7/29/2019 Frankfurt Academy Quarterly (Spring Edition): Managing creativity in times of open change
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Three is a CrowdThree insiders talk about
what works and what
doesnt when managing
creativity.
Trending TopicsWhy social media make such
a difference for reading, and
how to organise a book club
of 36,000 members.
SerendipityA chance encounter with
an expert on management
theory and why taking
a break is a good idea.
Frankfurt Academy Quarterly
Managing creativity in
tiMes o open changeTop managers face a goldsh paradox: how can they devise strategies when there are noinstruments to predict the future? Or, in other words: they need to jump out of their bowlto get an overview, but they have to avoid coming down on dry land.
Spring Edition 2013
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I youe seen the lm t a, youll know what
h. M. W* means. In the era o silent moies it was
inconceiable that talking actors could be the least bit
interesting. This shows us that when people are in the
middle o a process o reolutionary change, its oten
impossible or them to recognise that process, or to
anticipate or inuence the trends. In the same way as
its impossible or a goldsh to leae its bowl in the
normal run o things.
Now publishing, too, is undergoing a process o up-
heaal that cant be explained or predicted based
on experiences gained in the past. For the top-leel
managers, this means getting accustomed to open
change and disruption, while at the same time trans-
mitting to their company and their employees the
stability they need. In other words, they must attempt
to jump out o their goldsh bowls in order to get an
oeriew. This issue o the Frankurt Academy Quarterly
(FAQ) is deoted to the topic o managing creatiity. Tothis end, wee talked to e senior international man-
agers and Frankurt Academyspeakers. In our t
wdcolumn, g ad gm D
club gies us insights into the global business o the
branding agencies, L sl Mk p
il (Usa)diulges the management qualities
that are currently most in demand, and au Wl (i
d) explains how the Indian publishing market works
best through chaos management.
td t looks at how the social media are
changing the way creatiity is managed. adw
Lwk, books editor with the Hungton Post(USA),
has decades o experience in carrying out spontane-
ous, global projects with creatie proessionals. adw
explains in FAQhow he manages the reading experi-
ences o 36,000 people in a social reading club.
Welcome!
Holger Volland
Vice Presicent, Media Industries
When theory and practice complement one another, its
a happy coincidence. In sd we ask the me-
dia academic Bz Mzjwk (USA) what practical
benets can be gained rom the publ M
m cu U s. gll (ch) andwhat things managers should pay attention to.
Conerences such as sD c (Beijing) and
glbll (Jaipur, India), workshops like M
uu (Ahmedabad, India), and the il
publ Mm cu (St. Gallen, Switzer-
land) are all attempts at extending our knowledge
about the uture o management and looking beyond
the rim o the goldsh bowl.
Enjoy your read!
P.S. In case you missed out last time, we hae prepared
our special FAQeditions or you. These e-books are
wide-ranging compendiums o knowledge on topics such
as innoation and business models. You can download
them or ree.
Holger Volland is VP Media Industries at the Frankfurt Book Fair,
and head of theFrankfurt Academy
Holger Volland, Ch. Schmidt
One more thing: this ree quarterly magazine is like
a aourite child to us at the Frankurt Academy. It
should be a global source o great publishing ideas,
which means it gets better with eery additional new
reader. So i you like it, please spread the word and
also the link to the (ree) subscription.
Who the hell wants to hear actors talk?H. M. Warner, Warner Brothers, 1927.*
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Three is a croWd
1: gregor ade, designer:creaTiviTy is a crafTThaT can be learnedin The end iTs all
abouT Telling a sTory.
Approaches to management are highly subjectie and they areoten debated especially when it comes to managing creatiity.The Frankurt Academy Quarterly(FAQ) asked three insiders or
their take on what works, and what doesnt: g ad rom theGerman Designers Club, D al Kum rom the Indian Institute oManagement, and L sl, co-ounder and principal othe consulting rm Market Partners International(USA).
By Nicole Stcker
Digitisation is changing the creatieworkow and all the actors will haeto redene their roles. More thaneer, one o the central challenges,especially or larger, internationallyactie companies, will be to organise
creatiity in a meaningul way. Howis this process taking shape in otherareas o the creatie industries thatace the same need to rethink theirstructures and business models inthe internet age? FAQdiscussed thisquestion with g ad, who isa board member o the gm
D club and who, as a ma-naging partner o the p smdgu, leads one o the largest brandand design agencies in Germany.
FAQ: Mr Ade, why does creativity need manage-
ment?
g ad: I dont see any contradiction between
creatiity and strict management; thats because crea-
tiity is largely a crat that can be learned, deeloped
and promoted. That a team works well together, knows
its market, has a good oeriew o the industry, and
has an international and inter-disciplinary make up
these are the tools o the trade that any good agency
has to manage. So, to create the space or innoatie
ideas, you rst need to hae the right technical know-
how. Going beyond that, we attempt to maintain a
conducie enironment or creatiity with appropri-
ate reedoms, and we make sure the creatie team is
spared some o the work processes, such as conducting
market analyses and assessing legal issues. We get that
done by experts, who know their way around those
complicated topics.
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Gregor Ade, board member of the German Designers Club; managing partner of thePeter Schmidt Group
Gregor Ade will appear as a speaker
at the conference StoryDrive China in
Beijing in May. He has been a managing
partner of the Peter Schmidt Group
since the beginning of 2011. Prior to that,
from 2008 he was head of the Corporate
Design Team in Frankfurt and Dssel-
dorf. After studying at the Offenbach Uni-
versity of Art and Design, he worked fortwo years with the branding agencyMeta-
Design and then, in 2000, co-founded the
rm ade hauser lacour kommunikations-
gestaltung in Frankfurt am Main. Today,
Gregor Ade is a member of the board
with the German Designers Club (DDC)
and a member of theArt Directors Club
(ADC). From 2006 to 2008 he taught
typography atMainz University of
Applied Sciences.
