337029753 03 01 01 JB John Benjamins Publishing Company 01 JB code CLCC 21 Eb 15 9789027243287 06 10.1075/clcc.21 DG 002 02 01 CLCC 02 2212-9006 Children’s Literature, Culture, and Cognition 21 01 clcc.21 01 https://benjamins.com 02 https://benjamins.com/catalog/clcc.21 1 B01 Nina Christensen Christensen, Nina Nina Christensen Aarhus University 2 B01 Ute Dettmar Dettmar, Ute Ute Dettmar Goethe University 3 B01 Sarah Mygind Mygind, Sarah Sarah Mygind Aarhus University 01 eng 241 ix 231 + index LIT009000 v.2006 DSY 2 24 JB Subject Scheme LIN.NAR Narrative Studies 24 JB Subject Scheme LIT.THEOR Theoretical literature & literary studies 06 01 This volume presents interdisciplinary research on children’s texts and media, transmedia storytelling and transmediality across production, artefacts, and reception.Based in international, interdisciplinary research, the chapters explore a wide range of transmedia narrative phenomena. They highlight narratological issues of world-building, analyze the interplay between transmedia franchises and seriality, investigate networked reception in fan communities, and discuss the relationship between conventional literature and fan works from the perspective of young fanfiction authors. <br />Interviews with international actors from production companies and new educational institutions create dialogues between research, development, and production. <br />The book bridges international research from book history, media studies, and children’s literature studies. Combining a focus on digital and analogue media and pointing to interactions rather than ontologies of separate genres, texts, and media, the volume seeks to inspire future studies and prac-tices, including work that recognizes children not only as users but also as creators. 04 09 01 https://benjamins.com/covers/475/clcc.21.png 04 03 01 https://benjamins.com/covers/475_jpg/9789027237750.jpg 04 03 01 https://benjamins.com/covers/475_tif/9789027237750.tif 06 09 01 https://benjamins.com/covers/1200_front/clcc.21.hb.png 07 09 01 https://benjamins.com/covers/125/clcc.21.png 25 09 01 https://benjamins.com/covers/1200_back/clcc.21.hb.png 27 09 01 https://benjamins.com/covers/3d_web/clcc.21.hb.png 10 01 JB code clcc.21.prelim i iv 4 Prelim pages -1 10 01 JB code clcc.21.toc v vi 2 Table of contents 0 10 01 JB code clcc.21.lof vii x 4 Table of contents 1 10 01 JB code clcc.21.int 1 11 11 Chapter 2 1 A01 Nina Christensen Christensen, Nina Nina Christensen 2 A01 Ute Dettmar Dettmar, Ute Ute Dettmar 3 A01 Sarah Mygind Mygind, Sarah Sarah Mygind 01 Phenomena and practices of transmedia storytelling have been a central research interest in various disciplines for several years. As Matthew Freeman and Renira Gambarato state in their introduction to the <i>Routledge Companion to Transmedia Studies</i> (2019): “The transmedia phenomenon has led to the burgeoning of transmedia studies across film, television, cultural, and communication studies across the academy, not to mention the wider creative and cultural industries” (1). The present volume is based on an interdisciplinary approach to transmedia storytelling, worldbuilding and transmediality and it addresses different levels of production, various kinds of artefacts and media, as well as examples of reception situated in the context of contemporary convergent media cultures. The overall focus is on contemporary developments in children’s literature and young adult fiction in a transmedia environment, in the book market for children and young adults, and in the diverse literary and media practices of children and young people. 10 01 JB code clcc.21.p1 13 1 Section header 3 10 01 JB code clcc.21.01bei 14 30 17 Chapter 4 1 A01 Benjamin Beil Beil, Benjamin Benjamin Beil 2 A01 Hanns Christian Schmidt Schmidt, Hanns Christian Hanns Christian Schmidt 01 This chapter examines the role of Lego within the framework of transmedial seriality, highlighting its impact on children’s media. It explores Lego products both as toys and as sophisticated elements in transmedia storytelling, reflecting on their historical development from simple building blocks to complex narrative and aesthetic elements that span various media platforms. The analysis also focuses on how Lego transcends traditional media boundaries and adaptation logics, moving from toys to films, digital games, and beyond. Special attention is given to the video game <i>Lego Dimensions</i>, which demonstrates how the franchise incorporates both physical and digital worlds, offering a richer understanding of transmedial seriality. Key topics include the evolution of Lego’s narrative integration, its interplay across media, and implications for future transmedia practices. 