Showing posts with label #WeNeedDiverseBooks. Show all posts
Showing posts with label #WeNeedDiverseBooks. Show all posts

Friday, August 1, 2025

Writing from the Immigrant Experience Author Panel - Edwidge Danticat / Suma Subramaniam

Edwidge Danticat was born in Haiti and now lives in New York, and many of her books capture moments special to each space she's lived in. Watch Out For Falling Iguanas captures a quintessential Florida experience Edwidge remembers from her many years of living in Florida. 

Edwidge also captured a darker and less quintessential Florida experience that even ten years after it's publication is unfortunately still occuring: Her book Mama's Nightingale, came from Edwidge's visits to detention centers in Miami. Places like Boystown where there were often young or very young unaccompanied minors forced to appear alone in their immigration court hearings. The book was recently banned specifically for supporting open borders proving it's still unfortunately a very relevant book. Other titles from Edwidge: Anacaona, Behind the Mountains, Eight Days, The Last Mapou, Untwine, My Mommy Medicine, and a travel narrative, After the Dance. Her memoir, Brother, I'm Dying, was a 2007 finalist for the National Book Award. She is a 2009 MacArthur Fellow among many other honors.

Suma Subramaniam was born in a bustling city in South India and now lives in Washington state. She is the author of the V. Malar chapter book series set in India, My Name Is Long As A River, and Crystal Kite Award Winner, Namaste Is A Greeting. Her poems have been published in the Young People's Poetry edition of Poetry Magazine from Poetry Foundation. 

STEM and STEAM issues dealing with severe weather, nature conservation, and animal welfare are present in Suma's V. Malar series right alongside celebratory and joyful explorations of holidays and cultural rituals because everything we have done seasonally as a society, including holidays, has been impacted by climate change.



Both Suma and Edwidge talked about the importance of storytellers in their own childhoods, namely their grandparents and older family members sharing oral histories of their cultural past, with both celebratory and cautionary tales being told, and both authors strive to carry on in those traditions of sharing and telling.

The subject of book bans came up again in this session. Edwidge, who grew up under a dictatorship, reminds us that tyrants in power go after writers and artists first because like us they know the power of the written word and drawn image. 

Saturday, February 12, 2022

Cynthia Leitich Smith (Heartdrum/HarperCollins): Editors' Panel #SCBWIWinter22

Screenshot from Editors panel

Cynthia Leitich Smith was the moderator in this info-packed and inspirational "Recipe For Success In 2022" panel consisting of Michelle Frey (Alfred A. Knopf For Young Readers), Farrin Jacobs (Little Brown Books For Young Readers), Denene Millner (Denene Millner Books/Simon & Schuster), and Emma Ledbetter (Abrams). ASL interpreters: Lynne Kelly, Susanna. Do check out the other Conference blog posts for takeaways from each of these editors!

Cynthia Leitich Smith + cover of HEARTS UNBROKEN

In addition to being 2021 NSK Neustadt Laureate and a New York Times bestselling author of books for young readers, Cynthia is also the author-curator of Heartdrum, a Native-focused imprint at HarperCollins Children’s Books. Cynthia is a citizen of the Muscogee Nation and lives in Austin, Texas.

Panel of editors

Cynthia advises those who are researching editors to read BOOKS those editors have worked on ("many, many books!"). That will not only help you find out if your book is the right fit, but also help you show the editor why you are submitting to them specifically.

As an author-curator at Heartdrum, Cynthia Letitch Smith says that part of her role is to compile information to help her educate in-house why a particular topic is important. Here are some of the books that have been published at Heartdrum:
Some of the books published by Heartdrum

Heartdrum logo

Heartdrum offers a wide range of stories by Native creators, informed and inspired by lived experience, with an emphasis on the present and future of Indian Country and on the strength of young Native heroes.

Find out more about Heartdrum on the We Need Diverse Books website, which also includes info about submissions.



Related resources:

Where to find out more about Cynthia Leitich Smith and her work: Heartdrum - Website - Twitter - Instagram.


Sunday, August 11, 2019

Denene Millner - Love Letters for Black Children: The Importance of Diverse Books

Denene Millner is the Editor of her eponymous imprint, which has published the award-winning Crown: Ode to the Fresh Cut. She is the author/co-author of thirty-one books, including six NY Times bestsellers. Her background is of an award-winning journalist, magazine editor, and parenting columnist. 

