Weaving stories in words and images!

Contemporary Indian storytelling publishers are carving out a distinctive space by blending tradition with innovation. Independent houses like Tara Books, Tulika, Zubaan, Speaking Tiger, and Wonder House are foregrounding diverse voices, from indigenous artists and regional writers to experimental authors pushing narrative boundaries. They are reimagining formats through graphic novels, illustrated books, translations, audiobooks, and digital-first platforms, while also nurturing stories rooted in local culture that resonate globally.

In this conversation with All About Book Publishing (AABP), V. Geetha, Editorial Director, Tara Books and Payal Jaipuria, Executive Publisher, Wonder House Books, reflect on how Indian authors and artists are reshaping storytelling, the balance between regional and global voices, and the exciting yet challenging future of publishing.

AABP: How do you see contemporary Indian authors redefining storytelling in terms of themes, genres, and styles?

V. Geetha: Tara Books publishes children’s books, illustrated books for adults and art activity books. We are known for our handmade books – featuring traditional art, from indigenous communities, and folk traditions. We print select titles using the silkscreen printing process, the letterpress and risography.

I would therefore like to address this question in terms of what we have done. Our authors comprise of a range of persons: traditional artists who tell their own stories: a typical example would be Jambu Singad, from the Bhil community, who has drawn and narrated, along with Gita Wolf, his impressions of birds and trees. The book, Birds like Trees, combines beautifully coloured drawings, and notes on the natural world, which draw from the Bhils’ experience of the forest and the field. It is story telling of a special kind – which effortlessly draws you into observing the natural world in distinctive ways.

We also have books that combine history and fiction – forthcoming is Crossings, which comprises stories of three children, who cross over from the east coast of India to parts of South-east Asia, as part of the great labour migration that happened in the early 20th century. Illustrated with images that recall popular art of the time, this is crossover book, which is likely to appeal to children above 12 as well as adults.

Many of our books are of this kind – they are for readers of all ages, including the lovely Knock! Knock!, an almost wordless book. Here, the form of the book bends convention – art and design combine to produce a narrative which relies on flipping through the book in a certain way.

Payal: From our perspective at Wonder House, our primary focus is on nurturing the next generation of Indian readers. We see the landscape of Indian publishing not just as a market, but as a vibrant ecosystem of young minds hungry for stories that reflect their reality and expand their imagination. Our role is to feed that curiosity.

AABP: Indian readers today are embracing both global and regional narratives. How do you strike a balance in your publishing list?

V. Geetha: Some of our books are clearly for Indian readers – they speak to our particular concerns. Our series, Makers, comprises titles (A Potter’s Tale, Boat Builders of the Coromandel, Weaving with Compassion) that focus on artisanal traditions in our context, combining photography, the voices of artisans and contextual narrative. Other titles, especially our handmade books, speak to a wider audience: whether the much feted The Night Life of Trees, which has been published in over 10 languages or I like Cats, or Waterlife (published in over 5 languages) are visually rich and in terms of theme and treatment speak to all interested in the natural world, animal and plant life….

Payal: Contemporary Indian authors are the lifeblood of this ecosystem, and they are redefining storytelling by masterfully blending the traditional with the modern. We see a beautiful move away from monolithic narratives. Authors are no longer just retelling folklore or setting stories in generic villages; they are exploring complex themes like environmental consciousness, emotional intelligence, STEM concepts and navigating modern urban childhood. The genres have exploded beyond simple picture books and fairy tales to include sophisticated non-fiction, Indian mythology retellings with fresh perspectives and original stories that celebrate everyday Indian life. The style is increasingly visual and engaging, understanding that today’s children are discerning consumers of media. This ties directly into balancing global and regional narratives. Our philosophy is not to see them as opposing forces but as complementary to each other. A child in Delhi should be able to enjoy a beautifully illustrated book about the rainforests of the world, while a child in Chennai should also see the vibrant sights of a local farmers’ market celebrated in a board book. We actively publish bestsellers from around the globe because great stories are universal. However, our core mission is to ensure that a child never has to look far to find a book where the characters have names like theirs, celebrate the same festivals and live in landscapes familiar to them. This balance is crucial for building a strong, inclusive reading culture where every child feels seen.

AABP: What role do translations play in making Indian literature more accessible and visible on the global stage?

V. Geetha: As primarily visual publishers, we see art as ‘translating’ world views: we have had children flip through our books without worrying about the text, because the pictures speak to them in special ways, and it is likely they tell their own stories to the images.

Having said that, we value what artists have to say about their work, their contexts, and their vision of the world. And we translated their words and stories into English. This has been a complex process: we transcribe their words (which might be in Hindi or Tamil), and then build a narrative which is aligned to their art, and we then re-send the edited text to them, and once they approve of it, we do the English translation.

Payal: Translations are absolutely vital. India’s linguistic diversity is its greatest strength, but it can also be a barrier. Translations dismantle these barriers, allowing a beautiful story written in Marathi to find a home with a child in Kerala reading in Malayalam. They ensure that a powerful narrative isn’t confined to its language of origin but can become a pan-Indian classic. On the global stage, expertly translated works are our cultural ambassadors. They allow international readers to move beyond a stereotypical view of India and appreciate the nuanced, diverse and contemporary stories we have to tell, making Indian literature a truly global contender.

AABP: How are you responding to new reader preferences—graphic storytelling, audiobooks, or hybrid formats?

V. Geetha: Since the time we began, which was in 1994, we have been publishing a range of picture books, including those which come in diverse form. Books that feature pop-ups, gatefolds, and also accordion books that comprise of a long foldout. Our book Lucky/Happy Hans is a case in point; as is An Indian Beach. We have films that go with some of our titles. We curate exhibitions, featuring art from our books – so we have been doing all of this before these were recognized as ‘new reader preferences’.

Payal: We are constantly evolving to meet new reader preferences. The modern child is digitally native and their reading habits reflect that. We are enthusiastically investing in graphic storytelling and hybrid formats because they are incredibly effective at engaging reluctant readers and making complex information accessible. We see technology not as a threat to the physical book, but as a powerful ally in expanding the very definition of what a book can be.

AABP: Looking ahead, what excites you most about the future of Indian publishing—whether in terms of technology, readership, or diversity of voices?

V. Geetha: I think we are poised to expand in interesting ways, but at this point I am worried: the increasing cost of books, thanks to GST; the modest budgets available to state supported institutions to buy books; and the growing demand that authors entertain their readers. The book is a quiet and sturdy object, and it is best read alone, since it communicates slowly and gradually. To expect it to do what social media does makes it hard for publishers to do what they do best – put out an enduring piece of work. Technological possibilities are exciting, and we wish to use them to call attention to the book, not to take away from it.

Payal: Looking ahead, what excites us most is the democratization of storytelling. Technology is lowering barriers to entry, allowing us to discover and amplify diverse voices from every corner of India and the world. Every book we publish is a seed planted for a brighter, more empathetic and intellectually curious future. We are not just publishing stories; we are helping to shape the minds that will one day shape this world.