Harry Potter

If you haven’t read Harry Potter, by J.K. Rowling, you must. Go away. First of all, claiming that the millions of people who have loved this book are all wrong or misguided doesn’t speak very well of your opinion of humanity. Second of all, it’s possible that I’ll spoil some of the plot for you, and that would defeat the entire purpose of this blog.

On the other hand, I don’t have much to say that hasn’t been said already. For a brief overview of the plot, Harry Potter is a smallish 10-year-old who lives with his aunt, uncle, and cousin, the Dursleys, because his parents were killed in the same car crash that gave him a lightning-bolt-shaped scar on his forehead—or so he thinks. He seems to exist just to be his obese cousin Dudley’s punching bag; his aunt and uncle literally make him sleep in a cupboard under the stairs and force him to do large amounts of housework. When he turns 11, he starts getting hundreds of letters he isn’t allowed to read—and soon gets whisked away to a world of magic and wonder, the Hogwarts School of Witchcraft and Wizardry. A world where he isn’t the victim of a group of bullies, but a victim of the most evil wizard of all time, who viciously murdered his parents and left him with his scar. Harry defeated this villain, Lord Voldemort, when he was one year old, and he is famous—a symbol of hope for wizards everywhere.

Hogwarts becomes Harry’s home. He certainly feels more comfortable there than in a cupboard under the stairs. He becomes friends with a red-haired boy named Ron and a brilliant girl named Hermione, who accompany him on approximately one adventure each year, almost every single one involving a direct confrontation between Voldemort and Harry. As the series progresses, it gets gradually darker and darker, and more and more complex, mounting up to the ultimate climax: the final battle between Harry and the wizard who destroyed his life and so many others’.


Many people looking for something to complain about immediately pick at J.K. Rowling’s writing style. And it must be admitted that in the beginning, there isn’t much fluency of prose. The writing is a bit choppy, sometimes even distracting. As the series progresses, you can sort of feel the author developing as a writer.

But if you think about it, in the first book, Harry is 11 years old. Sure, most 11-year-olds think in fluent English, but not all 11-year-olds will have deep, existential monologues on every page. Yes, the writing is choppy, and that’s not a good thing, but the characters are young enough for this to almost be excusable.

Almost immediately, the writing starts getting better. More is happening at a time, and Harry becomes more aware of it and the path he’s being led along. He develops as a person, and the writing develops accordingly, and in the last book the scenes are quite vivid enough for me as she paints them in my mind. In fact, compared to much of what goes on in Young Adult literature today, it’s positively brilliant. And even if it wasn’t genius, this is the type of book where it wouldn’t really matter. In fact, getting poetic or getting much deeper into emotions would have ruined it a bit. There are times where I would begin to think, for example, Okay, you’ve been fully expecting to be expelled from school (about the worst thing that could happen to you), and when you’re told you aren’t, this is a good time to react, which you do not appear to be doingBut the plot is proceeding and the reaction is implied well enough that it isn’t entirely necessary.


As I will be quoting directly from the books, if you have not read them, please skip down to “Plot”!!!

As I’m sure I’ve said, it’s hard to assign numbers to series, because writing changes over a series, and obviously the plot changes in each book, etc. Overall, though, these books can make you smile, laugh, and cry. They have funny lines (admittedly, most of which belong to Fred and George Weasley): “Can’t stay long, Mother,” he [Percy] said. “I’m up front, the prefects have got two compartments to themselves—”
“Oh, are you a prefect, Percy?” said one of the twins, with an air of great surprise. “You should have said something, we had no idea.”
“Hang on, I think I remember him saying something about it,” said the other twin. “Once—”
“Or twice—”
“A minute—”
“All summer—”
“Oh, shut up,” said Percy the Prefect.” —Harry Potter and the Sorcerer’s (/Philosopher’s) Stone


“There was a clatter as the basilisk fangs cascaded out of Hermione’s arms. Running at Ron, she flung them around his neck and kissed him full on the mouth. Ron threw away the fangs and broomstick he was holding and responded with such enthusiasm that he lifted Hermione off her feet.
“Is this the moment?” Harry asked weakly, and when nothing happened except that Ron and Hermione gripped each other still more firmly and swayed on the spot, he raised his voice. “OI! There’s a war going on here!”
Ron and Hermione broke apart, their arms still around each other.
“I know, mate,” said Ron, who looked as though he had recently been hit on the back of the head with a Bludger, “so it’s now or never, isn’t it?”
“Never mind that, what about the Horcrux?” Harry shouted. “D’you think you could just—just hold it in, until we’ve got the diadem?”
“Yeah—right—sorry—” said Ron, and he and Hermione set about gathering up fangs, both pink in the face.” —Harry Potter and the Deathly Hallows

literally in the middle of war, you can be smiling, and then crying on the next page.

