Frankfurt Show Daily, Day 3, Oct. 16 2015

Frankfurt
Friday 16 October 2015
NEW FROM
ROBERT KIYOSAKI
& KIM KIYOSAKI
THE
visit pW and Bookbrunch at HALL 6.0, Stand B29
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A good time for indiesCEO panel

The CEOs of leading
independent publishers from
Brazil and the UK were
bullish about the prospects
for independents in todays
markets, at an independentfocused session at the Fair on
Thursday, writes Liz Bury.
Editors of six trade
magazines from round the
world, Bookdao (China),
the Bookseller (UK), Livres
Hebdo (France), Publishers
Weekly (US), PublishNews
(Brazil), and Buchreport
(Germany), questioned the
CEOs on a range of topics.
Andrew Franklin of Profile
Books in the UK argued that
the challenges ahead were the
same for independents as
for the conglomerates.
There is a big long-term
question about the future of
reading, long-form reading,
and its a challenge which
faces all publishers. We have
to not get distracted and to
keep publishing really good
books, he said.
Franklin was upbeat about
the business environment
for indies. Its a good time
to be independent, and its a
good time to set up an
independent. You can borrow
money cheaply, and the big
publishers miss good books,
he said, giving the example
Moderator Ruediger Wischenbart, Andrew Franklin, Marcos Pereira
of Karen Joy Fowlers We

Are All Completely Beside
Ourselves, a bestseller for
Profile, and shortlisted for
the 2014 Man Booker Prize.
Penguin had published two
earlier novels by her, but
had passed on this one.
The big publishers are
very impatient of failure, said
Franklin. There are fantastic

opportunities in the mid-list.
Marcos Pereira of Brazilian
publisher Editora Sextante
explained that Brazil was a
very competitive market, and
a very challenging economy
where consumption is low, and
payments can be slow. But
he added: As a publisher, we
Sphere autism novel in demand

A novel acquired around the time of the London Book
Fair, back in May, has become one of Little, Brown
imprint Spheres big books of this years Frankfurt Book
Fair. A BOY MADE OF BLOCKS, by Guardian Games
Editor Keith Stuart, was commissioned by Ed Wood
after he had read a piece by Stuart on how he had been
able to bond with his autistic son over the video game
Minecraft. (Wood also has a son with autism.) At the
time, the novel was little more than a proposal. Now, on a
65,000-word partial manuscript, Sphere has closed deals
with publishers in Germany, Spain, Italy, Norway, the
Netherlands, Portugal, Brazil, Serbia and Sweden, and
has been fielding strong proactive interest from a
number of film studios.
have to keep thinking what

will be the next bestseller,
and we have to find it.
For years, Brazil has been
held out as a hot market,
and with HarperCollins and
Penguin Random House
arriving in Brazil we may
finally see more action there.
On the issue of Amazon
and book prices, Pereira said
he was now a supporter of a
fixed-price initiative that is
just now being debated,
explaining that hed come
to believe fixed pricing was
best for the book market
there. Amazon, meanwhile,
which was still relatively
new in the country, May
have underestimated the
market, Pereira said.
inside:
TECH Area
New ways with

content
DAVID
MONTGOMERY
CEO INTERVIEW
RIGHTS
ROUNd-Up
fair Deals
3
4
8
Hall 6.0, Booth D71

PerseusBooksGroup.com
Frankfurt show daily
Intellego, PubCodertechies at Frankfurt

The Frankfurt Book Fair will always be a book fair. But
in recent years it has made a concerted effort to attract
entrepreneurs and new digital media companies from
round the world, a strategic move that is paying off, with a
growing number of upstart tech companies on hand
seeking to work with publishers, retailers and other players
in the book business.
Frankfurt is the largest book fair in the world, and we
needed a stake in the ground for the company launch, says
Neil Balthaser, CEO and founder of the newly minted
company Intellogo. Its a great place to have everyone
together at once, big and small.
From a seat in the Frankfurt Book Fair Business Club,
Balthaser demonstrates his technologyIntellogo is a
machine learning engine that can parse a large corpus of
works for complex themes, an advance that represents the
bleeding edge of metadata practices.
Intellogo cracks open books, reads them, and
understands them, Balthaser says. It can understand
concepts vs key words. We have trained it to understand
things like characters, personality, writing styles,
geographic locations, time periods. In all, Intellogo can
comprehend roughly 100 million different insights that
can help publishers and retailers better understand their
holdings, and thus build better marketing and
merchandising campaigns.
Balthaser is no stranger to the publishing industryhe
used to work for Barnes & Noble, where he helped run the
Nook Press self-publishing platform. After leaving B&N,
the idea for Intellogo struck him. We had all this content
coming in but no way of really understanding it, he says of
his time at Nook. So with my background in artificial
intelligence, I thought, machines can help us with this.
Also at this years Fair are representatives from
PubCoder, showing off software that enables creators to
To contact Frankfurt Show Daily at the

Fair with your news, visit us on the
Publishers Weekly stand in Hall 6.0, B29
Publisher: Joseph Murray
Editors: Andrew Albanese, Nicholas Clee
Reporters: Rachel Deahl, Liz Bury
Project Coordinator: Cathy Schofield
Layout and Production: Heather McIntyre
Editorial Coordinator (UK): Marian Sheil Tankard
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
Neil Balthaser
build powerful, top-level digital products cheaply, and

quickly. PubCoder is an authoring tool for complex
content, says Enrico Gazzano, PubCoders co-founder.
Its a tool that allows you to add animation, interaction,
and other elements, everything you would expect to see on
a tablet, and then to publish that work in any format,
whether as an EPUB3, as an iOS or android app. He adds:
The idea is going from digital books to digital for books.
This is not just taking a print version and making an
enhanced PDF, but were thinking about the product
games, interactivity, cool stuff.
Paolo Albert, PubCoders CTO, says the company is
aiming at a range of target audiences, including publishers
who want to create great digital catalogues, IT companies
that support publishers, and self-publishers. The beta
version debuted at the 2013 Frankfurt Book Fair, and was
runner-up at the CONTEC Frankfurt International
Publishing Startup Showcase. Last year, PubCoder stepped
up in class, with iTunes recommending it.
Rape memoir attracts offers

UK and US publishers have made offers for an extraordinary
memoir, Thordis Elva and Tom Strangers SOUTH OF
FORGIVENESS, signed by Droemer-Knaur in Germany at
auction and by Forum in Sweden. The book chronicles the
aftermath of a rape from the perspectives of both victim
and perpetrator: Elva, a journalist and activist originally
from Iceland, was raped by Stranger when she was 16.
After years of struggling to cope with the attack, she
reached out to Stranger, who admitted that he was dealing
with his own issues, unable to overcome his guilt. The two
met, and came to the unlikely decision to collaborate on a
book after realising that their story could help others.
They will promote the memoir together, and are in early
talks with TED about doing a presentation. The agency
handling the book is Partners in Stories.
Montgomery on Publishing Technology future

Just before the start of the Frankfurt Book Fair, CEO
Michael Cairns stepped down at Publishing Technology,
with David Montgomery named acting CEO. Andrew
Albanese caught up with Montgomery to hear about his
plans to move the company forward.
For those who may not know you well, can you tell us a
little about yourself?
Up until last month, I was CTO at Publishing Technology,
where I was responsible for driving all aspects of the companys
IT strategy. Prior to Publishing Technology, I was Managing
Director of Software Operations at Inspired Thinking Group
(ITG), a Tech Track 100 company. And prior to that, I held
various senior positions, all with tech companies.
Can you tell us a little more about Publishing Technologys
current position?
Even though we are on track to generate a far better result
than the loss posted in 2014, it is true that we are set to
miss expectations for this year, which is disappointing. But
I think it is largely indicative of the publishing space as a
whole right now. While the industry continues to ponder
how best to arm itself for the future, critical decisions
about business infrastructure and how to support products
from a technology perspective are being delayed in the
process. This is unfortunate, but not insurmountable. On a
more positive note, our business is on track with our
strategy for creating platform solutions that will be more
flexible and scalable for our customers futures.
functionality to our base platforms. Publishers can expect

to see more standardised, cloud-based and API-layered
services and implementations from us.
Publishing Technology hosts a great panel every year at
Frankfurt (and in London) called What Is a Publisher?.
So let me put that question to you.
Indeed, we have argued at recent book fair panels that
publishers are traditionalists, digital innovators, IT
providers, fearless leaders and cautious followers, often
more than one at the same time. But publishers at their
most fundamental level are content curators. What
changes frequently may be the way publishers manage
content, or adapt to the speed of the prevailing academic
or commercial culture, or how they mix traditional and
emerging business models. But the core editorial role of
publishers, however, is constant. In the end publishing is
about delivering the right content to the right people at
the right time, and that is what Publishing Technology is
here to facilitate.
What do you hope to bring to the table as acting CEO?

