Write What You Know

An It's Complicated! — Authentic Voices guest post by author, Elizabeth Kiem.

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Last month, as the release date of my Cold War thriller Dancer, Daughter, Traitor, Spy drew near, these were the things I worried about:
 

Would Russian readers question why I nicknamed Marina, my heroine, ‘Marya’ rather than the more usual ‘Marinka?’

Would American readers check Google earth and find that the building where Marya lives is not as close to the riverbank as I implied?

Would anybody notice that Marya flies out of Moscow on a Tupelov 134, which is actually an unmanned drone?

In other words I worried that readers might question the authenticity of my story, my setting, or my props. But it never occurred to me that I might be challenged on the authenticity of my character – a Russian ballerina with a psychic streak and a lot of family baggage.

What Is Authentic, and What Is Offensive?

Soho Teen is publishing a novel in August--Dancer, Daughter, Traitor, Spy by debut author Elizabeth Kiem--set in 1983. The novel begins on the day Leonid Brehznev dies, the same day the 17-year-old protagonist and prima ballerina, Marina Dukovskaya, loses her mother to the wiles of Soviet authorities. (Or apparently loses. There will be no spoilers in this blog post.) Marina and her father defect to the United States, where they take up residence in Brighton Beach, an area that was ethnically and socioeconomically mixed at the time.

The novel is written from Marina's first-person point-of-view. The author is a Russian scholar, fluent in the language, and has expertise in both Soviet-era Russia and the burgeoning 1980's Brighton Beach organized crime scene.  Her prose reads as genuinely as any I've ever read. I'm not alone in that opinion; it has already been recognized at BEA for its accuracy, honesty, and beauty by the ABA as one six Fall 2013 YAs in the "Celebrate with Indie Debut Authors." 

All that said, a passage included in the galley was struck from the final after an in-house debate. The passage reads: "The Q train dead ends in Brighton Beach, also known as 'Little Odessa' or 'Russia by the Sea.'  About a half a mile west of us, America begins, speaking English, Spanish, and Black."

Diversity in the News

April 4th - April 11th, 2013

CBC DIVERSITY/COMMITTEE MEMBERS IN THE NEWS 

• Matt de la Peña mentioned the CBC Diversity blog during his keynote at SLJ's Think Tank last Friday. Listen to the entire speech here.
• Four Latina bloggers band together to promote Latino literary talent to Latino readers and mainstream book publishers , via Latina Lista – mentions working with CBC Diversity!

ON OUR RADAR

• List: "Classic" young adult books by authors of color at Diversity in YA
• What Are “Diverse” Children’s Books? at Mamiverse
• My transgender novel is too personal to be propaganda by Cris Beam, author of I Am J (via The Guardian) -- “But literature, at its best, doesn’t live in this world of agendas and witch hunts, as tools for any side’s political purpose. Literature and its readers are in an alternate realm, and they’ll continue to meet in this quieter place.”
• A Different Light: On Identity at YALSA’s The Hub – reflects on the recent articles 
• “What Makes a Good YA Coming-Out Novel” (The Horn Book)
• “A New Way for Gay Characters in YA” (Atlantic Wire)
• The Holocaust: Rescue and Resistance | Focus On at School Library Journal – includes list of recommended reading
• “Are there any girl bears?”: Gender and the 21st Century Picture Book by Betsy Bird at Fuse 8

Dan Ehrenhaft: How I Got into Publishing

Nearly twenty years after the fact, I still can’t believe this really happened.

It was May 1993, and I was a senior at Columbia College. Like many of my friends, I had nothing concrete planned for post-graduation. I knew that I wanted to work in children’s publishing, only because I still loved reading “children’s books” at age 22 (everything from Jon Scieszka’s recently published Stinky Cheese Man to S.E. Hinton and Lois Duncan) and I also knew that I’d like to write a book for kids someday.  But I hadn’t interned at a children’s publisher; I hadn’t reached out to potential mentors; there weren’t even any children’s bookstores on the Upper West Side.

Three days before graduation, I panicked. This was pre-Internet. There were no listservs or search engines; my only choice was to go where all the uninformed and desperate went...The Columbia Job Board.  (I’ve since written about The Columbia Job Board in a novel because it still seems too strange to have truly existed: A giant length of cork smothered in alphabetized post-its.)  The only listing under PUBLISHING, CHILDREN’S read: Write cover copy for Sweet Valley High novels!  There was more—involving the actual nature of the job—but to this day, that’s all I remember.