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FRENCH
PUBLISHING
2017 G FRAN
K
UESTFURT
HON OF
OUR
Special issue - October 2017
CHR I S T EL
PET I T COLLIN
our number 1
bestselling author
in SELF-IMPROVEMENT
JePenseMieux COUV_Mise en page 1 10/02/2015 15:26 Page1
La parution de Je pense trop a été (et est encore !) une
aventure extraordinaire. Je n’avais jamais reçu autant de
lettres, d’e-mails, de posts, de textos à propos d’un de mes
livres ! Vous m’avez fait part de votre enthousiasme, de votre
soulagement et vous m’avez bombardée de questions : sur
les moyens d’endiguer votre hyperémotivité, de développer
votre confiance en vous, de bien vivre votre surefficience dans
le monde du travail et dans vos relations amoureuses… Vous
avez abondamment commenté le livre. Je me suis donc
appuyée sur vos réactions, vos avis, vos témoignages et vos
astuces personnelles pour répondre à toutes ces questions.
Je pense trop est devenu le socle à partir duquel j’ai
élaboré avec votre participation active de nouvelles pistes de
réflexion pour mieux gérer votre cerveau.
Over Je pense mieux est un livre-lettre, un livre-dialogue,
destiné aux lecteurs qui connaissent déjà Je pense trop
et qui en attendent la suite.
175,000 Christel Petitcollin est conseil et formatrice
en communication et développement personnel,
copies
conférencière et écrivain. Passionnée de relations
humaines, elle sait donner à ses livres un ton simple,
© Anna Skortsova
accessible et concret. Elle est l’auteur des best-sellers
Échapper aux manipulateurs, Divorcer d’un manipu-
lateur, Enfants de manipulateurs et Je pense trop.
sold in France 978-2-8132-0795-1 19 €
www.editions-tredaniel.com
Published
I Think too Much: I think in a Better Way: Yes, Why Thinking too Much
in 12 territories Learn How to Control It Is Possible to Live with a Makes You Vulnerable to
(70,000 copies in South Corea) this Invasive Mind Bubbling Brain! Manipulative People (And How
to Protect Yourself from Those)
The 7 Good Reasons to Believe in Death Explained to Children (and Everything You Need to Know Journey to the Confines
Life after Death to Grown-Ups) in Science, by Igor and Grichka of Consciousness (with an
Bogdanov introduction by Frédéric Lenoir)
Founded in 1974, the Guy Trédaniel Group is the 24th publisher in France in terms of annual turnover (Livres Hebdo, 2017). We publish
320 new titles per year under several imprints, mainly Guy Trédaniel, Le Courrier du Livre, Véga, Exergue and Dervy, and have a catalog of more
than 5,000 titles. Specializing in nonfiction, our areas of publishing include self-help, spirituality, health & nutrition, and mind, body & spirit.
CONTACT: Pascale Guthmann - pascale.guthmann@dervy.fr www.editions-tredaniel.com
livreHebdoFrancfort2017.indd 1 29/08/2017 10:08
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PHOTO OLIVIER DION
Twenty-eight years later
OLIVIER DION
4 n making France its guest of honor for 2017, Frankfurt Book Fair
4. A taste of French publishing
18. French publishing in a few figures
I (October 11-15) is not simply paying homage to the fifth largest
publishing country in the world. It is providing an opportunity
for the world to learn more about a book industry that has undergone
extensive modernization, as its strong international drive proves. Sales
of rights by French publishers have seen continuous growth, while
22. The top 200 French publishers France’s position as a major market for translations has improved year
34. The Livres Hebdo chart on year. 12,476 new translated works were published in the country in
of French publishing 2016, accounting for 18.3% of total production, compared with 17.7% the
previous year, and 14% in 2008, according to our statistics (Livres
36. Top sales 2016 Hebdo/electre.com).
52. Translations 2016 Twenty-eight years have passed since France was last guest of honor at
54. Index Frankfurt. In 1989 - the bicentenary of the French Revolution - the aim
was to celebrate the contribution of French thought and authors to the
building of a democratic system so key to the development of the publishing
industry and cultural diversity. In 2017, French
publishing still asserts its spirit of innovation
35, rue Grégoire-de-Tours, 75006 Paris
French publishing and its capacity to renew itself. French lite-
Tel.: +33 1 44 41 28 00 - livreshebdo@electre.com - www.livreshebdo.fr still asserts rature is known not only for its nineteenth-
Publication director: Michel Lanneau (mlanneau@electre.com) its spirit century classics, the star authors of the post-
war period, and the nouveau roman move-
Editor-in-chief: Fabrice Piault (fpiault@electre.com) of innovation
ment, it also boasts a number of contemporary
French Publishing 2017
and its capacity writers who enjoy global renown, such as
Special issue to renew itself. Michel Houellebecq, Patrick Modiano, and
Texts: Kerenn Elkaïm, Benjamin Roure, Barbara Casassus, Kamel Daoud. There is also a strong vein of
Jean-Guy Boin, Fabrice Piault, Claude Combet and the editorial
popular literature, with authors such as Marc Levy, Guillaume Musso,
staff of Livres Hebdo
Translation: ACI/Roland Glasser
Katherine Pancol, Anna Gavalda, Michel Bussi, and Gilles Legardinier. In
Editor: Nicolas Buchet de Neuilly, Julia Deck the non-fiction sphere, economist Thomas Piketty’s work and that of the
Advertising: Anne-Sophie Havard Arab world specialist Gilles Kepel are discussed around the world. The
(+33 1 44 41 29 11 – ashavard@electre.com), creativity of French publishing for children and young adults is feted at
Thomas Girault (+33 1 44 41 29 12 - tgirault@electre.com) the Bologna Children’s Book Fair each year. And French and Franco-
Subscriptions: tel.: +33 1 44 21 28 32 (abonnement@electre.com) Belgian comics and graphic novels have become one of the three key
Legal deposit: September 2017
pillars of graphic storytelling alongside Japanese manga and American
Joint commission: 0919K85471. ISSN: 0294-0000 © Electre, 2017
comics.
