FutureBook 05.11.15
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INTRODUCTION<br />
Writing the <strong>FutureBook</strong><br />
New venue, new speakers and new points of discussion:<br />
Philip Jones reveals the changes to this year’s <strong>FutureBook</strong> Conference<br />
This year’s fifth anniversary <strong>FutureBook</strong> Conference<br />
brings together more than 50 speakers from<br />
across the media world for a day of reckoning,<br />
realisation and revivification. It will, to borrow from a<br />
famous beer advert, refresh the parts other digital and<br />
publishing events do not reach.<br />
It is the boldest conference The Bookseller has ever<br />
put on, spanning three different streams and taking in<br />
everything from mobile to audio, from the future of the<br />
academic book to how Twitter can be the bedrock of a<br />
successful book campaign. The conference boasts new<br />
speakers as illustrious as Jane Friedman, former chief<br />
executive of HarperCollins worldwide and now founder<br />
and c.e.o. of Open Road Integrated Media; Penguin<br />
Random House’s editorial director of audio Caroline<br />
Raphael; and bestselling author Simon Scarrow.<br />
We have taken a fresh approach to the event this year,<br />
putting the sessions in the hands of expert chairs from<br />
within the sector who can help guide the participants<br />
and steer the debates. There are 12 chairs in total, eight<br />
of them women (for more on them, see pp08–09).<br />
I’m also pleased to reveal that for the first time we have<br />
an overall chair for <strong>FutureBook</strong> 2015: Sandeep Mahal,<br />
until recently director of BBC arts and digital project The<br />
Space. Sandeep brings with her immense experience of<br />
publishing, the wider arts and digital media. She has a<br />
deep knowledge of publishing and enthusiasm for what<br />
you do (Sandeep shares her vision for the conference<br />
on p08). She is already working with us, helping to<br />
shape the event so that it is both publishing-savvy and<br />
outwardly focused. More announcements along these<br />
lines are to come, along with a special (and remarkable)<br />
fifth keynote. Stay tuned.<br />
I am incredibly proud of the programme this year, but<br />
it did not come solely from me. I have, over the past six<br />
months, spoken to many people from within and outside<br />
of publishing, and have tailored the event around current<br />
obsessions, fascinations and challenges. It combines the<br />
best of indigenous publishing thinking, with perspectives<br />
from those coming at this from the outside. This being<br />
the fifth anniversary of the first <strong>FutureBook</strong> Conference,<br />
we have also brought back past speakers, such as Stephen<br />
Page and Charlie Redmayne, to examine what they have<br />
learned during this period of rapid change. Page will<br />
pose the following question in his keynote: “Have trade<br />
publishers travelled far enough in search of the new?”<br />
The answer will surprise many of you.<br />
THE NEW PUBLISHING<br />
In Springer Nature’s Annette Thomas we have a firsttime<br />
speaker coming to us at a pivotal moment in that<br />
business’ evolution; and Pottermore’s Susan Jurevics<br />
is an executive who is starting to make her mark both<br />
on Pottermore and on how we think about the wider<br />
content business (for more on these keynotes, see p07).<br />
This year, we have introduced dedicated sessions<br />
examining the “new publishing” from Quarto’s printon-demand-driven<br />
This is Your Cookbook initiative to<br />
Visual Editions’ collaboration with Google Creative Lab.<br />
In addition, the BookTech Showcase, curated by tech and<br />
culture journalist Molly Flatt (see p12), will put delegates<br />
and disruptors together so that we can understand the<br />
new disruption early—and so that these innovators can<br />
better understand us, too.<br />
Of course, the <strong>FutureBook</strong> Conference is a reflection<br />
of the industry—it is the book trade’s digital platform.<br />
As such, it is important that the event is well supported.<br />
This year we have more speakers than ever before,<br />
across a broader programme at the end of a week that<br />
begins with our new event, Author Day (see p15), and<br />
culminates in the prestigious <strong>FutureBook</strong> Awards (see<br />
pp30–31). We also have double the number of sponsor<br />
partners this year. I am grateful to all of these speakers<br />
and sponsors, and in particular the Firsty Group, which<br />
rather appropriately is the sponsor of the all-important<br />
post-show drinks.<br />
<strong>FutureBook</strong> works when the room is bursting—full of<br />
people, ideas and connections. Let’s make it so. ×<br />
CONTENTS<br />
On the Move summarises<br />
five key findings from this<br />
year’s Digital Census.<br />
p04–05<br />
Keynotes’ Key Points sums<br />
up this year’s quartet of<br />
keynote speakers.<br />
p07<br />
The View from the Chairs<br />
meets those hosting the<br />
discussions at <strong>FutureBook</strong>.<br />
p08–09<br />
Start it Up says that<br />
incubating an internal<br />
start-up is vital.<br />
p11<br />
BookTech Showcase<br />
meets the firms which will<br />
pitch for a new award.<br />
p12<br />
The Author Avalanche<br />
looks at what Author Day<br />
will offer writers.<br />
p15<br />
The <strong>FutureBook</strong><br />
Programme breaks down<br />
the day’s talks and events.<br />
p16–17<br />
Lessons for a Start-Up<br />
are divulged by<br />
September Publishing.<br />
p19–20<br />
Breaking the Page has<br />
Peter Meyers explain how<br />
he will run his workshop.<br />
p23<br />
What Should a Book Be?<br />
ask the co-founders of<br />
Visual Editions.<br />
p24<br />
Who’s Who profiles the<br />
people who will be on<br />
stage on 4th December.<br />
p27–29<br />
The <strong>FutureBook</strong> Awards<br />
shortlists in full, across<br />
11 different categories.<br />
p30–31<br />
03
DIGITAL CENSUS 2015<br />
On the move<br />
More reading on smartphones, sizeable digital sales growth<br />
despite talk of a slowdown and deep divisions on pivotal<br />
publishing issues—these are among the headlines of this year’s<br />
Digital Census. Tom Holman picks the five biggest talking points<br />
Mobile overtakes<br />
tablets and dedicated<br />
e-readers as the<br />
device of choice<br />
1<br />
The shift to reading on phones<br />
is perhaps the most significant<br />
finding. Last year’s Digital<br />
Census found that for the first<br />
time more people were reading<br />
on iPads than Kindles, but now<br />
more than two in five (44.6%)<br />
respondents say they commonly<br />
read on a mobile phone, surpassing<br />
both of the other devices.<br />
Why the shift? The advance<br />
of smartphone technology,<br />
especially around screen size<br />
and resolution, is one reason.<br />
Another is the diminishing<br />
appeal of dedicated e-readers,<br />
with more and more people<br />
opting to carry a single, multiuse<br />
device instead.<br />
But while the Kindle’s appeal<br />
may be slipping, Amazon’s<br />
popularity is decidedly not.<br />
It remains overwhelmingly<br />
the most common source of<br />
e-book purchases, with more<br />
than three-quarters (77.1%)<br />
of census respondents saying<br />
they regularly buy e-books from<br />
the online giant. Other e-book<br />
retailers, such as Apple’s iBookstore<br />
(11.8%), Kobo (6.4%),<br />
Google Play (6.1%) and Waterstones<br />
(5.7%), remain tiny by<br />
comparison.<br />
Digital sales are still<br />
growing, but they are<br />
also slowing<br />
2<br />
For publishers, the year’s narrative<br />
has been the apparent<br />
slowing of e-book sales and the<br />
return to growth of print books.<br />
But the census has figures to<br />
dispute the theory that interest<br />
in digital content has peaked.<br />
More than two-thirds (68.2%)<br />
of publishers say digital formats<br />
04<br />
now account for more than 10%<br />
of their total sales, up from half<br />
(50.0%) last year. And for more<br />
than two in five (41.1%) publishers,<br />
digital formats now form<br />
more than 20% of their sales.<br />
Publishers anticipate more<br />
digital sales growth. More than<br />
a third (37.7%) think digital<br />
formats will account for between<br />
21% and 50% of their sales by<br />
the end of 2020, while a further<br />
fifth (21.1%) think they will<br />
contribute more than half. As<br />
one publisher says: “It’s part of<br />
the natural ebb and flow of innovation—e-books<br />
will continue to<br />
grow and evolve.”<br />
Another theme of 2015<br />
for publishers has been the<br />
retrenchment on apps and the<br />
rise of other multimedia content.<br />
The percentage of publishers<br />
producing apps has fallen,<br />
from 50.8% in last year’s census<br />
to 46.2%, while those producing<br />
audio content has gone the<br />
other way, from 39.3% to 47.5%.<br />
Publishers have found that digital<br />
technology makes producing<br />
and delivering audio much more<br />
straightforward, but many are<br />
concluding that apps are not<br />
worth the candle.<br />
Self-love levels<br />
recede as many indie<br />
authors report lower<br />
satisfaction levels<br />
3<br />
Change is a constant among<br />
authors as well as publishers,<br />
and the eye-catching trend in the<br />
census is a cooling of enthusiasm<br />
for self-publishing. On a scale of<br />
one to 10, authors who publish<br />
their own books rated their satisfaction<br />
at 6.7—a point higher<br />
than traditionally published<br />
authors (5.7), but down on last<br />
year’s rating of 7.1. More authors<br />
are realising they will not make<br />
their fortune in self-publishing.
