 What was your inspiration for MAMIE TAPE FIGHTS TO GO TO SCHOOL? I’m a former lawyer and first learned about Mamie while researching Asian American civil rights cases. I grew up just across the bay from San Francisco, where Mamie fought to attend her neighborhood school and, like Mamie, am the daughter of Chinese immigrants, so I was surprised I hadn’t learned her story. It stuck in my mind as something more people should know, but it wasn’t until the pandemic hit and anti-Asian hate was on the rise, that I truly felt compelled to write this book. Please tell us about your writing process. What kind of research did you do for your book? How long did it take you to write and sell this book? etc. I started with the legal research – Mamie’s California Supreme Court decision, Tape v. Hurley, and all the documents filed in her case. I also read books and journal articles to get a good overview, then went more specific, listening to a recorded interview of Mamie Tape from 1972 (shortly before she passed away), and interviewing some of Mamie’s relatives, including her eldest great-granddaughter who lived with Mamie while growing up. A big source of my information came from the dozens of newspapers from the 1880s that reported on Mamie’s case. Even though they often reflected the anti-Chinese bias of the time, they were the most immediate accounts of what happened and helped paint of picture of how much Mamie’s fight was a two steps forward, one step back process. It took me about eight months to research, write, and sell this book. It was a very unusual process as I had submitted my manuscript for an industry critique through the Kweli Color of Children’s Literature Conference, but instead ended up getting an offer from my now-editor Phoebe Yeh at Crown Books for Young Readers!  What are your favorite illustrations in the book? Michelle Jing Chan did an amazing job with the illustrations, so it’s hard to choose, but I think my favorite is of Mamie standing on a hillside overlooking San Francisco Bay and her neighborhood where she fought to attend school. Michelle beautifully captured a combination of determination, uncertainty, and innocence in Mamie’s expression. And the foggy windy sunset is so San Francisco! The scene really sets the tone for the rest of the book and Mamie’s long fight. Another one I love is of Mamie and her family eating the traditional Chinese New Year’s meal of jai. This illustration is extra special because the dishes on the table are inspired by actual dishes hand-painted by Mamie’s mom, which I had a chance to see when I visited Mamie’s great-granddaughter. Michelle did a wonderful job sprinkling little historic details like this throughout the illustrations. What’s the one thing you want children to take away from your book? I hope this book inspires children to step up in the face of unfairness and be part of the change, whether in big or small ways. I also hope they’ll recognize that even though change often comes slowly, especially in terms of social justice and the fight for equality, every little step helps move us forward.  Do you have any tips for pre-published authors? Lean into the kidlit community! I have met so many amazing creators through conferences, classes, pitch contests, and writing communities, and it has made all the difference in my journey. You won’t find a more supportive group of people who share their wisdom, root for each other, and commiserate together! These connections and friendships have really furthered my growth as a writer and helped sustain me in my writing practice.  Traci Huahn (she/her) writes books for kids and especially loves stories rooted in Asian American culture, history, and identity. Mamie Tape Fights to go to School is her debut picture book. As a former attorney and the daughter of Chinese immigrants, Traci feels a deep connection to Mamie’s story and hopes it will inspire young readers to become changemakers, even if it starts by taking just one small step.
