Diversity 101: An Introduction

I grew up reading books by diverse authors and thinking about the characters who lived in them and the questions they raised. I went to a “good” college where we often discussed issues of race, culture, ethnicity, religion, gender, and sexuality. Yet here are a few of the things I wasn’t aware of when I started working as an editorial assistant in 2000:

• The Clark Doll Experiment
• The Indian burial ground trope
• The term “white privilege”
• That skin tone is a major source of sensitivity in many non-white communities
• The strong dislike or discomfort many cultures feel toward anthropologists
• The white savior cliche, in which a white person discovers the wonders of a native group, eventually becomes part of the group, is acclaimed as the best of them all, then leads them into battle against the white culture, which is trying to dominate the natives (see especially Dances with Wolves and Avatar)
• That for all its charms, The Story of Babar ultimately reproduces a colonialist narrative about the superiority of European life to African life

Diversifying the "Best of" Lists

Every year around December, various publications and organizations will post their “Best of” lists and editor’s choice round-ups. Here are a few diversity titles that we spotted among the crème de la crème.
 
Young Adult

ARISTOTLE AND DANTE DISCOVER THE SECRETS OF THE UNIVERSE
by Benjamin Alire Saenz
Simon & Schuster Books for Young Readers

★ Publishers Weekly
★ School Library Journal

A School Library Journal Best book of the Year
A Junior Library Guild Selection

Aristotle is an angry teen with a brother in prison. Dante is a know-it-all who has an unusual way of looking at the world. When the two meet at the swimming pool, they seem to have nothing in common. But as the loners start spending time together, they discover that they share a special friendship—the kind that changes lives and lasts a lifetime. And it is through this friendship that Ari and Dante will learn the most important truths about themselves and the kind of people they want to be.--From Simon & Schuster

ENDANGERED

by Eliot Schrefer

Scholastic

★ Publishers Weekly

A National Book Award Finalist
A Junior Library Guild Selection

The compelling tale of a girl who must save a group of bonobos--and herself--from a violent coup.

The Congo is a dangerous place, even for people who are trying to do good.

When one girl has to follow her mother to her sancuary for bonobos, she's not thrilled to be there. It's her mother's passion, and she'd rather have nothing to do with it. But when revolution breaks out and their sanctuary is attacked, she must rescue the bonobos and hide in the jungle. Together, they will fight to keep safe, to eat, and to survive.

Eliot Schrefer asks readers what safety means, how one sacrifices to help others, and what it means to be human in this new compelling adventure.--From Scholastic

Industry Q&A with author Valerie Hobbs

Tell us about your most recent book and how you came to write it.

My most recent book is Minnie McClary Speaks Her Mind. Like most authors, I invest a lot of myself in my characters and I've had a lot to say apparently about things that aren't right, that should be right. About how people should be treated regardless of ethnicity, gender, class, disability, sexual orientation, etc., etc. And I believe that children should be encouraged to think, not just fill in bubbles on state-mandated standardized tests. Miss Marx, Minnie's teacher, is the kind of teacher I wish I had been when I taught middle-school years ago. She encourages the students to think, to question, and to write about the things that concern them. It takes courage, especially these days, to be the kind of teacher she is.

Do you think of yourself as a diverse author?

I hadn't, I suppose because as a white woman I'm not considered "diverse", but my beliefs certainly fall into that camp.

Industry Q&A with author Tanita S. Davis

Tell us about your most recent book and how you came to write it. 

I read a newspaper account of Theresa Sparks, who was formerly a man. I was struck by what she had to say about love and family, and I wondered if my own family could have survived a transgender member intact. During this time, the hatemongers under the banner of the Westboro Baptist Church were up to some headline-grabbing stupidity, and I found myself wondering if people who claimed Christianity could ever love someone enough to accept them – thus Happy Families came out of a lot of quiet thoughts. It challenged me to explore my own hidden fears and beliefs and to make a personal resolve in favor of love.

Do you think of yourself as a diverse author?