And a major point that must be made is that J.K. Rowling told a better love story in 5 words than SOME other books *cough*withsparklingvampires*cough* did in thousands of pages:

“But this is touching, Severus,” said Dumbledore seriously. “Have you grown to care for the boy, after all?”
“For him?” shouted Snape. “Expecto Patronum!”
From the tip of his wand burst the silver doe. She landed on the office floor, bounded once across the office, and soared out of the window. Dumbledore watched her fly away, and as her silvery glow faded he turned back to Snape, and his eyes were full of tears.
“After all this time?”
“Always,” said Snape.” —Harry Potter and the Deathly Hallows

Then there are the times she does go inside her characters’ heads:

[Harry at his parents’ grave] “But they were not living, thought Harry: They were gone. The empty words could not disguise the fact that his parents’ moldering remains lay beneath snow and stone, indifferent, unknowing. And tears came before he could stop them, boiling hot then instantly freezing on his face, and what was the point in wiping them off or pretending? He let them fall, his lips pressed hard together, looking down at the thick snow hiding from his eyes the place where the last of Lily and James lay, bones now, surely, or dust, not knowing or caring that their living son stood so near, his heart still beating, alive because of their sacrifice and close to wishing, at this moment, that he was sleeping under the snow with them.” —Harry Potter and the Deathly Hallows

And the times when the words hit me just right and need to be read more than once:

“Remember Cedric. Remember, if the time should come when you have to make a choice between what is right and what is easy, remember what happened to a boy who was good, and kind, and brave, because he strayed across the path of Lord Voldemort. Remember Cedric Diggory.” —Harry Potter and the Goblet of Fire

It must be said that the one time there’s an actual swear in this series is Molly Weasley’s memorable line when confronting arguably the most directly evil character in the series, Bellatrix Lestrange. (Voldemort has more of a dismissive attitude towards pain and death; he’ll cause pain or kill if someone’s in his way, but he won’t go far out of his way to do so for no reason. Bellatrix, however, actually enjoys causing pain.) Molly gets to kill Bellatrix to defend her children to demonstrate the contrast between motherly love and obsessive love, and despite what others say, I think that this is better than Neville having done it; he shouldn’t have to be tainted by killing, and Molly Weasley killing to defend her children isn’t something that can leave a taint on her.

And to allow people to jump to “Plot” without seeing spoilers on their screen at the same time, I will conclude with some quotes:

“What would your head have been doing in Hogsmeade, Potter?” said Snape softly. “Your head is not allowed in Hogsmeade. No part of your body has permission to be in Hogsmeade.” —Harry Potter and the Prisoner of Azkaban

“You seem to be drowning twice,” said Hermione.
“Oh am I?” said Ron, peering down at his predictions. “I’d better change one of them to getting trampled by a rampaging hippogriff.” —Harry Potter and the Goblet of Fire

“Is it true that you shouted at Professor Umbridge?”
“You called her a liar?”
“You told her He Who Must Not Be Named is back?”
“Have a biscuit, Potter.” —Harry Potter and the Goblet of Fire

“One person couldn’t feel all that, they’d explode!” said Ron.
“Just because you’ve got the emotional range of a teaspoon doesn’t mean we all have,” said Hermione.” —Harry Potter and the Order of the Phoenix

“No!” he [Harry] said loudly, his voice ringing through the kitchen. “No way!”
“I told them you’d take it like this,” said Hermione with a hint of complacency.
“If you think I’m going to let six people risk their lives—!”
“—because it’s the first time for all of us,” said Ron.
“This is different, pretending to be me—”
“Well, none of us really fancy it, Harry,” said Fred earnestly. “Imagine if something went wrong and we were stuck as specky, scrawny gits forever.”
Harry did not smile.
“You can’t do it if I don’t cooperate, you need me to give you some hair.”
“Well, that’s the plan scuppered,” said George. “Obviously there’s no chance at all of us getting a bit of your hair unless you cooperate.”
“Yeah, thirteen of us against one bloke who’s not allowed to use magic; we’ve got no chance,” said Fred.” —Harry Potter and the Deathly Hallows

“Of course this is happening inside your head, Harry, but why on Earth should that mean it isn’t real?” —Harry Potter and the Deathly Hallows

Oh yes, and I’m going to say 5/5.


