The publishing industry, like many industries, is constantly shifting and updating. The push for equity and inclusion in both stories and representation is a growing chorus. However, Lee & Low Books has been at it for almost 30 years and boasts of being “the largest multicultural children’s book publisher in the United States.” So, SCBWI Member Dolores Andral was excited to connect with Kandace Coston, Associate Editor at Lee & Low Books, and to pick her brain about all things in this current publishing climate. You may follow Kandace Coston on Twitter at @whatsticks.
Interview by SCBWI Member Dolores Andral
Dolores Andral: You’re passionate about We Need Diverse Books and diversity in the publishing industry. How do you hope to change the publishing industry?
Kandace Coston: I want to change the industry through the projects I edit, the creators I sign up to work on those projects, and through my efforts with WNDB.
I design my manuscript wish list so that it meets the needs of Lee & Low’s list, fills gaps in the industry, and represents my editorial interests. Right now, I’m actively looking for picture-book biographies about women of color in STEM. Lately I’ve heard there’s fatigue with biographical submissions, but I don’t understand how people can be tired of them when there are so many life stories buried in our country’s history that we don’t know about. I remember what it felt like when I watched the movie Hidden Figures in 2016 and learned that Black women had careers as mathematicians at NASA. I would’ve loved to learn about Dr. Katherine Johnson’s story as a kid! I’m so appreciative of author Margot Lee Shetterly and the other creators who brought that story to light. I want to help uncover stories about other women of color who made contributions to our history. Fulfilling my manuscript wish list in this way allows me to introduce more diverse stories into the industry.
Working with new writers and artists is another way I help shape children’s publishing. I want to see the number of diverse creators grow, and signing up debut writers and artists helps contribute to that growth. When I read cover letters from writers and agents saying “[prominent illustrator name] would be a great fit for this project” it helps me understand what that writer/agent is envisioning; but often I’m more interested in finding the next [prominent illustrator name]. I want to uncover new and rising talent and help advance their careers.
Being part of WNDB allows me to contribute in a capacity that’s different from my editorial work. As the alumnx manager on the children’s internship grant committee, I help design and organize programming for our latest group of grant recipients and WNDB alumnx. Having a supportive network is vital to successful professional growth. I wouldn’t be where I am today without WNDB and my mentors at Lee & Low Books. They recognize the importance of investing in professionals who are at intern and entry-level positions. In turn I want to be a resource for WNDB’s alumnx and help build a community and support system for them so they can pursue fulfilling careers in publishing.
DA: What does your day as an associate editor at Lee & Low look like?
KC: What I like most about working in editorial is each day brings a wide variety of tasks. I’m juggling several projects at once so there’s always something to do and never a dull moment! I tackle tasks based on what’s most pressing and time sensitive. Some days I’m reviewing early sketches for one project and final art for another project. Other days I may have a call with an art director to discuss the layout of a book that’s in development or I’m reading an author’s latest revision of their manuscript and noting edits.
In addition to my work, I also review and weigh in on other editors’ projects. The editorial process at Lee & Low is very collaborative. My team routes final sketches and final files amongst each other so we can all take a close look at a forthcoming book—this allows us to identify and address any issues before the book goes to the printer. I’m also responsible for administrative duties such as filing for copyright registration and proofreading materials for titles that are reprinting or converting to paperback. Any day when I can find time to read submissions is a great day!
DA: Some people struggle with what ‘diversity’ looks like in the publishing industry–does it just mean outside the norm? POC? Orientation? Ableism?
KC: Diversity in publishing means recognizing all lived experiences and showcasing authentic depictions of those experiences in children’s literature. It also means diversifying the professionals and creators who have a hand in shaping children’s literature. Reading books is one way that young readers learn how the world around them operates and their place in it. As publishing professionals and creators of children’s literature, we have a responsibility to present young readers with the truth. And the truth is our society is comprised of diverse voices that often go unacknowledged. That’s why diversifying children’s literature is so important especially today. Diverse stories help us break stereotypes, embrace intersectionality, discuss tough topics, and teach today’s young readers—the leaders of tomorrow—that the story of our society is multifaceted, which is a good thing!
DA: What are the biggest problems you see with submissions from new authors?
KC: There are two issues I often come across while reading submissions. First, many creators don’t pay attention to submission guidelines. When I read cover letters from writers, I’m looking for reasons to keep reading and reasons to stop reading. Too often I read submissions from creators whose manuscript does not align with Lee & Low’s mission or the editorial interests outlined on our website. It’s fine for writers to cast a wide net when they’re on submission, but they should also submit with intent. They should read the guidelines and understand how their project will fit within a publishing house’s offerings or on an agent’s list. I suggest writers read submission guidelines twice, once when they’re deciding where to submit and again right before they submit to make sure they didn’t miss any important details.
