I’m not sure how our agreement came about, but whenever I finished my work, I was allowed to go to the library nook. And let me just say, my academics were stellar that year. I discovered a love for all things Aurthurian, Greek mythology, and Beverly Cleary. Classical, fantastical, and the absurdity of a mouse on a motorcycle. That trifecta still defines my literary tastes and they were definitely my gateway books into science fiction and fantasy.

So when my kids hit that golden age, I was beyond excited to introduce them to SFF with some solid reads.

It did not go as planned.

Do things ever with kids? They thought Ralph was cool, and were sad when his trilogy ended. I was stoked. No, not that it ended, that they liked reading a series. Totally indicative of epic fantasy fans. Bring it on! I had just the wizard for them to meet…

And guys, I didn’t think it was possible, but every last one of them hated Harry Potter.

I know, I know! They’re seriously not normal, but let’s be honest, considering who their mother is, their odds at pulling off normalcy were never very good to begin with. They fight over who gets the last brussel sprout for cripes’ sake. Yup. totally bizarre, especially because we all know that sprout belongs to me.

Anywho, after the aforementioned Potter debacle, I left them to their own devices while I recovered from the shock of their betrayal. That took some doing, but Mr. Nevermore was adamant we couldn’t disown them for the offense. I mean, technically we could, but he wouldn’t sign his portion of the paperwork. In the end, I suppose that was for the best, because you know what? All of them redeemed themselves by settling into genre fiction.

So what do they read and what was their gateway book?

The teen

My eldest loves to test my limits. She began as a Pollyanna / Heidi fan, which, I’m not gonna lie, kind of made my eyes bleed. Thankfully, some voodoo I don’t know what happened during her tween years, and her taste morphed into a gothic horror. Don’t ask me how or why, I’m not complaining, and FYI, that pretty much sums up her personality and our relationship.

I am happy to report she’s also way into fairy tales (the original gruesome ones) and mythology (for the exact same reason.) 

When I asked her what gateway book got her hooked on horror, I was thrilled to learn it was also one of my very favorite authors as a kid, Mary Downing Hahn. I remember being totally freaked out reading Wait Til Helen Comes, and my eldest had the same experience. 

And if your kids like that, then check out Jane Emily by Patricia Clapp. It’s a gothic YA horror that’s like the kids’ version of reading Shirley Jackson.

The tween

My middle raven has inherited my appetite for books and can be caught reading well past his bedtime. He’s all about Star Wars, Marvel, and those weird fact books. I don’t anticipate his tastes doing a 180 like his sister’s and will be strewing some classic Asimov around his haunts. Pretty sure he’d be down with Lucky Star. 

But he didn’t start out reading that stuff. His gateway books were all courtesy of Jane Yolen, one of my all-time favorite authors. Her Commander Toad series is frickin’ brilliant and hilarious to boot. I mean, how can a cross of Star Wars, Star Trek, and amphibians not be? My personal favorite? Commander Toad and the Planet of the Grapes. Yup, it is as epic as it sounds.

Not for nothing, but my kids burnt through her How do Dinosaurs…? series when they were younger, too.

And the little

Right, my youngest? She’ll read anything featuring a cat. This ranges the gambit of fiction to nonfiction, though I did draw the line at getting her that book on felting with cat fur. Yes, apparently that’s a thing, and not to yuck anyone’s yum, but no. Just no.

Her very favorite cat books all feature Jenny Lindsky, heroine feline of the Cat Club series, written by Esther Averill. It’s a super cute series about a shy little cat making friends and doing good deeds. I highly recommend it. There’s also the Cat Wings series by Ursula K. Le Guin… which is by Ursula K. Le Guin. Nope, that wasn’t a typo. That’s all the reason you need to read it.

Kids’ books have changed.

So, I’d be remiss if I didn’t address the fact that the majority of those gateway books aren’t recent releases. I said it above, and I’ll say it again. Kids’ books have changed, and if you have kids, you know how true it is. Especially if you’re reading them first.

That’s not to say good kids’ books aren’t being published now, but to me, the plots seem simpler, pacing faster, and—oh, my head—the sass. Don’t get me wrong, I love a good comeback, but not out of an eight-year-old’s mouth. Especially not my eight-year-old’s mouth.

Shocking, I know. 

And yeah, I’ll own the fact that I’m a book snob. The books I’ve recommended above are ones I feel promote good family values. As far as some of the older books having mindsets or themes not currently embraced, (as many classics do), I find that’s a great opportunity to discuss tough subjects with my kids.

Don’t have time to read everything cover to cover? There are plenty of places to help you decide what is appropriate for your kids, like Common Sense Media, and Reshelving Alexandria. The latter of which I’ve used for years to build my kids’ homeschool library. 

And don’t forget the best resource out there, your public library. Most have librarians dedicated to the children’s sections and would be thrilled to hook you up with some awesome reads!

AK Nevermore writes science fiction and urban fantasy with spice. She enjoys operating heavy machinery, freebases coffee, and gives up sarcasm for Lent every year. Unable to ignore the voices in her head, and unwilling to become medicated, she writes about dark worlds, perversely irreverent and profound, and always entertaining.

You can find her on her website or follow her on her sadly neglected Facebook, Twitter, and Instagram feeds.

The post Genre Gateway Books for Kids appeared first on DIY MFA.

About Heather Mateus Sappenfield

Heather Mateus Sappenfield loves adventures, especially in the Rocky Mountain landscape that’s been her lifelong home. As part of women’s teams, she’s won 24-hour mountain bike races and road bicycling’s Race Across America—San Diego, California to Atlantic City, New Jersey. She’s also competed in the Mountain Bike World Championships, ski instructed for Vail Resorts, and loves backcountry ski touring. Her toughest adventures, though, arise in the writing of stories. 

Heather is the author of two contemporary YA novels, The View from Who I Was and Life at the Speed of Us, a Colorado Book Awards Finalist. Her story collection, Lyrics for Rock Stars, released as the winner of the V Press LC Compilation Book Prize, was nominated for the MPIBA’s Reading the West Awards, was a silver medalist for the IBPA’s Ben Franklin Awards, and was featured on Colorado Public Radio. Her most recent book, The River Between Hearts, runner-up for the Kraken Prize, is a Middle Grade novel about friendship and healing. 

