PW FrankSup Digitalspotlight

FRANKFURT BOOK FAIR 2016
The DIGITAL SPOTLIGHT
An in-depth look at everything digital at the fair

OCTOBER 2016
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OCTOBER 2016
Life After E-books

E-books are no longer the hot topic at the Frankfurt Book Fair, but digital is
BY ANDREW RICHARD ALBANESE
n the eve of the

2009 Frankfurt
Book Fair, the rise
of the e-book was
understandably on
publishers minds. In a
survey of 1,000 industry
professionals released just
before the 2009 fair, 50%
said they expected digital
to overtake print by 2018.
And, for a few years after,
with e-books posting gaudy growth rates, it seemed
that a digital tipping point
for publishers might come
even sooner than 2018.
But not so fast.
As the 2016 Frankfurt
Book Fair opens, traditional
publishers e-book sales are
small and growing only
modestly in Europe and
Asia, and are actually in
decline in the U.S. Print,
on the other hand, has stabilized and even ticked up
slightly. To put it mildly,
the years since that 2009
survey have been eventful.
In 2010, the iPad ushered
in the tablet age, in which
powerful new multimedia devices (including more powerful phones)
have opened a world of possibility. And with the iPad, of course, came
the agency model for selling e-books, and fallout from price-fixing
charges in the U.S.
In a year-opening piece in PW, I asked HarperCollins chief digital
officer Chantal Restivo-Alessi about how the digital landscape had
evolved since 2009. Originally, it was much more about product,
but now that is a given, she said. Today it is more about how many
options we can create for consumers, and how many potential revenue
streams we can create for our authors. A month later, at the Future!publish event, held in late January in Berlin, Restivo-Alessi elabo-
rated further. Digital does

not only mean product,
she told attendees. There
is still plenty of innovation
and improvement that can
be achieved thanks to digital across many publishing
activities.
Restivo-Alessis observations at the beginning of
the year perfectly describe
where the book business is.
E-book sales among traditional publishers may not
be showing the kind of
growth predicted at the
turn of the decade. But no
one would dispute that
publishing in 2016 is a
digital business. The
e-book, it turns out, is just
one part of an ever-widening digital conversation
that spans formats, media,
languages, and borders.
Books remain at the core of
the Frankfurt Book Fair,
but whatever the topic
from metadata to mobile
technology; whether film,
games, TV, or fine arts;
whether text on a page or
screen; artificial intelligence or augmented and virtual realityif
it involves how people connect, and how people tell stories, it is part
of the conversation at the Frankfurt Book Fair.
The Business Club

Now in its third year, the Frankfurt Business Club is hitting its
stride. Offering fairgoers a premium experience, the club features
access to a program of exclusive events, and a comfortable place to
conduct business, especially vital for attendeesincluding in recent
years a number of digital startupswho want to explore opportunities with publishers but dont need a booth on the show floor.
OCTOBER 2016
Publishing Perspectives Stage
Bonnier Books CEO Jacob Dalborg
Among the highlights of the Business Club program in 2016, the

CEO series will feature Jacob Dalborg, CEO of Bonnier Books
(Wednesday, October 19, 23 p.m., Hall 4.2, Room Dimension).
Moderated by international consultant Rdiger Wischenbart, Dalborg will be interviewed by the editors of the leading international
industry magazines, in the context of the 2016 Global Ranking of
the Publishing Industry.
The CEO series continues the following day with Massimo Turchetta, CEO of Italian publisher Rizzoli Libri Trade, and Claude de
Saint Vincent, CEO of French firm Mdia Participations (Thursday,
October 20, 23 p.m., Hall 4.0, on the Business Club Stage.)
Also on Thursday, October 20, the Copyright Clearance Center
will host an illuminating town hall event, including discussions on
open access (9:45 a.m.noon, Hall 4C, Room Concorde), followed
by a conversation with CCC CEO Tracey Armstrong, and closing
with a lunch reception.
Hot Spots
Once again, the Frankfurt Book Fair will feature four Hot Spots.
Billed as plug & play multimedia stands, exclusive meeting areas,
and live presentation platforms, the Frankfurt Hot Spots are nodes
of innovation, with presenters ranging from tech specialists and
platform providers to marketers and other digital specialists.
Each of the four Hot Spots focuses on one industry sector of emerging innovation: Hot Spot Digital Innovation (Hall 6.2) features
innovative technology and service providers offering demos and
new solutions for the future of digital publishing; Hot Spot Education (Hall 4.2) brings together buyers and suppliers from the fields
of innovative teaching, learning aids, games, digital whiteboards,
and e-learning solutions; Hot Spot Professional & Scientific Information (also in Hall 4.2) features content and service providers
in the fields of specialist information, academic resources, and libraries; and Hot Spot Publishing Services (Hall 4.0) offers a place for
print and digital service providers to meet and collaborate on innovative solutions in all phases of content production and distribution.
There is a full schedule of events set for the Hot Spots; check the
Frankfurt Book Fair website for a complete schedule of presenters.
www.publishersweekly.com
Its back by popular demand! After a one-year hiatus, the Publishing

Perspectives Stage returns. After losing its home in Hall 8.0, the
stage will now be located in Hall 6.0 E11, once again offering a
diverse, full calendar of quick, informative 30-minute talks October
1922, free to all attendees, and right in the middle of the action.
Its a great slate of topics and a whos who of international speakers, featuring (to name a few) Naina Bajekal, senior editor, Newsweek Europe; the bestselling Italian author Gianrico Carofiglio;
Andy Hunter, publisher and COO of Catapult (U.S.); Kris Kliemann, global rights expert; Fiona McCrae, publisher, Graywolf
Press; Richard Mollet, head of European government affairs, RELX
Group; George Walkley, head of digital, Hachette U.K.; and Gaby
Wood, literary director, Man Booker Prize.
Among the highlights: International Publishers Association president
and former Bloomsbury executive director Richard Charkin will talk
about the freedom to publish (Wednesday, October 19, 10:3011 a.m.).
Following Charkins talk on Wednesday, Deep Vellums Will Evans will take the stage for a panel discussion on New Concepts of
Storytelling Across Media and his new cross-media venture, Cinestate; Evans will be joined by Ryan David Mullins, chief product
officer at the startup multimedia storytelling platform Oolipo, and
Caroline Beggan, content manager at streaming service Storytel.
From 3 to 3:30 p.m. on Thursday,
October 20, dont miss your chance
to hear Nujeen Mustafa, author of
Nujeen: One Girls Incredible Journey
from War-Torn Syria in a Wheelchair,
tell her story and talk about how she
brought it to the world (Mustafa will
also appear earlier that afternoon on
the Agoras Open Stage).
And, with self-publishing continuing to surge around the world, with
implications for publishers and Nujeen Mustafa, author of
Nujeen: One Girls Incrediauthors of all stripes, on Saturday,
ble Journey from War-Torn
October 22, the editor-in-chief of
Syria in a Wheelchair
Publishing Perspectives will talk
with Orna Ross, the Irish author and founder of the Alliance for
Independent Authors, who will offer an overview of the self-publishing landscape in 2016.
The Place to Be
As always, check the Frankfurt Book Fair website for any last-minute changes. And remember, too, that some of the best discussions
are the discussions that happen in the corridors of the fair. Why not
add a little extra time between meetings to walk the floor? You
never know whom you will meet. If youre in Frankfurt, youre in
the right place to gain valuable insightwhether from a stage or
in a chance meeting in the exhibit hall.
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Open Access and the
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Thursday, 20 October
Hall 4.C, Room Concorde
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Learn more at
copyright.com/frankfurt
OCTOBER 2016
Translation Publisher Launches New Cross -M