To open her session, Denene shared a montage of videos where Toni Morrison addresses the false construct of race, racism and whiteness centering itself at the expense of those around them. Denene said that Toni's Song of Solomon was the first book she read by a Black woman and she was in college.

Denene Millner
When Denene's daughter was an infant in 1999, finding books featuring Black children by Black authors were not plentiful. She found books by the Pinckney family of creators, Eloise Greenfield, and Just Us Books. It prompted her to begin writing stories that reflected Black children's lives and starting her My Brown Baby website to help people know her books and those of others existed.

Denene left the audience with several takeaways. Here are a few:

  • Trust Black storytellers. She illustrated this point by sharing an upcoming title, Just Like A Mama, a picture book written by Alice Faye Duncan and illustrated by Charnelle Pinkney Barlow. The picture book centers fictive kinship, A common reality in the Black community where story focuses on a Black child cared for a Black woman who is not her blood relative and has not legally adopted her.
  • Culturally Competent Editors Matter. Don't be afraid to reference Black culture. She shared the story of a white editor who wondered why an angel in Crown needed to be Black when "angels are angels." The audience nodded in agreement when she relayed this exchange and how she shared with the editor that most angels depicted in books and sold as statues are white not Black. But Black angels exist and need to represented.
  • Crown: An Ode to the Fresh Cut won
    2018 Newbery Honor,
    Caldecott Honor, and
    Coretta Scott King Honors
     
  • It's Bigger Than a Hashtag. Black lives matter every day. Books need to reflect that. 

Denene's imprint only publishes books created by Black authors and illustrators because fewer opportunities exist for Black creators to tell their stories for children. She has dedicated her work to improve that. She is open to submissions.

Find out more about Denene and the launch of her imprint, follow her on Twitter.

Saturday, August 10, 2019

Panel: Publishing Options in 2019—Donna Beasley

Donna Beasley is the author of Family Pride: The Complete Guide to Tracing African American Genealogy and several other books. She is also president and publisher of KaZoom Kids Books, an interactive children's digital publishing company that publishes books for readers ages 3 to 8.
Donna Beasley, president and publisher
of KaZoom Kids Books

Her company is seeking original manuscripts and not repurposed ones that their competitors publish, because there aren't as many manuscripts for and about the black and Hispanic communities.

Donna is passionate about independently creating new works for this audience, which has traditionally not been well served (or served at all) by traditional publishing. This doesn't serve kids.

"Our children need you. We need you not only to write these books, but to self publish these books. This industry is a 100-year-old industry that has been slow to change."

She invited writers to "join the revolution" and write diverse books and self-publish those books.

"If we just wait on the Big 5 for this category, we're going to be waiting for a really long time," she said. "We need you. Over 50 percent of children from 5 to 9 are multicultural." And those kids needs books about their lives.

Donna busted a myth: "If you get your book with a big company, you don't have to market it. WRONG. You are still responsible for marketing and promoting your book. If you're responsible for marketing with a big company, you can take those skills to your self-published book."

Donna assured us that you can make more money if you self publish it. "If you can get yourself relief from your fear and embrace the joy of having your book arrive at your door ... you will get further, faster, in my opinion."

Family Pride by Donna Beasley
What's a subscription model for books? 

Just like Netflix. The app for KaZoom is free, as are the first two books. Then it's either $9.95 a month or $75 a year.

What can writers who submit expect? 

KaZoom hires an illustrator and a designer, just like a big publisher. But the company is small, and so response times are quick.

As they move into 2020, they're looking at putting together a team of writers and illustrators to develop more products, with the hopes of having global impact, because the lack of diversity in children's books is not just a U.S. problem. When she went to the Bologna Book Fair, where there were thousands of titles, only a few meet the diverse book criteria.

What's your submissions policy? 

They are a storybook company, which means their stories have more words than a typical PB (up to 1,400 words). You need to email a complete story to the company to submit.

Donna recommends Publishing University as a way to learn more about self-publishing.


Friday, August 9, 2019

Adriana Domínguez: Writing with Cultural Authenticity

 
Adriana Domínguez

Adriana Dominguez, a literary agent at Full Circle Literary Agency, has more than 20 years of experience in publishing. The agency motto is "representing books that break barriers and stand the test of time."

