LONDON BOOK FAIR 2019

The DIGITAL SPOTLIGHT

An in-depth look at everything digital at the fair

MARCH 2019

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MARCH 2019
Momentum...
Fear of digital disruption may be a thing of the past, but technology
continues to push publishers in new ways BY ANDREW RICHARD ALBANESE
Tom Goodwin, head of innovation for Zenith Media, keynoting last year’s Quantum Conference.
I
n his opening keynote at the London Book Fair’s 2018
Quantum conference, Tom Goodwin, head of innova-
tion for Zenith Media, described the publishing industry
as slogging through the “mid-digital” age. “We live in
this amazing age where incredible things are possible,
but routinely people are quite disappointed,” he observed.
“It always appears that when new technology arrives, we
think about how we’ve done things before, and sprinkle a
little bit of technology around the edges,” he said, urging
publishers to instead get “much better at looking ahead, not
behind.”
But as publishers arrive for the 2019 London Book Fair,
they’re feeling pretty good about their old technology. For
a fourth straight year, publishers gather in London against
a backdrop of rising print sales. According to NPD Book-
Scan, print sales in the U.S. topped 695 million units in
2018, up 1.3% from the year before. In the U.K., sales rose
just over 2.1%, on sales of 190 million units. And despite
slowing growth for traditional publishers’ e-books in the
U.K. and another year of declines in the U.S., downloadable
audio continues to fuel publishers’ digital businesses. Digi-
tal audio was a major focus at last year’s London Book Fair,
and it will feature prominently again in 2019, as the for-
mat’s double-digit annual growth shows no signs of slowing
down.
The DIGITAL SPOTLIGHT
COURTESY THE LONDON BOOK FAIR
Of course, 2019 also holds its share of challenges for the
publishing industry. The Trump administration continues to
sow chaos in the U.S., while Brexit concerns have U.K. pub-
lishers on edge. In Europe, a new open access movement
threatens to roil scientific publishers, and a major copyright
revision is sparking a tough political battle ahead of this
spring’s E.U. elections. And all around the globe, regulators
continue to scrutinize the tech sector, including players such
as Amazon, Facebook, and Google.
These issues and others will be on display at this year’s
London Book Fair. The Quantum Conference once again
offers an insightful, data-driven program. And throughout
the week, the fair’s professional program will feature a full
slate of talks and panels on the key issues facing the industry,
including rights and translations, copyright, the freedom to
publish, open access and scholarly publishing, and new
opportunities for authors at the Author HQ. And of course,
in the exhibit halls, there will be no shortage of vendors
displaying new products and technology to help publishers
better manage their workflows in the digital age.
At the close of the 2017 London Book Fair, Pan Macmillan
managing director at Anthony Forbes Watson said publishers
were “feeding off the chaos in the world outside, rather than
being depressed by it.” In 2019, that appears to be holding
true. Including the “chaos” part. ■
3
 The DIGITAL SPOTLIGHT
The New Network
Revolution
BY ANDREW RICHARD ALBANESE
In his new book, former FCC chairman
Tom Wheeler explains why the
history of network revolutions is
the history of social and economic
upheaval
Tom Wheeler
W
hether in a meeting or at a panel presentation,
you’ve surely heard it said around the London
Book Fair in recent years: technology is bring-
ing about “unprecedented change.” Not
exactly, explains former FCC chairman Tom
Wheeler. PW recently caught up with Wheeler to talk about
his forthcoming book, From Gutenberg to Google: The His-
tory of Our Future (Brookings Institution), and the past,
present, and future of our networked world.
In From Gutenberg to Google you very effectively capture
the ways technology and innovation have affected, con-
nected, and disrupted the world over some 500 years of
history, right up to the present day. Certainly, you could have
written an entire book on just the last couple decades alone,
but what were the historical through lines you wanted to
make sure we recognized in today’s networked world?
There are two main through lines I wanted to explore. The
first is that our “new” technology is derivative of earlier tech-
nologies. We often have this image of a lone genius and a
eureka moment when it comes to innovation, when Darwin-
4 www.publishersweekly.com
MARCH 2019
ian evolution is probably a better metaphor. And the second
is that those earlier technologies each resulted in upheaval,
uncertainty, and unrest. The effect of new networks is always
the destruction of the status quo. From Gutenberg to Google
was an exercise to scratch an itch. I’m fortunate to have
spent my professional life involved with new technology,
especially new networks. And what I wanted to bring for-
ward is that while the challenges of our times may be trying,
they aren’t unique. We often describe our times in terms like
“there’s never been anything like this before.” But it simply
isn’t true.
In the book you write that it is never the primary network tech-
nology that is transformational, but the secondary effects
made possible by that technology. Can you explain that?
Technology is just an enabler—it is how that technology is
used that drives transformational change. For example, the
printing press mechanized what monks had been doing in
scriptoriums, but its transformational effect was to remove
those monks and their superiors from determining what
information would be made available. Once liberated by
new technology, knowledge and information flowed more
freely, and with that came the significant upheavals of the
Reformation, the Renaissance, and the scientific method.
The same is true of the railroad, the first high-speed net-
work, and the telegraph, the first electronic network. Those
technologies meant the death of distance and time as con-
trolling factors in the human experience. Eliminating those
constraints enabled the industrial revolution. The railroad
inexpensively transported natural resources to central sites
for mass production, and then reshipped the completed
products back to an interconnected market. The telegraph
coordinated movements on the railroad, managed produc-
tion activities, and also created the national media and the
financial markets. So while the networks are essential, social
and economic transformation is actually driven by how net-
works are put to work.
On that score, you observe that today’s new digital networks
are triggering economic and social change that is “new in
new ways.” How so?
Historically, networks delivered people and products to a
common point where they connected with other pathways.
The railroad, telegraph, and telephone all followed the same
model—whether boxcars or phone calls, the asset was
hauled to a central point where it was switched to a line lead-
ing to its final destination. Chicago became the Second City,
for example, because of the meat packers and millers who
congregated there to process the product from the plains to
be transferred to lines heading to eastern markets.
But today’s digital networks reverse that topology. Digital
network activity is no longer centralized but is pushed out-
ward to distributed routers at the network edge. With smart-
 VITAL INSIGHTS BEYOND LONDON
