StoryDriveStoryDrive Asia is an all-media platform in Asia dedicated to exploring new forms of collaboration and business models across media boundaries. In 2012 and 2013, Frankfurt Book Fair and German Book Information Center (Beijing) have successfully organized StoryDrive China at Beijing CIFTIS Fair. In 2014 the conference has been expanded and renamed to StoryDrive Asia, in order to encourage more transmedia exchange and trade inside Asia. Starting 2016, StoryDrive at CIFTIS will be the main location for StoryDrive worldwide.
Leading minds from all over the world, especially from major Asian markets will illuminate the future of media and entertainment. 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.
Date & Venue
- Conference Date: 29. – 30. May 2016
- Conference Venue: Auditorium, 3rd Floor, China National Convention Centre (Beijing)
- Exhibition Date: 28. May – 1. June 2016
- Exhibition Location: South Suite (next to Auditorium), 3rd Floor, China National Convention Centre (Beijing)
The conference languages are English and Chinese, with simultaneous interpretation.
StoryDrive Asia is a part of China International Fair for Trade in Services (CIFTIS). CIFTIS is an international comprehensive service trading platform, hosted by Ministry of Commerce of the People's Republic of China and organized by the People's Government of Beijing Municipality.
Industry boundaries are getting more and more indistinct. A story is no longer bound to a single format – it can be told through a variety of media and across various channels and formats.
To harness this potential, the Frankfurt Book Fair created the all-media platform Frankfurt StoryDrive in 2010. Frankfurt StoryDrive reflects the changes, developments and trends that are currently evolving in the content industries.
It is the first organised business platform that brings together the worlds of media and entertainment. StoryDrive takes place every October during the Frankfurt Book Fair, the biggest media fair in the world.
* Design Thinking is a new approach, which helps people and organizations to do the transition from the old, analog world of disconnected, competitive thinking and acting, towards a neworked, collaborative mode, which is much more appropriate to a digital world we are living in.
* Even if I did not manage to learn Chinese language during the years, China feels like my second home. Through the last years we started even the first School of Design Thinking in China, based at the CUC Communication University of China in the east of Beijing.
* One of the important books we sold from Chinese to Turkish is Decoded by Mai Jia. It is a good example of Chinese bestseller.
* Turkish publishing market is one of the fast growing markets in the world. The colouring books was the trend of 2016, just like the other countries of the world. It was unexpected and became very big in a very little time.
* The latest figures were recently presented at the Publishers Forum in Berlin and they show us that in the UK, 86% of all users spend their time online using Apps, with Facebook and Gaming taking the lead. At the same time we can see that sales figures of print books in many countries are starting to recover, the UK alone saw a rise in demand for print books in the first quarter of the year by 11.4%.
* This year, the Frankfurt Book Fair is introducing a new format called ARTS Plus, which builds on the extensive influence that the arts (and books!) have on other sectors. The aim is to create an attractive ecosystem of creative people, brands and publishers, but also researchers, scientists, museums and digital heritage players who are at the centre of this new trade in cultural IP – the new renaissance women and renaissance men.
IP fever is a capitalist concept and bears little relation to creative behaviour. As a phenomenon or a type of text, there is a rationality to the existence of IPs. However, the current trend is IP'ism and IP-only; it even appears to want to completely crowd out the room for survival of original works. This is a kind of subversion of the television and film industry ecology. It is destroying many classic value standards. Everything is directed toward market behaviour that can be controlled and materialized by available capital and "big data".
* Authors often like to concentrate on their texts more than on contracts and figures. They can talk more freely to their editors or publishers when they know somebody else cares about the contractual business. The editors time to look at texts is often limited. Agents sometimes read seven or more different versions of a text, before it even reaches the editor.
* A good agent loves literature and can tell the difference between a good text and a bad one. He also needs to forsee trends, be able to work very closely with individualistic authors and need not be afraid of tough negotiations.
* We are going through an economic crisis that is obviously affecting the publishing industry as a whole. However, we believe that it will not last much longer, because it is primarily a political crisis. Just as the Chinese ideogram for "crisis" – which brings together danger and opportunity.
* Brazil is a totally open market for foreign companies. A proof of this is the presence of international editorial groups in Brazil. On the other hand, it is also true that our country has its own peculiarities, and it is important that these international companies narrow their partnerships with Brazilian companies already established in our territory. As the great composer Tom Jobim once said: "Brazil is not for beginners"...
* Illustration is not simply a core element of the content product, it has also become increasingly involved in the realm of everyday life, becoming a way of life. More 50 works will be exhibited in this illustration exhibition. These are selected from over a thousand pieces of work from some 50 professional illustrators from more than 20 countries around the world.
* I can say without exaggeration that there is enormous potential and unlimited business opportunities in China's children's book market. The centuries old traditional concept of "scholarly pursuit is the noblest ideal" is continually being activated; there is still relatively large room for growth in the Chinese economy; the onset of the peak in births; the government's nationwide reading campaign is on-going without any signs of abating; and paper and digital publishing have been complementary, eliminating numerous hindrances to reading.
* Indian publishing continues to remain vibrant. Demand for print books continues to grow.
* For the first time, the Government of India Ministry of Human Resource and Development has made possible ISBN registration online to make it easy for publishers to apply. This may be a step towards the publishing industry gaining an industry status.
* Western publishers offer so much for the local market that it becomes a challenge to identify projects that will interest them. We try to identify trends in the market – whether it is lifestyle or work.
* a foreign audience cannot be educated without being entertained or intrigued or moved at the same time, which is where ‘freshness’ is equally crucial, especially in an international market saturated with ‘universal’ stories from all over the world.
* As a former concert pianist steeped in the Western classical musician tradition, the language of music greatly enriches my vocabulary, as well as provides, more instinctively, the structures of sound and rhythm and musicality I always seek in my writing, especially poetry.
* Super IP: only online literature with high hit rates or best-selling books; only works with high Duyao and Douban scores and good word-of-mouth; and only works with high conversation rates on tieba and weibo as well as those with a high degree of fan loyalty.
* These words on poison (or duyao in Chinese) means something that cannot be clearly explained or stated; it's a little evil, but is also a little humane; there's also a bit of sentiment. It is safe and harmless. I feel that this is probably my ideal state.
* We are a very open market, and our population speaks several global languages: English, Chinese, Malay and Tamil. Our local publishers have to compete with the best of New York, London, Beijing and Shanghai, Hong Kong and Taipei, Kuala Lumpur, Jakarta and Chennai, but we can also export to those markets.
* we see a lot of interest from Chinese publishers in books that try and understand the complicated history that we share, the human links between China and Southeast Asia, relations across the South China Sea.
* Our audience has the "three high" disease - high income, high academic qualification, and high age group (20-35 years old). They are known as high-end users, with good taste and a penchant for watching programs on their mobile phones.
* Watch Imagination has been viewed more than 100 million times. Liang Wendao's reading program, One Thousand and One Nights alone was viewed 130 million times.
The global publishing industry has begun to rebound, and a recovery has emerged; this is good news indeed. However, against the backdrop of the internet, the book publishing industry must adjust and restructure. We should leverage the internet mindset to turn the publishing industry into a provider of professional information and knowledge solutions.
Intellectual property (IP) and copyright have become big name terms in recent years. The rise of unlicensed digital file sharing, combined with subjective interpretations of what the concepts mean, has led to furious flurries of opinion on the subject, emphasising the divide between artists, consumers and industry leaders.