readers & Authors
Analytics, Tech & Mobile
Childrens Publishing
Library Insight
Global Market Forum: Poland
BEA 2016 WELCOMES POLAND

AS THE GLOBAL MARKET FORUM
GUEST OF HONOR
Features 1 FULL DAY of education sessions,
exhibits, and off-site cultural events
TO REGISTER I BOOXEXPOAMERICA.COM/REGISTER16
TO EXHIBIT EMAIL ERIN GROTE | EGROTE@REEDEXPO.COM
BOOKEXPOAMERICA.COM
37
Found in translation
Chad W Post offers a snapshot of the worlds best international fiction
Over the past decade, dozens of articles have been written
about literature in translation in the United States, most of
which can be boiled down into a few general statements:
less than 3% of the books published in the US were
originally written in a language other than English; the
presses that are doing these books tend to be small; and the
titles that are translated into English tend to fly under the
radarwhich is why almost all of these articles are titled
Lost in Translation.
Starting back in 2008, Three Percent began tracking how
many titles in translation were being published here in the
US. We restricted our tracking to titles being published for
the first timeno new translations of Tolstoy, for example.
And we ended up creating the most comprehensive
translation database in the world. With almost a decade of
data, we can now address all kinds of questionsincluding
one simple one: Are there more translations coming out in
2015 than in 2008?
The answer to that is a definitive yes. The number of
original fiction titles published in English translation over
the past seven years has risen steadily from 278 in 2008 to
498 last year. Although these numbers are still pretty small,
given the size of the publishing industry, the steady increase
is a positive development.
This is what led me and bookseller Stephen Sparks
(Green Apple Books, San Francisco, CA) to start putting
together a sort of translation guidebookThe 100 Best
International Books of the Century So Far. The core of
the book will be 100 entries, each on a different author and
book from approximately 70 different countries.
Since our goal is to provide a snapshot of whats being
written now all over the worldto show how certain themes
are universal and how many interesting points of view are
available to todays readerswe decided to include only books
published in their original language after the year 2000.
Entries contain information about the author, the books plot
and why the selected book is considered one of the best.
In addition to these overviews, the book will also include
essays on broader topics: poetry in translation, for example,
or crime fiction in translation, women in translation, underrepresented countries, and so on. All of which adds up to
what we believe will be an indispensable guidebook for
readers, publishers, educators and librarians who want to
learn more about literature outside the US.
Those of you already well versed in international
literature will find some surprises on the list, along with
interesting reflections and commentary. With this book we
want to change the conversation from look how little is
translated into English into look at all these great books
available to readers. And to give you a taste of what were
up to, heres a glimpse of 10 titles that will be included in
the books first edition.
38
Argentina: Talking to Ourselves by Andrs Neuman

(Published in Spain, 2012; English translation by Nick
Caistor and Lorenza Garcia)
After the publication of Neumans
first novel, Bariloche, Roberto Bolao
declared that: The literature of the
21st century will belong to Neuman
and a few of his blood brothers.
Thats pretty high praise to live up to,
but four novels and several collections
of stories and poems later, Neuman
continues to astonish and impress.
Bosnia/Germany: How the Soldier Repairs the Gramophone
by Saa Staniic (Published in Germany, 2006; English
translation by Anthea Bell)
This is an exuberant black comedy
that looks war and genocide in the face
and dares to laugh. Staniic was born in
Bosnia and is now living in exile in
Germany. This, his debut novel,
straddled a fine line between the
irreverence of youth (his narrator is a
13-year-old boy) and the absurd tragedy
of war. Besides moving and colourful
depictions of a lost idyll of childhood, the novel also
contains one of the best soccer matches in all of literature.
Bulgaria: The Physics of Sorrow by Georgi Gospodinov
(Published in Bulgaria, 2012; English
translation by Angela Rodel)
Gospodinovs third work translated
into English (following And Other
Stories and Natural Novel) is an
international bestseller that sold out of
its first printing in a day, and was the
bestselling book in Bulgaria in 2012.
Based on the myth of the minotaur, it is
constructed much like a labyrinth, with
false starts, dead-ends and plenty of circuitous detours.
China: The Last Lover by Can Xue
(Published in China, 2005; English
translation by Annelise Finegan
Wasmoen)
Can Xue is having quite a year.
This past May she won the Best
Translated Book Award and is now
a finalist for the Neustadt Prize for
International Literature (nominated
by Porochista Khakpour). Like her
promotional
Gamifying Books and

