If you are
kicking yourself for missing Wednesday night’s panel discussion on diversity
and inclusion in children’s books, kick a little harder.*
kicking yourself for missing Wednesday night’s panel discussion on diversity
and inclusion in children’s books, kick a little harder.*
With Allyson
Schrier moderating, panelists Philip Lee (Publisher, Readers to Eaters), Kelly
Jones (Author, “Unusual Chickens for the Exceptional Poultry Farmer”), Liz Wong
(Author/Illustrator, “Quackers”) and Ann Crewdson (KCLS Children’s Librarian)
discussed what children’s authors and illustrators need to do to reach more of
our readers.
Schrier moderating, panelists Philip Lee (Publisher, Readers to Eaters), Kelly
Jones (Author, “Unusual Chickens for the Exceptional Poultry Farmer”), Liz Wong
(Author/Illustrator, “Quackers”) and Ann Crewdson (KCLS Children’s Librarian)
discussed what children’s authors and illustrators need to do to reach more of
our readers.
There was a
great turnout. Here’s a sampling of what you missed:
great turnout. Here’s a sampling of what you missed:
Liz Wong:
·
Didn’t read a middle grade or young adult book
with a protagonist who looked like her until she was an adult.
Didn’t read a middle grade or young adult book
with a protagonist who looked like her until she was an adult.
(When asked about self-editing)
·
There is a tendency to self-edit because you
feel like there are obstacles. In a story about Chinese New Year, publishers
didn’t get it. They wanted more explanation in the story, not trusting the
readers to intuit or accept another culture’s practices.
There is a tendency to self-edit because you
feel like there are obstacles. In a story about Chinese New Year, publishers
didn’t get it. They wanted more explanation in the story, not trusting the
readers to intuit or accept another culture’s practices.
(When asked about avoiding stereotypes in
illustration)
illustration)
·
First, know what the stereotypes are.
First, know what the stereotypes are.
·
Be aware of tropes – common cultural clichés in
literature.
Be aware of tropes – common cultural clichés in
literature.
·
Make your characters as real as possible.
Make your characters as real as possible.
(When asked about casual diversity in children’s
books)
books)
·
A lot of diverse books end up being “niche”
books. What about a YA romance between diverse characters?
A lot of diverse books end up being “niche”
books. What about a YA romance between diverse characters?
Kelly Jones:
·
She’s on this panel because a character showed
up in her book who wasn’t like her. She was nervous, but thought, “I can fail
at a first draft.”
She’s on this panel because a character showed
up in her book who wasn’t like her. She was nervous, but thought, “I can fail
at a first draft.”
(When asked about writing characters from a culture different from her
own)
own)
·
Question your normal. If you are writing through
the eyes of someone who isn’t like you, their normal will not be your normal.
Getting it right is good writing.
Question your normal. If you are writing through
the eyes of someone who isn’t like you, their normal will not be your normal.
Getting it right is good writing.
·
Look for beta readers who are more like your
character. In writing Unusual Chickens, she included beta readers who are
half-Latina and beta readers who live on farms.
Look for beta readers who are more like your
character. In writing Unusual Chickens, she included beta readers who are
half-Latina and beta readers who live on farms.
·
Writing realistically is your responsibility.
This is your book; it’s your job to get it right. A lot of publishing is white
and may share your normal.
Writing realistically is your responsibility.
This is your book; it’s your job to get it right. A lot of publishing is white
and may share your normal.
·
You want to look at primary sources. Get out of
your box. Otherwise you end up playing a game of telephone.
You want to look at primary sources. Get out of
your box. Otherwise you end up playing a game of telephone.
·
Nisi Shawl & Cynthia Ward’s “Writing the
Other: A Practical Approach” is the best tool in her toolbox.
Nisi Shawl & Cynthia Ward’s “Writing the
Other: A Practical Approach” is the best tool in her toolbox.
Ann Crewdson:
(When asked about
circulation of and demand for diverse books at the library)
circulation of and demand for diverse books at the library)
·
The library needs more story-time level books. Parents
are sometimes reluctant to pick up a book that looks different because of
culture shock.
The library needs more story-time level books. Parents
are sometimes reluctant to pick up a book that looks different because of
culture shock.
·
A book made up with animal characters is not
that same as a book with diverse characters. “I didn’t see myself as a panda as
a kid.”
A book made up with animal characters is not
that same as a book with diverse characters. “I didn’t see myself as a panda as
a kid.”
