Tonight marks the first night of Passover, so I thought I’d share a bit about what the holiday celebrates and what it means to me. Passover is one of the most important Jewish holidays of the year, and is probably the most observed Jewish holiday after Rosh Hashana and Yom Kippur (despite what people think about Hanukah!).

Passover commemorates the story of the Israelites’ exodus from Egypt, as told in the old testament (or, if you’re the kind of person who waits for the movie to come out, as told in The Ten Commandments). According to the story, the Israelites were enslaved in Egypt for 400 years, until God, with the help of Moses, led them out of Egypt and into freedom.
Whether or not you believe in God or the Old Testament, the Passover story resonates. For me, one of the most meaningful parts of it is the acknowledgement of how truly terrible and traumatic slavery is: terrible enough that, although Jews were slaves many thousands of years ago, we still recall the experience in great detail every year. We even eat bitter herbs during the seder, the traditional Passover meal, so that the bitter taste of slavery is fresh on our tongues.

Unfortunately, slavery is not ancient history; in fact, it’s alive and well in many parts of the world. Whether enslaved by law, by force, or by poverty, many human beings living on earth today are not free. Passover is a time to really meditate on what that means – and, perhaps, on our part in it. What have I done to support or abolish slavery? Am I buying from companies with good labor practices? Am I aware of what’s happening in my own community? Are there sustainable ways of dismantling slavery that I can support?

Although slavery is a heavy subject, I actually think it’s one that young people can really understand deeply, and Passover is a great time to explore it together. Over at Pinterest, we’ve rounded up some books for children about Passover and/or freedom. These books are great ways to start a discussion with young readers about slavery, both ancient and modern.

Another resource I’ll be thinking about a lot this year is a documentary I saw last week called Girl Rising, by the organization 10 x 10. The documentary focuses on the stories of ten girls from around the world and shows that for many young women, the passage from slavery to freedom is an education. Definitely worth watching, and suitable for children 12 and up. Taking kids to a screening near you would be a great way to celebrate the holiday.

If you have other slavery/freedom related resources for young people, feel free to leave them in the comments. And to all those who are celebrating tonight, I wish you all a very happy (and meaningful) Passover!

Further Reading:

What does Ramadan celebrate?

What does Chinese New Year celebrate?

Since it’s Women’s History Month and baseball season is right around the corner (!), we asked our favorite sports expert, author Crystal Hubbard, whether she thought women should be allowed to play professional baseball. Here’s what she had to say:

Pitcher Jackie Mitchell signed a contract to play for the Chattanooga Lookouts, a Southern Association minor league team, in 1931. This deal differed from most because Mitchell wasn’t like the other boys. She wasn’t a boy at all. She was a woman, one of the very few to play professional baseball on all-male teams. Although Mitchell struck out Babe Ruth and Lou Gehrig in an April 2, 1931 exhibition game against the New York Yankees soon after signing with the Lookouts, baseball commissioner Judge Kennesaw Mountain Landis canceled Mitchell’s contract, claiming that baseball was too strenuous for women. Commissioner Ford Frick, on June 21, 1952, officially banned women from professional baseball.

Marcenia “Toni Stone” Lyle, Ila Borders, and most recently, Eri Yoshida of Japan, are among the very few truly accomplished female baseball players who found spots on the rosters of professional male teams. In 1993, Carey Schueler—the daughter of then White Sox general manager Ron Schueler—was drafted by the White Sox, becoming at 18 years old the first woman ever drafted by a Major League team.

Schueler, a left-handed pitcher, never took the field for a game.

While banning women from almost any other field would lead to a lawsuit, the No Girls Allowed code of Major League Baseball remains. Is it because women are too delicate for the physical challenges of MLB, or because they don’t have the physical ability or talent? Some women, perhaps. But not all, as evidenced by Mitchell, Lyle, Borders, Yoshida, and a fresh generation of skilled female Little Leaguers.

The same physical limitations used to justify banning women from professional baseball can also be applied to most male players—they aren’t strong enough, they aren’t fast enough, they aren’t good enough. Some female athletes are strong enough. And fast enough and good enough. Yet they still don’t have the same opportunities their male contemporaries enjoy. Male athletes who play baseball well have the chance to earn scholarships to college and perhaps even play professionally. Female athletes deserve the same.

No capable athlete should be banned from the Major Leagues because of her gender. Diamonds are a girl’s best friend. It’s long past time we redefined that saying.

Crystal Hubbard is a sports buff and full-time writer. Her books include Catching the Moon: The Story of a Young Girl’s Baseball Dream, Game, Set, Match, Champion Arthur Ashe, and The Last Black King of the Kentucky Derby.

While it may not feel like it, today is the first day of spring! We’re very excited for our forthcoming spring titles, which you can check out here. To kick off the spring season, here’s an image and poem from Laughing Tomatoes and Other Spring Poems/Jitomates Risueños y otros poemas de primavera, written by Francisco X. Alarcón, and illustrated by Maya Christina Gonzalez, published by Children’s Book Press, an imprint of LEE & LOW.

Spring

the hills

are starting

to crack

a green smile

once again

 Primavera

las colinas

comienzan

a sonreír

muy verdes

otra vez

We’ve invited Karen Sandler, author of Tankborn and the sequel, Awakening, to the blog to share her wisdom about how to plot a trilogy. In her first guest post last week, “The Trouble With Trilogies,” Karen shared the challenges she experienced while plotting the second two novels in her Tankborn series. Today she shares five useful tips for writers taking a stab at trilogies:

Five Tips for Writing Trilogies

1. Keep notes on the culture, including governmental structure, societal structure, flora and fauna, religion, and local calendar. You’ll want to refer to it often. 
2. Draw a map and keep it up to date. In my case, the Tankborn series takes place on a planet called Loka, in which there are different regions called sectors. I added sector names to a map as the stories progressed. I had to keep track of the fact that, for example, Daki sector was northwest and Sona sector southeast. 
   

   The continent Svarga

3. Keep a list of character names. I didn’t do this as much as I should have, which meant I had to constantly search the previous manuscript for a particular name. 
4. Keep track of your invented terminology and other names unique to your story. While some of this I scribbled in a folder (for example, the names of the trinity moons on Loka are Abrahm, Avish, and Ashiv), most of my invented words were incorporated in a glossary that appears in Awakening, the second book. I’ll keep adding to this for the third book, Revolution.
5. In the end, sometimes you just have to let story take precedence over continuity. I know some readers will exclaim, “Wait, she never talked about this in Tankborn!” But some things are just too good to leave out even though I hadn’t thought of them while writing the first book. Nothing I have added directly contradicts the Tankborn world (GENs—genetically engineered nonhumans—aren’t suddenly being genned with wings, and Svarga’s Got Talent! isn’t suddenly the new hit TV show). The additional material fits the current society/culture, it just wasn’t highlighted before. 
   

   A drom, one of the fictional animals that inhabits the Tankborn world

Further Reading

How to Plot a Trilogy Part I: The Trouble with Trilogies

Jaclyn DeForge, our Resident Literacy Expert, began her career teaching first and second grade in the South Bronx, and went on to become a literacy coach and earn her Masters of Science in Teaching. In her column she offers teaching and literacy tips for educators.  This is the second in a series of posts on thematic text sets.

One aspect of the Common Core that I get asked questions about all the time is thematic text sets. What are they? How do you know which books to use? What types of texts should you be pairing together?

