London Show Daily, Day 3, April 17, 2013

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London

Visit us at Stand G470

i ssues”, newly appointed publicist Rina Gill told Show Daily. Born in Paris, the son of Holocaust survivors, and educated at the University of Melbourne , Rosenbloom worked for the Minister for Environment and Conservation in Gough Whitlam’s Labor government. In 2010 he was presented with Australia’s highest publishing honour, the

George Robertson award. Among its first titles, Scribe

UK has acquired acquires CTH and UK rights to Pulitzer Prize-winning author David Finkel’s latest, Thank You for Your Service. Rosenbloom, who bought from Devon Mazzone at FSH, described it as “a searing account by an engaged and brilliant writer of the modern-day consequences of war. Steven Spielberg is making a movie based on the book.

Rosenbloom has also bought, f r o m D o u b l e d a y , T h e Dispensable Nation by Vali Nasr, author and former State Depar tmen t adv i so r fo r Afghanistan and Pakistan, who offers a sharp indictment of America’s foreign policy and outlines a new relationship with the Muslim world. The book is “a game changer for America as it charts a course in the Muslim world, Asia, and beyond”.

The first UK title will be J M Coetzee: A Life in Writing by J C Kannemeyer, who has been given access to the Nobel Laureate’s private papers, including the manuscripts of his 16 novels . The study explains aspects of Coetzee’s personal life kept largely hidden until now. ■

From its beginnings in 2009 as a sleepy corri-dor of Earls Court, the London Book Fair’s Digital Zone is

quickly becoming the pounding heartbeat of the Fair, driven by two major trends in the industry: the steady march of technology, and the rise of self-publishing that such technology has enabled.

What started five years ago with just a handful of exhibitors and a cramped, 23-seat theatre on the show floor, is now one of the most crowded areas of the Fair, with nearly 70 exhibitors, two theatres and three days of programming, a networking bar, and perhaps the Zone’s most popular new attraction, a revamped Authors Lounge sponsored by publishing consul-tancy Authoright.

“I’ve just recently finished my book, and I’m trying to feel out the environment,” said Ian House, a first-time author min-gling outside a packed session featuring Smashwords’ Mark Coker. “And the information I’ve gotten has been pretty cool.”

Over the course of the fair’s first two days, the Authors Lounge has hosted packed ses-sions with representatives from Amazon, GoodReads, and Smashwords, as well as chats with self-published authors along with established, tradi-tionally published stars such as Will Self and and William Boyd.

Similarly large crowds are jamming into the Digital Zone’s two theatres, and milling out-side, to hear presentations on a range of nuts and bolts topics,

f rom se l f -pub l i sh ing , to HTML5, selling direct to cus-tomers, Apps, platform-build-ing, ebook lending, metadata, and semantic-tagging.

All of which is likely to have an impact on coming London Book Fairs, organizers concede,

Self-publishing surges in

packed Digital Zone

17 April 2013

Scribe launches in UK

both in terms of who attends (with more would-be authors surely looking to swell the atten-dance) and of who comes to exhibit. While it is too early to announce plans for next year while this year’s Fair is only mid-way through, chances are good

the Digital Zone will expand once again in 2014–especially considering that this week we learned that, for the second time this year, a self-published book (The Bet by Rachel Van Dyken) has topped ebook bestseller lists in the US. ■

Henry Rosenbloom has launched Scribe UK, a s u b s i d i a r y o f h i s

Australian indie. The plan is to publish several books a month of “serious non-fiction and quality fiction drawn from around the world”.

Rosenbloom is “deeply committed to publishing books of uncompromising quality about real people and real

Day 3 News.indd 3Day 3 News.indd 3 16/04/2013 17:0816/04/2013 17:08

www.publishersweekly.com www.bookbrunch.co.uk

FAIR DEALINGS

17 APRIL 2013 LONDON SHOW DAILY

Online communities boom

Research conducted by Bowker and re leased today shows that the number of pub-

lisher-owned online communi-ties is set to more than double over the next two years.

Bowker Market Research (BMR) found that two thirds of responding publishers hosted reader communities, and that this number was set to rise to over 90% over the next two years. A quarter expect to have seven or more networks up and running by 2015, with many respondents predicting a huge growth in the number of online communities for their companies, from a current average of 2.1, to more than five.

The survey, which included UK

and US trade and academic publishers, revealed that trade publishers were most engaged in this area, with 86% of respondents owning an online community in some shape or form.

Eighty-four per cent of publishers said that their spending on online communities would increase in the next two years, with only 14% expecting it to remain stagnant. Most of t h e m b e l i e v e d t h a t t h e investment was already paying off. But only 16% saw the communities as viable sales channels.

Jane Tappuni, Business Development Director at P u b l i s h i n g T e c h n o l o g y , commented: “These results send a clear message that both trade and academic publishers want to

use these platforms to establish closer relationships with their core readers, be it to communicate with them directly or to better understand their needs.”

BMR Director Jo Henry said: “There is a substantial amount of activity going on in this area as publishers seek new ways in which to engage directly with their consumers. It is interesting to note that in this survey US publishers were not significantly more advanced than UK ones–and that trade publishers appear to be leading the way in developing online communities.”

Trade and academic publishers in the UK and US were invited to contribute to the survey. The full results are available on publishingtechnology.com/blog. ■

3

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Editorial Co-ordinator (UK) Marian Sheil

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At HarperCollins, Rory Scarfe–son of Jane Asher and Gerald

Scarfe–has acquired The Dark Game (spring 2014), “a

compelling and controversial insight into global match-

fixing in football” from journalist Brett Forrest. HC has UK/

Commonwealth rights from Joe Veltre at the Gersh Ageny, and

Morrow has US rights; fi lm rights have gone to Fox. Scarfe said:

“The scale and malignancy of match fi xing in football has yet to

be addressed and Brett Forrest has dedicated himself to the task

of uncovering this seismic threat to the beautiful game. This will be

a timely, thriller-esque account of one of sport’s great corruptions,

as all eyes turn to the World Cup next year.” ■

HC has football exposé

Sceptre, Grand Central have genetic studyDrummond Moir a t

Sceptre has bought a new book f rom

Sharon Moalem, a thirty-something American who paid his way through two doctorates, the second in medicine, by working as a professional clown. Sceptre has UK and Commonwealth rights (exc Canada) in Inheritance: You, Your Family, and the End of Genetic Destiny from Nicole Bond at Grand Central.

We’re taught that we don’t have much of a choice in the

matter of what we get or what we give, because our genetic legacy was fixed when our parents conceived us. Not so, argues Moalem: our genes are constantly on the move, with some turning on while others are turning off, all in response to what we’re experiencing. These stimuli can be changed, and Inheritance is “a guidebook for that change”.

Moalem made his debut with Survival of the Sickest. The new book will appear simultaeously in the UK and US next spring. ■

O’Reilly Media has

signed with South

African fi rm Paperight

to enable photocopy shops in

the developing world legally

to print books on demand.

The deal allows over 150

Paperight outlets throughout

South Africa–many in rural

villages and poor townships

where traditional bookstores

do not exist- to supply

O’Reilly’s titles. These copies

may be up to 20% cheaper

than they would be in

bookshops.

Arthur Attwell, Founder

and CEO of Paperight, said:

“The irony of the digital

revolution is that while

democratising knowledge

production, it has increased

the gap between the Internet-

haves and have-nots... Many

of our print ing outlets

directly supply schools and

computer training centres,

and these books will give

them a huge advantage.” ■

O’Reilly/Paperight deal

Translation prize opens

The Harvill Secker Young Translators’ Prize, now in its fourth year, will this

year go to a translation from Portuguese. Entrants will be asked to translate “O sucesso”, a short story by Brazilian author Adriana Lisboa. The judges will be author Naomi Alderman, translator Margaret Jull Costa, literary journalist Ángel Gurría-Quintana, and Harvill Secker editor Ellie Steel.

The winner will work along-side Margaret Jull Costa at the British Centre for Literary Translation’s mentor scheme, and will also be invited to partic-ipate in the Crossing Border Festival in the Netherlands and Belgium in November 2013.

The Prize is annual, and open to translators between the ages of 18 and 34, with no restriction on country of residence. ■


FAIR DEALINGS


Ingram adapts CoreSource to comply with UK deposit Law

In an agreement that marries one of the oldest collections of print publications with

modern technology, the Ingram Content Group has expanded its CoreSource platform to include direct distribution to the British Library, making it easy for pub-lishers to comply with UK legal deposit law. Since 6 April, pub-lishers have been able to submit ebook content to comply with their obligation to submit one copy of all their books to the BL’s Legal Deposit Office.

Ingram’s upgrade enables publishers to submit content to the Library. The distributor noted that many publishers use the CoreSource platform for dig-ital asset management in the UK, and that two of those companies, Taylor & Francis and Kogan Page, would be among the first to use the new facility. According to

Ingram, the BL intends to work with up to 25 UK ebook publish-ers in 2013 to ramp up digital collecting under the digital legal deposit regulations.

“Through new legal deposit regulations, we are now begin-

LONDON SHOW DAILY 17 APRIL 20134

Jane Sturrock at Orion has won an

auction to sign Girls Will Be Girls

and a second book by Emer O’Toole. Orion has UK and Com-

monwealth rights through Juliet

Pickering at Blake Friedmann, and

will publish in April 2014. O’Toole,

a feminist academic, “challenges

received ideas about what it is to

be a woman with real wit and clar-

ity–no one is better placed than

Emer to persuade readers to take

control of their bodies and their

brains”, Sturrock said.

HarperCollins is to publish the

third instalment of Radio 2 host

Chris Evans’s memoirs in Sep-

tember. The publisher has world

rights in Dear Me: Don’t Panic!

Memoirs of a Midlife (What) Crisis

through Michael Foster of Peters

Fraser and Dunlop.

Joel Rickett at Viking has bought

world English rights to a narrative

history of ocean rowing by debut

author Adam Rackley. Salt,

Sweat, Tears, Rickett said, “cele-

brates the pinnacle of human

achievement, of those who have

dreamed, and dared to make

those dreams a reality. It will leave

you ready to face your own chal-

lenges in life, whatever they may

be”. The agent is Alex Christofi at

Conville & Walsh.

Crime writer Brian McGilloway,

who fi rst appeared on the Macmil-

lan New Writing list, moves to Con-

stable & Robinson for the sequel to

the bestseller Little Girl Lost. Pub-

lisher James Gurbutt bought

world rights in two novels featur-

ing DS Lucy Black from Jennifer

Hewson at Rogers, Coleridge &

White, for an undisclosed sum.

Preface Publisher Trevor Dolby

has bought world rights to

Hunan: Mr Peng’s Food From the

Heart, a cookbook from the res-

taurant that Times critic Giles

Coren said “may be the best Chi-

nese restaurant in the world”.

Dolby said: “The Preface cook

book list is developing into one of

the best in the UK. The addition of

Mr Peng’s Food From the Heart

puts the list on the world stage.”

Preface has world rights through

the author, and will publish in

spring 2014.

