Intern Insight: LGBT Spotlight Interview with Honey St. Claire

Honey St. Claire, photograph by Kadaver

By Kate Pentecost
for Cynthia Leitich Smith‘s Cynsations

I’m sure everyone has seen the buzz that the movie “Love, Simon” has gotten and is still getting from audiences across America.

As part of the LGBT community myself, I can tell you from experience that representation for LGBT kids can be and frequently is absolutely life-changing as they grow into confident, valued adults.

The children’s book community has been doing a great job as of late telling the stories of LGBT kids, whether it be realism or fantasy.

Authors like David Levithan, Cori McCarthy, Malinda Lo, and Amy Rose Capetta come to mind, as well as a score of others who are out there writing for and about LGBT kids.

I also think it’s important for kids to see actual real-life LGBT folks who are out there being their best, most authentic selves. And I believe that we as authors can learn a lot from them as well, so every month, I’m going to be interviewing a different LGBT activist, author or artist about life, art, and children’s books.

I’m delighted to start this project with an LGBT artist and fellow Texan I’ve known for over 10 years, drag performer Honey St. Claire, the hostess of Drag Queen StoryTime at BookPeople in Austin.

Kate: So, Honey, tell us a little about you and your art. 

Honey: Well, I am a Drag Queen/Performance Artist living in Austin, Texas. I’m Transfemme (which means that I’m somewhere between male and female but much much closer to female).

When I’m not performing or hosting shows I like to read, play video games, and take long baths. I have a background in theatre going all the way back to my youth and then acted and performed frequently in both high school and college.

I have a degree from the University of Texas where I studied ancient history and classics, specifically Egyptology, which has been a huge passion of mine as well as an enormous artistic inspiration. Oh! And if I had to choose an animal to have for a pet, it would be a capybara.

K: Tell us a little bit about what you do and your current projects. 

H: I’m the hostess of Geeks on Fleek, Austin’s only recurring cosplay drag show. I’m a cast member of Die Felicia! Austin’s drag horror review. I am also the hostess of Drag Queen StoryTime at BookPeople in Austin.

Drag queens Moana Lisa, Honey and Zane Zena at BookPeople

K: What is Drag Queen Storytime? It sounds delightful!

H: It’s exactly what it sounds like. A few Drag performers reading books to children in full, colorful drag—sometimes with props. Sometimes we have a theme, sometimes not.

Other cities have had drag queen storytimes, and they’ve been great tools for outreach, so I thought, why not try to bring that to Austin?

The first one in February was themed around “Loving You” So it was very Valentine’s themed with hearts and pink and red etc. But instead of being focused on giving your love away to another person it was focused on loving yourself, which I feel is a valuable thing that you can’t learn too early.

We try to have treats, which is enjoyed by the kids and the adults! Also, I looked like a walking disco ball, whats not to love?

K: And how did it go over?

H: The kids had a blast! Not only were there cookies and fun stories, but the stories were read to them by these gigantic colorful creatures. They were shy at first but all quickly warmed up and had a great time!

The community reaction was fantastic! It was a little surprising to be honest because I was expecting a smaller turnout and mostly for it to be LGBTQIA families that were showing up, but I saw a ton of cisgender heterosexual couples bring their kids to the reading because they wanted their kids to experience different kinds of people and to grow up with an open mind which was, honestly, very heartwarming.

K: That’s amazing! Though it doesn’t surprise me at all that you’d be the one to get this started in Austin. I know that books were a very important part of your life growing up. How did books affect you in your youth? 

H: Books were my escape. Since I was bullied often I didn’t really like to stay too long in the realm of reality. I used books to run away.

I got lost in far off worlds and other universes where everything seemed so much better than where I was.

K: What were some of the books you escaped into?

H: As a kid (and now, actually) I was a big fan of Cornelia Funke. I loved Imogene’s Antlers by David Small  (Crown, 1985) which, while not queer, is a great book to talk about diversity within a family.

I also loved Liza Lou and the Yeller Belly Swamp by Mercer Mayer (Parents Magazine Press, 1976), The Magic Shop Books by Bruce Coville (Houghton Mifflin Harcourt), and in high school, Freak Show by James St. James (Dutton, 2007) was a queer favorite.

K: What books for kids exist now that you wish you’d had growing up? 

H: One particular book for children, Introducing Teddy by Jessica Walton, illustrated by Dougal MacPherson (Bloomsbury, 2016), is so wonderful! It’s a great way to introduce smaller children to gender and trans issues.

