Picture Book Doubleheader

What is it about second grade? Ask friends and family for a special or important memory they can recall from childhood, and very often you’ll hear a story from around the time of second grade. Perhaps in first grade, kids are still navigating the transition from kindergarten, and by third grade, they’re all grown up. In second grade, our social character traits are beginning to blossom and the sting of failure, fears and flaws feels somehow magnified.

Deborah Hopkinson has written a gorgeous little paean to second grade in her new picture book, A Letter to My Teacher, with pictures by Nancy Carpenter (Schwartz & Wade, April 4, 2017), told eponymously by an unnamed little girl navigating the start of second grade.

Heartbreakingly, she always expects the worst. Will her teacher scold her for stomping into school in the first day with muddy boots, stumbling over words when reading out loud, or wandering away from the group on a field trip? Instead, as we hope and delight in, her teacher is patient, supportive and always encouraging, if sometimes “exasperated,” which delightfully leads our little heroine to search for the word in the dictionary—a true teaching moment.

This story will hearten children and sweep adult readers back to recapture a special time in our lives, while reminding us how exciting it can be to teach children and how grateful we all should be to those who choose to do so.

Hopkinson, a prolific author, has a second picture book also being released in early May—

Independence Cake: A Revolutionary Confection Inspired by Amelia Simmons Whose True History is Unfortunately Unknown, illustrated by Giselle Potter also by Schwartz & Wade (May 9, 2017).

Independence Cake features another strong female character, Amelia Simmons, a “plucky patriot”—a little girl not prone to feeling sorry for herself—with creative ideas of her own to honor the birth of the 13 new colonies and George Washington’s visit. What is especially inventive about this tale is how Hopkinson created a story to surround the few known facts about the real Amelia’s life. The scant record shows only that Amelia Simmons, an orphan, very likely made her living as a servant or a cook, and in 1796 published American Cookery, the first cookbook published by an American. There is something quite satisfying in seeing how Hopkinson’s story details bring Amelia back to life.

Hopkinson sprinkles plays on words related to cooking and baking throughout the book that will delight both children and the adults who will surely be reading this story to them repeatedly. Children will love scanning all the activity going on in the background of Potter’s illustrations, whose style mimics the flat perspective of early Colonial art.

Although Hopkinson and Potter might have included some diversity in other characters who might have interacted with Amelia in real life, they offer us this one thin “slice” of time beautifully.

Thanks again to Deborah Hopkinson for offering me an early read of these titles. For other stops on the Hopkinson Double Blog Tour, please check deborahhopkinson.com



How Not to Respond to Mistakes

biasFor the third or fourth time over the last year and a half, a children’s or YA title has been the center of a controversial discussion regarding whether or not its publication respects or disregards authentic diverse voices in children’s literature.

The publication of two picture books, A Birthday Cake for George Washington (Scholastic) and A Fine Dessert (Random House) raised serious questions as to how our country’s horrific institutionalized legacy of slavery could be depicted with such lighthearted casualness. (Follow my embedded links for more details on the particular books mentioned.)

Then, less than two weeks after its publication, Scholastic pulled A Birthday Cake from circulation, in a move that was both lauded and questioned. And while A Fine Dessert  is still available on bookstore shelves and in libraries, its author subsequently apologized for her racial insensitivity in a comment post after the blog site “Reading While White” published an essay on the book.

This was followed in July by a frantic internet discussion surrounding the negative tropes evoked by the word “tribe” and illustrations of kids with feathers in their hair playing in trees in There is a Tribe of Kids (Macmillan), a debate well-summarized by Betsy Bird on her Fuse8 blog.

The most recent entry into the fray involves Candlewick Press’s decision to postpone the August release of e.E. Charlton-Trujillo’s YA novel, When We Was Fierce. Early reviews of the book generated intense pushback from writers and bloggers of color due to what many deemed stereotypical characterizations and the invented dialect the author created, which for many rang false and raised the question why it was even necessary since the novel’s characters were members of a living community.

All of these books received favorable and in some cases, starred, literary reviews in the mainstream media, and I spent a bit of time reading and trying to understand the depth and breath of the discussions swirling around them. I’ve been interested for some time now in supporting diversity in children’s literature, both as an ally and in my own writing. I live in a diverse world and in my books with multiple protagonists, there are characters from diverse backgrounds. Yet as a White writer, who grew up in a position of privilege, I knew that my own inherent biases always needed to be taken into consideration. As I wrote in a recent essay for the Children’s Book Council’s Diversity blog, good intentions mean nothing because intentions are conscious. Biases are unconscious.