Fear not! I’ve compiled some examples of text sets that cover one topic and span multiple genres and reading levels. Some of the titles you may already have in your classroom library, and others I think you’ll enjoy discovering. In my first post, I compiled books about the moon. Today we look at books about Kenya:

Theme/topic: Kenya

Grade: 3rd-4th

Informational Text: Only the Mountains Do Not Move by Jan Reynolds (Guided or Shared Reading)

• provides information about the Maasai people of Kenya
• can be used to address informational text standards

(a free Teacher’s Guide is available for this title)

Realistic Fiction: First Come the Zebra by Lynne Barasch (Independent Reading)

• the main characters in the story are from the Kikuyu and Maasai tribes
• can be used to address literature standards

(a free Teacher’s Guide is available for this title)

Narrative Nonfiction: Brothers in Hope: The Story of the Lost Boys of Sudan by Mary Williams (Read Aloud)

• the story chronicles the Lost Boys’ journey from southern Sudan to Kenya
• can be used to address informational text and literature standards

(a free Teacher’s Guide is available for this title)

Biography: Seeds of Change: Planting a Path to Peace by Jen Cullerton Johnson (Read Aloud)

• discusses the life and contributions of Nobel Peace Prize winner Wangari Maathai
• can be used to address informational text and literature standards

(a free Teacher’s Guide is available for this title)

What books would you put on this list?  Add your favorites in the comments!

Further Reading: Thematic Text Set: The Moon (2nd grade)

(cross-posted from Karen Sandler’s blog)

In two guest posts, Karen Sandler, author of Tankborn and the sequel, Awakening, shares her wisdom about how to plot a trilogy.

Part I: The Trouble With Trilogies

Back in my romance writing days, I didn’t write trilogies.  The love stories I wrote were one-offs. Although half of my Harlequin books were all set in the same small town of Hart Valley and had some overlapping characters, there weren’t any connections between the stories. There were two books I did for Harlequin that were part of the Fostering Family mini-series, where the second book picked up where the first left off. Characters from the first book were mentioned in the second, but the main story revolved around a new hero and heroine.

Then along came Tankborn. When I first wrote Tankborn, I had a hazy idea of possibly writing a trilogy. Then when I signed with my agents and we were getting the manuscript ready for submission, they suggested I write up short blurbs for a second and third book. When we sold to Lee and Low/Tu Books, the original contract was only for the one book, but we later sold them two other books to complete the trilogy.

So my foray into writing my first real trilogy actually commenced with the second Tankborn book. With book one, I was blissfully ignorant of how anything I wrote might have a ripple effect into books two and three. Although I’d still had that hazy idea of writing two more books, I completed Tankborn and saw it into print before I ever wrote word one of the second book, Awakening.

And that was when the hand-shackles went on. From the moment I started Awakening, I had to constantly keep in mind the Tankborn universe. The book was already printed, many, many people had already read it, and while most readers probably wouldn’t notice if some little detail wasn’t consistent, someone somewhere would.

So I certainly couldn’t change the planet my characters were on from Loka to somewhere else. I could not make the sky blue instead of green. There had to be two suns in the sky, not one. And seycats and droms had to have six legs, not four or eight. In other words, I couldn’t fudge or goof. The first book was already in print, there for anyone to refer to and point out my mistakes.

Still, as I wrote Awakening, I thought it was pretty cool having the Tankborn universe already defined. I didn’t have to re-invent the wheel. If I couldn’t remember whether seycats had stripes or spots, or just how tall a genetically engineered drom was, I had the best reference in the world–the first book.

So I finished Awakening feeling pretty good about things. My editor and I had a great round of developmental edits that strengthened all my characters and added some complexity to the plot. Then it was time for the copy editor.

That’s when the oopsies started. For instance, Risa, a very minor character in Tankborn, is a prominent secondary character throughout Awakening. As I fleshed out her character in the second book, I gave her red hair mixed with gray. I didn’t bother to check in Tankborn to see if I’d mentioned what color hair Risa had. But the copy editor did check. And pointed out that in Tankborn, Risa is described as having dark hair. For continuity’s sake, Risa’s hair couldn’t be red.

This may seem very minor (and it was for the most part). But I was a little sad at the necessity because Risa has a pet seycat (a wild feline indigenous to the planet Loka) and seycat coats are red (with black/grayish markings). I’d really liked the idea that Risa’s hair matched the seycat’s. That had to go away with the change of hair color, which required a bit more tweaking than a simple change from red to dark.

Sketch of a seycat

The second blooper was an incorrect character name. There’s an important character who plays a very minor role in Tankborn, a slightly more important role in Awakening, and will play a major role in the third book of the trilogy, Revolution. I used the wrong name for her throughout Awakening. I hadn’t remembered that one of the last changes we made in Tankborn before it went to print was to change that character’s name. Again, it was a good catch on the part of the copy editor that saved us from using the wrong name and really confusing readers.

Alas, there is an error/inconsistency that was my fault that sneaked its way into Tankborn. I only noticed it as I was working on Revolution. There’s a shrub on the planet Loka called a sticker bush. At least that’s what I was calling it all through Awakening, what I thought I’d called it in Tankborn. But it turns out that at some point, I decided to call the sticker bush a prickle bush instead. And I wasn’t even consistent at that, because while I call it a prickle bush twice in Tankborn, I call it a sticker bush once.

Sticker bush, aka a prickle bush

So what to do? Prickle or sticker? I realized I liked sticker bush better and made an executive decision to call it that, inconsistency be damned.

Live and learn. Continuity in trilogies has proved to be a tricky business. I’ll have another chance to play around with this in my upcoming mystery series from Angry Robot/Exhibit A, which begins with Clean Burn. Since it’s not science fiction, it should be a piece of cake, right?

Right.

Thanks, Karen! Stay tuned next Tuesday for part II: Five Tips for Writing Trilogies.

In a groundbreaking announcement, First Book, a non-profit social enterprise launched the Stories for All Project. The project’s aim is to introduce a significant number of multicultural books into the hands of low-income children. LEE & LOW was chosen as one of two publishers to be a part of this endeavor and receive a $500,000 award.

For us the presence of this project further addresses the fact that diverse books are a necessity. Making multicultural books available to low-income families is a step toward addressing the chasm between people who believe these books are important to actually making the books available to the children who need them.

For years I have been involved in conversations with librarians and educators on the subject of how we need more diverse books. However, there is this strange disconnect where people continue to point out the lack of diverse books without doing the most obvious thing, which is supporting the companies that publish these books in the first place. The support is simple. It involves buying the books. It also involves telling people about the books and recommending them to buy the books. The more this happens the more books we can publish.

In January we announced the finalists of our first New Visions Award, a new writing award for a debut author of color for a middle grade or young adult science fiction, fantasy, or mystery novel. Over the last few weeks, we’ve highlighted these talented finalists on our blog as they answer questions about what inspires them, the writing process, and more. Perhaps among these five finalists you’ll find your next favorite author!

Previously, our New Visions finalists shared their experiences as young readers, and whether they saw themselves represented in books.

In this last post, they share their final thoughts on diversity in genre fiction for middle grade and young adult readers:

Ailynn Knox-Collins

I applaud the efforts that publishers like Tu Books are making to bring diversity into children’s lite  rature. I am humbled and grateful to have been given a small part to play here. I may not ever be published but I will always be writing and will most certainly be a reader for the rest of my life. As a teacher of children from all over the world, I am excited to introduce them to a new stage of diversity in books, where they may find themselves reflected in the stories.

From where I stand, the future of children’s fiction is looking up. They will see more and more books where the covers feature people like them, of all races and creeds, beliefs and lifestyles. Everyone will have a chance to be a hero and every reader will find a place for themselves in the thrilling worlds of mystery, fantasy and science fiction. I can’t hide the huge smile on my face because the child in me is thrilled. I am so proud to be a part of this movement. I hope more writers of color will be encouraged to write from their cultural backgrounds and enrich the book world with new ideas. It wouldn’t surprise me that although the names and settings have been changed, in the end, we’ll discover that there is much that we share with each other; that we have more in common than we realize.

