Frankfurt
FRIDAY 13 OCTOBER 2017
Catalonia independence vote rattles publishers
Its only in the last two years
that Spains publishing
industry has returned to
growth after five years of
enduring a massive financial
crisis that saw book sales drop
by 40%, writes Ed Nawotka.
Now the 1 October vote on
Catalonian independence
has left many publishers
wondering what will be the
potential impact on the
Spanish-language industry.
Some reports have already
indicated an impact on
book sales, with booksellers
enduring a 20% plunge in
sales since the vote.
On Thursday, the Catalan
Publishers Association, which
represents 96 publishing
houses, read a statement
addressing the vote, and the
violence that followed, at their
stand at the Fair, noting its
outright rejection of any form
of violence and, furthermore,
to declare its trust in the
strength of the word as the sole
tool for resolving conflicts.
Concern that Canadian copyright
disaster could spread
The 2012 Copyright
Modernization Act in
Canada has been a disaster
for Canadian educational
publishers. But concern
over the laws effects,
observers say, is not limited
to Canada.
The royalties that have
traditionally come from our
Barcelona is home to several
of the largest publishing
companies in the Spanish-
speaking world, including
Planeta, Penguin Random
House Grupo Editorial, and
Anagrama, as well as numerous
smaller, independent presses,
such as Blackie Books and
Malpaso. Numerous literary
agents who work with Spanish-
language authors, including
Agencia Literaria Carmen
Balcells, are in Barcelona.
Planeta, with several
thousand employees in the
city, has stated that should
Catalonia secede it will
transfer its legal dominion to
Madrid. PRH Grupo Editorial,
which employs 500 people
in Barcelona and a further
150 in Madrid, is being less
committal. Nothing has
officially changed, as yet,
said Patxi Beascoa,
commercial director of PRH
Grupo Editorial. It it does
change, and it impacts our
ability to do business, then we
Canadian sister organisations
have fallen like a stone
since the 2012 Copyright
Modernization Act,
acknowledged Copyright
Clearance Centers Michael
Healy, on a panel on
Thursday morning in the
Business Club. But,
extraordinarily, what has
VISIT PW AND BOOKBRUNCH AT HALL 6.0 STAND D42
Marina Espasa: cat-and-mouse
will discuss what is the best
plan of action.
Many feel that Planeta is
following the lead of other
large, commercial entities in
threatening a move as a
gesture to demonstrate
opposition to independence.
Right now, the companies
and the Catalonia and
Spanish governments are
playing cat-and-mouse with
each other, Marina Espasa,
author and director of the
UNESCO Office Barcelona
City of Literature, said.
The population is roughly
equally divided, half for and
become the norm in
Canada, he added, had
been an exemplar for
other governments around
the world. That example,
Healy said: when it comes
to educational use, copy as
much as you like, and to
hell with the creator.
Continues on page 3 g
half against, and theres no
real certainty of what will
happen next.
One vocal advocate for
Catalan independence has
been literary agent Anna
Soler-Pont, who employs a
half dozen agents at the
Pontas Agency in Barcelona.
She reflected, We live in a
global and digital world,
especially business-wise,
and in the end its not that
important where companies
are physically located For a
small independent company
like the Pontas Agency: we
dont foresee any threat.
INSIDE:
MEMOIRS RULE
BIG BOOKS OF
THE FAIR 3
TURKEY CALL
WRITERS PLEA
4
RIGHTS
ROUND-UP
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 FRIDAY 13 OCTOBER 2017
With no single big book, multiple memoirs steal the show
Escapism and connectionthis is what buyers at the
Frankfurt Book Fair are betting readers want. Descending
on Germany against the backdrop of a tumultuous and
disheartening news cycle, the tastemakers in the
publishing industry spent big on a handful of womens
fiction titles, and a bunch of memoirs. While the novels
will offer a classic dose of escapism, the memoirs, some
insiders mused, could deliver something readers may
crave even more in these divisive times: a sense of
connection with other people.
Before the show kicked off, seven-figure sums were
spent on memoirs by Adrienne Brodeur and Sara Seager,
as Show Daily reported on Wednesday. Brodeurs mother/
daughter memoir Wild Game (Houghton Mifflin
Harcourt; agent Brettne Bloom at the Book Group) reads
like a great novel, while Seagers The Smallest Lights in
the Universe (Crown; agent Mollie Glick at Creative
Artists), about an MIT professors life coping as a recently
widowed mother, explores the notion that our
understanding of the cosmos and our understanding of
love and loss are twin quests.
Memoirs of the celebrity flavour also dominated headlines
at the fair, where it was announced that books by Cher
(HarperCollins) and Roger Daltrey (Blink Publishing) were
in the works.
Another memoir drumming up buzz was Julie Yip-
Williams currently untitled book about her battle with
terminal cancer. The book was sold, for six figures, in a
North American rights deal with Andy Ward at Random
House. (Aevitas Creative Managements David Granger
handled the US sale; his agency confirmed that the book
also sold, in a six-figure pre-empt, to Transworld in the UK,
as well as to publishers in the Netherlands and Brazil.) The
book is being likened with When Breath Becomes Air
(which Ward also edited); Yip-Williams, diagnosed at 37
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 Executive Chairman: David Roche
Editors: Andrew Albanese, Nicholas Clee, Neill Denny
Reporters: Rachel Deahl, 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
FRANKFURT SHOW DAILY
and now 41, is not expected to live to see publication, in
autumn next year.
Also generating interest was a book by Esther Safran Foer
(mother to novelist Jonathan Safran Foer) called I Want You
To Know Were Still Here (Crown; agent Rafe Sagalyn at
Sagalyn/ICM). The post-Holocaust memoir follows Foers
trip to Ukraine to find out about a long-lost half-sister.
Canadian copyright
f Continued from page 1
Canadian publisher Glenn Rollans, president of the
Association of Canadian Publishers, explained how the law
had devastated Canadian publishers, noting that the
addition of education as a purpose for fair dealing in the
2012 legislation had meant that both the k-12 and higher
education sectors in Canada now claimed for free the same
practices for which they had previously paid licence fees.
And that, Rollans said, had blown a $50 million hole in
publishers revenues. Perhaps more alarming, he added,
was that the law had created a free use zone, rather than a
fair use zone for educational institutions.
Its very tough to compete with free, Rollans explained.
If there is a use that is 10% or a single chapter and your
institution is telling you that you can use it for free, that
competes very aggressively with any paid solution a
publisher can offer.
Rollans noted that the law had also enabled a scavenging
of the information industry, where instructors and students
could look to published resources as fodder that could be
versioned or assembled as spare parts, and then
offered as Open Educational Resources, or as open access
resources. That means the real damage to our marketplace
is almost impossible to quantify.
Healy added: My grave concern is that the ball that has
started to roll downhill in Canada is rolling downhill in
many, many other places to the commercial detriment of
copyright, of authors, publishers and everybody else in the
publishing value chain.
From left: Michael Healy (Copyright Clearance Center), Caroline Morgan
(Federation of Reproduction Rights Organisations), Glenn Rollans
(Association of Canadian Publishers), Jessica Sanger (Borsenverein)
3
 FRANKFURT SHOW DAILY
Turkish writers demand book worlds support
Can Dundar, Burhan Sonmez and Asli
Erdogan have called on Europe and the
book world to support freedom of
expression and democracy in Turkey,
writes Neill Denny.
Interviewed by Frankfurt Book Fair
director Juergen Boos, the three leading
Turkish writers and journalists asked
the book world for help in their fight
for democracy in Turkey, for Turkish
writers to be translated, and for
individuals to put pressure on their Photo left to right: Burhan Sonmez, Can Dundar, confinement, Dundar managed to
governments to oppose the the current Asli Erdogan, Juergen Boos
Turkish regime.
Dundar, now living in exile in Berlin, was editor-in-chief
of Cumhuriyet, Turkeys oldest newspaper, before being
imprisoned after he published a story that Turkish security
forces were smuggling weapons to Islamists in Syria.
He attended the opening of the fair by German chancellor
Angela Merkel and French President Emmanuel Macron on about the future of Turkey. The panel of writers estimated
Tuesday, and accused them of hypocrisy by supporting
multiculturalism in public but meanwhile blocking Turkeys
accession to the EU and curtailing refugees. When it comes
UK CEOs on the fair
Stephen Page, ceo of Faber, buoyed by Kazuo Ishiguros Nobel
win last week, described Frankfurt 2017 as another good
fairbusy, the same levels as last year, and the rights market
as confident, the Europeans and Americans have money to
spend. He said publishing was over the existential angst
that the onset of digital had represented a decade agoits
more about the what [ie, content] than about the how [ie,
digital v print]so it might just as well be 1935 as 2017.
Transworld md Larry Finlay said the fair was important to
the publisher principally for rights sales, but that Transworld
would sometimes buy titles at Frankfurttwo were signed
up last year. LBF was now slightly ahead in significance,
perhaps 60:40, but both were vital. This wasnt a year
overshadowed by big issues like Brexit or the devaluation
of sterling; but Amazons continuing market dominance
remained a concern.
Canongate md Jamie Byng said: You never quite know
whats going to turn up at the fairand thats what makes it
good, and that rights trading was strong, with an Italian
pre-empt and a German rights auction underway for The
Ungrateful Refugee by Dina Nayeri, signed just before the fair.
Hodder ceo Jamie Hodder-Williams said: Weve got
some nice right deals going on, and that, more widely,
the economic factors feel a little more stable than last
year. He added: We dont do deals on the day at the fair
we havent done that for years, though there was a book
he was interested inbut he would reveal nothing more.
4
FRIDAY 13 OCTOBER 2017
to the refugees they dont talk in the same
language, when it comes to the European
family they are not interested... if there is
to be multiculturalism Europe shouldnt
be a closed club.
Weve been knocking at the door of
Europe for 65 yearsand [the current
situation] is partly Europes problem
for isolating Turkey, pushing Turkey
towards Iran and Russia.
When he was held in solitary
communicate with a fellow prisoner
through a hole in the wall. Frankfurt is like an international
hole, that we can use to scream, that is very important to us.
Sonmez, author of Istanbul, Istanbul, lives in Turkey,
although he also has a British passport. Returning to Turkey,
he said, its like going back to hell, its like living in hell.
Asli Erdogan said: I dont see any reason to be optimistic
that 180 writers and journalists were still detained by the
Turkish government, all part of its crackdown in the wake
of the failed coup in July 2016.
You cant take freedom of the press and democracy for
granted. When you lose it, its like being without water, or
without air, you cant breathe, said Dundar.
Hero and bank robber
signed by Knopf
Its the title one scout called the secret book of Frankfurt
and its pedigreeacquired un-agented by an editor at Knopf
from the author, who was writing it in prisonis among the
things that have piqued the interest of festival-goers in
Germany. Cherry, by Nicholas Walker, is a fictionalised
account of the authors exceptional life. An Iraq veteran
who won multiple commendations for valour as a medic in
the war, Walker came back home and floundered, suffering
from an intense case of PTSD. What set him apart was the
salve he found for his condition: robbing banks.
In 2013 Buzzfeed profiled Walker in a story called How
a war hero became a serial bank robber. Knopfs Tim
OConnell, who acquired Cherry, told Show Daily he heard
about the author through a friend at the indie label Fat
Possum Records, where Matthew Johnson had got in touch
with Walker, encouraging him to try his hand at writing a
novel based on his life. As it turns out, Nico was steeped
in Ernest Hemingway and Thomas McGuane and, even
more incredibly, was cut from much the same cloth, said
OConnell, who signed the novel while visiting Walker in
prison. The book is currently being shopped for film by
Jason Richman at UTA.
 FRANKFURT SHOW DAILY FRIDAY 13 OCTOBER 2017

