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Books in

A booming industry with new market entrants promotes

homegrown talent and original works
Children’s Books in China

The Continuing Story of the

Children’s Book Market in China
Getting the lowdown on the industry’s developing game plan and priorities
By Teri Tan

leven years ago, in 2007, China Children’s Press & book market grew 14.55% in 2017, with the children’s book
Publication Group (CCPPG) participated in the segment contributing about a third of that growth. According
Bologna Book Fair for the first time. Their booth in to Li, the children’s segment expanded 19.7%, 28.84%, and
Hall 29 was small, shabby, and minimally decorated 21.18% in 2015, 2016, and 2017, respectively.
and very few visitors dropped by. So, while the Chinese children’s book market started much
That was what Li Xueqian, president of CCPPG and of the later than other markets around the world, in the past decade it
Chinese section of the International Board on Books for Young has matured in terms of production planning, marketing, and
People, recalled about his experience. He decided there and then promotion. Yet, as Ma Yuxiu, editor-in-chief of New Buds
not to participate in Bologna again until a more formal presence Publishing House, says, “This brings us to one challenge: a
could be organized to highlight Chinese chil- mature industry means a tried—and there-

cover illustartion © smartboy10 / istock

dren’s publishing houses and their titles. fore, tired—and staid business model. How
“Six years later, in 2013, we were back with to innovate, rejuvenate, and push the chil-
a delegation of Chinese publishers in Hall 26, dren’s book industry into a new decade of
effectively occupying the same exhibition hall growth and continued prosperity is now at
as major European and American publishers,” the top of everybody’s mind.”
Li says. “On that outing, our delegation sold Distribution strategies, in particular,
57 titles. Since then, our rights sales have must be overhauled. “Given the current
increased and our Bologna presence has market-focused economy, book distributors
become much bigger. The Chinese children’s and marketers can no longer be just salesper-
publishing industry effectively went global sons,” Ma says. “They must know the books
from that moment onward.” published by different houses. Additionally,
This year, China is the fair’s guest of honor, success in distribution will require them to
marking a monumental shift from that small be familiar with how each book is used and
and shabby booth of 11 years ago. For the who the target audience is. In other words,
country, this honor is a landmark event and they must have very strong market aware-
heralds the importance of China’s children’s book industry on ness, coupled with a keen understanding of publishing trends
the world stage. Li, in charge of the activities and cultural pro- and consumer demands. Such attributes, combined, are missing
grams for the China Pavilion, is busy organizing the 600-sq.- from the distribution chain.”
meter exhibition area for publishers and another 300-sq.-meter At the same time, the practice of heavy discounting, if contin-
to display works by selected Chinese illustrators. “We also have ued, will be the industry’s downfall, cautions Bai Bing, editor-
an extensive roster of forums and events,” Li says, “as well as in-chief of Jieli Publishing House. “Consumers will demand
cultural exchange activities, for which we are now collaborating lower prices—that is universal—and here you have Chinese
with various Bologna municipal authorities, the Bologna consumers, who are always looking out for bargains. But cutting
Library, the University of Bologna, the Confucius Institute, and prices in exchange for higher sales volume is suicidal in the long
other institutions.” (See p. 7 for a list of major events and run, and this is something that Jieli is determined not to do or
programs.) be a part of.” (Even national chain Xinhua Bookstore must accept
Bai’s no-discounting terms for Jieli titles.)
Realities on the Ground
Back in China, the children’s book market is thundering along. This supplement is published with the support of
The latest report from Beijing-based OpenBook, a clearing- the publishers covered in these articles.
house for publishing statistics, states that the Chinese retail

W W W . P U B L I S H E R S W E E K LY. C O M 3
Children’s Books in China

For sure, China’s book consumption patterns have evolved from, or really need, the AR or VR to relay its message? If this
since the 1980s and ’90s, observes Hu Jian, president of Hunan technology is just a nice touch that does not add value to the
Juvenile & Children’s Publishing House. “Novelty and higher- content, then chances are this trend is going to be
priced titles are getting popular, and online channels—e-tailing short-lived.”
and social media platforms, in particular—have opened up new As for new works from debut authors, Xu Jiang, president of
sales and distribution opportunities. These evolving channels Xinjiang Juvenile Publishing House, finds that the main task
and patterns of consumption have created more discerning buy- lies in developing the manuscripts. “We also need to look at the
ers, causing low-end me-too books to lose ground by the day.” quality of the plot and accuracy of the depictions, especially in
Fierce market competition aside, Hu believes that “premium books about real locations, historical figures, and cultural icons.
content such as original works will always have their space in While we seek to tell a good story, the reader, who is young and
the market.” impressionable, must be given the correct information. We will
not cut corners to push for a quick launch,” says Xu, who estab-
lished an office in Cologne, Germany, in July 2016, to explore
Understanding What Works (and
not only distributing books in Europe but also collaborating
What Doesn’t) with European authors and illustrators on original titles. “The
Diversified reading needs coupled with stronger individual blending of different cultures and histories comes naturally to
choice has opened the Chinese children’s book market. “You us at Xinjiang Juvenile. Just look at our multiethnic province
can no longer say for sure that a particular type of book would as the proof.”
not work here,” says Hou Mingliang, president of Kids Media It seems that the location of Xinjiang Province, which borders
and founder of IlluSalon (see “IlluSalon for Nurtures and eight countries, including Afghanistan, India, Kazakhstan, and
Promotes Illustrators,” p. 44). “That was perhaps true 15 or Russia, has served Xu and his team well. “The geographical,
20 years ago, but it’s definitely not in present-day China. Some cultural, and historical richness of our province must have pro-
stories may simply resonate with the reader or express the vided ample inspiration, because I do not find a shortage of
mainstream aesthetics of the Chinese community—these are illustrators,” Xu says, adding that he “does, however, find a lack
the two guiding principles behind most rights-buying and of talent in prose writing—in putting together a plot that
translations.” appeals to the inner child in each of us and that inspires a child
Cultural differences within a story can make or break an to read a book.” To this end, Xu is open to manuscripts not just
imported title, Hou says. “A title revolving around a campus from his own province but also from other parts of China.
lifestyle unlike that in China may be tough to sell. Or books Making book covers more appealing to children, both local
with a unique sense of humor may not translate well across and abroad, is also important to Xu. “Historically, Chinese
borders and languages. Every title needs to be considered from publishers tend to focus on the content. The presentation—and
various aspects. But overall, the Chinese book market is very packaging—is new to us,” Xu says. “But today’s readers, young
receptive to all sorts of stories, styles, and genres. The readers and old, are drawn by the aesthetics. We have to carefully choose
are getting more sophisticated and discerning and remain hun- the right illustration and put different elements together to
gry for new content.” form a visually attractive package. On the crowded shelf, be it
The market is also on an experimentation streak, Hou says. online or in a brick-and-mortar store, a knockout cover presells
“I see a different trend every three to five months. Now, the the book.”
market has AR/VR fever, and many new titles feature these Savvy marketing, says David Fu, president of Tomorrow
technologies. Whether this trend is going to stick or fade really Publishing House, remains all-important in the book business.
depends on the premise of the book. Does the content benefit “Good content does not sell by itself, and by good content, I

Online Coverage of the Chinese Children’s Book Market

The following articles are available online in conjunction with this print report:
● Flying High with Winnie the Witch Series (featuring illustrator Korky Paul and publisher Foreign Language Teaching and
Research Press)
● Top 10 Children’s Books in China (with lists from major online retailers)

Related Reads from PW

● The Growth of Chinese Children’s Books (on American publishers importing more children’s books from China)

● Children’s Books in China 2017 Special Report (which is our inaugural coverage of the Chinese children’s book market).

Visit publishersweekly.com/ChinaChildrens2018 to read the full report and additional online articles.

4 P U B L I S H E R S W E E K LY ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

refer to titles that will net one million-copy sales. So if I have that potential buyers are not aware of, cannot easily access in
200–300 such good titles, I absolutely need to make sure that brick-and-mortar bookstores, or would not purchase without
they live on for as long as possible by upping our marketing and input from opinion leaders and extensive peer reviews. Li says,
distribution efforts to reach the widest audience.” Content is “Our experienced marketing team will move a promotional
definitely king, Fu says, “and to survive in the long term, that campaign onto social media or into the physical retail channel
must be the understanding. It will also propel a publisher to depending on the need, value, and effectiveness. We are fluid in
consider the potential for crossover into different formats and that sense.”
different markets.”
Asked about different Chinese publishers sharing the same Gearing Up for Reading Services
authors, Fu says: “There are only so many local, and proven, Now that parents, teachers, and the government are focusing
talents, which complicates the matter. So, while a publisher can on reading (and reading-oriented services), the publisher’s role
promote an author and the title that they publish, they cannot is being redefined yet again, says Huang Chunqing, chief editor
control where the author goes next with a new manuscript. This of Guangdong New Century Publishing House. “Publishing
is the reality on the ground. What is good is that the author gets remains the core activity, but there is now a need to build a
to experiment with new ideas and content with different pub- reading ecosystem around it. At our company, we offer reading
lishing houses, and cumulatively, that makes for a richer Chinese services, supplementary materials for reading activities, lec-
publishing industry.” tures, and platforms to support all these services,” Huang says.
“With the publisher’s expanding role, its existence is no longer
one-dimensional in print products. We have to go into different
Reassessing Social Media
channels and platforms to service our audience, particularly
Platforms children and their parents, who are the actual buyers. At the
At Thinkingdom Children’s Books, social media platforms do same time, we need to work with teachers and schools, as they
not feature predominantly in the sales strategy, even though exert considerable influence on the reading list and material
9,300 sets of the Journey trilogy sold within two weeks in selection.”
September 2016 through this new channel. “The price discount For now, campus reading and family reading promotions are
for such a promotional campaign is usually deep, and we are not in full swing, says Hu, of Hunan Juvenile. “Publishing houses
a fan of gaining volume sales through low pricing,” says Li Xin, are playing very strong roles in both types of reading promotions
vice president and general editor of the children’s books by providing quality content, giving lectures on public reading,
division. recommending reading lists, and building alliances with librar-
In any case, Li finds that the impact of selling through social ies and private entities. Everything is being done to help develop
media decreases over time. “And if one does not have highly good reading habits and provide access to quality content in the
selective and great products to offer to the online communities,” most convenient ways. This, too, will ensure the cultivation of
Li says, “then the influence and value of the brand will erode. future generations of readers and book lovers.”
These factors will impact long-term growth, and we simply will Fortunately, a publisher’s task in promoting reading is much
not sacrifice long-time growth for short-term gains.” easier nowadays, says Huang Xiaoyan, founder and publisher of
After analyzing sales results from the social media channel Everafter Books. “Parents born in the 1980s and 1990s are much
over the past few months, Bai, of Jieli Publishing House, con- better educated, are more aware of the importance of reading to
cludes that “social media platforms work much better at pre- their children, and are very keen on getting their children to
senting titles for toddlers and younger children, whereas online read more than their schoolbooks. As a publisher, we must build
retailers such as Dangdang and Amazon are better fits for older on that foundation and provide reading sessions, expert-led
children.” talks, and workshops related to children’s books and education
Bai further explains that “parents of young children tend to to inspire and encourage even more reading.”
be social media savvy, and they rely on peer influence and opin-
ion leaders to make their purchasing decisions. They have their Pondering the Publishing Portfolio
hands full with their young kids and, therefore, have little time With original publications now in the spotlight, the search is
to trawl through online bookstores to decide on the next books heating up for new content and authors. At Guangdong New
to purchase. The older children, on the other hand, are reading Century, the 10-volume My Childhood in China series, for
based on recommended lists from their teachers and schools, and instance, presents childhood stories spanning half a century and
these titles on the lists are readily available through online ranging in subject from the Mongolian desert to urban living
retailers. The decision-making process is therefore easier and from authors such as Wu Meizhen, Guan Jiaqi, and Hei He.
faster.” (See “Social Media Marketing,” p. 20.) “The series is both historical and cultural and provides children
For Li and her team at Thinkingdom, the social media mar- with insights into the past. Another title, Chinese Poetry in Ink-
keting route is attractive only when they have a great product and-Wash Paintings for Children, won the 2017 national award

W W W . P U B L I S H E R S W E E K LY. C O M 5
Children’s Books in China

for the most beautiful book, and this six-volume work pairs it achieved CNY 100 million in sales after only two years of
beautiful illustrations with illuminating stories for contempla- operation and with only 120 titles and 23 staff members.)
tion and inspiration,” says Huang, of Guangdong New Century.
But the ultimate publishing goals remain unchanged, Huang Rewriting the Playbook
says. “The social benefits that we as a publisher can bring to the
table are our biggest objective. Profitability comes second. (and the Publishing Program)
Aligning our publishing program’s objectives and needs with But producing more children’s books does not necessarily make
those of the government makes perfect sense. Marketing reading children read more. “Books, no matter how good the values they
services, for example, is easier to accomplish since the target contain are, will not fundamentally change children,” says
audience and the stakeholders are already prepared and Huang, of Everafter Books.
waiting.” “Take the love of books and the habit of reading as examples.
At Hunan Juvenile, pop-science publishing expanded so sig- If the parents themselves do not cherish books or have the habit
nificantly in 2017 that a special department was established for of reading, then their children are unlikely to have that longing
the genre. “It is now a CNY 100 million business unit within for reading, no matter how many books surround them,” Huang
our publishing house,” says Hu, whose team has published says. “Infants, as we know, learn by mimicking their parents.
several original pop-science bestsellers, including Naughty Thus, parents have to be good role models and know the right
Human Beings: The Book of Science History for Children and Science values to teach their children. That is why we have produced a
World for Juveniles. line of books that will hopefully teach parents how to achieve
Another original, This Is Science: One Thousand Proofs, is based that.” Chen He’s Smart Parenting: The Strategies for Raising
on a three-year-long Hunan TV program, Exploring the Truth. Children Aged 0 to 6, for instance, sold more than 30,000 copies
“There are seven AR interactivities, 34 experiments, and nearly within four months of its launch.
200 photographs to make the science learning process more As for publishers’ present-day race to outbid one another for
intriguing and immersive,” adds Hu, who is set to launch sev- rights, Fu, of Tomorrow Publishing House, is pragmatic but
eral high-level pop-science titles, including Fabulous Telescopes uninterested. “Partnerships are built on trust and confidence,
and Looking for Dark Matter, as well as translations from not on the highest bid for a specific title that may last only a
Britannica and DK this year. (See “The Rise of the Pop-Science short period. I take the time to study the publishers that I want
Segment in China,” p. 38.) to work with so that I have a good understanding of their lists
An Hongmin, president of Beijing Yutian Hanfeng Books and working philosophy. I want to make sure their professional-
Company, says that maintaining a balanced import/export port- ism and sense of responsibility resonates with mine. This process
folio is very important to him. “A professional publisher will requires time and patience. And in the current competitive
aspire to create outstanding original content that will be enjoyed publishing industry, which is saturated with capital investment
by generations of readers, domestic and international. He will that brings new entrants every time you look, patience is in
also want to build his editorial team’s expertise beyond handling short supply.”
translations. After all, there is so much to learn about the packag- Currently, the one immediate issue that is hampering the
ing, presentation, and promotion of a book to suit the market.” whole industry, says Li, of CCPPG, is the rising cost of paper,
Too many translated works in a catalogue will make a pub- around 30%, within the past 16 months. “With production
lishing company look like a distributor or rights representative, costs going up, profit is down and less money is left for research
An says. “While translations are usually great for a company’s and development. This will impede future growth, as new prod-
bottom line, it is not a long-term publishing strategy. Making ucts and strategies are constantly required to meet shifting
an impact on the book industry means creating your own brand, market demands.” For Li, the signs are clear: “Growth in tradi-
titles, and stable of proven authors,” says An, who is collaborat- tional publishing has slowed down much more significantly in
ing with Belgian publisher Clavis to uncover new talents recent months than in previous years. Revenue is mostly flat. To
through workshops and competitions. “It means continuous survive, one must think, and look, outside the box.”
improvement on your professionalism as a publisher coupled And many of the answers, Li says, can be found within China’s
with an ongoing search for new talent and content.” (See “Key latest education reform, which will take effect in 2020 and is set
Colours Competition China,” p. 41.) to reduce homework and standardized examinations while mov-
For Huang, of Everafter Books, being a children’s book pub- ing toward an employment-oriented educational system. “This
lisher certainly goes beyond sales and profit. “We have an obli- reform is the biggest boon to the Chinese children’s book indus-
gation to help children to be better people and to help them to try. Schools are attaching more importance to reading services,
better know the world outside their immediate circle. And we and fulfilling the demands from millions of students and teachers
can do that by making sure that we present the best books pos- will drive—and reshape—the industry,” Li says, adding that “the
sible—translations and originals—to them.” (Incidentally, this second-child policy together with a rapidly expanding middle
is the company that industry insiders call the “dark horse,” after class will create an even bigger market for publishers.”