Valynne E. Maetani

Somewhere out there are children just like me. They use reading as a way to escape life’s obstacles. They enjoy being sucked into magical worlds that challenge their imaginations. Sometimes books help them realize their problems are not as bad as they seem. They realize through characters that difficulties are a part of the human experience, but there are others like them who feel and react the same way they do.

In other ways, those same children might be not like me. They are children who might know little about Japan and its foods or customs. They may not have any idea what’s it’s like to grow up Japanese-American or understand how deep-rooted our traditions are.

For all children, books are a way of making connections and allowing them to experience something new. Diversity in middle grade and young adult literature enriches the reading experience by increasing the breadth and depth of what our children have access to, and because of this, there is also an increased chance for children to connect and learn. Both characters and authors of color can provide an introduction to unique perspectives. I find that most intolerance stems from a lack of understanding, and books are one forum which can equip children with information. I’m not naïve enough to think diversity in genre fiction will change everything, but every time we connect with a child, we open doors, and that makes writing worth it.

Rahul Kanakia

In any discussion of diversity, the shadow constituency is white people. Obviously, it’s really nice for teens of color to see depictions of themselves in the media that they consume. But unless those depictions also appeal in some way to white people, then those depictions will not get the major play that they need in order to be published and widely distributed in a way that makes sure they get into the hands of people of color.

And, of course, we all know that it’s good for white people to see the diversity of the world. But that also doesn’t matter. People don’t consume media because it’s good for them. They consume it because they want to be entertained.

So the challenge is to create depictions of PoC that are also entertaining to white people. It’s hard. And it’s often a bit unsatisfying. Writing for an outsider audience means including explanations and “authentic” detail that insiders don’t necessarily need, or want, to see. And if you veer too much in that direction, then you alienate people of your own culture. And that alienation can often be good business, actually, because those people are actually just a tiny fraction of your audience and in terms of getting fame and book sales it makes a lot more sense to feed the preferences of a white audience that hungers for PoC characters who hang around in this tiny sweet spot where they’re alien enough to be picturesque but also relatable enough that they don’t pose a serious challenge to majority culture.

Akwaeke Emezi

I’m curious about what effect it would have had on me as a child and young adult to have had access to more fiction with characters that looked like me, or that came from cultures that I could have related to with more ease. I’ll never know, but I believe that kids nowadays should definitely have access to all that material and I am grateful for all those who are working to make this happen.

Disclaimer- I’m not very immersed in the writer world so this conversation is somewhat new to me. However, it seems to me that diversity in genre fiction (or the lack thereof) is essentially a race issue- who is considered the default race and the limited range of cultures, descriptions, etc that spring forth from that. It’s just not representative of the real world and it does people and children of color a disservice. Stories help people relate to whatever they’re reading about- I had no problem as a child believing that pixies lived in my compound or imagining that the tree in our backyard was The Faraway Tree even though all Enid Blyton characters were white. All children (all people, actually) would benefit greatly from having access to diverse fiction and being exposed to different cultures and people.

Ibi Zoboi

I teach in New York City public schools as a writer-in-residence.  So I have a pretty good idea of what inner city children and teens are dealing with in terms of literacy. These new Common Core Learning Standards are asking students to read broadly and deeply—more informational nonfiction texts.  And part of my job entails listening to teachers complain how this is a huge leap for many of their students. They’re being asked to argue these complex ideas and think critically, yet they have very little sense of themselves, their world and their place in it.

When I teach fiction in places like Brooklyn and the Bronx, I’d get so many blue-eyed, blonde-haired characters in these stories you’d think we were in Norman Rockwell’s America.  They’re emulating what they have to read. Reading the classics is a good thing. But culturally relevant stories will equip these students with the level of critical thinking skills the standards are asking of them.  A great number of sci-fi classics can be paired with well-written YA dystopian novels, for example.  And what if they can see themselves and their culture in these books?  Orwell’s 1984 then becomes that much more relevant.

Underrepresented students who experience school closures, substandard housing, and violence need to be able to think critically about a genre MG or YA novel and how it relates to them.  They need to see themselves taking center stage in heroic stories before they can begin to affect change in their own communities.

Further Reading:

Meet Our New Visions Finalists I: How we got involved in the New Visions Award

Meet Our New Visions Finalists II: How we got involved in the New Visions Award

Meet Our New Visions Finalists III: Writing for people of different backgrounds

Meet Our New Vision Finalists IV: Your relationship to books as a young reader

In honor of Women’s History Month (and International Women’s Day, which is today!), we’ve pinned a roundup of our titles that feature some pretty amazing women on Pinterest. Check out our board and be inspired to make your mark in history!

In her first guest post, author/illustrator Christy Hale shared ideas for how to plan a successful book launch. In her follow-up post, Hale shares tips for planning storytelling and activities for bookstore appearances. Hale is the author and illustrator of, most recently, Dreaming Up, which was named a 2012 ALA Notable Book by the American Library Association and one of the Horn Book Magazine‘s Best Books of 2012.

1.     Consider the audience when planning your program. Bookstores host different types of author events. If possible attend other programs at bookstores where you will appear so you can scope out the typical crowd. The time of the event may be a good indicator of the age level likely to attend. At Kepler’s Story Time Sundays, I have read to toddlers and preschoolers with a few older school age children scattered in the mix. A mid-week morning time program at BookSmart in a shopping mall in San Jose drew in moms and caregivers with toddlers and preschoolers. An afternoon program at Linden Tree in Los Altos brought school age children. An early evening program at Reach and Teach in San Mateo was geared toward whole families. My evening launch party at Books Inc. in Palo Alto was mostly attended by adults.

2.    Plan age-appropriate readings and activities. Attention span and developmental abilities vary from one age group to another.

• 2-3 year olds have an attention span of 3-4 minutes. They like repetition and imitation. They understand actions and objects.
• 4-5 years olds have an attention span of 5-10 minutes. They love fantasy and have great imagination.
• 6-8 year olds have an attention span of 15-20 minutes. They are concrete and literal minded. They can understand chronological sequence.
• 9-12 year olds have an attention span of 30-45 minutes. They like to be challenged and can learn abstract concepts.Try these ideas when reading aloud:
• Practice reading ahead of time and look for themes in your story. Make a list of questions to ask your audience (Who has seen a _____? Who likes_______?) Find areas of the story that allow for active participation.
• Be expressive! Ham it up and act it out. Enthusiasm is contagious.
• If you have a long story, feel free to skip some parts to adapt to the attention span of your group.
• Invite children to add sounds effects at select points in the story (animal noises, wind blowing, car motor, and so forth). In Elizabeti’s School, Lee & Low author Stephanie Stuve-Bodeen asks children to count to five in Swahili along with her, “Moja, mbili, tatu, nne, tano.”
• Model actions for kids to follow (Look right. Look left. Look up. Look down. Look all around.).
• Ask kids to join in repeating phrases.
• Employ props; bring show and tell. I bring a kanga from Tanzania when I read Elizabeti’s Doll.
• Use visual aids that allow for kid participation, like felt boards, large sketchpads.

3.     Consider the physical space allotted for your reading and activity. Will attendees sit in chairs? On a rug? Are there tables for activities? Can attendees spread out on the floor?

4.    KISS (Keep It Simple, Stupid)

• Plan activities that involve supplies the bookstore might have on hand (like glue sticks, colored crayons, pencils, and markers) OR provide your own supplies.
• Avoid activities that require water for clean up.
• Design your own activity handouts that can also serve as further promotion.
• Consider open-ended activities that allow children and adults to participate at their own developmental levels.

Here are some examples of bookstore activities I’ve designed that have been a big hit:

Dreaming Up: A Celebration of Building

• BUILD YOUR DREAMS SLOTTED BUILDING CARDS. (downloadable PDF) Materials: scissors, colored pencils, and some big dreams.
• MINI DOMES. Materials: toothpicks and gumdrops.