About The River Between Hearts

On an ordinary Monday, Rill Kruse left for third grade with a dad, but when she came home, he’d been stolen. By a river. One year and thirteen days later—on the first morning of summer vacation—Rill still insists he’s trudging home. Her mom has become a practical woman. Her older brother, Eddy, now calls her baby and dork. Gus, the second-in-command at Kruse Whitewater Adventures, Rill’s family’s rafting company, has gone from being her dad’s “risk bro” to her mom’s guardian angel. Joyce, company secretary, arm-wrestler, and mechanic, still calls Rill a fingerling, but, after learning what a cheater water is, Rill wishes she’d stop. When Rill’s cat, Clifford, leads her to the family tree fort on the mountainside behind home, she discovers a stowaway, Perla. To help Perla, Rill embarks on an adventure that tests her understanding of the world, of loss, and of what it means to be a friend. In the end, what Rill discovers will nudge her—and all those she loves—toward healing.

Interview with Heather Mateus Sappenfield

Olivia Fisher: What made you want to write for kids?

Heather Mateus Sappenfield: Oh, that’s a great question! If you look at my publishing history, I’ve written two YA novels, an adult literary story collection, and now a MG novel! I never plan to write a genre of book. Instead, I have these obsessions, stored in the back of my mind, and one day a narrator will arrive with a story that explores it. It’s my subconscious working, I’m sure, but those narrators have voices all their own and are pretty fully formed when they show up. I listen to and observe them for weeks, months, even years, and when I feel as though I know them and their story well enough, I begin writing.

One of my joys is writing for readers of all ages. That’s probably not the best choice for me commercially, but I strive to stay true to what the protagonist/characters need the story to be. Having written for adults, YA, and now MG, I must admit that writing for this youngest group of readers was the most difficult craft-wise. MG novels are just as rich and textured as books for older readers, but they must be shaped into simpler sentence structures that peel away artifice and muddled meanings. Instances of my adult perspective needed to be yanked like weeds. It took so much time to get this book right! 

OF: I love this. As a writer of MG myself, you really have to get in the head of your young protagonist and have them say and react as they would and not how you would, and that can be difficult for our adult brains! 

What was the publishing process like for you?

HMS: I had an agent for my first two novels, and she sold my books to Flux, which at the time was an imprint of Llewellyn. I unfairly assumed that she and Flux would take care of all my promotions. I was so naïve! Agents only sell and maintain a book’s rights, and marketing departments at publishing houses are overworked and underpaid. News flash: never ever leave your book’s marketing up to someone else! 

After my agent and I mutually parted ways, I was deflated by the business and quit writing for a while. The River Between Hearts drew me back. I decided to enter contests instead of seeking another agent, and I’ve published my last two books with indie publishers this way. I’ve also hired a publicist, and both have been fabulous experiences. 

Simply publishing a book is terrific—it’s exhilarating initially—but eight months down the road, with it not selling and few people reading it, the process can feel anticlimactic and hollow. 

With this fourth book, I’m finally starting to understand the selling side of the industry. It basically consists of two vendor routes: 1) big outlets like Amazon and Barnes & Noble 2) indie bookstores. 

As you can imagine, these two paths have distribution channels that in many ways do not mingle, and to get your book out there, you need to pursue both. The big outlets are pretty straightforward—get your book listed with them, get your advance reading copies (ARCs) on NetGalley, try to get reviews on Goodreads and seller sites, and hope for the best. 

For indies, you must recognize that indie bookstores are run by people, and this means establishing relationships. Attend their regional conferences, make acquaintances, and swim the uphill battle of getting your book into their store. 

Be sure to put your ARC on Edelweiss, and encourage folks to review it there. Edelweiss is one of the main ways booksellers and librarians learn about books! And again, hope for the best.

OF: Yes, I feel like this is something important for all writers to take away. Publishing is a difficult industry no matter if you are self-publishing, publishing through an indie publisher, or aiming for one of the big four publishers. It can take A LOT of work, and doing your research beforehand is so important! These are some great insights into how writers can prepare for this. Thanks, Heather!

What’s the hardest thing about writing a book?

HMS: When I was a little girl, I always knew I’d live in the mountains and be an author. I guess it’s what I’m meant to do. I love the entire process of writing a book, from drafting the initial pages with my ears ringing from how hard I’m listening, to tweaking the polished copy so that nuance, refrain, and thematic elements sing. 

The hardest part, though, is noticing, and then stepping back, when I’m getting in the way of the story. We all have things we avoid, places we don’t want to go, and it’s not always easy to catch those moments and then step aside so the characters can complete their journey.

OF: What’s the best thing about writing a book?

HMS: Ah, there’s two things. First, I love when I’m at the very end of the revision process, the writing is ultra-polished, and I’ve worked with the story so much that it’s as though I’m effortlessly juggling a hundred balls. I know where all the story elements reside, and how they all link. It’s an amazing sensation. 

Second; I love, love, love connecting with readers—hearing how they interacted with the book, and how the story resonated with them. That, truly, is why I write.

OF: What do you hope readers will take away from your books?

HMS: One reviewer stated (paraphrasing here) that my books are deceptively simple yet layered with meaning. I hope that each of my readers—no matter their age—takes from my books exactly what they need in their life right then. That it sustains them, helps them heal, or makes them laugh.

OF: How did you develop your writing craft?

HMS: I’ve always been a voracious reader. I especially loved science fiction and fantasy for the escape they provided. Though I have mild dyslexia, writing has always been something I excelled at. I was an English major in college. I taught high school language arts. Along the way, I wrote a bit, but not seriously. 

Then, when my daughter was a year old, she started talking with the Australian accent of her daycare provider. I love Australian accents, but…paradigm shift! I resigned from teaching. While she napped, I began to seriously pursue writing. 

I had some bad habits, though, mostly from being on the teaching end of literature. After a few near misses with getting stories published in magazines, I decided to pursue my MFA in Writing at Pacific University’s low residency program. Boy! Did they ever strip away those habits and hone my craft! I was able to study one-on-one with some incredible writers! 

In my third semester, one of my stories was runner-up in a contest. Then another story won a contest, and another was accepted for publication. 

Here I’d like to say, however, that not everybody needs an MFA. They’re costly and don’t fit with every life or learning style. What it really boiled down to for me, I believe, was the intense, focused, open-minded intentioned time dedicated to the craft.

Post-graduation, my craft has continued to evolve in a steady unfolding and unfolding and constant learning about how to write stories in ways that most directly connect with readers. Every day, I learn something new.