Rights in brief
20th Century Fox has signed film and Gad pre-empted Danish rights. Further deals are expected to be
rights in No Exit by Taylor Adams, concluded at the fair.
published by East London-based
Joffe Books and represented by Fiona Kennedy at Zephyr (Head of
Lorella Belli. The novel has sold Zeus) has signed a world rights deal
70,000 copies and has appeared at for two novels by acclaimed
number 5 on Amazon.com and in childrens author Marcus Sedgwick,
the Amazon.co.uk top 20. It is about represented by Joanna Volpe at
a college student who gets stranded New Leaf Literary and Media.
at a highway rest stop with four Kennedy and Sedgwick worked
strangers. During the night, she together previously at Orion
discovers a little girl locked in the Childrens. The first novel in the
trunk of one of the carsbut she deal is The Monsters We Deserve,
Taylor Adams
doesnt know whose car. Scott Frank billed as a taut novel about reason,
is attached to produce. His writing credits include the imagination, and above all
Logan, Wolverine, Minority Report and Get Shorty; about creators and their creations.
Marcus Sedgwick
he is also the writer/director/producer of the Zephyr will publish in autumn
upcoming seven-part Netflix western, Godless. 2018. Sedgwick said: I am delighted to be joining the Zephyr list at
There has been a flurry of rights interest in the Head of Zeus, a young publishing house with great energy and
novel. In the past week, audio rights have gone at creativity. Its wonderful to be reunited with Fiona Kennedy, who has
auction to Brilliance Publishing; rights are under always championed my writing.
offer in the Czech Republic, Estonia, Greece, Spain,
and Turkey; and there have been sales to Hungary On the first morning of the fair,
(Tericum), Israel (Ivrit), Italy (De Agostini Planeta), Philip Gwyn Jones of Scribe UK
and Slovakia (Ikar). Taylor Adams is an American signed world rights through Laura
film director and author. No Exit is his third Morris in Keep Clear (2019), Tom
novel with Joffe Books. Cutlers memoir of living
unwittingly with Aspergers
Lynne Drew, publishing director at HarperFiction, has bought Roar, a syndrome. Only at the age of 55,
themed collection of short stories by Cecelia Ahern. HarperFiction has after a crack-up, did Cutler receive
UK and Commonwealth rights (inc Canada) through Marianne Gunn the diagnosis that enabled him to
OConnor. In the US, the collection has gone to Karen Kosztolnyik at make sense of his life, including his
Grand Central, in a two-book deal handled by Theresa Park at Park obsessions with road-sign design,
Literary & Media. The 30 stories, all titled The Woman Who..., reflect magic tricks and Sherlock Holmes,
different facets of modern womens lives. HarperFiction will publish in his accidental rudeness,
Tom Cutler
autumn 2018. Ahern is published in nearly 40 countries and in over 30 maladroitness, unease, Pan Am
languages; more than 25 million copies of her novels have been sold. smile, and other social impediments. Cutler is a bestselling author of
reference books on subjects including flags, airline insignia, maps, and
Ursula Doyle at Fleet (Little, music. Jones said: Unlike some Aspergers sufferers, Tom possesses
Brown) has bought world rights in great facility with words, and this shines through this exceptionally
Nina X by Ewan Morrison. Fleet warm, sympathetic and moving memoir, which is alternately strikingly
will publish in 2019. Morrisons revealing, laugh-out-loud funny and achingly sad.
agent is Peter Cox at Redhammer.
The novel concerns a young woman Emma Herdman, editorial director at Sceptre, has won a four-way
entirely cut off from the world in a auction to sign All That I Have by Annie Griffin. Sceptre has UK and
south London house, except for Commonwealth rights in a two-book deal struck through Louise Buckley
contact with the Leader and three at Zeno Agency, and will publish as a lead title in early 2019. The novel
female comrades. Doyle said that is about the five last drinks of Maurice Hannigan, an 84-year-old Irish
Nina X was a character to stand farmer, as he sits in a bar and revisits five stories, one each for the people
alongside Offred of The who have meant the most to him over the course of his lifetime. Herdman
Handmaids Tale and Jack of said: I read this submission overnight and havent stopped thinking or
Ewan Morrison
Room. Morrisons previous books talking about it since, though its not just me who loved it. All That I Have
include Close Your Eyes (Cape) and Tales from the Mall (Cargo). Been spread through the office like wildfire, and has charmed us all. Its
warm, insightful, moving: a deeply
Rachel Abbott, one of the UKs bestselling self-published authors, has human novel. Griffin is a graduate
signed a two-book deal with Headlines Wildfire imprint. Senior of the MA course in creative writing
commissioning editor Kate Stephenson bought UK and Commonwealth at University College Dublin, and the
rights (exc Canada) in the novels from Lizzy Kremer at David Higham, winner of the 2017 John McGahern
following a five-way auction. Abbott will become a hybrid author, Award for Literature. Her short
appearing on the Wildfire list at the same time as publishing with stories have been shortlisted for the
Kindle Direct Publishing. The first novel in the new deal is And So It Hennessy New Irish Writing Award
Begins (spring 2019), a psychological thriller introducing a new and the Sunday Business Post Short
character, Sergeant Stephanie King (Abbotts KDP novels star DCI Tom Story Competition, among others,
Douglas). Stephenson described it as an utterly compulsive page-turner and her work has been published in
with all the hallmarks of a Rachel Abbott bestsellera provocative the Irish Times and the Stinging Fly.
dilemma, richly-layered mystery, knife-edge tension, and brilliant Her career has included eight years
characterization. Blanvalet has bought German rights in the novels, Annie Griffin at Waterstones.