FAQ: How has digitisation changed the creative work-
ow?
g ad: Our designers and copywriters hae to be
amiliar with both analogue and digital media. Ha-
ing a separate digital unit, as was common a ew years
ago, is simply old ashioned now. Apart rom that, thecreatie moment itsel hasnt changed with digitisa-
tion, because in the end its all about telling a story:
a brand needs a back story, an idea. This has always
been true, een i the word storytelling, which has
become so popular recently, is touted as something
new. Aboe all, its important to think in inter-disci-
plinary terms, and to put together teams that coer all
kinds o brand experience, both online and oine. Any
one project will thereore unite interactie designers,
traditional corporate design creators, copywriters, anddesigners rom the eld o brand spaces, who then
use the initial meetings to discuss and expand upon
their rst sketched ideas.
FAQ: How important is networking to get creative
inputs?
g ad: Dialogue and cross-boundary thinking
are our alpha and omega today. At the Peter Schmidt
Group theres a constant exchange, not only among
the teams in each location, but between our dierentofces. Moreoer, through our parent company, the
BBDO Group, were also part o a network that includes
all the releant marketing disciplines, and or many o
our clients we cooperate with another agency in this
network. We can thereore oer the client a complete
package, i they so wish; and we get a lot o support
and inputs or ourseles rom this network.
FAQ: What challenges and problems does it create,
working across national and cultural boundaries?
g ad: You need a lot o sensitiity to nd your
way in each market situation. Ultimately its a question
o understanding the respectie situation and culture,
and being able to deal with legal issues, such as inter-
national brand protection. And at the really practical
leel, to get the design and the concept right you hae
to get to grips with the language and symbols and the
way colours are interpreted.
The creative moment itself hasntchanged with digitisation, because inthe end its all about telling a story:a brand needs a back story, an idea.
This has always been true, even if theword storytelling, which has become
so popular recently, is touted assomething new.
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5/24
FAQ: Which assignments have you found particularly
exciting?
g ad: At the moment were working in Moscow
or a manuacturer o high-end kitchen appliances.
Wee quickly come to see that the idea o luxury thereis undergoing a dramatic change at the moment
moing away rom pure bling to a more international
understanding o luxury. In this context the Russian
consumers orientate themseles ery much accord-
ing to global codes, because they dont (yet) hae their
own tradition o premium brands. O course, well take
this into account with our own work. A lot o oreign
clients or instance the Kuwaiti airline Wataniya Air-
ways use us specically because o our German way
o understanding brands, and or the precision, theloe o detail and the need or structure; and that all
gets reected in their corporate design.
In 2007, two years before any of its planes left the ground,
Wataniya Airlines of Kuwait already began developing the pro-
le of its brand. According to the implementing agency, the cen-
tral elements are innovation and tradition, national pride and
the modern Arab world. The centrepiece of the brand is the dy-
namic logo, which one associates with wings, birds and sails.
The distinctive corporate colours have popular appeal, both in
the West and in the Arab region. For the typography, traditional
Arabic lettering is combined with a modern western typeface.
The look of Persil remained unchanged for years which made
it all the harder to try something new. In 2007, with the support
of the Peter Schmidt Group, Henkel started the biggest relaunch
in Persils history. Persil isnt called Persil everywhere in the
world and its new imagery was adapted with care, to engender
more emotion.
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Meetgregor aDe
You can meet Gregor at the Frankurt
Book Fair (913 October), or in Bei-
jing, where he will be speaking at the
Frankurt Academy eent sD
China (28 May1 June, Beijing).
Or contact him by email:
Join the conversation on the
Frankfurt Academy Blog:
://bl.bk.m/
/dm/
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StoryDrive China is the rst all-media
platform in Asia dedicated to exploring
new forms of collaboration and business
models across media boundaries. Leading
minds from all over the world will illumi-
nate the future of media and entertain-
ment. They will share their knowledge
and provide the tools you need to make
the most of your business and to discover
successful crossmedia and transmedia
approaches.
When: 28 May 1 June 2013
Where: Beijing
Contact:
For questions about programming and
proposal submissions forStoryDrive
China, please contactBritta Friedrich,
Director Conferences, at
For all other inquiries, please contact:
Yingxin GONG, Director German Book
Ofce (GBO) Beijing at
STORYDRIvE CHINA
FAQ: What are you hoping to achieve through your
participation in StoryDrive China?
g ad: Wee had a presence in Asia or many
years, with our Tokyo ofce. But the thing I nd excit-
ing about the Chinese market is that its particularly
ast-moing and agile at present. On the other hand,
the hectic rush to make money in this market which
wee seen in recent years has calmed down. Thats
why now is the right moment to take a coolheaded
look at the situation on the ground there. Id just like
to use StoryDriveas a way o presenting ourseles, to
show what were capable o, and or making lots o
new contacts.
Nils Holger Henning from Bigpoint,
speaking at last years StoryDrive China conference.
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2: WhaT recruiTers WanT:managemenT skills in The
age of digiTal publishing
Lorraine Shanley, Childrens Digital Media Pro-
gram Chair for Publishers Launch Conferences
(Frankfur t, New York)
A slew o new leadership positions has inaded the
job boards oer the last ew years as digital has become
a more prealent orce in the publishing industry. The
skills required o publishing managers 20 years ago
arent always going to make the cut in the digital age.
Todays publishing leaders are oten expected to hae
a working knowledge o the principles o SEO, healthy
pre-existing networks in new media industries, strong
knowledge o marketing on social-media platorms,
and a passion or digital products and merchandising.
