In my last post, I explained how the editor at the publishing company works as a matchmaker to pair the right illustrator with each manuscript. Lynne picks up there to explain what the process looks like from her side of the bookmaking process.
An editor will contact an illustrator to see if they want to work on the project. If the illustrator agrees, they’ll start making the art.
Often the illustrator will discuss the artwork ahead of time with the editor or art director. Together they will develop an overall vision or discussing what to put on each page. Sometimes not.
Often the illustrators will spend time developing character sketches before making the rest of the artwork. They may make thumbnails or other rough sketches of their work. Sometimes not.
But once the illustrator develops the line art, they will usually send it off to the editor to get their feedback.
Illustrators don’t finalize the artwork (adding color etc.) until after everyone at the publishing house is satisfied with the line drawings.
Each artist has their own process. The way I create my manuscripts is not the same as another writer, though some parts of the process are similar: we all revise. (And revise. And revise. And…)
The same is true for illustrators.
While Lynne drew her illustrators by hand with physical materials (paper, pencils, paint), in this video Will is using computer software that allows him to draw on a tablet with a stylus.
Isn’t this video soothing?
Notice that although the medium is different (paper vs. computer), both Lynne and Will go through a similar process: they create a rough sketch, refine it until they’re satisfied with the line art, then begin to color it in. Whatever you call it, revision really is universal.
(I have asked people weirder questions while writing.)
In this video, she shares how she created one of her cartoon images. Like Will, Debbie is creating this piece using computer software. And you can see how she refines her initial idea – trying variations, tinkering, and making adjustments until she lands on a final version she is happy with.
But we can also revisit one of our illustrators to see what she has to say.
Here Lynne Chapman shares her story of how she became a children’s book illustrator:
These days, illustrators typically send portfolios to art directors, art agents, or show them at conferences like those hosted by the SCBWI. If you entice them with the quality of your work, they will contact you to discuss illustrating a book.
However you get your big break, the starting point is the same: work really hard by practicing your art, perfecting your craft, and learning about the business. Joining the SCBWI is a great first step as it gives you a wealth of resources.
If you missed my first post in the series, check it out below. Next time, I’ll discuss the different paths authors can take to publication in more detail. Stay tuned!
The illustrator decides what art to put on the page – along with the editor and art director.
Note that the author is not in that list of people.
Authors can give general guidelines. For instance, when I sent my editor the query for I Pray Today, I told her that the manuscript
“follows a child through his day, from waking with a “Good morning, God,” to getting tucked in at bedtime – always with a prayer on his lips:
Good morning, God. The day is new. I say my first small prayer to You.
The last part is the opening of the manuscript. I never told them what to put on the page with it, yet it turned out perfectly.
Author’s can (very very occasionally) include an art note to explain what illustration needs to go with a piece of text. This is reserved for cases where the text doesn’t make sense without the art. Giving a note helps the editor to understand the text in the same way that a reader would – with both text and art together.
For example, one part of I Pray Today includes the text:
Dad says dinner’s piping hot. I stuff in food, but – oops, forgot.
Why does she say “oops?”
What did she forget?
Once you see the artwork, it makes perfect sense:
She forgot to pray first! In my manuscript, I included an art note to explain this: [ART: Kid starts eating before prayer.]
That’s the only art note in the whole manuscript because that’s the only one that was needed. Even then, I kept it to just what was needed to understand the text. I still left most of the decisions up to the illustrator: Who is at dinner? Are they at home, a restaurant, somewhere else? How will you show that she forgot to pray?
This came up recently. An adult reader contacted me on behalf of his child wanting to know: what are they eating?
Good question! I really had no idea, since I hadn’t made that decision. So I sent it off an email to my editor who said:
Good question! And she emailed the illustrator to find out.
I had fun polling my friends on social media while I waited for the answer. Most people guessed chicken nuggets with either fries or green beans.
Well, we were a little bit right:
All in all, it was a lot of fun finding out the answer. (Also, I really want to try those pommes noisettes.)
What If the Illustrations Are Wrong?
This is the whispered question that everyone is dying to know but nervous to ask.
Aspiring authors especially seem to struggle with this. It’s scary to give up control of something you have worked so hard on.
Ready for another shocker?
It’s not just your book. It certainly feels that way – as an author, you come up with a concept, agonize over every word, and revise until your fingers fall off. But with a picture book or board book, text and illustration work together. They’re a package deal.