6
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 FRANKFURT SHOW DAILY
Test cases: An update on US legal cases
A trio of copyright cases, two of which could
make it all the way to the US Supreme Court,
The final
has made for a busy publishing docket in the decision, when
US courts in 2017. Andrew Richard Albanese
looks at where things stand.
it comes, may
not matter, as interest in creating a resale market for
Cambridge University Press vs
Patton the academic
In what the plaintiff publishers attorney publishing
Bruce Rich called a seemingly never-ending
case, an appeals court in July heard oral
market has
arguments for a second time in this nine- moved toward a Penguin Random House et al vs
year legal battle, commonly referred to as
the GSU e-reserves case.
licensed-access Moppet
First filed in April of 2008 by three regime.
academic publishers (and supported by the
Association of American Publishers (AAP) and the
Copyright Clearance Center) the suit claims administrators
at Georgia State University (GSU) systematically encourage
faculty to use unlicensed digital copies of course readings
(known as e-reserves) as a no-cost alternative to
traditionally licensed course-packs. In 2012, Judge Orinda
Evans ruled against the publishers, finding that GSUs
copying was fair use. In 2014, an appeals court reversed
and remanded the case to Evans. And in her 2016 remand
decision Evans again found for GSU, which brought the
case back to a second appeal, which was heard in July.
There is no timetable for when the appeals court might
rule this time, but barring a settlement, the case could still
be years from resolution. AAP officials have called the
matter a test case that will help inform the future of fair
use in an academic setting. But observers say the final
decision, when it comes, may not matter, as the academic
publishing market has moved toward a licensed-access
regime, and the open access movement continues.
Capitol Records vs ReDigi
Should there be a market for reselling digital files, like the
secondary market that exists for books or CDs? Thats the
question now before an appeals court in New York, after an
August hearing in the case of Capitol Records vs ReDigi.
The appeal comes four years after district court judge
Richard Sullivan found that ReDigi, an online service that
enabled consumers to resell legally purchased iTunes files,
created unauthorised reproductions, and held that the first
sale doctrine is limited to material items, like records.
At the hearing, Capitol attorneys insisted that if a digital file
is transferred without permission from one device to another,
thats an unauthorised reproduction. But ReDigi countered
that Sullivan misunderstood how ReDigi works: it does not
copy, but transfers the exact, original file, bit for bit. And even
though it exists in the ether, the code that holds the recording is
the only material object that matters, they arguethe device on the day Dangerous was dropped, he held a press conference
it resides on, they say, is merely the record player. And
8
FRIDAY 13 OCTOBER 2017
nowhere does the law restrict first sale to
tangible formats like a record.
The case has been closely watched by the
publishing industry, as ReDigi (and other
players including Amazon) have expressed
ebooks. In an amicus brief, the AAP argued
that enabling ebooks to be resold would be
catastrophic for the entire publishing
industry.
Books
Filed in January, this suit was brought by
Penguin Random House and S&S, along with
the estates of Truman Capote, Jack Kerouac,
Arthur C Clarke and Ernest Hemingway. It alleged that
upstart Moppet Books KinderGuide editions of Breakfast at
Tiffanys, On the Road, 2001, A Space Odyssey and The Old
Man and the Sea were clearly unauthorised derivatives in
the guise of study guides.
In July, Judge Jed Rakoff granted summary judgement to the
plaintiffs, and in a subsequent legal opinion needed just 12
pages to dispatch Moppet Books fair-use defence. Rakoff
agreed that the books were unauthorised derivatives and
took a cynical view of the effort to create learning guides for
young children; he accused Moppet of not recounting the
novels in the service of literary analysis, but offering literary
analysis in the service of trying to make the Guides qualify for
the fair-use exception. In a final injunction, the judge ordered
a halt to publication until the works on which the infringing
KinderGuides are based enter the public domain.
In a statement, the plaintiffs said the opinion was a clear
and definitive victory for copyright holders everywhere
and it appears the decision will go unchallenged. Moppets
two-person team, Fredrik Colting and Melissa Medina,
said they lacked the funds to appeal.
Yiannopoulos vs Simon & Schuster
In July, the former Breitbart editor, Milo Yiannopoulous,
filed a $10 million lawsuit against Simon & Schuster (S&S)
accusing S&S of wrongfully, and in bad faith terminating
its contract to publish his book Dangerous.
But while Yiannopoulous has made the suit sound like a
free speech or a defamation case, it is in fact a narrow
breach of contract claim. And though legal experts say
Yiannopoulous has at least a plausible bad faith
argument, the consensus is that he will either lose or settle,
as the contract (like most publishing contracts) gives S&S a
wide berth to declare the work unacceptable.
For Yiannopoulous, however the case turns out, it has already
served its purposegenerating publicity for Dangerous. In fact,
outside S&S offices in New York to announce the suit. 
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My travels with Shin

Barbara Zitwer reflects on the inspiring experience of representing and travelling
with Korean author Kyoung-sook Shin
I am about to return to Seoul for the fourth Times bestseller list, and her record hasnt been
time, having just sold Kyoung-sook Shins new broken by anyone else yet. Shins success became
book, The Court Dancer, to Jessica Case of my success. She opened the doors for Han Kang,
Pegasus Books, which will publish it in late Hye young Pyun, Jeong you Jeong, Jyung Myung
August 2018. A magnificent novel set in the late Lee and every other Korean writer who is now
1800s and about a Jeoson Court dancer and the being published by mainstream commercial
French diplomat that she loved, it reminds me publishers in the world. More translators are
of Madam Butterfly. Its poetically told, and has working full time now doing Korean into English,
a broad appeal, because its an unforgettable, Spanish, French, Norwegian, Finnish, etc. etc. etc.
classic love story. I think it will thrill readers; I Shin was the first Korean writer who taught the
have the same feeling about it as I had about world that Korean books can sell.
Shins Please Look After Mom. Barbara Zitwer and Kyoung-sook The first time I travelled to Seoul I visited the
Shin on a trip to Jeju Island
Little did I know that my work with Kyoung- locations from her book. We went to the
sook Shin would lead me on such an incredible journey of neighbourhoods she wrote about, the stream running through
international publishing and self-discovery. Having such an the city, the underpass of the subway where Mother gets lost. I
important success as Please Look After Mom, which made history walked in the shoes of Mom, and my understanding of her
when Shin became the first woman and the first Korean to win the country began to be formed. We ate traditional Korean ginger
Man Asian Prize, gave me the confidence to continue representing chicken soup and drank pine needle tea.
Korean books at a time when most everyone was doubtful. She The next time I visited, Shin took me to an all-female
made history as being the only Korean writer to hit the New York monastery in the mountains of Korea, eight hours from Seoul.

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 FRIDAY 13 OCTOBER 2017
We stayed at the Buddhist University and were allowed to take
part in the students prayers, rituals and duties. She and I walked
together in a sparkling cool stream barefoot, and we laughed.
We picked berries and ate them right off the branches. We spoke
to the wise director of the Monastery, who was filled with light
and joy. And then we were invited to an author reading event
that tops any I have ever attended, and probably always will.
Unmunsa Monastery lies thousands of miles up in a secluded
mountain hideaway. On a Friday morning at 6am, right after a
breakfast of temple food of steamed vegetables and tofu, we made
our way to the classroom where the event was being held. Shin and
I were introduced to 60 student monks, all in grey kimonos with
shaved heads, and eyes alive and twinkling; they were so overjoyed
to meet their favourite author. I spoke a little and then turned the
mike over to Shin, who read, answered questions and enthralled
her listeners. I had to pinch myself! Was I really here? A literary
agent from New York? It seemed like Shangri-la.
My first book event
On my most recent trip, Shin took me to Jeju Island to meet the
Haeyno women divers, a UNESCO Heritage Culture of old
women who dive in the ocean for abalone and rare shells. Since
working with her, I have become a writer too, and we went to the
FRANKFURT SHOW DAILY
place where I did research for my new novel. We walked barefoot
in the glistening ocean and laughed as the waves hit our legs, and
ate seafood and delicacies only found in this remote place. Shin
accompanied me to my first book eventat a small bookshop on
Jeju islandabout The JM Barrie Ladies Swimming Society,
which is translated into Korean. Again, I needed to pinch myself.
In 2018, it will be a decade since I met and sold Kyoung-sook
Shins Please Look After Mom. Her masterpiece, The Court Dancer,
will be published in America. Philipe Picquier has already published
it in France, and Humanitas in Romania and Kustannus in Finland
just acquired it; I am expecting it to sell in many countries at the Fair.
We are preparing a fashion exhibit of Joeson Court Clothes
and French fashions from the period of the novel for the New
York launch of the book in association with Pegasus Books and
the Korean Cultural Center. I had better dust off my suitcase
this time for Paris. Karl Lagerfeld is calling! His first fashion
show in Korea featured designs of the Joeson Court; I heard he
is a Kyoung-sook Shin fan, too.
Travelling with Shin, my own imagination has sprouted and is
growing like Jack in the Beanstalks endless vine. I fell in love
with Korea, and am finally writing about the country that has
given me so much. The dedication of my new book will read:
For Kyoung-sook Shin.
 FRANKFURT SHOW DAILY
Permission granted
We have long recognised that for many who
work in publishing seeking permission to reuse
extracts from published content in a new work
can befranklychallenging, write Sarah
Faulder and Stephen Lotinga. Those requesting
permission are confronted sometimes with an
overwhelming number of questions: Which
organisation currently owns the rights? Who is
the right person within that organisation to
grant permission? What information should I
provide? How long will it take? On the
receiving end, publishers face the challenge of Sarah Faulder
incomplete requests or requests going to the wrong person.
Due to the complexity of licensing copyright works, it is
important that the industry works to ensure that this process is
made as simple and easy as possible. Copyright law is inherently
flexible, allowing it to adapt to and drive the changing digital
landscape, delivering arrangements that enable users to do
anything from text and data mining to making cross-border
acquisitions and creating user-generated content, all whilst still
ensuring that content creators are fairly remunerated for their
work. But if this process is too complicated, then it makes it
easier for others to call for more copyright exceptions to be
12
FRIDAY 13 OCTOBER 2017
added and a weakening of intellectual property
rights. This has been apparent in the European
Unions development of the Digital Single
Market, which has focused on creating new
broader copyright exceptions across education,
research and preservation. But as we have long
argued, the Digital Single Market is already a
reality for the publishing industry, with
publishers licensing rights on a pan-European
and indeed increasingly global basis.
The idea that copyright is a barrier is something
which we need to refute here in the UK as well,
particularly as we prepare to leave the European Union, which
will allow us to set out our own direction on the future of
copyright law. The publishing industry is generally keen to
maintain the status quo, as we believe the current regime works
for both content users and rights holders alike. But in order to
ensure we achieve this it is important that we demonstrate the
progress the publishing industry is making to facilitate access and
to ensure that copyright continues to keep pace in the digital age.
This is something that the PLS Permissions service has set out
to achieve. The service, which we are launching in Europe at the
Continues on page 14 g
Tosca @ Tirconi & Radice, Dargaud, 2017
 Warner Brothers Global Publishing

