Frankfurt Show Daily 2

Frankfurt
Thursday 20 OcTOber 2016
visit pW and BookBrunch at HALL 6.0, StAnd d42
ROBERT KIYOSAKI
RichDad.com
Fairgoers solidarity with Turkish writers

Stand by us, the other
Turkey, pleaded exiled
Turkish journalist and
newspaper editor Can Dndar,
who presented the German
translation of his new memoir
We Are Arrested: A Journalists
Notes from a Turkish Prison
on Wednesday morning at the
Frankfurt Book Fair, Ed
Nawotka writes. Sitting
alongside Frankfurt Book Fair
Director Juergen Boos and his
literary agent Nermin
Mollaoglu of Istanbuls Kalem
Agency, Dndar spoke about
his frustration with Western
governments lack of
engagement with the regime of
Turkish President Recep
Tayyip Erdogan, who has
imprisoned thousands,
including hundreds of writers
and journalists and has
effectively ended freedom of

speech as we know it.
Dndar was editor-in-chief
of Turkeys Cumhuriyet
newspaper, and writes of
having been sentenced to
solitary confinement in
November 2015 after
reporting on illegal Turkish
arms shipments. Biteback has
signed UK rights.
Mollaoglus Kalem Agency
celebrated the opening of the
Fair with a large party in
Frankfurt on Tuesday night,
and instructed partygoers to
wear something red. Erdogans
crackdown was the main topic
of conversation, and several key
figures in the Turkish
publishing community (all of
whom declined to be named)
reported that censorship in the
country was rampant. Scores of
publishers have
been closed as well.
Frankfurts Boos
noted that it was
just eight years ago
when Turkey had
been the guest of
honour at
Frankfurt, and
when Erdogan and Dndar (left) and Boos
Nobel laureate
out a letter by novelist and
Orhan Pamuk had shared a
rights activist Asli Erdogan
stage. The Fairs opening
that had been smuggled out of
ceremony on Tuesday night
prison.Conscience is being
featured a speech by the
European Parliament President trampled upon in my
country they are trying to
Martin Schulz, who
proclaimed his full solidarity kill off truth, she wrote. Late
on Wednesday, French literary
with all authors and
agent Pierre Astier hosted a
journalists languishing in
meeting of solidarity in
Turkish jails. Heinrich
which Can Dndar read a
Riethmueller, who runs the
proclamation calling for
German Publishers and
Erdogans release.
Booksellers Association, read
Charkin: IPA supportive

In a talk at the Publishing
Perspectives stage,
International Publishers
Association president Richard
Charkin, Executive Director
of UK Publisher Bloomsbury,
said that the situation in
Turkey was of grave concern,
and that the international
publishing community stood
in solidarity with Turkish
publishers.
Charkin visited Turkey
earlier this month, and

released a statement on the
IPA website condemning the
governments actions.If the
government continues its
vengeful persecution of any
individual or organisation
whose views differ from its
own, he observed in that
statement,then Turkish
publishing, and the countrys
creative industries as a whole
risk decimation.
Charkin also defended last

years decision to extend IPA
membership to Saudi Arabia
and China, a move that has
generated criticism among
members concerned with state
censorship and abuses in
those countries. He stressed
that the two nations were
admitted by a member vote,
and argued that engagement
was the most effective path
forward.
inSide:
FAntASy in
Vogue
Big rights deals
RigHtS
Meeting
translation
tHe MARketS
international
insights
3
4
6
FrankFurT shOw daily
Two fantasy debuts nabbed in major deals

By Rachel Deahl
Two fantasy seriesone YA,
and one adultthat sold in
high six-figure deals just
before the Frankfurt Book
Fair are drawing notice from
foreign houses in Germany.
The first, a YA trilogy called
Ash Princess, was just
acquired by Delacorte Press.
The other, which is set in the Laura Sebastian
Middle East and opens with a
title called Daevabad: The City of Brass, was nabbed at
auction by Voyager in a joint US/UK acquisition.
Krista Marino at Delacorte won North American rights
to Ash Princess at the end of last week, after a heated
auction, paying a high six-figure advance for three books.
The author, Laura Sebastian, who grew up in South Florida
and works at New York Citys Housing Works Bookstore,
was represented by Laura Biagi at the Jean V Naggar
Literary Agency.
Biagi said the series was perfect for fans of An Ember in
the Ashes and Red Queen, as well as those who root for
Sansas grit on Game of Thrones. It follows a princess who,
at age six, sees her country invaded and her mother, the queen,
murdered. A decade later the princess, who has remained in
hiding in the guise of a commoner, joins rebel forces who bid
to overthrow the usurpers. The Naggar agency has received a
number of offers from foreign publishers, among them houses
in the UK, France and Germany.
SA Chakrabortys Daevabad: The City of Brass was
bought, jointly, by Priyanka Krishnan at Harpers Voyager
imprint in the US and Emma Coode at Voyager UK. Agent
Jennifer Azantian, who has her own shingle, represented
the author, selling world rights to the three books. The
To contact Frankfurt show daily at the

Fair, please visit us at the Publishers
Weekly stand in Hall 6.0, D42
Publisher: Joseph Murray
BookBrunch Publisher: Tobias Steed
Editors: Andrew Albanese, Nicholas Clee, Neill Denny
Reporters: Jasmin Kirkbride, Ed Nawotka
Project Coordinator: Bryan Kinney
Layout and Production: Heather McIntyre
Editorial Coordinator (UK): Marian Sheil Tankard
For a Free digital trial to Publishers weekly go to

publishersweekly.com/freetrial
subscribe to bookbrunch via www.bookbrunch.co.uk
or email editor@bookbrunch.co.uk
auction for the series involved seven editors, Azantian said,

and happened within four days of her sending the book out
on submission.
Krishnan said she was beguiled by the way Chakrabortys
epic fantasy drew upon the history of the Mughal Empire,
the Sunni-Shia conflict, Persian and Indian folklore, and
Islamic tradition to create this wonderfully rich world; it
feels relevant to current events, and yet its action-packed,
delicious escapist storytelling at its best.
Chakraborty is from Queens, New York, and has published
her short fiction in a number of literary magazines; shes also
an organiser of the Brooklyn Speculative Fiction Writers
group. Azantian found her through a literary Twitter event
called #DVpit, hosted by the Bent Agencys Beth Phelan.
Rights in brief
National Book Award finalist and New Yorker senior writer Alan
Burdick is back with his first book in a decade, Why Time Flies: A
Mostly Scientific Exploration, billed as a witty, graceful, and intimate
exploration of the clocks that tick inside us all. The book was
acquired by Alice Mayhew at Simon & Schuster in the US, and will
appear in January 2017. Burdick is represented by Flip Brophy at
Sterling Lord. Rights have already been sold in Germany.
Faber UK and Farrar Straus US have signed The Secret Life, a new
work of non-fiction by Andrew OHagan (agent Peter Straus at
Rogers, Coleridge & White). Rights have also gone to McClelland &
Stewart (Canada) and Adelphi (Italy). The Secret Life (June 2017) is
about three people: Julian Assange (whose memoirs OHagan was
hired to ghost write); Satoshi Nakamoto, the elusive inventor of
Bitcoin; and Ronald Pinnwho does not exist at all, except in the
furthest, darkest reaches of OHagans internet use. Lee Brackstone
at Faber said that the book was destined to become a classic of
contemporary non-fiction.
Andrea Henry at Transworld has bought UK & Commonwealth rights
from HarperCollins US to Driving Miss Norma: One Familys Journey
Saying Yes to Living by Tim Bauerschmidt and Ramie Liddle. It is
the storywhich attracted more than 500,000 followers on Facebook
of nonagenarian Norma Bauerschmidt, who after being diagnosed
with cancer soon after the death of her husband of 67 years, took a
road across the US in a 36-foot RV with her son Tim, his wife Ramie,
and their poodle, Ringo.
Juliet Mabey at Oneworld has signed two books by Argentine writer
Samanta Schweblin, who was selected as one of Grantas 22 best
Spanish language writers under 35. Oneworld has UK and
Commonwealth rights from Hal Fesenden at Riverhead to Schweblins
debut novel Fever Dream (due March 2017), and her short-story
collection, Birds in the Mouth. Both books will be translated by
Megan McDowell. Rights have been sold in seven international
territories. Fever Dream is a dark novella narrated by a woman in a
coma, attempting to piece together how she came to be there.
Seven Days Of Us (Piatkus, September 2017), a debut by Francesca
Hornak, has been sold to Ullstein in Germany for a five-figure sum
and to Mondadori in Italy. Andy Hine, Rights Director at Little, Brown,
said: Were very excited about this title we have a substantial offer
on the table in Norway and heaps of interest. The novel was signed
in the UK by Emma Beswetherick.
Frankfurt Rights Meeting focuses on underrepresented languages; sell to the US last

The annual rights meeting at the Frankfurt Book Fair, previously
known as the Rights Directors Meeting and a fixture of the Fair
for 30 years, was this year simply Frankfurt Rights Meetingno
doubt a reflection of the Frankfurt Book Fairs purchase of
UK-based rights platform IPR License earlier this year. Showcasing
the theme ofsurprising successes in challenging times, the event
opened with some rather anodyne advice from rights consultant
Kris Kliemann about how to further exploit your backlistie. look
for backlist rights that can be pegged to the news cyclewhile John
Donatich, Director of Yale University Press, followed by offering
an overview of the US translation publishing landscape.
Donatich began by suggesting that US translation wasopening
up to more minor languages or under-represented people.
Affirming that there remained numerous small US publishers
dedicated to literary translation, such as New Directions, Dalkey
Archive, and Archipelago Books, Donatich noted that the most
prolific publisher of translated fiction in the US was Amazon
Crossing.Metadata is really hard to find about translation,
because databases dont demand this information, he said.
Ultimately, when you look at literature and poetry translation,
you see the statistics indicate just 0.7% in the United States is
literary translation, while in comparison, in France it is 14%.
In reaction to this dire statistic, Anne-Solange Noble, rights
director of Frances Gallimardspeaking from the front row
of the audiencesuggested that perhaps the best strategy to
approaching the US market was to sell to them last.If you sell
to a lot of countries, then perhaps the US will then take notice.
The focus shifted to Europe, where Hungarian publisher Bence
Srkzy discussed the unexpected success of his six-year-old
Libri Publishing House; Anne Bergman-Tahon of the Federation

of European Publishers in Belgium touted the relevance of the
annual European Union Prize for Literature; and French literary
agent Pierre Astier touted the merits of working in more esoteric
languages. He cited the example of Goce Smilevski, who won
the European Union prize in 2010 for Freuds Sister.We got
the idea from the translator from Macedonian to French, Maria
Bejanowska. And we sold the rights of Freuds Sister for 25
languages and it is now on sale in 35 countries.
PubMatch v2 ready
PubMatch has continued its development of its online Rights