10 01 JB code clcc.21.02det 31 47 17 Chapter 5 1 A01 Ute Dettmar Dettmar, Ute Ute Dettmar 01 The art of storytelling does not disappear in today’s “mediatised” societies; rather, the interplay of media opens up new narrative possibilities. Cornelia Funke’s work, and in particular the <i>Reckless</i> series, offers a compelling example of this. Funke not only draws on the traditional repertoire of fairy tales, but also embeds her texts within broader intertextual, intermedial, and transmedial frameworks. This chapter examines the interconnections between storytelling and worldbuilding in the <i>Reckless</i> series and the <i>MirrorWorld</i> app: How do stories give rise to worlds? How do complex storyworlds unfold across books and media? Which media-specific structures contribute to these narrative universes, and what holds them together? Building on concepts from transmedial narratology, the chapter explores these dynamics, dimensions, and relations in greater depth. 10 01 JB code clcc.21.03koh 48 66 19 Chapter 6 1 A01 Ulrike Kristina Köhler Köhler, Ulrike Kristina Ulrike Kristina Köhler 01 This chapter explores the narrative aesthetics of the Canadian web series <i>Carmilla</i> (2014–2016), a mystery — dramedy that is loosely based on the vampire novella <i>Carmilla</i> (1871–1872), and which unfolds via YouTube, Twitter (now X), and Tumblr. It analyses the function of these platforms in the storytelling architecture and shows how audiovisual, textual, and visual content contribute to creating the narrative voice, the perspective, and the characters. Looking at intermedial references, it demonstrates how they situate the web series within popular culture, evoke humour and contribute to characterising the protagonists. Drawing particularly on (transmedia) narratology and the theory of adaptation for its theoretical underpinning, the chapter also builds on research on the web series <i>Carmilla</i> and on the vampire figure. 10 01 JB code clcc.21.04say 67 88 22 Chapter 7 1 A01 Cheeno Marlo M. Sayuno Sayuno, Cheeno Marlo M. Cheeno Marlo M. Sayuno 01 The chapter examines how picturebooks in the Philippines are developed, (re)produced, consumed, and expanded, and analyses how these new forms relate to the characteristics of transmedia storytelling from Jenkins (2007, 2011) and Long (2007). The case is a series with 20 picturebooks produced by the international organization <i>Room to Read</i>, through partnerships with Philippine children’s literature publishers and developed by Filipino writers and illustrators, including the author of this chapter. Drawing on how stories are experienced across various platforms, modalities, and languages, as well as children’s experiences as readers and actors, this chapter examines how a transmedia world is created through children’s literature where the child is centre. 10 01 JB code clcc.21.p2 89 1 Section header 8 10 01 JB code clcc.21.05bal 90 108 19 Chapter 9 1 A01 Gitte Balling Balling, Gitte Gitte Balling 2 A01 Marianne Martens Martens, Marianne Marianne Martens 3 A01 Jessica B. Wise Wise, Jessica B. Jessica B. Wise 01 The ‘Bookternet’ (McArdle 2016), including BookTube, Bookstagram, Bookterest, and now BookTok, has changed the way books are produced, promoted, and consumed (Martens 2016; Murray 2018). Yet these platforms provide creative ways for readers to engage in the books they love in online reading communities. BookTokers use the affordances of the app (Bucher &#38; Helmond 2017) to make DIY book art including: (1) rebinds of fanfics, publisher’s mass market editions or rebellious rebinds, (2) thematically linked ‘book nooks’ (book-sized dioramas), or (3) miniature editions. In this chapter we present the BookTok sub-community, focusing on crafty bookish participatory activities and social reading culture (Reddan 2022), and discuss how the materiality of books (Pressman 2020; Baulch 2022) merges with digital technologies within BookTok’s reading community. 