Friday, February 12, 2016

Cynsational News & Giveaways

American Indian Youth Literature Awards & Honor Books (click to enlarge)
By Cynthia Leitich Smith
for Cynsations

Avoid Melodrama by Writing Deeper by Martina Boone from Adventures in YA Writing. Peek: "Experts tell us there are really only twelve universal emotions: interest, surprise, excitement, joy, love, sadness, fear, shame, guilt, contempt, pride, and anger."

Tim Tingle on House of Purple Cedar Winning the AILA YA Literature Award from Debbie Reese at American Indians in Children's Literature. Peek: "...I will walk the road of goodness, wave the light of forgiveness, and smile warm jokes along the way, as so many of my Choctaw kinfolks did." See also More Coverage of the AILA Awards from AICL and 10 Books About Residential Schools to Read with Your Kids by Chantelle Bellrichard from CBC Radio Canada.

Disability in Kidlit and the Changing Landscape of Disabilities in Books: An Interview With Corinne Duyvis by Alex Townsend from The Mary Sue. Peek: "Most authors genuinely try, which means they’ll do research and want to treat their character with the utmost respect; that leads to a lot of good. At the same time, most authors aren’t disabled themselves, and don’t have a lot of pre-existing knowledge on disability tropes or the specific disability they’re portraying, so they’re starting from square one; that leads to a lot of missteps."

Too Late to Start Writing? by Keith Cronin from Writer Unboxed. Peek: "Don’t use age as an excuse – either for doing nothing, or to complain about how you no longer have a chance."

Reality Scoop: Promoting Mental Wellness with YA Literature by Kimberli Buckley from YALSA Hub. Peek: "...teen depression can affect a teen regardless of gender, social background, income level, race, or school or other achievements, though teenage girls report suffering from depression more often than teenage boys."

Secrets, Lies, Mistakes & Wounds: Creating Engaging Characters by Martina Boone from Adventures in YA Publishing. Peek: "They may not want people to see them the way that they see themselves, and so--consciously or without being aware of it at all--they may lie to themselves and others about who they really are and what they are really like." See also Writing Memorable Characters via "Finding Nemo" by Becca Puglisi from Writers Helping Writers.

The Writer, The Reader & Mirror Neurons by Sarah Johnson from Through the Tollbooth. Peek: "Our neurons fire in the same location in our brain when we move and when we observe the same movement by someone else."

Author Interview: Cynthia Levinson on Hilary Clinton: Do All the Good You Can by Chelsea Langford from Kirkus Reviews. Peek: "Levinson understands that most kids love reading about other kids, 'even if that subject is a grownup,' and that making Hillary known to readers as a child first is a natural way to show how Hillary became the person she is today."

Favorite Picture Book Revision Tips by Elizabeth Bluemle from Publishers Weekly. Peek: "I invited my writer friends and colleagues to share their favorite picture-book tips for new and young writers. Here’s what they said...."

28 Days Later: A Black History Month Celebration of Children's Literature


See also Celebrating Black History Month with Poetry by Sylvia Vardell from Poetry for Children and Celebrate Black History Month with Five Collections from Lee & Low.


This Week at Cynsations

Cynsational Giveaways

Enter to win from Marion Dane Bauer.

More Personally

NAACP Image Awards acceptance speech by Kekla Magoon.
Congratulations to 2016 NAACP Image Award winners Kekla Magoon and Ilyashah Shabazz (X: A Novel (Candlewick)) and Carole Boston Weatherford and Jamey Christoph (Gordon Parks: How the Photographer Captured Black and White America (Albert Whitman))!

Personal Links

AICL recommends!
Take What Your Stories Give You by Brian Yansky
‘Bring Them Home’: Rosebud Sioux Seeking Return of Relatives Buried at Carlisle
"The Great Gilly Hopkins" Movie Trailer
If Jane Austen Got Feedback from Some Guy in a Writing Workshop
Sara Zarr: Manuscript Consulting 
Gravitational Waves: Ripples in Space-Time

Thursday, February 11, 2016

Author Interview: Martine Leavitt on Calvin

By Cynthia Leitich Smith
for Cynsations

From Macmillan: "Martine Leavitt has written several award-winning novels for young adults, including My Book of Life by Angel (FSG, 2012), which garnered five starred reviews and was a Los Angeles Times Book Prize finalist; Keturah and Lord Death (Boyds Mills, 2012), a finalist for the National Book Award; and Heck Superhero (Boyds Mills, 2014), a finalist for the Governor General's Award. She lives in Alberta, Canada."