DIGITAL CENSUS 2015<br />
DIGITAL CENSUS: FURTHER READING<br />
)<br />
Publishers<br />
Which of these<br />
business models<br />
do you think will<br />
become most viable<br />
in the future for<br />
digital book content?<br />
Subscription (37%)<br />
E-book and print book bundling (27%)<br />
Republication of out of print titles via POD or digital (14%)<br />
Rental (12%)<br />
Content licensing (9%)<br />
;<br />
Publishers<br />
What percentage of your sales are in<br />
digital format?<br />
32%<br />
;<br />
Publishers<br />
What percentage of your sales do you forecast will<br />
be in digital format by the end of 2020?<br />
38%<br />
27%<br />
28%<br />
25%<br />
21%<br />
13%<br />
16%<br />
0 to 10% 11 to 20% 21 to 50% 50% or more<br />
0 to 10% 11 to 20% 21 to 50% 50% or more<br />
Half (50.9%) of those responding<br />
have sold fewer than 1,000<br />
e-books so far, and only one in<br />
eight (12.4%) has sold more than<br />
50,000. For many, the realities of<br />
self-publishing are hitting home.<br />
Publishing remains<br />
very much divided on<br />
matters digital<br />
Amid so much digital change<br />
for publishers and authors, the<br />
census reveals opinions are split<br />
on many issues.<br />
The first is pricing. Around<br />
two-thirds of all respondents<br />
think e-books should sell for<br />
either a slight discount (35.8%)<br />
or a significant discount (29.4%)<br />
from their print equivalents—<br />
but nearly a quarter think they<br />
should cost around the same<br />
as either the r.r.p. (7.7%) or the<br />
“street” price (15.5%) of the print<br />
edition. But discounting risks a<br />
race to the bottom, and 52.5% of<br />
respondents worry that e-books<br />
are now being sold too cheaply.<br />
“Low e-book prices communicate<br />
to customers that the value<br />
of a book is in how it is made,<br />
not what it contains,” says one<br />
publisher respondent.<br />
Second is e-book royalties;<br />
roughly half (48.6%) of respondents<br />
think e-book royalty rates<br />
should be the same as print,<br />
but many think they should be<br />
higher (34.7%) or lower (13.9%);<br />
the rest (2.8%) favour some<br />
other mechanism.<br />
Third is the agency model.<br />
Given three options, just under<br />
half (45.1%) think this is a smart<br />
move that will keep value in<br />
the market; more than a third<br />
(38.2%) think it is something<br />
publishers may regret but had no<br />
choice over; and the rest (16.7%)<br />
consider it a disaster.<br />
Finally, Digital Rights Management.<br />
Two in five (42.7%)<br />
respondents think publishers<br />
should remove DRM from their<br />
e-books, but 30% think they<br />
should not. The rest (27.2%)<br />
are unsure.<br />
. . . And the majority<br />
believe publishers<br />
remain unprepared<br />
for what is coming<br />
4 5<br />
05<br />
The Digital Census also uncovers<br />
alarm at the ever-rising<br />
dominance of web-based giants,<br />
including Amazon at the expense<br />
of bricks-and-mortar retailers,<br />
and Google at the expense of<br />
libraries and publishers. Some<br />
are anxious that publishers are<br />
still not doing enough to adapt<br />
to change, by under-investing<br />
in innovation and training in<br />
particular. Almost half (49.7%)<br />
think the sector is not prepared<br />
for the next stage of the digital<br />
revolution; the rest think it is<br />
(14.6%) or don’t know (35.7%).<br />
“We are so far behind the curve<br />
when it comes to technology,”<br />
admits one publisher.<br />
But there are many reasons to<br />
be optimistic too. For one thing,<br />
two-thirds (66.9%) of respondents<br />
think rising digital sales will<br />
grow the overall books market<br />
rather than shrink it. And despite<br />
concerns that consumers now<br />
have so many more distractions,<br />
nearly half (48.4%) say they read<br />
more since they started buying<br />
e-books, with very few (7.7%)<br />
reading less.<br />
On balance, within this poll of<br />
the industry at least, the future<br />
looks bright. More than half<br />
(51.4%) are optimistic about<br />
the prospects of reading and<br />
learning for coming generations,<br />
and only a small fraction (5.7%)<br />
pessimistic, with the rest somewhere<br />
in between. Whether on<br />
paper or in pixels, the appetite to<br />
read is not diminishing. ×
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the keynotes<br />
The four keynoters<br />
<strong>FutureBook</strong> celebrates its fifth birthday by inviting<br />
back a trio of its most popular keynote speakers to<br />
date, in addition to a first-timer fresh from a mega<br />
merger. Philip Jones profiles the quartet<br />
S<br />
tephen page has tranformed Faber,<br />
using the digital opportunities offered<br />
by the new world to evolve one of<br />
the UK’s most steadfast indie presses into<br />
one of the most innovative. Its early apps,<br />
such as The Waste Land (with Touchpress)<br />
set a standard that few could match, while<br />
websites such as Drama Online (with<br />
Bloomsbury) and e-book distributor Faber<br />
Factory showed how digital could be used to<br />
underpin new business opportunities.<br />
Page now has a different challenge: how to<br />
run these two different businesses together,<br />
without one distracting from the other. A<br />
restructure, and the appointment of Mitzi<br />
Angel as Faber publisher, suggests a shift<br />
in emphasis. Yet Page’s talk, which will ask<br />
whether publishing went far enough in<br />
search of “the new”, will show that he is no<br />
less convinced of the importance of driving<br />
digital change as he once was. If anything,<br />
he is more determined than ever. ×<br />
Susan jurevics is leading a quiet<br />
revolution at Pottermore, the website<br />
launched in 2012 to extend the Harry<br />
Potter series online—at least, quiet by<br />
Potter standards. Jurevics joined Pottermore<br />
in 2013, and set about discovering who the<br />
core audience was; what they wanted from<br />
the site; and how they wanted it delivered.<br />
In relaunching as a mobile-first experience,<br />
removing the gaming elements and opening<br />
up the site to search engines, she is responding<br />
to what she discovered. In no longer<br />
requiring registration or “sorting”, Jurevics<br />
is broadening its reach and making it attractive<br />
to other Potter merchandisers.<br />
Jurevics is promising more wizarding<br />
changes in the run-up to the conference,<br />
which she will delve into from the podium.<br />
Earlier this month, enhanced iBook editions<br />
of the Harry Potter books were launched for<br />
the first time, prompting Apple’s Tim Cook<br />
to tweet: “A magical day for readers!” ×<br />
Charlie redmayne is a <strong>FutureBook</strong><br />
veteran: he spoke in 2012 after<br />
launching Pottermore (see above) and<br />
in 2013 shortly after his tenure as c.e.o. of<br />
HarperCollins UK began. He has always been<br />
a strong supporter of the event, saying “it<br />
is important that we continue to explore<br />
the future of our industry—what is happening<br />
and what is coming down the line.<br />
<strong>FutureBook</strong> has consistently been one of the<br />
platforms that does it best.”<br />
This year Redmayne is giving the closing<br />
keynote, delivering his manifesto for the<br />
future of the book business. He will also<br />
reflect on a five-year transformation of the<br />
publishing sector, during which he has been<br />
a pivotal and proactive force.<br />
Under him HarperCollins UK has become<br />
one of the most innovative of the big<br />
publishers in the digital space, inking<br />
subscription deals and expanding territorially<br />
through the acquisition of Harlequin. ×<br />
Annette thomas is a first-time<br />
speaker at <strong>FutureBook</strong>, and takes<br />
the stage at a pivotal moment in the<br />
formation of Springer Nature and the<br />
evolution of the STM and academic sectors.<br />
A scientist by training, Thomas turned<br />
publisher and served as chief executive of<br />
Macmillan Science & Education. Now chief<br />
scientific officer of the enlarged Springer<br />
Nature, she is to spearhead new product<br />
development at the group.<br />
Thomas will use the talk to reflect on the<br />
background forces that led to the megamerger,<br />
as well as the changes to the marketplace<br />
for professional content, particularly<br />
the spread of Open Access publishing.<br />
Thomas is also in a unque position to talk<br />
about the role of women both in science<br />
and publishing. She was, for a period, the<br />
last remaining female c.e.o. of one of the big<br />
publishers, and remains one of the sector’s<br />
stand-out senior publishing executives. ×<br />
07
MEET THE HOSTS<br />
What we want<br />
to discuss<br />
For the first time, this year’s <strong>FutureBook</strong> Conference<br />
will have a dedicated commère. Sandeep Mahal<br />
introduces herself, and quizzes 10 panel chairs<br />
How important is it<br />
that the book business<br />
continues to focus on<br />
the digital future?<br />
SANDEEP<br />
MAHAL<br />
I<br />
am delighted to have been asked to<br />
chair this year’s <strong>FutureBook</strong> Conference,<br />
and look forward to working with the<br />
team to curate a line-up of impressive speakers<br />
who will help us all to learn more about<br />
where the industry is heading and give us<br />
ideas to share, challenge and build on.<br />
I come to <strong>FutureBook</strong> with a background<br />
in libraries, arts, audience and partnership<br />
development, grounded in a lifelong<br />
passion for reading: like many, I grew up<br />
spending many afternoons in dusty libraries,<br />
immersed in books.<br />
That same love of reading and stories<br />
continues today, so when Philip Jones<br />
invited me to chair <strong>FutureBook</strong>, I was both<br />
thrilled and honoured, not least because I<br />
have recently been spending my time helping<br />
artists to innovate, encouraging them<br />
to create new forms of stories and art that<br />
bring audiences and content closer together<br />
against a rapidly evolving landscape, and<br />
this is something we also do in the world<br />
of books.<br />
Until recently, I was director of The Space,<br />
a commissioning agency established by the<br />
BBC and Arts Council England to support<br />
greater digital access to the arts. There was<br />
truly no greater privilege than encouraging<br />
artists to experiment in taking advantage of<br />
the different possibilities offered by digital<br />
media and technologies, and to support<br />
artists trying out new ideas—even if they<br />
were not immediately embraced.<br />
I learnt something new every day; about<br />
commissioning, prototyping, iteration,<br />
and some of those wild whirlwind digital<br />
projects have been the very best experiences<br />
for me. The creativity of those artists and<br />
the importance of pushing boundaries is a<br />
subject I will return to in a future article, not<br />
least to highlight the wonderful things that<br />
happen when creativity meets technology.<br />
Working at The Space brought home to<br />
me something we all know but rarely say:<br />
no matter what the sector, we are all on the<br />
same journey. We are all exploring some<br />
big themes: production, distribution, sales,<br />
marketing; the changing role of curator,<br />
producer, publisher, [insert your job title<br />
here]; the importance of data-driven editorial<br />
and marketing, D2C, brand development,<br />
mobile internet and the constancy of<br />
change itself.<br />
LET’S GET INSPIRED<br />
It’s a thrill to spend time with the individuals<br />
pushing our world forward. I get inspired<br />
by creative, ambitious people who take on<br />
massively challenging, sometimes impossible<br />
tasks—they are the sort of people who<br />
usually have disruptive mindsets. So I am<br />
looking forward to hearing the four keynote<br />
addresses from Susan Jurevics, Stephen<br />
Page, Charlie Redmayne and Annette<br />
Thomas, each of them a visionary, each with<br />
a slightly different vision that is sure to<br />
inspire our own thinking.<br />
My role is to be a transparent facilitator—<br />
a commère—so that the people on the<br />
stage and those in the audience can make<br />
a connection. It’s a good title that requires<br />
me to stand aside and let the conversation<br />
between speaker and audience flow, without<br />
adding my own ideas . . . something that<br />
my friends will acknowledge does not come<br />
naturally to me!<br />
Between now and 4th December, I will be<br />
providing regular updates on the programme<br />
and sharing insights about believing in<br />
unfamiliar, innovative or strange ideas,<br />
about trusting your instincts, holding your<br />
nerve and making history. I look forward<br />
to seeing you at <strong>FutureBook</strong>, and to sharing<br />
the excitement I will feel at meeting and<br />
introducing this year’s speakers. ×<br />
08<br />
What are the key<br />
digital challenges<br />
facing the trade?<br />
What are you hoping<br />
to get out of <strong>FutureBook</strong><br />
this year?<br />
How important is it<br />
that the book business<br />
continues to focus on<br />
the digital future?<br />
What are the key<br />
digital challenges<br />
facing the trade?<br />
What are you hoping<br />
to get out of <strong>FutureBook</strong><br />
this year?
