Voices Of Experts: IGNITE! Publishing – The Campaign
Dwindling target groups, growing media competition, and all this in the midst of digital transformation – the publishing industry is under considerable pressure to adapt. Its future will be determined primarily by its ability to innovate in business models, products, marketing, and sales. But in the practical world of publishing, between backlists and big data, cultural mediation and AI challenges, innovation and change are often difficult to achieve.
The content campaign "IGNITE! Publishing" by Zebralution Digital Publishing and DIGITAL PUBLISHING REPORT aims to give publishers innovative impetus for the future. We invite innovators to share their knowledge and experience.
The campaign consists of:
- The IGNITE! Publishing podcast, in which national and international representatives from publishing and related industries present their ideas and concepts. The podcast is hosted by Albrecht Mangler, Director of Marketing Services Open Publishing / Bilandia (Zebralution Group), and Daniel Lenz, Editor-in-Chief and Co-Managing Director of DIGITAL PUBLISHING REPORT.
- The IGNITE! Publishing Channel, a multimedia web magazine in which we provide additional innovation impulses to accompany the podcast.
- An annual digital event that generates new ideas in publishing in an interactive live format with a wide reach. This year, the digital event will take place in November.
More information at www.ignite-publishing.de
"For us, internationalization begins with defining the brand essence"
KIDDINX Media GmbH, based in Berlin, is one of the leading providers of children's and family entertainment in Germany. With cult characters such as Bibi Blocksberg, Benjamin the Elephant, and Bibi & Tina, KIDDINX has been delighting and shaping generations for around 50 years. Its portfolio includes audio dramas, films, series, apps, books, and a dynamic licensing business.
"We translate sound"
"Understand the audience first, and only then decide which titles to introduce"
"For us, internationalization begins with defining the brand essence."
Carsten Schwarz shows what skills publishers need if editorial, production, rights, and sales are to really work together: understanding platform logic, skillfully curating content for each market, and defining brand cores in such a way that the characters with which children are supposed to identify remain consistent even beyond the DACH region. Added to this are delicate cultural nuances that cannot simply be reflected in metadata, as well as resource allocation, which extends to casting, sound design, titles, and cover decisions.
And then there is the next challenge: What happens when audio and moving images move closer together – and which brand will be the first to benefit from this?
What skills do publishers need for a holistic international strategy?
Internationalization in the audio drama market only works if editing, production, rights, and distribution are closely interlinked. A deep understanding of audio platforms and their data logic is crucial, as is genuine localization expertise that goes beyond mere translation. Especially with strong brands such as Benjamin the Elephant, Bibi Blocksberg, and Bibi & Tina, the brand essence, tone, and quality standards must be clearly defined so that they can be played out consistently internationally, yet still in line with the market.It is also important to be able to curate content packages appropriately for each market – not everything works equally well everywhere. For example, we decided to start with the English-speaking market and placed the two brands Benjamin Blümchen and Bibi & Tina there with a selection of episodes.
What role do agile working and agile leadership play in an international context?
In the audio drama market, the term "agility" is only applicable to a limited extent. Our content is distributed digitally, mostly on the same international platforms where German audio dramas are also available. This means that we do not manage international teams across national borders. Agile working is also only possible to a limited extent with audio dramas. An audio drama cannot be quickly iterated or retroactively adapted—it is a complete, elaborately produced work with fixed voice actors, music, and dramaturgy. Unlike in the book sector or with digital text formats, content cannot be changed at short notice.Our approach is therefore different: we do not try to constantly adapt content, but rather make the German originals of Benjamin the Elephant or Bibi & Tina internationally understandable and attractive with targeted, very careful adaptations. For us, this means above all making smart choices, clean localization, and a precise understanding of which materials, tones, and formats also work outside the German-speaking market.
Lost in Translation? Obstacles to Internationalization
What are the cultural stumbling blocks that publishers underestimate when it comes to internationalization?
