New Faces in Frankfurt - Publishing Perspectives

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SHOW DAILY FRIDAY | 10 October 2014 | Frankfurt Book Fair | News, opinion & observations

Anne-Solange Noble Foreign Rights Director, Gallimard

Modiano’s Moment Gallimard and publishers around the world celebrate Patrick Modiano’s 2014 Nobel Prize for Literature.

International publishing news & opinion • Read our daily coverage of the book industry and subscribe Publishing online atPerspectives publishingperspectives.com • Frankfurt Book Fair 2014 • 1

NEWS & UPDATES FROM THE FAIR

Patrick Modiano Wins 2014 Nobel Prize for Literature By Olivia Snaije and Andrew Wilkins

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Robert Baldock, Noel Murphy and John Donatich from Yale University Press

he 2014 Nobel Prize for Literature has gone to French author Patrick Modiano. AnneSolange Noble (pictured above), the rights director for his publisher, Gallimard, said “He is one of our leading authors who we have been publishing since 1968. He has been translated since 1968 as well. He is a magnificent writer.” Characteristically opaque, the Swedish Academy acclaimed him “for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation.” He is the 15th French author to win the Nobel Prize for Literature. Gallimard wasn’t the only publisher celebrating yesterday. Know that moment when your impeccable foresight and taste is finally vindicated?

DAILY EDITORIAL: All You Have to Do Is Ask Around By Edward Nawotka

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ow do you find out if someone is talented or not?” The question was posed by Israeli tech entrepreneur Yossi Vardi to an intimate gathering of people at the Business Club on Thursday morning. “How do you find out the most talented person in the 10th grade?” The answer should be obvious: ask around. Ask the other 10th graders, and they will tell you. This very principle is what drives much of the business here at the Frankfurt Book Fair. Conversations often revolve around one simple question: “What have you read recently that you loved?” And so you tell them. You try to convey the passion that you feel for the manuscript that delivered a total surprise and made you cry; for the book your favorite author just published after an arduous ten-year wait; for the book that kept you up so late last night that you missed your first meeting this morning.

Sometimes this leads to an order from a bookseller, a rights deal, or a great read for the flight home. When it comes to seeking out talented collaborators, the principle is much the same. Ask around. Networking is the key to an entire contingent of people who don’t have stands or tables in the rights center, who typically work with physical books: the technologists and digerati; e-book evangelists and service providers, whose influence has irrevocably changed the book business forever. But, I wonder: do they still feel the same passion—the same gleeful zeal—as the book people do in Frankfurt now that so many publishers no longer fear the digital revolution? I wonder, how long will they still be with us now that publishers have resigned themselves to change or, more likely, even embraced it? I hope it’s for a while longer. After all, I think they too, have a lot to learn. Unfortunately, it might take some of them getting out of their

2 • Frankfurt Book Fair 2014 • Publishing Perspectives

own electronic bubble and mingling with the print book people a bit more. Case in point: a conversation I had with a technology consultant earlier in the week, went something like this: “How is your Fair going?” “Great,” I replied, “How about yours?” “It’s okay, but nobody seems to have any new ideas.” “Oh, no...There are thousands, hundreds of thousands new ideas here.” “Where?” To which I which I gave an answer that would be obvious to any of the agents, publishers, editors, rights directors and other assorted people whose job it is to work with words, ideas, thoughts and bring them to life. “Why not try between the covers of a book.” Each book here has an advocate passionate enough about it to persuade you it’s just what you’ve been looking for. All you have to do is ask around. •

John Donatich at Yale University Press experienced it in Hall 8.0, when he discovered that a French title he had bought English rights to was now by the winner of the 2014 Nobel Prize for Literature. “We acquired Modiano’s novel Suspended Sentences a couple of years ago. I’ve always been a fan of his. He’s just the kind of author we want on Yale’s list: very important to his own language; unknown in English.” The title, translated by “master translator” Mark Polizzotti, is now being rush-released. The print run would have been 2,000 copies, but now? Donatich thinks between 15,000 and 20,000 for starters. Known for short, extremely literary novels, Modiano’s latest, published this year, is Pour que tu ne te perdes pas dans le quartier (So that you don’t get lost in the neighborhood). •

PUBLISHING PERSPECTIVES Contact us in Frankfurt: Hall 8.0, Room 48 Phone: +49 (0)69 7575 71045 Editor-in-Chief: Edward Nawotka Deputy Publisher: Hannah Johnson Managing Editor: Andrew Wilkins Business Development: Erin Cox Contributors: Juergen Boos Vinutha Mallya Ashley Sepanski Olivia Snaije Richard Stoiber Roger Tagholm Saskia Vogel Photography: Johannes Minkus Petra Hörnig Distribution: Frank Hörnig 72 Spring Street, 11th Floor New York, NY 10012, USA

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Your marketplace in the Arab World 7th – 13th May 2015 Visit us at Hall 5.0 A137

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Hannah Lawes at Egmont with the “Free Denzel” campaign offers pig-shaped sweets to Book Fair visitors.

Chiara Santini and Francesco Romiti present their notebooks, handmade in Italy.