I intend to employ my more universal tech experience, and
to position the company to behave more like an enterprise
software firm. This means continuing our strategy to
productise our publishers business and CMS systems so
that third-party resellers can add value, apps, and
HC pre-empts Sarah
Pinborough thriller
Natasha Bardon at HarperFictionHC has emerged as
the busiest publisher at the Fairhas made a six-figure
pre-empt for a psychological thriller, BEHIND HER EYES
(spring 2017), by established author Sarah Pinborough.
HarperFiction has UK and Commonwealth rights (exc
Canada) in this and a second novel through Veronique
Baxter at David Higham. The novel is about a single
mother attracted to her new boss, a married man with an
apparently happy home life but is the marriage all it
seems to be? Bardon described it as a brilliant thriller,
edge of your seat reading Plus it has a twist that will
knock your socks off.
Follett on his move into games

Ken Follett was at Frankfurt to introduce the new game of his
1989 best-selling novel The Pillars of the Earth, produced
by German games developer Daedalic Entertainment. In
response to questions from the audience, Follett said: It
takes a lot to embarrass me, and if you say Im a serious
writer and I shouldnt get involved with games, I say thats
just snobbery.
Follett said that games were a good medium for reaching
a new, younger audience, adding: All authors have been
influenced by modern media. We are not so leisurely in our
approach as a Victorian novelist, and thats because were
competing withTV, and film, and games. A writer like
Thomas Mann was much more leisurely in his approach.
Now we drop our readers in on the first scene. It has made
us tell stories in a much sharper and more attentiongrabbing way.
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Frankfurt 2015scenes at the Fair
At the Ingram party, Sonny Leong, Patron of the Independent Publishers

Guild; IPG Chief Executive Bridget Shine; and Hazel Cushion of Accent Press.
Juliet Mabey presides at the Oneworld stand, with an improvised notice
announcing Marlon James Man Booker Prize victory.
Rights guru Lynette Owen is offering a rights licences contracts

check at the Business Centre.
The Iran stand is a forlorn place, following the Iranian governments call to
boycott the Fair in response to Frankfurts invitation to Salman Rushdie.
Nielsen launched its Nielsen India Book Market Report 2015 (as featured in the
Wednesday Show Daily). Left to right Vikrant Mathur, Director Nielsen Book India;
Dr Ashok Gupta, President FIP; Vikas Gupta, President, API; Jonathan Stolper, SVP
and Global MD, Nielsen Book; Mo Siewcharran, Director of Marketing and
Communications, Nielsen Book International.
Ailah Ahmed of Little, Brown is attending her first Frankfurt,

and has bought The Dog Who Dared to Dream by Sun-mi
Hwang and Kazuko Nomoto, a follow-up to their The Hen
Who Dreamed She Could Fly (agent Barbara Zitwer).
Rights round up
Catherine Onder at Bloomsbury USA has pre-empted Kamilla Benkos
debut middle-grade series, THE UNICORN HUNT, which Bloomsbury
UK will also publish. Bloomsbury has rights in three books through
Stephen Barbara at InkWell Management, which did the three-book deal
on behalf of Benko and Paper Lantern Lit. The series stars sisters Claire
and Sophie, who must search for the long lost unicornsunseen for
centuriesin order to save a kingdom on the verge of collapse. Bloomsbury
is billing it as combining the timeless feel of Peter S Beagles The Last
Unicorn with Frozens powerful themes of identity and sisterhood.
Paul Baggaley at Picador (UK), Judy Clain at Little, Brown (US) and Iris
Tupholme at HarperCollins (Canada) have bought English language
rights in THE WONDER by Emma Donoghue, author of the bestselling
Room. The deals were handled by Caroline Davidson at CDLA (UK) and
Kathleen Anderson at Anderson Literary Management (US). English
language publication will be in September 2016. The Wonder is set in
rural Ireland in the 1850s, and tells the story of Anna, a girl who has
stopped eating but mysteriously remains alive, and Lib, the English nurse
charged with determining whether Anna is a fraud. Baggaley said: The
Wonder is a work of remarkable imaginative scope and descriptive
power... Emma is a genius at bringing the past to life and her description
of an Ireland trying to recover from famine is beautifully wrought.
Cassie Browne at the Borough Press has signed two further novels by
Andrea Bennett, whose Galina Petrovnas Three-Legged Dog Story came
to the publisher through its open submission programme in 2014.
Browne bought world rights directly from the author. Bennetts debut has
sold in Brazil, Germany, Spain, Italy and France. The new novels will also
be set in the Russian town of Azov. The first is due in February 2017.
PHI Learning
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Browne said: Galina Petrovnas Three-Legged Dog Story showed

Andreas gift for matching warm humour with fresh and original
characters and we are so lucky to have found such a talented writer
through the Borough Press open submission.
Michael OMara has announced at the Frankfurt Book Fair that it has
sold rights to ANIMORPHIA by young Philippines-based illustrator
Kerby Rosanes to publishers in 30 countries. OMara has sold 75,000
copies of Animorphia to date, and is likely to sell a good many more in
the run-up to Christmas. There is to be a special edition hardback for
Amazon, and more than 20 accounts have committed to promotions.
Penguin Random House publishes the US edition this month. Mauro
Spagnol, Senior Rights Manager at OMara, said: It has been an
amazing book to see blossoming and one of the title customers are the
most excited about. I was kept awake until 11pm one night by the two
French publishers bidding for the book. The illustration is incredible and
like nothing we have seen before. Kerby has a huge online following
which works wonderfully as a marketing platform for all my customers.
Martha Ashby and Kimberley Young at HarperFiction have signed a
high six-figure deal for three further novels by Mhairi McFarlane,
author of the initially self-published bestseller You Had Me at Hello. The
agent is Doug Kean at the Gunn Media Agency. McFarlanes two novels
appeared on the Avon list. HarperFiction will publish Whos That Girl?,
the second in her current deal, in spring 2016. HarperCollins said that
she was a key part of the new HarperCollins international publishing
programme, with six HarperCollins territories now on board to publish
her around the world. Young said: Mhairis fresh, hilarious and
intelligent writing make her stand out in any crowd. Were looking
forward to continuing to build her brand around the world and taking
her to ever-greater heights.
Pan Macmillan has signed world rights in two novels in a new series set
in the world of Sherlock Holmes and narrated by Holmes landlady, Mrs
Hudson. The author is Michelle Birkby, whose agent is Jane Judd. THE
HOUSE AT BAKER STREET will come in February 2016, with THE
WOMEN OF BAKER STREET following a year later. In the first novel,
Mrs Hudson teams up with Dr Watsons wife, Mary, to investigate a
case in Whitechapel, where the Ripper is still feared. The series has the
support of the Conan Doyle Estate Ltd and of Arthur Conan Doyle
Characters Ltd.
Egmont has secured its ninth foreign rights deal for French illustrator
Barrouxs second picture book for the list, WHERES THE STARFISH?
The first book in the series, Wheres the Elephant?, has been a similar
success, and Egmont has signed two further picture books through Kathryn
Ross at Fraser Ross Associates. The Wheres the Starfish? deals are Catalan
(Simbol Editors), Chinese (China Citic Press), Danish (Arvids), French
(Kaleidoscope), Dutch (JP Publishing), Italian (Edizioni Clichy), Korean
(Safari Books), Taiwanese (Hsiao Lu), and US (Little Bee).
Rowan Cope at Scribner has bought Meg Howreys novel THE
WANDERERS (spring 2017), also signed up by Putnam in the US and
Canada. Scribner has UK and Commonwealth rights through Emma
Herdman at Curtis Brown on behalf of Lisa Bankoff at ICM. The novel
smart, highly topical and very funny, Cope saidtells the stories of
three astronauts from the US, Russia and Japan engaged in intensive
simulation training for the first manned mission to Mars.
Alan Samson at Weidenfeld has bought a World War II memoir, TANK
ACTION: AN ARMOURED TROOP COMMANDERS WAR by David
Render and Stuart Tootal from Philip Patterson at Marjacq Scripts
Limited. Weidenfeld will publish in 2016. Render is one of the last
surviving officers of the war. At 19, he was a tank commander following
the invasion of Normandy, at a time when more than 90% of his fellow
commanders became casualties. His capacity for survival earned him the
nickname the Inevitable Mr Render.
Amazon under investigation

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Its been a complicated relationship between publishers and

Amazon from the beginning, rife with tension, writes
Andrew Richard Albanese. But in 2015, the tension is
reaching a climax, as government regulators in Europe and
the US look at Amazons business practices, and Amazon
expands its efforts to win new digital readers.
In June, European regulators announced the beginning of
an antitrust investigation into Amazons practices in the
European Union. In a statement, Margrethe Vestager, the
EU Commissioner in charge of competition policy, said EU
regulators would investigate whether Amazons contract
arrangements with publishers are harmful to consumers
by unreasonably preventing other ebook distributors from
innovating and competing effectively with Amazon.
Despite Vestagers broad statement, the EU investigation is
actually quite narrow. Specifically, the inquiry is focused on
the use of so-called Most Favoured Nation clauses (MFNs),
contract terms that require publishers to inform Amazon
about alternative terms used by Amazons competitors, and to
offer Amazon terms that are at least equally competitive.
Vestager said the Commission has concerns that such clauses
effectively limit competition among ebook distributors, and
could thus violate EU antitrust rules that prohibit abuses of a
dominant market position and restrictive business practices.
Notably, an MFN clause was the fulcrum of the 2013 case
against Apple and five major publishers charged with fixing
ebook prices in the US. In that case, US judge Denise Cote
held that even though the use of MFNs was legal, in theory,
she found that the MFN in Apples case was the glue that
held a price-fixing conspiracy together. In the trial record,
Apple general counsel Kevin Saul dubbed the Apple MFN
an elegant solution to ensuring that Apple ebooks would
not be underpriced by Amazon. In her final order in the case,
Cote banned the use of MFN clauses in ebook contracts for
Apple and five colluding publishers for five years.
Broader US investigation
Hall 4.2 | Stand C78

Hot Spot Education
www.learningmate.com
10
In the US, meanwhile, a group of authors under the moniker

Authors United is asking the US Department of Justice to
undertake a significantly broader investigation of Amazon.
Citing Amazons unprecedented power over Americas
market for books and the constitutional sensitivities of
such power, Authors Unitedspearheaded by author
Douglas Prestonargues that Amazon is using its dominance
in the book market in ways that harm the interests of
Americas readers, impoverish the book industry as a whole,
damage the careers of (and generate fear among) many
authors, and impede the free flow of ideas in our society.
Unlike the specific nature of the probe in Europe, the
Authors United petition is filled with wide-ranging, general
claims. It alleges, for example, that Amazon has blocked and
curtailed the sale of millions of books. That it has engaged in
content control. And that Amazons monopsony power
has led to publishers dropping midlist authors and declining
tion
It remains to
be seen if either
probe will lead
to regulatory
action. Observers
say the chances
are better in
Europe.
to publish riskier books.

