Agent Interview: Emily van Beek of Pippin Properties

Emily van Beek on Emily van Beek: “I relocated from Toronto to New York City in 2000 expressly to pursue a career in children’s book publishing (this was my Plan A, and I did not have a Plan B!). I began my career at Hyperion Books for Children, and during my four years there, I became a full editor. But I also began to dream about exploring the view from the agent’s side of the desk…and in October of 2003, I joined Pippin.”

Pippin Properties, Inc. is a focused, boutique children’s literary agency located in New York City. Along with Holly McGhee, the founder of the agency, we represent some of today’s most exciting talents in children’s books, including the Newbery Medal-winning author of The Tale of Despereaux, Kate DiCamillo, the Caldecott Medal-winning artist, David Small, a host of bestselling clients such as Doreen Cronin, Betsy Lewin, Harry Bliss, Alison McGhee, Peter H. Reynolds, and Sarah Weeks in addition to veteran New Yorker artists including George Booth and Edward Koren.

I’m honored to say that we also represent some exciting new and emerging talent in children’s books, including the picture book author/artist of Grumpy Bird, Jeremy Tankard, CLA Book of the Year Award Winner, Hadley Dyer, Jenny Han, Tao Nyeu, and Taeeun Yoo, Recipient of the Society of Illustrators‘ 2007 Founders Award, to name but a few.

Pippin will celebrate its tenth birthday this spring!

What were you like as a young reader?

I had an insatiable appetite for stories. As a little kid, children’s books (and equally as important, the ritual of being read to every day), were a mainstay of my upbringing. We moved often, but despite changes of address, of language, of schools, of continents, and of friends, the evening routine of bedtime reading was a constant I could count on, a security blanket of sorts.

From Enid Blyton‘s Noddy books, to Pooh Bear and Piglet, Paddington, Madeline, Mowgli, and Peter Rabbit, my parents would take turns reading to my brother and me every evening, 365 days a year (I still have some of my old and well-worn 365 Day Treasuries and other favorites stowed away in a steamer trunk that has traveled with me through the years and across borders, stories I hope to share with children of my own one day).

What inspired you to become a literary agent?

After about three and a half years in the editorial department of a leading publishing house, I realized that I wanted to experience and to contribute to children’s book publishing from a different perspective. I wanted to work even more closely with authors and artists, to become a part of the conversation at an earlier stage in the publishing process, and to be a team player in a smaller, more entrepreneurial environment.

I also loved the idea of seeking out new, as yet undiscovered talent, and helping authors and artists not only launch their careers, but to help them plan for the future, to establish life-long professions, and to publish books that would stand the test of time.

I had a keen interest in the business side of publishing and I realized that as a literary agent I would have all the more opportunity to exercise those muscles. Before setting out for NYC, I flirted with the idea of becoming a lawyer. Agenting is a marriage of these passions of mine. I love negotiating (and yes, I actually enjoy reading contracts).

To top it off, I was intrigued by subsidiary rights with a particular interest in international and audio publishing. Holly often reminds me that during my interview I told her I wanted to conduct Pippin’s first audio auction, and shortly after I joined the company, I had the honor of doing just that for a beautiful debut novel–it was so much fun!

As a literary agent at Pippin, every day presents me with opportunities to seek out secondary licenses for our books across a spectrum of industries. Whether we’re working collaboratively with our dramatic rights co-agent on feature film deals or with audio publishers to create books on CD, whether we’re establishing relationships with licensing agents or forging partnerships with foreign sub-agents in order to share our books with readers beyond our borders, all of these areas of publishing are thrilling to me.

What led you to specialize in youth literature?

You mean there are other kinds of literature? I’ve always had blinders on when it comes to publishing and the area in which I hoped to contribute. I think it’s precisely because of the meaningful role children’s books played in my own childhood that I followed the dream of a career in youth literature. On more than one occasion people outside the industry have smiled politely when they’ve discovered that I work in children’s book publishing, only to go on to ask when I hoped to be promoted to adult books. Little do they know!

I spoke recently to a group of beginning writers and asked, “Who is interested in working with an agent?” Every hand went up. Then I asked, “Who knows what an agent does?” No hands. So, what all do you really do?

A literary agent is, first and foremost, an advocate for an author or an artist. We are our clients’ greatest champion!

A large part of our role is to manage the business side of publishing so that our clients can focus their attention on the creative aspect of their relationships with their editors.

It is our responsibility to handle the negotiation of all agreements, to be fluent in the language of contracts, to successfully exploit reserved subsidiary rights (such as audio, dramatic, foreign, commercial and merchandising, etc.) as well as to handle the day to day aspects of the business side of things, such as the proofreading of royalty statements.

Our clients count on us to think strategically about their career trajectory with the aim of creating a meaningful and lifelong career. Moreover, at Pippin, we endeavor to help our clients publish fewer books better, and to publish books that will endure.

Given Holly McGhee’s and my editorial background, we often work editorially with an author before sending out a submission. We frequently brainstorm new ideas with our clients. This has, at times, meant rounds and rounds of revisions over the course of years, but this sort of hard work and dedication on the part of our clients can result in the passionate acquisition of a project by an incredibly enthusiastic editor and the support of an entire house.

It’s also our responsibility to know the editors and their tastes really well to ensure that submissions are well-tailored and the most dynamic and happy relationships can be forged between authors/artists and editors.

Why should unagented writers consider working with an agent?

Agents open doors. Many publishing houses won’t consider unagented material, oftentimes returning it unread, whereas a polished, agented submission is far more likely to attract the attention of a well-suited editor.

Additionally, if an author is presented with an offer to publish the work, an agent acts as the author’s delegate, someone who is well-versed in the art of negotiation and contracts, and who will make certain the author’s best interests are protected.

Beyond the initial acquisition, an agent is also present throughout the manuscript’s journey toward publication. We’re here to navigate bumps that may arise along the way and to be a voice for our client.

What should a writer look for in a literary agency?

It’s really important for aspiring writers to do their research when it comes to selecting an agent. It’s useful to know about an agent’s current roster of clients and the types of projects they feel passionately about (in terms of genre, format, and audience). Are your tastes compatible?

I think a writer should look for an agent who is responsive (someone who returns calls and emails with dispatch).

One might also consider the size of an agency. Do you want to be part of a larger agency that represents a variety of genres, or would you prefer to be represented by an agency with a narrower focus?

I also think it’s best to speak with a prospective agent (or, even better, to meet in person) before making the decision to partner. At its core the relationship between a writer and an agent is just that, a partnership, and it’s important to get a feel for one another. A writer might also ask to speak with other clients currently represented by the agent to get a sense for what it might be like to work together.

What makes Pippin Properties special?

When it first dawned on me that I really wanted to make the transition from the editorial side of the desk to agenting, I sat down with a colleague and confided in her that my pie in the sky dream was to join an agency like Pippin. An agency with a reputation for excellence. An agency with an exclusive interest in books for children. One that represented some of the most thrilling and significant talents in the field. When the planets aligned and an opportunity presented itself for me to join Holly at Pippin, I could not believe that my dream had come true.

At Pippin the bar is set high. We strive to live and work by the following philosophy:

–The world owes you nothing. You owe the world your best work. And this can be painful at times (especially when it means telling a writer that their work isn’t there yet, that a particular story isn’t ready for submission, that s/he needs to try again). Even the best of the best need to write and rewrite. As Holly once observed: “Some books are ready to go, some books will require two years of work, refinement, editing, and polishing. There is no recipe. No detail is too small.” And as agents at Pippin, we strive to meet the same standards we set for our clients.

–Evergreens. We want to create books that will stand the test of time. As I mentioned earlier, we believe in publishing fewer books better. Books that will be read and re-read for years and years to come.

–And we want to work with people who share this philosophy.

Would you describe yourself as an “editorial agent,” one who comments on manuscripts, or one who concentrates more exclusively on publishing issues? Why?

At Pippin we certainly do spend a lot of time on the creative side of things, especially at the beginning of an author’s career or when a career is first launched. We want to ensure that an author puts his or her best foot forward (first impressions are important!), and we want to make certain that only polished and compelling projects make it out the front door toward an editor’s desk. So, yes, we often edit manuscripts prior to submission.

That said, once a writer has established a relationship with an editor, we respect that dynamic and take a step back, allowing the editor and the writer to focus on the creative (“too many cooks in the kitchen” and all); however we are always nearby and willing to assist should some point of editorial concern arise.

Is your approach more “manuscript by manuscript,” or do you see yourself as a career builder?

Definitely the latter. Pippin is such a small agency (my associate, Samantha Cosentino, Holly and me–that’s the whole company!), and likewise our list of clients is quite small. Together with our client, we see ourselves as architects of a publishing career.

We prefer to invest our time in representing authors who feel as passionately about children’s books as we do, authors who aim to tell stories for years to come and who seek to build lifelong careers in this field as opposed to handling a patchwork of manuscripts by a much broader group of writers whom we wouldn’t have the time to get to know as well.

Harry Bliss is the perfect example! He joined Pippin at the very beginning of his career in children’s books. Harry’s debut picture book, A Fine, Fine, School was written by Newbery Medal-winning author Sharon Creech, and it went on to become a bestseller. Since then, he has created extraordinary artwork for stories written by the venerable William Steig, as well as New York Times bestselling authors Doreen Cronin and Alison McGhee. And he’s now putting the finishing touches on a picture book by Kate DiCamillo.

What do you look for in a prospective client?

We look for passion and dedication. We look for a writer who is willing to work really hard. Someone who can keep the goal in sight when we ask for the eighth revision. We are looking for ingenuity. We’re looking for voices that stay with us.

In terms of markets (children’s, YA, fiction, non-fiction, genres, chapter books, ER, picture books, etc.), what sorts of manuscripts appeal to you?

We are especially looking for fresh, compelling voices in middle-grade and young-adult fiction. I would love to discover and represent some new novelists!

We are also looking for strong, unique picture books (if a writer’s story idea has been done before–bedtime, brothers, bullies, blankies, etc.–is his or her story executed better than anyone else who has previously published on a similar topic?) Books for boys would be great, too!

We often say that we’re not looking for the “next Harry Potter” rather we’re looking what comes after those books, what pushes boundaries in terms of content, format, and most importantly, voice.

Do you represent author-illustrators or illustrators who don’t also write? If so, what particular advice to you have for them?

Yes, we do represent author-illustrators, but we represent very few artists who don’t also write their own work. For illustrators who don’t write, I’d recommend they seek out an illustration agency, one that specializes in the representation of artists exclusively.

In my experience, it’s enormously helpful when author-illustrators send links to their personal websites (online portfolios). This is a fantastic way to make an author-illustrator’s introduction and to get a sense, right off the bat, of whether or not we might be a good match.

I think it’s also important for an author-illustrator to compile a portfolio of compelling samples that represent the range of styles in which s/he’d like to illustrate (whether in color or black and white) and the variety of mediums s/he’d like to use. A varied portfolio is a good way to avoid being too quickly categorized or pigeonholed. We’d also like to know whether or not an author-illustrator is open to the idea of illustrating a manuscript written by another writer.

If an author-illustrator has a picture book idea, the submission of a dummy (even if only in sketch stage) can also be worthwhile.

Are you accepting unsolicited submissions? What is the best way for a prospective client to get in touch with you?

We are always on the lookout for new authors and artists. We try to keep our eyes and ears peeled at all times. The best way to be in touch is to visit our website ( and to follow the submissions guidelines outlined there.

Do you have any particular submissions preferences or pet peeves?

A few months ago, my colleagues and I were discussing submissions and some of the slip-ups aspiring writers can make. We compiled a “submissions cheat sheet”, a check-list for a writer to consider before pressing “send”. Here are a few of the items from the list:

–Is your first sentence the best is can be? Is it irresistible?

–Do you feel the need for a lengthy explanation of your manuscript in the cover letter? If so, this may be a warning that your story needs more work before submission.