6 P U B L I S H E R S W E E K LY ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

At the same time, Li believes his counterparts should rethink dren live, it is important that we produce content based on
their editorial programs. “Our industry pays little attention to present-day realities, to strengthen the information and cultural
topics such as children being left behind in rural areas, migrant exchanges between China and the rest of the world.” ■
parents leaving to work in cities, only-child issues, and second-
child challenges,” Li says. “The titles currently in the market Acknowledgments
gravitate toward fantasy and history. Realism is a big missing
piece. And given that most Europeans and Americans do not PW would like to thank Beijing-based Bookdao for its
have a clear picture of China and how Chinese people and chil- help in making this report possible.

Events Highlighting Chinese Publishers and

Content Creators at Bologna
With China as the country of honor at the Bologna Children’s Book China Pavilion. The opening ceremony of the Chinese Ancient Illus-
Fair this March, a citywide program to celebrate Chinese arts and trations art exhibition, for instance, will take place at 5 p.m. on
culture, as well as top authors and illustrators, is already in motion. March 25 at the Palazzo d’Accursio, where the exhibition will be
Among the many Chinese authors to attend this year’s fair are open to the public from 9 a.m. to 5 p.m. through March 29. The
Cao Wenxuan, Cao Wenfang, Gao Hongbo, Han Yuhai, Liu Haiqi, Chinese Original Illustrations exhibition will be spotlighted at the
Mei Zihan, Qin Wenjun, Tang Tang, Wang Yimei, Xie Qianni, Xu Lu, service center of the Bologna Fair from March 26 to 29.
and Xue Tao. From the illustration side, many will also be present, The China Pavilion will host two exhibits during the fair: A Cen-
including Cai Gao, Hei Mi, Liang Peilong, Liu Xun, Mao Yajuan, tenary Retrospective of Children’s Book Publishing in China and
Xiong Liang, Yu Hongcheng, Yu Rong, Zhu Chengliang, Zhu Wei, Outstanding Children’s Books from China.
and Zhu Zhu. Below is a tentative schedule of major events, which are held
China Children’s Press and Publication Group (CCPPG), a co- at the fair unless otherwise specified; note that some publishers
organizer of the China Pavilion (at Hall 26, B127), is in charge of have their own activities and programs, to which PW may not be
the events held outside the fairgrounds and of most events at the privy at the time of printing.

March 26
Chinese–Foreign Children’s Books Publishing 3+3 China & the World:
Cooperation Forum: New Trends in Dialogue on the Future of Illustrations
Children’s Books Cooperation 11:30 a.m.–1 p.m.
10 a.m.–12 p.m. Illustrator Café
Concerto Conference Room (2nd floor) Children’s Literature Writing Symposium:
(hosted by Jieli Publishing House) Realistic Reflection on Children’s Literature
Forum on Think like a Great Mind Series 2–4 p.m.
2–3 p.m. Concerto Conference Room (2nd floor)
Archiginnasio Municipal Library What Makes a Good Children’s Book? Forum
Chinese–Foreign Children’s Books Publishing 3–3:50 p.m.
Cooperation Forum: Let’s Create a Better Future China Pavilion
for the Global Children’s Publishing Industry (hosted by Jieli Publishing House)
4–5:30 p.m.
Concerto Conference Room (2nd floor) March 28
Colorful World in Children’s Eyes:
March 27 Chinese Children’s Original Picture Books
In Conversation with Hei He and Jiu’er: 9 a.m.–5 p.m.
Twelve Puppies and We Were Made for Each Other Salaborsa Library
9–9:50 a.m. Launching of Picture Books Copublished by
China Pavilion China and Italy
(hosted by Beijing Dandelion Children’s Book House) 2–4 p.m.
China Pavilion

W W W . P U B L I S H E R S W E E K LY. C O M 7
Children’s Books in China

Beijing Baby Cube Children’s name, Liu explains that cube refers to “the
multidimensional aspects of reading,

Brand Management Company where literacy, learning, emotions, experi-

ences, and understanding come together.

Reading is not a flat process, and its
aby Cube was founded by hus- positive impact reverberates throughout
b a n d - a n d - w i f e t e a m Ya n g a child’s life. So the reading process has
Wenxuan and Liu Hong. The to start as early as possible, and this is
company grew out of their past the reason we kick-started our publish-
professional experience in online retailing ing program with titles for babies to
and literary publishing and out of their three-year-olds and all the way up to
community outreach work focused on 16-year-olds.”
helping children to start reading. “It Baby Cube bestsellers include titles by
started as a reading club in 2010 when Christopher Franceschelli, Nina Laden,
my daughter was little and grew by word Linda Liukas, Roger Priddy, Robert
of mouth and through social media, where Liu Hong, cofounder of Beijing Baby Cube Munsch, and Mo Willems. More than
I recommended picture books and carried 350,000 sets of Nina Laden’s Grow Up/
out reading promotions,” Liu says, adding readers. “Presently, online retailers, physi- Peek-a Who/Peek-a Zoo/Ready, Set, Go have
that “investments from various sources cal bookstores, and social media contribute been sold. “We have also parlayed our
made company expansion and our pub- equally to our annual sales.” expertise in literary publishing to create
lishing program possible in 2015.” Little Critter, Baby Cube’s brand for a range of original and beautiful illus-
Establishing its own identity was the top bilingual editions, is its best-known trated series on Chinese culture, history,
priority for Baby Cube. “One key differen- product line, with around 70 titles, and and Tang poetry,” adds Liu, pointing out
tiator is our strength in social media mar- contributes the largest share to its reve- that “promoting reading and nurturing
keting, which we further leverage to obtain nue. “Having the original text at the back the parent-child bond through books
higher sales and wider distribution,” adds of each title and providing a parent guide remain our main goals, and to achieve
Liu, whose team of 87 people (spread across to go with it have proven to be a winning these, we are working to grow our read-
three offices) annually publishes about 300 combination,” Liu says. ing services through different programs
titles, ranging from bath books to graded Asked about the company’s unique and delivery platforms.” ■

Untangling the Import Issues (and Rumors)

As of today, Peppa Pig remains a bestseller in China. Winnie the but only 49,229 new titles came out.
Pooh continues to sell, and so does Charlie and the Chocolate In short, during the 2002–2011 period—hailed as China’s
Factory. There has been no restriction on these titles or on other golden decade of children’s books, due to a booming market
foreign publications and translations. hungry for titles—as much as 35% of the acquired total was not
Overseas headlines about restrictions on foreign publications published. So, what happened to those unpublished titles?
to “prevent ideology inflow” had many Chinese children’s book “Some companies are buying up—and hoarding—these titles
publishers scratching their heads. “What kind of ideology can a to co-opt their competitors,” Li says. “This is unfair competition,
picture book—say, the perennial blockbuster Sam McBratney’s and unfair to the overseas publishers, as they will get a certain
Guess How Much I Love You or the Harry Potter series—possibly amount of advance but no annual royalties—and they won’t get
communicate?” was one succinct response that PW received. to see their titles published in China anytime soon.”
But it is true that some publishers are encountering a longer The longer CIP application process is basically due to a stricter
application process for Cataloging in Publication (CIP) numbers, vetting of the importing company, Li says. “At CCPPG, 90% of our
which allow titles to be published in China. “To understand this, list is originals even though we translated numerous Astrid Lind-
one needs to first look at the statistics in China Publisher’s Year- gren titles [including Pippi Longstocking], Cipolino, and Tintin. Will
book,” says Li Xueqian, president of China Children’s Press & Pub- we have problems buying rights for translations? No. Those affected
lication Group and co-organizer of the China Pavilion at Bologna. will be the smaller companies that have been focused on rights
According to the Yearbook, between 2002 and 2006, 53,123 buying and not on developing originals. Or those that have been
children’s titles were acquired from overseas publishers. But the buying rights all these years and not publishing them.”
number of new publications, including Chinese originals, during Li adds that “buying and translating foreign titles is under-
this period was only 25,327. This could very well mean that nearly standably the most practical and the easiest way to build sales
four out of every 10 acquired titles were not published. The fol- and brand-name recognition when a publisher is small and lacks
lowing five-year period (2007–2011) saw 67,347 titles bought, the resources to develop original content. But at a certain point,

continued on p. 10

8 P U B L I S H E R S W E E K LY ■ M A R C H 1 2 , 2 0 1 8
北京童立方文化品牌管理有 限 公 司
Beijing Baby Cube Children Brand Management Co., Ltd.
Planetoid Blue Hat Tree Fish Inking Academy

The Text of the Poem

This set of ancient poems, accompanied by beautiful ink-and-wash
illustrations, will be cherished by both parents and children. The
illustrations succinctly capture the emotions of the authors and
the mood of the poems, thus leaving a deeper and greater
impression on the readers. Spend more time bonding with your
child using this beautiful and timeless series.

The Cat Without a Nose Move Your Fingers

In an old tailor’s house, there is a
poor cat without a nose. No one
likes him except for the old tailor
who calls him “No Nose”. Life is
meaningless and hopeless for No
Nose. But one day, something
momentous happens and changes
his mind. He realizes that his presence
is significant, and that not having a This activity series focuses on developing a baby’s
nose is not a big deal after all... sense of space and position while providing a basic
concept of math. Each page features a capital letter
that babies can trace with their fingers, and colorful
lift-the-flaps that hide surprises and make numerous
games more fun and interactive. Advance
your baby’s logical thinking with this
comprehensive and scientific series!

Please contact Aria Chen (Rights Manager) at ariacj@foxmail.com.

Children’s Books in China

Beijing Bright Culture Development Company

or 16-month-old Beijing Bright works with us. Each new deal of experience in
Culture, making an impact on the book launch is accompanied comics publishing. In
market is the top priority, and Jef by considerable excitement author Wu Meizhen’s
Nys’s Jeremy series (or Jommeke in but also a great deal of soon-to-be-launched
the original Belgian) is the answer. “We anxiety.” Hilarious Classmates
have published only 25 out of the available But there is no such anxi- series, which chroni-
278 volumes, meaning that we have a ety with kindergarten cles the antics of a
built-in long seller in our portfolio,” gen- teacher Cao Wenfang’s group of schoolchil-
eral manager Liu Qian says, adding that titles, which are promi- dren, Liu is keeping
“this #1 Dutch-language comic series sold nently featured in Bright his fingers crossed for
over a million copies annually, and we want Culture’s new catalogue. another bestseller.
to not just match that figure in China but Her five picture books, “The past five years
exceed it.” About 500,000 copies have including Blueberry Rabbit, have seen the comics
been sold since its launch, in July 2017. The Little Matryoshka Doll, industry benefitting
In its first year of operation, the team of a n d C a t ’s S k y — w h i c h from the govern-
20 published around 150 titles, of which address themes such as shar- Liu Qian, general manager of ment’s positioning of
70% were translations. “We shifted our ing, friendship, love, and Beijing Bright Culture it as a blue ocean with
focus to developing our own intellectual nature—have sold upward of 80,000 immense crossover opportunities. In the
properties and nurturing local authors and copies. The author is the younger sister case of Wu’s series—we own all the intel-
illustrators in the first half of 2017. But of Cao Wenxuan, the first Chinese writer lectual property associated with it—we
despite the fact that we are a subsidiary to win the Hans Christian Andersen are looking to leverage it for cross-media
of the Beijing Ru Yi Media Group, which Award. production as well as merchandising.
is a well-known entertainment enterprise, “We publish mostly in three catego- This is where the collective strength of
it is taking considerable time and resources ries: picture books, comics, and popular Bright Media Group, in animation and
to build a list of authors creating original science,” explains Liu, who has a great multimedia, comes into play.” ■

Untangling the Import Issues continued from p. 8

after the publisher has matured and attained a specific profit continue to sell year after year?
level, developing original content and intellectual property must “Often, overseas publishers have no concrete idea about the
be on the table for long-term growth.” number of titles that have been translated and published,” Li
Beijing Dandelion, publisher of the Magic School Bus series says, adding that no other country has purchased rights at the
and Maurice Sendak titles in China, was also asked by overseas volume and speed that China has over the years. “The push to
partners about import restrictions. “I have assured everybody that develop homegrown originals is completely natural. A maturing
we will continue to buy rights,” said editor-in-chief Sally Yan, whose book industry will look into having its own pool of authors, illus-
catalogue is 65% translations. But Yan is discouraged by unhealthy trators, and intellectual properties—and this is true for China, as
market trends caused by the massive capital investment in the it is true for the West and all other countries.”
industry. “There is now a push for new titles, for achieving good More balanced rights trading is always the goal. “It has been
short-term sales and then allowing the titles to basically ‘die.’” very unequal in China for a long time,” Li says. “However, this
The stricter CIP application process, says Yan, will get rid of does not mean that we are not importing. We just need to make
“abusers” and benefit the industry. “Making sure that every sure we are importing great content that will continually sell. But
acquired title is published as soon as possible is simply good we also need to establish our publishing capabilities by creating
and ethical business practice. If you are buying the rights and not our own content and not just translating and expanding produc-
publishing them, then to me that is disrespectful to the author, tion capacity.”
the work, and the original publisher. You can buy titles left and Developing homegrown talents and intellectual properties
right since you have the money. But can you sell them? There is takes time, Li says. “An overnight ban on imports, per the rumors
only so much a market can absorb, even one as big as China.” and hype, is unrealistic and not workable.” However, Chinese
To publishers that have been selling to China and are now publishers, Li adds, should acquire titles in areas where quality
brooding over possible import restrictions, both Li and Yan rec- content is sorely lacking and where homegrown talent is not yet
ommend asking two questions: how many titles have been sold available and not bring out copycat titles that may be of dubious
to China? And how many of those have been published and quality.

10 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children Books / Movie & Musical / Broadcasting / Toys & Games
May you have a sweet childhood with great books along ...

Jef Nys
The bestseller for over 60 years, Jeremy (or Jommeke) is a national
treasure for Belgians. This comic series encourages children to be
positive and brave when facing challenges and uncertainties. It
also inspires children to embrace beautiful things in life, cherish
friendships, and be warm-hearted and empathetic.

