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18 December 2018   |   Edition: 294
A decade of bringing together the children’s content creators’ community in India

Less than a month to go until JUMPSTART 2018 – India’s only congress of content creators – it's time to register and prepare for it!

Here’s what you need to do:

•Visit www.jumpstartfest.com to check out the speakers, sessions, Masterclasses and Skillbuilders 
•Register online for JUMPSTART in Mumbai or Delhi  
•Mark the speakers/ publishers you’d like to meet one-on-one
•Sign up for a time-slot with your selected speakers at the JUMPSTARTER-Networking Mixer by following the link sent to you in your registration confirmation email
•Prepare your story pitch to discuss with mentor/ speaker
•Take advantage of the breaks to speak to other attendees available, view the schedule on www.jumpstartfest.com   
•Spread the word amongst your friends and colleagues. Register as a group and get attractive discounts: contact@newdelhi.gbo.org 
•Tell the world that you’re coming to #JUMPSTART 2018 
•Follow @gbonewdelhi for live updates on #JUMPSTART 2018
•Pack your bag and remember to bring plenty of business cards!

REGISTER NOW and collaborate with the best of the best in the children’s content world!

MUMBAI | 27 and 28 November 2018
DELHI | 30 November 2018


Know more about the programme and to REGISTER NOW, visit www.jumpstartfest.com

In case of queries, please write to contact@newdelhi.gbo.org or call at 011 4912 0951

This year JUMPSTART celebrated a decade of bringing together the community of children’s content creators in India. It was also for the first time that JUMPSTART travelled to Mumbai where a two-day programme was held successfully at the Goethe Institut/ Max Mueller Bhavan on 27 and 28 November 2018. Following the Mumbai event, JUMPSTART was also held in Delhi on 30 November 2018 at the Crafts Museum at Pragati Maidan.

Seeing the increasing consumption of content across myriad mediums, JUMPSTART 2018 was conceptualised to look at how book content can transcend the print form. With the idea of 'Get Future-Ready' the programme traced the trends and explored the future of content creation and consumption across media. It was an opportunity for writers, artists, educators, publishers and many more key players in the content industry to become futuristic with their previously published as well as upcoming content; a chance to interact with other dynamic producers and publishers. 

Keynote by Leigh Hobbs: Creating successful books - market data or creative impulse?

Leigh Hobbs, Australian Children's Laureate opened the programme at JUMPSTART 2018 Mumbai with his keynote address in which he introduced the audience to his popular characters like Old Tom, Horrible Harriet and Mr. Chicken. He spoke about his creative process of envisioning and bringing to life these characters as a writer and as an illustrator. The audience was listening intently and laughed along as he regaled them his childhood stories from where his characters are inspired.

Madhuri Purandare, Meredith Costain, Sampurna Chattarji, Zuni Chopra and Sowmya Rajendran on the panel of the session 'The Brave New World'

JUMPSTART has always been known as India's only annual conclave of children's content creators. But this year, we became more specific and focused on an important segment of content consumers -- the young adults. The panel of the Brave New World was all about content creation for and consumption by the young adults. It was an interesting mix of perspectives as we had on the panel Madhuri Purandare with her expertise on creating content in Marathi, Meredith Costain with her global exposure, Sampurna Chattarji and Sowmya Rajendran as Indian writers who write in English, and Zuni Chopra who not only writes for young adults but is one herself!

Writing Masterclass for Young Adults

On the second day of JUMPSTART 2018 in Mumbai, three masterclasses took place simultaneously -- an illustrators' masterclass conducted by German illustrator Aljoscha Blau; a writers' masterclass conducted by Australian author Meredith Costain who was briefly by joined by Leigh Hobbs; and the writing masterclass for young adults conducted by German author Boris Pfeiffer and Indian author Shabnam Minwalla. The young adult masterclass was unique as it was the first time that JUMPSTART saw a masterclass specially for young adults, and it saw an enthusiastic participation from some talented young and budding writers in Mumbai.

The Networking Cocktail on DAY 1 at JUMPSTART 2018 Mumbai

The Networking Cocktail in Mumbai was a success with over 20 experts from Australia, France, Germany and India present to interact with the participants in an informal gathering. It was an opportunity to explore business opportunities. Apart from the speakers of JUMPSTART 2018, the participants also interacted with each other for knowledge exchange and possible collaborations.