–If you’re submitting electronically, are you absolutely certain that the name of each agency you’re approaching does not appear in the “to” field? Triple check!

–Is your submission (cover letter and manuscript) free of typos and grammatical errors?! There is no excuse for sloppiness.

–Is your manuscript double-spaced?

–Have you verified that the person who gave you the agent’s name actually knows that person? This is a short cut to losing credibility.

–If you decide you are ready to submit, give the agent time to consider your work.

If a writer is turned down by one agent at Pippin, may s/he submit at a future date? What considerations might apply?

Yes, if s/he has been invited to submit again or if s/he has followed any editorial suggestions proffered by the agent and made significant revisions, then I’d say s/he is welcome to try us again.

If a writer is turned down by one agent at Pippin, may s/he submit to another? Likewise, what considerations might apply?

At Pippin, decisions regarding representation are collaborative. If we invite a writer to join our family, then we have each fallen in love with that writer’s voice. However, the reverse is also true, if one of us has decided to pass on the chance to represent an aspiring writer, then s/he would be better off turning her/his attention to another agency.

How much contact do you have with your clients? Emails, phone calls, retreats, listservs? What kind of relationships are you looking to build and why?

Contact with clients varies. We always endeavor to return phone calls and emails quickly, but the speed often depends on what information needs to be gathered. Because we’re so small, if one of us is busy when an author calls, the other of us is often up to speed and able to assist.

We interact with some clients on a daily basis and with others less frequently, it all depends on a client’s needs and wishes, and also on the level of activity going on for any given client at any given time (i.e. if we’re in the middle of an auction, we’re more likely to speak with an author several times a day whereas if a client is settled and deep at work on a particular project without any real emergencies on the horizon, we may chat less frequently).

Would you like to highlight a few of your clients and/or their recent titles?

I feel so honored and so lucky to work with the amazing authors and artists who make up our list!

An upcoming project I’m particularly excited about is an atmospheric and literary middle-grade novel called The Underneath by Kathi Appelt. When Kathi joined Pippin she had an extensive backlist of picture books to her credit, but she desired to write a literary middle-grade novel. And for the next two years and through eight revisions, Kathi, as she puts it, worked out of her comfort zone. Here is how she charts her journey:

Tobin Anderson once told me: “write what you think you can’t.” At first I understood that to mean write in places where I never had. As primarily a picture book writer, a novel was a place I wasn’t sure I could write. During the editing and writing process, I lost the boy. I lost the cat. I lost characters I loved.

“Love and loss. They’re the twin sisters of the heart. And now I understand that Tobin meant for me to write in a way that wasn’t about avoiding loss, but was about realizing loss, and how important that is to fully appreciate love. Could I stand it? Could I lose the boy? Or the cat? The ones I loved? The fact is, not writing that way would have been the bigger loss. It scared the living daylights out of me, but it also reminded me of what was at stake–everything.”

The Underneath, featuring illustrations by none other than Caldecott Medal-winning artist David Small, will be published by Atheneum this year. I’m so looking forward to holding the finished book in my hands.

I’m also looking forward to the publication of Only a Witch Can Fly by #1 New York Times bestselling author Alison McGhee with enchanting illustrations by Taeeun Yoo, the recipient of the Society of Illustrators Founders Award (Feiwel & Friends, 2009), as well as Let’s Do Nothing! by debut picture book author-artist, Tony Fucile (Candlewick Press, 2009).

Tony recently made an extreme career move. Prior to jumping into the world of children’s books (via the slush pile!), Tony was a Supervising Animator at Pixar where he worked on films like the Oscar-winning “Finding Nemo,” “The Little Mermaid,” “Aladdin,” and where he co-creator “The Incredibles.” But Tony decided to follow his dream of creating books for children, and I cannot wait for readers to discover Let’s Do Nothing! this spring.

Past Pippin successes include The Miraculous Journey of Edward Tulane by the Newbery Medal-winning author Kate DiCamillo (a #1 New York Times best-seller, as well as a 2006 Boston Globe-Horn Book and Christopher Award winner), the New York Times bestselling Diary of a Fly, Diary of a Spider, and Diary of a Worm books by Doreen Cronin and Harry Bliss, and the #1 New York Times bestselling Someday by Alison McGhee, illustrated by Peter H. Reynolds.

American Indian Youth Book Awards 2008

PHILADELPHIA–The American Indian Library Association (AILA), an affiliate of the American Library Association (ALA), is pleased to announce the recipients of its American Indian Youth Literature Award. This new literary award was created as a way to identify and honor the very best writing and illustrations by and about American Indians. Books selected to receive the award present Native Americans in the fullness of their humanity in the present and past contexts.

The award is presented in each of three categories-picture book, middle school, and young adult-and each winner receives $500 and a custom-made beaded medallion, which will be presented at a ticketed event during the American Library Association Annual Conference in Anaheim, CA. See the AILA web site for more detailed information about the books, authors and award event.

“We are grateful to have this opportunity to honor authors and illustrators who best portray Native American culture for young readers,” Naomi Caldwell, Chair, AILA American Indian Youth Literature Award committee. “We celebrate the official recognition American Indian literature for youth.”

Picture Book

Crossing Bok Chitto: A Choctaw Tale of Friendship and Freedom by Tim Tingle, illustrated by Jeanne Rorex Bridges. Cinco Puntos Press, 2006.

A beautifully inspired story of a friendship between Martha Tom, a Choctaw girl, and Li’ Mo, an enslaved boy, and how their relationship brought wholeness and freedom to Mo’s family and also to many enslaved people. Bridge’s illustrations enhance the story by resonating the joy of friendship, the light of faith, and the leadership of children.

Middle School

Counting Coup: Becoming a Crow Chief on the Reservation and Beyond by Joseph Medicine Crow. National Geographic, 2006.

This appealing autobiography of Dr. Joseph Medicine Crow (Absarokee) is a winner with the young and old. The author recounts his adventures and training as a traditional Crow warrior and his service as a decorated World War II veteran. Walk, run, and ride with him as you learn first-hand about real-life on the Crow reservation before during and after encounters with newcomers. In a text that is not preachy but an honest read, Joseph Medicine Crow tell how he over came many challenges to fulfill is role as Chief of the Crow Nation.

Young Adult

The Absolutely True Diary of a Part-Time Indian by Sherman Alexie, Little Brown Publishers, 2007.

A realistic, bittersweet, yet humorous look at the life of Arnold, a Spokane Indian teenager making his way in life on the reservation while attending an all-white high school. Alexie brings to life the challenges many young native people experience as they learn to navigate and balance Indian life in a modern world. Part autobiography, Alexie’s Arnold reminds us of the complexities of coming of age, bigotry, bullies, loyalty to family, and the meaning of love.

In the near future an American Indian Youth Literature Award free downloadable bookmark and brochure will be made available on the AILA Web site.

Members of the American Indian Youth Literature Award are: Naomi Caldwell, chair, GSLIS, University of Rhode Island, Kingston, R.I.; Carlene Engstrom, D’Arcy McNickle Library, Salish Kootenai College, Pablo, Mont.; and Gabriella Kaye, Mashantucket, Pequot Museum & Research Center, Mashantucket, CT., Lisa A. Mitten, Choice Magazine, Sarah Kostelecky, Institute of American Indian Art, Santa Fe, New Mexico, Cindy Carrywater, Montana State Library Commission, and Jolena Tillequots, School Library Media Specialist, Yakima Nation.

Eternal: the Cut-and-Paste Report

I’m pleased to report that I’m working on final line edits for Eternal, which will be the second book in the Tantalize universe and will be likewise published by Candlewick Press.

I’d turned in the second big revision just after Thanksgiving and had been awaiting my editor‘s reaction.

She’d asked me, among other things, to further develop one of the main characters, to push back the start point, and to give the alternating point-of-view characters more of a unifying mission early in the story.

The upshot was a lot of new scenes, a lot of deleting, a lot of moving text around. It was fascinating because the process of revision began like it normally does. I panicked at my perception of the magnitude of the task, set a heavy object on the letter, and backed away slowly.

Then, only a couple of days later, I found myself in a frenzy. Normally, revision epiphanies come to me in a slow series of sparks. This was more like standing in the middle of an inferno.

I had so many ideas that the word processing itself got in the way. It was too distant, too slippery, when I knew–just knew–what to do with these flesh-and-bone fictional people.

So I abandoned my typical writing spots–the sleeping porch and sun porch–for the dining room table where I could spread out with scissors and tape and literally cut, literally pasted, which slowed me down just enough to think. Something about physically holding onto the pieces of the story grounded me and provided a certain reassurance that I could do it, that it was all there. Or, at least, that it eventually would be.

So what’s was the result? My editor’s reaction included words like “bloody,” “astonishing,” “wonderful,” “amazing” and “gulp,” which are certainly encouraging. But I’m still smoothing!

Cynsational Notes

Been spooky lately? The above post is originally from my Spookycyn blog, which features news and interviews related to speculative youth fiction as well as behind-the-scenes glimpses at my own writing life (including foodie reports). If you missed them, check out my holiday report, Libba Bray’s signing in Austin, my thoughts on “Angel: After the Fall,” and my latest trip–to the Arizona Biltmore.

Cynsational News, Links & YA Public Librarian Giveaway

Wonders of the World by Brian Yansky (Flux, 2007)(excerpt). From the promotional copy:

“‘I have been everywhere. Everywhere it is the same. All that really exists is the savage truth. Kill. Be killed. Live. Die. There’s nothing more.’

“So says Bluebeard, king of the streets, purveyor of drugs, women, and pornography. This isn’t the world Eric imagined. At seventeen, he runs away to discover the wonders of the world—the wonders his storyteller father told him about throughout his childhood. But all Eric finds on the street in Riverton is gangs, junkies, sex, and ruined lives. He also stumbles onto a gift for acting and discovers an imagined world might just be his ticket out of a broken real one—if he can say no to the devil.

“Brian Yansky expertly conjures a gritty and original portrait of life at street level, complete with cynical adults, doomed teens, a villain who isn’t quite human, and a brilliant but unlikely hero.”

Ages 14-up. Read a Cynsations interview with Brian.

An autographed copy of Wonders of the World will be given away to a YA public librarian! To enter, email me with your name and address by 4 p.m. CST Monday, Feb. 4! Please also type “Wonders of the World” in the subject line. Good luck!

More News & Links

Favorite Poetry Books of 2007 from Sylvia Vardell at Poetry for Children. Read a Cynsations interview with Sylvia.

Creativity: Overcoming Too Many Ideas Syndrome by Leigh Anne Jasheway-Bryant from Writers Digest. “Don’t let your creativity get in the way of your productivity. Here are nine tips for overcoming Too Many Ideas Syndrome.”

Genre Fiction for Young People: Mystery, Romance, Science Fiction, and Fantasy from CBC Magazine.

Congratulations to Shana Burg on the launch of her official author site. Shana is the debut author of A Thousand Never Evers (Delacorte, 2008)(Listening Library, 2008). Read chapter one. Shana is based in Austin, Texas.

Honoring Alaska’s Indigenous Literature from Alaska Native Knowledge Network at the University of Alaska Fairbanks. Source: American Indians in Children’s Literature.

Ready for some book trailers? Check out “Storytime Boogie” from children’s author Kim Norman (author interview)(that’s really her singing!) and “Greetings from Nowhere” from children’s author Barbara O’Connor.

Top 100 interview: National Book Award winner Sherman Alexie from USA Today.

Ten: ten lessons learned in ten years of publishing from Grace Lin at Blue Girls. Source: One Writer’s Journey.

Congratulations to Tiffany Trent on the release of By Venom’s Sweet Sting (Hallowmere Book 2)(Mirrorstone, 2007)! From the promotional copy: “Are Corrine and her friends strong enough to take on the Fey? Following the destruction of Falston, Corrine and her schoolmates embark for Scotland to chase Rory and the stolen rathstone. On the moors of Kenmore, tensions mount between the friends as a new love interest comes into Corrine’s life. In the layers of lies and secrets, who can she trust? In this exciting sequel to In the Serpent’s Coils, Tiffany Trent delivers a larger-then-life battle between the Fey that readers will never forget.” Visit Tiffany at MySpace, read her LJ, and learn more about Hallowmere. Read a Cynsations interview with Tiffany.

