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.