I also loved Libba Bray’s inclusion of a transgirl in the book Beauty Queens (Scholastic, 2011). I wish that would have been out back when I was a kid.

These are just a couple that come to mind.

K: What books for LGBT kids would you like to see written?

H: I want to see more LGBTQIA people take starring roles in different genres rather than mainly realism. I want to see more LGBTQIA characters in sci-fi. I want to see more of them in fantasy. I want to see more of them in horror (but horror that doesn’t rely on their identities as a source of fright or a reason they’re being targeted. We have enough bashing stories already, both in literature and on the news.)

And, more specifically, I want portal fiction like C.S. Lewis’s books and Neil Gaiman’s books, where portals open up to different dimensions when this dimension gets too rough for queer kids.

I mainly just want more LGBTQIA protagonists, period!

K: More! I definitely feel you there. Though recently Simon–Simon Vs. the Homo Sapien Agenda by Becky Albertalli (HarperCollins, 2015)(and the film version, “Love, Simon“)–has been a huge hit, as have notable other YA books with LGBT themes. 


This is a big deal! Yet, the book and others like it are still frequently banned and challenged. What would you say to people who think that LGBT content in children’s books isn’t appropriate? 

H: That is only because of their misconceptions of LGBT people. For years, all we have had are bars and places of secrecy—because for so long even loving someone would have been a crime that was legally punishable. But as time is moving forward, we are coming out of the shadows and more people are starting to see that being LGBT is not only about sex.

We aren’t deviants. We aren’t predators. We are everyday people. A lot of us love kids and want families. A lot of us already have families. And for queer kids, its important to have events and activities that they can take part in.

When you have to wait as a queer kid until you are 18 to really be able to go to a “Queer Space” well…that can do a number on you psychologically. These kids are already queer. They shouldn’t have to wait to be able to express it. And we shouldn’t make them wait to feel accepted.

K: Do you think that public consciousness is changing toward LGBT issues? 

H: I do. I think its changing slowly. But I do think its changing.

More and more people are seeing LGBTQIA individuals as fully fledged human beings. I think the rise of technology is helping with that a lot.

Thanks to Youtube and Tumblr and any other number of websites, kids and young adults are able to experience and to interact with LGBTQIA people in a way that would have been impossible 20 years ago.

Back then, it was you either knew someone or you didn’t. But now they can interact with other queer individuals all over the world.

Whether that means straight kids being introduced to the culture and meeting queer friends, or queer kids reaching out to queer adults with their questions and concerns, the increase in communication is a great thing.

K: So what can we as authors do to support LGBT kids in our lives?

H: The most important thing to do is listen. To hear them out and listen to their thoughts and their feelings. Don’t put too much pressure on them to fit into a mold. Don’t write off their emotions and their feelings as just hormonal and meaningless.

Yes, hormones play a big part, but the things they are going through are valid. We should know, because we all went through them too.

K: Do your research, use LGBTQIA sensitivity readers, and above all, keep writing!

Cynsational Notes


The next Drag Queen Storytime at BookPeople is scheduled for May 29.

Honey will be reading books that celebrate all things fierce and fabulous, including I Am Famous by Tara Luebbe and Becky Cattie, illustrated by Joanne Lew-Vriethoff (Albert Whitman, 2018).

Kate Pentecost holds an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts. 

She is obsessed with the Romantic Poets and can be identified by the enormous tattoo of Percy Bysshe Shelley on her arm.

She lives in Houston with her husband.

Kate is the YA author of Elysium Girls (Hyperion, winter 2020). 

She is represented by Sara Crowe of Pippin Properties.

Guest Post: Amy Rose Capetta on Something Good Happened in 2016: Intersectionality in LGBTQ YA

By Amy Rose Capetta
for Cynthia Leitich Smith‘s Cynsations

Rainbow Boxes is a charitable initiative to connect LGBTQIA fiction with readers across the United States.

When Cori McCarthy and I did our research for Rainbow Boxes (AKA the most fun research–it mainly consisted of reading every LGBTQ YA book we could find), we were able to assemble a box of books that featured characters with a range of identities.

But if we’d tried to fill another box…it would have been much more difficult. And we were only looking for fifteen titles!

That was in 2015, and there are many exciting new additions to the list of titles this year, but this is one of the biggest places where LGBTQ YA needs to grow. The authors and LGBTQ YA advocates I interviewed seemed to be on the same page–almost every single one mentioned it.

