Industry News
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Reading in a Digital Age: Paper May Trump Screens in Reading Comprehension and Retention for Young Readers
“Even preliminary research suggests that so-called digital natives (those raised with digital media) are more likely to recall the gist of a story when they read it on paper because …
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Eight Children’s Books to Be Given Away on World Book Night 2014
This year’s “list includes the first graphic novel, first university press title and first Asian-American authors. As before, one book is in English and Spanish, and two are available in …
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New Children’s Bookstore, Let’s Play Books!, to Open in Emmaus, PA
On the store’s Facebook page, owner Kirsten Yauch Hess — previously marketing and events manager at R.J. Julia Booksellers in Madison, CT — explains that the bookstore aims to: “Through …
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Celebrate Picture Book Month All November Long!
FOR IMMEDIATE RELEASE November 2013 is Picture Book Month “Introducing them at a young age to the imaginary world of literature can plant the seed for a lifetime of exploration …
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CBC Diversity Newsletter: November 2013 v.1
Click to view CBC Diversity Newsletter November v. 1 on GLOSSI.COM
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Children’s Book Authors & Illustrators Protest Excessive Standardized Testing
An excerpt: “This year has seen a growing national wave of protest against testing overuse and abuse. As the authors and illustrators of books for children, we feel a special …
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‘Endangered’ Author Eliot Schrefer’s Take on Writing for Adults vs. Writing for Teens
Excerpts from Schrefer’s article: “I’ll admit that at first my new career smarted — the “young” in Y.A. felt like the “junior” in J.V. — though at the same time, …
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David Levithan to Pen ‘Every Day’ Companion Novel
This new book will be told from the perspective of the title character. Originally, Rhiannon is introduced as the love interest of A who narrates the story in ‘Every Day.’ …
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Just Launched: Writer’s Success Academy, Founded by Award-Winning Author Alan Sitomer
Sitomer, himself published by Disney, Scholastic, Penguin and more, says: “Since so many aspiring writers seek advice on how to break in, how to get an agent, how to write …
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Judy Blume Wins the 2013 NAIBA Legacy Award
“In 2004, the New Atlantic Independent Booksellers Association established a Legacy Award in recognition of those individuals whose body of work contributed significantly to the realm of American arts and …
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CBC Diversity: Keeping Diamonds
Let’s face it. There are still not enough people of color working in publishing houses. There have been some great efforts to hire newcomers into the fold, but in recent years I’ve taken notice of how many diversity hires don’t stay in their jobs. When I hear of a young person who’s left a publishing house to pursue a career in a different industry, I ask them why they’ve left. I often get the same answer. It has little to do with the low salaries in publishing. (Oftentimes these people are passionate about publishing and are willing to start out with a publishing salary, in the hope that they’ll eventually earn more through career development and advancement.)
Fortunately, I work in an environment where attention to hiring and retention of diverse talent is paramount and core to the culture. But in my observations across the industry, bright newcomers tell me that while they were happily welcomed into the fold, they often felt isolated and directionless once they got in their jobs. I hear it over and over again ― these up-and-coming talents tell me they didn’t fully succeed in their roles because it was hard to find mentors within the company who would groom them, show them the ropes, help them figure out the subtle political and social cues that exist in any workplace.
They say that, as people who are often newly out of college, it wasn’t easy to assert themselves when issues of race were discussed in meetings. When well-meaning people made inappropriate race-related comments that nobody else considered offensive. When a question came up at a meeting about whether or not to depict a face of color on a book jacket (as this is sometimes perceived as a detriment to sales), or when a person of color on a cover is shown from behind or only depicted through body parts like feet. When this employee had an idea for how to market a book through grassroots efforts that involved having to push for promoting it through, say, the black church or the NAACP, and having these ideas fall on deaf ears.
After just a few months of not being validated, or having to swallow subtle slights, new hires begin to think that publishing is an unfriendly place to be. That’s when we lose some of the brightest young people to jobs in television, magazines, advertising, and other media.
