|
EDITORIAL
(from June 03 issue)
Bursting at the seams
Following in the footsteps of the Gordon Wise interview
we are pleased to have David Swarbrick’s informative views
on dictionary publishing in this month’s issue.
I am also really pleased that we are able to include the views
of the top three book fairs in this issue. We hear from Frankfurt,
London and BookExpo America on book fairs in general and how they
see themselves in relation to each other.
This month also sees the start of our summer feature on career
development and training. Over the next four months we will include
contributions from all the major training/course providers as
well as articles from recruitment professionals, plus a regular
column from Suzanne Collier of bookcareers.com on career development.
We had considerable trouble fitting in all we wanted to this month
and quite a few items have had to be held over until July.
Paul Thorne
PS
I must mention the fact that we have dropped the cover
story on the June issue of Book People from the website.
As a spectacular example of a story breaking after the publication
has gone to press this takes some beating. Our story on Bertelsmann's
renewed interest in AOL Time Warner Books was entirely overtaken
by the announcement that AOL Time Warner are withdrawing the book
division from sale due to the failure to achieve a realistic sale
price. I'm sure it won't be the last time we're overtaken by events.
TOP
Audited
circulation for the year to 31st December 2002. Average circulation
of 5,707.
Book
People is published by Chappell Thorne
16 Chilham Way, Bromley, Kent BR2 7PR
Telephone: 020 8462 5000 • Fax: 020 8462 9993
ISDN: 020 8462 8076
Email: bookpeople@chappell-thorne.com
Editor:
Paul Thorne
Special features: Susan Dixon
Sub Editor: Paula Arkell
Production: Liz Bingold
Advertising Sales: Jenny Kearl
© 2003 by Chappell Thorne. All rights reserved. No part of
this publication may be reproduced, stored in any retrieval system,
or transmitted, in any form or by any means, electronic, mechanical,
photocopying, recording, or otherwise, without the prior written
permission of the publisher.
TOP
SECURICOR
SELL REMAINING STAKE IN SECURICOR OMEGA EXPRESS
Securicor
has agreed terms for the sale of its 50% share in Securicor Omega
Holdings Limited to Deutsche Post.
Subject to approval by Securicor's shareholders and the European
competition authorities, Deutsche Post will own 100% of Securicor
Omega Holdings Ltd.
Following a period of assessment, re-branding plans for this major
book carrying business will be announced to customers and employees.
In the meantime it will be business as usual, and it will be permitted
to use the Securicor brand until the end of 2004.
Deutsche Post's group chairman, Dr Klaus Zumwinkel, recently announced
that the group's national and international express parcel business
and its global logistics business will be united under the DHL
umbrella.
TOP
A
WORD OR TWO ABOUT DICTIONARIES
Collins English dictionaries, part of the HarperCollins
empire, have been a household name since their initiation some
180 years ago, in 1824. In an interview with David Swarbrick,
Collins sales and marketing director, many words were spoken about
developments within this lucrative area.
This constant market, with its traditional back-to-school-and-college
and even greater Christmas gift sales emphasis, has seen many
changes since both computers and a bolder acceptance of differing
language usage provided the basis for significant enriching forces.
The UK dictionary market incorporates both considerable fragmentation
and competition. Aside from Collins, other large publishers include
Oxford University Press, Penguin and Chambers Harrap while smaller
ones take in Encarta and Cassells. This competition does not,
however, stretch to the US where many specialist dictionary publishers
such as Merriam-Webster and American Heritage dominate.
It is what David Swarbrick terms a “mature market”,
one that is affected by the number of dictionaries available electronically,
from hand-held PCs to traditional computer spellcheckers, themselves
having largely taken over the previously popular CD market. Indeed,
over the last 10 years there has been a so-called explosion in
dictionaries that people possess. Whereas five to six English-language
dictionaries might previously have been the norm for a family
of working parents and one to two schoolchildren, access to at
least 10 different types is more representative of today’s
users.
Within the office, there is still likely to be a traditional paper
dictionary while each computer user also now has his/her spellchecker.
At home, the faithful family dictionary is still complemented
by a range of differing dictionaries for each child, according
to age, that are used at school, and there is likely to be yet
another spellchecker available. At school itself, a class dictionary
plus the pupil’s spellchecker are regular classmates.