The plot basically worked by picking a couple of “bad” characters and switching off which one to blame. So a large part of any given book would be spent discussing how the current bad event was the doing of one of two or so people (with a new character occasionally thrown in). Then it would turn out to be someone else after all. This surprisingly doesn’t get old at all, at least for me. I just had to accept that there would be prejudices and look for other clues. For example, Harry has a blind hatred of all Slytherins. Let me put it out there: nowhere does it ever say Slytherins have to be bad. The fact that (I think) every single Death Eater was Slytherin showed one of the primary weaknesses I saw in the writing of the series. All that’s ever really said about Slytherin is that they are ambitious, cunning, determined, driven, focused on goals, big on cost/benefit analysis, self-preservative, charming, able to use their intelligence as a tool to achieve their goals, etc., and that this is where you will find “real friends.” More would be said, but almost no Slytherin character is able to develop very much. It’s just Harry’s blind bias that causes so many of the Slytherin characters to look “bad” or at least weak.

Mini-rant aside, the plots are generally strong. Individually, the books don’t seem to have many plot twists, just the major one that, oh, it WASN’T that Slytherin after all! Then in the end Dumbledore will have a solution that seems to bend magic a little, and that’s it. Taken altogether, however, the plot throughout the series is really excellent. Part of why I say that and one of the main ways I judge plot is the way that everything comes together in the end.

For example, take what I found on the Internet:

In their third (or so?) year, Harry and Ron are making predictions for Divination. They give up on doing it the way they’re supposed to because it is impossible for them (they don’t have much in the way of an Inner Eye). So they start making stuff up. Harry makes up 4 predictions:

1. “OK…on Monday, I will be in danger of—er—burns.”

2. “Lose a treasured possession”

3. “Why don’t you get stabbed in the back by someone you thought was a friend?”

4. “And on Wednesday, I think I’ll come off worst in a fight.”

In their fourth year, Harry is selected as a Triwizard champion, meaning he has to

1. Fight a dragon

2. Reclaim Ron from the mermaids (“We’ve taken what you’ll sorely miss“)

3. Not part of the challenges obviously, but Ron ends up hating him because he thinks Harry put his name in the Goblet intentionally without telling him

4. And then Harry ends up in the graveyard and has to fight someone you’ve probably heard of by now.

If that’s not mastery of storytelling I’m not sure what is. There are more, too—and if you ignore the 4th book, looking at the books opposite one another (1st and 7th, 2nd and 6th, 3rd and 5th), there are really startling parallels that lead up to sort of a sense of conclusion at the end of the 7th that’s probably more satisfying than almost anything else I’ve ever read.

For example (although I won’t tell you much in case you STILL haven’t read it): the first book starts with Harry being brought to Privet Drive by Hagrid on Sirius’s motorbike: from the Wizarding world of his life to the Muggle world he has to be dumped into. The seventh book starts with Harry being brought from Privet Drive by Hagrid on Sirius’s motorbike: from the Muggle world of his life (sort of) to the Wizarding war he has to be dumped into. In both Chamber of Secrets (#2) and Half-Blood Prince (#6), Harry spies on the Malfoys in Borgin and Burke’s, both incidences having to do with the vanishing cabinet (which of course crops up again). Et cetera. Of course every book builds up to the dramatic and grand ending—book 1 introduces everyone; book 2 involves a Horcrux; book 3 must have some purpose other than Sirius Black and Peter Pettigrew, but I’m not sure what; book 4 has Voldemort’s return; book 5 has the introduction of the prophecy; book 6 has the introduction of the horcruxes; and book 7, of course, is the end that brings all of this together. That’s pretty cool, too. But what I love about J.K. Rowling is that even the little things wind together to tie everything up.

Of course there are plot holes. There are some pretty big ones, too. I will address this at the very bottom of my post and only to people who already love Harry Potter enough that this will bring them back to reality. If you’ve already got a problem with Harry Potter, please don’t read them.