Authors United also blames
Amazons below cost
pricing for price deflation
across the publishing industry,
and driving competition out
of business.
Over the years, Amazon
has benefitted readers and
authors in many ways, the
letter acknowledges. But no
temporary price cut can
compensate for the costs to
free expression and the health of Americas book industry
that have resulted from Amazons abuse of its dominance
in the world of books.
It remains to be seen if either probe will lead to regulatory
action. Observers say the chances are better in Europe,
where the investigation is narrowly focused, and where
Amazon has already faced greater public and regulatory
scrutiny. For example, Amazons pricing has been reined in
by fixed-pricing laws for books in some EU countries. And
last year the EU moved to normalise VAT taxes on ebook
sales across the EU, as well as to close a loophole that
enabled Amazon to pay significantly lower corporate taxes.
Meanwhile, Amazon is charging ahead. After a high-profile
battle last year with Hachette, the company now has terms-ofsale contracts signed with all of the Big Five publishers in the US.
It has also expanded its ebook subscription programme, Kindle
Unlimited, most recently launching in India, in September. And
its Kindle Scout crowdsourcing programme has also gone
worldwide. And, in its most aggressive move in years, Amazon is
now offering Kindle Fire tablets for sale in the US for under $50.
The investigations and Amazons aggressive actions come as
ebook sales have declined over the last year, and as prices on
ebook bestsellers have shot up. With new agency deals in place,
deals that give publishers control over consumer pricing, the
Big Five publishers have pushed ebook prices upward.
Amazon officials say they will co-operate with the
investigations, and expressed confidence they will be absolved
of any wrongdoing. But the legal and regulatory components
may be the easiest part of the battle for Amazon. In recent
months, a press campaign has endeavoured to question
whether Amazon is culturally destructive, as opposed to just
economically destructive. Most prominently, a 6,000-word
New York Times piece this summer portrayed Amazons
treatment of its white collar workers as inhumane.
In an interview with the New Yorker, Douglas Preston
conceded that Authors United may be barking up the wrong
tree with an antitrust campaign at the US Department of
Justice. But whether the effort succeeds in drawing regulatory
action, the campaign serves a larger goal, he said. We hope to
show the public that getting products faster and cheaper isnt
necessarily the greatest good; it comes at a human cost.
V
6. isit
2, us
St in
an H
d al
E5 l
5
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EU copyright reform: it doesnt add up

This time last year the publishing world
was contemplating the then new European
Commissions early thoughts on the
development of the Digital Single Market
and its mistaken view that copyright
reform would drive EU growth, writes
Richard Mollet.
Twelve months on and policy development
has moved on apace. A Communication
from the Commission in May put some
small bits of flesh on the sketchy bones,
Richard Mollet
noting that copyright rules around
education and research were ripe for reform, including text
and data-mining, archiving and cross-border access to
education materials.
We now sit waiting patiently for the draft legislative
proposals on these areas to appear. Where once the
Commission had hoped to promulgate these around about
now, the clever money seems to be sliding towards early
2016 as the likely datealthough a Christmas present of
Commission policy reform should not be ruled out.
In the UK our response to these putative plans has been
threefold. First, we have continued to emphasise that
publishing is both a digital and international business, and
is therefore welcoming of any measures which can be
shown to improve the digital single market, whether in the
EU or the rest of the world.
Wheres the evidence?

Secondly, we underline the can be shown clause of that
sentence: any reform of the law has to be backed up by
robust evidence and based upon a carefully conducted
analysis of the present and likely future markets. In this call
we are pleased to be strongly supported by the British
government which, having got over its flirtation with Ian
Hargreaves guessonomics of four years ago, is now
firmly in the camp of demanding decent sums to back up
policy positions. To date, these have been sadly lacking.
Officials at the Commission confess to being on a learning
curve as to how current licensing markets operate and are
gratifyinglyeager for data and knowledge. However, at the
same time they admit to the political pressure to develop
well-drafted proposals giving effect to their political
masters pre-ordained wishes.
It does not require a political super-computer to see that
something does not add up here; the policy direction is set
even before it is properly understood what the policy
effects will be.
Unnecessary exception
Thirdly, we continue to question whether the aims of the
Commission will be met by their proposed means. Take
text and data-mining: the Commission says it wants to see
it more widely used and believes the way to effect this is
12
through a new exception to copyright in the

Directive. This is unnecessary. The UK
already has an exception, which allows
academic researchers to mine legally
acquired works, operating within the
bounds of publishers loose management
tools. Since this measure, which was
introduced last year, has not been subject to
judicial review by the Commission we must
assume the UK government is acting within
the terms of the Directive. So why amend it?
The British experience also shows us
that having an exception does nothing to increase the
amount of mining, nor solve the challenges that can get in
the way. Even in the absence of an exception, researchers
who are already capable of data and textmining have
agreements with publishers in place: the change in the UK
law merely gave permission to something which was
already happening. The change had the same effect as
would a new law requiring young men at university to
drink beer.
Technical not legal issues

Not only that, but the obstacles to data and text-mining
lie wholly outwith copyright. They are more to do with
different technology platforms, uncertainty about
sourcing of journals and different licensing conditions
technical not legal issues. The way these problems can be
sorted, indeed the way they are already being sorted, is
through platforms like PLS Clear or CrossRef, which
provide a front door service for researchers, addressing
their specific needs: who to contact, what information to
provide, and allowing them to issue the same request to
multiple publishers, all while ensuring the integrity of
publisher platforms.
A Brussels-based UK official once confided to the PA
that: This town is just a legislation machine; all it knows
to do is make laws. It sounded a cynical assessment at the
time, but as the Digital Single Market strategy comes to
fruition, it is one which looks increasingly true.
There is a great deal the Commission could do to boost
the fortunes of the economy: funding skills development,
superfast broadband and developing technology clusters
being the most promising. But moving to undermine and
erode the copyright foundations of the creative industries
success is not one of them.
We therefore urge the Commission to take a breath. Take
a closer, more forensic look at what makes EU businesses
tick. Do not read into every stated problem the need to
legislate. Consider what else should be done to stimulate
growth. Above all ensure there is a total understanding of
the impact of proposed changes of the law on existing jobcreating, revenue-earning businesses.
Richard Mollet is Chief Executive of the Publishers Association.
Are you ready to fulfill your

future customers needs?
knkPublishing
Inspiring Publishing Software
Hall 4.0 stand F1
Oneworld: playing to our strengths

With Oneworlds 30th birthday only months
away, 2015 was as good a year as any to
take stock, to critically assess our strengths
and weaknesses, and consider plans for
expansion, writes Juliet Mabey.
Given the seismic changes of the last three
decades in the world of books, the key question
we are often asked is: how much room is there
for the smaller players? And in our experience
the answer is: plenty, but you need to take risks.
Oneworld is independent and family owned,
Juliet Mabey
and this offers certain key advantages. They
mean we can focus on quality, on honing a relatively small list
(around 100 titles a year), and on fostering within it a really
diverse range of titles. Where larger corporate publishers have
to be driven by the bottom line and the boardroom, and
consequently seek out books that are as near to a sure thing as
you can get, we have the luxury of choosing to publish the
books we think are important. We can search out the unsung
stories and champion the minority voices and viewpoints,
books that can broaden our perspectives and experience, and
that share new ideas and shape our identity. We can champion
women authorsstill under-representedand writers from the
14
developing world, and we do. But, we need to

maximise these advantages. So how?
We are well known for our accessible,
authoritative non-fiction on a diverse range of
subjects from popular science and psychology
(The Particle at the End of Universe and Gulp,
the winner and finalist respectively for the
Royal Society Winton Prize for Science Books);
politics (The Blunders of our Governments,
Breadline Britain); history (The Last Empire,
The Empire of Necessity, winner of the Pushkin
House Russian Book Prize and shortlisted for
the Samuel Johnson Prize respectively); and business (Rise of
the Robots and Unfinished Business, both currently longlisted
for the FT & McKinsey Business Book of the Year); as well as
new areas were exploring like nature and culture with Voices
from the Ocean and The Horse, and The Case for Beauty.
But we are relative newcomers to fiction, launching the
literary list at the end of 2009 with the astonishing Marlon
James novel The Book of Night Women. Now in our sixth
year, our growing list of intelligent, thought-provoking and
distinctive novels has received a lot of attention with various
shortlistings and awards, most recently for the Man Booker
Prize for Marlon James breathtaking A Brief History of