OF: I love this. Writing and honing a craft can be a varied journey, and one approach doesn’t fit every writer as you said. You mentioned that what it really came down to for you was the intensely focused time, and really, that’s what I feel like is both the biggest obstacle and the pivotal point of success for writers: making the time to write. But not just write, write with dedication and focus. It’s something I’ve certainly struggled with as a young mom, but that time isn’t impossible to make. It just takes work and intentionality.

OF: What’s next on your author-journey?

HMS: I hope to soon announce some good news about a finished humorous literary/women’s fiction novel! I’m in the final one-hundred pages of drafting another humorous novel. After that, I’ll start a new MG novel, I think. At least, right now, the narrator indicates it will be MG.

OF: I love it! It’s so fun that you are juggling multiple genres and relishing each one! I’m excited to hear more about your next book.

Heather, thank you for taking the time to interview with me and sharing your insight into the world of being a kid lit author with us! Congratulations on your latest book The River Between Hearts. You can find Heather’s book and follow along with her author journey on her website.

Tell us in the comments: What were your big takeaways from this interview with Heather Mateus Sappenfield?

Olivia Fisher is a children’s lit writer and freelance editor with an English degree from BYU-Idaho. When she isn’t dreaming about living in a treehouse or chasing down her two young boys, she enjoys curling up with a book, watching Star Wars, writing her next adventure, and trying to live in the state of child-like wonder that we all secretly, or not so secretly, miss. Follow her adventures on Twitter or Instagram, or hire her for your next editing escapade on Fiverr.

The post Kid Lit Craft: Interview with Heather Mateus Sappenfield appeared first on DIY MFA.

Dividing books by age is an imperfect measurement, because kids vary so widely in their development, exposure/experience, and preferences. Some kindergarteners are reading at a high school level, and some high schoolers need extra help. Some third graders want hard facts and science in their nonfiction, while some 8th graders still want to read about unicorns going on adventures. Age is only a rough estimate.

When we talk about age categories, we’re talking about both the reader’s reading ability and the types of content that are considered appropriate for them. 

When most people think of age categories, they probably imagine clearly defined boundaries and kids progressing sequentially through them.

Note that adults actually read across all these age ranges, especially when screening books for kids, but Young Adult is unusual in that up to 80% of the books are estimated to be read by adults. 

While there’s a roughly equal distribution of readers across the age spectrum at any given moment, publishers don’t always consciously cater for the full age spectrum. 

Publishers are divided into imprints and divisions which specialize in one or two of the age categories above. They’re not accountable to each other, and each is charged with selling the most books it can within its categories. 

No publishing house is weighing their acquisitions against the age spectrum and saying, “We don’t have anything for the 13-14 year old set, let’s acquire something to fill that gap.” Rather, they’re looking at each individual project that comes in and asking if they can sell it. If they get a bunch of submissions that happen to all fall within a certain age band, and they think they can sell them all, then maybe their releases for that season will end up only being for a narrow part of the age spectrum. 

Publishers put money where they think they can make money. There’s a sweet spot on the chart where Young Adult, New Adult, and Adult overlap: 18-19. In this range you can catch teens, college-age readers, and adults up to any age. These are the potential buyers, and there’s a lot of readers in that space. Publishers need to make money, so they’re choosing titles that will sell to these demographics.

Who are we leaving out?

There’s also a range on the chart that’s only served by one of two categories: Upper Middle Grade (10-12), and Lower Young Adult (12-14). These two age categories seem to pick up where one leaves off, but in reality there’s a dearth of options for readers in this age band. 

It’s a self-feeding system. The youngest readers (ages 5-10) have a plethora of options. Wherever they are, there’s a book to meet them. This is fantastic. It encourages kids to keep reading. But then they turn 10, and the options start falling away. By the time they’re 12 or 13, there’s really only a few kinds of books for them–Upper Middle Grade. There are still the same number of kids, the same number of potential readers, but publishing caters to only a subset of them. 

Kids like to read up, about characters a little older than they are. So a lot of Middle Grade readers start looking in Young Adult. But when Young Adult is putting all its focus on Upper Young Adult, and the adult readership there, stories for 13-15 year olds fall by the wayside. 

Because there aren’t as many books for that age range, many kids stop reading altogether. Or they jump to Upper Young Adult and Adult, where they may encounter elements they aren’t ready for or just don’t want to read about. 

What can we do about this?

Actively pursue books in the underserved Upper Middle Grade/Lower Young Adult gap. Talk about them, request them from your library or bookseller, and post reviews so publishers know there’s demand and great reception for these books. 

That said, it’s not productive or kind to shame anyone who writes or enjoys Upper Young Adult that verges on New Adult or Adult. There are a lot of readers in that space, and a lot of stories to be told. It’s not that these books shouldn’t be published–the issue is that it makes it harder for younger readers to find books suitable for them. Clearer marketing would go a long way toward fixing that.

What does this mean for writers?

First, if you’re writing a book that falls in the underserved part of the age spectrum, please don’t be discouraged! There are fewer books being acquired here, but they are being acquired. And there are readers who badly need those books. Your book could make a world of difference to a young reader, including keeping them a reader for life. 

The good news is that plenty of people have recognized this upward shift in Young Adult, and now Upper Middle Grade is growing upward a bit, too. The market is always in flux, and this is just one of many ongoing fluctuations.

All readers have different needs throughout their lives. It’s important that we keep all of them in mind, and make books available to all ages so that kids who love reading always have something to read. 

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post Kidlit Age Categories: Who’s Being Served? appeared first on DIY MFA.

This problem is not unique to kidlit. Traditional publishing is an inherently political industry. It amplifies certain voices and narratives, and not others, which is a political choice. You’re chosen, or you’re not. Your perspective is valued and shared widely, or it’s not. 

As this column has discussed before, young readers are particularly sensitive and vulnerable to negative depictions of themselves and others in books. It’s imperative that books for kids be welcoming and inclusive. That’s why we need to talk about DEI in kidlit publishing.

You may be under the impression that these issues are better in kidlit than in other areas of publishing. You may be aware of data like The Ripped Bodice’s survey of diversity in romance publishing, which shows dismal numbers, and contrast it with the existence of organizations like We Need Diverse Books, which specializes in children’s’ publishing and advocates for wider inclusion. You might want to pat kidlit on the back and say, “Great job being better than those other genres and categories!”