Cultural differences are often underestimated in children's audio dramas. Humor, narrative pace, role models, and even the way adults and children talk to each other vary greatly from country to country. Language is particularly important in dialogue-heavy formats such as Benjamin the Elephant or Bibi & Tina: wordplay, onomatopoeia, and character relationships cannot be translated one-to-one. Ignoring this risks a strong brand failing to connect emotionally. In addition, practical factors are often underestimated: metadata, age ratings, and cover/title decisions have a massive impact on discoverability on platforms.
How can content be localized beyond language?
For us, localization begins with defining the brand essence—what is non-negotiable and what cannot be adapted. Beyond that, however, we can adapt the speaking speed, casting, sound design, episode selection, titles, and covers to local listening habits. We specifically curate introductory episodes that work without requiring much prior cultural knowledge. A good example is our Benjamin the Elephant bedtime stories in English: here, we deliberately chose a format that is internationally compatible and uses universal narrative patterns.
Innovation Potential
What are currently the greatest opportunities for innovation in the area of internationalization?
There is a great opportunity in combining audio and moving images. When a brand has a visual presence in the market, the barrier to entry for audio is significantly lower. That's why we are currently developing more Benjamin the Elephant audio dramas to accompany the CGI series......i.e., the computer-generated imagery series from 2025...
…and are working on the English translation of the German CGI series. In addition, we see innovation potential in data-driven program decisions (episode selection, packaging, release timing), in new family and ritual formats, and in selected local collaborations to enable our brands to grow organically internationally.
Challenge and optimism go hand in hand here: our brands are strongly anchored in German culture – which is precisely why we need to localize them carefully. At the same time, the characters are so clear and emotional that we are confident we can further establish Benjamin the Elephant, Bibi Blocksberg, and Bibi & Tina internationally.
"We Translate Sound"
Sometimes internationalization doesn't start with a business plan, but with an obsessive listening session and the courage to just get started. Eduardo García explains how a small indie setup has gradually transformed into an everyday operation involving global studios, clear brand recognition, and genuine partnerships. The focus is not on "now also in English," but on the idea of transferring sound and staging in such a way that audio branding works across borders. Added to this are a prominent author and partner, a deliberately limited use of AI, and a look at a market that is becoming increasingly noisy. The exciting question: Where is it decided whether mass wins – or signature?
As a digital indie, what Do You Associate with "Internationalization"?
A lot. Eight years ago, we were already pioneers in this field as a small creative guerrilla cell. In the beginning, we simply listened to hundreds of audiobooks on US audio platforms to find the right voice for us, then booked a studio in New York, had a lot of fun with US voice actor unions, and just got started. Shortly thereafter, we found a PR agency and a local US distributor, and a little later we ended up on the shortlist for the Digital Book World Award. Since Michelle Obama had also published at the same time, we unfortunately didn't get to take home the award, but the nomination was a major milestone.
Fast forward: Today, we have an established studio and producer network that we use through German Wahnsinn, and internationalization is part of our everyday operations. We produce in Barcelona, Madrid, Bogotá, and São Paulo, and sometimes even in a live audio drama broadcast with twelve actors from Hamburg to Glasgow to Maine and Los Angeles. It's really a lot of fun!
It's important to emphasize that for us, internationalization doesn't just mean "we're now doing this in English, Spanish, or French," but rather that we translate sound. The "sounding word," as Cornelia so beautifully describes it, paired with our style of sound production, is what sets us apart as an indie company in the industry and ensures genuine recognition among consumers, keyword audio branding.
This year, we are releasing 6–8 international titles and are very excited to see where the journey takes us.
Cornelia Funke as a partner: How does she help make visions come true and open doors?
Cornelia brings two superpowers to the table: a global audience and artistic consistency. Thanks to her immense international network of creative professionals, we have a fantastic treasure trove at our disposal, which naturally opens doors for us, but above all creates trust. We exchange ideas regularly, develop concepts together, and approach projects with courage. In a one-hour call, we can quickly discuss the creative program for the entire year.
Commitment to Boutique Publishing
What is your strategy for using AI?