L sl, principal and co-ounder oMk
p il (MPI), a consulting rm launched
in 1990 that caters to the rapidly changing needs o
traditional and online book publishing, has witnessed
a lot o these changes rst hand. In addition to her ex-
perience in strategic planning, market research, content
deelopment, and more, she and the MPI team hae
requently been retained to conduct executie searches
by companies inoled in both traditional and digital
media. So what are recruiters looking or in top execu-
ties today and how has that changed oer the years?
Lorraine Shanleybegan her career atBook-of-the-Month
Club and QPB (nowDirect Brands. After rising to the positi-
on of Executive Vice President in charge of editorial, marketing,
and merchandise, she left to launch her own consulting compa-
ny. She returned to publishing to become Editorial Director of
HarperCollins Trade Books, and then co- foundedMarket
Partners Internationalin 1990. Shanley, a member (and past
president) ofWomens Media Group, is on the Advisory Board
of New York Universitys Publishing Program and the board of
Fourth Story Media, a New York-based web development com-pany. She is the Childrens Digital Media Program Chair for
Publishers Launch Conferences (Frankfurt, New York).
By Siobhan OLeary
Director Digital Publishing
Publishing and New MediaBusiness Deelopment Director
Digital Marketing Manager
New Account Deelopment
ManagerDigital Marketing & ChannelDeelopment
Digital Content Director
Director o Digital PublishingDeelopment
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8/24
The most important quality is a willingness to em-
brace digital, and to anticipate change. Een those
without hands-on experience in digital hae to show a
amiliarity with the players, business models, aailable
social media, etc. In areas like ld ubl,
that is quite a lot to keep on top o, says sl. As
transmedia content and enhanced e-books gain moretraction, it is also not uncommon or companies to seek
out managers who hae experience with and networks
in other creatie and content industries. According to
sl, this was always a helpul quality to hae. Ie
always thought that indiiduals with a broader back-
ground magazines, music, international, or instance
are better able to contextualise their experience,
she notes. And they can draw on a greater number
o business models, which is especially true in digital.
For instance, someone with a direct marketing back-ground has a real adantage when considering possible
subscription models, or understanding the power o
community.
In addition to shiting once-distinct industries closer to
each other, the digital wae has also led to headline-
grabbing consolidations that present challenges or
management. With Penguin and Random Houseset to
join orces, and other potential mergers on the horizon,
how can these dierent corporate cultures be inte-grated as well? Or should they be? Whats the best way
to manage a global giant like Penguin Random House?
slplans to take a wait and see approach to
this. But remember, she added, that, relatie to a
lot o companies Microsomade oer $20 billion in
prot last year these two combined companies are
not so huge.
At the end o the day, digitisation can also be iewed
as a great equaliser not only between managers and
employees, but also between consumers and publish-ers. Its important or eeryone to think as a manager
and to ll the role o intrapreneur to highlight
ones own skills while inesting energy and creati-
ity in the uture success o the company as a whole. As
sldescribes it, With little job security and end-
less change, employees need to be thinking about their
career arc, and how they project their skills and ability
to potential employers. They should make themseles
known in their proessional networks. But its impor-
tant that they ocus on how their company can moeorward as well what are best practices, where is in-
noation happening, how can processes be streamlined
and rationalised? Employees need to look out, not just
or themseles, but or the business. Disengagement is
no longer an option.
But does this mean that hierarchies are becoming a
thing o the past as crowdsourcing and collaboratie
creatiity gain momentum? Theoretically, but try tell-
ing that to your boss, quipped sl.
Source: Library of Congress Prints and Photographs Division Washington,
D.C. 20540 USA
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9/24
MeetLorraine shanLey
Meet L or one o her colleagues
rom Market Partners International
(MPI) at the ku Bk
(913 October 2013).
Join the conversation on the
Frankfurt Academy Blog:
://bl.bk.m/
/dm/
BLog
Three Tips from lorraine abouTWhaT really maTTers if you WanTTo geT ahead:
1.Curiosity always ranks high, and it is amazing
how oten a candidate stumbles by ocusing on
his or her experience, but showing no interest in
the interiewer. That lack can extend to a lack o
preparedness; recently, we had a ery engaging
candidate who went to the interiew without
haing researched the publishers list, and with-
out haing thought through the kinds o ques-
tions he might be asked or might want to ask.
The meeting was a short one.
2.
Breadth o experience is increasingly important
and sometimes this means an indiidual will
hae to take courses to ll in some gaps. Local
uniersities oer courses, as do online compa-
nies like orlland Ld.m. Een i these
courses simply help amiliarise someone with
the concepts and ocabulary, that can be helpul
in an age when eeryone is expected to under-
stand digital media and managers are expected
to be comortable with nancial basics. A can-
didate with a traditional (non-digital) market-
ing background was able to put hersel orward
or seeral positions that required a ull suite o
marketing skills because she had (literally) done
her homework. Another candidate was able to
ll a larger position than his business deelop-
ment title would hae suggested because he had
mastered the intricacies o budgeting.
3.Honesty seems like an obious one, but small
lies catch a candidate up, whether its claiming a
higher salary in the last position held, or playing
ast and loose with the years spent at a particu-
lar job or the reasons or leaing the job. A recent
candidate was candid when asked by a prospec-
tie employer about the reasons or leaing a po-
sition, and ater colleagues at the prior company
explained the context, the employer decided to
extend the oer. Particularly in a small industry
like publishing, the truth will (eentually) come
out, so its better to deal with it head on.
WhaT To read:Gallups sBd Ld and
sd 2.0 along with its online as-
sessment are two useul books or those want-
ing to nd out how their strengths can be put to
use in managing others.
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10/24
3: india: profiTing bymanaging a propensiTy
for chaos
By Arun Wolf
Innoatie management techniques and entrepreneurialbusiness models are essential i you want to thrie in Indianpublishing. Industry leaders and participants oGlobalocal the rst conerence to bring together oreign and Indianpublishers gie their insights into the biggest challengesand how they can be oercome.
