The first volume of the Ted Scott series was an obvious retelling of the first solo Transatlantic flight by Charles A. Lindbergh in May 1927. From time to time a reference is made to how quickly the story was rushed into print. An examination of the dates is interesting. Charles Lindbergh departed from Roosevelt Field, Long Island, […]
Edward Stratemeyer owned a story paper in 1896 and 1897 called Bright Days. This explores some of the typefaces used for the titles and advertisements.
A.P. Tedesco was the art director for Grosset & Dunlap and he led the redesign of most of their line, including Nancy Drew. The redesign included new body and title typefaces.
The typeface used to publish a book is of significant importance to the readability and overall success. The early Nancy Drew books, along with many other Syndicate books, used a particular typeface that was one of Edward Stratemeyer’s favorites.
As sales declined in the 1970s, Harriet Stratemeyer Adams considered whether to accept an overture from Simon & Schuster to publish new books in the series. First Grosset & Dunlap failed to do anything for the Bobbsey Twins 75th anniversary. Then they admitted they had no plans for Nancy Drew’s 50th in 1980. Simon & Schuster stepped in and hosted a gala event.
Edward Stratemeyer was more than an author of books and proprietor of a literary syndicate, he was interested and actively involved in nearly every phase of the production, publication, and promotion of his books. For several years publisher catalogs were printed and mailed after Thanksgiving upon his direction.
The 1977 Tom Swift Jr. paperback reprints included new illustrations, including a finished painting based on this preliminary sketch by Ken Barr.