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 The DIGITAL SPOTLIGHT
phones, for instance, the individual becomes the ultimate
network hub at the ultimate edge of the network. Yet this
functional distribution has resulted in a recentralization, in
the form of algorithmic platforms pairing people and infor-
mation. And the new network’s low cost of collecting and
distributing data has allowed a handful of companies to
recentralize economic activity. It used to be that the central-
ized nature of networks drove economic activity. Today, com-
panies like Google and Facebook use the distributed network
to establish a new kind of centralization, via algorithm.
In your various roles, including most recently as FCC chair-
man during the Obama administration, you were instrumen-
tal in trying to balance technological change and public
policy, no easy feat given the complexity of technology, and
the speed with which it now comes. Can you talk about that
challenge? Because it seems to me that policymakers will
never be able to understand our rapidly changing technology
enough to effectively regulate it.
It should not surprise us that governments struggle to deal
with rapidly changing technology. The people’s representa-
tives in government are indeed representative—they are no
different from the people themselves in their technical under-
standing. And this is not unique today. In From Gutenberg
to Google I tell the story of how 19th-century members of
Congress simply could not comprehend the telegraph. In
fact, the bill funding the test telegraph line barely passed the
House of Representatives, with about a third of the House
abstaining rather than having to explain to their constituents
why they were spending money on this idea of sending mes-
sages by sparks.
One of the things that was most intriguing about my time
as FCC chairman was that I knew stories like this, I had stud-
ied the effects of previous network revolutions, and I had the
rare opportunity to put into practice the lessons of history
that I had studied. But you’re right, there
used to be an adaptation time buffer
that allowed individuals and institu-
tions to better come to grips with the
impact of new technologies. The
internet has erased that buffer.
In the book you write that the
“creation of data is the manufac-
turing activity of the 21st century.”
In recent years we’ve seen the
negative effects of that hunger for
data—and yet in the U.S. all we’ve
seen in response is a handful of
hearings. Do we need regulation
in this space?
Digital information is the capital
asset of the 21st century. We
6 www.publishersweekly.com
MARCH 2019
have no choice but to establish policies for the use of that
digital asset—especially personal information—and we
must do it with dispatch.
Previously, whether gold, or oil, or any other hard asset,
there was a finite supply, and a finite demand. But in today’s
digital environment, every activity creates new data. Thus,
the asset is in infinite supply. And, the application of that
asset is also inexhaustible. Now, it is one thing when that
data is about jet engine performance, or the predictive main-
tenance of equipment. It is something completely different
when it is personal information collected, aggregated, and
monetized by targeting us, which is what the dominant digi-
tal companies of today do. They take our private informa-
tion and convert it into their corporate asset. Currently, these
companies are making the rules in their own interests. But it
is essential that the people’s representatives step up and
establish rules in the public interest.
In the book you observe how the domination of early net-
works, like the railroads, led to the formation of monopolies
like Standard Oil and Carnegie Steel. And you write that
you see the same patterns emerging with companies such
as Facebook, Google, and Amazon. Well, we know what
happened to Standard Oil. Does the same fate await these
tech giants?
Historically, pioneers make the rules for the new territories
they discover, until those rules begin to impinge on the
well-being of the public. The antitrust laws were established
precisely for this purpose: to create a countervailing force to
corporate power. What we are experiencing now is the estab-
lishment of new dominant corporations: both the digital
platforms, and the networks on which they travel, are acting
as gatekeepers for the most valuable assets of our era.
Companies like Google and Facebook, for example, began
with a simple proposition: that users would trade some of
their information for services. When it became
clear that such information could be mone-
tized, the demand for more information
became the prevailing business plan. And these
companies have been successful beyond their
wildest expectations. They have amassed huge
databases that they now exploit to dominate
markets. And I believe we should pursue all
available remedies. In addition to maintaining
antitrust vigilance, including merger approval,
we also need to import the same competition-
enhancing and consumer protection concepts
to legislative and regulatory oversight.
I have to ask about net neutrality, which the
FCC codified in 2015 on your watch, only to
see the current administration repeal it last
year. What happens next?
MARCH 2019
I believe that we have yet to see the ultimate resolution of the
open internet question. The Trump FCC may have destroyed
net neutrality rules, but that decision has been appealed to
the courts, and Congress has a renewed interest in the topic.
So I am hopeful we will see sanity return.
We just discussed how dominant gateways control mar-
kets, and the underlying dominant gateways today are the
networks that connect us to the internet. The entire concept
behind net neutrality was that those networks should be fair
and open. But net neutrality isn’t just about competition. It is
also about freedom of expression unconstrained by interme-
diaries. The networks today have the economic incentive and
the technological ability to discriminate among users to
maximize their own interests. Everyone who believes in the
free flow of ideas should be concerned about that.
In your epilogue, you describe this book as “a technological
travelogue,” which it certainly is. As we keep traveling, what’s
awaiting us down the road?
In the book I discuss four forces that will make this era as
The DIGITAL SPOTLIGHT
transformational as the earlier great network revolutions—
the evolution to Web 3.0 and a network that orches-
trates rather than simply transports information; artifi-
cial intelligence; blockchain; and the expanding threat of
cyberattacks.
But let me respond to your question with a broader brush:
the history of network revolutions is also the history of social
and economic instability, and insecurity. And working
through these issues in a democracy takes time. As individu-
als and institutions are impacted by new technology, and
liberal democratic capitalism appears slow in responding,
the political impetus is to search for quick solutions. We see
this now, manifested in the rise of authoritarianism, Brexit,
and Donald Trump. But it is not as if we haven’t been here
before. At the dawn of the industrial revolution, when the
rules that had worked for agrarian mercantilism were no
longer adequate, the result was antitrust legislation and
consumer and worker protection laws that established
guardrails on the excesses of capitalism. We are at a similar
moment today. ■