Content on Mobile Devices*
by Marcin Skrabka, Young Digital Planet, Hall 4.2, C67
Almost every book tells a story it has its storyline, it conveys a plot. Even traditional school books are founded on a
method which is nothing else than a path, a trail leading to
knowledge. Trails and paths are also a common feature of
games. With this correlation in mind, the publisher may start
to explore the possibilities of moving the reader and making
the quest for knowledge more appealing.
The mobile bite
Education has almost always been associated with books.
Whether we are talking about traditional textbooks, fiction, or
non-fiction used in the learning process, or highly specialist publications, books and the reception of the knowledge they contain is still the cornerstone of the educational process. Relishing
the possibilities of content digitalization often pushes managers
to take risky and ambitious endeavors such as getting rid of the
paper format and go 100% digital. It was a lesson learned for
Newsweeks American edition, who in 2013 gave up paper in a
favor of online only. You cannot change readers habits entirely
in a year or even a decade. You need to do it step-by-step. Educational publishers must be really cautious about that. Not because of the students who most probably will manage mobile
technologies, but because of the teachers who are the key drivers for implementing new technologies at schools.
Since the paper format is still alive and kicking, the question is:
how to use mobile devices wisely to enhance our readers experience? Do not forget that some people from the Y generation
(the Millenials) or from the so-called Z generation treat paper
books as vintage. These readers can be lured to books only with
the mobile bite. In the case of educational publications, the possibilities of improving learning outcomes and personalizing
the teaching process given by digitalization cannot be underestimated.
Its all about a game approaching gamification
A completely new generation of readers is entering the market
people who are attached to video games. The impact of psychological mechanisms used in games was imprinted in these
gamers DNA. Jane McGonigal from the Institute for the Future,
most famous from her TEDtalk and book Reality is Broken has
calculated that:
more than half a billion people worldwide play online games
at least an hour a day
97% of boys under 18 and 94% of girls under 18 report playing videogames regularly
average young person racks up 10,000 hours of gaming by

the age of 21. Thats almost exactly as much time as they
spend in a classroom during all of middle school and high
school if they have perfect attendance.
Thus, it did not come as a surprise when the idea of gamification was born. Gamification, according to prof. Kevin Werbach,
is the application of game elements and digital game design
techniques to non-game problems, such as business and social
impact challenges.
So what should the publisher do with all this knowledge?

The answer is Mobile Book Trail (MBT) a platform dedicated
to gamifying books and content on smartphones. It allows
publishers to re-use existing content, create mobile gamebased activities and combine them with traditional books.
It is meant to be simple and efficient and increase book sales
by enriching their publications with mobile game-based-activities. It also gathers Big Data to give an insight into readers
habits and be prepared to cater for their needs better. Imagine
a mobile game in which students follow a trail of activities and
answer questions to understand the laws of physics by playing
Quidditch with Harry Potter, or a game where pupils learn mathematical thinking while fighting an army of Nazghuls arm in arm
with their comrades from the Fellowship of the Ring.
How does it work?
Mobile
Book Trail
game idea
authoring tool
game
your book
your book with mobile components

activated by a QR code printed inside
Live presentation on Gamifying Books and Content on Mobile

Devices by Marcin Skrabka on Friday, 16 October, 12:30-13:00
Hot Spot Digital Innovation, Hall 6.2
*This article is an abstract to read the full version please go to www.ydp.eu

