Publishing Industry Salary Survey 2015: A Younger Workforce, Still Predominantly Whitepublishersweekly.com
Last year, the MiP podcast started around the time of the first @publishersweekly survey that included saying one’s race as part of the survey. And this year the results are pretty much similar in terms of the numbers on how diverse the industry is via those who responded. Not much improvement, if any.
Soooo, yeah, still work to do.
There’s more work to be done on the diversity front. @richincolor @publishersweekly
By Ebony LaDelle, marketing manager at Simon & Schuster
At this year’s Brooklyn Book Festival, I had the pleasure of meeting one of my favorite authors, Edwidge Danticat. When she found out I worked in publishing, she looked at me and said, “So you’re like a unicorn.” “I’m sorry?” I replied, star struck. “You’re one of the few black people who actually work in publishing,” she said, “You’re a unicorn.”
Growing up in the Midwest, I was fortunate. My mother taught me the power of reading at a young age. She couldn’t afford to buy me a collection of books, but she made sure to take me to our local library. Goosebumps, The Boxcar Children, The Baby-Sitters Club…those books transported me into a world of make-believe.
Nothing But The Truth Publishing and editor Deborah Santana are looking for essays by women of color for an anthology about topics ranging from relationships, career, community, success, and pain, to hoodies and raising children. This anthology will showcase what it means to be a woman of color in the world today.
The entire book will be written, directed and edited by women of color, a process we believe does not happen enough in the publishing industry. We hope you join us in changing the world of publishing one book at a time.
Essays are to be 800-1,200 words in length and submissions must include a 100-word bio. All work should be unpublished, but we may accept a previously published blog.
Essays and bios are due to email@example.com no later than November 15, 2015. It will be a rolling admission, so the earlier you submit the better chance you have of being selected. Selected authors will receive a $100 honorarium. The anthology is scheduled for release in Summer, 2016. 100% of the profits from this book will go back to the contributors.
Deborah Santana is an author, philanthropist, advocate for peace and social justice, and mother of three extremely loved children. Her first memoir, Space Between The Stars: My Journey to an Open Heart, was published in March 2005.
The Importance of Role Models and Being Representative
By Taran Matharu
A year and a half ago, my book, The Novice,
went viral on a social reading app called Wattpad, being read over 6.5
million times. I receive dozens of messages from my fans every day. Two
questions are asked the most. The first is not unusual: aspiring writers
requesting I read and comment on their work. But the other might
surprise you. It’s people asking me if I am Indian/Pakistani/Asian.
Thirteen Scary YA Books: Diverse Editionblog.leeandlow.com
Halloween is right around the corner. There’s no better way to celebrate than by reading books that will scare you to pieces! Here’s a lucky thirteen list of our favorites (all featuring diverse characters or by diverse authors):
Half World by Hiromi Goto – Melanie Tamaki lives with her mother in abject poverty. Then, her mother disappears. Melanie must journey to the mysterious Half World to save her.
Vodnik by Bryce Moore – Sixteen-year-old Tomas moves back to Slovakia with his family and discovers the folktales of his childhood were more than just stories.
The Immortal Rules by Julie Kagawa – Allie Sekemoto survives by scavenging for food by day. She hates the vampires who keep humans like cattle for their food. Until the day she dies and wakes up as a vampire.
Liar by Justine Larbalestier – Micah is a liar; it’s the only thing she’ll tell you the truth about. But when her boyfriend Zach is murdered, the whole truth has to come out.
Battle Royale by Koushan Takami – A group of junior high school students are sent to an island and forced to fight to the death until only one of them survives.
Summer of the Mariposas by Guadalupe Garcia McCall – Odilia and her sisters discover a
dead man’s body while swimming in the Rio Grande. They journey across Mexico to return his body in this Odyssey-inspired tale.
Devil’s Kiss by Sarwat Chadda – Zombies, ghouls, and vampires all make appearances in the story of Bilquis SanGreal, the youngest and only female member of the Knights Templar.
Panic by Sharon Draper – Diamond knows better than to get into a car with a stranger. But when the stranger offers her the chance to dance in a movie, Diamond makes a very wrong decision.