PW talks with Deep Vellums Will Evans about his new joint venture, Cinestate
BY ED NAWOTKA
hree years ago, Will Evans made a name for himself and put
Dallas on the international publishing map when he
launched Deep Vellum Books. The publisher, which specializes in literary translation, has put out more than 20
titles in this short time, with another 15 forthcoming, and
has garnered numerous awards and accoladesincluding having a
title nominated for the prestigious Man Booker International Prize.
Now, Evansand his famous mustacheis back at the Frankfurt
Book Fair, with Cinestate, a new cross-media venture that is looking
to acquire rights to stories for literary translation and also to works
that will appeal to a mass audience in multiple media, including
print, digital, audiobooks, and film.
It seems only fitting that Evans should launch his new venture at
the 2016 Frankfurt Book Fair. Over the years, the fair, through its
programming and conference, has sought to bring in stakeholders
across the media spectrum. We caught up with Evans to get a preview of the project.
Tell us a little bit about the concept

behind Cinestate and how the venture got
started?
Earlier this year, some friends who own a great indie movie theater
here in Dallas introduced me to Dallas Sonnier, a film producer
whod grown up in town and whod just moved back after 15-plus
years working in the film industry in Los Angeles. Dallas had just
finished the awesome and marvelously gory horror western Bone
Tomahawk, with Kurt Russell and Matthew Fox. And with that
project, hed realized that he could make the movies he wanted
outside of Los Angeles. Our friends thought we should know each
other because we were in different, but complementary, industries
doing cool stuff, and both had similar ideas to do something beyond
the usual film or book projects.
So, your friends were right?

Yes, Dallas and I hit it off immediately. We were completely simpatico in our love of great storytelling: hes a film producer who also
loves audiobooks and podcasts; Im a book publisher who also loves
film and narrative audio. Very quickly we realized that we were the
missing pieces in each others visions to do something different in
our respective industries, to bridge the divide between publishing
and film, and to build off of our experiences in a way that would
close the gap that has always existed between books and film. So we
started Cinestate as a way to take the most engaging stories from
visionary creators and to connect them with audiences who are
hungry for bold, authentic entertainment anywhere and everywhere
they can get itin film, book, and audio formats.
How will Cinestate set out to do that?

Our goal is to sign books that we will publish and adapt ourselves
into a film or series, as well as audiobooks and radio play narrative
audio features. Likewise, well be signing original film scripts that
we will produce ourselves, but we will also use multiple media
channels to build audiences for stories before we produce them,
through adaptations into books and audiostates, a term of our own
invention that refers to our way of producing Hollywood-quality
narrative audio experiences out of unproduced film scripts. Its a
different kind of venture for sure, and certainly a different approach
from how things have traditionally been done in New York and Los
Angeles.
How does your work at Deep Vellum

inform what you are doing now?
I founded Deep Vellum because I saw a problem with the tragically
low number of translations published in English every year and I
wanted to do something about it, to call attention to all of the
amazing books coming out around the world that we were missing
out on, because I knew readers like me were hungry for these stories.
OCTOBER 2016
ss -Media Company
That gap in the market allowed Deep Vellum to establish an impressive list of authors and books in a short amount of time that have
gone on to enjoy great success in the literary market in English, with
Deep Vellum titles nominated for the Man Booker International
Prize, the PEN Translation Prize, the Dublin International Prize,
the Etisalat Prize, among others.
And I see a similar gap in the publishing marketplace for an
original style of writing, especially from creators of nonwhite/nonmale backgrounds working across all genres, that we hope to address
through Cinestate, specifically by seeking to produce work by authors of color, women, LGBTQ, international writers, and even
those who already have a presence in the industry but who have wild
story ideas to share that arent being given the chance to be heard at
the traditional publishing houses for whatever reason. Were independent, flexible, brave, and eager, and were looking for authors
whose talents and ideas are a fit for our passion and vision.
So how does Cinestate break from or

improve on the existing publishing and
film models?
A great question, and one that will be best answered several years
down the line, when we have a more established publishing program
with multiple book-to-film adaptations behind us. Then we can
truly talk about how were changing or improving upon the industries that we are working within.
For now, were not trying to be presumptuous about breaking the
mold of the massive publishing and film industries, as much as we
are simply expressing our mutual surprise that more publishers and
film producers havent really teamed up in this way before. We think
this is a unique opportunity to get awesome books made into awesome movies, and vice versa. So in that way I guess we are working
to improve upon the industries we come from. We have great respect
for publishing and film as the massive global industries they are.
But, being based in Dallas, I think were also freed up to think a
little differently about ways we can be more efficient in our approach
to the creation and distribution of entertainment, based off the best
practicesand none of the worst practicesof New York and Hollywood, but also Frankfurt, London, Mumbai, Tokyo, Stockholm,
Dubai, wherever great stories are found. So, we will build off of what
has been done, but we want to establish and maintain an approach
that is open-minded and flexible in our drive to get the best story
experiences in front of audiences across the world.
What types of content do you think is

best suited to the Cinestate model?
With Cinestate, Dallas and I see an interesting opportunity to identify stories that are falling through the cracks in the New York and
Hollywood establishmentsstories that are nothing like whats

being done, by creators who are visionary and ahead of their time in
their stylistic approach as much as their left-of-center storytelling,
uncompromising artistic vision, creators who are far ahead of current
audience expectations, future cult classics.
So, I guess Id say that I want the kind of stories that I could
never expect to see coming, neither as an editor nor as a reader. Thats
the type of storytelling that makes Dallas and me both so excited,
and finding and identifying those stories fills me with the same
passion that drove me to start Deep Vellum from day one. And its
incredible to find a partner from an entirely different medium who
is driven by the same hunger to seek out and separate the truly
original projects from of all the noise and chaff out there.
Have you signed any projects yet?

Were planning to launch our first publishing list in fall 2017, to
be distributed by Consortium Book Sales & Distribution, which is
now part of the Ingram Content Group, with a slate of authors who
fit our vision, including S. Craig Zahler, writer and director of Bone
Tomahawk and Brawl in Cell Block 99, our first Cinestate movie.
Zahler perfectly embodies everything were trying to do at Cinestate: hes a prolific author, a successful screenwriter, and exceptional film director. Dallas worked with him before Cinestate, and weve
brought him in to be the model of a Cinestate creator, a creator we
trust implicitly, a true visionary we believe in, and with whom we
can work on multiple projects across mediums. Well also publish
a crazy good new novel of his, and will announce the rest of our
debut slate of authors in early 2017after we get home from Frankfurt with a world of ideas in our heads.
Speaking ofwhy launch at the Frankfurt

Book Fair?
We chose to launch Cinestate at the Frankfurt Book Fair, rather than
in New York or Los Angeles, because we believe that the fair is the
most important creative content gathering in the world and we want
the worlds best stories to share with the entire world. We founded
Cinestate to collaborate and compete throughout the entire world,
and the entire world is represented here in Frankfurt.
So what are your plans here at the fair?

At the fair itself this year, we are introducing Cinestate to the world,
including international literary agents and publishers and creatives,
as well as looking for the right kind of projects to take home and
put in motion. At the same time, we are seeking partners and collaboratorsiMedia producers and tech companies, for example
who we can work with to drive innovation in film, books, and audio
to help us to reach the global audience of the future.
FOR A BETTER
NIGHTS SLEEP,
DONT COUNT THESE.