Guests enjoy a glass of Australian wine at the Australian stand reception in Hall 8.0

Business Club members met for a “speed-dating” event on Thursday afternoon (photo: Marc Jacquemin)

Rudolf Dobelli (center left) leads a discussion at the Business Club, as part of the CONTEC conference on Tuesday (photo: Peter Hirth)

Minna Castrén, Publishing Director of Otava in Finland


David Nicholls, author of the global bestselling book, One Day, and Man Booker nominee for 2014, Us.

Outside in the Agora, visitors can take a quick break from meetings to relax with a book in a hammock.

Yili Zhang brought some pandas, the national animal of China, to Hall 8

Frankfurt Book Fair visitors enjoy a drink in the Business Club.

Dr. Markus Dömer, Head of Business Development, Carlsen Verlag, speaks about mobile apps in the Business Club

Illustrator Anna Karina Birkenstock sketches at the FILU Archive in Hall 3.0

Publishing Perspectives • Frankfurt Book Fair 2014 • 5


From the Business Club One Question Interviews Juergen Boos, Director, Frankfurt Book Fair

By Juergen Boos

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oday, in addition to the workshops and master classes, The Business Club features the StoryDrive conference. The theme for our cross-media conference is “Heroes,” and throughout the day, attendees can hear from media figures in the film, television, gaming, and publishing communities around the world. CEO Talk . . . With Christoph Keese 9:30 am, Hall 4.2, Dimension Axel Springer is the largest and most innovative newspaper publishing group in Europe. Christoph Keese, Executive Vice President, is responsible for synchronizing Springer’s digital strategic goals of innovation with its business requirements. Keese will share his insights and explore a business and culture of publishing that reaches beyond print, and across all media formats. The Hero is Dead—Long Live the Heroic Crowd 10:30 am, StoryDrive, Hall 4.0, Europa In this wake-up call, Alexander Bard, Swedish cyberphilosopher, music producer, television show host, and author of the globally successful The Futurica Trilogy—co-written with media theorist Jan Söderqvist—will muse on how to see ourselves as small parts of a larger body through the connectivity of technology and social media. The hero is no longer alone; he is part of a community.

Inside the Writers’ Room: The Cave of Secret Heroes 11:00 am, Hall 4.0, Europa Four international authors, screenwriters and developers will talk about the role of a hero in different kinds of media— books, film, and games—and if there is a difference: Peter Gornstein, Global Cinematic Director at Crytek; screenwriter Lars Lundström; and CEO and producer Henrik Widman, Matador Films. Reif Larsen, author of The Selected Works of T.S. Spivet, will discuss the transformation of his characters from literary to film heroes and how the process of adapting the book affected him.

How to Tackle Challenges in the Media World 2:00 pm, StoryDrive, Hall 4.0, Europa This session goes behind the scenes of projects in which success was not guaranteed— whether through funding, timing, type of content, or struggling against an ingrained system or understanding. Hear from Game Developer Ken Beard and Composer Norman Ritter on the The Knight Rider fan-game, and from author and Executive Director of National Novel Writing Month (NaNoWriMo), Grant Faulkner. Screenwriter Stefano Bises will talk about working with writer Roberto Saviano to bring his tragic book, Gomorrah, to the screen. Red Arrow International Managing Director Irina Ignatiev will talk about the revolution in television, using the TV series “Bosch” (based on the novels of Michael Connolly) as an example. Heroes in Trouble: Why Hollywood Cannot Be Saved (or Can It?) 5:00 pm Storydrive, Hall 4.0, Europa This keynote by prolific Hollywood producer Lynda Obst will delve into the changing face of the film industry and what the future holds for filmmaking. Obst is known for bringing to life films from Flashdance to The Fisher King to her upcoming film, Interstellar, with Emma Thomas and Christopher Nolan and popular television shows Hot in Cleveland and Helix. •


Sharmaine Lovegrove, Creative Director, Dialogue, and Book Scout for FremantleMedia What’s your plan of attack for this year’s fair?

“My plan for the fair is not to overload myself with too many meetings, but to meet people I’ve never met before, pick up materials from stands and return the next day. As a scout, I’ve found that more effective than being in constant meetings because I’m getting a better feel and a wider focus on the fair and the stories that are out there, which helps me make more informed decisions about the types of stories my client should be looking at for TV adaptation. I’m really excited about what’s happening in the Middle East and Southeast Asia.” —Saskia Vogel

François Charette, Executive Director, Livres Canada Books What do you want people to know about your business and you market?

“Our market is open for foreign rights. It’s why we’ve come here for so many years. We get a sense that what is going on is that Canada is open to the world. We want to try for success internationally so that we can then bring that success to Canada. We are trying to follow print and digital closely. Our model is to have a good balance of both. We’re not there yet, but the rest of the world is like that too. We would like to see Canada as a leader digitally, but are taking a steady approach to get there.” —Ashley Sepanski

Dr. Thomas Sparr, Managing Director, Suhrkamp Verlag/Insel Verlag What makes a book stand out for you? “Thinking about Lutz Seiler’s Kruso, which won the Deutscher Buch Preis, my observation is that the best books are European projects. That is, national literature that goes beyond a nation’s borders. The best literature have narratives that cross borders. Kruso is a special story that explores the culture and history of Germany, Denmark and Sweden. Take Lily Brett’s Immer Noch New York as another example. It’s about New York, but it also brings us back to Jewish history and European history.” —Saskia Vogel