Imagine finding a beautiful and promising flower that you know has tremendous potential to grow into a something wholly unique that will gladden the world, but then not taking the extra time needed to nurture that flower. To give it the special soil that it needs. To check on its progress. To find out why it’s not thriving when its leaves and petals start to wither. Or, similarly, think of a diamond-in-the-rough. You hire a person based on a glimmer of brilliance you know is there, but don’t ever take the time to polish that diamond. The same is true of the diversity candidates we bring into publishing jobs. We need to take the extra time needed to help them grow ― and to show them how they can shine their brightest! These people are definitely capable enough to handle their duties (after all, you hired them based on their credentials), but they sometimes need just a little more support, for the simple reason that, each and every day, they are working in an environment where they are the only one, or among very few who look like them. This can be daunting.
There have been many conversations about hiring, hiring, hiring. And so, we hire. And we pat ourselves on the back. But just as important as hiring is retaining the talent we’ve hired. This carries as much importance as employing someone.
Here are some strategies for keeping the diamonds we bring in-house so that companies can become glittering ― and growing ― treasure troves of diverse talent.
- Put yourself in their shoes. Every now and then take a moment to imagine being the only one like you in a setting, all the time. During a meeting, take a moment to look around the room, and to note how diverse a setting it is (or isn’t) and what that must feel like for someone in the minority, every single day.
- Set the stage. Upon hiring, let the individual know that you’re available when issues arise, and that you’re here to help them grow into their role ― and to succeed.
- Go the extra mile. We all get busy with deadlines and commitments. But to retain any candidate and to foster career development, it’s vital to provide direction by taking time to show that person the ropes, each and every day.
- Get off-campus. At least three times a year, take your candidate out of the office, just to schmooze. Have lunch. Go for coffee. Some of the best conversations happen when we can all let our hair down a bit. As soon as you make a hire, let the person know that this is something you do, and that you look forward to these opportunities to have a more casual interaction, away from phones and email.
- Coach, guide, mentor. These three words are essential, and must be practiced on an ongoing basis. When you hire someone, show them more than where the local Starbucks is and how to find the ladies room. Point them toward ways to advance their knowledge of the field and their careers. Also, day-to-day, when you see interactions or opportunities for growth, help the person discern how best to approach these situations in the future. Give them the dialogue they need, and the ways to craft an email or express an idea.
- Speak up. Don’t shy away from discussions about race or ethnicity if these come up in meetings. Show that you’ve created an atmosphere of open and unhindered communication.
- Ask their opinions. Involve diversity candidates in meetings and discussions that involve diversity issues. Ask them what they think about book covers, ways to promote books to relevant markets, organizations that can help position a title. And listen to what they tell you.
- Put them into the game. Using a sports analogy, give your new hire every opportunity to “play” on the field. Don’t keep them on the sidelines.
- Build alliances. Look for ways to help this person make contacts and to network with others in the field, i.e., find out what kinds of panels, forums, and seminars might be of interest. For example, the CBC Diversity Initiative.
- Promote networking. Find out where other diversity candidates are working and seek ways to make introductions among these people. A simple e-introduction letting people know they may like to meet each other can go a long way.
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Twentieth Century Fox Delays Theatrical Release of ‘The Maze Runner’ Movie
Dylan O’Brien, one of the actors on the cast, shared these thoughts about the postponement: “I mean, we wrapped in July, and having it release in February, a big action …
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Darkness Should Be Visible: Robin Wasserman on How “Stephen King Saved [Her] Life”
Wasserman makes the point, contested and defended a few times in recent years, that darkness in children’s books is not only valuable, but necessary. She argues that Stephen King’s adult books …
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Librarians: Apply for an ALSC Día Family Book Club Mini-Grant!