Hot Key has signed Terror Kid by

Benjamin Zephaniah, his first

novel for seven years. Emma Mat-

thewson at Hot Key said: “Com-

bined with a dramatic and sadly

topical terrorism storyline, and

narrated in Benjamin’s ever dis-

tinctive voice, this book will speak

out to teenage readers today.” ■

Rights round upResolution at LBFThe media rights depart-

ment is up and running, and a music department, a television department and a motion picture department have also been set up.

Green represents books from “commercial YA to the toniest of literary fiction”, including novels by Jonathan Franzen, Tom Rachmann and Andrea Cremer. At London, he is shopping the film rights to Rachmann’s new novel, The Rise and Fall of Great Powers, which Sceptre acquired in the UK. He recently sold Nathaniel Philbrick’s Bunker Hill to Warner Brothers, with Ben Affleck attached to direct, and is still fielding offers on The Rosie Project, an Australian novel that was one of the big books of this year’s Frankfurt Book Fair.

Green said the goal was to “provide comprehensive, full service representation for its clients... with a much leaner group of agents then our larger competitors”. ■

Jeffrey Berg’s new agency is st i l l young, but it ’s looking to the future and, to that end, has a presence at

this year’s London Book Fair. Berg, an ICM veteran, got Hol lywood types ta lking when he announced in January that he was forming a new agency, called Resolution. Rich Green, who was at CAA, is heading the agency’s media rights department.

Green oversees his depart-ment with Shari Smiley (another former CAA agent), and said he and Smiley were the first two hires Berg made. The overall company, which Green said was less than “40 work days” old, has roughly 20 to 25 agents on board. When asked about the number of clients Resolution has, Green said the transition process was still happening, as agents who were at other shingles remain in the process of negotiating which clients they will be able to bring to the new agency.

ning to build a comprehensive library of electronic publications, and we are pleased that Ingram’s CoreSource platform will help us achieve that,” said Andrew Davis, the BL’s Legal Deposit and Digital Acquisitions Manager. ■

The Publishers Association (PA) has launched a “Working in

Publishing” section at its website. The section will include

information on publishing courses, links to recruitment

agencies for job searches and career advice, and information about

networking events and seminars.

It also features interviews with a diverse range of professionals

working in publishing.

Richard Mollet, PA Chief Executive, said: “To continue its success,

British publishing requires people with a range of different skills

and it needs to offer a range of rewarding career paths. This site

highlights some of these and will hopefully help the sector to attract

the brightest and best people into the industry.”

The site, Mollet added, “has been developed as part of the PA’s

wider strategy to promote workforce development in the sector.” ■

PA launches careers site

Hu t c h i n s o n h a s

acquired UK/Com-

monwealth r ights

to a new novel by Alastair

Campbell, Tony Blair’s right-

hand man, from Ed Vic-

tor. My Name Is... is “the

uncompromising story of

a young girl’s descent into

alcoholism”. Campbell said:

“I have been fascinated by

alcohol, people’s relationship

with it, the country’s relation-

ship with it, for as long as I

can remember, and certainly

since I developed a problem

with alcohol in my twenties.

I wanted to show a character

with important relationships

in her life but, as she gets

into her mid and late teens,

it is the relationship with

alcohol that dominates, not

just her life but the lives of

others too.”

Hutchinson will publish in

September 2013. ■

New Campbell novel


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FAIR DEALINGS



People at London Book Fair 2013

Bloomsbury held a dinner for Neil Gaiman (left) and Chris RiddellAt the Women’s Fiction Prize shortlist announcement, Chair of the judges Miranda Richardson (left) with Prize founder Kate Mosse

At the memorial service on Sunday for Maeve Binchy: the author's widower Gordon Snell (second from left), with (left to right), Carole Baron, Kate Binchy, Christine Green and Nigel Anthony

From left: Tim Coates of Bilbary, editor Geraldine Cooke, Lewis Pennock of Ingram, publisher Stephen Davies

Granta unveiled its 2013 Best of Young British Novelists at the British Council officesDavid Baldacci (Pan Macillan) visited the fair for a trade reception and dinner


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Bookbrunch LBF Daily.pdf 1 09.04.2013 10:50

FAIR DEALINGS


Breakthrough on library e-lending

In a long-awaited break-t h r o u g h , S i m o n & Schuster officials this week announced a pilot project to enable library

ebook lending of its titles. S&S was the last big six holdout on library ebook lending, and while limited in scope at this time, the S&S pilot represents progress on one of the most contentious issues of the digital transition.

Under the pilot program, S&S will make its complete catalogue available to New York area libraries for unlimited checkout for a period of one year, after which the ebooks must be repurchased. And in a

new twist, S&S books will also be available for retail purchase via the library web site, with the libraries sharing in the sales. “In making our full list available, we think we will get a better sense of lending patterns and patron behaviour,” said S&S CEO Carolyn Reidy. “I am particularly eager to start seeing the actual data so that we can better understand this still-new phenomenon.”

The news is also a break-through for vendors 3M and Baker & Taylor, which will be servicing the pilot. While both companies are stalwarts in the l ibrary market , they are relatively new in the ebook

lending game, with OverDrive still dominating the market.

From their stand at the London Book Fair, 3M officials said they were delighted to have “relationships with all the big six publishers” in the US, and were setting their sights on the UK library market. “We would like to build on the progress of the Sieghart Reivew,” said 3M’s Collection Development Man-ager Heather McCormack. ■

8 LONDON SHOW DAILY 17 APRIL 2013

I am always

thrilled to see

a b u s t l i n g

show f loor

a s i t ’s t h e

product of a

year ’s hard

work come

t o g e t h e r ,

w r i t e s L B F

Marketing Manager Katie Morris.

I’m really looking forward to

the IPA Education Conference, which takes place today; it’s a

new and unique event looking

at effectiveness of learning

r e s o u r c e s a n d l e a r n i n g

technologies. It’s a high level

event inc lud ing Andreas

Schleicher from OECD and

Michael Trucano from World Bank

(From 9.30am, Conference

Centre. This is a ticketed event).

LBF is famed for its networking

and I’m excited that Luigi

Bonomi Associates are hosting a

How to Get an Agent Seminar (10am, Westminster Room). The

seminar includes a 10-minute

talk on how to get an agent

followed by the chance for

aspiring authors to pitch their

book ideas to four agents. Each

aspiring author can bring their

synopsis and first pages (no

more than three) to the event and

sit with an agent for fi ve minutes

to discuss their book. (This event

has limited capacity).

The AuthorLounge has been

packed out so far this week. This

l a r g e r- t h a n - e v e r a u t h o r-

designated area provides an

interactive and collaborative

programme of events, seminars

and networking opportunities

for writers. And, for the fi rst time,

we have been able to create a

space where unpubl ished

authors can meet and network

with literary agents via the

LitFactor pitching sessions.

Finally, I’m really excited about

the Children’s Innovation Theatre programme. We’ve revamped it

this year and it’s been buzzing

with sessions packed with new

ideas and information on the

trends that are shaping the

industry at the moment. The

Illustrator’s Afternoon (2pm) is

definitely one to check out. Ed

Natwotka will be exploring the

evolving world of children’s

illustration and cover design with

top art directors from leading

children’s book publishers. ■

LBF Staff Picks Today's Highlights

位于展馆第一展区的儿童创新出版区是伦敦书展的又一亮点。如果你在前两天的书展中没有时间光顾书展的

儿童创新剧院(Children’s Innovation Theatre)，一定要趁最后一天感受剧院中丰富多彩的互动活动。

今日亮点首届IPA国际教育大会时间：4月17日全天地点：Earls Court Conference Centre

伦敦书展与国际出版商协会共同举办的首届IPA国际教育大会，将围绕众多教育话题开展讨论和案例演示，其中包括各国教育的成功实践、学习资源和利用科技学习的有效性、哪些用于改善教育成果的公共政策更有效等话题。本次活动将吸引各国相关政策的决策者、教育出版商与内容生产商和教育学者参与，并且邀请国际经济合作组织和世界银行等机构首脑做主旨发言。

今日作家:儿童畅销作家丽兹·皮琴（Liz Pichon）时间：4月17日上午11点30分至12点30分地点；English PEN 文学咖啡厅

儿童畅销作家丽兹·皮琴的《汤姆·盖茨》系列小说单在英国就已售出超过20万册，作品被翻译成20种语言在全世界出版。这位多才多艺的儿童作家在很多作品中还兼绘插图，比如《鳄鱼哥哥波利斯》荣获史玛提斯童书奖银奖。她的新作《汤姆·盖茨》系列小说第五集“Tom Gates is Absolutely Fantastic”将于2013年4月出版。

聚焦图书业供应链 Book Industry Communication Supply Chain 时间：4月17日上午9点30分至12点30分地点：Cromwell Room, EC1 第一展区

今年的聚焦图书业供应链研讨会将重点关注国际市场，从全球的视角分析图书市场分销商受电子书影响的分布变化。

本文作者刘晓爽为伦敦独立策划人，从事出版、艺术设计和音乐等文化传播项目。联系邮件 [email protected]

New agency has hot Swedish thrillerIn a buy before the London

Book Fair officially got underway, Laura Tisdel at

Little, Brown bought world English, in conjunction with Ed Wood at Sphere in the UK, to a Swedish thriller that’s being shopped by a new agency. Chain of Events by Fredrik Olsson, a Swedish novelist and screenwriter, has deals in the US, UK, Germany and Holland, with Warner Brothers optioning the film rights.

Jonas Axelsson, a former editorial director at Bonniers, is representing the book, as a member of a new Swedish agency called Partners In Stories. Axelsson said that the agency, which is a joint venture with the Swedish publisher Natur & Kultur, “plans to produce in diverse formats, including books”. It intends to go beyond selling rights for translation and for film/TV adaptation into representing artists in all their profess ional endeavours , potentially publishing their works direct to market.

Tisdel said that the novel featured “thriller-pacing and an ominous mood”. The novel follows a washed-up cryptologist and his ex-wife pitted against “a ticking clock with more than they know at stake.” ■


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Robert Spoo looks at the problems caused by having different copyright regulations in different countries and regions

Can we end the copyright Tower of Babel?

Where copyrights end, the public domain begins. What you think about the pub l i c doma in reveals your politics of

authorship. If you imagine the public domain to be a joyous commons of collective opportunity, a place where cultural expres-sion may be unearthed and freely recycled, then you probably believe authors should receive copyright protection for a limited time, if at all. If you think of the commons as a graveyard that blots the fair acres of authorship, and of copyright expiration as what the French poet Alfred de Vigny called a fatal plunge into a “sinkhole”, then you likely hold that copyrights should be longer and stronger. But the public domain is not just a conceptual battleground, it is a real one, expanding and contracting according to the views of lawmakers, the pressures of lobbyists and prevailing notions of property. And the battle has now gone global.

In my forthcoming book, Without Copy-rights: Piracy, Publishing, and the Public Domain (to be released this August by Oxford University Press), I not only trace the evolution of the American public domain, but also the global public domain, a super-commons that the internet makes more rele-vant every day. But that global commons is an endangered habitat because it is increas-ingly, profoundly fragmented: a work may reside in the public domains of some countries while still being subject to copyright in others. There is no such thing as the public domain; there are only public domains.