Yet as I read through all the blogs and posted comments, I began to noticed two common responses cropping up repeatedly. Interestingly, the writers tended to qualify their remarks, claiming to be supportive of members of marginalized communities and their general objections to the books mentioned. However, their responses, I believe, are just another way that we who are in positions of privilege try, either consciously or unconsciously, to tilt and reframe the complex discussion around supporting diversity in publishing.

The first common refrain was the warning call that pulling books off the market because a particular group found them offensive was a form of censorship, and that the power of free speech needed to be defended at all costs. In fact, the situations noted above are not examples of censorship at all. Censorship is the practice of officially examining books, movies, etc., and suppressing unacceptable parts or refusing to make the book, movie, speech etc inaccessible to others because of it. The books discussed in these threads are examples of a very different case, where a business decision was made by the publisher to pull or postpone its own book. To be fair, part of the confusion may have stemmed from the fact that since the books were pre-released for reviews, the content had been read by some but was now inaccessible to others.

The second common reaction was tone-policing.This was a more worrisome pattern I saw repeated in response to the legitimate hurt generated for many in communities of color by the privileged. The problem with tone-policing is that it’s the ultimate flipping of an issue. It derails the real argument, and shifts the focus of the conversation away from an ill-conceived decision by someone in a position of power and privilege to the respondent and their reaction. It’s a way of not taking responsibility for your own mistakes while at the same time dismissing another person’s objection by framing it as emotional, angry and therefore irrational. Intentionally or not, it also moves the discussion away from the original oppressive behavior and once again, blames the “other” because they aren’t nice enough or polite enough to voice their protests in a way that can be taken seriously.

But you know what? Nobody was ever given rights by politely asking for them. The mistakes that the publishing industry continues to commit makes people angry. And sometimes, anger is what has to happen in order to bring about real change.

Adventures and Misadventures: Q & A with Yi Shun Lai

So glad today to post a few Q&A’s from an interview I did with Yi Shun Lai, a super special writer and fellow alum of the Whidbey Writers Workshop MFA program. Yi Shun is currently on a book tour for her newly released debut fiction title, Not a Self-Help Book: The Misadventures of Marty Wu, published by Shade Mountain Press. Shade Mountain’s mission is to publish “literature by women, especially women of color, women with disabilities, women from working-class backgrounds, and lesbian/bisexual/queer women.”

A little background: Marty Wu, the book’s protagonist, is a compulsive reader of advice manuals, who dreams of presenting herself as a poised young advertising professional. Instead she trips over her own feet and blurts out inappropriate comments. The bulk of her brain matter, she decides, consists of gerbils “spinning madly in alternating directions.” After a career meltdown that sends her ricocheting between the stress of New York and the warmth of supportive relatives in Taiwan, she faces one domestic drama after another, including a formidable mother who’s impossible to please, an annoyingly successful and well-adjusted brother, and surprising family secrets that pop up just when she doesn’t want to deal with them.


Here’s our chat:

Sharon: Marty, your book’s protagonist, tells us her story thru diary entries. Perhaps because of the form and the nature of Marty’s misadventures, there have been the inevitable comparisons to Bridget Jones Diary. Can you tell us why you chose that form and how that influenced your writing of the story?

Yi Shun: It happened in the most organic of fashions and it was by no means an easy or quick route. I messed around with a few different forms: from first person to third to first again, until finally settling into epistolary form. In the end, it was the character herself who demanded it. The voice itself is a key part of what I believe, ultimately, is a re-telling of the American success story. While I was writing, I imagined that the voices of the young women who were the stereotypical “good girls” of any culture would be a lot louder than we were told or imagined. That voice had to speak for itself. Therefore, diary.

Sharon: You were born in Taiwan and raised in American, like Marty. Are there elements of Marty’s story that relate to your own life?

Yi Shun: Oh, sure. Certainly the overarching themes and philosophy of the story relate. And when I was a lot younger, I was convinced that my experiences were unique. Oh, was I wrong. So although the book reflects some of my experiences, it also draws from so much of what I have been told, and witnessed. A book that’s ostensibly about one culture also resonates with others. Writing and reading are beautiful things that way: they presents opportunities to connect with other cultures.

