Scholastic Posts

“The Serpent’s Secret” by Sayantani Dasgupta

“Dark energy. It’s the energy that helps the universe keep expanding. You might call it a part of the universal life force.” 

That sounded vaguely familiar. 

“My Baba always tells me we’re all connected to energy — trees, wind, animals, people, everything.” I tried to get my ragged breathing under control. “He says that the life energy is a kind of river flowing through the universe.”

And that our souls are just a bit of that river water held inside the clay pitcher of our bodies?” Neel smiled at my surprise. “Year, I know that story too. They say that when our bodies give out, that’s just the pitcher breaking, pouring what’s inside back into the original stream of universal souls.”

“So no one’s soul is ever really gone,” I finished, repeating the words that Baba had said to me often. 

Sayantani Dasgupta‘s The Serpent’s Curse is a delightful fantasy story about a twelve-year-old girl, Kiranmala, who sulks at the idea of being dressed up as a princess for Halloween. She refuses to believe her parents when they claim Kiranmala is a genuine princess and on her birthday ( which alas falls on Halloween) she must dress up appropriately. It is on her twelfth birthday that all sorts of odd things begin to happen. She discovers her parents have disappeared leaving a moving map in their wake for her assistance, two princes have arrived on winged horses to escort her, there are monsters in her backyard and much, much more. It is an exciting adventure she sets off on to locate her parents while trying not to get entangled in the affairs of the Serpent King and the Rakkhoshi Queen.

The Serpent’s Curse is a mish-mash of desi folklore and myths combined with the American experiences of an immigrant family told at a brisk pace. Even though the fantasy elements are familiar and many of the stories told are retellings of well-known Indian folklore, it really does not matter. The beauty of age-old stories is that they can be told once more by a master storyteller and still be magical. The same holds true for The Serpent’s Curse. The fight between good vs evil, the Serpent King / Naga, the Rakkhoshi Queen / Evil Queen, the Underworld, princes and princesses etc.

Book review

While this is being promoted as YAlit an eight-year-old reader I met was absolutely charmed by this book. The little girl told me solemnly “I picked up this book at the school book fair because the cover was so lovely. I am now enjoying the story too.” Then at my request she proceeded to write a short book review as well though in her note on the left hand side says it is an “interview”. This is what she wrote:

Interview of The Serpent’s Tail

I enjoyed the book a lot because there were spells, snakes, mysterious parentage and magical lands. 

The story is about a girl who had annoying parents and one day she realized that her parents were gone and she set off with two princes one half demon other human and she realizes that her mum is actually someone else and so was her dad. Her mum is actually a moon maiden and her dad is the king of serpents! 

I picked the book because it had a cool cover and serpents are cool. 

I rate this book: 0/4 serpents and 4/4 moons 

The action in The Serpent’s Curse moves swiftly. The dialogue is never dull despite incorporating a lot of “Indianisms”. Having grown up on a feast of stories and desirous of sharing this rich storytelling tradition prompted Dr Sayantani Dasgupta to create her own books that retell Indian myths and folklore for the youngsters of the Indian diaspora. Having said that the book works equally well for everyone! The author is a pediatrician by training but now teaches narrative medicine/health humanities at Columbia University. It probably explains the chatty and accessible style of her storytelling. There is a lovely rhythm to the pace without a word out of place. She acknowledges her colleagues for inculcating in her that “stories are the best medicine”.

The Serpent’s Tale is well worth checking out!

Sayantani Dasgupta The Serpent’s Tale Scholastic, New York, USA, 2018. Hb. Pp. 350 Rs 495

31 May 2018 

 

Allen Say “Silent Days, Silent Dreams”

