By Porter Anderson, Editor-in-Chief | @Porter_Anderson
‘A Deep Connection With My Characters’
In another year without a “Market Focus” international emphasis, the ongoing London Book Fair‘s presentation of the Chinese author Liu Zhenyun today (March 12) drew a midday audience to a session moderated by Alicia Liu. In this trade show that loves its many brands, the author appeared as a “reading ambassador” representing Beijing International Book Fair (June 18 to 22).
Liu’s longtime popularity in the Chinese culture reflects many of the market dynamics we see at play each month in our China Bestsellers reports, created in association with Jiang Yanping‘s research firm Beijing OpenBook. Almost to a title, you can see readership and consumer response rise on the availability, timing, and popularity of a television or film production—an energy that is emphasized in Western markets only by the formidable command now of the streaming entertainment networks.
In another commercial Western parallel, it turns out that Liu, an author best known for his 2011 Mao Dun Literature Prize-winning I Am Not Madame Bovary, has a new book forthcoming: Salty Tears will be his summertime release, something to help add to the more-than 15 million copies of his many books already reported to have been sold in China.
The work of rights sales: Covers of works by Liu Zhenyun translated from Chinese
Some more quick facts about Liu’s work and place in the business:
- A winner of the French Order of Arts and Letters since 2018, translation rights to Liu’s works have been sold into at least 30 languages
- Various social media—including the short-video channel Douyin—are part of his consumer outreach to more than 500,000 followers who watch his comedy programming and his “Literary Masterclass” instructional series
- A professor and supervisor of Renmin University’s PhD program, Liu’s work lies in a well-regarded sector of the canon that might be seen as high-caliber comedy, key works including Tofu and Remembering 1942. Later novels include The Cook, the Crook, and the Real Estate Tycoon; Someone To Talk To, Strange Bedfellows and One Day Three Autumns
At Publishing Perspectives, our interest in talking with Liu prior to his arrival at London Book Fair, of course, had to do with the fact that he’s an accomplished and active screenwriter. As heavily as the international book publishing industry feels the pressure for more film and television development, many authors don’t see a role for themselves in the translation of their work to these ubiquitous, pervasive visual media.
And even Liu, we found out, doesn’t consider himself a pro in the cinematic world. He tells us that he’s something of screenwriter of necessity and convenience.
‘Novelists Enjoy More Freedom’
Liu Zhenyun’s work advertised in New York City’s Time Square. image: BIBF
“After my novels were published,” Liu tells us, “directors approached me, expressing their interest in adapting my books into films. They hoped I’d write the screenplays myself, believing that I understood my works best.
“A screenplay is a waterfall, rushing down and splashing instantly, whereas a novel is the ocean, appearing calm on the surface but hiding powerful currents beneath.“Liu Zhenyun
“That’s how I became a ‘screenwriter.’ However, I’m not a professional screenwriter—I can only adapt my own works. My novels have been adapted into films, television dramas, and stage plays, but I’ve only worked on film screenplays, while TV and stage adaptations were handled by professional screenwriters.”
Liu, in fact, has not adapted other writers’ work to screens. Graciously, he says, “Screenwriting is a highly specialized profession, and a good writer is not necessarily a good screenwriter. I’ve come to understand this deeply through both writing novels and adapting them into screenplays.”
For the same reason of the craft being so specialized, he says, he has not tried creating any original screenplays; instead, he has always started with one of his books. And, then, for news-media outlets like this one that follow the bestseller trends in mainland China, a book in question may be seen moving rapidly up the charts, fueled by the screenplay he created.
A part of his reticence to work in original screenplays, he says, has to do with the production industry’s technical requirements.
“The structure of a screenplay is completely different from that of a novel,” he says in answer to Publishing Perspectives’ question. “A screenplay must tell a complete story within a limited word count while incorporating intense plot developments, character conflicts, and dramatic twists.
“I greatly admire professional screenwriters. In comparison, novelists enjoy more freedom—I can write continuously without constraints.”
Liu says he does, however, believe that “an academic foundation” is required both of “great writers and great screenwriters.
“Learning techniques alone is not enough,” Liu says. “Every profession has its techniques and shortcuts, but these are often short-lived and easily eliminated by time. I have great respect for screenwriters, but I don’t consider myself a qualified one. I lack formal training in screenwriting techniques—I simply have a deep connection with my characters.
“Over time, these characters have become familiar friends, and when I write a screenplay, they naturally ‘chat’ with me. If my screenwriting is an extension of my work, it is an extension of my interaction with my characters.”
‘Adaptations Help Promote Books Quickly’
No one needs to convince Liu that screenplays are good for his book business.
A poster from the Chinese National Theatre staging of Liu Zhenyun’s ‘One Sentence Worth 10,000 Images’
“Almost all of my literary works have been adapted into films, TV dramas, or stage plays, he says. “When I release a new book, people often approach me to secure the adaptation rights in advance.
“Film and book adaptations influence and reinforce each other. A film lasts about two hours, while reading a book takes significantly longer. A movie screening can reach hundreds of viewers at once, whereas a book is read by one person at a time. This means film adaptations help promote books more quickly.
“Some of my works,” he says, “such as Someone To Talk To, I Am Not Madame Bovary, and One Day, Three Autumns, have also been adapted into stage plays by various directors. These adaptations have indeed encouraged many viewers to return to my novels.