Congratulations on the release of Calvin (FSG, 2015)! Could you tell us about the book?

Thank you, Cynthia! It is the story of a seventeen-year-old boy who has a schizophrenic episode in school. He can hear the voice of a tiger named Hobbes.

He decides that Bill Watterson could cure him of his mental illness if he would draw one more comic strip, Calvin healthy and without Hobbes. He gets it into his head that he can make Watterson draw this comic if he goes on a pilgrimage to show his true intent and devotion.

He decides to walk across Lake Erie in winter – a deadly thing to attempt.

Why did you write Calvin?

A single neuron in the back of my brain pulsed with sadness for many years, perhaps all my conscious life, because there is such a thing as mental illness. Then one day it touched me, a form of mental unwellness, and it touched my family. Now I was sorry for myself as well as those who suffered with worse than me. Self-pity, sadly, has always been a motivating factor in my life.

Anyway, that single neuron pulsed away even more persistently, hoping for something, the way we send radio waves into space hoping to contact life on other planets.

One day as I was rereading my Calvin and Hobbes collection, it occurred to a single neuron in the front of my brain that Calvin, in the wrong hands, could be thought of as a maladaptive daydreamer, or as schizophrenic. That neuron in the front of my brain made instant contact with the lonely neuron in the back of my brain, and it was like Adam touching the finger of God in the Sistine Chapel.



Okay, it wasn’t that grand, but you get the idea. A sort of electronic storm was fired up between the two neurons, and they went on like that in their little electronic way for a while. Not enough to make a book quite yet, but something was happening.

And then I read online about a man named Dave Voelker who walked across frozen Lake Erie (to a place near Cleveland, where Watterson was once reported to live – coincidence? I think not), and I suddenly had a story wishing to be told. And that is why I wrote Calvin.

This is your tenth book. Does it get easier?

You would think, wouldn’t you. But in fact, no. Every book is a new adventure in insecurity and inadequacy. Every book asks something of you that no other book has asked.



Wednesday, February 10, 2016

New Voice: Melissa Gorzelanczyk on Arrows

On Twitter? Follow @MelissaGorzela.
By Cynthia Leitich Smith
for Cynsations

Melissa Gorzelanczyk is the first-time author of Arrows (Delacorte, 2016). From the promotional copy:

People don’t understand love.

If they did, they’d get why dance prodigy Karma Clark just can’t say goodbye to her boyfriend, Danny. 

No matter what he says or does or how he hurts her, she can’t stay angry with him . . . and can’t stop loving him. But there’s a reason why Karma is helpless to break things off: she’s been shot with a love arrow.

Aaryn, son of Cupid, was supposed to shoot both Karma and Danny but found out too late that the other arrow in his pack was useless. 

And with that, Karma’s life changed forever. One pregnancy confirmed. One ballet scholarship lost. And dream after dream tossed to the wind.

A clueless Karma doesn’t know that her toxic relationship is Aaryn’s fault . . . but he’s going to get a chance to make things right. He’s here to convince Danny to man up and be there for Karma.

But what if this god from Mount Olympus finds himself falling in love with a beautiful dancer from Wisconsin who can never love him in return?

Could you describe both your pre-and-post contract revision process? What did you learn along the way? How did you feel at each stage? What advice do you have for other writers on the subject of revision?

Like Melissa on Facebook.
Revising post-contract is a lot different than pre-contract.

The best part about post-contract revision is you have a clear path set by someone you (hopefully) trust. Your editor!

When my edit letters come in, I like to allow the feedback sit for a day or two before diving into the changes. That feels long enough to let any emotions attached to what she is telling me disappear.

 I wouldn’t recommend writing from a place of feeling wounded or defensive. You need to be open.

Once I’m open to the critique, I go through her letter and write a list of all the problems in my manuscript.

After that, I brainstorm possible solutions, making sure my favorites work on a big picture level. The process breaks down to finding solutions within all of my story elements—plot, setting, character, theme—and then onto chapter/scene/sentence level from there.