Toward a More Transparent Book Industry

BY SCOTT WINNER

I
n January, the Authors Guild in the U.S. released a survey of more than 5,000 authors
showing that the median annual income for American authors had declined 42% since
2009. The report followed a similar finding in the U.K. last June, in which the Authors’
Licensing and Collecting Society found that the median annual income of a professional
author was “well below the minimum wage.” Over the same period, however, income for both
U.K. and American publishers actually went up slightly.
Headline statistics likes these rarely tell the full story. For example, income is not the same
as profit, and there are many other market forces affecting author income these days. But for
Scott
those creating the content, the perceived discrepancy between returns for authors vs. those Winner
for publishers has been viewed with increasing suspicion. Nicola Solomon, CEO of the U.K.
Society of Authors, recently challenged publishers to reveal how much they pay writers. “Unless authors receive proper
returns,” she warned, “the supply of quality work will inevitably diminish.”
Of course, publishers and authors have a symbiotic relationship. Each party needs and benefits from the efforts of the
other. But the relationship can suffer when there is a perceived discrepancy or lack of understanding between parties.
The solution: greater transparency about costs and revenue, as well as greater access to information. Although publish-
ers typically provide authors with a window into revenue and sales through regular royalty statements, authors today are
looking for better ways to be assured that they are being properly compensated.
Looking at the music industry, Spotify recently launched Spotify Publishing Analytics, the first analytics tool from a
music streaming service to provide data on plays. And for book publishers, similar technologies are now on the market,
systems that can help publishers become more transparent with their writers, providing regular up-to-date sales informa-
tion. Why not take advantage of these innovations? More transparency can only enhance the relationship between pub-
lishers and authors and can help authors better understand the vital role their publishers play. ■

Scott Winner is CEO of Ingenta.