·
Circulation of children’s books with African
American characters has been increasing.
We need to “change the bottleneck into a highway.”
Circulation of children’s books with African
American characters has been increasing.
We need to “change the bottleneck into a highway.”
(When asked about how you write an authentic
voice)
voice)
·
“Don’t be afraid of all of the criticism out
there.”
“Don’t be afraid of all of the criticism out
there.”
·
Allow diversity within diversity. Avoid two-dimensional
characters.
Allow diversity within diversity. Avoid two-dimensional
characters.
·
Pass your drafts through as many readers as
possible.
Pass your drafts through as many readers as
possible.
(When asked about pulling offensive, inauthentic, books from
the library.)
the library.)
·
“Our job is to offend everyone.” The antidote
isn’t to ban or pull books. The antidote is to write more books, better books.
“Our job is to offend everyone.” The antidote
isn’t to ban or pull books. The antidote is to write more books, better books.
Philip Lee:
(When asked about obstacles to making children’s literature more diverse)
·
The number of books with diverse characters has
remained the same, 10 – 13%, for the past 10 years.
The number of books with diverse characters has
remained the same, 10 – 13%, for the past 10 years.
·
Industry is 85% white.
Industry is 85% white.
·
Reviewers are 90% white.
Reviewers are 90% white.
·
“We’ve been stuck in the same bubble for a very
long time.”
“We’ve been stuck in the same bubble for a very
long time.”
(When asked about writing diverse books)
·
“Be specific, not generic.” Specific cultural
traits make a book real.
“Be specific, not generic.” Specific cultural
traits make a book real.
·
Watch out for “lazy publishing.” Everyone has to
do their homework.
Watch out for “lazy publishing.” Everyone has to
do their homework.
·
Just because you are from a culture, doesn’t
make you an expert.
Just because you are from a culture, doesn’t
make you an expert.
·
“Most mistakes come from not asking questions.”
“Most mistakes come from not asking questions.”
·
“Take some chances and be wrong.”
“Take some chances and be wrong.”
And finally,
stretching ourselves further, an audience member gave a heartfelt plea to
include children with disabilities in our writing. Her own children, avid
readers, have never seen themselves in a book.
stretching ourselves further, an audience member gave a heartfelt plea to
include children with disabilities in our writing. Her own children, avid
readers, have never seen themselves in a book.
CLICK HERE for a
comprehensive resource list from our panelists. Take this as a starting point for discussions
with your critique group or writing buddies. As several panelists mentioned on
Wednesday, diverse writing isn’t a trend. It’s just good writing.
comprehensive resource list from our panelists. Take this as a starting point for discussions
with your critique group or writing buddies. As several panelists mentioned on
Wednesday, diverse writing isn’t a trend. It’s just good writing.
I’ll end with a quote Philip Lee read to us from graphic novelist Gene Luen
Yang:
“We’re afraid
of writing characters different from ourselves because we’re afraid of getting
it wrong. We’re afraid of what the internet might say.
of writing characters different from ourselves because we’re afraid of getting
it wrong. We’re afraid of what the internet might say.
This fear can
be a good thing if it drives us to do our homework, to be meticulous in our
research. But this fear crosses the line when we become so intimidated that we
quietly make choices against stepping out of our own identities.
be a good thing if it drives us to do our homework, to be meticulous in our
research. But this fear crosses the line when we become so intimidated that we
quietly make choices against stepping out of our own identities.
After
all, our job as writers is to step out of ourselves, and to encourage our
readers to do the same.”
all, our job as writers is to step out of ourselves, and to encourage our
readers to do the same.”
*I might be
slightly biased here, since I set up the panel with Allyson Schrier.
slightly biased here, since I set up the panel with Allyson Schrier.
Let me just add a footnote to my quote, "Our job is to offend everyone." It just means there are so many books in our library–we carry all points of view. This is a common saying when librarians are talking about intellectual freedom. As a librarian, we follow the ALA Library Bill of Rights. "II. Libraries should provide materials and information presenting all points of view on current and historical issues. Materials should not be proscribed or removed because of partisan or doctrinal disapproval." The antidote isn’t to ban or pull books. Keep the books that have already been published. It is an opportunity for developing critical thinking skills. Instead, I urge you, in moving forward to write better books that are authentic, diverse and inclusive. Thanks again for a lovely evening, -ANN CREWDSON.