I will give plot 6/5.

Character Depth/Development

J.K. Rowling lived with these characters in her head for 17  years. That kind of defies rating. That kind of looks a rating system in the eyes and smirks. The characters definitely seemed very real, very three-dimensional. In many books, if there are more than two friends they have to have differences, and they have to sort of make each other stronger through their differences. For a long time I was kind of unsure about Ron’s purpose in life, but it is as follows: most trios have a heart, a brain, and a body; Harry is the heart, Hermione is the brain, so Ron is the body. That doesn’t mean he literally has the muscle or whatever, it means he’s sort of practical, sort of has the strength—mental, physical—behind whatever Harry’s doing, even just in terms of support. Even though in a way he’s the least loyal of the three of them, he’s also the most loyal.

Harry is a perfect hero. His parents were murdered, so you instantly feel sympathetic. He’s plunged into an amazing world he knows nothing about, which you happen to know nothing about as well, so he is the way that you view his world and that makes him your best companion. He’s injured, physically by his scar and emotionally by the loss of this parents. He’s strong, because he’s a good person and he has support of good people, but he’s weak because he’s a child, because of the prophecy, because Voldemort can manipulate him, because Voldemort is quite frankly more powerful. He’s strong enough to make you want to support him, but he’s weak enough to make you really fear for him. So in short, he becomes your best friend and your hero. In many books, the main character is slightly more than an opinionated window.

Hermione is the perfect role model. Half of what ends up happening happens because of her brains. She’s intelligent, she’s strong, she doesn’t have any girlfriends and doesn’t care too much what the girls think of her. She speaks her mind and generally gets listened to because there’s so much mind to speak. She sticks with Harry the whole time.

All of the characters are full characters, and when you start with 11-year-olds, of course there will be development. Of course they grow up and start looking at the world differently. The Harry Potter characters developed better than characters in almost any book I have ever read (and I say “almost” just because I want to leave the possibility open; I can’t think of one). It’s realistic and sort of dramatic, but at the end you can definitely see echoes of the little 11-year-old who got 50 points taken from Gryffindor trying to save Hagrid’s vicious dragon.

And all of the characters had so many messages. Harry Potter taught us that there are things worth dying for, that with people around you you can do almost anything. Ron Weasley taught us that you have to believe in yourself, and you can always come back. Hermione Granger taught us that it’s never bad to be smart. Severus Snape taught us never to judge without the absolutely full story. Rubeus Hagrid taught us that everything’s cute if you look at it right. Lily Potter, Molly Weasley and Narcissa Malfoy—and Severus Snape—taught us that love is more powerful than anything. Remus Lupin taught us that we shouldn’t judge people by things they can’t control. Albus Dumbledore taught us that good people are not always good. Draco Malfoy taught us that bad people are not always bad. Neville Longbottom taught us that courage is standing up for what’s right, even when you’re scared out of your mind. Luna Lovegood taught us that it’s OK to be yourself and not care what others say. Dobby taught us that freedom is a gift. Fred & George Weasley taught us that sometimes all you need is a good laugh. Arthur Weasley taught us that an good sense of curiosity and a bit of obsession can be healthy. Fleur Delacour taught us that true love is not based on appearance. Molly Weasley taught us that a happy family is not measured in gold. Bellatrix Lestrange taught us that there are truly horrible people in the world. Kreacher taught us that if you want to get to know a man, look at how he treats his inferiors, not his equals. Nicholas Flamel taught us that “to the well-prepared mind, death is but the next great adventure.” Minerva McGonagall taught us that a good cause is worth fighting for at any age. Lord Voldemort taught us that a life without love is barely living.

And J. K. Rowling taught us that the stories we love will always be with us. Until the very end.

I won’t rate this because it’s unfair to both my rating system and to sane authors everywhere who don’t spend 17 years on characters.

Je Ne C’est Quois

Again, this sort of defies rating. It’s not fair to give this a number when the worst-selling Harry Potter movie (Prisoner of Azkaban) outsold the best-selling Twilight movie by about $90,000,000. (Tell me if you think my facts are wrong.) People love these books, and it’s not because of incredible writing, and it’s not just because of incredible plot and characters. You can do those by the rulebook and without that je ne c’est quois they won’t sell. So again, I won’t rate this. But the Harry Potter books are so many people’s chocolate from dementors, so many people’s best friends, so many people’s favorites. Every time I go back to them I smile. The rating would be high, but I won’t give it a number. Read them (if you are STILL READING THIS even though you haven’t read the books) and try it for yourself.