Dahlia Adler, who runs the website LGBTQ Reads and keeps track of the books coming out, said:

“Most of all, I really, really want to see more intersectionality – more queer kids of color and more disabled queer kids. The numbers on these are still really sadly low.”

Her book, Under the Lights: A Daylight Falls Novel (Spencer Hill, 2015), features a Korean-American lesbian main character, and is one of a small number of f/f books that fall in the category of delightful fluffy reads featuring queer girls.

When I spoke with Anna-Marie McLemore, author of When the Moon Was Ours (Thomas Dunne/St. Martin’s Griffin, 2016), she gave a similar answer–with an exclamation point.

“More intersectional stories! I’m excited to see all stories with respectful representation of LGBTQ characters, but especially ones that have queer characters who are also of color, who also have disabilities, and so many more intersecting identities.”

When I asked her about the exciting parts and the challenges of writing LGBTQ YA, Anna-Marie said:

“My agent, editor, and publishing house have been tremendously supportive of me writing When the Moon Was Ours. But that doesn’t mean I wasn’t scared to write queer and transgender main characters. I was already writing characters of color, and I felt like I wasn’t allowed to do both.

“I’m queer, and I’m married to a transguy, but I felt like I had to keep that part of my identity off the page.

“But I’m glad I had people around me who encouraged me to write the story that was in me, to write characters who are of color and also LGBTQ.

“I have heard authors talk about pressure to limit themselves to one marginalization per character. Hopefully that is changing, but wherever it remains the case, it creates a situation where queer characters must always be white, neurotypical, and able-bodied, among other things.

“It also limits the potential for multiple LGBTQIA identities (eg queer intersex people, gay or bisexual people on the asexuality spectrum.)

“This is not a question of ‘checking boxes’ when it comes to diversity, but rather reflecting a wider range of lived experience.”

As author Tristina Wright puts it:

Tristina Wright

“Intersections exist.

“Someone can be Black, bisexual, have anxiety, and come from a single parent home.

“Someone can be Muslim, gay, OCD, and a twin.

“Someone can be Latinx, genderfluid, depressed, and stutter.

“Someone can be Biracial, pansexual, use a wheelchair, and Deaf.

“There are intersections upon intersections and when people protest this point, they reinforce the idea that there’s a default setting of white/straight/cisgender/abled and anything away from that is Other.”

Tristina’s debut novel, 27 Hours, coming Fall 2017 from Entangled Teen, features characters of many backgrounds and identities. Here’s how Tristina describes the intersectional identities of her characters:

4 alternating POVs

1. Male, biracial (Indian/Nigerian), bisexual, PTSD

2. Female, biracial (Cuban/Greek), pansexual, Deaf

3. Male, white, gay, adopted

4. Male, white, asexual, has two moms

+ 2 ensemble characters

5. Female, transgender, Latinx, bisexual

6. Male, gay, Caribbean, missing two fingers (from birth)

Sometimes, in the case of fantasy and sci-fi novels, intersections don’t have exact real-world correlation.

In the authors’ own words, here are the identities in Malinda Lo’s Huntress (Little, Brown, 2011):

“Huntress is set in a Chinese-inspired world, so the characters are both non-white and queer. I wouldn’t describe them as Chinese, because it’s a secondary fantasy world. ‘Non-white’ is probably best.”

And Corinne DuyvisOtherbound (Amulet, 2014):

“Nolan is Mexican-American and disabled. Amara is bisexual, disabled, and a woman of color. As she lives in a fantasy world, the bisexuality is unlabeled and her ethnicity has no real-world analog.”

Recent titles that include main characters with intersectional identities are More Happy Than Not by Adam Silvera (Soho Teen, 2015), which features a gay male Puerto Rican main character, Far From You by Tess Sharpe (Disney-Hyperion, 2015), which has a disabled bisexual girl protagonist, Proxy by Alex London (Philomel, 2013), with a gay male person-of-color protagonist, Not Your Sidekick by C.B. Lee (Duet) with Chinese-Vietnamese American bisexual girl protagonist, and Labyrinth Lost by Zoraida Córdova (Sourcebooks, 2016) about a bisexual Latina protagonist.

I spoke with Kekla Magoon, author of 37 Things I Love (in No Particular Order)(Henry Holt, 2012), about the intersectionality in her book.