Princess Emmy
Studio 100
This is a major IP from Germany that covers films, books, merchandise,
and games. It is about seven-year-old Emmy, who has magical powers and
talks to her 26 horses. Emmy is like every girl of her age: sweet, sassy, and
sometimes rebellious. Active and straightforward, she is almost brave. But
she also has fears and worries like everybody else. Emmy is a vibrant person,
which means that she likes to talk a lot. Most of the time, she is in a good
mood and laughs often (and loudly)! When her enemy is in danger, she
chooses to help and forgive him, and that points to her graciousness. The
story of Emmy is about the real princess that lives inside each of us.

My Hilarious Classmates
Wu Meizhen
This Chinese bestseller is a full IP created by children's literature writer Wu Meizhen, who is very popular
with readers and well-respected by parents and educators. This comic series chronicles the antics of four
schoolchildren. It is full of fun and rollicking humor. But My Hilarious Classmates is also about friendship,
trust, and love.

Finance for Children Made Easy

Xiao Han (Jing Jing) Yang
This picture book series is written by child prodigy Xiao Han (Jing Jing) Yang and her father Daniel
Yang, who is a general partner with private equity firm SAIF Partners China. It simplifies complex
finance and business ideas and principles using stories about a group of cute animals—little Bear
John, little Elephant Jenny, little Pig Denny, for instance—who live in two beautiful villages of
Xishuangbanna. This Finance Quotient (FQ) series differentiates itself with creative stories, lovely
characters, beautiful illustrations, and simple financial language. It is a great book that helps to develop
a child's finance/business sense and acumen.

www.ruoqingchuanmei.com karen.chen@brightmediagroup.com.cn
Children’s Books in China

Beijing Dandelion Children’s Book House

he contradictions embodied in
the folk symbol of the witch cap-
tured the attention of Sally Yan,
founder and editor-in-chief of
11-year-old publishing company Beijing
Dandelion. “The witch is a popular figure
in Western classics: sometimes as the
protagonist; other times, in the periphery.
The Western witch can be bad or good,
frightful or funny—there is no specific
mold to cast her. Not so in Chinese folk-
tales and oral traditions. The Chinese
witch is bad and scary, never lovable or
even the slightest bit endearing. Chinese
kids often equate her with a monster or
demon. Why? That is my question and
the reason behind this new book from Sally Yan, founder and editor-in-chief at Beijing Dandelion
Peng Xuejun,” Yan says, flipping
through a copy of Granny Xiu and Peach- Sendak’s Where the Wild Things Are. This ferent. There are a lot of stories in there
Blossom Fish. year will see several new Sendak transla- as well as commonalities,” she explains,
The first 3,000-copy printing of Peng’s tions, including In the Night Kitchen, adding that “food, for instance, is an uni-
book sold out during its November launch; Maurice Sendak: A Celebration of the Artist versal theme, and our shared love for food
a reprint of 7,000 copies soon followed. and His Work, and Outside Over There. needs little translation.” The Beijing
“The witch in this book, accompanied by Yan is trying to identify gaps in the Dandelion team is set to release a new
her feline companion, is a mystery to the market and evaluate the right titles— title on Miao food.
kids in the village,” says Yan, who wants originals if possible, imports if more “Work is also in progress on a picture
children to read the story and start ques- appropriate—to plug those gaps. “The book that revolves around the pickled
tioning and wondering. “The illustrations Chinese children’s book market being vegetables of Szechuan cuisine. We have
in this picture book are intricately done, relatively young opens up opportunities no idea where these pickles came from
with many touches of Miao tribal arts for new formats or story types,” says Yan, and who first made them and have little
woven throughout. It ends with an abstract whose team has published titles on dif- familiarity with the many myths behind
teaser, leaving the reader to question the ficult subjects, such as Michael Morpurgo’s the dish. And if we do not know, how are
ways that the witch can be bad, scary, lov- The Kites Are Flying (about hope and we going to explain that to our children?
able, or endearing. The moral of the story friendship in conflict zones) and Linda So the tasks for our team are clear:
is about not judging a person by his or Sue Park’s A Long Walk to Water (about Investigate, collect the fun and interest-
her appearance or by simply agreeing meeting hardship with perseverance). ing bits, and turn them into a beautiful
with other people’s judgments.” “We must not avoid addressing difficult story to educate and inform.” Food as a
A quality picture book, Yan adds, must topics. While we aim to protect our chil- theme is working well for Yan. There Is
not be just a feel-good read. “It must pro- dren, we must also expose them to the Always a Reason to Eat Buns, launched in
vide food for thought. It should invite real world, to inspire and prepare them July 2016, has already sold more than
questions, even when there are no con- for their journeys ahead, which are going 28,000 copies.
crete answers. But it must always trigger to be filled with opportunities and chal- Stories are everywhere if one is willing
curiosity and wonder, which is the essence lenges, the good and the not-so-good.” to search for them, observes Yan. “The
of childhood itself. Without these two Meanwhile, Yan is busy looking minute detail can become an engrossing
elements, the child is isolated and stunted,” through her past projects to “uncover tale. And the mundane, an exhilarating
adds Yan, who has introduced Chinese old gems or dig out those nuggets for plot. It is all about imagination and the
children to The Magic School Bus (still the next plot.” The Miao ethnic minority melding of ideas to hatch the next story.
China’s #1 title ever since its 2010 launch), tribe, for her, is fascinating. “Their lan- This is what makes children’s book pub-
Mizielinska and Mizielinski’s Maps, guage, music, food, crafts, and clothes, lishing so fun and exciting to me and my
Richard Scarry’s titles, and Maurice for instance, stand out for being so dif- team.” ■

12 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8

Children’s Books
in China report
21st Century Publishing Group 2017
Anhui Children’s Publishing House
Academic Publishing
Beijing Dandelion Children’s Book House
Children’s Fun Publishing Company in China report
China Children’s Press & Publication Group featuring
Hunan Juvenile & Children’s Publishing House Beijing Jiaotong University Press
Jieli Publishing House Beijing Normal University Press Group
Juvenile & Children’s Publishing House Chongqing University Press
Xinjiang Juvenile Publishing House East China Normal University Press
Zhejiang Juvenile & Children’s Publishing House Guangxi Normal University Press Group
Shaanxi Normal University General Publishing House
Social Sciences Academic Press
Xi’an Jiaotong University Press
Zhejiang University Press

REPORTS at www.publishersweekly.com
Children’s Books in China

Beijing Yutian Hanfeng Books Company

eijing Yutian Hanfeng’s full- each series containing six titles. It is now
color 222-page catalogue is a in its 10th series with sales upward of 10
testament to the company’s dedi- million copies. Another program fea-
cation to design and art: every turing 20 titles with stories by classic
page, highlighting a particular series of and popular Chinese authors has sold 8.1
books, is beautifully illustrated and million copies.”
meticulously designed. The company’s current catalogue
“When it comes to books, content is offers around 3,000 titles, with about
important. But the aesthetic aspect is no 250 new ones added annually. Translated
less crucial,” president An Hongmin titles include Tony Abbott’s The Secrets
says. “Good quality illustrations and of Droon, Colleen Houck’s Tiger’s Curse,
masterful rendering of important details H. I. Larry’s Zac Power, Jedda Robaard’s
add immense value to a picture book. beautiful lift-the-flap boardbook series,
Low-quality and inaccurate illustrations and Sam Swope’s I Am a Pencil. An says,
can create misinformation and confusion “Working on translations and with inter-
in children.” Furthermore, An says, children national authors, illustrators, and pub-
are never too young to develop an appre- lishers gives us the opportunity to further
An Hongmin, president of Beijing Yutian
ciation for quality art and illustrations. Hanfeng improve our editorial and publishing
“An appreciation for art encourages expertise and helps us understand differ-
imagination, creativity, exploration, self- to select a specific topic for the publish- ent markets. This lays the foundation
expression, and logical thinking. If we ing program and then to find the best that we need to develop high-quality
want to nurture good illustrators, then books—originals or translations— original titles for export.”
art training should begin as early as within that topic. In selecting a title, we In recent years, An has also ventured
possible, and it starts by making sure the ask ourselves, What message does this into animation. “It is a great opportunity
illustrations that we have in our titles book convey to children? And how should to learn a new industry and explore the
right now are accurate and of the highest it be presented?” possibilities,” An says. “Furthermore, as
quality possible.” Some titles, An says, require more we continue to develop original titles, we
An’s passion for illustration runs deep. effort. “Take Thanhha Lai’s Inside Out and will have more content that can cross
“I dreamed of being an illustrator when Back Again as an example: the verse for- over and be transformed into animation
I was a kid,” An says. “But there was no mat was something new to the market, and multimedia products.” Mojo Spy is
proper guidance or professional certifi- and the moving story on war, immigra- broadcast on China Central Television
cation for such a career during that time. tion, family, and politics was not exactly and various domestic TV stations, and
The next best thing was to be a children’s a feel-good read for children. But our Monster Family Adventure is available
book publisher, nurture talented illustra- editors were adamant on translating and through iQiyi, one of China’s largest
tors, and provide them with a platform presenting it as a ‘looking-forward-to-a- online video sites with more than 500
to promote their work. I have been doing better-future’ title. The book was well- million monthly active users. The sequel
just that for the past 18 years through received by parents, educators, and chil- to Mojo Spy was showcased at the 2010
Beijing Yutian Hanfeng.” dren, with many schools recommending Annecy International Animation Film
The slow and steady growth of the it as part of the reading list.” Festival in France.
company, with its wide-ranging prod- Lai’s book is one of the 50 titles in An says, “Publishing is an ever-evolv-
ucts for kids up to age 18, reflects An’s Beijing Yutian Hanfeng’s award-win- ing industry, shaped by ongoing creativ-
temperament and personality. He ning children’s literature series, which ity, changing consumer demands, and
believes in “no peaks and valleys and in has sold about 10.1 million copies. The new technologies. This means that we—
working totally within [the company’s] plan, says An, is to have 100 titles in total. as publishers, editors, or marketing
own means and resources”: “We have “We are known for several bestselling staff—must continue to learn and evolve,
around 110 people in this company, and multiseries programs. For instance, in be prepared to tackle challenges head-on,
nearly half of them are illustrators and 2012, we launched one picture book pro- and grab opportunities as they come
editors. The whole team works together gram targeting 3-to-6-year-olds, with along.” ■

14 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

China Children’s Press &

Publication Group

his publishing house is embarking an opportunity.”
on a major, and unique, transfor- Pivoting to become a
mation of its publishing program reading service provider
and editorial mind-set. For presi- instead of just a traditional
dent Li Xueqian of CCPPG, current book publisher is one
changes in the industry demand an answer, and this is where
aggressive move. CCPPG’s full-fledged sub-
“We have slowed down our publishing sidiary, Juvenile & Children
program to focus on the type of content Reading Experience
that the market really needs,” Li says. Wonderland, comes in.
“The current demand is for titles dealing “Experiential reading ser-
with emotions, behaviors, manners, bul- vices are the core products at
lying, sharing, and friendship—topics our 5,000-sq.-meter
that a two-child household and any child Wonderland,” says Li,
in a modern and complex society will whose publishing house is Li Xueqian, president of China Children’s Press & Publication
require. Such titles, which promote posi- known for being the Chinese Group
tive social and emotional skills and good home of Cipollino, Pippi Longstocking, always been on reading and writing. The
values, will prepare children from an Le petit Nicolas, and Tintin (the Tintin other communication skills—specifi-
early age to cope with life’s challenges series alone has sold 11.6 million copies cally, listening and speaking—are under-
and with societal changes. Demand is since its 2001 launch). “It is a divergent developed, and so we are seeing new
also increasing for popular science, path that saw us breaking even in 2016, graduates failing in their job interviews
through which young children, even tod- with reading services offered to just 43 because they cannot express themselves
dlers, can be exposed to science princi- schools. Today, more than 300 schools eloquently or comprehend the questions
ples. So we are tweaking our program to have subscribed to our reading services asked adequately. This is exactly the
focus on these topics.” program—not bad for a project that shortfall that the latest education reform
In recent years, Li has reduced the started off as an experiment.” is trying to address,” Li says. “Our team
annual number of new CCPPG titles, for Collaborating with schools to build is now working on identifying and
example, from 760 in 2016 to 731 in the appropriate reading environment is assessing the right teachers to create
2017. “In 2018, I am looking at 700 one major Wonderland activity. “We go high-quality materials on listening and
titles,” Li says. “The guiding principle is to schools and advise them on various speaking that can prepare students for
‘quality over quantity,’ and ‘quality’ in topics, from converting hallways and entry into the workplace.” (Four-skills
this case refers to content that is demanded corridors into appropriate reading spaces courses are not common in Chinese lan-
and urgently needed by the market.” to evaluating a teacher’s ability to con- guage learning, unlike for English lan-
Another reason fewer children’s literature duct reading classes. For the school guage learning.)
titles will appear in CCPPG’s new cata- library, we recommend stocking up to Given CCPPG’s emphasis on reading
logue is that the market has been deluged 2,000 titles, of which 200 should form and listening services, audiobooks are
with such titles in recent years. the core reading list.” naturally the next focus. “I am looking
The traditional publishing mind-set Next on Li’s agenda is the creation of not just at audiobooks but at different
needs to change, Li says. “With China’s a full-scale reading services platform. content formats and delivery platforms
2020 education reform throwing the spot- “This will be where parents, teachers, that a student or a reader may need,
light on reading for leisure and general librarians, and students can go to find the inside and outside the classroom,” Li
knowledge, there will be more reading list of the books they should use or read, says. “As I mentioned earlier, a publisher
classes in schools. But one big issue looms: the accompanying kits, additional needs to change to meet market demands.
teachers are not equipped—or trained— resources, guidance on teaching reading Standing still is not an option.
to teach reading, and schools typically do or using a specific book in the classroom, Anticipating emerging demands and
not have the resources for increased read- and much more.” transforming quickly to meet market
ing activities. As a children’s book pub- Li is also looking into services beyond changes is essential to a company’s lon-
lisher, this presents a challenge as well as reading. “The focus in classrooms has gevity and prosperity.” ■

