Q1: In South Korea's highly competitive publishing industry, how can a publishing house establish its unique positioning?
These days, there are increasing opportunities for publishers and authors to engage directly with readers. In the past, large-scale author lectures were more common and preferred, but now we see a growing trend toward smaller, more intimate gatherings or online talks. This shift suggests that books with strong authorial identity are becoming more competitive than conventional bestsellers.
Previously, readers were drawn in through large-scale marketing efforts led by publishing houses. Nowadays, readers are more likely to respond to smaller, author-driven platforms—such as Instagram or other personal online channels.
In conclusion, highlighting the author’s unique voice and creating smaller but more direct means of communication with readers is becoming a more effective and competitive strategy.
Q2: What do you believe is the irreplaceable aspect of physical books?
The most irreplaceable aspect is undoubtedly the ability to physically touch a book. Because we can hold it in our hands, it evokes a sense of "realness." Especially in today’s digital age, this tangibility gives physical books a sense of greater value.
While the overall demand for paper books may continue to decline, their status as something “more valuable” is likely to be maintained—or even strengthened.
Q3: What potential directions do you see for future Sino-Korean publishing collaborations?
It may sound obvious, but now more than ever, close collaboration between Korea and China in publishing is truly needed—especially in the field of children’s books. In the age of the internet, global exchange through books has actually increased. In Korea, many authors are invited to the Bologna Children’s Book Fair every year, and Korean publishers actively participate as well. Numerous Korean author talks are also held throughout Europe.
However, despite China being Korea’s closest neighbor, exchanges between our two countries remain relatively limited in comparison. Books are not fleeting trends that come and go—they are cultural artifacts that accumulate and reflect the long-standing identity of a nation.
Historically, Korea and China have influenced one another deeply and continuously. But many younger generations today see the close cultural exchange between Korea and China as something of the distant past—something that only exists in history books. Yet culture is not created overnight, nor does it vanish in an instant. The cultural connection between Korea and China has been built over thousands of years.
If we can deepen our cultural exchange through children’s books, I believe we will eventually reach a tipping point—one that could lead to an explosive growth in mutual understanding and collaboration. We look forward to that day. Korea is always open and eager to build stronger ties with China’s publishing community.