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NEWS & UPDATES FROM THE FAIR Bryony van der Merwe, Wordweaver

Sulaiman Adebowale, Amalion Publishing

Flora Majdalawi, Majdalawi Masterpieces

New Faces in Frankfurt Each year, the Frankfurt Invitations program enables small and medium publishers from developing book markets in Asia, Africa and Latin America to debut as fair exhibitors. Interviews by Ashley Sepanski Bryony van der Merwe, Publisher, Wordweaver, Namibia “Wordweaver is the only fiction publisher in Namibia. It has a population of about 2 million people, so it’s a small market. One of our big challenges is the low reading culture and lack of literacy. We’re trying to get more involved in doing local language publishing, but it’s hard with 11 different languages. We believe if you start young, you can instill a love of reading in children. The kids go to school, but they have

nothing fun to read. So, one of our long term visions is to improve literacy and the reading culture among children. That’s the gap we are trying to bridge.”

Flora Majdalawi, Editing Manager, Majdalawi Masterpieces, Jordan “Our market targets Arabicreading children and foreigners who want to learn to read Arabic. We focus on literacy through literature, so we’re doing it in a non-traditional way instead of the other way around. One of

Be Brave, But Not Stupid: Ingram By Vinutha Mallya

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e want to be brave but not stupid,” said John Ingram, Chairman and CEO of Ingram Content Group, about his company’s strategy motto. Ingram was in discussion with Mark Dressler in the session, “Betting on the Future of Books: Ingram’s Next Chapter,” on the Publishing Perspectives Stage on Thursday, 9 October. Admitting that failure has been a part of the Ingram Group’s journey, Ingram said that he emphasizes a mindset of flexibility in the company. “When we invested in the ebooks business, the investment didn’t work. Thank goodness for our print-on-demand business,” he said. The key is to recognize that,

no matter what platform you march ahead with, there are going to be technological changes, he noted: “as long as you are careful and don’t spend too much time and money, you can be flexible.” The Ingram Content Group is the world’s largest distributor of physical and global content. It currently has a total of about 12 million titles in the market. Through platforms like Vital Source (for textbooks) and Lightning Source (print-on-demand) and others, Ingram has a footprint in several countries, and they are expanding. Lightning Source’s agreement with Azymut in Poland, inked yesterday, is the company’s latest stride. “In countries where we can’t be ourselves, we pick a partner who is well connected up to the


Ronny Agustinus, Marjin Kiri

our biggest challenges is distribution and reaching out to new markets outside the Arab world. A few years back, I think there was an assumption that Arab books were not of a high quality in content or design, but that assumption doesn’t exist anymore. At Frankfurt, there are many Arab displays with incredibly beautiful books with rights sold all over the world.”

Sulaiman Adebowale, Director, Amalion Publishing, Senegal “That we need investment! Our market has always been looking at alternative ways to sell and market books, to find authors and distribution methods. In North America, e-books and online stores are a critical base for sales and distribution. That is not so in our market. Forums, seminars, fairs, and other similar platforms are a big part of how we sell books. A lot of people say ‘Oh,

you’re based in Senegal, why do you only publish in English and French?’ We publish for Africa. We publish all over the continent. The base of a company does not have to be linked to language. Publishing is a global business. We hope to publish in indigenous languages some day, but English and French are major intellectual markets.” Ronny Agustinus, Chief Editor, Marjin Kiri, Indonesia “This is our first time coming to the Frankfurt Book Fair and we are going to be the Guest of Honor in 2015. We don’t expect to sell too many rights, but hope to increase our international visibility. We mostly publish nonfiction, humanities, and [books about] social or political issues. We hope to offer the international market political or social topics with a unique perspective.” •

John Ingram (CEO and Chairman, Ingram Content Group) with Mark Dressler

retail end,” said Ingram. “The game now is really about being fast to consumer, about speed to market.” In the Higher Education space, the group has launched Ingram Construct, a new service that allows publishers to reformat their digital content, moving away from the book and chapters, to smaller pieces of content that can be put together in different ways. Ingram’s desire to help publishers run their business better

also led him to carve out a venture fund within the Ingram Content Group about three years ago. The fund invests in creative ideas which address identified issues such as “social selling,” which, according to Ingram, “nobody has been able to crack.” The fund makes investments of between $100,000 to $500,000, seeks to invest in ideas that are “probably not going to be taken up by big, large existing players.” •


Moroccans Finally Make a Stand at Frankfurt Left to right: Amina Hachimi Alaoui, Guillaume Jobin, Abdelkader Retani, Rachid Chraïbi

By Olivia Snaije

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his is the first time that Morocco has a collective stand at Frankfurt, uniting twelve publishers who print in French, Arabic, and Amazigh, the Berber language. Morocco was present in 2004 when the Arab world was the Guest of Honor, but otherwise individual publishers have since come on their own as visitors. “It’s the first year that the [Moroccan] Ministry of Culture showed an interest,” said Abdelkader Retnani, founder of one of Morocco’s biggest publishers, Editions La Croisée des Chemins.