TALK TO US.
SEE US AT THE FRANKFURT
BOOK FAIR HALL 6.2 BOOTH A97
OR VISIT CODEMANTRA.COM
OCTOBER 2016
Using Mobile Technology to Create

New Stories
Oolipo is one of the innovative startups launching at this years fair
umans tell stories. Thats just what we do. It is a fundamental

part of who and what we are. Some write books or make films,
while others tell stories in their everyday lives through videos,
Snapchat, Facebook Live, and texts. About two billion people
have supercomputers in their pocketsand these devices are
now the most widely used tools for both reading and creating stories.
It is in this context that we saw an opportunity to develop Oolipo,
a storytelling platform that uses native mobile technology to shape
the way users engage with stories. With Oolipo, storytellers of all
types can create and publish a new story in a series of eight to 10
episodes. Episodes are five to eight minutes, so that they can be
consumed on the go, with each including video, audio, pictures, text,
GPS, messaging, and other features. This is definitively not the
print under glass experience. And for millennials, who are fast
becoming the largest consumer group, this is crucial. Until now, the
procedure for adapting videoor e-books and textis to take the
existing format and convert it for mobile use, often losing design
features, functionality, or practicality on the way. We believe, how-
ever, that the features that already exist RYAN DAVID MULLINS
on a smartphone can unlock the magic
of storytelling: GPS, 4K video, 12-megapixel camera, billions of
sensors, access to the Internet, a communications platform, touchscreen interaction, keyboard, picture editing tools, maps, music.
According to a recent Nielsen Global Survey, millennials value,
even demand, connectivity, convenience, and options that allow
them to be in control. And with Oolipo, we aim to deliver just
that: a platform to tell stories that are optimized for the capabilities
of the phone.
As publishers grapple with the future of digital publishing and
mobile reading, it is important that they embrace the capabilities
of the technology before them. And Oolipo seeks to provide
creatorswhether writers, filmmakers, or gamerswith the capa
bility to do just that.
Ryan David Mullins is chief product officer at Oolipo. Oolipos presentation is on
Thursday, October 20, 55:30 p.m., at the Publishing Perspectives Stage, Hall
6.0, E11, followed by a launch party, 5:306:30 p.m.
Telling Small Stories

Books in Browsers VII, on November 3 and 4 in San Francisco,
will examine the powerful new tools we use to tell our stories
he most important media company in the world has never

published a book and never produced a movie. Its users share
mostly pictures. Even publishers such as CNN and Vogue are
limited to short videos. And almost all of the content disappears after 24 hours. Yet Snapchat currently has more than
60 million daily users in North America and over 150 million worldwide. Its planned IPO in 2017 is expected to bring in over $25 billion.
In contrast, after a decade of delivering e-books in the ePub format from the International Digital Publishing Forum (IDPF), large
trade publishers in the U.S. and Europe remain on track to have
their key product reduced to a niche market. E-books remain stagnant words on digital paper, priced at a level higher than any other
digital culture. Want an album of music? $9.99 with no digital
rights management, or you can stream it for a pittance. Rent a feature-length film? $3.99 tops. But license an e-book that you cant
even give to a friend? That will be $12.99, please.
For six years, first with OReilly Media and now with the Frankfurt
Book Fair, Ive helped produce the Books in Browsers conference in
San Francisco. Its purpose was to showcase how the Web could enable
new forms of interaction with e-books. The denouement of that phase
came in 2014, when the IDPF digital book standards organization
stood onstage with the Web standards body, the W3C, to announce
that the next-generation e-book standard would fully embrace the
10
open Web. Today, a formal merger of the

IDPF into the W3C stands before its
PETER BRANTLEY
membership for ratification.
And yet publishing still has little in the marketplace to demonstrate its own investment in Web standards. And Storytelling has
moved beyond books. Using images, video, and fragments of text,
everyday users as well as artists, historians, poets, and filmmakers
are creating millions of experiences that inform, entertain, and
speculate. All over the globe, mobile users are producing and sharing videos on social platforms, documenting small pieces of our lives
and binding the planet together in a tapestry of pictures and videos.
And, with accessible virtual reality platforms such as Googles Daydream and Sonys PlayStation VR, were in the early stages of creating immersive, lifelike replications of our world.
This passion is why the Frankfurt Book Fair is pivoting Books in
Browsers this year to examine these newer forms of interactive and
visual story building. Our program, Telling Small Stories, will
explore the rich and exciting diversity of our image-centric world
and the tools creators are using to tell stories. This is the edge of the
future of publishing. We hope you will join us November 3 and 4
at the Gray Area Foundation for the Arts in San Francisco.
To learn more or to register, visit the BiB website (www.booksin
browsers.org).
OCTOBER 2016
Mission Driven
PW talks with SAGE Publishing founder Sara Miller McCune
n an age of disruption and consolidation, SAGE Publishing has

remained a highly respected, stalwart independent publisher in
the social sciences by focusing on the needs of its customers and
authors, rather than those of its shareholders. And its going to
stay that way. We recently caught up with SAGE founder and
executive chairwoman Sara Miller McCune to talk about the companys independent rootsand its future.
In 1965, you struck out on your own and launched SAGE. Tell
us a little about the market then, and why you started the
company?
I founded SAGE just one month before my 24th birthday because
I wanted to improve the publishing industry and change the direction it was heading in. At the time, the industry was experiencing
a wave of merger mania, which was creating problems for authors
who were used to having personal relationships with their publishers. It was a bold step that quickly grew into a mission. My decision
to start the company was also influenced by my personal lifeI was
a self-confident young woman who wanted a career, something that
wasnt as common in the 1960s. My family provided me a successful
model of entrepreneurship, and I was encouraged by my mentor,
George D. McCune, who later became my husband. George and I
made early decisions about the company as a two-person team, often
in our breakfast nook. In fact, many people still dont know that
SAGE is a combination of our names: Sara and George.
Founded in 1965, SAGE became an international player just a
few years later. Why did you make such a bold bet on global
expansion?
The decision to set up a SAGE counterpart in London was either
brave or foolhardy, depending on how one looked at it! In 1971, we
had a turnover of less than a million dollars annually, and decided to
use the cash flow to build our first international publishing affiliatean unusual move, to say the least. But Georges motto was that
a turtle only gets ahead by sticking its neck out. So that is what we
did. Today we have principal offices in Southern California, London,
Melbourne, New Delhi, Doordarshan, Singapore, and Washington,
D.C., and we have sales offices in Beijing, Shanghai, Cairo, Tokyo,
Kuala Lumpur, Kolkata, Mumbai, Chennai, Melbourne, Taipei,
Seoul, and Rio de Janeirowith more to come, as needed.
Can you talk a little about your experiences at the Frankfurt
Book Fair?
SAGE has had a presence at Frankfurt Book Fair for some years,
and we find it more and more important for us every year as our
international presence grows. As the academic landscape continues
to adapt and respond to changes in pedagogy, research, and learn-
ing, so too has the fair. While it

retains its traditional focus on
book sales and rights deals, over
the years we have seen more conversations happening around
developing technologies and ser- SARA MILLER MCCUNE
vices, and in recent years we have
seen more conversations happening on the library side, with consortia members and agents now attending more frequently.
From new developments in technology to open access and
fundamental shifts in higher education, how do you see todays
academic publishing market?
The mechanisms to disseminate our content have morphed significantly over the years, but our primary focus has always been on
knowledgenot paper, silicon, or any other medium. So we are
constantly experimenting, and have moved dramatically into digital.
Whether its upgrading existing projectssuch as the new online
platform our journals will appear on in January 2017or adding to
our products that are born and raised online, such as our collection
of streaming videos in social science disciplines, we have always
embraced new technology to serve our customers and authors.
One of the challenges we are currently addressing is the changing
needs of social scientists in a world of Big Data. Earlier this year, we
created a new unit at SAGE, Product Innovation, and employed Ian
Mulvany, recently of eLife, as its head. Ian will be actively shaping
product strategy and development to support social scientists doing
data-intensive research.
And open access publishing is certainly an area that we have invested in for the long term. From an early partnership with Hindawi
in 2007 to founding membership in the Open Access Scholarly
Publishers Association in 2008 to the launch of SAGE Open and our
acquisition of the 83 journals from the open access publisher Libertas
Academica this September, our support of OA is steadily growing.
SAGE would seem like a natural target for a major conglomerate. But I understand that there is a plan in place to keep
SAGE independent?
SAGE Publishing is known for being fiercely independent, and
Im proud to say that this is absolutely true! I have put in place an
estate plan that guarantees SAGE will not be sold to a large corporation or have to answer to shareholders, and instead will one day
become owned by a charitable trust. Our independence is vital,
because it allows us to remain mission-driven. And I want the people who are working for us and with us, now and in the future, to
understand that were not about profit: were about education and
using knowledge to make the world a better place.
11
The Future is Now:

Come and see the
status of holographic
media and how to
trade the rights in
Hall 4.0 Booth F1.
knkPublishing
Inspiring Publishing Software
Hall 4.0 Booth F1
OCTOBER 2016
Why Print on Demand Just Got More Complex

CCCs Roy Kaufman on the key to effectively managing rights in the digital age
y now, publishers are well-aware that to survive and thrive

in the digital world, they must have the tools to print their
books and journals on demand. Whether a publisher has
shifted entirely to print on demand or is only using it for
managing smaller runs of its backlist, POD has vastly increased efficiency. But, with the arrival of 3-D printing, POD means
more than it used to. For an increasing number of publishers, 3-D
printing will allow easy and cheap production of books and brand-related merchandise, from Tintin figurines to Harry Potter items. In
short, POD doesnt simply refer to pages anymore.
In case youre thinking that 3-D printing is a technology far off
in the future, recent developments suggest that future is now. According to a report by Gartner, shipments of 3-D printers worldwide
increased 98% last year. Thank the plummeting price of 3-D printers; every year more models below $1,000 and even below $500 are
being released. Publishers will do well to take advantage of the
technology, especially in the lucrative markets for licensed products.
But 3-D printing capability also creates more complexity. Historically, publishers have needed to track content and rights not only
for the publication but also for all of the related supplementary
materials, promotional copy, instructors and solutions manuals (for
textbooks), and localized content editions. Juggling all of that text
content is tough enough. But 3-D printing can multiply this confusion, creating the need for publishing employees to manage complex CAD files, each consisting of many layers of datadata that
was once the provenance of a relatively small group of engineers and
CAD design specialists. Thats why publishers must have access to
good enterprise content management (ECM) to help them stay on
top of anything that can be printedfrom text to figurinesand
the various instructions and rights that go

along with them.
Take a company such as Scholastic, which
could now conceivably decide to do 3-D
POD, either itself or through licensees, for
Curious George merchandise. Scholastic
employees would not only need the printing
instructions, but would also need to know
who owns the rights to Curious George in
various territories and to make sure that the ROY KAUFMAN
yellow hat is the right shade of yellow. Multiply these kinds of
questions by many different publishers, books, figurines, and curious monkeys, and its clear that publishers need an ECM that keeps
track of everything in one place, including the rights around text,
images, and 3-D-printed merchandise.
Another example might be a publisher at a book fair like this one,
hosting a booth that offers customers the chance to get their faces
photographed and superimposed on figurines wearing a Hogwarts
uniform. If you happen to own the rights to Harry Potter, a good
ECM makes it possible to maintain standards and control without
Muggles having to spend valuable time checking that those controls
are in place.
In the past, publishers could muddle through without a good
ECM. But in a 3-D print-on-demand world, all assets now need to
be stored and managed so that they can be easily found, exported,
and licensed to third parties for local printing. A good ECM is the
publishing system of the future, however that future is defined.
Roy Kaufman is the managing director of new ventures at the Copyright Clearance Center.
What Are You Leaving on the Table?

PW talks with attorney Brian D. Siff, of international law firm Duane Morris,
about IP rights in the digital age
Copyright often dominates the IP conversation. But in the digital
age, what else should publishers be thinking about?
Several thingsfor example, trademark rights, which can include the
name for a book series, or a particular unique character in a series of
books. Many popular book series are being turned into movie series
where licensing trademark rights plays a huge role in the marketing of
products that come with a movie series launch. Even patent rights can
play a role, for a new type of book or product sold with a book. And
publishers often have trade secrets, although some may not realize they
are sitting on this type of intellectual property. And of course, licensing
14
Brian D. Siff with his client Clifford the Big Red Dog.
OCTOBER 2016
is such an important facet of the publishing industry todaywhat

you license may actually bring in far more revenue than the original
property.
One of your more famous clients is Clifford the Big Red Dog
or, at least, Cliffords publisher, Scholastic. What kind of trouble Clifford has found himself in?
Yes, I represented Clifford in connection with a patent mattera unique ice bag for icing childrens injuriesbasically cold
gel in the belly of a Clifford stuffed animal. But one of the larger-scale projects I handled for Scholastic involved its website. Back
in the day, I remember ordering books from Scholastic by filling
out a form in pencil. Scholastic has since successfully moved online, and quickly became one of the top-50 online retailers in
North America. But with that success, came the patent trolls,
who were suing many top online retailersincluding Scholasticover common aspects of any website. As the number of these
cases grew, I planned and implemented a strategy for managing
and defending these lawsuits for Scholastic in an economical and
successful manner.
The digital environment obviously has changed the game significantly. How has your work has evolved with the advent of
digital?
Scholastic is a perfect example. With the advent of the Internet, any
book is now instantly available in digital form, and many students now
read books on their computer, tablet and even their phone. From a legal
perspective, this new technology has raised everything from companies
protecting and licensing new technology to various intellectual property rightsand its ongoing, as digital is changing all the time
What advice would you give publishers today?
That publishing is very tied to, and even dependent on, all kinds of
intellectual propertycopyrights, trademarks, branding, patents,
trade secrets. I often I have conversations publishing representatives
in which we discuss the companys strategy for advancing a brand,
or the prevalence of a product or character. Inevitably, that conversation leads to the discovery of lots of unrealized intellectual property that the company was not monetizingliterally, an untapped
income stream. I recommend every publishing company sit for an
IP audit to ensure the company is protecting and monetizing all of
its IP. There could not be a better legal investment.
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15
OCTOBER 2016
Balancing Act
A librarians take on European copyright reform
STEPHEN WYBER
ithout question, its been a turbulent few years for the

book and journal value chain. Up to now, publishers
have been the business angels, identifying and coaching promising writers and bringing their work to
market. Libraries used legally purchased content to
instill a love of reading and to support research and author discovery,
thanks to copyright exceptions. As such, both created value, not just
in revenue terms but also in promoting innovation and public welfare.
In the digital world, however, things are changing. On the positive side, technology has given more people access to more information and culture than ever before. However, the shift from sales of
hard copies to digital licensing has also posed a challenge to the
copyright rules that, at their best, delivered balance in the traditional value chain.
As we seek to respond to digital-driven changes in the value
chain, defending traditional business models should not lead us to
lose sight of the importance of continuing to create value for all. For
Cenveo Publisher Services delivers a

full-range of technology, content,
and delivery solutions that increase
revenue and streamline workflows
while ensuring editorial integrity.
example, publishers have paid significant attention to combating

digital piracy through contractual and technological means. However, these efforts have also led to much tighter control on what libraries and other users can do with legally acquired works. When
such measures lead to the denial of rights previously enjoyed by the
public under the law, it reduces value for all of society.
As copyright reform in Europe advances, decision makers will
need to focus on how best to preserve the balance in copyright that
allows both libraries and publishers to create value for society as a
whole. And it is important to remember there is no one model of
creativity or innovation. Culture for free coexists with culture for
a fee. Each creates value, even if this is not always measurable in
immediate financial terms.
We also must acknowledge that the publics expectations in the
digital age are changing. Increasingly, access to works must be easy,
affordable, and cannot stop at national borders. Yet e-books are often
not made available to libraries, or they are offered only with significant restrictions. Scholarly journals are subject to above-inflation
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OCTOBER 2016
Maximizing value for authors and readers, today and