“I didn’t make a big point about identity in 37 Things I Love, but I pictured the cast of that book as relatively diverse.

“Ellis is biracial (black dad/white mom) and Cara is also biracial (white/Asian). Ellis will likely identify as bisexual when she is older, though at the moment she is at the beginning of her journey to discover her sexual self. Cara identifies as a lesbian and is more secure in her identity on a lot of levels.

“The text contains a couple of hints toward Ellis’s racial identity, but fewer to indicate Cara’s, and while it’s clear from the novel action that the girls are interested in each other romantically, they don’t fully name their respective identities.

“For me as a writer, the important thing at the time was to write a story that included a biracial, bisexual protagonist without drawing too much attention to the fact. I hoped that leaving it less clearly defined would allow space for readers to draw the characters however they see fit.

Kekla Magoon

“I’m not sure if I would make the same choices about representing the identities in that book if I was writing and publishing it today. [37 Things was sold in 2010 and published in 2012.]

“I’ve changed as a writer, and the industry has evolved in what it is ready to accept.

“At the time, I felt a little bit subversive in sliding this book out, and it flew largely under the radar.

“People had come to expect ‘black’ books from me, based on my previous work, so to write a ‘gay’ book felt a bit sneaky. Which, I suppose, parallels my interest in being more subtle about the characters’ identities too.

“On the one hand, maybe I could’ve served the need for ‘diverse YA’ better if I had landed harder on those descriptions. On the other hand, it didn’t feel as germane to the story I was trying to tell at the time, and in the long run don’t want any book to have to stand alone as one or the other (‘black’ vs. ‘gay’).

“Just as much, I don’t want my book to be labeled as even more narrowly as a ‘black LGBTQ’ book, either. I would like to be able to stop pressing the point that it’s okay for a single book to cover lots of identity territory without being pigeonholed or assumed to be directed to a limited audience.”

It’s extremely important that books that deal with characters of intersecting identities are treated as part of YA literature as a whole, and not a special interest category.

These books are part of what makes YA exciting, truthful, and worthwhile to readers whose real lives encompass so many identities.

For a parting thought, here’s Vee Signorelli, co-founder of The Gay YA, on what they’re excited about:

“There’s this amazing energy about LGBTQIA+ right now. I don’t know how else to explain it. It’s really new and current and vibrant. Like… it’s really beginning to feel like anything is possible.

“That said, we have a long way to go, especially in terms of intersectional representation.

“Sometimes it’s easy to think we’ve come super far, only to get a tumblr ask for an autistic queer character, or a black gay teen, or a trans girl who ends up in a happy relationship with another girl, and you’re like… that… doesn’t exist.”

As writers, readers, publishers, booksellers, educators, librarians, and lovers of books, let’s all do what we can so that in a few years, we can look back and see a vast improvement in the number of intersectional books–so many that we can’t possibly list all of the titles, so many that no book request goes unfilled.

This post is part two in a four-part series. Tomorrow, we’ll reflect on genre fiction.

Amy Rose Notes

Check out Diversity in YA from Malinda Lo and Cindy Pon. Peek: “We celebrate young adult books about all kinds of diversity, from race to sexual orientation to gender identity and disability. Our goal is to bring attention to books and authors that might fall outside the mainstream, and to bring the margin to the center.”

Cynsational Notes

Amy Rose Capetta is the author of three YA novels:
Entangled and Unmade, a space duet (out now from HMH), and Echo After
Echo, a queer love story wrapped in a murder mystery and set on Broadway
(coming in 2017 from Candlewick).

She is on the writing team for the
second season of Remade, a YA sci-fi thriller from SerialBox, and works with writers on their novels through Yellow Bird Editors (with a special interest in genre fiction and LGBTQ fiction of all kinds!)

She is the co-founder of Rainbow Boxes (@rainbowboxesya), and holds an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts.

Amy Rose lives and writes in Michigan with her girlfriend Cori McCarthy, who is also a YA author, and their five-year-old, who wants to be a wizard.

Guest Post: Amy Rose Capetta on Something Good Happened in 2016: Celebrating LGBTQ YA

Rainbow Boxes co-founders Cori & Amy Rose

By Amy Rose Capetta
for Cynthia Leitich Smith‘s Cynsations

In 2015, it seemed like there was a slowly growing list of excellent YA books with central LGBTQ main characters–but there were clearly still barriers making it difficult for readers, especially teen readers, to find them.