“Like all Moroccans, we have always had a fixation about the Paris [salon du livre] and that wasn’t producing many results.” Retnani publishes illustrated books, novels, and essays, and he spent six months carefully preparing his catalogue in English with titles he believes will be of interest to foreign publishers. Rachid Chraïbi’s Marsam Editions publishes illustrated books, children’s literature and essays. His books are primarily in French but he also produces bilingual French/Arabic editions, which could prove interesting to francophone publishers in countries where there are Arabic-speaking

communities. Jad Hoballah is representing the 35-year-old publisher Afrique Orient in Frankfurt with scientific and academic books, philosophical essays and children’s literature primarily in Arabic. “In Morocco, we are more used to buying rather than selling rights. But we want to develop and have excellent titles,” he tells Publishing Perspectives. Frankfurt is an opportunity for Moroccan publishers not only to sell rights in other languages but also to meet Arabic-language publishers and discuss co-publishing. Amina Hachimi Alaoui, who

runs Yanbow Al Kitab, which publishes children’s titles for ages 5–12, has co-published before with Arabic-language publishers and says it’s one way of bypassing a complicated distribution network. Surprisingly, the North African market itself is the toughest for Moroccan publishers to deal with. Guillaume Jobin, a Frenchman who has lived in Morocco for seven years and founded Casa express editions, publishes books on history, society, and politics. Trying to export to neighboring Algeria, he says, is “impossible, a nightmare. The government doesn’t want to open the market for political reasons.” French publishers are also natural partners for Moroccan publishers but, for the moment, it’s still difficult for them to penetrate the French market with new authors. But Abdelkader Retnani, who recently came back from the Beijing Book Fair and was just at the Barcelona Book Fair, has a number of appointments and said he was feeling hopeful. •

Prizes Show Small Publishers Can’t Be Ignored By Vinutha Mallya

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hen Bellevue Literary Press publisher Erika Goldman’s book, Tinkers by Paul Harding, won the Pulitzer in 2010, she was told by an experienced publisher not to let success “go to her head.” She was advised not to ramp up her operations too much because that could kill her small publishing business. Goldman’s response was, “even when I buy a paper clip, I think three times.” Goldman and Bruce McPherson (publisher of McPherson & Co) are two independent literary publishers with impressive catalogs, including books that have garnered some of America’s most prestigious literary awards. On Thursday, 9 October, in the session “Small Shops, Big Books” on the Publishing Perspectives Stage,

Erika Goldman (Bellevue Literary Press) and Bruce McPherson (McPherson & Co.)

they spoke of how small presses like theirs accomplished a lot with limited resources. The prizes have certainly helped. McPherson published the book, Lord of Misrule by Jaime Gordon, which won the US National Book Award in 2010. “I took it as emblematic of a shift,

an understanding that small literary presses are publishing some of the best books that come out of the U.S. I hope our success simply means that other small publishers can also meet that success,” said McPherson. For both publishers, winning the high-profile prizes took up a lot of their time afterwards.

McPherson could only publish one other book that year, while Bellevue’s Tinkers went on to win a PEN award later. “We thought of the awards as a communitysponsored phenomenon that we all participated in and celebrated together.” The book sold 10,000 copies before the Pulitzer, and has sold 522,000 copies across all formats since then. “Winning a literary prize may not necessarily be a game changer, but it will put you on the map,” according to Goldman, whose company is a not-for-profit entity that relies on funding. “We do what we do because we are passionate about it. It is gratifying to get a major prize,” she said. “I hope that winning a prize sends a signal to people to pay attention to small presses,” said McPherson. •



Snapshots from the Finnish Stands By Saskia Vogel

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ublishing Perspectives asked three Finnish publishers what their strongest titles are at the fair this year.

Timo Julkunen, CEO, WSOY, Tammi “Being the Guest of Honor this year is a huge thing for Finland. For Bonnier, yesterday we got four World English deals with AmazonCrossing at the same time. That’s the biggest prize for us in this special year. That we’re

bringing authors here and getting immediate results. I’m surprised by the big effect we’re having here and at home in Finland. Maybe Finns don’t tend to expect much, so when we say we’re exceeding our expectations, we really are. Our president is here showing his interest in books. It’s wonderful that he’s taken the time to come here. At home, they’re writing about the fair everywhere. It feels like all of a sudden, the hidden treasure of Finnish literature has been discovered.”

Paula Peltola, Foreign Rights Manager, Gummerus Publishers “I’d have to pick Nymphs— an erotic fantasy series. It’s entertainment. We’re proud of our pop music in Finland and we feel that this is on par as entertainment. A feature film is being planned. Rights have sold to ten countries, including the UK, US, France, Brazil… It’s based on a TV series and the director of the series Miiko Oikkonen co-authors the series with Sari Luhtanen. Stilton Literary Agents represents the translation rights.” Ville Rauvola, Managing Director, Atena “I spoke to Pushkin Press today who have published Pasi Ilmari Jääskeläinen’s The Rabbit Back Literature Society in the UK.