tomorrow, is a goal libraries and publishers share.
price increases. But restricting access and raising prices merely
sacrifice long-term revenues for short-term gains. And it risks pushing law-abiding people away from legal channels, such as libraries.
On that front, the proposals for copyright reform released last
month by the European Commission are disappointing. As International Federation of Library Associations and Institutions (IFLA)
president Donna Scheeder has observed, It appears that policy
makers were more concerned with making concessions to one or two
particular industries than with fostering the public good.
For example, libraries welcome the commissions proposal to
make the right to perform text and data mining (TDM) on legally
accessed materials mandatory across Europe. However, restrictions
on TDM under the proposal merely prolong the uncertainty faced
by researchers and ignore the fundamental principle that the right
to read should be the right to mine.
Similarly, the current proposals on access to out-of-commerce
works, as well as digital preservation issues, will not enable libraries
and cultural-heritage institutions to serve their users adequately or
fully achieve their public interest missions. There are also conspicuous gaps in the ECs proposals, regarding, for example, e-lending,
remote access to library resources through closed networks, and
cross-border document provision.
Without a more far-sighted approach by the EC, we risk seeing
the legal channel our libraries and cultural heritage offer become
less and less attractive in comparison with infringing alternatives.
Fortunately, the European Parliament and Council still have time,
as well as solid reasons, to improve things.
Maximizing value for authors and readers, today and tomorrow,
is a goal libraries and publishers share. And as librarians, we welcome a conversation on how best to deliver value in our evolving
digital world. We look forward to exchanging ideas on how to
identify and overcome the barriers to providing the best possible
service in a digital age.

Stephen Wyber is a policy and research officer with the International Federation of
Library Associations.
The new, one-stop,

discovery gateway for
Open Access Content
17:00 - 18:00
Thurs, 20th October
Stand L35
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OCTOBER 2016
Game Planning in the

Digital Solutions Industry
Redefining and delineating the digital content proposition for the long term
hen the dynamic digital solutions world, which is

peppered with and propelled by technologies that
often come fast and furious, meets the long-established (and somewhat-plodding) publishing industry,
finding common ground is not easy. The winning
strategy for both sides seems to be about changing the rules and
playing the long game.
To successfully transform a company or an entire industry, one
must first change the mindset, says Knut Nicholas Krause, the
founder and CEO of KNK Business Software. He notes that his
company always strives to inspire the publishing industry with
valuable new concepts and methods. Krause adds: We work with
publishing clients to expose underlying issues and change their
approach. We help them to change the company culture by empowering the entire organization. We do not view their IT system as
something that should exist in isolation. In fact, in order to achieve
powerful results, we have to look at the whole picture, which includes the strategy, systems, and culture.
Most publishers, adds Krause, are still using software systems that
were designed to manage and sell print products. But, in this age
of digitization, varied media formats, and shrinking margins, publishers must increase efficiencies and streamline processes in order
to become more flexible and agile, he notes. And these processes
and softwares run the gamut, including editing and media production, optimizing metadata management, and marketing automationand we have these modules under KNKPublishing to help
clients.
The relationship between a digital solutions company and its
publishing client should also be more symbiotic, says Vinit Khanna,
the founder and CEO of OKS Group. This means stepping away
from the role of provider into that of a partner, he says. The more
clients share with us their goals and visions right from the start, the
better we get to know them, and the faster we can think for them
and more effectively anticipate their needs.
With increased interactivity and mobile usage in the classroom
changing the way that content is conceptualized, a symbiotic relationship, says Khanna, will help our team to assist authors and
editors to visualize the final product and get it right from the beginning. At the same time, our role as a partner also means allowing
the client to have more control over the production processes with
real-time access to their content. This has led us to developing a
bundle of solutionsthe cloud-based E2E workflow platform, for
instanceto facilitate delivery of updated content faster to the end
consumer, and let publishers respond to market demands in the
18
BY TERI TAN
shortest time possible.
Trade publishing aside, the marginalization of print is in the
works, and for the STM sector, it is already here, says Walter Walker,
the president of CodeMantra. Where publishing effectively provides for the delivery and exchange of information, there can be
little doubt that digital is the dominant format, he says. Increasingly, it is digital content that educational publishers have to pay
attention to, and it is not just about enriching content for discoverability or the ability to sell direct. It is about establishing a symbiotic relationship with the customer that then brings about intelligent product development.
Rethinking Digital Rights

and Accessibility
The adoption of e-book watermarking, or soft digital rights management, continues to grow. Convincing publishers who strongly
believe in Adobe DRM will take some time. But, once confronted
with licensing and support costs, or hard DRM user experience
issues, publishers will realize that social or soft DRM is the better
alternative, says Huub van de Pol, the founder and CEO of Icontact,
the developer of the leading watermarking and personalization delivery platform BooXtream.
Increased personalization in e-books is becoming trendy. Some
end consumers want their name on the old-fashioned bookplate, or
take the visible feature to the next level by incorporating personal
membership information or a personal note from the author.
BooXtream can even add a personal digital handwritten note on the
second page of an e-book, says van de Pol.
Future watermarking applications may include integration into
blockchain technology, which constitutes one of the building blocks
of Bitcoin, a digital asset and payment system. There are now some
research projects in this field where BooXtream is one of the technology providers, van de Pol adds.
Then, there is the pressing need for accessibility. It is the
800-pound gorilla in the room, says Walker. While accessibility
is clearly a requirement among K12 publishers in the U.S., those
in higher education have not been as compelled to provide Section
508compliant materialsalthough this is changing. Accessibility
is also becoming an issue with STM journals now that public and
institutional libraries are addressing these concerns. It throws a
pretty big wrench into the works, especially for a publisher used to
the traditional print workflow, where digital is a derivative output.
Producing alternative text in the wake of a textbooks going to
print makes it difficult to deliver a concurrent and economically