join the
adventure!

for licensing opportunties

LicensedPublishing@warnerbros.com
SCOOBY-DOO and all related characters and elements & HANNA-BARBERA.
WB SHIELD: & WBEI. (s17)
 FRANKFURT SHOW DAILY
f Continued from page 12
Frankfurt Book Fair, will offer publishers a
comprehensive range of online permissions
services to help them optimise efficiencies as
well as offering a way to ensure that users have
the access they need to our members content.
For all too many publishers the return on
permissions licensing can be marginal after
taking account of the administration costs. As a
result, permissions are often given low priority,
being regarded as a diversion of resources from
publishers core business, and the length of time
it takes to process permissions can run to weeks. Stephen Lotinga
This is damaging to publishers reputations and often results in
copyright content being used without permission.
To address these challenges, PLS has developed an intuitive
facilitation tool, PLSclear, which enables fast and easy
permissions clearances tailored to individual publishers
business terms. Meanwhile for publishers faced with a
plethora of permissions requests, we have developed PLS
PermissionsDirect, which enables them to offer requestors a
more efficient permissions clearance service, and the
PermissionsAssist service, which allows them to outsource the
entire management of their permissions to PLS.
So far the take up of the PLS Permissions service has been
rapid. To date more than 30 publishersincluding PA
14
FRIDAY 13 OCTOBER 2017
members Wiley, Pan Macmillan and Kogan
Pageacross the full spectrum of the industry
have signed up since the fully developed
service was rolled out.
With more than 30 years experience of
serving publishers interests in collective
licensing, PLS was well positioned to create a
product that met a genuine market need,
which has been as yet unfilled.
Four months ago PLS Permissions (then
in pre-launch form) earned the PLS the
prestigious Innovator of the Year Award
at the at the Stationers Company 2017 Innovation
Excellence Awards, with the service also garnering the
award for the best Digital Technology Application.
Our change of name to Publishers Licensing Services from
the Publishers Licensing Society is designed to reflect our
growing responsiveness to publishers needs and wishes. We
look forward to meeting publishers needs for further
services over time, as well as helping to ensure the industry
keeps up with changes in the market and user demand.
Sarah Faulder is chief executive of PLS and Stephen Lotinga is chief
executive of the Publishers Association and a PLS board member.
PLS is on stand D108, Hall 6.0. The PA is on stand B125, Hall 6.0.
 FRIDAY 13 OCTOBER 2017 FRANKFURT SHOW DAILY

Publication No 1: Hogarth Press at 100

When Virginia and Leonard Woolf began both received prominent endorsement
the Hogarth Press in 1917 with the aim from the Book Society, the leading book
of supporting books that the commercial club of the day. In 1946, after Virginias
publisher would not look at they might death, Chatto & Windus took Leonard
have been surprised to find it thriving in and his Press under their wing, where
its centenary year as part of the worlds they continued to thrive.
largest publisher, Penguin Random House The prospect of this years centenary
(PRH), writes Clara Farmer. allowed us to explore the archives and
It was an amateurish beginning: libraries across England, tracking the
Virginia setting the lead type and story of the Hogarth Press. We uncovered
Leonard operating the hand press, to heavy volumes of large maroon order
produce 134 copies of Two Stories, which books painstakingly documenting every
they wrote themselves, and posted out book sale, in violet ink; Leonards
from their dining room at Hogarth meticulous accounts, proudly delivering
House, Richmond, London. profit year on year; book reports by EM
Through their network of friends, and Virginias own Forster; and original book cover artwork by Vanessa Bell.
work, the publishing projects kept on coming. They We also uncovered publishing documents that spoke to the
published TS Eliot and Christopher Isherwood, and were common experience of publishers everywhere: the
the first English-language publishers of Sigmund Freud and challenges of budgets and overstocks, reprint corrections
Rainer Maria Rilke, but they relied on their bestsellers as (albeit correcting typos in The Waste Land), evidence of
much as the rest of us: Vita Sackville-Wests The hard workand equally vigorous networking, and always
Edwardians (1930) and Virginia Woolfs Flush (1933)told with a healthy dose of luck.
from the perspective of Elizabeth Barrett Brownings dog Continues on page 16 g

10 MILLION COPIES
SOLD IN ASIA
Keigo Higashino
MIRACLES IN GENERAL (Namiya zakkaten no kiseki)
Full English translation available
Contact us:
Rights: Chandler Crawford Agency, Inc., (6.3 20E)
Chandler Crawford (chandler@crawford-agency.com)
French Rights: Bureau des Copyrights Franais (5.1 E17)
Corinne Quentin (corinne.quentin@bcf-tokyo.com)
Eiji Shimazaki (japon@bcf-tokyo.com)

Novel Sold: Simplified Chinese, Traditional Chinese, Korean, Vietnamese, and Thai
Film Sold: Mainland China, Hong Kong, Taiwan, Korea, Singapore, Malaysia
Film adaptation rights sold for China and now shooting
 FRANKFURT SHOW DAILY FRIDAY 13 OCTOBER 2017

f Continued from page 15

The Woolfs began
by knowing all their
buyers personally
which is something
21st-century
publishing echoes
with online presence
and data capture.
Instagram felt the
natural home to
document the
centenary activity,
and create a space
for conversation.
Posting from Clara Farmer and Mark Haddon on the The first publication from Hogarth Press was Two Stories, written by
Dallowday walk in June Leonard and Virginia Woolf
@chattobooks with
the hashtag #hogarthpress100, we connected with a The centenary also afforded us the opportunity to get out
community of booklovers and practitioners eager to help of the office. We travelled to Oxford and typeset an early
spread the news of the centenary. Hogarth text (Paris by Hope Mirrlees). We visited
We produced a new edition of Two Stories, bound in red Sissinghurst, where Juliet Nicolson, Chatto author and
thread as the original was, with a short history of the press; Vitas descendant, not only let us see one of the original
the original version of The Mark on the Wall; plus a new Hogarth press machines, but showed us the books in Vitas
story, St Brides Bay, by Woolf fan Mark Haddon. Mark study, her wedding veil and cigarette case (the most
also engraved a portrait of Virginia, which became the face popular IG post to date). We celebrated the publication of
of the centenary. Two Stories by taking a Woolfian walk (or #dallowdawdle)
in the footsteps of Clarissa Dalloway from Deans Yard,
Westminster to a florist in Bond Street, via Hatchards
bookshop, which bedecked its windows and front tables

Celebrating
with the book, and live tweeted to more than 100,000
Waterstones customers. I spoke at the International

25
Virginia Woolf Conferenceand hosted a birthday party for
the Press, at which Leonards great nephew Cecil Woolf
and I got to cut a centenary cake designed by Virginias
great niece, Cressida Bell.
But perhaps the most moving moment of the year was

Years stepping into Virginia Woolfs bedroom at Monks House,

Sussex, where her precious copies of Shakespeares plays,
hand-bound in coloured paper, sit on a modest shelf.
at Coming face to face with Woolfs love of the physical book,
Frankfurt! and the Bard, it spoke to our own enthusiasms in creating
the Hogarth Shakespeare project, and asking todays
Dorothy Hall Smyk bestselling authorsfrom Anne Tyler to Margaret Atwood
to interpret their favourite plays in novel form.
and Hogarth is now one of 250 imprints that comprise PRH,
New Harbinger where, happily, an imprint model allows the culture of
literary acquisition to persist. In 2012, we went
Publications transatlantic as a fiction imprint, in collaboration with the
Crown division at PRH USA. The Hogarth Shakespeare
Come by project has sold in 24 languages and 30 countries, with
6.0, A72 & Edward St Aubyns Dunbar and Jo Nesbos Macbeth next
say hello! on the stocks. Our editors continue to read and commission
new writing, and to serve its established authors and
heritage. The Woolfs understood that publishing is where
gut feeling meets good business; we aim to continue that
newharbingerpublications
1-800-748-6273 / newharbinger.com
tradition today.
Clara Farmer is publishing director at Hogarth and Chatto & Windus.