Seven Killings. So planning ahead for the next 30 years, we
made a number of exciting decisions to develop our
publishing programme. First among them was to dramatically
increase the range of translated literature we offer. Some of
the finest fiction opens a window onto another culture, and if
we want our fiction list to showcase the best stories from all
over the world, this wider focus is essential.
This year we have just published in translation the French multiaward-winning Goncourt finalist The Meursault Investigation by
Algerian author Kamel Daoud; and A Perfect Crime by Chinese
author A Yi; and we are about to launch the winner of the
Russian Big Book Award, Eugene Vodolazkins ambitious novel
set in medieval Russia, Laurus. In the last six months we have
signed up prize-winning and bestselling novels from China,
Russia, Iceland, Finland, Germany, Denmark, Spain, Mexico,
Israel, Argentina, Italy and Iraq. And we are also actively seeking
fiction from the developing world, particularly Africa and Asia.
The next initiative that is energising the team here is the
June launch of our first children and YA list, Rock the Boat,
under the experienced and deft leadership of Sarah Odedina.
Promising young readers fresh, original and diverse titles by
authors from around the world, in English and in translation,
we aim to really expand their reading choices with drama,

adventure, romance and humour, as well as novels that
explore issues in an accessible and entertaining way.
With only 12 books to focus on each year we are committed
to building a fantastic list. The summer saw our first four books
for YA and middle-grade readers, and our autumn highlight is
the ambitious Illuminae from Jay Kristoff and Amie Kaufman.
Told through a fascinating dossier of hacked documents
including emails, schematics, military files, medical reports
and interviewsit is already generating huge excitement on
social media platforms and a slew of early reviews
And finally, after considerable consultation and egged on by
a number of agents, we are launching our first genre imprint,
the crime list PointBlank, in February 2016, with the
indefatigable Jenny Parrott at the helm. Publishing 10 novels a
year, the mandate is to be global and eclectic, sometimes
challenging, often groundbreaking in content or style, but
always offering a thumping good read. A highlight of the
spring list is the Chinese novel French Concession by Xiao Bai,
a bold and atmospheric noir set in the underworld of 1930s
Shanghai. Several novels on this list will be in translation, from
all corners of the globe. We are called Oneworld, after all.
Juliet Mabey is Publisher at Oneworld.
15
Nielsens guide to the ebook galaxy

Hazel Kenyon looks at a new system which will provide detailed title and author
analysis for ebook sales, similar to that already available for print book sales
For the first five months of 2015 Nielsens Books &
Consumers data showed a decline in the percentage of
ebooks purchased compared with the same period last
year, although ebooks still account for 28% of book
purchases overall in the UK. This decline was more
prominent in fiction categories such as general fiction,
science fiction and fantasy, romance, sagas, erotic and YA
fictionthough it was also notable in some non-fiction
categories too, including biography (general and
historical), military technology and business.
To enhance our capability in analysing digital data,
Nielsen Book will shortly be able to provide the same
detailed title/author analysis for ebook sales as we do for
physical book sales via a new service, PubTrack Digital
UK. Nielsens PubTrack Digital service has been available
in the US for the last five years and is based on sales
information provided by more than 30 major US
publishers.
Launching in the autumn

PubTrack Digital UK will provide information on the UK
digital market by using a similar methodology, which is
fully independent of retail reporting. Launching in
autumn 2015, it will report on the ebook market monthly,
three months in arrears, via a web-based platform that
can be organised in a variety of ways including by ISBN,
units sold and Nielsen Product Class for ease of crossformat analysis between Nielsen BookScan and Nielsen
PubTrack Digital. The chart above gives an example from
the US service, which provides a flavour of how the UK
service will provide robust and accurate ebook sales
information.
Selling 119,262 units so far in 2015, the number one
bestselling ebook in the US in Science Fiction is The
Martian by Andy Weir. The sales trends for this title can
be interrogated further, revealing that, aside from the
Christmas period (when 44,141 units were sold), the
Trended lifetime US ebook sales for The Martian
16
Quantity
Rank Title
Author
Publisher
The Martian
Andy
Weir
Random House
119,262
Ready Player One
Ernest
Cline
Random House
68,132
Station Eleven
Emily St John
Random House
Mandel
66,643
Golden Son
Pierce
Brown
Random House
57,055
Red Rising
Pierce
Brown
Random House
47,977
Seveneves
Neal
Stephenson
HarperCollins
33,246
The Man in the High Castle
Philip K
Dick
Houghton
Mifflin Harcourt
22,631
Dune
Frank
Herbert
Penguin Group
20,290
The Hitchhikers Guide to

the Galaxy
Douglas
Adams
Random House
18,057
10
The Remaining
DJ
Molles
Hachette Book
Group
17,612
Sold
US Bestselling ebooks for 2015 year-to-date, in the BISAC category of

Science Fiction
bestselling month since publication was January 2015,

when 27,812 ebooks were purchased through the
PubTrack Digital panel.
Comparing the ebook sales with those of the US
paperback edition through Nielsen BookScan US
(113,213 units sold in the same period) reveals that 51%
of sales of this title were in the ebook format.
Classics still selling

Three of these titles also appear in the all-time bestseller
print book chart for Sci-Fi: The Hitchhikers Guide to the
Galaxy, Dune and The Martian. Douglas Adamss first
Hitchhiker novel came out in 1979. James Herberts
classic Dune is this year celebrating its 50th anniversary,
having come out in 1965. And Philip K Dicks The Man in
the High Castle first appeared even earlier, in 1962. In this
genre, classics remain bestsellers for years.
The launch of Nielsen PubTrack Digital UK will enable
publishers, authors and agents to gain a deeper
understanding of ebooks sales to add to the existing data
on physical book sales, providing invaluable information
when commissioning, setting sales targets, planning
marketing campaigns and quantifying the success of
titles and authors.
Once up and running, Nielsen Book plans to develop a
similar panel in Australia, enabling publishers, authors
and retailers to compare sales of titles across key Englishspeaking territories too.
Hazel Kenyon is Head of Publisher Account Management, Nielsen Book

Research (Stand B133, Hall 6.0).
INDIA BOOK MARKET REPORT 2015
UNDERSTANDING THE INDIA BOOK MARKET

India is the fastest growing
English language market
There is a rise in
literacy and education
India ranks 6th

in global publishing
An essential tool for anyone who wants to produce and sell books in India. Find
out more visit Stand B133 Hall6 or email salesbookresearch@nielsen.com.
nielsenbook.co.uk
nielsen.com
Authors losing out in a

digital age
With new leadership now in place, the Authors
Guild is looking to retool its advocacy efforts
on behalf of authors, writes Andrew Richard
Albanese. Since last November, when Mary
Rasenberger took over as Executive Director of
the Authors Guild from the retiring Paul Aiken, the writers
group has undertaken a number of significant projects,
including the first survey of Guild membership in six years.
We want to be more proactive in speaking up for authors,
Rasenberger said, in a recent interviewand with good reason.
The Guilds membership study found that the median income
for members has plummeted from $10,500 annually in 2009
to $8,000 in 2014a decline of 24% in just five years. The
report, Rasenberger said, is a clear indication that authors
are struggling to make a living.
The survey results are also driving another programmethe
Guilds Fair Contract Initiative. A series of written commentaries
exploring potential changes to the standard publishing contract,
the programme was unveiled at the 2015 BookExpo America in
New York. It focuses on a range of issues including the duration
of contracts, rights reversions, advances, the application of noncompete clauses, indemnifications and how manuscripts are
deemed acceptableand, of course, digital royalty rates.
Rasenberger says the Guilds recent survey establishes a link
between the 25% net ebook royalty that has become standard
among the largest publishers, and the drop in author income.
All we are asking is for authors to be treated fairly,
Rasenberger says, adding that Guild leaders hope to meet
with representatives from the major publishers in the coming
months to open a dialogue about updating the standard book
contract for the digital age.
At the same time, the Guild is also taking a more aggressive
approach on policy issues. After spending the last decade
mired in unsuccessful litigation with Google over its library
scanning efforts, the Guild is now focusing on Congress. In a
letter to the House Judiciary Committee this summer, Guild
officials proposed a change in the Digital Millennium
Copyright Act that would require Internet Service Providers
(ISPs) to filter their networks for pirated works, or risk losing
their safe harbour immunity from claims of infringement. In
the letter, the Guild cites figures from the Association of
American Publishers claiming the publishing industry loses
$80 to $100 million to piracy annually.
Guild leaders say they are also seeking to broaden its
membership, continuing to reach out to self-published and
hybrid authors (authors who both self-publish and work with
traditional publishers). And with the survey revealing an
ageing membership base89% of the authors who
participated in the survey are over 50the Guild will also scale
up its efforts to reach younger authors, with panels at writers
conferences, including next years AWP (Association of
Writers and Writing Programs) Conference in Los Angeles.
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Taking stock: literature in translation

Its that time of year again, writes Erica Jarnes.
In London, leaves are falling, light is thinning
and knitwear is once again taking a turn for
the Scandinavian. Scandinavian, too, has been
the flavour of our crime fiction since the end
of August, when the latest in the Millennium
series, The Girl in the Spiders Web by David
Lagercrantz, was published simultaneously in
26 countries. As I write, 2.3 million copies of
the book have been sold in all editions; UK
print sales stand at 31,000 copies. For a novel
two removes from the original (being both a Erica Jarnes
spin-off and a translation) this is pretty good going.
In Frankfurt, editors, agents and rights managers are talking
solidly for eight-hour stretches, pitching and probing their way
towards the Next Big Thing, the book which will take the world
by storm in 2016. With my English PEN Writers in Translation
hat on, I would love for this Thing to be a book from another
language; the more different voices we can welcome into
English the better, in the interests of artistic diversity, freedom
of expression and global understandingbut also in the spirit
of finding and sharing the best stories, wherever they are.
I am not alone in this opinion, and in fact the number of UK
editors championing literature in translation is growing. One
of my jobs at PEN is to administrate two grants, which offer
financial support to UK publishers for the translation and
promotion of books from other languages. In the past year
I have been delighted to receive applications (and lots of
emails) from several new publishers dedicated to
international literature (including Balestier Books, Tilted
Axis, Fitzcarraldo and Periscope), as well as from established
houses that have made a name for themselves in this area.
Many of the books submitted for grants have been presented as
co-publications with US publishers, which is also good news. The
marketing and publicity campaigns backing the books have been
imaginative and concrete, which tells me that publishing a great
novel, originally published in say Indonesian, isnt just a boxticking exercise, but a proposition aimed at an actual readership.
Challenges
The biggest challenge faced by internationalists in the
Anglophone publishing world is the argument that
translations dont sell, or at least dont sell enough to cover
their editorial and production costs. The counter-argument,
quick as a Salamander, is: Look at Millennium/The
Hundred Year Old Man/Murakami/Coelho. But I think
that this misses the point slightly, because the argument
and counter-argument are talking about different things.
Books in translation is not a genre. It just means books
from other languages. These behave like books written in
English: some blow away the competition in sales terms (A
Game of Thrones, JK Rowling, The Shadow of the Wind);
others are showered with praise in review pages (Marilynne
Robinson, Jonathan Franzen, Kamel Daoud); yet others are
20
awarded major prizes (The Iceberg, The