Um... not really. In the mirror/window illustration made famous by Mitali Perkins☺, I consider myself a mirror – I'm turning my work around toward my community, and these are the people I see. I try to be inclusive of the sometimes invisible things – the differently abled or those with other challenges, multiracial blends, blended families, various faiths, etc. – because that's real-world stuff, and I really feel there's too much culture-less, colorless fiction being published.

Here's a Question:

Does the digital era flip our definition of censorship?

Still Bleeding... by Hardmerolgirl

Book Spotlight: Never Fall Down

The National Book Awards Gala is coming up this Wednesday and one of the finalists in the Young People’s Literature category is Never Fall Down by Patricia McCormick. It is a novel based on the real life of Arn Chorn-Pond—a man who survived unspeakable horrors in the labor camps of the Khmer Rouge as a boy, escaped as a soldier, and was later adopted and brought to the United States. This is a story of brutality, but ultimately it’s an inspiring story of how the arts can save a life, and how the resilience of the human spirit can shine even in the darkest of times.

Patricia McCormick
Photo by Roberto Ligresti

In her brief introduction, Patty writes:

Nearly two million people died—one quarter of the population. It is the worst genocide ever inflicted by a country on its own people.

I used this quote often in my pitching because when I’d first read it, it shocked me…and I knew it would shock others. It did. What I learned from the many journalists and producers I spoke with is that a lot of people don't know these facts. This doesn't altogether surprise me as the Cambodian genocide is not a piece of history that is widely taught or discussed. Cambodians themselves would prefer to avoid their terrible past. When Patty and I discussed the history and the current relevance, she wrote me the following for background and context:

Book Spotlight: The Revolution of Evelyn Serrano

A Coming of Age Nuyorican History Lesson 

Undoubtedly one of America’s most influential Latinas in pop culture, the Emmy-winning New Yorker Sonia Manzano continues to define the TV-watching experience of many kids—especially young Latino and Hispanic children.

For me and many Latinos who grew up watching the humorous, albeit always educational, antics of Burt & Ernie and Cookie Monster, no human face is more associated with the globally broadcast Sesame Street (Plaza Sésamo en Español) than "Maria" embodied by Sonia Manzano.

Manzano joined the production of Sesame Street in 1971, where she eventually began writing scripts for the series. She has won 15 Emmy Awards as part of the Sesame Street writing staff. Many of those kids who grew up with Maria—myself included—will forever regard Sonia Manzano as a cherished storyteller.

This is why her powerful debut YA novel The Revolution of Evelyn Serrano (Scholastic Press) is so important and relevant for young readers of all backgrounds.

Here's a Question:

Do YA authors, editors, and librarians promote the idea that YA books have the power to do good, but reject the idea that they can do harm?

The Playroom of Good and Evil by ninjaink

Industry Q&A with author Shana Burg

Tell us about your most recent book and how you came to write it.

My second middle grade novel, Laugh with the Moon, was published in June, 2012 (Random House). It tells the story of a 13-year-old girl from Boston named Clare Silver who goes to Malawi, Africa for nine weeks, after the recent death of her mother. Though Clare is furious at her father for taking her away from her friends to live in the jungle, she soon discovered the reason behind her father’s motivation—it is healing to be among peers who, for better or worse, are expert at dealing with grief.

The novel is based on my own experience visiting Malawi, and I drew from the friendships I made with the people I met here.

Do you think of yourself as a diverse author?

I’d say yes and no. I’m an Ashkenazi Jew, so I look white. But growing up in Massachusetts, I always felt an outsider in a town where there were country clubs, but only token Jewish and black members were allowed to join.  I was born in Birmingham, Alabama, where my father was a civil rights lawyer and a partner in the first integrated law firm in the state since Reconstruction. So while I’m not a person of color, I probably identify with the struggles more than some other people.

