Bet. Swear this word is gon get us killed, yo. This is the opening line of Alicia D. Williams’ latest middle grade novel-in-verse, Mid-Air. The novel is a warm, voice-driven story of an 8th grader, Isaiah, who is navigating life’s many twists and turns. Feeling the weight of extreme guilt after his friend Darius is killed in a hit and run accident under his watch, Isaiah seeks forgiveness from their friend Drew. In the wake of such tragedy, Isaiah fights to keep their friendship alive and discovers so much about himself along the way. Kidlitincolor’s Tonya Abari sat down with award-winning author, Alicia D. Williams, to discuss the significance of this work–and the importance of championing middle grade stories, even when industry “trends” say otherwise. Let’s get into it! Tonya: The themes and characters in Mid Air are timeless and universal. What do you hope children and adults will gain from reading this book? ADW: Ahh, thank you. In all of my work, my message rings the same. I want my readers to be courageous and bold enough to be their true authentic selves, to define themselves for themselves. This daring act is scary because as any seventh and eighth grader will explain, “they don’t want to be alone or different.” It takes work and my stories offer characters who learn to be brave and step into their truths. Tonya: Why did you choose to tell this story [Mid-Air] as a novel-in-verse? ADW: I didn’t choose this form, not at all. I don’t have a history of writing poetry, so I would not have willingly chosen this form. Yet, verse was the only way to tell this story because the voice dictated it be so. After the first two drafts, I switched from computer writing to a simple notebook and pencil. There, I discovered Isaiah’s voice. After a tragic event—the death of his best friend Darius—Isaiah closed up and didn’t talk much. But when he did, what came out was staccato and rhythmic. Quiet and introspective. Animated and structured. Right from the pencil, his voice flowed. Tonya: Industry reports have suggested a downward trend in middle grade stories. There are several reasons why, but can you share why it's important for authors to still write for this age range? ADW: We are indeed in tough times with book banning, censorship, low sales, and recouping readers who fell off since the pandemic. But the books have to be available. There are readers who are still needing these stories…A note about industry trends. I don’t subscribe to them. Trends are as fickle as our taste in fashion and we see how fast those trends change. Plus, it is entirely impossible to chase a trend. Publishing is a slow process. From the time you sell a story and finally get it published, the trends have changed. I write way too slow and it’s too demanding to keep up. What I subscribe to is writing the story that comes to me and writing it in the best possible way that I can. A good story has the potential to break through trends. Tonya: We see Isaiah break down toxic masculinity as a 13 year old. Especially for the Black community and society at large, how does this character’s internal work serve a greater purpose of divesting from one’s idea of what it means to be a man? ADW: Isaiah challenges and expands the definition of manhood, but he was not purposely pushing back on patriarchy or toxic masculinity. He was simply curious about the different ways he could express himself through accessories. Accessories which would get him teased and of course, attacked for not being tough and manly. Accessories and a sensitive disposition that could risk his sexual identity be questioned. So, while Isaiah wasn’t wrestling with this major argument or even thinking of the impact within the Black community, his internal work was about himself and how he could navigate within his immediate community. Tonya: Tell us a little bit about how you conceptualized this book. In your research (and as a former teacher), what were some of the topics that you wanted to see come alive on the page? ADW: I have to admit that this story rolled out of me from grief. I didn’t sit down and dream of what to write or subjects to cover. It began as a truth to prove to myself that I could write another novel. After the success of my debut, Genesis Begins Again, I struggled with fear of being a one-hit wonder. During NanoWriMo, my only intention was to write unedited. Initially, the subject matter was the tragic death of Elijah McClain. I recall reading his last words and couldn’t comprehend how he was not seen as a kid, that no one listened to his words and said, “Whoa, this kid isn’t a criminal. Let’s take a step back.” I grieved for him. I couldn’t get