10 01 JB code clcc.21.06dug 109 128 20 Chapter 10 1 A01 Jennifer Duggan Duggan, Jennifer Jennifer Duggan 01 Harry Potter fans are known for their subversive transformations of the novels, including queering (or ‘slashing’) characters (Tosenberger, 2008), ‘transing’ characters (Cromwell 2023; Duggan 2022), and ‘racebending’ characters to depict them as Black, Indigenous, and people of color (BIPOC) (e.g., Fowler 2019; Patterson 2022; Seymour 2018; Thomas 2019; Thomas &#38; Dahlen 2022). This chapter analyzes fans’ intersectional transformations of Harry Potter characters as queer, trans, and/or BIPOC in Harry Potter fan fiction and fan art. It considers the politics of depicting characters in ways that ‘speak back’ to the author, the publishing industry, and a cultural context that devalues BIPOC, queer, and trans identities. 10 01 JB code clcc.21.07kla 129 149 21 Chapter 11 1 A01 Lisbeth Klastrup Klastrup, Lisbeth Lisbeth Klastrup 01 This chapter discusses children and adolescents’ engagement with the <i>transmedial Harry Potter</i> world, based on a case study of the replacement of Johnny Depp with Mads Mikkelsen in the role of Grindelwald. It uses transmedial world theory, psychology and cognitive science as well as empirical data to examine how children and adolescents experienced the replacement, focusing on Grindelwald-related material on TikTok and YouTube in 2022–2023. Findings show that online content and commentary focused on the difference in performance and character depiction. However, the prevalence of Depp-positive content on social media during the Heard–Depp trial might have impacted the young audiences’ perception of Depp both as an actor and character performer, demonstrating the impact of social media on the understanding of transmedial world content. 10 01 JB code clcc.21.08sil 150 168 19 Chapter 12 1 A01 Fabienne Silberstein-Bamford Silberstein-Bamford, Fabienne Fabienne Silberstein-Bamford 01 Fanfiction is deeply entangled with young adult literature and encourages an understanding of the YA genre within a larger context of audience agency and participation. At the same time, fanfiction challenges traditional conceptions of literature and transmedia storytelling. A growing number of media are located in in-between spaces, contributing to an erosion of strict literature-fanfiction and producer-consumer divides. How fanfiction fits into the landscape of fiction production is a contested question in scholarship and fan communities. This contribution offers the perspectives of young media fans; most study participants appreciated that there remains a distinction between the two spheres, as they serve different purposes. This highlights a need for academic umbrella terms, which can encompass both institutional and audience-led fiction production. 10 01 JB code clcc.21.p3 169 1 Section header 13 10 01 JB code clcc.21.09myg 170 190 21 Chapter 14 1 A01 Sarah Mygind Mygind, Sarah Sarah Mygind 01 This chapter explores youth literary practices through a qualitative case study of <i>Univers</i>, a Danish talent school for young people aged 14–18. Situated in Aarhus, <i>Univers</i> fosters collaborative creation of visual texts, challenging traditional notions of literary production, authorship, and talent development. Drawing on participant observation and interviews, the study highlights students’ motivations, experiences of creative trust, and their roles as literary citizens within a local cultural community. Findings underscore the value of structured, non-commercial environments in cultivating relational agency and expanding definitions of legitimate literary expression. 10 01 JB code clcc.21.10nor 191 210 20 Chapter 15 1 A01 Corinna Norrick-Rühl Norrick-Rühl, Corinna Corinna Norrick-Rühl 2 A01 Anke Vogel Vogel, Anke Anke Vogel 01 Contemporary children’s literature is produced, distributed and consumed in myriad new ways due to the convergence of media and markets. The materiality of children’s literature has diversified, from traditional print formats (board book, picturebook, hardcover, paperback) to dedicated children’s media devices such as digital audio pens (e.g. Ravenburger’s TipToi) or audio boxes (e.g. TigerBox or Toniebox). However, children’s literature has also taken on new forms of immateriality, when consumed as audio via so-called smart home devices (e.g. Amazon’s Alexa) or as apps via the ubiquitous smartphone or tablets. How do publishers account for this new variety? How has the traditional cash flow in the children’s literature sector changed as a result? This chapter, with a distinct book and publishing studies focus, offers insights into a fast-paced sector which has recently boomed: children’s books and (multi)media, not only as a result of the pandemic. 