And also: It almost always works out wonderfully. I have worked with three different illustrators over seven books and, each time, I was blown away by their work. Every. single. time.
This spread from Goodnight Jesus is a great example. I gave the editor general guidelines for the form of this book, just like I did for I Pray Today. I told them it was a bedtime story focused on giving kisses – a child works their way toward bedtime but giving, and eventually receiving, kisses. But I didn’t specify how that should be shown. In my head, I imagined the child in their family icon corner kissing icons then moving toward bed giving out kisses as they go.
Instead, the illustrator put the child into the icons. I had imagined a static version, but he made it interactive. That makes for a more engaging illustration and book. Plus you can see both the love the child is giving AND the love the child is receiving. That’s a deep theological statement – but boiled down to a child’s level.
The two images together in ways I didn’t consider. Notice how the position of the two babies are mirror images of one another. Even Jesus’ body language mirrors Mary’s – each is cuddling a baby they love. That makes the images work together both on an aesthetic level,and a theological level.
The illustrator didn’t just show my story, he added to it in ways that deepened it. He brought a fresh perspective that allowed him to expand the story in meaningful ways. Which bring us to our next question:
Why Does it Work This Way?
Separating the text decisions from the illustration decisions isn’t a cruel thing done by evil editors. They are giving both artists – author and illustrator – the freedom to do their best work. I am not a visual artist. I don’t have the training or experience to make decisions about artwork.
No, the child in your book probably won’t look exactly like your granddaughter. The illustrations may not match what you envisioned. That doesn’t make it wrong.
If you can go in with an open mind, you’ll be able to appreciate the exceptional artwork that has been carefully crafted to enhance your story.
Secretly, I think that the editor’s and illustrator’s jobs are to make the author look good. The editor wants this book to succeed. The illustrator wants to produce excellent illustrations. All of which makes my book stronger and better than I could make it on my own.
So, no, authors don’t have illustration decisions about their books. But that’s just fine.
Next time I’ll share what the illustration process looks like for illustrators. We’ll pick up after the editor has paired them with a book text and see what it’s like from that side of the equation.
There are a lot of reasons to go to writers conferences. The obvious one is that you learn a ton and it always reinvigorates me. After the day is over I’m itching to get back to writing.
As someone who struggles with building out character motivations, I loved this “Dungeons and Dragons” themed talk on character building from @WeslieTurner. Excellent talk, excellent advice. “Keep asking What If questions. That’s how you create great characters.”#PWID2018@scbwipic.twitter.com/GdaQSttHqK
It’s also great for networking. When I went to my first Society of Childrens Book Writers and Illustrator’s (SCBWI) conference in 2015, I knew almost no one. This year, it felt like I couldn’t go anywhere without running into someone I have a connection with: people from my local SCBWI region, new friends I’ve made at other conferences, writers I know from online forums, and fellow volunteers for KidlitNation.
And this brings me to another major benefit. Yes, it’s useful to know people in the industry. These are people who can help spread word of mouth about my books or help connect me with work contacts. But even more importantly, these are my friends and community.
Writing can seem like a really lonely endeavor – sitting alone at a computer typing away. That’s definitely some of it, but in the digital age, we also connect over the internet. We find support, camaraderie, and friendships with like-minded writers around the country and around the world. I’m so thankful that the internet is able to bring us together, but there’s an extra joy in getting to see people face to face.
This introverts cup was full to overflowing this weekend. Now I’m ready to hide back in my office and get some writing done.
Earlier this month, I Pray Today, my second book for babies and toddler was published. Today is the last day of the blog tour to celebrate.
I’ve been working on book reviews all year, though. Each month I gather up a few books I love and share them with my readers. I call it Kidlit Karma. This month I’m sharing some of my favorite books for babies and toddlers. I’m also going to dive into child development to explain why these books work.
Babies can’t see that well. Newborns’ vision is hazy – they like high contrast because it’s easy to see. You’ll often find the youngest babies staring at, say, a black object against a white background. Or a dark ceiling fan moving against a white ceiling.
By a few months old, babies vision has improved a lot but they often have a hard time understanding 2-D representations of objects.
So, books for babies and toddler often have high-contrast, easy-to-interpret pictures. For the youngest, single images on white backgrounds can be a good choice.