Traci was born and raised in the San Francisco Bay Area and still lives close to where she grew up. Most days you can find her there writing, along with her husband, two kids, and their pup who loves belly rubs and Brussels sprouts. To learn more about Traci visit her at: Website: www.tracihuahn.com Instagram: @tracihuahn Bluesky: @tracihuahn.bsky.social
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 We are thrilled to interview middle grade debut author, Shifa Saltagi Safadi on our blog today! KAREEM BETWEEN releases September 10th. Please read the interview below and pre-order or request this incredible novel in verse from your local library. KLiC: What was your inspiration for KAREEM BETWEEN? SSS: Kareem Between was inspired by my own experiences of being Syrian American and the feelings of trying to find out where you belong as a kid (and really, as an adult!!). It’s also a football book! So the Bears and NFL references are inspired by my own tween kids’ love of football! KLiC: Please tell us about your writing process. How long did it take you to write and sell this book? SSS: Writing the first draft of Kareem Between took me about one year, but this was just the first part of what was to become a book. Drafting it was a long process, as I was still figuring out the format. It was a prose book at first before I tried verse, and then as I was rewriting it in verse, I kept finding places where the plot needed work. The process of finally having a draft ready to send out on sub was long, as I think I rewrote the book multiple times over the year. It was hard to find my confidence as a debut MG author- I kept wondering if I was doing it right. But honestly, reading about other author processes was SO helpful. I kept telling myself that the struggle is worth it, and I kept reading and rereading craft books like Save the Cat writes a Novel and Story Genius. I was already agented when Kareem was finally finished. When it finally went on sub, and was accepted (yay)- I then had to go through the revision process with my lovely editor. Sub was not too long for Kareem, but I think it is because I was in a mentorship with my current editor, which really helped me develop a good working relationship to sub to her. Revision rounds took about six months I would say. And then pass pages and such. The whole process from draft to publication is about 2 and a half years- and I can’t wait for it to be out! KLiC: What’s the one thing you want children to take away from your book? SSS: I want kids to know that they don’t have to fit in certain boxes or cater to peer pressure. Kareem struggles to be both Syrian and American, and for him, it often felt like a betrayal to choose one or the other. And I want kids to know that it’s okay to have a life that may not look like what others live- that the most important thing is to stand up for yourself and your values and be proud of your heritage.  KLiC: Do you have any tips for pre-published authors?
SSS: Keep reading and writing. I actually drafted (and tossed) two other mg manuscripts before Kareem was written. I learned a lot along the way, but most of all, I learned that persistence is key. You have to keep writing and learning and revising until the book is finally done! KLiC: What’s next for you? SSS: In 2025, I have five books coming out!!! I have a picture book in the winter titled The Gift of Eid from publisher Holiday House, as well as a four book chapter book series titled Amina Banana coming out from Putnam later on in the year. Super excited!! KLiC: Is there anything you want readers to know about you or your book(s)? I hope my books provide Muslim children with pride in their identity, and kids who are not Muslim with windows to peek into what it is like to be a Muslim kid. SHIFA SALTAGI SAFADI is the author of Kareem Between and several picture books, including The Gift of Eid. She has a bachelor’s degree in English literature, teaches ELA at a local middle school, and reviews Muslim books on her blog, Muslim Mommy Blog. Shifa was born in Syria and immigrated to the US with her parents as a young girl. She lives near Chicago with her husband and four children. For more information on Kareem Between, click here. Find her on Instagram @MuslimMommyBlog Cover art by Oriol Vidal and designed by Maria Fazio  KidLit in Color author, Valerie Bolling, was thrilled to have the opportunity to speak to Tonya Duncan Ellis about her debut picture book, They Built Me for Freedom. Let’s learn more about this special book… Tonya, what inspired you to write They Built Me for Freedom? I started out writing for children with chapter books and self-published the Sophie Washington series, which has sold over 175,000 copies. During the pandemic, I wrote a middle grade novel manuscript that won an SCBWI conference prize. The agent who selected my book asked if I also write picture books, because she said my writing has a lyrical quality. Intrigued, I started learning more about picture books, and I fell in love with the genre. On a visit to Houston’s Emancipation Park, the site of the first Juneteenth celebration, I got chills thinking about my ancestors commemorating their newfound freedom on the very ground I was walking. I felt like this was a story that needed to be told, and I began research that led to the first draft of They Built Me for Freedom.  