10 01 JB code clcc.21.11myg 211 221 11 Chapter 16 1 A01 Sarah Mygind Mygind, Sarah Sarah Mygind 01 Elin Algreen-Petersen is the co-founder and head of the Cross-Media School of Children’s Fiction in Copenhagen, Denmark. She established the school in 2020 together with Dennis Glintborg. Today, it operates as a full-time educational program funded by the Danish Ministry of Culture. Prior to this, Elin spent 20 years in the publishing industry, where she developed, edited, and published books for children and young adults. Among other roles, she served as editor-in-chief of the Children’s Books department at Gyldendal. 10 01 JB code clcc.21.12myg 222 227 6 Chapter 17 1 A01 Sarah Mygind Mygind, Sarah Sarah Mygind 01 Jella Ritzen currently works for ZDF, one of Germany’s public broadcasting services. In her previous role, she served as an editor and content developer at funk — the public service content network aimed at audiences aged 14 to 29. Her work there included adapting the Norwegian web series <i>SKAM</i> for a German audience, resulting in the series <i>DRUCK</i>. This volume seeks to strengthen the international dialogue between research, development, and production, and this interview will shed light on dimensions of adapting content for young people from one national context to another from a production perspective. 10 01 JB code clcc.21.atc 228 231 4 Chapter 18 02 JBENJAMINS John Benjamins Publishing Company 01 John Benjamins Publishing Company Amsterdam/Philadelphia NL 02 December 2026 20261215 2026 John Benjamins B.V. 02 WORLD 13 15 9789027237750 01 JB 3 John Benjamins e-Platform 03 jbe-platform.com 09 WORLD 10 20261215 01 00 130.00 EUR R 01 00 109.00 GBP Z 01 gen 00 169.00 USD S 245029752 03 01 01 JB John Benjamins Publishing Company 01 JB code CLCC 21 Hb 15 9789027237750 BB 01 CLCC 02 2212-9006 Children’s Literature, Culture, and Cognition 21 01 clcc.21 01 https://benjamins.com 02 https://benjamins.com/catalog/clcc.21 1 B01 Nina Christensen Christensen, Nina Nina Christensen Aarhus University 2 B01 Ute Dettmar Dettmar, Ute Ute Dettmar Goethe University 3 B01 Sarah Mygind Mygind, Sarah Sarah Mygind Aarhus University 01 eng 241 ix 231 + index LIT009000 v.2006 DSY 2 24 JB Subject Scheme LIN.NAR Narrative Studies 24 JB Subject Scheme LIT.THEOR Theoretical literature & literary studies 06 01 This volume presents interdisciplinary research on children’s texts and media, transmedia storytelling and transmediality across production, artefacts, and reception.Based in international, interdisciplinary research, the chapters explore a wide range of transmedia narrative phenomena. They highlight narratological issues of world-building, analyze the interplay between transmedia franchises and seriality, investigate networked reception in fan communities, and discuss the relationship between conventional literature and fan works from the perspective of young fanfiction authors. <br />Interviews with international actors from production companies and new educational institutions create dialogues between research, development, and production. <br />The book bridges international research from book history, media studies, and children’s literature studies. Combining a focus on digital and analogue media and pointing to interactions rather than ontologies of separate genres, texts, and media, the volume seeks to inspire future studies and prac-tices, including work that recognizes children not only as users but also as creators. 