Babies love “baby talk” and it’s good for them. Forget what Great Aunt Bertha told you about only talking to your baby like a grown-up. Baby talk exaggerates the sounds of speech which makes it easier for babies to figure out the sounds they’re hearing and put those together into words. So go ahead and talk to babies in whatever way feels natural to you.
The sing-songy cadence of many rhyming books, help capitalize on this tendency. (Writers: be aware that babies are not less discerning than adults. If you write in rhyme, it needs to have PERFECT rhyme and meter.)
Babies love repetition. They drop the same toy over and over to see if dad will still pick it up, they never tire of peekaboo, and they will gladly have you read the same book over and over and over. While at times it’s infuriating (like the 5th time the bowl of oatmeal gets dropped to the floor), it has an important purpose: babies and toddlers learn best through repetition. Like little scientists, they’re testing if the oatmeal really drops every time. They’re also learning social information: “Will dad pick it up every time?” “Why is his mood changing as I keep dropping this?”
So many books use some kind of repetition: like the repeated phrase “Ciao!”
Speaking of actions, getting a toddler to sit still is a lost cause. They’re busy little beings. It’s easy to read with an immobile baby – harder to keep a toddler still and focused. So many books for toddlers include some kind invitation to action to help keep them engaged with the book.
That could be an action built right into the page, such as lifting a flap or holes designed for little fingers to poke into.
Babies and toddlers are also still working on fine motor skills – such as the ability to grasp and flip a book page without tearing. They need to explore the world and practice these fine motor skills – but it can be murder on a book.
So most baby and toddler books are board books – those chunky cardboard-style book pages that can withstand chewing, banging, other forms of baby love. They even have rounded corners to prevent an eye or mouth from being poked.
Adults Have to Like Them Too
Since your baby will be asking to reread the same book 10,000 times (and they will), books also have to please the adult doing the reading. A newer trend is to write book series’ that focus on topics of interest to a parent (like science, great literature, etc.), but at a level simplistic enough for a baby. No, your toddler won’t be doing astrophysics calculations in their crib. They’re in it for the baby faces and birdies, but the parent can appreciate the science.
At the end of 2017, I made a pledge. I challenged myself to review good books every month in 2018, particularly books that haven’t gotten as much love as I feel they deserve. I call it Kidlit Karma because I’m aiming to spread the love for books that I love.
This summer I’ve welcomed several writing friends to share books that they love. Today I’m happy to welcome Charlotte Riggle, my friend and fellow children’s book writer. Charlotte and I have never met in person, but we’ve traveled in the same small online writing circles for many years.
Charlotte is a voice for disability representation in children’s books. Both her most recent picture book, THE SAINT NICHOLAS DAY SNOW, and her the previous book, CATHERINE’S PASCHA, feature the main character’s disabled best friend. Neither story is about disability, they’re about children being children. They just happen to be different.
Take it away Charlotte!
Books are magical. When you read a book, you can travel into the future or into the past. You can visit cities and worlds you’ve never been to. You can see animals that you never knew existed. And you can meet people that aren’t like the people in your neighborhood.
And all of this magic has a wonderful influence on the minds and hearts of children. Children who meet all sorts of people – different ages, different races, different abilities – are less likely to accept stereotypes. They are more likely to respond with empathy to all sorts of people. And, wonderfully, magically, meeting those people in books does the same thing.
So it’s important that our children read books about all sorts of people. Including people with disabilities. But there are genuinely not many children’s books with disabled characters. So here are three to get you started: a picture book and two middle grade novels.
Picture Book: A SPLASH OF RED: THE LIFE AND ART OF HORACE PIPPIN by Jen Bryant and Melissa Sweet
If you’re not a student of American art, you probably haven’t heard of Horace Pippin. I hadn’t until I discovered this wonderful book. Pippin is considered a folk artist, or an American primitive artist, like Grandma Moses.
A Splash of Red is a richly detailed biography of Pippin. He was born in 1888 and had what might be considered a privileged life for the grandson of slaves. He attended school through eighth grade. He loved art and drew and painted with whatever materials he could find.
When World War I started, he volunteered to serve. He was injured in combat – his right shoulder was badly damaged. He couldn’t draw anymore. He couldn’t paint. And he couldn’t find anyone willing to hire him.
He married. He helped his wife with her business. And he longed to draw and paint.