Caldecott medalist Allen Say’s Silent Days, Silent Dreamis a biography of self-taught artist James Castle (1899-1977).  It is a “memoir” as narrated by a fictionalized nephew of Castle who shares details about his deaf, mute, autistic and dyslexic uncle who was completely closed in himself and yet learned how to draw. Castle’s father was the postmaster for a small community they lived in Idaho. The family’s drawing room doubled up as the postmaster’s official space so it was cluttered with parcels, catalogues, paper etc. The little James Castle probably taught himself to draw while whiling away his time in this room. Over time he was found to be of absolutely no help to his family on their farm or other household chores so he was left to himself. He slowly found quiet in the attic of an old barn which he converted into his “studio” which in subsequent shifts was the chicken coop in an empty barn. He drew and drew and drew. For lack of sophisticated art materials he drew using the soot of wood combined with spit and used junk paper. When he was about seven his parents sent him off along with his older sister to the Idaho School for Deaf and Blind. There too he tried to draw in secret ( only girls were permitted to learn drawing, not boys) and punished if discovered. He never did learn to read and write and was sent home when he was fifteen years old. While at the school he did discover the joy of being in the library, surrounded by books and watching his teachers “create and stitch new books for their students. Years later his drawings were “discovered” and he did one-man shows. Upon his death he left more than 15,000 pieces of work that are estimated to be less than one-third of his productivity during his lifetime, as every time Castle’s family moved, all his paintings were left behind and lost.

The research Allen Say did for this book was intensive. He even tried to recreate the illustrations for Silent Days, Silent Dreams using the soot from the wood fireplace in his home. He tried to emulate the drawing style of James Castle to create as “authentic” an account of Castle’s life. Most of Castle’s drawings were made from reclaimed trash he found on the property such as junk paper, construction materials, and rags. Allen Say was assisted by his wife in creating the toys in a similar fashion for this book.

In Allen Say’s graphic novel memoir The Inker’s Shadow Kyusuke, Allen Say’s cartoon double, advises him to draw what’s around you”; much like what James Castle later become famous for too. Allen Say like James Castle had a room to call his own, a retreat, a studio, that was given to him first by his mother in Japan and later when he moved to America by his guardian Major Bill at the American military school he was studying at.  In his part memoir, part graphic novel Drawing From Memory which is about his relationship with his sensei, spiritual father, and well-known cartoonist Noro Shinpei, Allen Say says about his childhood “I drew what I saw and what I imagined,  and I copied from comic books. When I was drawing, I was happy. I didn’t toys or friends or parents.’

The story of James Castle probably resonated with Allen Say who too became an artist against all odds as his father was convinced his son had to learn English to “become a success in life” and was shunned for his artistic leanings. Both the artists’ artistic temperament was not appreciated by their families and they were shunned; so they “withdrew” to draw in makeshift studios. For Allen Say “Art is like translating my dream world, put that on paper”, much as it was for James Castle who drew all that he wished for. No wonder Allen Say says “my discovery about Castle’s art was that the act of drawing was an act of possession”.

What a treat it is to discover these books! Biographies as picture books are a fine art form. It is an excellent way to introduce an eminent person to a younger generation. It is not an easy form to tackle but if done well it is purely magical. In the case of Silent Days, Silent Dreams there is something extra special for one artist describing another’s life and discovering the many similarities.

Dream books to possess!

Allen Say Silent Days, Silent Dreams Arthur A. Levine Books, an imprint of Scholastic, New York, 2017. Hb. 

Allen Say Drawing From Memory Scholastic Press, New York, 2011. Hb. 

Allen Say The Inker’s Shadow Scholastic Press, New York, 2015. Hb. 

6 May 2018 

 

Panel on “The Business of Books: Is there a Gender Gap in Publishing?”

(L-R) Aditi, Aarti, Rashmi, Jaya, Shantanu and Arpita

( Update: An expanded version of this blog post was published by Times of India on their website on 16 March 2018.)

To celebrate Women’s Day, ShethePeople organised a day long Women Writer’s Fest at Instituto Cervantes, New Delhi on Saturday, 10 March 2018. There were a range of fascinating panel discussions organised. I was moderated the midday session on “The Business of Books: Is there a Gender Gap in Publishing?”.