04 09 01 https://benjamins.com/covers/475/clcc.21.png 04 03 01 https://benjamins.com/covers/475_jpg/9789027237750.jpg 04 03 01 https://benjamins.com/covers/475_tif/9789027237750.tif 06 09 01 https://benjamins.com/covers/1200_front/clcc.21.hb.png 07 09 01 https://benjamins.com/covers/125/clcc.21.png 25 09 01 https://benjamins.com/covers/1200_back/clcc.21.hb.png 27 09 01 https://benjamins.com/covers/3d_web/clcc.21.hb.png 10 01 JB code clcc.21.prelim i iv 4 Prelim pages -1 10 01 JB code clcc.21.toc v vi 2 Table of contents 0 10 01 JB code clcc.21.lof vii x 4 Table of contents 1 10 01 JB code clcc.21.int 1 11 11 Chapter 2 1 A01 Nina Christensen Christensen, Nina Nina Christensen 2 A01 Ute Dettmar Dettmar, Ute Ute Dettmar 3 A01 Sarah Mygind Mygind, Sarah Sarah Mygind 01 Phenomena and practices of transmedia storytelling have been a central research interest in various disciplines for several years. As Matthew Freeman and Renira Gambarato state in their introduction to the <i>Routledge Companion to Transmedia Studies</i> (2019): “The transmedia phenomenon has led to the burgeoning of transmedia studies across film, television, cultural, and communication studies across the academy, not to mention the wider creative and cultural industries” (1). The present volume is based on an interdisciplinary approach to transmedia storytelling, worldbuilding and transmediality and it addresses different levels of production, various kinds of artefacts and media, as well as examples of reception situated in the context of contemporary convergent media cultures. The overall focus is on contemporary developments in children’s literature and young adult fiction in a transmedia environment, in the book market for children and young adults, and in the diverse literary and media practices of children and young people. 10 01 JB code clcc.21.p1 13 1 Section header 3 10 01 JB code clcc.21.01bei 14 30 17 Chapter 4 1 A01 Benjamin Beil Beil, Benjamin Benjamin Beil 2 A01 Hanns Christian Schmidt Schmidt, Hanns Christian Hanns Christian Schmidt 01 This chapter examines the role of Lego within the framework of transmedial seriality, highlighting its impact on children’s media. It explores Lego products both as toys and as sophisticated elements in transmedia storytelling, reflecting on their historical development from simple building blocks to complex narrative and aesthetic elements that span various media platforms. The analysis also focuses on how Lego transcends traditional media boundaries and adaptation logics, moving from toys to films, digital games, and beyond. Special attention is given to the video game <i>Lego Dimensions</i>, which demonstrates how the franchise incorporates both physical and digital worlds, offering a richer understanding of transmedial seriality. Key topics include the evolution of Lego’s narrative integration, its interplay across media, and implications for future transmedia practices. 10 01 JB code clcc.21.02det 31 47 17 Chapter 5 1 A01 Ute Dettmar Dettmar, Ute Ute Dettmar 01 The art of storytelling does not disappear in today’s “mediatised” societies; rather, the interplay of media opens up new narrative possibilities. Cornelia Funke’s work, and in particular the <i>Reckless</i> series, offers a compelling example of this. Funke not only draws on the traditional repertoire of fairy tales, but also embeds her texts within broader intertextual, intermedial, and transmedial frameworks. This chapter examines the interconnections between storytelling and worldbuilding in the <i>Reckless</i> series and the <i>MirrorWorld</i> app: How do stories give rise to worlds? How do complex storyworlds unfold across books and media? Which media-specific structures contribute to these narrative universes, and what holds them together? Building on concepts from transmedial narratology, the chapter explores these dynamics, dimensions, and relations in greater depth. 10 01 JB code clcc.21.03koh 48 66 19 Chapter 6 1 A01 Ulrike Kristina Köhler Köhler, Ulrike Kristina Ulrike Kristina Köhler 01 This chapter explores the narrative aesthetics of the Canadian web series <i>Carmilla</i> (2014–2016), a mystery — dramedy that is loosely based on the vampire novella <i>Carmilla</i> (1871–1872), and which unfolds via YouTube, Twitter (now X), and Tumblr. It analyses the function of these platforms in the storytelling architecture and shows how audiovisual, textual, and visual content contribute to creating the narrative voice, the perspective, and the characters. Looking at intermedial references, it demonstrates how they situate the web series within popular culture, evoke humour and contribute to characterising the protagonists. Drawing particularly on (transmedia) narratology and the theory of adaptation for its theoretical underpinning, the chapter also builds on research on the web series <i>Carmilla</i> and on the vampire figure. 