Adriana Dominguez: How I Got into Publishing

Guest post by a literary agent, professional translator, online book reviewer, and Latino children's book expert

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Adriana Dominguez

English is not my first language, though this statement doesn’t ring quite as true now that I have spent most of my life living in the United States, speaking and working in English. But the fact is, when I arrived in the US at age 12, I did not speak a single word of it. I quickly learned to say the phrase “I don’t speak English” so fluidly, that folks often seemed to question the legitimacy of my assertion. Learning a language anytime after the age of twelve is difficult—as difficult as it is to be twelve in the first place! And so I believe that my fascination with reading and language emanates first from the fact that my mother read to me constantly from a very early age, and secondly, that I mostly developed my English language skills by reading lots and lots of books, often with a dictionary on hand to prevent me from getting “stuck” when I came across a term or phrase I did not understand.

Book Spotlight: Fifty Cents and a Dream

This December, Little, Brown Young Readers will be publishing Fifty Cents and a Dream: Young Booker T. Washington by Jabari Asim, illustrated by Bryan Collier. I had the honor of working with these two talented men—Jabari’s text is evocative and lyrical, and Bryan’s collage art is, per usual, stunning. This dynamic pairing already makes Fifty Cents and a Dream a special book. But what makes this book even more special is the story itself—a true and often overlooked piece of history about perseverance and triumph.

Booker T. Washington is a common figure in social studies classes. He’s briefly covered in most schools, particularly during Black History Month, grouped with other influential African American leaders. While growing up in Alabama, I learned and relearned about Washington; we had Alabama History every year, up until freshman year in high school. Here’s what I gleaned from my many years with Mr. Washington:

Linette Kim: How I Got into Publishing

Guest post by a NYC transplant from California working in School & Library Marketing at Bloomsbury Children’s Books

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Linette Kim

I got into publishing through the back door, so to speak.

Like just about everybody who works in publishing, books were a huge part of my childhood. It amazes me still that my parents, who were not well-to-do at all and had just moved to the States from Korea, somehow managed to mail-order picture books for me before I was even old enough to talk. Even more amazing, English isn’t their first language, so read-alouds weren’t exactly a part of our daily routine. Instead, when I was old enough, I would sit with these books strewn about the room, thumbing through the pages, making up stories based on the pictures.

Not surprisingly, middle grade was the most formative time in my literary life. More specifically, middle school was when I discovered Ann M. Martin’s The Baby-Sitters Club. This series did everything to ignite in me a passion for writing and reading, as well as a love of grammar!, that has only grown since. I am also amazed in retrospect at the diversity of the BSC cast—Look, minorities! On the jackets! As a reader, it didn’t occur to me to even think twice about this, nor did I appreciate it as much as I do now. I mention all this especially because I got to meet Ann M. Martin this very weekend at a Books of Wonder event, where both she, as well as Bloomsbury author and one of my favorite people in the world, Shannon Hale, were panelists. I didn’t think it was possible to get that emotional upon meeting a writer. I was wrong. And when I asked Ann for an autograph, the Newbery Honor winning author wrote, “BSC 4-ever!” Yes. I could have died.

Shirin Bridges: How I Got into Publishing

Guest post by Ezra Jack Keats award-winning author — and now Publisher of Goosebottom Books

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Shirin Bridges
Head Goose

I come from a family of storytellers. When I was growing up in Asia, the stories that my great-grandfather, my grandparents, and my parents told wove to form a matrix, a context for my life. Through stories I understood who I was and where I’d come from, and also where I could go.

One of those stories became my first picture book, Ruby’s Wish. It’s the tale of a girl in Old China who wants to go to university, even though girls weren’t taught how to read or write. The Umbrella Queen followed, about a girl from a Thai village where everyone paints umbrellas the same way. Of course, our heroine wants to paint hers differently.

So you see, my stories were about girls who found ways to do and be more than expected. Imagine my reaction, then, when I watched my niece disappear into a pink princess haze.

“Do you know there were real princesses who didn’t sit around waiting for a prince?” I asked her. There were princesses who changed their own worlds; ones too busy and too empowered to worry about being pretty or popular.