India is both exciting and conounding. Its a coun-
try o glorious opportunity and crippling inefciency,
o rapid economic growth and terrible inequality. A
place where contradictions sit, sometimes rustratingly
and oten happily, side by side. Any publisher who has
worked in India oer a period o time knows that this
holds as true or publishing as it does or other indus-tries and aspects o lie. Uniersal solutions that hae
emerged rom elsewhere can hardly eer be success-
ully applied here. Unique context-drien management
approaches and innoatie business models are essen-
tial in order to succeed in India. In this ancient, enor-
mous, and dierse country, the only real constant today
is the switness o change.
It would be nearly impossible, or at least seerely
daunting, to attempt to quantiy book publishing, alarge and disorganised sector that is composed mostly
o priately owned amily-run enterprises. But the
icci (d id cmb cmm)has
tried, and their estimates peg the annual turnoer o
the Indian publishing industry in 2012 at 1,000 billion
Indian rupees and the growth rate at 30 per cent. This
makes India the third largest English-language publish-
er in the world and seenth largest worldwide, when
all languages are counted.
Arun Wolfworks as a documentary lmmaker in India
(lonewolf media) and is also an editor atTara Books, aninnovative independent publishing house. His background lies in
journalism and he has a keen interest in the intersections
between culture and politics.
Arun Wolf
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11/24
indias publishing boom
One thing is clear Indian publishing is on the as-
cendancy. Its an industry that is eoling at blinding
speeds, as a result o a growing population o young
people who are increasingly educated and literate, as
well as the rising income o an auent urban market.
In India a lot o the sequential eolutions that hae
happened in America oer the last 60 to 70 years hae
been telescoped into the last 10 or 12 years. Today,
all media, including book publishing, are deeloping
in parallel. Book publishing has expanded dramati-
cally, both in the English language and in the regional
languages, said Ragha Bahl, ounder o Tv18, one o
the largest Indian broadcasting companies, in a
w w publ p.
So its a market o huge opportunity, but its also com-
plex and in no way homogenous. O the 90,000 or so
titles that are brought out eery year by approximately
19,000 publishers in India, only 50 per cent are in Hindi
and English. The remaining hal are distributed across
about 120 major languages (22 o which are ofcially
recognised). This means that seeral markets actually
coexist, structured and dierentiated not only by genre
but also by language. Trade publishing is estimated by
the icci to account or 20 per cent o the industry. The
largest sector is by ar education, which is dominatedby state-owned publishers, although the abundant
number o titles that priate publishers put out makes
them important players in the sector as well. But the
lack o access to books and knowledge among a large
underpriileged section o society in urban and rural
India remains a key issue.
In short, it is an unsaturated market with immense
possibility. But it is also riddled with its own peculiar
challenges. A lack o proessionalism (and aailabilityo properly trained talent), inadequate or undeeloped
distribution channels, patchy inrastructure and logis-
tical gaps (the sheer size o the country is a problem),
as well as rampant piracy (especially in educational
publishing), are some o the difculties that publish-
ers in India are routinely orced to conront. No mat-
ter whether you are a large multinational or a small
independent publisher, local know-how is crucial.
Indian conditions and consumers are quite unlike those
in other parts o the world. They arent een the sameacross India.
globalocal 2013
Globalocal 2013, which took place just ater the
Jaipur Literature Festival(2829 January), is an
annual orum or content, where international
and Indian participants rom publishing and
ancillary industries come together to explore
possibilities. This year, it was all about moing
on rom contemplation to action, rom discuss-
ing trends to orecasting them. We were ocusing
on increasing interactions between the regional
companies/proessionals and their international
counterparts, says organiser p r,
the new director o the gm Bk of (gBo)
nw Dl. The statements in this article stem
mainly rom participants o Globalocal. In ad-
dition to Globalocal, theres an opportunity to
learn more aboutmanagement and publishing
in India at the upcoming management training
course or publishers, M uu
(25 February 1 March 2013), which will be or-
ganised jointly by the Frankurt Academyand the
Institute or Management Training, Ahmedabad.
Universal solutions that haveemerged from elsewhere can
hardly ever be successfully appliedhere. Unique context-drivenmanagement approaches and
innovative business models areessential in order to
succeed in India.
The Indian publishing industry is gigantic, and takes on different forms
depending on where one is in touch with it just like in the story of the
blind men and the elephant
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The one-weekManagement Development
Programme held atIIM Ahmedabads
campus is specially designed for CEOs
and senior managers within the publi-
shing sector and afliated industries (kee-
ping in mind their busy schedule). The
publishing course also caters to internati -
onal publishing professionals who want to
develop a better understanding of the In-
dian publishing industry. The course was
initiated by theFrankfurt Academyto-
gether with its German Book Ofce
New Delhi. Designed and taught by the
IIM Ahmedabad faculty and global in-
dustry exper ts, the publishing courselooks to combine classroom learning with
real-world experience while all along fo-
cusing on the publishing industry through
specially prepared case studies on the pu-
blishing industry.