10 01 JB code clcc.21.04say 67 88 22 Chapter 7 1 A01 Cheeno Marlo M. Sayuno Sayuno, Cheeno Marlo M. Cheeno Marlo M. Sayuno 01 The chapter examines how picturebooks in the Philippines are developed, (re)produced, consumed, and expanded, and analyses how these new forms relate to the characteristics of transmedia storytelling from Jenkins (2007, 2011) and Long (2007). The case is a series with 20 picturebooks produced by the international organization <i>Room to Read</i>, through partnerships with Philippine children’s literature publishers and developed by Filipino writers and illustrators, including the author of this chapter. Drawing on how stories are experienced across various platforms, modalities, and languages, as well as children’s experiences as readers and actors, this chapter examines how a transmedia world is created through children’s literature where the child is centre. 10 01 JB code clcc.21.p2 89 1 Section header 8 10 01 JB code clcc.21.05bal 90 108 19 Chapter 9 1 A01 Gitte Balling Balling, Gitte Gitte Balling 2 A01 Marianne Martens Martens, Marianne Marianne Martens 3 A01 Jessica B. Wise Wise, Jessica B. Jessica B. Wise 01 The ‘Bookternet’ (McArdle 2016), including BookTube, Bookstagram, Bookterest, and now BookTok, has changed the way books are produced, promoted, and consumed (Martens 2016; Murray 2018). Yet these platforms provide creative ways for readers to engage in the books they love in online reading communities. BookTokers use the affordances of the app (Bucher &#38; Helmond 2017) to make DIY book art including: (1) rebinds of fanfics, publisher’s mass market editions or rebellious rebinds, (2) thematically linked ‘book nooks’ (book-sized dioramas), or (3) miniature editions. In this chapter we present the BookTok sub-community, focusing on crafty bookish participatory activities and social reading culture (Reddan 2022), and discuss how the materiality of books (Pressman 2020; Baulch 2022) merges with digital technologies within BookTok’s reading community. 10 01 JB code clcc.21.06dug 109 128 20 Chapter 10 1 A01 Jennifer Duggan Duggan, Jennifer Jennifer Duggan 01 Harry Potter fans are known for their subversive transformations of the novels, including queering (or ‘slashing’) characters (Tosenberger, 2008), ‘transing’ characters (Cromwell 2023; Duggan 2022), and ‘racebending’ characters to depict them as Black, Indigenous, and people of color (BIPOC) (e.g., Fowler 2019; Patterson 2022; Seymour 2018; Thomas 2019; Thomas &#38; Dahlen 2022). This chapter analyzes fans’ intersectional transformations of Harry Potter characters as queer, trans, and/or BIPOC in Harry Potter fan fiction and fan art. It considers the politics of depicting characters in ways that ‘speak back’ to the author, the publishing industry, and a cultural context that devalues BIPOC, queer, and trans identities. 10 01 JB code clcc.21.07kla 129 149 21 Chapter 11 1 A01 Lisbeth Klastrup Klastrup, Lisbeth Lisbeth Klastrup 01 This chapter discusses children and adolescents’ engagement with the <i>transmedial Harry Potter</i> world, based on a case study of the replacement of Johnny Depp with Mads Mikkelsen in the role of Grindelwald. It uses transmedial world theory, psychology and cognitive science as well as empirical data to examine how children and adolescents experienced the replacement, focusing on Grindelwald-related material on TikTok and YouTube in 2022–2023. Findings show that online content and commentary focused on the difference in performance and character depiction. However, the prevalence of Depp-positive content on social media during the Heard–Depp trial might have impacted the young audiences’ perception of Depp both as an actor and character performer, demonstrating the impact of social media on the understanding of transmedial world content. 10 01 JB code clcc.21.08sil 150 168 19 Chapter 12 1 A01 Fabienne Silberstein-Bamford Silberstein-Bamford, Fabienne Fabienne Silberstein-Bamford 01 Fanfiction is deeply entangled with young adult literature and encourages an understanding of the YA genre within a larger context of audience agency and participation. At the same time, fanfiction challenges traditional conceptions of literature and transmedia storytelling. A growing number of media are located in in-between spaces, contributing to an erosion of strict literature-fanfiction and producer-consumer divides. How fanfiction fits into the landscape of fiction production is a contested question in scholarship and fan communities. This contribution offers the perspectives of young media fans; most study participants appreciated that there remains a distinction between the two spheres, as they serve different purposes. This highlights a need for academic umbrella terms, which can encompass both institutional and audience-led fiction production. 