Book Spotlight: The Savage Fortress

One of my favorite quotations about children’s literature ever comes from the marvelous R. L. Stine:  “I believe that kids as well as adults are entitled to books of no socially redeeming value.” This doesn’t mean that the books in question aren’t good on an aesthetic level, of course. It just means some books don’t have to be anything more than FUN, delivering the big emotions readers crave at every stage of life, but especially as children and YAs:  the adrenaline of the fight scene, the thrill of the kiss, the shiver of terror that Mr. Stine renders so expertly. Quite often they’re genre books—fantasies or romances or horror or mysteries—or published in series, like my long-ago-beloved Babysitters Club books. They don’t teach anything, they don’t require too much work from the reader, they’re all about the pleasure of the experience . . . and the experience is awesome.

Historically, kids of color who wanted to see themselves in these kinds of books have had a hard time finding such stories. And on the flip side, books about people of color have often been presented under an aura of nothing but socially redeeming value, for the history they teach, the cultural information they impart, or the cross-cultural reader’s virtue in picking them up at all. But all of that has been changing, slowly but steadily, and I am now immensely proud to introduce you to a book with a hero of color, in a world drenched with color, and no socially redeeming value at all: The Savage Fortress, by Sarwat Chadda. 

Celebrating Diversity in Jewish Books for Children

Guest post by Barbara Bietz, Past Chair of the Sydney Taylor Book Award Committee, author, and creator of the blog Jewish Books for Children.

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By learning about other cultures through literature, we celebrate our differences as well as our commonalities. Books about different cultures offer young readers access to people whose backgrounds and religious beliefs may be unfamiliar, but through their stories readers establish emotional connections that foster understanding and compassion. Book awards that celebrate diversity help librarians, teachers, and parents identify excellent works that offer meaningful experiences to readers.

The Sydney Taylor Book Award

The Sydney Taylor Book Award, established by the Association of Jewish Libraries in 1968, honors new books for children and teens that exemplify the highest literary standards while authentically portraying the Jewish experience. The award memorializes Sydney Taylor, author of the classic All-of-a-Kind Family series about a Jewish family with five sisters growing up on the Lower East Side of New York City in the early 1900’s. Gold medals are presented in three categories: Younger Readers, Older Readers, and Teen Readers. Honor Books are awarded Silver medals, and Notable Books are named in each category.

Book Spotlight: Summer of the Mariposas

Guadalupe Garcia McCall
reading her debut title

It was tough choosing which of my Tu Books fall titles to share with you this week, as they're both awesome, and they're both diverse titles that I want all the world to know about. I had to draw straws, in the end, and Summer of the Mariposas won. This time.

Guadalupe Garcia McCall is known best for her debut novel in verse, Under the Mesquite, which was a finalist for a Morris Award--given for a debut novel--and which won the Pura Belpre Award. McCall carries that same poetic voice to prose in her second novel, a retelling of The Odyssey starring five sisters. I sometimes like to call it a Mexican American Weekend at Bernie's meets Sisterhood of the Traveling Pants via The Odyssey. Let me tell you why.

When Odilia and her four sisters discover a dead man floating in their swimming hole on the Texas side of the Rio Grande, their first instinct is to report the dead body to the authorities. But when one of the sisters, Juanita, finds a family photo in the dead man's wallet, their path is clinched--he was a father with two small children at home. They decide they will return the dead man to his family in Mexico, despite Odilia's opposition to this plan. Eventually Odilia is overruled and she joins them on the urging of the ghostly legend La Llorona, who tells Odilia that this quest is something the five sisters must undertake. La Llorona will be their guide. They pile into their father's old car and set off on an adventure to Mexico.

Comadres y Compadres Writers Conference

Las Comadres is a nationally known Latina organization empowering women to be actively engaged in the growing Latino/Hispanic communities through online and face-to-face networks. Its mission is to connect and empower Latinas everywhere through community building/networking, culture, learning, and technology.