Dorian Cirrone: new official site from the author of the Lindy Blues mysteries (Marshall Cavendish, 2006), Dancing In Red Shoes Will Kill You (HarperCollins, 2005)(excerpt), and Prom Kings and Drama Queens (HarperTeens, 2008)(excerpt). Read a Cynsations interview with Dorian. Note: Dorian’s site is designed by Lisa Firke of Hit Those Keys, who also designed my own official site.

Picture book authors Jill Esbaum and Linda Skeers are hosting writing
workshops in April and July, 2008. Learn more about their workshops! Read a Cynsations interview with Jill.

Monthly Special: Reluctant Readers: recommended titles from The Horn Book. Read a Cynsations interview with editor Roger Sutton. Visit his blog, Read Roger!

Here’s a rousing cheer for Debbi Michiko Florence, author of the forthcoming China: A Kaleidoscope Kids Book, illustrated by Jim Caputo, (Williamson Books, 2008)!

Debbi has been offering author interviews at her site since 2001. Don’t miss her latest with Eric Luper. Here’s a sneak peek: “Feisty and fine. I pored over those words for hours. Then, there were a bunch of numbers after that, splits and percentages and advances and all that. That’s when I realized that, although my writing might be fine and feisty, my knowledge of the publishing industry was weak and wanting.”

Want to win a free book? Surf over to TeensReadToo for the (Nearly) 30 Books in (Almost) 30 Days contest! Simon & Schuster is giving away 145 (total) books by such wonderful authors as Niki Burnham (author interview), Micol Ostow, and Aimee Friedman. Looking for more? Don’t miss the regular monthly giveaway, featuring books by Jennifer L. and Matthew Holm (illustrator interview), Judy Gregerson, Lauren Myracle (author interview), Liz Gallagher, and more!

Author Feature: Marissa Doyle and Jody Feldman on the Class of 2k8

The Class of 2k8 is the home of a group of middle grade and young adult authors, all with their debut novels being published in 2008. Visit the class at MySpace, Facebook, and Jacketflap!

Marissa Doyle on Marissa Doyle: “I graduated from Bryn Mawr College with the intention of being an archaeologist, but somehow that never happened…but I think I’ve always known that someday I would end up as a writer. I live in Massachusetts with my family, an opinionated pet rabbit, and a collection of books that has strained the joists supporting the second floor of my house. Fortunately, my husband is handy.”

Jody Feldman on Jody Feldman: “Imagine an 18-year-old freshman, sitting on a built-in desk, staring out her dorm window, realizing she can’t stand her major (psychology) and stressing over what she’s going to do for the rest of her life. Picture her mind racing through the list of colleges at the University of Missouri, but pausing every time she gets to their distinguished School of Journalism. Then pausing again and again, knowing she really doesn’t love writing.

“Fourteen minutes after I’d first perched on that desk, I hopped off with a new grand plan. I was going into advertising. It turns out that advertising is an amazing background for writing fiction. It turns out I didn’t hate writing as much as I thought I did. Fast forward past lots of ads, three works-for-hire, and a guidebook to St. Louis. And here I am, still in my native St. Louis, but with a whole new career ahead of me.”

Congratulations on your debut novels! Could you tell us about your books?

MD: I’m never sure how to categorize Bewitching Season (Henry Holt, 2008), so I stick to just calling it a YA novel…but it’s set in 1837 London and features a pair of twin sisters making their debuts in society (which means they were entering the aristocratic marriage market) who end up rescuing their kidnapped governess and the soon-to-be Queen Victoria from an evil plot to control the British throne. “YA novel” is ever so much easier to say than “coming of age-historical-romantic-fantasy.”

JF: I’m like Marissa in that I never knew how to categorize The Gollywhopper Games (Greenwillow, 2008)…until my publisher had associated it with the word, “interactive.” So I’ll stick with that and add two words of my own: contemporary interactive adventure. The Gollywhopper Games of the title is a once-in-a-lifetime event that starts with 25,000 contestants and narrows to one winner. What separates the players from the amazing grand prize are puzzles, brainteasers, and physical stunts. (Readers, if they choose, can play along.) Gil Goodson, son of a disgraced ex-employee of the sponsoring company, feels that winning the Games is his chance not only to win the prize, but to find a new life for his family.

When did you find out about your first sale? What happened? How did you celebrate?

MD: My agent had let me know that my editor-to-be was very interested in Bewitching Season shortly after the book was submitted, so the sale was more like the tide coming in than a tsunami. We had sent the book out for submission in early November, which of course meant that the holiday season was coming…and then, right after New Year’s Day, my agent said to expect a call from Holt…and then a few days after Kate Farrell and I spoke, the formal offer came in. But it was still an “ohmigod” moment when my agent called and said Holt was offering for two books. It was mid-afternoon, just after my children had gotten off the school bus, so I stood in the middle of the kitchen hugging the three of them and sobbing my eyes out. My husband was on a business trip overseas and said he was completely bummed that he wasn’t there to see my face.

JF: My agent loves to tell the story of calling me while I was driving to my haircut appointment in a blinding rainstorm and how I nearly veered off the road when she told me we had an offer. Then I love to tell the part about sitting in the car in the parking lot, making Haircut Guy wait while I tried to call my family. Tried. I couldn’t reach anyone. So I sat in his chair with this goofy grin on my face and with this knowledge all to myself for the next 45 minutes. No way Haircut Guy would be the first to know. As for the celebration, I celebrated by barely sleeping for the next week. That same goofy grin kept me awake.

What about being a debut author has surprised you most?

MD: This may sound silly, but I’m always so pleased and humbled when someone says, “Oh, I can’t wait to read your book when it’s out.” I’d been working on writing for publication for two years before selling, wanted enormously to see my books on shelves in bookstores and libraries…but the one-on-one interaction with potential readers is thrilling and touching.

JF: Just two years, Marissa? You were a baby.

I’ll agree with the above and add another one, one which shouldn’t have come as any surprise at all. I have author friends who have told me this would be true. No, I thought, it won’t be like that. Not for me. It won’t be hard to find time to write something new. Listen to your friends. It’s been hard to concentrate on developing new ideas. Between rewrites and galley proofs and developing a bit of a promotional plan (promotion is not a necessity for everyone, but with a background in advertising, it’s something I need to do), the writing has been coming in last. I need to change that.

You’re both involved in the Class of 2k8 cooperative promotional effort! Could you explain what this means?

MD: The Class of 2k8 is a group of authors with debut YA and MG books being published in 2008 who have banded together to promote our works and each other. Debut authors don’t always have the marketing clout that established authors have, so our goal was to join forces and gain some attention for our books. It’s all our work–we decided what we wanted to do and how to do it. There was no publisher involvement, no publicist (though we did hire one to examine our marketing plan)–just a group of authors working together.

Our primary goal is to reach out to what we call “BLTs”–booksellers, librarians, and teachers–to let them know about some fantastic new books and authors and offer them “extras” that will make our books extra appealing. So on our website and blog we have features like downloadable discussion guides for each of our books, meet the author launch parties, book videos, and more.

JF: It also means we have all these different, creative, brilliant, caring minds from different backgrounds and different parts of the country (and one from Canada), and we’re accompanying each other on this wonderful, mysterious and sometimes scary journey. It also means we have so many more opportunities. In January, for example, I co-presented a workshop on promotion with fellow 2k8er Debbie Reed Fischer at the Florida SCBWI conference. I never would have been there if it weren’t for this group.

What was its inspiration? And what is the inspiration for continuing?

MD: I’ll need to back-track a little on this one. 2k8 is the successor to the Class of 2k7, which was founded by Greg Fishbone (author of Septina Nash and the Penguins of Doom, Blooming Tree Press). Jody, Zu Vincent, and I were all originally members of 2k7 but had our release dates moved…and so we decided to found 2k8 with Greg’s blessing.

JF: Having worked, ourselves, to help develop the Class of 2k7, then not being able to fully participate in this group was a bit of a letdown. Like digging a hole, and knowing China was just shovelfuls from you, then having the shovel taken away. Although 2k7 hadn’t officially launched by the time we left, it was apparent they were already making an impact. We knew we’d have to start from just-past scratch with a new group, but we could see a potential pay-off.

How did the class come together?

MD: Greg started getting e-mails from interested authors about a potential Class of 2k8 when 2007 was barely underway. We put out a formal call for members in April 2007 and immediately got dozens of inquiries and applications. We’ve had members come and go as release dates have been moved (and the embryonic Class of 2k9 already exists as a result), but our goal was to keep our membership at 28, equally divided between YA and MG.

JF: And we’re still getting inquiries. That’s a tribute to what the Class of 2k7 accomplished.

Now, if the question, in its second context, is asking how we gelled as a group… Well, do you have a few hours? Truthfully, it was a great, but sometimes overwhelming process involving a series of Class meetings (which means thousands of emails), an outpouring of ideas and the willingness of many of us to at least try a few things that were outside our comfort zones. Also, an understanding that group work is hard, but the rewards can be magnified.

What were the criteria for membership eligibility and why?

MD: We decided to use 2k7’s criteria: members had to be first-time children’s lit authors (we do have members published in adult fiction and non-fiction) with a YA or MG novel being released in 2008 from a royalty-paying publisher listed in CWIM.

Our goal was to make sure we were presenting uniformly high quality books to BLTs…and though our books cover the spectrum of moods and topics and intended audiences, they
all share the fact that they’re debut novels.

JF: Once applicants passed that criteria, we required that they agreed to become a working member of the group. Everyone has at least one role in the Class, and each is expected to participate in some notable way.

Who are your members?

MD: Our wonderful MG authors: Ellen Booraem (The Unnameables), Jody Feldman (The Gollywhopper Games), P.J. Hoover (The Emerald Tablet), Jenny Meyerhoff (Third Grade Baby), N.A. Nelson (Bringing the Boy Home), Stacy Nyikos (Dragon Wishes), Sarah Prineas (The Magic Thief), Courtney Sheinmel (My So-Called Family), Laurel Snyder (Up and Down the Scratchy Mountains, Barrie Summy (I So Don’t Do Mysteries), Kristin Tubb (Autumn Winifred Oliver Does Things Different), Nancy Viau (Samantha Hansen Has Rocks in Her Head), and Annie Wedekind (A Horse of Her Own); and our amazing YA authors: M. P. Barker (A Difficult Boy), Jennifer Bradbury (Shift), Teri Brown (Read My Lips), Elizabeth Bunce (A Curse as Dark as Gold), Terri Clark (Sleepless), Marissa Doyle (Bewitching Season), Debbie Fischer Reed (Braless in Wonderland), Donna Freitas (The Possibilities of Sainthood), Liz Gallagher (The Opposite of Invisible), Daphne Grab (Alive and Well in Prague, NY), Lisa Schroeder (I Heart You, You Haunt Me), Regina Scott (La Petite Four), Brooke Taylor (Undone), and Zu Vincent (The Lucky Place).

JF: Also, our members are or have been teachers, professors, librarians, sales reps, freelance writers, attorneys, moms, editors, reporters, talent bookers, human resource directors, engineers, gondola operators, fund raisers, speech pathologists, anthropologists…and it just so happened that we’re all female in this particular Class. We had some male classmates, but they needed to drop out for personal reasons. (No. No need to draw any conclusions.)

What is your role in it?

MD: Because of our experience with 2k7, we had a pretty good idea of what worked well and what was less doable. So we formed the broad outline of what the class would be doing and led discussions of how we’d accomplish our goals and came up with a plan. That’s easy to say in one neat sentence, but it meant many months of e-mailed group discussions and meetings and re-discussions. Now we’re sort of the orchestra conductors–making sure every note in the score (our plan) gets played by the right person at the right time.

