Screenwriter and young adult fiction writer Venita Coelho won the prestigious Hindu Goodbooks Award today at the ongoing Hindu Lit for Life festival in Chennai. Daniel Handler, author of the Lemony Snicket series, did the honours of handing over the trophy. Some glimpses of the evening are given in the gallery of photographs.
Meanwhile Shantanu Duttagupta, Publisher, Scholastic India who has published Venita Coelho’s award winning novel had this to say:
On 1 January 2018 I had interviewed Venita Coelho. Her young adult novel Boy No. 32is an incredibly gripping book about Battees, an orphan named so after the number given to him — 32. ( In Hindi, the number 32 is called “battees”.) The story is about Battees winessing the presence of a dreaded terrorist, Kashmiri Lall, in his city, Mumbai, and he is now the only one who can help put him behind bars. It is a tremendously well-paced and tautly written book. Impossible to put down once you begin it. Also for the fact Venita Coelho never for an instant “talks down” to youngsters, nor is ever apologetic about the violence around us. Absolutely fantastic!
In this novel intermixing the orphans’ quest for locating Kashmiri Lall with encounters with the eunuchs, the Beggar King, and the horrific complicity of even the adults responsible for them such as Aunty and the cop, is done crisply. The “traditional” bad guys of literature like the eunuch are actually shown to be humane with a little more insight on how their community operates. Equally well-made are the cop and the “aunty” who are so incredibly corrupt, they would do anything for a few extra bucks. Venita Coelho is constantly challenging pre-conceived notions about characters. For instance, instead of giving the warden of the orphanage a name, she is referred to as “Aunty” — a big learning curve for Indian readers who are taught to practically revere an older woman, inevitably calling her “Aunty”, sort of seals this relationship.
In December 2018, award-winning New Zealand children’s writer Gavin Bishop was invited to India by the New Zealand High Commission for an author tour. Gavin Bishop is an award winning children’s picture book writer and illustrator who lives and works in Christchurch, New Zealand. As author and illustrator of nearly 60 books his work ranges from original stories to retellings of Maori myths, European fairy stories, and nursery rhymes.
Gavin Bishop participated in the Bookaroo Children’s Literature Festival as well as travelled with his publisher’s, Scholastic India, to various schools for exciting interactions. I met Mr Bishop and his wife, Vivien, at the New Zealand Deputy High Commissioner’s, Suzannah Jessep, residence. It was a lovely evening of freewheeling conversation about books and publishing, children’s literature, creating picture books and the power of stories. Excerpts of an interview are given below.
Here is a picture taken at the Deputy High Commissioner’s residence along with Gavin Bishop. It has been uploaded on the Facebook page of the New Zealand High Commission to India
How would you define a children’sbook especially a picture book as you make them the most often?
A children’s book is one that speaks honestly to childrenwithout pretentions. The worst kind of books are those that pretendto be for children but are really aimed at the parent or adult reading the bookto the child.
Apicture-book is one where the pictures and words tell a story, ‘hand-in-hand’.Neither the pictures nor the text are ’top-dog’, neither one is moreimportant than the other. Both parts have separate jobs to do to tell thestory. The picture book is my passion. It offers so many artistic and literarychallenges that I could never exhaust them all in a single lifetime. Manypublishers, mostly in the USA, have said to me that picture-books arequite simply for children who can’t read yet. I can’t think of anything furtherfrom the truth. There are lots of examples of picture books that work at manylevels and can be re-read over and over again by children of all ages. Ithink my version of The House that Jack Built that looks atthe colonisation of New Zealand by the British in the early 19th century, is a picture book that appeals to older children, children who can certainly read. Many New Zealand schools use this book at upper levels to talkabout the history of this country.
2. How do you select the stories you choose to write about? Where did you hear the stories that you write about in your books?
For stories, I constantly revisit all the terrific folktales, myths and legends ofthe New Zealand Maori as well those from Europe. When I rewrite a story, I tryas much as possible not the change the plot or the outcome. If it isa little frightening, I leave it like that. But if I think aparticular story is more suited to adults, as many traditional storiesare, then I don’t choose it. There are lots of adventures for example, that the Maori demi-god Maui has, that I think are extremely interesting but theycontain adult elements that a child does not to be confronted with yet.
My childhood is another very deep pool full of memories and stories that I diveinto from time to time.
Most of my books take a long time to produce. My pictures are often full of detailand are drawn by hand on paper as opposed to beingcomputer-generated. If I am to live with a creation for most of a year, Ihave to be convinced from the start that the story is worthwhile and willadd something to a child’s life. I know that sounds lofty, but I really believe that as a writer for children my obligation is to present a young reader with stories and ideas that they will find interesting and perhaps have not heard of.
Another huge source of inspiration is reading. I try to read a lot of fiction. Movies are a good source of ideas too. In fact a movie is rather like a picture book except instead of text as in a book, you have dialogue. Some of the movies I seen over the years have never left me. I have beenparticularly inspired by movies I saw as a young adult. Films by Fellini, Bergman, Pasolini and Altman showed me how stories can be told using vivid imagery and characters.