Here’s the thing… better does not mean good.

More and more visible work has been done to broaden kidlit. There have been slight improvements, but still way, way too far left to go. 

Where We Stand

The Cooperative Children’s Book Center (CCBC) at the University of Wisconsin-Madison has been assessing diversity statistics in children’s books since 1985. Each year they “receive most but not all trade books published by the ‘Big 5,’ as well as books from some smaller trade houses, smaller independent presses, and self-published books.” The books are primarily from the US, but they do receive some from other English-speaking nations. The CCBC determines if a book was by a BIPOC (Black, Indigenous, and People of Color) author, and if the major characters featured in the book are BIPOC. 

The CCBC survey primarily focuses on race every year, but has done some work around LGBTQ+ books and authors. It’s also important to note that how they defined BIPOC varied over the years. For instance, there are statistics for Black authors going back to 1985, but Latinx statistics only go back to 1994. They continue to expand the categories over time. 

You can find raw numbers here. Also, here is a more detailed analysis of 2019, which is the most recent data available.

The infographics below illustrate the proportionate distribution of books depicting BIPOC characters in a given year. 

2012 – Only 7% BIPOC

Original Graphic via CCBC illustrating 2012 Statistics || Tina Kügler, Illustrator, https://tinakugler.squarespace.com/

Of the 3,600 books CCBC received in 2012, 3,329 were primarily about white characters.

Houston, we have a major problem.

2015 – Slightly More BIPOC than Animals

In 2015, BIPOC made up 14.2% of the 3,400 books CCBC received. To quote the infographic, “About a quarter of the total children’s books published in 2015 were picture books, and about half of those depict non-human characters like animals & trucks. … The remainder depict white characters.” 

Houston, I smell smoke. Like a lot of smoke.

2018 – More Animals than BIPOC

In 2018 CCBC received 3,653 books, half of which were about white characters. That’s quite a decrease from 2012, no? But: across these three graphics we can see that when the percentage of white characters decreases they are primarily replaced by animals and other non-human characters–not by BIPOC characters. 

Houston, the wing is on fire.

2019 – “Alternatives” Continue

Data from 2019 was released in June 2020 and there’s no infographic for this year (thanks, COVID!). This year’s data drew from 3,716 books, and was broken down into a few extra categories, most notably “Brown Skin.”

From the blog post: “‘Brown skin’ indicates books in which the primary character clearly has brown skin (indicated by illustrations or text), but there are no specific racial or cultural signifiers in the illustrations or text.” This is problematic because it lumps all brown-skinned characters into an undifferentiated mass. 

The decrease in white characters between 2018 and 2019 is 8.2%. Which is handily exceeded by the “Brown Skin” category at 9.2%. As with the Animal/Non-Human trend, we see between 2018 and 2019 that published books would rather give space to vaguely “Brown Skin” characters than give BIPOC characters actual identities. 

Mayday, Houston, mayday! 

The Lost Books

Reflection Press is a small publisher focused on diversifying children’s lit. They used CCBC’s 2017 data to do their own infographics and analysis, which you can read in full here.

Their work compares the character breakdowns to the US population’s racial makeup. For instance, African Americans make up 13% of the US population, but were only 3.3% of characters that year. 

Then they calculated how many books would have to be published featuring African American characters to fill that gap between the population and the represented characters. In 2017 it would’ve taken 524 books to bring about parity! 

They ran these numbers using CCBC’s data for the last 12 years, and reckon we’re missing some 6,000 books that should have featured African American major characters.

Who’s Writing Whom?

But it’s not enough to look at the characters. We also need to look at the authors. 

In 2019, CCBC determined that 11.9% of books featured African American major characters. But of the 3,716 books received, only 5.8% were written by African Americans. Less than half of all books featuring Black characters are written by Black authors. 

The characters are fictional. The authors are real people. These authors have a tiny fraction of the publishing landscape, and as we saw with #PublishingPaidMe, they aren’t treated fairly even when included. 

What do we do now, Houston?

A recent academic study titled “Rethinking ‘Diversity’ in Publishing”, which focused on kidlit, genre, and literary fiction in the UK (which has its own diversity problems!) assessed how diverse authors and books are handled throughout the publishing process. They interviewed everyone: authors, agents, editors, publishers, book sellers, and so on. And they had some recommendations about how to support these books and authors. 

Publishing professionals need to question their biases, reckon with the privileges they have within the industry, and not only open up space but truly provide support by giving institutional resources–especially money–to the people doing this work. The system needs to demonstrate where its values lie through resources.

We need to build a more fair industry through anti-racist work. It’s especially important that we do this within kidlit where our readers are having formative experiences through books. 

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post Diversity in Kidlit: Better Isn’t Enough appeared first on DIY MFA.

Sonja graduated from Stanford University and earned an MFA in Writing for Children and Young Adults from Hamline University, with a critical thesis on writing trauma in middle grade and young adult realistic fiction.

She is currently a creative writing mentor to youth with the Society of Young Inklings and enjoys writing poetry and prose for children of all ages. When You Know What I Know is her gorgeous debut novel. Visit her website and follow her on Twitter and Facebook.

In this episode Sonja and I discuss:

• The inspiration behind When You Know What I Know
• Plot points in a character-driven story
• Writing a book in verse instead of prose
• How an ensemble cast effects the main character
• Writing about trauma in middle grade and YA
• How attending a conference led to publication

Plus, her #1 tip for writers.

About Sonja K. Solter

Sonja K. Solter graduated from Stanford University and earned an MFA in Writing for Children and Young Adults from Hamline University, with a critical thesis on writing trauma in middle grade and young adult realistic fiction. She is currently a creative writing mentor to youth with the Society of Young Inklings and enjoys writing poetry and prose for children of all ages. When You Know What I Know is her debut novel. Sonja lives with her husband and two children in Louisville, CO.

When You Know What I Know

A sensitive, harrowing, and ultimately hopeful novel in verse about one girl’s journey in the aftermath of abuse.

One day after school, on the couch in the basement, Tori’s uncle did something bad. Afterward, Tori tells her mom. Even though telling was a brave thing to do, her mom still doesn’t believe her at first. Her grandma still takes his side. And Tori doesn’t want anyone else — even her best friend — to know what happened. Now Tori finds herself battling mixed emotions — anger, shame, and sadness — as she deals with the trauma. But with the help of her mom, her little sister, her best friend, and others, can Tori find a way to have the last word?