Ten by Gretchen McNeil – Ten teens head to a secluded island for an exclusive party…until people start to die. A modern YA retelling of Agatha Christie’s And Then There Were None.
Wolf Mark by Joseph Bruchac – Inspired by the Abenaki skinwalker legend, this YA thriller is Burn Notice with werewolves.
The Girl from the Well by Rin Chupeco – A dead girl roams the streets, hunting murders. A strange tattooed boy moves to the neighborhood with a deadly secret.
172 Hours on the Moon by Johan Harstad – Three teenagers win the vacation of a lifetime: a week-long trip to the moon. But something sinister is waiting for them in the black vacuum of space.
Anna Dressed in Blood by Kendare Blake – Cas Lowood is a ghost hunter, called to Thunder Bay, Ontario to get rid of a ghost the locals call Anna Dressed in Blood, who has killed every person who has stepped foot in the house she haunts.
What else would you add to the list?
Get ready for Halloween with diverse tales of terror! @tubooks @weneeddiversebooks
Representing non-white, non-straight, disabled characters on a book cover is a complicated thing to do well. A book cover must represent the story told in the book, of course, but it also must speak to genre (a science fiction cover looks quite different from a romance cover) and work for both online booksellers and brick-and-mortar bookstores. A good book cover grabs your attention from across the shop — or stands out legibly in thumbprint-sized images online.
Making things even more complicated is the fact that not all people of a particular race/ethnicity look like stereotypical images of that race/ethnicity. For example, not all people who are “Asian” look like stereotypical images of Asians, which are dominated by often Orientalist stereotypes of Chinese or Japanese people. Asia itself is huge and contains many more nations than China and Japan, and translating a specific character into an image that can be read as “Asian” by people who aren’t familiar with that specific character’s heritage can sometimes fail.
The following images are 2014 book covers that feature main characters of non-white descent, disabled characters, LGBT characters, and covers that suggest non-Western cultures. There is a wide range of representations of these characters, from full-face head shots to images of a character’s back or silhouette. Not all images may read as non-white to every reader/viewer, but the question is: Does an image need to read exactly the same way to every reader/viewer?
Obviously, sometimes images of non-white people have been whitewashed on book covers, and that is problematic. But is there a gray area between full-face photographic images of a non-white person, and the wrong that is whitewashing? Is it possible to be more subtle in representing diversity while still speaking to those who are able to read those images clearly?
The fact is: not every book is best represented by a full-face photograph or illustration. Also, many readers don’t like to be confronted with pictures of the characters in the books; they like to cast these characters themselves, in their heads, while they read. And as I stated above, ethnic identity isn’t always clearly recognizable to everyone. I think it’s interesting to look at the entire year’s crop of representations of minorities on book covers to gain some perspective on how identity is depicted in different ways.
People of Color
Native and Indigenous Peoples
Representations of Non-Western Cultures
There is another way to represent non-white and specifically non-Western characters on a book cover: using an image that suggests the non-Western culture that the character lives in.
A Diverse Cast
One book that was published this year depicts a number of non-white characters, and fittingly, it was written by Walter Dean Myers, one of publishing’s greatest advocates of diversity.
Which covers work for you? Which covers do you have problems with?
Five questions for Duncan Tonatiuh - The Horn Bookhbook.com
“Duncan Tonatiuh’s distinctive instantly recognizable style, heavily influenced by Mixtec codices, perfectly complements his choice of subject matter and his own Latino heritage.” @schoollibraryjournal
Funny Bones: Posada and His Day of the Dead Calaveras (@abramsbooks, August 2015)
By Audrey Maynard, Children’s Editor at Tilbury House Books
Confucius is credited with saying, “True wisdom is knowing what you don’t know.” As a white editor who values working on books with authors and illustrators from different regions, religions, and cultures, it’s always been important to acknowledge my limitations. One lesson I’ve learned over time is the value of hiring independent cultural consultants to help spot issues in manuscripts. It is an unfair burden on authors or illustrators to presume that any one person can act as spokesperson for an entire religion, tribe, or ethnic group. Too often those of us from majority culture perspectives look for the “single story” or the single perspective. Unfortunately, as others have observed, this can lead to simplistic representations and stereotypes in books that otherwise might have a lot to offer. Having a third-party cultural expert can facilitate conversations that go beyond the specifics of a manuscript and that can be vital to the success of the book.