Luminaries, The Iraqi Christ). The vast
majority of books dont do any of these things,
of course, but these are some of the avenues by
which books can find readers. If we are serious
about books in translation then we need to
give them access to these avenues, and talk
about them in the relevant ways.
Im all for naming and honouring the
translator, but if a publisher has a Larsson on its
hands, quite rightly it will focus on the plot, the
reveal, the brand, the television tie-innot the
worthiness of publishing literature from Swedish, or even the
literary merits of the original. Readers dont have a problem
with (and dont need to be continually reminded that they are)
reading in translation; they just want the page-turner in their
hands. Literary considerations are much more relevant with,
for example, a Jenny Erpenbeck novel, and it is appropriate
here (and interesting) to focus on the work of the translator as
an artist. The Independent Foreign Fiction Prize (IFFP), which
Erpenbeck won this year (along with translator Susan
Bernofsky) for her PEN-supported novel The End of Days,
got this exactly right, giving equal prize money to writer and
translator, and inviting public discussion about how literature
works, and our relationship with language and with history.
The rebooted Booker International

The new Man Booker International Prize will continue this fine
tradition while offering five times the prize money of the IFFP,
representing a huge boost for literature in translation in the UK.
Major prizes can increase book sales (as we saw with Hilary
Mantel) and also shape literary culture. The brilliantly diverse
2015 Man Booker Prize shortlist (for books written in English)
was rightly celebrated; the Prizes profile makes this list of
books and its six different perspectives very visible and thereby
more accessible to readers, which I think has a secondary effect
of making it normal to see books from all over the world
held in the highest esteem. I am looking forward to the 2016
Man Booker International Prize shortlist, and even more to
the excitement that will surely accompany it.
Publishers who have read this far might still say: Well,
what about the majority of books which dont make it onto
one of these paths to success? Its a big risk, and translations
and publicity campaigns cost money. My answer to this is: its
always a risk until its a no-brainer. And if a project you love is
a commercial risk, you might benefit from some financial
or in-kind support. Send me an email and I will do my best
to put you in touch with the right funder, cultural institution,
festival or embassy. There is a whole network of creative and
imaginative people in the UK who care about international
voices and who will warm to your vision. Theyre probably
striding purposefully through Hall 6 right now...
Erica Jarnes runs the Writers in Translation programme at English PEN

(erica@englishpen.org).
promotional
Perfect match
of paper and digital
by Young Digital Planet, Hall 4.2, C67
Those who observe the educational market are probably
witnessing an ongoing war between paper and digital. Interactive whiteboards, online teaching resources and, most of
all, electronic devices are becoming an integral part of todays education. How does paper content fit in?
Publishers find different answers to this question. Many of them
try to figure out how to join this movement and arm themselves
properly. Every road to success is different, however, it is always
good to learn from somebody elses successes and failures.
Let us see the different scenarios for marrying paper with its
sometimes hard to tame digital spouse.
Paper plus
Perhaps the best and the most cost-effective way to improve
the attractiveness and increase the potential of the dying-hard
paper format is to supplement it with some multimedia materials. It looks easy, but then questions arise: how can publishers do
this? What components should they select, and whom can they
eventually consult to initiate the process? What would help is to
have a comprehensive and handy resource base that would
allow the publisher to choose only the multimedia resources
which they actually need. Young Digital Planet, for instance, offers more than 25,000 thousand of such high quality assets for
all the levels of education. These resources are not just videos
and photos. YDPs offer includes simulations, various modules
of interactive activities, games and extra worksheets. What is
more, bare paper content is just crying out for supplementing
it with verified online materials For the publisher the key thing
here is that these resources are easily searchable, described with
metadata and mapped to the given section of the Curriculum.
Adigital brunch
Another suggestion on how to enrich paper materials is to go
astep further and supplement acore book with QR codes. As an
example let us illustrate achapter in the Natural Science book
on savannah. Apart from the traditional content, the chapter will
also contain aQR code. After scanning it with our smartphone
or tablet a high quality video clip from YDPs Mobile Comprehensive Curriculum appears on the screen presenting animals
in their natural habitat. Sounds appealing? There is an even
more advanced solution educational edu quests. One of them
is YDPs Mobile Book Trail, which has been designed to gamify
books and content on smartphones. It allows publishers to create mobile games on their own and combine them with traditional ones. Another possibility, this time addressed to teachers,
is to choose digital enrichment in the form of a special platform where they can keep all their resources and access them
whenever they want. So they do that at YDP with their upcoming
Didactus delivery platform.
It is a next generation personalized learning platform, capable

of effectively delivering proven methods and supplementary
content as well as providing integrated teaching and learning
workflow. As we can see, the array of possibilities is wide and it
is up to publishers, followed by schools and educators to decide
which solution to use.
Achoice
Educators tend to express one common fear when it comes to
increased use of technology, to put it bluntly, they are afraid
that one day it will replace them making their profession obsolete. Have you heard of the first human-looking robot teacher?
Afew years back Japanese scientists tested it in areal classroom
of fifth and sixth graders. Although the teacher of the future
looked and acted like one, pupils were not convinced and they
all opted for aflesh and bone educator in their classroom. How
does this experiment correspond to using astandalone digital
book in the process of education? YDP believes that technology
at school will not substitute teachers but help them and make
the process of educating the future generations more attractive,
hence adjusted to the reality of the so called digital natives.
For example Lower Primary Curriculum and Project Based Learning solutions designed to aid 1st to 3rd grade teachers have been
created for classroom use on awhiteboard or atablet, and are
aligned with the Common Curriculum. Interestingly, the main
characters have been created for young learners and more
importantly by them. These products are indeed comprehensive and easy to use, however, without ateacher they would be
incomplete. That is why it is worth to remember that creation of
autonomic products is in fact difficult, mainly because publishers would always need to face the danger of market acceptance
and product monetization. The above mentioned solutions
show that the most important thing in going digital is to listen to
what those who are involved in education really need.
Achange of roles
In all of the above scenarios the roles of publishing components
are clearly divided. The book is the core teaching material,
whereas the digital component serves as its matching part. So
how about reversing that process and making technology take
over? Airing this question does not mean getting rid of the paper
format completely but only allowing the digital component to
play the main part. In such areversed process the digital material will become the core, though, teachers will still be able to
use amore tangible form of worksheets or workbooks. This is
the most revolutionary scenario. The future will show whether it
is also the most profitable one. So long live the paper books and
get ready for the digital.
www.ydp.eu
Advancing our understanding
Its been quite a year for

Spiegel & Graus Chris
Jackson. The good newshe
was recently promoted to
VP, Executive Editor, and
two of his recent titles have
become bestsellers and are
earning major accolades.
Most recently, Between
the World and Me, by
prolific journalist and
Bryan Stevenson
blogger Ta-Nehisi Coates,
hit number one on the New York Times bestseller list, and
last month was named a contender (and many believe the
favourite) for the National Book Award. And in July, Bryan
Stevenson, Professor of Law at New York University and
Executive Director of the Equal Justice Initiative, took
home the American Library Associations Carnegie Medal
for Nonfiction for his masterful book Just Mercy: A Story
22
Nina Subin
Diane Patrick speaks to Chris Jackson about his award-winning acquisitions,

and books on race in America
of Justice and Redemption. At the
award ceremony, Stevenson gave
what those in attendance agreed was
quite possibly the greatest book
award acceptance speech ever.
The not so good news, of course,
is that both books examine the
deeply troubling, persistent issues of
systemic racism, violence and racial
injustice in America. Thankfully, a
much-needed conversation about
race in America is being pushed to
the fore by a wave of outstanding writers like Coates and
Stevenson, and by publishers like Spiegel & Grau.
DP: Can you tell us a little about how you came to

acquire such compelling works as Coates and Stevensons?
CJ: I had worked with Ta-Nehisi on his memoir, The
Beautiful Struggle: A Father, Two Sons, and an Unlikely Road
themes. Bryan truly understands the

importance of telling stories and
changing peoples hearts and minds.
DP: In the US weve seen the rise of
Nina Subin
to Manhood (Spiegel & Grau,

2008). At the time, no one
knew of him. But over the
years, his platform got
bigger and we kept in touch.
Between the World and Me
was originally signed to be a
revisionist book about the
Civil War. But it evolved into
something else, starting with
the Trayvon Martin murder
Ta-Nehisi Coates
and the rise of the protest
movement. His writing for the Atlantic was very pivotal and
clarified a lot of peoples positions on the issues, which
were very personal for himhe has an adolescent son.
Bryan Stevensons book came to us as a short proposal
based on his TED talk about justice. After we got the
proposal, Cindy Spiegel and I met with him by phone.
Having seen the TED talk, we pre-empted the book and
signed him up immediately. The original proposal was to
tell different stories about different aspects of the criminal
justice system, but we ended up doing the book about just
this one case, which speaks to a range of deeper and broader
the #blacklivesmatter movement.