Join Scott Winner and a panel of experts from across the book and music industries for their panel discussion, “Increasing Transparency:
How to Create a Fairer Industry,” at the London Book Fair on Tuesday, March 12, 11:30 a.m.–12:30 p.m., at the Buzz Theatre.

7
 The DIGITAL SPOTLIGHT
Klopotek on Title Management,
Editorial, and Production
Stream puts the fun and intuitiveness into one essential part
of the publishing process
K
lopotek TEP (Title Management, Editorial, and
Production) is now available on Stream, the compa-
ny’s cloud-based technology platform. “Stream
makes all product-related tasks—including title
management, editorial work, planning, and produc-
tion—available to publishers as business-
and workflow-driven processes,” says
Uli Klopotek, CEO of Klopotek, a com-
pany that is known for providing an end-
to-end solution to support clients’ pub-
lishing businesses that is spread over different countries,
languages, currencies, and metrics. “It provides a truly state-
of-the-art technology with an interface that is responsive,
user-friendly, intuitive, flexible, and customizable.”
Creating Stream for TEP is a logical step, Klopotek says.
“Now that we have completed the CRR [Contracts, Rights,
and Royalties] and CRM [Customer Relationships Manage-
ment] elements, it is time to move all central TEP processes
to the Stream platform,” he adds. “This is a part of our long-
term technology road map. In any case, nine TEP apps were
already brought to market as Stream apps a while back due
to strong customer and market demand. Two more are cur-
rently in development. The goal is to offer smart and role-
based workflow support to the publishing industry.”
Title Metadata Editor (plus Scenario Manager) is one of
the two apps being developed to cover the very basic but
essential area of metadata management. “With this app, we
are reimagining the traditional workflow for title manage-
ment. The process-driven app Title Metadata Editor offers
various scenarios so that editors can completely focus on the
attributes they need at the very moment for titles that they
are working on,” explains Nella Klopotek, executive v-p for
UX design and UI development.
Scenario Manager, Klopotek adds, “enables publishers to
create their own scenarios for title management, with all
workflow steps and UI elements fully customizable.” The
use of Title Metadata Editor, together with Scenario Man-
ager, will help to reduce information overload in title man-
agement while focusing on the relevant metadata. “It will
improve both the quality and efficiency when creating and
managing title information,” she says. “With Stream for
TEP, life is easier for editors, who, in many cases, do not
enjoy working with software systems. Cloud-based apps on
8 www.publishersweekly.com
MARCH 2019
BY TERI TAN
Stream are intuitive to handle and fun to use, and they help
publishing staff to focus on their priorities and essential
processes in their day-to-day operations.”
Each app within Klopotek Stream focuses on specific
business processes for everything that a publisher (or editor)
needs in the area of TEP. “Title manage-
ment is one such area, of course. Then
there are product classifications accord-
ing to various publishing industry stan-
dards, price calculations, or scheduling,
for instance,” says Peter Karwowski, CTO and deputy CEO
of Klopotek, adding that Stream for TEP “covers both books
and journals—and their entire product lifecycle—as well as
digital and subscription products, including online data-
bases.”
Publishers, says Karwowski, can choose from a large
number of Stream web apps (of which there are now 25) to
cover the processes that are important to them. “All apps use
the same database and model, so that there is no loss of
information and/or time when switching between apps or
exiting one to the next,” he says. “By employing Stream
technology, publishers can create their own TEP suite that is
tailored to their operations and specific requirements.”
Existing clients have smoothly transitioned from the Klo-
potek Classic Line to Stream CRR, Karwowski says. “Our
solution allows for a department-oriented transition—i.e., a
step-by-step process instead of a ‘big bang’ migration, which
would be considered as risky,” he adds. “It will be the case
for switching to Stream for TEP.”
Up next for the company is the completion of all essential
Order to Cash processes to the Stream platform. “Once O2C
is completed, all parts of the Klopotek solution—covering the
end-to-end process in publishing—will be available on cloud-
based Stream,” Karwowski says. “The Stream world will con-
stantly have newly developed web apps to meet emerging
market requirements and new business processes. There will
also be continual updates to provide new functionality to
TEP apps such as Schedule Manager and Catalog Manager,
which we plan to do this year.” ■
To discover the fun of using Klopotek Stream apps, head
over to booth 3E10 and try out a live demo on a tablet or
desktop.
 Visit us at Booth 6B99 to learn how
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 WEB APPS ON STREAM MAKE THE PRODUCT LIFE CYCLE EASY TO HANDLE

WEB

Fast and structured creation

WEB
of first drafts and titles

Choose the best scenario for managing

the title information at hand

Generate drafts for titles at the touch

of a button and do a first calculation?

Enter metadata as it becomes available?