Take, for example, James Joyce’s famous book, Finnegans Wake, first published in 1939. In 1992, 50 years after Joyce’s death, the book entered the public domains of the European Union (EU), but shortly returned to copyright there as a result of an EU directive that purported to harmonise copyright terms by adding 20 years to them. In non-EU countries such as Canada, Australia and Switzerland, however, the book remained in the public domain. Then, in 2012, Finnegans Wake re-entered the public domains of the EU. But it did not in the United States, where it is protected until 2035. This chequerboard effect created by jarring laws burdens the world market for new Finnegans Wake-based projects for decades to come, even as new editions begin to appear in some countries.

The copyright Babel does not end there. The same EU directive that compelled the

harmonisation of copyrights contained a special provision granting 25 years of new protection to “any person” who first law-fully publishes or makes available a work that has never before been published and whose copyright has expired. On its face, this is “finders-keepers” copyright, an incen-tive for making old works available for the first time. Just as soon as an unpublished work enters the EU public domains, it is restored to copyright, but not as property of the author’s estate, but to the first dissemina-tor, a transmigration of sole entitlements after a brief sleep in a legal coma.

Joyce’s unpublished writings–many of which are crucial for understanding Finnegans Wake–no sooner entered the EU public domains in 2012 than they became the subject of new copyright controversies. In February 2012, the Irish Times reported that Ithys Press of Dublin had published a previously unpublished letter by Joyce under the title The Cats of Copenhagen, based on the original letter held by the Zürich James Joyce Foundation. The Foundation promptly complained that it had “never per-mitted, tolerated, condoned or connived in this publication”.

Then, in April 2012, House of Breathings, a new imprint in the United States, announced that it was issuing The Dublin Ulysses Papers, a six-volume edition of unpublished Joyce materials previously pur-chased by the National Library of Ireland (NLI) for millions of euros. A few days after

this announcement, the NLI (of which I was a board member at the time) placed on its website digital copies of most of the manu-scripts that had been announced for The Dublin Ulysses Papers, thus accelerating plans for making the materials available to the public. House of Breathings responded in the press that the NLI had infringed its “copyright”, though to date there has been no litigation.

In a short space, the unpublished Joyce works had gone from being copyright-free throughout most of the EU, to being the sub-ject of competing monopoly claims. And these post-copyright copyrights raise as many questions as they answer. Does a mere announcement of plans to publish trigger the new right? Irish law, for example, requires actual issuance of copies to the public. Must publication occur within the European Eco-nomic Area for the right to be validly acquired? British regulations say it must. And though the EU directive appears to vest the new copyright in the first disseminator, French law suggests that the right initially belongs to the owner of the manuscript. In 1993, in a case involving unpublished manu-scripts by Jules Verne, a French court held that the right belonged in principle to the city of Nantes, which had acquired the manu-scripts from Verne’s heirs, not to a biogra-pher who had obtained copies and published

their contents without securing the city’s permission. So, are these after-rights intended for finders or for owners?

When we step back to view the world copyright map, we see an e m e r g i n g t r a g e d y o f t h e

uncoordinated commons–all the more tragic now that it is easier than ever to distribute texts throughout the world. It is certainly one kind of dystopia, this world of patchwork monopolies and precarious freedoms. In a world of copyright gridlock, one response might be to turn pirate out of sheer frustration with encountering endless “No Exit” signs. But a better (though possibly utopian) solution would be a concerted effort by legislators to harmonise the world’s public domains along with authors’ copyrights. The stability of archives and libraries, and the practices of publishers, may depend on it.

Robert Spoo is Chapman Distinguished Chair at the University of Tulsa College of Law and author of Without Copyrights: Piracy, Publishing, and the Public Domain (Oxford University Press, August 2013). ■

Robert Spoo. Photo: University of Tulsa College of Law

( )“When we view the world copyright map, we see an

emerging tragedy.”

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I love running across the various depictions of James Murray, the venerable Founding Editor of the Oxford Eng l i sh D i c t ionary , thoughtfully consulting a lexicon,

surrounded by the scenery of his cluttered scriptorium. It’s a brilliant piece of late 19th-century marketing, casting a divine halo over the mystical art of dictionary making. Here Murray is a holy monk of language crafting a temporal bible to guide us into enlightenment. His wizened beard is my favourite touch, appearing lightly singed from the obvious alchemy at work. Propaganda it may be, but it does accurately reflect the role dictionaries occupied within the publishing industry for most of the last century. Dictionaries form the foundation of the church we’ve built. Everyone needed a dictionary. And almost everyone had one. That is, until now.

Citing a steady decline in the print dictionary market, late last year Macmillan portentously announced that it will cease publishing print dictionaries in order to exclusively focus on its digital dictionary programme. Obviously they are not the only dictionary publisher experiencing the deterioration of print, particularly in the United States. Although some print market segments are proving surprisingly counter-intuitive–the thriving print newspaper business in India comes to mind as a prime example–it is clear that print dictionaries in the general interest market are going the way of the carrier pigeon. I can only imagine what Murray and his band of lexicographers would think.

So I find it rather ironic that while dictionaries gather dust on bookshelves, we are witnessing an unprecedented explosion of global interest and activity in the English language. The rise in numbers of English speakers around the globe is proving one of the most transformational market forces. There are currently two billion English-language learners right now and in some estimates that number will double by 2020. Annual global advertising revenue on free mobile and internet dictionary sites–mainly the domain of web start-ups rather than publishers–has grown to almost $100 million. There’s no mistaking it, the English language is booming and it’s big business.

But is there a way for traditional dictionary publishers to take advantage of this opportunity rather than be sidelined by new entrants that are more nimble and

technologically savvy? Macmillan rightly points to a variety of its new digital initiatives that are gaining traction and are indeed impressive. It demonstrates that there is a quality and authority that dictionary publishers can provide in the digital sphere. This is most true in formal educational environments, in which dictionary content accompanies a variety of other learning materials and requires high levels of validation. But it will take more than simply

inserting ourselves and our traditional value proposition into most of these digital spaces. It requires a different mindset altogether, one that begins with a redefinition of dictionary publishing itself (a task suited for a band of lexicographers if ever there was one!).

Take the proliferation of online language communities, such as LiveMocha for learners or the Urban Dictionary cover-ing slang. Most of these sites are driven by pure language lovers yet rooted in practical language needs. They are participatory, open by nature, non-hierarchical and often have a staggering number of members from a diverse geography. On the surface one would have difficulty identifying the role of a dictionary publisher in this environment. But the skills of dictionary publishers extend beyond simply providing definitions. Scores of lexicographers and language engineers at OUP, for instance, are involved in developing language solutions ranging from sentiment analysis and tracking shifting collocates, to building specialised corpora and improving search engine

results. This may sound like highly technical activity, but we’ve only begun to understand how the skills that went into dictionary making can add value in these new environ-ments and scenarios.

I’m reminded of the classic statement by Harvard business professor Theodore Levitt: “People don’t want to buy a quarter-inch drill. They want a quarter-inch hole.” What the customer really wants is a hole; the drill is just a means to make the hole. It’s a simple and brilliant illustration of the importance of focusing on the need rather than products or their features. If you define yourself by the products you make rather than by the need being satisfied, then you’re only in business until someone figures out a better way to satisfy that need.

It’s an imperative for dictionary publishers to adopt this mentality. Although Murray and his colleagues toiled away on volume after volume, we are not in the business of making dictionaries. And the truth is we never really were. We are in the business of better enabl ing language-based communication. That’s the need we are trying to meet: the need for precision in language. And it’s one of the world’s most

basic and prized capabilities–the more accurately you are able to convey what you want, the better chance you have of getting it.

Once that perspective shift has been achieved, the landscape for language publishers starts to look

surprisingly fertile. Of all the publishing segments trying to redefine themselves, there are few better positioned to do so than our masters of language.

Casper Grathwohl is Senior Vice-President, Group Strategy, at Oxford University Press. ■

Casper Grathwohl

Print dictionary sales may be in decline, but the role of language publishing is more important than ever, asserts Casper Grathwohl

The fall and rise of dictionaries

James Murray, the Founding Editor of the Oxford English Dictionary

( )“There’s no mistaking it, the English language is booming

and it’s big business.”

Casper Gratwohl - OUP dictionaries.indd 2Casper Gratwohl - OUP dictionaries.indd 2 12/04/2013 16:1112/04/2013 16:11

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EXCERPT: Leaving the premises that the others had al-ready started to clean up, they went to the garden in the back. Meanwhile, the car that had been ordered to the house had whisked the Cardinal away. Though it was summer, the night was cool. There was a light but persistent driz-zle, soaking everything it came in contact with, but neither of them cared. By the weak light of some scattered street lamps, Andrej and Kippel looked like two dark figures walk-ing under the trees.

“I’m telling you for the first and last time. Don’t you dare go against me, especially in front of the others,” Andrej hissed, his voice cracking with rage. “I know all about you. That you like rhubarb and roses, love listening to Bach, and your wife loves gardening. Your mother, who is retired, goes to the farmers’ market at precisely six thirty in the morning to do her shopping. If you know what’s good for you, you will keep your mouth shut from here on it and do what’s expected of you. Otherwise, I may end up sticking that letter opener into your charming wife!”

Kippel thought it wiser not to say anything. His chest al-most burst with tension, he felt the pounding of his heart from the top of his head down to his toes, there was a buzz in his ears, the veins bulged out on his forehead, but he held himself in check. He was scared. He knew that Andrej meant what he said.

“Fyodor likes you. He considers you an efficient agent with an exceptional gift for dealing with people.”

Kippel wrinkled his forehead. He had almost recovered, and was again the analyst analyzing the situation. Threats and praise in quick succession, he concluded. Which means they need me.

“You are in charge of a well organized Hungarian network which, let’s admit it, is not your doing,” Andrej went on. Then after a brief pause, he added, “We helped you to it.”

A reminder that I’ve gotten in line and have accepted their magnanimous present, Kippel thought, his brain continuing to size up the situation.

“Well, there was a reason for you being given all this. We expect results. In one year you will be sitting in your su-perior’s place, and the entire intelligence unit of the service in charge of religious affairs will be in your hands.”

Kippel nodded. So much for the compliments. And now comes the “but”, he thought wryly.

Andrej moved closer to him and looked him steadily in the eye. His midnight-black eyes could have killed. At least, that’s how Kippel felt.

“However, you have not convinced me,” he said flatly.Good cop, bad cop situation, the agent noted.“You’re new to this game. You’ve never seen a murder be-

fore. Well, get used to it. And don’t throw sand in the ma-chinery again, and don’t get on the wrong side of me!” Andrej said, and walked away.

Kippel watched the other’s retreating figure immersed in the dark of night, then exhaled the air he’d kept in his lungs all this time without realizing it. This was the first time he experienced first hand the methods familiar to him from his textbooks. At least, it was the first time they were used against him. He’d used these methods on others, of course, but much more subtly wrapped. He knew that the black-eyed man wasn’t just flinging words around; he also acted on them.

