In a panel discussion at the Bologna Book Fair last week, leaders from global audiobook companies highlighted significant growth in children's audio content while addressing the evolving challenges of rights management and market development.

Heather Alexander, representing Audible USA, reported substantial expansion in the company's children's division. "This past year, we saw 24% growth and in the kids' space, specifically 28%," Alexander said. She noted that Audible's launch of the ability to create profiles on the app geared specifically to kids significantly boosted listening among children.

The panel, which included Colin Hauer, CEO of Hörbuch Hamburg (Germany), and Sonia Draga, CEO of the eponymous publishing group in Poland and president of the Federation of European Publishers, explored the differing market dynamics across regions.

Hauer explained that Germany benefits from a well-established audio tradition. "We are in the lucky situation that audio for kids has been a very long tradition in Germany, going back decades," Hauer said. This foundation means German publishers require less education about audio potential compared to emerging markets.

Rights negotiation remains a central concern for publishers entering the audio space. Draga described her approach, especially now with the advent of AI potentially shifting the market in new directions. "When I acquire the license, I have for the past five or eight years always negotiated for all the formats, because I want to be prepared for the possibility of having them all. We start with normal rights, of course, then we look at AI: for training, repurposing, and other potential uses.”

Draga also shared concerns about appropriate compensation for authors, especially in the streaming era. "We have to always know how to upgrade the royalties for our authors. So this is the must," she said.

The panelists also addressed the competitive landscape between traditional publishers and major platforms. Hauer argued that established publishers offer value through their expertise and relationships. "Our team and all the other work partners in Germany, they've been around for a long time. They have a track record to really bring the stories to life," Hauer said.

Alexander highlighted Audible's partnerships with major brands as a growth area. "We've been able to make original shows with Sesame Street, with Disney. That's an ongoing partnership. Nickelodeon, Kidz Bop, all kinds of kids' favorite brands," she said. "Making new stories with Elmo is like a career dream."

The relationship between audio and print rights is also evolving, Alexander noted, pointing to Audible's support and development of original audio shows that later were sold as books in print, essentially reversing the traditional rights hierarchy. "Where print would maybe traditionally be seen as the main right, we see audio as another potential rights market as well," she said.

Looking to the future, Alexander sees significant opportunities for screenwriters to adapt unproduced scripts and for new authors to break into the industry through audio. Hauer emphasized the importance of partnerships between traditional publishers and audio producers. "I hope that there continues to be more partnerships, corporations between traditional publishers and audiobook publishers,” he said, noting that working with an audio publisher like his own offers the potential for different opportunities to the creators and, possibly, a more hands-own approach.

The panelists agreed that despite platform differences, their shared goal remains bringing stories to audiences through whatever medium works best for consumers. Draga concluded by addressing the industry's need to balance growth with protecting creators' rights, whether in the face of new technological development or changing market conditions.

"We are all here in the same business,” she said. “We are aiming to grow the market while all being able to preserve and protect human creativity.”