We’ve just reimagined key Title Management processes for you and created a process-
driven workflow based on cloud-based apps on the STREAM platform:

Early Title Manager Title Metadata Editor

This is your web app for creating titles
even at an early point in time: Although
you’ll probably still be working with
drafts at this moment, you can use pow-
erful budgeting tools for doing a first
calculation.
From the very beginning of working on
an idea, Early Title Manager guides users
in Editorial through all essential process-
es of adding data in order to move to the
next stage of the title editing process.
If you choose not to go ahead with your
idea for a new title, it can easily be re-
moved without cluttering the database.
Processes tailored to your needs are your W
best option for title management. Using at
Title Metadata Editor, it’s you who de- w
cides which attributes and data should vid
be included in your workflow, e.g. title Re
and author information, product identi- Sc
fier, version and edition data, print runs, co
etc.: You can create your own user inter-
face to guide you through the processes
you want to rely on.

info@klopotek.co.uk

Klopotek_LBF_PW_Digital_Spotlight_Tuesday_FINAL.indd 1
 Add the
WEB
Scenario Manager
If you’d like to work with different
scenarios in Title Metadata Editor
that are not part of the standard
delivered by us, you can use the
Scenario Manager, our app to
design your own schemes.

Find out more at

our stand and see
live demonstrations
of the apps!

Stand 3E10

Add marketing texts and keep all information in one place?

Classify your titles according

to all relevant industry standards?

Blurb Manager Classification Manager

ur Which attributes require adding data WEB

Blurb
Manager Reduce classifying all types of
ng at which point in time? To keep a clear
products based on all industry
e- workflow, Title Metadata Editor pro-
ld vides different scenarios, e.g. ‘Product standards to a minimum of effort
le Release Milestone 1, Print’, ‘Standard
ti- Scientific Milestone 2’, etc. Each scenario
ns, comes with the appropriate attributes.
er-
es

Creating and adding all types of texts for

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04.03.2019 17:09:04
 The DIGITAL SPOTLIGHT
Cenveo Publisher Services on
Digital Learning, AI, and NLP
New products amp up the company’s tech solutions for
educational and scholarly publishing
T
his London Book Fair will see the launch of Cenveo
Learning, which will bundle curriculum-aligned rich
media solutions for publishers and corporate learning
strategies to improve employee performance into one
robust service. “Our experi-
enced digital learning teams turn ideas
into immersive experiences in both the
classroom and the workplace,” says
Waseem Andrabi, v-p for content ser-
vices at Cenveo Publisher Services.
Available across devices, platforms, and markets, Cenveo
Learning offers solutions including adaptive microlearning
modules, assessments and certifications, gamification, and
simulations. It supports mobile content for iOS and Android,
allows for integration with learning management and stu-
dent information systems, and is compliant with industry
standards such as Section 508, W3C, and WCAG.
To transform mundane training materials into engaged
and informed learning, the team has taken a systematic devel-
opment approach—Cenveo LEAD+ Framework—to lever-
age, engage, analyze, design, and transform e-learning.
“The HTML5-based games that Cenveo developed for
McGraw-Hill Education’s Everyday Mathematics program,
for instance, reinforces math concepts through concrete real-
world applications and practice,” explains Andrabi, adding
that the team created new games and redeveloped existing
Flash-based games as discrete, self-contained HTML5 inter-
actives that run on all devices and platforms.
Another noteworthy project involved reinventing ESL
instruction for GVE Online Education, a Canadian provider
of English learning solutions for Chinese students in grades
one to nine. “GVE went from concept to operational prod-
uct—with hundreds of animations, exercises, fun activities,
unit assessments, and exams—within six months,” says
Andrabi, pointing out that the “plot-oriented, charac-
ter-based, storylike instructional materials are changing the
way Chinese schoolchildren learn English.”
Smart Suite 2.0, which was launched at the previous Lon-
don fair has now been implemented by several customers,
including Taylor & Francis. “T&F estimates that 25% of its
journal submissions are high-quality, and, by using Smart
Edit—which is tailored to comprehend unique content prop-
12 www.publishersweekly.com
MARCH 2019
BY TERI TAN
erties and incorporate the requirements of specific publica-
tions—these articles can completely bypass manual copy-
editing,” explains Mike Groth, Cenveo’s marketing director.
“Aside from potential savings on time and resources, Smart
Edit also improves the author experi-
ence. This rapid publication process,
in turn, incentivizes more authors to
submit their articles to T&F jour-
nals.”
Smart Suite 2.0, a cloud-based eco-
system of publishing tools to streamline the production of
high-quality content, utilizes artificial intelligence (AI) and
natural language processing (NLP). This enables accelerated
publishing with editorial excellence, from copyediting and
conversion to composition and delivery. “We want to help
publishers understand the ways the AI and NLP behind our
technology can transform content and boost the immediacy
of science,” adds Groth, who will be offering copies of a new
white paper on that topic from the booth.
In the near future, AI and NLP in the scholarly informa-
tion chain can bring opportunities for streamlining every-
thing from content creation to peer review. “Automated
matching of articles to journals or reviewers, for example,
can further speed production and improve quality while
reducing bottlenecks for authors,” Groth says.
Cenveo’s recent partnership with HighWire is another
exciting story to share with London attendees: “This collab-
oration enables clients of both companies to integrate
complementary technology and services, simplify their oper-
ations with a single project management team, align stra-
tegic planning across vendor events and user groups, and
optimize pricing.”
Integrating metadata from HighWire’s BenchPress sub-
mission solution with Cenveo’s Smart Track automation
tool, for instance, is one major benefit. “Our combined team
is able to support the full publishing process, including peer
review, editorial services, author support, online platform
solutions, and analytics,” says Groth. ■
For information on Cenveo Learning, Smart Suite 2.0,
and more, visit booth 3E08, or check out cenveopublish-
erservices.com.
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 The DIGITAL SPOTLIGHT MARCH 2019

