‘So much of the publishing industry revolves around London’ in the UK, says publisher Ra Page. The Northern Fiction Alliance collective is a response.
Said to be responsive to myriad publishing needs in one platform, the PageMajik software is touted as a super-intuitive content management system.
Greenland has a presence at the Frankfurt Book Fair for the first time: Milik Publishing presents its list of ‘Arctic noir’ titles.
‘We cling on to the idea that the UK is so different from all the other countries.’ And change, says Bloomsbury’s Richard Charkin, is a new constant.
‘We always thought we’d sell to an educational publisher,’ says the founder of Gojimo. And that wasn’t the only thing that surprised George Burgess.
Even as China is a major part of Berghahn Books’ translation rights trade, the prevalence of English in the world, Marion Berghahn says, is a boon.
‘I completely disagree with the phrase “publish or perish,” says one voice in academic publishing. So what does the digital disruption disrupt?
‘Comics are one of the few things that kids get to choose themselves,’ says one panelist at London Book Fair, as British comics publishers talk transition.
As a case of ‘pop-up publishing’ takes hold in the newspaper sector, what can book publishers learn from this consumer-first approach to print and digital publishing?
What if the value of a publisher’s IP isn’t just content but organizational, too? A key consultant says publishing needs a reproducible process to harness creative ideas