When: 25 February 1 March 2013
Where: Indian Institute of Management,
Ahmedabad (IIMA) India
Contact: Shabnam Srivastava,
Manager: Sales and Marketing
German Book Ofce (GBO) New Delhi
Email: [email protected]
FIND OUT MORE ABOUT
the pUBLishingManageMenttraining coUrseMANAGING FORTHE FUTURE
Dr H. Anil Kumaris an expert in business information needs,
bibliometrics, knowledge management, and emerging technolo-
gies and trends. He works as head of the National Information
Centre on Management (NICMAN) at the Indian Institute of
Management (IIMA) in Ahmedabad, and is the president ofMa-
nagement Libraries Network.Dr Kumaris also one of the initi-
ators of the upcoming management training course Managing
for the future, aimed at CEOs and publishing professionals
from India and abroad organised by the Frankfurt Academy /the German Book Ofce New Delhi andIIMA
Dr H. Anil Kumar,
Head of the National Information Centre on Management (NICMAN)
As D al Kum a knowledge management and
business inormation needs expert rom the id
iu Mm amdbd (IIMA) says,
The specic needs o the Indian market arise mainly
rom the diersity o languages, the digital diide,
the huge potential due to the youthul demographic
prole o India, and the acute need to scale up access
to education or the eligible population. There is need
or a new kind o management in publishing one that
is not only open to change, but embraces it. Accord-
ingly, D Kum identies our key management needs
in Indian publishing:
1. Proessional management practices or this largelyamily-run industry.
2. Improed understanding o technology and its rolein the deelopment, organisation, and dissemination o
content.
3. Promotion o technology to the oreront o productmarketing.
4. Engagement with the education sector in innoa-tie ways.
How hae some critically acclaimed and commercially
successul Indian publishers put these principles into
practice? What are some o the management approach-
es and business models that hae acilitated innoation
and nourished an entrepreneurial spirit? How hae they
come to grips with the agaries o the market and the
challenging work enironments? Read on or examples
o how some Indian publishers hae negotiated obsta-
cles to realise their goals.
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Gita Wolf, Founder of Tara BooksTara Books specialises in handcrafted books and also publishes in regional languages like Tamil. Art
prints, like this one from the book Waterlife, are a recent addition to their catalogue.
Gita WolfstartedTara Books in 1994,
an independent publishing house. Overthe past 18 years, she has been joined by
other writers and creative professionals
who were drawn by her vision of bringing
a variety of marginalised voices and per-
spectives to the reader, while continually
playing with the form of the book. She
has written over 20 award-winning books
for children and adults.disTribuTion: sTraTegic mergers
Sensing the possibilities aorded by the market, all the
major multinational publishing houses hae already
established operations in India, with arying degrees
o success. They hae looked to make their mark in a
market with a growing number o retail chains and a
prolieration o e-commerce start-ups. The last ew
years hae also seen an explosion in literary estials,
none better known than the Ju Lu l,
which sees the big names in international publishing
rub shoulders with their Indian counterparts. This has
meant less room to manoeure or Indian publishers
in a highly competitie English-language market, but
has had little inuence on a ibrant and multiaceted
Indian-language publishing scene or on educational
publishing. The bulk o the annual sales or regional-
language publishers comes rom less glamorous lo-
cal consumer airs. g Wl, director ot Bk,
a highly regarded childrens and art publisher, says
Distribution in the Tamil-language market is ll
u ml m. Retail space is limited, and
there are many indiidual booksellers who trael
to display their wares at political meetings, cultural
eents, academic conerences, and increasingly through
regional book airs. The state is also a major buyer
through the library system.
The merger oPenguin and Random House, which will
bring together an unprecedented 250 imprints in the
worlds biggest publishing house, represents an unpar-
alleled trend towards concentration and internationali-
sation. Its a strategic response by their holding com-
panies, Britains Pearson and Germanys Bertelsmann,
to gain negotiating leerage with their largest sales
platorms Amazon, Appleand Google. The real nan-
cial clout lies in distribution and retail both in the
physical and digital realms. Penguin Random House,
which will be responsible or publishing around one in
eery our books, is an attempt to address the chal-
lenges posed by the new booksellers. But een outside
o global big-player mergers, similar trends towards
conergence and symbiotic partnerships hae suraced
in India. Industry consolidation and the increasing
importance o e-books hae orced Indian publishers to
rethink their business models, and mergers hae been
one o the key responses.
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David Davidar, founding editor/publisher ofPenguin India
and co-founder ofAleph Book Company
David Davidaris an Indian novelist and publisher. He was the
founding editor/publisher ofPenguin India, where he edited or
published a distinguished line-up of authors. In 2011 he co- foun-
dedAleph Book Company, a literary publishing rm, based in
New Delhi, in partnership with Rupa Publications India.
converging experTise
At the moment digital downloads only orm a small
percentage o sales. O course, this will grow as more
and more people acquire tablets and begin to get used
to reading on a ariety o screens. We already use socialmedia extensiely to market our books and will con-
tinue to deise innoatie online marketing strategies,
says Dd Dd, ounder oPenguin India and or-
mer CEO opu il. The we he reers
to is the al Bk cm. Born out o a coming
together oDd and his team with ru d c, it
is one o the best examples o enhanced distribution
and marketing capabilities joining orces with edito-
rial acumen. Rupa is one o Indian publishings oldest
names and its traditional edge has been low-priced
mass-market books. This is epitomised by the suc-
cess oChetan Bhagatsrecent non-ction book W
yu id W, which was priced at under 100
rupees and sold hal a million copies on the rst day.
I chose Rupa as my business partner because they
know the Indian book market like nobody else does
and own the most extensie book distribution set-
up in the country, says Dd Dd. We are also
a good t because, while they are market leaders in
commercial ction, Aleph Book Companyocuses ex-
clusiely on literary ction and quality non-ction.
Aleph aims to publish about 40 books a year. The right
size to ocus time and attention on each one. Large
Indian companies like Rupa hold exclusie distribution
rights to international titles, and most multination-
als surie on the strength o the Indian editions o
globally amous titles. India is the only signicant
English-language market in the world demonstrating
substantial growth. In addition, I beliee there are ast
subject areas, especially where quality non-ction is
concerned, in which there arent enough good books,
so there are plenty o opportunities or book publish-
ers, Dd Dd explains.
rise of independenTs
Een in an extremely competitie English-language
market, there has actually been an increase in the
number o successul independent publishers. By and
large, smaller independent publishers hae been better
at identiying subject areas, themes, and constituen-
cies. Perhaps because oreign publishers see Indian
publishing more as a market o consumers than pro-
ducers, much o the cutting-edge content has come
rom independents. Some o these smaller houses are
well established in the domestic market and are in-
creasingly looking to make their presence elt globally,
either through distribution arrangements or oreign
rights sales.