Impelsys on Positive Customer

Experience
New products make publishers’ lives easier from the get-go BY TERI TAN

C
ustomers today seek convenience across all interac-
tion points, including retail portals, apps, and digi-
tal readers, and they need to find access while easily
interacting with the content,
observes Uday Majithia,
assistant v-p of technology, services,
and presales at Impelsys.
“When there is convenience in the
interaction, a sustainable relation-
ship between the brand and the customer is established,”
explains Majithia. “These are factored in during the cre-
ation of all Impelsys digital products,” he says. “The design
and conceptualization of our apps and platforms—espe-
cially iPC Scholar and iPC Health—start from the cus-
tomer’s perspectives.”
Scholarly publishers, adds Majithia, “produce a prodigious
amount of content in journal format but also publish ebooks,
create videos, and offer courses. In a traditional workflow,
these varied content require different tools to create, pub-
lish, and deliver, which results in a
discontinuity in customer experi-
ence as they access different con-
tent through different channels.
Publishers, on the other hand,
have to maintain different plat-
forms that do not provide a comprehensive insight on their
business.”
Impelsys’s iPC Scholar (previously known as iPublish-
Central Scholar), for example, is focused on the scholarly
publishing industry. “It solves their publishing concerns by
providing a seamless customer experience across all content
formats. It can single-handedly manage and deliver journals,
e-books, videos, courses, and much more.”
With iPC Scholar, publishers also “get comprehensive
actionable analytics—on consumer behavior, usage pat-
terns, likes, and dislikes—across multiple products to help
them deliver enhanced personalized experiences,” says
Majithia. “Publishers do not need to deal with multiple ven-
dors, further bringing efficiency to their operation and
shorter turnaround for service requests. This, to us, is a great
customer experience: it is about freeing the customer from
annoying digital hurdles even as we ensure a smooth and
flawless access of content.”
John Meiners, chief of mission in aligned businesses and
health-care solutions at the American Heart Association,
sums up Impelsys’s services this way: “It has been one of the
few technology companies that always delivered on time
and on budget, with high quality that does not require a lot
of reworking. That has led us continuing to invest in addi-
tional solutions and bring them into more of a business part-
nership than just a vendor.”
For Impelsys, the greater goal is to think beyond profit and
be an entity with a purpose. Majithia adds, “We want to
utilize our technologies to spread knowledge and help peo-
ple to learn and grow, professionally and personally.” ■

Head over to booth 3A48 for more information, and attend

WE MANAGE KNOWLEDGE

“Effective Knowledge Management & Digital Transforma-

tion Strategies Powered by iPC Scholar,” a session by Stefan
Kendzierskyj, Impelsys’s executive v-p and head of EMEA
and Asia-Pacific, on Tuesday, March 12, at 10 a.m. in the
Buzz Theatre.