Péter Tarjányi & Rita Dosek – The Pope’s Men

A desperate madman, a cold-blooded killer and a born professional fused into one, he mused. A lethal combination. A monster. And now I’m working for him.

He spotted a partially soaked pack of cigarettes on a gar-den bench, with a lighter on top. He never smoked, but now he picked it up without thinking, and stuck a cigarette be-tween his lips. His hands shook so violently, that he could barely light it. He sat down on the wet bench and let the rain-drops wash down his cheeks. He took a puff, but the smoke made him cough.

“Oh. One more thing,” came a deep voice from the dark. Kippel was so startled, he instinctively leaped to his feet and turned round to face the speaker.

“You were okay,” Andrej said, laughing softly. “You do real-ize, don’t you. Without you, this operation would have never worked.”

(Translated by Judith Sollosy)

The Pope’s Men

pope-s men.indd 3 2013.04.03. 11:13:09

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erature; what a wonderful learning curve.Then came Jamie, he will take over the

story now. Suffice to say I’m proud of him and proud of Canongate.

I write this now from our house on a snowy moor in the middle of nowhere at the beginning of April. There is deep snow out-side and, after a gap of 35 years, Angus is back again, the true founder of Canongate, like an older Heathcliff striding the hills.

Jamie ByngWhen I wrote to Stephanie Wolfe Mur-ray, the founder of Canongate, back in

November of 1992, I had no idea that 20 years later I would still be working at the company, and that the next two decades would prove to be quite so eventful, and rewarding and enjoyable.

I was particularly lucky to have Stephanie as my first boss in books. She was an inspir-ing person to work for–passionate, instinc-tive, unpredictable and kind. And she was the first of several mentors who have taken me under their wings and taught me how to see things differently.

I got Stephanie’s attention with chocolate. The chocolate in question was a mini-Munchie, repackaged with the bespoke wrappers designed for Chocolate City (the club my girlfriend and I ran in Edinburgh at the time), and was included with the letter I sent Stephanie asking whether she might con-sider offering me a job as an intern. I had recently finished a literature degree at Edin-burgh University. To be honest I was more interested in buying records than books and Chocolate City was churning cash. But I loved books too.

S

known companies, apart from Collins, had been very specialised in their fields: Bar-tholomews, Chambers, Blackwoods,Oliver and Boyd, and so on. They had once been household names and now they were disap-pearing or being subsumed by powerful international conglomerates.

In 1984 we published our children’s series, the Kelpies, a sort of Scottish Puffin, reprint-ing old and not-so-old favourites. Scottish teachers had been lobbying the National Book League and the Scottish Arts Council for years about the dearth of Scottish litera-ture for kids. Now was our chance, and for many years it was a good earner for Canon-gate, soon to be joined by our Scottish Clas-sics series.

Here I have to acknowledge my huge grati-tude to the late Walter Cairns, then Literary Director of the Scottish Arts Council, for the encouragement he gave us to bid for the Clas-sics series. We got it. Won it! I remember the launch of the fiftieth classic in the Scottish National Gallery. We had been bought by Phaidon Press (part of the Musterlin Group), but our bubble was soon to burst. Musterlin went bust, Canongate was kept on by the Receiver as a firm worth saving; we were bought again, but the writing was on the wall. We didn’t have the capital to expand, which was what the new owner was looking for.

To describe a little of our philosophy, we wanted to publish good books, simple as that. We had an eclectic list: the Russian poet Anna Akhmotova, some fabulous American books, unusual autobiographies, fiction of course and some sumptuous Scottish art books and my God, what did I not learn about Scotland, its geology, its history, its lit-

Jamie Byng (bottom left) and the Canongate “crew” celebrate the success of Life of Pi

Canongate celebrates 40 yearsStephanie Wolfe Murray, who founded the company, and Jamie Byng, who made it into a hip and prize–w


tephanie Wolfe MurrayI will try to describe as succinctly as possible the beginnings of Canongate.

So many know the story, yet I realise that there is a generation of aspiring publishers and editors who have never heard about the days before Jamie Byng. Publishing was new to me–and to Jamie, funnily enough. Apart from doing some reading for a publisher, I’d had four children by the time I was 28, waited till the youngest went to school, then it was into Canongate. A baptism of fire!

In 1973 my husband Angus, Robert Shure (American) and I decided to start a publishing house. We would put in £2,500 each. Ludi-crous I know. Bob Shure never did. Within a year Angus and Robert left the company and I found myself holding the baby, along with four other increasingly large, rumbustious ones. I am not one to quit and I was lucky to have Charles Wild, a protégé of my hus-band’s, who carried on doggedly, teaching me much of what I know about publishing.

We published some iconic books during our first 10 years: Scottish Love Poems edited by Antonia Fraser was our first real success. It put us in touch with the leading poets of the day, many of whom we went on to publish, and most of whom are now Scotland’s lead-ing poets. As importantly, though, it intro-duced us to the world of “rights” overseas and mass-market paperback in the UK.

A thrilling moment for us in 1978 was get-ting a review on the entire front page of the Times Literary Supplement for Alasdair Gray’s Lanark, a seminal work of the 20th century. By contrast we published around that time A Sense of Freedom, the redemptive autobiography of notorious gangland killer Jimmy Boyle.

These were heady times for me, juggling with my growing family, travelling on numerous occasions to Barlinnie Prison or to book fairs, three a year once we started to publish children’s books (Frankfurt, the ABA and Bologna), and struggling to make the business profitable. But we were learning–there were book clubs to sell to, Waterstones, foreign publishers–we had our successes and our reputation was growing both at home and abroad.

There were stirrings of Scottish national-ism back then. In 1979 there was a referen-dum to decide whether there was sufficient support for a Scottish Assembly. There was, but not by a big enough margin. People were furious! But there was certainly a renaissance of Scottish publishing in the sixties, and the emergence of publishers like Paul Harris, Canongate, Mainstream, to name probably the three earliest and most active. The well-

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stake in Text Publishing in 2004. We hired some brilliant staff (Kathleen Anderson, Jenny Todd, Anya Serota and Nick Davies), all of whom became Directors and key shapers of the business, and helped us take Canongate to the next level. In 2005 we launched the Canongate Myths series with Margaret Atwood, Jeanette Winterson, Karen Armstrong and David Grossman at the Frankfurt Book Fair with 34 interna-tional co-publishers. In 2006 we had a third of the Man Booker shortlist with Kate Gren-ville and MJ Hyland.

And then there was 2008 when we published Barack Obama, David Simon and Miranda July, and the Mighty Boosh. This led to our second Publisher of the Year Award in seven years. That felt particularly sweet for a small independent house based in Edinburgh.

There are inevitably many omissions in a whistle-stop summary such as this. In the 20 years I’ve run Canongate, we have employed well over a hundred staff, almost all of whom have made a positive difference, some incal-culable, to our messianic mission to change the way people see the world through words. During this time we have published close on a thousand different titles, most of which I am glad we published and we have printed many millions of copies of our titles. And during this time we have co-published books with hundreds and hundreds of truly great pub-lishing houses around the world. This inter-national dimension to our business has added an extraordinary richness to my personal life, as through it I have come to know and love some of the most inspiring people I could possibly have met. Including my remarkable wife Elizabeth.

Canongate still feels like a young publish-ing house. My dream is that one day it will become a great publishing house. ■

It turned out that one of Stephanie’s four sons, Gavin, was a record dealer, and unwit-tingly I had been buying records from him. (He was based in Colorado and shipped the rare vinyl to his partner in London.) We con-nected over that and over books, and as Canongate was in a perilous financial posi-tion at the time and I offered my services for free, I got my foot in the door. The only con-cession was that I didn’t have to turn up until lunchtime on a Friday because I rarely got to bed before 7am due to the club.

With hindsight, the experience of working in a small independent with its back to the wall, but run by such a maverick publisher as Stephanie, was a wonderful way to learn about the business. Stephanie was so encour-aging to me personally and although I was an unpaid intern, she treated me as a valued member of staff. When I expressed an interest in Anna Akhmatova, she handed me Judith Hemschemeyer’s stunning new translations of the great Russian poet’s work and asked

me to do the publicity for the book. That was the first book I ever worked on, and it remains one of my happiest publishing experiences.

Within six months of my joining, Stepha-nie had been forced to sell the company to a Glaswegian school and library supplier called Albany, owned by a man whose first comment to me was that I should cut my hair. I didn’t and surprisingly was still issued a contract. It was the first time I joined Canon-gate’s payroll. That was in April 1993. My salary was £7,500. Fortunately I was still running Chocolate City!

Eighteen months later I came to be run-ning Canongate. This strange turn of events was partly because it had become increas-ingly clear towards the end of 1993 and in the early months of 1994 that Albany was running up substantial losses. The details of exactly why are fairly boring, but even to a 24-year-old with next to no business experi-ence, it was blindingly obvious how poor

most of the strategic decisions being made were. And watching a company teeter on the edge is an instructive way to learn how not to run a business.

Stephanie confided in me perhaps more than she should have. As did Neville Moir, Canongate’s excellent Production Director. And as the writing became clearer on the wall, I started to wonder what might happen to Canongate if Albany went bankrupt. Hugh Andrew, who sold the Canongate list in Scot-land along with Fourth Estate and Harvill Press (both still independent in those days), also sensed that Canongate’s future was look-ing precarious and so it was that we ended up acquiring the business together in September 1994 (he was bought out in 1998).

Hugh’s knowledge of the Scottish market combined with a shrewd brain was very help-ful, as was the crucial involvement of Stepha-nie and Neville through this period of transi-tion and beyond. And fittingly the first book to be published by Canongate in its new incarnation was Alasdair Gray’s A History Maker. Alasdair’s extraordinary debut novel Lanark (1981) remains the literary founda-tion stone of the company, the book upon which the list has been built.

It’s hard to compress what happened over the following years into a few hundred words, but thanks to much sweat, blood, caffeine and tears, we managed to muddle through. We were learning on the hoof, taking risks that often didn’t work, but fortunately enough of them did to keep our heads above water through the 1990s, a decade that saw the launch of the imprints Payback Press and Rebel Inc, and our radical republishing of the Bible, the Pocket Canons. And slowly we grew. It was always a hustle, and we were always struggling. But always learning, and honing our game and craft. And making the most of the breaks when they came.

The new millennium really felt like a new dawn. David Graham joined the company that year and was my partner for the next six. We published Michel Faber’s astonishing debut novel, Under the Skin, that year and along with Laura Hird’s Born Free, we had half the shortlist of the Whitbread First Novel Award. That felt like a turning point. But the game-changing year was 2002 when we pub-lished Yann Martel’s Life of Pi, Michel Faber’s The Crimson Petal and the White, Louise Welsh’s The Cutting Room and Nic-colo Ammaniti’s I’m Not Scared.