In Delhi, a Rights Market was held in the latter half of the day. It was a pre-fixed meeting format where 13 experts (publishers and content creators) interacted one-on-one with the participants. It was an opportunity for the participants to explore publishing opportunities and discuss their creative queries.

Angela Schaaf de Lavado delivering her session on Rights and Licensing at JUMPSTART 2018 Delhi

Angela Schaaf de Lavado, Rights Director, Duden Verlag, Germany conducted sessions on Rights and Licensing at both the Delhi and Mumbai versions of JUMPSTART 2018. Her detailed presentations on the matter helped both content creators as well as publishing professionals understand the nitty-gritties of contracts, copyrights, licensing and other related aspects.

Unveiling of 'The Wild Pack' written by Boris Pfeiffer and translated into English by Anya Malhotra

In Delhi, the panel discussion on content for young adults ('The Brave New World') concluded with the unveiling of a book for young adults. Author Boris Pfeiffer's book 'The Wild Pack' and its sequel 'The Wild Pack Devises a Plan' were unveiled at JUMPSTART 2018 Delhi. The book has been translated to English by Anya Malhotra and published in India by Penguin Randomhouse.

Author and journalist Siddhartha Sarma

One of the many success stories of JUMPSTART! On the tenth year celebration of JUMPSTART, author and journalist Siddhartha Sarma was invited to be a part of a panel about content for young adults. His first novel 'Grasshoppers Run' gained global exposure at JUMPSTART as its international rights were sold to a publisher from UK he met at a masterclass and networking session at JUMPSTART.

Philip Roth
The Art of Fiction No. 84
Renate Reichstein
I met Philip Roth after I had published a short book about his work for the Methuen Contemporary Writers Series. He read the book and wrote me a generous letter. After our first meeting, he sent me the fourth draft of The Anatomy Lesson, which we later talked about, because, in the final stages of writing a novel, Roth likes to get as much criticism and response as he can from a few interested readers. Just after he finished The Anatomy Lesson we began the Paris Review interview. We met in the early summer of 1983 at the Royal Automobile Club in Pall Mall, where Roth occasionally takes a room to work in when he’s visiting England. The room had been turned into a small, meticulously organized office—IBM golf-ball typewriter,

alphabetical file holders, Anglepoise lamps, dictionaries, aspirin, copyholder, felt-tip pens for correcting, a radio—with a few books on the mantelpiece, among them the recently published autobiography by Irving Howe, A Margin of Hope, Erik Erikson’s Young Man Luther: A Study in Psychoanalysis and History, Leonard Woolf’s autobiography, David Magarshaek’s Chekhov, John Cheever’s Oh What a Paradise It Seems, Fordyce’s Behavioral Methods for Chronic Pain and Illness (useful for Zuckerman), Claire Bloom’s autobiography, Limelight and After, and some Paris Review interviews. We talked in this businesslike cell for a day and a half, pausing only for meals. I was looked after with great thoughtfulness. Roth’s manner, which matches his appearance—subdued, conventional clothes, gold-rimmed spectacles, the look of a quiet professional American visitor to London, perhaps an academic or a lawyer—is courteous, mild, and responsive. He listens carefully to everything, makes lots of quick jokes, and likes to be amused. Just underneath this benign appearance there is a ferocious concentration and mental rapacity; everything is grist for his mill, no vagueness is tolerated, differences of opinion are pounced on greedily, and nothing that might be useful is let slip. Thinking on his feet, he develops his ideas through a playful use of figurative language—as much as a way of avoiding confessional answers (though he can be very direct) as of interesting himself. The transcripts from this taped conversation were long, absorbing, funny, disorganized, and repetitive. I edited them down to a manageable size and sent my version on to him. Then there was a long pause while he went back to America and The Anatomy Lesson was published. Early in 1984, on his next visit to England, we resumed; he revised my version and we talked about the revision until it acquired its final form. I found this process extremely interesting. The mood of the interview had changed in the six months between his finishing a novel and starting new work; it became more combative and buoyant. And the several drafts in themselves displayed Roth’s methods of work: raw chunks of talk were processed into stylish, energetic, concentrated prose, and the return to past thoughts generated new ideas. The result provides an example, as well as an account, of Philip Roth’s presentation of himself.