What impact has that movement
had on writing and publishing?
CJ: I would say one of the great
things to happen with the
#blacklivesmatter movement is that
great writers are covering it, and the
story has met their talents. Between the World and Me is
probably the biggest book that speaks to it, but a number
are coming. We are publishing Matt Taibbi; his last book,
The Divide: American Injustice in the Age of the Wealth Gap,
was about criminal justice, and his new one will centre on the
case of Eric Garner, a black man who died in police custody in
New York in July 2014. And I have two others coming out that
have emerged from this moment of crisis and opportunity.
DP: What do you see ahead on race and justice?

Continues on page 24 g
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ND 126
TAXI
LBF
f Continued from page 23

CJ: The proposals Im
seeing speak to this moment
of potential reconsideration
of race, and the segregation,
exploitation and policing of
the black community. I think a
lot of journalists who may not
yet have book contracts have
found in this moment an
opportunity to shine. Jelani
Cobb, for example, whose
visibility has changed because
he has the history. Joel
Anderson, who is an exciting
new Buzzfeed reporter. So
well probably see those
writers in book form soon.
And thats good. Like
anything in publishing, theres
a derivative tale that follows a bestseller that needs new voices.
Another thing about Ta-Nehisis book is that it has
provoked people to respond. For example, people are
asking questions like: What about the womans point of
view? which suggests theres a lot more publishing to be
done on the subjects he explores, and thats exciting.
Readers want to see more.
The proposals
Im seeing speak
to this moment
of potential
reconsideration
of race, and the
segregation,
exploitation
and policing of
the black
community.
Chris Jackson
DP: Any other titles or themes on race that youre admiring?

CJ: I published Ghettoside: A True Story of Murder in
START PLANNING
YOUR JOURNEY
TO LONDON FOR
APRIL 2016
www.londonbookfair.co.uk
LBF Charity of the Year
America (January 2015) by Jill Leovy from the LA Times, and

that adds to the conversation.
The New Jim Crow by
Michelle Alexanderin some
ways it created a path to
Bryan and Ta-Nehisis books.
And Isabelle Wilkersons The
Warmth of Other Suns: The
Epic Story of Americas
Great Migration (2010).
Often, when talking about
race and racism, we are
talking about the issues, but
never getting anywhere new
were just chronically
recycling information. But
Bryan and Ta-Nehisi are two
examples of authors who
have been thinking deeply
about these issues for a
really long time. They are
going to advance our understanding, and not just throw
more heat around an already hot subject. Both are
illuminating the subject.
Bryan and
Ta-Nehisi are
authors who...
are going to
advance our
understanding,
and not just
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Confessions of a Frankfurt Fellow

Fiz Osborne talks about the rewards of taking part in the Fellowship Programme
market presentations spread over the course
of a day and an evening at Oktoberfest.
And that was before the Fair had even
started. Like I said, it was tiring. But I did
also say it was interesting and rewarding.
The visits to numerous publishing houses
were particularly interesting, in my opinion,
because we had the opportunity to hear
about their publishing strategies, views on
digital, and areas of growth and caution.
There are many parallels between the
German book market and ours, but some
key differences, too. Last year, childrens books were the
most stable part of the book market in Germany. Picture
books and board books were the most dynamic areas of
the market, with sales growing more quickly than any
other area. There was an increased focus on digital
marketing, social media and digital publishing in its
many forms.
And German publishers hadand continue to havea
very different relationship with Amazon compared with
UK publishers, as the Fixed Price Model ensured online
bookshops, in their entirety, accounted for just 25% of the
market at the time. Imagine that.
We visited a variety of publishers, ranging from the
independent Aladin which, last October, had been in
business just a year and a half, to the tech savvy Oetinger
(home of Pippi Longstocking), where the digital team
consisted of around 50 people (that blew my mind, and
some). There is so much going on, so much information
being bandied around, that without really thinking you
soak it all up. Of course, I did write loads of notes, too,
which I have referred back to on a number of occasions
(not least this one).
Also, I dont know how the Frankfurt Fellowship folks
did it, but they managed to bring together a great mix of
people. There were 16 of us and everyone got on. Last
year was the first year that the Fellowship focused on
childrens book publishing (as opposed to the publishing
industry as a whole), so we all had a lot in common. We
were looked after (they really did look after us) by the
loveliest, most organised women, Katharina and Niki, and
we all became friends. Thats were the great fun part of
my earlier description comes into play. Almost a year on,
we still have a Frankfurt Fellowship group email (and
WhatsApp group), which is constantly active. The
Frankfurt Fellowship is a unique experience, and one that
I cant recommend highly enough.
To anyone doing the Fellowship this year: you will love
it! And to anyone thinking of applying in the future: do it!
You wont regret it.
Lucy Hunter Photography
First off, I would like to say that participating

in the Frankfurt Book Fair Fellowship
Programme is one of the best things Ive
done. It was interesting, tiring, rewarding
and great funand it was all of those things
for two whole weeks.
Applying for the Fellowship was easy, as
far as applications go. Sure, the form was a
couple of pages long, but it was also fairly
straightforward. You do need four
references, though, and if I could give one
Fiz Osborne
tip for future applicants, it would be to give
your referees plenty of time to write those references.
Everyone is busy after all, and that extra time will
potentially save you from stress later on. Yes, this advice is
based on experience!
The Fellowship is a full-on experience. The first week
was busy to say the least. We crammed in one photo shoot,
one domestic flight, two train journeys, three official
dinners, seven visits to publishing houses, a speed-datingesque event attended by eight publishers, and 16 book-
Fiz Osborne is a literary agent and co-founder of Plum Literary
26
Going global
Shawn Morin argues that all publishers can reach customers worldwide
Theres no better example of the complex
and intricately connected global publishing
marketplace than Frankfurt Book Fair. Each
year, as the publishing world meets in
Frankfurt, its clear that our industry is
evolving and changing at an increasingly
rapid pace. It is also evident that theres
never been more opportunity and energy
around getting high-quality content to
readers around the globe.
Ingram Content Group has been
Shawn Morin
expanding and improving our distribution
network to create global access to customers and libraries
for publishers of all sizes, making it easy for any publisher
to build effective worldwide content distribution strategies.
In todays marketplace, all publishers can be global and can
reach customers worldwide.
Ingrams print-on-demand distribution facility in the United
Kingdom has served as the hub of our international operations
for the past 15 years. In Australia, we have been operating for
almost five years. In the future, we will continue to expand
globally through our own print-on-demand distribution
centres through our facilities in Australia, North America, the
UK and a joint venture with Hachette in France. Weve also
built print-on-demand distribution partnerships in Europe,
Russia, South America and Asia, getting closer to consumers
and shortening delivery times to customers the world over.
content should be available in multiple

formats in print and e. Giving consumers
the format they want at the time and place
they need their book is a cornerstone
strategy of ours. Publishers can easily use
Ingrams digital distribution solution to
make print and ebooks available around the
world. Were pleased to have recently
worked with Penguin Random House, Sage,
Pearson Global, Bonnier Publishing and
others, to expand and enhance their global
ebook and print distribution capabilities.
At Ingram Content Group, our clients success drives our
business. We continue to grow, adopt and create new
technologies and expand global relationships. We are
focused on creating opportunities for publishers to develop
new markets and realise new sources of revenue with the
right global distribution strategy. We look forward to
returning to the Frankfurt Book Fair each year to work with
our customers and clients to keep the world reading.
Shawn Morin is President and COO of Ingram Content Group.
Clearing roadblocks
Roadblocks such as the cost of freight and lengthy delivery
times are no longer issues with Ingrams expansive
distribution network. Keen knowledge of various
marketplaces is also critical to developing the right global
content distribution strategy. Ingram has an international
sales force with experts in these markets who can help
publishers establish the right global distribution strategies.
Content distribution is no longer bound by commercial
barriers or borders; content in all languages can be shared
and distributed around the globe. Today Ingrams
capabilities are helping publishers grow their businesses in
markets that have the lowest barriers to access in history.
The right pricing strategy is essential when dealing in
different currencies and selling content in different countries.
We have helped publishers develop a pricing approach to
help them realise the global potential of their titles. Our
publisher clients in the UK, India, China, Australia and other
parts of the world are gaining distribution advantage by
getting their content into Ingrams distribution network,
pricing titles in US Dollars, Euros, GBP and other currencies,
and distributing globally.
For publishers, taking advantage of a variety of formats
creates more selling opportunities. We have proven that
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27
The ISBN at 50: From idea to adoption

David Whitaker talks to International Publishers Association President Richard
Charkin about the path to a global identifier for books
RC: Its now 50 years since the earliest
glimmerings of the Standard Book Number
(SBN) system, which evolved into ISBN.
What was the context? What problem were
you trying to solve?
DW: ISBN, simply, is the key to a
bibliographic record. We were trying to solve
problems related to the transmission of a
book order. Say, for example, that you were
looking for a particular edition of Black
Beauty. Previously, you had to go through
David Whitaker
125 alpha-numeric characters before you
could identify the unique edition that you wanted.
RC: What chain of events led to SBNs conception?
DW: In 1965, WHSmiths Peter Bagnall wrote to the
Publishers Association (PA) to tell them that Smiths was
about to build a huge new warehouse in Swindon, which
would be computer controlled. Smiths had around 17% of
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hall 6.2 stand D40
the retail book trade, and was also the largest

wholesaler. So when they said, Jump!,
publishers tended to reply, How high?.
The PA had a Distribution and Methods
committee, which set up a working party to
look at this. We thrashed out a few principles
for a standard book numbering scheme for the
UK. Every book would be numbered, and
each number would be unique to one
particular edition, never to be used again.
Meanwhile, Peter Bagnall asked Professor
Gordon Foster, a statistician from the
London School of Economics, to investigate the concept of
book numbers for the trade. Gordon Fosters report, which
concluded that there would be very substantial advantages
from such a scheme, went to the PA council in early 1967.
I then wrote a paper on how a standard book numbering
scheme could be made to operate. It was obvious that to
achieve total numbering, one had to find an organisation
that published records of all books in the UK, and which
would be willing to publish a list of books due to be
published in the next six months, to enable bookshops and
libraries to order them. Realistically, there was only one
organisation capable of doing that.
RC: Namely, Whitakers, your family business.