Life of Pi’s success in particular allowed us to invest and plan ahead in hitherto unimag-ined ways. We became truly independent for the first time; the turnover of Canongate doubled in 2003; and we bought a majority

Stephanie Wolfe Murray

e–winning international powerhouse, recall the history

17 APRIL 2013 LONDON SHOW DAILY 15

Canongate's premises in 1976

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With its strategic location, large populat ion and advanced e c o n o m y ,

Turkey has long been seen as an attractive market for interna-tional organisations, writes Emrah Ozpirincci. Now, thanks to a renewed focus on learning and growing investment from the Turkish Government, the educa-tion sector is a key target for many in the international educational publishing industry.

The statistics speak for them-selves. Turkey has a population of 74 million of which 50% are below the age of 29, there are more than 18 million students in the country, and 168 universities teach 3.8 million students between them; the education sec-tor is booming.

Fatih projectA key development took place in 2010, when the Turkish Govern-ment announced the Fatih proj-ect. One of the biggest and most ambitious educational pro-grammes in the world, the scheme aims to integrate state-of-the-art computer technology into Turkey’s public education system, providing 16 million PCs to all students and teachers, with e-content provided free of charge. The project also prom-ises to provide interactive touch-screen whiteboards in 620,000 classrooms, with a range of tab-lets and other devices also on offer. Implementation is well under way, and it is already start-ing to have a huge impact on the country’s education market.

Turkey also boasts a very well-established and sophisticated English-language teaching (ELT) network, which has grown rap-idly in recent years. There is a firm commitment to English at university level, and increasingly schools are teaching curriculum subjects, such as science, through the medium of English, meaning an increased demand for English educational resources in a range of subjects.

For OUP, which has been oper-ating in Turkey for more than 30 years, these factors provide an

opportunity to further our mis-sion by providing content and ser-vices that can help enrich the learning experience for students.

One of our key objectives over the years has been to ensure we are helping to contribute to the quality of English education in Turkey. We have recruited experienced English teachers and teacher train-ers to assist local teachers, and have held hundreds of teacher training programmes through the years. In doing so, we have been welcomed as a valued educational partner in the country.

Digital contentOne of the challenges, but also opportunities, of working in Turkey is the constant techno-logical in novation taking place. Turkey is already one of the greatest users of digital content in the world, and there is growing demand for digital materials to be used on a range of applications, from online platforms to interac-tive whiteboards and tablets.

Any publisher working in Tur-key has to respond quickly to these demands, and OUP has invested heavily in products and services developed specifically for the Turkish market. One recent example is the Oxford Learner’s Bookshelf, a new app for Apple and Android devices, which offers students a range of OUP course books in digital form, complete with a range of additional features, including the ability to listen to audio tracks, record speaking exercises and send homework to teachers.

We have also responded to the increase in English medium teach-ing with a new publishing pro-gramme, adding to our already large range of International Bac-calaureate Diploma titles.

By creating compelling–and increasingly digital–solutions that the local market needs, we have been able to make a real impact in Turkey, and, as the country moves to a digital future, there are likely to be many more opportunities for OUP and the wider publishing community.

Emrah Ozpirincci is Managing Direc-tor, Oxford University Press Turkey. ■

Digital education

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Straus and the house he helped build. Although it remains months from publica-tion of the book, advance copies have already created a buzz, including at the recently concluded Bologna Book Fair, where publishing professionals were singing the book praises–and searching for galleys.

“The saga’s charismatic ringmaster is Roger Straus, FSG’s ebullient, profane part-owner and Publisher,” reads a starred, boxed review in the 18 March edition of Publishers Weekly. “His tangled relationships with a string of brilliant writers, including Edmund Wilson, Susan Sontag, Tom Wolfe and Philip Roth, are equal parts paternalistic and exploitative; authors loved FSG’s support and sympathy–Straus and his editors cham-pioned difficult writers and nurtured blocked, broke and addicted ones–but the sub-standard advances, not so much.”

Epic cultural storyAt first glance, a book about Roger Straus might strike even publishing professionals as perhaps too “inside” to be of general inter-est. But Kachka’s nails it. With a mix of deep research, reporting and a “juicy narrative”, the New York Magazine Contribut-ing Editor has, against all odds, turned the story of Straus and FSG, with its “shabby offices, lewd banter, non-stop adulteries, dysfunc-tional quasi-familial rela-tions between authors and the publisher, and febrile lit-erary passions,” into an epic cultural story–and one that could contend for a major book award.

Both books also tangle with the changes wrought by the

Sterling Lord; and a note sent to him by Kerouac


All it takes is a stroll around the London Book Fair, or a stop in the Digital Zone, to come to a quick realisation; the book business has changed. Which

makes two new, publishing-related books all the more timely: Sterling Lord’s memoir Lord of Publishing, which Open Road released in February, recalls the legendary agent’s more than 60 years in the business; and Boris Kachka’s forthcoming Hothouse: The Art of Survival and the Survival of Art at America’s Most Celebrated Publishing House, Farrar, Straus & Giroux (Simon & Schuster, August 2013) recounts the build-ing of a literary powerhouse through the fas-cinating life of one of its architects, the colourful Roger Straus.

“Think of the people Sterling Lord has known, think of the people that have con-fided in Sterling, asked him for advice,” notes sportswriter Frank Deford in Open Road’s promotional video for the book. “He’s a giant.” Indeed–Deford, Gloria Nay-lor, Jimmy Breslin, Ken Kesey, and Stan and Jan Berenstain (whose Berenstain Bears books have sold nearly 290 million copies in North America), are among the many writ-ers and public figures who have relied on Lord, who over six decades built one of the world’s premier agencies, and in turn launched the careers of many of today’s top agents, including Flip Brophy, who began as Lord’s assistant.

An occupation “When I came into the business in 1952, publishing was not a business; it was an occupation,” Lord says. “Houses were run by their owners, and you never heard them talk about the bottom line, or profits. They talked about the quality of the books they published and the writers they worked with, writers who usually stayed with them for their entire careers.”

More than any other accomplishment, Lord will surely be best remembered for his role in ushering in the last great American literary movement–the Beats. It was Lord who represented Jack Kerouac, and without Lord’s determination, On the Road, which endured nearly four years of rejections, might never have gotten on the shelves. “When I first read the manuscript for On the Road, I certainly didn’t know whether it was going to be successful,” says Lord, who at 92 is still working. “I just knew his was a voice that should be heard.”

The New York book world is also ren-dered artfully in Kachka’s account of Roger

age of big publishing con-glomerates, and the changes still to come, changes that weighed on Straus, and to this day have left Lord to reflect uneasily on the nature of the book bus iness . “Would I go into the agency business now if I had to start all over again?” Lord wondered aloud. “You know, I’m not sure I would. I’m in a business that is absolutely captivating. I think it’s enabling me to live for-

ever. I don’t want to retire, and I don’t think I’m going to. But I’m not sure that agents start-ing today can get as much out of the business as I did. I think agents have to exhibit more imagination now than they have in the past. But, also, it has become so driven by money. From the beginning, I’ve always had one goal in mind: to help my writer in any way I can. But these days I hear of decisions being made by agents that are not for the writer, but for the benefit of the agency.”

As for technology and ebooks, it’s telling that Lord, who lived through many changes, including the change brought by another revolutionary format, the paperback, has chosen to publish with Open Road, the upstart digital publisher. “As far as the ebook, you know, I’d just be guessing,” he says. “I don’t think the hardcover book that we know will disappear. There are just too many elements there–the tactile element, the element of keeping it on your shelf. Whether or not a totally new form will originate, I don’t know. All I know is that we’re in a period of deep change, and that change is going to continue.” ■

20

The golden age of book publishingAndrew Richard Albanese reports on two new books that recount the lives of publishing giants Sterling Lord and the Roger Straus

Boris Kachka and his forthcoming book about Roger Straus

Andrew - Giroux.indd 2Andrew - Giroux.indd 2 12/04/2013 15:5912/04/2013 15:59

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have 14 members from around the globe and we expect that to reach 20 by the end of 2013.” BookFreight has offices on six continents and among its services are: a rate calculator, allowing clients to specify by weight, volume or book specification; a comprehensive online management system including shipment tracking; logistic services from origin to destination; and a CO2 calculator to allow clients to keep track of their carbon footprint.

Sommer spoke further of the changes occurring during his career at WTA: “The 1990s saw the rationalisation of offices, a big investment in information systems and a greater focus on our customers,” he explains. Indeed, Sommer says, the three biggest changes WTA has seen in its 100 years are containerisation, computerisation and the huge increase in the global trade due to the free movement of capital. Containerisation dramatically improved the efficiency, reliability and economics of moving p r o d u c t s a r o u n d t h e w o r l d ; computerisation, in addition to improving

For a company that’s been doing business on a global scale for 100 years, World Transport Agency Ltd owner Charles Sommer paints a very modest picture of his

company’s history and success, writes Gabe Habash. The reality is WTA has offices on five continents and it moves more than 250 million books per year.

WTA is still a family business: it was founded in May 1913 by Ernest Sommer and passed on to Paul and Charles, Ernest’s grand-sons, in the 1990s. But much has changed in between. Ernest founded the company pre-dominantly to transport products (not just books) from Switzerland to the UK. Today, WTA focuses on the entire supply chain and ships products all over the world.

But when it comes to books, it is WTA’s founding of BookFreight (the trade association) in 2003 that most affected its long history. “WTA was one of the first transport agencies to specialise in the shipment of books–creating customised online systems for the publishing industry,” says Sommer. “From that, BookFreight was established, with WTA as the founding member; we now

the quality and speed of data transmission, led to greater transparency and control of the total supply chain; and the increase in global trade has developed and bolstered economic markets and relationships that never before existed.

Yet despite the fact that much of WTA’s business is now conducted vie electronic communications, Sommer says that digitisation appears to have had a limited

impact on the international movement of books, specifically in relation to children’s books and illustrated books for adults, which, he notes, continue to be printed in China, Singapore and India. In the paperback sector, Sommer says, they’re “more often printed locally to the market

where they are consumed with resulting little impact on the international volume of books moved”. Time will tell how books, their transportation, and digital will take shape. But with a century of experience and the addition of BookFreight, WTA will surely be at the forefront of what is to come. ■

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Jo Henry reports on an annual survey that examines the resources that students use

It’s not news that the Higher Education (HE) sector is particularly challenged at the moment: the introduction of fees of up to £9,000 per year has changed the way in

which students perceive that course resources should be delivered and how universities are positioning themselves too, and there is increasing pressure on copyright, with Open Access now part of the landscape. All of this has huge implications on the business of academic publishers and booksellers.

In December 2012, Bowker carried out the second round of an annual survey to examine the resources that students use. This time, the survey also looked at student satisfaction with their courses and the study activities they undertook, while tracking how they find out about their resources; how much they spend on them; their views on core resources; the devices used for digital resources; when and where print is preferred to digital; and the use of social media in study. The survey was conducted online among 1,000 students, with even numbers by sex and year, and six major subject groups.