10 01 JB code clcc.21.p3 169 1 Section header 13 10 01 JB code clcc.21.09myg 170 190 21 Chapter 14 1 A01 Sarah Mygind Mygind, Sarah Sarah Mygind 01 This chapter explores youth literary practices through a qualitative case study of <i>Univers</i>, a Danish talent school for young people aged 14–18. Situated in Aarhus, <i>Univers</i> fosters collaborative creation of visual texts, challenging traditional notions of literary production, authorship, and talent development. Drawing on participant observation and interviews, the study highlights students’ motivations, experiences of creative trust, and their roles as literary citizens within a local cultural community. Findings underscore the value of structured, non-commercial environments in cultivating relational agency and expanding definitions of legitimate literary expression. 10 01 JB code clcc.21.10nor 191 210 20 Chapter 15 1 A01 Corinna Norrick-Rühl Norrick-Rühl, Corinna Corinna Norrick-Rühl 2 A01 Anke Vogel Vogel, Anke Anke Vogel 01 Contemporary children’s literature is produced, distributed and consumed in myriad new ways due to the convergence of media and markets. The materiality of children’s literature has diversified, from traditional print formats (board book, picturebook, hardcover, paperback) to dedicated children’s media devices such as digital audio pens (e.g. Ravenburger’s TipToi) or audio boxes (e.g. TigerBox or Toniebox). However, children’s literature has also taken on new forms of immateriality, when consumed as audio via so-called smart home devices (e.g. Amazon’s Alexa) or as apps via the ubiquitous smartphone or tablets. How do publishers account for this new variety? How has the traditional cash flow in the children’s literature sector changed as a result? This chapter, with a distinct book and publishing studies focus, offers insights into a fast-paced sector which has recently boomed: children’s books and (multi)media, not only as a result of the pandemic. 10 01 JB code clcc.21.11myg 211 221 11 Chapter 16 1 A01 Sarah Mygind Mygind, Sarah Sarah Mygind 01 Elin Algreen-Petersen is the co-founder and head of the Cross-Media School of Children’s Fiction in Copenhagen, Denmark. She established the school in 2020 together with Dennis Glintborg. Today, it operates as a full-time educational program funded by the Danish Ministry of Culture. Prior to this, Elin spent 20 years in the publishing industry, where she developed, edited, and published books for children and young adults. Among other roles, she served as editor-in-chief of the Children’s Books department at Gyldendal. 10 01 JB code clcc.21.12myg 222 227 6 Chapter 17 1 A01 Sarah Mygind Mygind, Sarah Sarah Mygind 01 Jella Ritzen currently works for ZDF, one of Germany’s public broadcasting services. In her previous role, she served as an editor and content developer at funk — the public service content network aimed at audiences aged 14 to 29. Her work there included adapting the Norwegian web series <i>SKAM</i> for a German audience, resulting in the series <i>DRUCK</i>. This volume seeks to strengthen the international dialogue between research, development, and production, and this interview will shed light on dimensions of adapting content for young people from one national context to another from a production perspective. 10 01 JB code clcc.21.atc 228 231 4 Chapter 18 02 JBENJAMINS John Benjamins Publishing Company 01 John Benjamins Publishing Company Amsterdam/Philadelphia NL 02 December 2026 20261215 2026 John Benjamins B.V. 02 WORLD 01 JB 1 John Benjamins Publishing Company +31 20 6304747 +31 20 6739773 bookorder@benjamins.nl 01 https://benjamins.com 01 WORLD US CA MX 10 20261215 01 02 JB 1 00 130.00 EUR R 02 02 JB 1 00 137.80 EUR R 01 JB 10 John Benjamins Publishing Company +31 20 6304747 bookorder@benjamins.nl 01 GB 10 20261215 02 02 JB 1 00 109.00 GBP Z 01 JB 2 Casemate Academic 610-853-9131 610-853-9143 Girard.Kratz@casematepublishers.com 01 https://benjamins.com 02 US CA MX 10 20261215 01 gen 02 JB 1 00 169.00 USD