why Black boys were seen as threats before humans. After the NanoWriMo challenge ended, I realized that I made too many assumptions about this person. I didn’t want to traumatize his family or any reader that was affected by the event. That’s when I pulled back and looked deeper at what I wanted to explore. And yes, grief was a big part of this, but examining why boys, especially Black boys, had to straddle the world of tough masculinity without being allowed to have emotions or be gentle became a core theme. Tonya: We all know that publishing is very top secret, but can you give us the scoop – or at least a subtle hint – on what you’re working on next? ADW: Another middle-grade novel! I really want to give space to not get caught up on what I’m working on. Sustaining excitement for a project is internal for me because publishing takes soooo long. And with the question, my spirit gets a bit rushed when I know the timeline is not in my control. Alicia D. Williams is the award-winning author of Genesis Begins Again, which received the Newbery and Kirkus Prize honors, a William C. Morris finalist, and won the Coretta Scott King--John Steptoe Award for New Talent. Alicia D also debuted a picture book biography, Jump at the Sun: The True Life Tale of Unstoppable Storycatcher Zora Neale Hurston and followed up with Jane Addams Peace Award winning Shirley Chisholm Dared: The Story of the First Black Woman in Congress. Her latest picture book, The Talk, won both Coretta Scott King and Golden Kite Honors. Alicia now celebrates her new novel-in-verse, Mid-Air.
Website: https://www.aliciadwilliams.com Instagram: @authoraliciadwilliams We are thrilled to host Justin Colón on our blog today! Read our interview with him below and check out this hilarious and fun picture book: KLiC: What was your inspiration for The Quacken? JC: To all who are reading this, please entertain me (and yourself) for just a moment and shout this in your most grandiose, Zeus-like voice: “RELEASE THE QUACKEN!” Go ahead, try it again! Fun, right? Now, imagine shouting that as hundreds of hungry ducks are headed somewhere on a mission. Apparently, some duck owners do exactly that when they release their ducks for feeding time. This hilarious pairing of dialogue and imagery is one I saw through a combination of random GIFS and Youtube videos I encountered while scouring the internet to ensure someone hadn’t already used this title and/or concept. Almost immediately, the ‘what ifs’ invaded my brain. What if the Quacken was a gigantic duck? What if someone unintentionally created or unleashed this beast? What if that beast wanted to eat them? And where could such an imposing creature go unnoticed? One thing was for certain: The Quacken was too good a title to pass up. How often do you get a portmanteau, funny-sounding letters, a fresh concept, and the lead character all rolled into a single, super catchy picture book title, and one that is only two words? The title practically sells itself. The incongruity of “RELEASE THE QUACKEN” being so foreboding and theatrical, only for a giant duck to appear quacks me up. Sadly, the actual phrase didn’t make it into the book. But I’ve got plans to work it into some fun promo. Maybe I’ll even have all the students shout it in unison during school events. Now that would be fun! KLiC: That would be fun! Please tell us about your writing process. How long did it take you to write and sell The Quacken? JC: The idea for The Quacken came to me in March of 2020. The manuscript went on submission to editors in March of 2021, two weeks after I signed with my agent. Six days on sub, we received word that The Quacken was heading to its first editorial meeting. Ultimately, two Editorial Directors, each at a different Big 5 publisher, requested changes via Revise and Resubmits (r&rs), and I spent my summer producing a combined total of 5 r&r’s for them. In mid-August, my agent and I decided to go on a mini submission round to a very select list of editors. Within a month, Kendra Levin, another Editorial Director, this time at a third Big 5 house (Simon & Schuster) emailed my agent, and my agent called me asking if I could take a call. I wrapped up my workout at the gym, raced home, and hopped on a Zoom call. About thirty minutes later, my editor emailed my agent saying she knew the timing was a bit inconvenient (it was the Friday before Labor Day weekend), but she was offering us a two-book deal. No r&r desired. I’d hardly call that “inconvenient.” KLiC: Definitely not inconvenient in this case! What are your favorite illustrations in the book? JC: Well, first I have to give a shoutout to illustrator, Pablo