Second, sometimes I come across nonfiction manuscripts that do not include the author’s list of sources. That’s worrisome to me and makes me question the writer’s research skills and the validity of the information in their manuscript. If a writer used sources for their project (be it fiction or nonfiction) they should provide a source list somewhere in their manuscript. When I see a robust and well-organized source list, I think “This writer will do the work that’s necessary to ensure the information in their book is accurate, which will make my job easier.” Adding a source list seems like a small thing, but it means a lot when I’m considering signing up a project.
DA: I’m fascinated by your journey from intern to associate editor–what have you learned along the way?
KC: One of the biggest lessons I’ve learned since working in publishing is to ask thoughtful questions. When I started my internship at Lee & Low, WNDB gave me and the other grant recipients a red folder filled with helpful tips about how to make the most of the internship experience. One of the tips said to make a list of questions and arrange one-to-ones with the different department heads. I took that suggestion and the department heads at L&L were generous with their time and agreed to meet with me. I picked their brains about their paths to publishing, their roles within the company, and why they find their work fulfilling. I learned a great deal about L&L and its place in the industry, and listening to everyone’s answers helped me piece together what my career in publishing could look like. Also, taking initiative in this way helped me make a positive impression on the decision makers at L&L which led to my full-time position there.
We should all ask more thoughtful questions. Asking questions is not easy because it reveals what we don’t know and when you’re at the intern or entry level, showing that you don’t know something can feel embarrassing or vulnerable. But that doesn’t mean we shouldn’t raise questions; it means we need to cultivate a workplace mentality where junior-level staff feel comfortable to ask them.
I’ve also learned to say “yes” to opportunities that make you grow. When I get invitations to speak or present at conferences I often say “yes” because they’re a great way to connect with writers and other publishing professionals. I don’t enjoy networking or public speaking, but I do these events to help grow my network and improve my public speaking skills because it’s important to my work and career. It’s easy for me to get caught up in the daily grind, but I don’t want to just keep going, I want to keep growing.
I’ve also learned that talking about diversity can be uncomfortable. While presenting at conferences and workshops, I sometimes get questions from attendees who want to know what they can do to fix the lack of representation in children’s books. These are not conversations I enjoy having. Talking about misrepresentation, racism, and injustice is difficult and awkward. But these are conversations we need to have if we want to change the industry, so I’ve been doing the work that I need to do to have meaningful discourse about these uncomfortable issues. It’s not easy work, but I do it so I can contribute to institutional change in children’s publishing.
DA: As a writer, how do you keep yourself motivated? What kinds of projects are you working on?
KC: Staying motivated is definitely a challenge. After spending all day staring at a computer screen and reviewing other writers’ work, it’s hard for me to drum up energy to open my laptop and look at my manuscripts with a fresh mind. Days when it feels like I’ve hit a wall with my writing, I read. Picture books are my favorite medium because they remind me of poetry or music—there’s a form to this genre where no word or note is wasted. Reading helps me back away from whatever wall I’ve run into and begin feeling my way around it.
I’m also part of a wonderful critique group. We’re a close-knit circle of friends who love writing, illustrating, and reading children’s books. Being part of this group has helped me let go of my perfectionism and it gives me a space to play and try new things which is essential to the creative process. I write mostly poetry and picture books. Last year I wrote a short story graphic novel that was published in the anthology Wayward Kindred by TO Comix Press. I really enjoyed working on that graphic novel script, so now I’m writing a full-length MG graphic novel based on a different story idea.
DA: Lastly, what are some of your favorite books/ books you think aspiring picture book writers should read?
KC: I think there’s something to be learned about the art of storytelling from almost every book. Here is a short list of titles from my personal picture book library that I’ve learned a thing or two from, and whose stories have resonated with me.
Crown: An Ode to the Fresh Cut by Derrick Barnes
Evelyn Del Rey Is Moving Away by Meg Medina
Explosion at the Poem Factory by Kyle Lukoff
Kate Who Tamed the Wind by Liz Garton Scanlon
Lester’s Dreadful Sweaters by K. G. Campbell
Pokko and the Drum by Matthew Forsythe
The Princess and the Pony by Kate Beaton
Rise! From Caged Bird to Poet of the People, Maya Angelou by Bethany Hegedus
Sharuko: El arqueólogo peruano Julio C. Tello/Peruvian Archaeologist Julio C. Tello by Monica Brown
Take a Picture of Me, James VanDerZee! by Andrea Loney