earlier work, this novel is uniquely surreal, a sort of
dreamscape in which the most stable aspect is the
underlying sense of change. She has talked in interviews
about how her writing is guided by the desire to impact
the reader unconsciously as they actively work to make
traditional sense of the text. The Last Lover is a good
example of this and shows why she might well be the
most distinctive voice in contemporary Chinese literature.
France: Apocalypse Baby by Virginie Despentes (Published
in France, 2010; English translation
by Sin Reynolds)
This punk-noir masterpiece comes
from the author of King Kong
Theory and Baise-moi and features
two detectivesthe reserved Lucie
and the confrontational Hyena
searching for a missing teenage girl.
In many ways this plot is a
McGuffin, allowing Despentes to
write about a number of socio-economic groups in
contemporary French and European societyan incisive,
cutting book that blends Despentess cultural criticism
with a truly page-turning plot.
Iceland: From the Mouth of the Whale
by Sjn (Published in Iceland, 2008;
English translation by Victoria Cribb)
This is the story of Jonas
Palmason, a 17th-century naturalistcum-magician unlucky enough to
find himself born into an era of
authoritarian dogma. Blending
unreliable stream-of-consciousness
narration with elements of Icelandic
sagas, scientific treatises and lyrical
poetry, Sjns novel bursts with vitality.
Indonesia: Beauty Is a Wound by Eka
Kurnaiwan (Published in Indonesia,
2002; English translation by Annie
Tucker)
If this autumn is any indication,
Eka Kurniawan is poised to break
out. In a rare move, two of his novels
are being published in English
translation this September (from New
Directions and Verso) and he is being
flown to the US for a bi-coastal tour.
Kurniawans work evokes comparisons with Gabriel Garca
Mrquez: Beauty is a Wound is full of ghosts, unexplained
phenomena and elements of mythology. And like Garca
Mrquez, Kurniawan is also concerned with the corrupt
and corrosive political systems in his country.
40
Mexico: The Story of My Teeth by

Valeria Luiselli (Published in Mexico,
2013; English translation by Christina
MacSweeney)
Luisellis second novel is perhaps the
first in the history of literature to be
written with editorial guidance from a
dozen employees in a juice factory.
Commissioned by the Galera Jumex
for an exhibition catalogue, it was
written in instalments that were then
read by factory workers who recorded their book club
meetings. The recordings were then sent to Luiselli, who
constructed her playful novel. It may sound like a novelty
piece, but The Story of My Teeth is a rich, provocative
meditation on authenticity, heritage and personality.
Rwanda: Our Lady of the Nile by Scholastique Mukasonga
(Published in France, 2012; English translation by Melanie
Mauthner)
The first fictional work from
Rwandan writer Scholastique
Mukasonga, which won the Prix
Renaudot in 2012, embodies one of the
oft-cited reasons for reading literature
from around the world: the idea that it
can teach us about other cultures and
help prevent atrocities. Each chapter of
the book centres on a different student
at a lyce in the mountains of Rwanda, where girls are sent
to stay safe from the dangersprimarily boysof the
surrounding culture. The book offers a harrowing look into
the psychology of the Rwandan nation just before the
horrendous genocide of the 1990s.
South Korea: The Vegetarian by Han Kang (Published in
South Korea, 2007; English translation by Deborah Smith)
There are a number of things that The Vegetarian does
that landed it on this list. Its a novel thats actually three
short novellas written over a period of years and then
brought together into one volumesomething thats more
common in Korean literature than American. Its about
madness in which the mad woman is
only the subject, never the speaker. Its a
novel that illustrates the patriarchal
nature of South Korea in subtle,
provocative ways. And its a beautiful
book about a woman who, after having
a disturbing dream, decides to become
a vegetarian, and ends with her
transforming into a tree.
Chad W Post is the publisher of Open Letter Books at the University of

Rochester, a small press dedicated to publishing literature in translation,
which he founded in 2007. In addition, he runs the Three Percent website.
GKC_FRANKD2_DAILY_HALFV_Layout 1 10/7/15 1:24 PM Page 1
Translated fiction at its

