What's Trending in Children's Literature and Why It Matters
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Kathy G. Short page 287 What’s Trending in Children’s Literature and Why It Matters An inquiry into recent trends in children’s books and their implications for educators reveals the increasing influence of visual culture and continuing concerns about cultural diversity. Children’s and young adult literature occupy diversity of our society and world. I conclude with what is considered the “sweet spot” within publish- final reflections about these two trends and others ing, evidencing strong growth and new opportuni- discovered during my inquiry. Throughout, my ties. While other readerships have stagnated, the focus is on books published in print, recognizing sales of children’s books have continued to rise, that major changes in book apps, e- books, and digi- particularly young adult and middle grade books tal fiction are beyond the scope of this article. (Gilmore & Burnett, 2014; Jarrard, 2016). Strong sales, combined with new technologies that encour- Children as Readers of Books and age innovation in book format and design, have the Children’s Book Market enticed new authors and illustrators, some of whom A common public perception is that the book as a are transnational and thus move across global printed object is on its way to extinction, much like contexts, to provide a greater range of books for vinyl records and 8-track tapes— dinosaurs that will children. die out in a digital future—and that the future is Given this generative context, publishing trends e- books and digital devices. Even at the university are emerging with significant implications for chil- where I am a professor of children’s literature, stu- dren and teachers. Some trends bring new chal- dents report they rarely visit the library, getting their lenges, such as shifting the strategies needed by resources online. When new acquaintances ask what readers to create meaning effectively from books in I do, they often comment that children’s books will unusual formats, while others provide new options soon be archaic. Their assumption is that children for classroom engagements and critical response. today, particularly teens, no longer read print books. For teachers and teacher educators, these changes Statistics from the book industry indicate that provide new possibilities for connecting readers this assumption is not correct. E- books are grow- with books that matter in their lives. ing in popularity as an important source of reading In this article, I present research related to materials, but have stabilized at 25 percent of the children as readers as well as book market anal- market (Kellogg, 2015). Popular books, such as the ysis. Then I explore two recent trends, the first of best- selling Wimpy Kid series by Jeff Kinney, report which is the animating influence of visual culture that 95 percent of their sales are print. Researchers on children’s books, particularly middle grade nov- at the PEW Research Center (Zickuhr, Rainie, & els, graphic novel formats, visual narratives, and Purcell, 2013) found that teens who own e- books book design. The second trend relates to the con- report also owning these books as print copies. They tinued limited availability of books that reflect the like the convenience of e- books, but want a physical Language Arts, Volume 95, Number 5, May 2018 May LA 2018.indd 287 4/26/18 8:21 PM Kathy G. Short | WHAT’S TRENDING IN CHILDREN’S LITERATURE AND WHY IT MATTERS page 288 copy of the book to read and revisit. Nielsen reports books, with loyal fans asking for the next Origami 67 percent of children read for fun, and only 18 per- Yoda, Wimpy Kid, or Wings of Fire book. Because cent of teens prefer e- books over print (Gilmore & this age level of reader is transitioning from picture- Burnett, 2014). In other words, e- books and other books and short chapter books into longer novels, digital content provide readers with a wider range books in a series provide more support as readers of choices and easy accessibility, rather than replac- follow characters and plots across multiple books ing print books. Instead of print and digital content (Sibberson & Szymusiak, 2016). Some of these being in competition, they offer differing experi- books can be quite long, as evidenced by Shannon ences and alternative avenues for engaging readers. Messenger’s 700- page novels in the Keeper of the The popularity of Harry Potter led to a major Lost Cities series. shift in publishers’ awareness of books for teens as The downside has been the publication of a significant market (Reno, 2008). Prior to Harry fewer picturebooks. This trend has been so strong Potter, teens were viewed as a minor market, pri- that some have declared the picturebook as endan- marily for high-interest series books. Because high gered. In 2010, the New York Times commented school teachers often focus