For us, artificial intelligence is a production accelerator, not a creative shortcut. We currently use it where it makes production smarter. For example, when it comes to accessibility, technical optimization, and internal workflows, or as a problem solver when someone is sick or absent. But deliberately not for the actual narrative or the radio play. That won't change at Atmende Bücher either. Three years ago, we worked with our own AI for very short-term script changes to Inkheart 4 for short passages – and communicated this openly.
In my role as a partner at German Wahnsinn and in the brand voices division, things are naturally a little different. For our work as an audio agency, we have our own specialized audio developers in-house whom we can call on, so we are always up to date with the latest developments. Nevertheless, the following rules apply strictly: no use of the usual global platforms, training only with consent – and if so, then on our servers in our own data center, secured technically, legally, and ethically.
Where will your market be in three, five, ten years – and what will your position be in it?
Step by step, there will certainly be even more "audio mass" – including automated content. Our alternative approach remains focused on human excellence and quality: with a boutique label and high-quality productions that scale internationally without losing their own signature style.
In addition, immersive enhancements will become more common, as will gamification and serial logic – and that's exactly where we feel right at home.
“Understand the Audience first, and only then Decide which Titles to Introduce”
At first glance, audio can look like a simple distribution change—hit play instead of turning pages. But the moment stories move into commutes, workouts, and daily routines, attention behaves differently, and narrative craft has to adjust with it.
In this interview, Carlo Carrenho connects the dots between listening habits and how books are written, between “translation” and real localization through packaging, platforms, discovery, expectations, and between technology and the human work that still makes international growth possible: curiosity, travel, relationships, and humility. He also argues that AI’s most disruptive effect may not be moving English outward, but enabling smaller linguistic ecosystems to travel into major languages—and reshaping what global audiences get to hear.
The question is no longer whether audio can cross borders—but who will learn the cultural and operational rules fast enough to lead the next wave.
When you look at the rapid development of audio consumption: how does listening—rather than reading—change the way we consume stories?
Listening is fundamentally different from reading as a way of consuming stories. That’s not to say listening doesn’t qualify as reading—it does—but it is a distinct cognitive and experiential mode. Audio changes not only how we consume stories, but also how stories are written.
One key difference is attention. Audio is typically consumed while doing something else—commuting, exercising, cooking—so listeners are more exposed to distractions. In print, an author can place a crucial twist in a single word or sentence, trusting the reader’s full attention. In audio, that same device becomes riskier, because the listener might miss it. As a result, storytelling in audio often requires clearer narrative anchoring and a more accessible structure.
This also influences what kinds of content thrive in audio. Fiction—especially genre fiction such as thrillers, romance, and narrative-driven novels—performs extremely well because it tolerates intermittent attention while still delivering immersion. By contrast, dense nonfiction requires sustained concentration that is harder to maintain in an audio context.Perhaps the most profound shift, however, is in creation. In mature audiobook markets such as Sweden, where audiobooks represented around 62 % of book unit sales and 54 % of fiction revenues in 2024, authors increasingly write with audio in mind. Complex narrative structures with many characters or abrupt shifts are harder to produce and follow in audio. As a result, authors may adapt their writing toward greater clarity and continuity. If Gabriel García Márquez were a Swedish author today, his “One Hundred Years of Solitude” would likely have far fewer characters.
Localization Beyond Language: Markets, Packaging, Humility
What is the best way to localize content beyond language?
The best way to localize content beyond language is to truly understand the market you are entering. With improving AI translation—and narration—it is very easy to fall into the trap of believing that all you need to do is publish foreign-language versions of your titles. Translation, whether human or AI, however, is only one layer of localization. Success depends on whether the content aligns with the cultural and commercial expectations of that specific audience.This begins with presentation. The cover design, the choice of title, and the book’s description are critical. These are often the first points of contact with readers, and they must reflect local sensibilities. What works in one country may not resonate in another, and adapting these elements helps ensure the book feels native rather than imported.
It is equally important to understand the ecosystem: who the dominant retailers and platforms are, which genres perform well, and how audiences discover content. Each market has its own dynamics and expectations.