From debut author Sonja K. Solter comes a heartbreaking yet powerful novel that will strike a chord with readers of Jacqueline Woodson and Laurie Halse Anderson. According to The National Center for Victims of Crime, children are the most vulnerable to sexual abuse between the ages of seven and thirteen. Sonja K. Solter took a difficult subject matter such as sexual abuse, and has beautifully written a powerful narrative that will spark a conversation between teachers, parents, and children.

If you decide to check out the book, we hope you’ll do so via this Amazon affiliate link, where if you choose to purchase via the link DIY MFA gets a referral fee at no cost to you. As always, thank you for supporting DIY MFA!

(Right-click to download.)

If you liked this episode…

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Until next week, keep writing and keep being awesome!

The post Episode 303: A Survivor Story as a Middle Grade Novel in Poems – Interview with Sonja K. Solter appeared first on DIY MFA.

Below, we’ll look at ways authors and illustrators are helping young readers and parents, and then explore some free or inexpensive resources currently on offer. But first:

If you’re struggling to create… you’re not alone.

In the first days of quarantine, there were a lot of people talking about it like a vacation–a period with lots of free time in which people could get things done. Surely writers, who prefer isolation anyway, would be writing up a storm now!

But that’s not always how it works. Sure, some people are able to throw themselves into their creative work–it can be cathartic, a mental escape–but for others creating right now is an uphill battle. COVID-19 is scary. The uncertainty is scary. And being anxious, worried, and uncertain is not necessarily a great recipe for creativity. Or productivity in general.

Rule #1 is to be kind to yourself. That means you shouldn’t berate or blame yourself if you’re having a hard time right now. 

What Kidlit Authors & Illustrators Are Doing For Readers

While parents and kids are stuck at home there’s a growing need for entertainment, comfort, and educational resources. The outpouring from creators has been overwhelming.

Writers are doing read-alouds and discussions, illustrators are doing draw-with-me sessions, and publishers are granting permission to teachers and librarians to stream or record themselves reading books. All in the name of helping our favorite people: kid readers! 

Rather than try to collect the myriad links for these online resources here, check out these articles with lists of where to find them: 

• BookRiot – Kid Lit Authors Stepping Up During the COVID-19 Crises and Quarantine
• LAist – Coronavirus Storytime: Here’s Where To Find Celebrities Reading Children’s Books Online 
• The New York Times – Home With Your Kids? Writers Want to Help 
• Publishers’ Weekly – How Kids’ Lit Is Responding to the Coronavirus 
• School Library Journal – Kid Lit Authors Step Up To Help Educators, Students, and Parents 

Indie authors are also getting creative. Many have discounted their books, or made them free. Sarra Cannon is reading a paranormal YA novella on YouTube as she edits it, an interesting twist for writers. 

Don’t Miss

LeVar Burton Reads – Yes, the same LeVar Burton who used to host Reading Rainbow on PBS now offers a podcast and Twitter streaming reading series for grown ups, and during the pandemic he’s expanding to multiple times a week with offerings for kids and teens! Including works by Neil Gaiman! 

Everywhere Book Fest – A virtual book festival designed to “bring the book festival experience to everyone.”  

Coronavirus: A Book For Children – A free book to help explain the virus to young children, illustrated by Alex Scheffler of Gruffalo fame, and written in consultation with psychologists and medical experts. 

Resources For Kidlit Writers

It’s not just love for readers being put into the world. Writers are helping other writers, too. 

Funds

Because time is a critical factor in addressing people’s needs, deadlines and thresholds may already have passed. There will likely be more, and these are listed as examples of what to keep an eye out for. Social media can be an excellent resource for finding similar opportunities. 

We Need Diverse Books Emergency Fund for Diverse Creatives in Children’s Publishing – A fund to support diverse traditionally published writers and illustrators, and publishing professionals. 

Maurice Sendak Emergency Relief Fund by the New York Foundation for the Arts – A fund for picture book writers and illustrators in need due to the crisis. 

Education

The Society of Children’s Book Writers & Illustrators (SCBWI) is offering members free digital workshops every week. 

WriteOnCon Anytime Archive Access – This year’s virtual writers conference has passed, but access to four years of content for 30 days is now only $10. 

About Publishing

Authors, illustrators, agents, editors, and other publishing pros are all enduring this pandemic alongside us. Their reactions range from “Give me more manuscripts to read!” to “I made… more tea? That’s something, right?” to “I have kids I have to homeschool there’s no way I can work right now!” 

YA author Alexa Donne is a wealth of writing and publishing knowledge. On her YouTube channel she answers the question, “Should you query your book now?” She also talks about how other parts of the traditional publishing machine are faring. 

There are also a ton of resources being aimed at indie, and aspiring indie authors right now. A lot of them are very expensive. A lot of them are free. Start with the free resources so you can better judge which gotta-buy-now offers may or may not be worthwhile. 

While these are uncertain times, you can count on the kidlit community to prioritize young readers. And in the writing community at large there’s always someone offering a helping hand up. 

Take care of yourselves, Word Nerds, and stay safe.

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post Kidlit’s Coronavirus Response appeared first on DIY MFA.

As writers (and illustrators!) for children we should be deeply invested in spreading literacy and a love of books to kids all over the world. Kids who read have better outcomes in school, which leads to greater earning potential as adults, and a literate society benefits everyone.

Here’s an overview of the calendar, followed by ways you can get involved.

International Children’s Book Day

When: On or around April 2

Held by the International Board on Books for Young People (IBBY), this day also commemorates the birthday of Hans Christian Andersen, writer of The Little Mermaid and other beloved stories. Is a non-profit that connects some 75 national “sections” from all over the world, helping countries with robust publishing industries support those that are still building their own. Each year a different national section ‘hosts’ the event, creating a poster and message to be distributed. In 2020 the host is Slovenia.

World Book and Copyright Day (International)

When: April 23

An initiative of UNESCO (which stands for United Nations Educational, Scientific and Cultural Organization), this is a day dedicated not only to reading and publishing, but also to copyright protections and awareness. It is celebrated around the world, with Wikipedia noting special traditions in Catalonia, where they give books and roses to loved ones. 

The date was chosen because it is the birth or death date of many famous writers, including Shakespeare and Cervantes. 