Eventually, that passion drove him to do what everyone thought was impossible. He supported his injured right arm with his left hand, and with time and determination, he began painting again.
A Splash of Red is gorgeous, as any book about an artist should be. There’s a wealth of detailed information in the back of the book. The book isn’t intended for very young children. But a child interested in history or art will read this one over and over again.
Middle Grade: INSIGNIFICANT EVENTS IN THE LIFE OF A CACTUS by Dusti Bowling
Aven, the main character of Insignificant Events in the Life of a Cactus, was born without arms. But she hasn’t let that stop her. She has learned to do almost anything any other kid can do, using what she does have: her mouth, her feet, and her wit. Her friends at school have known her since forever, and they’re used to the way she does things. It’s just not a big deal.
But then her dad gets a job running an run-down theme park in Arizona. The family moves across the country. And at age 13, Aven finds herself in a new school, with kids who don’t know her, and who think she’s a bit of a freak.
Aven doesn’t like being stared at. She doesn’t like being treated as if she can’t do things for herself. She just wants to go home to Kansas. But that’s not an option. So she finds a mystery that needs to be solved. Disappearing tarantulas. Missing photographs. A locked room and a locked desk.
Somehow, the mystery seems to have something to do with her.
Along the way, she makes friends with a couple of boys who are also outsiders: Zion, who is seriously overweight, and Connor, who has Tourette’s. Together, they could do what none of them could do alone.
Insignificant Events in the Life of a Cactusis notable for its realistic and unsentimental portrayal of uncommon disabilities. The characters aren’t written as collections of stereotypes. They are well rounded, interesting, utterly charming human beings. And while they grow and develop through their experiences, they do not encounter miraculous cures.
The book is a delight on every level. The publisher recommends it for kids in grades 3 to 7. But if you have an older child who has a significant disability, or who knows someone with a disability, I’m sure this book will resonate with them.
To learn how Dusti Bowling made sure the characters were realistic, read the interview on the Nerdy Book Club.
Middle Grade: HANDBOOK FOR DRAGON SLAYERS by Merrie Haskell
Tilda is the Princess of Alder Brook. But she isn’t particularly interested in being a princess. She would much rather be a nun, working alone in a scriptorium, copying books – or, even better, writing her own books.
Of course, she’s got a lot of reasons for preferring books to the life of a princess. For one thing, her principality is in dire financial straits. For another, many of her subjects think she’s cursed. She’s got a club foot, after all.
The club foot affects who Tilda is and what she does. It’s not just the people who think she’s cursed. Her own mother won’t let her ride horses or do anything else where she might get hurt.
And there’s the pain. Her foot hurts. A lot. Her maidservant, Judith, knows how to help. But the pain and disability make it hard for her to do some things that are easy for others.
There are days that running away from her life at Alder Brook seems like a good idea.
And when her cousin Ivo kidnaps her mother, and then Tilda, to take Alder Brook away from them, she has to run away to survive. Judith and a would-be squire named Parzifal join her. They decide that, while avoiding Ivo, they should go on a quest to kill dragons.
Because it gives them something to do. And dragons are evil, right?
Well, that’s what Tilda and her companions think at the beginning of their quest. But through their encounters with the Wild Hunt, the Horses of Elysium, an evil magician, and (of course) a dragon, they learn a great deal about dragons – and about themselves.
I don’t just read YA – I read middle grade novels and picture books, too. And Handbook for Dragon Slayers is perhaps my favorite middle grade novel of all time. Tilda’s encounters with the dragon are especially wonderful.
At the end of 2017, I made a pledge. I challenged myself to review good books every month in 2018, particularly books that haven’t gotten as much love as I feel they deserve. I call it Kidlit Karma because I’m aiming to spread the love for books that I love.
This month’s collection of books are all inspired by my eldest daughter, who is a struggling reader. Yes, children of writers can be struggling readers. So can bookworms. Though I was never diagnosed, I strongly suspect I’m mildly dyslexic.
Yes, writers can be dyslexic, too.
If all of this is throwing you for a loop, I recommend the book The Dyslexic Advantage. Not every struggling student is dyslexic, but for the 1 in 5 students who are dyslexic and the adults that love them, this book is revolutionary.
What if I told you there were books that are easy to read and enjoyable enough that even struggling readers will willingly devour them?
It’s not magic, it’s graphic novels.