Pino, and Art Director Lucy Ruth Cummins—two super experienced picture book creators. They brought the spookiness, humor, and adventure to this story through fun, commercial visuals. It was important to me that I worked with a Latin creator on this story, which features a Latino protagonist. I want BIPOC creators to have the opportunity to work on all sorts of stories, and not just ones centered around their identity. This is why four out of five of my books are illustrated by BIPOC creators. I request illustrator and art consultation before accepting any offer, and I remain involved throughout the selection process and vocal about wanting to lift BIPOC voices. For this reason, it was especially rewarding that my team at Simon and Schuster honored my request and selected Pablo, who was on the wish list of illustrators I shared with them. Okay, back to the original question. One of my favorite scenes in the book is a play on the concept of birdwatching. It was a favorite of mine as I drafted the manuscript, and I love it even more with Pablo’s illustration. In it, the protagonist, Hector, has just escaped the Quacken, but now he’s alone in a quiet forest with this creature, and he senses its somewhere out there. Using a pair of binoculars, he searches for signs of the beast. Little does he know, the Quacken is staring right back at him with its own set of binoculars. It makes me laugh every time. Below is a screenshot of the manuscript with the art notes for the scene. Underneath it is the final spread as it appears in the book. I couldn’t be more pleased with it. The graphic novel-style panels, color scheme, expressions body language, props, etc.—Pablo nailed it.
KLiC: I love those illustrations! What’s the one thing you want kids to take away from your book? JC: Not to feed the ducks! (that’s actually a disclaimer at the beginning of the book). But seriously, there’s no big takeaway with this book. This story is fast-paced, lighthearted, and doesn’t take itself too seriously. And I’m content with that. Its life purpose is purely to provide entertainment. KLiC: Ha! Do you have any tips for pre-published authors? JC: Think about who you are as a creator, the type of work you want to create, the career you envision for yourself, your short and long-term goals, etc. Get specific, and then create a plan of action with SMART (Specific, Measurable, Achievable, Relevant, and Time-Bound) goals that will move you closer to your target. This will also help give you more control and fulfillment within your creative journey. That said, it’s okay to pivot throughout the process. We grow as people and creators. Our dreams evolve. And our goals and plans change. Publishing isn’t a sprint, it’s a marathon, one that requires persistence. You will likely receive many rejections. And sometimes it’s hard not to take them personally. They can start to weigh on you. But I promise, these rejections aren’t personal. There are plenty of reasons why an agent or editor might pass on your work, even if it’s a great story that is well-written. It’s possible they represent a creator/project that’s too similar. It might be a story within a genre and/or format that’s not their editorial strength. Maybe the market is challenging for that type of project at the moment. The list goes on and on. Rejection is redirection, and your journey will be filled with many redirections. In fact, the further along you get, the more abundant the redirections will become. This means you’re putting you and your work out there. You’re making choices and you’re taking chances. Otherwise, change wouldn’t be possible. Don’t be afraid to push back and advocate for yourself either. And remember, it only takes one yes. Also, while we’re working toward all these yeses, we can hone our craft and develop our skill set, read books and learn the market, connect with the community and celebrate others. But please, take breaks as you need. It’s important to refuel and reset. KLiC: Great tips. What’s next for you? JC: The Quacken publishes July 16th with Simon & Schuster BFYR. Three months later, on October 22nd, my sophomore picture book, Impossible Possums (illustrated by the brilliant James Rey Sanchez) publishes with Disney-Hyperion. It’s a hilarious, high-octane book starring a villainous possum with plans to take over the world. Then, The ZomBees (illustrated by Kaly Quarles) publishes with Simon and Schuster BFYR in Summer of 2025. It’s a spooky, rhyming picture book with light humor. That same year, Impossible Possum for Mayor (the sequel to Impossible Possums) publishes. My most recent book, Vampurr, which just sold at auction and is being