PORTER<br />
ANDERSON<br />
TOM<br />
BONNICK<br />
JO<br />
ELLIS<br />
MOLLY<br />
FLATT<br />
It must continue to focus on the<br />
digital future because that’s all<br />
there is. Even print is evolving<br />
into a creature of digital, as<br />
POD becomes the obvious<br />
answer to warehouses full of<br />
unsold books, but beyond such<br />
obvious elements, there simply<br />
is nothing that digital doesn’t<br />
impinge on going forward.<br />
The industry is digital, which<br />
doesn’t mean that it has gotten<br />
“to the other side”, but simply<br />
that the distributional engines<br />
of the world ahead are all—and<br />
rightly—digital.<br />
The “Wall of Content” is the<br />
challenge—simply the sheer<br />
amount. Think of how many<br />
more books were out this year<br />
on Super Thursday. What does<br />
a reader make of 503 titles<br />
dumped into a bookstore on<br />
a single day? How can anyone<br />
comprehend all this content?<br />
The most important thing—for<br />
trade publishing, at least—<br />
is that we don’t become<br />
complacent. Firstly, because<br />
we should be thinking<br />
about digital in terms of the<br />
opportunities it offers, rather<br />
than in terms of the threat<br />
it represents. And secondly,<br />
because “digital” does not<br />
equal “e-books”. There is so<br />
much for us to consider within<br />
the catch-all term “digital”<br />
beyond the most simple<br />
commodity product.<br />
For the children’s industry,<br />
establishing a market. Digital<br />
still represents a negligible<br />
percentage of sales . . . I don’t<br />
think it’s great if we entirely<br />
ignore the possibilities of digital<br />
publishing for kids just because<br />
there aren’t many commercially<br />
viable product forms yet.<br />
In one word, very. While digital<br />
technologies are woven into,<br />
and increasingly underpin,<br />
every aspect of the industry<br />
supply chain, nothing stands<br />
still. The pace of digital and<br />
technological development<br />
continues to accelerate and<br />
it is crucial that we, as an<br />
industry, come together to<br />
debate and to be challenged<br />
and inspired by industry<br />
colleagues and, perhaps more<br />
importantly, by people and<br />
organisations from outside of<br />
the sector.<br />
The concentration of power in<br />
the hands of one very powerful<br />
player; the challenge of<br />
monetising writing beyond the<br />
e-book; how to create value<br />
and stand out in an age of<br />
entertainment abundance.<br />
There is no such thing as “the<br />
digital future”. There is just<br />
the future, and digital is an<br />
inevitable part of that. The<br />
divisions we make between<br />
the digital and physical will<br />
increasingly blur and dissolve,<br />
so the book business—like<br />
all businesses—has to focus<br />
on evolving to suit how we<br />
will read, write, buy and<br />
communicate in a hybrid world<br />
where digital is not digital, it’s<br />
just a seamless part of the way<br />
we live.<br />
For publishers, resisting the<br />
urge to be entirely consumerled.<br />
For retailers, creating a<br />
seamless on/offline discovery<br />
and purchasing process.<br />
For writers, combining the<br />
investment and mentoring of<br />
traditional publishing with a<br />
self-driven start-up mentality.<br />
From its roots<br />
in digital, I’m<br />
hoping to witness<br />
the <strong>FutureBook</strong><br />
Conference<br />
embracing new<br />
developments in<br />
print publishing,<br />
as it finds new<br />
formats, routes to<br />
market and a new<br />
consumer profile<br />
—Lisa Edwards<br />
I’m interested in hearing<br />
how the industry regards<br />
the centricity of the creator:<br />
the author.<br />
New ideas (and old ideas<br />
challenged), new people . . .<br />
and new books!<br />
What I would love is for<br />
something to completely<br />
surprise me; to make me think<br />
“this changes everything”.<br />
I hope that speakers and<br />
audience will open my<br />
horizons to unexpected<br />
new opportunities.<br />
ALISON<br />
JONES<br />
SARA<br />
LLOYD<br />
PETER<br />
MEYERS<br />
RICHARD<br />
MOLLET<br />
SAMANTHA<br />
RAYNER<br />
We are cheerfully multichannel:<br />
print, e-book, app, e-learning,<br />
online database . . . I don’t<br />
think getting hung up on<br />
print versus digital is helpful.<br />
Obviously, as most people<br />
increasingly access most of the<br />
content they consume digitally,<br />
it’s vital for publishers to be<br />
taking an active creative role<br />
developing that space. That<br />
doesn’t have to happen at the<br />
expense of print—there is still<br />
space for innovation there and<br />
print books can complement<br />
online content brilliantly.<br />
The digital future is less<br />
clear than it has ever been.<br />
That makes it all the more<br />
imperative that we focus on<br />
what it will mean for authors<br />
and readers and the space in<br />
between them. The rise (and<br />
potentially fall) of the e-book<br />
as we know it is the least<br />
interesting thing we have to<br />
consider; future opportunities<br />
and threats will no doubt be<br />
digital, and they will come from<br />
leftfield. We would be wise to<br />
keep our eyes firmly peeled<br />
and fixed on the horizon.<br />
It is an existential imperative<br />
. . . not to mention a<br />
once-in-a-lifetime opportunity<br />
to shape the future of<br />
books. Print is not going<br />
away. But the new materials,<br />
connection points and creative<br />
possibilities are just too rich to<br />
forgo experimentation.<br />
It is not just important, it is<br />
essential, not only for the<br />
future of digital products and<br />
services, but the digital supply<br />
chain and infrastructure.<br />
As consumers of books become<br />
more connected via a global<br />
online network of readers<br />
and texts, the digital realm<br />
will continue to develop as a<br />
key context for “the three Ds”:<br />
Dissemination, Discoverability<br />
and Discussion. But the<br />
digital future does not just<br />
mean e-books. “The three D”<br />
environment also holds huge<br />
creative opportunities for<br />
supporting new print books,<br />
too.<br />
The ubiquity of content and the<br />
scarcity of attention. Books have<br />
traditionally been the place<br />
for in-depth engagement and<br />
it’s hard for a reader to sustain<br />
that level of engagement on a<br />
multifunction device. On the flip<br />
side, those conditions create<br />
other opportunities.<br />
The key challenge is that the<br />
Next Big Thing is no longer in<br />
focus; the lens has shattered<br />
and we don’t know where it<br />
might come from. Digital gives<br />
anyone, anywhere, the capacity<br />
to innovate and the drive to<br />
innovate orientates around<br />
consumer benefit.<br />
Figuring out direct to<br />
consumer; identifying true<br />
consumer pain points;<br />
working with authors who<br />
can innovate creatively on<br />
the digital canvas.<br />
Competitiveness in the e-book<br />
retail sector; the ongoing need<br />
to attract digital skills into the<br />
workforce; ensuring continued<br />
strong relationships with<br />
authors.<br />
Connectivity, both in ensuring<br />
that new platforms and<br />
business models can be<br />
sustainable, preservable and<br />
usable, and in collaborating<br />
with different communities of<br />
practice to develop effective<br />
and creative outputs for now<br />
and for the future.<br />
I always come away from<br />
<strong>FutureBook</strong> energised and<br />
inspired by the can-do approach<br />
of the trade’s key figures.<br />
I would like to learn something<br />
new, be challenged, take away<br />
at least three new contacts—<br />
and I’d like to have some fun.<br />
Meeting and learning from<br />
those who are helping invent<br />
the book of the future!<br />
Fresh strategic insights and a<br />
sneak preview of the latest<br />
product innovations.<br />
New ideas, new perspectives<br />
and seeing the collaborative<br />
spirit at the heart of the book<br />
business in action!<br />
09
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START IT UP<br />
:<br />
The mentality of start-ups based<br />
around east London’s Silicon<br />
Roundabout has been tapped into<br />
by various businesses to great effect<br />
Up<br />
and<br />
away<br />
Fluxx senior<br />
consultant Tom<br />
Whitwell believes<br />
publishers are<br />
well placed to<br />
benefit from<br />
the start-up<br />
mentality<br />
How do they make it look so easy?<br />
Every day, the Silicon Valley website<br />
Product Hunt lists dozens of new<br />
launches; music services, desktop robotic<br />
factories, payment systems for Indian<br />
shopkeepers.<br />
Invariably, they are spawned by start-ups:<br />
bright young things with world-changing<br />
ideas and sticker-covered laptops. Most fail,<br />
but a few (like Product Hunt itself) will earn<br />
multimillion dollar valuations in a matter<br />
of months. In 2015, publishers should feel<br />
under threat from start-ups. Publishers are in<br />
the business of selling distraction, so any new<br />
distraction (a chat app, a game, a video on<br />
your phone while riding the bus) is a threat.<br />
When customers move faster than companies,<br />
business models can evaporate shockingly<br />
fast. When was the last time you saw a<br />
Blockbuster shop on a high street, or bought<br />
35mm film?<br />
The best way to counter this existential<br />
threat might be to learn from start-ups, and<br />
to build start-ups within traditional publishers.<br />
But established publishers are in a<br />
remarkable position to benefit from innovation.<br />
They have resources, connections, backcatalogues<br />
and customers that a start-up<br />
could only dream of.<br />
Innovation for publishers shouldn’t be<br />
about new e-book formats, or new ways to<br />
re-sell old books under new covers. It should<br />
be about rethinking what it means to be a<br />
publisher, about building new businesses<br />
from their relationships with readers and<br />
with authors.<br />
In other sectors, companies such as Lloyds<br />
Bank, Time Inc., MasterCard and John Lewis<br />
have built start-ups inside their businesses<br />
11<br />
to answer these kind of questions. When<br />
British Gas wanted to start selling smart<br />
thermostats, it went head to head with Nest,<br />
a Silicon Valley start-up founded by ex-Apple<br />
engineers who were selling a beautiful, intelligent<br />
thermostat.<br />
After a difficult in-house pre-launch, British<br />
Gas set up what was essentially a start-up<br />
called Connected Homes, with an office in<br />
Soho, well away from its Staines HQ. Eighty<br />
per cent of the staff were new, hired from<br />
outside the utilities industry. But 20% were<br />
British Gas insiders who understood the<br />
unique resources of the mothership—its<br />
network of 11,000 installers serving (deep<br />
breath) 6.8 million paying customers. That<br />
combination is crucial. Too close, and<br />
you risk recycling the same old ideas. Too<br />
remote, and you lose all the power of the big<br />
company. With 200,000 installations so far,<br />
British Gas took on Nest and won (at least in<br />
the UK).<br />
SUPER SIZE<br />
The combination of start-up energy and<br />
big-company resources creates a kind of<br />
super start-up. But the hardest thing is<br />
getting started. Building an island of fast,<br />
lean culture inside a big company isn’t easy.<br />
It requires a senior backer who can act as<br />
a catalyst, providing the support and the<br />
political cover for the super start-up team.<br />
That group must be able to make mistakes<br />
and deliver unexpected solutions without<br />
fearing for their jobs.<br />
The start-up will need a brief, one that’s<br />
tight enough to give them focus but loose<br />
enough to let them follow the customers’<br />
needs—wherever they lead. An internal<br />
start-up is not a unit for building a specific<br />
product. It is a new business, one that draws<br />
on the unique resources of the mothership.<br />
It seems counterintuitive, but the real<br />
power of the start-up is discipline. With<br />
no money and little time to waste, successful<br />
start-ups are forced to focus on what is<br />
important, to understand the<br />
customer’s needs and hustle<br />
to grab their attention. They<br />
can’t afford to be self-indulgent<br />
or ponderous, sentimental or<br />
egotistic (they will have plenty of<br />
time for that later).<br />
In 2015, publishers should<br />
think like super start-ups, and<br />
aim to revolutionise their industry<br />
from within.<br />
Otherwise somebody else<br />
might well do it for them. ×<br />
Tom Whitwell will take<br />
part in the closing<br />
panel at <strong>FutureBook</strong><br />
2015, “Publishing<br />
Through a Looking<br />
Glass: A View from the<br />
Outside”, alongside<br />
Kings Road Publishing’s<br />
Perminder Mann,<br />
Enders analyst Douglas<br />
McCabe, and Penguin<br />
Random House Audio<br />
editorial director<br />
Caroline Raphael.