Before becoming an agent, she was Executive Editor at HarperCollins Children’s Books, where she managed the children’s division of the Rayo imprint. Before that, she was Children’s Reviews Editor at Críticas magazine, published by Library Journal. She's also worked as a translator.

Being an agent helps her put her varied background to work to help writers.

Adriana talked to us about diversity, and how and why it's a vital topic to understand. She approaches the subject of diversity with a lot of humility, and recommends we do this too.

In our industry, a lot of things have changed in the five years since We Need Diverse Books was founded. But some things haven't changed so much, she said.

Not all that long ago, she heard things like "diverse books don't sell." It was discouraging. But it was essential to keep going, because children don't see people who look like them in books, they internalize the idea that their stories don't matter.

This year, though, Full Circle Literary has had multiple bestsellers by diverse creators: The Day You Begin, Taking Flight, Amal Unbound, and The Distance Between Us.

"A lot of things have changed. That is the great news. That is part of why you're hearing so much more about diversity."

Diversity is not a trend. She wants to talk about why. "Trend" reminds her of things like vampires, or passing fads. Trends aren't an essential part of the publishing world; stories about marginalized people are.

While things are improving in terms of books being published by and about people of color, there still aren't enough books written by people with that lived experience. Also, there are more books about animal characters than there are about children of color.


"We're still a long way to go from being where we need to be," she said. 

Another disheartening stat: 5 percent of books are about LatinX characters, and 20 percent of kids in school are LatinX. 

Here's what diversity isn't: stereotypical or didactic—the literary equivalent of Brussels sprouts. The books that are like this might have been the best creators could do at the time they come out. But we're past that. 

She gave several ways to understand "cultural authenticity"—here are a few:

  • It's instantly recognizable by readers from within the culture being written about 
  • It's the opposite of generic and stereotypical 
  • Culturally authentic literature is specific and universal
And some do's and dont's:
  • Don't write in first person from outside a culture 
  • Have someone from within the culture read your book
  • Do your research, reading both fiction and nonfiction, as well as immersing yourself in pop culture

She recommended we look at some award winning books, because we need to "read, read, read":

The Coretta Scott King Award
Schneider Family Book Award
Asian Pacific American Librarians Association Award
Pura Belpré Book Award
Stonewall book Award
Americas Award
Tomas Rivera Mexican American Children's Book Award

#ownvoices titles represented by Adriana


Saturday, July 8, 2017

Diversity Social at #LA17SCBWI

Did you check out the Diversity Social at #LA17SCBWI?


The Diversity Social began with remarks about We Need Diverse Books by Sona Charaipotra, Miranda Paul, and Linda Sue Park, followed by greetings from some of WNDB's founding members and SCBWI faculty support.

I loved hearing about the successes of their mentorship programs and advocacy programs -- from partnerships with the Scholastic Book Club to measurable results of WNDB's mentorship program. 

An attendee asked how they can support diverse authors if they are not from a diverse background. The committee suggested:
  • Buy and read diverse books, and support those authors.
  • Talk about diverse books; promote those authors and their books.
  • Advocate for diverse voices to be represented at events or programming you're involved in.
  • Write and illustrate characters from diverse backgrounds. Pat Cummings asked: do your characters default to a specific ethnicity or background?
  • Mentor with WNDB, if applicable. (generally looking for authors with multiple books published in a particular genre.)
After the Q&A, there was time to mingle. I enjoyed chatting with first-time conference attendees / authors Traci Sorrell, Lindsey Metcalf, and Madonna Bock [from the KS/MO chapter]; agent Stefanie von Borstel of Full Circle Literary; Executive Art Director Cecilia Yung at Penguin Random House; and many others at this thoughtful, relaxed gathering.



You can sign up for the WNDB mailing list to be notified when mentorship applications are available.
Check out WNDB's new book discovery app called Our Story

Friday, July 7, 2017

Keynote: Vanessa Brantley Newton

Vanessa Brantley-Newton is a picture book creator whose books include MARY HAD A LITTLE GLAM (by fellow conference speaker Tammi Sauer), THE YOUNGEST MARCHER, and LET FREEDOM SING. Lin introduces Vanessa by saying her work displays pleasure, joy, and is a party for your eyes, and it is true, you'll see some below! She gets not one, but TWO standing ovations at the end of her keynote and I'm not not teary as I type this up for you...