illustrated by Lenny Wen, publishes with FSG/Macmillan summer of 2026. It’s an atmospheric, lyrical tale about a vampire kitten who struggles to find a loving home because of her hilariously unusual appearance and abilities. I’ve got several funny picture book manuscripts in the submission queue and am hoping to sell some nonfiction soon as well. I’ve also got a really spooky, action-packed middle grade novel in the works. KLiC: Wow so many amazing books! Is there anything else you want readers to know about you or your book(s)? JC: I offer freelance editorial services, mentor, and teach picture book writers of all levels through my small business, The Kidlit Hive. Whether you need a manuscript critique, assistance finding comp. titles, crafting pitches, etc. I’ve got you! To learn more, please visit kidlithive.com Justin Colón is a NY-based author whose forthcoming picture books include THE QUACKEN, IMPOSSIBLE POSSUMS, IMPOSSIBLE POSSUM FOR MAYOR, THE ZOMBEES, and VAMPURR. He is the owner of The Kidlit Hive and previously founded/hosted PBChat, a free community and annual mentorship program that assisted over 100 upcoming picture book creators on their publication journey. In his other life, Justin is a professional, formally trained voice and on-camera actor and SAG-AFTRA member who has co-starred on hit shows such as Unbreakable Kimmy Schmidt, Gotham, and Sneaky Pete. He invites you to visit him at justincolonbooks.com. We are thrilled to interview Dr. Seema Yasmin for our blog today! Read below about her YA book, Unbecoming.
KLiC: What was your inspiration for Unbecoming? SY: Unbecoming is my debut novel which I started to write in 2019. It was inspired by the move to make abortion either impossible to access or outright unconstitutional. This was before Roe v. Wade was overturned in 2022, but of course, the writing was on the wall. My mind was traveling into the future to imagine what life is like for two Dallas teens trying to figure out friendship, faith and family when trying to get an abortion in a post-abortion world. Once I had that idea, the character of Laylah came to me in an instant and I could not get her out of my mind. She was earnest and hard-headed and getting in her own way in terms of letting friends and family in to give her the care and support she needed. Her bestie, Noor, then sprung alive and I could not get the two of them out of my head. It's wild to think the book is entering the world at the same time that the potential next president of the United States is talking about conducting surveillance on pregnant people to make sure pregnancies are not ended (something mentioned in the novel) and when Florida just banned abortions after six weeks. Wild. But even though some are calling the book prophetic, it was so clear in 2019 that this was where we were headed. This was my attempt at what writers do: working out our fears on paper. KLiC: Please tell us about your writing process. How long did it take you to write and sell Unbecoming? SY: When I began writing it in 2019, I was writing by hand into a notebook. I had no idea how to write a novel or if this one could be any good. I wrote about twenty thousand words and then I left it. Because I didn't know what to do. Then I scribbled down - in the same notebook - a list of my fears. Top of the list was that my agent, Lilly, would say it was terrible. So I shared the pages with Lilly, and she loved it. That was a relief, but I still didn't know how to write the damn thing! I left it alone and went on my way to an artist's retreat for Asian American writers with Kundiman. It was there, in workshops and deep conversations with veteran novelists, that I let myself dream about finishing the novel. When the icon Shawn Wong told me that he had sold his novel, American Knees, on pages (meaning he hadn't finished it), I thought "Ah ha!" That's what I need to do because then I'll have two things that I need: a deadline (I'm trained as a journalist), and an editor to help me craft the rest of the story. Around that the same time, Roe v. Wade was overturned and Lilly was asking where the novel was. "Your speculative dystopia is becoming our reality!" she said. I had just published my first YA non-fiction book in the fall of 2022, What the Fact?! Finding The Truth In All the Noise, so the novel - which felt urgent - was mentioned to the same team at Simon and Schuster. I'm told it's rare to sell a novel on pages, but Lilly is a magician and the team at Simon and Schuster are amazing. The deadline and invaluable editorial input made Unbecoming possible. KLiC: What’s next for you? SY: My debut short story collection is out just in time