Las Comadres, in collaboration with Medgar Evers College, CUNY: National Black Writers Conference, the Center for Black Literature, the Foreign Language Department and the Latino American Association present the Comadres y Compadres Writers Conference, which will provide Latino writers with access to published Latino authors as well as agents and editors who have a proven track record of publishing Latino writers.

Separate, Not Equal

An It's Complicated! — Book Covers guest post by author Coe Booth.

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Coe Booth

Like most writers I’m always a little — okay, a lot! — nervous about what my book covers will look like. After spending so much time writing the books, the fact that the cover image is out of my control leads to a great deal of anxiety. However, I was pleasantly surprised and happy when I saw the cover of my first novel Tyrell.

I really thought the photo of a teenage boy looking out onto his neighborhood would attract the attention of the audience I had in mind when I was writing the book — teenagers, especially boys, who don’t usually find a book that speaks to them. And I’ve since heard from lots of teens who tell me that it was the cover that initially drew them to the book.

The thing I never imagined was that the cover (and the covers of my subsequent books) might create an automatic ghettoization of my work.

I can’t tell you how many libraries I’ve been to where my books are not even shelved in the mainstream YA section. They are relegated to the shelf labeled “Street Lit” where the books about black people live. The same is true in some bookstores where a black person on a book cover means it’s no longer YA; it’s “Urban Fiction”.

I’m here to tell you, when it comes to books, segregation is alive and well in America.

Who Will Create the New Normal?

An It's Complicated! — Book Covers guest post by Elizabeth Bluemle, a children's book author, blogger for Publishers Weekly, and owner of The Flying Pig Bookstore in Shelburne, Vermont.

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Elizabeth Bluemle

 For sixteen years, I’ve been a bookseller in small-town, semi-rural Vermont, in a region that is progressive but fairly homogenous. I spend a lot of time introducing people to new books I think they might love, and over the years, I’ve encountered the usual range of responses from white customers to books with brown faces on the covers. Many of these responses are positive; some are reluctant or downright resistant, and represent mistaken assumptions about these books, that they are limited in focus and applicable only to a narrow, nonwhite audience.

I’ve got a toolbox full of tactics I use with hesitant customers, from subtle to overt, depending on how the situation reads. By emphasizing plot and character, by getting them to “forget” about race, I can get the adult excited about the story. I say adult deliberately, because out of the thousands of kids I’ve recommended books to, only a handful have ever shown even an awareness of the race of the cover character, much less a resistance to difference.

But the resistance is not entirely the reader’s fault. The extreme lack of diversity in children’s books (if it were hunger, it would count as starvation) — both featuring people of color as main characters and books published by writers of color — has led readers to some justified perceptions. For a long time, brown faces on covers by and large signaled certain kinds of stories: slavery, Civil Rights, gritty urban plight, outsiderness. The problem wasn’t with the stories themselves, of course; these were powerful, enriching, worthy books. But they were funneling nonwhite experience into particular tubes, and if readers were in the mood for something else—adventure or fantasy or mysteries, say—they looked elsewhere. They had to; there were few other choices. And that is still largely the case, with a few noteworthy, marvelous exceptions.

Creating a New Narrative

An It's Complicated! — Book Covers guest post by Joseph Monti, a once bookstore buyer, editor, and now prominent literary agent at Barry Goldblatt Literary.

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I'm writing today, discussing middle grade and young adult book covers, as a former children's fiction buyer at Barnes and Noble, Inc., and thus this is not wholly my opinion, but also fact based upon sales numbers at the largest bookstore chain in the world. That said, I am not speaking for the company in any capacity, just my personal experience.

The simplified truth to the quandary about book covers is that good covers sell books, and bad covers hurt book sales. A good book with a bad cover may overcome it, but it will not reach the sales potential it could have had with a good cover. A mediocre book with a good cover will increase sales. The marriage of a good cover and a good book is what I am going to showcase.

Changing the Conversation Around Diverse Publishing

An It's Complicated! — Book Covers guest post by Felicia Frazier, Senior Vice President & Director of Sales at Penguin Young Readers Group.