World Book Day (UK and Ireland)

When: First Thursday in March

An extension of UNESCO’s day, the UK and Ireland have moved their celebrations so as not to intersect with spring school holidays. Organized by a nonprofit of the same name, since 2007 they’ve partnered with sponsors to provide as many children as possible a book token to buy one of a selection of books for just £1, or get a hefty discount on other select titles. For one in four kids in the UK this is the first book of their very own that they ever own.

Participating schools encourage kids to make a costume and ‘become’ a fictional character for the day. The emphasis is on kid-friendly DIY costumes (lots of construction paper and cardboard!), rather than getting Mom or Dad to buy or sew something. Teachers read to kids, and kids read in groups to themselves. Older students can read excerpts from a multitude of MG and YA titles, including popular tie-ins like Star Wars, and authors including Angie Thomas, Patrick Ness, and Sarah J Maas.

Free Comic Book Day

When: First Saturday in May

On this day participating comic shops in North America and around the world give out free copies of special edition comics printed specially for the occasion. Kids love graphic novels and they’re a great gateway to reading other books, so this is not an event to be missed! 

How Authors & Illustrators Can Get Involved

You don’t have to be featured by one of these organizations to take part in the celebrations! Lots of events and locations are always on the lookout for local writers and illustrators to make connections with kids. You can promote literacy while also getting your work in front of your ideal readers.

Join Existing Events

Reach out to local schools, libraries, and book stores. Ask if they have festivities already in place, and if you can join–or start something! 

Visit Young Readers

You could offer to read from your book, and speak to kids about your book and your job as a writer or illustrator. For older students you may be able to hold workshops where kids learn and practice new literacy skills. Regardless of age, all kids benefit from seeing that “author” is a real job that real people just like them can have.

Donate Books

If you’ve got ARCs on hand, donate them to a classroom library! These are often stocked by teachers out of their own pockets, and they welcome the chance to broaden their students’ access to a wide range of books. 

Donate Time

If your local spot is hosting a costume party, see how you can help out. You could help young kids cut out shapes for their costumes, or do simple face-painting. The goal is to make sure kids associate reading with having a good time. Teachers, librarians, and booksellers are often pressed for time and an extra pair of hands can make all the difference.

Help Fundraise

Donate directly to the organizations listed above, or help them to fundraise with local events. Book Aid International and World Book Day in the UK & Ireland have partnered for a fundraiser called “Big Booky Breaktime”, where proceeds go to buy books for kids “affected by conflict, poverty and violence.” You might donate a signed copy of your book for auction, or use your platform to raise awareness of a bake sale or other activities. 

Regardless of how you participate, remember your priorities: these days are about celebrating all books, reading, publishing, copyright protection, and literacy. Encouraging young people to become lifelong readers is the goal. 

And don’t forget to share your love of stories with the kids in your life, too. Even if you don’t leave the house, a day dedicated to books is a great excuse to curl up together for a favorite read.

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post Celebrating Reading: Days Dedicated to Books appeared first on DIY MFA.

This much-debated topic has no easy answer. First, an overview of the debate, then we’ll discuss how the dynamics shift when your target audience skews younger, and how to make your references work if you do decide to use them. 

The Changing of the Old MFA Guard

According to Electric Literature, the question picked up steam in the 1980s at MFA workshops. The professors had grown up in a world largely devoid of corporate branding slapped onto every aspect of their lives, but their students had come up surrounded by brand name cereals, trademarked products, and a wider common culture made possible by the spread of national TV and radio. To the young writers it was normal to say Kleenex or Hoover, instead of tissue or vacuum: the brand was the item. 

Their teachers objected, essentially claiming that all these brands and pop culture touchstones were ephemera, that they were fads that would fade as easily as they had come. After all, there was no MTV when they were kids! These professors said literature should seek to be “timeless” rather than products of their era. 

That’s the theory, anyway. 

What actually happened is that while specific pop icons like Davy Jones and Bananarama faded from popular consciousness, a lot of things haven’t. Coca-Cola is a prime example, a brand that’s been around since 1886 and keeps reinventing itself to stay relevant. Their product is so ubiquitous that many people don’t say “I’ll have a soda” or “pop,” they say, “Gimme a Coke.” Brands are absolutely everywhere (we’re all encouraged to even have personal brands to compete). The Internet has been divided up between Facebook, Google, Amazon, and other massive conglomerates. “To google” is now a verb. We now communicate through pop culture using GIFs taken from popular shows and movies. The zeitgeist has zeitgeisted itself. It’s all very meta. 

All that to say: this is how we live now.  So, can contemporary fiction that doesn’t incorporate or refer to the ubiquity of pop culture and big brands really call itself realistic fiction? 

What Readers and Other Writers Think

Both readers and writers are split, but they tend to have strong feelings about their preference. Discussions on Reddit are illuminating, from both the writers’ perspective and the readers’. Here are some highlights.

Don’t use references when they’re… cheesy, overdone, exist ‘just to appeal to readers’, are used as a prop, can be ‘distracting filler’, look like showing off, or come over like Steve Buscemi’s “How do you do, fellow kids?” when not used correctly.

Do use references when you want to… flesh out worldbuilding, anchor your story firmly in time and/or place, add in-jokes and layers of additional meaning, or quickly communicate something about a character through the references used. 

Most readers agree that if it’s done well, it can work. We’ll get into how to use pop culture references well in a moment. 

Pop Culture 4 Kidz

The same Do’s and Don’ts provided above still apply to writing for kids. However, age does make a difference when it comes to how specific and far-reaching your references can be. 

When writing kidlit, your first responsibility is always, always, to the intended audience: young readers. You want to depict a reality (be it historical, fantasy, or the future) that current young readers can understand and relate to. That means that when you’re writing about right now, you have to reckon with the influence of pop culture on our everyday lives. 

You also want to be careful about seeming to promote or endorse something you have no control over (people and brands can make mistakes!), and looking like you’re selling to kids. The opposite won’t save you–if you’re too harsh, you might have to deal with a legal team alleging that your work is insulting and damaging. 

In works for younger readers (picture books through some Middle Grade), it’s safest to steer clear of specifics. Generic terms can still get the point across, like tablet instead of iPad. (Besides which, iPad implies the money to acquire one, that the family uses Macs vs. PCs, and so on. Word choice matters!) Because younger kids have less experience, their frame of reference is limited. Today’s ten year olds were born when the 6th Harry Potter movie debuted, so Harry Potter means something different to them, if it means anything at all. 