on adult classics and are on the demise of the picturebook, reporting that not perceived as promoting books for teens in the publishers were producing 10 to 15 percent fewer same way that elementary teachers promote reading picturebooks, and bookstores were reducing shelf children’s books for pleasure and discussion, pub- space due to declining sales as they expanded their lishers viewed the potential market as small. Harry YA sections (Bosma, 2010). This decline in sales Potter produced a demand from teens— “We want was attributed to parents pressuring their children to more books like these”—and publishers realized quickly move to text- heavy chapter books, believ- they had an audience. Young adult literature (YA) ing this would provide an academic advantage. quickly became a major area of growth in reader- More recent figures provide hope for the future ship (Reno, 2008). of picturebooks. The New York Times reported that The popularity of YA continued to grow as only 14 percent of the children’s books published in many new writers entered the field and books like 2015 were picturebooks (Alter, 2016). At the same The Hunger Games trilogy became a popular source time, 40 percent of the top 100 best-selling books for movies. Readership grew, not only among teens, on the 2015 New York Times list were picturebooks, but among adults who are now 55 percent of the YA indicating that publishers are underestimating this readership. Both teens and adults are drawn to the market. Several publishers, such as Candlewick, purity of the storytelling and the strength of the writ- launched initiatives to promote picturebooks. ing, particularly the fantastical worlds, inventive- Award- winning authors such as Jane Smiley and ness, and imagination in YA books (Howlett, 2015). Sherman Alexie entered the picturebook field, YA is characterized by innovations that include reporting that writing short but meaningful and multiple narrators, alternative text structures, novels enduring texts is far more difficult than they imag- in verse, and trilogies/series (Koss & Teale, 2009). ined (Alter, 2016). In addition, the many new authors entering the field An additional indicator is that board book sales engage with their audience through all kinds of have a 20 percent growth rate since 2013, suggest- social media, making themselves available for con- ing that parents and grandparents are investing in stant interactions. books and recognize the significance of reading Recently the focus of publishers has moved to aloud to young children (Gilmore & Burnett, 2014). tweens and middle grade novels (Jarrard, 2016). Publishers responded by publishing more board Children ages 8– 12 are viewed as an overlooked books in innovative formats. One other positive market, and publishers are rushing to fill that need, indicator is that the number of children’s bookstores with many YA authors now writing books for middle is finally back on the rise. The numbers declined grade readers. This market is dominated by series precipitously from a high of 750 nationwide in the Language Arts, Volume 95, Number 5, May 2018 May LA 2018.indd 288 4/26/18 8:21 PM Kathy G. Short | WHAT’S TRENDING IN CHILDREN’S LITERATURE AND WHY IT MATTERS page 289 1990s to fewer than 100 in 2010. Rosen (2016) 0– 14 that received at least one starred review in reports that children’s specialty stores are reemerg- Horn Book, School Library Journal, and/or Kirkus ing and having an influence through their significant between 2013– 2016. I collected and read these community presence. reviews, sorting them by genre, theme, and type These market trends indicate how closely pub- of book, reading as many of the books as possible. lishers pay attention to who is buying books and Because I found that books reflecting diverse cul- their constant search for the next big best seller. tures are consistently underrepresented in starred Hade and Edmondson (2003) point out that as pub- reviews, I searched award lists for literature reflect- lishing houses were acquired by large entertainment ing a diversity of cultures, such as the American conglomerates, more books based on products and Indian Youth Literature Award, the Middle East movie tie- ins were published. Children came to be Book Awards, and the Outstanding International viewed as consumers rather than as readers, and the Book List. To challenge my own biases as a white emphasis changed from books that contain ideas to female academic, I examined blog posts and online books that will sell. The 2008 economic crisis and discussions of diversity issues in children’s books in downturn in book sales led to the further absorp- addition to awards and reviews by cultural insiders. tion of independent publishers and small presses by larger publishing houses. These shifts contributed to the paucity of cultural diversity of children’s books, Books with strong visual images hold special a trend discussed later.