They’re already in reprints. This is our biggest title. Rights have sold to eight countries. This novel was his breakthrough in Finland as well. Roope Lipasti’s first novel [The Neighbor] was a huge success in Finland two years ago. It’s just come out in France. And his second, which is getting UK and Swedish interest is another funny, feel good novel, like Jonas Jonasson’s Hundred-Year-Old. It has just come out in Germany. Jukka Laajarinne’s Moomin Metaphysics can be compared to The Tao of Pooh. The Moomins starting point was a quote that Tove Jansson jotted down: “Freedom is the most important thing,” an existential statement at its core. The books looks at the philosophical side of the Moomins.” •

Children’s Publishing: It’s All About Building Franchises In America, building the brand is a key to success; in Australia, sales for kids books on the rise. By Andrew Wilkins

“C

hildren’s books are about building franchises,” said Barbara Marcus, President and Publisher of Random House US’s Children’s Publishing Division. When there are such big global returns to be made from brands such as Richard Scarry, Dr. Seuss and Disney, the search for the next big brand is the priority. “We spent a lot of time making sure those evergreens keep selling. We are a backlist business primarily,” she noted. Speaking yesterday at the Publishing Perspectives stage in Hall 8.0, Marcus highlighted the importance of collaboration in a market segment where 60% of sales were still coming from backlist or legacy titles. ‘Working with other publishers around the world is a benefit

for all of us,’ she said. “We share all our marketing, all our visions with our partners, even if we don’t control the rights.”

Opportunities Marcus suggested there were particularly big opportunities for eight-to-12 year-olds, where many of the existing brands were starting to tire. “Education-lite” publishing for younger children also has greater potential. Another clearly observable phenomenon is the feeding frenzy Hollywood is showing for young adult properties such as Maze Runner, Divergent and The Fault in Our Stars. “The amount of movie making happening out of the YA area is a phenomenon and it’s a incredible boon for sales. Because we build serials, brands and author profile, we’ll continue to benefit.”


Barbara Marcus Random House USA

Zoe Walton Random House Australia

“I think adult publishers could learn from how children’s publishers market frontlist,” said Marcus. “We are relentless.” Australian Kids Sales Rise Meanwhile, in Australia, sales of children’s book have risen by 10% in the past year, compared to just 1% for the whole trade, according to Random House Australia’s Children’s and YA Publisher Zoe Walton. Australian kids are still reading print, in spite of the attractions of tablets and online, treating it as a break from the screens.

Walton said she also felt Australia, as a market, punches above its weight on major titles and still merited consideration as a separate rights market apart from British and Commonwealth. •

NEWS FROM THE FAIR

Reaching More Readers Just Got a Little Easier By Vinutha Mallya

R

eaching out to new readers and customers is the topmost challenge for publishers. Page Foundry’s idea is to get publishers to partner with news organizations to meet it. “We realized that a newspaper, out of necessity, has a deeper relationship with readers than a book does. Through newspapers, publishers can have reach on a huge scale,” said Page Foundry CEO Dan MacFarland, at the session, “Reach Your Next 100 million Customers,” on the Publishing Perspectives Stage on Wednesday. MacFarland showcased the U.S. company’s platform-wide publisher marketing solution. The solution connects publishers to the customers of news organi-

zations, wireless providers and other consumer brands, using a global e-book platform, which delivers e-books through customized apps. As an example, Page Foundry has implemented a solution with the Chicago Tribune Media Group, which was presented at the session. The TribBooks app provides unique content from the Chicago Tribune and its 24page Sunday book section, Printers Row Journal. It also offers a platform for book publishers to increase discovery of their books and promote them through sales and giveaways. The TribBooks app is an integrated e-bookstore and e-book reader. It allows readers to discover new books, browse weekly features, seasonal picks, reviews

Left to right: Amy Carr (Development Editor for Chicago Tribune), Jennifer Day (Editor, Printers Row Journal) and Dan MacFarland (CEO, Page Foundry).

and staff recommendations. The app, available for iOS and Android platforms, also contains special content, stories, and promotions only available to TribBooks users.

“With a channel like this, the book publisher gets a partner on the same side of the revenue stream. It is a branding relationship,” said MacFarland. •

“Always Judge a Book By its Cover,” Say Dutch Designers By Olivia Snaije

R

ather than just showing book covers they have designed, the Rotterdam-based graphic team at 75B decided to literally bring their studio to Frankfurt. Although they had never been to the book fair before, they hit the ground running, offering to create a free, custom-designed book cover for whomever stops by their stall, which is called Always judge a book by its cover. Their to-do list pinned up on the wall, a team of six designers in white lab coats is work-

ing in shifts designing covers for authors who are still writing their books and want to promote them, for reprints, or for publishers who are interested in seeing already existing books from another angle, such as Suhrkamp’s prize-winning Kruso by Lutz Seiler or a book by Carsten Otte. Founding partners Rens Muis and Pieter Vos came up with the idea because “we wanted to be dynamic—we wanted to let people know that we love to design book covers,” said Muis. “We’ve had a great reaction from people and have had so

much work that we hardly have time to look around—it’s a little overwhelming.” Muis and his team are trying to finish all covers before Sunday, although some designs will take more time, especially when customers are undecided about what they want. “Then we tell them we will email them the covers after the fair.” If authors or publishers end up using their designs as final covers, 75B is fine with that and, of course, can provide further design consultancy . . . •