The panel consisted of eminent publishers such as: Aarti David, VP – Publishing, SAGE India; Shantanu Duttagupta, Head of Publishing, Scholastic India; Arpita Das, founder Yoda Press and co-founder Authors Press; Aditi Maheshwari-Goyal, Director, Copyrights and Translation, Vani Prakashan; and Rashmi Menon, Managing Editor, Amaryllis. The panel was a good representation of different kinds of publishing as they exist in India/ world today. SAGE is a multinational firm specialising in HSS (Humanities and Social Sciences) academic books and journals. Scholastic is a multinational firm specialising in children’s literature and is widely known for its direct marketing initiatives like school book fairs. Amaryllis is the English language imprint/firm launched by the Hindi publishing firm Manjul. Manjul Publishing is known globally for publishing the Hindi translation of Harry Potter. Recently Amaryllis announced its collaboration with HarperCollins India to distribute their books. Vani Prakashan is a family-owned business specialising in Hindi literature across disciplines and was established by Aditi’s grandfather. They also publish translations of international literature. Yodakin is an independent publishing firm co-founded by Arpita specialising in gender, social sciences academic books. They were the first to launch an LGBTQ list in India. A couple of years ago they announced a collaboration with SAGE India to co-publish titles. She is also the co-founder of a self-publishing firm called Authors Press.

The conversation which ensued was fascinating with anecdotal experience about publishing. Aarti David spoke of her entry into publishing after being told by a HR consultant that now she was the mother of a two year old child it would be very difficult for her to get a job. Fortunately the person who interviewed her at SAGE India for the post of an executive assistant was the legendary publisher, late Tejeshwar Singh. After the interview he offered her a post in the marketing department. She has never left the firm. In fact there is gender parity at SAGE evident at the senior management level too. Of course as Arpita pointed out this has to do with the insititutional culture given that one of the co-founders of SAGE is Sara Miller McCune.

Rashmi Menon asserted that this was a complicated topic as depending upon which layer of publishing function one viewed there were gender gaps to be seen. For instance in her experience gender gap was noticeable in every top layer of management but much less in the editorial departments of a publishing firm.

Arpita Das was very clear that a gender gap existed as she rightly pointed out, “Always ask who controls the money?” She too shared some powerful examples of how gender equations work within firms and the publishing eco-system. Unfortunately in her experience after many years of being a publishing professional none of these deeply embedded attitudes have disappeared or are showing any signs of lessening. To illustrate this point she spoke of the male messenger in her first publishing job who had been entrusted with the task of taking their final manuscripts to the printers. At the time of handover this person would stare at the chest of the editor who inevitably was a female. Once Arpita called him out and asked him to look directly in to her eyes and speak. Ever after that all her handovers to the printer had mistakes. Even now, years later, she finds that these scenarios are repeated with her younger colleagues and she is still having the same arguments.

Shantanu Duttagupta was the only male publisher in a women dominated panel. He was also the only publisher to be representing children’s literature which is more often than not viewed largely to be the purview of women editors. He was clear from the outset that the gender gap in their firm is rapidly narrowing. In fact according to a recent statistic released by their HR department nearly 60% of their employees are women. This includes departments that are otherwise not viewed traditionally as women-oriented roles like production, accounts, and sales. He also reiterated that in his opinion this gender gap was in all likelihood being corrected by the ever growing list of books by women where the gender role plays were being discussed, demonstrated and subverted. Classic example of this being Scholastic’s bestseller the Geronimo Stilton series that are written by an Italian woman and then translated into multiple languages.

Aditi had a fascinating perspective to share. Vani Prakashan traditionally sells in the Hindi-speaking belt of the states of Uttar Pradesh and Bihar. In her experience publishing firms established outside the metros in tier-2 and tier-3 towns as well as in the villages are increasingly being managed by women. They are even responsible for printing, publishing and promoting their books. Selling it in the market while balancing a baby on their hip. Nothing deters them from continuing with the business of publishing books. Even at their own firm it is her mother who is responsible for ensuring the GST is filed on time, the office is opened on time, all branches of the firm work efficiently with the employees clocking in on time and leaving on time too. Her mother plays an integral part of the daily running of the firm. But as Arpita pointed out that in many family owned business the role of the woman gains importance which may not necessarily be the case in corporate systems.