16 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

Everafter Books Publishing House

hen it comes to part- it is the company’s unique selec-
nering with major tion and publishing program—
overseas publishing from poem-based picture books
houses, few people are to those discussing important
more knowledgeable than social issues—that differentiates
founder and publisher Huang it from others in the market.
Xiaoyan of Everafter Books. “Everafter Books will not follow
After all, she was involved in market trends; we will instead
the high-profile joint ventures lead the market,” Huang
o f Macmillan Century and promises.
Hachette-Phoenix. Currently, translations take up
In November 2017, Huang nearly 80% of its catalogue.
launched a new joint venture But with 25 years in the pub-
with Paris-based Bayard Group. lishing business, Huang knows
“Bayard Bridge will focus on the Huang Xiaoyan, founder and publisher of Everafter Books very well that the future lies in
zero-to-12 age group and plans to producing originals. “The shifts
publish around 100 titles—including “We have a flexible publishing pro- in the Chinese book market are obvious
Hervé Tullet’s new picture book Oh! Un gram through which we offer specially to everyone. Parents and teachers are
livre qui fait des sons—by the end of 2018,” selected titles to mark major events, in searching for original works that high-
says Huang, whose team will adapt titles, particular those related to books and light local cultures, traditions, and stories
by authors such as Xavier Deneux and reading,” says Huang, who launched Jose in an effort to balance the onslaught of
Serge Bloch, for the Chinese market. Jorge Letria’s If I Were a Book and Rilla Western cultures and values. As a pub-
“This partnership will cover not just Alexander’s The Best Book in the World in lisher, we also want to create original
books but also digital products and mag- April 2016 in conjunction with World content and have our own intellectual
azines for children.” Several Bayard Bridge Book Day. The latter was translated and properties that we can promote and sell
titles, such as those in the Pense Pas Bête promoted by the director of the chil- to overseas partners. This year, you will
series and Hervé Tullet’s new title, have dren’s division of China’s National Public see more original titles in our catalogue.”
become immediate bestsellers in China. Library. “We have since published more The changes in the Chinese educa-
Next on Huang’s agenda is Chronicle than 10 books with either the words tional system, Huang says, “are a boon
Bridge. “This is not a joint venture but ‘book’ or ‘reading’ in their titles. These to the children’s publishing industry,
a rights collaboration whereby we get bestsellers are helping to brand Everafter particularly the focus on reading and
first option rights to all Chronicle pic- Books as a serious children’s reading pro- the drive for increased reading services.
ture books,” Huang says, who accepted moter in the market.” For a children’s book publisher in China,
the offer to establish and head Everafter Another title, Charlotte Zolotow’s this is an exciting and a challenging
Books after meeting with investment The Storm Book, a 1953 Caldecott Honor time. There is momentum in the indus-
company Trustbridge Global Media in book, took the Chinese market by storm. try to grow and prosper. For Everafter
January 2015. Huang says, “It was launched in June Books, what we really need is to create a
Six months later, the Beijing office was 2016, and sales have exceeded 160,000 solid editorial foundation that will
up and running, and by December 2015, copies. This book was one of JD.com’s immediately take its cues from market
the first title had been published. Within top 10 bestsellers across all book cate- changes and adapt quickly.”
nine days, 10,000 hardcover copies of gories in 2017.” The team is now busy Huang adds that “we want to build a
Marla Frazee’s Santa Claus the World’s promoting Zolotow’s Say It!, which brand that will last through generations,
Number One Toy Expert were sold out Huang describes as “the perfect title to one that parents and children will auto-
through an exclusive JD.com promotion. help parents to learn how to spend qual- matically associate with the best con-
Another 10,000 special boxed sets con- ity time with their kids and express their tent and with quality authors and
taining the paperback edition and a love properly.” illustrators. Our endgame is to help
build-it-yourself Christmas playset sold While titles from Everafter Books children to grow into happy, healthy,
out even faster. have often ended up on bestseller lists, and independent adults.” ■

18 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Everafter Books A home of high-quality children's books
奇想国童书 A cradle of imagination, curiosity and creativity

The name “Everafter Books” comes from the sweet ending of If I Were a Book The Storm Book
countless fairytales: “… and the prince and princess lived happily
ever after.” Everafter Books is dedicated to publishing high-
quality books for children to help develop their habit and love
for books, thus enabling them to live “happily ever after”. The
Chinese name of Everafter Books, Qixiang Guo, literally means a
kingdom filled with hopeful imaginations, childlike fantasies, and
curiosities. Likewise, the essence of Everafter Books is to create
a kingdom that is built on wonderful
Santa Claus the World’s
and timeless tales and stories that will Number One Toy Expert The Best Book in the World Say It!
nourish and encourage children to retain
their curiosity, creativity and imagination
even after adulthood. Everafter Books
publishes board books, novelty titles,
picture books, children’s literature and
non-fiction. It also has a well-established
line of parenting titles.

Tel: +86 10 6404 9180 Email: qixiangguo@tbpmedia.com

Bayard Bridge Novelty Books for 0-3 Years Old

巴亚桥童书 Reading Bridges You to the World Les Minousses Les Imagiers Gigognes

Bayard Bridge, a children’s book publishing brand co-founded by

Bayard Group and Trustbridge Global Media (TGM), launched its
first 38 titles in November 2017 in Shanghai. Bayard Bridge believes
that children and their families should be at the heart of today
and tomorrow’s society, and is dedicated to offering high-quality
educational and playful content for children 0-12 years old.

Picture Books Children's Non-fiction

OH! Un Livre Qui Fait des Sons C’est Pas Moi, C’est Anatomia Pense Pas Bête
Mon Loup!

Contact:Emmanuelle.Marie@groupebayard.com, xiaoyan.huang@tbpmedia.com
Children’s Books in China

Foreign Language Teaching lize the books in the classroom.”

Reading services is an integral part of

and Research Press FLTRP. “Most of our translated picture

books come with a

teacher/parent guide,
his company needs little intro- The downloadable and which we supplement
duction, having collaborated fee-based LiSheng (or lis- with reading services,
with more than 500 international tening) module of these activities, and download-
publishers since its inception in products is very popular. able kits. We work with
1979. It is also China’s largest foreign “There is a definite social media platforms
language publisher and its third largest increase in the demand for specializing in educa-
in terms of sales. English-language reading tional materials for chil-
“We have been inviting international and listening materials, dren—Michael Qianer
authors to write for us for some time now. such as with our graded Pindao, for instance—to
Uncle Craig’s Phonics by Craig Wright and reader programs, broadcast WeChat-based
Julia Chang—one of our feature prod- including Bob Books, talks to hundreds of
ucts—is a title that has become a brand of Little Critter, Mother thousands of subscribers
its own over the years,” says Xu Haifeng, Goose, Oxford Reading and offer story-reading
director of the children’s publishing divi- Tree, and Usborne. And Xu Haifeng, director of activities. Korky Paul’s
sion and its four segments: English- the corresponding increase the children’s publishing division Winnie the Witch series
language readers, cartoon books (mostly in the sales of LiSheng at FLTRP is one good example that
bilingual), picture books, and children’s English readers is an obvious result,” uses multiple platforms to reach Chinese
literature. “Each of our branded products adds Xu, whose team has introduced children,” explains Xu.
has its own platform and subscription English phonics and reading courses to Books aside, FLTRP also organizes
model and an annual roster of programs. primary and high schools and training China’s premier English-language
For Uncle Craig’s Phonics, for instance, our centers across China. “We conduct debating and public-speaking tourna-
team conducts more than 50 seminars and numerous training sessions for English ments. According to Xu, “when it comes
holds two major training sessions for teachers and teacher trainers throughout to English-related programs, there is no
about 20,000 teachers each year.” the year so that they are able to fully uti- better companion than FLTRP.” ■

Social Media Marketing: Working the Platform

The past few years have seen social media, propelled by the remains cautious in his approach to using social media platforms
all-purpose WeChat app and the Weibo microblogging service, despite the strong sales results. “There is now a fatigue linked
become an indispensable promotional and sales channel in the to the appearance of even more social media platforms pro-
Chinese publishing industry. Critics point to challenges facing moting numerous products. Sales figures from these channels
publishers who depend on social media marketing. Advocates, are slumping,” Xu says, adding that these platforms are often
meanwhile, view the current dip in effectiveness of social media beneficial for new books but less useful for long-term sales.
marketing as evidence of a period of adjustment common to any
new channel. Acing the Social Media Marketing Game
For Liu Hong, cofounder of Beijing Baby Cube, while sales For Baby Cube, the first title sold through social media was Nina
volumes through social media may be lower than during the peak Laden’s Peek-A Who. “I used the Niangao Mama platform and sold
periods of 2015 and 2016, sales remain higher through social nearly 5,000 copies within an hour in August 2015,” Liu says.
media than through traditional channels. Liu, of course, knows The choice of the WeChat-enabled parenting platform Niangao
the ins and outs of social media marketing better than anyone in Mama makes perfect sense. Niangao Mama, which means
the industry, having used it to grow Baby Cube from a reading club “sticky-rice-cake mom,” has been so popular that in January 2017
to a full-fledged publishing company. “Readers have become it received a CNY 60 million investment from Matrix Partners
accustomed to social media as a platform for marketing and China. It has more than one million daily active users, 12 million
buying books. It is now just another channel that functions like followers, and monthly transactions valued at CNY 80 million.
the physical bookstore or online retailer,” Liu says. Since then, Liu has utilized various platforms to sell nearly
Xu Haifeng, director of the children’s publishing division of 250,000 copies of the Elephant and Piggy series (five titles);
Foreign Language Teaching and Research Press (FLTRP), 500,000 copies of Peek-a Who; 900,000 copies of the Little

continued on p. 22

20 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Chinese Classic Animated Films Stories
Chinese Classic Animated Films Stories contains 55 picture storybooks filled with
adventure, humour, fantasy, courage, friendship and love. They are adapted from the
award-winning animated films which are known to each family in China and produced by
Shanghai Animation Film Studio, the No.1 animation film studio in China. When children
read these interesting and moving stories, they will have a wonderful journey in Chinese
myths and legends.

浓缩 八十 年 中 国 动 画 经典

传 递 三 代 人 温 暖 童年记忆




痛 歼 搬 仓

中国的动画片是有很光荣的传统和成绩的。它让无数童年目不转 鼠

著名儿童文学作家 梅子涵


广播电影电视部 1986—1987 年优秀影片奖

登录 http://children.fltrp.com/ 下载配乐朗诵故事音频

上架建议:少儿读物 / 卡通动漫
外研社 . 少儿出版分社 美术统筹:牛晓牧
FLTRP Children’s Publishing 封面设计:图德艺术
微博:http://weibo.com/fltrpcb 定价:12.80 元

Black Cat Detective Calabash Brothers Story of Lunar Year Magic Deer Nezha Conquers the
(5 titles) (7 titles) Dragon King(2 titles)

The Monkey King: The Monkey King The Lotus Lamp Little Carps Jump The Magic Aster
Uproar in Heaven Conquers the Demon (2 titles) Over Dragon Gate
(2 titles)

Shen Shixi and the Animal Novels

He Likes Series
Shen Shixi and the Animal Novels He Likes Series is a collection of some
representative animal novels of Shen Shixi, China’s King of Animal Novels, and
some world-renowned writers, like Jack London, E. T. Seton and Jim Kjelgaard.
This series includes 8 titles that cover many amazing and touching animal stories.

For rights, contact Zhang Wen (zhangwen@fltrp.com) 外研社 少儿出版中心

Foreign Language Teaching and Research Press
www.fltrp.com Children’s Publishing
Children’s Books in China

Guangdong New Century Aside from translations, GNCPH has

been busy with originals by unconven-

Publishing House tional authors. “We have Rhymes of the

Four Seasons, a poetry book by two farmers

that is based on seasonal changes with
his is the Chinese home of the decision also enabled us to folksy illustrations,”
Wimpy Kid series, which made its categorize the series as Huang says. “It has gone
first appearance in China in 2009 children’s literature as well into a fourth printing,
and has since sold more than 9.2 as bilingual reading, having sold 10,000 copies
million copies. The decision to ignore which has continued to since its launch in April
market skepticism (this comics-style help in sales and discover- 2016.” Another book,
series with American humor and school ability,” says Huang, Starting with Science and
culture was initially deemed unworkable whose team created var- Fascinating Tales, explores
in China) has been the right one, says chief ious editions and boxed the science in folktales,
editor Huang Chunqing of GNCPH. sets. In 2011, the Chinese- which is both unique and
“There was only one volume then, and only edition was targeted interesting.
that was another mark against it: the at second-tier cities, and in What these titles show,
Chinese market went for series—it still 2014, demands for more Huang adds, “is the abun-
does—and single titles tended to get lost extracurricular English Huang Chunqing, chief editor at dance of ideas within our
on the bookshelf,” Huang says, adding reading materials resulted Guangdong New Century own land, culture, and
that his editors “were attracted by the in the English Study Publishing House history—and the oppor-
book’s random observations, easy reading, Notes edition. “We have promotions tunity these books provide to present
and gentle humor. They saw a market for during school vacations at 20 to 30 key these ideas to the rest of the world. What
Wimpy Kid.” bookstores and a monthly thematic mar- the next title or author may bring to the
Adaptation followed. “We had Chinese keting on the e-commerce site Dangdang. table is often a surprise. And this is
in the first part of the book and English at Our editors have also set up a microblog- exactly what publishing is all about: the
the back, a great strategy when parents ging site on the series to keep fans updated cultivation, and sharing, of ideas and
were demanding bilingual editions. This and happy.” knowledge.” ■

Social Media Marketing continued from p. 20

Critter series (27 titles); and 1.5 million copies of the Old more successful for children’s books than for other publishing
Textbooks of China series (30 titles). segments. “This is mostly due to the social media platforms’ two
The initial decision to use a social media platform to launch major features: celebrity endorsement and on-site marketing.
Baby Cube was a practical one. “We entered the children’s book These features appeal to new mothers, who have a much more
publishing industry relatively late and at a time when the book- urgent need for authoritative guidance and sharing of childcare
store channel was showing declining sales and when the com- experiences with others in the same community,” says Liu, whose
petition among online retail networks was intense,” explains Liu, team works with about 400 platforms, including Michael Qianer
adding that finding a new channel was crucial to bolstering the Pindao and Big J & Little D.
company’s early performance. “Mobile devices were then becom- Success in social media marketing is about doing your home-
ing popular, and social networks such as WeChat were developing work, Liu says. “Understanding your own products is crucial. Then
rapidly. Online parental communities were emerging. For me, the you have to find out details about the social media platform that
message was simple: Where there is a crowd, there is a market.” you want to use: their community and fans, income levels, occu-
Liu then contacted various online communities for maternity pation, children’s age, and consumption preferences, for instance.
and childcare and suggested that they recommend Baby Cube If your products are in line with their attributes and requirements,
titles. “They were not sure at the beginning, but soon sales started then it will be easier to convert their interest into actual sales.”
to come in. It heralded a great beginning for Baby Cube.” The The next step involves providing additional materials to pro-
biggest advantage of using social media, she adds, “is the inte- mote the products. “The usual cover images and text-based
gration of marketing and sales that efficiently shortens the whole description are insufficient,” Liu says. “You need photos of reading
process. This sales model is proven to be the fastest and most scenes, or even better, audio and video clips. Social media
effective way for new market entrants—small and medium-size marketing platforms require 3D presentations to capture the
independent publishing houses, especially—to carve a foothold attention of harried and distracted mothers.”
in the industry.” The development of products specifically for social media
However, social media marketing has shown itself to be much platforms comes next, Liu says. “Customized products—with

continued on p. 24

22 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Chinese Poetry with
Ink-and-Wash Paintings for Children
Winner of the 2017 Beauty of Books in China Award

Illustrated by Liang Peilong, one of China's ten famous children illustrators, this
collection of poetry written by six renowned and respected writers—Lin Liang,
Lin Huanzhang, Jin Bo, Fan Fajia, Gao Hongbo, and Xu Lu—provides readers
with vivid pictures of rural life accompanied by rhymed verses.

Full of optimism, humor and wisdom, this series inspires and arouses the
reader's ecological consciousness.

Nature Observation and Tracking

Presenting the wonders and miracles of nature

This five-volume science series presents not just a visual survey of plants and
animals but also detailed and precise descriptions on every page. From rare
animal species in nature reserves to birds and plants usually seen in gardens
and neighborhoods, this series gives a clear overview of the classification
of our natural world, taking readers on an incredible journey from the most
fundamental building blocks of nature to the world’s landscapes.

For enquiries, contact:

Vivian Feng (Foreign Rights Representative)
w w w. n f c b . c o m . c n vivian.fyt@qq.com
Children’s Books in China

Hunan Juvenile & Children’s more than 50,000 copies and remain
strong sellers due to the intensity of the

Publishing House team’s promotional and sales activities.