It is this effervescence which Livres Hebdo - the print and digital media
Origine du papier :
Finlande
of the French book trade - aims to highlight for the second year running,
Taux de fibres recyclées : 0 % in partnership with the Bureau International de l’Édition Française (BIEF)
Eutrophisation : and with the support of the Centre Français d’Exploitation du Droit de
Ptot : 0,005 kg/tonne de
papier Copie (CFC). Aimed at publishers and other professionals attending
Frankfurt Book Fair, this special issue presents an up-to-date panorama
Printed in the UE by Graphiprod, 19, av. Pierre-Colongo, of French publishing. It furnishes all the key data for understanding the
93290 Tremblay-en-France French market, while demonstrating that French publishers have much
Cover photo by Olivier Dion to offer their colleagues throughout the world.
Special issue
produced in
partnership
with the Bief,
with the support
of the CFC
Special - October 2017 3
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OLIVIER DION
A taste
his year, all eyes turn
T
to France, a country
where writers, publi-
shers, booksellers,
and readers enjoy the
of French pleasure of words.
Olivier Bétourné, the
CEO of Seuil, considers the invitation
from the Frankfurt Book Fair “an
publishing
honour and a political chance to pro-
mote our open-mindedness in a shat- By
tered world. France keeps surprising Kerenn Elkaïm
me. It’s attached to its principles, but
everything can suddenly be overturned.
This country dares to be creative, whe-
The Frankfurt Book Fair is offering ther in politics or in literature.” Marie-
publishers worldwide a great opportunity Christine Conchon, the CEO of Univers
to discover the diversity and specifics Poche, confirms that “French publishing
is alive and well.”
of France’s publishing industry, which has
The historian Jean-Yves Mollier
become one of the strongest in the world, welcomes the invitation to the world
with an outstanding reputation. largest book fair as “a recognition after
some years of uncertainty. France is
still appreciated for its know-how.”
Antoine Gallimard, the president and
CEO of the Madrigall group, considers
4 Special - October 2017
attract the German professionals and existed in the 19th century, taking place
audience. Twenty years ago, we were at the start of the theatre and music
almost not translated in Germany, now season, at the beginning of the school
we sign twelve contracts a year.” The year.” Laurent Beccaria, from Les Arènes,
literary scout Hella Faust says the fair agrees: “It’s the Cannes book festival!”
“will give French literature a new image. For a few weeks, the attention of book-
True stories and family accounts are sellers, critics, literary prize juries, and
everywhere but they avoid self-cen- readers will revolve entirely on the
tredness. We like the rebellious soul of hundreds of books coming out. Best-
France - see Stéphane Hessel for ins- sellers will arise, but many titles will
tance.” The head of Robert Laffont, soon be forgotten. Literary awards help
Cécile Boyer-Runge, agrees: “We defi- to increase sales in France and abroad,
nitely have a taste for style and novels, but Antoine Gallimard still feels that
telling stories and depicting the world.” “it’s like a school examination that puts
Gilles Haéri, the CEO of Flammarion, everyone under pressure. It sometimes
fully appreciates “the focus on universal, represents six months of turnover.”
sociological and historical themes, The small literary publisher Sabine
which attract foreign rights sales.” There Wespieser loves “this exciting period.
are bestselling authors like Michel France remains an inexhaustible nation
Houellebecq, Fred Vargas and Yasmina of readers.” She remembers her first
Reza, but in France “the special status time in Frankfurt: “Everyone told me
of writers lasts over time,” he adds. my books looked so French!” How can
this touch be described? Boldness,
A nation of readers diversity, and freedom characterise
For his official portrait, President French publishing. Big houses remain
Macron chose to display a book by ambassadors of culture. Antoine Gal-
André Gide on his desk. Édouard Phi- limard is very proud of his prestigious
lippe, the prime minister, published a “Pléiade” collection: “There are trends
book about reading last July, and Fran- in literature, but France is keen on
çoise Nyssen, the current minister of demanding books.” The country remains
Flammarion's
bookstore
culture, was the president of the publi- a talent spotter for first novels. Authors
in the Pompidou shing group Actes Sud until she was Muriel Barbery (L’élégance du hérisson,
Centre, Paris. appointed last May. One defining feature Gallimard) and Olivier Bourdeaut (En
of the French publishing world is the attendant Bojangles, Finitude) prove
“rentrée littéraire”, the major publishing there is no rule to success. Jean-Yves
it “a wonderful showcase of France’s season in September-October. Jean- Mollier admires “those who have the
production at an international level. Yves Mollier maintains that “it already courage to start a publishing >>>
Books are the basis of civilisation, and
this literary heritage begins at school.”
Laure Leroy, who runs the small literary
publishing house Zulma, believes that
“our publishing market has huge assets,
such as an exceptional network of publi-
shers and bookshops. We have all the
keys to face the national and interna-
tional markets.”
Manuel Carcassone, the CEO of
Stock, points out “the importance of
the Franco-German partnership in
Europe” and draws inspiration from
German marketing, “its vitality and
reactivity.” Bertrand Py, editorial director
at Actes Sud, hopes Frankfurt “will
“I must point out
the importance
of the Franco-German
partnership in Europe.”
OLIVIER DION
MANUEL CARCASSONE, STOCK
Special - October 2017 5
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>>> house. More women dare to do Vincent Montagne, chairman of the
it.” Laure Leroy (Zulma) acts as an Syndicat National de l’Édition (SNE,
international agent for some of her the French publishers’ association)
foreign writers, such as Audur Ava believes that France possesses “a great
Olafsdottir. “Our dynamic fascinates network of bookstores and publishing
the whole world. Thanks to the Bureau houses. 74% of this creative industry
International de l’Édition Française didn’t exist twenty years ago.” Actes
(Bief, the international office for French Sud is a good example of this. “We
publishing), small houses like mine musn’t forget our early days,” says Ber-
can be in Frankfurt.” One of the most trand Py. “Although we work more com-
recent houses to appear on the scene fortably, we try to keep our curiosity
is L’Observatoire. A lot of newcomers intact. To preserve our independence,
last less than five years, but others we must be selfless and profitable.