JF: Our title is co-presidents, but actually, we’re nags, cheerleaders, email addicts (by necessity), mediators, dictators, directors, hire-ers, scramblers, observers, players and friends.

Why did you decide to participate?

MD: Two reasons: Writing doesn’t stop being a lonely profession after you sell a book. And first books often need an extra boost in the marketplace. 2k8 for me has meant having so many other authors all going through the same process as me–our e-mail loop is a safe place to ask questions and advice and share our good and bad moments. And it’s made me feel like I’m doing my best to give my incipient publishing career a strong launch.

JF: My decision came shortly after I got The Call. I knew Greg Fishbone (Class of 2k7 President and Originator) from an on-line critique group, and I knew him as someone who wouldn’t stop until he accomplished whatever he set out to do. Even though I didn’t have a release date then, I did know my book would hover the 2007-2008 line. Then once I’d gotten a taste of how such a group could grow, I was hooked, both by the promise of the group and by being a part of a community.

What has been accomplished so far?

MD: Tangibly or intangibly? We’ve got a terrific website and blog that we hope will help BLTs learn about our books as well as a presence on MySpace, Facebook, and Jacketflap. We’re getting mentions and attention from many areas of the children’s publishing world…and hopefully that will help our sales. But we’ve also come together as a strong supportive group of friends with friendships that I hope will continue well past 2008. That’s a pretty big accomplishment, I think.

JF: We’ve also developed a confidence and a trust. We can go out into the big, bad world of publishing promotion and try things that may have been inconceivable without the aggregation of ideas and energies. Even when we wonder whether or not we can, there’s a member pushing from behind, encouraging us to try. That not only goes into the group effort, it spills over into individual effort as well.

What have been your challenges?

MD: Trying to accomplish as much as possible on a small budget. That has meant sometimes axing great ideas and plans members have had because we just don’t have the resources. That’s been hard. And during the member application process we were very upfront with the fact that this was going to be a hands-on, labor-intensive project–thankfully, our members have been fully on-board with that.

JF: It would be so much easier if we could all meet in a big conference room and brainstorm, hammer out ideas, figure out logistics and do it the way traditional companies do. But because we’re from Washington to Florida and back up to Maine, we have to rely on email to form all our plans. I don’t know that I’ve ever typed so many words in a year.

What plans do you have on the horizon?

MD: Writing more YA fiction and using what I’ve learned through the Class of 2k8 to promote my books more effectively…but I don’t know what I’ll do without exchanging 10 or 20 daily e-mails with Jody once 2008 is over.

JF: I don’t think the emails between us will stop. I’ve made a really good friend in Marissa. In fact, my plans are very similar to hers: to keep writing and keep promoting. I have another interactive MG completed, and I’m halfway through a third. I’m also going to see if I like the school-visit circuit as much as I always thought I would.

What advice to you have for beginning writers?

MD: Write every day if possible, if only for a half hour. Know that your first manuscript will probably be terrible, but don’t let that stop you because that’s how you learn. Finish that first book and write a second, and then a third. Join a critique group but stay true to your voice. Join groups like SCBWI and the amazing Blueboards on Verla Kay’s website and read the posts, because that’s the best way to learn about the industry. Be gracious to everyone you meet both on-line and in person, because this is a small industry and you just never know. And I’ll stop there…but those are the biggies as far as I’m concerned.

JF: Because I have to say it to keep the mantra alive: Read, read, read; write, write, write. Now, another answer. Find your passion. Don’t write what you believe readers want to read. Don’t write what you think editors want to buy. Write the type of story that excited you as a child. When you pull up those emotions and turn them into words, your writing will be what the readers and editors want. That’s the way it happened for me.

Cynsational News & Links

Donna Gephart: new official site from the author of As If Being 12 3/4 Isn’t Bad Enough, Now My Mother is Running for President! (Delacorte, 2008)(excerpt). Check out presidential puzzles and links, As If trivia, and learn more about Donna! From the promotional copy: “As if being 12 ¾ isn’t bad enough, Vanessa Rothrock’s mother is running for president and it’s ruining her life. Isn’t it enough that her enormous feet trip her up all the time, even on stage during the school spelling bee? Isn’t it enough that Reginald Trumball, love of Vanessa’s pathetic life, read her personal and private list of deficiencies to some boy she doesn’t even know? And that the Boob Fairy hasn’t visited her even once?! Doesn’t Mom realize that Vanessa needs her more than the rest of the country? More importantly, doesn’t she realize that she may be in grave danger? Vanessa’s receiving threatening notes at school–notes that imply some psycho has it out for her mother at the Democratic National Convention. Vanessa might be the only person who can save her. But does she have the courage to do what that requires?” Note: this author site was designed by Lisa Firke of Hit Those Keys, who also is the genius behind my own official site.

Joseph Bruchac Video Interview from Scholastic. Read a Cynsations interview with Joe. Source: American Indians in Children’s Literature.

“What Editors Wish Writers Knew…and Would Do:” a chat with a “mystery children’s book editor” from the Institute of Children’s Literature.

Writers and Depression by Nancy Etchemendy from the Horror Writers Association. Note: I run this link periodically to remind everyone to take care of themselves and look after each other.

Jennifer Laughran has joined Andrea Brown Literary Agency as an associate agent. She is looking for middle grade and young adult fiction. Scroll for more information on her preferences and background.

Siblings see a hidden world: Best-selling Spiderwick saga comes to the big screen: review by Alice Ray from Book Page.

A fat girl with attitude speaks her mind: an interview with Susan Vaught on Big Fat Manifesto (Bloomsbury, 2008) by Lynn Green from Book Page.

Connecticut Children’s and YA Authors from Linda Williams at the Connecticut State Library.

Jacket Whys: Children’s and Young Adult Book Covers by “a librarian and former graphic designer.” A new recommended blog. Source: The Flux Blog.

Interview with Meg Cabot by Little Willow at Slayground.

“Austin’s Don Tate Hits the Big Time with Children’s Book Illustration” from Charles Apple. Here’s a sneak peek: “Creating a picture book is much like creating an infographic–I’ve got an editor, an art director, a tight deadline and much, much, much research to do. Although the end product is different, in both cases, I’m telling stories with visuals.” Read a Cynsations interview with Don. Visit Don at MySpace! Note: Don is one of the five authors/illustrators behind The Brown Bookshelf: United in Story, a celebration of the best and brightest voices in African-American children’s and young adult literature.

The Warm and Wonderful Liz Gallagher from the Class of 2k8. Here’s a sneak peek: “At first, I didn’t think that OPPOSITE would become a novel. I didn’t know that I could write a novel. So it started as a short story focused on Alice and Jewel buying a dress at a junk shop for Alice to wear to the upcoming Halloween dance at school.”

About the Editors: editors and guidelines from Dutton Children’s Books. Find out who’s looking for what! Note: Dutton is the publisher of my picture book Santa Knows, co-authored by Greg Leitich Smith, illustrated by Steve Bjorkman (2006) and the forthcoming Holler Loudly (2009).

Laurie Lazzaro Knowlton: Red, White and Blue from CBC Magazine. Here’s a sneak peek: “After many rejections I began reading the how-tos, and was fortunate enough to attend a wonderful writer’s conference given by Highlights Magazine held in Chautauqua, New York. It was magical. I was able to talk with editors, writers, and illustrators. The Chautauqua environment was like something out of a storybook; beautiful Victorian homes, families strolling the grounds, and an American flag displayed on every porch. I couldn’t help myself. I photographed our glorious flag blowing, hanging, snapping, and celebrating. That was the seed for my book Red, White and Blue (Pelican, 2002).”

Author2Author: “we are five YA/MG writers all at different stages in the writing process, here to inform, learn from, and entertain other writers by allowing a glimpse into and feedback on our writing lives.” Learn more about Lisa Schroeder (debut author), Kristina Springer (Kristina at MySpace)(soon-to-be-published), Deena Lipomi (recently signed with an agent), Emily Marshall (seeking an agent), and Kate Fall (apprentice). Note: a smart, funny blog, loaded with heart, and a reminder that, though we writers may be at different stages in our journey, we are nevertheless travelers on the same road.


Author Feature: Paula Chase-Hyman, Varian Johnson, Don Tate, Kelly Starling Lyons, and Carla Sarratt of The Brown Bookshelf from Cynsations. Due to the size of yesterday’s wonderful interview with this group, JacketFlap subscribers didn’t receive the entire text. If you’re among them, please find the rest of the interview at Cynsations at Blogger.

More Personally

Thanks to everyone who posted news of yesterday’s Cynsational return! Most appreciated!

Author Feature: Paula Chase-Hyman, Varian Johnson, Don Tate, Kelly Starling Lyons, and Carla Sarratt of The Brown Bookshelf

The Brown Bookshelf is a group of five authors and illustrators, brought together for the collective goal of showcasing the best and brightest voices in African-American children’s [and young adult] literature, with a special emphasis on new authors and books that are ‘flying under the radar.'” Read The Brown Bookshelf blog; visit The Brown Bookshelf at MySpace!

Paula Chase-Hyman: “I live in Maryland with my husband and two daughters. What time I’m not spending with my family is spent as a PR flack for a small city government, writing my novels and coaching my daughter’s competitive cheer squad. I’ve been writing all my professional life including stints as a freelancer for Girls Life, Sweet 16 and Upscale magazines.” Read Paula’s blog; visit Paula at MySpace!

Varian Johnson: “I currently live in Austin, Texas, where in addition to writing, I design bridges. I’m also pursuing a Master of Fine Arts degree in Writing for Children and Young Adults from the Vermont College of Fine Arts.” Read Varian’s blog; visit Varian at MySpace!

Don Tate: “I’m the award-winning illustrator of more than 25 trade and educational books for children. As a writer, I’m also a recipient of Lee & Low Books New Voices Honor. The Austin Chronicle describes my writing like this: ‘…an articulate and funny voice…with more insight and humor than any commentator in town.’ I’m also Des Moines, Iowa, native, currently residing in Austin, Texas, where I work as a graphics reporter for the Austin American-Statesman.” Read Don’s blog, and visit Don at MySpace!

Kelly Starling Lyons: “I’m a children’s book author and freelance writer whose mission is to transform moments, memories and history into stories of discovery. My books include picture book, One Million Men and Me, illustrated by Peter Ambush (Just Us Books, 2007), and chapter book, NEATE: Eddie’s Ordeal (Just Us Books, 2007)(excerpt). My articles and essays have appeared in publications such as Ebony magazine, The Christian Science Monitor, The News & Observer and books in the Chicken Soup for the Soul series. I’m a native of Pittsburgh who lives in Raleigh, North Carolina, where I facilitate a book club for African-American girls.” Read Kelly’s blog!

Carla Sarratt: “I’m a native of Cleveland, Ohio, and earned my bachelor’s degree in psychology and English from Wittenberg University. After college, I taught high school English for five years, which is where I was first introduced to several great young adult titles, which rekindled my love for young adult fiction. Currently, I am a reimbursement counselor for a health care consulting firm where I verify patient’s insurance benefits for a chemotherapy tablet and provide patients with resources to help pay for their medication.” Read Carla’s blog, and visit Carla at MySpace!

Congratulations on founding The Brown Bookshelf: United in Story! Could you tell us more about it? What are its goals?

Paula Chase-Hyman: It’s funny because BBS came about based on a very informal, casual conversation between Varian and myself. He said how he wished something on par with ReaderGirlz existed to bring attention to books by African-American children’s authors. And he said, “I wonder who we could approach about doing something like that?” And I wrote back, “Why not us?” And the rest, as they say, is hysterical.

Our goal is to bring attention to the African-American talent writing for children, because many of them are unknown by parents seeking books for their kids and aren’t even necessarily always recognized by librarians and teachers.