accessible version. And that can put an entire adoption at risk,
Walker notes. The snowball effect is that there is now a bigger push
to build workflows that deliver quality and concurrent print and
digital outputs.
Reassessing Profitability
and Efficiencies
Publishers are spending a lot of time, money, and resources to create
more products in different formats, says Krause, of KNK Business
Software. But this is not necessarily a good strategy, he says. It is
hard to consistently introduce profitable new products if you are
producing them inefficiently, which results in high costs, poor usability, and slow time to market. Some publishers may still have
old profitable products that help to mask these losses. What is
needed are efficient processes and effective reporting with analysis
tools to quickly learn and react to market changes.
The publishing sector is certainly placing a larger emphasis than
ever on time to value, says Randy Petway, chief revenue officer of
Ingenta. They want to move from the point where they have identified a needtechnical, functional, or businessto the point of
having implemented a solution that meets the need in a fairly rapid
time frame, he says.
What complicates matters, Petway explains, is that the publishers want to do so without sacrificing quality or introducing undue
risks, and yet maintaining a flexible environment that will support
both growth and a frequently changing marketplace. This has always been a challenge for publishers, but the current environment
has brought it to the forefront. The need for more complex projects
with customization and significant and/or complicated configuration has not disappeared, adds Petway. But there are far more scenarios where a customer is interested in starting with a contained
initial scope, provided there is a flexibility to extend the solution as
and when needs dictate, he says.
What is obvious is that integration of publishing processes is
becoming more urgent. Publishers have been making substantial
investments in technology, service enhancements, and additional
offerings to their content for a while now, and so have solution
providers, says Uday Majithia, assistant v-p for marketing and
presales at Impelsys. This has resulted in a continuous integration
of workflows on a single comprehensive platform that can undertake
authoring, editorial, composition, enrichment, and delivery of content. Add e-commerce, single sign-ons, analytics, and third-party
mobility solutions to it, and seamless integrated workflows will be
the future.
With sensibly designed infrastructure, adds Majithia, workflow
automation will elevate production efficiencies to new levels. He
notes, Reduced production lead time will mean that publishers can
save time and cost.
With publishers looking to do more with their core content assets, there is also a surge in requests for tailor-made efficiency solutions. Automation is the buzzword, Majithia says. Production
automation brings about innovation and interactive products to
market faster at lesser costs, while analytics automation helps publishers derive meaning out of vast amount of data and devise strat-
20
OCTOBER 2016
egies that can directly impact the bottom line.
And a healthy bottom line, naturally, is the true driver of any and
every digital solutions provider (and publisher). As for how the long
game is being played to produce positive bottom line, the following
pages highlight what some companies are doing in terms of strategy, commitment, and vision.
CodeMantra
Enhancements to CollectionPoint 4.0, the next generation of CodeMantras flagship content services platform, have continued unabated. Our software tools and platform are helping publishers assert
control over three primary interactions along the publishing life
cycle, says Walter Walker, president of CodeMantra. The first is
the ability to manage metadata and content contiguously from the
development stage to finished goods and market delivery. The second is collaboration when developing content, especially in a global setting where there is a broad array of contributors. And the third
interaction is that of engaging customers through content-driven
networks and communities. Hes referring here to CP 4.0s three
categories of services: Manageon CP; Collaborateon CP; and
Engageon CP.
We have customers managing the development and consolidation of metadata using our digital warehouse solution, Walker says.
We also have customers using a combination of our CP platform
and our services to fulfill their requirements for a quality assurance
and archival workflow. He adds that CodeMantra is steadily expanding its core business in the education and STM segments.
Several customer-driven initiatives are in the works, Walker
notes, including one that involves a partnership with a major global content aggregator. Though these developments are not ready for
unveiling, he says that the most illuminating aspect of all of these
initiatives is the consistent pattern among companies to improve
the scalability of their businesses and operations. The demand for
our CP 4.0 platform has been about the consolidation of data and
content and the uniform approach to manage it. So we are working
along these lines to further improve our solutions.
At the core of CodeMantras market approach is what Walker
refers to as the solutions for problems that keep publishers up at
night. CodeMantras overall goal, he adds, is to develop strategic
partnerships with clients. We want to sit down with them to discuss
immediate and long-term impediments to their business and operational initiativestackle the pain points or inefficiencies, for instanceand develop an integrated solution blending platform and
services.
Automation is key, Walker says. When it comes to production,
it is the only way we can achieve the cost savings, quality, and turnaround times publishers are looking for, he adds. Invariably, au-
OCTOBER 2016
tomation requires some compromises by way of consistency. But,
when it comes to production workflows, the majority of our customers are more than willing to comply. Still, we feel we do a great
job of delivering the level of variety and flexibility that publishing
demands. Ours is not a one-size-fits-all approach.
Learn more about CP 4.0 and CodeMantras solutions for automation and content management at booth A97 in Hall 6.2, and join
CEO Ed Marino for his talk, Strategic Alliances for Future Success, at the Publishing Perspectives Stage in Hall 6.0 on Wednesday, October 19, at 4 p.m.
DiTech Process Solutions

Launching 3ClicksMaster is DiTechs main agenda at Frankfurt. An
automated publishing services platform, 3ClicksMaster is defined
by three simple processes: Create (covering copyediting and XML
conversion), Design (autoflowing created XML into InDesign or
predetermined document type definitions), and Publish. The last
and the third process enables the creation of print PDF, XML,
ePub3, and HTML5 on the fly. These three processes are designed
to be easily reconfigured for any publishing workflow, explains
founder and CEO Nizam Ahmed.
The platform, Ahmed adds, is customizable, flexible, and editable, and it covers content for the Web, print, and mobile. It is an
ultraefficient system that allows us to produce more typeset and
ePub pages than ever before, and such efficiency will go a long way
in convincing clients to be our long-term business partners.
The creation of 3ClicksMaster, Ahmed says, was prompted by
the dynamic changes in the publishing industry and demands from
end consumers. Factors such as short turnaround time, higher
quality expectation, cross-media publishing requirements, and low
costs can only be addressed by deploying technology, and that
technology must guarantee top quality as well as high quantity
using minimal human intervention, he says. And this is where
3ClicksMaster comes in: a solution to the challenges and changes
in the marketplace.
In addition to 3ClicksMaster, the DiTech team has added more
services to its portfolio, including copyediting, photo research,
content creation, video editing, PDF/ePub toggling, and data mining. A recent project involving hard copies of medical images with
multilayered transparency sheets from a German publisher, for instance, required DiTech to create toggles between PDF and ePub
formats using JavaScript. The end user will be able to hide a layer
or layers and see exactly what they want to see, or complete an image by clicking on the toggles. The project was successfully delivered during the specified time line, and the client has since sent over
several thousands of hard copies of medical images for more PDF/

ePub toggling, Ahmed explains.
For another project involving video editing, the team had to
incorporate MP4 videos into PowerPoint slides. Our German
client, for instance, would provide us with an open-heart surgery
video and content detailing the operation in Word format. Our task
is to create the slides and integrate the MP4 video where it is most
appropriate. At times, we have to supply video subtitles in multiple
languages, says Ahmed, who will be at booth J71 in Hall 4.2 to
provide demos on 3ClicksMaster and various DiTech services.
Icontact/BooXtream
Being agile and flexible is one of the hallmarks of BooXtream, a
leading watermarking and personalization delivery platform from
Amsterdam-based Icontact. Since BooXtream is offered as a SaaS
solution, we are able to upgrade and improve the technology and
algorithms whenever necessary, and implement it without the need
for client-side software reinstallation, explains founder and CEO
Huub van de Pol, whose team has made sure that BooXtream maintains its compatibility with all ePub variants and supports more
languages (such as Bulgarian, Finnish, and Romanian) while constantly updating its WordPress plug-in.
For instance, BooXtream Dashboard, its Web-based control panel, was recently updated to offer more transactional insights. Demand for increased customer and usage data has also prompted us
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to develop a new reporting tool to enable clients to download raw
data and integrate it into their back-end operations. The end user
naturally would not notice these changes, because, from an
e-book-standard perspective, nothing has changed, and all apps and
devices happily accept our watermarked e-books, van de Pol says.
Singapore-based trade publisher Monsoon Books, for instance,
uses BooXtream for direct e-book sales from its Web shop. In addition to the invisible but traceable e-book watermarks, the publisher also offers visible BooXtream personalization features. Readers
can lend the e-book to a friend or family member as they would a
OCTOBER 2016
paperback, with their name, email address, and transaction details

included in the e-book to discourage piracy.
U.K.-based Firsty Group, a systems integrator company offering
direct-to-customer Web shops, has implemented BooXtream services into its back-end operations. This enables their publishing
clients to choose e-book watermarking and personalization on a
Supporting Self-Publishing at MPS