3. Did you consciously choose the style of writing for children as you do in your longer pieces of fiction –simple sentences, very short chapters, precise descriptions with few polysyllabic words?
When I write I do keep in mind that I am writing for children. But this is onlyreflected in the style and format. I try not to modify the story or the humour which can result in ‘talking-down’ to the reader. Although I usesimple sentences and short chapters I don’t shy away from difficult words if I think they are the right ones for the job. When I wrote Piano Rock I probably had 7 or 8-year-old readers in mind. I have been heartened by thenumber of young boys who have written to me to say Piano Rock is the first book they have read right through. I would like to think that thiswas because of the content, but I suspect it had something to do with thefact the book is full of short sentences and quite a few pictures. It is very non-threatening to a reluctant reader. No sooner have you started a chapter than you find yourself finishing it.
4. Piano Rock and Teddy One-Eye focus a bit on the stories narrated to you by your mother and grandmother but your repertoire indicates that this love for stories go fardeeper. When did this love for stories begin and do you still collectstories?
These two books are about me. They are my autobiographies, even though the second one waswritten by my 68-year-old teddy bear. I vividly remember sitting with my grandmother by the fire listening to her reading me stories and singing strange little songs that she plucked out of her memories of when she was a child. One I remember more than all the others, and one I included in Piano Rock was – “Old Mrs Bumblebee said to me the other day, comeand have a cup of tea on the back veranda.” That’s all there is to it, but at the age of 3 or 4 I found it for some reason, intriguing. I can remember trying to make sense of it byputting it into the context of our neighbourhood. “Did Mrs McQuirter overthe back fence invite us over for a cup of tea?” I wondered quietly to myself.
This little ditty has been with me all of my life and I have, in my quest to find itsorigin, mentioned it to lots of people. All have replied they had never heardof it until one day at a talk I was giving an Indian woman stood up in theaudience and said she had heard it in India when she was child.Perhaps the word ‘veranda’ is a clue? The mystery deepens……,
5. How would you define a compelling story?
stories are the ones that become part of you for the rest of your
life. I think this happens more often in childhood, therefore it is even
more important for a children’s writer to put everything they have into
producing the best story they can.
6. The imagery in your books is fantastic. It’s almost as if the imagery used complements the illustration. Was that deliberate or an unconscious act?
I am a very visual person and when I’m writing I see everything that is happening in my mind’s eye. I plan my text and illustrations carefully to begin with but after that, when it comes to painting and writing, I rely a great deal on my subconscious. I follow my gut-instinct and often cannot tell whether a picture or a piece of writing has worked until I distance myself from it by leaving itfor some time and not looking at it.
7. How do you conceptualise a book?Is it taking into account the text and the illustration? How does the illustration process evolve?
To beginwith I am directed by format. If it is a picture book, then I know from thebeginning it will most likely have 32 pages. I generally begin with the storyand write it with the length of the book in mind. I have now developed a spare writing style for this sort of book where I deliberately keep description for example, to a minimum so as to allow plenty of room for the illustrations to tell their parts of the story. Sometimes I jot down little ideas for the pictures in the margin as I write. The process at this stage of the book is quite measured. Once the text reaches a stage that I thinkis workable, I draw up a storyboard, a page by page plan from cover to cover ofthe whole book. I usually keep this small, drawing the whole thing onto a single A2 sheet of paper, so that when it comes to putting images into place on the miniature pages I cannot get into too much detail. This results in stronger compositions when these little pictures are increased tofull size later, when I make a dummy. I work in pencil which I go overwith ink. The dummy is based on the page size supplied by the publisher afterreceiving a quote from the printer. I make a dummy with 10 sheets of paperfolded in half. That gives you 32 pages plus endpapers and cover. Next I print off the text and glue it into place throughout the book. This instantly showsme how much space is left for the illustrations. The next couple of months arespent enlarging and drawing the pictures from the storyboard into the dummy. This is really where all the hard work begins. If it is a historical story I do most of my research at this stage.
A completed dummy is useful for showing your publisher what you have in mind for the book it also provides a detailed guide for the next process of producing the finished art work. From the start to publication a picture book usually takes a year.
8. How does your Maori ancestry inform your art of storytelling and fascination of folk tales?
My Maori ancestry tells me who I am and where I belong. Aotearoa/New Zealand is myturangawaewae, my place to stand in the world. I have European ancestry as well and that has given me literature and language but to know that some of my tupuna/ancestors have lived in the South Pacific for thousands of years and I live here now, gives me a great sense of belonging. My mother’s name was Irihapeti Hinepau and her father gave her those names because they areancestral names. I have a large number of relatives in Aotearoa who trace theirancestry back to people in the past who have these names too. Maori myths and legends are as rich and profound as any in the world, yet when I was a child we were told more about the myths and legends from Greece and Rome than the stories from our part of the world. New Zealand has for too long suffered from a cultural cringe, always looking North to the rest of the world for affirmation. As a re-teller of Maori myths for children I want to help the next generation become proud of being part of this country. I want them to know their stories and be made strong by them.