16
 FRIDAY 13 OCTOBER 2017 FRANKFURT SHOW DAILY

A front row seat at the Trump election

In spring of 2015, Katy Tur was an when I was just trying to do my job? Yes. I
unknown foreign correspondent in London, think its ridiculous that lives were
spending weekends in Paris, and planning a threatened in such a way that news
summer vacation in Italy. Then the call came organisations had to hire armed guards.
from her bosses to go on the road with the But being in the news business, you become
Trump campaign. Six weeks, tops, they kind of jaded. There was some very real

photo: Elena Seibert

told her. Some 500 days later, Trump was danger during the campaign, but I was a bit
president, and Tur is now a fixture on the callous to it because how else do you get
NBC News political team in America. through that? How do you function every
From his attacks on the press, to his day if youre always scared, or always
nationalist policies, the Trump looking behind you?
Administration is being watched with Katy Tur
concern, not only in America, but across the
global publishing community. How did Trump rise to the AA: Trump often calls the media fake news, or dishonest.
presidency? Andrew Richard Albanese recently caught up Whats your take on the state of the media today, given the
with Tur to talk about Trump, and her new book, presidents attacks, and that conspiracy-driven sites like
Unbelievable: My Front Row Seat to the Craziest InfoWars now exist online alongside the New York Times
Campaign in American History (HarperCollins, Dey St.), a and the Washington Post?
personal, behind-the-scenes look at Turs wild ride on the KT: Its difficult, and part of the reason its so
campaign trail. complicated today is because on the internet it can be very
difficult for the average reader to parse what is real and
AA: Given your front row seat to the Trump campaign, what is not. So when the president goes out and calls us
how would you explain his rise to the presidency? Continues on page 18 g
KT: As I write in the book, no one can make perfect sense
of it. But I would say Donald Trump is a product of
Americas frustration. In some ways it was the perfect
storm. There was economic anxiety. There was the
frustration Americans were feeling with their government,
feeling like they were not being heard, like they werent
being represented, like they were being lied to. He is unlike
anybody else that had come before him. People felt like,
Lets try this option, maybe this is the option that breaks
the wheel.
There was also a quality to Donald Trump where he was
just, frankly, entertaining. People wanted to keep watching
him. They enjoyed his presence, even though or maybe
because he was politically incorrect and crass and
outrageous and offensive. There was a racial element, too.
There were people that liked the idea of an older white man
in office, and people who would say, with varying degrees
of frankness, that President Obama wasnt a real American,
that he was a secret Muslim, working for non-Western
interests. And of course, there were people that simply
hated Hillary Clintonand Im sure a lot of that, at least
some of that, was because Hillary Clinton is a woman.

AA: Trump liked to whip up anger at the media at his

rallies and often called you out by name, so much so that
you needed security at some points. You write about that
experience pretty matter-of-factly, but were there moments
when you were scared, when you felt like you were in
personal danger?
KT: Yes, there was. There were times when I was
nervous. Am I angry that I had to have security with me,

17
 FRANKFURT SHOW DAILY FRIDAY 13 OCTOBER 2017

f Continued from page 17

fake news, while elevating organisations There [used to America used to lead by example when it
that dont have the same journalistic comes to a free press. And Ive heard stories
standards, thats scary. Oftentimes, readers be] an from other reporters who would tell me of
gravitate to what they agree with, or what acknowledgement going overseas with the president and
makes them feel most comfortable. But the whenever the country they were visiting
thing about news is, its not supposed to that, even if would try to restrict their movement or try
comfort you. News is fundamentally you dont like to put them down, the president or his aides
something that should agitate you. It would step in and say, no, you cant do this.
should expose things that dont want to your coverage, a The president would always uphold the free
be exposed. free press is press, and champion it, even when we were
critical, because there was an
AA: At last years Frankfurt Book Fair, a fundamental to acknowledgement that, even if you dont
major topic of discussion was Turkey, where democracy. like your coverage, a free press is
Erdoan was jailing academics and fundamental to democracy. We are the
journalists, and shutting down publishers Katy Tur Fourth Estate. We are necessary for this
and newspapers. Meanwhile, Donald Trump country to function in a healthy way. If you
in the US was calling the press scum, and liars. Do you dont have anybody systematically questioning power,
think Trump is emboldening dictators and leaders like power can accumulate.
Erdoan, especially in nations which dont have a strong So for our president not to champion that anymore
First Amendment tradition like we do in America, to actually, for him to be actively attacking the free press,
crackdown on the press? and saying that were fake news,
KT: Yes, I do, 100%. When Trump went to Poland very and liars and scum and that we
recently, he did the same thinghe called the press scum in dont love our country, that is a
Poland, where the government is actively trying to shut horrendous example for the rest
reporters out of their parliament. of the world, and especially for
those regimes that want to crack
down further on the voices inside
their countries.

AA: Twitter played, and still

plays, such a huge role for
Hall 6.0 Stand C47
Trump. What do you think of
Twitter?
KT: I think Twitter is one of
The Five Gifts our greatest inventions, and
Discovering Hope, Healing,
and Strength When Disaster Strikes maybe our downfall. I think its a wonderful way to
Laurie Nadel, Ph.D.
Foreword by Dan Rather get information fast. Especially in a situation like we saw in
Texas recently, with the floods. It can be really helpful and
can be a valuable tool, and it can engage people politically
that might otherwise not be engaged. But like any tool, it
can be misused and abused. I think Twitter all too often
breaks down and its just people going into their respective
Available camps, their respective tribes, and screaming at each other
Spring
2018
from phone to phone. In that way, its destructive.

AA: Political campaigns have always been brutal. But this

Mentalligence
A New Psychology of Thinking
Kristen Lee, EdD, LICSW
(954) 360-0909 www.hcibooks.com/trade
3201 S.W. 15th Street Deerfield Beach, Florida 33442 U.S.A.
last one, it felt to me like something broke. Do you think
were ever going to find a sense of normality in American
politics again?
KT: I dont know. Are we ever going to see someone like
Donald Trump again? Yes, we will. I dont know who thats
going to be or what theyre going to look like, because
Trump is so unique. Its hard to fathom what could follow
Trump. But if it remains this crazy, Im going to buy a piece
of land in New Zealand and start a commune for
recovering political journalists.

18
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Hall 6.2 - Stand C38

Library | School | Corporate

 FRANKFURT SHOW DAILY FRIDAY 13 OCTOBER 2017

LBF 2018: Estonia, Latvia and Lithuania

April 2018 will see the Baltic
Countries featured in the 14th
edition of the Market Focus at
the London Book Fair, the
10th year in which the British
Council has partnered to
deliver the Cultural
Programme, writes Rebecca
Hart. For the first time since
the Arab World in 2008, this
years Market Focus will
feature multiple countries: From left to right: the National Library, Riga; Vilnius Book Fair; Mihkel Mutt and Tiit Aleksejev at HeadRead
Estonia, Latvia and Lithuania. Festival, Tallinn
As with previous years, the British Council will be presenting each country becomes in our minds, and we hope this will also
writers in a series of cultural eventspanel discussions, readings be the case for Market Focus audiences.
and one-on-one interviewsto showcase the brilliant voices We are working with a variety of partners including the
from the Baltic Countries. Well be showcasing the established, Estonian Literature Centre, the International Writers and
the emerging and the innovative at the Fair itself and across the Translators House in Latvia and the Lithuanian Culture
UK in April, and at UK festivals throughout 2018. Institute, alongside the various publishers associations,
A large part of the Cultural Programme aims to show British writers unions and ministries. Each partner is tasked with
audiences what is unique about Estonia, Latvia and Lithuania, promoting their national literature abroad and is a regular
and what connects them beyond their geography. The more we presence at book fairs worldwide. Lithuania was recently the
learn about each country and their literature, the more distinct Guest of Honour at Leipzig Book Fair in March 2017. The
great work our partners do is supported by generous ongoing
translation grant programmes that have resulted in Baltic
literature being translated and published around the world.