BOOKTECH SHOWCASE<br />
. . . And then there<br />
were seven eight<br />
Molly Flatt introduces the book tech companies which will pitch to a<br />
prestigious panel in a new strand of the <strong>FutureBook</strong> Conference<br />
A<br />
scottish start-up using binaural recording, 3d audio<br />
software and immersive sound design to redefine the<br />
audiobook. A team of seasoned digital entrepreneurs<br />
from Cologne on a mission to revolutionise storytelling for<br />
mobile. A Manchester-born app employing behavioural science<br />
and gaming mechanics to take writers from the big idea to the<br />
final draft. A Canadian production company crowdfunding a<br />
series of interactive children’s books that dissolve the boundaries<br />
between digital and the real world.<br />
The Owl Field, oolipo, Write Track and Together Tales<br />
represent just half of the shortlist for this year’s inaugural<br />
BookTech Award, and their range and ambition is both reassuring<br />
and energising in a climate where complaints that the<br />
publishing industry is failing to innovate are as common as<br />
bitter Amazon takedowns.<br />
In fact, we found it so hard to whittle down 31 submissions<br />
to seven finalists that we ended up with eight. Completing<br />
the showcase are: Ooovre, a platform designed to make it easy<br />
for readers to buy from local booksellers; Reedsy, a budding<br />
marketplace for publishing professionals; Gojimo, an examquiz<br />
app that has already become the UK’s most popular revision<br />
tools; and Shulph, an “omnichannel reading experience<br />
company” that promises to have (finally) found an elegant<br />
solution to bundling e-books and print.<br />
A BROAD CHURCH<br />
As we explained when launching the award, the term “book<br />
tech” invites seriously broad interpretation, so the judging<br />
criteria were always going to be eclectic. As a result, some<br />
submissions, such as The Owl Field and oolipo, won a place in<br />
the shortlist for their exciting original technology, while others<br />
(Reedsy and Shulph) impressed by applying existing tech to a<br />
lingering problem or opportunity in a new way.<br />
In turn, Write Track and Gojimo demonstrate an admirable<br />
talent for tailoring tech to the behaviours of a particular audience,<br />
while Ooovre and Together Tales perhaps presage<br />
the future by blurring the divide between our digital and<br />
physical worlds.<br />
Traits that they all share, however, are freshness in their<br />
creativity, clarity in their vision and sophistication in their<br />
approach. Perhaps the most exciting attribute of compiling the<br />
BookTech shortlist was the number of entrants we had never<br />
heard of before. Some, like Reedsy and Gojimo, are already<br />
starting to make waves, but the majority are in early funding<br />
or even pre-funding stage, and have yet to hit the public radar.<br />
Considering that the long-term aim for BookTech<br />
is to give publishing professionals a head-start<br />
on disruption coming their way—while also<br />
hopefully inspiring them to take some bold<br />
imaginative leaps of their own—it represents<br />
an encouraging start.<br />
FEVER PITCH<br />
Whether any of our finalists will fulfil their<br />
promise, of course, is another story. That is why<br />
we will subject them to a vigorous grilling at the<br />
<strong>FutureBook</strong> Conference, with questions coming<br />
from a prestigious panel of experts—Unbound<br />
c.e.o. and co-founder Dan Kieran; group director<br />
of consumer and digital development at Penguin<br />
Random House UK, Hannah Telfer; and one of<br />
London’s most influential tech venture capitalists,<br />
Eileen Burbidge—as well as our assembled<br />
industry audience. The eventual winner will have to<br />
demonstrate commercial nous and a viable plan for<br />
growth, not just a crowd-pleasing concept.<br />
In the meantime, we have already begun<br />
running a weekly series of interviews with the finalists on<br />
<strong>FutureBook</strong>.net. So keep an eye out for the articles and tweet<br />
us your thoughts using the #BookTech hashtag. ×<br />
The BookTech<br />
Showcase<br />
(#BookTech) is a<br />
new element of<br />
the <strong>FutureBook</strong><br />
Conference. Hosted<br />
by tech and culture<br />
journalist Molly Flatt,<br />
the session invites<br />
eight book tech<br />
companies to take<br />
part in a live pitch-off<br />
to a panel of industry<br />
and tech experts. A<br />
live judging process<br />
will determine<br />
the winners of the<br />
bronze, silver and<br />
gold <strong>FutureBook</strong><br />
Awards. The overall<br />
winner will be named<br />
The <strong>FutureBook</strong><br />
BookTech Company of<br />
the Year 2015.<br />
Gojimo is a free<br />
revision app that<br />
provides users<br />
with GCSE and<br />
A-Level revision<br />
content, as<br />
well as SAT, 13+<br />
Common Entrance<br />
and 11+ Common<br />
oolipo “reimagines<br />
fiction for digital”,<br />
founder Ryan<br />
David Mullins says.<br />
“We’re creating<br />
a new kind of<br />
platform that will<br />
give [users] an<br />
experience native<br />
ooovre is a<br />
click-and-collect<br />
service that lets<br />
readers order<br />
books online<br />
from their local<br />
booksellers.<br />
1 2 3 4 5 6 7 8<br />
exam help.<br />
to their device.”<br />
Reedsy helps<br />
authors find and<br />
collaborate with a<br />
refined selection<br />
of handpicked<br />
freelance<br />
professionals.<br />
12<br />
Shulph synchs<br />
users’ physical<br />
and digital<br />
bookshelves, in<br />
the hope that they<br />
will never again<br />
have to choose<br />
between a print or<br />
a digital copy of a<br />
book.<br />
The Owl Field’s<br />
3D audio dramas<br />
place users at<br />
the center of<br />
the story in an<br />
immersive, virtual<br />
world.<br />
Together Tales<br />
builds stories<br />
around children;<br />
users can help<br />
create treasure<br />
hunts, digital clues<br />
and true-to-life<br />
coincidences that<br />
bring the story<br />
to life.<br />
Write Track helps<br />
people develop<br />
a writing habit<br />
using productivity<br />
tools, goal-setting<br />
and tracking<br />
technologies<br />
to reward<br />
achievement.
By finding, filtering, shaping,<br />
curating, certifying, editing,<br />
promoting, disseminating<br />
and rewarding ideas, a<br />
scholarly publisher helps<br />
convert them into cultural<br />
products that enable their<br />
transmission from the minds of<br />
writers and editors into the<br />
minds of readers.<br />
Ziyad Marar, Global Publishing Director<br />
sagepub.co.uk
AUTHOR DAY<br />
a v<br />
In the path of an<br />
a<br />
Porter Anderson introduces the aims of the inaugural Author Day,<br />
which takes place on Monday 30th November in London<br />
Truth be told, the conference we are<br />
calling Author Day might be subtitled<br />
“Snowmakers in Time of Avalanche”.<br />
Publishing’s output has far exceeded a figure<br />
we can accurately gauge, but the readership<br />
has not. If everyone who wants to write a<br />
book is to have a hope of being read, we absolutely<br />
must cultivate more readers. And since<br />
almost everyone wants to write a book—and<br />
everyone lcan now publish one, too—the<br />
time has come for the people of publishing to<br />
stop, sit together, and begin to understand<br />
what’s happening to the creative corps.<br />
That is why we need Author Day. That is<br />
why it’s not a typical conference. That is also<br />
a<br />
why it’s not just for authors. The publishing<br />
industry will not find its way, ultimately,<br />
through this avalanche of contemporary<br />
content if it cannot create for authors the<br />
best possible conditions for success.<br />
That is what Author Day is about. It is for<br />
all authors—trade, indie, hybrid, winged,<br />
ambidextrous and the garden-variety—and<br />
it is for all who work in publishing with and<br />
around them. If you care about authors<br />
today, consider coming.<br />
Our day is divided into two parts . . .<br />
Morning: The State of the Author<br />
We will hear from the leadership of the two great organisations of authors today,<br />
the Alliance of Independent Authors (Orna Ross) and the Society of Authors<br />
(Nicola Solomon); from authors (Kamila Shamsie, Jane Steen, Dave Morris);<br />
educators (Faber Academy’s Ian K Ellard, Bath Spa University’s Kate Pullinger);<br />
a crowdfunding publisher (Unbound’s Dan Kieran with John-Paul Flintoff);<br />
an author-survey veteran (Harry Bingham); a publishing technologist (Emma<br />
Barnes); and literary agents (Sheil Land’s Piers Blofeld, Curtis Brown’s Sheila<br />
Crowley, Lownie Agency’s Andrew Lownie)—all by way of putting together not a<br />
definitive idea of the state of “the” author, but to get as many angles on pertinent<br />
issues as possible.<br />
You will notice that the speakers are not all authors. This is essential. Authors,<br />
particularly in the digital age, talk with each other all the time. They, and we,<br />
need to hear from others, as well. There is no contest here about who is “right”<br />
and who is “wrong”. There is a need to get a range of viewpoints.<br />
Afternoon: What We Can Do<br />
In a couple of important discussions—entitled “What<br />
Authors Can Do: Allied Interests” and “What Publishing<br />
Can Do: Industry Interests”—we will look for some of<br />
the contexts in which authors are working today, from<br />
issues of diversity and fairness to dilemmas of marketing<br />
support and audience.<br />
In “Allied Interests”, we will hear from illustrator<br />
and author Sarah McIntyre, author Jonathan Emmett,<br />
author and editor Nikesh Shukla, translator Louise<br />
Rogers Lalaurie, and The Bookseller’s Cathy Rentzenbrink.<br />
In “Industry Interests” we will hear from Pan<br />
Macmillan’s Sara Lloyd and Naomi Bacon, Canelo’s Nick<br />
Barreto, consultant Katie Roden, Midas PR’s Daniel<br />
Freeman and Unbound’s Dan Kieran.<br />
n<br />
c<br />
I feel compelled to warn you that even among all these articulate voices, none of us will feel that<br />
every important point was made. There is too much for us to handle in a week, let alone in a day.<br />
But that is where another key component comes in to help . . .<br />
Comment Capture<br />
Throughout the day, delegates<br />
will be asked to send us—via<br />
an email address and/or Twitter<br />
handle, as well as even on<br />
paper (yes, you<br />
can pass notes)—<br />
their brainstorms,<br />
proposals, dumb<br />
thoughts, bright<br />
ideas, observations,<br />
criticisms, hallelujahs<br />
and concerns.<br />
(Charge up your<br />
Author Day takes<br />
place on Monday<br />
30th November at<br />
30 Euston Square,<br />
London.<br />
For more information<br />
and tickets, visit<br />
TheBookseller.com/<br />
AuthorDay<br />
mobile!) With the kind support<br />
of TheWritingPlatform.com,<br />
those messages will be captured<br />
so that at the end of the day, we<br />
can know about them, see them,<br />
discuss them.<br />
My colleagues at<br />
The Bookseller will<br />
be listening, as I<br />
will, for the trends,<br />
throughlines and<br />
contours of this big<br />
debate. And from<br />
that, we will work<br />
15<br />
towards a statement to be delivered<br />
at <strong>FutureBook</strong>, Europe’s<br />
largest publishing industry<br />
conference, when it convenes on<br />
Friday 4th December.<br />
What is this statement going<br />
to say? You will tell us. That’s<br />
the fun of it. I ask you to come<br />
prepared to participate. We<br />
need active thinking, heavy use<br />
of our capture desk, perhaps a<br />
willingness to stand and speak<br />
if you feel inclined to do so.<br />
Bring a sense of humour. Bring<br />
all the patience you can muster<br />
on a Monday. We will ask you<br />
to listen to things you disagree<br />
hwith—but we will also ask your<br />
opinion. We want your best<br />
thoughts and your sportsmanship<br />
and your commitment<br />
to moving past rancour and<br />
mistrust towards dialogue and<br />
camaraderie.<br />
It’s time to put aside the<br />
animosities, the ehype and the<br />
drama. It’s time for Authors to<br />
have their Day. ×
Friday 4th December<br />
The Mermaid Theatre, London<br />
For tickets and information visit<br />
thebookseller.com/futurebook/2015<br />
THE AUDITORIUM<br />
09.10<br />
Introduction<br />
commere Sandeep Mahal<br />
FUTUREBOOK 2015<br />
THE PROGRAMME<br />
09.15<br />
10.30<br />
10.50<br />
12.10<br />
13.00<br />
13.50<br />
14.50<br />
15.40<br />
16.00<br />
17.00<br />
Annette Thomas<br />
Springer Nature<br />
Morten Strunge<br />
Mofibo<br />
Judith Curr<br />
S&S<br />
Maureen Scott<br />
Ether Books<br />
Dave Anderson<br />
Kobo<br />
Stephen Page<br />
Faber & Faber<br />
Sarah McConville<br />
Harvard Business Review<br />
Opening keynotes<br />
tea/coffee break<br />
Closing keynote<br />
Charlie Redmayne<br />
HarperCollins UK<br />
Susan Jurevics<br />
Pottermore<br />
Face out: strategies that work and why<br />
Robert Caskie<br />
PFD/Ipso Books<br />
chair Alison Jones<br />
Asi Sharabi<br />
Lost.myName<br />
Writing the future: author-centric publishing<br />
Anna Jean Hughes<br />
The Pigeonhole<br />
chair Porter Anderson<br />
Hannah MacDonald<br />
September Publishing<br />
On the move: how mobile changes everything<br />
Gareth Cuddy<br />
Vearsa<br />
chair Anna Rafferty<br />
George Burgess<br />
Gojimo<br />
Kieron Smith<br />
Blackwell’s<br />
Fourth Keynote<br />