Platform with the upcoming release of Pubmatch v2.According
to PubMatch founder Jon Malinowski, the new versionset for
launch in the first quarter of 2017will enable every member
to create their own facing on Pubmatch (a website within a
website) for featured titles, news, offerings, and other features.
Agents and authors can choose to be totally invisible on the
web, or can choose to send clients a password to view their
latest offerings or to securely download galleys or files.
Pubmatchs proprietary Catalog Generation Tool will be
enhanced to make it easier and faster to create rights catalogs
on the fly in four formats simultaneously (Word, pdf, Excel
and HTML). The Rights@Pubmatch transaction tool will
also be improved to make it easier to sell backlist titles as
well. After eight years of development, Pubmatch v2 has
morphed into online marketing and sales software for the
management of rights year round, Malinowski said.Agents
have been telling us that the need for a rights database is
imperative to compete in the rights world today.
Film awards
Michael Pietsch (left), Hachette Group CEO, and Tim Hely Hutchinson, Hachette UK CEO, are
pictured at the groups party, the traditional eve-of-Fair gathering.
Frankfurt has named

Nocturnal Animals, Tom
Fords film version of Austin
Wrights novel Tony &
Susan (Grand Central/
Atlantic), as the outstanding
film adaptation of a literary
work. In the childrens
category, the award has
gone to Ma Vie de
Courgette, Claude Barras
stop-motion animated film
of a novel by Gilles Paris.
Ma Vie de Courgette was
shown at the Cannes Film
Festival and is Switzerlands
official entry for the Foreign
Film category of the 2017
Academy Awards.
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The Markets puts spotlight on global opportunities

The second iteration of Frankfurts The Markets: Global
Publishing Summit took place on Tuesday, Ed Nawotka
writes. It is the opening event of the Fairs premium events
space dubbed The Business Club, and offers insight into
seven publishing markets around the world. This year, the
UK was the most robust market, and was of interest to
most because of the consternation over Brexit. But those
coming to The Markets do so largely out of curiosity to
explore developing markets, which this year included the
United Arab Emirates, the Philippines, and Poland. The
Frankfurt Guest of Honour, The Netherlands and Flanders,
was represented, as well as two established markets that
have suffered setbacks in recent years, Spain and Brazil.
For many markets, a moment in the Frankfurt spotlight
was an opportunity to educate audiences. For example, it is
unlikely many in attendance were aware that just 40 years
ago, half the population of the UAE was illiterate, said
Walid Aradi of Tahseen Consulting in Dubai, and today
that is just 1%. The country imports more than $100m in
books a year, largely education and textbooks, and all in
English (currently, the UK dominates the import market
there, though the US is expected to overtake it this decade).
Ala Al Sallal is the founder and CEO of Jamalon, a
Dubai-based online retailer known as the Amazon.com of
the Arab world. He noted that, following the troubles that
have hit Egypt, the UAE now rivalled Lebanon as the home
of Arabic books. His own firm has added POD services to
help some 3,000 publishers in the region, reaching new
markets by reducing production and distribution costs.
With the Philippines in the spotlight this year, more than

40 representatives from the countrys publishing industry
made the tripthe largest constituency ever. Among those
was Andrea Pasion-Flores, the nations only literary agent,
as well as Alvin Juban, President of the Game Developers
Association of the Philippines, who joked that the country
of 100 million people had become fatalistic about its
place in the world, and about the fact that the countrys
best known export was domestic labour. But, I am here to
tell you, we are the future, he said, noting that the
Philippines had the highest rate of internet consumption in
the world, at some six-and-a-half hours a day. Can you
imagine what that does to productivity in the workplace?
he jokedand by extension, what the opportunity might be
for content creators.
As always, innovation remains a byword when it comes
to those discussing the future of publishing, The Markets
had its share of digerati. But it was Antwerp-based mobile
developer Jef van der Avoort of Squirlan app that adds an
augmented story layer to maps facilitating book discovery
who stood out from the crowd, not only for his bright
orange shirt emblazoned with his companys logo, but in
noting that he was an outsider who came to the book
business from Lego, where he worked in marketing. What
surprises me, he said, is that this is the only industry I
know where the people who work in it consume more of
their product that do the consumers themselves. Everyone
here is a book lover. Our challenge [as an industry] is in
reaching the people who are not book lovers.
Rights in brief
Head of Zeus has signed Mike Coopers The Downside, winner of the
$25,000 MysteriousPress.com Award, after helping to select it in
conjunction with fellow Mysterious Press publishing partner Open Road
and four other houses in Europe and Asia. Publication will be next year.
The novel stars cyber criminal Finn, newly released from prison and
broke, and involved in a job that requires cracking the most heavily
guarded private vault in North America. Boston-based Cooper has won a
Shamus Award, a Thriller nomination, and inclusion in Best American
Mystery Stories. His most recent novel is Full Ratchet (Viking).
Charles Spicer at St Martins Press has signed a new book by Helen
Rappaport, author of The Romanov Sisters and the upcoming Caught In
The Revolution. In The Race to Save the Romanovs, Rappaport tackles
one of the few remaining mysteries of the Russian Revolutionthe failure
of plans to prevent the execution of the Romanov imperial family.
Publication will be in 2018, the centenary of the Russian Revolution and
of the murders. The agent is Caroline Michel of Peters, Fraser & Dunlop.
Anna-Sophia Watts at the Bodley Head has bought No Brainer, in which
neuroscientist Gina Rippon will debunk the notion of the male and female
brain. Bodley Head has world English rights from Maggie Hanbury at the
Hanbury Agency. Rippon, who is based at the Aston Brain Centre at Aston
University in Birmingham, argues that brains reflect the world they grow
up in, not the sex of their owners. Watts said: No Brainer will be an
exciting, accessible book with huge repercussions for the gender debate, for
education, for parenting and for how we identify ourselves.
Jenny Parrot at Point Blank, the new literary crime imprint at Oneworld, has
signed two novels by Will Dean from Kate Burke at Diane Banks Associates.
Point Blank has UK and Commonwealth rights. Sweet Rot (2018) and Red
Snow (2019) star a deaf Swedish journalist, Tuva Moodyson, who finds herself
in the middle of a serial killers web. Parrott said: Will is a fantastic new British
writer with a wonderful voice and a deliciously dark view of the world, who
gives us a fresh take on Swedish noir. He writes addictively, and I defy anyone to
read Sweet Rot and think of an ice cube tray in quite the same way ever again.
Jo Fletcher at Jo Fletcher Books (Quercus) has signed Into a Darkening
Sky, described as Hustle set in space, by Dom Dulley. Quercus has world
rights through Ian Drury at Sheil Land. The novel stars Aurelia Kent, a
young space grifter who learned from the best conman in the quadranther
father. When she and her father are betrayed, she finds herself with only an
obsolete ship to help her as she battles to save the solar system. Fletcher
said: Not since I bought Alastair Reynolds Revelation Space have I been
so excited about a space opera: its high time we had a new Stainless Steel
Rat running around the skies.
Anthony Horowitz is to bring his teenage hero Alex Rider out of
retirement in a new novel for Walker Books. Jane Winterbotham at
Walker signed UK, Commonwealth and English language export rights in
Never Say Die (June 2017) through Jonathan Lloyd at Curtis Brown.
Horowitz is busy: he is also writing a new James Bond sequel (Cape) and
two detective novels for Century/Arrow. The storyline of Never Say Die
will follow that of Alexs final adventure, Scorpia Rising.
The
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Group
Creatively Independent
Come and visit us at

Hall 6.1
Stand A 30
www.QuartoKnows.com
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22/09/2016 16:00
Making connections: the Frankfurt Fellowship

As Germanys publishing industry is spread
across multiple cities, any attempt to try to
get to grips with it is impossible without
something of a grand toura happy fact for
those lucky enough to take part in the annual
Frankfurt Fellowship, writes Anna Kelly.
In October 2015 a group of 18 Fellows
travelled to Cologne, Berlin and Frankfurt. We
represented an impressive spread of nationalities:
as well as Western European countries and the
US, there were publishers from China, India,
Mexico, Brazil, Colombia, Georgia, Russia,
Anna Kelly
Indonesia, Turkey and South Africa.
Near the beginning of the Fellowship we had a day to
introduce ourselves and the particularities of our market to
the other Fellows. Did you know that France is the worlds
second biggest consumer of Manga, after Japan? Or that
the Georgian language is written in a unique and beautiful
script, all elegant loops and curls, which isnt shared by any
other language in the world? Imagine the distribution
challenges for publishers in Indonesia, which comprises
more than 13,000 islands. Or, how different the publishing
landscape is in a country with as many languages as India.
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Enriched with international context, we