The biggest challenge that stares small and innoa-
tie publishers in the ace is distribution. Aordability
and pricing are a problem, particularly or the working
classes or in rural areas, but een stocking the big retail
chains in the Indian mega-cities is oten a nightmare.
Childrens book publishing, in particular, has or long
suered rom a lack o isibility. Een while ction
and non-ction titles are gien pride o place in Indian
bookstores, its a dierent story when it comes to
childrens books, s Bu, director o the newly
launched Dukbll Bk, w m bl.
I isited our retail outlets today. Two were chain
shops, two were independent bookshops. But in all o
them the situation was the same. In one tiny corner,
either at the ar rear o the shop or somewhere else
equally inconspicuous, is a tiny shel or two, labelled
Indian childrens books. Oten nearby is a gleaming
wall o shiny international childrens books.
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15/24
MeetDr aniL KUMar
You can meet Anil and international
publishers at the publ M
m t cu amdbd,
India, 25 Febuary 1 March 2013.
or Contact Anil at
Join the conversation on the
Frankfurt Academy Blog:
://bl.bk.m/
/dm/
BLog
Sayoni Basu, founder ofDuckbillDuckbill Website
Sayoni Basu currently runs Duckbill, a
publishing house for children and young
adults. She has worked for way too many
years in publishing. She has also been a
tea lady, librarian, college teacher, and
security guard.
You can read more on the Indian publi-
shing market in ourFrankfurt Academy
Special Edition Markets and Trends.
Order now for free:
http://www.buchmesse.de/en/
academy/knowledge
seeking disTribuTive clouT
Dukbll was started by auk rk and
s Bu, in partnership with Wld, which is
owned by the t gu. Westlandincludes EastWest
Booksand Tranquebar Pressand possesses one o the
best distribution networks. Moing into a new market
with Duckbill, by partnering with two o the best-
known names in childrens publishing, was an enticing
proposition or them. It is another example o a coming
together o commercial reach with creatie content.
s Bu sums up the adantages o the partnershipsuccinctly: We checked out bookshops when we were
looking or a partner, and we noticed Westlandseemed
to be rather well represented. So we gured they were
good partners because they seemed to be getting
books into shops.
For publishers looking to be creatie and dierent with
their childrens list, another major deterrent is the
Indian markets emphasis on narraties with explicit
morals and academic content. A lot o parents wantbooks with only educational alue. Some schools are
extremely censorial about content. But we are ostrich-
like in ignoring these things. We beliee that good
stories will eentually win readers, says s Bu.
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DEAL
OR NODEAL?
Frankfurt is the Biggest Venuefor Literary Agents.
More than agents and a unique
atmosphere: The Literary Agents & ScoutsCentre (LitAg) brings together publishing
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Contact:German Book Offi ce New York, Inc.Riky StockE-mail: [email protected]: +1 (212) 794-2851
7/29/2019 Frankfurt Academy Quarterly (Spring Edition): Managing creativity in times of open change
17/24
communiTy in The digiTal
age: managing The huffpossocial book club
Andrew Losowsky,
books editor at The Hufngton Post
In his essay rd u Dm, Hung-
ton Postbooks editor adw Lwk l how
eeryday people now hae the ability to publish eery
day, with the click o a button. They dont always think
o it as publishing in the conentional sense, but i the
objectie o publishing is to create something that is out
there or the public to see, then all those tweets and
blog posts count. But what does this mean or tradition-
al publishers? Will they surie as content curators or be
reincarnated as community managers?
As manager o the international huf p Bk
club, a role he took on in 2011, Lwkhas a unique
perspectie on the changes that are taking place. More
Andrew Losowskyhas been a journalist in London, an edito-
rial director in Madrid, an English teacher in Hong Kong, a gui-
debook writer in Barcelona, a curator in Luxembourg, and the
creator of a spontaneous global magazine in Dublin. He wrote a
book about Italian doorbells forChronicle Books, which led
him circuitously to become the books editor atThe Hufngton
Post, where he currently writes about old media while testing the
boundaries of new.
Trending TopicsWhat used to be a solitary experience is becoming social now: rea-ding is being transormed into social reading. In Trending Topics,adw Lwk, books editor at the Hungton Post, tells us
how easy or complicated it is to manage a reading community with36,000 members, how to tap the creatiity o the crowd and stillhae time to spare or your own creatie projects.
By Siobhan OLeary
than 36,000 people on the Book Clubsmailing list can
decide whether to participate, depending on book
selections and their own commitments. They read,
photograph, discuss and share their thoughts ia tw
, bk, Instagr.am, YouTubeand Flickr, as they
work their way through the latest book club selection.
HufPo book editors post a reading schedule and sug-
gest thought-prooking questions. Googlehangouts
allow readers to meet each other irtually. Sometimes
the u is brought into the equation using YouTube
ideos. Members o the Hungton Post Book Club een
had the opportunity to choose the nal book selec-
tion o 2012 rom a list o titles suggested by the HufPo
editorial team.
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18/24
Publishers and journalistshave to shift their competencies
from content alone to an equal mix ofcontent, business development
and technology.
Passion seems to carry moreweight now than the general
management skills that used toll the management guides at the
turn of the century.
I think there is no single model or publishing proes-
sionals, says Lwk, but increasingly were ex-
pected to hae a uency and exibility with regards
to eer-expanding digital platorms. Community is a
huge part o what we do, as is social media and con-
tent creation. Where beore it was easier to ocus on
an isolated niche, were in a much broader and more
connected ecosystem now.
