Silicon Valley has been the darling of the US economy for decades. Creativity, leadership, risk taking, and hard work are all attributes of American innovation at its finest. Though lauded as a true meritocracy by the business world, the truth is that Silicon Valley that suffers from a similar lack of representation among women and people of color as other industries. In our past Diversity Gap studies of the Academy Awards, the Tony Awards, the Emmy Awards, the children’s book industry, The New York Times Top 10 Bestseller List, Sci-Fi and Fantasy Films, and US politics, we have shown that there is a disturbingly consistent lack of diversity across the boards. Continue reading
Chicago, IL, January 30, 2015
photos courtesy of Dan Bostrom
This past weekend, I went to Chicago to attend the first ever Day of Diversity organized by the Association of Library Services for Children (ALSC) and Children’s Book Council (CBC). This event, which took place in conjunction with ALA’s Midwinter Conference, brought together 100 people from all parts of the book world including publishers, editors, librarians, booksellers, and authors. It included a mix of noted diversity advocates and newbies. The ultimate goal was to inform, engage, and ultimately find ways to turn talk into action.
November is Native American Heritage Month, which is as good a time as any to discuss the slight issue we have with observance months. Native American Heritage Month and Black History Month, for example, were established to celebrate cultures that otherwise went ignored, stereotyped, or otherwise underappreciated. Educators often use these months as a reason to pull titles by/about a particular culture off the shelf to share with students.
While we can generate a recommended reading list just as well as the next publisher, the problem we find with Native American Heritage Month is that it puts Native American books—and people—in a box. The observance month can easily lead to the bad habit of featuring these books and culture for one month out of the entire year. Ask yourself: Have we ever taken this approach with books that feature white protagonists?
On October 11, 2014, I attended a colloquium called Mind the Gaps, hosted by The Horn Book at Simmons College in Boston. There was an all-star line up consisting of Peter Brown (Mr. Tiger Goes Wild), Gene Luen Yang (Boxers and Saints), Andrew Smith (Grasshopper Jungle), and Steve Sheinkin (The Port Chicago 50), to name a few. Roger Sutton, Editor in Chief of The Horn Book, played a big part in pulling all these folks together for a day.
One of the highlights was the keynote by author/librarian Vaunda Micheaux Nelson (No Crystal Stair). Here’s a snippet from her speech:
“We are here at Simmons trying to solve this problem while one of the biggest stories in the news is that Apple released a new iPhone. Yet ALA struggles to get a one-minute spot on one network to announce the nation’s most prestigious children’s book awards. Is this our world now? To quote one of my favorite library patrons, ‘Have we dumbed down society so much that what is truly significant is not considered important?’ This conversation is significant. So how do we make it important?”
Summer blockbuster season is in full swing. For many moviegoers, that means escaping to a galaxy far, far away—or perhaps just a different version of our own planet Earth—through science fiction and fantasy movies. As fans clamor for the latest cinematic thrills, we decided to focus our next Diversity Gap study on the level of racial and gender representation in these ever-popular genres that consistently rake in the big bucks for movie studios. We reviewed the top 100 domestic grossing sci-fi and fantasy films as reported by Box Office Mojo. The results were staggeringly disappointing, if not surprising in light of our past Diversity Gap studies of the Tony Awards, the Emmy Awards, the children’s book industry, The New York Times Top 10 Bestseller List, US politics, the Academy Awards, and Silicon Valley where we analyzed yearly/multi-year samplings and found a disturbingly consistent lack of diversity. Continue reading
Note: This infographic was updated to reflect winners through 2015.
The Academy Awards will soon unveil the very best in filmmaking in 2014. As the prediction chatter ricochets around the web, our curiosity about the level of racial and gender representation of the Academy Awards is the focus of our next Diversity Gap study. We reviewed the Academy’s entire 85-year history and the results were staggeringly disappointing, if not surprising in light of our past Diversity Gap studies of The Tony Awards, The Emmy Awards, the children’s book industry, The New York Times Top 10 Bestseller List, Sci-Fi and Fantasy Films, US politics, and Silicon Valley where we analyzed yearly/multi-year samplings and found a disturbingly consistent lack of diversity. Continue reading
As we near the end of the 2013, we enter the season when major newspapers and magazines release their “Best of [enter year] lists”. So naturally we were curious about the level of representation of authors of color in last year’s New York Times Top 10 Bestsellers list. We chose to look at their most general bestsellers list, Combined Print & E-Book Fiction (adult), and looked at the top ten books for all 52 weeks of 2012. The results were staggering, if not surprising in light of our past Diversity Gap studies of the Academy Awards, The Tony Awards, The Emmy Awards, the children’s book industry, Sci-Fi and Fantasy Films, US politics, and Silicon Valley where we analyzed yearly/multi-year samplings and found a disturbingly consistent lack of diversity. Continue reading
Allie Jane Bruce is Children’s Librarian at the Bank Street College of Education. She began her career as a bookseller at Politics and Prose bookstore in Washington, DC, and earned her library degree from Pratt Institute. She tweets from @alliejanebruce and blogs at Bank Street College.