At its core, publishing is about connecting the right books with the right readers. A good publisher finds books for their readers—not readers for their books. In an international context, this means understanding the audience first, and only then deciding which titles to introduce.
What are cultural pitfalls that publishers sometimes underestimate when internationalizing?
One of the main cultural pitfalls publishers underestimate when internationalizing is assuming that other markets function in the same way as their own. While global bestsellers travel well, cultural differences remain profound.Most publishers are exporting midlist or culturally specific works, and success depends heavily on local context. Smaller markets tend to understand global trends out of necessity, while larger markets can underestimate the importance of adapting to smaller or foreign markets.
Successful internationalization requires humility. Each market has its own cultural logic, and understanding it is essential.
AI as a Two-Way Door: Partnerships, Scale, and Future Leadership
Where do the biggest opportunities for innovation in internationalization lie right now?
Much of the conversation around innovation focuses on how AI translation and AI narration make it easier to bring content from large languages into smaller ones. While that is true, the most important opportunity lies in the opposite direction.For the first time, smaller publishers—from regions such as the Baltics, the Balkans, or parts of Africa—can realistically bring their content into major global languages like English, Spanish, German, or French. Historically, this was economically unfeasible. AI is now lowering that barrier dramatically.
This creates a structural shift. Audiences in smaller markets have long been exposed to content from dominant cultures, but audiences in larger markets have had limited exposure to stories from smaller linguistic ecosystems. AI now enables these stories to travel outward, allowing publishers from smaller markets to reach global audiences.
Another major opportunity lies in expanding toward Asia. Markets such as China, Japan, India, Indonesia, and the Philippines represent enormous and rather untouched opportunities for international audio content. These markets have large populations and rapidly growing digital consumption, yet many Western publishers have not fully engaged with them.
What competencies do publishers need for a holistic international strategy?
Publishers must understand that markets differ culturally and behaviorally. This requires travel, direct engagement, and listening to local partners and audiences.Humility is essential. Publishers must listen more than speak and adapt strategies to local realities. International publishing is built on relationships, cultural awareness, and curiosity.
What does an optimally functioning partnership between a digital distributor and a traditional publishing house look like today?
An optimally functioning partnership rests on two equally essential pillars: human collaboration and technological excellence.On the human side, strong relationships, communication, and shared strategic thinking are critical. Distributors and publishers need to actively engage with each other—discussing release strategies, identifying opportunities, analyzing performance, and developing new ideas together. Publishing remains a creative and strategic business, and technology cannot replace trust, dialogue, and shared strategic thinking.
At the same time, technological infrastructure must be frictionless. Content ingestion, distribution, and reporting should function efficiently, allowing publishers to scale and operate globally. Automation and AI have dramatically improved speed and efficiency.
But technology alone is not enough. Even the most advanced platform cannot replace strategic guidance and human responsiveness. Conversely, strong relationships without efficient technology cannot scale.
The most effective partnerships combine both: strong human collaboration and high-performance technological infrastructure.
Which specific skills or mindsets must the next generation of media leaders possess?
Eine der wichtigsten Fähigkeiten, die Medienführungskräfte entwickeln müssen, ist die Fähigkeit, KI effektiv und verantwortungsvoll zu verstehen und einzusetzen. Publizieren ist grundlegend eine sprachbasierte Branche, und KI wirkt sich direkt auf das Kernprodukt selbst aus.
One of the most critical skills media leaders must develop is the ability to understand and use AI effectively and responsibly. Publishing is fundamentally a language-based industry, and AI directly affects the core product itself.
AI improves efficiency, planning, and workflows—but it also transforms translation, narration, editing, and content creation. This makes its impact deeper than in many other industries.
Future leaders must develop both technical familiarity and strategic understanding of AI. They need to integrate it into workflows, use it to expand international reach, and leverage it in a strategic and intelligent way to remain competitive.
Read by Theresa Soltau (Head of Account Management, DSP Accounts & Editorial GSA, Zebralution GmbH), written and produced by Peter Elter (Project Manager, Team Coordinator at Zebralution GmbH, Head of Operations and Studio Manager at buchfunk.studio Berlin)