for Halloween. It's called Djinnology, and it's a haunted collection of spooky tales about mysterious creatures from the Muslim world. I'm excited about that entering the world, and I'm thrilled to continue touring with my debut picture book, The ABCs of Queer History, which came out in April. I'm also working on a couple of screenplays as I consider which project to dive into next. KLiC: Is there anything else you want readers to know about you or your book(s)? SY: I'm inspired by Toni Morrison when she said “If you find a book that you really want to read but it hasn't been written yet, then you must write it." Unbecoming, The ABCs of Queer History, Djinnology, all of my books essentially, are books that I wanted to read. I'm delighted that I get to play with words and tell these stories. And I'm intrigued for what's yet to come. Unbecoming releases July 9th. Pre-order here. Dr. Seema Yasmin is an Emmy-award winning journalist, author, medical doctor and professor. She trained in medicine at the University of Cambridge and in journalism at the University of Toronto. Rashmi Bismark talks with Meghana Narayan about her picture book, A LITTLE BIT OF EVERYTHING, illustrated by Michelle Carlos. RB: What was your inspiration for A Little Bit of Everything? MN: I am Indian American. My husband is bi-racial Chinese, and I knew that whatever way we brought children into our lives, our family would be inter-racial. How could I prepare them for this beautiful, unique life that they would have? So I started writing a love letter to my future child. I wanted to let my children know that they of course would have a bit of me, their mama, within them, and a bit of their papa. But they were also free to make their own path in this world. I wanted my children to know that while their home culture was incredibly important and I wanted them to hold tightly onto it, that they were so much more beyond that one facet of their identity. RB: Please tell us about your writing process. MN: I feel like I am still trying to find my rhythm as a writer. My schedule isn’t consistent; rather, it's fragmented throughout the day and week. My creative time comes to me in bursts! While I experience a lot of frustration and feel like I am moving at a glacial pace in my career, I made a deliberate choice to prioritize my time with my children. I try to lean into that and recognize this to be the season of inspiration. Stories are all around me as I’m surrounded by the boundless wonder of childhood! RB: What’s the one thing you want children to take away from your book? MN: What I hope readers will take away most is that they are made up of lots of little parts and bits. And that if they take time to collect all of those memories and lay them out, they will discover this beautiful map of identity. No two maps are alike. Amaya meets her younger sister in this story and she gives her the space to make her own path, to write her own story. RB: Do you have any tips for pre-published authors? MN: My biggest tip would be to find community. Share with the world that you are a children’s book creator. Once you start believing it and embracing this identity, you’ll find that connections with others can so easily be made. The writing community is incredibly supportive and generous. Lean on these creatives, seek their advice, and uplift their work. RB: Is there anything you want readers to know about you or your book(s)? MN: I try to write stories where the characters' cultural heritage is highlighted and they are proud of it, but it is only one part of their identity. They are free to try on new identities and change and take layers off. I feel like I was waiting for permission to do that as a young person, and I didn’t get it. Stories and media can offer that mirror, that affirmation, we are all craving. And I’m so glad that more and more children have that now. Meghana Narayan is the daughter of Indian immigrants. She graduated from Teachers College, Columbia University, has an MA in literacy, and taught in early childhood classrooms for over a decade. She is a mama of two girls and one rambunctious dog named Diggity. After stepping away from the classroom, she founded Teach for the Change, a platform where she shares her passion for creating more inclusive and diverse spaces and experiences for little ones. She is also a visual artist who creates alongside her daughters each day. Meghana lives in Maryland, where you can find her chasing her children through the garden and stuffing her pockets with all kinds of natural treasures! Connect with Meghana at: https://meghananarayan.com
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