manage to establish their distinct uni- Which means publishing what we like,
queness: Métailié, Le Tripode, Gall- not what could please others.” Cécile
meister, Finitude, Les Équateurs, L’Ico- Boyer-Runge, from Robert Laffont, likes
OLIVIER DION
noclaste, and Bragelonne all started the word “daring”: “Our taste for inno-
with three people or less working in vation and unclassifiable fiction are
a cellar. Laurent Beccaria (Les Arènes) both very French.”
feels that his small group is now part
of France’s publishing picture, as its A special relationship “There’s a real companionship
books and mooks (XXI, 6 mois, Ame- André Schiffrin thought he was fore-
rica), also sold in bookstores, appear seeing the future when he described “a between publishers and
on bestseller and award lists. “There’s publishing world without publishers” writers, which brings extra
such a need for understanding the in 1999, but that didn’t happen, according soul to our work.”
world,” he says. to Jean-Yves Mollier. Olivier Nora, the
ANTOINE GALLIMARD, GALLIMARD
Essential official support head of Grasset, emphasizes “particular
The Frankfurt Book Fair brings together “France is the second country for exports aspects of our market: the importance
publishers, writers, translators, and and the first for translations”, says of the writer-publisher relationship, and
readers. This year, the Institut Français is Vincent Monadé, the president of the the relative absence of agents.” Although
leading the show by “promoting French CNL. “This year’s “Guest of Honour business rules the world, “we still favour
Culture at an international level,” accor- effect” has produced a rise in foreign long-term work. The race to meet targets
ding to Paul de Sinéty, who is curating the rights sales. Political meetings at a high is a bad bet, especially in France where
Guest of Honour event. “This cultural year level - including Emmanuel Macron, readers prefer quality.” Another positive
was a hit all over Germany, with 500 pro- Angela Merkel, and Françoise Nyssen, aspect is “the young generation of publi-
jects.” Organised by Evelyn Prawidlo, the French minister of culture - show shers.” Antoine Gallimard agrees: “There’s
400 events are taking place in Frankfurt. the importance of the event.” Vincent a real companionship between publi-
French is “getting out of the country’s Montagne, the chairman of the Syndicat shers and writers, which brings extra
borders,” says Paul de Sinéty, who wants National de l’Édition (SNE, the French soul to our work.”
to “bring an open-minded message to publishers’ association) believes that At Zulma, Laure Leroy insists that
the German public. We will welcome “it will encourage cultural exchanges in France “the sales department follows
130 French-speaking authors from the with Germany.” The trade organisation, the publisher’s decisions. Bestselling
five continents, plus translators, with which includes 650 companies, is produ- books are a result of globalisation, but
the help of Wallonie-Bruxelles, Pro-Helve- cing numerous events in several German each country has its own characteristics.
tia, Luxembourg, and the Organisation cities. The other priority is “the long-term People always tell me that my original
Internationale de la Francophonie.” Quo- protection of authors’ rights and free covers and catalogue could not exist
ting the philosopher Paul Ricœur, he adds publishing.” Frankfurt is a driving force anywhere else.” Laurent Beccaria (Les
that “this linguistic hospitality will contri- for the book chain. Arènes) shares this perspective: “Passion
bute to Europe’s future and multilingualism.” “We wish to guaran- and creativity transcend the financial
Véra Michalski, who chairs the Bureau tee the renewal of logic.” Gilles Haéri believes that “France
International de l’Édition Française (Bief), French culture, as stays unique in the sense that a house
hopes this year “will bring French publi- well as its economic like ours can publish novels, poetry,
shers many international opportunities. blossoming.”d non-fiction, art books, and social
Our aim is to create a nice professional Vincent Montagne,
sciences.” The result seems positive as,
wing” with the support of the Centre of the Syndicat in the US, Publishers Weekly recently
OLIVIER DION
National du Livre (CNL), which helps publi- National de l’Édition commented on the success of French
(SNE, the French
shers to buy, sell, and translate books. publishers’ association). bestsellers such as Raphaëlle Giordano’s
Ta deuxième vie commence lorsque >>>
6 Special - October 2017
A GLOBAL PUBLISHING COMPANY
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>>> tu comprends que tu n’en as qu’une example. French literature opens doors and original narratives like the novels
(Your Second Life Begins When You to history, geography, social and political of David Foenkinos.” Marie-Christine
Understand that You Only Have One, issues.” Bertrand Py, editorial director Conchon, from Univers Poche, explains
published by Eyrolles). at Actes Sud, sees “a new generation that “the French production is appre-
of writers - including Laurent Gaudé, ciated for its freedom of tone, its unique
Creative appetite Mathias Enard, and Jérôme Ferrari - angles, its narrative quality, and Anglo-
“The book trade is anchored in our cul- exploring new territory.” Laurent Laffont, Saxon tempo (see the novels of Franck
ture,” says Cécile Boyer-Runge at Robert from Lattès, believes that “today’s Thilliez for instance).” According to
Laffont. “A lot of passionate people authors seem more rooted in daily life Olivier Bétourné, the CEO of Seuil,
work in the distribution channel. The and social contradictions. They perfectly “France is unique because of its inde-
vitaly of our publishing sector shows analyse the human comedy.” Véra pendence.” Cécile Boyer-Runge has
that we have hope for the future.” For Michalski, the president of the Libella noticed a trend towards “more bridges
Bertrand Py (Actes Sud), “the key lies group, points out “ the coexistence bet- between fiction and reality,” as in Philippe
in bookstores and public libraries that ween bestselling authors like Anna Besson’s latest book, about Emmanuel
are driven by an intellectual and creative Gavalda, Bernard Werber, Grégoire Macron’s campaign. “Non-fiction extends
appetite. In spite of difficulties, French Delacourt, and literary jewels.” into fiction,” says Hélène Fiamma, the
publishing is as independent as pos- Among the 65,000 new books publi- director of Payot & Rivages. Last year,
sible.” Stéphane Marsan, of Bragelonne, shed every year in France, diversity is the Médicis prize for best novel went
has witnessed how foreigners are ama- the rule. Antoine Gallimard claims that to Ivan Jablonka’s narrative essay Laëtitia
zed by “the diversity of bookstores here. “France is one of the three European ou la fin des hommes (Seuil).