Have you ever stopped to think about the implications of celebrating Columbus Day?
While most of us probably grew up associating the holiday with classroom rhymes and mnemonic devices (“In 1492, Columbus sailed the ocean blue,” etc.), days off from school, or sales at the mall, it’s important to remember what really happened in October of 1492. Columbus Day occupies a dubious spot in our nation’s calendar, ostensibly commemorating both the “discovery” of the Americas by Christopher Columbus and the subsequent destruction and enslavement of countless indigenous people.
Dispelling myths and reframing the holiday. @tubooks
HEAR ME ROAR – MY FAVORITE LADIES IN YA LIT (A DIVERSE LINE-UP)
Contributed by Ann Dye, associate director of marketing at Houghton Mifflin Harcourt Books for Young Readers
I watched Mad Max: Fury Road this past weekend, and it was awesome. And not just because it’s a completely over-the-top, action-packed, ABSOLUTELY insane movie. It also features six diverse, unique, strong, and compelling female characters along the ride, each one more interesting to me than the male lead. (I still love Tom Hardy though.)
Watching this movie reminded me of what a gift a truly GREAT female character can be and of the importance of celebrating strong, diverse, and powerful females in any entertainment medium when we’re offered such opportunity.
So I wanted to use this forum to express appreciation for some of my favorite diverse leading ladies in YA lit, specifically because I don’t think we take enough time to give them props!
Rainbow Rowell’s newest novel, Carry On, tells the story of Simon Snow, a boy wizard at a British boarding school — with a twist. Carry On is about characters that Rainbow first created for her novel Fangirl, but Fangirl wasn’t about those characters (well, not exactly). In Fangirl, college freshman Cath Avery spends much of her time writing fan fiction about Simon and his roommate Baz, who come from a Harry Potter-like series of novels written by the fictional Gemma T. Leslie. Cath’s magnum opus is also titled Carry On, but Rainbow’s novel isn’t Cath’s novel; it’s Rainbow’s version of the Simon Snow books.
Confused? Then forget about my attempt to explain Carry On’s meta origins, because you don’t have to understand any of that to enjoy this book. Carry On is a fantasy novel about a boy wizard named Simon, set in a fantasy world that is much like our own but with several key differences (magic being one of them). It’s about Simon’s identity as a chosen one, and how he struggles with that responsibility. It’s also about Simon’s first love, his roommate Baz, who happens to be a vampire. Their love story is a central element in Carry On, and it’s their love story that makes it clear that this is a Rainbow Rowell book.
Recently I had the pleasure of reading Carry On and asking Rainbow a few questions about her latest novel.
Malinda Lo: How would you describe Carry On?
Rainbow Rowell:Carry On is a chosen one story that’s also about chosen one stories. I think my UK editor Rachel Petty summed it up better than anyone else so far: “It’s is a love story to love stories and the power of words — it’s an homage to every ‘chosen one’ who ever had more on his mind than saving the world.”
ML:Carry On is your first full-length fantasy novel, though you wrote several Simon/Baz scenes in Fangirl and you’ve also written fan fiction based on fantasy novels. However, you’re best known for your realistic fiction. What did you find to be the biggest challenges in writing fantasy instead of realistic fiction? And what aspects of fantasy came most easily for you?
RR: I’ve always read more fantasy and sci-fi than realistic fiction, but I never thought I could write it myself. It seemed too much to get my head around. When you write realistic fiction, all the walls are already built, in a way. The laws of gravity apply. Plus I was a newspaper journalist for so long that even realistic fiction felt like too much lying at first.
I think that the Simon Snow scenes in Fangirl were a way for me to experiment with writing fantasy without risking too much. To splash around in the water without leaving dry land.
But those were my favorite parts of the book to write. And the first six months of writing Carry On were the happiest I’ve been as an author.
I have read so much fantasy in my life. I realized that there were so many tropes and magical situations that I wanted to play with. Carry On was supposed to be a short story about Simon and Baz falling in love, but it quickly became this whole big story with eight different narrators.