To be confirmed<br />
Jane Friedman<br />
Open Road Media<br />
Simon Scarrow<br />
Author<br />
James Luscombe<br />
Pan Macmillan<br />
Who’s afraid of the e-book plateau? Understanding the new consumer<br />
Caroline Raphael<br />
PRH Audio<br />
Douglas McCabe<br />
Enders<br />
room change<br />
lunch break<br />
room change<br />
chair Sara Lloyd<br />
tea/coffee break<br />
Publishing through a looking glass: a view from the outside<br />
chair Richard Mollet<br />
Tom Whitwell<br />
Fluxx<br />
Jo Henry<br />
Nielsen Book<br />
Perminder Mann<br />
Kings Road Publishing<br />
17.20<br />
The <strong>FutureBook</strong> Awards
Please note that the<br />
programme of events<br />
listed here is subject<br />
to change before 4th<br />
December. Any changes<br />
to the schedule or<br />
speakers will be<br />
incorporated into a<br />
new programme, which<br />
will be circulated to<br />
delegates on the day.<br />
NEWGATE<br />
tea/coffee break<br />
The new publishing: content unbound (Part One)<br />
chair Lisa Edwards<br />
10.30<br />
10.50<br />
THE RIVER ROOM<br />
Emily<br />
Labram<br />
HarperCollins<br />
Cameron<br />
Drew<br />
BookTrack<br />
Tom Hall<br />
LonelyPlanet<br />
room change<br />
Mark Searle<br />
Quarto<br />
C Mahey-<br />
Morgan<br />
Own It!<br />
Julia Wilde<br />
Agatha<br />
Christie Ltd.<br />
The new publishing: content unbound (Part Two)<br />
12.10<br />
chair Tom Bonnick<br />
Ian Metcalfe<br />
Hodder Faith<br />
Anna Gerber &<br />
Britt Iverson<br />
Visual Editions<br />
Laurence Howell<br />
Audible<br />
Kiren Shoman<br />
SAGE<br />
lunch break<br />
13.00<br />
The new publishing: the academic book of the future<br />
13.50<br />
chair Sam Rayner<br />
Richard Fisher<br />
Formerly of CUP<br />
Suzanne Kavanagh<br />
ALPSP<br />
Lara Speicher<br />
UCL Press<br />
Anthony Cond<br />
Liverpool Uni... Press<br />
room change<br />
Breaking the page: interactive discussion<br />
14.50<br />
BookTech showcase: the pitches<br />
led by Peter Meyers<br />
chair Molly Flatt<br />
Author Meyers will lead an interactive discussion on what it is possible to achieve<br />
with a book, with panelists from previous presentations. For more information, see p23.<br />
tea/coffee break<br />
The social room: using Twitter and audio for books<br />
chair Jo Ellis<br />
15.40<br />
16.00<br />
Eight companies will pitch for five minutes; to find out<br />
about the shortlistees, see p12.<br />
tea/coffee break<br />
BookTech showcase:<br />
interrogation and live judging<br />
Georgina Moore<br />
Headline<br />
Abi Fenton<br />
HarperCollins<br />
Hannah Telfer<br />
PRH UK<br />
Dan Kieran<br />
Unbound<br />
Eileen Burbidge<br />
Passion Capital<br />
room change<br />
room change
Creating immersive and<br />
dynamic app solutions for<br />
key educational publishers<br />
SHORTLISTED<br />
Shortlisted for<br />
‘Best Children’s<br />
Digital Book’<br />
<strong>FutureBook</strong> Award<br />
2015<br />
READ-ALOUD,<br />
LISTEN & RECORD<br />
TRACK ACTIVITY<br />
IN LMS<br />
SYNC NOTES<br />
& HIGHLIGHTS<br />
HTML<br />
ACTIVITIES<br />
YUDU CLIENTS INCLUDE:<br />
enquiries@yudu.com | www.yudu.com | 0870 760 9258
EIGHT STEPS TO<br />
PUBLISHING SUCCESS<br />
Lessons for start-ups<br />
A year on from its launch, September Publishing has<br />
published four non-fiction titles, sold nearly 10,000 books<br />
and commissioned new titles well into 2018. Founder Hannah<br />
MacDonald offers eight essential learnings from its first year<br />
Sometimes it’s hard to tell a<br />
good instinct from a personal<br />
obsession.<br />
We started out with a mantra of quality,<br />
change and collaboration, and key to this<br />
was a desire to draw up a new contract that<br />
reflected reality. I became obsessed with<br />
this. Law outfit Maier Blackburn was hired<br />
for its experience with authors and estates<br />
(there is nothing like death to highlight the<br />
financial complications in life). Early on, as<br />
I waxed lyrical about a contract only two<br />
pages long that broke with history and cut to<br />
the chase, firm partner Cathleen Blackburn<br />
asked whether I would like to spend my time<br />
publishing good books or trying to persuade<br />
people to accept a weird-looking contract.<br />
So we compromised. A traditional-looking<br />
format, its terms constructed with the Society<br />
of Authors’ input, but with clauses and<br />
language that emphasised author involvement.<br />
We have pushed further on expectations<br />
of our authors to sell, market and selfpublicise.<br />
In exchange, we have raised the<br />
upper royalty escalations. Our authors work<br />
hard, so success should be better shared.<br />
1 2<br />
The instincts that were the<br />
clearest and simplest have<br />
worked the best.<br />
We wanted a stable of authors with whom<br />
we could actually work collaboratively to sell<br />
books continuously. Hence our authors tend<br />
to have a voice outside of the pages—and<br />
aren’t afraid to use it.<br />
Social media only works for certain<br />
authors and readers. For us it has been about<br />
commissioning people who can teach, talk or<br />
reach into known communities. For one of<br />
our authors (Mark Thomas) it is about gigs<br />
and tweets; for others it’s about Etsy; for<br />
another it’s about art workshops; for someone<br />
else it’s about an international network<br />
of geologists. But for some it is still about<br />
the impactful review or author endorsement.<br />
Ruthless prioritisation early<br />
on during a project saves time<br />
and money.<br />
3<br />
Before making decisions I now ask myself:<br />
“Is it any more likely to result in an engaged<br />
reader?” If not, I have learnt to shelve it.<br />
19<br />
Just because something extra can be done, it<br />
doesn’t mean it should be.<br />
It takes a huge number of man-hours to<br />
genuinely deliver something new within the<br />
technical restrictions of e-books and where<br />
we have tinkered, it hasn’t always helped.<br />
Yet we wanted to innovate digitally, to find<br />
new ways to take beautifully published<br />
digital material to market. However, I have<br />
found that apps cost more and are harder<br />
to sell than they were four years ago, and<br />
the limitations of e-books still make it<br />
complicated to render some of our illustrated<br />
books even pleasant to read. We are<br />
in discussions about working out of the<br />
book—and the box. For us, when technical<br />
innovation comes, it will be about finding a<br />
new channel, i.e. a different container and<br />
platform, through which to market and sell<br />
long-form writing.<br />
For instance, I still want to find a way to<br />
use NFC (near field communication) technology<br />
better. However, at September we are<br />
just as interested in innovating in the way we<br />
communicate with readers and in reconsidering<br />
when we do it (author Charlotte Cole’s<br />
post on our Facebook page about her )
EIGHT STEPS TO<br />
PUBLISHING SUCCESS<br />
experience copyediting a new book got more<br />
shares and Twitter traction than any of our<br />
other posts this month).<br />
Cashflow is everything for a<br />
small business. But it can also<br />
be critical for authors.<br />
We wanted to be economic: free of unnecessary<br />
costs so we could publish in response<br />
to quality and our publishing instincts—<br />
not forced to double, then triple, our title<br />
count just to feed overheads taken on before<br />
we could justify them. We have managed<br />
much—a whole launch list created from the<br />
same sum I once spent on a single corporate<br />
brainstorming weekend. We have enjoyed<br />
much support from freelances and suppliers<br />
who have charged us considerately, in<br />
order to support a new independent. And I<br />
am embarrassed to admit I even took public<br />
transport at Frankfurt for the first time last<br />
year. (An anecdotal straw poll has, however,<br />
reassured me that I was far from alone in<br />
such past extravagance.)<br />
We also wanted to reconsider the royalty<br />
statement and calendar, and this is indeed<br />
under way. My discussions with authors and<br />
agents have been as much about how to pay<br />
as what to pay. Flexibility is a negotiating<br />
point for us. We have just agreed our first<br />
deal, with the intention of paying royalties<br />
more than twice a year. I would like this to<br />
become standard. We have also sought advice<br />
from agents on how to design and structure<br />
our new royalty statements.<br />
Don’t be sidetracked into trying<br />
to give your company the attributes<br />
you wish you had.<br />
I also wanted a catalogue that was so cool<br />
it was like a hipster zine that would be<br />
displayed on the counters of independent<br />
bookshops and passed among friends . . .<br />
This was a stupid idea. I take full responsibility.<br />
Where the time to do it was to come<br />
from—or the coolness—I have no idea.<br />
The independent publishing<br />
community is thrifty, thriving<br />
and supportive.<br />
4<br />
5<br />
6<br />
Turnaround Publishing Services has opened<br />
up new markets and vistas for us. But even<br />
on an ordinary day, remote working poses<br />
challenges. Not everyone’s confidence and<br />
morale can stick it and regular interaction<br />
is essential. Luckily, my four September<br />
colleagues also work remotely. They are<br />
less likely to be stuck in a meeting and more<br />
likely to be available for a chat than most<br />
office-bound publishers. Also, there has been<br />
a real shift in affordable workspaces so there<br />
are options for the future there too.<br />
Working alone is a challenge.<br />
(It’s not ideal in times of crisis<br />
or bereavement, either.)<br />
In The Shift: The Future of Work is Already<br />
Here, Lynda Gratton writes of the essentials<br />
of the modern workplace. Alongside the<br />
skills required to work and manage remotely,<br />
she places huge emphasis on the importance<br />
of a support network, a posse of entrenched<br />
professional friends who will unquestioningly<br />
turn their minds and energy to help<br />
wherever it is needed.<br />
We have benefited from supporters from<br />
the beginning—agents willing to experiment<br />
and advise, printers prepared to extend<br />
terms, freelance editors keen to see the list<br />
work, old colleagues happy to give creative<br />
feedback. But when I found myself caught<br />
in three months of critical familial hospital<br />
visits and illnesses, I needed more: a close<br />
team to take over projects as well as a wider<br />
posse to offer support . . . and lug boxes<br />
around at launch parties.<br />
A good intern is transformative;<br />
take the time to plan, prepare<br />
and develop such talent.<br />
We have tried to be good employers to the<br />
wider freelance community, but what I have<br />
been struck by is how much we have needed<br />
and benefited from the raw energy, cultural<br />
and technological perspectives, and sheer<br />
willingness of a couple of recent graduates.<br />
While we cannot pay much, we try to give<br />
them an interesting stay and a proper sense<br />
of how their work and projects fit into the<br />
larger process and industry as a whole.<br />
If there is a theme, it’s that the people we<br />
work with—authors, colleagues, freelances,<br />
Turnaround, co-publishers in large print or<br />
US editions—are September’s most precious<br />
commodity. To publish better than the rest,<br />
to give an author’s most precious commodity<br />
(their book) the best chance, we need<br />
terrific people. So we would love to hear from<br />
anyone who is interested in working with us,<br />
from freelance editors to marketeers, from<br />
interns to commissioning editors in other<br />
areas. Get in touch by emailing info@septemberpublishing.org.<br />
×<br />
20<br />
7<br />
8<br />
SEPTEMBER’S ISSUES<br />
Barefoot at the Lake<br />
Bruce Fogle<br />
Fogle’s memoir<br />
provides an escape<br />
route into the sunny<br />
semi-wilderness of<br />
a lakeside summer<br />
cottage in 1950s<br />
Canada and an<br />
account of one<br />
particular summer when his eyes<br />
were opened to the complexities of<br />
girls, adults and the natural world.<br />
The Perfect Stranger<br />
P J Kavanagh<br />
First published<br />
in the 1960s and<br />
now reissued and<br />
repackaged, this<br />
comic portrait of a<br />
soldier, a poet and<br />
a man in love was<br />
described by author<br />
David Nicholls as: ‘A wise, sad,<br />
wonderfully written memoir that’s<br />
ripe for rediscovery.’<br />
One Hundred Acts of<br />
Minor Dissent<br />
Mark Thomas<br />
Comedian<br />
Thomas has been<br />
campaigning<br />
for nearly three<br />
decades: One<br />
Hundred Acts of<br />
Minor Dissent is his account of a<br />
year spent living provocatively—<br />
from successful campaigns against<br />
multinationals to protests against<br />
local park planners, from arts and<br />
crafts using porn magazines to<br />
raising cinema workers’ wages.<br />
Ways to Walk in<br />
London<br />
Alice Stevenson<br />
Deliberate,<br />
mindful walking<br />
is how Stevenson,<br />
an established<br />
illustrator and artist,<br />
navigates London and survives<br />
its challenges. In Ways to Walk<br />
in London she writes about and<br />
illustrates moments of beauty<br />
and urbanity, contemplation<br />
and revelation, finding hidden<br />
doorways, decorated arches and<br />
meaningful manhole covers across<br />
the city.