Some Bonus Material For Your Enjoyment because there are far too many people out there with no lives who make me smile quite often

“Severus Snape” is an anagram for “Persues Evans.”

The first thing Snape asks Harry is, “What would I get if I added powdered root of asphodel to an infusion of wormwood?” According to Victorian Flower Language, asphodel is a type of lily meaning “my regrets follow you to the grave” and wormwood means “absence” with a connotation of bitter sorrow. So “I bitterly regret Lily’s death.” :O

There is legitimately a dinosaur named “Dracorex Hogwartsia,” or, “dragon king of Hogwarts.”

HoGwaRtS: Hufflepuff, Gryffindor, Ravenclaw, Slytherin

To get into the Ministry of Magic, one dials “62442,” which spells “magic” on a telephone.

Ron’s patronus is a type of dogs that chases otters; Hermione’s is an otter.

J.K. Rowling is the first person to become a billionaire through books.

In the credits of the 4th film, it says “No dragons were harmed in the making of this movie.”

no dragons were harmed

Not to mention just the great people in the fandom. Because of Harry Potter there is a generation of people who love to read. Previous fandoms were more movie or TV show or comic book or something, but now there is the same passion—about words. It’s hard to explain. There are just smart, normal people in the world, and Harry Potter is something most of them like. And then there are people who learned to love reading because of Harry Potter, which is very, very cool. Even when they’re just abusing Twilight, there’s this attitude there, that we’re all brought together because of these books, and because they’ve sort of created an atmosphere of smart is good. For example,

Spoiler alert!

may or may not contain lord voldemort







And then the other side of the spectrum. To puncture any lingering Potter infatuation you might have (there are people), and to get you to realize that actually, worshipping these things is a bit of a stretch, here are some of the big plot holes or implausibilities {feel free to answer these for me if you can}:

Book 1:
OK, strange guy barges into the house and gives your cousin a tail. Let’s follow him out in the middle of nowhere because he’s totally legitimate that you’re a wizard when you’ve been given practically no proof at all.
But you’re 11. Maybe we can cut you some slack. Also, you’re pretty desperate to get away from your family. Who, by the way, are so terrible to you it’s practically abusive. How is this OK? This boy’s parents died. Why are his uncle and aunt so prejudiced against him?
Despite this fact, we must assume that this little boy was not overly emotionally scarred by this terrible childhood. Moving on.
If my parents are dead and in their place I’ve been given some horrible relatives I’m willing to follow a random man off into the middle of nowhere to get away from, and I end up in a place with ghosts, it would definitely occur to me to ask about death and ghosthood in less than five years.
When there’s a troll in the dungeons and everybody is collected into the easily defensible Great Hall with all of the teachers who are, it must be mentioned, good at magic that must affect a troll somehow, let’s send them all wandering off on their own to their dormitories, some of which are actually in the dungeon where, oh yeah, there is a troll.
And also, what is it with the puzzles? If you’re trying to hide something from someone deeply evil, why is it eventually possible to get to that thing?

Book 2:
If the magical barrier doesn’t let you through, you fly a car to Hogwarts even though you don’t know where it is and almost every capable adult witch and wizard is currently behind this barrier. Why don’t you wait for a bit until they come out and then they can personally take you to your school because I’m sure that there has at some point once been a late student who needed to get to Hogwarts some other way than the train, and the school must have thought about that and it won’t be illegal.
Why has nobody ever abused Howlers?
Why does nobody really care that the magical barrier wouldn’t let two students through?
Why does nobody care that Ron’s wand is severely broken and isn’t working? If you go to a school to learn magic, isn’t it kind of beside the point if you can’t do magic? Shouldn’t they have spare wands or something? That’s like going to a school for computer technology and breaking your computer. You’ll use a spare, right? Not just kind of avoid ending up in a situation where you’d need to use a computer.
How big are the pipes anyway? Is it normal to have pipes that large? Who needs that type of plumbing? Especially in a magical school—speaking of which, shouldn’t there be a better way to clean everything up than Filch? Like um…magic?
Also, the points system should lock out at a certain time before the award ceremony feast.