The team held more

than 200 events in 2017
unan Juvenile steadfastly pur- DK’s Follow the Trail and organized the 2017
sues its goal to be “a kid’s best s e r i e s , B r i t a n n i c a ’s International Children’s
friend” by introducing quality Educational Comics, Book Fair to promote win-
content from far and near. Last Highlights’ The Classic win collaboration among
year, the 36-year-old publisher released Book for Culture Chinese children’s pub-
more than 600 new titles, including Mindfulness, and a series of lishing houses and to
originals such as China’s Silk Road pic- children’s literature books increase the quality and
ture books, literature titles such as Tang by Erich Kästner. value of the published
Sulan’s Little Lotus and Stories Told by Mei A combination of var- titles entering the Chinese
Zihan, and the Wide View pop-science ious promotional and market.
series. A total of 23 titles won various sales strategies— T h i s y e a r, H u n a n
awards in China, and annual sales including online and Hu Jian, president of Hunan Juvenile will continue
exceeded 400 million copies. bricks-and-mortar activi- Juvenile & Children’s with its many events and
Original children’s literature has ties around new book Publishing House activities. “We will be
always been Hunan Juvenile’s focus, launches, author talks, and expert-led hosting the 14th Asian Children’s
president Hu Jian says. “Last year, we not classes and promotional events—con- Literature Convention and the First
only published Little Lotus but also tinues to work well for Hunan Juvenile. World Children’s Literature Convention,”
launched Tang Sulan’s Heartwarming “The goal is to provide potential readers Hu says. “The hosting of such large-scale
Childhood series, Qin Wenjun’s Prince’s and buyers with immediate access to academic and cultural events affords us
Adventure series, Mao Lulu’s Tomboy publication information and to make the opportunity to promote the exchange
Mao series, Mu Ling’s Children’s Science sure they understand the value of the and integration of Chinese and foreign
series, and many more. These works, books. These activities will help us in children’s literature and culture. We will
imbued with childlike innocence, bring generating sales, branding, and culti- be able to open up the world of books,
positive energy that helps in the growing- vating loyalty,” Hu says, adding that reading, and knowledge to children all
up process.” The team also introduced some titles launched last year have sold over the world.” ■

Social Media Marketing continued from p. 22

different packaging, gift certificates, and special pricing, for try as a whole. For Baby Cube, we are trying to combine these
instance—mean a wider selection of items for social users to two channels.”
choose from for their communities. This increases the chances For Xu and his team at FLTRP, social media is “a promotional—
that your products will be noticed and reviewed.” not sales—channel, which we use judiciously so that more peo-
ple get to know our titles. For instance when we first published
Taking the Good and Not-So-Good the Israeli series Uncle Leo’s Adventures, only those frequenting
For Liu, there are many advantages to using social media mar- physical bookstores or major online retailers knew about those
keting. “The sales success on these platforms can be used to books. But because we promoted it on Michael Qianer Pindao,
trigger and influence sales on conventional channels. High-vol- a platform with around 600,000 followers at that time, the
ume sales via social media platforms are also good for offset- audio clip was played 3.1 million times and sales began to rise
ting the cost of the first edition. Plus, the typical return policy on rapidly.”
these platforms is short—15 days—and this is great for cash Some social media platforms, Xu adds, have the capacity to
flow, especially for a company that is just starting in the industry.” broadcast professional lectures on books, thus enabling a
The major disadvantage of social media marketing is the lack much longer promotional period. “In 2017, we introduced Bob
of the long-tail effect. “Once a group purchase is completed, Books phonics reader series and worked successfully with
you will no longer be able to sell to that demographic or commu- WeChat-based Ivy League Dad to launch it and then gave a
nity again—or at least, not for a very long period of time,” Liu series of talks to its followers,” Xu says, reiterating that he
says. “But with online retail outlets, you can have large-volume and his team “do not rely on social media platforms alone to
traffic as well as a long-tail effect in that your products are listed promote FLTRP titles. We utilize a combination of channels—
and sold for many years. Then again, online retail outlets online and bricks-and-mortar—to market and distribute our prod-
demand a steep discount, which is not good for the book indus- ucts. We also have a powerful school distribution channel.”

24 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

Jieli Publishing House

he phrase “in the right place at Smurfs’ wholesome and close-knit com-
the right time” seems tailor-made munity. The evil wizard Gargamel is so
for Jieli. Its Usborne China tame in comparison,” says Bai, who is
imprint, launched in January reworking the series into a bilingual edi-
2017, came at an opportune moment tion that promotes leisure reading as
when the Chinese market was ready for well as English language learning.
higher-priced toy- and game-based board “Restrategizing our marketing approach
books and novelty titles. for this series will be the key.”
“Discerning parents, higher dispos- In the meantime, the 18-volume
able income, early childhood reading— Monster Master series remains firm on
all these factors have come into play,” Bai the Top 10 bestseller list with sales
Bing, editor-in-chief of Jieli, says. exceeding 16 million copies. “With this
“Parents want the best books to help original series, we selected three young
their children learn and read, and they readers from those attending last
are willing to pay for them. For us, November’s Shanghai Children’s Book
Usborne’s wide-ranging titles are perfect Fair to analyze the titles and tell us
for the market, and we are deploying our what works for them—plot, characters,
resources in editorial, marketing, and for instance—and what supplementary
distribution to ensure that these books materials or activities they would like
are easily accessible through various sales to have. We wanted honest appraisals
channels and platforms.” and unvarnished truth, and we got
The publication of two titles by them,” Bai says, pointing out that
Norman Messenger—Imagine and The “fluidity” is crucial in meeting demands
Bai Bing, editor-in-chief of Jieli Publishing
Land of Neverbelieve—is equally well House from Chinese readers. “The panel audi-
timed. “These books open up a whim- ence provided further feedback to help
sical and fantastical world. They empha- “Survival in China,” p. 28). with our editorial program. Such an
size the fact that imagination knows no For Bai, thinking outside the box and activity is one that I would like to repeat
bounds—it has no right or wrong—and avoiding me-too publications have led in the future for other titles.”
a child’s imagination is something that him to some old titles. “We translated The consumer mindset has shifted sig-
we should encourage and cultivate,” Bai Laura Numeroff’s If You Give a Mouse a nificantly, Bai says, “and so has the focus
says, adding that “with everybody Cookie last year at the same time that we in the Chinese education system, which
searching for original works and nur- did Norman Messenger’s books. These is encouraging more reading for pleasure
turing homegrown talents, what better are not new titles, but they are classics for as opposed to reading in order to pass
way to build the next generation of obvious reasons,” Bai says. “My focus is exams. So holding on to yesteryear’s
authors and illustrators than to start cul- solely on presenting the best books to approaches is impractical. We must
tivating imagination and sparking cre- Chinese children, and so the original pub- innovate to keep up with marketplace
ativity in our children?” The total print lication dates of these titles do not factor shifts, and we have to correctly anticipate
run for Imagine has exceeded 75,000 into the editorial decision-making.” what the children, parents, teachers, and
copies. Reconfiguring the backlist is another institutions need from us.”
Bear Grylls’s Mission Survival series, item on Bai’s agenda. The Smurfs series, For the above reasons, Bai and his
launched in 2014, is another timely pub- which Jieli published in 2008, is one team aim to be open and engaged with
lication. Responding to a conspicuous example. This series, surprisingly, did online chat groups, parenting portals,
market gap in safety education as well as not perform as well as expected upon its and fan clubs. “These are sources of
a need for titles promoting courage and original publication. “The competition immediate intelligence crucial in
survival instincts, the 12-volume series in the animation field is intense in China, strategizing our plans,” Bai says.
has gone on to net sales exceeding 6.8 with a penchant for manga-styled illus- “Taking our cues from the market is the
million copies. (For more on this and tration that features more violence than only way to survive, move forward, and
Jieli’s concerted marketing efforts, see is typical of the action and dangers in the prosper.” ■

26 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
While hunting, an old hunter from the Ewenki tribe shot a big moose. At the
exact moment, a little moose walked out from the bushes. The little moose,
believing that the soul of its dead mother had now attached itself to the hunter's
body, followed him as he returned to camp... The little moose grew up day
by day. The hunter knew it was too dangerous for the moose to live among
humans. Furthermore, he had a premonition that he would die soon, and so
it was time to let the moose back to the jungle... Since then, there is a story
among the Ewenki people, that in the depth of the vast jungle, there is a giant
moose constantly guarding one dead hunter.
Pub date: April 2018 Age: 5+
Dimensions: 380mm x 260mm Pages: 66
Binding: Hardcover Rights: World Available

The Turtle Family Goes to Sea Maverick Pig Little Red Riding Hood Can't Bird in the Cloud
Using the unique embroidery patch Adapted from Wang Xiaobo's See Her Way This story, based on the author's life
and cloth cutting techniques combined representative work of the same title Little Red Riding Hood, always curious experiences, is imaginatively rendered
with collage and multilayered dyeing —and which has influenced countless about the world, wants to visit her through traditional Chinese paper
effects, each page in this book is a Chinese people—this picture book grandmother who lives in the forest. But cutting. While the words are few, the
feast for the eyes. encourages children to bravely create she can't see her way. What difficulties story is more than eloquently conveyed
their own way of life. would she encounter? How would she through the illustrations. The love and
face the Big Bad Wolf alone in the forest? search for freedom is both thought
provoking and exceptionally moving.
Pub date: September, 2016 Pub date: November, 2016 Pub date: November, 2012
Dimensions: 210mm×210 mm Pub date: April, 2018 Dimensions: 210mm×210mm Dimensions: 285mm×240mm
Binding: Hardcover Dimensions: 260mm×250mm Binding: Hardcover Binding: Hardcover
Age: 3+ Binding: Hardcover Age: 3+ Age: 3+
Pages: 42 Age: 4-7 Pages: 36 Pages: 36
Rights: World rights available  Pages: 44 Rights: World rights available Rights sold for English, Japanese, Swedish, 
(except for Swedish and Vietnamese) Rights: World rights available (except for Swedish, French and Vietnamese) Traditional Chinese and Turkish language.

Do Not Skip Rope with Frog Girl of Firefly Grandma Becomes An Old Baby Sparrow
It is an ordinary day for an ordinary Renowned children's picture book In this world, only she can tolerate This profound story has wings that
family. But something unusual is author Pengyi teams up with famed your willfulness and bad tempers. fly through the years to reveal hidden
happening. Lion, giraffe, crocodile, children's illustrator Li Haiyan to tell a Maybe someday she will forget the humanity. Compassion and love
ostrich, reindeer, and many other story about human and animals living way home, but she will never forget are pleasantly revealed through the
animals are coming to find Keke's in the mountain. It leads the reader you. Maybe someday she will finally dim history in these darkly illustrated
mother. But does Keke really want to to a beautiful and warm imaginative leave you, but those warm memories pages.
give them his mother? world. will have her live in your heart forever.
Pub date: July, 2015 Pub date: March, 2016 Pub date: May, 2015
Dimensions: 215mm×275mm Pub date: May, 2017  Dimensions: 205mm×285mm Dimensions: 215mm×285mm
Binding: Hardcover Dimensions: 215mm×285mm  Binding: Hardcover Binding: Hardcover
Age: 4-8 Binding: Hardcover Age: 3+ Age: 3-6
Pages: 48 Age: 5-8 Pages: 36 Pages: 32
Rights: World rights available  Pages: 64 Rights: World rights available  Rights: World rights available
(except for Traditional Chinese) Rights: World rights available (except for Vietnamese) (except for German)

anna.dong1217@foxmail.com    www.jielibj.com 
Children’s Books in China

Kids Media nearly 800 titles, 40% of

which were launched in
piracy and copyright
protection. “One way we

2017 alone. The Little Prince protect our Disney prod-
his low-profile multimedia com- and bilingual titles Zootopia ucts, for instance, is to
pany, established in 2014, col- and Frozen are its top three offer a dedicated audio
laborates with some of biggest bestsellers, with total sales service that is accessible
brands in the world, including of the first two exceeding only to owners of the
Disney, Dreamworks, and Lego. Kids 460,000 copies. “Disney genuine bilingual edi-
Media excels at promoting and mar- bilingual editions are our tion,” says Gong, who
keting these products. main publishing category, also collaborates with
“During weekends, for instance, we driven mostly by the different industries
send out alerts via WeChat to bring par- demand from parents who authorized by the brand
ents and children to specific retail outlets want their children to f r a n c h i s e r, s u c h a s
for reading activities, talks, author visits, learn, read, and speak apparel manufacturers
or special promotions. We want to make English,” Gong says, and theme parks.
reading and visiting bookstores a parent- adding that the company As for originals, two
child bonding experience while providing has published around 128 Ivan Gong, general manager of main authors headline
Kids Media
them with opportunities to peruse and bilingual titles of varying Kids Media’s catalogue:
purchase quality products from trusted comprehension levels that also include Yu Yujun, with the five-volume series
brands,” explains general manager Ivan activities and games. “When it comes to Crystal Words and 12-volume series
Gong, whose team has been focused on marketing these products, the emphasis Constellation Words; and Mei Shifan,
coordinating and leveraging print, multi- is on inviting the readers—and actual author of the nine-volume Little Red
media, and social media channels to create buyers, who are the parents—into the Bean series. “This year, we are increasing
product buzz that leads to sales. “We have brand environment and letting them our original publications, especially
to get the word out and generate sales experience all that the brand can offer.” primer titles and picture books,”
through different platforms.” But working with such highly pop- Gong says. “About 30 titles are in the
To date, Kids Media has published ular brands also means extra attention to works.” ■

Survival in China: The Bear Grylls (Middle-Grade) Story

As of February 2018, 12 volumes of Bear Grylls’s Mission Sur- books, practical survival skills are woven into the twists and
vival series have been published in China, with overall sales turns to produce captivating plots and thrilling stories,” Bai
exceeding 6.8 million copies. The numbers are a surprise to says. “Furthermore, when we first started with the series, there
many, including some at the Jieli Publishing House, though not was a conspicuous absence of safety, life, and survival educa-
to editor-in-chief Bai Bing. tion in the school curriculum. This series is, therefore, much
The story begins with the rights deal with Grylls’s agent, Peters needed and very timely.”
Fraser & Dunlop (PFD). Then, Jieli editors assigned the series to Bai believes this series can help incentivize kids and young
the “B” category, in which a title is expected to sell between people to be strong and brave. “We are seeing children and
40,000 and 50,000 copies annually. Bai immediately reassigned young people behaving with such fragility in how they tackle the
it to “A,” which signifies minimum annual sales of 100,000 copies. challenges that they will inevitably face in life. Suicides due to
“I saw the potential and was confident that the total turnover lost loves, failed exams, or bullying, for instance, are increasing
within five years would exceed CNY 100 million,” says Bai, who by the day. What we have in Mission Survival is a series about
has been amazed by Grylls’s stories and adventures from the survival against all odds, and it encourages everyone to be
get-go. “Bear’s reality show Mission Survival had developed quite brave, to tackle life’s challenges head on, and to persevere.”
a following in China when we signed on the rights, and that laid a To produce a series that is more appropriate and useful for
strong foundation for the success—and subsequent branding— Chinese children, tweaks are made. The beginning of each vol-
of the middle-grade book series.” The broadcasting of two of ume, for instance, offers an introduction to the characters.
Grylls’s reality shows—Survivor Games in 2015 and Absolute “Content changes, if any, are done lightly, and we add chapter
Wild in 2017—with Chinese personalities and celebrities and titles wherever relevant and helpful. We also add practical sur-
shot in multiple locations in China further publicizes the brand. vival tips and a summary of Bear’s survival skills at the end of
But the decision to purchase and publish the series went each volume,” says Bai, whose team has been designing the
beyond potential sales and publishing instinct. “Aside from the book covers since volume nine.
fact that Bear is a world-renowned adventurer with a huge fan Support from PFD makes Jieli’s promotional and marketing
base in China, he writes the series for his sons, and in these efforts much easier. “The agent asked Bear to record short
continued on p. 30

28 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Nurture 国开童媒

the nature,

Kids Media Co., Ltd.

focusing on books and magazines for
kids aged 0 to 14 in China.