Literary traditions and publishing

The Cultural Programme partnerships began with scoping
visits to each of the countries to learn about their literary
we make books traditions and publishing sectors. In Latvia we visited the
amazing National Library (its architecture is inspired by a
come alive famous Latvian folk tale), where we learnt about Biki Books,
the collection of tiny illustrated childrens books that cost 1,
and about the Latvian markets emerging trend for historical
fiction. Their biggest festival, Poetry Days, sees poets from
around the world take over Riga. We left with a vision of
Latvia as a country passionately engaged in its literary history.
In February we attended the opening of the Vilnius Book Fair
(the largest in the Baltics), which had a vibrancy and accessibility
that appealed to professionals and readers alike. As well as being
full of schoolchildren flicking through new titles and exploring
interactive displays, the Fair had talks by an impressive mix of
Lithuanian and international writers, alongside music, art and
cinema events. We met with key figures from the literature scene
Find us at who told us about trends in contemporary Lithuanian writing,
Hall 6.0 suggested their favourite writers, and introduced us to captivating
Stand D53 episodes in literary history such as the Book Smugglers. We left
with a better understanding of the history of Vilnius as a
cosmopolitan crossroads of Europe, and how that positioning has
influenced Lithuanias literature over the centuries.
www.pikidsmedia.com
Finally when spring arrived in Estonia, we travelled to Tallinn
@pikidsbooks
alongside writers and editors from around the world to partake
Continues on page 22 g

20 Phoenix International/ PW ad / October 2017

 FRANKFURT SHOW DAILY
f Continued from page 20
in HeadRead literary festival. HeadRead is the pre-eminent
festival in the region and has attracted world-renowned writers
since its inception in 2008. The festival has a collegiate
atmosphere, with events taking place in the great hall of the
Estonian Writers Union in both Estonian and English, but
remaining intimate, as though you are listening in on a private
conversation. Again, after meeting key publishing and literature
figures, we developed a better understanding of how Estonia
positions itself and its literature as both Baltic and Nordic, and
how it remains closely connected to its neighbours, particularly
Finland, through shared history.
A flavour of each country
Armed with these experiences and information, and an incredibly
long reading list, the British Council now faces the challenge of
bringing the flavour of each country to the UK throughout 2018.
At the heart of the programme is the author delegation, which will
be made up of four authors from each countrywriters of fiction,
poetry, non-fiction and childrens literaturewho will be
programmed alongside UK writers and commentators to debate,
challenge and complement each other as they tease out the ideas
that highlight the commonalities and differences in our literatures.
The British Council also aims to build new and deeper
connections between each country and the UK through bilateral
programmes focusing on a different part of the literature sector:
22
FRIDAY 13 OCTOBER 2017
Estonia is looking to forge stronger links between their festivals
and those in the UK through visits and commissions; Latvia will
be producing a creative commission in which UK and Latvian
writers, translators and producers create new works together to
be presented in both countries; and Lithuania, after a very
successful inaugural Lithuanian translation workshop during the
BCLT Translation Summer School, will be developing a bespoke
professional development programme for those looking to make
a career of literary translation.
While the Baltics are known for their stunning countryside,
beautiful coast and vibrant capital cities, forgetting their
literature means missing out. All three countries are passionate
about poetry, draw upon folkloric traditions, and champion
cutting-edge book design and illustration. They are also closely
linked by their 20th-century historyincluding their
independence in 1918, which celebrates its centenary next year,
and the end of the Soviet Union in 1991.
As with our collaboration on the Poland Market Focus
earlier in 2017, we hope that this exciting and wide-ranging
programme will demonstrate that while the UK is leaving the
EU, we are still very much Europeans, and that the LBF Baltic
Countries Market Focus will serve to deepen the connection
between the UK and Estonia, Latvia and Lithuania, increasing
trust and understanding of one another through literature.
Rebecca Hart is literature programme manager at the British Council.
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FRIDAY 13 OCTOBER 2017
Toasting success and plan n
Helen Kogan discusses the independent publ is
anniversary year
This year marks the 50th
anniversary of Kogan Page. As
one of a handful of
independent publishers to
have reached this landmark,
Im frequently asked how we
have successfully tackled the
pitfalls of succession, market
changes and digital disruption.
The 50 years have seen the
company go through start-up,
rapid expansion and Helen Kogan
diversification, and then, in
recent years, a refocus that has reconnected with our core
strengths and helped create a future path for the business in a
dramatically changed landscape.
As with many independent companies, Kogan Page began on
the familys kitchen table with little more than the determined
spirit of my father, Philip, and a small loan from his brother to get
it going. Kogan Page began with a good ideaa reference directory
for human resource professionalsand an energetic direct
marketing operation which helped launch the fledgling company.
Soon it had built lists in Business and Management, Human
Resources, Education, a groundbreaking early list on Robotics
and Technology, Logistics, Marketing and Careers. The 1980s
saw the development of a trade list that resulted in engagement
with the retail trade with many of the early titles still selling
well today. During these years an international presence was
also built, with offices opening in the US and India. Today our
titles sell into 90 different territories (in print and digital
formats) and are translated into 50 different languages.
Challenges
However, the last decade has seen challenges that were quite
different from the early days of hand-to-mouth publishing. The
impact of e-commerce, the rise of non-traditional publishers and
changes in reader expectations have meant that we, along with the
rest of publishing, can no longer take former certainties for
granted. In 2013 we put a plan into action which faced these
challenges head-on. The first question we asked ourselves was,
with diminishing retail channels how were our books going to
continue to be discovered? We started our renewal strategy with
this fundamental question, which inevitably led us to question
whether our publishing strategy was robust and forward-thinking
and if our marketing truly supported it. Whilst we still published in
our original specialist areas, we had also over the years expanded
into more generic business titles and marginal subject areas. We
had to accept that in a world awash with generic business books
we might not be able to stand out in a digital retail environment
that didnt discern between multiple titles.
 FRIDAY 13 OCTOBER 2017

n ning ahead
bl ishers fascinating journey on its 50th

This realisation led us to refocus on some our key areas of

publishing from the early daysour Human Resources,
Marketing and Logistics listsin order to develop foundations
upon which to roll out our integrated publishing and marketing
strategy. We began to think through what we needed to do to We Are Quarto
build true engagement with readers and to think about what
skills would be required within our marketing teams to operate
successfully in a data-driven world.
Whilst we set about recasting our publishing and marketing
strategy we also began to invest in processes and systems that
would support our supply chain efficiency, which we identified
as a core competency in order to utilise the new opportunities
presented by digital tools. The result is that we are regularly
awarded the UKs BIC top Excellence Award (with digital tick)
for digital supply chain.