Rens Muis (founder) and Loes Verstappen


PERSONALITIES IN PUBLISHING

Social Media Marketing: Is It Heaven or Hell? HarperCollins UK’s Sam Missingham argues there’s no better way to promote books, but you really have to work at it. Follow Sam Missingham, Head of Events at HarperCollins UK on Twitter: @samatlounge

By Roger Tagholm

I

f there were a Publishing Queen of Twitter, it would have to be HarperCollins UK’s Head of Events, Sam Missingham (follow her on Twitter: @samatlounge). She pretty much adores—or takes an interest in—all social media, but retains a special affection for Twitter, where she now has some 13,500 followers. As such she is the perfect person to speak at the Frankfurt Book Fair Business Club’s session on social media, “Uncensored! Social Media—Marketing Heaven or Hell?” “Twitter is such a level playing field and can produce such good results if you’re authentic, positive, and enthusiastic,” she says. “You can build relationships across the industry—with booksellers, authors, agents, libraries—in a way that just isn’t possible anywhere else. Twitter also allows us to open up the process of publishing—to show covers, discuss author tours, share our passion for books. This has the ability to pull people towards us in a really positive way.

“Although I know it’s not for everyone, I do think many more people in publishing should be on it. Not only is it a great way to engage with stakeholders in the industry, it is the simplest tool for keeping up with news and opinion and an eye on competitors.” In a quest to get more people to take the plunge, Missingham has recently launched a social media task force at HarperCollins UK. “Social media should not be the sole province of the digital marketing people—it’s something everyone can get involved with. People in all areas of publishing are extremely passionate about what they do—it’s a great way to communicate that outside of the company.” Ignore Etiquette! But she is slightly amused— and frustrated—by the etiquette that surrounds social media, where she feels that many publishers are still far too polite with their social media activity. She uses Great British Bake Off as an example: “In my mind, every publisher with a cookbook should be


finding a way to leverage the activity around the #GBBO hashtag. An incredibly easy way to promote a free recipe, new book etc. to a willing and engaged audience.” And goes on to say, “And this ‘moment marketing’ can be replicated around other big media and cultural events that trend on Twitter—be that health and fitness books during the Olympics, football biographies during the World Cup, or political books around global uprising or elections and the like. “Right now these opportunities are being poorly served by many publishers. Of course leveraging social media in this way relies on 24/7 activity. Tweeting 9 to 5, Monday to Friday just won’t cut it.”

Resources Are Necessary Social media is a commitment, and to do it well, time and staff resources are needed. This might not necessarily be achievable for everyone. This is when understanding what the objectives are and what success looks like is essential. But the upside is

that, by engaging with your audience, they then become your free marketing campaign because of their network, their own use of social media. Missingham talks about “influencers” and “amplifiers,” and it’s easy to see what she means. There is much talk of crowdfunding these days; this is really crowdmarketing.

Staying Relevant She harnessed social media to great effect with HarperCollins’ virtual romance festival earlier this year, for which she used Twitter, Facebook, and Google Hangouts. “On Twitter, we had editors from Mills&Boon and HarperCollins giving writing advice under the hashtag #scriptdoctor, and on Facebook, we ran author Q&As. Different elements worked better on different platforms—Facebook was great for Q&As, and Twitter had other strengths (but did get a little chaotic with too much activity around the hashtag at times). Missingham notes that there are many other fantastic networks that reach a different audience and provide a different function—Pinterest, Tumblr, and Reddit, in particular—all of which require time and understanding of the etiquette and their communities. But absolutely worth investing in. In other words, “you have to cherry pick which sites work best and remember that you can’t do all of them all the time. I don’t think publishers are using YouTube properly yet, and to say this is a missed opportunity is an understatement—some of the vloggers get 650 million views per year. Insane numbers. Also, teens, in particular, have migrated away from the likes of Facebook and now focus energies on Snapchat and Kik. Goodreads is not to be dismissed either—that is full of hardcore book fans.” • Sam Missingham is among speakers at “Uncensored! Social Media—Marketing Heaven or Hell?” which takes place on Friday, 10 October 10–11:30am in Room Europa Hall 4.0 as part of the Frankfurt Book Fair Business Club.


When It Comes to Tech, Execution Wins Out Over Ideas Israel’s preeminent tech investor and entrepreneur offers his secrets to success. By Edward Nawotka

“I

came to the conclusion that it is all about talent. God comes at 3 a.m., touches your shoulder and tells you that you will be Spielberg, Mozart and Beethoven. You give him the ability to work and then leave him alone,” said Yossi Vardi at Thursday’s Business Club “Wake-up Call.” The man who is now one of the best known and most influential technology investors in Israel—one who has invested in 85 startups, has sold 24, and closed 27—said that he believes in execution over ideas, and doesn’t believe in business plans, Powerpoint, or ties. “Take off your tie,” he advised the gathering. “It restricts the flow of blood.” When it comes to develop-

ing software, several rules do apply. “Rule #1 is talent. Rule #2 is you have to invest in nice people. If you don’t invest in nice people, the fun goes away and you’re miserable.” He added that you also need to manage the number of your investments and equated the practice with feeding kittens with bowls of milk: “One kitten is nice, two is manageable, five is difficult, and 85 and you end up getting covered with kitten shit.” Vardi said that he fell into investing technology start-ups by accident, after investing in his own son’s company out of guilt. That company became ICQ, and was sold to AOL for some US$400 million in 1998, in the earliest days of the original internet boom. Asked why Israelis have been