How do you get started on a new book?
Beginning a book is unpleasant. I’m entirely uncertain about the character and the predicament, and a character in his predicament is what I have to begin with. Worse than not knowing your subject is not knowing how to treat it, because that’s finally everything. I type out beginnings and they’re awful, more of an unconscious parody of my previous book than the breakaway from it that I want. I need something driving down the center of a book, a magnet to draw everything to it—that’s what I look for during the first months of writing something new. I often have to write a hundred pages or more before there’s a paragraph that’s alive. Okay, I say to myself, that’s your beginning, start there; that’s the first paragraph of the book. I’ll go over the first six months of work and underline in red a paragraph, a sentence, sometimes no more than a phrase, that has some life in it, and then I’ll type all these out on one page. Usually it doesn’t come to more than one page, but if I’m lucky, that’s the start of page one. I look for the liveliness to set the tone. After the awful beginning come the months of freewheeling play, and after the play come the crises, turning against your material and hating the book.

How much of a book is in your mind before you start?
What matters most isn’t there at all. I don’t mean the solutions to problems, I mean the problems themselves. You’re looking, as you begin, for what’s going to resist you. You’re looking for trouble. Sometimes in the beginning uncertainty arises not because the writing is difficult, but because it isn’t difficult enough. Fluency can be a sign that nothing is happening; fluency can actually be my signal to stop, while being in the dark from sentence to sentence is what convinces me to go on.

Must you have a beginning? Would you ever begin with an ending?
For all I know I am beginning with the ending. My page one can wind up a year later as page two hundred, if it’s still even around.

What happens to those hundred or so pages that you have left over? Do you save them up?
I generally prefer never to see them again.

The force of the attack would be, in part, that the female characters are unsympathetically treated, for instance that Lucy Nelson in When She Was Good is hostilely presented.
Don’t elevate that by calling it a “feminist” attack. That’s just stupid reading. Lucy Nelson is a furious adolescent who wants a decent life. She is presented as better than her world and conscious of being better. She is confronted and opposed by men who typify deeply irritating types to many women. She is the protector of a passive, defenseless mother whose vulnerability drives her crazy. She happens to be raging against aspects of middle-class American life that the new militant feminism was to identify as the enemy only a few years after Lucy’s appearance in print—hers might even be thought of as a case of premature feminist rage. When She Was Gooddeals with Lucy’s struggle to free herself from the terrible disappointment engendered in a daughter by an irresponsible father. It deals with her hatred of the father he was and her yearning for the father he couldn’t be. It would be sheer idiocy, particularly if this were a feminist attack, to contend that such powerful feelings of loss and contempt and shame do not exist in the daughters of drunks, cowards, and criminals. There is also the helpless mama’s boy Lucy marries, and her hatred of his incompetence and professional innocence. Is there no such thing in the world as marital hatred? That will come as news to all the rich divorce lawyers, not to mention to Thomas Hardy and Gustave Flaubert. By the way, is Lucy’s father treated “hostilely” because he’s a drunk and a petty thief who ends up in jail? Is Lucy’s husband treated “hostilely” because he happens to be a big baby? Is the uncle who tries to destroy Lucy “hostilely” treated because he’s a brute? This is a novel about a wounded daughter who has more than sufficient cause to be enraged with the men in her life. She is only “hostilely” presented if it’s an act of hostility to recognize that young women can be wounded and young women can be enraged. I’d bet there are even some enraged and wounded women who are feminists. You know, the dirty little secret is no longer sex; the dirty little secret is hatred and rage. It’s the tirade that’s taboo. Odd that this should be so a hundred years after Dostoyevsky (and fifty after Freud), but nobody nice likes to be identified with the stuff. It’s the way folks used to feel about fellatio in the good old days. “Me? Never heard of it. Disgusting.” But is it “hostile,” really, to take a look at the ferocity of the emotion they call “hostility”? When She Was Good is not serving the cause—that’s true. The anger of this young woman isn’t presented to be endorsed with a hearty “Right on!” that will move the populace to action. The nature of the anger is examined, as is the depth of the wound. So are the consequences of the anger, for Lucy as for everyone. I hate to have to be the one to say it, but the portrait isn’t without its poignancy. I don’t mean by poignancy what the compassionate book reviewers call “compassion.” I mean you see the suffering that real rage is.

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