They are like Ali Baba’s cavern, a natio- countries that publish the most books. “France has a strong reputation in
nal treasure.” Other countries envy the American universities are interested in this field,” says Gilles Haéri. “Derrida,
fixed book price, which guarantees the our authors when they can be analysed, the French Theory, Michel Onfray, and
sustainability of a unique network of like Marguerite Duras or Michel Houel- Alain Badiou are proof that the world
bookstores. Sabine Wespieser admits lebecq. Markets like historical novels is interested in our intellectuals.” Olivier
that her publishing house “could not such as those by Jean-Christophe Rufin, Bétourné agrees: “Foucault, Bourdieu,
exist without the ‘loi Lang’(1), which and Barthes are still sold abroad.”
counterbalances the hardships of the Antoine Gallimard notes that social
actual market.” Other countries like “A lot of passionate people sciences are not as cut off from other
Belgium have adopted it. At Flamma- genres as they used to be: “They now
rion, Gilles Haéri appreciates “how
work in the distribution border on historical or personal nar-
bookstores reinvent themselves channel. The vitaly of our ratives that people can identify with.
constantly, like Mollat in Bordeaux with publishing sector shows that A good example is the philosopher
its TV channel.” At Stock, CEO Manuel Gilles Kepel, who analyses jihadism
we have hope for the future.”
Carcassonne pays tribute to “their incre- through a mix of all these genres.” Some
dible independent networking”, while CÉCILE BOYER-RUNGE, ROBERT LAFFONT hits are surprising, like Emanuele >>>
Laurent Laffont, the CEO of Lattès,
points out “the strong connection bet-
ween writers, publishers, booksellers,
and journalists,” as well as book fairs
all over the country.
Diversity is the rule
Quality lies at the heart of French publi-
shing. Olivier Nora, from Grasset,
confirms “the French taste for good
literature,” but he is surprised by a new
trend: the foreign acquisition of novels
- even first ones - before they have
been published in France, like those
by Gaël Faye, Laetitia Colombani or
Alice Zeniter. “I think this unprece-
dented excitement at auctions is due
to the attention of scouts and the success
of some French authors abroad.” Ano-
ther notable trend is “the thin line bet-
ween commercial and literary books.
The reign of ’self-fiction’ is over, but
’exo-fiction’ and ’bio-fiction’ are based
OLIVIER DION
on true characters - see La disparition
de Josef Mengele by Olivier Guez, for
8 Special - October 2017
Libella, the truly European ÉDITIONS NOIR SUR BLANC
publishing group based in Switzerland, Switzerland
Poland and France, focusses
on highest quality fiction.
For sixteen years our motto has been
QUALITY and CURIOSITY.
We publish the best of international
literary fiction in translation and some
of our in-house authors are recognised
as enduring references in the field
of contemporary fiction.
WYDAWNICTWO
LITERACKIE
Poland
BUCHET CHASTEL
France
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Poland
WORLD
EDITIONS
Netherlands
PHÉBUS
France
STAND 5.1 C 25
Pub_HS_LH_Frankfurt_2017.indd 1 30/08/2017 17:41
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>>> Coccia's La vie des plantes (The Gaudé explores the fate of migrants,
Life of Plants, Payot & Rivages) or Idriss while Lola Lafon writes about Patty
Aberkane's Libérez votre cerveau ! (Set Hearst to talk about jihadist women.
Your Brain Free!, Robert Laffont) about Literature enables us to enter the mind
neuroscience. The latter is published of our enemy or to get closer to our
in Robert Laffont's “Réponses” (“Ans- own demons, as shown by Leïla Slimani,
wers”) collection, which brings together who won the Goncourt prize in 2016.”
health, psychology and teaching experts. Hella Faust notes that “in France, style
Olivier Nora from Grasset confirms and form meet original content, like
that “the unexpected plays such an with Mathias Enard, who is a living
important part in our work. This encou- encyclopedia, or Emmanuel Carrère.”
rages us to publish books that we’re Les Arènes and Les Éditions du Sous-
proud of.” Sol embrace this trend by “developping
narrative non-fiction in their own way.
Reality vs. imagination As the divide between fiction and non-
OLIVIER DION
At Lattès, Laurent Laffont is still shocked fiction becomes less apparent, new
by the number of manuscripts that he horizons are opened.”
receives every day. “A pathological sign? At Payot & Rivages, Hélène Fiamma
I don’t know, but it’s such a creative feels that “non-fiction is more effective “Popular literature has
country. Most manuscripts are testi- because it gives meaning to our envi- always existed. Thanks
monies or personal accounts. Positive ronment.” Other acclaimed fields are
thinking dominates non-fiction. How psychology, personal development, and
to paperbacks, everyone
can we live better in an apocalyptic meditation. Marie-Christine Conchon, can afford these books.”
era?” Terror attacks, social, political from Univers Poche, insists that “popular
MARIE-CHRISTINE CONCHON, UNIVERS POCHE
and ecological crises, migrants and literature - meaning read by a large
identity issues appear in the writings number of people - has always existed.
of authors like Frederika Amalia Fin- Thanks to paperbacks, everyone can Republic of Congo, has also encouraged
kelstein. “It's as if writers needed to afford these books.” Raphaëlle Giordano, them to do so. But do people write dif-
describe this violent world,” says Ber- Laurent Gounelle, Marc Levy, and their ferently in Montreal, Brussels, Geneva,
trand Py, from Actes Sud. “Laurent feel-good or detective stories “must not Bamako, Port-au-Prince, or Rabat?
be set against literature. Novelists are Bertrand Py is sure that “writers outside
able to transform the ordinary into France like Kamel Daoud bring a uni-
“A book teaches us something extraordinary.” The historian versal dimension to our literature.” At
to see the world.” Jean-Yves Mollier sees “the return of Seuil, Olivier Bétourné explains that
sentimental and heroic fantasy as an “we never imagined subcategories for
OLIVIER BÉTOURNÉ, SEUIL escape from a disenchanted world. these authors because they enrich the
Why shouldn’t we idealise reality?” French language. A book teaches us to
Indeed, youngsters love to. Stéphane see the world.”