The most challenging part was definitely the plot. This book reads like one of my books; it’s character driven and relationship-driven. But I wanted it to have a big plotty engine under the hood. And I wanted the plot to make sense. (Even though I love so many fantasies with plots that disintegrate when you look at them too closely…)
ML: Obviously, one aspect of fantasy that is not present in realistic fiction is magic. In Carry On, rather than turning magic spells into Latin words the way J. K. Rowling does in Harry Potter, you use everyday English phrases that are heavily weighted with meaning. The students at Watford in Carry On even take a class called Magic Words to teach them how to construct their spells with phrases ranging from “U can’t touch this” (only relevant if the target of the spell knows the song) to nursery rhymes. How did you develop this idea? It seems so ingenious and I wish I had thought of it! Words do have power, even in our world without magic.
RR: Thank you! Well, it’s a familiar idea, I think, that there’s magic in belief and recognition. In Peter Pan, it’s our belief in fairies that keeps Tinker Bell alive. And in Neil Gaiman’s American Gods and Bill Willingham’s Fables, regular people give gods and fairy tale characters power by telling their stories.
I don’t know how I came to this exactly — the idea that certain phrases would be more powerful the more that normal people say them.
It was so freeing to build the foundation for Carry On — the magical rules and the way the society worked — while I was writing Fangirl. Because there was no pressure! I felt like I was playing.
Once I had the Magic Words idea, it was so much fun to come up with the spells, and to think about what would make a powerful magician in Simon’s world. Like, one of the reasons Simon is such a crap mage is that, even though he has infinite power, he trips over his words.
Probably it’s not that surprising that someone like me would imagine a world where words are the most powerful currency. They’re my only currency!
ML: If the World of Mages existed and we lived it and you could do magic, what spell would you use to get through a difficult writing day?
RR: Ohhhh … Maybe “Coin a phrase!” That would be a super powerful spell. Like a wish for more wishes.
ML: You’re well known for the romances in your realistic novels, which are all heterosexual. The central romance in Carry On is between two boys. Did you have any worries (writing craft-wise or otherwise) about writing a same-sex love story?
RR: Well, I wanted to be thoughtful about it. I knew how I didn’t want it to feel: like a homoerotic tease, all subtext and nothing real; or fetishized.
But mostly I just wrote Simon and Baz falling in love the way I always write characters falling in love. I want my love stories to feel real. I want them to have depth and texture.
ML: As you and probably everybody out there knows, same-sex love stories hardly ever make it onto the bestseller lists. David Levithan and John Green’s Will Grayson, Will Grayson did, but only for a short time. Given your fan base, Carry On really does have a shot at making it onto those lists, and if it does, it certainly is poised to change a lot of publishers’ minds about same-sex stories. How do you feel about this?
RR: I hope it’s successful, of course. (I mean, of course.) And I’d love for it to be part of a huge wave of bestselling books about queer characters. But I try really hard not to think about the lists.
I wrote my two most popular books when I was in a place of not caring at all what would be successful — and not having any hope for success. After my first book, Attachments, didn’t do anything sales-wise, I wrote Eleanor & Park and especially Fangirl, feeling like I may as well write whatever I wanted because I couldn’t afford to keep going. I’d used up all my spare time and money and my family’s good will, and it felt very final.
Only later did people say things to me like, “Eighties stories don’t sell” and “Asian characters don’t sell” and “Fanfiction is a dirty word in publishing.” I wasn’t thinking about any of that when I was writing!
So the publishing lesson for me has been: Keep your head down. Don’t listen to conventional wisdom. Write the book that you want to spend a year of your life on.
Carry On was that book for me.
ML:Carry On isn’t exactly fan fiction since you created the story, but it is definitely a metafiction of some sort. So I have to ask you a meta question. Fandom often generates a lot of love for secondary characters — Draco in the Harry Potter series is one of the biggest examples of this. If someone were to write fan fiction based on Carry On, which secondary characters do you think would generate the most (and unexpected) fandom love? (My money’s on Ebb. Honestly, I’d like to read some fanfic about her.)
RR: Yes! I love that about fanfiction! I really think people are motivated to read and write fic because of what they don’t see in the stories they love. It’s about filling gaps and exploring the unexplored.