One thing to remember when revising post-contract is that your book will actually be out in the world someday. While this seems obvious, it’s easy to forget when you’re focused on the work at hand. Mainly, you want your editor to continue liking your book, right? Do not forget that now, in revision, you should also fix the things that don’t ring true to who you are.

Because people are (for reals) going to be reading your book in the near future! Make sure you feel proud and certain about the changes you are making.

Pre-contract is much harder, especially if you don’t have a critique partner you trust. The key is to find at least one.

Trade samples of each other’s work, and see if you like what the other person is saying to help make your story better. See if they work on the same turnaround as you. See if you feel comfortable being yourself when you email back and forth.

Melissa's office
My second piece of advice is to trust your story and your gut. Long ago, a valued beta reader of mine suggested that I consider taking the teen pregnancy aspect out of my YA novel Arrows. I decided not to, and that ended up helping my book sell to Delacorte. In fact, my book was pitched as “MTVs 'Teen Mom' meets Greek mythology.”

I’m not saying the beta reader was wrong. Maybe my book would sell a million more copies without the teen pregnancy plotline. Who knows. I’m just saying you don’t have to revise according to every comment, especially pre-contract.

Before sending your manuscript to beta readers, I suggest doing at least a couple revisions on your own. One of my favorite revising methods is a modified version of Susan Dennard’s revision method (just scroll down). Take her ideas and adapt them to fit your style.

For me, a simplified approach works best. My plan always starts with printing my manuscript and reading it in one sitting. I might make notes in the margins, or I might not. Then, like Dennard, I paperclip my chapters together and figure out what is or isn’t working with the plot, characters and setting.

This takes time! And this isn’t the place for line edits! Because believe me, for those first revision passes, your deleted scenes file may end up as long as your manuscript. That is okay.

Shed no tears.

This is how all books are made.

“The only kind of writing is rewriting.”
Ernest Hemingway

How have you approached the task of promoting your debut book? What online or real-space efforts are you making? Where did you get your ideas? To whom did you turn for support? Are you enjoying the process, or does it feel like a chore? What advice do you have on this front for your fellow debut authors and for those in the years to come?

Promoting my debut has been both exhausting and interesting. I’m still a few weeks from publication date (I’m writing this on 1/4/16), but I truly feel I’ve done all I can leading up to this point.

I try to remember that promoting a book is a slow burn, kind of like the publishing process as a whole. It doesn’t happen all at once.

The things I’m doing pre-publication are the things I’ll be doing all of next year.

Promotion starts by figuring out two things:

1. How much time you can devote to promotion.

2. How much money you can/want to spend.

I think every author should plan to spend some time and some money on their promotion, but no one really knows the magic combo. Personally, I devote half of my work day to promotion, as well as some nights and weekends, which I started doing when my book was about four months from publication.

Up to that point, I was working on promotion as things came up. There wasn’t a set schedule or plan. So I guess you could say that about four months to publication, I panicked, created a master spreadsheet and worked really hard to meet my goals.

As far as money, my guess is that I’ll have spent about $1,500 to $3,000 on promotion by the end of 2016. This estimate includes postage (budget more than you think you need), thank you cards, thank you gifts, bookmarks, buttons, postcards, my book trailer, conferences and my launch party. All of this is tax deductible.

I have no idea if this is high or low as far as a marketing investment, but as a debut, when deciding where to spend money, it made sense to go “all in.”

I’m curious how I’ll feel at the end of 2016. My advice is do what feels right for you.

Melissa's office
If you’re wondering where to start with promotion, I’d highly recommend joining a debut author group. I’m a member of the Sweet Sixteens and the Class of 2k16.

Being able to ask fellow debuts questions has saved so much time in random Google searches/panicking. Plus it’s a safe place to share failures and successes, and well, meet people who “get it.” My author family is a whole new awesome kind of family.

Another thing you can do is study what successful authors are doing. There’s no need to reinvent the wheel. Add your personality and style to their ideas. For instance, if they are on Goodreads, you probably want to be there, too. If they are doing giveaways on Twitter, why not try one?

For your own sanity, stay organized. Write all of your ideas on a spreadsheet and add deadline dates so that you don’t feel completely overwhelmed.

Work on your promotion in bite-sized pieces. One blog post at a time. One bookmark order at a time. One Tweet at a time.

In my opinion, being a debut is a good time to say “yes”. Try all the blog articles you can. Answer every interview you can.

