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In most parts of Asia, wizardry and fantastical plots have lost much of their magic after dominating the bestseller list for so long. The subsequent vampire and werewolf fever is, by comparison, not as rabidly welcomed in certain territories. As for that wimpy kid, well, his popularity suffers somewhat as Asian kids have different school life and growing-up problems. Still, these imported blockbusters have spurred local writers to produce longer fiction for children and helped boost a hitherto weak YA market.

Overall, picture books—local and translated—remain a big game this side of the world. And while rights agencies used to go after European and American publishing houses for both exports and imports, more deals are now inked with neighbors instead. China, Vietnam, Indonesia, and Thailand, for instance, represent newer markets that are seeking more (and newer) content, but are reluctant to spend big bucks on American or European titles. Both cultural and geographical proximity are tipping the balance in favor of regional rights trading.

Asians' obsession with academic excellence makes educational picture books an easier sell. In this regard, Korean publishers have a stranglehold, with their ability to turn complex topics into accessible and entertaining edu-comics. Just check out some of the multivolume series published by Kyowon, YeaRimDang, Woongjin ThinkBig, and Daesan. Over in Taiwan, picture books continue to be big sellers for both import and export. Interestingly, since both the Taipei and Seoul book fairs had France as the guest country last year, French titles are enjoying a revival in these territories. Sales of Korean and Taiwanese children's titles to French publishers also saw an uptick.

Across the straits, in Japan, manga remains hot. But now there is a new Japanese category attracting neighboring countries: light YA novels in various genres such as romance, thriller, and adventure. China is still receptive to new ideas, titles, and authors from countries far and near. Its children's segment is expanding and going beyond material with educational value. Picture books have a bigger audience than before, and the quality of titles in the marketplace has improved significantly.

At the same time, digitization is making inroads into most publishing programs. A few of the established houses—Kodansha, Kyowon, and Grimm Press, for instance—have started turning original print titles into dynamic and interactive multimedia content. And one of the surer ways into consumer pockets is to create game-based apps that appeal to a wider age group than the print product.

For more on what is selling, stagnant, or shifting in Asia, PW talks to several rights agencies and publishers for the lowdown on the industry in different territories.

China

Mainland Chinese publishers are much more open to children's and YA titles than in the past, says cofounder/executive director Luc Kwanten of Shanghai-based Big Apple Agency. "Ten years ago, when we first introduced picture books, advances were no more than $500 per title, and the books sold at around $1 each. Parents balked at the price, and publishers shunned the genre due to the lack of profit." Things started changing two years ago when inflation rose, standards of living improved, and Chinese children's book publishers revised their cost structure. At the same time, more parents have begun to realize the benefits of reading from a young age, and these factors have caused significant expansion in the picture books market, with various publishers establishing a children's books division. "Still, each book must go through a thorough selection process prior to rights purchase," adds Kwanten, noting that "titles that are politically correct by American standards have a limited market in China, while award-winners are always easier to sell. Single titles receive less attention than series, while YA novels are popular with publishers because the printing cost is lower than for picture books."

Currently, picture books and YA titles retail at $3 to $4.50 in China. Tetsuko Kuroyanagi's Toto-Chan: The Little Girl at the Window has been a bestselling YA title for more than 20 years. Other bestsellers—besides the usual favorites, Harry Potter, Twilight, and the Wimpy Kid series, from the U.K./U.S.—are titles by Christian Jolibois (France) and Thomas Brezina (Austria).

For now, v-p Wendy King says, "Publishers still rely on the subject matter and book thickness to judge a book. The general perception is that thicker is better, but there is a limit to how thick the book should be. Chinese publishers also consider bilingual editions to be important, and their decision making is heavily influenced by the title's potential for classroom use and its adoption by local kindergarten teachers. This bilingual preference extends to YA titles as well. Esme Raji Codell's Sahara Special, for instance, is one of those YA titles with bilingual rights."

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