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BREAKING THE PAGE<br />
Think about the book of the future. The possibilities are<br />
endless . . . and tempting. We can add video, multiple narrative<br />
paths and in-book commentary. My own fantasies revolve<br />
around the touchable terrain of content you browse visually. It’s the<br />
reader’s version of synaesthesia.<br />
But all these enhancements will fizzle if they don’t address the<br />
pain points of large numbers of readers. If we don’t focus on readers’<br />
needs, our flashiest design innovations will suffer the same fate as<br />
most digital book design experiments to date: neat, but no thanks. So,<br />
what kinds of problems are book lovers up against today? How about:<br />
) Information triage. Everyone whose “to read” list is too long<br />
needs help sorting through options and increasing their consumption<br />
velocity.<br />
) Recall and reuse. The value in most great books lies in how we<br />
deploy their insights after we have read them. How can we equip<br />
books to better help with this task?<br />
) Immersion. To ward off distraction. To focus in a sustained way<br />
on what is meaningful. That blissful communion between book<br />
lover and book is something that many readers are fighting to<br />
regain in their information-cluttered day.<br />
) Delight. That highly subjective but distinctly recognisable feeling<br />
you get when the author casts a spell that puts a smile on your face.<br />
The chance to use digital technology to assist—and entertain—<br />
readers is real. The challenge is figuring out how to do so in the<br />
service of authors and their audience. Put another way: just because<br />
you can, doesn’t mean you should.<br />
The workshop I will be leading at this year’s <strong>FutureBook</strong> Conference is a guided tour across this kind of reader-centric design thinking.<br />
My goal is to help attendees reframe their approach to e-book<br />
content design. In 2015, everyone knows how to make a fairly satisfying<br />
digital replica of a print book. The newer, more pressing challenge<br />
is to figure out what comes next.<br />
I will use two main questions to guide what I hope will be a highly<br />
participatory discussion: What do readers need? What can be done<br />
today? We will then apply the group’s collective wisdom to some of<br />
the most fertile opportunities for innovation:<br />
) Markets and channels. What new audiences and outlets are<br />
available to digitally savvy publishers?<br />
) Merchandising. How can books be showcased in new and enticing<br />
ways?<br />
) Product design. How can the innards of the book itself change to<br />
accommodate readers’ new media consumption habits?<br />
Breaking<br />
the Page<br />
Peter Meyers, who will lead a<br />
participatory workshop at this year’s<br />
<strong>FutureBook</strong> Conference, argues that<br />
e-books’ enhancement should be<br />
implemented only where appropriate<br />
The title of the workshop, “Breaking the Page”, suggests the kind<br />
of “blank canvas” thinking required to imagine big changes to the<br />
book. To use an old cliché: to make an omelette, you need to break a<br />
few eggs.<br />
My hope is for us to have some brainstorming fun thinking about<br />
how to break the book apart—without losing sight of the people who<br />
most need our care and attention in these wildly changing times: the<br />
readers. After all, they are the ones we are trying to get to buy these<br />
new kinds of books. ×<br />
23<br />
Meyers will be running “Breaking the Page”, an interactive<br />
workshop, at <strong>FutureBook</strong> 2015. His book, Breaking the Page:<br />
Transforming Books and the Reading Experience, is out now
WHAT SHOULD<br />
A BOOK BE?<br />
If you could make any<br />
kind of<br />
a digital<br />
book,<br />
what<br />
would it<br />
be? How<br />
would it<br />
behave?<br />
What<br />
story<br />
would you<br />
tell?<br />
Anna Gerber and Britt<br />
Iverson, co-founders<br />
of Visual Editions, put<br />
forward the case for<br />
digital-native narratives<br />
Imagine you could make any kind of digital book. So long as you<br />
could read it on your phone. So long as it was a story you could<br />
actually read, not something you would watch. Would this digital-native<br />
story of yours connect your reader to where they are in the<br />
world? Would the story change as you travelled around the city? Would<br />
it sense how hot or cold you felt? Or how calm or stressed you are? Or<br />
would it simply remind you that you have five minutes to go before you<br />
reach the end of your story?<br />
These are just some of the ideas, areas, possibilities we have been<br />
dreaming up over the last 10 months, together with Google Creative<br />
Lab, as we have been looking at the world of digital books, e-books,<br />
enhanced e-books and books as PDFs. It’s part of what we have been<br />
thinking about when asking ourselves what would happen if we<br />
tapped into some of the magical, dynamic qualities of the internet and<br />
used them to make a different kind of digital literary experience on<br />
our mobile devices. We started to think about—and we know we aren’t<br />
alone here—how so many other digital cultural experiences seem to be<br />
exploding into new formats, new ideas, new possibilities, such as what<br />
is been happening with virtual reality, film, music, not to mention the<br />
poor cultural cousin: gaming. And, quite simply, it has made us think:<br />
if literature has always powered the imagination, why should books be<br />
left behind these other digital cultural experiences?<br />
If we think of the book as a cultural, physical object, can we also<br />
continue to inspire fresh conventions around how we think of books<br />
and bookishness in the age of the Millennials? How can we create new<br />
reading experiences on digital devices, and what kinds of stories can<br />
we read in this way?<br />
THE PLEASURE PRINCIPLE<br />
The result for us is Editions At Play, an experiment in creating books<br />
that cannot be printed, books that are written and designed to be read<br />
on your phone. We’ve invited some great writers to work with programmers,<br />
developers and designers to create new formats of non-linear,<br />
dynamic literature in a bid to bring the possibilities of digital technology<br />
together with a love of literature and reading in a way that is more open<br />
than an app, and digitally native in a way a shareable PDF cannot be.<br />
We like to think of Editions At Play as a place for book lovers, tech<br />
geeks and design freaks. A collaboration between Visual Editions and<br />
Google Creative Lab, Editions At Play will launch this December with<br />
four titles: a book that travels by Reif Larsen; a book that takes sides by<br />
Joe Dunthorne and poet Sam Riviere; a book that’s unstable by début<br />
writer Alan Trotter (all via Visual Editions); and a new book that keeps<br />
unfolding, by publishing partners Penguin Random House and Londonbased<br />
independent record label Lex Records. Each of the titles uses<br />
existing web technology, lives on its own URL and is designed to be read<br />
on Android and iOS browsers. They are a mix of engaging, funny and sad<br />
stories that, we hope, readers will find surprising and delightful.<br />
Alongside the making of these delightful launch titles, and as part of<br />
our website, we have also been asking literary lovers, tech<br />
geeks and design freaks this: if you could make any kind of<br />
digital book, what would it be? And we would like to ask<br />
you. If you could do anything. It could be highly realistic.<br />
Or highly improbable. How would this digital book of yours<br />
behave? What story would it tell? And what could it do that<br />
a physical book couldn’t possibly do? ×<br />
24<br />
Gerber and Iversen will<br />
take part in a session<br />
at <strong>FutureBook</strong> based<br />
on “the new publishing”.<br />
Email your ideas<br />
to hello@<br />
editionsatplay.com
SPEAKERS: WHO’S WHO<br />
Taking to the stage<br />
With a roster of more than 50 experts from a multitude of<br />
sectors across the trade, and three dedicated streams running<br />
simultaneously, <strong>FutureBook</strong> 2015 mixes familiar faces with<br />
many new voices. These are their own stories . . .<br />
Dave Anderson is<br />
vice-president of<br />
merchandising and<br />
publisher relations at<br />
Kobo. He is responsible<br />
for publisher operations and<br />
publisher analytics globally, as well as<br />
merchandising and publisher relations<br />
for English-language territories.<br />
Porter Anderson is a<br />
journalist and consultant<br />
specialising in book<br />
publishing and its<br />
digital disruption. He is<br />
an associate editor of <strong>FutureBook</strong>;<br />
programmed the Master Class events<br />
at the Frankfurt Book Fair’s inaugural<br />
Business Club in 2014; and his<br />
consultancy is a media partner with the<br />
London Book Fair.<br />
Tom Bonnick is Nosy Crow’s<br />
business development<br />
manager and commissioning<br />
editor. He works on all of the<br />
company’s digital publishing,<br />
and commissions fiction for Nosy Crow’s<br />
list. In 2015, he was named Young<br />
Independent Publisher of the Year at the<br />
IPG Independent Publishing Awards, and<br />
a Bookseller Rising Star.<br />
Eileen Burbidge is a<br />
partner at Passion Capital,<br />
London’s leading early-stage<br />
technology venture capital<br />
investment firm. She is a<br />
member of the Prime Minister’s Business<br />
Advisory Board, FinTech envoy for HM<br />
Treasury and a frequent commentator for<br />
the likes of Bloomberg TV, Sky News and<br />
the BBC. Eileen was named as one of the<br />
12 Most Influential People in Tech by the<br />
Telegraph in 2014.<br />
George Burgess is the<br />
founder and c.e.o. of Gojimo,<br />
an exam-preparation mobile<br />
app for students. Labelled<br />
one of Britain’s Most Exciting<br />
Young Entrepreneurs by Forbes, George is<br />
23 years old; he founded Gojimo when he<br />
was just 17.<br />
Robert Caskie is chief<br />
operating officer at Peters,<br />
Fraser & Dunlop and the<br />
founder of Ipso Books.<br />
Previously he was an agent<br />
at MacFarlane Chard Associates and Capel<br />
& Land. Before becoming a literary agent,<br />
Robert lived in New York and in 1994 he<br />
was part of the team that founded the<br />
original Euphorium restaurant and bakery<br />
in Islington, north London.<br />
Anthony Cond is<br />
managing director of<br />
Liverpool University Press,<br />
which was named The<br />
Bookseller Industry Awards’<br />
Independent Academic, Educational and<br />
Professional Publisher of the Year 2015.<br />
He is also a director of the Association<br />
of Learned and Professional Society<br />
Publishers and an honorary fellow in<br />
the School of the Arts at the University<br />
of Liverpool.<br />
Gareth Cuddy is the founder<br />
and c.e.o. of Vearsa, an<br />
award-winning enterprise<br />
software company that looks<br />
to solve publishers’ most<br />
pressing issues. He is also one of the<br />
trade’s foremost experts on e-books and<br />
the digital publishing scene. Originally<br />
from Galway, Ireland, Gareth splits his<br />
time between Cork and New York.<br />
Judith Curr is president<br />
and publisher of the Atria<br />
Publishing Group, a division<br />
of Simon & Schuster. She<br />
oversees the editorial,<br />
publishing and marketing activities of<br />
the group’s imprints. Judith also teaches<br />
a semester-long course at New York<br />
University called “From Writer to Reader:<br />
An Introduction to Book Publishing”.<br />
Cameron Drew is a veteran<br />
of the publishing industry<br />
and ground floor member<br />
of Kobo, with extensive<br />
experience in online<br />
retail and B2B e-commerce publishing.<br />
His responsibilities include content<br />