Ml M o the Knight Foundation said l
that publishers and journalists hae to
shit their competencies rom content alone to an equal
mix o content, business deelopment and technol-
ogy. Lwk work has always inoled a combina-
tion o these three. But when I started out, he says,
this seemed weird to most people. Publishing is nally
catching up.
At the same time, almost all o his projects hae in-
oled global cooperation, encouraging artists and
authors rom all oer the world to collaborate. (His
L cl Mz, or example, coers 11 cities around
the globe.) Lwkhas lied in both Europe and the
US, and has seen the dierent approaches to dealing
with content, stories and experiences. Broadly speak-
ing, he says, Europe is more curious about ideas rom
other countries, while the USA tends to be more insu-
lar. Howeer, there are always exceptions. Ie ound
greater dierences between dierent audiences than
between dierent geographical regions.
A typical day or Lwkinoles monitoring multi-
ple media sources, oerseeing and commenting on the
work o others, writing, editing, dealing with publicists,
haing meetings and chats with arious editors, look-
ing at the new books that arrie, discussing and agree-
ing upon coerage with the associate books editor, Z
tk. The balance o each day depends on what the
news cycle brings us, he explains. One o the upsides
o building and nurturing a community o readers and
content creators is the leel o passion and creatiity
it can inspire. Passion seems to carry more weight now
than the general management skills that used to ll the
management guides at the turn o the century. But the
passion o the community rests upon the passion o the
sta. How can this passion be channelled to achiee a
common goal? I beliee strongly, rst o all that crea-
tiity and passion thrie on being ocused at the start,
and secondly that the creatiity comes when managers
empower, then get out o the way, says Lwk.
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19/24
here are 3 of andreW losoWskysTips for handling groupcreaTiviTy
1.Begin by agreeing, as a group, on a clear, con-
sistent oerarching mission or your work. Eery-
one needs to understand the ision, agree on the
metrics that will be used to measure success, and
eel they hae an inestment in its success. This
process can take weeks or months to establish,
alongside the usual daily output, but its always
worth taking the time to do it properly, as it will
guide all uture decisions.
2.Once this is done, empower those you manage to
ull that mission in any way they choose, using
their own skills and creatiity; help them to get
whateer tools they need to do so, and make it
clear that you can always brainstorm new ideas
or issues that arise or any member o the team.
3.Monitor goals and make eeryone eel appreci-
ated or their eorts, through constant, eedback
with a positie ocus. Reward innoatie solu-
tions and ambitious ailures. Look or inspira-
tion eerywhere. Preent monotony. And keep
learning.
In his spare time, Lwkstill manages to pursue
some o his own passions and entures. For one thing,
he has co-edited a new book on how bk d has
responded to the digital age, which is published by
gl in March, and he contributes to mculu.
com. And he adds, I also hae other projects bubbling
away quietly, to be returned to wheneer possible at
weekends and during acations.
The Hufngton Post Book Club Website
MeetanDreW LosoWsKy
You can meet Andrew at the
ku Bk (913 October).
or Contact him by e-mail:
or on Twitter
@wl
Join the conversation on the
Frankfurt Academy Blog:
://bl.bk.m/
/dm/
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20/24
Take a break!or: hoW Theory can helpmanagemenT pracTice
St. Gallen University, one o theworlds top management institu-
tions, and the Frankurt Academyhae teamed up to oer a week-long il publMm u. p. BzMzjwk, oFordham Univer-sity, explains why it might bea good idea to attend.
A search or management and leadership books on
Amazon.com returns a list o oer hal a million titles.
Theres also no shortage o these books on national and
international bestseller lists in any gien week. Pub-
lishing courses and degrees hae long been a draw or
prospectie publishing proessionals. For eery indi-
idual with aspirations o one day becoming the boss,
there are just as many theories and gurus out there toturn to or tips. But can leadership qualities be learned?
How can classes in theory help a person become a bet-
ter, more inormed manager?
Bozena I. Mierzejewska is an assistant professor of comm-
unication and media management at theFordham Schools
of Business (USA). She holds an MA in economics from
Warsaw School of Economics in Poland and a PhD in
management from the University of St. Gallen in Switzer-
land.Dr. Mierzejewskas research and teaching focus on
media management and digitisation, and its impact on media
organisations and media workers.
Bozena Mierzejewska, Professor at the Fordham Schools of Business By Siobhan OLeary
serendipiTyChance encounters are oten the most the most productie. Thatswhy we try to simulate a chance encounter in eery issue oFAQ.This time, we shine a spotlight on the rst eer publishing manage-
ment course being oered by the University o St. Gallen, Switzer-land, in cooperation with the Frankurt Academy. We asked proes-sor Bz Mzjwk how indeed i management can bestudied in theory.
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21/24
WhaT Theory can bring To pracTice
Theory does not proide us with exact answers. How-
eer, there are many undeniable adantages o theory
it can help us to make predictions with a certain de-
gree o condence, says Bz Mzjwk, assis-
tant proessor o media and communications at Ford-
ham University(USA). Her research and teaching ocus
on media management and digitisation. Shes also part
o the aculty or the rst eer il publ
Mm cu oered by the Frankurt Academy
and the University o St. Gallen, which will take place in
September and October 2013.
Bz knows the beautiul surroundings oSt. Gallen
Universitylike the back o her hand, as she studied or
her PhD there. Despite being one o the smallest uni-
ersities in Switzerland, St. Gallen boasts the countrys
largest aculty o business administration. The Financial
Timesrecently placed the Uniersity seenth oerall
on its list o leading European business schools. In
w 2012 ranking or specic programmes, St.