So here’s the part where you start telling me that these aren’t real books, etc. Is a child reading a comic getting practice at decoding words? Are they having fun and learning to like reading so they will want to read more in the future? Yes and yes. And that will make them a better and more willing reader later.
It’s about buy-in. My eldest listens to audiobook novels for kids twice her age. So she detests having to read easy readers. Something with a real plot that’s within her ability is very welcome.
Graphic novels have been the gateway for many readers. When you see a child who has struggled for years, picks up a book an inch thick and read it in 5 hours straight – there’s nothing to match their excitement at reading a “BIG” book or your pride at seeing the many hours of hard work come to fruition. And because of that success and excitement, she has read voraciously every since.
Maybe it is magic after all.
So with that in mind, here are some of our favorite graphic novels to get you started.
Graphic Novel: GHOSTS by Raina Telgemeier
Cat is not happy about having to move to a new town, but her little sister Maya is sick and they have to make the move to keep her healthy. Once they move, they discover that the town is haunted. But are the ghosts evil or friendly?
This story weaves together the kind of complex social struggles of a middle grade novel with the Mexican custom of the Day of the Dead. I present this book as a refute to the claim that graphic novels don’t involve brilliant bring-you-to-tears storytelling.
Raina Telgemeier has many more award-winning graphic novels, so make sure to check them all out.
Graphic Novel: PHOEBE AND HER UNICORN by Dana Simpson
Phoebe is out skipping rocks one day and smacks a unicorn, breaking her from the spell of her own reflection. As thanks for freeing her, the unicorn grants her one wish. Phoebe’s wish: to be best friends with a unicorn. But she gets a bit more than she bargained for.
My husband was the one to discover this series. It was originally posted as a webcomic and we both fell in love with the humor and wit. We introduced it to our daughter, and that was that.
Making friends is not easy. It certainly wasn’t for shy little Shannon. And even when she had The Group to play with, she wasn’t sure they were friends worth having. Finding real friends is hard, but ultimately worth it.
This award-winning book is full of humor and heart. And though it’s set in the 70’s, the story is timeless
A miraculous new invention gives young Cece the ability to hear for the first time. But school is hard enough without a bulky hearing aid. She enlists the help of her superhero persona El Deafo to take on the school and make friends.
Graphic Novel: CATSTRONAUTS: MISSION TO THE MOON by Drew Brockington
The world has run out of electricity and it will be a permanent lights-out unless the brave Catstronauts can fix the problem.
What’s cuter than cats? How about cats in space! These books are a delight with a fun narrative, purrfect puns, and gorgeous illustrations. My kids giggled all the way through and eagerly asked for more.
It’s a start. But if we’re going to reshape the kidlit community, we need more people acting to make that happen.
I’ve considered how I can contribute to #kidlitwomen and support my fellow female writers. My other great passion (besides writing) is science. In a former life, I was a PhD-track academic studying language and the human brain. So looking for answers naturally led to science and what it can tell us about this moment and this movement.
COGNITIVE DISSONANCE: Now what?
The recent revelations of sexual harassment in kidlit were jarring. (I wish I could say that’s it’s equally jarring to see how men have consistently been supported to the detriment of women, but many of us saw that one coming.)
It’s jarring partly because the view from the outside is a very loving and supportive community. And from the inside, that is the predominant experience. It’s one of the best communities I’ve ever been privileged to participate in.
But predominant experiences aren’t the only experience within our community. Some have experienced harassment, assault, and manipulation. Professional organizations have allowed this to continue for years.
Realizing that the mostly warm fuzzy community you love was also hiding predators is unsettling. Cognitive dissonance is the scientific term for this feeling. It’s the jarring sensation you get when you have two contradictory ideas. It’s like realizing your sweet uncle Bob, that always brought you the just-right book to shepherd you through the turbulent teen years, was also a hit man for the mob. It’s upsetting. It makes you question EVERYTHING.
You have two options:
Deny or downplay the new information that caused the cognitive dissonance. (“Uncle Bob would never do that!” or “But he’s a really nice guy.” or “He’s just been having a really hard time in his marriage.”)
Accept the new information and change your worldview. Taking apart your broken set of beliefs and putting them back together is a truer, better way. It’s uncomfortable, but in the end, it’s better. And it’s the only way to move forward.