And, oh, I’m glad you like Ebb! I loved writing the adult characters. And I’ve already thought about writing more about Baz’s aunt and her ex. Like, how they hook up again and become vampire-hunters.
I’d also like to write a story about Ebb’s true love, and how that person reacts after the events of the book. (That was a hard sentence to write without spoilers.)
ML: Oh, I would so love to read that story! Will you be writing more fantasy in the future, or is it back to realism for you?
RR: Oh God, I don’t know. This is the first time in my writing career that I haven’t had at least the first draft of my next book written when my book was coming out. The future is wide open, I guess.
But my next project is a graphic novel. I have two outlines — one fantasy, one sci-fi.
I think I’d like to stay flexible, writing about teens sometimes and adults sometimes, and moving between genres and media. I want to keep feeling completely engaged by whatever I’m working on.
ML: I have one more question, and it’s a selfish one for me. You now write across adult and YA, fantasy and realistic fiction. I think that genre and category boundaries are useful for readers in terms of finding books, but how do they affect the way you write, if at all?
RR: I agree, they are useful for readers — and useful for marketing; you don’t want people to be confused about what you’re selling. Unfortunately, categories and genre don’t seem to be useful for me as a writer.
When I get done writing a book, the last thing I want is to start something similar. I want fresh air and a new challenge. And my ideas are all over the place.
So I’ve decided to just write what I feel driven to write, and to hope that my readers follow me — or that new readers find me.
I think I’m going to be a sharper creative person and a happier person if I keep moving.
Some of this comes, I think, out of my career so far. I was a newspaper columnist. Then I was an advertising creative director. I’m really glad that I kept taking risks and trying new things.
I’ve been lucky to work with a literary agent and editor who support and encourage me on this path.
Visit Rainbow Rowell’s website or follow her on twitter. Carry On is now available.
I really enjoyed Fangirl and was super psyched to have the chance to read Carry On and ask Rainbow about writing it. Highly recommended for fans of, well, Fangirl, but also Harry Potter-esque novels with gay romances!
Challenging the assumption that diverse books don’t sell. @malindalo @macmillankids
Normalizing Marginalized Identities in Fantasy and Science Fiction
This month for Fantasy and Science Fiction Month, we’ve invited Asks about writing diverse fantasy and science fiction. This answer comes from writer and DiYA co-founder Malinda Lo.
gogglor said: Suppose your sci-fi universe is more accepting of people with marginalized identities. Does portraying a universe like this run the risk of downplaying or erasing the prejudices that people with marginalized identities today have to face? For instance, if a black character faces very little racism in this future-society, is that in a way an insult to black readers today who face a great deal of prejudice?
writingandbooksandthings said: I’m having troubles with deciding how I want LGBT+ people to be perceived in my fantasy world. I want to show the struggle/issues so it would be relatable to people, but part of me wonders if it would be better to show a world where sexuality, gender, etc. isn’t seen as an issue by almost anyone. I feel like doing so would make readers see it really can be considered “normal” by a society and with no consequences. At the same time, I feel obligated to acknowledge real issues. What do you think?
These questions, like many questions about writing diversity, are framed in a way that hopes for a yes/no answer. However, the answer to the vast majority of questions about writing diversity is maybe. There simply are no black-and-white answers to writing fiction with characters who are traditionally marginalized, and the first thing writers should do is accept this. Whatever choice you make as a writer can be questioned by readers and critics, especially when it comes to writing diversity, which has often been done poorly and thoughtlessly. Again, whatever choice you make can be questioned, so it’s important to think carefully about why you made those choices, keeping in mind that your book is yours, and your duty as a writer is to be true to the story you want to tell.
It is not inherently insulting or wrong to write a book in which people of color and LGBTQ+ people are considered normal. It is a choice you can make as a writer of science fiction and fantasy — a choice that writers of realistic fiction simply do not have. If a book is set in the real world, people of color and LGBTQ+ people are not considered normal by the majority of people. Any realistic book that includes characters with these marginalized identities has a responsibility to incorporate that inequality in some way.