The East-West House: Noguchi’s Childhood in Japan

• DESIGN YOUR OWN DREAM HOUSE (downloadable PDF) Materials: printouts of PDF, pencils, and imagination. Great lesson for older kids.
• EAST-WEST KIDS COLLAGE (downloadable PDF) Materials: printouts of PDF, recycled patterned business envelopes, scissors, glue sticks, and colored markers.

Further Reading:

How to Plan A Successful Book Launch, Part I

In January we announced the finalists of our first New Visions Award, a new writing award for a debut author of color for a middle grade or young adult science fiction, fantasy, or mystery novel. Over the next few weeks, we’ll be highlighting these talented finalists on our blog as they answer questions about what inspires them, the writing process, and more. Perhaps among these five finalists you’ll find your next favorite author!

Previous posts by our New Visions finalists:

• Learn what brought Ailynn and Valynne as well as Ibi, Rahul, and Akwaeke to Tu Books and to the New Visions Award competition in particular.
• Read about their experiences writing from a cultural background that may be unfamiliar to most young readers. 

Q: What was your relationship to books and reading as a child or teenager?  In what ways did you see yourself represented in books?

Ailynn Knox-Collins

I was seven when I attended my first boarding school. Determined to hate the experience, I succeeded at being miserable. Over the next few years, I changed school six times. I was always the new kid, but I wasn’t the nice one. I got into fights, defied teachers and even started a gang to beat up boys (I didn’t actually beat up anyone). Adults whispered about me when they thought I wasn’t listening. I was the poor child whose parents were getting a divorce. Because of that, I got away with everything which just made me more miserable.

Then one day, a teacher introduced me to CS Lewis and his worlds brought a spark into my self-imposed misery. Books became my escape. I devoured every story, mostly fantasy at first. I began to write as well, putting myself in places where I could be somewhere or someone else. Meeting Austen, Hardy and the Bronte sisters began my love affair with classical English literature. Those were wonderful years. Finally, Asimov came along and that opened the world of science fiction to me. Life became hopeful even while aliens were invading and snatching bodies, because the heroes always triumphed. And that’s where I kept seeing myself, whether or not the characters looked like me or spoke like me. They came out on top at the end and in my darkest moments, that was what I needed the most.

Ibi Zoboi

I was one of those statistical kids who did not own books. My mother worked two jobs to send me to Catholic school and we lived in a part of Brooklyn where little girls did not skip to the library on their own.  We did own encyclopedias, though, but not novels and picture books.  This had more to do with culture rather than economics.  For students in Haiti, reading was more for rote memorization of textbooks. That’s what my mother made me do with the encyclopedias.

I was dealing with some serious identity issues by the time I got to high school.  We’d moved to suburban Queens and I went to a mostly white Catholic high school.  I desperately wanted mirror stories but I’d settled on having some sort of movie star idol instead.  Halle Berry was just starting out then and she had starred in the TV movie Alex Haley’s Queen.  That’s what led me to reading the actual book. Then I read Alex Haley’s Roots and looked for other titles in that section of my high school’s library—slave narratives (which at some point led me to Octavia Butler’s Kindred).  Then I got mad at the world and worked in a bookstore all throughout college and read everything I could afford on my employee discount (RIP Waldenbooks).

It all started with wanting to see an image of beauty and success that was real to me. Halle’s hair was short and she was black and she’d been a heroine. I don’t think I would’ve been so superficial if I’d seen some of those images in books as a child.

Rahul Kanakia

My mom gave me Isaac Asimov’s Foundation when I was around 10 years old. She’d first read it as a kid in Mumbai in the 1960s. I loved the book’s thought-provoking premise and epic scope and I knew that I wanted more of that. Until I went to college, I only read science fiction and fantasy novels: mostly hard science fiction, space operas, military SF, epic fantasy, and swords and sorcery.

All of these subgenres are largely comprised of adventure stories. They’re about heroes who triumph over tremendous obstacles. And, because I read hundreds and hundreds of these books, I wanted to grow up and become a hero. Many SF fans of color go through a period of disillusionment when they realize that the genre doesn’t care to represent them. That did not happen to me. For whatever reason, I had no trouble identifying with the square-jawed white protagonists.

My disillusionment arose when I realized that heroism is a bit of a sham. It doesn’t exist in real life. Or, at least, not in the way that they write about it in the stories. Of course, everyone realizes that eventually. And, after growing up, some people are still able to find value in the metaphor: the hero represents some spiritual transcendence or state of striving. But I was never able to get over my disappointment. To this day, I find it difficult to read a traditionally-structured SF novel.

Valynne E. Maetani

In the third grade, I skipped recess so that I could read a series of non-fiction books. Each detailed the life of someone famous in history. Only one of those books was about a woman: Marie Curie. Shewas smart and brave, and I wondered if I could ever be like her. Often, my father would surprise me with books. Each had strong female characters like those in Little Women or The Good Earth. In our Asian culture, where emotions are rarely exposed, this was his way of telling me that he believed I could be brave and strong like Madame Curie, the March women, or O-Lan.

At some point, I fell in love with mysteries, devouring Encyclopedia Brown and eventually books by Agatha Christie. Yet I realized there were rarely characters of color. So a few years ago I decided to write a book for my youngest sister’s eighteenth birthday. I had a vague idea of the storyline but knew it would be a mystery; the protagonist would be a strong young woman; and she and her family would be Japanese. What I wanted to share through my writing is that as much as we try to fit in with those around us, we will always be different. I realized, once I was older, that being different is the precise thing my friends loved about me and my family. At the heart of it, we are all humans at the mercy of human experiences, and our differences should be embraced and appreciated rather than dismissed.

Akwaeke Emezi

My relationship to reading has always been a huge part of my life and luckily, both my parents were avid readers who happily loaded me up with books. I read everything I could find; my favorites were authors like Lewis Carroll, Kipling, James Herriot, Enid Blyton, C.S. Lewis, J.K. Rowling, etc. I also read several classics as a child/teen simply because they were in my house and I needed things to read: Anna Karenina, Crime and Punishment, The Odyssey, A Tale of Two Cities, etc. I remember reading Flowers in the Attic before I was ten…that was quite an experience!

I was always reading at the dinner table, at school while on break, by candlelight because the power was always out, in the bathroom- I was insatiable and churned through books quickly. We had an outdoor book market at the Post Office in my town in Nigeria, where you could bring second hand books and swap them out for more, which was a great resource.

As a child/teen, I always felt there was a place for me in all the books I read because that’s what fantasy and fiction had taught me, that I could belong anywhere because everything was possible.

Further Reading:

Meet Our New Visions Finalists I

Meet Our New Visions Finalists II

Meet Our New Visions Finalists III

Jaclyn DeForge, our Resident Literacy Expert, began her career teaching first and second grade in the South Bronx, and went on to become a literacy coach and earn her Masters of Science in Teaching. In her column she offers teaching and literacy tips for educators.

One aspect of the Common Core that I get asked questions about all the time is thematic text sets.  What are they?  How do you know which books to use?  What types of texts should you be pairing together?

Fear not!  I’ve compiled some examples of text sets that cover one topic and span multiple genres and reading levels and over the next few weeks, I’ll be sharing these sets with you.  Some of the titles you may already have in your classroom library, and others I think you’ll enjoy discovering.

