It's time once again for WRITERLY WISDOM where every Wednesday we will sneak a peek into the world of writing and publication. I can not begin to express my gratitude to this week's guest author. She is the creator of RATE YOUR STORY (http://rateyourstory.blogspot.com) and if you've never heard of this FREE service, you need to run, not walk...after reading this post of course...over to her blog and see how Miranda Paul and her group of fabulous judges can help elevate your manuscripts to a whole new level! This week she gives us insight into a multicultural world. Take it away Miranda...
On Writing “Multicultural” Literature
By Miranda Paul
For those of you who don’t already know, I’ll put it out there:
I’m white.
It probably shouldn’t matter, and at the same time, it should and
does. Here’s why:
Not every story is mine to tell.
I know that, and I respect that.
That doesn’t mean I only write stories that originate my Midwest
hometown, about characters who look like me, grew up like me, talk like me,
etc. In fact, those of you who know what I write is far more diverse. But what
I write is also based upon experience, research, passion, and personal
connection.
Let’s consider this current kidlit dilemma:
Even though people have been advocating for more
“multicultural” literature for decades, we still need more stories about all
kinds of people who come from all sorts of backgrounds and live and talk in
diverse ways.
Oh, and they need these stories written by authors who are
just as diverse.
Back in 1970, award-winning poet Lucille Clifton published two
children’s books—The Black BC’s and Some
of the Days of Everett Anderson. This
certainly wasn’t the beginning of multicultural kidlit, of course. But I begin
with Lucille because she was my first professor of children’s literature, and
because she championed the idea that children needed both “mirrors and windows.
Mirrors in which they can see themselves, windows in which they can see the
world.”
I was blessed to be initiated into the craft of writing for
children by such a kind, strong, and gifted woman. Her books offered positive,
contemporary portraits of African Americans without racial stereotyping. Her
books are wrapped in authenticity, humanity, and universal truth.
Lucille’s example of consciously giving children access to
“windows and mirrors” stuck with me as I headed off to teach in West Africa
later that year. There, my students had a significant lack of books that
accurately depicted individual, contemporary African settings and characters,
and I’ve been working over the last few years to build libraries with relevant
books. I also married interracially and when we had children, this idea became
very personal. Most picture books were “window stories” for my children. Far
fewer were “mirrors”, with characters who looked like or had families like our
own. Thus, I’m always on the lookout for great “multicultural” books (although
sometimes, the separation and separate-shelving of that label irks me) that
depict biracial families, children with grandparents living abroad, immigrant
parents, a second language in the home, West African and Caribbean cultures,
etc.
Let me now get back to an earlier point, about not every story
being mine to tell.
Although I’ve written several stories that are classified as
“multicultural”, they’ve mostly been stories I have a personal connection to and
resulted from experience, research, and collaboration with people within the
culture.
There are a lot of underrepresented cultures or lifestyles that
interest me, and I see a need for stories about them in the publishing market.
But ultimately, at the end of the day, each story should be about a character,
in a specific place, at a specific time. That means DETAILS. I am not always
the best person for writing those details, especially if the culture is one
I’ve not experienced firsthand.
The thing is, not only do children deserve stories that contain
“mirrors,” but the author bio or photo needs to reflect diversity as well.
Growing up, I never got the chance to actually meet anyone who wrote for a
living, and the lack of a model seriously affected my confidence that writing
for a career was even possible.
So when I got invited to a school with other authors, I noticed
immediately all four of us were white women with blond hair and blue eyes. I
had to question what unintentional message this was sending to the kids.
Perhaps our lack of diversity meant nothing on a conscious level. Maybe the
kids didn’t notice. But what if there was some sort of subconscious message at
work? Don’t they deserve to see authors who look like them, in order to ignite
a sense of possibility that they, too, can be authors?
I think it’s extremely important for authors who are not of color
to remain encouraging and supportive of the organizations who are consciously
making an effort to address the call for diversity in children’s books. I am
thrilled that publishers such as Lee and Low are hosting a New Voices contest (http://blog.leeandlow.com/2013/09/04/lee-lows-new-voices-award-writing-contest-deadline-is-september-30)
for authors of color and it’s still open to entries until September 30! The
Coretta Scott King award (http://www.ala.org/emiert/cskbookawards)
and Pura Belpre multicultural children’s book awards (http://www.ala.org/alsc/awardsgrants/bookmedia/belpremedal)
are critical in realizing visions where all children can find both windows and
mirrors in books.
Whatever your race or ethnicity, don’t feel as though
multicultural literature means only writing about your own heritage, or about
making the culture more important than the story or character. At the same
time, don’t feel as though a marketing need or lack of books on a subject
qualifies you to write that particular book. If you feel like an outsider, your
narration will seem distanced and inauthentic, and your reader won’t have
access to a true window or mirror.
Writing multicultural literature is a daunting task, but there
are individuals and organizations out there to help you. Mira Reisberg at
Hummingbird Literary (http://hummingbirdliterary.com)
has made it a point to seek out multicultural stories, and a few agents at the
Andrea Brown Literary Agency (http://www.andreabrownlit.com) and Full Circle Literary (http://www.fullcircleliterary.com)
mention a desire to see multicultural submissions on their websites. The
Highlights Foundation (hey, I’m there right now!) can help you find out which
stories might be yours to tell, and how to present authentic and diverse
characters and settings. In fact, they have an upcoming workshop called Writing
Across Boundaries (http://www.highlightsfoundation.org/workshops/writing-across-boundaries)
that will address these very subjects from October 27-30.
Remember, if you have the passion to write a multicultural story,
and if you honestly address your bias or fear of writing across boundaries,
keep in mind the child who deserves that window to another world or a mirror of
her own. Then go immerse yourself in that world.
Miranda Paul is a teacher, world traveler, and mother of two. As
she raises an international family, her writing goals include depicting diverse
characters (and animals!) with positive and sometimes ridiculously funny
stories for children. Miranda Paul has served as a volunteer teacher in Gambia,
West Africa and also has family scattered around the Caribbean — so she
occasionally escapes her Wisconsin homeland for tastes of the tropical life.
Two of Miranda's picture book manuscripts won her the 2012
SCBWI-WI Mentorship award and her debut picture book, ONE PLASTIC BAG, is
forthcoming from Lerner Publishing (Millbrook Press). Her second book, WATER IS
WATER, to be illustrated by Jason Chin, is forthcoming from Neal Porter Books
(Roaring Brook / Macmillan) in 2015.
Miranda also works for-hire writing and editing
children's stories for digital and print markets, and has published pieces in
national magazines such as POCKETS and TURTLE. She's also finishing up her
first YA novel and has plans to save the world someday.
.jpg)