14 www.publishersweekly.com
MARCH 2019 The DIGITAL SPOTLIGHT
What’s Next for Open
Access, Copyright?
Copyright Clearance Center’s Roy Kaufman offers
predictions on some key issues publishers are
tracking ahead of this year’s London Book Fair

BY ROY KAUFMAN

T
o say that open access scientific publishing will grow
in 2019 is akin to predicting that the sun will shine on
some days. The proportion of journals published
globally offering an OA option has for years been ris-
ing steadily. And in a major development last year, the
European Research Council launched the Coalition S consor-
tium, which has already won the support of a large and grow-
ing number of national research agencies and major institu-
tional funders toward its goal of making “full and immediate
Open Access to research publications a reality.”
The formation of Coalition S, of course, begat Plan S—a
controversial initiative that would require scientists and
researchers from Coalition S members to publish their work
in open access repositories or journals by January, 2020, as a
 The DIGITAL SPOTLIGHT
condition of their funding. Plan S also proposes other
reforms, including a cap on Article Processing Charges
(APCs). And though Coalition S has also taken aim at hybrid
journals (subscription-based journals in which authors can
pay a fee to make articles open), as of now it would allow
publication in hybrid journals “in transition.”
With Plan S taking center stage, my prediction for 2019
is that we will start to see some unintended consequences
take hold in scientific publishing.
Independent Publishers Suffer
With its call for open access over everything else, as well as
its proposed fee caps, Plan S will put even more revenue pres-
sure on publishers. But, ironically, while large commercial
publishers get most of the negative press, they are also
(through economies of scale) best suited to control costs. On
the other hand, society publishers—with mission-based pri-
orities, fewer journals over which to spread costs, and less
negotiating power over vendors—will have a much harder
time dealing with the fee caps proposed by Plan S supporters,
especially as the cap is likely to be at or below the rate of
$3,000 per APC .
Yes, many scholarly societies already charge APCs around
this rate for hybrid titles. But that rate that is market-based
and often does not reflect the true cost to the publisher. For
many societies, costs per article exceed $3,000, and that
price is only offered because it’s subsidized by subscriptions.
As the flip to full OA begins to appear inevitable, pressure
and fear will lead independent society publishers to increas-
ingly partner with larger publishers. This will both enable
them to lower costs and to participate in read-and-publish
(RAP) deals (more on that below).
The Pure-Gold Road Is Shut Out
Read-and-publish models, or “global flip” models of OA,
occur when large institutions—or indeed entire countries—
pay a (typically large) publisher a fee which gives affiliated
researchers both access to subscription-based content, and
the ability to publish open access articles in that publisher’s
journals without APCs. It is sort of a modified “big deal” and
is being embraced by large publishers and large societies.
But there are two groups of publishers who are almost
certainly not fans of this trend. First, are the “pure-gold
road” OA publishers. The RAP model effectively shuts out
these “heroes of OA” from the equation. That’s because RAP
deals are by their nature only available to publishers who
still maintain subscription models. Thus, a generation of
pure OA publishers not only stand to lose revenue and foot-
ing in their quest for a pure OA play, but they lose authors, as
the process of publishing becomes easier for authors inside
RAP deals. And despite hybrid journals being loathed by
many in the OA community, if they are easier for authors
they will grow at the expense of fully gold publishers.
16 www.publishersweekly.com
MARCH 2019
Second, RAP deals also exclude smaller publishers, espe-
cially smaller society publishers. This is not by design—it is
simply a function of scale. A librarian’s time is a scarce
resource, and the long tail can be easily ignored.
Copyright: New U.S. Legislation?
Though 2018 did not see much federal legislation make it
through to completion, we did see a major copyright revision
pass into law: the Music Modernization Act. In addition,
acting register of copyrights Karyn Temple and her staff at
the U.S. Copyright Office were busy publishing new recom-
mendations on the Section 1201 of the DMCA (Exemptions
to Prohibition Against Circumvention of Technological
Measures Protecting Copyrighted Works). And with a host
of RFIs and notices, work related to modernizing the Copy-
right Office and copyright registration practices are also pro-
ceeding. But will we see significant new copyright legislation
in 2019? My prediction is no, probably not.
We begin with the Register of Copyrights Selection and
Accountability Act of 2017. That bill, which died in the
Senate last year after passing the House, would have changed
how the U.S. register of copyrights is appointed. The bill
was supported by the publishing and entertainment indus-
tries, and opposed by the tech sector and the library com-
munity. But as one observer recently noted, the measure
seemed to matter a lot more a few years ago, when Barack
Obama appointee Carla Hayden took over as librarian of
Congress and swiftly removed then–register of copyrights
Maria Pallante, raising fears that Hayden would appoint a
register hostile to creators’ rights. But with Temple now in
her third year as acting register (and quite possibly the
eventual permanent appointee) the register bill is now seems
less pressing.
In other Congressional copyright-related news, new House
Judiciary Committee leaders from both parties have sig-
naled their support for a new federal resale royalty right for