Theme/topic:  The Moon

Grade: 2nd

Informational Text:  The Moon Book by Gail Gibbons (Shared Reading)

• provides scientific information about the moon
• can be used to address informational text standards

Nonfiction Poetry:  A Full Moon is Rising by Marilyn Singer  (Read Aloud)

• provides scientific information about the moon
• provides information regarding moon-related festivals, traditions, holidays, and celebrations
• can be used to address informational text and literature standards

Realistic Fiction: Owl Moon by Jane Yolen  (Guided Reading)

• the moon plays a central role in the setting of the story
• can be used to address literature standards

Realistic Fiction:  Surprise Moon by Caroline Hatton (Independent Reading)

• discusses celebrations and festivals related to the moon 
• can be used to address literature standards

from A Full Moon is Rising

What books would you put on this list?  Add your favorites in the comments!

Everyone knows Frederick Douglass and Martin Luther King, Jr., but there are many other African Americans who have contributed to the rich fabric of our country but whose names have fallen through the cracks of history.

We’ve asked some of our authors who chose to write biographies of these talented leaders why we should remember them. We’ll feature their answers throughout Black History Month.

Today, Don Tate shares why he wrote about Bill Traylor in It Jes’ Happened: When Bill Traylor Started to Draw:

Bill Traylor was an “outsider artist.” He learned to draw in much the same way that I learned to paint: by trial and error. He taught himself to draw. Somehow I felt an immediate kinship to Bill. In his day, Bill’s art sold for about 10- to 25-cents and was panned by art critics as “primitive.” Today Bill’s art is collected by top art connoisseurs, and is on display in museums all over the world, selling for thousands of dollars. I love these kinds of stories where the “outsider” gets the glory.

Bill had an inborn – I believe God-given – talent that came forth in time of great need. That spoke to me, too. It supported my belief that all people are born equipped with everything needed to overcome great obstacles in life and do great things.

I think it’s important for children to be exposed to a variety of historical figures. Black history is not limited to the one or two people that are so often written and published about. In addition to civil rights, African Americans have made great contributions to science and technology, arts and literature, sports and entertainment, education and business. Bill Traylor was an artist, but he was also a journalist, though he may not have realized it. And a historian, too.Through his art, he documented an important part of American history that will be appreciated for many hundreds of years to come.

Further reading:

Black History Month: Why Remember Florence “Baby Flo” Mills?

Black History Month: Why Remember Robert Smalls?

Black History Month: Why Remember Toni Stone?

Black History Month: Why Remember Arthur Ashe?

Black History Month Book Giveaway

Historical fantasy can be tough to market. You have to show that, despite being steeped in research and history, this is an exciting, awesome book. It should look different from all the contemporary books out there, but not old-fashioned. Because of the fantasy element, a photographic cover just couldn’t do this book justice, but for YA, illustration can be tough because you don’t want the illustration to make the book look like it’s for a younger audience. We needed an illustrator whose art had a more mature look, whose sensibility tended more toward something you’d see in the adult market than the middle grade market—and we found that illustrator in Andrew Mar. 

Because the cover is illustrated, there’s a lot more leeway in terms of what we can pick to show. So we get to see an important moment in the story: a character moment where the main character, Baltasar, meets one of his primary companions throughout the book, Jinni (who is a half-genie). We know there’s magic happening–she’s floating, after all!–and we get to see how the author envisioned these characters rather than having to find a model whose looks fit the character or a stock photo that’s not quite right. We can also see that this is a historical setting from the view out the window, the characters’ clothing, and the items on the table. We even get some nice detailing in Jinni’s dress, and I love the expression on her face compared to Baltasar’s!

How did we choose this particular scene? The illustrator and designer both read the book, and we all actually came separately to the conclusion that this key scene had a lot of potential for illustration. Check out a few of the early sketches to peek in on the illustration process. First we had to choose what position the characters would be in, and then we had to figure out where the type could go in juxtaposition with the scene. How would the reader’s eye travel across the artwork and type together? Would this invite them in to the book to read to figure out what will happen?

The modern look of the typography ties it all together–this is a book for today, looking at this controversial time period through a different lens than the old stories. We looked at several font choices—as you can see from the thumbnail sketches, that font is not the one we ended up with on the final cover. Then the designer, Isaac Stewart, had to place the typography in a way that stood out without overwhelming the great artwork.

The end result: a cover that says “READ ME!” to anyone who sees this book.

Last month we announced the finalists of our first New Visions Award, a new writing award for a debut author of color for a middle grade or young adult science fiction, fantasy, or mystery novel. Over the next few weeks, we’ll be highlighting these talented finalists on our blog as they answer questions about what inspires them, the writing process, and more. Perhaps among these five finalists you’ll find your next favorite author!

Q: What has been your experience writing from a different cultural background that may be unfamiliar to most young readers? 

Ibi Zoboi, Haiti.

While most readers are familiar with Edwidge Danticat, there are, of course, other Haitian and non-Haitian writers telling stories about Haitian children. M. Sindy Felin’s Touching Snow was a National Book Award Finalist.  The recent winner of the Printz Award is In Darkness, a story about a Haitian boy during the earthquake written by Nick Lake. One of my favorite Haitian YA books is Taste of Salt by the late Frances Temple.

Haiti has an amazing literary tradition and under a brutal dictatorship, writers either risked their lives or were sent into exile. So, for me, writing about Haiti is very political.  Though, my stories are cloaked in a world of magic.  What better way to convey Haiti’s complex history and mythology than in a young adult fantasy novel?  This simply adds another layer of depth to what young readers already know about Haiti, or any given culture.  They must know that culture is multi-dimensional and is not regulated to the superficial “facts” in the media. This is why mythology breathes life into everything I write.  While the names and magical systems differ, there is an interconnecting power in world mythology that can resonate with any reader.

Ailynn Knox-Collins, Earth.

I’ve lived in six countries and been a citizen of three, so it’s hard to decide where my origins lie. I immersed myself into the language and culture of each of the lands that have housed me and made me feel welcome. Yet, I belong to none in particular. Many people live in a culture different from their ancestors or like me, have ancestors from all over. We learn to hang on to the crucial values and adapt to others within our environment.

As a child, for example, I learned to ‘chameleon’ my accent simply to fit in. I write to discover who I am and I believe I’m not alone in this journey. In my books, I place my characters in almost sterile environments just to see what happens, so what is truly important can bubble to the surface. It seems appropriate in my form of science fiction, where the story is set in space, and humanity must rebuild itself by deciding what to keep and what to leave behind. I pepper the stories with values and beliefs I’ve picked up on the way, hoping that many of these are universal, since in the end, we are all but citizens of this one tiny planet.

Valynne E. Maetani, Japan.

Though I am fourth-generation pure Japanese, there were many traditions that my family maintained.  As a child, I removed my shoes before I entered the house, ate certain kinds of foods on holidays, and threw salt over my shoulder on New Year’s Day. But I had no idea why we did the things we did. For me, writing about the Japanese culture has been a way of sharing and understanding the meaning and purpose behind the traditions.

I like writing for young adults because it’s an age where kids no longer do things just because their parents tell them to. It’s an age where they begin to question why on a much deeper level. In order for traditions to be preserved, I think it’s important to first understand the why and the rich history behind those traditions and second, important to share that knowledge with others.

Rahul Kanakia, India.

There is a lot of literature about the Indian diasporic experience. And, when I was around fourteen years old, I went through a phase where I read a fair amount of it.

And I hated it.

The standard Indian immigrant narrative is about the angst and the pain of being trapped between worlds. It is about attempting to assimilate and finding that assimilation was impossible. It is about attempting to recover an Indian cultural identity and finding that to be impossible as well. It is, fundamentally, about always feeling alone in the world. Kind of a grim future to outline for a fourteen year old who just wants to, you know, experience the world and make friends and write books and be happy.

So I try to write stories where Indian protagonists aren’t oppressed by their heritage. I think part of the reason I like writing science fiction is that in an SF novel, there’s always something else going on. You might be struggling to fit in…but you’re also struggling to fight off the zombie hordes.