The specialist art of lexicography, basing its analysis and compilation
on the use of different types of English collected by means of
what is known as a corpus, has mirrored the many sociological
changes of today. In David Swarbrick’s words, “a lexicographer
today trying to dictate right or wrong would be left preaching
in a desert; English is bigger than any one person, company or
country and a good dictionary needs to monitor, inform and reflect
subtle and shifting perceptions of acceptance.”
This has itself expanded the skills of the lexicographer, whose
well-established qualities of understanding English language,
grammar and usage now indicates what is perceived to be correct,
simultaneously bearing in mind the fluidity of language and its
consequent rapid changes. In this way the onus of choice is placed
on the user. So the once black-and-white image of word definition
and usage has been replaced by a myriad of colours, all of which
blend equally well.
Dictionaries represent approximately 20% of the division’s
turnover with English dictionaries incorporating around 40% of
sales. The corpus used for these, known as the “Bank of
English”, is a specialist database set up some 12 years
ago with Birmingham University that to date incorporates over
700 million words.
Researchers update on a daily basis, scanning words from a broad
variety of sources including national newspapers within English-language
countries plus, among others, books, specialist and general consumer
magazines and all manner of spoken elements - including, of course,
radio, television and other related media.
Words that do not register are automatically “thrown up”,
thereby paving the way for additional words that in itself allows
the lexicographer a critical examination of over 100 instances
of a particular word in preparation of definition writing. Inevitably,
this allows a precise, colloquial or/and vernacular understanding
of the meaning of a word.
Inevitably, a few words have to be deleted with each new edition;
these are generally ephemeral words that have come in for a short
time and on the evidence of the Bank of English are no longer
being used. In their place might be further current words that
might later prove to be equally ephemeral. This is not to say
that archaic words are omitted; indeed, their value is crucial
for the many Scrabble and crossword addicts who avidly consult
dictionaries for constructive answers. In this way the extents
remain as constant as the market itself. And the paper on which
larger dictionaries are traditionally published, known as Bible
paper in view of its obvious thinness, is another constant.
On visual presentation, dictionary publishers vary as to the order
of definitions. At Collins, everyday usage takes precedence so
that modern meanings are given before traditional ones. Consequently,
in order to keep up-to-date, most dictionaries are generally reprinted
and revised in a small way on a six-monthly basis or sometimes
more frequently. Large revisions occur on a two- to three-year
basis. Print runs throughout are kept down to avoid unnecessary
warehouse storage.
The complex nature of dictionaries necessitates large editorial
teams. For instance, the flagship Collins’ English Dictionary
involves a core six-person team accompanied by a large range of
international advisers, themselves having yet further advisers.
Added to this are the “Bank of English” research groups.
In total, between 60—70 people might be involved on the
editorial side. This will include an ongoing principal editor
who is likely to see through many editions in view of the specialist
fundamentals of lexicography. On timing, a totally updated revision
might take up to one year’s production time.
Dictionaries do not lend themselves to spin-offs as each one is
aimed at a totally different market and consequently requires
differing levels of definitions. For instance, Collins’
equally well-established pocket Gem series has its own specialist
teams and advisers, all of whom are heavily involved in the major
annual revision. In common with the English Dictionary, however,
the Bank of English represents the foundation of the Gem’s
definitions.
With so many revisions, fragmentation and competition, just what
is important for the potential UK adult dictionary purchaser entering
a bookshop? Interestingly, unlike other types of books, both simplicity
and consistency of design in respect of both jacket and layout
is the name of the game, emphasising brand and title and back
jacket copy. Updating typefaces and concentrating on the exact
jacket colours, thereby giving a contemporary feel, are the principal
elements when bringing out a major new edition as is the emphasis
on the fact that it is, indeed, a new edition.
Conversely, dictionaries produced for the US require a quite opposite
approach, namely a busier jacket with more sales patter on the
front, a UK dictionary jacket appearing “vulgar” to
our US cousins. Consequently, an international approach to jacketing
is not feasible.
Yet for the younger market, a reverse approach is taken. For instance,
Collins’Gem dictionaries attract their purchasers and readers
by way of an accordingly fashionable vinyl cover. This crucial
marketing approach is another reflection of the sociological changes
that have occurred during the last 40 years or so. Whereas a black
or navy, rather innocuous bland cover was the norm for many years,
today’s youth culture is far more demanding and image-conscious.