Fellow YA author Cori McCarthy* and I created Rainbow Boxes to help bridge that gap, to directly connect LGBTQ YA to young readers.

We raised funds that allowed us to send a box of fifteen YA titles to LGBTQ centers and community libraries in all 50 states.

Rainbow Boxes co-founder Cori McCarthy in our living room–with hundreds of LGBTQ books!

Then 2016 happened.

Looking forward at the beginning of this year, I saw new LGBTQ YA titles everywhere–seemingly more in a single year than we had seen in the past five put together.

Looking back now, while the publishing landscape has indeed changed in 2016, so has the world.**

Amy Rose, Cynthia & Sara Kocek

When I first talked to Cynthia Leitich Smith about this blog series, I hoped it would be a celebration of great LGBTQ YA: a call to uplift the excellent books that are being published while we continue to work for a wider range of stories and representation.

Now this series feels more urgently important than ever. In the coming years, LGBTQ people, especially young ones, will need stories. They will need adventure and friendship and truth and love, messiness and beauty, fluff and darkness, a place to see their humanity fully explored, even as other people seek to deny it.

Straight and cisgendered people need these stories, too. Without them, there will be no truthful narratives that push against the limited, distorted, and stereotyped portrayals of the past.

Amy Rose, Adam & Cori

The work is underway. Minds and hearts are changing. LGBTQ teenagers are brave and amazing. But there is still so much we can do. I’d like to start by waving my rainbow flag as hard as I can to celebrate some of the wonderful successes in LGBTQ YA.

Books about gay teenage boys have increasingly been enjoying mainstream success levels. Some of the breakouts include New York Times bestselling More Happy Than Not by Adam Silvera (Soho Teen, 2015), named as “mandatory reading” and selected as an Editor’s Choice by the NYT.

David Levithan’s many books about gay teenagers, which have been published for over a decade, are considered a YA staple.

Wildly popular Simon Vs. The Homo Sapiens Agenda by Becky Albertalli (Balzer + Bray, 2015) won the coveted Morris Award for debut authors.

Books about queer girls have not enjoyed the same levels of visibility, but there are signs that might be changing. In 2016, Anna-Marie McLemore’s When the Moon Was Ours (Thomas Dunne/St. Martin’s Griffin, 2016) was long-listed for National Book Award, Emily M. Danforth’s The Miseducation of Cameron Post (Balzer + Bray, 2012) was announced as an upcoming movie adaptation, and Marieke Nijkamp’s This is Where it Ends (Sourcebooks, 2016) hit #1 on the NYT bestseller list–and stayed on the list week after week.

I asked Marieke: how does it feel to have a #1 NYT bestselling title featuring queer girl main characters? What does it mean for you as a writer? As a queer person? She said:

“It means the world to me. One of the reasons why I started writing was to give a voice and stories to readers who struggled to find themselves in books.

“Like I did, growing up. And as it is, nothing fills my heart more than hearing from those exact readers, who recognize themselves–if only a little–in TIWIE.


“Of course I hoped and dreamed my stories would resonate, but to hear those reactions and to see this queer book of mine do so well…

“It’s far beyond even my wildest dreams. It’s out of this world. I’m so incredibly grateful for it, and I hope I can pay it forward.”

I talked to Anna-Marie McLemore about how she sees the field changing. Her first book, The Weight of Feathers, came out last fall. Her second book, When The Moon Was Ours, features a queer girl and trans boy as main characters, and people of color compose the main casts of both books. She said:

“I have a lot of hope for the future of inclusive literature. We still have a long way to go, but thanks to the conversations taking place, many of them fostered by leaders like those of We Need Diverse Books, we’re moving forward.”

I asked the same question to Malinda Lo, a well-known author in the LGBTQ community, whose books include Huntress (Little, Brown, 2011) and Adaptation (Little, Brown, 2012). She said:

“When my first novel, Ash (Little, Brown), was published in 2009, very little YA was published that included queer characters who did not have to struggle with coming out. This has changed significantly in the last seven years.

“This change certainly wasn’t driven only by my books, because other authors had also been moving in this direction, but I think my books did contribute to the growing normalization of queer characters in YA.

“In other words, you can have a queer character in a book, but it doesn’t always have to be about being queer. It can be about falling in love, or saving a kingdom, or simply coming of age, with sexual orientation one issue of many that a character engages with.