Vanessa starts by having the audience do the Hokey Pokey dance to get our collective jitters out.

Her talk today is titled Diversity Designed by Adversity

Vanessa says we can let diversity ruin us, make us sad, or we can make the choice to lean into it, wrap our arms around it, shake it off and pack it under.

Vanessa talks about growing up with dyslexia and stuttering, and how those elements of her young life shaped her into a writer, and by embracing the therapy of singing out the words she wants to say to us, she was able to train her brain to overcome stuttering. Her synesthesia, the ability to see, taste, hear color, makes her an emotional painter of great power and colors.

Though she went to school for illustration, Vanessa was a phlebotomist for 25 years! Vanessa says a hospital is the equalizer for everyone. If you're bleeding to death or about to pop a baby out, you don't care what color or class your medical helper is as long as they are qualified. Vanessa drew every child, man, or woman that she drew blood from. She illustrated them as healed and full of joy especially if their final days were neither.

Vanessa stops to give us a PSA from We Need Diverse Books:

When children cannot find themselves reflected in the books they read, or when the images they see are distorted, negative, or laughable, they learn a powerful lesson about how they are devalued in the society of which they are a part.


She talks about growing up with no black Breck Girls, no brown Red Riding Hoods, not seeing anyone like her in her books until her teacher shared THE SNOWY DAY with her. Vanessa even had the same snow suit as Peter!


A second We Need Diverse Books PSA :

Children do search for themselves in books, in a survey of 2000 schools, 90% of educators believe children would be more enthusiastic readers if they saw themselves in their book. 

A final few words from Vanessa: She talks about how there's never a correct time for adversity, but that you are built for handling it. Going through your own personal adversity, Vanessa says you need to experience some hurt and some pain to embrace everybody in this room. You need to put in the hard work, get rid of the people that tell you no, cut those Debbie Downer ties quick, Vanessa says! Get hungry about you, get hungry about your diversity because it is important.

"I love me some me, I love me some you," says Vanessa, "I want to see your brand of happiness, DO YOU, BOO... Dream so big you scare yourself."

And then she sang us a song and we all cried... Or at least I did, thank you, Vanessa.

Friday, July 29, 2016

Books For and About Diverse Kids: John Parra, Don Tate, Lisa Yee, Stacey Barney, and Pat Cummings

Right to Left: Pat Cummings, Stacey Barney, John Parra, Don Tate, and Lisa Yee

In this discussion-based breakout session, we have multiple perspectives from different parts of the children's literature community:

Pat Cummings, author/illustrator of over thirty-five books for young readers (and Board member of SCBWI, the Authors Guild, and the Eric Carle Museum of Picture Book Art, among others.)

Stacey Barney, Senior Editor at Penguin/Putnam Books for Young Readers

John Parra, Golden-Kite winning illustrator.

Don Tate, author and illustrator, winner of the Ezra Jack Keats Award.

Lisa Yee, author of 16 books and winner of the very first Sid Fleischman Humor Award.


Some highlights:

Stacey Barney:
"Write organic stories." Sometimes she finds that it's almost as if writers are checking off boxes for diversity with their diverse cast of characters, but "character shouldn't feel like categories."

John Parra:
"Be respectful. Show it to others who are part of those communities. Make sure authentic is how it's portrayed."

Don Tate:
"Study. Research. Vet. ...Make sure you're not exploiting the topic."

Lisa Yee:
You can write outside your experience "but you have to get it right."

The panel are telling us fascinating stories, like Lisa sharing how her Millicent Min (in 2003) was the first middle grade book with a photo of an Asian American kid on the cover.

Don shares about doing a school visit when he was asked by a 5th grade class if he only illustrates Black people, and how he asked the two African American boys in the class if they felt like they've read books that represented them - and they said no. So he turned to the rest of the class and explained that he's made it his mission, he's built his whole career, to create positive portrayals of people that look like those two boys… and the whole class clapped.

Stacey tells us about teaching (elementary and preschool and high school), and reading picture books to the kids, and how she made an effort to choose picture books that reflected their experience. "Kids are kids."

Pat speaks of her school visits, and how kids pick up books out of curiosity. She shares how she was asked once by a British author why she only does books with Black characters. Pat countered, asking the British author why they only created books with British characters…

John speaks of how he sees diverse books being published, but the awards and reviews and the best lists of the year aren't that diverse. After they've published, how do they get recognized and supported?