acquisition, growing new and existing<br />
business models, contract negotiation,<br />
international expansion and hunting<br />
down strategic partnerships.<br />
Lisa Edwards has worked<br />
for nearly 20 years across<br />
both children’s and adult<br />
publishing. While publishing<br />
and commercial director<br />
at Scholastic UK, she headed the<br />
publishing and licensing activity around<br />
Horrible Histories, Tom Gates and The<br />
Hunger Games. She is currently interim<br />
publishing director at Templar Publishing,<br />
and a consultant in brand management,<br />
list strategy and editorial training.<br />
Jo Ellis joined consultancy<br />
The Literary Platform<br />
in 2012. She works with<br />
its clients on business<br />
development and<br />
organisational change, content strategy<br />
and partnership building. Previously she<br />
was marketing director at Faber, where<br />
she played a key role in making it one<br />
of the world’s most vibrant and<br />
forward-thinking publishing companies.<br />
Abi Fenton is audio<br />
editor at HarperCollins. A<br />
Bookseller Rising Star in<br />
2015, Abi works closely<br />
with authors to produce<br />
audiobooks across HarperCollins’<br />
fiction and non-fiction lists, as well as<br />
helping to shape HarperAudio’s strategy.<br />
HarperAudio seeks out the best narration<br />
and production talent to match its list<br />
of authors in order to create innovative,<br />
award-winning audio content.<br />
Richard Fisher stepped<br />
down as managing director<br />
of academic publishing at<br />
CUP at the end of 2014,<br />
and currently works in a<br />
non-executive capacity for a number of<br />
publishing organisations. In January 2015,<br />
he became the academic correspondent<br />
of the Independent Publishers Guild.<br />
As an author, he writes about the history<br />
of sport.<br />
27<br />
Molly Flatt is a tech and<br />
culture journalist and<br />
consultant who specialises<br />
in the intersection between<br />
the digital and the real in<br />
business, publishing and culture. She<br />
writes regularly for the likes of the BBC,<br />
the Guardian and The Bookseller, and<br />
has eight years’ experience of training<br />
companies such as Skype, Adobe and<br />
GoPro on how to be social without being<br />
a drone.<br />
Overleaf there are many more<br />
speakers who will be taking to<br />
the stage at Europe’s largest<br />
digital publishing conference<br />
on 4th December<br />
)
speakers: who’s who<br />
Jane Friedman is the<br />
co-founder and c.e.o. of<br />
Open Road Integrated<br />
Media, a digital publisher<br />
and multimedia content<br />
company. She was previously president<br />
and c.e.o. of HarperCollins and executive<br />
vice-president at Random House and<br />
Knopf Publishing Group. She has been<br />
named as one of Fortune magazine’s Most<br />
Powerful Women Entrepreneurs.<br />
Anna Gerber and Britt<br />
Iverson co-founded<br />
Visual Editions, a list<br />
that focuses on books<br />
as cultural objects,<br />
building digital literary<br />
landscapes and creating events that are<br />
all, in some way, about making<br />
great-looking stories.<br />
Tom Hall is editorial director<br />
at Lonely Planet. He is<br />
a contributor to dozens<br />
of Lonely Planet titles,<br />
including its annual Best<br />
in Travel publication and Lonely Planet<br />
Traveller magazine. He also writes for<br />
the Guardian and Independent and is a<br />
regular commentator covering travel on<br />
CNN, BBC News, Sky News and many other<br />
broadcasters globally.<br />
Jo Henry leads the Nielsen<br />
Book Research (NBR) service,<br />
which it recently acquired<br />
from Bowker. NBR monitors<br />
the US and UK book markets<br />
through Books & Consumers, the premier<br />
resource for understanding book<br />
consumers and their buying behaviour.<br />
Laurence Howell has<br />
been director of content<br />
at Audible since July 2011,<br />
with responsibility for<br />
merchandising, production<br />
and editorial content. He has been<br />
passionately involved in all areas of the<br />
audiobook and book industry during<br />
his career, which has encompassed key<br />
positions at Waterstones, W H Smith,<br />
Book Club Associates and Amazon.<br />
Anna Jean Hughes has<br />
worked in publishing for<br />
more than a decade. There<br />
was a brief fling with the<br />
Erotic Review, a minor<br />
assignation with Condé Nast, and a<br />
long and complicated relationship with<br />
Random House. She then set up digital<br />
publisher The Pigeonhole—even though<br />
she is actually rather disgusted by<br />
pigeons—and was named a Bookseller<br />
Rising Star in 2015.<br />
Alison Jones is a business<br />
and executive coach,<br />
content consultant and<br />
publisher. After a 23-year<br />
career in trade and scholarly<br />
publishing, she set up Alison Jones<br />
Business Services and the Practical<br />
Inspiration Publishing imprint in 2014.<br />
She is a publishing partner for businesses<br />
and organisations and provides coaching,<br />
consultancy and training services to a<br />
number of publishers.<br />
Susan Jurevics is the<br />
chief executive officer of<br />
Pottermore, the awardwinning<br />
digital commerce<br />
and community experience<br />
built around J K Rowling’s Harry Potter<br />
stories. Before Pottermore, Susan worked<br />
for the Sony Corporation of America,<br />
where she pioneered its cross-company,<br />
entertainment marketing function.<br />
Suzanne Kavanagh has<br />
overall responsibility for<br />
the Association of Learned<br />
and Professional Society<br />
Publishers (ALPSP) profile,<br />
brand and communications, and<br />
works with its team to drive member<br />
satisfaction and growth. Collaborative<br />
industry-wide initiatives are a particular<br />
passion of Suzanne’s, with Academic<br />
Book Week featuring prominently on her<br />
list of favourite projects.<br />
Dan Kieran is the c.e.o.<br />
and co-founder of<br />
award-winning publishing<br />
platform Unbound. He is<br />
also the author of 10 books,<br />
including The Idle Traveller, and is a<br />
travel writer contributing to the likes<br />
of the Guardian, the Times and Die Zeit<br />
in Germany.<br />
Emily Labram, HarperCollins’<br />
product manager, helps to<br />
turn books into thoughtfully<br />
designed products that<br />
adapt its authors’ content to<br />
meet users’ real needs. Emily managed<br />
and launched an app iteration of<br />
George R R Martin’s Game of Thrones<br />
series, which is shortlisted in the Digital<br />
Book of the Year category at this year’s<br />
Futurebook Awards (see pp30–31).<br />
Sara Lloyd leads Pan<br />
Macmillan’s digital strategy<br />
and associated business<br />
model, channel, workflow<br />
and product innovation,<br />
and as well as the people and skills<br />
changes that accompany this. She<br />
is also responsible for the group’s<br />
communications teams and strategy,<br />
covering marketing, publicity and<br />
corporate communications.<br />
James Luscombe has<br />
worked in digital marketing<br />
for over 10 years; the last<br />
four of which have been<br />
spent at Pan Macmillan,<br />
where he is marketing technology<br />
director. He previously worked for<br />
several digital marketing agencies on<br />
everything from mobile content to web<br />
development, with clients including<br />
Bauer Media, Dennis Publishing, Reckitt<br />
Benckiser and Winkreative.<br />
Hannah MacDonald<br />
launched September<br />
Publishing in 2014.<br />
Its non-fiction imprint<br />
publishes writers, artists,<br />
poets and comedians. The company’s<br />
story is one of economy, small lists,<br />
dedicated teams, active authors and<br />
long-term marketing. Hannah is a novelist<br />
herself and a Betty Trask Award winner.<br />
Sandeep Mahal was director<br />
of The Space, responsible<br />
for encouraging artists<br />
to further their artistic<br />
engagement with digital<br />
technology. A librarian by training,<br />
she has worked in public libraries and<br />
was formerly programme manager for<br />
partnerships at The Reading Agency. A<br />
Bookseller Rising Star in 2012, Sandeep<br />
was awarded a fellowship from the Clore<br />
Cultural Leadership Programme in 2013.<br />
Crystal Mahey-Morgan left<br />
Penguin Random House in<br />
October 2014 to set up Own<br />
It!, a storytelling lifestyle<br />
brand covering books, music,<br />
fashion and film. She is also a director<br />
at Zed Books. She has contributed to the<br />
Guardian and The Face magazine on a<br />
freelance basis and held the position of<br />
marketing manager for the Raindance<br />
Film Festival.<br />
Perminder Mann is<br />
managing director of Kings<br />
Road Publishing, a division<br />
of Bonnier Publishing. She<br />
started her career at Pan<br />
Macmillan and Transworld before working<br />
for international independent publishers.<br />
She spent four years outside the book<br />
business, working in the toy industry, but<br />
was lured back into publishing by her<br />
love of books.<br />
Douglas McCabe is a leading<br />
expert on print and digital<br />
publishing. He analyses<br />
supplier strategies and<br />
forecasts consumption,<br />
revenue and advertising. He is a<br />
former director of online advertising<br />
portal Fish4, and was director of sales<br />
development and market insights at the<br />
HMV Group. Douglas holds a degree from<br />
Stirling University.<br />
Sarah McConville is vicepresident<br />
of marketing for<br />
Harvard Business Review<br />
Group and publisher of<br />
Harvard Business Review<br />
Press. In her role as publisher, Sarah<br />
leads the commercial side, as well as<br />
print and digital product development.<br />
Before joining the company, McConville<br />
was publicity director at MIT Press.<br />
Ian Metcalfe is director<br />
of publishing at Hodder<br />
Faith, managing<br />
departments, building<br />
key author relationships<br />
and ensuring the NIV Bible remains<br />
the leading translation in the UK. Ian<br />
has vast experience publishing Bibles<br />
and Christian titles, including across<br />
reference, music and liturgy. Prior to this,<br />
he was editorial director of Collins Bibles.<br />
28
SPEAKERS: WHO’S WHO<br />
Peter Meyers is a content<br />
strategist and reader<br />
advocate. He has advised<br />
many companies on digital<br />
content strategies, including<br />
HarperCollins and Penguin. Author of<br />
Breaking the Page: Transforming Books &<br />
the Reading Experience, he is a frequent<br />
contributor to the New York Times, the<br />
Wall Street Journal, Wired, Salon and the<br />
Village Voice.<br />
Richard Mollet is chief<br />
executive of the UK<br />
Publishers Association. He<br />
is responsible for leading<br />
political engagement<br />
with government and parliament at a<br />
national and EU level, and representing<br />
the publishing sector in the media. He is<br />
also tasked with co-ordinating the work<br />
of the PA in its main areas of activity,,<br />
including promoting reading for pleasure,<br />
workforce development and anti-piracy.<br />
Georgina Moore is<br />
communications director for<br />
Headline and Tinder Press,<br />
and runs the press office at<br />
Headline. She won the 2015<br />
PPC Award for Second Edition Paperback<br />
for her campaign for The Lemon Grove<br />
by Helen Walsh, and was also highly<br />
commended for the same campaign in<br />
The Bookseller Industry Awards’ Publicity<br />
Campaign of the Year category in 2015.<br />
Stephen Page’s career<br />
began in bookselling. In<br />
1994 he joined Fourth<br />
Estate, and became<br />
managing director in 2000.<br />
In 2001 he joined Faber & Faber as chief<br />
executive officer. He is interested in the<br />
issue of independence in the industry<br />
and the effects of technology on libraries,<br />
authors and publishing. In 2012 he was<br />