turned to the publishing scene in our host
country. We visited an array of different
publishers in Germanyfrom famous houses
like S. Fischer, Kiepenheuer & Witsch, Dumont
and Suhrkamp, to smaller independents. One
timely highlight was visiting Matthes & Seitz in
Berlin, an indie with a distinctive aesthetic and
a discerning list, which was riding high on a
golden moment: Frank Witzels novel The
Invention of the Red Army Faction by a ManicDepressive Teenager in the Summer of 1969
had just won the Deutscher Buchpreis, which in
Germany must have felt very similar to Oneworlds triumphant
Man Booker win with Marlon James in the same year.
As we talked to publishers from Cologne to Berlin, established
and young, literary and commercial, I found it interesting to
consider the balance of tradition and change. In some ways the
German publishing industry gives the impression of being more
at liberty to enjoy continuity, a certain way of doing things, than
we are in the UK. Thanks to the fixed book price, the hardback
market is still strong. Readers happily pay to listen to long author
readings, and the combination of Germanys excellent printers
and the lack of aggressive discounting seems to mean that even
debut literary novels often boast luxurious production values
with printed endpapers, twelve different types of foil and
perhaps a holographic ribbon, just because.
The identity of publishers such as Suhrkamp and S. Fischer
is tied up very closely with tradition and prestige, and at
Fischer we talked about founder Samuel Fischers publishing
philosophy, namely that publishers should direct readers to
what they should be reading, rather than respond to the
demands of the market. On the other end of the spectrum we
visited Bastei Lbbe in Cologne, a commercially orientated
large independent, which bought self-publishing platform
Bookrix in 2014, and talked enthusiastically about digital
strategies. Germanys publishing geography is also undeniably
changing slightly in response to Berlins increasing importance
as a cultural centre. Suhrkamp moved their offices from
Frankfurt to Berlin in 2010, and Hanser, based mainly in
Munich, set up a sister branch, Hanser Berlin, in 2011.
Last year feels a long time ago already and its been an
eventful year for many of the countries represented on the
Fellowship. In some cases the events have had or will have a
direct impact on publishing: the fallout of Brexit is yet to be
seen; the many tragic terrorist attacks in France have affected
its bookshops, among everything else; and Turkey, at the time
of writing, has seen the closure of 29 publishers as well as news
agencies, TV companies and magazines. But spending a week
travelling with a group of people from all over the world is a
very rare opportunity, and one of the effects of the Fellowship
for me has been that during this tumultuous year, the rest of
the world has felt a tiny bit closer, a little more connected.
Anna Kelly is Commissioning Editor at 4th Estate.
WHAT KEEPS YOU

UP AT NIGHT?
SEE US AT THE FRANKFURT
BOOK FAIR HALL 6.2 BOOTH A97
OR VISIT CODEMANTRA.COM
new for international publishers at bea

As the industrys major trade shows continue to evolve to meet
the changing business landscape, writes Jim Milliot, Reed
Exhibition executives are making significant alterations to
BookExpo America. Next years event will return to New York
Citys Javits Center after a one-year trip to Chicago. The BEA
trade show will run 31 May to 2 June with the consumeroriented BookCon set for 3-4 June.
Although the trade show will run for three days, the exhibition
floor will only be open 1-2 June. The opening day will be devoted
to conferences, of which a new Global Market Forum will be a
part. Brien McDonald, general manager of BEA, said unlike
previous years in which one country was highlighted, the new
global forum will include four or five countries that will be
featured in different venues during a Wednesday track.
Reed is looking to create sessions in which publishing leaders
from different countries can present information that US and other
attendees can act on. Roundtables and other interactive sessions
are in the works.We are looking to develop more interaction
between publishers,McDonald says. BEA has a team of people at
the Frankfurt Book Fair talking to potential participants for 2017.
To help international publishers deal with setting up their
booths, Reed is offering a turnkey package that will include
furnishings and other amenities, leaving publishers with only the
task of adding their books and other content to their booths; it

will ease the burden of publishers getting off of a plane who then
need to oversee the set-up of their booths, McDonald says.
McDonald is also hoping that international publishers will take
advantage of the two-day BookCon. The consumer-facing event
gives international publishers the opportunity to showcase authors
that they think may be ready to breakout in the US, he says.
Countries can also use BookCon to highlight different aspects
of their culture beyond books, McDonald says, pointing to the
extensive displays that China put together in 2015.
Rights Center move
Some other tweaks being made for international publishers include

moving the international rights center to the show floor level
to make for easier travel for agents and publishers. Reed is also
working on setting up offsite events for overseas publishers.
International publishers account for about 20% of the
exhibit floor space and McDonald wants to make sure the new
reinvented BEA/BookCon combination continues to draw
people to New York. He is optimistic that with the London
Book Fair set for the middle of March rather than its traditional
April slot, international publishers will see the extra time as an
opportunity to check out the reimagined New York event.
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korea: The han kang effect
12
have been surprised if Bogie and Bacall had

walked in.
Next hot publishing city
photo: Stephanie Massey
Han Kangs victory at the Man Booker

International Prize this year was like Mount
Vesuvius exploding, writes Barbara Zitwer.
It was a magnificent culmination of 12 years
of hard work with Joseph Lee and our
dream team of international co-agents.
The effects were instantaneous, and are
having a positive effect on Korean books
and the way Korea is viewed, around the
world and in Korea too. International
publishers are clamouring for Korean
booksand English export sales editions of
Korean authors are selling like hotcakes in
Korea. Korean books around the world are
earning out their advances, and royalties are
rolling in.
The Seoul Book Fair this year hosted more
foreign agents and editors than ever before.
For the first time, several major British
agencies came to Seoul looking for Korean
books. The Italian Ambassadors yearly, endof-the-Fair party at his residence reeked of
old-time Hollywood glamour: I wouldnt
Barbara Zitwer
More copies of
the English
edition of The
Vegetarian sold
in Korea
than in the
United States.
So its easy to predict that Seoul will be

the next hot book fair and publishing city.
Boasting the fastest internet in the world,
fabulous food, spectacular shopping and
ancient landmarks juxtaposed with sleek
modern skyscrapers, Buddhist temples,
exotic face creams, outstanding beauty,
and an atmosphere free of metal detectors,
security checks and armed guards, as
well as with reasonable prices, Seoul is a
true haven.
Nature is everywhere. And I found that
harmony and respect for nature are not just
found in Korean literature, but it is how
Koreans live day-by-day. I think a new
paradigm for international publishing is
being established; who wouldnt want to
plug into the biggest market in the world?
Continues on page 14 g
Collect the Classics

ELEGANT LEATHERBOUND EDITIONS
STERLING PUBLISHING, CO., INC

www.sterlingpublishing.com
PLEASE VISIT US AT STAND #6.2.C120
Since the Booker win, the Korean

f Continued from page 12
edition of The Vegetarian jumped
Singapore, Thailand, Vietnam,
from having sold 20,000 copies in
Malaysia, Japan, China and all of
12 years to sales of 600,000 copies.
Asia are reachable from Seoul. And
The synergy between American,
Koreans are like us: they are
British and Korean publishing was a
democratic and open minded. It is
fascinating revelation. In bookstores
so easy and natural, and a great
authors such as Kyoung-Sook Shin,
pleasure doing business there. We
Sun-mi Hwang, Ji Young Gong and
may speak in different tongues; but
others are seeing their English
we speak the same language.
translations selling alongside their
The export sales market for
Soldiers taking part in the Seoul Book Fair
Korean editions as never before.
English-language books is fertile
Huge displays of English-language books are everywhere.
and booming in Korea, and all over Asia. It is potentially
Korean readers want to buy the English-language export
the biggest English-language market for Korean books in
editions of their Korean authors and they want to own both
the world. More copies of the English edition of The
languages. This is a phenomenon that is very Korean,
Vegetarian sold in Korea than in the United States, and
offering new business opportunities to all WEL publishers.
sales in Korea of the English editions of The Hen Who
Export sales used to be the orphan of the publishing world.
Dreamed She Could Fly (Sun-Mi Hwang) and Please Look
Not anymore.
After Mom (Kyung-Sook Shin) were in the tens of
thousands. As much as we are discovering Korean books,
Korean and Asian readers are discovering Korean books
Integral to society
through the English-language editions. Koreans are making
At the Seoul Book Fair, I did a double take: a reproduction
major bestsellers out of some of their best writers only after of an army barracks had been erected, with live soldiers
they are published in English.
sitting and reading. Soldiers reading. Thats Korea, and
more than anything else I saw at the Fair, this image stays
in my mind as a cultural epiphany, teaching me how
integral books are to Korean society.
The complexity of the issue of North Korea, and how the
South Koreans deal with their divided country, is absolutely
mind-blowing, mysterious and evolving. The South Koreans
seem so blocked about the North that next March, when
Bandis The Accusation is published, I think they will be
challenged and confronted for the first time ever. Over and
over, after I met Mr Chogabje (Bandis publisher) and Mr Do
(the activist who arranged to smuggle out The Accusation),
I kept thinking about the power of booksthat: The pen is
mightier than the sword. Books such as Dr Zhivago or the
works of Aleksandr Solzhenitsyn were groundbreaking and
helped change the world. Could it be possible that The
Accusation could help free North Korea?
Making the New York Times bestseller list was not what
my clients where after; and it seems a snap compared to
helping re-unify their country. Never in my wildest dreams
could I imagine my journey as a literary agent would lead
me to such an endeavour. The Accusation has already been
smuggled back into the North and is spreading the seeds.
The World English-language and foreign publications in 16
languages next spring might be an earth-shaking event that
makes the seemingly impossible, possible. I feel rumblings,
because Seoul, I found out, truly is the place where dreams
can come true. Mine did!
Barbara Zitwer is literary agent for Han Kang and for The Accusation by
Bandi, whose work has been smuggled out of North Korea. Her own
novel, When the Sea Belonged to Us, is being sold by Christine Green at
the Fair; Aufbau Verlag will publish it in Spring 2017.
14
scholarly stars!
Theres no red
carpet or
paparazzi But
highlighting
academic
discovery is
important.
The work of scholarly

