Senior Literacy Manager Katie Potter weighs in on how we can meet the needs of Black students and the importance of Black books in these two articles from Word in Black. Word in Black is a groundbreaking collaboration of the nation’s leading Black news publishers, and they strive to be the most trusted news and information source for, about, and by Black people. Discover excerpts of the articles below and click the links to read more!Continue reading
In this guest blog post, Monica Kleekamp, a PhD candidate in the department of Learning, Teaching & Curriculum at the University of Missouri-Columbia, discusses the importance of inclusive children’s literature and how to critically select texts with regards to representations of disability experiences.
What is inclusive children’s literature? What is it not? Why is it important?
As students look to the shelves in their classrooms and school libraries, they seek representations of themselves—characters who look, feel, and experience the world in similar ways. The field of children’s literature continues to problematize the ways our bookshelves perpetuate representations of white, cisgender, heterosexual, and middle-class characters. A term often added to the end of this list is “able.”
Inclusive children’s literature that features characters who are either physically and/or intellectually diverse—characters who have been labeled as disabled—remain few and far between. Additionally, those texts that do exist often follow tropes of pity or dehumanization. These texts have also been heavily critiqued for their over-representation of white male characters who access prosthetics. Continue reading
Now that 2016 is finally coming to a close, we gathered a few of our favorite reads that engaged, entertained, and fascinated us throughout the year.
2016 is the second year in a row that all the 20 nominees in the acting categories for the Oscars are all white. This prompted the hashtag #OscarsSoWhite created by April Reign to resurface. While television has started to become more diverse, this still isn’t reflected in other media. Continue reading
Tomorrow, Saturday, July 12th is the Harlem Book Fair. LEE & LOW BOOKS will be there from 11 a.m., selling some of your favorite titles. We’ll be at table C32!
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
Our editors often get asked for advice on writing cross-culturally, so we thought we’d round up some of the best links on the subject. Writing cross-culturally means writing about a culture that isn’t your own (and in this definition of culture, we include race, ethnicity, sexual identity, disabilities, and other identity markers). We have published many books by writers who wrote outside their cultures, and believe that it can be done well; in fact, writing cross-culturally is an essential component of boosting the numbers of books about diverse characters.
That being said, writing cross-culturally must be done thoughtfully and carefully. It requires research. Changing a core piece of a character’s identity is not the same as changing a character’s name or hair style; different cultures provide different lenses through which to view the world, and affect characters in a multitude of small ways.
Here are some good places to start if you are an author writing cross-culturally or thinking about writing cross-culturally:
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
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.
In our previous diversity studies on the Academy Awards, the Emmy Awards, the children’s book field, The New York Times Top 10 Bestseller List, Sci-Fi and Fantasy Films, the Tony Awards, and Silicon Valley we interviewed people who actively work in television, publishing, and the theater. We attempted to duplicate this approach for our diversity study on US politics, but with the government shutdown, none of the twelve Congresspeople we contacted responded to our efforts to reach out to them. However, we think the numbers speak for themselves: Continue reading