finest
Much of the classic fiction that is known and loved by
English-speaking readers was originally published in another
language, from Hans Christian Andersens fairy tales to War
and Peace, writes Truda Spruyt. However, both the British
and American publishing industries have been notorious for
their lack of translated fiction. The figure of 3% as the
percentage of translations published in English has often been
quoted. Over the past 20 years there has, in fact, been an
increase in the proportion of literary fiction from other
languages published in the UK, but at just over 5% it is still
tinyand readers are missing out.
Contemporary fiction is reflecting an increasingly
globalised world, and the world of publishing itself has
changed immensely since the Booker Prize for Fiction was
first awarded in 1969. In 2014, the rules for the Man Booker
Prize for Fiction changed, prompting a clamour of debate.
Dispensing with the geographical boundaries of the UK,
Ireland and the Commonwealth that had defined eligibility,
the Prize was opened up to any author writing in English,
whatever his or her place of birth or current nationality. The
global scope of this years Man Booker longlist has been
widely hailed.
International scale
The desire to reward and promote the finest in fiction on an
international scale led to the establishment of the Man
Booker International Prize in 2004. During its ten-year
existence, the Prize has highlighted some of the best writers
in the world, celebrating names well-known in the Englishspeaking world, alongside authors who write in languages
from Albanian to Kannada.
In the course of their extensive reading for the Man Booker
International Prize, successive judging panels have observed
that many great fiction writers whose work should be better
known in the Anglophone world have been let down by both
the quality and the quantity of their translations into English.
The 2015 judges, chaired by Marina Warner, selected
Hungarian author Lszl Krasznahorkai as winner from a list
of finalists which was dominated by works in translation. The
panel pointed out, however, that authors they would like to
have considered were not well-represented enough in English.
The Booker Prize Foundation continually reviews the rules
and formats of the Man Booker Prizes. The changes to the
Man Booker Prize for Fiction prompted a re-examination of
the International Prize too. After consideration, it was decided
that if the International Prize were to be awarded on an annual
rather than a biennial basis, it would be able to maintain its
profile with the reading public. We were aware that setting up
an annual prize for international fiction could be seen to clash
with the Independent Foreign Fiction Prize, so we approached
Arts Council England and Boyd Tonkin at the Independent
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From left: Fiammetta Rocco (Administrator of the Man Booker
International Prize), Jonathan Taylor (Chair, Booker Prize Foundation)
and Boyd Tonkin (Chair, Man Booker International Prize 2016)
and had a number of discussions. These culminated in the

agreement to combine the weight of the Man Booker brand
with the successful prize for translated fiction.
Increased support from publishers

In terms of growing the reading public for translated fiction, it
was felt that readers are looking for recommendations of
what to read, rather than who to read, so the Man Booker
International Prize will evolve into a prize for a book rather
than a body of work. Support from publishers and booksellers
is also set to increase, as publishers will feel more invested in
the Prize having submitted for it, and booksellers will have
specific books to promote. Eventually we hope that publishers
will make more space on their lists for translated fiction as
they will be able to submit for the prestige (and publicity
spike) of a Man Booker Prize.
Boyd Tonkin, Senior Writer at the Independent, who has
been on the judging panel for and a champion of the
Independent Foreign Fiction Prize since 2000, will chair the
judges of the 2016 Man Booker International Prize. He will
also join the Booker Prize Foundation Advisory Committee
after serving his term as Chair. His fellow judges for the Man
Booker International Prize 2016 will be anthropologist and
novelist Tahmima Anam; academic David Bellos, who is
currently Professor of French and Comparative Literature and
Director of the Program in Translation and Intercultural
Communication at Princeton University; editor and academic
Daniel Medin; and prize-winning British poet and author
Ruth Padel. Fiammetta Rocco will continue as Administrator
of the Man Booker International Prize.
The new Man Booker International Prize will complement
the Man Booker Prize in that the judges will select a Man
Booker Dozen longlist of 12 or 13 books in March, followed
by a shortlist of six in April, with the winner announced in
May 2016. The symmetrical relationship of the two prizes
will ensure that the Man Booker can now honour fiction at
its finest on a truly international basis.
Truda Spruyt is Practice Director, Culture at Four Colman Getty. For

further information see http://www.themanbookerprize.com/manbooker-international-prize.
42
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Frankfurt Show Daily, Day 2, Oct. 15 2015

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Frankfurt

Thursday 15 October 2015

visit pW and Bookbrunch at HALL 6.0, Stand B29

MORE IMPORTANT THAN MONEY

A Rich Life Series Book

Two debuts stand out amid day 1 buzz

Honeymans The Bumper

if he wants to build a life in

recent bestsellers The Rosie

the ceo talk

Hachette Chairman and Chief Executive Arnaud Nourry

The distributors listed above are

cbsd.com perseusdistribution.com perseusacademic.com pgw.com legatopublishersgroup.com

Visit Us in Hall 6.0, Booth D71

Thursday 15 October 2015