I love that you started out writing self-published chapter books and then moved on to traditionally published picture books. What inspired you to tell the story of Emancipation Park? How long did it take to write and sell this book? This project moved pretty quickly. I spent around three hours writing the first draft of the manuscript a week after visiting Emancipation Park and doing research. I shared that manuscript at a Highlights Foundation virtual summer camp during the pandemic and made some updates, which took an hour or two. Then I shared that version in a critique group and worked another hour making a few more additions. My agent, Sara Megibow of kt Literary, who had taken me on as a client with my middle grade novel manuscript, rejected my initial version of They Built Me for Freedom, which told the story of a little girl visiting the park. I reworked the story, personifying the park, and she liked that version. All totaled, I probably spent around seven hours writing and revising the They Built Me for Freedom draft that was shopped to editors. Two to three weeks after the manuscript was sent out on submission, it got a purchase offer, which I accepted. It's always interesting to hear a story’s journey and to learn how it changed throughout the process. By the way, personifying the park was a brilliant change. What are your favorite illustrations in the book? Illustrator, Jenin Mohammed, did a phenomenal job on the images. I was blown away when I first saw her colored illustrations and teared up in the grocery store line after I opened my phone there and glimpsed the final cover. I truly love all the illustrations, but my favorites are the spread with the grandmother and child looking at the ancestors in the clouds and the image of the protestors.  I agree that Jenin’s illustrations are magnificent. What do you want kids to take away from your book, Tonya? Besides learning about different aspects of Juneteenth and facts about Houston’s Emancipation Park, I want kids to understand that there is history all around us. My hope is that after reading They Built Me for Freedom, children will become more interested in learning about historical spaces in their communities. I, too, hope children are motivated to learn more about history that isn’t always discussed in their classrooms. Do you have any tips for pre-published authors? Establishing a writing habit and perfecting your craft are important, but make sure to build your writing community as you continue along your publishing journey. Publishing is a roller coaster ride of emotional highs and lows. Getting an agent, landing a book contract, and marketing your book once it’s finished are experiences that elicit anxiety, stress, frustration, depression, envy and many other difficult feelings, along with the celebrations. Support from empathetic creatives who understand what you’re going through gives you the strength to continue when times get tough. Great advice Tonya! What’s up next for you? I’m contracted to write another, not yet announced, historical picture book with HarperCollins, and I’m working on a couple of other picture books. I’ve got some ideas for a new middle grade brewing, which I’m hoping to begin writing this fall. We’ll look forward to seeing these projects published. Thanks so much for stopping by the KidLit in Color blog and chatting with me, Tonya. They Built Me for Freedom is available wherever books are sold. Tonya encourages readers to support their local bookstore.  Tonya Duncan Ellis is author THEY BUILT ME FOR FREEDOM: The Story of Juneteenth and Houston’s Emancipation Park, the bestselling, award-winning, Sophie Washington chapter book series and is a member of the Society of Children’s Book Writers and Illustrators (SCBWI), the Authors Guild, Black Creators HQ and the Brown Bookshelf’s Highlights Foundation Sponsored Amplify Black Stories storyteller cohort.
For more about Tonya and her books, please visit: Website: www.tonyaduncanellis.com Facebook: @tonyaellisbooks X: @TonyaDEllis Instagram: @tonyaellisbooks  KidLit in Color author, Valerie Bolling, was thrilled to have the opportunity to interview picture book author, Anita Crawford Clark, about her debut picture book, Old to Joy. Let’s learn more about this special book… Anita, what’s your one-liner to describe your book? In Old to Joy, young Joy learns to appreciate the charm and value of older people and old things through her grandmother's wisdom and the shared experiences of exploring her home, garden, and family traditions, ultimately discovering the joy of living well and seeing the world through one another’s eyes. That’s a great one-liner! You shared a lot of details about your beautiful book in just one sentence. Tell us how this book came to be. The story Old to Joy began in my childhood home on Albion Way in Sacramento, California – only I did not know it. As I often did, I drew all kinds of pictures for my little sister to color. But on one occasion, I kept drawing and added words. When I was finished, I stapled the pages together and created my first book. I was eight years old. I went on to make exact copies of that book by hand. The next morning, I invited the younger neighborhood kids to the makeshift school I had set up in my garage. I handed out the books I had created to my eager, wide-eyed students and taught them. Is it any wonder I grew up to be a teacher and author-illustrator?  