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Re: CBC Diversity
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From: Christine Taylor-Butler <kansascitymom_at_earthlink.net>
Date: Wed, 13 Feb 2013 12:06:37 -0600
Then why depend on the CBC which is a membership driven organization? And certainly the "diversity" Council at CBC was an attempt to address the issue but even when those editors acquire that "rare" book their publishing companies assign ZERO marketing.
It reminds me of when I worked at a large "well known" card company. We would release a new card line aimed at Jewish People (Tree of Life) and African Americans (Mahogany) and then do nothing to promote it. At one point, the corporation cancelled plans to market the AA line in Essence in Ebony - suggesting they had a plan in place. When I arrived at a photo shoot I noticed that the African American family planned for one spread had been replaced by Asians under the guise of "a more wealthy demographic", The Mahogany product line received a small allocation in the middle of a crowded catalog near the spine where it was difficult to spot.
For now the problem remains:
1. diversity is lacking among editorial staffs at large publishers and those who make it through the gate tend to avoid acquiring pod titles or mentoring new talent so that they're not pigeonholed in that role.
2. Authors and illustrators who are acquired are sometimes at odds with their non-ethnic editors over whether something (their voice, their art) is culturally "authentic." At least one person told me they hated their book after publication by a large house.
3. Some agents are reporting that they can't get work acquired because the publisher response is "we already have one on the list and don't need another."
4. The quality (editing, print quality, color palette) is often lacking - as if the book were an afterthought after acquisition (that's my Hallmark lithography experience talking - I still have a press loop used to inspect the "dots.")
So if the "go to" minorities (as far as African Americans are concerned) are staples such as Pinkney, Myers, Dillon (etc.) because their name recognition guarantees sales to librarians what outcome do we as a group expect? How do new voices break through?
The Children's Book Council doesn't hold the power. WE DO!
My esteemed pal, Elizabeth Bluemle started a list: World Full Of Color: And I will report more authors and illustrators began seeing interest after her eloquent posts on Publisher Weekly. But those authors, even when acquired, got no marketing as a follow-up.
None.
Zetta Elliot compiles a similar list of African American and Middle Grade Novels:. ovels/ ovels/
I do think paying attention to small publishers is a key component. It will drive sales that provide them with a revenue stream to acquire more authors and illustrators of color. Large publishers tend to follow the scent of money and will get a clue sooner or later.
And based on this ongoing discussion my listserv: Association for Authors and Illustrators of Color will set up a website and a speakers bureau this spring help commercially published authors have visibility. Allow you to put names and faces with the books that are produced.
But OUR task in the interim is to:
1. ask "where's the new talent of color?" at lavish ALA receptions hosted by large publishing houses to introduce their upcoming lists. 2. ask "where's the diversity?" when ALA committees meet to discuss ALSC and Notables awards nominees. 3. ask "where's the diversity?" when marketing reps are dragging their mainstream talent to meet committee members at NCTE and ALAN 4. ask "where's the marketing?" when publishers tout new books that don't feature people of color 5. ask "where's the mainstream?" when we see yet another book of race based angst fueling the plot. 6. say "ENOUGH!" to the ubiquitous and inevitable onslaught of King, Parks and other known icons during the annual guilt fest known as Black History Month.
As one clueless manager said during a management meeting at Hallmark to fast track products: "What is Kwanzaa? Can't be important if I've never heard of it." The product didn't get the support or marketing and it didn't sell because consumers weren't told the product was in stores. The same is true of publishing. Consumers, teachers and librarians can't acquire something if they don't know it exists. And we can't expect content creators to survive if they forced to spend their often small advances on marketing their own books in absence of publisher support only to see 90% of the subsequent revenue flow back to the corporation. It's a death spiral.