And how does David Swarbrick see the future of the dictionary
market? Perhaps not surprisingly, as a major increase in online
existences “likely also to involve a richer, more creative,
expression involving the whole brand”. Added to this, will,
he says, be an ever greater importance attached to dictionaries
recognising different forms of English. This will not merely involve
standard and regular wordage but will also incorporate world and
regional English, scientific English and yet further currently
unknown words and trends.
So crossword and Scrabble players need have no fear; those double-
and triple-scoring words and letters will continue to be just
as feasible, as will the constant yet fashionable words of today
that will represent the archaic words of tomorrow.
TOP
INTERNATIONAL
BOOKTRADE FAIRS
Why we must be there
Trade fairs are a fact of life in most areas of business
and when used properly in publishing they represent a great opportunity.
In this feature, we hear the views of three of publishing’s
major international events and I was particularly impressed that
even though they are all well established, there was no sign of
complacency, but a positive commitment to improve the experience
for both exhibitors and visitors.
The other aspect that struck me was the apparent lack of rivalry,
and recognition that the various fairs all make their contribution
to international publishing in different ways. As Holger Ehling
of Frankfurter Buchmesse put it. “We are, after all, catering
for the same market.”
An
international business
Holger Ehling is vice-president Corporate Communications
and International Department, Frankfurter Buchmesse. Paul Thorne
asked Holger why Frankfurt is so successful and how he sees its
future.
"The quantity of publishers present is a major quality of
the fair. There is just no other place in the world where you
can meet so many publishers at the same time.
“Frankfurt is the major international rights and licensing
event. Distribution is less relevant than it was, referring of
course to the international part, rather than the domestic German
aspects of the fair. Ten years ago, exporting and distribution
were also far more significant in the international market.
“Regarding the other major fairs (and I also include Bologna),
we have an excellent relationship with them. I do not feel there
is any rivalry between us and when they do well it only strengthens
the industry. BookExpo America still has a significant emphasis
towards domestic booksellers, though London is less of a distribution
event than a strong rights fair.
“We have been keen to develop links and co-operation between
the fairs. The Global Rights Forum, launched at BookExpo, is a
common brand that will become an element of all three fairs. I
see scope for more of this, especially in educational programmes.
We are, after all, catering for the same market.
“I do not see the developments in electronic rights trading
as being any threat to the book fairs. In fact, with the development
of forums like RightsCentre and Subrights, their impact has increased
our business. We have also introduced a rights database on our
website; it is the most comprehensive in the world, with some
20,000 titles. This is a great enhancement to our service, an
online bookfair that is held 365 days a year. Publishers can use
the online system to prepare for and set up appointments, arriving
in Frankfurt with a complete itinerary in place.
“Even an event as successful as Frankfurt cannot afford
to become complacent. We have to keep on our toes, adapting to
the changing times and also driving change within the industry.
In spite of the maturity of Frankfurt we are always looking for
areas where we see scope for growth. Current projects include
further developments in publishing solutions and professional
information - both areas where we feel we can do more.
“Other new initiatives develop the general trend towards
marketing books. This year we have eight new event forums dedicated
to subjects such as children's literature, education and content
management. Another major outlet we are building on this year
will be film and TV. We have always had the rights people; now
we have the production people, broadening the involvement of anyone
with an interest in developing content."
The
view from London
Alistair Burtenshaw, show director, shares his views on the London
Book Fair and the benefits of attending the international fairs.
Whether your objective is rights trading or bookselling, this
industry is driven by face-to-face contact - it is a people industry,
and electronic systems enhance what we do. They work well by building
on the trust and friendships that come from the personal contacts
made at book fairs.
Even though it is a mature event, the LBF is changing and growing
at an incredible pace. When I am asked if I see LBF as a rights
or bookselling event I say that the evidence on recent growth
shows it to be both. This year's fair saw a 20% increase in international
visitors, reflecting the growing level of rights business, but
bookseller numbers rose by 17%.
These increases show that you can be both things when you have
a big fair. The strength of a fair should be in offering all visitors
whatever is appropriate. The diversity of exhibits and events
cater for buying books, finding suppliers and rights business.