Marsan, from Bragelonne, remembers At Rivages, the list of authors signed
that when he started selling rights by Émilie Colombani “even includes
twenty years ago, everybody asked him writers whose mother-tongue isn’t
“what French authors could bring to French, like Miguel Bonnefoy,” explains
science fiction, thrillers, romance or Hélène Fiamma. Véra Michalski, from
heroic fantasy. Now they want to know Libella, admires “the French taste for
how French it is!” foreign novels and non-fiction, which
are the DNA of my group.” It is also the
Celebrating the French case at Grasset: “In France, translations
language represent 25% to 30% of the overall
Jean-Yves Mollier is more prudent: production, against 3% in the US. I want
“French literature can only regain its to encourage this with Jean Mattern
former glory by acknowledging French- and Joachim Schnerf, who will look for
speaking authors from outside the new talent in other languages,” explains
country.” Michel Le Bris introduced the Olivier Nora.
concept of “littérature-monde” to bring
them forward. According to Laurent Looking towards the future
Laffont, from Lattès, “publishers now If Jean-Yves Mollier feels generally
pay more attention to writers from optimistic, he believes that “Livres Hebdo
Africa and the West Indies because well describes the turning point in cul-
they are seeking new voices.” The suc- tural habits. All publishing houses have
OLIVIER DION
cess of Dany Laferrière, from Haiti, and to face the challenge of digital media,
Alain Mabanckou, from the Democratic self-publishing, and the fact that Google
10 Special - October 2017and Amazon are trying to replace publi- and regrets that “France is not much Actes Sud will look like.” The scout
shers and bookstores.” That is the reason of an asylum for oppressed writers. I Hella Faust is also reassuring: “The
why the Centre National du Livre (CNL) hope we’ll capture the emerging voices presence of a dozen scouts in France
strives to improve assistance to writers, of immigration.” is revealing,” she says. Antoine Galli-
publishers, and translators. Véra Laurent Beccaria feels sure that mard is convinced that “we need to
Michalski is sure that “the quality of a “publishing has overcome the shock protect writers’ rights and moral rights
book, combined with a nice object, will of digitalisation. Paper-backs seem obstinately, they are the pillars of the
always appeal to readers. Let’s not forget resilient, but the time spent reading publishing temple. Our work consists
that in France, the literary industry is decreases. Authors are active on social in anticipating and educating people’s
stronger than the film industry.” How networks because they feel a need for taste.” Hence the collection “Un été
will youngsters react to the “culture direct contact with their readers.” At avec” (“A summer with”) by Éditions
pass” that the new government wants Les Arènes, there is lots of fieldwork, des Équateurs, which presents the
to introduce? Inspired by a policy imple- like the conferences given by author works of classic authors like Montaigne
mented in Italy in 2016, it would consist Céline Alvarez. Jean-Yves Mollier says or Baudelaire as holiday books. Vincent
in vouchers for cultural products, worth the publishing world should be more Montagne, the president of Média Par-
500 euros and offered to every 18-year- aggressive and inventive. “The Japanese ticipations and chairman of the Syndicat
old in the country. Young Italians favou- attract youngsters with manga on cell National de l’Édition (SNE, the French
red books. But Olivier Nora worries phones. They have not given up rea- publishers’ association), is delighted.
about “continuity with the next gene- ding.” Bertrand Py is optimistic too: The number of translations has doubled
ration. We need to reintroduce boredom “In spite of crises, our publishing system in ten years. “French publishing is more
as an access to the enchanting world works well. Some houses, like Galaade, than resilient. It confirms culture is
of reading. Digital natives have less can’t be saved, but they will be reborn the answer to the complexity of the
time and money, but they must unders- one day. Diversity seems to be the key. world,” he says. d
tand creation has a price.” He also advo- Our profession remains dynamic, and (1) A 1981 law stating that book prices must be fixed by
cates a better defense of writers’ rights I’m curious to know what tomorrow’s the publisher and cannot vary by more than 5%.
Special - October 2017 11I-
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Comics/graphic novels:
a privileged position
America has comics, Japan has manga, but France has graphic novels,
the richness and quality of which fuel a strong domestic market, and
bring renown across Europe and internationally.
I
f you were to ask some random Lombard, Kana, Urban Comics, etc.).
people at the Frankfurt Book Lastly, France boasts a huge variety of
Fair to name the best known content and formats: “as rich as the
OLIVIER DION
French literary characters, it is literature sector, and one where we
likely that they would not say “Madame have succeeded in conquering new ter-
Bovary” or “Jean Valjean,” but rather ritories and new readerships,” enthuses
“Astérix,” “Lucky Luke,” or, if Belgium Guy Delcourt, founder of the company
and Switzerland are included, “Tintin” that bears his name. “Give a family a
“The issue is not
and “Titeuf.” These celebrated heroes Boule et Bill and it will be read by the comics and graphic
owe their fame above all to their printed nine-year-old kid, his mom, and his novels, but European
adventures. For while movies sometimes grandpa,” says Claude de Saint Vincent.
help to popularize these worlds, you “Such intergenerationality can be found
culture, which is
don’t have to dig far beneath the surface By in movies and pop/rock music, but it’s difficult to export.“
to discover that France has a rich seam Benjamin a rare phenomenon in literature, except, CLAUDE DE SAINT VINCENT,
- almost unique in the world - of drawn Roure perhaps, for Harry Potter.”
stories that sell thousands, if not tens
MÉDIA-PARTICIPATIONS
of thousands, of copies a year. “The key A creative land
feature of the comics/graphic novels Bookstores offer a dynamic choice, translate a lot in France, but above all
market in France is that there is a mar- from children’s/YA series to graphic we create a huge amount,” notes Benoît
ket! It isn’t reduced to a single shelf in novels, by way of documentaries and Mouchart. “And even though authors’
the children’s/YA section, or to a niche several other genres. Out of the 5,000 living conditions are sometimes hard,
for fans,” explains Benoît Mouchart, comics, graphic novels, and manga France is one of the few countries in
editorial director of Casterman. The published in French in 2016, the Asso- the world where hundreds of profes-
second feature is “its size: one out of ciation des Critiques et Journalistes de sionals can live off the creation of comics
ten books sold in France is a comic or Bande Dessinée (ACBD) counted 2,300 and graphic novels.” Indeed, there are
graphic novel,” adds Claude de Saint translated titles and 1,500 French titles, several dedicated schools that pull
Vincent, managing director of Média- in addition to collections of illustrations, things together, including one founded
Participations (Dargaud, Dupuis, Le and republications. “It’s true that we by Guy Delcourt: “I’m often told that
the market is saturated. But I think
that a sector always needs fresh blood
in order to remain creative.”