Managing content quality and competing with marketing programs
from larger commercial publishers
are among the biggest challenges
facing the self-publishing sector,
says MPS CEO Rahul Arora. Then
there is the pressing need to build a
strong reputation and brand identity to be heard in the crowded marketplace, he adds. Of course, the
self-publishing portals also have to
deal with the start of a plateauing
revenue growth.
So, while the challenges are many,
they are definitely solvable with the
right set of solutions and strategies,
Arora says, citing two strategic (and
unique) partnerships for the academic segment.
Glasstree, the new academic publishing subdivision of Lulu Press, has
benefited from its partnership with
MPS North Americas author services solutions. We offer our publishing services through a customized
platform to assist authors on
improving the quality of their content, Arora says. We also offer customized marketing services to interested authors. This platform, named
Glassleaf, is developed by MPS, and
is tightly integrated with Glasstree.
Through Glasstree, authors have
access to an array of competitively
priced supplementary services,
including peer review, book editing,
translation, project management, and
marketing assistance. The whole
notion for this platform is about
22
giving academics the control of their

works and copyrighted materials,
and the ability to choose the license
under which these are published,
Arora says. They determine the publication date, set the retail price, and
earn 70% of the profits from the sale.
They are able to track the bibliometrics of their works on a professional
dashboard, and when discoveries are
made in their respective fieldswarranting a new edition of their work,
for instancethey choose when to
update, revise, and republish. This
workflow ensures that the content is
always up-todate in the
ever-changing
academic environment.
Currently in a
limited free-trial
period, the
Glasstree platform allows authors to
publish as many titles as they wish at
no charge. At the initial stage,
Glasstree will publish booksmonographs, theses, series, textbooks, for
instancein both soft- and hardcover formats in a variety of paper
stock and binding options. E-books,
including open access e-books, are
accepted as well, says Arora, pointing out that the next phase will focus
on article-based publishing, journals,
conference proceedings, and data
sets.
The second partnership is with
New Yorkbased Exeley, a newly
incorporated company focused on

offering publishing services to open
access publications worldwide. In
this case, the MPS team customized
its ScholarStor platform to fit the
companys requirements. We provide a hosting platform for different
types of content, and integrate these
publications with online content,
social media, databases, and libraries, says Arora, explaining that
ScholarStor is the next-generation
platform for scholarly publishing
that focuses on empowering publishers to self-manage their online content and make it
available to readers on all channels.
Multilingual,
publisher-branded,
and mobile-compatible, ScholarStor is about increasing content discoverability and searchability. It supports digital-first and open access
business models, and integrates seamlessly with online content usage measurement modules for counter and
publisher reports. ScholarStor also
offers an integrated order fulfillment
system with powerful reporting and
analytics.
For more information and demos
on MPSs suite of platforms and solutions for self-publishing and other
market segments, visit Arora and his
team at booth N10 in Hall 4.2.
Teri Tan

title-by-title basis through their respective Web shops. One of the
clients is Bradt Travel Guides, which chose to enable BooXtream
in its D2C Web shop so that they sell watermarked e-books instead
of DRM-locked titles, says van de Pol, who will be at booth D83
in Hall 6.2.
Future BooXtream development, van de Pol adds, is based on a
two-pronged strategy. On one side, we see an increased demand for
more ready-made plug-ins for standard e-commerce platforms,
which obviously has to do with more self-publishing authors discovering the advantages of e-book watermarking. On the other,
enterprise customers are demanding for new APIs and better reporting. Answers to these two trends form our road map for the future.
For more on BooXtreams technology, capabilities, and plans,
head over to Hall 6.2s Hot Spot Digital Innovation to listen to van
de Pols talk, E-book Watermarking and Personalization: Beyond
a Better DRM, at 10:30 a.m. on Friday, October 21.
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Impelsys
The need of the hour, says Uday Majithia, assistant v-p for marketing and presales, is customized technology services coupled with
operational efficiency solutions that can be seamlessly integrated
into existing client-side digital infrastructure. That bring us to
several new standalone SaaS-based services that have evolved from
essential features of our delivery platform iPublishCentral, including
EZ MARC [for cataloguing record service for libraries], iPublishCentral Insights [for on-demand analytics], and iPublishCentral
Reader [for online/offline readers].
The iPublishCentral Gears content production automation solution is the latest software as a service addition from Impelsys. With
Gears, content publishers can initiate a composition, transformation, or enrichment job based on predetermined automated workflows, explains Majithia. The platform is designed to execute a
variety of automated jobs on demand and track progress in real-time
through an intuitive dashboard. Gears can substantially reduce
production lead time and help publishers to get their products to
market faster at lower costs.
Impelsys is also focusing on adaptive e-books this year. The
concept of adaptive e-books takes its origin from the fact that every
person has a unique learning curve, and that personalized content
aligned to that persons learning curve promotes improved learning
outcomes, says Shyam Shetty, executive v-p for e-learning and
technology services. Adaptive e-book takes an individual through
a personalized learning path, doing away with already familiar
lessons, and traversing only topics that are new to the learner, thereby increasing the overall learning efficiency, he adds. This is what
we are working on right now.
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23

Meanwhile, Impelsyss flagship platform, iPublishCentral, which
is used by more than 150 publishers, continues to find new users.
For instance, a professional association that provides mandatory
continuous education for medical practitioners is using the platform
for remote experiential learning solutions. At this association, students are required to complete a simulation program on a medical
mannequin, whereby the interactions are recorded and captured on
the learning platform for certification purpose. Our solution integrates the product firmware with the learning platform to enable
students to take the simulation at designated centers, and the credits
are automatically added to the course credits on the iPublishCentral
Learn platform. It showcases iPublishCentrals flexibility and range
OCTOBER 2016
of solutions that can be tailored to suit each publisher or education
provider, explains Shetty, whose team will be at booth J55 in Hall
4.2 to provide demos on this platform, Gears, and more.
CEO Sameer Shariff will also be talking about Transformation
of Publishing from Reading to Learning at Hall 4.2s Hot Spot
Professional & Scientific Information at 5 p.m. on Wednesday,
October 19.
Ingenta
There have been a slew of new initiatives in the past six months at
Ingenta, where the focus has remained firmly on building a network
of value-added partners. Through our relationship with Digital
Cenveo Publisher Services on E-learning and Digital Solutions

The miniaturization of learning in
the education market is becoming
obvious as students need quick hits
of concepts rather than long,
unwieldy lessons, says Waseem
Andrabi, senior director of global
content services at Cenveo Publisher
Services. The Cenveo team, in addition to building complete courses,
has been partnering with publishers
and contentcentric organizations to
create specific digital assetsanimations, games, and interactivesthat
aid students in learning concepts
quickly. We are able to create and
structure content for adaptive
engines that provide robust personalized learning paths, feedback, and
performance evaluation, explains
Andrabi, who is seeing authoring
and publishing platforms becoming
more mature, both off-the-shelf platforms such as Habitat and Aquafadas, and proprietary ones such as
McGraw-Hill Educations
LearnSmart and Cengage Learnings
MindTap.
We create courses and assets that
are technology- and platform-agnostic. Our team of developers, subject
matter experts, and instructional
designers are fluent across multiple
languages, disciplines, and platforms.
We closely monitor market trends
and situations that impact e-learning
and delivery, such as the battle
among Apple, Google, and Microsoft
for dominance in the class-
24
room-learning ecosystem, adds