After listening to the various perspectives I shared my own experience in the industry. I shared how in the past nine months since the new taxation policy of GST ( 1 July 2017) was announced it has become amply clear how the business lines in this industry are divided. I say this from personal experience at having witnessed and/or participated in events that have been about the business of publishing. Soon after GST came into effect I chaired a panel discussion of tax lawyers with publishing professionals. For the first time in my career (and I have been associated with this industry since the early 1990s) I witnessed a gathering representing finance, production, and editorial. There were people from independent publishers to multinational firms. There were self-publishers. There were language publishers. There were trade, children’s literature and academic publishers. Both men and women were present with men outnumbering the women. In the past year whenever I have attended policy meetings, had conversations about the business of publishing, attended the recently concluded 32nd International Publishers Association Congress and researched for my reports on the book market of India, I have inevitably come across more men than women in key decision-making positions. By “key” I mean designations where the professionals have the authority to comment upon their firm’s business models, income-generating streams, focus on business of making money in an industry which traditionally survives on razor sharp profit margins or those who are at a liberty to speak on behalf of their companies. Having said that there is a perceptible shift in this gender composition of firms to see women workforces in accounting, sales, and production departments and some are distributors and buyers for book retail chains and increasingly men in editorial departments. This gender disparity is “reversed” where the feminisation of the creative side the publishing ecosystem is visible. Increasingly there are more and more women writers, translators, designers, freelance editors, typesetters, reviewers, bloggers, publicists, and booksellers. These creative spaces are where there is less money to be made upfront. Also it is work that can be done juggling other responsibilities like domesticity and caregiving. This part of the workforce is as critical as all the other aspects listed above but is underpaid because  a) they are perceived as being a part of the gig economy and b) because of an inherent gender bias their labour is undervalued since the costs of production are “contained” within reasonable limits. After all the end product, i.e. the book is a price sensitive commodity, even though in my humble opinion every single book is akin to being a design product and needs to be recognised in this manner. Frankly everyone ( irrespective of gender) involved in this publishing ecosystem needs to recognise the importance of being critically aware of how the business of publishing needs to be aligned severely with the creation of books and knowledge platforms. It is probably then that some form of gender parity may begin to creep into the industry. Green shoots of it are already noticeable with some key positions being held by women. Having said that feminisation of the editorial and creative community continue to exist. To my mind this appalling given how the evaluation of this industry is growing in leaps and bounds. According to the latest figures released by Nielsen Book Scan the Indian Book Market is valued at $6.5bn. This is an industry that creates something of value based upon the creative output of others, ie the authors.

So yes, I sincerely believe there is a gender gap in publishing, particularly when it comes to the business of books. There are many, many more strands I can pick up in this discussion but due to constraints of time I am unable to do so.

All said and done it was a fabulous session that according to the wonderful organisers, Kiran Manral and Shaili Chopra, not only went down well with the audience but also gained a lot of traction over social media. If it had not been for the competent emceeing of Saumya Kulshreshtha we would have continued chatting on stage for hours. There is so much to say on the topic!

13 March 2018 

 

 

Press Release: Geronimo Stilton on Voot.com

First time in India!

Fabumouse Reporter Geronimo Stilton is now on Voot.com

26 February 2018 

Sylvia Bishop’s “The Bookshop Girl”

Sylvia Bishop’s The Bookshop Girl is about little Sylvia who was left behind in The White Hart bookstore by her birth family. She was six. She was discoverd by Michael who was The White Hart’s owner, Netty’s, son.  Michael had promptly put her into a cupboard from where she was rescued by Netty and adopted. This happy ragtag of a family lived and worked in the inn-converted-bookshop. They were not exactly impoverished but they were definitely not well off. Michael for example wore clothes that were much too small for a thirteen year old. They were a happily content family. Their happiness quotient went through the roof when they realised they had unexpectedly won the raffle to inherit the famous London bookshop — Montgomery Book Emporium. (Judging from the descriptions in the book, Montgomery Book Emporium was probably much like this fantastic four-storey bookstore in Detroit. ) To retain this inheritance the family unexpectedly finds itself in the middle of a book adventure involving forgeries, bibliophiles, book antiquarians and museum officials.

The Bookshop Girl is suitable for readers graduating out of chapter books. Plot apart, it is a lovely way of young readers discovering a cannon of writers who have been influential on modern literature such as Shakespeare, Da Vinci, etc. They story has a crisp pace. It is a delight to read especially along with the wacky illustrations by Ashley King. This incredibly talented duo worked together on Sylvia Bishop’s gorgeous debut novel Erica’s Elephant too.