Akwaeke Emezi, Nigeria + Malaysia.

My cultural background is blended- I was born in Nigeria and lived there until I left for college, so I identify very strongly with being Igbo. I was also raised with my mother’s Malaysian culture, so although I can’t cook Nigerian food to save my life, I tie my own saris, wear jade, and ritually stockpile Baba’s Curry Powder. However, moving to the States brought my nationality to the foreground as an immigrant, and that was when I realized how much growing up in Nigeria impacted my identity.

I deliberately reached for what felt like home and birthright while I was writing Somadina. I was born where my father was born and his father before him, so I constructed a fantasy world around Igbo culture and traditional religion. Other than Nnedi Okorafor’s delightful work, I hadn’t seen my culture represented in speculative fiction, so I saturated this story in it.

I also write from different points of myself outside of my ethnicities, but elements of my cultures often seep through in a name/food/phrase. After all, where I come from shapes who I am now, with half a body in the otherworld, stories coming through my teeth, and all.

Further Reading:

What brought our New Visions finalists to Tu Books and to the New Visions Award competition in particular?

Ailynn and Valynne answer

Ibi, Rahul, and Akwaeke answer

In this guest post, Dr. Henrietta M. Smith, Professor Emerita and the first African-American professor at the University of South Florida, School of Information shares her memories of how the Coretta Scott King Award began:

The news of the damage sustained by the boardwalk in Atlantic City during Hurricane Sandy brought back memories of where the Coretta Scott King Award started. This writer’s mind went back to an earlier time, to an American Library Association annual meeting in Atlantic City. The year was 1969. Two librarians walking through the exhibit hall stopped by a booth where a poster of the late Martin Luther King Jr. was on display. This was the start of a genial conversation that evolved into the observation that never since the inception of the Newbery Medal in 1922 and the Caldecott Medal in 1938 had any award committee recognized the work of a person of color.

John Carroll, a publisher from a small company in New York, overheard the conversation. It was reported that he said, rather matter of factly, “Then why don’t you ladies establish your own award?” The seed was planted. Before the conference ended, in an informal meeting on the boardwalk in Atlantic City under the leadership of Glyndon Greer and Mabel McKissick, the idea of a award for African American authors was shared with a group of African American librarians, including Augusta Baker, Charlemae Rollins, Ella Mae Yates, and Virginia Lacy Jones, to name a few. At this seaside gathering, the struggle for recognition began.

The ALA questioned the need for another award. A majority of publishers informed the committee that they did not have enough children’s books by African Americans to provide for evaluation. And many librarians were skeptical of anything becoming of this fragile brainchild. Undaunted and unconvinced that this venture was fruitless, the committee moved on. In 1970, the first Coretta Scott King Awards breakfast was scheduled in a hotel that just “happened” not to be on the ALA list of official hotels. After a meager meal and short program, the first recipient of the Coretta Scott King Award was announced. A school librarian from New Jersey, Lillie Patterson, went down in history as the first winner of the award for her elementary level biography, Martin Luther King, Jr.: Man of Peace.

from Ray Charles

It was not until 1974 that the award breakfast was held in an ALA conference site, but even then, the CSK Award was not recognized as an official ALA award, nor was the award committee recognized as an official ALA body. But to the joy of all, publishers were now sending more quality books, and attendance at the 7:30 a.m. breakfast was steadily growing! Another change came in 1974 when the committee presented its first illustrator award. George Ford, who is still painting today, won for the illustrations he created for Sharon Bell Mathis’ biography Ray Charles.

In the years that followed, a major breakthrough came when E. J. Josey was elected president of the ALA. One of his first concerns was to bring the Coretta Scott King Committee into the official folds of the American Library Association. In 1980, the Coretta Scott King Committee became the Coretta Scott King Task Force, a viable part of Social Responsibilities Task Force (since 1993 a part of EMIERT), with founder Glyndon Greer as its first chair.

Growth and changes can be seen as the benchmark of this dynamic group of librarians. Artist Lev Mills designed the medal that is placed on each award-winning book. The symbols in the medal’s design each carry a special message; even the colors of the winner and honor book medals, and the more recent new talent award medal, have significance. The monetary prize for the winners was first given through the efforts of the late Basil O. Phillips of the Johnson Publishing Company, and today the encyclopedias from Britannica and World Book have moved from print into the digital age.

Following negotiations with the ALA parent body on Awards and Recognitions, and the late John Steptoe’s son, illustrator Javaka Steptoe, in 1995, the New Talent Award was established. It was named in honor of John Steptoe, whose first book, Stevie (1969), won national acclaim when the author/illustrator was only nineteen years of age.

With each meeting of the Coretta Scott King Task Force, new ideas for growth are on the docket. Among the newest is the Coretta Scott King/Virginia Hamilton Award for Lifetime Achievement, which goes to an African American author, illustrator, author/illustrator, or practitioner (such as a librarian) for his or her body of work or contributions to reading programs involving African American literature. Changes are constantly in the works too. New ideas for creating greater visibility and wider use of Coretta Scott King Award books and materials are a part of every Task Force meeting.

To think that all this started with a meeting on the boardwalk in Atlantic City! The very spot may not be there now, but surely the news reports about Hurricane Sandy conjured up many of these same memories for those who met on the boardwalk way back in 1969.

Dr. Henrietta M. Smith, native New Yorker, received her MLS degree from Columbia University and EdD from University of Miami, Florida. She teaches in the Materials for Youth in the School of Information (University of South Florida, Tampa, Florida). Longtime member of the ALA, Smith has served on Newbery Caldecott, Wilder (Chair), and Pura Belpré Award committees for ALSC and has chaired the Coretta Scott King Task Force and the CSK Award Committee. Smith received the ALSC Distinguished Service Award in 2008 and in 2011 was the first practitioner recipient of the Coretta Scott King/Virginia Hamilton Award for Lifetime Achievement in Librarianship.

Everyone knows Frederick Douglass and Martin Luther King, Jr., but there are many other African Americans who have contributed to the rich fabric of our country but whose names have fallen through the cracks of history.

We’ve asked some of our authors who chose to write biographies of these talented leaders why we should remember them. We’ll feature their answers throughout Black History Month.

Today, Alan Schroeder shares why he wrote about Florence Mills in Baby Flo: Florence Mills Lights Up the Stage:

Last month we announced the finalists of our first New Visions Award, a new writing award for a debut author of color for a middle grade or young adult science fiction, fantasy, or mystery novel. Over the next few weeks, we’ll be highlighting these talented finalists on our blog as they answer questions about what inspires them, the writing process, and more. Perhaps among these five finalists you’ll find your next favorite author!

Q: What brought you to Tu Books and to the New Visions Award competition in particular?

On Thanksgiving, everyone looks forward to the turkey. Valentine’s Day is the time for chocolate. During Chinese New Year, one of the most popular dish is one called jai, or Buddha’s Delight.

Jai is a vegetarian dish and is eaten on the first day of Chinese New Year to bring good luck. According to Buddhist tradition, no animal or fish should be killed on the first day of the lunar new year, thus, a dish with lots of vegetables is considered purifying.

While most of the ingredients are probably not available at your local grocery store, they can be found at Asian grocery stores in many parts of the country.