They cover editorial staffing (and the importance of diversity in staffing across departments, including marketing, publicity and sales), being vetted by additional experts, and much, much more.




Saturday, August 1, 2015

Nicola Yoon: Diversity In Children's Books Panel



Nicola Yoon grew up in Jamaica (the island) and Brooklyn (part of Long Island). She currently resides in Los Angeles with her husband and their daughter, both of whom she loves beyond all reason. Her first novel, Everything, Everything, will be published by Random House\Delacorte Press on September 1, 2015. Follow her on Twitter @nicolayoon.



Here's the synopsis of Nicola's book:

Madeline Whittier is allergic to the outside world. So allergic, in fact, that she has never left the house in all of her seventeen years. She is content enough—until a boy with eyes the color of the Atlantic Ocean moves in next door. Their complicated romance begins over IM and grows through a wunderkammer of vignettes, illustrations, charts, and more.

Highlights of Nicola's comments:


"The job of a writer is to tell the truth. To see people as they are."

Miranda asks Nicola about having a character with a serious disease, and at the same time being of mixed heritage.

"The story is about her, she's not the sidekick."

A book about the diversity (like coming out stories) can be "incredibly important."

And, Nicola says, "a non-issue book is just as important."

"If Harry Potter were black, that would be awesome. Or if he were gay."

Nicola speaks of what happens when you have only one of a category of people.

When you have only one black or gay character, then they become representative of that category. If you have only one character who is black and they're a drug dealer, that can be problematic. But if you have ten characters who are black, it's not so troubling. Because that one character is no longer a representative of everyone who is part of that category, too.

"No one represents everyone."


Varian Johnson: Diversity in Children's Books: Challenges and Solutions

Author Varian Johnson gave a great keynote earlier today, be sure you check out the recap for that, too. As a reminder, his books include The Great Greene Heist and My Life as a Rhombus.

When asked about writers needing to ask permission to write about a character of a different background or orientation, etc., Varian says asking for permission is hard, it's not like one person represents the totality of their race or disability or sex. I struggle with this a lot myself, when I'm writing a female character.

Do a lot of research, get the technical things right, interactions within the community. Growing up, I spoke one way at home, and one way out in the world, and that would be hard for someone who didn't experience my private home life to observe.

I don't expect any author to ask permission, but I do expect an author to do their research and due diligence on a subject, any subject.

Miranda Paul, the moderator, asks about the term 'casual diversity' and what the panel thinks of it.

Varian says, "Casual diversity is a horrible term, we struggled with it a lot, but I think there is something to be said for books that feature the race of a character, but race isn't the point of the story. I love the idea that there are books coming out now where people of color can be more than one thing."

He mentions Elizabeth Bluemle's post about looking for the black Ramona Quimby.

A final note of career advice from Varian: Think through who is publishing and where you and your story may fit, find your allies, they are out there.

Saturday, February 7, 2015

Kwame Alexander: Writing Diverse Characters and Books

It was announced this week that Kwame Alexander won the 2015 Newbery Award for his middle grade novel, The Crossover!

Kwame is a poet and author of eighteen books, including Acoustic Rooster and His Barnyard Band (The 2014 Michigan Reads One Book Selection), He Said, She Said (a Junior Library Guild Selection.) He is the founder of Book-in-a-Day, a student-run publishing program that has created more than 3,000 student authors; and LEAP for Ghana, an international literacy project that builds libraries, trains teachers, and empowers children through literature. The Kwame Alexander Papers, a collection of his writings, is held at the George Washington University Gelman Library.



The room is PACKED for Kwame Alexander.

He has us cracking up, telling us about finding time to write and balancing that with spending time with his family.

If we want to write diverse characters, we've got to READ books with diverse characters.

He addresses the fear of being disrespectful, people who say they don't know any diverse people so they can't write that. He says we write books about zombies and vampires and we don't know any of them. It's a cop out to say we don't know diverse characters.

He reads some amazing poems/passages from his Newbery Award-winning THE CROSSOVER, asking us questions about what we know about the character, and why? Is the character Black? Why do we think so? How do we separate out the author from the work?




He shares that a teacher contacted him, saying she needed to know the race of the main character before book-talking The Crossover to her students. He said why? She said the kids were going to ask her. He didn't tell her, but said, let me know if they ask.

The kids never asked.