Book 3:
Can’t say these because they would spoil the book too much. But think about it. Scabbers the rat sleeps in Ron’s bed. What would the Marauder’s Map say to that and how would Fred and George not catch that?

  • Answer: “Fred and George never noticed [Scabbers] on the Marauder’s Map because they didn’t know who he was. Even if they had recognized his name, they would have assumed he was just a student with the same name. [He] was one of many moving dots on the map, and Fred and George would have only been focused on the path their mischief took that day.”

Book 4:
Why are we sending all the kids off alone, possibly into the middle of chaos?
Why has Harry done nothing to learn about the terrible reign of darkness that he personally ended? Even if it had nothing to do with me, if I was introduced to a community that had just had a terrible war I’d try to learn about the war and not have no clue what a Dark Mark is.
Why does nobody care that Harry will probably die in a game? Maybe there are contracts, but death? Shouldn’t they just disqualify him and help him cheat to get out alive? They are certainly physically capable of helping students cheat.

Book 5:
Tonks can change her appearance to whatever she wants; house-elves can Apparate wherever they want—why were these skills so underused?
Why does Harry not use the two-way mirror to see where Sirius is? Can he really be stupid enough to not even look at a package that will allow him to instantly communicate with his godfather, and then completely forget about it when he ends up actually needing to? If it’ll be so inconvenient to the plot that he’ll actually need to forget about it in order to get around that, why not take it out? (It didn’t end up being tremendously important anyway, I’m sure it would’ve been easy to find another way for what it ends up doing, to happen.)
What does “neither can live while the other survives” even mean? Harry and Voldemort are currently both living and both surviving. Of course, Voldemort wants to kill Harry, but only because of the prophecy.

  • “Neither can live” isn’t necessarily being literal and referring to their life; it could just be a metaphor for “neither can rest” until the other is dead—which is certainly true. But it seems a bit anticlimactic.

Book 6:
How come Bill can just walk into Gringotts and take money out of Harry’s vault?
Why does Harry not try Sectumsempra on something other than a person?
Why don’t Inferi come out before Harry and Dumbledore get what they want?
Why does Dumbledore freeze Harry in place on the tower? Wouldn’t that be a terrible thing to make him watch? Shouldn’t he just force him to go away somehow?

Book 7:
Why, in 6 years, was Harry never taught a single healing spell?
Why does Lupin reappear and what does it have to do with anything? What is its point and how is it even consistent with Lupin’s character? If it’s in there, clearly adults know where Harry & co are; why aren’t other adults presenting reasoned arguments for why they—who do not have babies coming—should help?
Why can Nagini bite Harry and be cured by Hermione’s dittany, but when Nagini bit Arthur before, it took him weeks in St. Mungo’s, who obviously will have dittany lying around if Hermione did?
When Harry jumps into that freezing lake, why doesn’t he use warming charms? They have Freezing Charms, surely they must have Warming Charms.
Why has nobody abused the Taboo spell before either?
Why are Harry & co taking the Sword of Gryffindor so lightly? First of all, just tell Griphook what it’s for! Make an Unbreakable Vow that he won’t tell people or something. Second of all, this is probably a good time to lie better, if there ever was one. Voldemort’s death is at stake here.
The Death Eaters are torturing first years? Isn’t that a bit extreme even for them?
How does Harry possibly remember the tiara from one year ago?
Why is it necessary to kill [xxxx] for possession of the [xxxxx] wand? We already know that it’s just as good to Disarm them, why isn’t that good enough for Voldemort?

And that’s not even beginning to TOUCH the movies, which were great until the 6th or so, and after that sort of lost the thread of the plot a little in my opinion. I mean, hello??? The end of the 7th??? All that flaky black stuff??? Either you have witnesses or you have a body; if you have neither why are people supposed to believe you??? “Here is some black tissue paper I ripped up; your war is over and this was your nightmare.”

Anyway, these books have pieces of everything, on top of a sense of humor. It’s practically impossible not to get attached to the characters, and overall the plot is beautifully wrought. So try it. What’s the worst that happens?

**Disclaimer: much of what I wrote in here that you haven’t seen is from the Internet. Some of it isn’t. But if you originally wrote it, feel free to tell me and I’ll credit you 🙂