Part 1 | Part 2
Over the course of the last academic year, I co-taught a year-long unit that allowed a sixth-grade class to explore prejudices in books and the book industry. After studying how book covers and content can marginalize groups (we studied treatments of race, ethnicity, gender, body image, sexuality, class, ability, and more), we took a field trip to Barnes & Noble—by far my favorite piece of the project. The kids exited the store with steam issuing from their ears.
Allie Jane Bruce is Children’s Librarian at the Bank Street College of Education. She began her career as a bookseller at Politics and Prose bookstore in Washington, DC, and earned her library degree from Pratt Institute. She tweets from @alliejanebruce and blogs for Bank Street College.
Part 1 | Part 2
In my first year as Children’s Librarian at Bank Street, I worked with two teachers on a project that allowed sixth-graders to explore implicit and explicit biases in publishing. Using book covers as a starting point for discussion, we engaged in conversations about identity, race, ethnicity, sexual orientation, gender, body image, class, and ability as they relate to books and beyond.It started when my co-worker, Jamie Steinfeld, asked me to booktalk some realistic fiction for her sixth-grade Humanities class. A girl asked a question about Return To Sender—“Why is there a bird on the cover?”—and we were off. Good question! Yes, the hardcover does have a bird. And does anyone notice anything about the paperback? See how the boy has his face turned toward us, and we can see his blond hair, but the girl from Mexico has her back to us and we can’t tell what race she is? What’s up with that?
Literary agents make up a big part of the publishing machine. Most publishers no longer consider unsolicited submissions, so an agent is a must if you even want to get your foot in the door. Each year, agents review many promising manuscripts and portfolios so it is safe to say they have a good sense of who makes up the talent pool of children’s book publishing. So what kind of diversity are agents seeing? Being that the number of diverse books has not increased in the last eighteen years, in order to understand why this problem persists we decided to ask the gatekeepers.
Adriana Domínguez is an agent at Full Circle Literary, a boutique literary agency based in San Diego and New York City, offering a unique full circle approach to literary representation. The agency’s experience in book publishing includes editorial, marketing, publicity, legal, and rights, and is used to help build authors one step at a time. Full Circle works with both veteran and debut writers and artists, and has a knack for finding and developing new and diverse talent.
Karen Grencik and Abigail Samoun own Red Fox Literary, a boutique agency representing children’s book authors and illustrators. They offer a dazzling array of talents among their roster of clients, including New York Times and Time magazine Best Book winners, and some of the most promising up-and-coming talents working in the field today. The agency is closed to unsolicited submissions but it does accept queries from attendees at conferences where they present or through industry referrals.
Lori Nowicki is founder of Painted Words, a literary agency that represents illustrators and authors in the children’s publishing marketplace and beyond. Their goal is to provide the utmost in representation for illustrators and writers while placing a unique emphasis on developing characters, books, and licensed properties.
Do you receive many submissions from authors and illustrators of color? Overall, what percentage of authors and illustrators who submit to you are people of color? Note: Estimations are fine.
AD/Full Circle: I honestly wouldn’t know about percentages, but our agency receives a good number of submissions from authors of color. Proportionally, our agency represents more authors of color than most others. Authors and illustrators who are familiar with our work and/or visit our website know that we welcome diverse points of view, and see that diversity represented in our client list. I will say that I have personally felt for a very long time that there are simply not enough illustrators of color in the marketplace, and I am not quite sure why that is. I am usually very enthusiastic when I receive a query from a talented author/illustrator of color—I wish we received more of those! As a general rule, our agency represents illustrators who are also writers, and such people are difficult to find under any circumstances, as not everyone is equally good at both.
AS/Red Fox Literary: It’s hard to tell how many submissions come from authors and illustrators of color. Most of the time, I haven’t met these authors and illustrators in person so the only way for me to tell what their ethnicity might be is by their name and their choice of subjects, but these can be misleading. I once made an offer on a picture book about an African American family, told in language with a jazzy rhythm, by an author with an African American sounding name and she turned out to be a white librarian. I’d made the assumption, based on the subject and the author’s name, that she would be African American.
Oftentimes, the question of the author’s ethnicity doesn’t enter my mind—unless the subject relates to race, in which case I’ll wonder if the author will have the life experience that can provide a genuine insider’s point-of-view. I would estimate that perhaps 10–15% of my submissions are from people of color.
KG/Red Fox Literary: I have four authors of color on my list of 38 authors, but like Abi says, we never know the ethnicity of an author when they submit to us. The only way I could imagine to gauge it would be by determining how many authors of color attend an SCBWI conference at which I present, comparing that number to the total number of attendees, and then assuming the ratio of submissions to be a similar percentage. At the recent summer conference in LA, I would guesstimate that authors of color made up about 35% of the total number of attendees.