New publishing opportunities

As our footprint within specialist communities renewed so we
began to discover new publishing opportunities. Our 50th year
has seen two new co-publishing contracts with the CIPD (the
UKs largest professional association for HR professionals) and
the Chartered Bankers Institute to provide specialist vocational Please come and visit us at
textbooks and professional development titles. We have launched
digital product including, this year, our first online training
Hall 6.0 Stand E 10
course with the Market Research Society to support its
professional qualification, and the roll out of courses to support
workplace skills and continuing professional development. We #wearebooks #wearepeople #wearequarto
have also launched a searchable, multi-media, digital platform to quartoknows.com
help support our co-publishing partners content needs. Having
concentrated on our specialist areas of publishing, we have also
seen a renewed energy in our consumer-facing publishing and
our 50th year is celebrated with our first trade series for some
years with the release of the Myths of series. We have just
finished our financial year with 16% growth.
In many ways the experience of the last few years can be
applied to the last 50. Kogan Page has survived because it has
always had a clear value proposition. Our books have a close
relationship to our readers needs. Certainly, we have had to
tough it out many times over the years, but the two tenets on
which the company has been built have stood us in good stead:
acquiring great intellectual property and the creation of diverse
channels to market.
We will continue to develop both our vertical professional
and academic niches, and bring the best of business thought,
leadership and skills to readers across formats and territories.
Theres no crystal ball as to what further challenges well face,
but by staying close to our readers and keeping a sprinkle of
our original pioneering spirit Id like to think that the next 50
years will be as vibrant and successful as the first. Lindpendance crative
Helen Kogan is managing director of Kogan Page.
 FRANKFURT SHOW DAILY
Building Inclusivity Conference
The good news is that publishing in the UK is
becoming more diverse, no questionbut in
general, there is consensus that the industry
still has a way to go, writes Jacks Thomas.
Exchanging views, sharing best practice and
hearing from other industries is important, so
in partnership once againwith the UK
Publishers Association (PA), the London
Book Fair (LBF) is delighted to be hosting the
second Building Inclusivity in Publishing
Conference in London next month.
This builds on and complements our very Jacks Thomas
popular inaugural conference last year at which
Hachette UK CEO Tim Hely Hutchinson called for a kinder,
more inclusive publishing industry, one in which everyone
regardless of our respective genders, sexuality, religious,
social or other backgrounds feels at home.
We have a stellar line-up of speakers and panellists, beginning
with our chair, the BBCs highly respected news journalist Razia
Iqbal, who will be joined by, among others, Sharmaine
Lovegrove from Hachette; Monica Parle from First Story (the
charity which works with state schools in low-income areas to
improve literacy and creativity through creative writing); Chris
FRIDAY 13 OCTOBER 2017
Gribble from the Writers Centre, Norwich; and
Nancy Roberts from Business Inclusivity, which
works with business leaders to identify ways in
which creating an inclusive workplace can help
them achieve their organisations goals.
Our tag line this year is Reflecting All:
Effecting Change. In other words, were
keen for this conference to not just be about
talk, but about an agenda for change too.We
are focusing on case studies from other
industries, bringing in speakers who will
share their experience with us and talk about
how they tackle these pressing issues.
Among them is Selma Nicholls, the founder of Looks Like
Me, the talent and modelling agency that aims to increase
inclusivity, visibility and employability of black and minority
ethnic children in the creative sector and advertising.She
tells the heart-breaking story of the time her then three-year-
old daughter wanted her hair to be straight like her teachers
and friends, and favourite cartoon characters.Then she said
she didnt want to be brown anymore.Salvation came
through the remake of Annie starring Quvenzhan Wallis,
Continues on page 28 g
 FRANKFURT SHOW DAILY
f Continued from page 26
who is black.As she watched the DVD her daughter cried:
Mummy, Annie is beautiful!
Seeing the effect that watching an actress who looked
like her had on her daughter galvanised Nicholls into
action. She set up her talent agency last year and it now
offers casting directors diversity when selecting artists or
models from BAME backgrounds.
We are also delighted to welcome Jamie Beddard from
Diverse City. This organisation creates theatrical shows
and performances, musical concerts and circuses using
physically diverse performers.On Diverse Citys books are
people with cerebral palsy, like Beddard himself, and
people who are deaf or disabled, people who haveas the
organisation puts itextraordinary bodies. Its a little
like the Superhumans! tag that worked so well for the
London Paralympics in 2012. It is all about challenging
and changing perceptionsand we hope our conference is
about showing ways that can happen in publishing too.
The conference aims to give people ideas that they can
take back and adapt for their companies.To that end, we
are pleased to be partnering with the PA once again; the PA
must be praised for issuing its ten-point action plan, which
gives publishers a clear guideline and specific targets to
work towards. The first point in its list is very basic and
perhaps shows how far the industry still has to go. It is:
Frankfurt Book Fair
CBE Booth 6.0.B17
28
FRIDAY 13 OCTOBER 2017
Develop an inclusivity policy which is embedded
throughout the organisation. In future years, publishing
historians may wonder why that still had to be said in 2017
when the UKand especially many of its citieshad already
been such a rich, multicultural society for so many years.
Diversity is fact, inclusivity is choice.There is
acknowledgement that work has been done to tackle the
white, middle class perception of the industry.HarperCollins
(HC) has a well-established partnership with Creative Access,
the charity that provides BAME graduates with paid
internships in the creative industries, and its employee-led
group, HC All In, works internally to promote diversity in
and amongst its people, and the content it publishes too.
Penguin Random House has been holding JobHacks
workshops in locations away from London aimed at
audiences that might not necessarily have considered
publishing as a careerand this year it introduced an
Inclusivity Tracker with a goal of making 14% of
acquisitions and staff hires BAME by 2025.
So progress is being madeand we hope our conference
will provide the impetus for further change.
Jacks Thomas is director of the London Book Fair.
The Building Inclusivity in Publishing Conference takes place in London
on Monday 13 November. To find out more visit:
http://www.londonbookfair.co.uk/buildinginclusivityinpublishing.
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Captivating fictional debut. An unforgettable tale
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The perfect blend of the Bible, historical fact, and
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 JOIN US!
May 30 - June 1, 2018
NYC

Learn more at Stand 6 0 D43 or online at

www.NewYorkRightsFair.com

Presented by
 FRANKFURT SHOW DAILY
UKs transition towards Open Access
Emma House reports on the introduction, and potential risks, of a new
scholarly communications licence
The publication of the latest report on the UKs
transition towards Open Access is imminent and
is expected to show that we are ahead of the
game. The progress the UK has achieved in this
area is largely due to the collaboration that
publishers, institutions, funders and other
stakeholders have fostered since the publication
of the Finch report in 2013, which has seen all
the stakeholders working together on systems
that would assist the transition as well as
provide efficiencies for everyone.
This collaboration and progress could, Emma House
however, be at risk with the introduction of a
new scholarly communications licence (SCL). The licence,
developed by a group of librarians, rides roughshod over
agreements between authors and their publishers by claiming a
pre-existing, non-exclusive, and extremely unclear agreement
between authors and their employers. This would not leave
publishers with sufficient clarity to operate the existing
subscription business model for scholarly journals. Furthermore,
the licence would empower librarians to make the work
available to the public via the institutions repository
immediately upon publication. Normally works made available
via the institutions repository are made publicly available after
an embargo period of at least a year to give publishers time to
recoup the investments theyve made in the articles publication.
The impact of this is significant for publishers, as well as the
research community more broadly. When researchers publish
their work they currently have a choice over which open access
route they would like to publish under. One route (the Gold open
access model) requires authors, funders or their institutions to
pay an article processing charge so that their work can be made
open access immediately upon publication. The other route (the
Green open access model) allows authors to publish their work
without facing any publications costs, with their manuscripts
instead being available after an embargo. Embargo periods vary
depending on the discipline, and thus provide important
flexibility in the way the Green open access model operates.
To be clear, the Green open access model is not a business
model in its own right but relies entirely on the subscription
model to operate in order for publication costs to be recovered.
While the SCL will not affect research published under the Gold
route, it would have severe implications for research published
under Green open access, which currently 80% of researchers
choose to publish under. Green open access needs to be
symbiotic with the subscription business model if journals are to
continue to operate. Inflexible approaches to Green open access,
including the scholarly communications licence, work against
publishers rather than ensuring the research community
collaborates to achieve the UKs open access policy goals.
30
FRIDAY 13 OCTOBER 2017
Adopters of the SCL would as such ignore the
publisher embargo and make the work available
immediately. This would undermine the
investments that publishers had put in to bring
the article from submission to the point of
acceptance for publication, including peer
review and editing.
Meanwhile it would deprive researchers of
their ability to choose the best venue for
publishing their research, and could also place
an enormous burden on researchers time, as
publishers with a Green open access model
would have no choice but to require authors to
obtain waivers from the licence. There are also concerns in the
research community about what impact the licence could have
on their international collaboration, as the SCL does not take
account of the policies in countries outside the UK, where such
mandates may not be imposed on researchers.
Arguments in favour of the licence are that it would simplify
compliance of funder and publisher policies, and would give
implementing universities an edge in the next round of
applications for the UKs Research Excellence Framework. The
publishing community however would point to other existing
mechanisms that might help solve the challenges faced as we
progress to open access, without undermining publisher
investments or grabbing rights from authors. These include
licences directly between institutions and publishers for use of
articles in institutional repositories; CHORUS, which is a cross-
industry service to provide public access to subscription articles
reporting on research funded in the US/Japan/Australia
automatically 12 months after publication; and leveraging
metadata available from publishers and through cross-industry
services such as CrossRef.
For now, with relatively few UK institutions progressing
towards adoption, the impact is minimised. However, publishers
with authors in the UK are uneasy. Many are gearing up to offer
authors impacted by the scholarly communication licence a
choice between securing a full waiver from the licence from their
employer or publishing under the Gold open access model.
In a time of uncertainty as the UK prepares to leave the
European Union, with the potential consequences this could
have on research more widely, the scholarly communications
licence adds an unnecessary complication into the mix which
could risk the good work the research community has done so
far in moving towards the UKs goal of ensuring all publicly
funded research is open and freely available to all.
Emma House is deputy chief executive of the Publishers Association.
For more information go to: https://publishers.org.uk/activities/
copyright-ip/scholarly-communications-licence/
 FRANKFURT SHOW DAILY
Broader literary horizons
According to the Ethnologue,
which publishes a database of
all known global tongues,
more than 7,000 languages
are spoken today around the
world. In the ancient myth of
the Tower of Babel, this
multitude of languages was a
curse on humanity from God,
writes Christopher Kenneally.
Translation, though, can rescue
us from that predicament, and Heather Cleary
draw us closer togetherand a new organisation is dedicated to
that very mission.
I think we can all sense the political urgency of
refusing to narrow our horizons at this moment,
says Heather Cleary, a co-founder of Cedilla &
Co, a new US-based collective devoted to bringing
the worlds voices to English-language readers
through published translations.
One of the ways this can be achieved in the
deepest and most lasting way is by allowing
other voices and other perspectives in. There really is no better
way, I think, to avoid the consolidation of limited worldviews
than by insisting on a multiplicity of perspectives, she told me
in a recent interview for Copyright Clearance Centers
podcast series Beyond the Book.
A translator from Spanish and a founding editor of the
digital, bilingual Buenos Aires Review, Heather Cleary
earned her doctorate in Latin American Cultures from
Columbia University and currently teaches at Sarah
Lawrence College. Her translation of Sociophobia, a
critique of communication in an era of social networks
by Madrid-based sociologist Csar Rendueles, appeared
in April 2017 from Columbia University Press.
Nine translators, who work in ten languages (including Arabic,
Chinese and Japanese, as well as numerous European tongues),
constitute the collective for Cedilla & Co. Cleary and the
othersmany with awards and bestsellers to their creditoffer
publishers much beyond English translation versions of foreign
works by drawing on their wide range of publishing experience.
Before any translator ever opens a dictionary, said Cleary,
there is work to be done. International publishers will often
send publishing houses in the States samples of works that are
prepared by non-professional translators. That can really hurt a
books chances for being acquired because understanding
whats so special about a given book is key to
communicating its value, she explained. The
original materials that are first seen by the
editors are very important. One of the points in
our advocacy of literature and translation [at
Cedilla & Co] is that we want to make sure
that materials put in front of US editors are as
good as they can possibly be, and give the most
32
FRIDAY 13 OCTOBER 2017
accurate idea of what the book
is and what its value is.
Readers tastes evolve over
time, as much for translations
as any other literary work. For
example, although Constance
Garnett helped introduce
many English-speakers to the
great Russian-language novels
of Tolstoy and Chekhov in the
early 20th century, her work is
Julia Sanches faulted today for not fully
conveying the force of the original Russian.
What most people aim for right now is a sort of domesticity.
They want the translation to speak to its audience,
as if the audience were reading the work in the
original language, according to Cedillas Julia
Sanches, a translator of Portuguese, Spanish,
French and Catalan, who also worked for
several years at the Wylie Agency.
Brazilian by birth, Sanches has lived in the
United States, Mexico, Switzerland, Scotland
and Catalonia, where she earned a graduate
degree in Comparative Literature and Literary Translation
from Barcelonas Universidat Pompeu Fabra. While working
with Andrew Wylie, she acquired an appreciation for
the agents perspective when working with translators.
The agents loyalty is to the author when it comes to
business such as royalties and negotiating fees, she
recalled. If the translators share comes out of the
authors share, that goes against what the agent is
trying to do, which is to defend the authors rights, and
get both the author and the agency some income.
Translators fees and advances also tend to be too
modest for them to have agents on their own. We thought that
the most valuable thing [Cedilla] could offer each other and the
community was our [publishing] expertise.
Among our other members, Allison
Markin Powell, for example, has extensive
contracts experience, Heather Cleary noted.
In addition to the coverage of ten languages
among the nine members, we each bring a
different skill to the table. We seek that
variety in the business model as well.
Yet for all the emphasis on offering as
many possible bottom-line-driven services, the Cedilla & Co
collective is mission-driven by members who hear the worlds
voices as a symphony of human expression.
From an artistic and cultural standpoint, we are advocates
of translation and translators, Heather Cleary said. But in a
broader sense, were advocates of the defence of multiplicity
and the defence of listening.
Christopher Kenneally is director, business development at the Copyright
Clearance Center, and host of CCCs podcast series Beyond the Book.
GKC_SPEAKER_185MMX265MM.qxp 10/3/17 4:44 PM Page 1