The problem is not the kids reading the books. The problem is us. In the way we are writing and the way our perceptions color our books.

"We have to change our way of thinking of diversity."

"You have to LIVE a diverse life."

He speaks of bringing the power of words and stories to children in other countries. Of his six trips to Ghana, and the 200 children in a village who had never seen a book with a Black character in it before he visited them.

Kwame calls up Pam Allyn of LitWorld, who shares a story of children in a rural village. She took a photo of them, and then showed them the image - and they had no idea which child they were in the photo. Because in their village, they had no mirrors, no glass, no reflections - they didn't know what they looked like. The power of being able to see themselves in a book is so powerful! Children need mirrors.

Kwame talks about the assumptions about the color of a character based on the book's author if its not called out otherwise, and he tells us to "be bold!"

Assert our vision.

He shares a great list of seven tips and wisdom, including these two:

#3. Be Authentic
(You don't have to make a big thing out of the diverse characters and elements, unless the story dictates that you make a big thing out of the diverse characters and elements.)

#7. Be intentional in your effort to write the kind of world you want your children to live, learn and love in.


Humble. Proud. Charming. Brilliant.

Kwame Alexander - awesome!


Stacy Whitman on Writing for a Diverse Audience


Stacy Whitman is a founder and publisher of Tu Books, an imprint of Lee & Low Books. They publish middle grade and YA novels that "spark your imagination, move your spirit, and keep you turning the pages."

She shared seven essential pieces of knowledge for writing for a diverse audience—which is the same thing as the audience, given that 51 percent of children living in the United States today are people of color.

"This doesn't mean you have to write diverse characters if you're not comfortable doing it," she said. "But the audience is there."

Stacy grew up on a farm "out in the middle of nowhere," and didn't have a lot of friends who didn't look like her, and she wanted to reassure people new to the discussion that it's OK not to know stuff.

"If you're new to this, do a lot of listening."

And know that the goal is to write characters who seem like real people, even if they live in a fantasy world. It's not about "saving" anyone who can save themselves.


A first piece of advice was to avoid "microaggressions" against people with less power. Microagressions are little cuts, not necessarily maliciously intended, that erode the self-esteem of your reader. Some examples: 
    • A wise Latino who imparts wisdom to a white character.
    • Racial slurs that are used for realism but aren’t counteracted in the text.
    • Assuming that all Latinos are part of the same culture.
    • Stereotypes of reservation life like drunkenness and crime. Or warpaint.
    • Black friends who speak African American vernacular that doesn’t ring true.
    • Asians—a last name being used as a first name.
    • In disability or mental illness, jokes about OCD.
    • The only depiction of disability is a person in a wheelchair when there are different ways of experiencing disability.
    • “That’s so gay” for LGBTQ people.
      Another pitfall is setting "white" as the default race, and only describing people's skin color and other characteristics if they aren't white. This trains readers to assume that white is the norm. Treat all characters equally, not some as "other."

      She recommended some excellent resources for listening to and learning from the ongoing diversity discussion. A sampling:


      Friday, August 1, 2014

      Diversity Panel: Lamar Giles

      Author Suzanne Morgan Williams is moderating the panel on diversity in books. Lamar Giles, author of Fake I.D., is asked what books he was reading as a kid, and for him there were rarely kid's books with African American main characters:

      "Sometimes I'd hide my books from my friends because if they saw them they'd say I was acting white because the covers were showing white characters. And I know now, and they know now, that that's not what they meant, that it was more about not feeling included in the world of books."

      When you have more diverse books, you make it safe for kids who aren't represented by the majority to see that they have a place in the world of literature, whether as readers or creators.

      When asked if it's okay for writers to write about cultures that they are not from:
      "Ask why are you doing it. It's like any other subject you don't know intimately, if it was technical writing or historical writing and you made a mistake, someone that knows the subject as an expert will call you out on it." Be open to feedback.

      Dumbest stereotype: "All black guys can dance and play basketball."

      What responsibilities do publishers have to balance their business needs against the needs of diverse kids?

      "It shouldn't be about needing to balance, publishers should see this as a business opportunity, providing quality product to an underserved audience."

      The #weneeddiversebooks social media campaign, primarily on Twitter, has exploded, and it's been an amazing opportunity to advocate for marginalized authors and children. "We talk a lot about race up here, but we also support different sexual representations, disabilities, and more."