Based on your creativity as a child and sharing your handmade books with your neighborhood friends, you’re right that it’s no surprise that you have a career as a teacher and author-illustrator. Can you tell us the story behind Old to Joy? It would not be until 1998 when I first penned the words as they now appear on the opening spread of the book Old to Joy, “Grandmama lived in an old house, on an old street, with old trees, and all kinds of old things.” I still have several rejection letters I received in the mail from potential publishers back then – snail mail, of course. I dibble-dabbled with that story and others over the years, but I did not pick it up again in earnest until the Covid-19 lockdown in March of 2020. I dusted it off and revised it. My fabulous editor, Sandra Sutter, and I began working on my book in 2021. Sandra believed in this story from early on and worked tirelessly to help bring it to life. Other publishers and agents had requested the manuscript through #DVPit during their Twitter pitch event, and there were more rejections in the fall of 2020. Like many others have stated, I only needed one publisher who believed in the potential of the story. I am absolutely thrilled that my debut picture book was acquired and published by Gnome Road Publishing.  It's always exciting and validating when we find a publisher who wants to bring our story to life, and, yes, we only need ONE. I’m so glad this happened for you, Anita. Since you’re an author-illustrator, can you share a bit about your process of creating both beautiful words and art? I did not initially plan to illustrate this book. Even though I am an artist, the idea of having to create sixteen spreads for a 32-page picture book was overwhelming. As fate would have it, I connected with Larissa Brown on Twitter early in 2020 and was awarded a scholarship to one of her drawing classes. Larissa’s skill, love, and passion to see artists reach their potential and realize their dreams is one reason I’m holding this beautiful book in my hands today. My learning curve going from traditional media to digital was steep. Nevertheless, armed with my new iPad and the Procreate software, I commenced learning. Additional classes with Larissa and Children’s Book Academy (CBA) gave me the confidence to create a book dummy and take on illustrating Old to Joy. That’s where my editor and I met. At the intersection of CBA and courage. I decided to emphasize healthy aging perspectives. I also decided to illustrate the book myself and wanted the main character, Joy, to be a beautiful, chubby Black girl with dimples and braids. Additionally, I wanted the grandmother to have a beautiful, chocolate complexion and a joyful heart. Another big change and challenge for me was learning to illustrate digitally. My early illustrations of Joy and her grandmother were created with traditional materials – paper, pastels, and collage. Pastels are a messy medium, and I worked on large sheets of paper around 30x36 inches. I was not sure how this would work for a picture book. Ultimately, I illustrated the majority of Old to Joy digitally. I’m very much a traditional artist, and my illustrations tend to be more realistic. How wonderful that you connected with Larissa and that you met Sandra “at the intersection of CBA and courage.” Since you’ve given us insight into how you created your beautiful art for the book, let us know more about how you work as a writer. Do you have any writing routines or anything you must have when you write? I am mostly a pantser. I am also someone who likes to write early in the morning when the house is quiet with a hot cup of tea cooling on my desk. When I sit down to write, I can write for what seems like forever. Often, during the school year, I would be inspired early in the morning. I would get up to write, only to be interrupted with having to get ready for work. After teaching all day and arriving home, that spark was sometimes gone. The moment and the creativity had waned. I did not try to force it. Most times, I could capture it again in later evening hours.  What’s your involvement in the writing community, Anita? The children’s book writing community is absolutely fabulous. I began to engage with this amazing community in early 2020. Soon, I joined SCBWI and Authors Guild. I was honored to be selected as one of eight inaugural winners of the SCBWI 2022 OMA (Out from the Margins) Award. The financial support and training we all received was immensely beneficial in planning a successful book launch. However, I might not have received my first publishing contract without the insight from my wonderful critique partners. Valerie, I thank you for inviting me to join your critique group, even though you are all back east, and I’m in California. Since the group was meeting online, I was able to join them virtually. They were instrumental in helping me make Old to Joy shine. I remember originally connecting with you, Valerie, through our involvement with Black Creators in KidLit (now Black Creators HQ). I responded to a tweet by Antwan Eady and was connected with this group, which he helped launch. Over the years, I connected with many other groups and soon joined Picture Book Gold, a children’s book promotion group. I continue to engage with the writing community primarily on X, Instagram, and Facebook. You are definitely involved in the writing community, Anita, and I appreciate you giving me a shout-out. I’m forever grateful that you and I connected in BCHQ and was happy to have you join my critique group. Connections are so important. Speaking of connections, how do you hope young readers will connect with your book? Old to Joy is a journey through time and memories, capturing the essence of cherishing old things and family traditions. For young readers, I hope they will experience a sense of wonder and appreciation for the past, understanding the value in older people who have stories to tell. I also hope they come away with a healthy perspective on aging and appreciation for the wisdom and joy in relation with the older people in their lives. There is so much to offer one another. I agree that we all have much to offer each other, regardless of age. What suggestions do you have for adults who share this book with children? Suggestions for Parents and Teachers:
By making the reading experience interactive and personal, parents and teachers can help children connect deeply with the book's messages and carry those lessons with them. Wow! You’ve certainly given fabulous ideas and options for engaging with your gorgeous book, Anita. What book(s) can we look forward to next from you? I have another picture book with Gnome Road Publishing, titled Plucking Through History, that is set to release in the fall of 2026. I also have several works in progress, including a middle grade novel. Congratulations on having another picture book that will be released soon, Anita, and I look forward to hearing more about your WIPs, especially that middle grade novel. Thanks so much for stopping by the KidLit in Color blog and chatting with me. Old to Joy is available wherever books are sold. Anita encourages readers to support their local bookstore.  Anita Crawford Clark is a writer and illustrator of fiction and nonfiction books for children. Anita grew up chasing butterflies and fishing crawdads from a nearby creek during scorching Sacramento summers. Her stories and illustrations often reflect those memorable childhood years. Anita is an inaugural recipient of the SCBWI OMA (Out from the Margins) Award for her manuscript of her debut picture book, OLD TO JOY , which was released on September 5, 2023. A veteran K-12 teacher, Anita especially enjoys directing musical theatre productions. The athlete in Anita enjoys shooting hoops. The musician in her enjoys playing the drums, piano, and banjo. Anita draws inspiration from her faith, nature, music, history, and everyday life.
You can connect with Anita on: Website: acrawfordclark.com Twitter: twitter.com/AnitaLClark Instagram: instagram.com/anitasfavpics Facebook: www.facebook.com/AnitaCrawfordClark  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  Photo by: Sal Peretti 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
 Today we're delighted to feature KidLit in Color member Valerie Bolling who has co-written, I SEE COLOR, with Kailei Pew. The book is filled with beautiful illustrations by Laylie Frazier. KLiC: Please tell us about your writing process. How long did it take you to write and sell this book? VB: My co-author, Kailei Pew, reached out to me in January 2021 with an idea for this book and asked if I’d be interested in writing it with her. I said yes, and I’m so glad I did. We drafted and revised the book and submitted it to our agents, James McGowan and Emily Forney of BookEnds Literary Agency, within a month, and they got edits back to us within a few weeks. Our agents felt the manuscript was ready to be sent out, but we wanted to check in with some friends who could provide sensitivity reads. We eventually felt the manuscript was ready to be sent out in April. The day after James and Emily sent out the manuscript, Luana Horry, an editor at Harper Collins, expressed interest. She took I SEE COLOR to Acquisitions in May, and we received an offer after that meeting. So, it took four months from writing the first draft to selling the story, which we know was quite fast. Keep in mind that this occurred in 2021; three years later, the publishing industry is moving at a slower pace.  KLiC: What’s the one thing you want children to take away from your book? VB: I want children to learn about all of the important changemakers in this book. I want them to be inspired to learn more about these remarkable individuals as well as to learn about many other heroic people who aren’t featured in this book. Most importantly, I hope they’ll find ways to take action in their own communities and make positive contributions in our society, always leading with a commitment to equity and a heart for empathy. KLiC: Is there anything you want readers to know about you or your book(s)? VB: People who have supported my author journey thus far will recognize that I SEE COLOR is quite different from my previously published books. My other books are written in sparse, rhyming text and geared toward very young readers. I SEE COLOR is lyrical, but doesn’t rhyme, and is for older children. It’s also my first nonfiction book and my first co-authored book. Collaborating with Kailei throughout the process of bringing this book to life has been a blessing and gift because we moved from being co-authors to becoming close friends. Authors cannot be successful on their own. Our readers/supporters truly matter. Therefore, I appreciate you requesting my books at your local library, writing book reviews, and amplifying my books and myself on social media. Thank you so much!  Valerie Bolling is passionate about creating stories in which all children can see themselves and feel seen and heard, valued and validated. She is the author of six picture books: LET’S DANCE! (SCBWI Crystal Kite Award winner), TOGETHER WE RIDE, TOGETHER WE SWIM (2023 Kirkus Prize Finalist), RIDE, ROLL, RUN: TIME FOR FUN!, BING, BOP, BAM: TIME TO JAM!, and I SEE COLOR (a Junior Library Guild Gold Standard Selection). She also wrote RAINBOW DAYS, a Scholastic Acorn early reader series.