publishers is not glamorous:
theres no red carpet or
paparazzis flashing cameras,
writes John A Jenkins. But
highlighting academic
discovery is important, and
the scholarly community
does this each year through
the PROSE Awards.
Given each year by the
professional and scholarly publishing division of the
Association of American Publishers, the PROSE Awards
have grown steadily. Since the Awards began in 1976, there
have been more than 15,000 submissions, and more than
1,000 awards given out. Last year there were a record 551
entries, including books, reference works, journals and
electronic products.
We expect at least as many entries for 2016and possibly
morehighlighting the years best academic publications
as judged by their peer publishers, librarians, academics
and medical professionals. If youre a publisher invested
in creating profound research that opens up readers to
new observations, we encourage you to enter for one of
our 59 awards this yearwe are accepting submissions
until 31 October, so theres still time to submit an entry at
www.proseawards.com.
Winning a PROSE Award not only adds your name to some
of the most impressive in the industry, it helps to spur interest
in the work we do. And, in turn, the PROSE Awards are
doing more than ever before to recognise the winners.
For example, this year we will feature a short film that
takes an in-depth look at the life of last years top winner,
Aldon D Morris, to learn more about him and what inspired
his winning work, The Scholar Denied: W.E.B. Du Bois and
the Birth of Modern Sociology (University of California
Press). Many know Du Bois for his writing, but with his
book Morris sets the record straight on Du Bois, whose
theoretical systems were not accepted by the mainstream
during his time.
The film explores Morriss experiences growing up in the
Jim Crow South and follows him on his own journey of
self-discovery through his work on W.E.B. Du Bois life and
legacy, exploring the current state of African-American
studies, while uncovering parallels between the lives of
Morris and Du Bois.
The film will debut at the annual PROSE Awards
ceremony, where this years winners will also be revealed
during a luncheon at the professional and scholarly
publishing divisions annual conference, on 2 February in
Washington, DC. There may not be paparazzi, but the stars
of the scholarly publishing world will be there.
John A Jenkins is President and Publisher Emeritus of CQ Press, Founder

and CEO of Law Street Media and the 2017 PROSE Awards Chairman.
16
Great taste in books!

www.newhollandpublishers.com
New Holland Publishers
Visit us at Stand C92, Hall 6.0
by the numbersa surge in t

The number of books translated
and published in English has
jumped a hefty 51% in recent
years, writes Chad Post,
drawing on data from the
Translation Database at Three
Percent. In practical terms, there
are now around 180 more
books in translation published
every year than just half a
decade ago, a sharp increase and
Chad Post
certainly an encouraging sign
for international literature.
So, whats driving the surge, or more to the point, which
publishers are driving the surge? A big part of the boom can
be traced to Amazon. Over the past six years, Amazons
translation programme, AmazonCrossing, has published 237
books in translation, more than any other press, with Dalkey
Archive coming in a distant second with 192.
And though one might have expected the Big Five publishers to
use their resources (and their clout as global publishers) to seek out
and uncover high-profile international authorsespecially after a
spate of breakout international bestsellers in recent years including
works by Roberto Bolao, Stieg Larsson, and, more recently,
Karl Ove Knausgaard and Elena Ferrantethat absolutely hasnt
happened. Looking at the top 20 publishers of translated books,
independent, non-profit, university publishers and, of course,
AmazonCrossing, accounted for 84% of the translations
published in 2014-16. And that share is actually increasing, up
from 72% from 2008-10, and 79% in 2011-13.
In fact, of all the successes mentioned above (and you could
throw in Muriel Barberys The Elegance of the Hedgehog as
well), not one of these authors has been originally published
by a large corporate house. Overwhelmingly, it is smaller
presses that are discovering the future big names of world
literaturesomething most everyone knows, but that can
never be acknowledged enough.
A data milestone
Next year the Translation Database at Three Percent will hit a

milestone: it will have collected ten years of data on the
translation market in fiction and poetry, including information
on publisher, translator, author and translator gender, price,
publication month, language and country of origin. On the eve
of this anniversary, I took a look at the nearly nine years of
data currently tracked in the database (acknowledging that
2016 may be somewhat incomplete) to spotlight some trends.
To make the data a little more digestible, I broke them into
three-year periods: 2008-10, 2011-13 and 2014-16.
First observation: as noted above, the sheer number of translated
books published each year is growing sharply. In 2008-10 there
were 1,066 books in translation published, rising to 1,381 in
2011-13, and 1,614 so far from 2014-16. But whats not quite so
encouraging is that almost all of that growth comes from fiction,
Visit us at Hall 4.2 - Stand J72

in translations
with poetry remarkably static. There were 233 poetry collections
published in 2008-10; 239 in 2011-13; and 239 so far in 2014-16.
Another worrisome trend: the percentage of books in
translation written by women remains far too low. In 2008-10,
only 25% of the fiction and poetry published in translation
was written by women. This rose slightly to 27% from 201113, and now sits at just 31% for 2014-16, which is appalling.
Perhaps this will start to change with the success of Elena
Ferrante and recent public awareness campaigns (various
online hashtag campaigns have called for a year of publishing
only women). Well be watching the data closely.
There has also been little change in where translated works are
coming from.Theres an expectation among journalists, reviewers,
editors and translators, that publishers will start scouring countries
after a big book breaksfor example, Italy for the next Elena
Ferrante. The data, however, does not bear this out.
French, Spanish and Germany are numbers one through three
in each of the three-year windows in terms of the most translated
languages. And in fact, most of the top ten most-translated
languages have remained pretty much the same. The main
exceptions in terms of growth (at least among the mosttranslated languages) have been Swedish (rising from 39 in
2008-10, to 70) and Chinese (rising from 35 in 2008-10, to 64).
The next decade
Although the data weve collected over the last decade represents
just a sliver of the history of literature in translation, the
Translation Database at Three Percent is a vital resource, providing
raw data for researchers or publishing professionals to spot trends
and make larger statements about international literature in our
time, and culture. And, it is now the only one of its sort in the
world, given the shutdown of UNESCOs Index Translationum.
Which leads to a question: what other uses and what other
kinds of data would be useful to see included in the database? For
example, what impact do translators have on whether or not a
book gets published in translation? Some languages tend to have
only a handful of professional translators, for example, which may
explain why some books never find their way into English.
In that same vein, what is the impact of genre on whether or not
a book is translated? Are publishers overlooking works of science
fiction, romance or horror with high sales potential in order to
focus solely onliteraryworks? And how do sales correlate with
publisher? With language or country of origin? What is the effect
of a bestselling work in translation on future publications, and
how long does it take for these impacts to show up? Some of these
suggestions would require coding new information into the
existing databasebut nothings impossible, especially if the
potential results would be interesting and/or beneficial.
If this sort of trend analysis excites you, please do get in
touch. As the databases 10-year anniversary approaches, I am
already looking forward to 20 yearsand a resource more
interactive, and vital than ever.
Chad W Post is the Publisher of Open Letter Books at the University of

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I N T E R N AT I O N A L M O N E TA R Y F U N D
Poland: lbF Market Focus 2017

While we extend a warm welcome to all our
publishing friends in Flanders and the
Netherlands here at Frankfurt, please allow me
to divert your gaze a little further to the eastto
Poland, which is Market Focus at the London
Book Fair (LBF) next year, writes Jacks Thomas.
This culturally rich country is both familiar
and unknown. While Polksi sklep (Polish
shop) may be a familiar sight on many UK
high streetsand the Polish diaspora a familiar
part of society across Europein the UK our
knowledge of the country itself, and especially Jacks Thomas
its writers, remains limited. Beyond a few
household names like Joseph Conrad and Czeslaw Milosz,
people might struggle to name five Polish authors.
All of which means, of course, that the need for Poland to
be Market Focus at LBF is greater than ever. Polish publishers
recognise that the LBF is the gateway to the English market and
they want more exposure for Polish writers around the world;
international publishers want the opportunity to hear new
voices, even more so when the Polish diaspora grows all the time.
This will be our 13th year of running the Market Focus
initiative, the aim of which remains boosting knowledge of
publishing in other countries and facilitating

the flow of books and ideas in an
increasingly global industry.
The Polish book industry is fascinating.
Operating in a free market economy since
1989, Poland sells around 106m books a year,
and while almost 50% of book purchases are
still made in bricks-and-mortar bookshops,
its ebook market, which was valued at 10m
in 2014, grew substantially by 16.5% on the
previous year.
Foreign literature occupies a market share of
20.5%, making the country of great interest to
foreign publishers. A debate is currently underway concerning
the introduction of a fixed price system in order to protect
bookshops and introduce stability into the market; and there
are familiar concerns over levels of book readership given the
temptations and distractions of todays electronic devices.
While in Poland in the summer, I was lucky enough to be
introduced to some of the great initiatives underway to get
people reading ebooks, as well as experiencing some of the
nicest bricks-and-mortar bookshops I have seen. Working with
our partners at the British Council and the Polish Book Institute, I
know that the programme of cultural events running alongside
next years Market Focus will be specjalny (special). Publishers
will have the opportunity to meet and hear from a wide range
of contemporary Polish writers who will be coming to London
and taking part in events both in the capital and further afield.
Professional programme
The professional programme, organised by LBF and the

Publishers Association, will provide an essential insight into
the Polish publishing industry and highlight mutual business
opportunities. It will also show the Polish markets importance
in the wider context of international publishing.
After Frankfurt I am very much looking forward to joining
the fact-finding trip to the Conrad Festival in Krakw, which
leads into the Krakw Book Festival, itself celebrating its 20th
anniversary. The trip is organised by the British Council and
will include booksellers, publishers, agents and festival
directors; it will prove invaluable in the planning and
evolution of the 2017 LBF Market Focus programme.
The Conrad Festival will play host this year to Man Booker
winners Eleanor Catton and Richard Flanagan, as well as
Michael Cunningham from the US and Michael Faber from
the UK, among othersmore than demonstrating its status
on the world stage. I am also looking forward to The Book
Industries, a series of talks and discussions involving critics,
editors, publishers and booksellers to be held in the wonderfully
named bookstore De Revolutionibus in Krakw.
Meanwhile, the LBF Market Focus Poland bus itself is getting
ready to leavewe look forward to welcoming you on board.
Jacks Thomas is Director of the London Book Fair, which next takes place
14-16 March 2017, in Olympia, London.
20
FILM
BOOKS
AUDIO
cinestate.com | @cinestatement
challenges and opportunities post brexit