“I am really encouraged by this, because the struggle for LGBT rights and acceptance does not end with coming out; it begins there. We can only be full human beings when the whole of our lives and experiences count.”

This was a common refrain when I talked to authors. There will always be a place for coming out stories, and a need for excellent books that struggle with the varied and changing realities of coming out. (I’d love to see more books that deal with the fact that coming out isn’t always a binary experience dividing life neatly into “before” and “after”.)

But focusing on coming out as the only important narrative results in a limited literature that reduces LGBTQ people to a single experience.

I asked Kekla Magoon, author of 37 Things I Love (in No Particular Order)(Henry Holt, 2012) what she’s excited about in the field and how she sees it changing.

“It’s exciting to contribute to the growing offering of books that deal with sexuality in big and small ways while intersecting with other storylines and multiple layers of character development.

“Around the time I sold 37 Things I Love (2010) and the time it came out (2012), people had begun talking about the need for more books that dealt with LGBTQ characters doing things other than coming out, and the need for books that showed LGBTQ characters of color.

“The need still exists for those books, but it seems as though the conversation has intensified, and is beginning to result in changes. There are more LGBTQ books now than there used to be, and that the door to the industry is cracking open even further now, as we collectively deepen our understanding of identity and intersectionality.”

When I asked Corinne Duyvis, author of Otherbound (Amulet, 2014), what she’s excited about in LGBTQ YA, she said:

“I’m very excited to be seeing more #ownvoices*** books hit the shelves. The more the better!

“After all, no two people’s experiences are the same. The more different voices we have, the more we can show the wealth and breadth of experiences of queer characters–and the less pressure there is on individual authors to ‘speak for’ queer YA.

“They can just be honest about that one character’s experiences instead of being put into the position of representing an entire group.

“I would very much like to see more trans representation both on the pages and behind the scenes. There are still a lot of experiences out there that aren’t being written about very much, whether in terms of trans identity or the various angles of intersectionality.

“It’s essential that we listen, that we actively seek out and welcome trans voices, and that we do whatever we can to make the industry–and the world–more trans-friendly.”

2015-16 saw the publication of a small number of #ownvoices books about trans characters–such as If I Was Your Girl by Meredith Russo (Flatrion) and George by Alex Gino (Scholastic) in the middle grade category.

Lizard Radio by Pat Schmatz (Candlewick) is an excellent sci-fi novel about a nonbinary character.

There is still such a long way to go. Trans characters are consistently underrepresented in LGBTQ fiction.

While celebrating how far LGBTQ YA has come, it’s important that we pay attention to areas where representation is seriously lagging. Almost every single person I interviewed for this blog series cited the need for more #ownvoices trans YA.

Vee Signorelli, the co-founder of The Gay YA, is currently running Trans Awareness Week. Please check out their work, starting with this post.

When I asked Vee about the delights and challenges of running a site that covers LGBTQ YA, they said:

“I’ve gotten to connect with other literary trans people. That… has meant so much to me. The literary community loves to herald any one trans person as the one and only, when in fact, there are many of us here, and that is unhelpfully isolating.

“There is something amazing about creating, theorizing, and working things through in community. Especially when you’re all part of such a marginalized identity that has been used and misrepresented, in culture, and in YA. There’s so much you’re able to reclaim.

“One of the absolute delights is how wonderful, strong, and vibrant the entire community is. Sometimes I get up in my head about the administration work, and I start freaking out about everything I have to do… and then I put something out to the community, like a call for submissions or volunteers, or opinions on a certain book, or anything and they are just there.

“I’m repeatedly amazed by everything the community does to keep this going.”

Community is one of the most important words we can keep in mind, and foster moving forward.

Whether you’re a reader, a librarian, a teacher, a writer, a member of the publishing industry, a bookseller, there are things that all of us can do to keep this surge in LGBTQ YA going strong. And we can all work to make the YA book community a truly inclusive space.

One of the most obvious and wonderful is to enjoy and share the great books that are being published, so I want to leave you today with recommendations for new and upcoming books from Dahlia Adler, who runs LGBTQ Reads, and Vee Signorelli of The Gay YA.

These two websites are some of the most helpful resources and positive spaces for LGBTQ fiction, and I would greatly encourage anyone who doesn’t already check them out regularly to do so. (After adding these books to your TBR, of course.)

Dahlia said:

“I’m really, really into Jaye Robin Brown‘s Georgia Peaches and Other Forbidden Fruit (HarperTeen, 2016). I think it does a really beautiful job with queerness and religion, and it’s also just fun and cute and sexy and everything you want f/f YA to be.