Older readers (some Middle Grade and Young Adult) are more likely to be aware of pop culture and history, but they’re also extremely discerning. They can tell when an author is dropping names and slang they’re not comfortable with. You can use specific references for this age group so long as you don’t overdo it. 

How To Make References That Work

Provide context

Think of pop culture or historical references like uncommon or “fancy” words: the reader should be able to get the gist from the surrounding text. The Writer magazine has a great piece on how to make references, and the linked New Yorker piece has a lot of examples. 

The Writer provides this example:

[In his essay “Frame of Reference” in the New Yorker, John] McPhee cites a reference in the book Captured by Aliens [by Joel Achenbach], in which a professor supposedly looks like Gene Wilder, with “some of the same manic energy.” Readers who are familiar with Wilder are immediately treated to a vision of blond curls and bright blue eyes; readers who aren’t are still clued into the key reason for the comparison (the “manic energy”).

Try to anticipate frame of reference

…but don’t drive yourself to distraction. You can’t anticipate what every reader will or won’t be familiar with, but you can make assumptions based on their cohort. 

Every year since 1998, Beloit College circulates the “Mindset List” which “reflect[s] the world view of 18 year-old entering college students each fall”. For instance, the class of 2022, born around 2001, has “always been able to refer to Wikipedia” and “Oprah has always been a magazine.” College professors need to keep their references current if they want to reach students, but we as kidlit writers can glean important insights from them, too. Historical writers can refer to the book The Mindset Lists of American History: From Typewriters to Text Messages, What Ten Generations of Americans Think Is Normal.

Aim for popular or universal references, where possible

…but remember that you can’t cover every frame of reference. 

Keep in mind that with the Internet all knowledge can be searched for (and usually found), so if a reader really wants to know they can find it. But no one knows everything, and we increasingly occupy siloed communities which have their own subcultures. A political wonk will know things that a K-POP fan has never heard of, and vice versa. (Don’t forget the person who follows both! Crossovers happen because people contain multitudes.)

Try to use enduring references

There’s a conversation to be had about historical works that make pop culture references. They do! Some we recognize, some we don’t. Electric Lit points out that these are often considered references to “high art”, which means the item is still recognized because it’s become an enduring “classic”. Often we confuse “enduring” with “superior”. Just because the Odyssey has survived to the present doesn’t mean a play written in the same year was a worse play. 

It’s impossible to say in 2019 whose legacy will endure (BTS, Adele, or Beyonce?), so we just have to use what will be meaningful to current readers, and our best guess for future readers.

If you really want to play it safe, stick to references that are safely in the past. THE HATE U GIVE’s title refers to Tupac Shakur lyrics, and it works because time has passed since his death and his legacy is now relatively stable. The same book also references current pop stars, prompting a reddit user to say:

Some of the references already aren’t aging well, like the am I Beyonce or Taylor Swift today reference since now T Swift is seen as a problematic white pseudo-feminist that causes drama instead of a broken hearted girl anthem queen. Even Beyonce’s image, while still positive, now has changed to a woman who stayed strong through a betrayal. So the reference has a completely different meaning already which confused me (Did Chris cheat? Is that why she’s Beyonce?) etc. 

Make your reference serve more than one purpose

Why are you using a given reference? Does a character’s favorite TV show say something about their taste, and what we can expect of them later in the book? Will naming the band playing at prom flesh out the worldbuilding? If the reference adds something to your story, it’s often worth leaving in. 

Next time you pick up a new book, ask yourself what hallmarks of the era are included, and what’s left out. 

There is so much more I could say about this topic. (Thank you to Rachel for suggesting it!) Ultimately, using pop culture references is a choice for each writer and each project. Hopefully these tips and resources will help you make that call. 

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post Should You Use Pop Culture References in Fiction (For Kids and Teens)? appeared first on DIY MFA.

Janae is an award-winning children’s book author living in Connecticut. She has an MFA in Creative Writing with a concentration in Writing for Children and Young Adults from The New School, and is an active member of the Society of Children’s Books Writers and Illustrators (SCBWI). Her debut is the middle grade novel,  From the Desk of Zoe Washington, which we’ll be discussing today.

Janae also happens to be one of my dearest writing besties. She’s known me since before DIY MFA was even a twinkle in my eye, like back when it was still just a “crazy idea” I was kicking around on my personal blog. She and I were also in the same thesis critique group so she has seen my writing in all its many forms: from the good, to the bad, to the… what the heck were you thinking, Gabriela?

One of my favorite things—one of the things that brings true joy to my heart—is when I get to introduce my favorite people to the word nerd community. I’ve known Janae for a long time; I know how much of her heart and soul she’s poured into this book and I am so excited for the world to discover Zoe Washington and this sweet, heart-felt middle grade novel.

Without further ado, welcome Janae! It’s so great to have you here.

In this episode Janae and I discuss:

• How Serial and Making a Murderer inspired From the Desk of Zoe Washington
• Aging a character down from YA to Middle Grade
• Weaving serious, real-world issues into a middle grade story
• Balancing parenting and writing
• Using Camp #NaNoWriMo to write a novel
• Different types of writing friends and communities
• Finding a community-focused writing conference

Plus, her #1 tip for writers.

About Janae Marks

Janae Marks is an award-winning children’s book author living in Connecticut. She has an MFA in Creative Writing with a concentration in Writing for Children and Young Adults from The New School, and is an active member of the Society of Children’s Books Writers and Illustrators (SCBWI). She is the author of the middle grade novel FROM THE DESK OF ZOE WASHINGTON, which will be published on January 14, 2020 from Katherine Tegen Books/HarperCollins. It will also be available in the UK and Italy. She is represented by Alex Slater at Trident Media Group. Connect with her on Twitter, Instagram or her website. 

From the Desk of Zoe Washington 

Dear Marcus…

Zoe Washington isn’t sure what to write next. What does a girl say to the father she’s never met, hadn’t heard from until his letter arrived on her twelfth birthday, and who’s been in prison for a terrible crime?

A crime he says he never committed. 