Don Tate: Many times I considered doing something that would help promote African-American children’s book creators, however, I really had no idea what to do, and I was overwhelmed at the thought of doing it by myself. So I was absolutely thrilled when Varian and Paula approached me with their concept of The Brown Bookshelf. My goal, as is everyone’s, is very simple: To help raise awareness.

Kelly Starling Lyons: For me, The Brown Bookshelf is about giving people hope. I’ve seen the sad looks on parents’ faces when they find few books in their local bookstores or libraries that reflect the faces and voices of African-American children. I’ve heard the frustration in parents’ voices when they’re told the stories they are searching for aren’t out there. Part of what we’re doing is opening a door to knowledge. We’re building on a strong tradition of using education as a passageway to freedom. Through shining a light on African-American children’s book authors and illustrators, we’re empowering parents, librarians, teachers and young people.

Carla Sarratt: If The Brown Bookshelf is able to increase the number of African-American authors who write children’s literature that are named by librarians and teachers, the number read by (more of) their target audience, and able to increase the diversity of those being recognized with literary awards, then we have succeeded as a group.

What was your initial inspiration for establishing this organization?

Varian Johnson: The idea for starting an community similar to The Brown Bookshelf had been bouncing around in my head for a while, but it wasn’t until I took note of the statistics compiled by the Cooperative Children’s Book Center that I truly took steps to start the initiative.

According to the CCBC, out of the approximately 5000 trade children’s books published in the United States in 2006, 87 were written by African Americans–2 percent, if you’re generous with the rounding.

Based on those statistics, and subsequent conversations with Paula, I concluded that if we started the Brown Bookshelf, we would have two main responsibilities: 1) to increase the number of African-American children’s lit authors; and 2) to find a way to highlight the 2 percent that are being published now.

Carla Sarratt: Since I didn’t establish The Brown Bookshelf, my response is from the standpoint of why I said yes to the invitation to join. It didn’t take convincing on Paula’s part to get me on board. As she and Varian state, there is a need to actively collaborate and promote African-American children’s authors. There are a lot of talented authors and illustrators who are overlooked and are under the radar from their target audience and librarians. To be a part of the vehicle that will change that is a huge opportunity and an awesome privilege.

What was the timeline from spark to launch, and what were the major events along the way? How did you come together?

Paula Chase-Hyman: As soon as we agreed to give it a try, we listed the authors we wanted on board as BBS members. That was a few days work. Lucky for us, none of them had enough time to know what they were getting into because once they said yes, we only had six weeks until launch.

Key milestones for us were inviting Kelly, Don and Carla on board. Then as a committee determining some of the finer nuances on author selection. Setting up the website. We did all of this in the six weeks prior to our November 1st launch.

I was shocked at how easily the five of us came together. Hands down, this has been the smoothest group initiative I’ve been involved in. So much of what we do is done via email and there were lots of little details to work out. But it’s been relative smooth sailing.

Don Tate: There wasn’t much of a timeline, maybe a few weeks from the time I was contacted in early October, until our launch in early November. Once the idea took root, it didn’t take long to sprout into what it has become today. My first task–being the visual person that I am–was to create a logo and banner to display on the website. I’m more illustrator and less designer, so I struggled through a few ideas. I presented some ideas them to the group and then we voted.

I have been so impressed with this group, each person bringing a unique set of talents to the table. Varian is our technical guru; Paula is our publicist and communications professional; she keeps us organized; Kelly is our knowledge base and fact checker; and Carla is such a hard worker! Whenever I think I can’t do anything more, Carla is there volunteering for more work!

Kelly Starling Lyons: When Paula invited me to participate, I felt really blessed. The idea of The Brown Bookshelf was right on time. So many people want recommendations of children’s books by African-American authors. Through being part of The Brown Bookshelf, I had the chance to make a difference in a special, enduring way.

Paula and Varian did important groundwork before we came together. Then Carla, Don and I joined the team. Having the five of us commit to the mission of raising awareness of Black children’s authors was a major milestone. Then it was time to get down to work: launching and creating content for the site, spreading the word, researching nominees, choosing finalists and interviewing our featured authors and illustrators. From the start, The Brown Bookshelf has been a wonderful collaboration that has drawn on all our strengths.

Carla Sarratt: In September, I received an e-mail invitation from Paula who I know from various author listserves. We share a kinship as our debut titles came out close together. I also know Kelly and Varian from author listservs. I imagine that she and Varian discussed strategy and created a basic foundation before inviting Don, Kelly, and me to join the team. From September to November, we planned for the launch by coming up with a basic list of authors and illustrators who were contenders for 28 Days Later. We defined what was meant by a “Vanguard author” as well as those who are “under the radar.” We researched self-published authors and compiled contact information of outlets to send the press release announcing The Brown Bookshelf.

I agree with Paula that we work well together and come together with the intention of promoting children’s literature. There are no egos with this project, so it makes it so much easier to work and get things done.

What were the challenges of bringing it to life?

Paula Chase-Hyman: Normally, I’d say working with a group–different personalities and all that. But that hasn’t really been the case with us, in my opinion.

A tangible challenge, for me, time or lack thereof. Trying to handle the administrative logistics of the group, plus manage submissions and research in addition to my own author promo and novel writing has been tough. I feel like I’ve been on a treadmill since October.

Don Tate: For me, the biggest challenge was time. My schedule was already over-committed. Keeping up with the blog is a big challenge. Each person strives to write one post per week, and for me, that’s in addition to keeping my personal blog(s) updated. Researching the authors for our 28 Days Later campaign, writing the interview questions, contacting publishers and emailing publicists was also a time challenge–that, and keeping up with our constantly growing email communication among the group.

In the beginning, I worried a little. I was excited about the Brown Bookshelf and the goals we’d set, but I worried about what others might think/say. I wanted to be a part of something that would be viewed as positive, proactive. But I feared people would murmur. I mean, it’s okay to promote books for girls, or books for boys, YA books, non-fiction books, books by first-time YA novelists. But throw in race? I wasn’t sure how well that would be received by the children’s book community. I made up my mind not to worry; I knew The Brown Bookshelf had solid, well-intentioned goals. Then I was off to a good start.

Kelly Starling Lyons: My greatest challenge is the same my team members have mentioned: carving out time. Managing the demands of motherhood and writing is tough. Throw in a big project like The Brown Bookshelf, and you’re talking about serious overtime. But every minute spent working on our project is a labor of love. My pride in Black children’s book authors swells with each author bio and book I read. It’s a gift to be able to share the creative genius of our people in this way.

Carla Sarratt: I wholeheartedly agree with Paula. I enjoy working with Varian, Don, Kelly, and Paula. I really don’t view it as work because I get a lot out of what we do. But time is a challenge. There aren’t enough hours in the day so I’ve learned to stay up later and burn more of the midnight oil. I can sacrifice some sleep to make sure that 28 Days Later is a success.

Why is The Brown Bookshelf needed?

Paula Chase-Hyman: Because until we launched the initiative I hadn’t heard of M. Sindy Felin or Troy Cle. Now, granted, they’re both relatively new authors. But they’re YA authors, peers of mine in the industry, and it shocked me that I hadn’t heard of them. Not saying I’m the most well-read person in the world, but I run in cyber circles with other children’s authors–so I thought I knew a good number of Black authors by name, if nothing else.

It made me realize that if I’m a member of the literary community and didn’t know them, then there were probably plenty of teen readers, parents or other influencers who didn’t either.

The void we’re filling is that of a resource that increases people’s awareness to the diversity out there among African-American children’s writers. Most people are probably very familiar with our vanguard authors. But how many know Allison Whittenberg or Sherri L. Smith?

Varian Johnson: Right now, I feel that most children’s books by African-Americans live and die in the library market–a market which is greatly influenced by budgets, journal reviews, and the need to shelf books with “educational” content.

My hope is that by highlighting a wide array of children’s and young adult books by African-American authors, The Brown Bookshelf can draw attention to both literary and commercial works–works that can thrive in both the library market and the bookstore market. My hope is that if we can help readers to see all the good books by good authors out there, perhaps the publishing and book selling industry would take notice. Perhaps that 2 percent could grow to 3 percent. And then to 4 percent. And so on and so on.

Don Tate: I think it’s needed because there’s nothing else like it. I mean, once per year, thank goodness, the Coretta Scott King awards shine a spotlight on a handful of African-American authors and illustrators. But what about the other 11 months in a year? And what about those who might never receive a CSK nod? Initiatives like the Brown Bookshelf are needed to expand that spotlight throughout the year. And to piggy-back off of Paula’s comments, until my involvement in the Brown Bookshelf, I’d never heard of many of the people we are highlighting. Hopefully, in the small time since we’ve been live, we’ve had the same affect on others.

Kelly Starling Lyons: The Brown Bookshelf is needed, because so many books by African-American children’s book authors never make it into major school systems and libraries. We’re needed because we’re committed to this mission. We know what’s at stake. We’re needed because if we don’t celebrate work by African-American children’s book authors and illustrators, how can we expect others to do the same?

Carla Sarratt: As an adult who still loves YA, I was surprised to learn about so many authors who write for our children over the past three months. I want to expose others to Troy Cle, Nnedi Okorafor-Mbachu, Karen English, and all of the others. Their stories need to be championed just as much as our Vanguard authors.

There is a lack of awareness about so many Black authors who write for children and the Brown Bookshelf aims to increase that awareness. As we prepared for the 28 Days Later initiative, we researched the nominated authors and talked to librarians and teachers who had not heard of many of the authors as well. We want to showcase the diversity found within children’s literature as it relates to the storytellers and the stories being told. We want to give the readers a full spectrum of authors to read.

Is your emphasis: (a) books by African-American authors and illustrators in a variety of genres, age categories, and themes; (b) books by African-American authors and illustrators that feature African-American characters and themes; (c) books that feature African-American characters and themes, regardless of the background of the author/illustrator; (d) some combination of the above? How did you arrive at this approach, and what considerations came into play?

Paula Chase-Hyman: The emphasis of 28 Days Later is authors of color, with a special–though not sole–focus on African American. However, The Brown Bookshelf as an entity has potential to be so much more. We want to celebrate books out there that reach beyond the traditional fare usually given attention when it comes to books by and about people of color.

We’ve talked about future initiatives and those initiatives cover all those things you’ve mentioned above and a possible expansion of the definition of brown authors.

In the end, if the existence of The Brown Bookshelf can make the difference in books being recommended to young readers and books up for consideration for various awards–broadening the choices among consumers and critics, then I’d consider our initiative a success.

Don Tate: All of the above! We’ve had many conversations. For the most part, we want to have a positive impact on books that are written and/or illustrated by African Americans. Many of those books, of course, will be about African Americans. Our 28 Days initiative is specifically focused on the African American author and/or illustrator, but that doesn’t mean we’d exclude non-Blacks from future initiatives or from our daily blog. In fact, I plan to do a series of posts that feature picture books written by non-Blacks, but are about Black characters. When a Black child holds a picture book, they love to see images that look like them. They could care less about the color of the author. That’s a grown-people thing.

Carla Sarratt: Currently our emphasis is as Paula mentioned and can certainly be expanded as we advance in the future.

Are you open to highlighting authors/illustrators of African heritage from outside the U.S., or is this initial effort really geared to the U.S. market?

Paula Chase-Hyman: I’m hoping someone else can give a more articulate answer here. Because, in all honesty, it was a personal movement on my part. I thought to myself–you know I’d love to be recognized by a group like this. I’d love that little extra hand it may give me among influencers and gatekeepers in children’s lit. So in that respect, I was looking to authors “like me” meaning Black and writing for the children’s market. I didn’t really think much beyond that until we launched and the question of “how do you define brown?” was broached.

It was then that I thought about the broader reach a program like ours can have.

Varian Johnson: Yes, I think we are open to highlighting authors of African heritage from other countries, but for the initial launch of the program, we felt that it would be better if we limited the pool of authors we were looking at.