One might even say that France is
“Comics and a promised land for authors from all
graphic novels are over the world. “Many foreign artists
a contemporary work directly for the French market,
because that’s where they can really
art form, born express themselves,” observes Moïse
inside authors’ Kissous. The Steinkis founder is pleased
minds, so it’s to have published the work of the Israeli
artist Asaf Hanuka, and to have then
useless to try to sold the rights to a dozen countries,
format our books including the United States where his
for a certain The Realist won the Eisner Award.
readership.” The format issue
JACQUES GLÉNAT, GLÉNAT But that handful of titles which have
OLIVIER DION
been hits abroad shouldn’t mask the
reality: the French comics/graphic >>>
12 Special - October 2017For the very first time at the Frankfurt Book Fair
“The best debut novel I have read so far.“
David Goulois, Bookseller
“A fascinating yet frightening story,
remarkably well-written.”
Françoise Gaucher, Bookseller
In an unprecedented testimony,
Pope Francis speaks about
the key issues of our times.
The first philosophical analysis
of the Macron Phenomenon:
success story or progressive demagoguery?
Raphaël Enthoven initiates us to
a “philosophy of everyday life”.
Les Editions de l’Observatoire publish renowned authors such as Alain Duhamel, Michel Onfray, Natacha Polony,
Patrice Duhamel, Jacques Santamaria, Dominique Moïsi, Christian Saint-Etienne and Sophie Coignard,
up-and-coming essayists like Nicolas Bouzou and Gaspard Koenig as well as promising literary writers.
Maria VLACHOU - Rights Manager - maria.vlachou@humensis.com • STAND 5.1 E17
Editions de l’Observatoire - 170 bis, boulevard du Montparnasse - 75014 Paris - FranceI-
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>>> novels sector still finds it hard to where this kind of juvenile toilet humor comics and graphic novels, but Euro-
make a dent in markets little suited just doesn’t work.” And then there’s pean culture, which is difficult to export.
to its specificities. “Firstly, it has nar- the format. “Give an American or Japa- Its literature is not translated much
rative specificities that don’t speak to nese reader a lovely hardback album, in the United States, and its films are
a Japanese reader, for example,” com- then promise them the sequel in two not widely screened. All in all, comics
ments Jacques Glénat. “And secondly, years, and they’ll hand it back to you and graphic novels don’t do so badly.
it has a wide range of themes. Titeuf straightaway,” continues the CEO of There are two solutions to achieving
sells well except in the United States, Glénat. “We need to evolve our formats wider circulation: cartoon adaptations
in order to penetrate these markets,” and e-book versions.”
concludes Benoît Mouchart, who cites Although the Japanese market
the example of Lastman, a French appears almost inaccessible, the Ame-
series with a format and publishing rican market seems more within reach,
In figures schedule close to those of manga. “Our
richness is our
bearing in mind the success of trans-
lations such as
• 4,888 new titles and (compared with 39% for undoing, because Marjane Satrapi’s
new editions published literature), and they we don’t have a “We need to evolve Persepolis, Joann
in France in 2016. spend an average of powerful industrial our formats in Sfar’s Le chat du
• 1,597 artists, writers, €200 a year (compared
model like the rabbin, and Jacques
and colorists live off with €160 for literature). order to penetrate
comics and graphic • five million: the Americans and Tardi’s books.
novels (including number of copies Japanese do,” adds American and French publishers
267 women). printed of the new Guy Delcourt. But Japanese markets.“ aim to mine this
• 384 houses published Astérix to be published Jacques Glénat dis- seam by organising
comics/graphic novels in November 2017, two BENOÎT MOUCHART,
misses this notion: events through the
in 2016 (compared with million of which are for “Comics and gra- CASTERMAN French Comics
140 in 2000). the French market.
phic novels are a Association. “It’s the
• 48% of buyers of Sources: Livres Hebdo/Electre,
comics, manga, or Association des Critiques
contemporary art form, born inside first step in a long-term strategy,” consi-
graphic novels belong to et Journalistes de Bande authors’ minds, so it’s useless to try to ders Moïse Kissous. “For it’s only by
Dessinée (ACBD),
the upper socio- and Syndicat National format our books for a certain reader- getting our books translated by local
professional category de l’Édition (SNE) ship.” And Claude de Saint Vincent is publishers that we can pique the interest
also more measured: “The issue is not of Hollywood.” d
Children’s books: the for adolescents. “Authors are able to
tackle tough political and philosophical
subjects more easily in non-sectarian
strength of innovation
France than in other countries, which
helps young people understand the
issues our society is facing,” she says.
When discussing what sets them apart from their colleagues and “Tragic they’re not
competitors in other countries, French children’s book publishers in English”
name creativity as their strongest point. Homegrown publishers are not alone
in recognizing French prowess. Peter
or a number of years, French is that other countries have become Usborne, who founded Usborne Publi-
F illustrated books and docu-
mentaries for young children
have been regarded as the
world’s most creative, diverse and tech-
nologically advanced in combining
more marketing-oriented, sometimes
focusing on the balance-sheet as much
as on creation. Our financial indepen-
dence means that we have greater free-
dom to choose titles and more time to
shing in the UK in 1973 and created
an imprint in France in 1985 to produce
the best of its babies’ and children’s
titles in French, is full of praise: “I am
always struck by the exceptional level
images and sound. The fact that French devote to authors than larger groups. By of talent in French children’s book
authors and illustrators - most of the The result is that we buy rights to fewer Barbara publishing, and tell my staff that if they
latter being graduates of the country’s foreign books than we used to.” Casassus want to look at any foreign stands at
many artschools - walk away with so For Sylvie Vassallo, who has run book fairs, they should always go to
many nominations and prizes at the the annual Montreuil Children’s Book the French ones - the ideas, the bounce,
international Bologna Children’s Book Fair just east of Paris for 16 years and and general culture are astonishing.”