Buy these books. Read them. Share them.

Sylvia Bishop The Bookshop Girl ( Illustrated by Ashley King) Scholastic Children’s Book, London, 2017. Pb. pp. 

26 February 2018 

Scholastic Corporation Rings the Nasdaq Stock Market Opening Bell

On 14 February 2018 to coincide with the birthday of beloved children’s character Clifford, Scholastic Corporation Rang the Nasdaq Stock Market Opening Bell .

[Here is the text from the press release]

Scholastic Corporation (Nasdaq: SCHL), the global children’s publishing, education and media company, will visit the Nasdaq MarketSite in Times Square on Valentine’s Day in honor of Clifford The Big Red Dog’s birthday.

Dick Robinson, Chairman, President and CEO of Scholastic, will be joined by the beloved literary icon Clifford as well as Scholastic employees with their children to ring the Opening Bell. For more than 55 years, Clifford has added joy to the lives of millions of children and has grown from a bestselling book series by the late, great Norman Bridwell into an iconic global brand. Today, there are more than 130 million Clifford books in print – plus a Clifford television series (currently on Netflix and through iTunes and Google Play), toys, games, ebooks, and interactive products, so that children can interact with Clifford wherever and whenever they like.

****

Scholastic India have a large presence locally too.

15 February 2018 

“The Boy, The Bird and The Coffin Maker” by

The Boy, the Bird and the Coffin Maker    by Australian writer Matilda Woods is exquisite! It is as the title says about three unlikely companions — the boy, the bird and the coffin maker. It is a tale seeped in grief but also in so much beauty and hope. It is utterly magical. Unexpectedly the reader falls headlong into the story from the first line. It has been beautifully illustrated in two tones by Anuska Allepuz with details on every page, full page illustrations tipped in and the end covers are a dream. The art work complements the story fabulously without really constraining the imagination of the reader by attempting to illustrate every description in the story.  The book is a keeper. Matilda Woods next book will be orth looking out for.

Read it!

Matilda Woods The Boy, The Bird and the Coffin Maker Scholastic. 2017. Pb. 

11 February 2018 

 

 

The Magic School Bus on Netflix

The immensely popular Magic School Bus books have now been released as a new animation series on Netflix. Here is the trailer:

 

This edutainment series are a marvellous way to introduce children to concepts such as the water cycle, volcanoes, climate change, environment, solar system etc. The reasonably priced and heavily illustrated books published by Scholastic are available on Amazon. Some facts about the series:

More than 90 million books in print, in 9 languages! 
• The book series celebrated its 30th anniversary in 2016
The Magic School Bus is the longest-running children’s television science series, with the classic series on the air for 18 consecutive years
• The series presents scientific facts in the form of stories

• Each book has a page at the end detailing in a humorous manner which parts of the book represented scientific fact and which were fanciful storytelling

The series were released on Netflix on 26 September 2017!

5 Oct 2017 

 

Scholastic India celebrates International Literacy Day ( 8 September 2017)

Scholastic India to Participate in International Literacy Day to Promote Literacy as an Instrument to Empower Individuals, Communities and Societies

New Delhi, 8th September 2017 – Fifty one years ago, September 8 was officially proclaimed as International Literacy Day by UNESCO aimed at mobilizing the international community to promote literacy as an instrument to empower individuals, communities and societies.
Scholastic, the global children’s publishing, education and media company, is celebrating International Literacy Day in India and around the world. Scholastic India has engaged partners across the spectrum to reach out to readers. These include:
� Popular parenting website MyCity4Kids will encourage parents to write about why reading is important.
� The popular Facebook reading group for parents The Reading Raccoons, is inviting parents to post a picture of their children reading.
� Scholastic has associated with Books On The Delhi Metro, a group of reading enthusiasts and book fairies who drop books inside the Delhi metro for commuters to read and pass on. They will drop bestselling Scholastic books inside the metro on September 8.
� On Twitter, the Scholastic India handle will donate to a foundation The Community Library Project the total number of books equal to the number of retweets of its International Literacy Day message.