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Felicia Frazier

I would like to begin my post with a point of clarification that my opinions regarding diversity in publishing are based on my opinion and experience that may not be the perspective of my publisher. As a 20 year publishing veteran I have held many positions including Event/Exhibit Planning, Marketing, and Brand Management but my greatest and longest tenure has been as a sales strategist. I currently lead the best sales team in publishing. It is a position of strategic planning and challenging assumptions with the goal of reaching our consumers.

A side lesson...

Creating Book Covers As Both Mirror and Window

An It's Complicated! — Book Covers guest post by Laurent Linn, Art Director at Simon & Schuster Books for Young Readers.

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Laurent Linn

It’s simply a fact. We judge books—like people—by their appearance.

When looking for books, we like covers that have attractive/intriguing images and type, suggest genres we like, resemble books we’ve already enjoyed (but don’t resemble them too much as to feel derivative), and look new/current. Also extremely important is, for young readers, “Is this book about someone like me?” One little cover must carry a lot of weight.

With so many wonderful books published about kids of all types, it’s very possible for diverse kids to discover characters that resemble them. For this connection to happen, the cover design becomes incredibly important. But a cover doesn’t only need to appeal to kids (whose tastes and visual language are as diverse and evolving as they are), it has to meet the approval of art directors, editors, authors, agents, publishers, sales and marketing departments, book buyers and sellers, librarians, reviewers, parents, etc.—all of whom are adults, with their own ideas about what works. An interesting challenge, yes?

A New "It's Complicated!" Conversation

As part of CBC Diversity's ongoing effort, we're pleased to present the second dialogue in the "It's Complicated!" blog series starting Sept. 3rd, this time addressing book covers.

The following voices in the industry will each contribute one blog post to the series over the week, addressing challenges they've faced and successes they've had in selling/designing/writing books portraying diverse characters on the cover, and participating in the open dialogue in the comments section of the site: 

• Coe Booth, Author
• Laurent Linn, Art Director at Simon & Schuster Children's
• Felicia Frazier, Senior VP and Director of Sales at Penguin Young Readers Group
• Elizabeth Bluemle, Owner of Flying Pig Bookstore
• Joseph Monti, Agent at Barry Goldblatt Literary - don't miss reading his recent post about his entry into publishing

Our first "It's Complicated!" blog dialogue in May addressed a topic that has arisen frequently at the Diversity table — the concept of responsibility and authenticity when writing about diverse characters and how authors, editors, and agents can choose/write stories that reflect the diverse nature of our society. Review that conversation!

As always, we urge everyone to participate in what we hope will be an informative and insightful conversation. We really appreciate hearing from you, our readers, through the comments section of the posts about the parts of the discussion that you feel are most important and want to talk further about. 

Getting Students Reading, Keeping Them Reading

Guest post by Edith Campbell — a mother, librarian, and quilter.

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For 6 years, I worked as a librarian in a high school in Indiana that struggled to help students achieve academic success. I truly enjoyed being their librarian. Don’t let anyone tell you that “these students” don’t read. By the numbers “these students” were 96% Black and 85% low income. By my memory, they were sponges who soaked in knowledge at every opportunity. They were amazing people who were full of wonder, possibilities and potential. For each of the 6 years I worked with them, I checked out at least twice as many books as students in the 1100 student school, one year even four times as much. My students were readers and sophisticated readers at that. They knew exactly what they would enjoy reading. While they sometimes requested popular YA titles, they would most consistently ask for urban lit. I found it for them in YA form and they inhaled it.

Joseph Monti: How I Got into Publishing

Guest post by a once bookstore buyer, editor, and now prominent literary agent at Barry Goldblatt Literary.

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I grew up thinking that no one in publishing ever came from where I grew up, Yonkers, NY. I had the kind of high school experience that smothered dreams, said you weren’t smart enough to have what you wanted. I grew up with a limited perspective and a small idea of what the world of publishing was like, that it was elite. And it is an elite environment because it is a intimate field, not because:

You need an ivy league degree.