There is an enormous amount to be
optimistic about in UK publishing, writes
Stephen Lotinga. The sector continues to go
from strength to strength, but there are of
course challenges in sustaining that. One of
the major concerns at the moment, held in
common with many other UK businesses,
comes from the continuing uncertainty
about what the recent Brexit vote will
actually mean for our members, and
relations with the rest of the world.
Stephen Lotinga
Government ministers are leaving British
business in no doubt that Brexit will mean
Brexit, even if there are financial consequences. However,
getting clarity as to what that actually means beyond
rhetoric is difficult so early on.
During the EU Referendum Campaign many people
predicted that if the UK voted to exit the EU there would
be enormous damage done to the UK economy. The
commonly held belief was that such a shock to a fragile
recovery could lead to an immediate recession, and that
consumer spending and book sales would take a hit. Those
predictions have thankfully not come to pass and it would
appear that UK consumers are, in the short term at least,
more bullish in their shopping habits than many predicted.
What is in absolutely no doubt is that the British public
voted on 23rd June to leave the EU and that therefore the
UKs relations with the rest of the world will change.
Whether people agree individually or not with the result of
the vote is rather a moot point. The vote has happened, and
we must now make sure that we shape and make a success
of whatever comes next.
Still optimistic
For the Publishers Association (PA) our immediate priority

has been to try and ensure that trading conditions remain
favourable for our members. In practical terms that means
trying to ensure there are no immediate threats to
individual businesses from either loss of investment or
public funding. Having surveyed our membership, we
know that many are still optimistic about the future and
more than 70% remain confident enough to continue with
their investment plans as before.
Our next priority has been to make the case as to why
the UKs hard fought-for strong copyright framework
should remain intact. We need policy makers to understand
the damage that would be caused if they listened to the
siren calls of certain tech companies, who claim that a new
UK economy can blossom through fundamental changes to
our laws. We are clear that what they really offer is a barely
concealed attempt to profiteer from the endeavour and
intellectual property of others.
A further, and related, issue for UK publishing comes
from our ongoing concern about the lack of consumer
22
choice in the book market, particularly

when it comes to ebooks. When we have one
dominant player accounting for more than
90% of domestic sales it is hard to imagine
how that does not affect choice and
innovation, and prevent new entrants
coming into the market. The European
Commission has of course opened a formal
investigation into certain business practices
by Amazon and weve been assured that this
will continue despite the Referendum vote.
We await progress on this matter, but if that
is not forthcoming before we leave then we
will have to look at using the UKs regulatory authorities to
resolve this. Whether our domestic authorities will match
the EUs willingness to grapple with such thorny
competition issues is yet to be seen.
The UK now has around two years to work out what
type of country it wants to be in the longer term. The
Referendum vote was held on our membership of the EU,
but for some it would seem it was also an opportunity to
express a deeper dissatisfaction with immigration and a
sense of being left behind by globalisation. If there is an
existential threat to publishing from Brexit then this is
where it lies as politicians react to demands for a more
closed country. In their eagerness to be seen to respond,
there is a danger that they restrict access to the talent we
need in our businesses, limit the students who fund our
universities and put off the investors who help us grow. All
of these are vital to the publishing industry.
Variety and diversity
We must respond by being clear that one of the main

reasons the UKs creative industries thrive is because of
the type of country we are. The English language may
have been one of our greatest exports many years ago, but
it is the variety and diversity of those who have come to
our country which continue to invigorate and sustain us.
If the culture of openness we so often take for granted
changes dramatically then I have no doubt there would be
an impact on publishings capacity to create, to educate
and to inform.
While there are of course challenges to any dramatic
political shift, there will equally be opportunities that
arise from the new freedoms the UK will enjoy. It is
inevitable that when agreeing rules and practices with 27
other nation states that compromises for the common
benefit must be made. UK publishing has an opportunity
to remind people why we have some of the best, most
creative and innovative publishing businesses anywhere in
the world. We must then make the case as to why certain
measures such as tax relief or export support can make us
even more successful in the future.
Stephen Lotinga is Chief Executive of the Publishers Association.
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widening publishing horizons

So, Brexit.After the UKs decision was announced
on 24th June, the literary community entered a
period of hand-wringing, writes Erica Jarnes.
What were we going to do in this horrible new
future, where there would (might) be less trade
with European houses, where there would
(might) be fewer EU subsidies and grants
available, where we would (might) need visas
to attend Frankfurt Buchmesse?
There has been a lot of uncertainty around,
but two things seem clear: where there is love in
Erica Jarnes
the UK for Europefrom Ferrante Fever to the
current craze for hyggethe love will remain and
continue to grow; and where the love is absent, it has been absent
for a while. The UK is a sadly divided country when it comes to
attitudes to the outside world; I think the Brexit vote has revealed
this more than it has anything about the workings of the EU. I
hope the UKs experience of the past few months will shake
everyone up in this regard and get us actually talking to each other.
The Brexiteers told usbefore trying to run awaythat this is
a golden opportunity to look beyond Europe. There is a whole
world out there to do business with! I can certainly agree with
them on this point when it comes to translated literature. UK
publishing in translation is heavily weighted

towards European books and authors, which is
not surprising given that this is an industry
built on relationships, and it is easier to form
relationships with editorial and rights
counterparts who are nearby than those who
are far away.
Beyond Europe
The few non-European translated writers who

have broken out in the UK make a
disproportionately large splash precisely because
they are so unusual on the scene. Im thinking of
South Korean Man Booker International Prize-winner Han Kang,
Colombias IMPAC winner Juan Gabriel Vsquez and Kenyan
heavyweight Ngugi wa Thiongoincidentally all winners of
English PEN translation awards.Asian and African writers are still
seen as niche in the UK, despite the large numbers of British bookbuyers of Asian and African heritage, not to mention the incredibly
rich literary wealth of countries such as Pakistan, Algeria and
Senegal, which everyone should have access to.
As usual independent publishers are leading the way and
there are a number who proudly emphasise non-European
Everything you think you know is wrong ...
9781849944021
Feb 17 / HB 9.99
9781849944298
Sept 17 / HB 9.99
9781849944304
Feb 18 / HB 9.99
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Find Pavilion Books in Hall 6.1 B50

www.pavilionbooks.com
Rights: rights@pavilionbooks.com, UK trade sales: Independent Alliance, gasales@faber.co.uk, all other sales: sales@pavilionbooks.com
Pavilion Books is distributed by HarperCollins Distribution, uk.orders@harpercollins.co.uk, international.orders@harpercollins.co.uk
An imprint of Pavilion Books
talentamong them Saqi/Telegram, Comma Press, Peepal Tree,

Cassava Republic, Jacaranda Books, HopeRoad and the
recently established Tilted Axis Press, set up by Han Kangs
translator Deborah Smith. Perhaps Brexit can be an invitation
to the big players to follow suit.
PEN Presents
In September English PEN launched the latest round of its

PEN Presents initiative, which goes to a new region each
year to find hot new titles for UK publishers to acquire. Last
year the focus was on Europe; this year it is on East and Southeast Asia. The way it works is this: literary translators are
invited to submit an author whose work they want to translate
into English and develop for publication; the top six books will
be presented in a dedicated catalogue at the 2017 London
Book Fair, as an exciting list that UK publishers should take
seriously. The books (and the translators) will also be featured
in the prestigious Asia Literary Review magazine and
showcased at a live event in London in June 2017. All six
selected translators will also win a small prize. The deadline is
Monday 5 December, so please help to spread the word!
At the time of writing, three of the six titles selected for PEN
Presents... Europe are under discussion with UK publishers. The
hope is that PEN Presents... East and South-east Asia will bring
to light contemporary writers in Asiabeyond Europe, beyond
Murakami, beyond Han Kangwhom UK publishers will
welcome onto their lists and whom UK readers will grow to love
in years to come. The initiative also aims to foreground the
efforts of translators as direct champions for international
literature. We need this dedicated and curious cohort now more
than ever, and I think we should recognise them at every turn.
By the time you read this I will have made my own exitI am
moving on from PEN to be Managing Director of the Poetry
Translation Centre (PTC), a nimble and brilliant organisation
that translates poems from Asia, Africa and Latin America into
English. The PTCs Founder and Artistic Director Sarah Maguire
says that translation is the life-blood of poetryand I would
extend this to literature in general. Not only does it open readers
eyes to new stories and perspectives, it actually enriches the way
we (readers and writers both) look at our own literature, and
even language itself. If we approach the worldand the world of
foreign rightswith this mindset, how can we fail to be excited by
what lies over the horizon, however Brexit unfolds?
Erica Jarnes is the Managing Director of the Poetry Translation Centre.

