In the UK, Nielsen’s ISBN program has stepped into the digital age with what it describes as sure-footed grace. In the US, an internationally placed STM content platform is bought by a customer.
As part of Nielsen’s inaugural Romance Book Summit at the Romance Writers of America conference, a panel of publishers talk about globalization, sales, and diversity challenges.
With analysis of a “slow erosion” of sales and much more, Nielsen’s Romance Book Summit is a mix of research analysis and thematic exploration at the Romance Writers of America’s gathering.
Not to say that it’s something in the water, it’s often noticed by international observers that the two major publishing markets have different entertainment-genre priorities. The Americans love love. For the Brits, good literature is murder.
Who’s buying the books, who’s coloring them, and how are they finding them? Here are a few glimpses from Nielsen’s 2015 research.
‘There is no area in publishing today more transformed by digital than romance.’ Nielsen offers a new event for both authors and publishers in July.
From some of the material presented at BookExpo America, looks at the US market courtesy of Nielsen Book and Kempton Mooney: So far, it’s a great year for Dr. Seuss. Again.
As the ‘Wall of Content’ rises, the heart of the publishing trade show, its rights transactions, becomes all the more vital — as we see this week at London Book Fair.
We have yet to make a satisfying gift of an ebook, said Nielsen’s Andre Breedt at BookInsights in London. Such breakthroughs still seem far, far away
Ahead of her appearance on March 7 in a Digital Book World practicum, Nielsen’s Jo Henry talks about the new importance of knowing the target reader.