A graduate of Tufts University and Teachers College, Columbia University, Valerie has been an educator for 30 years and is an active member of the kidlit community – teaching picture book classes (independently and for the Highlights Foundation), serving as a mentor, and presenting at conferences. Valerie lives in Connecticut with her husband where they enjoy traveling, hiking, reading, going to the theater, and dancing. Learn about Valerie: linktr.ee/ValerieBolling Author Visit Information  Essay by Sonja Thomas: Dreams, Nightmares, and Magic Dreams What do you want to be when you grow up? My answer was never the same. A backup singer like Wendy and Lisa in Prince’s the Revolution. A cartoonist for The Simpsons. A writer like Judy Blume. A dancer, a photographer, a Broadway actor . . . The main character in my new book, OLIVE BLACKWOOD TAKES ACTION!, dreams of directing award-winning movies, just like her dad did before he passed. Eager to apply to an elite summer film camp, Olive’s excited when her film teacher promises a personal recommendation to the winner of the class project. Nightmares In college, I was too afraid to pursue anything creative. So, I became an accountant instead. Eventually, I rediscovered my love of writing. But I was tormented with depression and anxiety. I wrote. I was rejected. I cried. A lot. After a decade, I sold a short story. Then several more. And soon my first novel. What if no one reads it? If they do, I’m sure they’ll hate it. My fear ballooned. Unlike her dad, Olive’s anxiety has her avoiding the spotlight. Staying behind the camera is much easier than having to interact with people. Speaking in front of an audience makes it hard to breathe. She’s plagued with catastrophic thoughts, nausea, sweating while shivering, and diarrhea attacks. Sometimes the fear’s so crippling, she stays in bed. Or it knocks her out with a panic attack. Olive and I share all these anxiety symptoms. Magic Olive and her best friend Kayla started their Book of Enchantment in the third grade and filled it with spells. They do their best to follow the rules of magic. Like life, magic is a mirror of what you believe. It’s stronger when done together and the possibilities are infinite. Magic is a verb. It only happens when you take action, unfolding in its own time and way. Olive and I live with anxiety, but it doesn’t define who we are. Family and friends make us stronger, reminding us that we’re never alone. That strength helps move us toward our dreams, one step at a time. We can’t control other people’s actions or the stuff that life throws at us. So, we try not to take it personally. Instead, we create boundaries, trust our gut, and open to all the possibilities. Magic is make believe. Our belief in ourselves is the most powerful magic there is.  A silly introvert ruled by coffee and cats, Sonja Thomas (she/her) writes stories for kids of all ages. Her debut middle grade novel, SIR FIG NEWTON AND THE SCIENCE OF PERSISTENCE, is an Oregon Book Award finalist, an Oregon Spirit Book Award Honor recipient, and a Washington State Book Award finalist. She’s also a contributing author for GOOD NIGHT STORIES FOR REBEL GIRLS: 100 REAL-LIFE TALES OF BLACK GIRL MAGIC. Her second novel OLIVE BLACKWOOD TAKES ACTION! received “Two thumbs up for this necessary novel about anxiety and self-advocacy” from Kirkus Reviews. www.bysonjathomas.com
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