Fair each year underscores the point. is the artistic director for the French With more than a touch of irony, he
“France has long been a centre of pavilion at the Frankfurt Book Fair adds: “It is tragic their children’s books
excellence,” says Louis Delas, CEO of 2017, the market has diversified strongly are not in English. If they were, the
L’École des Loisirs. “What has changed in recent years, particularly in fiction French could well dominate the >>>
14 Special - October 2017Celebrating our bestsellers translated into German!
New Releases
Didier Decoin Philippe Claudel Christophe Boltanski
Already sold in 13 countries By the multi-awarded and Winner of the Femina Award
German edition to be released internationally acclaimed author
by Klett-Cotta
Are you looking for more international bestsellers?
Meet us at our stand – Hall 5.1. – E87
www.editions-stock.fr/foreign-rights
| @EditionsStockI-
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>>> world market. But as it is, they are opening. The name of the award is a
somewhat trapped on a French-spea- tribute to Michel Tournier, who wrote
king island.” Vendredi ou les limbes du Pacifique (Fri-
Figures published by the Syndicat day, or The Other Island) and died in
National de l’Édition (SNE, the French January 2016. Thierry Magnier estimates
publishers’ association) last June sho- that about 1,500 local children’s book
wed that members’ sales of books for prizes are organised in France by fairs,
children and young adults rose by 5.2% festivals, associations, schools, book-
to 364 million euros in 2016, making sellers, or local authorities, to name
them the fourth largest market segment. just a few. “We hope our new prize will
Although fiction for children, adoles- help raise the profile of French titles
cents and young adults has been trailing for adolescents, and boost rights sales,”
behind illustrated books for the very he says. French children’s book publi-
young and documentaries, the SNE shers “take greater risks their coun-
says it is now on the increase. “It has terparts in other countries and than
adapted to the codes of its readers, and their colleagues in the adult market,”
is bolstered by the success of works he argues. Apart from addressing dif-
OLIVIER DION
by YouTubers or on Wattpad,” the SNE ficult subjects, “we invest more in format,
wrote in its latest annual report. and in general, I would say, are just
On the French export market, books more daring.”
for the young always lead the way. They
accounted for 31% of total French foreign An audiovisual handicap
“We do not fare as well
rights sales in 2016, buoyed by the fact Hélène Wadowski, the director of Flam- with selling film and TV rights
that some contracts cover 20, 30 or even marion’s children’s book department, as the British, Americans
60 titles, the SNE says. In co-publishing explains the domination of blockbusters
and Scandinanians do.”
too, the segment ranks first in France, such as Twilight by strong ties with the
and accounted for 68% of all such pro- audiovisual sector. “We do not fare as HÉLÈNE WADOWSKI, FLAMMARION
duction in 2016, with 1,213 titles. well with selling film and TV rights as
However, there is still some way to the British, Americans, and Scandina- Hedwige Pasquet, president of Gal-
go with fiction for adolescents, according nians do, she admits. This is a problem limard Jeunesse, takes an upbeat view,
to Thierry Magnier, president of the we need to remedy.” Wadowski cites “perhaps partly because I am optimistic
SNE’s children’s book committee and the example of Flammarion’s thriller by nature,” she says. She notes that
editorial director of Actes Sud children’s series Piégé (Trapped), by Hubert Ben young adults and even older adults are
books: “The English-speaking world Kemoun. The second volume came out reading more fiction published for ado-
with its themes or series is still much last March and work is in progress on lescents. The Passe-Miroir trilogy by
stronger than we are, so we are a bit the third, but “the absence of an audio- Christelle Dabos, whose English and
left by the wayside.” visual contract behind it, at least for Italian-language world rights have
This is why the SNE created the the moment, will inevitably limit its been sold in Italy to Edizioni E/O (publi-
first national book prize for teens 13 success.” There is no cap on the number sher of best-selling author Elena Fer-
years and older, called Vendredi (Friday), of volumes to be published in the series, rante), is produced in paperback in
which was to be awarded on October9, since each one has a different hero France under both the junior and adult
just before the Frankfurt Book Fair and a finite plot. Folio imprints.
Another break with the past is that
titles for the 13-and-up age group are
now published in hardback as well as
paperback. The first three Harry Potter
titles, in 1997, 1998 and 1999, were
“We hope our new published only in paperback. But Philip
Pullman’s Northern Lights (Les
prize will help raise Royaumes du Nord), the first of his Dark
the profile of Materials trilogy, was published first
French titles for in hardback in France in 1998. “Hard-
back covers have now become common
adolescents, and practice for teenage and young adult
boost rights sales.” fiction,” adds Pasquet. She dismisses
THIERRY MAGNIER, SNE, the idea that the days of books are
numbered for the young. “Every year,
ACTES SUD people say young people don’t read
any more. It is not true - the big chal-
OLIVIER DION
lenge is to be able to give them some-
thing they want to read.” d
16 Special - October 2017Flammarion
&
“The Harvard of gastronomy.”
LE MONDE
Photo: Rina Nurra © Flammarion
Master recipes and techniques from
one of the best French culinary schools.
Cooking demonstration:
October 11th - 3 pm
Gourmet Gallery Show Kitchen (Hall 3.1)
Flammarion: Hall 5.1 / D18 • editions.flammarion.com/Professionnels/Foreign-rights
LivreHebdo_Pub_Ferrandi.indd 1 09/08/2017 15:30N CH
RE
F LI-
PUB G French publishing
SHIN
discount of 5% on the price fixed by
the publisher. The law does not apply
to schoolbooks if they are purchased
by or for schools. As for lending libra-
ries, the maximum discount permitted
is 9%. Since 2011, retailers operating
from France or abroad must sell ebooks
at the price fixed by the publisher.
The Insee(1) price index shows a
26.9% rise since 1995, while general
consumer prices have increased by
33.5% (see graph 2). Although publi-
shers control the price of their products,
they are most attentive to market prices
and a healthy competition within the
industry, a guarantee against inflation
in the book market.