DW: Indeed. We published weekly and monthly lists of
books in the Bookseller, quarterly cumulations, an annual
volume and periodic lists of all Books in Print. The PA
approached my father, Haddon Whitaker, who wanted to
know if such a scheme would help the book trade.
Reassured that it would, he told me to get on with it. The
PA then wrote to publishers to say there would be a
standard book numbering scheme. It was reported in the
Bookseller, which was then hugely influential within the
trade worldwide. People wrote articles explaining what we
were planning to do, and I had to find a way to do it.
RC: So how did you do it?

DW: Gordon Foster devised a number structure: publisher
prefix, book number, check digitthe publisher prefix was
short for a publisher with a large title output, and long for
those expected to publish one or two editions only. The
standard length of an SBN was to be nine digits; check digit
modulus 11. My Whitakers colleague James Coates and I
wrote a 12-page manual that covered everything. Edmond
Segrave, then Editor of the Bookseller, went through the text
with me line-by-line, to make sure everything was clear. When
it was ready, the manual was published in the Bookseller and a
copy of the manual was sent free-of-charge to every publisher.
RC: Was there much resistance from publishers to the

concept of SBN?
DW: There were publishers who said: Why cant I reuse my
numbers for other titles? Ive sold all of the previous edition.
We had to introduce them to the concept of books having a
rather longer shelf life than theyd previously conceived of.
We divided titles into three main groupsgeneral,
academic and educational. General trade titles were
straightforward, because all that data went to WHSmith in
those days. Every books details were entered onto a
subscription note, a copy of which went to Whitakers.
Academic books were also straightforward. Oxford
University Press played ball, and everyone else followed suit.
Educational publishing was another matter. The two biggest
educational publishers were Longman and Macmillan. The
biggest buyer in the country was the supplies department of the
Greater London Council, headed by Gerry de Knop. Longman
co-operated at once, but Macmillan wrote to us saying that
their board had considered the matter of SBN, had seen no
advantage to their firm, and therefore would not be taking part.
I wrote back to Macmillan, and the PA wrote to them too.
Gerry de Knop also wrote to them, saying something along the
lines of: You are our largest educational account, we are
installing this computer, all books will need to be numbered. Of
course, most of your books can be replicated elsewhere. But for
those which cant, we will have to apply a number manually,
ourselves. We will expect a very large discount as a result.
Gerry sent that letter on a Thursday. The following Monday,
I received a letter from Macmillan saying: Dear David, over
the weekend every Macmillan book was numbered. We
managed to get all UK books numbered by the end of 1967.
accommodate all countries in the world. We drafted it in

Berlin, agreed it and it passed to the plenary session of ISO
in Stockholm, chaired by Dr Ehlers. It became ISO2108.
The whole process took just one year. It was the fastest ISO
ever, and it became the most rapidly widespread.
RC: How do you explain ISBNs ease and speed of adoption?

DW: It was an idea whose time had come. It was also the
swinging Sixties, a time when anything was possible, even
co-operation between publishers! The Bookseller had been
running a series of articles on computers in the book trade,
on computer-controlled warehouses and on the need for a
trade-wide numbering system. By the time SBN was
operational, there must have been plenty of people who
assumed it had existed for years.
Book publishing, as an industry, has always embraced
technology. Once ISBN came in, it paved the way for the first
trade-wide electronic order transmission system, for public
lending rights, for comprehensive bestseller lists and for
bibliographic records in electronic form. All of these advances
emerged out of, and were dependent on, ISBN.
This article first appeared on the International Publishers Association

newsletter.
RC: SBN was conceived as a UK scheme. How did it

evolve into an international system?
DW: The number structure was devised to accommodate
Australia, New Zealand, South Africa and the United
States. Dan Melcher of the RR Bowker Co, Whitakers
opposite number in the States, together with the secretary
of the American PA had held a watching brief, and in 1968
America adopted the UK system.
Elsewhere, interest was led by Germany and notably by
Dr Hans Jrgen Ehlers of Ernst Klett Verlag, educational
publishers from Stuttgart. In 1968 Dr Ehlers and others
persuaded Frau Eggert at ISO, TC46 (International
Standards Organisation, Documentation Department) that
she ask BSI (British Standards Institute) to convene a
meeting to discuss turning SBN into an international
standard. I chaired the meeting, which was attended by
Americans, Germans, Dutch, Irish and Scandinavians, and
where we came to a provisional agreement about structure.
Professor Foster proposed a way of accommodating all
and every country into the systemwithout the need to
change modulus 11 for calculating the check digit. We now
had a way to turn SBN into ISBN, which would
29
The early days of the presidential election has

dominated the political headlines, but a looming
political appointment in 2016 could have a major
impact on the future of libraries and publishing
in the US. On 30 September, US Librarian of
Congress James H Billington retired (David Mao
has been named as his interim replacement), and
President Barack Obama will have a chance to
appoint a new Librarian of Congressthe first
in 28 years. But the lingering question, writes
Andrew Richard Albanese, is whether that
David Mao
nomination will spark a political battle?
Nominating a new national librarian may not be seen by
the public or the press as a legacy-defining moment for a
US presidentcertainly, not on the level of a Supreme Court
nomination. But this time around, its a pretty big deal. There
have been only 13 Librarians of Congress in US history,
and just six since 1900, a period during which the modern
publishing, film, music and tech industries took shape, and
cultural output exploded. And without question, the
biggest changes to our library, publishing and information
sectors have come in the decades after Ronald Reagan
appointed the now 86-year-old Billington, in 1987.
Abby Brack Lewis
Who will lead the US Library of Congress?

Simply put, the next Librarian of Congress
will be the first appointed in the digital
information age. And whoever assumes the
role could have a major impact on the future
of libraries in America, and on the nations
information and intellectual property policies
for a very, very long time. A librarian?
Managing digital assets
Indeed, a serious discussion has already begun

about the next Librarian of Congress. Over the
summer, American Library Association President
Courtney Young penned a public letter to President Obama
urging him to appoint a professional librarian to the post, which
has mostly been occupied by non-librarians throughout its
history. (Billington is a Cold War historian). In fact, a librarian
hasnt led the Library of Congress in 61 years, since Lawrence
Quincy Mumford retired in 1954. Young urged the President to
appoint a librarian with expertise in managing digital assets and
an understanding of scholarly communication, as well as vision,
entrepreneurial spirit and a commitment to collaboration.
And librarians are not the only people paying attention.
I think the Librarian of Congress can be an important
public servant, and an advocate, says Electronic Frontier
Foundation Legal Director Corynne McSherry. I dont
think the one we have has been that. But I do think the
Librarian of Congress could be powerful in that sense.
The media has also taken up the issue. A blistering article in
the New York Times on 10 June criticised Billingtons tenure,
pointing to widespread weaknesses in Billingtons management
of the librarys technology resources. Among Billingtons critics
quoted in the piece were former Harvard University Librarian
Robert Darnton and former University of Michigan Librarian
Paul Courant. One expects the Library of Congress to be a
leader, Courant told the Times. But with regard to digitisation
and the use of digital technologies, the library has basically been
a bust. Darnton agreed. The Library of Congress just sat on the
sidelines while this digital revolution took place, Darnton said.
An article in the Atlantic on 18 June stressed that the
next appointee could hold a potentially transformative
role: the first Librarian of Congress to truly embrace the
internet as core to the librarys mission. Writing for Slate,
Univerity of Virginia media scholar Siva Vaidhyanathan
notes the changing world of libraries and digital media:
The reality is that, despite its important role in American
history, the library has never significantly touched the lives
and minds of Americans across the country, he writes.
But starting in 2016, it has that opportunity.
Politicised?
But can Barack Obama seize that opportunity? True, the
internet is the foundation of our cultural world. But it is
also the subject of many political dogfights these days,
battles that often put librarians and public advocates at
30
James H Billington
The next
Librarian of
Congress will
be the first
appointed in
the digital
information age.
the purview of the Library of Congress and to

establish it as an independent agency. Everyone
agrees that the Copyright Office needs to be better
funded and technologically upgraded. But while
publishers and authors have publicly supported
the idea of an independent Copyright Office,
the Library opposes the move. Wherever the
next Librarian of Congress comes down on the
issue of the Copyright Office, someone will be
disappointedand then there is the even thornier
subject of broader copyright reform. Can anyone
really see a politically appointed Librarian
of Congress weighing in on these fights?
Is it possible that a political fight might
actually break out over the next Librarian of
Congress? I could see that happening,
Corynne McSherry says, admitting that
some of the people shed like to see in the
job would drive some people ape. But, she
adds, it doesnt need to be that way. I think
there are any number of people who
shouldnt be particularly controversial, she
says, and who would really do well.
ALL DIGITAL. ALL EUROPEAN.
odds with content industries. And, despite

having the word librarian in the title, the
Librarian of Congress is, when all is said and
done, a political appointment, subject to
Senate approval.
For librarians who would like to see the
next US Librarian of Congress take more of
a leadership role on critical library issues,
consider the long list of litigation, legislation
and policy fights on which the library
community has weighed in over the last
decade. In 2011, the library community rallied
to oppose the Stop Online Piracy Act (SOPA),
a bill that was backed byindeed, was written
bythe entertainment industry. The library
community lobbies for open and public access
to federally funded research, staunchly opposed
by the publishing community. And imagine the
fallout if the Library of Congress had joined with
their academic library counterparts working
with Google to scan books for the HathiTrust?
Consider, too, a recent legislative proposal
to remove the Copyright Office from under
Abby Brack Lewis
31
Apples last stand