Could Marcus really be innocent? The truth is somewhere out there, and Zoe is determined to uncover it. Even if it means hiding his letters and her investigation from her mom and stepdad. Everyone else thinks Zoe’s worrying about doing a good job at her bakery internship, and proving to her parents that she’s worthy of auditioning for Food Network’s Kids Bake Challenge. It’s been Zoe’s dream to become a star baker, and she can’t afford to mess anything up. Her best friend and neighbor Trevor would’ve been her confidante through all this, but Zoe’s not speaking to him anymore. She’ll have to figure this out alone.

With bakery confections on one part of her mind, and Marcus’s conviction weighing heavily on the other, this is one recipe Zoe doesn’t know how to balance. The only thing she knows to be true: Everyone lies. This captivating novel by debut author Janae Marks follows one courageous girl as she questions assumptions, searches for the truth, and does what she believes is right, even in the face of great opposition.

If you decide to check out the book, we hope you’ll do so via this Amazon affiliate link, where if you choose to purchase via the link DIY MFA gets a referral fee at no cost to you. As always, thank you for supporting DIY MFA!

(Right-click to download.)

If you liked this episode…

Head over to iTunes, Stitcher Radio or Google Play and subscribe so you’ll be first to know when new episodes are available.

Also, remember that sharing is caring so if you know anyone who might enjoy this podcast, please tell them about it or leave us a review so other listeners will want to check it out.

Until next week, keep writing and keep being awesome!

The post Episode 288: Find Your Community — Interview with Janae Marks appeared first on DIY MFA.

Just what defines a graphic novel? Why are kids reading them? And are kids getting as much from graphic novels as they do from novels without pictures?

What Graphic Novels Are, and Aren’t

There’s no singular definition of “graphic novel” so pinning it down can be tricky. The borders between a picture book, an illustrated novel, a comic book, and a graphic novel may seem confusing at first. (DIY MFA has a nice introductory post here.) 

Graphic novels typically:

• Consist predominantly of sequential illustrations to tell a story (like a comic). Text may or may not be present, and is usually secondary to the art.
• Are longer, with more room for subplots and deeper examination of themes.
• Are bound like books (hard or soft cover, glued or sewn binding) rather than comic periodicals (stapled with paper covers).

“Graphic novel” does not denote genre or age category, as it is used for everything from middle grade nonfiction to gritty adult superhero reboots. Picture books are shorter and aimed at young children. Illustrated novels are works of prose with single illustrations peppered throughout the text. (Think Roald Dahl’s Charlie and the Chocolate Factory or the original printing of Alice in Wonderland by Lewis Carroll.) 

Why Kids Love Graphic Novels

We start babies with picture books, and a thick novel may look intimidating, so it makes sense that a growing kid would want something that feels like a transition between the two. Carrying something with a hundred pages can make a kid feel accomplished, but knowing that those pages are filled with artwork is reassuring. Graphic novels are great for kids in transition.

Let’s talk about the artwork. Often it’s visually magnificent. Even when it’s quirky, messy, or “simple,” great care goes into them, especially when they’re aimed at young readers. That’s because the images convey just as much, if not more, information than the text. 

Illustrations provide context clues to what’s happening in the story. A character could say, “I’m sorry” but the expression on their face will tell the reader how they’re saying it. For kids who struggle with prose reading comprehension the pictures can be a big help. 

Whether a reader has difficulty or not, graphic novels are a pleasure to read. Visual cues reinforce themes, subtle running gags appear in the margins, and color and ink create an immersive world. 

But Grown Ups Don’t Always Love Kidlit Graphic Novels

Some teachers and parents look down on comics and graphic novels as “not challenging enough” but those adults may not be familiar with what’s currently on shelves, or the latest science. 

Turns out that reading graphic novels engages the same parts of the brain as reading text. Having pictures and text together can improve recall and learning. The pictures actually help the reader instead of “dumbing down” the experience. (For citations, see this post at Northwestern University, and Teach.com’s guide for teachers.) 

All Reading Counts

There’s a reason “novel” is part of the term used for these books. Novels are known for their deep themes, emotions, and intricate story telling. There are many graphic novels being published that tackle harsh subjects. Perhaps the most famous is Maus by Art Spiegelman, which recounts the Holocaust using mice and cats as proxies for humans. Maus has heavy themes, but it has helped countless adults and older kids understand a human tragedy. 

On the October 2019 New York Times list, the kidlit graphic novels cover themes of debilitating anxiety, friendship and peer pressure, Japanese internment in WWII, sisterhood, diversity in schools, classism and racism, and growing up. Beyond the list, there are graphic novel adaptations of Anne Frank’s diary, A Wrinkle in Time, Shakespeare, and even The Odyssey. Whether your young reader wants fart jokes or an introduction to classic literature, there’s a graphic novel for that.

Maybe the most important thing for grown ups to remember about kidlit graphic novels is that all reading is reading. How matter how a story is consumed, it’s still important. Even better, graphic novels are sticky–they turn reluctant readers into story-hungry lifelong readers. 

Writing a Kidlit Graphic Novel 101

First, you’ll want to understand how graphic novels are created. It starts with a script, then storyboarding (rough sketches), then art, ink, color, lettering, and so on. 

In comics there are often teams who make a comic happen, but in traditional book publishing it’s more common for an agent to sign an individual writer or illustrator and then a publisher will match writers and artists. Being a writer/illustrator may be the easiest path to representation, but other models are still possible. 

If you’re a debut you’ll need to show that you are capable of finishing the work, and what that final work will look like. That can mean different things, from a synopsis, to a complete script or rough illustrations, and if you’re also the illustrator you’ll definitely want a sample chapter or two with finished art and letters. Querying a graphic novel isn’t easy, but neither is querying a prose or verse novel either. 

You don’t have to go traditional with a graphic novel. You can go indie or self-pub with a combination of webcomics, crowdfunding, doing it all yourself, or approaching small publishers directly. 

All the usual rules of writing kidlit apply. Make sure you check out The Special Responsibility of Writing Kidlit and Defining Kidlit for what makes a story kidlit and what to keep in mind when you’re writing for kids. 

Bronwen Fleetwood writes fiction for young adults, and nonfiction for writers. Bronwen studied creative writing at Eugene Lang,The New School for Liberal Arts, has acted as leader of the Princeton Writing Group, and as a Municipal Liaison for National Novel Writing Month. Bronwen currently lives on the Whale Coast of South Africa, between the mountains, the sea, and a lake. You can connect with her at bronwenfleetwood.com.

The post A Whole New World: Graphic Novels for Kids appeared first on DIY MFA.