Each element is strong, but I still see more scope for growth
on the supplier side, like publishing solutions. More people are
looking for suppliers and service providers at the fair. Retail
solutions is another fast-growing area for us.
The international growth in London has been amazing. Next year's
fair will be my fourth and the growing international impact must
be the most striking change I have noticed. All the international
collectives are expanding, and this year saw massive new Belgian
and Greek collectives. For 2004 we will be seeing a new collective
presence from Italy.
We work hard to keep the fair fresh and relevant and I think it
is appropriate to be responsive to the views of exhibitors and
visitors. An excellent example of this was this year's introduction
of three new zones: for Art, Architecture and Design; Travel Publishing
and Maps; and Christian Publishing. People like seeing publishers
next to each other, even if they are competitors, and our exhibitors
know it makes sense to spotlight their areas. There is still scope
for more dedicated zones in the future - Mind, Body and Spirit
is one that comes to mind.
Our relationship with Frankfurt is excellent. The timings of both
fairs work well and people tell me they really need to go to both
events. They are often able to conclude business at one show,
which was started at the other.
For next year, we are continuing to develop in all areas of the
fair so we improve the choice for our visitors, plans include
more seminars and events for the show. We are adding an extra
hall at Olympia next year and apart from providing the extra theatres/seminar
rooms we need, it will also help to satisfy the increasing demand
for stand space.
A
chain reaction?
Greg Topalian, vice-president/show manager, BookExpo America,
says the fairs all work well in their different ways.
The three major book fairs service the world markets in different
ways. Ten or 15 years ago Frankfurt could rightly claim to be
the only world rights fair. London and BookExpo America were more
like the Canadian or Tokyo fairs are today, predominantly serving
their specific markets.
This change has accelerated in the last 10 years and London, like
Frankfurt, is now very much a Rights event. BookExpo America is
still a strong bookseller show with all the main chain stores
participating. We have seen tremendous growth in librarian attendance
and special market sales, which include grocery or hardware stores,
and other non-traditional book outlets are all expanding. BookExpo
America needs to reflect our marketplace.
At the same time, I see the steady growth in international rights
business as a major benefit. Giving BEA the best of both worlds
where the rights people get together and publishers also have
significant bookseller exposure.
Another aspect of BEA, which is probably a US thing, is the celebrity/glitzy
nature of the show. Books garner considerable attention in the
US media, and the show is covered by major magazines and TV shows.
There were 650 authors and over 1,000 press at BEA 2003 in LA.
This affects the way publishers approach the show - they feel
they must do something special.
As BEA is the only major show that changes venue, it's both a
pain and exciting. There are always different things to do and
when we move into the backyard of certain publishers and booksellers
they tend to make more of a splash. It can be stimulating, and
it keeps the audience fresh, as about 30% of the visitors tend
to come from the region we hold the show. Next year we will be
at Chicago and in 2005 we're going to Washington DC. It means
we have to build brand new campaign every year, but it keeps things
fresh.
Changing venue also impacts on the size of the show. The concentration
of publishers in New York will invariably make that our largest
event, so the subsequent year could understandably see a drop
in size. Even so, we are a mature show - 102 years’ old
- and we always benefit from the participation of the major players.
Foreign publisher exhibitors, mainly from the UK, are increasing
steadily in numbers, as is overseas attendance - now over 10%.
This reflects the expansion of the rights business from virtually
nothing 10 years ago.
The book industry is people-orientated, and compared with trade
shows in general, the motivation for attending is community-driven.
In some industries, trade shows are commerce-driven and the event
is measured largely by the order book against the cost of exhibiting.
Other industries are content-driven, like medical information
or education, keeping up with changes in the market is the prime
objective.
I believe that publishing is especially community-driven and shows
will still do well even when business is slow. You go because
everyone you know goes; we need to be around each other, meet
face-to-face, catch up with friends and to see what's new.
TOP
SOCIETY
OF INDEXERS WORKSHOPS
The next workshop is The Process of Indexing,
for beginners or those thinking of taking up an indexing career.
To be held in Glasgow on June 27th 2003, from 10:00am to 4:00pm,
with Sue Lightfoot.
Other workshops:
Peer Review Session, June 29th 2003, Glasgow.
Business Aspects of Indexing, September 18th
2003, Leeds. Suitable for all freelancers working from home.