Publishing categories
infant enlightenment, animation cartoons,
children's science, children's literature,
picture books and children's English books.

Contact internationalright@kidsmedia.cn

Our Partners
Children’s Books in China

New Buds Publishing House titles, of which 70% are reprints.

Cross-promotion is a major sales

strategy at New Buds, and its success, adds

“ mall but beautiful” is our pub-

lishing motto, says editor-in-chief
Ma Yuxiu of New Buds. “We have
Ma, “lies in identifying the right partner
for the right product.” The team has col-
laborated with Ofo, a bicycle-sharing com-
scaled down our annual output in pany, to offer e-coupons (with the purchase
recent years, opting instead to focus our of a monthly cycling card) for special dis-
resources on creating unique content.” counts on New Buds titles. For Pizza Hut’s
New Buds has just launched a “Love Sharing, Love Reading” campaign,
10-volume Discovering China in Museums the team created a birthday gift edition of
illustrated series, which took four years to its bestselling three-volume Magic
produce. Combining cultural, historical, Coloring series (translated from French
and pop-science elements, the series publisher Editions Animées).
walks young readers, as well as parents Ma Yuxiu, editor-in-chief of New Buds But sometimes, phenomenal sales have
and teachers, through 600 collections Publishing House been coincidental. In 2014, DiCamillo’s
from more than 150 museums. “This is The Miraculous Journey of Edward Tulane,
now a part of the primary school reading Dixie. Then there is the 100-volume which appeared in a popular Korean
list and is representative of the kind of series featuring international award-win- drama that was aired on Chinese televi-
new content that we are bringing to the ning children’s literature titles, launched sion, shot up the bestseller chart to the
market,” Ma says. in 2002, that has exceeded CNY 500 mil- #1 slot. “We leveraged the opportunity
Translations remain important at the lion in sales. “For originals, we are the to popularize this title and others from
39-year-old house, with bestsellers that home of bestselling author Wang Yimei, DiCamillo on various distribution chan-
include Kane Press’s Math Matters series for whose novels, short stories, and nels to create top-of-mind awareness and
and Kate DiCamillo titles, such as The branding we maintain a dedicated pro- long-term sales,” explains Ma, whose
Miraculous Journey of Edward Tulane, The duction studio,” Ma says, pointing out team just released DiCamillo’s Raymie
Tale of Despereaux, and Because of Winn- that her staff of 120 works on about 100 Nightingale. ■

Survival in China continued from p. 28

video clips that are timed for release with each new volume,” Bai ever we launch a new volume, we invite security experts and
says. “They also provide us with the latest news on Bear so that directors of the reality TV show to attend,” says Bai, whose team
we can plan our marketing strategy in advance. So when Bear has conducted a survival ability survey among schoolchildren;
visited China in 2016, for instance, we were able to create spe- the results will announced in the middle of the year.
cial postcards and souvenirs for him to sign for his fans.” For the school market, for instance, Jieli invites security experts
Jieli, says Caroline Michel, CEO of PFD, “has been excellent in to give 50–100 lectures and demonstrate survival skills every
adapting and coming up with innovative ways to promote the year. For special events such as Fire Service Day, the team dis-
Mission Survival series.” The short video clips of Bear speaking tributes a security card, which lists the dangers a child may
about the books, for instance, are posted regularly on various encounter and how to survive, to residential areas and schools.
social media platforms and on Jieli’s official WeChat account, More than 600,000 cards have been distributed so far.
which has more than 10,000 followers and 12 reading-promo- Asked to assess the PFD-Jieli partnership, Michel says: “It is
tions groups. Jieli’s marketing team frequently works with more collaborative and exciting, and it provides a real education in the
than 300 chat-group organizers and collaborates with key opin- extraordinary possibilities for writers in China. I visited Jieli’s
ion leaders and popular official accounts on WeChat to discuss Beijing office in 2015 and have kept in very close touch with the
and review the series or a new volume. team. Bai Bing himself keeps a very close eye on all things Bear
But the marketing and promotional efforts are not limited to Grylls and often comes up with new ideas for the series and for
social media. To maintain top-of-mind awareness, the Jieli team taking the publishing program forward in China.”
works with brick-and-mortar bookstores to create special dis- PFD is naturally delighted with Grylls’s success in the vast
plays and hold lectures (featuring special gifts) during winter Chinese market. Michel says, “The energy and efforts that Jieli
school vacation. Special promotions are also cohosted with has invested into publishing this series since the very beginning
major online retailers such as Dangdang and JD. The publicity have been extraordinary. Naturally, we have been approached by
team ensures that marketing and promotion of the series is many Chinese publishers who want to publish Bear. But Bear
made during the airing of the TV series and solicits continuous works best when he has a trusted and loyal team around him,
book reviews and news coverage throughout the year. “When- and Jieli is very much a part of that team.”

30 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

Thinkingdom Children’s Books

elping every kid to become a
book lover” is the motto at
Thinkingdom Children’s Books,
which was established in 2002
to translate classic and award-winning
children’s books. Less than one year
later, it published two well-known
authors: Tetsuko Kuroyanagi (Totto-
Chan: The Little Girl at the Window) and
Shel Silverstein (The Giving Tree, The
Missing Piece, and The Missing Piece Meets
the Big O).
But the going was tough. “The Li Xin, v-p and general editor at Thinkingdom Children’s Books
Chinese children’s book industry had
barely started then, and very few good Jörg Müller, and Chris Van Allsburg. started in earnest. “In the quest to
titles were available in the market,” says The first printing of Totto-Chan was uncover new talents, we realized that
Li Xin, vice president and general editor unusually high at 20,000 copies. “Our while many can draw beautifully, they
of the children’s books division. “Parents strategy has always been to print more in cannot tell a captivating story,” Li says.
and teachers were not reading to chil- order to keep the unit cost lower for the “The required creativity and storytelling
dren, and reading for leisure was nonex- consumer,” says Li, whose team held ability did not meet the standards that
istent. So, our first five years—while we talks and gave out copies to promote the we have established. In fact, there was a
grew slowly and were extra lean—were title. “It was only when Xinhua News lack of understanding about pictorial and
largely sustained by funds from our adult Agency wrote a good article about Totto- prose publication. This means that we
book side.” The team printed 10,000 Chan that we saw sales picking up.” The need to train illustrators and budding
copies of The Giving Tree and “basically book went on to become a part of the authors of picture books.”
gave half of that away to parents and recommended reading list for schools. To do that, Li has organized expert-led
teachers and urged them to read it at The so-called golden decades of chil- training sessions (such as with Dong
home and in the classroom.” dren’s books in China, Li says, have much Yang from the Cambridge School of Art)
Today, Totto-Chan and The Giving Tree to do with the Chinese reform and open to nurture talented picture book illustra-
are among Thinkingdom’s blockbusters, policies starting in 1978. “The education tors and authors. The first two sessions
chalking up sales of more than 10.9 mil- reform that took place thereafter means drew 45 participants. Most of these par-
lion copies and 1.7 million copies, that those born in the 1970s were much ticipants, Li adds, had some ideas and
respectively. more highly educated, and so, as parents, content, which they refined and polished
Yoshio Nakae’s Little Mouse series is they pay a lot of attention to their chil- during the sessions. “Upholding our
another bestseller, having sold 11 mil- dren’s reading and learning needs.” reputation and standards means that we
lion copies. “The rights to the series were Anticipating the new demand from will publish only those titles that fit our
actually bought in 2001; six titles were these educated parents, Thinkingdom requirements. We are not likely to grow
published in 2004, followed by another started looking for award-winning titles our originals overnight.”
six a year later,” Li says. “When the first from Italy, Japan, and the United States. Not surprisingly, Thinkingdom pub-
six titles were published, our team vis- “Along the way, we found out that past lished only 76 children’s titles last year,
ited Beijing kindergartens one by one to award winners are much more influential most of which were reprints. Li says,
promote them. Convincing teachers and than new writers whose works are just “Being selective in our publishing pro-
parents that picture books—even those coming into the market,” Li says. “So we gram has proven to be the right decision.
with very little text—are essential to a shifted our focus to the content—not the We may not have as big a catalogue as
child’s development and growth was a award or the author name—and how to other publishing houses, but our list con-
slow and painstaking process.” The team market and promote a particular title to tains classics and bestsellers that will be
has gone on to translate titles by Quint the Chinese audience.” enjoyed by generations of readers to
Buchholz, Leo Lionni, Anne Möller, Last year, the publication of originals come.” ■

32 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

Tomorrow Publishing House dren grow up with it,” Fu says. “That

relationship is very important; my hope
is that when these chil-

dren become parents
ost overseas publishers are Little Study series, themselves, they will
familiar with the reputation of Tomorrow’s second stron- remember and intro-
Tomorrow Publishing House, gest publication, has sold duce it to their own chil-
which was founded 35 years 12 million copies. dren. I want Tomorrow
ago and has translated more than 1,000 “Translations-wise, Publishing House to
titles. Credited for putting several local we are fortunate that we become their point of
authors—Yang Hongying, Cao Wenxuan, started buying rights reference when it comes
Wu Meizhen, and Yu Yujun, for instance— very early on and to searching for suitable
on the international map, this is also the obtained classics and titles for their children.
publisher that turned Eric Carle, Roald great authors like Dahl This is how we want to
Dahl, Tove Jansson, and Erich Kästner and Jansson,” president perpetuate our list and
into household names in China. David Fu says, adding David Fu, president of build our brand in the
Tomorrow Publishing House’s biggest that 90% of his sales Tomorrow Publishing House market and in the minds
title is Yang Hongying’s The Diary of a comes from reprints. “We do not publish of our audience.”
Smiling Cat, which has consistently ranked that many new titles each year—only And Fu is not at all fazed by the piracy
among the top 10 bestsellers in the past 335 in 2017—and those are carefully of his bestsellers. “I would not regard
10 years. Annual sales of this 24-volume selected to complement our offerings that as a compliment to my taste and
series average five million copies, with a while providing children with the best selection, but I invariably find our sales
total distribution of 52 million since its and evergreen content from overseas.” going up significantly every time a
2006 launch. Outside of China, editions As for long-term sellers, Dahl’s Fantastic pirated edition enters the market. But we
are available in English, German, Mr. Fox, which Fu translated himself, is have zero tolerance when it comes to any
Indonesian, Korean, and Thai. Wu one good example. “It is on the school pirated editions of our titles and will
Meizhen’s 22-volume Sister Sunshine reading list, which means that schoolchil- follow every clue to take legal action.”■

Promoting Wordless Picture Books in China

“The more words, the better” is a general truism of the Chinese wonder and adventure. Before our Chinese edition was pub-
children’s book market. Chinese parents and educators always lished, we organized an event with a question in the title: ‘If you
want more words for children to learn and more paragraphs to had a magic pen that could make your dreams come true, what
relay additional information. A book’s value often is tied to the would you draw?’ The goal was to fire up the participants’ imagi-
quantity of text on its pages. nations, interact with readers, and announce the book launch.”
But the team at Thinkingdom Children’s Books has proven Once the book was published, this question was reused as an
that wordless books do work in China. Their success with Aaron introduction to the title together with a cryptic tag line, “A little
Becker’s Journey trilogy, Mitsumasa Anno’s Anno’s Journey, girl and a door…” Additional author information was shared with
Christa Holtei’s Die Strasse, and Jörg Müller’s The Changing readers, including the inspiration behind the book, the creative
Countryside, for instance, speaks volumes about their expertise process, and the advantages of wordless picture books.
in promoting and marketing unique works. Through Thinkingdom’s social media accounts and website,
“The number of words is not essential to a child’s enjoyment Li’s team also provided tips on making full use of such books.
of a picture book,” says Li Xin, v-p and general editor of the chil- “We encouraged parents to record their narration of Journey to
dren’s books division. “Often, children perusing picture books their children and share that recording with us and other par-
have not started reading on their own yet. They see details in ents,” Li says. These activities, plus an extensive promotional
illustrations that adults may not pay attention to or notice. campaign on Dangdang, saw Journey reprinted twice within the
Through shapes, colors, or the illustrations’ sense of movement, first month.
children can unerringly figure out what the author is trying to A different approach was used for Anno’s Journey. The team
convey. In this regard, parents, who are used to text-filled pages, provided a detailed reading guide to help parents navigate the
are the ones less accepting of wordless picture books.” book’s intricate paintings and visual puzzles. “For The Changing
So, the challenge, Li says, lies in making wordless titles Countryside, we organized a mini exhibition to let readers view
attractive to parents, who are the buyers. “Take Becker’s Journey the evolving landscape for themselves,” says Li, whose team is
as an example: It is about a lonely little girl who draws a magic adept at tweaking its promotional strategies to best highlight
door on her bedroom wall and through it escapes into a world of each title’s unique features for the Chinese market.

34 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

Xinjiang Juvenile Publishing House

JPH’s books featuring Afanti publishing child authors icons, and the When I Was
(a Uighur protagonist) and the is an experiment. “It goes in My Childhood series,
Mongolian epic Jangar are vivid to show that stories can which recalls memories
reminders of what is possible come from anywhere, of old Beijing, are two
from a publisher located in the vast anybody, and at any age. examples.
Chinese interior, which borders eight There is no shortage of Xu is also adept at taking
countries and harbors 47 ethnic groups. talent—we just have to cues from the competition.
But also unique to XJPH are its titles find these authors and In the case of Fang Suzhen’s
by child authors. Take the Tomato give them the opportu- Friendship for Rent, which
Kingdom series: the author, who goes by nity to be published.” For has sold more than 600,000
the name Brother Tomato, started the same reasons, Xu copies since 2013, the
drawing and writing at the age of nine launched a four-volume Xu Jiang, president of appearance of a pirated ver-
and was 11 when he was first published. Demon Chasers series, Xinjiang Juvenile Publishing sion styled in pinyin (a
His three titles—Mysterious Pepper based on traditional folk- House romanized system of sim-
Mansion, Secret Notebook, and Body tales and penned by authors and illustra- plified Chinese) and aimed directly at
Duplicator Machine—explore not only tors new to the book industry. “Old plots the school market became a boon for
friendship and honesty but also cloning just need to be given a different twist XJPH. “Since we have all the files, we
and environmental themes. The parents and unique illustrations to feel relevant were able to immediately launch the
of Song Chibei compiled the imagina- to a new generation of readers,” Xu says. official pinyin version and go on to sell
tive stories that their six-year-old told “Classical stories are always popular for a more than 65,000 copies within six
them and prepared them for publica- reason, and we are a firm believer in months,” Xu says, noting that there is
tion. Another, Xing Luo, was published finding new ways to retell those stories.” always something to learn, even from
when he was only 12 years old. The Ming’s Adventure series, blending pirates, who are often quick to seize on
For Xu Jiang, president of XJPH, the present with historical places and sales opportunities.  ■

Joint Ventures in China: The Dos and Don’ts

There are several high-profile joint ventures (JVs) in Chinese chil- series to HarperCollins’s U.K. and U.S. subsidiaries,” Huang
dren’s books publishing. The earliest was Children’s Fun Publish- says. “But such a rights deal is rare for a JV. Rights sales remain
ing, a collaboration between Posts & Telecommunications Press very much a one-way street into China.”
and Egmont Group initiated in 1994. Next came Hachette-Phoe- Cultural differences can pose a major stumbling block in a JV
nix, which was cofounded by Hachette Group and Phoenix Pub- formation. “The cultural differences combined with China’s
lishing Group in 2010. This was followed by Macmillan Century, unique book industry model can be daunting,” says Huang, who,
set up by Macmillan Group and 21st Century Publishing House having lived in Canada for six years, is experienced at negotiat-
in June 2011. And last November, Bayard Bridge, a JV between ing cultural differences with international partners.
Bayard Group and Trustbridge, was established. But once a mutual understanding is reached, there are great
Huang Xiaoyan, founder and publisher of Everafter Books (a benefits to international JVs. “Take Bayard Bridge as an exam-
Trustbridge company; see p. 18) was involved in the last three of ple: my French editor and I jointly select titles because we know
these ventures. For Huang, the uniqueness of the Chinese book the market well and we know what works,” says Huang. “In this
industry is an important factor that overseas publishers (and JV way, Bayard contributes their best titles and Everafter Books pro-
partners) must study. “The Chinese children’s book industry is vides the essential market knowledge and expertise. It is a win-
maturing, and so are the rules of the industry,” Huang says. “But win for both parties.”
with the government controlling the issuance of ISBN numbers, Asked for advice on forming a JV in China, Huang says, “First,
private companies have to work with state-owned entities to do as much research on the Chinese book market as possible,
publish their titles. The functions of a Chinese JV under such cir- and remember that this is a very unique market with heavy gov-
cumstances is therefore different from those in other countries.” ernmental influences.” Next, she suggests finding a good part-
Having first-option access to titles from overseas counterparts ner that speaks the “same language.” “By that, I mean sharing
for translation into Chinese is one major advantage of a JV. the same understanding of business methods and ethics,”
“When I was with HarperCollins China in 2008, we sold the Eng- Huang says. “And lastly, curtail any unrealistic expectations: you
lish language rights of four of Yang Hongying’s Mo’s Mischief really need to give a JV time to grow.”