Yes, you want to make a book trailer? Figure out how to do that. Yes, create a professional website and blog, Facebook page, Instagram and Twitter. Yes, send a monthly newsletter (I use MailChimp). 

Yes, you can do this!

Cynsational Notes

Melissa recommends: Ten Things Nobody Tells You about Being a Debut Novelist by Tim Federle.

https://thesweetsixteens.wordpress.com/

Tuesday, February 09, 2016

2016 SCBWI Bologna Author-Illustrator Interview: Doug Cushman

Doug Cushman
By Elisabeth Norton
for SCBWI Bologna 2016
and Cynthia Leitich Smith's Cynsations

Since 1978, Doug Cushman has illustrated over 130 children's books, 30 or so of which he wrote as well. 

Among his many honors, he has gained a place on the New York Times Children’s Best Sellers list and on the 2003 Children’s Literature Choice list.

The first book of his popular beginning reader series featuring Aunt Eater (HarperCollins, 1987) was a Reading Rainbow Book. 

He has received a National Cartoonist’s Society Reuben Award for Book Illustration, the 2004 Christopher Award for his book illustrations, a 2007 and 2010 Maryland Blue Crab Award and the 2009 California Young Readers Medal.

He illustrated the best-selling “Can’t Do” series, including What Dads Can’t Do (2000) and What Moms Can’t Do (2001) for Simon and Schuster. 


His recent titles include Pumpkin Time! by Erzsi Deak (Sourcebooks, 2014), Halloween Good Night (Square Fish, 2015) and Christmas Eve Good Night (Henry Holt, 2011), which received a starred review from Kirkus. His first book of original poems, Pigmares (Charlesbridge, 2012), was published in 2012. 

He has displayed his original art in France, Romania and the USA, including the prestigious Original Art, the annual children’s book art show at the Society of Illustrators in New York City. 

He is fan of mystery novels and plays slide guitar horribly. He enjoys cooking, traveling, eating and absorbing French culture and good wine—even designing wine labels for a Burgundy wine maker—in his new home in St. Malo on the Brittany coast in France.

Welcome Doug! Thank you for taking the time to answer a few questions about illustration and the SCBWI Bologna Illustration Gallery (BIG) at the Bologna Children's Book Fair.

You have had a long career in the children's publishing industry, illustrating both your own stories, as well as the stories of other writers. Do you have a favorite medium for illustrating children's books?

I love watercolor with pen and ink. There is so much expression one can have using ink line with the occasional “happy accidents” in watercolor. Pretty much all my books have been rendered in those two mediums.

It was more controlled in the beginning, but I’m trying to loosen up now. For a couple books I did everything: writing, watercolor illustration and hand-lettering the display type and entire text including the copyright. I even simulated aged, yellowing, lined notepad paper with watercolor, hand drawing each blue line on every page of the book.

My philosophy is: do whatever it takes to make the book work.

Has that changed over the years?

Moving to Paris loosened me up a bit. A few years ago, I rendered three books in acrylic, something I’d wanted to do. I love the bright colors and thick brushstrokes. I even added some collaged elements as well.

But, for me, the medium I use depends on the story. The technique I use to illustrate a book must complement the heart and soul of the story. An illustrator should never force his style on a text.

I’ve discovered digital painting recently. There’s a lot one can do with it. I’m having a grand time playing with my Wacom tablet, but I believe my training as a traditional artist has held me in good stead. Knowing the craft of drawing and painting has always helped me out with a multitude of problems! Yet, the story always dictates how I approach the way I draw my pictures.

So it varies from project to project. What influences your choice of style and medium for a given project?

Rackham
Shepard
The story is always the first thing that defines my approach to a project, even when I’m the author. An illustrator must read what’s between the lines as well as what’s on the page. The author is telling a certain story, the illustrations must work in harmony with the text.

A good example is The Wind In the Willows by Kenneth Grahame (1908). The master draftsman Arthur Rackham illustrated one (1940) edition.

He's a brilliant illustrator, one of my favorites. But his style was so wrong for the atmospheric and slightly goofy story (Toad driving a car!). He was perfect for Grimm but not for the animal denizens living along side an easy, flowing river. E.H. Shepard’s illustrations are spot on.

What qualities do you think are important for an artist to have in order to be successful as children's book illustrator?