Don Tate: Personally, at least on the blog, I would highlight a book written by an African author, if it hit my radar. It’s not anything we’ve ever discussed as a group, though. The Brown Bookshelf will evolve as we grow and learn, so who knows what we’ll look like down the road. For the most part, this is an Internet initiative. The Internet provides an instant connection with our African counterparts. I would imagine that an African and an African American would share some of the same challenges in the American market.

Kelly Starling Lyons: The authors we’re featuring in our 28 Days Later campaign include Nnedi Okorafor-Mbachu, whose parents are immigrants from Nigeria, and M. Sindy Felin, who has Haitian roots. That’s in keeping with our mission. In the future, I’d love if we could help raise awareness of Black children’s book authors and illustrators who come from all parts of the African diaspora.

Carla Sarratt: I think that is a possibility in the future, but I think it is critical in the first few years of our existence to establish a strong presence in America before we expand to include authors in other countries. We don’t want to bite off more than we can chew. And maybe like the Readergirlz triggered the Brown Bookshelf, the Brown Bookshelf can trigger another group that will focus on children’s authors in other countries.

Could you offer us an overview of the history of the books by African-American children’s and young adult authors? What are the landmark titles?

Paula Chase-Hyman: I’ve always viewed Mildred Taylor‘s Roll of Thunder, Hear My Cry (Dial) as a landmark title. It came out in 1976. I consider it landmark because it was the first book I read, with a Black protagonist, for pleasure. I was about eight when I read it.

But then there were books like, Sounder (Harper and Row), by William H. Armstrong, which was published in ’69 that became required reading in middle school.

Sounder won the Newbery and Roll Of Thunder also won critical acclaim. And very quickly, books like them became the absolute norm for books about African-American characters, right down to covering the same time period (1930s-1950s).

If you look back on the past Coretta Scot King award winners, you’ll see most of the books were either non-fiction or very much aligned with stories like Mildred Taylor and Armstrong’s. What’s interesting is that if you look back on past or present Newberys or Caldecott winners, they aren’t a sole reflection of what books were out there for children. But if you look at the past CSK winners, those books pretty much do reflect the only books out there featuring Black characters.

Dana Davidson‘s, Jason and Kyra (Jump at the Sun, 2004) marks the first book, that I know of, that featured a contemporary telling revolved around Black characters that was not depression era, during slavery, or with a focus on inner-city dynamics. It’s exactly why BBS is necessary. To let people know that there are other types of books featuring African Americans out there.

Varian Johnson: In addition to Mildred Taylor, Walter Dean Myers and Virginia Hamilton also had a lasting impact on the current generation of African-American authors. To my knowledge, Hamilton’s M.C. Higgins the Great (Macmillan, 1974; Aladdin, 2006) is the only book to be awarded the Newbery Medal, the National Book Award, and the Boston Globe/Horn Book Award. More recently, Myers’ Monster (Amistad 1999, 2001) was awarded the first ALA Michael L. Printz Award for Excellence in Young Adult Literature in 2000, and Myers was selected to deliver the 2009 May Hill Arbuthnot Honor Lecture–a lecture intended to make a significant scholarly contribution to the field of children’s literature.

Don Tate: Wow, big question, and I think the answer will vary greatly from person to person. If I had to use one word to describe the history of African-American children’s authors, the word would be “rich.”

The African-American contribution to the world of children’s literature is rich and growing richer. Manchild in a Promised Land (Claude Brown), The Learning Tree (Gordon Parks) are no doubt landmark titles. And Richard Wright is probably not known as a YA author, per se, but he is unarguably one of the most powerful voices in American literature, period. His books Black Boy, Native Son, Rite of Passage, are written from the point of view of young African-American males. As a young child, I wasn’t much of a reader of books, and in high school, I refused to read books. When my high school English teacher required me to read The Grapes of Wrath, that was just enough to keep me from reading it at all. I didn’t start reading books until I was in my early 20s, and that was only after I found books that spoke to me, voices like Richard Wright, Gordon Parks, Claude Brown. I’ve been an avid reader ever since.

As an illustrator, it was people like John Steptoe, Tom Feelings, Jerry Pinkney.

Kelly Starling Lyons: Tough question. The African-American tradition of children’s storytelling goes back generations–to the tales for young people published during the Harlem Renaissance, to wonderful stories of hope and survival woven by enslaved Blacks on Southern plantations, to the histories and lessons griots passed on in Africa. Our contemporary children’s literature springs from that rich well.

I agree that the stand-out titles will vary for each person. For me, like Paula and Carla, it was Roll of Thunder, Hear My Cry by Mildred D. Taylor (Dial, 1976). I ordered that novel from Troll book club and devoured it as soon as I got it home. To read a story about a girl whose skin color was the same as mine made a profound impact on me. It wasn’t until years later that I discovered other pioneering titles like M.C. Higgins the Great by Virginia Hamilton (Simon & Schuster, 1974) and The Hundred Penny Box by Sharon Bell Mathis (Viking, 1975). All of those incredible books contributed to the treasures we have today.

Carla Sarratt: When I think of landmark titles written by young adult authors, Mildred Taylor’s series involving the Logan family immediately comes to mind from my years as a preteen through present day. Most readers are familiar with Roll of Thunder, Hear My Cry (Dial 1976) or Let the Circle Be Unbroken (Scholastic 1981).

But I still have my copy of Sharon Bell Mathis’ Teacup Full of Roses (Avon Books, 1972) that I remember reading in junior high along with Rosa Guy‘s The Friends (1973), Edith Jackson (1978), and Ruby (1976). I believe my mother placed these titles in my hands, so these are other landmark titles that I think get overlooked.

In elementary school, our librarian read Sharon Bell Mathis’ Hundred Penny Box (1975) to us. I also remember encountering Virginia Hamilton during that time. I was a library helper in the fourth grade at my elementary school so I had a great relationship with books.

What are the current trends?

Paula Chase-Hyman: I’ve been told that in general terms, series books may experience a hit in the market. But I’m not certain I believe that mainstream trends in children’s literature apply to those books for young Black readers. Or at least they shouldn’t.

Series books (i.e. contemporary, commercial books) revolving around African-American characters have only been offered for maybe two years. And minus Troy Cle’s book, how many adventure books are out there that revolve around African-American characters?

In other words, Black characters are still missing from a lot of the niches that are popular. Niches that may now be on the downtrend. But it’s the responsibility of publishers to look for paranormal, adventure, fantasy and yes, even Gossip Girl type books for African-American readers. There’s still a long way to go when you talk about how underrepresented people of color are within the many sub-genres.

Don Tate: The picture book is struggling. It pains me to say that because it is the picture book that I fell in love with early in my career. I loved going to the library or bookstore, seeing all the new titles. Picture books lined entire walls of bookstores and spilled out into the center aisles.

But have you visited your neighborhood bookstore lately? You’d be lucky to find more than a handful of new picture book titles. And that wall that used to be packed with picture books is now shelved with YA titles. On a good year, books by and about African-Americans make up only about 2 percent of the publishing pie, can you imagine how this overall cutback in picture books must have affected the African-American picture book?

As a part of this initiative, however, I’ve learned something encouraging: African-American picture book illustrators are busy. There might not be a lot of us, but those of us who have committed ourselves to this trade are finding work. Speaking for myself, I have four books on the horizon. And every other illustrator I spoke with has about the same–four books or more in the works. So whenever I get worried about the future of picture books, I try to remember that.

Carla Sarratt: I don’t think we’ve established any trends yet within African-American children’s literature other than historical fiction. We’re missing in action on the trendy list, but that doesn’t mean that we’re not trying to get there. I’m eager to see where we go with fantasy, adventure and science fiction as a result of Troy Cle and Nnedi Okorafor-Mbachu in addition to the growth of series by Valerie Wilson Wesley, Stephanie Perry Moore, and L. Divine.

What are the still largely unexplored territories?

Paula Chase-Hyman: Pretty much everything. I’d say a territory isn’t considered explored until we can name at least 10 authors who are writing that sort of book. And that’s a wildly oversimplification.

But where’s the “Black” Meg Cabot (multiple series)? Ann Brashares (commercially successful series)? J.K. Rowling (fantasy)? Scott Westerfeld (paranormal)?

Even if we could pin point one author of color who fit those generic examples we definitely wouldn’t be able to name ten. That says to me that there’s lots more territory to explore.

Don Tate: Paula took the words from my mouth, “Pretty much everything.” Where are the Black vampire stories? Where are the fantasy novels featuring African-American characters. Where is the Diary of a Wimpy Black Kid? Kidding, but you get my point.

Kelly Starling Lyons: I’d love to see a commercial YA series succeed like the wildly popular middle-grade series Cheetah Girls by Deborah Gregory (Hyperion). We also need more tween books by Black authors, more picture books that feature African-American boys and more stories that explore the challenges of Black middle-class young people.

Carla Sarratt: I think we have a wide gamut of unexplored territory as it relates to Black children’s literature. Recently I was asked are there any picture book or middle grade titles where a Black protagonist expresses a desire to be president one day. And I honestly had no clue because I don’t think there is. Surely someone has written it, but is it published yet and being recommended to young readers.

I’m excited to see what happens in the next five years with Black authors creating fantasy, science fiction and graphic novels along the lines of what Troy Cle and Nnedi Okorafor-Mbachu are doing.

Another unexplored territory that comes to mind is taking the books out there that are already written and making them into movies, mini-series, or even television shows. There are so many great books that would translate well into movies. All of the Coretta Scott King winning titles are certainly viable contenders. Instead of remaking Nick at Nite TV shows into movies, let’s make books like Tears of a Tiger by Sharon Draper, Like Sisters on the Homefront by Rita Williams-Garcia, Tyrell by Coe Booth, and Scorpions by Walter Dean Myers into movies.

In my own efforts to share great books from/reflecting historically underrepresented communities in the body of literature, it seems that a few of the same mental roadblocks appear now and then. What do you say to a teacher, librarian, or parent who explains that your book is not a fit for their patrons/students/child because they’re of some other background? Why is it important that all children and young adults read the work of African-American authors and illustrators?

Paula Chase-Hyman: Because our world is far too diverse. It’s narrow minded for an influencer to think that their students/patrons can’t learn from a story simply because the main character is of color. Since when did the race of the person dictate how they overcame a challenge?

But I know too well, it’s really a Catch-22. I wrote my book so that a young Black reader could identify with a character that looked like them. But the experiences I write about are universal to any teen reader. Many times I feel caught between wanting to promote my book based on the story but having to shout from the roof tops that its cast is multi-racial.

We need to get back to selling stories based on the story.

Don Tate: Because ignorance about other people, races or cultures leads to fear, and fear is what keeps people apart. When a community is made up of mostly one racial group, one of the best ways for that group to learn about others is through books. Take a white child in a mostly white community, if the only images that child sees of Black families are through the television, that child is going to grow up with a distorted view of who Black people are.

In all honesty, and in my opinion, the color of the author is less important than the story that’s being told. There are many wonderful stories about Black people that are written by non-Blacks–Martin’s Big Words, When Marian Sang, Wilma Unlimited. It’s more important, for example, that the story of Martin Luther King be told to children. It’s not important that the author who writes the story be Black. It is important, however, that Blacks not be excluded from the opportunity to have their stories published. And when you consider that only about 2-percent of the books being published in one year are by or about African Americans, it makes you wonder.

Kelly Starling Lyons: We have more commonalities than differences. Reading across cultures can teach us that and how to appreciate the beauty of each other’s worlds. When I read Chachaji’s Cup by Uma Krishnaswami, illustrated by Soumya Sitaraman (Children’s Book Press, 2003)(author interview) for instance, I learned a lot about India, but the story also made me think about my relationship with my grandma. Same when I read Mama’s Saris by Pooja Makhijani, illustrated by Elena Gomez (Little, Brown, 2007)(author interview); I got a peek into her culture but also saw my daughter and me. There’s a thread of universal experience in African-American stories too.