P RE S ENT ED B Y

Publishing in an Unpredictable World:

Transforming Challenge into Opportunity

DECEMBER 4, 2017 NEW YORK, NY

Publishers Weekly and the Bologna Childrens Book Fair present the third annual groundbreaking conference
about childrens and YA publishing both here in the U.S. and abroad.

Global Kids Connect convenes the best lineup of expert speakers to educate publishing professionals
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Global Kids Connect is the only U.S. half-day immersive conference focusing on three key areas of curated
content covering the latest data, publishing trends and influential insights from keynote speakers. It is
considered a must-attend event by publishers, marketers, acquiring editors, licensing agents, brand
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Included in your conference admission is Celebration!, the annual party honoring recipients of PW Children's
Starred Reviews.

ADVISORY COMMITTEE
Diane Roback, VP and Childrens Book Editor, Publishers Weekly (Chair)
Roberta Chinni, Bologna Childrens Book Fair Elena Pasoli, Global Product Manager, BolognaFiere
Ginger Clark, Literary Agent, Curtis Brown Ltd. Neal Porter,Vice President and Publisher of Neal
Porter Books, Holiday House
Daniel Nayeri, Publisher, Children's Group at
Workman Publishing Kate Wilson, President, Nosy Crow

Register today for discount pricing at PublishersWeekly.com/GKC17

 Frankfurt Rights Marketplace
PWs New Title Showcase
Welcome to PWs 2017 Rights Marketplace, a new feature launched earlier this year.
Here you will find a diverse list of titles, embodying a wide range of categories
within the industry. This section was created to give publishers the opportunity
to promote individual titles, open up rights opportunities, and generate brand
awareness within the international marketplace.
BABY LOVE
a Ray Myers Mystery
Ronald Argo
HotDamn University Press
ISBN 9780996980210
In this dramatic and gripping
Library Journal 1st Place Mystery,
reporter Ray Myers discovers a desert
massacre, and babies missing. He ties
up with renegade smuggler Maggie
Frazier in a deadly search to nd the
infants. Highly entertaining. (Kirkus
Reviews)
Foreign rights available
Hardback and paperback available at Ingrams, Amazon, and B&N
www.ronargo.com
Lexies Village- A New
Kind of Family (Book 1)
Natalie Lovett
Lexies Village Publishing Pty Ltd
ISBN 9780992401559
You wont be able to put this book
down. A magnicent story of now and
I challenge you not to cry. Best-
selling author, Nikki Gemmell
A courageous personal account of
the toll of IVF treatment, and the
surprises, challenges and rewards of
Natalie Lovett 2017
embryo donation. - Prof. J Millbank
Call: +61 410 332 262
www.lexiesvillage.com
The Gummy Bear Book
Dan Golden
Knock Knock
ISBN 9781683490111
Satisfy your visual sweet tooth with
this photographic collection of gummy
bears captured behind the scenes in
their natural habitat. Featuring forty-
eight full-color gummy scenarios,
The Gummy Bear Book is irresistibly
gifty and imaginative.
World Rights
Chris Lee, wholesale@knockknockstuff.com
http://www.knockknockstuff.com
Sense of Touch
Rozsa Gaston
Renaissance Editions
ISBN 9780984790623
A romance and an interesting novel
about a little-known French queen.
A striking story of heartache and
forbidden love, of women in the 15th
century French court, who fought
with passion and determination for
what they wanted.Historical Novel
Society
Worldwide rights
linda@schulmanagency.com
www.schulmanagency.com
Chasing Nirvana
Ellyn Oaksmith
Emoticon Publishing
ISBN 9781549739347
A girl, a band & a dream. In 1993 a
young lesbian named Fran is about
to graduate from Aberdeen High in
Washington State. Her comfortably off
the radar life turns public when shes
nominated for prom queen. Fran &
four friends road trip to a California
concert, sneak backstage & ask
Foreign/Film rights available
October 2017
Nirvana to come home to play prom.
EllynOaksmith@gmail.com
www.EllynOaksmith.com
Feature Your Books at Upcoming Shows
PW will continue to produce our Title Showcase
section in all of our upcoming Show Daily
publications including:
Bologna Childrens Book Fair (March 26-29)
London Book Fair (April 10-12)
BookExpo (May 30- June 1)
For more information regarding this low-cost
advertising opportunity, please contact Joe Murray at
jmurray@publishersweekly.com.
 Celebr ating 15 Ye ar s

written by S.D. Perry anD Matthew K. Manning

illuStrationS by Ming Doyle

FINAL COVER TO BE REVEALED

DANIEL WALLACE

DC COMICS: ANATOMY OF A METAHUMAN DC COMICS VARIANT COVERS:

Hardcover | $50.00 | 9.25 x 12.75 | 160 Pages THE COMPLETE VISUAL HISTORY
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Softcover | $12.99 | 5.25 x 8.25 Hardcover | $18.95 | 5.25 x 8.25 | 192 Pages
128 Pages | November 21, 2017

VISIT US AT THE FRANKFURT BOOK FAIR

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