Sharon: How much did Marty’s bi-cultural background play into her personality? Are there parts of her make-up that you see as typically Taiwanese or typically American?

Yi Shun:
 At this stage in her life, Marty would say that who she is comprises much of how she was raised. Her quick tongue, I think, is biologically inherited. But her confusion is entirely a product of her bicultural upbringing. The answer to your question though is, a lot. Marty thinks she’s uniquely damaged because of her bicultural background, so we’ll respect that, even if she’s not unique in this regard, or not even particularly damaged in the grand scheme of things. She’d also say that her bounce-back mentality is stereotypically American, and that her need to please her parental unit is stereotypically Taiwanese. But I think we, as readers, can see that the things she’s struggling with are more human than they are any one particular ethnicity.

Sharon: You do a great job of telling a serious story with humor, which I found particularly important in the scenes between Marty and her critical-bordering-on-abusive mother. Was that a challenge, finding a good balance when you were writing?

Yi Shun: Yes. Someone asked me recently what I’m most proud of in this book. I hadn’t ever thought about it earlier, but now that I’ve had a chance to consider, I think it’s exactly what you posit above: Trying to show everyone a glimpse of what this alternate American experience could be like, while preserving Marty’s voice.

Sharon: This one is for all the writers out there. How long was this idea simmering before you felt was ready to start submitting to agents or editors?

Yi Shun: Oh, gosh, a long, long time. I first started thinking about what it means to be American when I was in college, and started thinking more critically about my experiences—what they meant, and whether or not it was worth it to try and tell this story. But it wasn’t until a long time after that when I started thinking that a novel would be the right way to tell this story. Once I started writing the novel, I think it was a long, cool decade before it got published.

Sharon: Can you share what your working on now?

Yi Shun: With pleasure! I’m working on a novel that involves some time travel: and Ernest Shackleton, one of the greatest explorers ever. I’m pretty excited about this project…but first, there’s marketing, and book promotion, and so many more other readers and writers to meet.

Thanks Yi Shun!
You can learn more about Yi Shun’s life and writing at her website The Good Dirt or on Twitter @gooddirt

My Book Cover—Unveiled!

So thrilled to share a sneak peak at the beautiful book cover for my forthcoming middle grade debut “Chasing at the Surface” coming in October from Westwinds Press. Could it be more beautiful? A huge thank you to Vicki Knapton at Westwards not just for the gorgeous design but for capturing perfectly the themes of the book.

Chasing at the Surface_fc


Writing Diversity

scbwiHere in the Western Washington, we’re lucky to have a vibrant local chapter of SCBWI (the Society of Children’s Book Writers and illustrators). The topic of last week’s meeting—diversity on children’s books—was right up my alley. The assembled panelists, that included Philip Lee, co-founder of Lee & Lowe Publishing and current publisher of Readers to Eaters; King County Children’s Librarian Ann Crewdson, and authors Liz Wong and Kelly Jones, contributed some great perspectives. Here’s a link to a great recap of the panel.

This topic is of particular interest to me for a couple of reasons. I experienced a teachable moment in the process of including characters and traditions that represented Native peoples of the Pacific Northwest in my debut middle grade novel “Chasing at the Surface” which will be out from WestWinds Press in October of this year (that’s a whole other blog post). But I’ve also been trying to interest agents and editors in another story I’ve written, told from two characters’ perspectives—both 12 year old girls, one black, the other white—whose lives and fates intersect across the span of 35 years.

I’ve lost count of how many times the story has been rejected. No one has ever said to me, “You shouldn’t be writing this,” but its hard to push that away in the space of my own head. Beyond whether or not the plot or the actual writing is appealing, is my race a factor? Am I distracting more than actually doing any good? These are questions that pop up for me with each new rejection.

But the fact is, this story won’t go away. It wants to be told. The theme and message it carries is, I believe, important, and I truly believe there are children out there, beyond the publishing gatekeepers, who need to hear it, read it, and find something to value in it. After much reading, thinking and meditating, and bolstered by last week’s panel discussion, I believe that, yes, I can write this story, carefully and with respect.

At the end of the day, I’m trying to contribute to the conversation by utilizing the tiny platform I may have as a writer, to engage the next generation. It’s uncomfortable, and it comes with a lot of fear of not wanting to mess up, of not wanting to say the wrong thing. But in the end, isn’t that the same that can be said of most things worth doing?