“Droit d’auteur” (authors’ rights) is
a legacy from Beaumarchais, now conse-
crated in the “Code de la propriété
intellectuelle”. It lies at the heart of
questions linked to the respect of created
OLIVIER DION
works and the remuneration of creators
(authors and publishers). These issues
are frequently discussed between
Ranking fifth in the world, the French publishing players in the industry, but also with
the authorities at national, European
industry achieved a turnover of 4.43 billion euros
and international level. The fruit of
in 2016, a 36.1% increase on 1995. 22.5% of sales these discussions is the adaption of
derive from exports. contractual relations between parties
in their best interests. Three years ago,
ike many long-establi- be explained for the most part by the By new legal dispositions permitting the
L
shed activities, French paperback’s growing share of the market Jean-Guy inclusion of the ebook were thus added
publishing is a mature (27% of overall sales). Boin, to the publishing contract.
industry. This can be The total turnover from ebook sales managing
observed through the in 2016 was 234 million euros (8.6% of director of the Evolution of production
evolution of its annual the total) - 80% being academic and Bief (Bureau and activity by category
turnover. Between 1995 and 2016, it professional, primarily law. 4% of the international The inter-professional database Elec-
progressed by 36.1% (see graph 1) fiction category - which mostly targets de l'édition tre.com shows that the annual pro-
while book prices went up by 26.9%, a wide audience - were ebooks. française) duction of new titles and new editions
an increase of 7.3% in constant euros. There are several hundred profes- has almost tripled since 1995 (see
The total turnover (public price exclu- sional publishing houses in France: big graph 3). Several factors specific to
ding tax) reached 4.43 billion euros - groups, international or not, made up publishing all over the world - a pro-
making French publishing the fifth of numerous imprints and enjoying totype industry, an economy of supply
in the world - with 22.5% deriving real editorial freedom ; medium-sized - lie at the root of this phenomenon.
from exports. In the last few years, and small firms, some of them specia- The evolution of production since the
variations in that evolution have been lized, recently created or long-establi- beginning of the century is: 33% for
noted, including a fall in the first half shed. Together they represent a wide literature, almost 200% for non-fiction,
of 2017, a period of intense electoral variety of players. and almost 100% for children’s books.
activity. Comic book and graphic novel pro-
Last year, the number of books sold A regulated economy duction has seen an eightfold increase.
reached 435 million, a 45% increase In 1981, France was one of the first Graph 4 illustrates the evolution
over 20 years. The gap between the countries to adopt the fixed book price of turnover by domain. In 2016, literature
evolution in value and in volume can by law. Retailers may offer a maximum took the lead with 21.7% of total sales,
18 Special - October 2017A mature industry
followed by children’s books at 13.5% 1. Progression of publishing turnover (€ billion)
(20.2% in sales volume). In about 20
years, comic books and graphic novels 5 Publishing turnover (€ billion)
have grown from 2.2% to 9.1%. The 45%
increase in the number of copies sold
should be seen in conjunction with the 4
almost threefold increase in the number
of titles produced, this dual evolution
leading to a drop in the number of 3
copies sold per title. The result is a
lower average print run and, conse-
quently, less profitability per title. Howe- 2
1995 2000 2005 2010 2016
ver, technological progress and tighter SOURCE: ESTIMATED RETAIL PRICE FROM SYNDICAT NATIONAL DE L’ÉDITION DATA
flow management have partly com-
pensated the decrease. 2. Progression of consumer and book prices
More intense production automa-
tically reduces the average time books 130
are on display in the shops. Sales are
therefore increasingly concentrated Consumer prices
120
on a smaller number of titles. At the Book prices
same time, the task of booksellers -
110
100
Large specialist retailers now
account for almost a quarter 90
1995 2000 2005 2010 2016
of all sales, and their share has SOURCE: INSEE. BASE 100:1990
doubled since 1995. 3. Production of new titles and new editions
especially those with a wide selection 68069
63052
and a varied stock - becomes more 53462
complex in terms of knowledge of the
books, highlighting backlist titles, mana- 39422
ging space, as well as ensuring cash
23436
flow to finance a stock with a relatively
small rotation.
The book sales network 1995 2000 2005 2010 2016
SOURCE: LIVRES HEBDO/ELECTRE.COM
Since 1995, schoolbooks aside, the
sales network has seen significant
4. Breakdown of turnover by book category
change (see graph 5). In 2016, online
sales accounted for 19.5% of the total
Novels
Novels
and were, for the most part, carried Dictionaries
Dictionarie
aries Novelss
Novels
out by operators outside the industry. 17,1
17,1 % 113,5
3,55 % Children’s/YA
Children’s/YA
18,99 %
18 Dictionaries
Dictionaries
21,77 %
21,
21
It is likely that this new channel partly Childrenn’s
Children’s
7,1 %
7,1 YA 1,4
14%
1, Comicss
9,1
9,1 % graphic
graphicc
replaced mail order sales and book Essays,
Essays, Comics,s, no vels
novels
clubs. Large specialist retailers now
social
social
sciences
sciences 110,8
0,8 % 11995
9995
95 22,2
,2 %
55,1
,1 %
graphic
graphicc novels
Art,
novels
Essays,
Essays, 11,1
1 % 2016
20
01166 2,9
29% coffee-table
Art, coffee-table
coffee-table
coffee--table social sciences
social sciences books
books
account for almost a quarter of all book
bookss
44,4
,4 % 7,5
7,5 %
LLaw
aw 12,77 %
12,
12 PPractical
ractical
sales, and their share has doubled 55,1
,1 % Practical
Practical 9%
Sciences,
Scienc es, 6,6 %
6,6 LLaw
aw 0,99 %
0,9
since 1995. However, they have also ttechnical, medicine,
echnical, me
edicine, 115,2
5,2 % Other 2,8
2 % 114,9
4,9 %
management
manag ementt Sciences,
Scienc es, Other
multiplied during that period, thereby ttechnical, medicine,,
echnical, medicine
School management
manag ement SSchool
chool
increasing the surface available for
selling books in this network. >>> SOURCE: SYNDICAT NATIONAL DE L’ÉDITION
Special - October 2017 19You can also read
