VideoAge International October 2018

38 October 2018 V I D E O A G E O ne aspect often ignored during the conference portion of television trade shows aimed at kids — such as MIP Junior — is the role of publishing in the children’s TV animation sector. This is despite the fact that it is a business estimated to have generated $2 billion in the U.S. alone in 2017 (down from $3.4 billion in 2012). It is also an important element of the success of children’s TV production, international content sales, and programming. When an animated TV cartoon is born, it — like any newborn — has already been saddled with a multitude of expectations, both for its success, as well as its possible failure. And in spite of the efforts of the professionals who work in the animation business, the support from sociological and marketing analysts, and the reports from focus groups, its destiny is often difficult to foresee. It doesn’t really seem to matter how much attention is given to it by its parents (i.e., the producers), or by the many talented names associated with the production — in addition to a host of economic investments. Its success depends on a myriad other factors, none of which are secondary. Among these factors are publishing and merchandising rights — two strategic segments that give a big boost to any cartoon by reinforcing the brand, which helps in selling the program to international TV outlets (including broadcast, cable, and digital), and securing viewer loyalty. Publishing encompasses the publication (in print and/or multimedia) of books, magazines, comics, as well as other items, such as collectors’ trading cards and stickers. It was through publishing that a fundamental market rule for the animation business emerged — that lines of merchandising are more valuable than a single product. In fact, an entire line of products ensures great consumer sales (especial- ly if connected to a successful television show), in addition to promoting the show and its associa- ted consumer products. In publishing, the growing impact of television is a big factor. While the theatrical sector is well defined, television offers multiple IP rights, including a variety of VoD models. Overall, distributionplatforms are constantlymultiplying: Cinema, TV, web, mobile, etc., with broadcasters forever on the lookout for “sure bets.” In this environment, the contribution of publishing to the success of a cartoon could be decisive. Now, how can publishing influence the success of a series? Howmuch should publishing do? And when and how should publishing be involved? Much depends on the nature of a given cartoon. If it is already on its way to becoming successful on its own, it is advisable that publishing efforts follow a few steps behind. In this case, every publishing product (including paper and/or e-books), the design, production, and publishing are usually in the hands of the owner of the property. If, on the other hand, the cartoon tends to be weak, it might be necessary for the publishing element to intervene to eliminate or mitigate the cartoon’s shortcomings, adding originality (if missing), as well as desirability. Acquiring a license for the publishing rights of animated TV series based on known properties is always an effective practice, one which tends to lead to the distribution of editorial products that will prove successful and will further launch the series with amplified effects. With regard to the published editorial content, it is important to pay attention to the cartoon’s target age. If, for example, it is aimed at very young children, it is important that the texts do not differ from the original scripts. In fact, the repetition is verymuch appreciated by very young consumers. But in the case of older age groups, the texts of the published material can deviate from the original scripts, since the difference could be considered a plus. It is important to note that the distribution to consumers of publishing material related to animated TV series should follow the television release since, nowadays, the driving force of television is higher than that obtained from publishing. This is despite the fact that young female audiences still show a marked preference for printed books and e-books (as compared to their male counterparts). Regarding the business model of publishing, it is preferable that each animation house form an internal division to design the books and select the most suitable distribution channel. Small- or medium-sized cartoon producers who are inexperienced with the publishing aspects of the animation business will need to be guided by established publishing houses who are knowled- geable about the process. In this case, the risk is that third-party publishing houses might be una- ble to maintain the same level of entrepreneurial “craftsmanship” of the cartoon-owner, with the added risk of the products losing their originality and becoming boring or bland. Italian-born Gabriella Santini teaches Sociology of Communication at the Academy of Design in Ancona, Italy. The award-winning Santini has written 120 children’s books, many of which have been translated into foreign languages. She also wrote the Winx books for Rainbow for 11 years. Today, Santini writes cartoon screenplays, children’s stories, and educational and game books. By Gabriella Santini* The Role of Publishing in The TV Animation Business Kids’ Television Books adapted for 9 Story’s Daniel Tiger’s Neighborhood Products for Rainbow’s series Sticker albums for Mondo TV’s Robot Trains