Want to try your hand at cooking jai? Here’s a good starter recipe from Vegetarian Recipes and Cooking website, reposted with their permission:

Prep Time: 1 hour

Cooking Time: 10 minutes

Ingredients

1/2 cup bamboo shoots, thinly sliced

2 dried bean curd sticks, soaked for 45 minutes in hot water to soften, cut into 1″ chunks

1/2 cup cellophane noodles, soaked in hot water until soft

6 dried shiitake mushrooms, soaked in hot water until soft (reserve soaking liquid for sauce)

1 carrot, julienned

1/4 cup dried lily buds, soaked in hot water until soft

1 oz. dried fat choy (black “hair” moss), soaked in hot water until soft

1/4 cup canned ginkgo nuts, drained

1/4 cup canned lotus seeds, drained

1/2 cup napa cabbage, thinly sliced

1/4 cup peanuts, roasted

1/2 cup snow peas, julienned

1/2 cup fried tofu, cubed

1/2 cup wheat gluten, thinly sliced

1/4 cup fresh wood ear mushroom, cut into strips (or soak dried wood ears)

1/2 cup bean sprouts

1/2 cup straw mushrooms

1/2 cup lotus root, thinly sliced

1/2 cup arrowroot (a starchy tuber), cooked and diced

1 TB peanut or vegetable oil

For sauce

1/4 cup mushroom soaking liquid or vegetable stock

1.5 TB Shaoxing wine

1 tsp ginger, minced

1 TB vegetarian oyster sauce

1 TB light soy sauce

1 tsp dark soy sauce

1/2 tsp sugar

1/2 tsp sesame oil

1/2 tsp cornstarch

Directions:

 Heat 1 TB oil in wok or large pan over medium-high heat. Add bean curd sticks, cabbage, snow peas, mushrooms, and carrots and stir-fry for 2 minutes. Mix sauce ingredients in a bowl, stirring to dissolve cornstarch, and set aside. Add remaining ingredients, except cellophane noodles and peanuts, to wok, along with sauce, and stir to combine. Simmer until bubbly and slightly thickened, about 5 minutes, stir in cellophane noodles and peanuts, and serve.

Happy cooking! And Happy Chinese New Year!

Further reading:

What is Chinese New Year?

Today is Chinese New Year! Traditionally, the night before Chinese New Year, Chinese families will gather around and eat dinner together, much like this plate from the LEE & LOW title, Auntie Yang’s Great Soybean Picnic:

Auntie Yang’s Great Soybean Picnic author and illustrator Ginnie and Beth Lo were kind enough to share one of their favorite soybean recipes with us: Mapo Tofu! While not a traditional Chinese New Year dish, the Lo sisters say that “mapo tofu is a Lo family favorite that we eat on the holidays, Christmas, and Chinese New Year.”

MAPO  TOFU

• Stir fry in small amount of veg. oil about 1lb of ground pork unseasoned over med-med hi heat. Salt lightly. When it is just losing its pink color add 1 ½ to 2T soy sauce and 1T sugar.  Stir fry until done.  Remove from pan, set aside.
• Stir fry one chopped onion in veg. oil until translucent.  Set aside (you can put it in with meat).
• Stir fry in remaining oil, 2T or more hot chili sauce (hot bean paste with chile, or hot chili sauce with garlic etc.), for 30 sec – 1 minute.
• Add  2 packages cubed firm tofu, the pork and the onion, stir fry until well combined.  Add edamame, frozen green peas and cook 10 minutes or more, until flavors are well blended.  Add salt or more hot sauce to taste.

Just before serving, remove from heat and add 3 scallions, finely chopped and 2T Chinese Sesame oil, stir and serve.

Enjoy, and feel free to let us know how it turned out!

Further reading

Angelo’s Sosa’s Chilled Edamame and Spring Pea Soup

What is Chinese New Year?

Jaclyn DeForge, our Resident Literacy Expert, began her career teaching first and second grade in the South Bronx, and went on to become a literacy coach and earn her Masters of Science in Teaching. In her column she offers teaching and literacy tips for educators.

Earlier this week, I had the pleasure of meeting with a literacy expert who was SUPER involved with the creation of the Common Core Standards (!!!!!), and she gave me some important feedback about the Appendix B supplement  I posted last week. To refresh your memory, what we’ve done is compiled a supplement to Appendix B that includes both contemporary literature and authors/characters of color, and that also meets the criteria (complexity, quality, range) used by the authors of the Common Core. We were lucky enough to have this literacy expert take a look at our supplement, and she gave some great suggestions:

1. The texts selected for Read Aloud can be outside the text complexity bands for each grade cluster.
2. Texts that are Read Aloud in lower grades can be read as Independent Reading in upper grades.

We’ve incorporated these ideas into our Appendix B supplement. So, without further ado, click here for a PDF of our new and improved multicultural supplement to the Common Core’s Appendix B.

Know who else is excited about the updated Appendix B list? This guy:

“Smiling Dog” by Benjamin Liew

Further Reading:

What’s in your classroom? Rethinking Common Core recommended texts

Why Window and Mirror Books are Important for All Readers

We’re getting close to the release of Awakening, the upcoming sequel to the YA science fiction dystopia Tankborn from our Tu Books imprint! Awakening continues the story of Kayla and Mishalla, two teen GENs (genetically engineered nonhumans) fighting for freedom and equality:

Last week, we were lucky to get some help revealing the cover of Awakening from some great book blogs:

Pretty in Fiction

Speculating on Spec Fic

Live to Read

A Reader of Fictions

This week, Tu Books Publisher Stacy Whitman shares the process of creating the cover:

Those who know Tankborn well will know that there’s something different about the girl on the cover of Awakening compared to the girl on the cover of Tankborn (aside from the fact that they’re two different people and, yes, represent two different characters). I’m not sure I should give it away, actually! But I’ll give you a hint: look at where the GEN tattoo falls in both covers:

 

But let’s start from the beginning. First, talking about Awakening will require a few Tankborn spoilers, so those who are spoiler-averse: beware!

As you can see from the early proposed concepts, we had a few possibilities to choose from:

But which one best represented the book? To make a decision, we had to dig into the essence of Awakening.

In Tankborn, Kayla was recruited by a group of trueborns and lowborns quietly working against GEN oppression. In Awakening, Kayla starts to chafe at the slightly more gentle bonds this organization puts upon her—she wants to control her own destiny. But while she works towards freedom (and a chance at love with Devak, a trueborn), a deadly disease is spreading among GENs–which is especially curious considering that GENs are people who are genetically engineered not to get sick. On her travels for the Kinship–while also avoiding bombs set in GEN housing and warehouses by a mysterious group that only identifies themselves with the grafitti “F.H.E.”–Kayla meets a couple other GEN girls who are connected to this disease, one of whom is rumored to be able to heal whomever she touches.

Some early concepts, like the ones above, included one piece of Awakening or another, but a couple looked too modern-day urban or romance genre (didn’t quite set themselves apart as futuristic science fiction); another didn’t get the full message of the book across in a way I felt the other concepts did; another felt like it was actually better held back for the cover of Revolution, the third book in this trilogy (so now you have a hint as to what book 3 may look like!).

In combining the concepts, the designer, Einav Aviram, did a great job of showing what this book is all about in one great cover: the grafitti (Freedom, Humanity, Equality), the mysterious GEN girl who can heal whoever she touches, the dawning of Kayla’s stand for her rights–all coming together.

I should also say, of course, that we were happy for another chance to put a person of color on a cover. Whitewashing of YA covers is still, unfortunately, a common occurrence, and one of the things we try to do at Tu Books is showcase our characters of color on the cover whenever possible, whenever the design allows it.

So there you go, dear readers. What do you think?

Further reading:

Design 101: How a Book Cover Gets Made, Part I

Design 101: How a Book Cover Gets Made, Part II

Everyone knows Frederick Douglass and Martin Luther King, Jr., but there are many other African Americans who have contributed to the rich fabric of our country but whose names have fallen through the cracks of history.

We’ve asked some of our authors who chose to write biographies of these talented leaders why we should remember them. We’ll feature their answers throughout Black History Month.

