Bertelsmann Reports Higher Net Income

From their press release:

After nine months of the 2008 financial year, Bertelsmann reported a solid business development. The international media company achieved revenues almost at the level of the previous year in its continuing operations. Operating EBIT remained below that of the previous year. EBIT and net profit increased significantly.

Consolidated revenues reached €11.4 billion to the end of third quarter, down 0.7 percent year-on-year (€11.5 billion). Adjusted for portfolio and exchange rate effects, revenues rose by 1.6 percent. After nine months, Operating EBIT reached €926 million (previous year: €1.03 billion). The return on sales amounted to 8.1 percent. EBIT increased to €823 million compared to €692 million in the same period of the previous year, when high special items were incurred. At €387 million, net income almost tripled (previous year: €132 million).

The company also noted that they continue to manage their operations portfolio notably selling their half interest in the SONY/BMG music business and the North American book club business. No detailed discussions about the performance of Random House although in separate news the company announced that Ian Hudson (Deputy CEO of RH UK) has been named to the Bertelsmann supervisory board.

Enid Blyton - Aged 13

Mrs PND brought some newspapers back from the UK yesterday and this story in The Telegraph caught my eye:

Blyton was recently voted Britain's best-loved author and prided herself on writing about the "jolly, happy things in life", but since her death in 1968 a picture has emerged of a cold, occasionally malevolent figure.

Mrs Smallwood, 73, said that witnessing a particularly upsetting argument between her mother and drunken father, shortly after which he moved in with another woman, could have contributed to Blyton's troubled personality.

"Barbara Stoney, [Blyton's 1974 biographer], suggested the trauma she suffered around about her 13th birthday was so huge that a lot of her emotional development just froze there and I think this is a very good way of looking at her," Mrs Smallwood told the BBC in a new Radio 4 documentary, A Fine Defence of Enid Blyton.

Most of Blyton's stories were written in a different time but continue to be repackaged in new covers and formats. The FT notes there have been some required changes:

Some names have been changed to avoid sniggers or racist overtones - the characters originally named Fanny, Dick and Bessie in The Faraway Tree stories have become Frannie, Rick and Beth. In the Famous Five books, the boys now have to do household chores with the girls. And there's not much left that's "queer" or "gay".

But dig about a bit and it's clear that reports of wholesale PC changes have been exaggerated. Hachette, publisher of the very popular Famous Five, Secret Seven and Naughtiest Girl series, points out that it has changed none of its characters' names. And it says claims that the important Blyton staple food of biscuits had been changed to American cookies were also inaccurate.

It's also wrong to suggest that Blyton's stories are full of entrenched sexist attitudes.

The War, Dead Trees and Obama

It was an historic event. It was memorialized in countless millions of expressions of exuberance, reflection, fear and hope. Later, someone made a documentary about it and in doing so relied upon all those expressions. These came in the form of photos, letters, news articles and other physical detritus that encapsulated the emotion, urgency and meaning of one of the 20th century's formative events. World War Two was the subject of Ken Burn's The War which aired last year on US television. During this broadcast, I wondered how future generations would capture the same raw emotion that Burns relied on in reading back to viewers the letter home from the soldier on the front.

Not all of this primary material was easy to find. A good proportion will have been found in attics and basements or even dumpsters. Is there an electronic version of the box of great uncle Tom's letters home found in the demotion of that row house? I think not. While there is significant collection and documentation of experiences of the Iraq War for example, will this material be retained? In many respects the ability to capture this experience may be easier than generations ago; Blogs and email make this easy. However, how much of this electronic material will be retained? How will historians access the digital equivalent of all those letters and photos that formed the basis of The War? News reports and 'formal' media will be easy but it is the real life experiences that could be lost.