You need to be financially well off.

You need to have an upper middle class background, minimum, and the worldliness that life presumed.

I was a lower middle class kid from a mixed-race immigrant background, whose guidance counselor recommended I abandon my goals of either becoming an editor or a professor of English and take a look at a solid trade like sanitation management. Fortunately I have a personality that is a combination of old fashioned romanticism, which came from reading, and a deep sense of practicality, that comes from the way I grew up, being sickly, and poor enough to know I could not have everything I wanted. Then something wonderful happened: I stayed home one Saturday afternoon and watched T.V.

PBS on channel 13 was playing a marathon of The Power of Myth interview series by Bill Moyers with Joseph Campbell. It changed my life. It fulfilled my romantic idealism with a plan: Follow your bliss. So I thought about a way to get what I wanted, a life in words. I was working already, part-time, at a local B. Dalton Bookseller (#321), so that was my back-up plan: Be a full-time bookseller; rise in rank, and run a store. Then I lied.

Andrea Davis Pinkney: How I Got Into Publishing

Guest post by the Vice President, Executive Editor at Scholastic. She has been named one of the "25 Most Influential Black Women in Business" by the Network Journal and is one of the "25 Most Influential People in our Children's Lives" cited by Children's Health Magazine.

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Andrea Davis Pinkney

I fell into bookmaking completely by accident. After graduating from Syracuse University’s Newhouse School of Public Communications, where I majored in journalism, I pursued my one big career dream, which was to work at a high-profile magazine. Fortunately, that dream came true ― and it led me to children’s publishing!

Soon after my last day of college, I went straight to midtown Manhattan, and got a job in the editorial offices of Mechanix Illustrated magazine. It didn’t matter to me that the magazine was all-things-automotive. In my mind, I’d “made it”. I was working in publishing and living in New York. There was an unexpected bonus to the job. I met my husband, children’s book illustrator Brian Pinkney, who worked in the art department of Field & Stream magazine, across the hall. 

Learning to generate new ideas constantly, and looking for ways to pitch and position these ideas [...] would help me become a book editor.

In addition to meeting Brian, two important things happened around this time.

While I was at Mechanix Illustrated, I was also writing for several major women’s magazines and the New York Times. One of the gifts of being a magazine editor and writer is learning to generate new ideas constantly, and looking for ways to pitch and position these ideas, in the hope that a magazine wants to publish your articles. I didn’t know it then, but this practice would help me become a book editor.

An Unexpected Mirror

About a year an half ago I had an experience that refocused my understanding of diversity in children’s books. It happened quite by accident.

One day, on the free book shelf at S&S, I spotted a treasure--The View From Saturday by E.L. Konigsburg. It was a Newbery Medal Winner. It was published by my imprint, Atheneum. And it was by Elaine Konigsburg, the amazing author of From the Mixed-Up Files of Mrs. Basil E. Frankweiler. How could it be that I’d never read it? So I took the book home and the next afternoon I found myself completely absorbed in the novel.

When I started reading The View from Saturday, I didn’t think that I was going to be grappling with issues of diversity or my relationship with diversity in books. I was simply enjoying a sunny afternoon spent on my couch enjoying a great book. It was perfect.

I’d often heard books described as “Mirrors or Windows”--the idea that books can either show you a reflection of your own experience or give you a view into a culture different from your own. Mitali Perkins had spoken quite eloquently about this at the 2010 BEA Children’s Breakfast. But what I hadn’t really ever thought about was that I’d never read a “mirror” book. For me, at least.

Spotlight on Awards that Highlight Multicultural Books

Featuring a guest post by Karen Hildebrand, 2012 Chair of the NBGS Award

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Not only is it important to find stories that portray a myriad of identities to which children can relate and to cultivate these stories to execute the most authentic voice that will ring true, it is also important to send these tales out into the marketplace with their best foot forward, supported by the sales and marketing teams at houses and reviewed by critics in the industry to gain maximum exposure. One way to gain exposure for these books is with awards.