      With the explosive success of the campaign they're going to start a diversity festival, a number of other things will be happening, too. Lamar closes with, "We want to push this, we don't want this campaign to go away until the problem is solved."





      Diversity Panel: Sharon Flake & Adriana Dominguez

      Sharon Flake is the multi-award-winning author including The Skin I'm In, Money Hungry, Begging for Change, and many others.

      Sharon went to the library and read a lot as a kid, but she says, "My first books were my parents. My parents told me stories about family and situations and they showed me that I was okay."

      Disliked stereotype: That black fathers are absent.

      Sharon believes that hopefully with all this discussion about diversity, people will start to come up with different models and ways of doing things.

      Sharon has been telling diverse students that they have a seat at the table (in writing, marketing, publishing). She hopes we all help to make sure that comes true.




      Adriana Dominguez is an agent with Full Circle Literary agency with a commitment to getting diverse books published.

      Adriana hears from readers (at conferences) that they have not read a book with someone like them in it until college. This is the reason Adriana does what she does and is so passionate about it.

      There's been a profound change in submissions, though there still are those that approach culture as food, etc. Now, Adriana sees books that approach the culture at a much greater depth in ways they haven't in the past.

      Disliked stereotype: That all Latinas move the same.

      Adriana likes to tell editors and agents to advertise their interest in diversity in books. She gets a lot of diverse submissions because she advertises her interest in getting them.

      Lee & Low Books sponsors the New Voices Award which is given to an author of color with a promising manuscript which has launched many careers and books which have gone on to win awards.

      Diversity Panel: Linda Sue Park

      Linda Sue Park
      Linda Sue Park is the Newbery Award-winning author of
      A SINGLE SHARD. A recent title, A LONG WALK TO WATER, is a New York Times bestseller, and her picture book XANDA'S PANDA PARTY received three starred reviews. She's a master of both forms.

      In 2003, Linda Sue was asked by School Library Journal to list three children's books that had meant a lot to her when she was a child. One of the books had an African hero, one had an African American boy as a hero, and the third was set in India. It had been 40 years since she'd read them, but the came back to her immediately.

      "What these books showed me was that you didn't have to be white to be a hero." 

      Linda Sue thinks anybody can and should be able to write about anybody or anything. But not all viewpoints are created equal. "If you are a member of the minority group, you are intimate with the dominant culture," she said. "You live in it. The reverse isn't necessarily true."

      To write about something, you need a "passionate, personal stake" in it. Study a culture deeply. Learn a language (one writer she knows has learned 14 languages in the course of his research). There might be months or years of research into the culture, where you immerse yourself in it. Good intentions don't go deep enough. Not researching enough demonstrates a lack of respect. "That is what you are doing if you are not putting the time and the work and the passion into the story you want to tell."

      When we write incorrectly about cultures, people feel disrespected, and readers get wrong information in their heads—and sometimes this wrong information never comes out. 

      Also, when it comes to the sales potential of books with non-white characters, Linda Sue doesn't buy the notion that non-white people aren't a viable market. If they're not reading, then they are a huge, untapped market.

      "Go hire whoever marketed 'Dora the Explorer,'" she said.

      She had a plea for people who've read a diverse book they like: Even if you can't buy it, tell a librarian you loved it. That librarian will buy it and tell others, and that will really help a book succeed.




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      Meg Medina: The Diversity Panel

      Meg Medina is an award-winning author of picture books, middle grade and YA fiction. Her work examines how cultures intersect through the eyes of young people. Her latest is the Pura Belpre Award and the 2014 CYBILS Award for fiction, "Yaqui Delgado Wants to Kick Your Ass."




      Meg speaks of how, growing up, she was embarrassed by her mother's accent. What helped turn that around for her, and helped her believe she could be an author?

      She was 20 when she read Sandra Cisneros' "The House on Mango Street" and it came as a shock - to see people who looked like her aunt and mother, people eating what her family ate. Realizing that they were worthy of a story "gave me permission to tell the stories I could take from my own life… and re-work into fiction."

      She also shares that if you're outside a culture and writing about that culture, it's important to have people of the culture read your work to make sure you have "real people in your novel who we care about, not plastic."

      There's lots more discussed, from the over-sexualized stereotype of Latina women to Publishers' approaches to finding new voices and diverse stories.

      An excellent and important discussion!