visual artists. This right would give artists a share of auction
proceeds when works are sold publicly and at a profit. The
proposal has been understood as more like a tax on a
small number of auction houses. Close watchers of copy-
right consider this proposal likely to pass in 2019.
We can also expect some backdoor copyright exceptions
and exemptions to be introduced through appropriations
and other means, under the rubric of “open government.”
Content and data partially funded by government grants,
technical standards incorporated or referenced by laws,
and even third-party copyrighted content hosted on U.S.
government sites such as PubMed Central are all potentially
affected. Whether Judiciary takes notice and asserts juris-
diction over such efforts is an open question, though I
suspect it will. Could you imagine the Committee on
Agriculture not involving itself in a bill preventing farmers
who receive subsidies from charging for their grain?
continued on p. 18
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 The DIGITAL SPOTLIGHT
continued from p. 16
E.U. Copyright Vote Looms
For all the “Will they or won’t they?” over the past year, a
deal on a major European copyright revision, the Single
Copyright Framework for a Digital Single Market, has now
been struck. I predict the legislation will narrowly pass. A
final vote before the full E.U. Parliament is likely to come in
late March or early April. But with E.U. parliamentary elec-
tions looming in May, a tough political battle is taking
shape. And even if the bill passes, the battles will continue, as
member states look to implement the changes at the national
level.
The bill’s two most controversial articles remain (mostly)
intact in the final negotiated bill: Article 11 (the “Publisher’s
Right” as characterized by supporters; the “Link Tax” to the
those opposed) and Article 13 (the so-called value-gap pro-
vision, which aims to address the power imbalance between
platforms and content creators). If passed, neither will
“break the internet,” as the bill’s opponents argue.
Brexit?
Just as I began writing this, Theresa May’s Brexit deal was
voted down by historically large margins, and she then sur-
vived a vote of no confidence. From my outsider view of real-
politik, neither was surprising. Nothing is to be gained by
any MP voting for that Brexit deal, a negotiated agreement
that had something for everyone to hate. On the other hand,
Publishing Workflow Needs a Rethink
By Jon White
W
hen the digital revolution ramped up over a decade
ago, publishers were prompted to reevaluate their
traditional operations, as new formats and technolo-
gies demanded they find ways to improve efficiency. Unfortu-
nately, too many of the new processes that followed were
mere digital versions of existing analog-era systems, barely
improving productivity and, in some cases, even creating addi-
tional work.
To learn more about the pain points in the publishing
workflow, PageMajik and the Book Industry Study Group
last fall partnered on a survey of publishing professionals.
The goal: to identify issues and workflow solutions that would
help both the industry and individual publishers work more
efficiently.
No surprise, the survey revealed that 17% of respon-
dents spend 25%–50% of their time doing repetitive
tasks, while 47% of respondents said repetitive tasks
take up 10%–25% of their time. But here’s the kicker: 58%
of respondents felt that some of those tasks were avoid-
able, and over half said they’d be more effective in their jobs
18 www.publishersweekly.com
MARCH 2019
who (besides Jeremy Corbyn) would want May’s job, with
its 100% guarantee of failure?
I’m going to crawl out on a limb here. It’s no longer unimag-
inable to think there will be a second referendum. In fact,
that now seems likely as the defection of centrists from both
parties has pushed even Corbyn to offer support for a second
referendum (no doubt, he sees a clearer path to becoming
prime minister without the millstone of Brexit). Of course,
the second-most-likely scenario is the U.K. leaving the E.U.
without a deal, a so-called hard Brexit. For publishers, a hard
Brexit would mean a massive reduction in the ability to
recruit talent, and severe short-term market challenges.
It’s not alarmist to say that Brexit could seriously impair the
U.K. publishing industry and incentivize expansion into con-
tinental Europe in order to take better advantage of E.U.
labor and other markets.
If there is a second referendum, however, the outcome will
almost certainly be to reverse course away from Brexit. This
would be great news for publishers running global busi-
nesses with global employees, for academics seeking fund-
ing and collaboration, and indeed for any business where
freedom of movement is an issue.  ■
Roy Kaufman is the managing director of business devel-
opment and government relations for Copyright Clearance
Center.
if such repetitive work was eliminated.
Among the most-time-consuming
activities: updating metadata, provid-
Jon White
ing the same information in multiple
reports, tracking projects in various formats, and outlining
assignments.
The task at hand is clear: to develop systems that can
automate some of these processes, offering publishers
greater efficiency and freeing them to focus on higher-level
product work, such as acquisition, design, and promotion.
And we want to hear more from you.
On March 28, BISG will host a meeting in New York City
focused on cloud-based workflows. An interactive two-hour
workshop, the program is designed to solicit information
about the specific challenges the book industry faces. And
if you’re here at the London Book Fair, stop by the PageMajik
booth for more information about the survey, or to discuss
your own workflow challenges. ■
Jon White is the global vice president of sales and market-
ing at PageMajik.
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