Below you'll find three awards highlighted, but there are many more awards that celebrate and "recognize children's and young adult literature titles that portray an authentic image of a racial, ethnic or religious group; or promote social justice and peace", according to the National-Louis University Library who have curated a list of just such awards. Cynthia Leitich Smith also provides a wonderful list of children's literature awards, many of which are specifically for books that focus on diversity in its many forms.

What to Do with a Bad Review

As an editor I don't expect that every one of my author's books will receive glowing reviews. It's certainly nice when it happens, but even the negative reviews don't take away all the hard work both my authors and I put into their books and it certainly doesn't take away the immense belief I have in my authors and their work. What does sting are unfair or patently wrong reviews. Earlier this year, one of my beloved authors received a patently unfair and wrong review from a major trade journal. This particular review took issue with my white author's characterization of a black supporting character. The review described this black character's role in the book as "unfortunate" and dismissed this character as little more than a role-playing stereotype. I had several categories of reactions to the language used to discount not only the book, but also the appearance of a character of color: my first reaction was that of an editor who felt her author had been greatly wronged; I also reacted as a reader who felt a bit cheated out of a reading experience and finally I reacted as a black woman working in an industry where acquiring editors who look like me are few and far between. I was angry. I was biased. I was hurt. I was discouraged. And I was motivated to find a way to right this terrible wrong. But what could I do that wouldn't seem like sour grapes?

I thought of writing a private letter to the editor of the journal in question and in fact did draft a letter. In that missive, I pointed out how irresponsible I thought the review was. I suggested that when people see an opportunity to comment on race that they will say the most outrageous and clichéd things without any true thought at all just to seem as if they are somehow socially aware. I affirmed that as a black woman who edits books, I am certainly sensitive to how African Americans are depicted and perceived in books, especially those I personally edit.

15 Authors Who Promote Diversity in Author Visits

One great aspect of the CBC Diversity blog is that we can highlight and celebrate many exciting new voices. We can also offer valuable resources for teachers, authors, librarians, and publishing industry insiders who want to incorporate more diverse and multicultural authors to their curriculum, or collection, or reading list, or professional network.

If you are a teacher or librarian who is looking to diversify your author visit experience, here is a small sample of authors to consider — including a few new names that you may not already know.

This list is in no way comprehensive. Stay tuned to the CBC Diversity blog for a more robust directory of authors — from the many CBC member publishers — who actively promote diversity through author visits to schools, libraries, and state and regional conferences. If you would like to be included in our directory of authors, please comment below or send us an email.

Full Disclosure: It is my job to arrange paid author appearances and some of the authors listed here include authors I represent. I really enjoy working with my authors and take every opportunity I can to promote their amazing work.

Stacey Barney: How I Got into Publishing

I began my professional life as a teacher and have taught the gamut: from preschool to high school. What I found most frustrating was the lack of compelling outside reading available, especially for my students of color. While teaching in Boston, I was also pursuing my MFA at Emerson College. It was there that I discovered Book Publishing as a career option. On a lark I took my first publishing class as a way to build-up the pre-requisite credits I needed in order to take my fiction workshops. I never expected to find myself so taken and invested in the material and the industry. In fact, before my book publishing courses at Emerson, I thought books were a gift from some mythical book fairy that I conveniently picked up at my local bookstore on a weekly basis. I never gave much thought to the industry behind the books I consumed so compulsively. But I caught the publishing bug quickly and left the teaching profession soon thereafter with my sights set on publishing those books that felt missing to me and to my former students.

My first job in publishing was a lucky and invaluable internship at Lee & Low, an independent multicultural children's book publisher in New York. I learned a great deal about editing, acquisitions as well as marketing and publicity from this experience. While working at Lee & Low, I contacted quite a few publishing professionals requesting informational interviews. I knocked on a lot of doors and was told the same thing over and again: you seem great, but I don’t have a job for you. I was starting to feel a little hopeless, though the truth is I’d spent only a summer looking for a permanent position and that wasn’t very long at all.