Ethnic children are now 50% of all births in the US. Maybe that's a place to start changing the paradigm……Christine, author and Chair of MIT's Regional Educational Council
Received on Wed 13 Feb 2013 12:06:37 PM CST
Date: Wed, 13 Feb 2013 12:06:37 -0600
Then why depend on the CBC which is a membership driven organization? And certainly the "diversity" Council at CBC was an attempt to address the issue but even when those editors acquire that "rare" book their publishing companies assign ZERO marketing.
It reminds me of when I worked at a large "well known" card company. We would release a new card line aimed at Jewish People (Tree of Life) and African Americans (Mahogany) and then do nothing to promote it. At one point, the corporation cancelled plans to market the AA line in Essence in Ebony - suggesting they had a plan in place. When I arrived at a photo shoot I noticed that the African American family planned for one spread had been replaced by Asians under the guise of "a more wealthy demographic", The Mahogany product line received a small allocation in the middle of a crowded catalog near the spine where it was difficult to spot.
For now the problem remains:
1. diversity is lacking among editorial staffs at large publishers and those who make it through the gate tend to avoid acquiring pod titles or mentoring new talent so that they're not pigeonholed in that role.
2. Authors and illustrators who are acquired are sometimes at odds with their non-ethnic editors over whether something (their voice, their art) is culturally "authentic." At least one person told me they hated their book after publication by a large house.
3. Some agents are reporting that they can't get work acquired because the publisher response is "we already have one on the list and don't need another."
4. The quality (editing, print quality, color palette) is often lacking - as if the book were an afterthought after acquisition (that's my Hallmark lithography experience talking - I still have a press loop used to inspect the "dots.")
So if the "go to" minorities (as far as African Americans are concerned) are staples such as Pinkney, Myers, Dillon (etc.) because their name recognition guarantees sales to librarians what outcome do we as a group expect? How do new voices break through?
The Children's Book Council doesn't hold the power. WE DO!
My esteemed pal, Elizabeth Bluemle started a list: World Full Of Color: And I will report more authors and illustrators began seeing interest after her eloquent posts on Publisher Weekly. But those authors, even when acquired, got no marketing as a follow-up.
None.
Zetta Elliot compiles a similar list of African American and Middle Grade Novels:. ovels/ ovels/
I do think paying attention to small publishers is a key component. It will drive sales that provide them with a revenue stream to acquire more authors and illustrators of color. Large publishers tend to follow the scent of money and will get a clue sooner or later.
And based on this ongoing discussion my listserv: Association for Authors and Illustrators of Color will set up a website and a speakers bureau this spring help commercially published authors have visibility. Allow you to put names and faces with the books that are produced.
But OUR task in the interim is to:
1. ask "where's the new talent of color?" at lavish ALA receptions hosted by large publishing houses to introduce their upcoming lists. 2. ask "where's the diversity?" when ALA committees meet to discuss ALSC and Notables awards nominees. 3. ask "where's the diversity?" when marketing reps are dragging their mainstream talent to meet committee members at NCTE and ALAN 4. ask "where's the marketing?" when publishers tout new books that don't feature people of color 5. ask "where's the mainstream?" when we see yet another book of race based angst fueling the plot. 6. say "ENOUGH!" to the ubiquitous and inevitable onslaught of King, Parks and other known icons during the annual guilt fest known as Black History Month.
As one clueless manager said during a management meeting at Hallmark to fast track products: "What is Kwanzaa? Can't be important if I've never heard of it." The product didn't get the support or marketing and it didn't sell because consumers weren't told the product was in stores. The same is true of publishing. Consumers, teachers and librarians can't acquire something if they don't know it exists. And we can't expect content creators to survive if they forced to spend their often small advances on marketing their own books in absence of publisher support only to see 90% of the subsequent revenue flow back to the corporation. It's a death spiral.
Ethnic children are now 50% of all births in the US. Maybe that's a place to start changing the paradigm……Christine, author and Chair of MIT's Regional Educational Council
Received on Wed 13 Feb 2013 12:06:37 PM CST