However, in fantasy and science fiction, things are different. That is one of the reasons that fantasy and science fiction can be so liberating and wonderful: We don’t have to create fictional worlds that are exactly like the real one. We can imagine a world in which it is normal to be non-white or LGBTQ+. I dare say that would be a better one.
One thing I find extremely frustrating about a lot of fantasy and science fiction is that many writers don’t seem to realize that everything in a secondary world is up for re-imagining. If you’re going to put unicorns or faster-than-light spaceships in your book, you can certainly also have equality for people of color and LGBTQ+ people.
Sometimes folks believe that equality for marginalized identities is unrealistic. When my first novel, Ash, was published, I was on a panel at a fantasy convention in which an audience member commented that it was unrealistic to have a fairy tale in which lesbians were normal. I responded, “There are also fairies in the book. Do you think fairies are more realistic than lesbians?”
That said, creating a fantasy or science fiction world in which people of color and LGBTQ+ people are normal does not mean you can simply wave your magic wand and everything becomes a shiny happy rainbow of equality and perfect joy. You have to build this equality into your world from the ground up.
For example, let’s think about a fantasy novel set in a preindustrial past, before the advent of modern science. If LGBTQ+ people are normal, you have to consider very basic biological things, such as how do LGBTQ+ people have children? Do they adopt others’ children? Do they have children with the assistance of magic? Do they not have children at all? Is there a place in this society for childless queer people? If you’re writing about rulers in this fantasy world, one of the most important thing to think about is heirs — how would a gay king choose an heir, if he hasn’t fathered any children? Additionally, if LGBTQ+ people are normal, how will you describe them? If it’s normal, would people even discern between those in same-sex relationships and those in opposite-sex ones? Will you use the word “gay” at all, especially because “gay” is a very specific English word with a clear history?
In a science fiction novel set in the future, other questions may also arise. If people of color in your futuristic world are normal, would they remain in separate racial enclaves (Black people in this part of town, Asians in that part of town), or would they have interracial relationships? And if they are in interracial relationships and have children, that does not mean their children all become a nice shade of tan; nor do they necessarily act like contemporary white people. Children in mixed race families do not always look the same, and you need to consider genetic inheritance and what a mixed race population would realistically look like. Additionally, cultures are passed down through generations and undergo changes. People always will have ancestral practices, so even if Chinese people are normal in the future, they probably are still going to retain specific Chinese cultural practices. Those practices also may have seeped into the wider popular culture. How would they be practiced by people who don’t have ancestors of that heritage?
Basically, normal does not mean white and straight. It’s very important to remember that, because if you normalize people of color and LGBTQ+ characters and then essentially turn them into white and straight-acting characters, that would be an insult. But if you normalize these marginalized identities in a thoughtful way that is built into the world itself, I think it can be a truly liberating experience to read.
Marginalized people in the real world don’t get very many opportunities to read books in which their identities are normal — and not erased. It is totally possible to do that in fantasy and science fiction, and I think that’s one of the best qualities of this genre.
On Avoiding the Exotic in Huntress
Heteronormativity, fantasy, and Bitterblue - Part 1
Heteronormativity, fantasy, and Bitterblue – Part 2
Taking the homophobia out of fantasy
Malinda Lo is the critically acclaimed author of several young adult novels, most recently the duology Adaptation, a Bank Street College Best Children’s Book of 2013, and Inheritance, winner of the 2014 Bisexual Book Award. She is the co-founder of Diversity in YA, a project that celebrates diversity in young adult books. She lives in Massachusetts with her partner and their dog, and her website is www.malindalo.com.
Author Malinda Lo on the possibilities for diversity in science fiction and fantasy. malindalo diversityinya
It Will Take a Village to Raise Diversity in the Children’s Book Industry
By Jerry Craft
In 1992, I created a comic strip called Mama’s Boyz because there were so few that starred black characters. It was picked up by King Features and distributed weekly to close to 900 papers for almost 20 years.
In 1995, I sent a Mama’s Boyz book sample to several publishers. And they sent them all back. One editor even added a note saying that they, “would NEVER be interested in my black-sitcom style of humor.” It wasn’t just THAT they rejected my work. It was HOW they did it. So I changed my goal.