Speaking on this range of activities, Neeraj Jain, Managing Director, Scholastic India said, “Access to books, and reading books of their choice every day, helps children grow into readers. This in turn can transform a child’s prospects for success. For International Literacy Day, we have tried to capture these aspects through various activities, hoping to encourage parents to participate in the process.”
In 2016, Scholastic India released the findings of its first-ever India version of the global research report, Kids & Family Reading ReportTM. This national survey of Indian children aged 6–17 years and their parents, plus parents of children aged 0–5, explores attitudes and behaviours toward reading books. The survey reveals that 86 percent of children aged 6–17 years agree that “my favourite books are the ones that I have picked out myself.” Eighty-eight per cent of boys and eighty-six percent of girls equally agree “I would read more if I could find more books that I like.” The majority of children, 81 percent, in this critical age group enjoy reading books for fun and more than three-quarters, 77 percent of children, believe reading books for fun is extremely or very important.

Importance of reading aloud
Parents of children aged 0–5 years shared that the top benefit they want for their child when they read books for fun is development of vocabulary and language skills. Similarly, these parents primarily start reading aloud to their children to help them learn the letters and words. Half of the parents surveyed who have 0–5 year-olds, received the advice that children should be read books aloud from birth, most commonly from their grandparents. Overall, only 27 percent of parents started reading aloud to their children before age one and 60 percent began reading books aloud to their child at two years or older.

Parents play a huge role in seeding the love for reading and in keeping kids interested in books. One of the most powerful predictors of reading frequency in children age 6–17 is being read to by parents 5–7 days a week. Across all ages, 85 percent of children love being read aloud and among kids aged 6–11 years, whose parents have stopped reading aloud to them, more than half, 57 percent, wish their parents had continued.
The online link for the detailed free to download report is: http://scholastic.co.in/en/readingreport
The survey was conducted, among 1,752 parents and children, including 350 parents of children aged 0–5; 701 parents of children aged 6–17; plus one child aged 6–17 from the same household. All data presented in the Kids & Family Reading ReportTM, India Edition represent the country’s English-speaking population with access to the Internet.

About Scholastic
Scholastic Corporation (NASDAQ: SCHL) is the world’s largest publisher and distributor of children’s books, a leading provider of core literacy curriculum and professional services, and a producer of educational and entertaining children’s media. The Company creates quality books and e-books, print and technology-based learning programs for pre-K to grade 12, classroom magazines and other products and services that support children’s learning both in school and at home. With operations in 14 international offices and exports to 165 countries, Scholastic makes quality, affordable books available to all children around the world through school-based book clubs and book fairs, classroom collections, school and public libraries, retail and online. True to its mission of 97 years to encourage the personal and intellectual growth of all children beginning with literacy, the Company has earned a reputation as a trusted partner to educators and families.
8 Sept 2017 

Happy birthday J. K. Rowling and Harry Potter!

31 July 2017. It is J. K. Rowling’s birthday. So also Harry Potter as decided by J. K. Rowling. The Harry Potter books have been in existence for twenty years or the equivalent of one entire generation. The first time I heard of Harry Potter was when a friend based in Chicago wrote asking if I had read this marvellous fantasy book for children. At the time I had not but very soon a copy arrived from a England. Everyone in the family devoured it. At the time I was guest-editor of the special issue on children and young adult literature of a literary magazine. It was the first time that these issues were being put together. The history of modern publishing, particularly children’s literature, can be traced through the history of the seven volumes of Harry Potter.

When Harry Potter and the Sorcerer’s Stone ( US edition published by Scholastic) and Harry Potter and the Philosopher’s Stone ( UK edition published by Bloomsbury) was published J.K. Rowling was an unknown and struggling author. She was single mother writing the book, which she had plotted minutely, in cafes around Edinburgh. Despite her agent’s wise advice “you will never make money selling children’s books” her manuscript was circulated amongst publishers. Most publishers rejected the book. Then it arrived at a fairly recent independent press called Bloomsbury, London. Bloomsbury had been established in 1986 by four people, including legendary editor Liz Calder whose authors include Margaret Atwood, Michael Ondaatje, Joanna Trollope and John Irving. As Liz Calder narrated in a conversation to me while conducting a master class the British Council, Delhi, she has always been interested in authors. The arrival of the first Harry Potter manuscript was an uneventful day. Till she discovered a group of people sitting around a table absorbed in reading the manuscript, sharing it by passing each page of the manuscript to their neighbour as if they were playing passing the parcel! Bloomsbury decided to publish the debut novel by an unknown author. She was offered $4,000 as an advance against royalties by Bloomsbury. The first print run was for 500 copies. Bloomsbury was also afraid that young boys won’t want to read a book by a woman, they suggested she use her initials. Joanne added her grandmother’s name, Kathleen, to her own, producing “J.K. Rowling.” Soon after it was published she attended her first Edinburgh Literary Festival where a special tent had been set up to promote the book but if stories are to be believed there were only a few people who wanted to meet the author. In USA Scholastic Books won the auction for the U.S. rights to the series, giving Rowling an advance over $100,000, a record for a foreign children’s book. This enabled her to quit her teaching job and devote her time to writing.