Cognitive dissonance doesn’t have to be a bad thing. Reassessing is a necessary part of life. You might still care about uncle Bob, but given what you now know it would be plain stupid not to change how you interact with him.
So in this moment, when our view of the kidlit community has been flipped inside out, take a breath. Don’t resist the discomfort with a “no they didn’t” or “nothing is wrong” or “it’s not a big deal.” Resist the urge to defned or rationalize away what you now know.
Pause. Listen. Process.
Then let your worldview shift. Accepting and acting on this newly discovered reality is how we move on.
BYSTANDER EFFECT: How do I stop sexual harassment?
Ready to take action? Great! You’re determined to be a part of the solution and put a stop to sexual harassment. How do you do that? Let’s start somewhere a little easier.
Imagine you’re in a crowded grocery store – everyone is rushing to get food for the next big holiday. And in the middle of a crowded aisle, an older woman trips and falls. She’s sitting there, leaning against cans of corn beef.
You’re just as harried as everyone else – you’ve got food to buy, preparations to make, kids whining. Do you stop and ask if she’s ok? If she’s fine, you lose time, look a bit foolish, and maybe embarrass her. Lots of other people are there and none of them seem to be rushing to the woman’s aid.
Research says you’ll most likely keep going. It’s called the bystander effect – the more bystanders that see the little woman in the canned-meat aisle, the less each one feels responsible for her.
If you saw that same older woman trip on a remote mountaintop it would be obvious that you should act – no one else is around, and she has no other way to get help. But when you’re surrounded by other people, you don’t feel quite as responsible.
It’s often unclear if help is needed. The woman may just need a minute to regain her composure. Or she could have had a stroke. She might not be able to call out for help because of her physical condition in the moment. But if everyone is looking and waiting for someone else to act, then no one ever gets around to it.
There’s a really simple cure for the bystander effect.
Know that it exists and realize that people are unlikely to act.
Act on that realization.
It’s the same concept that underlies the phrase “if you see something, say something.”
Smile and say hi to the women. Maybe make a joke or tell an anecdote to put her at ease and relieve her embarrassment. “Sometimes I think they put ice on these floors.”
Then offer her a hand up. She may turn it down. She may gratefully smile back, take the hand up then finish her shopping. Or she may be unable to get up or unable to respond. No more ambiguity, call an ambulance. If you need help, single out a specific person in the crowd. Make it obvious that that person, yes, you in the red shirt are now responsible for calling the ambulance. Now you’ve broken through another person’s bystander effect, too.
Now imagine that instead of a feeble woman at the grocery, you’re in a crowded post-conference get-together. Lots of those lovely kidlit folk are chatting about their favorite topic – books! – while sipping wine. You notice a man putting an arm around a woman. She looks a bit uncomfortable but doesn’t pull away. Everyone else keeps chatting, unconcerned. She hasn’t pulled away or asked for help; does that mean she’s fine? Or is it like the lady in the grocery store where everyone is assuming someone else will act. Is she trapped by the social situation in the same way the grocery lady might be trapped by her physical situation? Anyone who has given in to middle school peer pressure knows that you can be manipulated by a situation or a powerful person, be they the popular girl, a schoolyard bully, or a sexual predator hiding among the kidlit sheep. Anne Ursu’s survey results were full of examples of situations where women did not feel they could speak out on their own behalf.
What to do? Like the lady in the grocery, if you see something, do something. Approach with compassion. Try to ease awkwardness and embarrassment. And if you sense a dangerous situation, get help.
If it were me, I would walk up and say “Excuse me, do you know where the ladies room is? Could you show me?” I’ve now engaged, I can better judge the situation. And I’ve given her a valid excuse to leave the situation on good social terms. She can choose to take the hand I extend or not. But if I sensed she was in real danger – like a man separating her from me, trying to pull her away, or preventing her from grabbing that metaphorical hand, I would be more direct. “You look uncomfortable. Do you need help? Would you like me to call someone?”
Would I be embarrassed? VERY. I would probably be beet red and feel like an intruder, but it’s important. If I misread the situation, they can laugh at me later. But if I didn’t….. I don’t want to be complicit through my lack of action.
So you reading this, yes you with the good intentions feeling uncertain how to proceed, step out of the crowd and act. Act when you see someone in need. Act even if you’re not sure help is needed. Act even though you feel embarrassed. Just ACT.
TEND AND BEFRIEND: How do I prevent sexual harassment?