The Process of Indexing, November 11th 2003,
Bristol.
Workshops for publishers
The Society offers in-house workshops for editors and publishers
to cover topics such as commissioning indexes and the basics of
indexing. Workshop content can be tailored to the client’s
requirements.
For further information and bookings, contact:: Jane Henley, Society
of Indexers workshops manager, Tel: 01908 663532; e-mail: jane.henley@britishlibrary.net.
TOP
BTBS
WALKIES
Are
you thinking “Walkies”?
It is time to think about “Walkies” with BTBS; Tuesday
8th July 2003. Put the date in your diary and contact us now for
details. Tel: 01923 299731. Fax: 01923 270732. email: btbs
@booktradecharity.demon.co.uk
website: www.booktradecharity.demon.co.uk
TOP
ALPSP
COURSE
Design
for Marketing - an Introduction 19 June 2003
Design is a crucial element in any marketing project. Whether
you are doing the design yourself or using a designer, you need
to understand the principles involved. Topics to be covered include:
what works and what doesn't, design for impact and design for
readability, working with colour, when to brief a designer, how
to brief a designer, project management, working with your printer
and branding. This course is aimed at marketing professionals
who have little design experience or training.
Further details can be found at : www.alpsp.org/tDM190603.htm
http://www.alpsp.org/tDM190603.htm
ALPSP training courses are tailored to meet the requirements of
both the academic and the professional publishing market. All
courses are held at the Kings Fund, 11-13 Cavendish Square, London.
TOP
BOOK
AND PEOPLE NEWS
Susan Sandon acquires first novel
by Maria Beaumont
Susan Sandon, publisher of Arrow and deputy managing director
for CHA, has signed debut novelist Maria Beaumont from Lavinia
Trevor. Marsha Mellow and Me will be published in March 2004 as
an Arrow lead title.
The novel tells the story of Amy, who holds down a pretty dull
job at a freebie magazine and whiles away her day fantasising
about her boss. Amy could be any girl in any town, but she’s
not nearly as ordinary as she seems: she has a big secret…
Susan Sandon commented: “Marsha Mellow and Me is quite simply
the funniest, inspired and utterly commercial novel I have read
in ages. Amy is a brilliant creation who tumbles from disaster
to disaster – it’s impossible not to identify with
her trials and tribulations, from her relationships with men to
fibbing to her mother about everything from smoking to the sexual
preferences of her best friend.”
Memoir
of an extraordinary childhood - Century and Arrow
Kate Elton, associate publishing director of Century, and Susan
Sandon, publisher of Arrow, have just acquired the first full
memoir by a survivor of Munchausen by Proxy. Sickened, by Julie
Gregory, is fierce, lyrical, shocking, deeply moving and –
ultimately – a powerful story of survival.
From early childhood, Julie Gregory was continually X-rayed, medicated,
and operated on in the vain pursuit of an illness that was created
in her mother's mind. Munchausen by Proxy is the world's most
hidden and dangerous form of child abuse, but Julie Gregory not
only survived, she escaped the powerful orbit of her mother's
madness and rebuilt her identity as a vibrant, healthy young woman.
Sickened is a remarkable memoir. The book was acquired in a fast
six-figure pre-empt from Sharon Swados at Bantam. Bantam will
be publishing in the US in October 2003, and Sickened will be
a lead title for Century in January 2004 and then Arrow in 2005.
TOP
RPM
- 30 YEARS OLD
30
years and still going strong
RPM Print & Design is currently celebrating 30 years in business
in Chichester. Founded by Geoff Harry, who still maintains an
active role in the company, RPM has maintained a strong capital
investment programme in both traditional and electronic printing
methods alongside offset litho and state-of-the-art digital printing.
The company has also improved the links and expanded the work
it carries out in the publishing and self-publishing sector, offering
a comprehensive book printing service. RPM is recognised as more
than just a printer, but as a service provider where projects
can be handled from start to finish, including design concepts
through to delivery.
The company employs a staff of 45, and has increased annual turnover
for the past five years - no mean feat in these challenging economic
times. RPM has introduced open days for the publishing and self-publishing
sector at unusual venues like the Planetarium at Chichester, aptly
entitled “The future of publishing is in the stars”.
Visit RPM’s website at www.rpm-repro.co.uk
TOP
TOP
|
