06 Apr The Last London Book Fair at the Olympia: 2 Seas Was There!
The 2026 London Book Fair, the last edition held at the Olympia Exhibition Center before the event moves to the much debated, and much less centrally located Excel London, had a lively feel. At the same time, there was an underlying sense of concern: against the backdrop of multiple ongoing global conflicts—with the war in Iran having only just started, forcing publishers from the Middle East and Australia to adjust their plans, or not attend altogether—the question of declining reading habits (and the broader pressure of the attention economy) was very much present in the fair’s programming. One of the Fair’s Wednesday keynote speeches by Pan MacMillan’s CEO Joanna Prior was in fact titled “Why the Reading Crisis is a Bigger Threat Than AI.” This topic will also be the underlying theme of this year’s Bologna Children’s Book Fair where Chrys is headed next week.
By Marleen Seegers and Chrysothemis Armefti — Article first published on April 6, 2026
Artificial intelligence was also a recurring topic of importance this year, though the conversation has clearly shifted. Instead of the initial anxious reactions, publishing professionals are now talking in more practical terms: about copyright protection, avoidance of AI training, fair compensation for authors, and how AI might fit into existing workflows for translation, cover designs and marketing. At the same time, there’s still strong resistance when it comes to AI-generated creative work, with ongoing debates around authorship and intellectual property.
Audiobooks were another major point of discussion at last month’s London Book Fair, which gathered more than 33,000 publishing professionals. The format is growing rapidly in some regions, like Northern Europe, and steadily gaining ground in markets such as Germany, Italy, Poland, Spain, and France. Major platforms shared impressive figures: Spotify, for example, has expanded its catalogue from 150,000 to over 700,000 titles in just two years, while Audible pointed to continued global growth and suggested the pace will only accelerate, especially since audio still trails print in overall volume. Across panels and conversations, audio was often framed as a key way to respond to changing habits—meeting audiences where they are, whether through deliberate searches or more casual discovery.
Financially, the audiobook sector is also gaining momentum, with strong annual growth and expectations that it will become a multibillion-dollar market by the end of the decade. The conversations at this year’s London Book Fair made one thing clear: audio is no longer a side format—it’s becoming central to the future of publishing.
If there was one clear takeaway for us from our meetings at this year’s LBF with regards to the ever-so-essential question: “What are you looking for?”, it’s that the market hasn’t fundamentally shifted. Editors across territories are still especially interested in commercial/upmarket fiction and nonfiction that effectively “sells itself”—i.e., projects with an immediately graspable promise, a clear benefit to the reader, and often an author platform that can actively drive visibility and sales. Editors are looking for books that come with a clearly defined hook, audience, and positioning from the outset—projects they can immediately see how to place and sell in their own market—and that are just distinct enough to stand out in increasingly saturated categories.
Across the board, commercial fiction remains dominant. Romance in all its forms continues to lead, with romantasy still very much in demand—though with a noticeable shift away from formula. Editors repeatedly emphasized a desire for projects that move beyond familiar tropes, either through voice, world-building, or crossover appeal. Crime and thriller continue to be genres that travel well and feature on many publishers’ lists. What feels slightly different this year is the degree to which editors are looking for slightly different, “elevated” versions of these categories—projects that retain their commercial core but offer something extra in terms of setting, structure, or perspective. The same applies to speculative and genre-blending fiction, where there is growing openness, provided the concept remains clear and pitchable. Alongside this, “feel-good” fiction continues to perform strongly, particularly in markets like Germany, Italy, and Spain. Uplifting narratives, book club fiction, and emotionally driven stories with broad appeal continue to be very much part of international fiction editors’ wishlists.
On the nonfiction side, prescriptive nonfiction—especially in the areas of health, wellness, and personal development—remains in high demand. Projects tied to clear trends or societal concerns continue to attract attention, particularly when backed by a strong author platform. In many territories, the balance has tipped even further toward platform-driven acquisitions as local authors with media visibility are often prioritized over translated works.
One of the more interesting developments at this year’s fair was an increased openness to translated fiction. Several editors and scouts noted a growing appetite for non-English-language projects, particularly those that come with a strong commercial hook. This does not signal a complete return to risk-taking in the literary space—pure literary fiction remains difficult to place internationally—but it does suggest that the “right” kind of foreign fiction, especially if already successful in its home market, can generate real interest. This is the case for what many have dubbed the “book of the fair,” the prizewinning Finnish debut novel Esther the Butcher (Kosmos, October 2025), which sold to 22 territories around the LBF, mostly in preempts and at auction. It seems to present the perfect match between excellent writing, quirkiness, and themes that speak to a broad readership. That said, another book in translation that generated buzz pre-fair was the literary novel C’était ça ou mourir (Editions du Boréal, March 2026) by Quebec-based author of Haitian origin, Thélyson Orélien. It was published in Quebec during the LBF, so there’s always room for exceptions…
Perhaps the most consistent underlying theme across all markets is the importance of clarity and ease of positioning. Editors are not necessarily looking for radically new genres or directions; they are looking for projects that can be pitched quickly and convincingly. A strong hook, a defined audience, and a clear sales narrative are more essential than ever.
One wonders what part of the Olympia we’ll miss most—its location, its bright carpets, its quirks, or the occasional collapsing ceiling. This year, at least, the latter was spared: the mishap moved to the Canongate party (fortunately, no one was hurt). In any case, we’re curious what next year’s edition will bring!
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