Gallens M s d il M
m (SIM) achieed rst place worldwide.
bozenas 3 managemenT Tipsfor publishers
1.Instill a culture o change and innoation within
your organisation - especially at a time when ex-
ternal actors are aecting companies long-term
surial (as might be the case or traditional book
publishers). Create the right atmosphere in which
to try out new solutions and make the most o
eeryones potential. The right kind o culture
will also attract the best candidates to join your
team. Obiously the process o establishing the
right culture can take time, but the rewards
should make it worthwhile.
2.Unlock your employees potential by enabling
them to learn continuously and to reresh skills
such as problem soling, team creatiity or
sector-specic knowledge. Encourage your key
employees to deote time regularly to reection
and conceptual thinking. Managers spend most
o their working hours at dierent meetings, and
they oten lack quiet, reectie moments or
dealing with the big question o the long-term
ision.
3.Stay on top o what is going on in your sector
by obsering not only what your competitors
are doing, but also the strategies they are using
to cope with uncertainty. The most dramatic
change in the publishing industry is the change
in consumer preerences and behaiour. Oten,
the dierences between younger, technology-
say readers and older, more traditional book
consumers are orcing publishers to concentrate
on just one o these groups, while under-sering
the other. The key to nding a good balance and
long-term sustainability lies in adequate market
research which means applying the newest
methods or deconstructing consumer needs,
and being able to detect upcoming trends early.
Equipped with this knowledge o market signals,
you will be able to deepen your relationship
with existing customers, while opening up new
prospects.
Website of the University o St. Gallen
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22/24
The need To Take a break
Bz points out,managers should take time o or
reection rom time to time, to learn or reresh their
knowledge o problem-soling tools and rameworks.
Studying theories wont immediately make you and
your company more productie, or indicate what your
next step should be in a maze o problems, but it will
undeniably show you paths to solutions that t your
companys mission and objecties.
From crossmedia strategies and the management ocommunities, to strategies or innoation, there is no
shortage o issues that decision makers in the publish-
ing industry hae to consider. This is amplied by the
trend to consolidation and the resulting importance o
the global perspectie in book publishing. Dramatic
changes in the book publishing sector are well docu-
mented and widely discussed in proessional circles,
says Bz. But until now, she obseres, none o the
proiders o executie education in the leading busi-
ness schools has oered any kind o short, intensietraining courses specically geared to this sector, with
the latest knowledge o management being supple-
mented with insights rom recent cases studies and
research.
Throughout the programme, she explains, partici-
pants will be exposed to innoatie problem soling
methods, analytical techniques and a set o perspec-
ties that should enhance their understanding o the
long term challenges acing the publishing and mediasectors. By reaching out to other sectors we not only
examine the conersion to digital, but also learn about
the industries conergence.
Aerial photograph of St. Gallen, Switzerland;
Source: St.Gallen-Bodensee Tourismus
has been specially designed for future
publishing executives and senior profes-
sionals. Learn from international pub-
lishing leaders and eminent professorsfrom the universit ies ofSt. Gallen (CH),
Fordham (US), Oxford (GB) andJn-
kping (SE), as well as the EDHEC Busi-
ness School (F). The course is organised
by the Frankfurt Academy and the
Institute for Media and Communi-
cations Management, University of
St. Gallen, one of the worlds leading
teaching and research facilities in its
eld.
When:
2 6 September 2013
(on-campus programme),
7 30 September (self-study period),
9 10 October (recap, certicates)
Where: St. Gallen University, Institute for
Media and Communications Manage-
ment, Switzerland (2 6 September),
Frankfurt Book Fair (9 10 October)
Included in the course is a free ticket
for access to all the conferences of
the Frankfurt Academyduring the
Frankfurt Book Fair(9 13 October).
THE INTERNATIONALPUBLISHINGMANAGEMENTCOURSE IN ST. GALLEN
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23/24
MeetBoZena MierZeJeWsKa
You can meet Bozena at the publ
Mm cu s. gll
or contact her at
Lkd
Join the conversation on the
Frankfurt Academy Blog:
://bl.bk.m/
/dm/
BLog
programme schedulein sT. gallen
chaLLenges acing the pUBLishing inDUstry
Pro. B. Mierzejewska, Fordham Uniersity,
USA; Pro. v. Kaumann, Uniersity o
St. Gallen, Switzerland
the secret to sUccess in the DigitaL age:
crossMeDia anD cross-pLatorM strategies
Pro. R. Picard, Oxord Uniersity,
United Kingdom
expLoring neW possiBiLities:
entrepreneUrship in the MeDia inDUstry
Pro. L. Achtenhagen, Jnkping Uniersity,
Sweden
creative MethoDs o ManageriaL proBLeM
soLving: visUaL teaM ManageMent tooLs
Pro. M. Eppler, Uniersity o St. Gallen,
Switzerland
innovation, creativity anD neW BUsiness
MoDeLs in the MeDia WorLD
t l ld d ld kll
dl bk
Pro. L. Kng, Jnkping Uniersity, Sweden
cULtUraL change: Managing innovation &
organisationaL cULtUre
Pro. C. Fieseler, Uniersity o St. Gallen,
Switzerland
sociaL MeDia: croWD ManageMent anD
coMMUnity BUiLDing
Pro. M. Meckel, Uniersity o St. Gallen,Switzerland
the roLe o consUMer research in
pUBLishing innovation
Horst Stipp, The Adertising Research
Foundation, New York, USA
Prof. Martin Eppler, a colleague
ofBozenas at the University o
St. Gallen, talks in this video
about how to visualise know-
ledge.
Miriam Meckel, professor of
corporate communication and
also a colleague ofBozenas at
the University o St. Gallen, talks
in this video about the major
changes the digital economy
faces, especially in journalism.
vIDEO TIP:
Copyright: Claude Stahel
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