Walter Dean Myers Grant Application – An Interview with co-chairs,
Marietta Zacker and Caroline Tung Richmond
Marietta Zacker has
experience children’s books from every angle – teaching, marketing, publishing,
and bookselling. She thrives on working with authors who make their readers
feel their characters’ emotions and illustrators who add a different dimension
to the story. She is also Book Curator at an independent toy store and
bookstore.
experience children’s books from every angle – teaching, marketing, publishing,
and bookselling. She thrives on working with authors who make their readers
feel their characters’ emotions and illustrators who add a different dimension
to the story. She is also Book Curator at an independent toy store and
bookstore.
Caroline Tung Richmond is the Program Director
for WNDB. She’s also an award-winning YA author; and her novels include The
Only Thing to Fear, The Darkest Hour, and Live In
Infamy (Scholastic, 2018). Additionally, she will co-edit an
anthology of food-related short stories called Hungry Hearts (Simon
Pulse, 2019).
for WNDB. She’s also an award-winning YA author; and her novels include The
Only Thing to Fear, The Darkest Hour, and Live In
Infamy (Scholastic, 2018). Additionally, she will co-edit an
anthology of food-related short stories called Hungry Hearts (Simon
Pulse, 2019).
Tell us a little bit about your work at We Need Diverse Books and why The
Walter Dean Myers Grant was created.
Walter Dean Myers Grant was created.
Marietta:
From the beginning, WNDB has asserted that we have to look at the lack of
diversity in publishing from all angles. It is everyone’s issue to deal with
and we can’t have systemic change with only one solution. The barriers to entry
— some deeply-rooted, others more tangible — include the inability to create
without some financial freedom. As the agent liaison for WNDB, I took on the
challenge of leading a grant committee to try to help address that very issue
and give creatives the ability to do the creating with a little less
worry.
From the beginning, WNDB has asserted that we have to look at the lack of
diversity in publishing from all angles. It is everyone’s issue to deal with
and we can’t have systemic change with only one solution. The barriers to entry
— some deeply-rooted, others more tangible — include the inability to create
without some financial freedom. As the agent liaison for WNDB, I took on the
challenge of leading a grant committee to try to help address that very issue
and give creatives the ability to do the creating with a little less
worry.
Caroline: I
started out as a volunteer for WNDB in the spring of 2014, helping out with our
initial Indiegogo campaign and then doing event planning for the organization.
Last year I came on board as WNDB’s Program Director, and I feel very lucky
doing this work every day because I was once a little girl who yearned to see
herself in the books that she read.
started out as a volunteer for WNDB in the spring of 2014, helping out with our
initial Indiegogo campaign and then doing event planning for the organization.
Last year I came on board as WNDB’s Program Director, and I feel very lucky
doing this work every day because I was once a little girl who yearned to see
herself in the books that she read.
What is the
most important part of the grant application and why?
most important part of the grant application and why?
Marietta:
This is a tough question because we’ve worked hard over the past few years to
create an application and select questions that get to the root of great
authentic writing and illustrating combined with the need for some doors to be
opened at least slightly wider. In the end, though, a strong sample or
portfolio will always produce the most conversation among the judges. And
that’s always a good thing!
This is a tough question because we’ve worked hard over the past few years to
create an application and select questions that get to the root of great
authentic writing and illustrating combined with the need for some doors to be
opened at least slightly wider. In the end, though, a strong sample or
portfolio will always produce the most conversation among the judges. And
that’s always a good thing!
Caroline:
We
aim to evaluate each submission as a whole package. It’s important for us not
only to see how diversity has affected an applicant’s work and how they would
use the grant money, but also to evaluate the work itself — does it offer a
strong voice and fresh perspective? Is it well-written and does the sample make
us want to read more?
We
aim to evaluate each submission as a whole package. It’s important for us not
only to see how diversity has affected an applicant’s work and how they would
use the grant money, but also to evaluate the work itself — does it offer a
strong voice and fresh perspective? Is it well-written and does the sample make
us want to read more?
What
type of writing OR illustration experience do you see as being essential for
individuals who send their application?
type of writing OR illustration experience do you see as being essential for
individuals who send their application?
Marietta: An authenticity to
being you and a commitment to representing the world we live in, whether
writing about the real world or an imagined world, whether a novel or a picture
book or illustrations, the experience comes from living and from a commitment
to wonderful, authentic literature for children and young adults.
being you and a commitment to representing the world we live in, whether
writing about the real world or an imagined world, whether a novel or a picture
book or illustrations, the experience comes from living and from a commitment
to wonderful, authentic literature for children and young adults.
Caroline:
When I evaluate a submission, I’m not looking for a specific type of writing
experience per se, like taking creative writing courses or majoring in English
or attending conferences. I think all of that can help a writer or illustrator
refine their craft, but what matters most to me is the strength of the
application itself. Did the applicant follow our submission guidelines? Is
their writing clear and compelling? How about their work sample — can I see it
as getting published even if it’s rough around the edges?
When I evaluate a submission, I’m not looking for a specific type of writing
experience per se, like taking creative writing courses or majoring in English
or attending conferences. I think all of that can help a writer or illustrator
refine their craft, but what matters most to me is the strength of the
application itself. Did the applicant follow our submission guidelines? Is
their writing clear and compelling? How about their work sample — can I see it
as getting published even if it’s rough around the edges?
I
would recommend for each applicant to have their work sample critiqued before
submitting. Seek out critique partners who write in your genre and make your
sample as strong as possible!
would recommend for each applicant to have their work sample critiqued before
submitting. Seek out critique partners who write in your genre and make your
sample as strong as possible!
Please read more about the Walter Dean Myers Grant and
application guidelines here.
application guidelines here.