University experienceOverall, students appear pretty satisfied with their university experience: 85% of respondents “really wanted to study” the course that they were on, and nearly as many (79%) felt that it would give them the “right skills for the job”. How students spend their study varies hugely by discipline, but in general most are still engaged in traditional study methods–attending lectures (98%), writing essays (86%), personal meetings with tutors (70%)–that have been in place for generations. But the online revolution–perhaps quieter and more incremental in

nature than disruptive–is underway, with 35% doing online tests, 16% attending recorded online lectures and 11% attending live online lectures, although these latter account for only very small percentages of study time.

Core texts are still very important to students, with more than a third saying they were “at the heart” of their learning experience. And printed books are still a very important part of the resource mix–used by 90% of respondents, and cited as one of their three most-used resources by two-thirds of the sample. In 2012, online journals had replaced lecturer hand-outs as the second most used resource–perhaps an indicator of a more sophisticated, and less spoon-fed, approach to learning.

Ebooks are used by two-thirds of students and, in a big change from the 2011 survey, one in five students now cite ebooks as one of their three main resources used. Hand in hand with this significant growth is an increased use of Virtual Learning Environments (VLEs) among students, with more than half now accessing these for study purposes, up from just under a third last year. Student satisfaction with the learning experience provided by an ebook is not yet proven, however. Print books are preferred on most pedagogical measures, with ebooks more highly rated for such features as value for money or price, ease of carrying, effects on the environment and animations.

Despite a continuing engagement with publisher-provided resources, the majority of students are now obtaining most of their texts for free. More than half usually borrow their books from the library, compared to just over a quarter mainly buying new and one in six usually buying second-hand. Rental, such a strong feature

of the US student book market, barely registers as an important way of obtaining books in the UK. Although only 28% of students usually buy their printed books new, just under two-thirds of students in 2012 had bought at least one new book, although this was significantly less than the 73% who had done so the year before. And alongside this, the survey measured a reduction in the average spend among students buying new printed books–down from £96 in 2011 to £91 in 2012.

Device of choiceWhile the PC remains the device of choice for the student population, in 2012 a significant number were using a smartphone to access digital resources, with around one in eight students using a tablet and the same proportion using an e-reader. The use of tablets in particular has seen a significant increase over the previous year, more than doubling from 6% using this type of device in 2011, to 14% in 2012–and this increase is also seen in the use of tablets as a main device for accessing course materials, up from 2% last year to 6% in the most recent study.

Similar trends can be seen in the US, where the latest BISG (Book Industry Study Group) study (powered by Bowker) shows ownership of tablets doubling in 2012 over the previous year, and now standing at 12%–although only 3% use a tablet as their primary device for studying.

Jo Henry is Global Director, Bowker Market Research. The full findings of the Students’ Information Sources in the Digital World 2013 survey, including detailed excel tables, are available from Bowker Market Research; contact Liz McNaughton on [email protected]. An Executive Summary of the key findings written by Linda Bennett is also available. ■

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Connections, and indeed my previous role as Director of the London Book Fair, has been to engage with the challenges and opportunities in numerous publishing markets across the world, writes Alistair B u r t e n s h a w . W h a t e v e r individual issues, it is clear that the various elements of the global book trade share an increasing number of common traits and that nothing about the, now regular, tidal waves of change suggests that publishers are anything other than utterly integral to the book business. Indeed as everyone in the supply chain re-assesses their value proposition and tests new responses to the changing publishing landscape, I sense that the very best publishing values can be enriched by innovation to deliver content that is truly valuable to, and valued by, consumers.

On a trip to Asia earlier this year, the pummeling forces of disintermediation were a regular source of discussion with those I met, such as a Beijing-based digital specialist who talked of the need for publishers to choose how to respond to “aircraft carrier” digital platforms during our keynote debate.

Likewise the threats and opportunities from lean tech innovators i n A s i a a n d elsewhere clearly show that digital disruption is here to stay. While ebook sales in many parts of Asia (and indeed the wider world) still represent less than 1% of the market, it is clear that in many major developing markets, electronic distribution also has an incredibly significant role to play in solving physical book distribution challenges and engaging new readers.

The last few months have also shown a desire for acquired scale alongside a growing sense that

building communities and aiming to be a major player in a specific niche or genre can be a safer haven than the “squeezed middle”. While it is hard to determine just how big a merger or acquisition is big enough to have any real negotiating power, marke t cove rage , b rand recognition and cost synergies in the current landscape, it isn’t easy either to determine just how specialist is specialist enough to build and sustain a truly competitive niche presence. What is clear is that publishers need to compete on the world stage whether large or specialist. Likewise, the term “emerging” doesn’t do justice to the major “emerged” markets, which are rightly playing an ever-greater role on the global stage and exerting an ever-stronger influence internationally.

For those markets without fixed pricing there a r e , o f c o u r s e , o c ca s ion s when targeted discounting to build loyalty, increase backlist sa les or convert readers to a retail or

publisher brand make sense. But the fear that generic discounting builds a consumer expectation of exceedingly low price, that goes beyond being a special offer to being the expected norm, seems ever more prevalent. I’m a proponent of consumer choice on price, but believe that building an even stronger value proposition that encourages something closer to full-price

Alistair Burtenshaw

Riding the waves

Alistair Burtenshaw- Pub Connections.indd 2Alistair Burtenshaw- Pub Connections.indd 2 12/04/2013 16:0112/04/2013 16:01


getting even better almost everywhere. Whether by being more innovative, thought provoking, enticing, specialist or focused, the best physical retailers are clearly ready to exploit the chal lenges of discoverability and create a much more sustainable physical-only or hybrid “physical-digital” retail future. Even if the margins are challenging and the prospects unknown, there are definitely bookstores, literary festivals and book events that are matching the simplicity, efficiency and low cost of the best online platforms with the unbea tab l e engagement , interaction, discoverability and personal experience of a great “physical” retail environment.

My very real sense from discussions and observations right across the global book trade over the last few months is that the vast majority of those in the book business are far more innovative, open to change and better at seeking out, and developing, new models for publishing and book retailing than they are given credit for. After all, it is thanks to the creativity and innovation of our authors, agents, publishers and suppliers, that publishing still thrives across the world as a vital tool for social, educational and economic development, not to mention the sheer pleasure of a really great read–in whatever format!

Whi l e none o f u s can accurately predict the changes that lay ahead or the extent to which print sales will decline and traditional models come under continued pressure, it feels utterly clear that the consumer remains at the heart of the book trade. Likewise, a vibrant eco-system of new and existing market players clearly benefits author, publisher and reader–all good reasons to continue to embrace the change all around us.

Alistair Burtenshaw is Director, Publishing Connections Ltd (www.publishingconnections.co.uk) and Chair of Booktrust (www.booktrust.org.uk). ■


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purchasing, while using targeted discounts to help the consumer feel they have bought something special, is a way forward–not least as it enables publishers to invest further in innovation and customer value.

Having just returned from the Paris Cookbook Fair, where the range of incredibly high quality cookbooks from every corner of the planet was astounding, and the Bologna Children’s Book Fa i r , whe r e s en sa t i ona l illustration and beautifully tactile books abounded, my sense is that there remains an incredible opportunity to entice consumers into purchasing high quality books that are valued, cherished, and read and re-read whatever the format.

Speaking on a digital panel at the futuristic Niemeyer Center in Spain at the end of last year, questions also abounded about new channels to market. It was clear that consumers, authors and publishers across the world all need a vibrant eco-system of digital and physical retail channels. While the digital space has been dominated since inception by a very small number of vitally important online platforms, the debate in Spain showed how the eventual emergence of new market entrants in the digital space has the potential to give authors, readers and publishers much greater choice–something we should all hope becomes a reality.

But the drive towards an enhanced “physical” retail experience in shops and events has been inspiring too. Howard Jacobson was recently quoted at Jaipur Literary Festival as saying that “everywhere sales of novels are declining, yet attendances at literary festivals are going up”. While retail gloom remains very real in many markets, I’ve seen numerous rays of light from great physical retailing, chain or independent, here and abroad.

Indeed I have been in enough great independent bookstores in Brazil, Asia, South Africa, the UK and many other countries recently to believe that really great bookselling seems to be

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The solution? The solution is Open Science. As a movement, it has been around for some years and the term has come to denote a range of initia-tives (including open access) that share the aim of making science easier and faster to communi-cate. However, without support from publishers, Open Science has languished.

At Faculty of 1000 (F1000) we challenge the science publish-ing industry to respond to the needs of the scientists it serves by removing barriers to publica-tion, eliminating unreasonable delays and opening up their peer review processes. And in launch-ing our new journal, F1000Re-search, we are hoping to help define a new paradigm: “Open Science publishing”.

F1000Research is the first true Open Science journal. At F1000Research, we publish immediately and then conduct all peer review after and with transparency, with named referees and all referee reports available for all to read. Our authors are able to respond openly to reviewers’ suggestions, and to publish updated versions of their articles if they wish. All good science is accepted, regardless of potential impact. And al l papers based on experimental data must be published with their full datasets, which must be available for sharing and reuse by other scientists. Our fastest time from article acceptance to publication is now just over one day, and our fastest time to subsequent indexing in PubMed, Scopus and Embase for peer reviewed, approved articles is 24 hours.

Progress in science depends on the rapid and free communi-cation of research findings. We want scientists to hold publishers to a higher standard, to push for publication of all good science, to support open access and to help establish “Open Science publishing” as the new standard for the communication of knowledge.

Jane Hunter is Managing Director of Faculty of 1000 and F1000Research. ■

Open access pub-lishing arrived more than a decade ago, with companies such

as BioMed Central and PLoS promising to turn academic pub-lishing on its head, writes Jane Hunter. And despite questions about “sustainability”, it has grown from the disruptive new kid on the block to an industry standard that now accounts for more than 10% of all STM articles published, and has wide–and growing–public and governmental support.

Open access has served to unlock research articles, but other problems persist, and some publishers, even the more forward-looking ones, continue to resist the pressure to innovate. Too much vital information remains locked behind the walls of increasingly outmoded publishing practices.

What’s wrong with the status quo? What is it that scientists are still complaining about? For one, there remain significant publica-tion delays. Despite living in the age of instant communication, it’s not uncommon to hear of one- or two-year time-lags between completing a paper and having it published. This is a disaster for

researchers. Until a paper has been published it hasn’t been shared with the scientific commu-nity. Work that hasn’t been shared, can’t be cited or built on, and authors also run the risk of having their results “scooped” by other scientists who manage to find a faster publisher.

Publication delays are typi-cally caused by the peer-review process. A key step in a journal’s decision to publish, peer review-ers will often ask authors to amend their papers or conduct further studies before support-ing publication. This takes time. And, if the paper is ultimately rejected, the authors must find another journal and resubmit.

Then there’s the peer review process itself. Until now, peer review has largely been a secre-tive process–authors don’t know the names of the people review-ing their work. A peer reviewer may even be a competitor, open-ing up opportunities for con-flicts of interest.

Another common complaint is lack of reproducibility. Other scientists need to be able to reproduce the work described in a paper in order to build on it or even, to take a step back, to dem-onstrate that it’s valid, but authors are not required to dis-close their primary data or even provide the protocol for the research they’ve conducted. Readers are reduced to taking the author’s conclusions on trust and, much of the time, scientists who try to reproduce an experi-mental result based on the infor-mation provided fail to do so.