9. How did you get into bookmaking? Have you collaborated with other writers and illustrators?
In the 1960s I went to the University of Canterbury School of Fine Arts and studied painting. While I was there I was fortunate to be taught by Russell Clark, a well-known New Zealand artist with a particular interest inillustration. He saw I was interested in children’s picture books and he encouraged me to pursue that interest. It was not until the late 1970s that I did something about this interest and tried writing my first book, Bidibidi.
My ideal project is one where I write and illustrate my own book, but I have, from time to time, worked with others. Some years ago I wrote about 30 or 40 ‘readers’. Because a lack of time these were illustrated by a series of international artists and published all over the world.
I have also illustrated books for other writers. I have done quite a few with Joy Cowley, the most successful being the Snake and Lizard series. And Margaret Mahy and I worked on what was probably her last book before she died — Mister Whistler.
10. Do your books travel to other book markets in English and have they been translated?
My books have been sold all over the world, particularly in England, Australia and the USA. Some of my books have been translated into Spanish, French, Italian, Danish and other European languages. Recently my books have become very popular in Asia and several of my recent publications appearin Korean, Mandarin and Japanese editions.
Some ofmy books, such as Kiwi Moon and Hinepau have been adapted for the stage. Kiwi Moon travelled nationally as puppet theatre and the third adaption of Hinepau was performed entirely in Maori.
But oneof my biggest creative challenges was writing the story and designing the sets and costumes for two ballets for the Royal New Zealand Ballet Company. Although they were pitched at an audience of children they were performed by the regular company of dancers with whom I got to work. Original music was composed by a musician friend and the choreography was designed by one of New Zealand’s top dancers. Attending the opening performances of these ballets that were created in consecutive years, were two of the most exciting experiences of my life.
Watch Shantanu Duttagupta, Head of Publishing, Scholastic India interview Gavin Bishop at the New Zealand High Commission.
Scholastic India is proud to announce that it has acquired the publishing rights for one of the most awaited books of the year, Ahimsa.
In 1942, after Mahatma Gandhi asks one member of each family to join the non-violent freedom movement, 10-year-old Anjali is devastated to think that her father will risk his life for the country. But he’s not the one joining. Anjali’s mother is. 10-year-old Anjali’s mother has joined India’s freedom struggle. Anjali gets unwillingly involved in the turmoil. She has to give up her biases against the Dalit community, or the so-called untouchables, and sacrifice her
foreign-made clothes for khadi.
As the family gets more and more involved in the cause, Anjali must give up her privileges and confront her prejudices to ensure her little contribution to the movement is complete.
This is a poignant debut about overcoming one’s internal struggles and giving up one’s biases. It is essentially about female empowerment.
Inspired by her great-grandmother’s experience working with Gandhi, Supriya Kelkar brings to life the stories of the unsung heroes of India’s War of Independence.
Shantanu Duttagupta, Head of Publishing, Scholastic India, says, “Ahimsa is a book every Indian should read, whether you are a parent, child, educator or book lover. It leaves a mark.”
Supriya Kelkar doesn’t shy away from the reality that progress can sometimes be slow and one must persist even when all hope seems gone. She draws inspiration from her own family history. Kelkar says, “I’m so thrilled Ahimsa is heading to India, and cannot wait to share this book with all the wonderful readers there!”
About the author
Born and raised in the Midwest, Supriya Kelkar learned Hindi as a child by watching three Bollywood films a week. Now she works in the film industry as a Bollywood screenwriter. She has credits on one Hollywood film and several Hindi films. Ahimsa, inspired by her great-grandmother’s role in the Indian freedom movement, is her debut middle grade novel.
“A poignant look at India’s independence through the eyes of a ten-year-old, Ahimsa is a well-crafted tale of resistance.”
— Rajkumar Hirani, director of the films Sanju, 3 Idiots, PK and Lage Raho Munna Bhai
For further information, please contact – Debosmita Sarkar ( firstname.lastname@example.org )
About Scholastic India
Established in 1997, Scholastic India runs a dynamic publishing programme that aims to bring out innovative titles from the best of Indian authors and illustrators. Scholastic works closely with teachers, parents and students to encourage reading and promote the highest quality of reading and educational material in English.
(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!
On Sunday 26 November 2017, I moderated the ‘SCHOLASTIC INDIA SESSION’, a conversation on young adult fiction with Shantanu Duttagupta, Scholastic India and Arti Sonthalia at the Times of India LitFest, Delhi (#TLFDelhi). The conversation began with Arti Sonthalia introducing her fabulous chapter book, Hungry to Read. The story revolves around a reading competition in Grade 3 with the aim of inculcating the love of reading amongst the students. The prize of a night stay in school to use the telescope to watch the night sky is what every student dreams of! The delicious way in which Arti makes it more than a dull story about a competition. Read it!
Using Hungry to Read as a springboard, the conversation expanded to reading levels, tools for measuring reading such as lexile and numbers at the back of books, reading for young adults, reading as a lifelong skill particularly in this information age where content is the oil of twenty-first century!