At San Francisco’s Books in Browsers VII, a presentation from the UK offers a Brexit example of the power of storytelling and what ‘data-driven lies’ can do.
With investments from China’s Qtone and Oxford University Press, ed-tech accelerator Emerge Education is engaging with ‘the old school together with the new school.’
‘UK publishing will embrace the opportunities presented by leaving the EU,’ according to a Brexit manifesto on the Publishers Association’s lobbying points.
When readers are wooed by ‘global entertainment,’ an independent press like Saraband, home to a Man Booker longlisted novel, can use ‘a little bit more traction.’
‘We will have to strengthen our voice,’ says a panelist from the UK’s Publishers Association on the implications of Brexit for the book industry there.
Ashton Applewhite and Bob Stein list 37 vendors and counting, in producing Applewhite’s ‘This Chair Rocks.’ That’s how you roll, they say, when you take the indie route—and mean to get it right.
On a wrenching day, we learned that UK voted to leave the European Union. Despite Brexit, the book publishing industry remains internationally engaged.
Just as “a settling down rather than a reversal” of digital publishing arrives in the UK, this market—one of seven to be featured at Frankfurt Book Fair’s conference on October 18—faces the question of a European Union membership referendum.