“Take off your tie,” says Yossi Vardi.

so successful in the technology sector, Vardi said that, while it might have to do with the country’s character, its military culture, and its sense of community or cultural purpose, it was more likely to do with its ... mothers, the people who see their children as the most talented people and drive them to succeed. As for his own success, Vardi was demur, attributing it in part

Self-Published Books: Enough to Fill a Hall in Frankfurt? Yes, Indeed. The self-publishing industry is booming and is overtaking traditional publishing in terms of the sheer number of books produced. By Edward Nawotka

A

ccording to the latest statistics, which cover 2013, self-published books represent some 4.5% of the overall US book market and 15% of the US e-book market. And in 2013, according to industry analyst, Bowker, 390,000 ISBNs were taken out for self-published books in the United States, representing 14% growth over the previous year and a total of 470% over the past five years. Meanwhile, trade ISBNs from traditional publishing numbered 300,000. While the e-book market— which fueled the growth of self-

publishing—may have slowed somewhat this year, self-publishing continues to boom. “The days of truly exponential growth are likely behind us,” or so says Mark Coker, founder of Smashwords, which alongside Amazon’s KDP, is one of the leading self-publishing companies in the world. Yet, as he wrote in a recent blog post, “E-books never go out of print. There’s a glut of high-quality reading material out there. The growth in the number of e-books published and forever immortal on digital shelves will probably outpace the growth in reader eyeballs, and therefore the capacity of readers to consume this con-

tent . . . The average book in the future will sell fewer copies, not more.” So where does that leave selfpublishers now? Today and tomorrow, the Frankfurt Book Fair is looking to examine this very issue, with a two-day International Self-Publishing Program aimed at exploring best practices, new ideas, and the confluence of the self-publishing and traditional publishing industries. Self-publishing as a phenomenon simply cannot be overlooked, and traditional publishers will do well to pay closer attention. This is especially true in the context of the Frankfurt Book Fair, where the core of business conducted has to do with the rights trade. It is not such a stretch to imagine a future where a majority of rights sales originate from self-published authors.

to his commitment to reading and books. “Israel was founded in 1948 and we were raised on the best of books. We grew up on books and this is part of our heritage.” And he deflects any accusations cast on technology for damages done to the book business. “Don’t blame me,” he said. For that, “you should talk to a guy named Jeff in Seattle.” • Don’t believe me? Let’s take just one example: Brazil’s Bookcase Agency, profiled in yesterday’s Show Daily, has been able to build a business in a mere two years by sourcing authors from writing conferences, festivals, and other events oriented toward self-published authors. Or take the German self-publishing company, epubli, a subsidiary of Holtzbrinck, which has made overtures to English-speaking writers to self-publish with them in Germany. Why? Because plenty of Germans read English and, what’s more, this year’s bestseller lists at Amazon Germany often consist of 80% and sometimes 100% self-published titles. In the United States, it is often 25%—so implicit in this is the suggestion that self-publishing may have even more potential abroad, where there are often fewer opportunities to publish than in the United States. No, self-publishing may have not outpaced traditional publishing around the world just yet, but it’s a good bet that it is coming. •


PUBLISHING IN INDONESIA

Indonesia Prepares for Guest of Honor Role in 2015 Next year, Frankfurt will offer the first truly global showcase of the archipelago’s books and culture. By Claudia Kaiser

“17

,000 Islands of Imagination” is the slogan for Indonesia’s Guest of Honor presentation at Frankfurt Book Fair in 2015. The press conference on Thursday offered a first glimpse of what we can look forward to for next year, an event that will give the country’s literature and culture broad international exposure. The hope is that it will help re-establish Indonesian literature in the global marketplace. Numerous publishers, including many from Germany, sold rights to Indonesia prior to the Asian financial crisis in 1997 and the downfall of Suharto in 1998. Following those traumatic events, the country all but vanished from the international rights marketplace, particularly in the west. Most rights deals since then have

Culture has announced a translation funding program. “It is the first time the government is staging such a program, and we hope we can all use it to the fullest extent so that interest in Indonesian literature is being stimulated,” says Wandi S. Brata from Gramedia. In addition to its promotion of Pamuntjak, Gramedia is preparing to drum up rights sales for its biggest authors, including Leila S. Chudori, whose book, Homecoming, was published in Indonesian by Gramedia and in English by Lontar, with a French edition launched in September and a German one due next year. Unfortunately, translators are not easy to find. Lontar’s publisher, John McGlynn, is translating a number of titles from the Lontar program himself. “For us, the Guest of Honor year and the translation funding program is a reward for our efforts to promote Indonesian literature,” says McGlynn. “We are very happy about it, even though the implementation is still lacking momentum.”