Andrabi, whose team also helps
guide publishers in the evolving landscape by paying close attention to
news in the device world, such as the
rise of Chromebook against tablets.
Adaptive learning, Andrabi says, is
already transitioning from being a fad
to becoming a fact. We expect technologies such as virtual and augmented reality to make more frequent
appearances, he adds. In fact, we
are seeing this in a number of projects
we are working on, including a preK12 social studies program that
offers 360-degree
videos of historical places such as
the Roman Colosseum to augment
the course content. Testing and
assessment, Andrabi points out, are
ripe for disruption because formats
such as multiple choice and fill in the
blank have not changed significantly
over the years.
Meanwhile, security is becoming
more important than ever to publishers as e-learning becomes ubiquitous in the classroom, says marketing director Marianne Calilhanna.
Fortunately, todays digital learning
content is hosted behind secure,
access-controlled systems, and the
playback of content is not easy to
replicate or copy.
It is an exciting time to be in the
digital education landscape, and we
are thrilled with the relationships

that we have with well-established
publishers and new niche content
providers, Calilhanna says. In the
last three years, digital learning in the
education market has made enormous strides. Our team has transformed static, template-driven
read-and-interact lessons to sophisticated interventions such as games,
simulations, virtual labs, and multimedia. As a full-service, technology-driven partner for digital content
creation and transformative publishing solutions, we have logged several
thousand hours of
content created
from scratch and
successfully delivered.
Some samples of Cenveos extensive
portfolioincluding case studies for
McGraw-Hills Everyday Mathematics series (requiring the creation of
more than 300 math games using
HTML5) and Golden Voice English
Online Education (covering 700 animations, 325 interactive listening
exercises, 144 unit assessments, and
much more)are available from its
website (cenveopublisherservices.
com/digital).
To schedule an appointment for
demos of Cenveos myriad services,
contact sales and marketing director
Marion Morrow (marion.morrow@
cenveo.com), who will be at the fair.
Teri Tan
Science, for instance, we are now in the position to offer solutions

such as Altmetric to our customers, says chief revenue officer Randy Petway, adding that the partnership exemplifies our commitment to increasing the ways in which we can service the publishing
community.
Ingentas acquisition of 5 Fifteen, a leading provider of advertising solutions, Petway says, was born out of our partner strategy,
but ultimately evolved into an acquisition that will provide us with
the opportunity to not only increase our product offerings, but also
to facilitate growth by allowing us to enter verticals that are adjacent to our historical target of publishing markets. Another partnership, with Web-based service provider Kudos, is aimed at helping the 300-plus publishers hosted on the Ingenta Connect platform
maximize the visibility and impact of their published articles.
Ingenta Go is the latest product to leverage the companys bestof-breed solutions for CMS, rights, royalties, and product management. This is about a reduced time to value for the customer. Ingenta Go offers no modification, minimal configuration approach
to project execution, while at the same time providing products
with a robust feature set, and the ability to grow into future needs
through extension and configuration, explains Petway, whose team
will be at booth L35 in Hall 4.2.
The latest Go project, for instance, utilizes Ingentas CMS offering. We are at the tail end of a content-type agnostic delivery
platform and online portal project that is on schedule to be delivered
in half the time of a typical implementation of this type and magnitude, says Petway, pointing out that the customer, a recognized
leader in the EMEA information industry, has a client base that
includes a wide array of local and international libraries as well as
public and private organizations. Despite the shortened time frame
for the project, Petway and his team expect to provide a solution
that will allow our client to build on their reputation for quality
online content delivery.
At Frankfurt, Petway will host the Know Your Rights: Benefits
of Digital IP Management panel at Hot Spot Digital Innovation
in Hall 6.2 at 9:30 a.m. on Wednesday, October 19, with representatives from the London Book Fair, BookBrunch, and IPR License.
Simultaneously, over in Hall 4.2, at Hot Spot Professional and
Scientific Information, Byron Russell, head of Ingenta Connect, will
chair What Can We Do to Make OA Content Really Discoverable?, with a panel of scholarly publishing experts on open access.
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KNK Business Software

Visitors to booth F1 in Hall 4.0 are going to be greeted by robots
and holograms this year. This is about ideas for the future of content and media, and KNKs focus on providing inspiring software
and ideas to publishers for their IPs, says founder and CEO Knut
PublishersWeekly
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PublishersWeekly
@PublishersWkly
pubweekly
25

Nicholas Krause, whose company offers KNKPublishing,
the only Microsoft-certified
publishing software in the
world. We now offer marketing automation add-ons for
publishers based on Microsoft
Dynamics CRM, and new social engagement functions for
editors, public relations, and
marketing based on Microsoft
Social Listening. We are also implementing machine learning for
picture recognition and tagging.
With a roster of new clients, KNKPublishing has broadened its
portfolio across market segments in the past few months. A European online database publisher with revenue at the $100 million
level implemented KNKPublishing software in all departments to
replace a competitors product over the course of 18 months. We
filled several existing functionality gaps, especially on rights and
royalty management of online books and magazine content sold
with a flat fee, as well as pay-per-use, Krause says.
At Bastei Lbbe, Germanys third-largest trade publisher, Krause
and his team streamlined the entire content creation and media
production process by implementing product hierarchies and metadata inheritance modules. It allows for easy management of varied
media formats while creating gold-quality metadata that significantly drives sales, Krause says. Additionally, we implemented
CRM to better connect the client with their end consumers. We are
currently in the process of adding marketing automation.
KNK is helping educational publishers such as Canada-based
Emond Publishing manage content snippets of textbooks with its
integrated media assets and rights management modules. We help
to create content that can be used by e-learning and mobile-learning
platforms. Our role changes with the requirements of each project.
With academic publishers such as U.K.-based Hogrefe, for instance,
we are helping to sell their content online. But one thing is consistent with these projects: these publishers are innovators in their
respective segments, and we are here to inspire and enable them to
achieve their goals. Our main function in the ecosystem is to apply
Microsofts most recent technologies in a way that publishers can
put to best use, Krause adds.
Stop by the booth to check out KNKs holography projector, or
attend its public sessions: Power BI, on state-of-the-art business
analytics and insights, on Wednesday, October 19, at 3 p.m.; CRM
& Marketing Automation on Thursday, October 20, at 3 p.m.; and
Project & Metadata Management on Friday, October 21, at 11 a.m.
OKS Group
The last few months have been very busy at OKS Group. Its cloudbased workflow platform, E2E, is now live at a leading academic
publishing house, where editors are collaborating concurrently. The
platform functionalities are up and running, including a built-in
reference manager configured for The Chicago Manual of Style and
Harvard, MLA, and APA styles; an XML export/import plug-in;
26
OCTOBER 2016
and predetermined client document type definitions. The next
phase will see authors starting to write their works directly on the
platform itself and seamlessly collaborate with editors across locations and time zones, says founder and CEO Vinit Khanna, adding
that the E2E platform can be easily adapted to fit and strengthen a
publishers existing workflow.
In terms of publishing services, the OKS team has also implemented an XML-first InDesign workflow with round-tripping capabilities, and a SmartPage process that partially automates page
proofs of complex InDesign styles to bring about improved efficiency and productivity. The OKS R&D team has also created a customized tool to convert MathML to PowerMath and vice versa to transcend the limitations in InDesign and PowerMath.
These new tools and solutions have provided answers for a major
European educational publisher that had sought to migrate its
traditional publishing processes to an XML-first workflow in a bid
to boost its digital market share. What we delivered is a diverse
range of customized solutions to streamline and enhance the clients
internal workflow and customer-facing processes. These include
templates created and validated to facilitate accurate XML output,
and tools to auto-update XML/InDesign content changes and allow
the creation of author preview proofs based on CSS Paged Media,
explains Khanna.
As for the e-learning app MarkSharks, a unique flip classroom

system from OKS Education, it has been downloaded more than
100,000 times from Google Play and offers expanded coverage of
mathematics for grades 811. The latest development of a custom-built HTML5 tool makes creating language-customized versions of the same content so much easier. Now the app has responsive
content that changes with screen orientation accompanied by synchronized audio-video functionality, which was something previously difficult to achieve in the early days of HTML5, says Aditya
Tripathi, CEO of OKS Education. This specially developed
HTML5 tool is radically distinctivewith no equivalent in the
market yetand it can build unique content for desktops, mobile
devices, smartboards, and any other electronic medium for content
distribution efficiently and with great quality.
To learn more about this unique HTML5 tool and other OKS
Group solutions, contact marketing@oksgroup.com to arrange an
appointment.
cinestate.com | @cinestatement

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