Writing Real

Illustration by Suzana Apelbaum

Booksellers continue to tell us that girls will read books where the protagonist is a boy but it doesn’t work the other way around. The concept is controversial and debatable whether this is yet another self-inflicted bias perpetuated by how our society divides and compartmentalizes according to race, class, gender and ability. As author Shannon Hale notes, “I’ve heard it a hundred times with Hunger Games: “Boys, even though this is about a girl, you’ll like it!” Even though. I never heard a single time, “Girls, even though Harry Potter is about a boy, you’ll like it!” Read Shannon’s excellent post on her experiences being stamped as a writer of books intended for girls only.

So when I stumbled on Mary Hershey’s novel, The One Where the Kid Nearly Jumps to His Death and Lands in California, (Razorbill) I was pleased on multiple fronts. The book has an unwieldy title, a complicated plot with too many subplots, creepy characters, difficult father-son relationships, rough language…hey, wait a minute…this is starting to sound pretty appealing!

It also had something else to recommend it. The story centers on thirteen-year-old Alastair, who calls himself ‘Stump,’ who is shipped out to spend the summer with his estranged father in California. When Alastair was eight, he lost one of his legs after a too-soon jump from a ski lift. Guess who was supposed to be supervising him at the time? Now Stump is ready to confront his father for ruining his life. Except he didn’t count on a host of new discoveries he makes, not least of which is the unrelenting optimism of Skyla, his father’s new wife who also happens to be a double amputee.

Hershey has woven macabre humor and irreverence into Alastair’s life that I suspect young readers will find satisfying. The jump in the title is both literal and metaphoric, as the best jumps should be. Both Stump and his father are on the brink of looking at each other in new ways. Hershey lets us see their journey with wicked humor and underlying affection.

But the real star of this story is Stump and his voice. Hersey skillfully writes Stump’s disability as just one facet of his personality, not the story’s focus. Stump is the first one out of the gate to crack jokes about his own disability, such as when he takes off his leg at school, puts it in his locker, then ties a rag with fake blood around it. It is worth noting that the author is a former juvenile probation officer who says she has had ‘the great privilege of working with some very funny, smart, and resilient kids.’ In her wonderful depiction of Stump, it shows.

What Kind of Book Makes a Good Candidate for Crowdfunding?

Crowdfunding a writing project has its own success factors to consider, ideally in advance of undertaking the project. Fortunately, crowdfunding has been around now for enough years that we can start to see trends in the success and failure rates.

Unlike publishing a book through a traditional house, books that are good candidates for crowdfunding tend to have one of two factors working in their favor.
• the author already has an extensive social network in place
• the topic of the book is timely or aligns with organizations that would likely support it

There is simple logic involved with both of these factors. For the first, given that crowdfunding is generally accomplished online, it makes perfect sense that social media plays a significant part in a successful campaign. Therefore, a writer with 1,000+ Facebook friends has a higher chance of running a successful campaign than someone with zero presence on social media. Someone with name recognition (an already published author, an artist crowdfunding for a book to document their art project, etc) also vastly increases their chances of reaching their crowdfunding goal.

In the second scenario, a new author with a book project that touches on a topic of timely importance should seriously consider leveraging public interest in the topic. For example, my children’s chapter book “B in the World” told an anti-bullying story about a young gender nonconforming child. The public interest in this topic naturally led me to contact human rights organizations, local school districts and parents organizations, regional centers for disenfranchised youth and centers that support issues surrounding gender inequity for GLBT youth. Although there’s a lot of legwork (and social media work) involved, this is generally a win-win situation for everyone involved.

If neither of these two factors apply in your situation, think again. Sometimes, building up a social media platform first is a smart move before undertaking a crowdfunding project. Similarly, look for any and all connections your book may have to public interest and organizations—really, the first step any good book marketer should take anyway. In the end, crowdfunding a book may be more nuanced than it appears at first glance.

Does Crowdfunding Support Writing Projects?

CrowdfundingIf you’ve made the decision to crowdfund your writing project, you’re probably curious about the success rate of writing projects and how the projects fare compared to other proposals. When I set out to crowd fund “B in the World,” my chapter book for children about a gender nonconforming child, I was curious too, so I did my research. If I was going to invest time and energy into launching the project, I wanted to know that it stood at least a respectable chance to success. Here’s an updated overview of what I learned.