been done primarily with Malaysian publishing houses, while Indonesian houses have been buying from the United States. The Lontar Foundation, a non-profit organization that aims to promote Indonesian literature in translation, has purchased rights from Indonesian publishers in order to publish and distribute these titles in English worldwide. Gramedia, the country’s biggest publisher which produces some 1,000 titles per year, has also published a number of Indonesian titles in English, including Laksmi Pamuntjak’s A Question of Red, a title that is due to appear in German for next year’s Guest of Honor program. In order to foster translations from Bahasa—Indonesia’s official language—into German (and other languages), Indonesia’s Ministry of Education and

We want to showcase and find new cooperation partners worldwide for the really interesting digital content which isn’t well known in the West at all. Digital publishing will be another focus of next year’s activities. “We want to showcase and find new cooperation partners worldwide for the really interesting digital content which isn’t well known in the West at all,” says Hary Candra from Amazing Edu, an expert on e-book development in Indonesia. The intention is to “go global” and find new digital distribution opportunities far beyond the vast archipelago in the distant sea. •

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TRANSLATION

Seeking a Balance in Paying Translators in Germany The new system of paying German translators can potentially punish the publisher for having a bestseller. By Richard Stoiber

I

t is said that anyone who is a great translator would be a great author, too. But this is not to say that translators are only failed writers. Quite the opposite. Whenever I quote this, my intention is to express my respect for translators. In my view, it can be as hard to translate chick lit as highbrow fiction. I can only speak for the latter, but most of the translators I know are geniuses. However, in Germany, the business of translation is complicated by a number of factors. First, German critics divide fiction into two types: U (Unterhaltung: entertainment) and E (ernst: serious). Sales of the different types of books can be very different. This split also translates directly

to the kind of translation funding a publisher receives for books and which scholarships and grants translators receive. As an editor for foreign fiction, you’re most likely to have two options when considering a title. If the title is from a popular (U) genre like crime, romance, or fantasy—one with strong sales expectations—translation support is unlikely and you can only hope for the book to become a bestseller. Or you can choose a book for its literary merit (E), with the expectation of lower sales. With this type of book, you will most probably need translation funding to bring it to life. When I met with a group of publishers from Canada, the UK, and the US in Germany earlier this summer, I was asked

© Katja Heil

Richard Stoiber is the Director of Rights & Foreign Rights for Matthes & Seitz Verlag in Germany

how well translators are paid in Germany. My answer: “They get too little for the kind of work they do,” I replied. “Give them more,” they said. The thing is . . . we can’t. German translators of serious literature will usually get 18– 24 euros per page. Then it starts to get complicated. A court decision from the BGH (the Federal Court of Justice of Germany) says that translators must receive at least 0.8% of the retail price less VAT from the first 5,000 copies sold in hardcover and 0.4% royalties if the book is a paperback. Yes, it is obvious that translators need to benefit from a success they’ve helped to create. If on the other hand, you call 5,000 copies of a book success . . . well, that is up for debate. According to the BGH, translators shall also participate in subsidiary rights sales and should get one fifth of what the author receives. This means if publishers offer the standard 60/40 split (60% for the author and 40% for the publisher), the translator will get 12% of the total sum. This is fair, but with a 90/10 split, which sometimes exists for first serial rights, the translator would get 18% and the author 90%, which adds up to, yes, 108%. In this case the publisher’s share would not only fall to zero, but they would end up paying out of pocket to make the deal. Many publishers have balked against this breakdown, opting not to pay translators 10%, 12%, etc. of the total license fee, but instead to pay them out of the publisher’s net receipts. Ultimately, neither publishers nor translators were satisfied, so the publishing industry needed to find another solution. In April this year, the GVR (Gemeinsame Vergütungsregel) or Mutual Remuneration Rule went into effect. Under this new rule, translators are limited to receiving 5% of paperback license fees and 10% from any other subsid-

iary income. But as an additional bonus, publishers must pay royalties starting from the first copy sold, which is essentially a de facto hike in the payment per page. It is a compromise, but a rotten one, it seems. Just as with the BGH decision which put the earlier breakdown into practice, the intentions behind the GVR are good but the outcome leaves much to be desired. The first problem is it was only decided upon through a negotiation between the translators’ association and five German publishers, who all have three things in common: 1) they only publish hardcover books, 2) they are all quite successful, and 3) most of them have deals with (even) bigger paperback publishers. One of these companies, Hanser, actually owns 21% of one of Germany’s biggest paperback publishers, DTV. I don’t know how something like this can begin to be called a “mutual” agreement—one that might be applied industry-wide. There are even more complications. The royalty escalators are, in a word, ridiculous; instead of benefiting from a success, the translator will get a smaller and smaller percentage the more copies that are sold: 1% for the first 5,000 copies, 0.8% from 5,001 to 10,000 copies, and 0.6% for more than 10,000 copies. The other problem is that publishers only get translation funding for the initial sum they pay the translator. So any further payments, like royalties, will not be considered as part of the translation expenses, even though royalty payments accrue right from the start. If you’re an editor, please make sure to pay your translators a fair fee, whatever that is in your country. Help translators to get extra funds. If you’re a foreign rights manager selling to Germany, please make sure to talk to the acquisition editor about how they remunerate their translators. Maybe even think about a 50/50 subsidiary share. And if you just work in publishing, please make sure lobbyists in your country don’t go the same absurd way. •


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