36 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

The Rise of the Pop-Science

Segment in China
Translations remain central, but Chinese publishers are already
busy creating original titles for their publishing programs
By Teri Tan

ention “pop science” in China and one blockbuster
comes to mind: The Magic School Bus. It has remained
the #1 children’s title since its launch in 2010, with
online retailer Dangdang selling nearly half a million
copies in an average year. On Singles’ Day—which is the equiv-
alent of Black Friday in China and falls on November 11—no
less than 250,000 copies of books in the series are shipped from
Dangdang’s warehouse.
So far, Beijing Dandelion Children’s Book House, the
Chinese home of The Magic School Bus, has translated 68 titles The Magic School Bus series and
in the series. “The authors’ ability to simplify complex scien- Aleksandra Mizielinska and Daniel
Mizielinski’s Maps are long-running
tific knowledge and reasoning into plain language that chil- bestsellers for Beijing Dandelion.
dren can understand is the key to its popularity. And this ability
is not easy to come by, locally or overseas,” says foreign rights with monthly themes and two weekly tests, this 16-volume
manager Jing Bo, whose team has recently introduced the series highlights the role of the father in family education and
German series Forschen, Bauen, Staunen von A bis Z to Chinese child development. “This is a science title that doubles as a
children. parent-child bonding tool,” explains editor-in-chief Ma Yuxiu,
whose team translated the series in 2016, redesigned the
Translations Still Rule original flap books, and added science kits to suit the demand-
Forschen, Bauen, Staunen von A bis Z, which Beijing ing Chinese market with its much lower price points. The
Dandelion discovered at the 2014 Frankfurt Book Fair, uses team has also translated Scholastic’s Discover More series.
innovative and creative strategies to make unique and beau- At Thinkingdom, the German book Über Land und durch die
tiful things using various materials. Jing says, “Aside from Luft: So reisen die Pflanzen has proven to be a winner. “When
having great content, the series’s colorful and attractive this title came out in 2010, there were very few titles in the
design caught our eye—and the eye of many parents and chil- Chinese market that combined scientific knowledge and artis-
dren when it was launched at the 2017 Shanghai International tic beauty. Parents and educators embraced this book, which
Children’s Book Fair in November.” Sales of the German series then became mandatory reading in many primary schools,”
have exceeded 5,000 sets. says Li Xin, vice president and general editor of the children’s
Beijing Dandelion also translated Aleksandra Mizielinska books division.
and Daniel Mizielinski’s Maps and Under Water, Under Earth, as Another translated pop-science bestseller at Thinkingdom
well as Robert E. Wells’s Wells of Knowledge science series. is the five-volume Stone Age Geometry series, which has sold
“Wells, for instance, offers a unique learning concept through 95,000 copies since 2016. Prepublication, Li’s team spent
comparisons—big and small, fast and slow, old and young, and considerable time thinking of a suitable Chinese title and
so on—that attracts children, parents, and teachers,” Jing says. preface and the appropriate marketing approach. “Geometry
For New Buds Publishing House, Croq’sciences (from and everyday life are intertwined, but geometry is a particularly
Éditions Nathan) marks their first foray into the pop-science abstract discipline,” Li says, adding that it is also difficult for
segment. Featuring a whole year’s worth of science experiments parents to explain geometry to their children. “So we came up

38 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

with the idea of promoting this book by using examples in authors, we need to assess not only their professional skills
everyday life, such as the general preference for holding confer- but also the suitability of their creative works for children.”
ences at a round table instead of a square one. This strategy Achieving the same levels of creativity and innovation that
successfully aroused public interest in the book, which we pro- come from markets with established picture book and pop-
moted heavily through various sales channels, old and new, science traditions, such as Europe, Japan, and the United States,
retail and social.” is another challenge. Li says that two questions need to be
answered: “How do we retain the Chinese characteristics
Originals Are Coming within the works and how do we get these works accepted
The increasing popularity of pop-science titles in the Chinese internationally? This is where our new Children’s Science
book market—and the disproportionate amount of transla- Books editorial department with more defined responsibilities
tions on the bestseller list—is obvious to general manager Liu comes into the picture.”
Qian of Beijing Bright Culture Development Company. Over at New Buds, its original pop-science series, Don’t Do,
“Sourcing local scientists to work on pop-science series is Don’t Know: Science Is Really Wonderful, originated with a China
tough,” Liu says. “Often, their works are just too high level for Central Television program. “We retain the wonderful experi-
children, and dumbing down is not a good solution. On the ments and explanations while updating the text with current
other hand, there is this perception that the Q&A format is applications in local and international contexts as well as with
the go-to style for pop-science titles, though children, parents, predictions. It brings experimenting and science exploration
and teachers are tired of being inundated by titles in this into the classroom and students’ daily lives. This series adds
format.” Liu’s team is working on an original series, tentatively value to the original TV program, making it even better and
set to launch in 2019, which he hopes will meet market needs more popular,” adds Ma.
in an innovative way.
A six-title picture book series on currency and circulation is Market Shifts and Challenges
also on the way from Beijing Dandelion. According to Jing, Pop-science publishing in China has certainly changed since
“How to provide correct and factual information at a level that the early days of the Q&A format, which was popularized—and
children of a specific target age group can comprehend and is still monopolized—by Juvenile & Children’s Publishing
accept is the biggest challenge in this segment. This makes us House’s 100,000 Whys series.
even more determined to publish an original series that addresses The biggest challenge to the genre today, Ma of New Buds
this gap in the market.” says, “is the surge of payment-based knowledge acquisition,
At Thinkingdom, the pop-science genre has become such which ranges from relatively low-cost online courses to top-of-
a major part of the company that a Children’s Science Books the-line field trips—all of which tempt people to acquire
editorial department was specifically created in June 2016. knowledge through nontraditional methods. From the supply-
“While there is no shortage of science writers in China, finding side perspective, it is faster and easier to deliver knowledge
those who can write for children is a different matter alto- through voice or video than through books.” From the demand
gether. Providing serious and rigorous scientific knowledge in side, Ma finds that “these innovative and efficient methods have
a fun, lively, and entertaining way while finding a format, changed conventional thinking on knowledge acquisition.”
illustrations, and a design suitable for children is not easy,” Ma also observes a shift in format and delivery of pop-science
Li says, pointing out that “when content, which has made this genre even more popular.
it comes to working with local “Today, the content focus is on getting children to under-
stand science principles in everyday life and to develop their
scientific reasoning at a very early age. So pop-science titles
now target a much younger audience than before,” adds Ma,
who finds pop-science publishing fun to do, in part because
it allows her to learn something new.
Now that parents and children have access to excellent
books, both foreign and local, they have cultivated a dis-
cerning taste for quality titles, Jing of Beijing Dandelion
says. “This is pushing publishing houses to produce
more attractive and value-added titles, those with unique
formats and styles and those that involve new technolo-
gies such as augmented and virtual reality.” But, Jing
reiterates, “regardless of style or technology, the whole
New Buds Publishing House kickstarted its pop-science segment by publishing premise relies on delivering quality content to
translating Croq’sciences (l.) and has since moved on to create origi- readers. So while it is clichéd, the phrase ‘content is king’
nals such as Don’t Do, Don’t Know: Science is Really Wonder- remains true.”  ■

W W W . P U B L I S H E R S W E E K LY. C O M 39
Children’s Books in China

Beijing Baby Cube

A Wide-Ranging Selection of Children Brand
Management Company
Original Works from China The Cat Without
a Nose
Industry players are working to create unique Zhang Tianmu
In an old tailor’s
titles and boost the next generation of authors house, there is a
cat without a nose.
and illustrators Nobody likes him
except for the old
tailor. The cat thinks
By Teri Tan that his life is hopeless. But one day,
something changes his mind. (Ages 3–6.)
With nearly 100 Chinese publishers and at least half that many
Who Lives...
illustrators attending the Bologna Children’s Book Fair in He Feng
Momo is taking you
March, a big contingent will be representing the land of 1.38 to look for new
billion people. Most of the publications they are bringing to friends above and
under the ground.
the fair focus on common themes and age-old plots expressed There are many sur-
prises under the
through the best and most unique of China’s traditional art lift-the-flap pages!
styles. The result is original works that are quintessentially With warm illustrations and rich colors, it
is easy for children to understand the char-
Chinese but also universal, contemporary, and engaging. acteristics of these animals and their habi-
tats. (Two titles; up to age 3.)

reating a captivating story with illustrations that resonate with children, both
local and international, is the goal of every Chinese publisher. But enticing Beijing Bright
overseas publishers to acquire and translate these originals is now the holy grail. Culture Development
The use of universal themes, such as familial love and good versus evil, makes Company
transcending cultural, language, and geographical barriers easier. But what a grown-up
Pure Love for
sees and likes may not be what a kid appreciates and loves. Publishers’ instincts are Little Heart series
not infallible, and for this reason, several savvy Chinese publishers have started getting Cao Wenfang
students (even kindergartners) to critique their titles and suggest plot tweaks. These five picture
The ever-popular fairy and folk stories aside, realism is poised to enter the Chinese books from Cao (sis-
children’s book industry. Paying homage to the country’s character, culture, and arts ter of Cao Wenxuan,
the first Chinese
also involves explaining what is happening domestically, such as the challenges faced author to win the
by children left in rural areas by migrant parents working in the cities, by only children, Hans Christian Ander-
and by siblings (now that the second-child policy is in effect). The story may not always sen Award) were
be pretty, but this is about communicating to the rest of the world present-day realities selected by kindergartners as her most
in China and how Chinese children live. popular works. Beautifully illustrated, the
stories are both heartwarming and capti-
Also important is the appearance of more bilingual Chinese-English editions and vating. (Five titles; ages 3–5)
audiobooks, which reflects a market driven by parents and educators who want children
to master English, the indisputable language of international commerce and many Draw a Chinese Painting:
workplaces. Chinese Doll and the Zodiac
As for innovative ideas and creativity, there is no lack of either in the world’s most Yang Yingying
Taking the Chinese doll as its focal point,
populous country. But the challenge lies in getting these talents to come forward with this picture book strives to convey the tradi-
their works. This remains quite a task in a society that largely shuns self-promotion and tional Chinese culture and beauty. Readers
in which artists often exist in near-seclusion. The Key Colours Competition China (see get an introduction to Chinese folk art and
p. 41) and the illustration platform IlluSalon (see p. 44) are actively seeking and nurtur- history while
ing talents and promoting them in the international arena. Their goal is not to catch learning how
to create a
the next bestseller but to inspire the next generation of authors and illustrators. Chinese
The following pages contain a selective listing of original Chinese children’s and YA painting.
titles on offer from the 15 publishers profiled in this special report. The publishers (Ages 6–12.)
have provided the descriptions.

40 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

Beijing Dandelion Beijing Yutian Hanfeng The Rat-a-Tat

Children’s Book House Books Company Tian Yu
Big Feet Girl Hei He series When children
Wan Wan Hei He are eager to
In a village where Animal-focused novelist explore the
foot-binding is prac- Hei from Mongolia uses world, they just
ticed, one big-footed animals as protagonists might behave
girl becomes a in his books. He tells like cute Rat-a-Tat Bear, who learns about
laughingstock. stories about the har- his world by knocking on different doors…
However, after she monic coexistence This “Youth of China” recommended title is
saves several fisher- between humans and also a Children’s Book Laurel Award winner.
men during a storm, someone starts nature, the wonders of the wild, and the (Ages 3–6.)
appreciating her big feet. (Ages 3–6.) need for a new brand of eco-conscious-
ness. (Eight titles; ages 6–14.) Xiao Xianggu
Granny Xiu and Qin Wenjun
Mr Cat and Little Fairy
Peach Blossom Fish Written by popular
Wang Yuwei
Peng Xuejun contemporary YA
Mr. Cat finds a naughty
Granny Xiu makes author Qin, this
and witty fairy who is
a tasty dish using series touches on
curious about every-
peach-blossom fish, a variety of topics,
thing, and she brightens
and children love to including determination, self-assurance,
up his life. One day, he
eat it. But some vil- and familial love. The message of opti-
discovers that the fairy
lagers say Granny Xiu is a witch and visit- mism and kindness is succinctly woven
has the magical ability
ing her is dangerous. One day, Granny Xiu throughout the stories and unfolding
to make plants grow, and that his little fairy
intervenes when the children encounter a pages. (20 titles; ages 6–14.)
friend has only one year to live. (Ages 3–6.)
wild boar. Now the boar is dead. But where
is Granny Xiu? (Ages 3–6.)

Key Colours Competition China: A Unique Model

The €7,500 grand prize of the inaugural Key Colours Competition of local illustrators and their works is the ultimate goal.”
China, which was awarded in August 2017, went to Wang Yuwei’s The decision to collaborate with An is a no-brainer, Werck says.
Mr Cat and Little Fairy; five other books received honorable men- “Whenever we sit down together to discuss titles or the market
tions. All six works will be published in Chinese by Beijing Yutian in general, the Beijing Yutian Hanfeng team is never driven by the
Hanfeng, with print runs ranging from 5,000 to 10,000 copies, need to outbid other companies or simply grab a title for transla-
and in Dutch and English by Belgian publisher Clavis, with 3,000 tion; they are always analytical and careful. This approach, which
copies for each edition. differentiates them from others, is what we want in a partner.”
This competition was the culmination of a two-day workshop Werck, who has sold about 600 titles to China, views the collab-
led by six industry experts: children’s author Mei Zihan, Clavis oration as an opportunity to give back. “This competition pro-
founder and publisher Philippe Werck, illustrators Mark Janssen vides us with Chinese works and illustrators that we can promote
and Tian Yu, child psychologist Wendy Peerlings, and Poplar to the rest of the world, thereby kick-starting a two-way rights
cofounder Akiko Nakanishi. A total of 120 entries for the com- exchange.”
petition were received. Werck and An have agreed on a 12-year collaboration, or six Key
An Hongmin, president of Beijing Yutian Hanfeng, says, “China Color competitions. “Our goal is to get illustrators to think inter-
is easily 20 years behind Western countries in picture book cre- nationally—not locally—right from the manuscript stage, to increase
ation and publishing. Chinese illustrators, while talented, are not their chances of being published and translated in other lan-
familiar with the rules and principles of creating quality picture guages,” explains Werck, who founded Clavis 40 years ago and
books. They need more nurturing, encouragement, and motiva- launched the Key Colours Competition in Hasselt in 1994.
tion—all of which we hope to deliver through the workshop and One popular theme from the inaugural competition that struck
competition.” the collaborators as uniquely Chinese revolves around the loneli-
An, who is aware that his 18-year-old company—considered an ness of children left behind in rural regions while their parents
old-timer among Chinese independent publishing houses—has work in the bigger cities. Werck says, “We know we will uncover
yet to stretch beyond the domestic market, says: “This is our new talents as well as unique themes that differ from those com-
opening gambit to become a global player, with the competition ing from Europe. Overall, we are impressed by the quality of the
aimed at uncovering high-quality content for the international entries. This has been an auspicious start to a new type of collab-
market. While we want to redress the Chinese market imbalance oration—going beyond conventional rights trading—between
where translations far outnumber originals, safeguarding the future East and West.”