The first book went on to win many prizes and catapulted J. K. Rowling to fame. It influenced children’s reading habits tremendously. It became evident to publishers fairly soon that this was a market to be taken notice of. Yet by the time Harry Potter and the Chamber of Secrets was published the print run had risen to 10,000 copies and the book was still only available in UK and slowly reached other countries. By the time Harry Potter and the Prisoner of Azkaban was released Pottermania had begun to take root and the publishers were more than willing to ship review copies across the world. I got my copy directly from the London office albeit a few weeks after publication date. With the subsequent volumes ( Harry Potter and the Goblet of Fire and Harry Potter and the Order of the Phoenix) the fame of Rowling was sealed. She became a global phenomenon. By the time the seventh and last volume, Harry Potter and the Half-Blood Prince, was published she had sold millions of copies of her books. Her publisher, Bloomsbury, had become cash-rich and were able to offer handsome advances against royalties to other authors. In fact the seventh title was released simultaneously across the world and I received my copy of the book on publication day, 31 July 2007. (I reviewed it for Outlook magazine.) It is believed that Rowling has so far sold more than 400 million copies of her books worldwide.

This is what Sarah Odedina, now Editor-at-Large, Pushkin Children’s Books wrote in an email to me about publishing Rowling. At the time Sarah was Publisher of Bloomsbury Children’s Books 1997-2011.

I was there for publication of the first book all the way through to the last book.

It was an amazing thing to be part of and yes the in-house love for Harry Potter and the Philosopher’s Stone was strong. Particularly led by the wonderful marketing and PR person Rosamund de la Hey who never ever missed an opportunity to let people know just how brilliant the book was and how talented the author was. We were ambitious for the book from the get-go and knew it had great potential to win prizes and sell well – but little could we imagine what that ended up meaning.

Publication of the first book passed fairly normally – like most other books – without anything huge happening but within a few weeks we knew it was different as we started to get letters from children saying how much they loved the book and how the had shared it with their friend and all sorts of reactions from them as readers to the characters and the plot and definitely asking for more. It was really later books in which publication day became a huge focus. At the beginning it was about getting the book out in the shops and seeing how quickly J K Rowling built a loving and loyal readership.

In 2012 Rowling launched Pottermore. It was an incredibly bold move into the world of digital publishing by offering ebook versions of the Potter series. At the time there were multiple ereaders and extensions. Rowling made Pottermore as a one-stop halt to purchase any format ( print or digital) and get extra Potter-related news too. Her first CEO was Charlie Redmayne, now the HarperCollins UK CEO, who for the first time brought the author/publisher in direct contact with the consumer/reader using digital technology innovatively. ( Eddie Redmayne who acted in the movie Fantastic Beasts  is Charlie Redmayne’s brother.) Rowling’s close watch on the film adaptations of her books to screen are legendary as well with accounts of detailed storyboard discussions happening at her home in Scotland. ( Here is a link to Jim Cornish, storyboard artist, talks about his work on the Harry Potter films. )

It is twenty years since Harry Potter and his friends came into existence. Bloomsbury is celebrating it with the release of special editions of the first book in the four house colours — Red, Blue, Green and Yellow. They are utterly splendiferous and a joy to behold! The impact of Pottermania on publishing worldwide is that the healthiest growth rate is amongst children’s and young adult literature, across genres.

31 July 2017 

 

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