Salty Tears has not been published yet, so I don’t know if any directors or producers are interested in adapting it.
‘A Screenplay Is Like a Cheetah’
Some authors say they prefer not to try adapting their own work for the screens because they fear that the differences in the media could damage their original efforts.
“I don’t think screenwriting negatively affects literary writing,” Liu says, “but the two forms are fundamentally different.
“Screenplays and novels are distinct literary forms with different creative approaches, structures, and expressions.
“Screenwriting does inspire my writing. For instance, the precision required for dialogue in films has made my novel dialogues more concise and impactful, eliminating unnecessary words.“Liu Zhenyun
“A screenplay is like a cheetah—fast and dynamic—while a novel is like an elephant, moving at a slow, steady pace, unfolding its story in a leisurely manner. A screenplay is like a fully prepared gourmet dish, while a novel is the process of cooking—adding ingredients, adjusting flavors, and refining the taste. A screenplay is a waterfall, rushing down and splashing instantly, whereas a novel is the ocean, appearing calm on the surface but hiding powerful currents beneath.
“Since I never consider film adaptations while writing novels, they don’t interfere with my literary creativity.
“However, screenwriting does inspire my writing. For instance, the precision required for dialogue in films has made my novel dialogues more concise and impactful, eliminating unnecessary words.”
‘A Common Misconception About Film Earnings’
Promoting Liu Zhenyun’s ‘One Day Three Autumns’ on Beijing’s East Third Ring Road. Image: BIBF
Liu says that some of the directors he has worked with have been inspirational to him.
“I particularly admire Feng Xiaogang and Liu Yulin,” he says.
“As for actors, I have great respect for Zhang Guoli, Chen Daoming, and Li Xuejian—they are all highly knowledgeable. Two Academy Award-winning American actors, Tim Robbins and Adrien Brody, starred in Back to 1942, which was adapted from my novel. I appreciate their deep understanding of content and character.
“Earlier this month, at the 97th Academy Awards, Adrien Brody won his second Oscar for The Brutalist. I congratulated him on his achievement. For theater, One Day, Three Autumns was adapted into a play directed by Carolina Pizarro from Chile. Her unique perspective on theater and the stage has also greatly inspired me.
The cinematic side of his work, however, Liu says, is not as lucrative as some might think.
“My primary income comes from royalties paid by publishers,” he says. “First, because I am a writer, I’ve written far more novels than screenplays. Second, my publishers tell me that my books sell well.
“Of course, film adaptations provide an additional revenue stream. However, there’s a common misconception about film earnings. The cost of producing a movie is extremely high—often in the tens or hundreds of millions—while box office performance is unpredictable.
“If a film’s revenue doesn’t cover production costs, the financial loss can be enormous.”
‘Every Screenplay Has Something To Teach Me’
Liu Zhenyun. Image: BIBF
Nevertheless, in terms of his creative work, “Every screenplay deserves respect and has something to teach me.
“The concepts of ‘artistic’ and ‘commercial’ success are merely labels. A great film is simply a great film—timeless and enduring. If a film can stand the test of time, it’s successful and becomes a classic.
“Films such as Back to 1942, I Am Not Madame Bovary, and Someone To Talk To were all well-made, achieving both artistic and commercial success.”
“Don’t look for the director Liu Zhenyun to appear in the credits of a film anytime soon, however. “I don’t engage in other filmmaking roles,” he says. “I know my place—I work with words, and I’m content focusing on that.
“I have enjoyed working with all the directors and actors I’ve collaborated with. I’ve learned a lot from them, and observing their work has greatly influenced and inspired my writing. As the Chinese saying goes, ‘True skill lies beyond poetry itself.’
A Programming Note
Thursday, March 13
11:15 a.m. to 12 p.m., Main Stage
Turning the Page: Publishing’s Role in Keeping the Focus on Sustainability
Gvantsa Jobava and Mary Glenn
While the industry has embraced a wide range of initiatives such as expanding the list of titles that explore sustainability, engaging new voices and audiences, promoting diversity, advancing accessible publishing, supporting literacy, and adopting greener production methods, it can be difficult to gauge the true impact of these efforts.
This session explores the challenges of staying committed to sustainability in all aspects from acquisitions and marketing to distribution, measuring progress effectively, and making tangible strides on complex global issues—while showcasing what publishers have already accomplished and what more can be done.
Speakers:
See also:
James Daunt and David Shelley Head for London Book Fair
London Book Fair’s Adam Ridgway: ‘There’s a Lot to Learn’
London Book Fair Week: ‘International Adults’ Hail UK Publishing
Ahead of London Book Fair: Klopotek CEO Peter Karwowski Steps Down
At London Book Fair: Video Games Writer Dan Houser
Richard Charkin: Approaching London Book Fair
The Publishers Association’s Gloria Bailey Wins LBF’s Lifetime Achievement Award
London Book Fair’s International Rights Center
London Book Fair 2025: Seminar Series Highlights
London Book Fair: Daunt and Shelley Headline Keynotes
London Book Fair Announces a Three-Day Academic Conference
London Book Fair 2025 Announces Its Quartet of ‘Authors of the Day’
More from Publishing Perspectives on London Book Fair is here, more on rights and licensing in the book industry is here, more on book fairs and trade shows in the world publishing industry is here, more on the United Kingdom’s publishing market is here, more on books to screens is here, and more on the Chinese industry and market is here.
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