And there remains a funda-mental problem. Most journals pride themselves on publishing the most interesting papers they can find. It makes sense. They want to attract readers, and high-impact articles get noticed. So if an author’s work is valid, but considered too dull, it may not get published. And work that isn’t published is effectively unknown. Not only is this a potential loss of knowledge, but there is nothing to stop other researchers from doing the same science all over again–a waste of time, effort and money.

Towards speedier, open science publishing

Jane Hunter

Jane Hunter - Open Access.indd 2Jane Hunter - Open Access.indd 2 12/04/2013 16:1812/04/2013 16:18


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outside bookshops. These first two subject titles, aimed at younger readers, have sold well through the Natural History and Science Museums, as well as in bookshops. Other titles are in preparation, including partner-ships with other museums around the country.

In under two years we have published more than 20 titles, with more in preparation. Sales across the range are close to half a million. A further benefit of wor king with some new and emerging retail outlets is that the 3D pocket guides have raised opportunities for the wider Walker list, with other books following where our pop-ups blazed a trail. This success has shown that there can be a way forward for printed works in these challenging times.

Denise Johnstone-Burt is Publisher, Walker Books. ■

It’s a challenge facing us all: how to find new mar-kets when the traditional retail market faces such fierce competition, writes

Denise Johnstone-Burt. We must innovate not just to pros-per, but to survive. Two years ago, in the face of this continuing test, we decided to see whether Walker Books could come up with a new format or idea that would take us out of the tradi-tional marketplace for children’s books, and into new outlets.

We also wanted a product that, while appealing to children, would also be marketable to adults. The result was our 3D pocket guides, a stylishly designed and illustrated extending pop-up format. Each pop-up fits neatly into a square slipcase and folds out into 12 3D panels of art and text. The concept of the neat little format came first; how to apply it taxed us next. After a consider-able amount of discussion and debate came inspiration: how about using the format to create both a guide to, and souvenir of, a place or subject?

We realised that we were enter-ing a fraught area of the mar-ket. Guide books jostle for space on a crowded bookshelf and were known to be declining as a genre. How could we, a medium-sized independent children’s publisher, hope to make inroads to this mar-ket? Undaunted, we chose Lon-don as our launch title.

The first task was to select 12 sights of the city–quite a chal-lenge, given all it has to offer. Our artist Sarah McMenemy then turned our final selection into attractively accessible yet sophisticated images, and we provided the text–restricted to the minimum necessary to impart information with a touch of fun. The publishing price was carefully chosen–only £5. It was a keen price, lower than a paper-back, fiercely competitive and aimed at the souvenir hunter who could buy it on a whim, without worrying about the impact on the wallet. We hoped people would see i t as a memento–something beautiful to remember a trip by.

In April 2011 the first title was ready and we held our breath. Would it soar away? Or not? In line with our starting strategy, the Walker sales team had approached non-traditional outlets such as museums and galleries throughout the capi-tal. Fortunately there was enthusiasm: the British Museum was an early adopter and quickly showed that the proj-ect was going to fly. In the first year the Museum sold almost 5,000 copies , and s a l e s f r o m other outlets t h r o u g h o u t the city have been growing strongly ever since. In just over 18 months we sold close to 100,000 copies of this one title.

Other capitals soon followed London; so too did foreign edi-tions. A wide range of interna-tional publishers, adult and chil-dren’s and specialist art publishers have come to the idea and helped us take it forward. All shared our desire to reach beyond the tradi-tional book trade. When the French-language edition of the Paris title sold out in two months, we found sales of the English-language edition rocketed in St Pancras and at WH Smith in Paris.

Having published the first series of cities we realised that we had a format that was ideal for partnering with an eclectic range of retailers and organisa-tions. For example, we worked on our Edinburgh title with Bookspeed, which distributed the first print run, and on the Dublin one with Easons, which took 5,000 in return for a year’s exclusivity in the city.

We then approached the Met-ropolitan Museum in New York and agreed with them to create a bespoke edition featuring some of the key artefacts of that breath-taking collection. This was a par-ticular challenge: how does one recreate the work of Andy War-hol or Edgar Degas in such a small format? And how can one convey the scale and scope of

such a vast and diverse collection in just a few panels? Working with the museum, we agreed to

create views of the galleries ra ther than i n d i v i d u a l w o r k s . T h e result, I think, is enchanting. We have now moved

on to the marvels of the Louvre and

the Palace of Ver-sailles in France, and

of the Historic Royal Pal-aces in London.

There is, inevitably, a finite number of great cities

suitable for our pop-ups. As a result we decided recently to focus on subjects rather than exclusively on places. What bet-

ter than starting with those peren-nial evergreens, dinosaurs and creepy crawlies? Both appeal to all generations, and both can sell

Beyond the traditional marketplace

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Myriad Editions spent its first 15 years as a pack-ager of the acclaimed State of the World “info-graphic” atlas series,

writes Candida Lacey. Then in 2009, we applied for an Arts Council England Grant for the Arts and created our own imprint.

The rationale for this grew out of Myri-ad’s first foray into trade publishing with The Brighton Book in 2005. This mixed-media anthology was designed not only to celebrate the city, but also to create a plat-form for new writers alongside well-known names (including Jeanette Winterson, Nige-lla Lawson and Meg Rosoff). We went on to publish two of the featured debut novels and to commission Woodrow Phoenix’s first full-length graphic work, Rumble Strip. These books laid the foundations for Myri-ad’s publishing programme. Our aim: to seek out home-grown talent, to launch the careers of new writers and to develop fresh audiences for their work.

This was an ambitious development and, to many observers, an unexpected diversion from the core business. However, we had spotted an opportunity. In the southeast there are several excellent creative writing courses and arts organisations helping writers to hone their skills, but it is hard for first-time novelists to find a publisher or an agent. And Myriad was based in Brighton, a city with a thriving creative community, yet there is no literary publisher in the region. We felt we could draw on and feed a fertile ground of local writers and eager readers.

ACE grantIt was a risk but, with the help of the ACE Grant for the Arts in 2009 and again in 2011, we could afford to build the list care-fully and selectively, publishing only titles that were the very best of their kind, whether that was literary fiction or crime thrillers. (We invite direct submissions from new writers who do not have agents to help them gain access to publishers, and we offer inten-sive editorial direction and support.) With Vicky Blunden at its helm, our fiction list soon contained some outstanding debuts, with titles regularly appearing on “Best of the Year” lists.

The success of the fiction gave us the confi-dence to apply a similar strategy to building our graphics list. We were fortunate to have comics and graphics expert Corinne Pearl-man already on board–overseeing the design of the atlas series. She quickly established Myriad’s graphics list as one of the most thought-provoking and characterful in the UK, publishing some of today’s most exciting cartoonists, including: Darryl Cunningham,

whose Science Tales was shortlisted for Best Book British Comics Awards; and Nicola Streeten, whose Billy, Me and You was Highly Commended in the BMA Popular Medicine Book Award. In total, 10 of our 26 titles have won or been nominated for prizes–an impressive strike rate by any standards.

Quality alone could not be our only goal. We could not have chosen a tougher eco-nomic climate in which to launch new authors. A turning point was Elizabeth Haynes’ debut novel Into the Darkest Cor-ner. Within weeks of publication in Febru-ary 2011, the novel became a genuine word-of-mouth bestseller, with more than 500 five-star Amazon reviews and a fan base that extended beyond traditional crime readers. When it became Amazon’s Best Book of the Year, we saw a surge in foreign rights inter-est. To date we have sold nearly a quarter of a million copies (print and ebooks) of the UK edition, as well as translation rights and licences in more than 30 languages and terri-tories. It became a New York Times best-seller, and a film is now under way.

Clearly this kind of success has been hugely important for Myriad’s finances, helping us to achieve sustainability within the ACE time-frame. In addition, it has increased Myriad’s profile, bringing all our authors to the attention of the book trade, literary edi-tors and festival programmers as well as to scouts, agents and foreign publishers through Adrian Weston’s literary agency. The success is especially sweet because Into the Darkest Corner exemplifies what we set out to achieve: as a direct result of being discovered by Myriad, Haynes has been able to take a career break in order to write full time.

Strategic alliancesAnother important part of our mission to support new writers is to forge strategic alliances. Myriad staff and authors speak on panels and offer advice on getting published to students and aspiring writers. We

Candida Lacey

collaborate with universities, colleges and arts organisations to initiate creative projects. Currently we are working with the WEA (The Workers ’ Educat iona l Association) to design a series of creative writing weekend masterclasses, called Write Now, each led by a Myriad author. We joined forces with West Dean College to administer and judge the Writer’s Retreat Competition. And last year we partnered the University of Sussex to launch First Fictions, a festival of events and an opportunity for audiences to engage with authors.

As well as editorial input from the earliest stage, we promote authors with passion and commitment. Each new book has a launch event, and we help authors engage directly with readers through Twitter and Facebook, and book groups. We pitch our authors to festival organisers and send our graphics authors to comics fairs. As our list grows, so do the number of events, and we all find our-selves with fewer free weekends and eve-nings, but this kind of hand-selling really helps to build audiences. Given the right opportunity and platform, authors are the best people to sell their books.

Success has also brought with it some difficult choices, the toughest of which has been whether to compete with larger publishers in order to retain authors. Shortly after commissioning Into the Darkest Corner, we signed up Haynes’ next two novels, but when she was offered significant sums for novels four and five, we stepped back and decided it was our job to find and nurture the next brilliant new writer.

And what of the future? We are always exploring innovative ways to curate and distribute fiction, and have embraced digital publishing, co-producing the interactive flash fictions app Quick Fictions with Aimer Media and the University of Sussex. Quick Fictions grew out of an annual flash fictions event at the University (“every story under 300 words”) and is a new form of digital storytelling, designed to continually evolve and provide a platform for Myriad authors and other new writers.

People often remark that independents take risks while larger publishers play it safe. Myriad’s development is driven by our belief that independent publishers are increasingly important as the seedbeds of new talent, which larger companies can no longer nurture. But it is only by investing in the editorial time needed to cultivate authors and marketing that any of us can continue to publish excellent and original books to enrich our literary landscape.

Candida Lacey is Publisher and MD of Myriad Editions. ■

Myriad opportunities

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In forest-rich countries such as Indone-sia, the pulp and paper industry is rap-idly destroying some of the world’s most biologically diverse forests. In their place, massive fibre plantations

bring devastating consequences for the region’s people and ecology. This destruction, led in large part by logging giants Asia Pulp and Paper (APP) and Asia Pacific Resources International (APRIL) has elevated Indonesia to the status of the world’s third largest green-house gas-emitting nation, with upwards of 80% of the country’s emissions stemming from deforestation. Indigenous and forest-dependent communities’ lands and liveli-hoods are being uprooted, and iconic wildlife species such as the Sumatran tiger and the Sumatran elephant are being driven to the edge of extinction by the loss of huge swathe of their rainforest habitat.

