With print sales booming once again, it is more important than ever to reimagine the way that literature is consumed and subsequently shared. The successful launch of Harry Potter and the Sorcerer’s Stone in full color in 2020 did just that. Revisiting the most revered mid-grade YA fantasy of all time satisfied the varied interests and intentions of collectors, original readers, and emerging readers alike.
When J.K. Rowling disgraced her transgender fans, the fan community rose up and pushed her out, taking control of the fandom for themselves.
While it is true that editing is a crucial aspect of publishing, it isn’t the only aspect. The publishing industry has a place for every bibliophile out there—even fanfiction writers.
In 2008, J. K. Rowling refused to allow a Finnish publisher, Tammi, to print Harry Potter and the Deathly Hallows because the paper they used was not Forest Stewardship Council (FSC) certified. Although Tammi printed the Harry Potter series on recycled paper, Rowling wanted even more environmentally friendly paper at that time.
Publishing internationally can be tricky. A manuscript can take years of dedication from one team in one publishing house to edit, promote, and publish. Now imagine what happens when that same manuscript is being worked on by two separate teams across the ocean from each other. Each side has to try to keep track of changes being made by the other, and in some cases changes in vernacular or slang terms are made deliberately to maintain meaning across regions.
Fandoms surrounding the favorite books of teenagers have been a prominent part of culture since the Harry Potter books. Now, most well-loved series have some kind of derivative fandom surrounding them, but the Harry Potter fandom is by far the most expansive example of this. Years ago, Harry Potter fans pushed past the creation of art, parody musicals, and actual sports, and they went a step further by channeling their love for the books into the creation of an activist group.