Carla Sarratt: I grew up reading Sweet Valley High, Beezus and Ramona, Anastasia and several other books that did not feature or contain Black characters. I loved those titles and considered them great reads. A good story should outweigh the ethnicity of the characters in contrast to the readers. Good stories connect with people not with the skin color.

When I first published my Native American powwow book, Jingle Dancer, illustrated by Cornelius Van Wright and Ying-Hwa Hu (Morrow/HarperCollins, 2000), an educator said to me: “This is lovely, but you know, we already have Joseph Bruchac.” Don’t get me wrong, I’m a huge fan of Joe (and, though, she didn’t realize it, he wasn’t the only Native youth author at the time, though it’s a tiny community)! But I was flabbergasted. Do you face a parallel dynamic in the industry? If so, how does it manifest itself?

Paula Chase-Hyman: Hmm…I’m sure we do for our Vanguard authors. I’m sure aspiring authors have been faced with, “We already have a Walter Dean Myers or Rita Williams Garcia.”

And, by the way, I laughed so hard at your example, Cyn. But, where I like to remain optimistic, is there is still so much unexplored territory out there. So much room for growth.

The day I can walk into a bookstore or library and see at least one or two authors of color among the other sub-genres, I’d at least feel we’ve made a start. Better yet, the day I pick up one of my local library’s book marks promoting African-American authors and see names beyond the vanguard authors, I’ll know we’re making some progress.

Varian Johnson: I do think that this ideology sometimes manifests itself in contemporary young adult and middle grade fiction, which I imagine is probably the largest sub-genre of writing by African-American authors. In order to overcome this misconception, I think we constantly need to reinforce the idea that the African-American experience of teens from 145th Street in Harlem is not the same as the experience of African-American teens in Florence, South Carolina. Or San Diego, California. Or Austin, Texas.

Don Tate: I’ve sensed the attitude, however I can’t think of an instance off hand. A few times when I’ve spoken at schools, I’ve been introduced to children as a Coretta Scott King illustrator. Oftentimes, people identify all Black children’s book creators as somehow affiliated with the CSK award, and I don’t understand that. CSK is an award, not some kind of workers’ union that all Black authors and illustrators belong to.

Carla Sarratt: The dynamic definitely exists as well as comments like “these authors don’t sound Black enough.” So as we continue to write and tell out stories, hopefully we won’t be pigeonholed to a checklist of story lines and character motifs.

Though my Native-themed books are used widely in schools, I’ve been urged by some to make my contemporary stories of everyday Native kids more “teachy.” Across the board, though, I’ve noticed that there’s more openness to a wider array of novels, especially at the YA level. Do you find–in particular when looking at picture books–that it’s more difficult to place manuscripts that don’t relate to historical figures, events, or other more obvious curriculum tie-ins?

Varian Johnson: While I’m not an expert on picture books, I would argue that non-contemporary picture books–for example, biographies, historical books, folktales, and spirituals–are more popular with publishers and libraries. The most recent Coretta Scott King Illustration Awards support this—since 2000, only one “contemporary” picture book has won the award.

Don Tate: Hard question for me to answer as I’m primarily am an illustrator. My first written book will publish in 2009, and it is a historical biography about an African American, former slave. Relative to other author experiences I’ve heard about, it was an easier sell. But I have written other kinds of stories, too. When I’ve shared those other stories with editors and agents, what I hear back is “Yes, but do you have any African-American interest stories?” They seem to be less interested in my Dodo bird book and more interested in what I might write about African-American history.

Kelly Starling Lyons: I think the picture book market is a tough one right now regardless of one’s race. But I see some encouraging signs for African-American children’s book authors. There’s such a diversity in the work being created and published. Consider Angela Johnson‘s Lily Brown’s Paintings, illustrated by E.B. Lewis (Orchard, 2007), Jerdine Nolen‘s Raising Dragons, illustrated by Elise Primavera (Voyager, 2002), Jabari Asim‘s Daddy Goes to Work, illustrated by Aaron Boyd (Little, Brown, 2006) and Michelle MeadowsThe Way the Storm Stops, illustrated by Rosanne Litzinger (Henry Holt, 2003)(author interview). These are books that explore the wonder of childhood and the magic of imagination.

We need stories about history and tradition, but we need stories about every-day life too. The presence of books like theirs means there’s room for all of our stories.

Carla Sarratt: My experience varies somewhat from Paula, Varian, Don and Kelly since I am self-published. I think that we need to get the gatekeepers to see that kids shouldn’t just read for school, but should read for pleasure as well. With that being the case, everything that is written does not need to be “teach-y” or have an obvious connection to the school curriculum, but can be fun and lighthearted as well. Readers will still learn from or take something away from the story with less obvious teachable moments.

What are the other challenges to raising awareness of African-American children’s and young adult authors?

Paula Chase-Hyman: Sometimes I feel like a raindrop in the ocean. I want this initiative to reach so many. But that takes baby steps. There are many key outlets and individuals The Brown Bookshelf should be in front of, to ensure we’re spreading the word to our primary audience. Every time I feel like we’re doing that, I’ll discover a new entity we should introduce ourselves to.

I’m so grateful to you, the ReaderGirlz and others who have championed our mission, inviting us to speak about our group on your blogs and websites. We’re reaching our goal one person at a time.

Don Tate: Expanding upon what I said earlier, one challenge for us will be in our promoting African-American children’s books and creators, without alienating ourselves from others in the children’s literature community.

Many people like to pretend that racial issues no longer exist. “We live in the 21st century,” they say. And that by our promoting African-American children’s authors and illustrators, we are a part of any problem, perpetuating racial divide.

Recently, we were approached by the divas at ReaderGirlz, to participate in some of their Black History Month observations, and I thought, “Yes! They got it! They got it!” And I appreciated that.

Kelly Starling Lyons: A challenge is in getting people to see that our books have meaning not just for African-American children, but all young people. I am proud of Black History Month, but it shouldn’t become the only time schools and libraries feature books by Black authors. Our stories should be part of the fabric of curriculums and collections.

Who are your greatest allies?

Paula Chase-Hyman: Our sponsors are exactly who we need behind us. Groups like the Black Caucus of ALA, NCTE, RawSistaz and AACBWI are all important portals to parents, librarians and other people who have influence when it comes to recommending books for young readers.

Because we’re trying to reach such a broad base of folks, connecting with groups who have a built-in connection with so many is the only way an initiative like ours has any chance of having an impact.

Don Tate: People like you, Cynthia. People who reach out to us, people who’ll help to spread our message. And the many, many librarians, teachers, bloggers and authors who’ve stopped by and offered support.

Kelly Starling Lyons: Teachers, librarians, parents, caring and committed authors like you. Some of our strongest allies are people who understand why it’s so important to raise the profile of books by Black authors and help us spread the word.

Carla Sarratt: I agree with Paula and Don. Our allies are so diverse from the big groups like AACBWI and RAWsistaz to fellow authors and bloggers who mention us in a blog to their readers and fan base. People who offer tidbits on how to spread the word about The Brown Bookshelf. Our allies understand what we are doing and what we are trying to accomplish.

What is 28 Days Later? Who are the sponsors?

Paula Chase-Hyman: 28 Days Later is our group’s inaugural initiative. During Black History Month we’re highlighting 28 authors and four illustrators of color. Each spotlight will include a question-and-answer interview with that author as well a run down of that person’s body of work. Our goal is to arm people with information. On Feb 29th, anyone who visits our site will walk away educated about 28 more authors. That’s thrilling to me.

What inspired this particular initiative?

Paula Chase-Hyman: ReaderGirlz. It’s funny because when Varian approached me I’d been following Reader Girlz since they launched. And I was thinking the same exact thing he was–wow, how nice would it be to have something similar for underrepresented children’s authors of color. Great minds think alike, but only the truly passionate go beyond thinking.

How did you identify the youth literature book creators to be featured?

Varian Johnson: I think we each had our own specific criteria for researching possible authors to highlight. I focused a lot on book reviews from the major trade journals. In addition, I strove to find authors that were either actively getting work published, or authors that produce work in genres in which African-American are generally unknown.

Don Tate: I began with my own knowledge. I honestly try to keep up with what’s going on in the industry, so I’m at least familiar with names and who’s doing what (the Cynsations blog and others go a long way in helping me there). Beyond that, I did a lot of research. Many people stopped by the blog and offered names and books, so looked up each author, visited the library a few times, had conversations with librarians.

Carla Sarratt: We created a list from our own resources (the Internet, library websites, bookstore shelves) of authors and then asked for nominations from anyone who visited our site. We received the names of many authors and illustrators that we didn’t know existed, and it affirmed the importance of our work.

In addition to creators of books for children, will you also be featuring authors of resource books about African-American youth literature (i.e., books by university professors of, say, library science or education about the field more broadly)?

Paula Chase-Hyman: Our focus is primarily on fiction, right now. There are so many ways it can grow. But for now, to keep it manageable, we’re trying to keep the focus relatively narrow.

Don Tate: I’d prefer to keep it to what I (we) love, children’s books. If we break into other areas, for me, it will become work. Once it becomes work, it won’t be as much fun. But again, The Brown Bookshelf is much more than about me, and hopefully in the future, it’ll grow into something beyond us five people. Who knows where it could go from there.

Carla Sarratt: Definitely, we hope to expand in the future, but there is a lot of fiction that is being overlooked and that is a larger component. So it is fitting that fiction is our foundation and we expand from there.

What were the other challenges of structuring the program?

Paula Chase-Hyman: Knowing how vast the initiative can be and trying to keep our focus. It would be so easy to be everything to everybody and then end up being nothing to anyone. So staying focused and on task has been a challenge.

Don Tate: Technical. There are many things we’d like to do, but that are beyond our technical expertise. As far as I’m concerned, “Java” is a nickname for coffee and “widget” is completely a new concept for me. Maybe at some point, it would be nice if we could hire a webmaster.

Carla Sarratt: I agree that it was challenging to stay true to our focus as we initially identified it before we presented it to the masses. We’re committed to being dynamic and relevant, but we don’t want to overextend ourselves and lose our audience.

What are additional great resources for finding out more about African-American youth literature?

Paula Chase-Hyman: Our partners’ websites are a great place to start. These are organizations dedicated to children’s literature and/or exposing people to literature.

Varian Johnson: A few resources that I suggest are The African-American Children’s Book Writer’s and Illustrators, The African American Literature Book Club, and the Cooperative Children’s Book Center.

Kelly Starling Lyons: There are wonderful resource books like Black Authors and Illustrators of Books for Children and Young Adults by Barbara Thrash Murphy and Deborah Murphy (Routledge, 2006) and the Black Books Galore’s Guide to Great African American Children’s Books by Donna Rand, Toni Trent Parker and Sheila Foster (Jossey-Bass, 1998). You can also visit sites like, and for great recommendations of books.

Could you each briefly tell us about your own books?

Paula Chase-Hyman: I write the Del Rio Bay Clique series. It’s published by Kensington Books Dafina imprint. Right now there are five books in the series. The first two, So Not The Drama and Don’t Get It Twisted are in stores now. The third, That’s What’s Up! will be released July of this year, the fourth, Who You Wit’? November of this year. The last in May ’09. It’s keeping me very busy but in a great way.

Varian Johnson: My latest novel, My Life as a Rhombus (Flux/Llewelyn, 2008), was just released this January. So far, we’ve received some really positive reviews from Booklist, the Bulletin of the Center for Children’s Books, and

Don Tate: A few of the books I’ve illustrated are Sure as Sunrise by Alice McGill (Houghton Mifflin), Summer Sun Risin’ by W. Nikola-Lisa (Lee & Low Books), Say Hey! A Song of Willie Mays by Peter Mandel (Jump At The Sun). Currently, I’m illustrating a book called Little Ron on a Big Mission by Rose Blue and Corinne J. Naden (Dutton, 2009).