I am unsure of the answer and this post has been circulating in my head for months since I watched The War last year. I was lacking a punch line but in the last several days I have marveled at how thousands and thousands of people rushed to purchase the dead tree edition of the NY Times to capture the most important political event since reconstruction. Ironic given the imminent demise of paper based media. Our experiences still need to be legitimized by seeing them on paper. Perhaps the moment we cease to need this legitimization and believe in some type of substitute will come to be the true moment we gave up print forms for electronic. I wonder however, whether any of us are cognizant of this dilemma and it will only be when the alternative is forced on us will we really know what we have given up.

Five Questions with the Society of Young Publishers

At Frankfurt this year I had the opportunity to speak to Jon Slack current chair of the UK based Society of Young Publishers. He told me about a number of new programs that the SJP is working on to encourage the young people in our industry and also to draw in the old ones. One of the more interesting programs they recently developed was something called Canon Tales.

Here is a description of Canon Tales:

Twelve figures from the publishing industry spoke to a captive audience at the Cochrane Theatre, conveying their own personal take on creativity in publishing. Canon Tales was conceived two years ago, when Doug Wallace heard about a similar event for creative professionals in architecture that proved to be a huge success. Jon shares Doug’s belief that publishing is overlooked as a creative industry, and Canon Tales seeks to redress this.

Each speaker told their canon tale to the backdrop of visual images – 20 images, each lasting for 21 seconds, thus totalling a seven-minute presentation. Some were personal stories, some were focused on the speakers’ own output. First to take the stage was Rob Williams, Creative Director of Penguin. He chose to speak about the launch of the new James Bond book, Devil May Care by Sebastian Faulks. His slides showed us figures and pictures from the marketing campaign for this book, whilst Rob gave the audience some maxims that he has discovered during his publishing career, including ‘Make a story at every stage’, ‘Engage in creative collaboration’, ‘Limit access to the product and create theatre around its launch’, and ‘If nobody wants to talk about it, it doesn’t work.’

In addition to mentioning Canon Tales below, Jon also notes a program the group is arranging for Frankfurt 09 which will be designed to make Frankfurt less intimidating for a young first time visitor. Jon is reaching out to overseas groups and it would be interesting whether we could organize a similar group in the US.

I asked Jon Slack my five questions:

Tell me about your involvement in SYP?

I am the current Chair of our group; as with the rest of our 18-strong Committee, it is a voluntary position and lasts for a year. I've been involved with the group for a little over two years now; in 2007 I held the position of Social Secretary (basically someone who organises the parties!). This year we've run over a dozen and a half events from London alone, with some very prominent names in UK publishing. Our main aim has been to exchange information between 'young' and 'old' publishers that can benefit everyone, and facilitate the networking that goes with that.

How long has SYP been in existence, and is it only a UK based organization or does it go beyond?

The SYP has been around officially since 1949; next year is our 60th anniversary. It started out as a talking shop for young publishers (ie people under 35) and has largely remained that way since. At the moment we are based only in the UK, with another division set up in Oxford, and others being set up in Scotland, Ireland and Wales in 2009. The only country outside of the UK I've seen with a group like ours is Denmark, and to a smaller extent the Young Publishers Group, based in New York.

What are your plans for drawing in the young publishers in other countries – specifically the US and Australia?

I met some fantastic people at Frankfurt from the US who are already helping to get the operation off the ground during 2009. We're hoping to work with groups such as the AAP, the American Collective Stand and also BEA, and use word of mouth and the advantages of the internet to help attract anyone interested in taking part. In Australia, the APA is already setting up events for young publishers and, again, the level of enthusiasm I've seen to make something like this happen is very encouraging. We want to use international events, particularly the Book Fairs in London, New York and Frankfurt 2009, to bring everyone together, dicuss the possibilities, and really explore the potential of a truly global young publishing network.

In another conversation you told me about your upcoming program for Frankfurt; can you tell me a little more about that?

We're working with the Frankfurt organisers on a number of things, including the International Young Publisher's conference which I mentioned earlier, which ties in with our focus on how we can make the Fair work better for younger publishers. We'll be hosting a Canon Tales event (see attached flyer for info on the last one held this July) at a new venue away from the usual publishing hangouts. If possible we'd like to see it made more affordable for younger publishers to come to Frankfurt, and perhaps this network can help make that happen too.