She previously worked as the Writers in Translation Programme Manager
for the literary organisation English PEN.
www.ditechps.com
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25
books and reading in the digital age

No, the printed word is not deadin fact,
confirms the latest research from the Pew
Research Center, print books are showing
surprising staying power. But reading still
faces stiff challenges from other electronic
media, and beyond format changes, the
internet has forever changed the way people
connect not only to books, but to each other.
Andrew Richard Albanese caught up with
Pew Executive Director Lee Rainie to talk
about Pews latest survey on peoples book
reading habits, and the future of reading.
Lee Rainie
AA: I was a little surprised that the media coverage of
your latest report focused so much on the finding that print

books are still hanging on. Was that a major take-away that
you saw here?
LR: Yes, and we stressed it in our write-ups of the
findings, in part because it continues to surprise people
that printed books have life, which maybe cuts against the
conventional wisdom that the printed book is, you know,
struggling.
AA: What surprised me most is that we have a boom in
ebooks going on, with self-published authors coming into

the market, and yet the average number of books read isnt
rising, a trend that runs counter to what we see with other
media. Do you get any sense that publishers may be missing
an opportunity by not pushing more aggressively into
digital books?
LR: Im not sure about missed opportunities. The fact of
the matter is that theres a large market for books in this
country, at least in the sense of people still reading them at
minimal levels, and there are a lot of people who read lots
of books. And it strikes me that the publishing industry is
innovatingthe number of genres, formats, and in more
ways in which they are marketing and finding pathways to
readers. You know, theyre working at it.
AA: But as the number of ebooks being published has
exploded, and people can now take libraries around in

their pockets, wouldnt you expect the data to show an
increase in the average number of books read with all of
this innovation going on?
LR: Yes, when supply increases, you would think that that
would affect demand. But of course, this is not taking place
in a static universe. The number of other claimants on
peoples time and attention is also growing, and book
publishers are not just competing against each other,
theyre competing with a host of other enterprises that are
making pretty compelling pitches to people for their time.
With so many ways people can allocate their time now, I
think the surprising thing for us is that books are holding
their own.
26
AA: You started looking at peoples reading

habits in 2011, and a lot has changed since
then. Has the survey evolved too?
LR: Well, we did a quite extensive survey
about the state of reading when we began
this work in 2011. In 2011, benchmarking
was an important thing to do because
ebooks were coming of age, and we had just
gotten a grant from the Bill and Melinda
Gates Foundation to do research that they
hoped would be useful to librarians trying to
figure out their futures. So we believed that
getting a big, rich, broad fix on the state of
reading and the state of books in 2011 was a logical
starting point for this work.
In subsequent surveys, we havent gone into that much
detail, in part because our sense is that peoples book
reading habits are not changing dramatically year-to-year.
Its not like their political views, where measuring it with a
lot of regularity makes sense because people change as
circumstances change. In book reading, year-to-year, theres
not that much change.
One of the things that has changed, however, is the device
people are reading on. There is a big uptick in people using
tablets and phones, and not so much dedicated ebook
readers. So, you have people who are on the move, people
who have commutes, and things like that, and are taking
along a device thats makes books accessible to them in
circumstances that arent classic book-reading
circumstances. So now, books can be omnipresent in
peoples lives, if they want them to be. And our data are
very clear that there is a class of Americans who just cant
get enough books, and if they cant be with the format they
love, they love the format theyre with.
AA: How might you change or augment for future surveys?
LR: It would be fun to do genre-specific queries. I think
people want to know much more about whats going on
with romance novels, or with colouring books, science
fiction or biographies.
The other thing that I think will show up in our work in
years to come is how traditionally book-centred stuff
changes with the rise of virtual reality and augmented
reality. If you look at the folks who think smartly about the
future of books, theyve been predicting this for a while.
Some publishing houses have given it a little bit of a try. It
hasnt really become enormously compelling yet, but that
moment is in our future is my guess. Today people can
access factoids, or real-time information, like how to get to
somewhere. But also, they can be transported to a much
richer world of the imagination. So trying to watch for that
and capture the moment when it sort of reaches its tipping
point would be something that would be important for us
to do.
AA: In 2012, Pew pointed out that ebook
It continues to
surprise people
that printed
books have life,
which cuts
against the
conventional
wisdom that
the printed
book is
struggling.
readers are a breed apartthey read double the

number of books as print readers, on average.
They read more for pleasure, and for research.
And they buy more books. But as the market
has changed in recent yearsthe major
publishers have raised prices, for example
ebook sales have declined. Do your data suggest
that ebook readership has also stalled?
LR: The word weve used is plateau. Stalled
isnt quite right. The growth rate has declined,
which is not the same as, you know, measuring
ebook consumption through sales statistics.
But our data show that the number of
people who are reading ebooks has slowed
down just in the last five years. But, again,
thats an interesting part of this story,
because, remember back to 2008-20092010, predictions of the death of printed books were fairly
abundant, and there was this palpable sense that the disruption
was going to be abrupt and complete, and that ebooks would
essentially take over the world. That hasnt happened.
AA: But, if ebook readers are such power readers, as
your 2012 data suggested, isnt this ebook plateau a

problem for publishers?
LR: So, there are a lot of reasons why books have staying
power. And one of the things we hear when we talk to
consumers about print books is that print is a fabulous
technology. Ink on a page is amazingly portable, longlasting, sharable. Print is still amazingly attractive to
people. And, my general sense is that readers are happy
with their pathways to books.
Now, speaking to your earlier notionthat we have this
explosion of supply now in an ebook ageebooks are only
one of any number of disruptions that have occurred in the
book world over the past generation. But if you look at
Gallup numbers, they suggest that the number of book
readers overall and the number of books read overall really
hasnt changed all that much. The number of book readers
has shrunk a bit, and the number of non-book-readers has
grown a bit. Thats there, and its meaningful, but its not
hugely striking. Overall, the story is that through this boom
in the supply side of the story, the demand side has been
relatively stable.
AA: Beyond your work with Pew, you co-authored a
fascinating book called Networked, and I wanted to ask

you about that book, because we seem to talk about digital
in publishing most often as it relates to the format of
ebooks. But the internet has more fundamentally changed
the world for books, hasnt it?
LR: Yeah, so, in the book, our grand argument is that the
basic atomic unit of social life in the modern age is
different from the basic unit of social life of

days gone by. People today are now living
more in loose, far-flung networks, and these
looser networks are a different kind of social
phenomenon than the tight-knit groups of
the past. People today have a lot more
relationshipsand strands of relationships
than their ancestors did. Today you can be
part of a fan group thats global for a
particular author, or genre, and it doesnt
matter whether you find like-minded folks
in your local community. You can share
what you know with all of those other fans,
wherever they are. And thats a big change in
human experience.
Also, theres this fluidity of connection
and contact with relevant things today that
is distinct from the past, where people didnt
have the capacity to pick their friends; in the past, your
friends came with whoever lived next door. Today you can
join groups, and move away from groups at various times,
and reignite relationships at times when youre reminded of
them, or when you feel like you have a need. Now, people
will wring their hands and say isnt it awful that people
today have these tangential, unimportant strands of
relationships? But the other side of that story is that it is
really efficient to deal with your relationships today. You
dont have to remember them all the time, but every once in
a while, when you express a need on Facebook or Twitter,
for example, you get feedback, and learn a greater diversity
of things than you ever could get by just saying something
over a bar stool at the local tavern.
AA: That feedback loop is key, I believe. Where the
internet was once viewed by some as infinite shelf space,

understanding and tapping these new networks offers a
huge opportunity for publishers, does it not?
LR: There are two ways off the top of my head that I can
think of that book publishers might sort of expand their
notion of what this networked reality means for them. At
the first level, every product can be a communityso if you
find an audience for a piece of work, an author, a genre,
whatever, youve got a built-in fan base and a fan base that
you can much more readily identify now than in the past,
and once you know who they are and what they want, you
can better meet their needs.
The second thing is that in this world where people have
to work to learn things and to have their needs met, books
and the knowledge that comes with bookscan be really
important nodes in peoples networks. You know, people as
they try to navigate this ever more complicated world,
publishers and librarians serve themselves well by thinking
like a friend, by thinking like: Im a really smart part of
your network. Heres how I can serve you.
27
childrens engagement with books

In both the UK and the US Nielsen Book Research has, for the
past five years, been examining the book reading and buying
habits of children and teens in the context of their wider
leisure activities, writes Jo Henry. These regular studies
examine the role that books play in childrens lives and
look at how they are faring against other leisure activities,
digital and physical, that are increasingly available.
In the UK study in 2015 it was revealed that nearly twothirds of 0-17s read (or were read to) for pleasure on a
weekly basis, with two in five doing so daily, and nearly all
doing so at least sometimes. However, the proportion of
0-17s reading weekly had fallen by 1% point in 2015 vs
2014, and was 7% points lower than in 2012. The decrease
was seen among girls as well as boys, and was most marked
among 3-10s, dropping fastest for boys aged 8-10.
For the first time in 2016 the annual US survey also
looked at the proportion of children reading (or being read
to) for pleasure. Just over half of those aged 0-12 were doing
so on a daily basis, compared to only one in five teens, but
this rose to an encouraging 82% of children reading on a
weekly basis and nearly half of all teens. In fact, on a weekly
basis reading was the third most popular activity for 0-12
year olds (with watching TV at number one). For teens,
reading as a leisure activity was in 11th place, well behind
such activities as social networking, watching YouTube,
watching TV, playing games on smartphones/tablets and
playing games online or on a console.
Digital Reading
Despite the ubiquity of digital reading devices (more than 80%

of American children have access to a smartphone and/or
computer in their household, and more than half have access to
a tablet device), only around one in five 0-17 year olds in the US
are currently using smartphones for e-reading, with a third of
0-12s and two in five teens e-reading on tablets. The UK saw
similar levels of e-reading in 2015, with 14% of 0-17s using a
smartphone and 31% using a tabletdespite much higher
proportions having tablet access in the UK than in the US.
But ebooks still account for very small proportions of

purchases of childrens books in both the UK and the US
according to Books & Consumers: currently 11% in the
US, and around 5% in the UK (though double that for YA
purchases alone). And while in the UK the number of
children who say that they have ever read a digital book is
rising slowly, the proportion who say they have or are
interested to do so has remained steady at just over 60%
since the first childrens survey five years ago.
A clue as to what might encourage not just digital, but
all types of reading, comes from the most recent US
survey, which asked parentsand teenswhat factors
would help. While 5% of parents said that there is
nothing that will encourage their child to read more,
nearly three in five said that the parent reading with the
child would help. Finding more interesting books and
having a bedtime reading routine were also popular
choices, with a website showing books by age and interest
deemed the most helpful aid for parents to find more
interesting books for their child to read.
Encouraging reading
Teens are also looking for more interesting booksand

video game/app integrated books were seen by boys of all
ages as the most likely thing that would encourage them to
read more than they did.
These regular in-depth studies will continue to monitor
childrens engagement with books, supplementing the
measurement of the childrens book market provided by
Nielsen Books tracking services. The latest US childrens
survey results will be fully revealed and discussed at Nielsen
Childrens Book Summit in New York on 23 October
(www.nielsen.com/kidsbooks) and a report on the 2016 UK
Childrens survey will be available in early November.
For further details please contact Jo Henry, VP Insights & Analytics,

Nielsen Book Research: jo.henry@nielsen.com. She will be speaking on
how childrens use of media has changed at 9.30am on Friday on the
Childrens Stage K139, Hall 3.0.
28
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The bestseller formulasolved?