I choose Kickstarter as my funding platform. This was a personal decision, based on several factors, including its standing as the industry leader in crowdfunding (close to 2 billion raised) and its easy interface, so note that the information I’m presenting below is specific to Kickstarter. If you’ve decided on another funding platform such as Indigogo or Go Fund Me, you’ll want to do your own research.

Publishing projects on Kickstarter
One of the most interesting things I learned about publishing projects on Kickstarter is that they’re in the top 4 for both the most successfully funded categories AND the biggest losers. The top 4 winning categories are: film/video; music; games and gaming; and publishing. The top 4 categories not to achieve funding are: dance; journalism; art; and publishing.

Yet even with this benchmark, publishing projects still only make up about 10% of all proposed projects on Kickstarter. Within publishing projects, 30% succeed, which is roughly in line with all proposed Kickstarter projects which overall have a failure rate of 64%

So what are the actual dollar numbers within these statistics?

More stats
The 30% of publishing projects that were successfully funded on Kickstarter in the last quarter raised 79 million dollars. Although that sounds like a lot of money, and it is, it pales compared to the dollars raised for a category like film and video, which comes in at around $297 million.

If you’re interested in actual numbers of projects, here’s a sampling of the number of both successful and unsuccessful publishing projects compared to all projects on Kickstarter since the platform launched in 2008:

All Projects ➡ 254,934
162,755 😦   92,179 🙂

Publishing projects ➡ 26,700
18,754 😦  7,944 🙂

So, really, the actual number of publishing projects, both proposed and fully funded, since 2008 is a small fraction of Kickstarter’s crowdfunded consumption. Now it’s up to you to decide if there’s room in there for your project.

In real dollars raised, of those 7,944 successful publishing projects, only 40 of them raised $100,000 or more. The largest number by far (5,063) fell into the $1,000– $9,999 category.

Kickstarter publishes all its data on the success and failure of all of its projects, which are updated constantly, so don’t be surprised if my numbers above which were accurate as of 9/10/15, are already a little off. If you want more info, here’s the link.

Next post, we’ll look at what tips the scales for a publishing project to make it into the funded category.

Why Crowdfund a Writing Project?

3f3e0bdIf you’re considering crowdfunding a writing project, the first question you should ask yourself is “Why?”

There are many good reasons to undertake a crowdfunding campaign in publishing, but it’s safe to say that most of them will not result in high financial paybacks for the author. Now, I don’t know you or your writing project, so they might, but for the majority of writers who choose to crowd fund, the rewards are much more personal and often intangible.

So Step 1 in my opinion is deciding why a particular project you may be working on is a good candidate for crowd funding. Here are some questions you may want to consider regarding your project before moving ahead. Considering these criteria in advance will save you many headaches in the long run.

Have you done your homework?
You wouldn’t start a draft of your next book without doing some preparation, right? Whether it’s researching, outlining, or fact-checking, the skills you use in writing need to now be parlayed into preparing to self-publish. Depending on your goals, here are some starters:

  • talk to booksellers about your project
  • build your support base and author presence
  • spend time on crowd funding sites, and contribute to several projects
  • look at the design and layout of books similar to yours

What do you want to accomplish?
This is probably the most personal criteria. Pre-determining what you would need to achieve to deem your own crowdfunding project a success. In many cases, these yardsticks will not be financial, but setting them in advance will save you from being caught up in the “comparison game” since it’s far too easy to find other projects that seem more “successful” than your own. So, ask yourself, would you consider your project a success if you:

  • made progress on building a platform as an author or tested your platform as an author
  • tested out the various ways you feel most comfortable engaging with your readers on different social media platforms
  • learned more than you ever wanted to know about book production, book marketing and publishing services first-hand
  • fulfilled a personal goal to bring your project into the world

Are you setting realistic goals?
Crowdfunding a book project has a better than average rate of success, but there are many other factors to consider before you hit the “Publish” button. Consider the following before starting out:

  • put together a team, which statistically achieves more success in crowd funding ventures?
  • fundraise for the lowest possible amount—you can always up the ante if the campaign takes off
  • decide if you are willing to subside unanticipated costs, because trust me, they will appear
  • sometimes a successful project creates a life of its own—decide on your own criteria of success, so you’ll know when it’s time to move on

Next post, we’ll consider different crowdfunding models and take a look at how writing projects fare within those models.