A man reads at a booth displaying China-themed books at the London Book Fair in Britain on Wednesday. LI YING/XINHUA
The global publishing industry is transforming, driven by the new ways people are discovering, consuming and sharing books — from the rise of audiobooks and BookTok to the influence of TV adaptations sparking wider reading trends. In this evolving landscape, Chinese books are becoming an integral part of a new reading culture in the West.
The just-concluded London Book Fair 2025 saw its largest-ever participation from China, drawing strong interest from global publishers. The London Book Fair is one of the major global marketplaces for rights negotiation and the sale and distribution of content across different media.
From "romantasy" web novels to graphic novels and book-to-screen adaptations, Chinese storytelling is capturing the imagination of a new generation of readers. Take The Three-Body Problem, for example. According to Nielsen Book-Scan, the English edition sold nearly 26,000 copies in the United Kingdom in 2024, with almost half of those sales occurring within 10 weeks of the release of the Netflix series. This has made it the best-selling Chinese novel in the UK and significantly boosted Liu Cixin's reputation as a leading international science fiction writer.
But it's not just science fiction making waves. In recent years, Chinese web novels and graphic novels, too, have gained traction among international readers. Major book retailers in the UK such as Waterstones have introduced dedicated sections for different genres of Chinese fiction, reflecting the rising demand for diverse storytelling from China.
The British publishing market is experiencing a fiction boom. According to the UK Publishers Association, fiction sales hit a record £907 million ($1.17 billion) in 2023, with genres like "romantasy", or romance-fantasy, leading the way. These trends have created opportunities for Chinese web novels, which often blend fantasy, romance and adventure — resonating strongly with younger British readers on social media.
Following the inclusion of the first batch of Chinese online literature in 2022, the British Library expanded its Chinese collection last year by adding another 10 online novels by Chinese authors, including Lord of the Mysteries, Soul Land and The Joy of Life.
Besides, Chinese graphic novels are emerging as a powerful new storytelling medium. A major highlight at the London Book Fair this year was the unveiling of the first-ever graphic novel adaptation of The Three-Body Problem by Yilin Press, a literary imprint of Phoenix Publishing and Media Inc. A key moment was the signing of a major international rights deal between Yilin Press and leading French publisher Éditions Glénat. This partnership is set to generate even greater enthusiasm for the project, especially following the global success of Chinese animations such as Ne Zha 2.
The global BookTok phenomenon, in which TikTok creators make videos reviewing, discussing and sharing their opinions about the books they read, has been a game-changer for publishing, and China is no exception. The fusion of literature and social media is engaging young readers in innovative ways, making books more interactive and accessible.
One of the authors riding this wave is Liu Zhenyun, one of China's most celebrated literary figures. Known for his sharp wit and deep social insight, Liu is the author of the award-winning novel Someone to Talk To and the globally acclaimed film I Am Not Madame Bovary. His ability to blend comedy with profound commentary has earned him a devoted readership in China and beyond, with 15 million books sold in China and translations in 30 languages.
But Liu is not just a bestselling author — he is also a digital phenomenon. With over half a million followers on Douyin, the Chinese version of TikTok, and nearly 80 million views on viral videos from his comedy series and literary master classes, he is reaching a new generation of fans. His success is part of a broader movement in China, where literature and social media are merging in exciting and unexpected ways.
Liu had a conversation with Jenny Niven, director of the Edinburgh International Book Festival, and Nicky Harman, a leading British literary translator, at the London Book Fair, with their discussion exploring how Liu's storytelling resonates across cultures and how Chinese literature is shaping the global literary landscape.
But despite Chinese literature marching into foreign lands, challenges remain. The British publishing industry tends to adopt a cautious approach to acquiring new titles — translated fiction accounts for only 5.5 percent of the market. In contrast, in China, translated fiction makes up more than 22 percent of book sales. One Hundred Years of Solitude by the great Gabriel García Márquez, for instance, has sold more than 10 million copies in China in the past decade.
True, the importance of translation cannot be overstated, especially when it comes to Chinese fiction. But as Harman noted, it's not just about translating the language — it's about providing the cultural context to make these stories accessible to British readers.
Over the past few years, Singing Grass has been working to bridge the gap between Chinese and British publishing. We (at Singing Grass) are providing strategic consultancy services for major British publishing houses, such as Penguin Random House Children's Books and Hachette Children's Group, to help them better understand the Chinese market and build strategic partnerships.
With more Chinese books being adapted for film and TV productions, the rise of BookTok in China, and a growing demand for graphic novels in the UK, China's stories are traveling further than ever before. The just-concluded London Book Fair already witnessed the start of a new chapter for Chinese books in the English-speaking world.
The author is founder and CEO of Singing Grass, a UK consultancy focusing on art, culture and publishing.
The views don't necessarily reflect those of China Daily.
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