Michael bhaskar explains why fiction editors are safe for the moment
Heres a prediction: by the end of the year
most commissioning editors in fiction will
have read a book called The Bestseller Code.
Why? Because its premise is simple and
powerful: to use sophisticated machine
learning techniques to process thousands of
books and, by doing so, uncover what makes
certain books sell more than others.
Written by a former Penguin staffer and a
pioneer in the field of computational literary
criticism, The Bestseller Code is nothing if
Michael Bhaskar
not ambitious. It shows an unexpected
application of digital technologynot at the
consumer end of our business, but right in the inner
sanctum: the acquisitions meeting. If anything was safe
from the predations of new technology surely it was
commissioning, that strange process: part alchemy, part
casino and part expertise, but always deeply human, built
on years and years of reading books, reports and reviews,
talking to writers, browsing bookshops.
Surely that is safe? Not if the authors Jodie Archer and
Matthew L Jockers have anything to say about it. Their
methodology is based on cutting-edge methods of analysis.
So sophisticated are these literary algorithms that, for
example, they might have revealed with confidence that
Robert Galbraith was in fact JK Rowling. By working with
large datasets, in this case more than 5,000 books, and
analysing them in detail, and then comparing the results
against sales data, the authors claim to have created a
model that can tell whether a book will bestsell with
80% certainty. If that claim is justified, its not difficult to
see the big Manhattan publishers beating down their door
holding large piles of cash.
Clear main topic
This algorithm is based on several planks. First, the authors

argue that having a clear main topic is important, and
moreover that the topic of human closeness is always
important. But you also need something else. Their model
selected (blind) Danielle Steel and John Grisham as the two
authors most likely to sell the most; both qualify on the
human closeness criterion, but both always have another
strong anchor tooin Grishams case, the law. Modern
settings are better than historical or fantastical, but place is
less important than might be supposed. Surprisingly,
Archer and Jockers say that sex does not sell; having made
this claim, they have to go to great lengths to explain the
success of Fifty Shades of Grey.
There is a clear preference for plots that seesaw back and
forth. The book considered most exemplary in this respect
is The Da Vinci Code, the plot of which, when graphed
between emotional highs and lows, resembles a wavethe
30
ideal plot form. Language should be simple

and directcontractions such as Im and
cant are a good sign. The verbs need
and want are key bestseller indicators.
Archer and Jockers have views on
everything from how to construct characters
to how to write dialogue and how much of a
book should have dialogue. Titles and
instances of the word the alike are
analysed and tabulated as part of the great
bestseller formula.
At the end of the book they list the 100
books their algorithm predicted to be
bestsellers. Its a strong list. But have they really cracked
the formula?
There has been a degree of scepticism. The New Yorker
argued that the book had just simply told editors what they
already knew. There is a degree of truth in this. For anyone
working in commercial and genre fiction, much if not most
of the book will be unsurprising. But the criticism is also
slightly unfair.
80% hit rate
First, even the most successful editors dont have an 80%

hit rate, although that perhaps says more about the
competitive market for the hottest manuscripts than the
tastes of editors. Second, whats so fascinating about the
book is not necessarily the conclusions, but the way in
which they were reached. Here is a new and different
grounding for thinking about which books to publish
and why. Beyond our prejudices and idiosyncrasies, it
offers an objective view of certain features of books
invisible to readers. We dont usually count instances of
the word the in books and then map them on to sales
to see if there are correlations worth pursuing for
evidence of a deeper connectionat least, no editor I
know has done this.
No, we arent going to fire editors. In fact the human
judgements of editors, aside from their project
management, commercial vision, packaging ability and
priceless author care, will, I believe, only become more and
more valuable in crowded markets. But that isnt to say
these machine learning techniques arent interesting or
valuable as a complement to editors skills. They offer
simple tactics for selling more copies. Hence my prediction
that most fiction editors will have read the book by the end
of the year. Heres another: that whether we like it or not, a
Rubicon has been crossed, and machines, for better or for
worse, have breached the editorial meeting.
Michael Bhaskar is Co-Founder of Canelo and author of Curation: The

Power of Selection in a World of Excess and The Content Machine. He is
on Twitter @michaelbhaskar.
Title & Rights Management System 24/7/365
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brazil: still the land of opp

Crisis equals opportunity,
says the old clich. And this
couldnt be truer, or more
clichd, in Brazil today,
writes Carlo Carrenho.
Indeed, the Latin American
giant is in the middle of a
crisis that has greatly
affected the book market.
According to the Brazilian
Publishers Union and the
Brazilian Book Chamber, the Carlo Carrenho
book market in Brazil
declined 12.6% in 2015, reaching US$ 1.325 billion in
publishers revenues. In 2014, the market had decreased
5.16%. And 2016 will probably bring even worse news.
The Brazilian market is deeply dependent on government
purchases, which traditionally represent about a quarter of
publishers sales. In 2015, the Brazilian Federal government
was responsible for 23.5% of the publishers sales; however,
most of these purchases were related to programmes
launched in 2014 or before, and the government has since
delayed programme launches, catalogue selections and even
payments. Thus, the consequences of reduced government
purchasing will likely hit the market hard in 2016.
The Federal government did change the composition of its
purchases last year. Basically, no trade books were acquired,
only textbooks. This has deeply affected some trade publishers
who, overall, suffered an 18.9% decrease in revenues in 2015.
So, where is the opportunity? Well, in the last years, several
foreign groups have landed in Brazil. Penguin Random House
now owns a 45% stake at Grupo Companhia das Letras. Last
year, HarperCollins merged local Harlequin and Thomas
Nelson in a new publishing group, and launched the imprint
HarperCollins Brasil. This was achieved through a joint venture
with Brazilian Ediouro, which owns 25% of the new company.
Spanish publisher Planeta and Portuguese LeYa are the
other large foreign groups present in the Brazilian trade
market. But we can expect more to come, as several
Brazilian publishing houses are surely looking for buyers or
merger possibilities to deal with their financial challenges.
The digital market
According to the Global eBook Report 2016, 2.57% of Brazilian

trade publishers revenues came from ebooks in 2015. In volume,
4.27% of trade copies sold were digital, and the digital market in
Brazil is estimated to be about US$ 8.9 million in 2015.
By the end of last year, however, Amazon had reportedly
captured a 60% market share in Brazil for ebooks published by
traditional publishers, followed by Apple with 15%, Saraiva
and Google with 10% each, and Kobo with 5%. In 2016,
Google has been growing and is probably vying for second
place with Apple, but Amazon is still the isolated leader by far.
These shares, however, do not show the true reality, since they
32
ortunity
do not include Kindle Direct Publishing (KDP) numbersand
self-publishing, at least for Amazon, is growing in Brazil.
Of course, Amazon does not release any numbers, but
Livrarias Saraiva, the largest bookseller chain in the country,
does. In their 2015 report, they pointed out that the digital selfpublishing platform Publique-se grew from 4,800 to 8,800 titles
in 2015, with little advertisement or effort from the bookseller.
Meanwhile, Amazon has been growing its Brazilian KDP
through events for writers, and also participating in book
fairs. Last September, Amazon announced a literary contest
in partnership with publisher Nova Fronteira. The winner
will receive US$ 6,000 and have their book published in
print as well. To participate, however, writers must publish
their work in the KDP platform and opt for Kindle Select,
thus giving Amazon exclusivity.
Thus, if Saraiva published 330 additional titles per
month last year without any promotion, how many is
Amazon publishing today? Market guesstimates suggest
about 1,500 titles per month, which shows the potential of
the self-publishing market in Brazil. The largest global selfpublishing companies have ignored Brazil until now, so
here is yet another opportunity for foreign companies.
Print on demand
There is another challenge, however: the lack of POD in Brazil.

In Brazil, the concept of one-to-one printing is relatively new
and very few printers take such orders, which means extremely
high costs, and makes it impossible for a publisher to print just
one book and sell it through the traditional book chain. A few
POD-based distributors have showed up in the past few years,
but so far no one has established a state-of-the-art, one-to-one
POD operation, such as the ones managed by Ingram and
Amazon in the US, or Books on Demand in Germany.
But the demand for such services is growing. After all, Amazon
wants a print solution for its KDP self-published authors and
imported books; local publishers have understood the
advantages of a stockless POD operation; and foreign publishers
such as Springer and distributors like Ingram have been looking
for local partners to distribute their POD content for a few years
now. Again, this opens huge opportunities for foreign companies
that could provide content, technology or even machinery.
Of course, Barzils economic and political instability is
always a factor to consider. However, Brazilian history shows
that the country is used to its rollercoaster politicsgoing up
and down, from being a star country with the most promising
economy and democracy, to having a fragile political situation
and recessive economy. The new government, however, is
actively focused on bringing economic stability and growth
above anything else, so this might be the perfect moment to
invest in Brazil, and finally making that old clich about crisis
and opportunity a Brazilian reality.
SPICE GIRLS MEETS

T H E P I R AT E S O F C A R I B B E A N .
T E E N A N D YA S E R I E S S O L D
A L R E A DY T O 8 L A N G UA G E S
A N D Q U I C K LY G A I N I N G
FA N S G L O B A L LY.
Buy your rights from
Elina Ahlback Literary Agency at
HALL 6.3. LITAG

at 31 L & 32 L or
info@ahlbackagency.com
Carlo Carrenho is a Brazilian publishing consultant and the Founder of

PublishNews. He is also the Ambassador in Brazil for Bookshare and a
graduate from the Radcliffe Publishing Course.
ALL ABOUT STORIES
come out and cosplay at Frankfurt book Fair