“Anna-Marie McLemore’s When the Moon Was Ours is not only remarkably beautiful in itself and its style, but in its representations of sexual orientation and gender identity and intersectionality.

“And for some books I think are just great that center queer characters but not queerness, check out Labyrinth Lost by Zoraida Córdova (Sourcebooks, 2016), A Darkly Beating Heart by Lindsay Smith (Roaring Brook, 2016), As I Descended by Robin Talley (HarperTeen, 2016), and Last Seen Leaving by Caleb Roehrig  (Feiwel & Friends, 2016).

“One I haven’t read but am super excited about is Not Your Sidekick by C.B. Lee (Duet, 2016) – it sounds like so much fun.

“Beyond 2016, I can already definitely recommend History is All You Left Me by Adam Silvera (Soho Teen), How to Make a Wish by Ashley Herring Blake (Houghton Mifflin Harcourt), and The Gentleman’s Guide to Vice and Virtue by Mackenzi Lee (Katherine Tegen, 2017) — I loved all of them and I’m positive many readers will too!”

Vee said:

“Queens of Geek by Jenn Wilde (Swoon) and Meg & Linus by Hanna Nowinksi (Swoon) are two of my new all time favorite books. I’m also psyched to read Dreadnought by April Daniels (Diversion)(an #ownvoices YA featuring a trans girl), Little & Lion by Brandy Colbert (Little, Brown), 27 Hours by Tristina Wright (Entangled Teen), and It’s Not Like It’s a Secret by Misa Sugiura (HarperTeen).”

This post is the first in a four-part series. Please come back for part two–I’ll be talking about LGBTQ YA genre fiction!

Notes from Amy Rose

Rainbow Boxes co-founders and YA authors Cori McCarthy and Amy Rose Capetta

*Yes, Cori McCarthy is also my girlfriend. Thank you for scrolling all the way down here to confirm this happy fact.

**Please note that all interviews were given before November, which means all answers are reflective of a pre-election cultural landscape.

***If you’re not familiar with the term/hashtag “#ownvoices,” please check out #ownvoices, where Corinne Duyvis, who coined the term, explains what it means. 

Cynsational Notes

Amy Rose Capetta is the author of three YA novels: Entangled and Unmade, a space duet (both Houghton Mifflin Harcourt), and Echo After Echo (Candlewick, 2017), a queer love story wrapped in a murder mystery and set on Broadway.

She is on the writing team for the second season of Remade, a YA sci-fi thriller from SerialBox, and works with writers on their novels through Yellow Bird Editors (with a special interest in genre fiction and LGBTQ fiction of all kinds!)

She is the co-founder of Rainbow Boxes (@rainbowboxesya), and holds an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts.

Amy Rose lives and writes in Michigan with her girlfriend Cori McCarthy, who is also a YA author, and their five-year-old, who wants to be a wizard.

New Voice: Cori McCarthy on The Color of Rain

By Cynthia Leitich Smith
for Cynsations

Cori McCarthy is the first-time author of The Color of Rain (Running Press, 2013). From the promotional copy:

If there is one thing that seventeen-year-old Rain knows and knows well, it is survival. Caring for her little brother, Walker, who is “Touched,” and losing the rest of her family to the same disease, Rain has long had to fend for herself on the bleak, dangerous streets of Earth City. 

When she looks to the stars, Rain sees escape and the only possible cure for Walker. And when a darkly handsome and mysterious captain named Johnny offers her passage to the Edge, Rain immediately boards his spaceship. Her only price: her “willingness.”


The Void cloaks many secrets, and Rain quickly discovers that Johnny’s ship serves as host for an underground slave trade for the Touched . . . and a prostitution ring for Johnny’s girls. 

With hair as red as the bracelet that indicates her status on the ship, the feeling of being a marked target is not helpful in Rain’s quest to escape. Even worse, Rain is unsure if she will be able to pay the costs of love, family, hope, and self-preservation.

In writing your story, did you ever find yourself concerned with how to best approach “edgy” behavior on the part of your characters? If so, what were your thoughts, and what did you conclude? Why do you think your decision was the right one?

When I sat down to write what would become my debut, The Color of Rain, I knew that I was going to be stepping right off the edgy map. You see my main character, Rain, is a prostitute.

A space prostitute to be exact.