Long ago, researchers found that people have one of two reactions to threat: fight or flight. So when you stumble into a bear in your backyard, you can either fight it or run away.
That research was based on men. New research found a wider variety of responses. They found that women, in particular, are more likely to protect their children and band together for group protection. Since scientists like rhyme as much as writers, they coined the phrase “tend and befriend.”
A single person may seem to have little power, but when those small actions are put together for a common purpose, they can effect enormous change.
So how can tend and befriend work for creating change in the kidlit community?
TEND: First, we need to protect the most vulnerable. That means protecting those that have already suffered sexual harassment. It also means creating protections for those who are more vulnerable such as women who may be harassed by a more powerful abuser. Or women of color who are doubly vulnerable. Acting in the moment is powerful and necessary. Tend to the woman at cocktail hour with the unwelcome arm around her shoulders.
BEFRIEND: If we want to effect large change and create a community where sexual harassment is not tolerated, we need to join together as a band of brave women and their allies. We are stronger together, so let’s use that power.
As a band of women and allies, we can push the gatekeepers of our industry to guard the gates and keep the harassers out. Agents, editors, conference organizers – we as a group should demand that all these people have clear policies and practices that protect us all. SCBWI has begun that process as have some agents. Perhaps others are doing it behind closed doors. But I won’t assume others will act, it’s too important. I will say something.
Throughout the month of March, many women and allies will be sharing their #kidlitwomen stories. Including many ways that we can work together to create a better community for everyone. I will be supporting those people by sharing their ideas and taking action. Be engaged on social media. One voice alone is quiet, many together is a roar that can’t be ignored.
YOUR MANUAL FOR MOVING FORWARD:
Listen and accept that something is broken within the kidlit community.
Shift your view to a healthier, truer one.
Decide to act.
If you see something, say something. Even if you’re unsure if help is needed. (Especially if you’re unsure.)
Support one another but especially tend to the most vulnerable in our community.
Band together and put all out small efforts together to create a big change in kidlit. A change that makes our whole community a safer place.
The #metoo and #kidlitwomen movements are much larger than I can address in a single post. I limited myself to only discussing sexual harassment and how to prevent it. But I could easily have talked about the culture that allowed the harassment to occur. Or about how the system promotes male authors at the expense of female authors. Or how the double-whammy of sexism and racism makes it especially difficult for women of color. Or the role that men need to take to help us reshape this industry into something safer and more equitable for all. I’m leaving those topics to others who are better equipped to speak to that experience. We’re a band of brave women, after all. We don’t need to deliver every message, sometimes it’s enough to pass the microphone.
My biggest 2017 goal was to get a literary agent. An agent will help me achieve my larger career goals by giving me more guidance, helping me produce the best possible work, and opening more doors.
So throughout 2017, I did all the things you’re supposed to do to get a golden ticket to the land of agented writers. I wrote a lot; I improved my writing through classes, webinars, and conferences; I read copious numbers of books; and I submitted widely but wisely.
I did all the right things. No agent.
Why? Because it’s true what agents say: sometimes the time isn’t right or the fit isn’t right or the stars just do not align in my favor. I came close, but it just wasn’t right.
I “failed” my goal despite having the most productive writing year of my life, despite getting a new book under contract, despite reading a bunch of wonderful books, and improving my writing craft.
Someone rightly pointed out that my goal was doomed from the beginning because it was a goal that was out of my control.
I can’t make an agent fall in love with my book. I can’t make the industry change to suit my writing style. I can’t demand that an agent with a full client list, make room for little ol’ me. All I can do is make myself the best possible writer and be ready when the stars do finally align in my favor.
So I flipped the perspective.
Instead of goals we can’t control:
I will get an agent
I will get a promotion at work
I will get a book deal
I’m dedicating myself to the type of goals I can control:
I will write, read, learn, and submit
I will exceed all deliverable goals at work
I will write daily
In the end, these things often amount to the same thing. Doing your best on the things you can control often leads to the outcomes you can’t control. I didn’t set a goal to have the most productive writing year of my life, but it happened because I aimed to write daily.
I didn’t get an agent this year. But I did set the groundwork to be the best writer I can be. In time, that will attract an agent. I just have to remember to keep doing the work and have faith.
When my stars align, I will be ready.
Check out this post to learn more about setting wise resolutions.