Wondering where all the readers have
with Germanys largest non-profit
gone? It turns out they might have been
organisation for animanga fans,
under our noses all along, writes Jasmin
Animexx e.V., created the German
Kirkbride. Even though publishers
Cosplay Championship (DCM:
from across the world gather to discuss
Deutsche Cosplaymeisterschaft). This
business at Frankfurt Book Fair, many
competition now sits alongside the
of us forget in the frenzy, that its just
German World Cosplay Summit (WCS)
as much for the general public as it is
as one of the largest cosplay contests in
for trade. Last year, weekend visitors
Germany, with six preliminary regional
were up by 4% compared to 2014
rounds throughout the year before
The finale of the 2015 Cosplay Championships
and the rise looks set to continue.
the finals at the Fair itself.
One of the biggest draws for the public is the finale of the
In 2015, a whopping 5,000 enthusiasts graced the Congress
German Cosplay Championships, which takes place on the
Centers designated Cosplay Corner, brightening and delighting
Sunday of the Fair and this year celebrates its 10th anniversary. the Fair with their get ups.At the Book Fair the Cosplayers are
A mix of the words costume and play, cosplay is a hobby
mainly in the Congress Center, but they also wander around the
where fans dress up as a favourite fictional character. Originally
exhibition halls where they behave like all the other visitors,
starting in America under the name costuming, cosplay really
says Peter Diemer, who is in charge of the Fairs cosplay events.
took off in Japans manga and anime scene during the late 1990s,
and has since become a global phenomenon. In Germany,
Getting creative
cosplay is particularly popular, holding a place at book fairs such
Though the quality of costumes varies hugely across the scene
as Leipzig and Frankfurt in a way that it doesnt in the UK.
as a whole, cosplayers can spend an enormous amount of time
Cosplay has been a feature at Frankfurt since 2002, and grew
and money getting their outfit just right. Some cosplayers go
in popularity so fast that in the late 2000s the Fair, in partnership
in for detailed, accurate depictions of their characters, while
others get more out of putting a unique spin on their outfit,
and its not unusual for characters to be gender flipped.
While participants can buy costumes, cosplayers often
pride themselves on creating their own, and this is
particularly the case at Frankfurt. Unlike the WCS, which
allows store-bought costumes, DCM requires costumes to
be homemade. The rules are strict and applicants have to
Pari Spolter
submit photographic evidence of the making process to
enter, whether that involves sewing, soldering or glue guns.
The Dance of the Moon
True fans
http://parispolter.com/the-dance-of-themoon/
Available at Amazon.com, Baker and
Taylor, IngramSpark
See review by Dr. Thomas E. Phipps, Jr.
in PHYSICS ESSAYS, Volume 28
Number 2 June 2015 page 290.
What binds all cosplayers is their love of characters and

stories. Cosplay engages fandoms across genresand its a
craze thats evolved all on its own. Cosplay is a phenomenon
of youth culture around the world, says Diemer. It has
spread worldwide without any special promotion and its the
fans very own culture here at the Fair, all created by the
cosplayers. No industry in Germany or in Europe in the last
10 years has had a vested interest in promoting Cosplay, it just
was born from the fans own love for Manga and costumes.
The cosplayers who come to the Fair are massive book
enthusiasts, and its no mistake that the DCM finale coincides
with the one day of the Fair that publishers are allowed to
sell books. Diemer says that while cosplayers are obviously
mainly interested in Japanese Manga publishing companies,
they also love German comic publishers. Theres no doubt
that it provides a unique moment to interact with readers
and fans when theyre at their most enthusiastic. Genre
publishers, its time to get your costumes on!
The German Cosplay Championship finale will be held in the Harmonie

Hall of the Congress Center at 2pm on Sunday 23 October 2016.
34
December 7, 2016
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FROM 118 COUNTRIES
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a netful of red herrings

Crime fiction from countries such as Denmark, Norway
and Sweden have made their mark in the US market,
writes Lenny Picker. Could crime novels from Flanders
and the Netherlands, this years Frankfurt Guest of
Honour, be next?
It is entirely possible, as a slew of Dutch works in the
genre are making some noise in the American market. And
for American readers, who use fictional bloodshed as a
gateway into another society and
culture, increased access to what is
unique about Flanders and the
Netherlands via their native writers
will be as welcome as a red herring
on their plate.
Ironically, the historically bestknown Dutch crime novels in
America, Robert van Guliks Judge
Dee whodunits (some of which
were recently reprinted by the
University of Chicago Press), were written
in English, and were set long ago and far away from his
native land, in seventh-century China. But the obscurity
of Dutch mysteries may soon become a thing of the past.
In April, Tor introduced American readers to Thomas
Olde Heuevelt, whose horrific thriller Hex has been
optioned for TV by Warner Brothers. And last month,
Crown published Herman Kochs Dear Mr. M, the Dutch
authors third novel translated into English. The title
character is a celebrated writer, best-known for penning a
suspense novel himself based upon a real-life
disappearance. PWs review observed that Koch keeps
the reader pleasantly off balance, and that: His
sardonic sense of humour and dark perspective on human
failings give the novel a greater, more satisfying depth
than the usual thriller.
In October, Morrow will release the paperback edition
of Marion Pauws Girl in the Dark. Heuevelt, Koch and
Pauw will soon have companythe independent publisher
World Editions is planning to introduce two of the best
Dutch genre writers to American audiences in 2017:
Charles den Tex and Bram Dehouck.
Mysterious beginnings
Experts differ as to what should be

considered the first Dutch crime novel.
Charles den Tex suggests 1889s The
Black Box Murder, by Maarten
Maartens, which, like Van Guliks work,
was originally written in English.
But Maartens book, like the work of
many of the earliest mystery writers in
Flanders and the Netherlands, largely
imitated foreign authorsfor example,
Jacob van Schievichaven, under the
American
readers... use
fictional
bloodshed as a
gateway into
another society
and culture.
pseudonym of Ivans,
modelled his stories on
those of Sir Arthur Conan
Doyle. Rene Appel, whose
third novel, The Third
Person, won the Golden
Noose in 1990 (the prize for
the best Dutch crime novel),
considers the pioneer book
to be P Tesselhoff, Jrs The
Detectives Success.
Published in 1900, Appel concisely observes, it keeps to
the traditional parameters of crime fiction: a corpse, a
detective, a few suspects and finally the solution.
Beginning in 1963, Appie Baantjeran Amsterdam
police officerwrote 70 novels featuring Inspector
DeCock. Baantjer was immensely popular. Baantjer often
published two books a year, and many people in the
Netherlands bought only two books a
year, Appel says. Both of them by
Baantjer. Despite that local appeal,
however, efforts to bring the series to
a wider audience floundered.
But, in the 1970s, 1980s and
1990s, American audiences were
introduced to Adjutant-Detective
Henk Grijpstra and DetectiveSergeant Rinus de Gier, two
eccentric plain-clothes members
of the Amsterdam Municipal
Polices Murder Brigade, who appeared in 14
novels by Janwillem van de Wetering, including 1978s
The Blond Baboon, as well as in short stories in Ellery
Queens Mystery Magazine, and Alfred Hitchcocks
Mystery Magazine. Van de Weterings work was inspired
both by Van Guliks Judge Dee novels, which he read after
spending some time in a monastery, as well as his own
service as a reserve constable in Amsterdamworks that
are still available from Soho Crime.
Tomas Ross, the alias of Willem Hogendoorn, who still
awaits English translation, broke onto the Dutch scene in
the 1980s, with the first of more than 30 books that made
use of cause clbres, such as the assassination of rightwing politician Pim Fortuyn; and a corruption scandal
involving Prince Berhard (the late husband of Queen
Juliana), KLM and Lockheed. Ross shift towards realism,
and away from the puzzle mystery, helped to burnish the
image of the genre in a country, like so many others,
where writing thrillers or crime-themed stories was
looked down upon by some of the intelligentsia.
Bitter Lemon Press brought Dutch mega bestseller
Saskia Noort to American audiences with 2007s The
Dinner Club and 2009s Back to the Coast, and also
Continues on page 38 g
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38
f Continued from page 37

published the leading
Flemish author of crime
fiction, Jef Geeraerts.
Geeraerts garnered a cult
following in Flanders and
the Netherlands, with
fiction based on his decades
working as a colonial
administrator in the Belgian
Congo. He was equally
successful with crime
fiction, however, and was
the first-ever recipient of the
Golden Noose award.
On the rise
The Dutch...
are fiercely
individualistic
and remarkably
no-nonsense...
All those traits
are to be found
in Dutch crime
fiction.
Today, every subgenre is represented by gifted authors,

and the current publishing scene is a far cry from the
1960s, when sales were dominated by Anglo-American
authors. Sander Verheijen, Chief Editor of Hebban.nl,
the Dutch analogue to the website Goodreads, estimates
that between 300 and 400 new Dutch
crime novels are now being published
annually, with 20-30 new authors
debuting a year.
Charles den Texs Bellicher
corporate thriller trilogy features a
management consultant as its lead,
and plots revolving around
developing technologies, and
current threats, such as identity
theft, and the use of bots and
botnets to defraud companies and conceal
large-scale drug trafficking. Appel is known for his novels
of subtle psychological suspense, reminiscent of the best
works of Patricia Highsmith and Ruth Rendell.
Given the growing number of gifted Dutch authors
producing crime stories, its no surprise that Akashic
Books Susannah Lawrence reports that her publishing
house is in the initial stages of adding Amsterdam Noir to
its acclaimed series of regional short stories.
But the question remains: what makes Dutch crime
fiction Dutch? While there are obvious universal themes
in any books that deal with the dark side
of humanity, den Tex believes that as a
whole, Dutch crime fiction is less sombre
than say, Scandinavian crime fiction. And
he points to the irony that while his
country is highly regulated, the Dutch
are notoriously bad at abiding by the
law. They are fiercely individualistic
and remarkably no-nonsense, he says.
All those traits are to be found in
Dutch crime fiction.
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Thursday 20 OcTOber 2016

visit pW and BookBrunch at HALL 6.0, StAnd d42

Fairgoers solidarity with Turkish writers

effectively ended freedom of

Charkin: IPA supportive

earlier this month, and

Charkin also defended last

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Thursday 20 OcTOber 2016