Piling on the pressureRecent, widespread changes in the paper sourcing practices of the global publishing industry are piling on pressure for APP and APRIL to reform, but it remains too soon to tell if the shifts underway will go far enough, fast enough to preserve viable tracts of natu-ral forest for future generations.

In 2010, Rainforest Action Network (RAN) commissioned forensic laboratory tests that documented fibre from cleared Indonesian rainforests in the pages of top-selling children’s books. RAN then launched a campaign to convince major US publishers to take action to eliminate paper sources tied to land conflicts and rainforest destruction.

By the end of 2010, eight of the top ten US publishers had committed to eliminating controversial Indonesian fibre from their supply chains, including Scholas-tic, Hachette, Pearson/Penguin Group, Can-dlewick Press, Houghton Mifflin Harcourt, Macmillan, Random House and Simon & Schuster. Of the top ten, only Disney and HarperCollins remained holdouts.

On 18 May 2011, employees at The Walt Disney Company’s headquarters in Bur-bank, California awoke to a surprise: two RAN activists costumed as Mickey and Min-nie Mouse blockaded the company’s main entrance gate, while a large banner, deployed by climbers overhead, read “Disney: Destroying Indonesia’s Rainforests”. The risky tactic got the company’s attention. Within a week, several senior Disney execu-tives travelled to RAN’s San Francisco office

to discuss improving the company’s paper purchasing practices.

Global commitment In October of 2012, after 17 months of intensive negotiations, Disney announced sweeping global commitments to eliminate controversial paper from its supply chains. Disney’s commitment is monumental on a number of fronts. The policy covers all Dis-ney products produced in any of nearly 25,000 factories in more than 100 countries,

including 10,000 in China. Disney is the largest publisher of children’s books and magazines, the largest brand licensor in the world and the largest operator of theme parks in the world, and the paper and pack-aging used for all arms of this media empire are covered by the policy. In addition, Disney’s policy goes beyond purely environ-mental considerations to protect human rights and to recognise the climate values of high carbon stock forests and landscapes.

Two months later, HarperCollins became the final top US publisher to announce it will no longer purchase paper connected to rain-forest destruction. This sector-wide shift in the publishing industry added momentum to dozens of previous contract cancellations by major corporations, and sent a strong and unmistakable signal to APP and APRIL,

overseas printers and others in the supply chain that they must institute major reforms to protect forests, and address land conflict and human rights violations.

Then, in February 2013, in response to the loss of contracts with more than 100 companies and years of campaigning by Indonesian and international NGOs, APP announced a new Forest Conservation Policy that commits it to a series of potentially historic environmental and social reforms throughout its operations.

Broken promisesUnfortunately, APP has a lengthy history of broken promises and unfulfilled commit-ments. Also, it remains a grave concern that the company is moving forward with plans to build what may be the largest pulp mill in the world in Sumatra and is involved with dozens of land conflicts with local communi-ties that remain unresolved. Only time will tell if APP is truly serious about changing the way it does business, but for now it cannot be considered a responsible business partner by the global market. Meanwhile, APP’s main competitor, APRIL, is still rapidly log-ging Indonesia’s remaining natural forests with abandon and has no stated plans to

stop anytime soon.It is more important than ever

that publishing companies remain vigilant in communicating their val-ues and contractually obliging paper mills, printers and others in their supply chains to meet their policies. Scholastic, Hachette and now Disney are examples of com-panies with leadership paper sourc-ing policies, and other major pub-lishers, including Houghton Mifflin

Harcourt, Macmillan and Candlewick Press, have made meaningful improvements. Con-tinued care and due diligence is needed to ensure that APP follows through with robust implementation of its commitments and that APRIL feels the pressure to follow suit.

From the Great Bear Rainforest Agree-ment in Canada to APP’s new forest commit-ments in SE Asia, the publishing sector has taken a lead in pushing environmental and social responsibility. They will continue to be a key catalyst driving suppliers and gov-ernments towards forest protection and respecting human rights in the US, Europe and around the globe.

Laurel Sutherlin is the Communications Manager for the Forest Program at Rainforest Action Network (RAN). ■

Laurel Sutherlin looks at the changes the publishing industry is making to protect Indonesia’s endangered rainforests

The page is turning

Laurel Sutherlin

( )“The publishing sector will continue to be a key catalyst

driving suppliers and governments towards

forest protection.”

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17 APRIL 2013 LONDON SHOW DAILY 33

teacher, Mr Fullerman, adding in his own comments about the story–all written in a different font, like teachers do. This was based on my son’s teacher in reception, who always used to write really hilarious little comments in his books–I looked forward to reading them. In fact,

Writing Tom Gates

Liz PinchonPhoto: Zac Pinchon

something I consciously thought about, but I’m obviously thrilled that the books seem to be getting some kids into reading.

Another question I was asked from a child at a school visit was: “What do you like most about

being an author?” I answered: “That’s easy. Apart from deadlines, I like everything about it. Imagine spending all your working days th inking of funny things to write and draw about; how good is that?” (It’s really good.)

Liz Pichon will be in conversation with Martin Chilton, Telegraph Digital Culture Editor, today at 11.30am, in the English PEN Literary Café. The event will be followed by a book signing at 12.00pm. ■

I was once asked: “how d o e s a 5 0 - y e a r - o l d woman write a children’s story about a 10-year-old boy at school, then?”

writes Liz Pichon.I’d never thought of it like

that! So I tried to explain: I just wanted to write a story that I would have wanted to read when I was 10–which is true. Tom Gates started off life as a picture-book idea, and it took quite a few reworks before it eventually took shape as a book for older children. I wrote the first part of the story in a real school exercise book and imagined that Tom was writing about a disastrous family summer holiday, which he called “Camping Sucks”.

It’s all based on friends’ and family’s various grim camping experiences, along with my own. (Everyone has them, and anyone who says they don’t is probably telling fibs.) Then I had Tom’s

most of the ideas for the Tom Gates books come from stuff that’s actually happened to me or someone I know. It’s got to the stage now that if anything funny happens, my family tend to roll their eyes and say: “That’s going in a book then.” (Probably.)

When you write and draw a book, firstly you just hope the publishers will want to publish it. Then you get exc i t ed about seeing it in the shops (which doesn’t always happen). So anything else is a massive bonus. Which is why the reaction I’ve had to the Tom Gates books has been absolutely amazing.

I’m also getting lots of positive feedback from parents of reluctant readers, which is not

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and history. The revival in Turkish fiction is well represented, as is contemporary Turkish poetry.

In this land of marvels and fables Ali’s son, Senert, sits with his wife Neslihan, who is an interior designer and Executive

Manager of the larger of the two branches, as they tell me tales that seem more akin to the Arabian Nights than the hard-headed world of book publishing and sales figures. “In September 2012, the daughter of the King of Saudi Arabia visited us. She stayed more than six hours and collected three copies of each book in our shops in order to create three libraries in her city.” And another: “Brazilian President Dilma Roussef visited our Bookshop in October 2011 accompanied by a group of ministers from the Brazilian government. She spent almost two hours looking at books and purchased a great number.” All the same, sales are impressive, with an average of more than a thousand visitors in a day most of the year, increasing to double that in the summer period.

Like d i s cover ing “h idden treasure,” were the words used by Australian author Juliet Marillier when she visited “Bookshop” in the Divanyolu

Caddesi–literally King’s Street, the road to Ancient Rome, in the Sultanahmet district of central Istanbul. She found an Aladdin’s cave of books in English on all aspects of Turkish culture. Marillier’s commentary continues: “Definitely the best bookshop I have visited anywhere in the world.” Writer John Freely adds, “the most elegant bookshop I have ever seen” and Barbara Taylor Bradford comments, “undoubtedly one of the finest bookstores in the world”.

Bookshop, also known as Galeri Kayseri, has attracted film stars, US senators, ambassadors, internationally renowned writers–including, of course, Ohan Pamuk–and Arabian royalty. It has featured in a CNN documentary and a film made by Wadek Khanfar for Al Jazeera. So, what is just so special about Bookshop?

A large part of the answer lies with Galeri Kayseri founder and President, Ali Tüysüz. A sophisticated and refined figure who offers warm hospitality, including magically bitter Turkish coffee, Ali evidently has a dream.

“Our aim is to show Turkey to the world, to act as an in t e rna t iona l w indow for Turkey,” says Ali, seated in a fine oak chair beside the spiralling steel staircase designed by his prize-winning architect son Selahattin.

Bookshop is actually two shops on opposite sides of the street, rising six floors, midway between the wonder that is Hagia Sophia and the heady aromas and bustle of the Grand Bazaar. You can easily feel that you are at the centre of the world here, at the western end of the Silk Road, in the cosmopolitan, dynamic and fascinating city of Istanbul, formerly imperial Constantinople and legendary Byzantium. As you enter the “new” shop, opened in 2004, it is as if the whole of Turkey is unrolled before you like a magic carpet.

Books, face-forward, line the dark wood shelves. The ambience, created by Ali’s wife, Tülay, is spacious and seriously elegant. Comfortable chairs and tables invite you to relax and take your time. This is a place to go on an adventure, to browse and discover. Subjects range from cookbooks to travel guides, Islamic architecture and art, photography, Ottoman textiles and tiles,

Academics, from professors to PhD students, make special trips to visit and purchase from Bookshop. Dr Judith Session, Dean of Libraries, Miami University, Oxford, Ohio walked into Bookshop and selected 165 titles and left with the comment, “what a terrific experience!”

Ali and his staff select their stock by consulting the Bookshop’s “100 advisors”, something like Ali’s literary viziers, a group of experts and academics from around the world who alert Bookshop to new publications. “Quality information is vital in the selection process,” says Ali. “We purchase from all over the world, and we are also the sole distributor for many excellent imprints from Turkey that are published in English. Our collection is first class, unique.”

Bookshop also undertakes its own publishing, always authoritative and of the highest quality, and sometimes very daring. Once such initiative is the 30 volumes on Turkish art, architecture and culture sold as a hand-bound, “limited-edition”, art-book series exclusively available in Bookshop.

Galeri Kayseri is definitely a gem among the 6,000 bookshops in Turkey. It seems to

break the rules and is successful because of it. Bookshop eschews the plastic-wrapped books in serried ranks down alleys of gloomy shelves that one used to find in this land where the Ottoman legacy still lurks. Like Turkey today, Bookshop is open, enlightened and proud of itself. It calls out to passers-by: “Come in and get to know me!”

Ali Tüysüz’s dream isn’t over. “We hope to expand our shops overseas, to London, New York

and Paris,” he declares proudly. If Ali’s dream is realised more people will be able to marvel at the wonder that is Turkish culture and literature.

John Hudson is an award-winning poet, writer and performer. His latest collection, Earth, is published by Luath. ■

John Hudson talks to the owners of Galeri Kayseri, the elegant and welcoming bookshop in Istanbul, which offers the world a showcase of all things Turkish through its books

A bookshop on the Bosporus


( )“Sales are impressive,

with an average of more than a thousand visitors in a

day most of the year, increasing to double that in the summer period.”

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