Via ALSC: “Apply for a Día Family Book Club mini-grant! Intended as an expansion of El día de los niños/El día de los libros (Día), the Día Family Book Club …
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New Study Finds that Language Gap Between Rich and Poor Children Begins Earlier Than Previously Thought
“The new findings, although based on a small sample, reinforced the earlier research showing that because professional parents speak so much more to their children, the children hear 30 million …
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Tom Angleberger to Create Book 5 in the ‘Origami Yoda’ Series
“The ‘Star Wars’-inspired series stars Dwight, McQuarrie Middle School’s weirdest student, and his Jedi-wise finger puppet of Star Wars Grand Master Yoda. Antics continue in the series with the introduction …
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CBC Forum: New Markets, New Opportunities
“Moderator Carol Fitzgerald of the Book Report Network asked audience members to ‘dismiss your preconceived notions about marketing and selling books,’ before asking the panelists to comment on effective methods …
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Laini Taylor to Release a ‘Daughter of Smoke & Bone’ Novella
The story follows two characters, Zuzana and Mik, as they embark on their first date. The final installment of the Daughter of Smoke & Bone trilogy, ‘Dreams of Gods & …
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Neil Gaiman on the Future of Reading and Libraries
The Reading Agency lecture was founded “as a platform for leading writers and thinkers to share original, challenging ideas about reading and libraries as we explore how to create a …
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CBC Diversity: Industry Q&A with Author-Illustrator Don Tate
When you were a child or young adult, what book first opened your eyes to the diversity of the world?
I didn’t read books as much as I should have. I struggled with comprehension and retention. There was plenty of Dr. Seuss and Mother Goose around the house, but I preferred our Funk & Wagnalls Young Students Encyclopedias. That’s where I discovered a multicultural world.
As a child, I thought the world was white. That’s what my world looked like growing up in Des Moines, Iowa in the 1960s and 70s. White people, white books, white movies, white television, white music. Encyclopedias allowed me to see the world from another vantage point. They revealed a world made up of color — brown people of every shade. Maybe that’s why encyclopedias appealed to me so much.
What is your favorite diverse book that you read recently?
I’m a little confused about the term ‘diverse book.’ It’s one of those uncomfortable, elephant-in-the-room terms, that used to mean one thing, but has morphed into something entirely different. It’s an industry code word whose definition still evolves.
I’ve illustrated children’s books for nearly 30 years — trade and educational. When I entered the business back in the 80s, people used the word ‘diversity’ interchangeably with Black or African-American. When someone said ‘diversity,’ I knew they were talking about me. I was often hired to illustrate a text because an editor had a ‘diverse,’ ‘multicultural,’ ‘African-American’ manuscript. However when I hear the term used today, it’s more inclusive, as should be. When someone says ‘diverse,’ they could mean African-American, Hispanic, Asian, Native, LGBT, girls/women, mixed-race, physically challenged, Buddhist — or even white. A better question might be: What is a favorite book that exemplifies diversity? But even that would be a difficult question because I don’t think diversity can be about one or two books. It’s about a body of books: Heart & Soul; Diego Riveria; Dreaming Up!; Around our Way on Neighbor’s Day; Alvin Ho; Jingle Dancer. There’s so many.
If you could participate in a story time with any children’s book author or illustrator (alive or dead) who would it be?
Ezra Jack Keats. It’s funny, but until just a few years ago, I thought Ezra Jack Keats was a Black man —- ha-ha-ha! — but, honestly, I did. He had a way of portraying African-American people authentically. And he did it with soul! In order for a white artist to illustrate Black people, they need to understand our skin color, hair texture, anatomy, or the art will pop off the page as unauthentic. Or at least it will to other Black people. Ezra portrayed Black characters with dignity and pride (though some early critics said otherwise). Interestingly, he did it at a time in history when Black people weren’t portrayed much in children’s literature at all. Ezra’s stories did not focus on the character’s race, racial strife, slavery, civil rights. He told stories with universal themes that every child could relate to. The color of his character’s skin faded as one got into the story. I don’t know that anyone has been able to do that since then.
How do you introduce books featuring characters of color to parents and kids?