Kelly Starling Lyons: One Million Men and Me, illustrated by Peter Ambush (Just Us Books, 2007) is a picture book that explores the Million Man March through the eyes of little girl who was with her daddy the day Black men made history. NEATE: Eddie’s Ordeal (Just Us Books, 2004), is book #4 in the NEATE series created by Just Us Books. My story takes readers inside the relationship between Eddie, a 13-year-old student-athlete, and his civil rights veteran father. I also have a picture book coming out spring 2010 from Penguin/G.P. Putnam’s Sons.

Carla Sarratt: My first novel Freshman Focus (Outskirts Press, 2007) will soon be joined by the sequel, Just Be, later this year. They are the first two titles in the Carter G. Woodson High School series.

Who are your favorite African-American authors and illustrators for children and teens? Why?

Paula Chase-Hyman: Mildred Taylor will always be my favorite author. Her stories are so vivid. They opened my imagination to what could be and educated me about the past in a way a history class never did.

Varian Johnson: Wow, that’s a hard question. Right now, I’d have to say Jacqueline Woodson, just because of how beautiful and powerful her work is. From picture books to young adult novels, poetry to prose, she can write it all. And, she writes it very, very well.

Don Tate: My list of illustrators is long, but includes names like James Ransome, Brian Pinkney, Jerry Pinkney, Floyd Cooper, Kadir Nelson, Christopher Myers, Shane Evans, Frank Morrison…um, can I keep going?…Bryan Collier, Leo and Diane Dillon, Ashley Bryan, Sean Qualls. And now that I’ve been introduced to a newer name on the horizon, Nancy Devard.

All of these people have inspired me in some way, some have even helped me along in my career. I’ve had conversations with Brian Pinkney, Floyd Cooper and James Ransome, at different points in my career, and they’ve all given me sound advice and encouragement. The others, they just make me feel so proud that they are doing so well, getting published and winning prominent awards.

Kelly Starling Lyons: One of my favorite contemporary authors is Jacqueline Woodson. Her stories move and inspire me. Some of my favorite books of hers are Coming On Home Soon, illustrated by E.B. Lewis (Putnam, 2004) and Locomotion (Puffin, 2003). One of my favorite pioneering authors is Virginia Hamilton. I marvel at the genius of her books like M.C. Higgins the Great (Simon & Schuster, 1974) and The Planet of Junior Brown (Simon & Schuster, 1971).

Carla Sarratt: Before joining The Brown Bookshelf, I would have named Sharon Draper (Tears of a Tiger (Simon Pulse, 1996)), Sharon Flake (The Skin I’m In (Hyperion Books 1998)), and Rita Williams Garcia (Like Sisters on the Homefront, (Penguin, 1998)) at the top of my favorites list along with Mildred Taylor (Roll of Thunder Hear My Cry). I was introduced to the other three authors as a teacher and loved their storytelling as well as the appeal their books held for my students and me.

But now after researching for 28 Days Later, I add Valerie Wilson Wesley, author of Willimena Rules series (Jump at the Sun). Willimena reminds me of Ramona Quimby, who I loved as a kid and as a grown up, too.

There are several other 28 Days Later authors that I have not read before but I look forward to curling up with their books and making them a favorite too.

What advice do you have for beginning writers and/or illustrators? How about for beginners who’re African American?

Paula Chase-Hyman: Be persistent. Being a writer is a creative journey with many many paths. There are no short cuts. For African-American writers, I encourage you to become a part of the children’s writers community at-large. It’s such a supportive group.

There will be times when you’ll experience something that perhaps only a fellow African-American writer can truly understand, but, most times, any trial and tribulation will be something your children’s writing peers can see you through.

Don Tate: Well, Cynthia, with the recent acquisition of my first written work, this is my first opportunity to answer this question as an author! And my advice to beginning authors is to write every day; partner with other published and non-published writers so that you can give and receive that constructive criticism you’ll need to make your manuscript better; revise, revise, revise; read, read, read; and be patient because it’s not gonna happen tomorrow.

For illustrators: Polish your craft, because, with illustrators out there like Kadir Nelson and Christopher Myers, shabby isn’t good enough.

Specific advice for beginner writers or illustrators who are African American: Just know and accept that your entry into publishing may be by filling that niche, writing and/or illustrating for the African-American market. If you don’t have a problem with that, good, keep creating. If you have a desire to write or illustrate other subject matter, get you foot in the door first, show them what you can do. Book sales speak volumes.

Kelly Starling Lyons: I’d like to pass along advice that was given to me: Start by reading. Read quality books in your genre with a writer’s eye. Figure out how the author put the story together: What makes the story sing? What makes the characters memorable? What stands out about the beginning? Ending? I’ve learned so much from reading the work of writers I admire.

For African-American aspiring authors, I would say believe that your dream will happen. Write from your heart. I would also share advice an editor offered at the Writers Workshop at Chautauqua a couple years ago: “Write the story only you can tell.”

Carla Sarratt: Pursue the craft of writing and illustrating wholeheartedly. I fervently believe that writers are readers. Read fiction, non-fiction, poetry, the classics, contemporary fiction. Join writing/critique groups. Network with other writers. Believe in the story that you’re telling.

What else does the future hold for The Brown Bookshelf?

Paula Chase-Hyman: If my fellow Brown Bookshelfers don’t reign me in, I’ll have them on tour somewhere. The PR chick in me gets restive when a good idea hits. Spreading the word about your peers really does something for your heart. Some days my mind races with the activities we could undertake. Then I remember I have books to write and that the Brown Bookshelf has no revenue stream–we run purely on volunteer labor. That’s when I slow myself down and focus on the things we can realistically undertake, which at this point are cyber-based initiatives that can be managed from a distance.

Don Tate: Well, it really depends upon time. Our team is made up of hard-working professionals. For most of us, creating children’s books come after working full-time jobs and in between balancing family responsibilities. Pile on top of all that, The Brown Bookshelf. That said, I hope the future holds more people willing to step in and help out our cause.

I think there’s a need for a list of some kind, you know, something that librarians can use alongside the Coretta Scott King list.

Kelly Starling Lyons: I’d love to see us keeping building and raising awareness. Choosing our featured authors was tough because there were so many amazing nominees. It would be wonderful to continue shining the spotlight on the many unsung jewels of the children’s literary world.

Carla Sarratt: I would like to see The Brown Bookshelf being panelists at various author, librarian, teacher conferences as well as conferences that focus on children’s literature. And maybe down the line, The Brown Bookshelf will have its own awards to recognize authors and illustrators who are shining stars.

Cynsational News, Links & Return

Welcome back to Cynsations! Buckle up! 2008 will be our best year yet!

Very early on, I’ll begin with new features while catching up on a bit of slightly seasoned but still fabulous news–much of which I’m sure will still be fresh to everyone–and you can look for more weekend posts than usual. Highlights will include with interviews with several children’s and/or YA authors/illustrators, two editors, and two literary agents.

And in mid February, we’ll launch into the SCBWI Bologna 2008 series! We’re talking 32 sparkling interviews with authors, illustrators, agents, editors, art directors, and more from the U.S. and around the world! The conference takes place March 29 and March 30 in Bologna, Italy! Register to attend the conference in person!

Massive updates and polishing of the main site is ongoing, but I’m pleased to announce that it was ten years ago that I signed a contract for Jingle Dancer, illustrated by Cornelius Van Wright and Ying-Hwa Hu, and this is my tenth year of highlighting youth literature on the Internet. Look for a celebration in September!

Note: any posts mentioning that my winter hiatus is over will be greatly appreciated.

More News & Links

Class of 2k8: a group of 28 first-time authors who’ve joined together to spread the word about their books. Check out the latest releases from this year’s debut authors. Check out the blog and the LJ syndication.

The Nineteenth National African American Read-In, sponsored by the Black Caucus of NCTE and by NCTE. Join over a million readers Feb. 3, Feb. 4 for schools.

Bibliography of Recommended Books with Islamic Themes or Muslim Characters from author Dr. Asma Mobin-Uddin. Learn more about her books, My Name is Bilal, illustrated by Barbara Kiwak (Boyds Mills, 2005) and The Best Eid Ever, illustrated by Laura Jacobsen (Boyds Mills, 2007). My Name is Bilal was winner of the 2006 Paterson Prize for Books for Young People in the category of grades four to six. Learn more about Dr. Asma Mobin-Uddin.

Children’s Book Reviews: 2007 Titles from author-librarian Toni Buzzeo. Read a Cynsations interview with Toni.

The Brown Bookshelf has launched a MySpace page!

Editor Interview: Jill Santopolo of HarperCollins from Through the Tollbooth.

Teacher Guides from children’s author and reading specialist Tracie Vaughn Zimmer. More than 200 free book club guides, discussion guides, projects, and fun! Authors, order a guide for your book.

“You’ll Come Out Somewhere” by Patricia Weaver from the Institute of Children’s Literature.

Book Trailer for The Sweet Far Thing by Libba Bray (Delacorte, 2007).

GLBTQ Fiction: recommended by The Horn Book.

Go Overboard Challenge Grant: Award-winning young adult novelist Justina Chen Headley, Burton Snowboards and Youth Venture are co-sponsoring the Go Overboard Challenge Grant to fund the best youth-led ideas to change the world. Justina has a longstanding commitment to tie community service benefiting teens to every single book she publishes. So in honor of her newly released novel, Girl Overboard (where a teen finds her true power through community service), she and her partners are giving away 12 grants, $1,000 each. Eligibility: students ages 12-20 who have an idea to improve their school, neighborhood, city, country, or the world. Students need an adult sponsor, such as a librarian or teacher, to endorse their grant application. Deadline: May 1, 2008.

A conversation with Austin YA novelist Jennifer Ziegler from the Austin American Statesman.

“The Path to Successful School and Library Visits, Self-Promotion, and Press Interviews:” a March 4 to March 9 workshop with Peter Jacobi from Highlights Foundation. See registration and additional information. Note: $995; limited to eight participants.

Pajama Promotion: Ten Tips for Writers from Mitali Perkins at Mitali’s Fire Escape.

Nine Bookstores Worth a Tourist Stop from the Associated Press at CNN. Source: Nathan Bransford, an agent at Curtis Brown Ltd., at MySpace.

More Personally

Congratulations to the recent winners of scholarships and awards at the Vermont College of Fine Arts MFA program in Writing for Children and Young Adults! Here’s a special cheer for my former advisees, Rebecca Van Slyke, winner of the Candlewick scholarship in picture book writing, and Marianna Baer, winner of the Houghton Mifflin scholarship in novel writing! Congratulations also to the “dedications” graduating class! And again, here’s a special cheer for my former advisees, Frances Lee Hall and Julianna Berry! See the Jan. 12 to Jan. 19 online journal entry of winter writer-in-residence Jane Yolen.

Thank you to author Jo Knowles for presenting me with a Lion Award. According to the Shameless Lions Writing Circle, the award highlights “those people who have blogs we love, can’t live without, where we think the writing is good and powerful.” Award recipients then give the award to five other bloggers.

In the spirit of the program, my award-winners are: Anneographies (highlighting picture book biographies, day by day on the subjects’ birthdays); readergirlz (“celebrating gutsy girlz in life and lit); The Planet Esme Plan (a book a day anyone?); Poetry for Children (from uber expert Sylvia Vardell); and The Brown Bookshelf Blog (new on the scene and “showcasing the best and brightest voices in African-American Children’s Literature, with a special emphasis on new authors and books that are ‘flying under the radar.'”) Read Cynsations interviews with Jo, Anne, Esme, and Sylvia!

Calling Ann Dee Ellis, author of This Is What I Did: (Little Brown, 2007) Please email me.

Do you have a Cynsational link to share? I’m interested in cheering quality content online and throughout the kidlitosphere! Of particular interest are substantive interviews, articles, writing/illustrating conferences, new or redesigned official author/illustrator sites, new blogs (or that one post you’ve been working for ages), etc. Keep in mind that while the audience is quite diverse, its core target is working writers–craft is key! I can’t guarantee to post everything submitted, but I will take a look. Please send the title of the site/page, a brief description, and URL. Thank you!