W W W . P U B L I S H E R S W E E K LY. C O M 41
Children’s Books in China

China Children’s Press Everafter Books Foreign Language

& Publication Group Publishing House Teaching and Research
The Happy Milly, 24 Hours, Press
Molly and Lily 24 Professions, Black Cat Detective
series One World series
Jill Pitta & Echo Zhang Zhu Zhixiang
Gao Hongbo This nonfiction Every Chinese family
“Being with Milly picture book, illus- knows these stories,
and Molly, that can trates what hap- which are adapted
make you happy” is pens in 24 hours from classic animated
the premise of this for 24 people, each features produced by
educational series of whom has a China’s top animation
that has sold in 110 countries and regions different profession. The people live very studio. Black Cat Detective is the Eastern
around the world. It provides children with different lives, but they work together to version of Sherlock Holmes. He solves
the necessary skills to grow and deal with build this wonderful world. (Ages 7–10.) crimes and safeguards other animals in
life’s challenges. (70 titles; ages 6–up.) the forest. (Five titles; ages 4–8.)
Andersen’s Fairy
Let’s Read Mao Tales The Calabash
Zedong Ye Junjian Brothers series
Han Yuhai This well-crafted col- Edited by Shanghai
This book focuses lection contains 25 of Animation Film Studio
on 14 key issues Hans Christian Ander- A long time ago, there
related to Mao sen’s magnificent were seven super-
Zedong, and in stories, translated brothers born in
simple terms, into simplified seven calabashes
presents his life Chinese by Ye, a with different colors.
and thinking. Full highly respected translator from China, They were brave and kind, and had differ-
of exquisite illustrations and details it and dozens of brilliant tempera illustrations ent magical powers, which they used to
offers an objective perspective on Mao. by Bulgarian illustrator Lyuben Zidarov. fight evil and save the world. (13 titles;
(Ages 10–up.) (Ages 7–up.) ages 4–8.)

Pandy Plays with Dodo and Auntie

Her Ball Magic Guangdong New
Bai Bing Hong Zhang Century Publishing
This picture book, If you had an aunt
illustrated by with magical pow- House
Manola Caprini, is ers, what would Chinese Poetry
about little pan- your life look like? in Ink-and-
das losing their Written by award- Wash Paintings
balls in the bam- winning children’s for Children
boo forest. But author Hong, this Lin Liang et al.
who needs a ball when rolling down the book is dedicated to her niece, who The winner of
hill is much more fun? The whole family inspired her to create these magical, China’s national
can join in the fun now! (Ages 3–6.) imaginative, and fun stories. (Three titles; award for the most
ages 5–8.) beautiful book in 2017, Chinese Poetry is
Red Kangaroo illustrated by Liang Peilong and contains
Physical Quiz My Friend at poems written by six renowned poets (Lin
series the North Pole Liang, Lin Huanzhang, Jin Bo, Fan Fajia,
Chris Ferrie Echo Zhang Gao Hongbo, and Xu Lu). It showcases the
This set of books One little polar rural life with optimism, humor, and wis-
explains, in sim- bear identifies dom. (Six titles; ages 6–12.)
ple terms, the his shadow as
theories of classi- a close and Yuan Bo Animal Fiction
cal, mechanical, faithful friend, Yuan Bo
optical, and quan- but lose it after In this series, Yuan
tum physics. An abundance of illustrations polar nights arrive. He is determined to entertains with magnifi-
makes learning physics fun and easy for find his friend again, and thus begins his cent animal stories such
children, and not-so-daunting for parents, adventurous journey. This story is a warm as The Legend of the
too. (10 titles; ages 8–up.) and lively read that combines science and Little Elephant and The
creativity. (Ages 3–6.) Dream of Wild Water
Buffalo. Through concise and vigorous lan-
guage, the author provides insights into life
and nature. (Six titles; ages 8–13.)

42 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Children’s Books in China

Hunan Juvenile & Jieli Publishing House Moose

Children’s Publishing The Dream Makers With poetic words
House series and brilliant illustra-
Chen Jiatong tions, the author
The Legend of the The author conjures a tells a legendary
South Village dreamworld to showcase story of a moose
Tang Sulan true human nature. Here, and a hunter. Here,
This latest fairy tale by Qiqi and other dream human and animal trust each other and
Tang is set in the South makers use their imagi- live harmoniously. Feel the warmth and
Village. It depicts a nations to build dreams, love that emanates from every page of
beautiful idyllic hide- help other people’s dreams come true, and this book. (Ages 5–up.)
away for children and fight against desire and evil. They want to
conveys the yearning for a better life and protect the world of dreams and resurrect The Repository of
the pursuit of beauty. (Ages 7–13.) lost imaginations. (Four titles; ages 7–12.) Classic Series for
Where Are You Going, A Maverick Pig Li Xiaopeng
Big Rat and Little Cat? Adapted by Zhang This series presents
series Ning classic stories of the
Zhou Rui Originally written by natural and social
This series of books is contemporary Chi- sciences that are
not just a fairy tale, an nese novelist Wang specially rewritten
encyclopedia, and a work Xiaobo, this story is for teenagers. Hundreds of lively and vivid
of fiction. It is also a fan- about a maverick illustrations and simple prose make these
tastic travel journal that covers splendid black pig that tries to break free from his great reading materials. The latest title,
cultures, folk customs, the geographies of restraints and run away. Readers will love The Capital, has just been released.
various countries, and much more. (Four the traditional cloth art and painting styles (Seven titles; ages 8–14.)
titles; ages 6–10.) of the Han dynasty. (Ages 4–7.)

IlluSalon Nurtures and Promotes Illustrators

IlluSalon, the biggest international illustration Since its founding, in 2016, IlluSalon’s
platform in China, works with around 4,000 clientele has hailed mostly from the pub-
illustrators from more than 50 countries. For lishing and advertising industries. Hou’s
Hou Mingliang, founder of IlluSalon and host team have collaborated with major Chi-
of the Global Illustration Award (as well as nese children’s publishing houses, such
president of Kids Media), young and profes- as with China Children’s Press & Publica-
sional illustrators–with good education and tion Group on Cao Wenxuan’s Root Bird,
training–are changing the face of the Chinese which is illustrated by Juan Hernaz. Dutch
illustration industry. illustrator Yuliya Gwilym is working on the
“They are making an impact both locally soon-to-be-published Morning Poem by
and internationally with their distinctive and Gong Ruping, and Amin Hassanzadeh
innovative styles,” Hou says, pointing out that Sharif from Iran has illustrated Bai Bing’s
Gong Yanling, who illustrated The Needle for a Uncle Big’s Beast Island. (Bai is Jieli’s
Seamless Heavenly Robe using a combination editor-in-chief).
of traditional ink drawing and embroidery, for Hou Mingliang, founder of IlluSalon “Some illustrators are great at design-
instance, is an outstanding example of the and host of the Global Illustration ing book covers, and we have around 100
new breed of bold and innovative talent from Award (as well as president of Kids covers to deliver by March 2018,” Hou says,
China. “We have upcoming illustrators such
Media). adding that Chinese publishers pay
as Hei Mi, the 2015 Golden Apple Award winner at the Biennial of between $300 and $800 per illustration. “Now that they are
Illustration Bratislava for Braid, and Charlotte Fu, GIA 2017 winner developing original content, publishers have come to realize the
for unpublished picture book A Cat.” importance of high-quality illustrations. Their illustration budget
Recent market changes have invigorated the Chinese illustration is growing in tandem with their respect for illustrators.”
industry, Hou says. “Picture books with quality illustrations are now However, Chinese illustrators account for less than 5% of Illu-
highly valued for early childhood education, especially for ages three Salon’s total pool of artists. Hou explains that “promoting their
to six. Kindergartens and primary schools across China are using name and works in the global market takes precedence. We
picture books in classes and encouraging children to be creative encourage them to participate in more international illustration
and imaginative. There is also an increased demand for illustra- events and gain additional international media exposure.” There
tions in the consumer goods sector, including for the promotion is definitely no shortage of local talent out there for IlluSalon
of automobiles, clothing, electronics, and foods and beverages.” and publishers.

44 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Chinese-Foreign Children's Books
Publishing Cooperation Forum
[New Trends in Children's Books Cooperation]
10:00-12:00 27th March
Concerto Conference Room (2nd Floor, Bologna Exhibition Center)

Supported by State Administration of Press, Publication, Radio, Film and

Television of the People's Republic of China (SAPPRFT)
Organized by Jieli Publishing House

Our Guests
Huang Jian Peter Usborne
President of Jieli Publishing House Founder of Usborne Publishing

Li Xueqian Hedwige Pasquet

President of CCPPG CEO of Gallimard Jeunesse

Qi Ji Joachim Kaufmann
IP Development Initiator of the King Book Series Managing Director of Carlsen Verlag
Executive Director of BONNIER Books China
Qin Wenjun
Vice President of Shanghai Writers' Association Francesca Dow
Publishing Director of Penguin Random House
Zhang Jiankang
CEO of Phoenix Publishing and Media Group (PPMG) Jennifer Powell
Director of Rights and Co-editions at Scholastic
Zhang Kewen
President of Anhui Children's Publishing House

What Makes A Good Children's Book?

15:00-15:50 27th March
China Pavilion (Hall 26 B127)

Organized by Jieli Publishing House

Our Guests
Authors and Illustrators Publishers
Blackcrane Usborne Publishing
Jiu'er Lonely Planet
Zhang Ning Nordsüd Verlag
Li Xiaopeng
Han Xu

anna.dong1217@foxmail.com    www.jielibj.com 
Children’s Books in China

Kids Media Thinkingdom Tomorrow Publishing

The Little Children’s Books House
Prince The Beauty of the The Blue Rabbit-ear
Edited by Solar Terms Grass
Kids Media Zhu Aichao Yang Hongying
Combining The solar terms origi- This title is from one of
the enchant- nated in China thou- Yang’s most successful
ing story sands of years ago. series, Diary of Smiling
with autho- This book presents the Cat. It tells the story of
rized screenshots from the French film wisdom of the ancient Smiling Cat’s adventur-
Le Petit Prince (2015), this picture book Chinese people and ous journey to obtain
makes a classic work of literature available their unique under- blue rabbit-ear grass in order to save his
to younger readers. More than 200,000 standing of time and space, which exerts beloved wife Tabby Cat. The message in
copies have been sold in China. great influence on daily routines to this day. this book is that love is the noblest feeling
(Ages 5–12.) It combines the history of Chinese charac- in the world. (Ages 8–12.)
ters, the Song of Solar Terms, and different
You Can’t Miss: Dis- customs across the country. (Ages 7–up.) White Horse and
ney Bilingual Classic Black Horse
Movie Stories The Creator Raises Cao Wenxuan
Edited by Kids Media One Hand This picture book by
This is one of China’s Shanglin Chunman Cao is about a black
bestselling Disney It is spring and Miss horse and a white
book series from Kids Potato has fallen in horse born at the
Media. It has sold love. The snow flut- same time in a farmhouse, though both
more than one mil- ters down while the have different experiences growing up.
lion copies since its story is being told. Although many things change, what hap-
launch in 2016. With beautiful pictures, This is a romantic pens to them just shows their deep affec-
authentic stories and high-quality audio and delightful fairy tion for each other. (Ages 3–8.)
files, it provides an enjoyable reading, tale. (Ages 8–up.)
listening, and learning experience for
elementary readers. (23 titles; ages 6–9.) Our First Grade
Xinjiang Juvenile
Tong Xixi Publishing House
New Buds Publishing School is starting, the Beijing Flavor series
House wishes for a new year
are put inside a box,
Bao Dongni
Warm and imagina-
Magical and a Mood Tree is tive, these animal
Stories series planted inside the and human stories
Chang Li classroom. Little Tong are about coexis-
These stories Xixi charmingly tence, mutual trust,
combine tradi- describes her first- and environmental
tional Chinese grade school’s simple but beautiful life. awareness with
culture with (Ages 6–up.) ancient Chinese
modern twists. The thought-provoking ink-
wisdom woven throughout. Rights sold
and-wash illustrations function as a cultural The Pedigree of to France and the U.S. (Three titles;
showcase of traditional Chinese elements Chinese Deities ages 3–6.)
and styles. (Three titles; ages 3–10.) Shen Fuyu
This book opens the Chinese Stories
The Stories of Lit- door to the 5,000-year Li Jian
tle Qiao and His history of China Follow elemen-
Buddies through Chinese tary school
Mei Zihan mythology. Chinese student Xiaoming
This series of six deities originate as he travels
hilarious stories from fairy tales, and back to different
traces the exploits this book presents a portrait of the 20 historical peri-
of Little Qiao and most influential deities for the Chinese ods in China, and
his buddies. The people’s identity and way of thinking. experiences interesting adventures. Learn
group is loud, yet (Ages 10–up.) about Chinese culture and enjoy the many
imaginative, and has a very optimistic out-
Chinese historical sites illustrated in tradi-
look on life. They are the Chinese wimpy
tional ink painting. Rights sold to France
and funny kids! (Six titles; ages 5–9.)
and the U.S. (Five titles; ages 3–6.)

46 P U B L I S H E R S W E E K L Y ■ M A R C H 1 2 , 2 0 1 8
Everafter Books A home of high-quality children's books
Everafter publishes board books, novelty
books, picture books, children’s literature
and non-fiction titles. It also has a well-
奇想国童书 A cradle of imagination, curiosity and creativity established line of parenting titles.

Books for 0-3 Years Old Books for 6-8 Years Old

Imagidoux Series Ten, Nine, Eight It’s Time to Go to Sleep Dodo and Auntie Magic

Books for 3-6 Years Old

Freedom in Congo Square One Day Midnight Creatures Shaun the Sheep
A Pop-Up Shadow Search Tales from Mossy Bottom Farm
2017 Caldecott honor book
2017 Charlotte Zolotow Award

Books for 9-12 Years Old Everafter Collections for 9-12 Years Old

Books for 13+ Years Old Parenting Books

Challenger Deep Goodbye Stranger Smart So You Think You Dr. Huang's Simple
National Book Award for Young Boston Globe-Horn Book Award Parenting Know How to Love Tips for Raising
People's Literature (2015) Honor for Fiction (2016) Your Children Healthy Kids

Tel: +86 10 6404 9180 Email: qixiangguo@tbpmedia.com