I introduce my books to kids by visiting schools and participating in book festivals. I don’t make an issue of race. I tell stories. I draw pictures. I talk about my books. My brown-face characters speak for themselves. Children, regardless of race, are open to my books. Parents, however, can hesitate sometimes. For example, one time at a book event, a white child strolled up and picked up one of my books. He was with his parents, who looked a bit uncomfortable with the situation. He turned to his mother and said, “I want this one,” pointing to my Willie Mays book. His mother smiled in attempt to hide a struggle going on inside her head. But soon her feelings were plastered all over her face: She did not want to buy my book for her kid. After a few seconds of hem-hawing, she responded, “What about one of those books?” She pointed to another author who was signing nearby. Then she pointed to another. Those authors were white. I don’t remember the authors or their books, but they didn’t feature Black characters. To my amusement, the kid did not give up. “I want this book,” he said. I fought off a smile. This has happened more than a few times. I think the more kids— and parents of all races — are exposed to racial diversity in books, the less race becomes an issue.
Authenticity is, of course, key in multicultural literature, and often times reviewers tend to highlight perceived inaccuracies. How do you think this affects the publishing industry’s decision-making process in including or excluding characters and books with diverse and/or multicultural themes?
It’s been my experience as a picture book illustrator, that when an editor has a book with African-American subject matter, written by a white author, they’ll bring on a black artist, if possible. They do this, I’ve been told many times, figuring a Black artist will bring a greater sense of authenticity to the story. I agree and disagree. As a Black artist, I know my people, culture, life experience. I can make it real. But so can an artist of another race, if they do their research like they should — Ezra Jack Keats, again, a good example.
The practice of matching a Black author to a manuscript with Black subject matter creates a niche for Black artists. Filling that niche keeps manuscripts coming our way, as long as the artwork is quality and deadlines are met. On the flip side, it can also put us into a box. I love illustrating books about my people. I am thankful to the editors and art directors who provide me work. But where are the offers to illustrate a manuscript with a white protagonist? Will that come along? Or what about a manuscript featuring a cute dog, funny pig, or crazed-out carrot? I can do a crazed-out carrot.
How can we reconcile the prevalence in reviews of readers wanting to like or sympathize with the protagonist, and our call to write people with whom they fundamentally differ?
I don’t know if the publishing industry can reconcile with readers (white readers?) who are less interested in books with protagonists who differ from them. It’s a free country, you can’t force ‘em to read what they don’t want to read. But I think if you can reach their children, you can affect the future.
When children are raised with books featuring multicultural characters, protagonist who are different from them are no big deal. As a Black male, I didn’t very often have the choice between a protagonist who looked or didn’t look like me. If I was going to read a book, it would likely feature a white protagonist. Period, like it or not. So today I can read a book like The Marbury Lens and not get tripped up on the race of the character.
As someone who reads, loves, and often reviews children’s literature, please provide what you feel are the three most important things to keep in mind when writing a diverse character or about a different culture.
Be wary of stereotypes. Check your work by checking with others. I belong to several writing critique groups. I’m the only person of color within those groups. When my friends write about other races, I’m careful to point out stereotypes or things that might be offensive to people of color. My friends aren’t racists in the least bit, but they’re human. They have preferences and biases, same as I do. But they’ve probably never been the victim of racism, and so they just don’t know when the line has been crossed.
The question of stereotyping can be fine line to walk, in my opinion. Lets say a white author writes a story about a Black teen, who lives in an urban neighborhood and likes to play basketball, is raised by a single mother, whose father is dead or in prison. Is this stereotypical? Yes, kinda. But is it realistic? Oh, yes! Should a white author avoid this kind of imagery for fear of being called out on stereotyping? No, I don’t think so. But I advise that they check themselves by checking with Black people. And if they don’t know any Black people, well, there’s where the problem will begin.
If more books were published like Varian Johnson’s My Life As A Rhombus, books featuring suburban, Black math-whiz teenagers, in homes with two caring and hardworking parents, the other stuff wouldn’t likely be an issue anyway. Balance is what’s needed.
Don Tate has illustrated many books for children, including She Loved Baseball, Ron’s Big Mission, Duke Ellington’s Nutcracker Suite. He is also the debut author of the award-winning It Jes’ Happened: When Bill Traylor Started To Draw. Don lives in Austin, Texas.