What type of involvement do you look for from old publishers like me and how do we get involved?

Our name is responsible both for our appeal and also for regular confusion; our voluntary committee are publishers all under the age of 35, yet we've always been supported by 'older' publishers, who attend and speak at our events. One of the reasons behind the SYP's longevity is the remarkable good will within the industry to help our events succeed. There are countless publishers happy to volunteer their time and share their views on big issues facing all of us. In the US, or Australia for instance, the independent committees we're forming we'll be hoping for a similar level of support, and from what I've seen so far, there's precisely the level of willingness we need to make this happen. But please get in touch if you want to help!

Jon can be reached as follows: jslack @ thesyp.org.uk

Michael Crichton Dies

Sadly, Michael Crichton has passed away after a battle with Cancer. Obit in The Times online. For me I was more a fan of his early work such as The Andromeda Strain, Congo and The Great Train Robbery. The latter became a great movie with Sean Connery and generally is an example of how Crichton's work translated so well to visual representation.

Video with Crichton on Charlie Rose from Feb 2007.



Link: (Starts Immediately)

Reed Name Smith as CEO Designate

Ian Smith has been named to replace Sir Crispin Davis as CEO of Reed when Davis retires early next year. Smith will join Reed in January. Who is he? Well, he has no media experience for a start and comes most recently from the construction company Taylor Woodrow. During his short tenure at TW, he apparently engineered a very large merger with competitor George Wimpey which has lead many to speculate that Reed's board is focused on a mega-merger of its own once the recent Choicepoint acquisition is decided.

As the primary reason for the hire, the association with deal making could be tenuous because Davis engineered a number of large deals during his tenure. As examples, the acquisition and subsequent divestiture of Harcourt, the acquisition of ChoicePoint and the protracted divestiture of RBI. In addition, if the Reed board were looking for a pure deal maker then there would have been any number of media experienced private equity players who could have fit the bill. Nevertheless, without any other logical connection to the Reed business, this is what most reporters are focused on. This argument also allows them to discuss the long protracted idea that bringing Wolters Kluwer and Reed Elsevier together would make great sense. Perhaps for WK but not as much for Reed in my opinion.

In my view, I think the ChoicePoint acquisition is a better indicator of the type of acquisition strategy that Reed may follow. They want to own distinct verticals and to play in these verticals they plan to acquire the biggest player to achieve immediate scale. I think WK may actually be too small for what they may be considering. For example, they don't have a presence in the Financial sector: would they see Bloomberg as a target? Remember they compete with Thomson Reuters in several areas and Thomson has a big financial information business. Wider afield, Reed may be looking internationally to acquire very large information companies that will broaden their current offerings into both mature and developing markets.

One other interesting aspect of the hiring of Smith is what the board must be thinking about the crop of senior executives below Davis. Some of these executives have extraordinary experience both with RE and with other publishing companies. Several (at least three senior executives are in their mid-late 40s to very early 50s) so perhaps the board didn't feel one of these executives was more ready than their colleagues (or they were not willing to risk upsetting the apple cart by promoting one of them). The board may have decided to wait six years or so to make their choice from this crop of executives to choose the next CEO to replace Ian Smith.

FT.

Borders and Retailing Troubles

The Bookseller is reporting that insurers have backed away from Borders. It is hard to determine how significant this is since most suppliers to Borders will have their own insurance. Terms on which suppliers are selling to Borders are very, very tight at the moment. Should Borders get into cash flow difficulties, this could have a cascading effect across the industry. The balance of on-line retailing, physical retailing and wholesale/distribution could change radically. As many have noted, the expectation is for the Christmas retailing season to be soft (or 'terrible') which will cause a number of January bankruptcy filings across all retailing. Whether book retailing is one of those remains to be seen, and we all hope not as the market changes may not be in our long term interest.