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After losses at the district and appeals court levels, Apple is

now down to its final appeal in its still-going ebook pricefixing case. The case now hinges on whether the US
Supreme Court will agree to hear Apples appeal, writes
Andrew Richard Albanese, author of the bestselling ebook
single The Battle of $9.99: How Apple, Amazon, and the
Big Six Publishers Changed the E-Book Business
Overnightand for consumers, $400 million dollars in
refunds hang in the balance.
In late September, Apple attorneys confirmed that they
will indeed seek a Supreme
Court review of Judge
Denise Cotes 2013 verdict
finding them liable for a
conspiracy with five major
publishers to fix ebooks
prices. After securing a
30-day extension, Apple
now has until 28 October to
file its petition with the high court. But the big question is:
will the Supreme Court even take the case?
The big
question is: will
the Supreme
Court even take
the case?
Odds against
I think, and have always said, that the Supreme Court
taking the case is unlikely, says Christopher Sagers, a law
professor at Cleveland State University, and a close
follower of the case. Apple may be a high-profile plaintiff,
and the case may be a headline-grabber, he explains. But
that may not be enough. The facts of the case augur against
Apple, he explainsthere is no clear, compelling legal
question in need of resolution. The Supreme Court receives
some 10,000 petitions each year, Sagers adds, and only
takes about 75-80 cases.
Its not impossible, he says of Apples chances. But
will there be a clerk willing to say that [Apples] arguments
make this case something other than a fact case? Apple is
betting $400 million there is. And, perhaps upping the
chances the Court will take the case, Apple has brought on
some major firepower to help with its appeal, hiring Seth
Waxman, the 41st Solicitor General of the United States,
and a familiar figure before the US Supreme Court.
Apple attorneys argue that Judge Cote did make a key
legal error, however, by finding Apple liable for a per se
case of price-fixingthat is a case where the restraint
imposed on competition is so clearly illegal that it is
condemned without examination of other market factors.
Headline-grabbing dissent
In June, a three-judge panel of the US Court of Appeals for
the Second Circuit strongly affirmed Cotes per se
handling of the case, calling her decision amply supported
and well-reasoned. But, in a headline-grabbing dissent,
one member of the appeals panel, Judge Dennis Jacobs,
sided with Apple.
32
GKC_FRANKD1_DAILY_HALFV_Layout 1 10/7/15 1:14 PM Page 1
Notably, Jacobs did not contest Cotes findings of fact in

the caseparticularly, that there was likely collusion among
the publishers. But Jacobs argued Apples vertical
publisher agreements by law cannot be seen as part of a per
se horizontal conspiracy, and Apples role must instead
be considered under the more stringent rule of reason
framework. Under that analysis, Jacobs argued that Apples
actions were in fact pro-competitive. But most
importantly, Jacobs dissent included the magic words for
any Supreme Court review: citing cases from other circuit
courts, he suggested that Cotes application of the per se
standard has created a circuit split among different US
courts, which the high court must address.
But is there a circuit split? In her majority opinion, Judge
Debra Ann Livingston rebutted Jacobs dissent, and accused
him of misreading the facts. The per se condemnation in
Apples case is clearly correct, she noted, because it does not
apply to Apples contracts with the publishers, she explained,
but to Apples uncontested role in organising the publishers
conspiracy to raise ebook prices. And the Supreme Court,
she added, has explicitly distinguished situations in which
a vertical player organises a horizontal cartel.
Making new law

Interestingly, while Sagers thinks it is unlikely the Supreme
Court will take Apples case, if it does, he says Apple actually
has a strong chance of prevailing. I would say that if the
Court does decide to take this case, a fact case that has been
litigated to final judgment on the merits and affirmed, that
probably means there are at least four Justices prepared to
reverse and make some new law, he observed.
That observation echoes RoyaltyShare founder Bob
Kohn, an attorney and appellant in the Apple case, who
told PW in June that he too believed that if the Court takes
the case, Apple would likely prevail. The Supreme Court
has already cut back on the per se doctrine and may well
entertain another opportunity to clarify that it does not
apply in cases like this, where evidence of pro-competitive
effects has been shown, he said.
Much is riding on the outcome. If the Supreme Court
ultimately rejects Apples petition, its liability finding
would be considered final under a 2014 settlement between
Apple and 33 states and a consumer class, and that would
trigger $400 million in consumer rebates, the bulk of which
would be deposited directly in consumers retailer
accounts. Some $400 million of Apples money in consumer
accounts could certainly provide a boost to the book
industrys bottom linethough it remains to be seen how
much. Unlike the publishers settlements, which restricted
the $166 million in refunds to book purchases, whether
print or digital, under Apples settlement, the refunds can
be used on any product or service offered by the retailer
meaning consumers can use the funds toward an Amazon
Prime membership or Apple TV.
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Meeting the infringement challenge

Looking at the headlines in the media, you
may be forgiven in thinking that copyright
infringement is only a matter of concern to
the music, television and film industries,
writes Claire Anker. But the problem of
infringement, unfortunately, is also alive
and kicking across all sectors of the
publishing industry.
Since its launch in 2009, the Publishers
Associations Copyright Infringement
Portal has served more than three million
Claire Anker
takedown notices to infringing websites,
along with one and a half million requests to Google for
them to delist infringing links from Google Search. These
numbers are increasing as more publishers realise the
damage online infringement is doing to their brand, to
their sales figures and to their author relations. Helping
our members and their authors protect their works has
become an increasingly important function provided by
the Publishers Association (PA) and has led to the PA
creating a more impactful digital anti-piracy campaign
that looks at four key areas: Enforcement, Engagement,
E-innovation and Education.
Enforcement
To enhance the availability of enforcement work for the
industry, the PA released a re-vamped version of the
Copyright Infringement Portal earlier this year. The Portal
now has greater search capabilities, improved reliability of
matching and runs more frequent searches. While
publishers use the Portal to send out takedown notices to
infringing sites and to monitor the effectiveness of these
actions, the PA is able to use the aggregated infringement
data to identify the more seriously infringing sites that
refuse to comply with takedown requests. This quantifiable
information helps to guide the PAs activities and directs us
to where our input can have the greatest effect: for
example, in our work with PIPCU (Police Intellectual
Property Crime Unit) on Operation Creative, a groundbreaking initiative designed to disrupt the sites that
specialise in making infringing content available online.
Engagement
The PA works with members to share best practice and
explore new ways to collaborate on anti-piracy activities.
We also work with partner associations in the UK and
beyond, to share knowledge and deepen our own
understanding of the trends in online piracy. In particular,
we highlight, to the UK and EU governments, the issues
that our industry faces because of piracy and work with
contacts across the publishing industries to meet the
challenges of the many reviews of copyright lawwhich
have the potential to weaken the legal standing of
copyright owners.
34
E-innovation
In July 2015 the Intellectual Property
Office (IPO) released Wave 5 of their
Online Copyright Infringement (OCI)
Tracker, a research project that tracks UK
internet users habits and opinions on
infringement. The majority of infringers
stated that their reasons for infringing were
because it is free (49%), convenient (43%)
and quick (37%). As such it is imperative
that the industry delivers as much digital
range as possible and continues to
experiment with ways of reaching readers through new
platforms, new services and new delivery methods to
ensure that legal content is, if not free, at the very least
convenient and quick to access. The PA has highlighted
some of the best examples of current innovation in
publishing in our Innovation with Impact ebook.
Education
The Tracker report also asked infringers what would
change their behaviour. The top responses were: if legal
services were cheaper (25%); if everything was available
legally (21%); and if it is clearer what is legal and what
isnt (21%). The PA isnt in a position to make legal
services drop their prices and the industry is already well
versed in converting backlist titles to digital, which leaves
us with a part to play in the important mission of helping
internet users understand what is and isnt legal.
The Content Map, run by the Alliance for Intellectual
Property (www.contentmap.com), does an excellent job of
listing the various places you can find legal content online,
but does require you to be looking for legal content in the
first place. To reach the casual downloaders, and highlight
to them that the sites that they use are infringing, the PA
earlier this year took site-blocking action against seven
infringing websites that specialise in sharing links to and/or
files of infringing ebook and audiobook content. The
blocking action requires UK ISPs (internet service
providers) to prevent their customers from accessing the
infringing sites, and makes the customer aware that the
sites that they are visiting are under the watchful eye of
publishershopefully encouraging them to change their
habits and get their reading fix from legitimate sites.
Put together, these four areas of activity are really helping us
get to grips with what seemed at first to be an insurmountable
problem. And key to helping us with this are the many small
actions our industry performswhether its sending takedown
notices, investing in new networks or working together to
ensure that copyright legislation remains strong.
Innovation with Impact is available at

http://www.publishers.org.uk/campaigns/showcasing-innovation.
Claire Anker is Digital Infringement Manager at the Publishers Association.
Come visit us in Hall 6.2

Stand # D46
www.rowman.com

Frankfurt Show Daily, Day 3, Oct. 16 2015

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Frankfurt

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Friday 16 October 2015