named as <strong>FutureBook</strong>’s Most Inspiring<br />
Digital Publishing Person.<br />
Anna Rafferty oversees<br />
the creation of product<br />
and content for Pottermore<br />
on its digital and physical<br />
platforms, overseeing<br />
creative, product, editorial and<br />
technology teams. Previously, she was<br />
m.d., digital at Penguin Books. Anna is on<br />
the BAFTA Children’s and Young Games<br />
Designer Steering Committees and is a<br />
Fellow of the Royal Society of Arts.<br />
Caroline Raphael is editorial<br />
director of audio at Penguin<br />
Random House UK. She<br />
is a former BBC Radio 4<br />
commissioning editor. She<br />
now leads a team of audio experts in<br />
shaping Penguin Random House UK’s<br />
ambitious audio growth strategy; and<br />
working with authors, performance and<br />
production talent to commission and<br />
publish tomorrow’s bestsellers.<br />
Samantha Rayner is the<br />
principal investigator on the<br />
Arts & Humanities Research<br />
Council/British Library<br />
Academic Book of the Future<br />
Project, as well as chair of the Association<br />
for Publishing Education. She is the<br />
director for the Centre for Publishing<br />
at UCL, having previously worked as a<br />
bookseller, teacher and research and<br />
development manager.<br />
Charlie Redmayne is<br />
c.e.o. of HarperCollins<br />
UK, overseeing all areas<br />
of the business—both<br />
publishing and operational—<br />
and is responsible for defining<br />
and implementing the strategy for<br />
HarperCollins UK. In 2015 he led the UK<br />
business during unprecedented global<br />
expansion for HarperCollins Publishers.<br />
Simon Scarrow is one of<br />
the UK’s leading historical<br />
fiction authors. His Eagles<br />
series first hit bookshops in<br />
2000 and Simon continues<br />
to write one new adult Roman novel<br />
each year. Simon has many other literary<br />
projects in hand, and his Roman soldier<br />
heroes were transformed into a Brothers<br />
in Blood gaming app.<br />
Maureen Scott is the<br />
c.e.o. of social commerce<br />
publishing platform Ether<br />
Books. Her career is defined<br />
by mobile; Maureen ran one<br />
of the world’s first mobile developer<br />
programmes for Silicon Valley mobile<br />
pioneer Openwave and, as such, has<br />
a deep understanding of the global<br />
mobile landscape and the technology<br />
that is driving consumer behaviour<br />
on smartphones.<br />
Mark Searle is a publisher<br />
for Quintet and RotoVision,<br />
two coedition publishing<br />
divisions of The Quarto<br />
Group. In 2015 Mark<br />
co-founded This is Your Cookbook, an<br />
innovative new personalised cookbook<br />
business using Quarto assets.<br />
Asi Sharabi is the<br />
co-founder of Lost My Name.<br />
He started the company<br />
as a DIY project with some<br />
friends, yet it changed from<br />
being a labour of love into a funded<br />
tech and storytelling start-up with<br />
the ambition of making millions of<br />
children around the world curious,<br />
clever and kind.<br />
Kiren Shoman is executive<br />
director of editorial at SAGE,<br />
where she has worked since<br />
1995. Kiren has played an<br />
instrumental role in building<br />
both traditional and digital platforms<br />
for content dissemination. As strategic<br />
lead for SAGE’s book market, Kiren is<br />
instrumental in new product innovations<br />
within print and digital publishing, and<br />
content development within emerging<br />
digital streams.<br />
Kieron Smith, digital<br />
director at Blackwell’s, is<br />
a professional bookseller<br />
with more than 19 years’<br />
trade experience, most of<br />
which is in the online sphere. Kieron<br />
has worked for W H Smith, Ottakar’s<br />
and Bertelsmann, and spent three years<br />
outside the publishing industry running<br />
GAME.co.uk.<br />
Lara Speicher is publishing<br />
manager of the recently<br />
re-established UCL<br />
Press, an Open Access<br />
publisher issuing scholarly<br />
monographs, textbooks, edited<br />
collections, books about UCL’s museums<br />
and collections, academic journals and<br />
journals for students in both digital and<br />
print forms. Prior to joining UCL in 2013,<br />
Lara worked as commissioning editor at<br />
British Library Publishing.<br />
Morten Strunge is c.e.o.<br />
and founder of e-book and<br />
audiobook subscription<br />
service Mofibo. Mofibo is<br />
a pay-per-book model to<br />
the publisher but a flat-rate monthly<br />
subscription service to its users. The<br />
company attracts 15,000 new users per<br />
month and looks to attract new<br />
readers by partnering with media and<br />
telecoms outfits.<br />
Hannah Telfer is group<br />
director, consumer and<br />
digital development<br />
at Penguin Random<br />
House, responsible for<br />
consumer insight, group marketing,<br />
audience development, digital product<br />
development and the group’s audio<br />
business, and works closely with<br />
Penguin Random House’s publishing and<br />
marketing teams.<br />
Annette Thomas was<br />
appointed chief scientific<br />
officer of Springer Nature<br />
in May 2015, following the<br />
merger between the majority<br />
of Macmillan Science & Education and<br />
Springer Science+Business Media.<br />
Previously she was c.e.o. of Macmillan<br />
Science & Education, responsible for its<br />
global portfolio of science, scholarly and<br />
education business.<br />
29<br />
Tom Whitwell is a senior<br />
consultant at Londonbased<br />
innovation agency<br />
Fluxx. He works with global<br />
companies—from banks to<br />
comics, from insurance groups to startups—<br />
to help them grow and launch new<br />
products. Before working at Fluxx, he was<br />
head of digital for the Times, introducing<br />
its groundbreaking paywall model and<br />
hugely popular iPad app.<br />
Julia Wilde is the director of<br />
business development and<br />
marketing for Agatha Christie<br />
Limited (ACL). Primarily<br />
her role encompasses the<br />
exploitation of all of Christie’s books,<br />
short stories and plays across publishing,<br />
digital production, merchandise and live<br />
events, as well as leading on brand and<br />
digital strategy. Prior to her appointment<br />
at ACL, Julia ran the digital and marketing<br />
team at Four Colman Getty.
THE FUTUREBOOK<br />
AWARDS SHORTLISTS<br />
Celebrating<br />
excellence<br />
The <strong>FutureBook</strong> Awards recognise the publishers and initiatives<br />
that are pushing the envelope when it comes to innovation.<br />
Philip Jones summarises this year’s shortlistees<br />
1<br />
3<br />
4<br />
2<br />
Eight book tech companies, 15<br />
digital books, 10 marketing/publicity<br />
campaigns, seven platforms and<br />
15 individuals from within the book business<br />
will go head to head for the coveted<br />
<strong>FutureBook</strong> Awards. The shortlists display<br />
excellence and innovation, with the winners<br />
announced at the end of the <strong>FutureBook</strong><br />
Conference on 4th December.<br />
Pottermore c.e.o. Susan Jurevics and<br />
Quarto c.e.o. Marcus Leaver 1 have been nominated<br />
in the Digital Leader category alongside<br />
Penguin Random House’s Hannah Telfer;<br />
Whitefox founder John Bond; Angela Tribelli,<br />
HarperCollins chief marketing officer; and<br />
Asi Sharabi, founder of Lost My Name.<br />
A new award that recognises digital<br />
achievers within the business shortlists<br />
Anna Jean Hughes, co-founder and editorial<br />
director of The Pigeonhole; Crystal Mahey-<br />
Morgan, founder of OwnIt!; Matt Haslum,<br />
consumer marketing director, Faber; Anna<br />
Lewis, founder, Valobox; David Eagle, digital<br />
services and IT manager at NBN International;<br />
Laura Cremer 2 , digital manager,<br />
Octopus; Emily Labram, product manager,<br />
HarperCollins; Emma Barnes, founder/c.e.o.<br />
of Bibliocloud; and George Burgess, founder<br />
and c.e.o. of Gojimo.<br />
30<br />
MARKET FORCES<br />
Campaigns shortlisted in the Marketing/<br />
Publicity category include HarperCollins<br />
for Scrabble Week, a social media push used<br />
to promote its Scrabble titles; Canongate’s<br />
promotion for Nick Cave’s title The Sick Bag<br />
Song; and Bloomsbury’s Harry Potter Book<br />
Night 3 initiative.<br />
In the Platform of the Year category PRH’s<br />
PelicanBooks.com will slug it out with sister<br />
company DKfindout!; as well as FaberMembers.com;<br />
writers’ platform MacGuffin;<br />
Quarto’s personalised cookbook site This Is<br />
Your Cookbook; the Oxford Learner’s Bookshelf<br />
4 ; and the offline initiative HarperCollins<br />
BookLab at the Seaport Culture District.<br />
In the best digital books categories<br />
Hachette, Nosy Crow and Blink Publishing—<br />
with apps for screen personalities Professor<br />
Green and Alfie Deyes 5 —make up the rump<br />
of the shortlists, with Faber’s Arcadia app 6<br />
and HarperCollins’ A Game of Thrones also<br />
listed, alongside Complex Books’ SESAME<br />
Recipe Manager 7 .<br />
In the separate BookTech category eight<br />
companies have been shortlisted, including<br />
familiar names such as Gojimo and Reedsy,<br />
alongside more nascent innovations from<br />
Oolipo, Ooovre and Shulph (see p12).<br />
LISTEN UP!<br />
Audiobooks are also to be included in the<br />
<strong>FutureBook</strong> Awards for the first time. The<br />
audio awards, run in association<br />
with audiobook business<br />
Audible, recognise the growing<br />
importance of audio in publishers’<br />
businesses, as well as their<br />
transition to the digital format.<br />
Three awards will be handed out,<br />
for Best Frontlist Fiction Audiobook;<br />
Best Frontlist Non-Fiction<br />
Audiobook, and Best Backlist<br />
Audiobook. Shortlists include<br />
Audible’s own new dramatisation<br />
of Rudyard Kipling’s The<br />
Jungle Book: The Mowgli Stories,<br />
Pan Macmillan’s Poldark, as told<br />
by Oliver Hembrough, and Hodder’s The<br />
Churchill Factor, written by Boris Johnson<br />
and narrated by Simon Shepherd.<br />
Overall, the shortlists reflect the sector:<br />
imaginative, bold and, at times, ingenious.<br />
The pleasure this year has been scratching<br />
beneath the surface of digital publishing, and<br />
uncovering a hive of activity that underlines<br />
just how this business is changed and changing<br />
from root to branch. ×<br />
Judges for the <strong>FutureBook</strong> Awards<br />
include author Peter Meyers;<br />
Sandeep Mahal, former director of<br />
The Space; Lisa Edwards, consultant<br />
at Redwood Tree Publishing; and<br />
journalist and apps specialist<br />
Stuart Dredge.<br />
The eight BookTech finalists will<br />
take part in a live pitch-off at the<br />
<strong>FutureBook</strong> Conference in front of<br />
a panel of three judges. For more<br />
information about the award’s<br />
shortlistees, see p12.<br />
7<br />
6<br />
5
THE FUTUREBOOK<br />
AWARDS SHORTLISTS<br />
Best Adult Digital Book Best Children’s Digital Book Best Reference Digital Book<br />
A Game of Thrones: Get into the Books<br />
HarperCollins<br />
Arcadia by Iain Pears<br />
Faber & Faber/Touchpress<br />
Calmeleon iPad and iPhone app<br />
Octopus/Papertrell<br />
The Pointless Book 2 app<br />
Blink Publishing<br />
LUCKY—Professor Green<br />
Blink Publishing<br />
Snow White<br />
Nosy Crow<br />
Clunk in Space—Oxford Read and Imagine Level 1<br />
OUP<br />
Good Night Books<br />
YUDU<br />
Tate Kids Draw and Play<br />
Tate Publishing/Aimer Media<br />
Axel Scheffler’s Flip Flap Jungle<br />
Nosy Crow<br />
Ella’s Kitchen First Foods iPad app<br />
Octopus/Papertrell<br />
Think Like Churchill<br />
Hodder & Stoughton/Touchpress<br />
Essentials of Nursing Practice<br />
SAGE<br />
SESAME Recipe Manager<br />
Complex Books<br />
In the Shadow of Things<br />
VIKA Books<br />
Digital Achiever<br />
of the Year<br />
sponsored by<br />
The Frankfurt Book Fair<br />
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