Today, Crystal Hubbard shares why she wrote about Toni Stone (a.k.a. Marcenia Lyle) in Catching the Moon: The Story of a Young Girl’s Baseball Dream:

“I wrote about Marcenia Lyle, the first woman to have become a full-time roster member of an all-male professional baseball team, because she is an example of what it truly means to make a dream come true.

“Marcenia Lyle loved baseball, and she played as a child. She wanted to do what so many boys could grow up to do, which was to play ball professionally.

“In the early 1930s, career options were limited for African-American women. Most typically became teachers, nurses, maids and housewives. But Marcenia held on to her dream of playing baseball. Even when it was hard to get people to believe in her, she worked harder to prove that she could be a good baseball player. She made her dream come true, and her drive and determination inspired me to follow my heart, to work hard, and to bring my dreams to life.”

Further reading:

Black History Month: Why Remember Robert Smalls?

Everyone knows Frederick Douglass and Martin Luther King, Jr., but there are many other African Americans who have contributed to the rich fabric of our country but whose names have fallen through the cracks of history.

We’ve asked some of our authors who chose to write biographies of these talented leaders why we should remember them. We’ll feature their answers throughout Black History Month.

Today, Crystal Hubbard shares why she wrote about Arthur Ashe in Game, Set, Match, Champion Arthur Ashe:

“Arthur Ashe is one of my heroes because he was a great athlete, but he was also a great human being. Tennis propelled him to fame, and he used his stature to bring attention to causes that people might otherwise have ignored. He used sports to help change the world for the better, not to get rich or gain popularity.

“I am most impressed by Mr. Ashe’s efforts to focus the world’s eyes on Apartheid. Through sports, he managed to bring attention to South Africa’s policy of racial segregation, and he was the first major sports figure to do so. Having grown up in segregated Richmond, Virginia, one would think that Mr. Ashe would have confronted Apartheid with anger, but he didn’t. A combination of intellect, tenacity, compassion, and fearlessness fueled his crusade. At the beginning, he was a one-man silent storm, and his approach worked. He drew others to his cause without fire and righteousness, but with reason and hope.

“Mr. Ashe is an example of how one person can truly make a difference in the lives of many. He showed me that someone from the humblest of beginnings can make a monumental change in the way we think about people who are different from us, or who need our help.”

Further reading:

Black History Month: Why Remember Robert Smalls?

Black History Month: Why Remember Toni Stone?

Black History Month Book Giveaway

Last month we announced the finalists of our first New Visions Award, a new writing award for a debut author of color for a middle grade or young adult science fiction, fantasy, or mystery novel. Over the next few weeks, we’ll be highlighting these talented finalists on our blog as they answer questions about what inspires them, the writing process, and more. Perhaps among these five finalists you’ll find your next favorite author!

Q: What brought you to Tu Books and to the New Visions Award competition in particular?

Ailynn Knox-Collins. Redmond, WA:

I came across Tu Books when I bid on a copy of Tankborn for a charitable cause. Soon after, I had the good fortune to sit next to the writer, Karen Sandler, at an SCBWI conference in LA. I was delighted to find an imprint that is dedicated to putting books out there that are written by and feature characters of color.

Why is it important, you say, that there be this need to highlight multi-ethnic writers and stories? Because to me the world is colorful and always has been, but many of the books I love haven’t always reflected it. Too much of my own childhood was spent thinking that to be a hero or heroine, I had to look a certain way, and mostly not like me. Yet, when I look at the amazing people in the world I grew up in, they came from all sorts of backgrounds, colors and cultures.

So I had to be a part of this endeavor and I congratulate Tu Books on their first ever New Visions Award. I submitted my science fiction story and (wow!) now I’m a finalist. The other finalists are remarkable writers from excitingly varied backgrounds. I am honored to be in this group with them.

I’m a person of mixed ethnicity. My Chinese mother married an Englishman at a time when that act alone could get you disowned by your family. I grew up in several countries from England to Singapore. As a child I had my hair stroked by strangers (“Interesting color.”), my nose pinched (“Your ‘bridge’ is so high” or “flat” depending on the country) and my eyes commented on (“Ooh! Double lids.”). I got used to being asked, “What are you?” and my answer eventually became a feisty, “Human!”

When I began writing seriously a decade ago, my fictional worlds reflected how I see the real world. My characters naturally look like people I’ve encountered in my life, and they are of all colors. In GENERATION ZERO, my entry to the New Visions Award, everyone happens to be of mixed ethnicity for a horrid, sinister reason — “Mixed breeds are sturdier, like mongrel dogs”. Strangely, someone actually said that to me long ago. Astonishing, isn’t it?

I am so excited to play a small part in bringing attention to something that has been close to my heart for so long. I fell in love with books the day a teacher sat our class under the shade of a giant Raintree and read to us from CS Lewis’ The Lion, The Witch and The Wardrobe. I longed to be one of the Pevensies, but I couldn’t ignore the fact that they, and many subsequent heroines I loved, looked nothing like me. I did my best to ignore descriptions, but I couldn’t help feeling left out. If, as a writer, I can make one child imagine herself the heroine of a story, and know that nothing, especially not the color of her skin, can stop her from achieving her dreams, then I will be satisfied and incredibly humbled.

Well done, Tu Books for your vision and congratulations to all the finalists of the New Visions Award.

Ailynn Knox-Collins is a mother and teacher, as well as a ‘crazy dog lady’ with four great rescues who slobber all over the furniture (well, what else is it for anyway). She is an unashamed Trekkie and is learning to speak Klingon to add to the other 6 languages she  already speaks. She loves to read everything and has been inspired to write science fiction so that young people today can experience the same wonder she did growing up. Please visit her at www.taknoxcollins.wordpress.com  and follow her on Twitter @talkc 

Valynne E. Maetani, Salt Lake City, UT

Initially, I heard about Tu Books when it was still Tu Publishing, and I was ecstatic about its mission . . .  and a little dismayed that I didn’t think my book qualified for submission.  At the time, I thought they were only interested in fantasy and sci-fi.  While my book had a fantasy fairy-tale element, it would definitely be classified as a mystery.

Imagine how excited I was when I heard about the New Visions Award given to a fantasy, sci-fi, or mystery novel.  Unfortunately, it was three weeks before the submission deadline.  With so little time and a manuscript in dire need of revisions, I realized I couldn’t make it. 

Determined to support their mission, I told myself I would send a manuscript in through their regular submission process at some later date.

But then someone replied to the announcement for the award with the following response:  “I was slightly concerned to see that this publisher was seeking submissions for a contest, but only from writers ‘of color’ . . . It appears that the means to the laudable end of  ‘true diversity’ in YA/MG lit is more submissions by ‘authors of color.’”  The person went on to ask why it mattered if the writer was “white.”  S/he suggested they get rid of the term “of color” from all the fine print of their website.

I am the first to say that I have read many wonderful books, with diverse characters, written by authors who are not “of color”—books that were meaningful and shed light on different cultures such as The Good Earth by Pearl Buck or Under the Blood Red Sun by Graham Salisbury.   But to me, underrepresented voices are just as important.  This award matters.  I am a Japanese-American writer, who grew up in Utah, surrounded by people who looked nothing like me, reading books about people who looked nothing like me.  I am an author of color.  Our voices matter.

And so I worked hard to get my chapters ready for submission.

I truly appreciate that Tu Books seeks to encourage diversity in children’s literature as well as diversity in the authors who write these books.  I am humbled and awed by the talent of the other New Visions Award finalists, and I am proud to have my name listed with theirs.

Valynne E. Maetani received a BA from the University of Pennsylvania.  She has managed script editing for stories for disadvantaged youth and has edited several screenplays, including My Little War in Juarez, the winner of the 2010 Creative World Award. She can be found at www.valynne.com and on Twitter @valynnemaetani

Stay tuned tomorrow for part II as we hear from our other three finalists!