I suspected that I’d get frowns from parents, be banned from “clean” YA bookshelves, and that my oh-so-proud mom would not be able to hand this book around to her church friends. And yet, Rain’s story was more important to me than its obvious obstacles.

You might ask why.

Well, while there are a multitude of great stories about noble sacrifice and the glory of love, I felt compelled to talk about the other story—what happens when someone goes too far for love—when love leaves you with regret and shame instead of Happily Ever After feelings.

It does happen. It happened to me. And it definitely happens to teenagers more regularly than the rest of the population. So I wrote this super edgy story for those people with the hopeful message that there is a light at the end of the tunnel no matter what—or in Rain’s case, a light at the end of the Known Universe.

In my new book, Breaking Sky (Sourcebooks, 2015), I’ve come up against a whole new world of edgy complications.

My new main character, Chase, is unlikeable. Capital U. Self-centered, showoff, maverick—she’s a top fighter pilot at an Air Force academy for teens who keeps her eye on breaking a cold war standoff with Asia—and not on the people in her life.

Like Rain, Chase’s backstory harbors great disappointment, and in response to that hurt, Chase has closed herself off.

How is this edgy? Well, Chase has a reputation for leading on romantic interests for nothing more than a quick make-out session. Nothing deeper.

My beta readers for this story wondered where Chase’s heart-breaker status came from, and the answer to that has become as important to me as showing teen readers the flipside of love in Rain. In short, Chase’s story is about being careless with others. About isolating yourself from anyone who can hurt you—and then the long road back to caring.

After these two books, what I’ve learned about “edgy” is that it can be a powerful force in telling the toughest of emotional stories. For Rain, I chose an edgy premise that was as impossible to swallow as the enormous feelings behind her regret, and with Chase, I created a girl who hurt others in an attempt to keep anyone from ever hurting her ever again.

Could I have told these stories without edgy red flags like prostitution, human trafficking, swears, and “make-out sluts?”

Maybe. But I doubt they would hit home, feel real, and echo through the reader’s deepest life turns.

In the end, I want every reader who identifies with my story to come away feeling like they’re not alone. That may seem a little hokey, but hey, books have always been there for me.

If I can contribute to the great emotional library in any way, I’ll die happy.

As someone with a MFA in Writing for Children (and Young Adults), how did your education help you advance in your craft? What advice do you have for other MFA students/graduates in making the transition between school and publishing as a business?

Vermont College of Fine Arts

I would not be an author without the education I received at Vermont College of Fine Arts. Basically, my MFA turned my passion into a career.

I started writing when I was thirteen, poems mostly and a few memoir-type short stories. From eighth grade on, I knew I wanted to be a writer, but I was a bit overwhelmed by the naysayers. The people who believe that paying money to study fine arts is a waste.

Luckily for me, I had parents who encouraged me to major in creative writing in undergrad. I attended Ohio University, which had an underdeveloped creative writing program and workshops that were overwhelmed by geology majors. I was depressed to be writing with people who took my major’s classes as a joke or an “easy pass.”

Relief came via a year abroad in Dublin, Ireland where I wandered constantly and filled notebooks full of poetry. When I came back to Ohio, I finished my degree and set my sights on film school and screenwriting.

Secretly, I still believed that I would not be able to be a writer unless I made money, and film…that’s where the money had to be, right? Wrong.

Years later while still scribbling in notebooks and writing a fantasy story that had 200 pages of backstory—no joke—I found out about VCFA.

With fellow YA author Amy Rose Capetta

The program completely changed my life overnight.

It taught me hard things, like throwing out that evil temptress of a fantasy novel, and glorious things, like how I could put myself into anything I wanted to write.

I recently heard another author ask what an MFA is good for if you don’t want to write the Great American Novel or short stories.

I was so appalled by that question.

No one at VCFA told me what to write.

No one told me how to write it.

What my mentors and my peers in workshop did for my work was to read whatever I was writing and talk about it openly and honestly.

They taught me how to recognize the easy shortcomings in my writing and how to take the criticism on the not-so-easy shortcomings.

Beyond the glorious craft talk at VCFA, there were many open discussions about literature, the market, the publishing industry, the importance of networking, and the ups and downs of this business.

This proved to be essential in launching my career.

After I graduated, I landed my top agent, but not because she fell in love with my creative thesis—because I didn’t run away with my fingers in my ears when she asked if I had something else.

Not even a year later, that something else sold as The Color of Rain.