Patience! Flexibility and a thick skin are paramount as well. This is a tough business. So many books are being published every year. But there’s always room for someone with a different voice, a unique way to look at the world.

Be aware of the trends but never be a slave to them. Follow what interests you. It may take longer but in the long run your work will be more sincere and that will catch the attention of editors and art directors. Honesty always shines through.

As writers, we talk a lot about voice, both the voice of the character, as well as our own authorial voice. Do illustrators have a voice as well? What about individual projects, or even characters?

Absolutely, illustrators have a voice. Like writers, it’s the way we see life.

In my case, I see the silliness, the zaniness in the world and through my characters, both human and animal. I’ve been told that one of the qualities people like about my work is the expression on my characters.

That’s part of my voice, my way of interpreting a text and the world in general, that internal struggle, waiting to get out. It’s like being an actor; artists must get inside the skin of the characters they’re illustrating, feeling what they feel. But, as I said earlier, the voice of the illustrator shouldn’t interfere with the voice of the author. They need to play off of each other, work in tandem together.

As a judge for the BIG, what makes an illustration stand out to you?

The BIG is a show of illustration, not just an exhibition of pretty pictures. I’m looking for art that is not only drawn and painted well, wonderfully composed and executed, but also tells a story.

I confess that much of what I see in the grand Bologna Book Fair judged art shows are marvelous paintings but they don’t tell any stories. We’re talking about book illustration here, art that serves a purpose. In many ways it’s harder and a much higher calling than easel painting.

I want to see something that dives deep into a story and tells me something in a way I haven’t seen or thought of before.

Why do you think participation in illustration showcases such as BIG is important for illustrators?

Exposure is one factor. Getting noticed. Working for a specific purpose is important as well. I’ve submitted illustrations to many judged shows with very specific criteria; size restrictions, medium, subject matter, etc. I haven’t always been accepted, but in the process of working on these pieces, I’ve learned something and expanded my working methods.

In almost every, case these pieces have always been the most popular and the most “Wow!” paintings in my portfolio. Picasso said a studio should be a laboratory.

I think shows like BIG can be a way to experiment with new ideas and techniques. Who knows? You may stumble across a way of working that may change your artistic career.

You have been to the Bologna fair on several occasions. How has your experience of the fair changed over the years?

I’m not sure that my experience has changed that much. But that’s not to say I’m bored!

It’s always exciting to see what’s being published around the world. I expect to see new things and I’m rarely disappointed. Of course digital publishing has grown since I started going to the book fair so it’s much more influential.

Through the years I’ve met more editors, art directors and illustrators so I know more people and it’s always fun to renew old friendships. And, of course there are the restaurants that I go to on a regular basis.

Over the years I’ve become friends with one of the owners. Now, that's really exciting!

What are your "must-do's" when you are there?

It can be overwhelming for a first timer. My suggestion is to wander around and “absorb” what you see, not seeking out anything specific. Take notes, jot down what strikes you.

If you open yourself to everything, you’re guaranteed to see something you would have missed if you were focused on a certain goal. I love wandering the “foreign” stands (foreign to this American, at least). There is so much creativity happening all over the world. I confess, working mainly in the American market, it’s easy to become too provincial in my thinking.

Any first time fair attendee should see as many books in as many stands that are not her market. It’s a real inspiration.

Also, as a “must-do”, I try to make a trip to Florence, only 40 minutes away by train. It’s every artist’s heritage, birthplace of who we are. It’s a lovely town chockablock with history and art (with some nice markets and restaurants!) It’s well worth a day off from the fair or staying the extra day.

Celebrating the 25th Anniversary!
Will you be in Bologna in April?

Definitely plan to go. I missed it last year and feel the need to return.

Will you be participating in the ever-popular Dueling Illustrators event at the SCBWI booth?

Yes and it’s always great fun. In past years I was teamed up with Paul O. Zelinsky, which is always a great thrill, and honor.

Thank you Doug! I look forward to seeing you in Bologna in April.

Cynsational Notes

Elisabeth Norton grew up in Alaska, lived for many years and Texas, and after a brief sojourn in England, now lives with her family between the Alps and the Jura in Switzerland.

She writes for middle grade readers and serves as the Regional Advisor for the Swiss chapter of the Society of Children’s Book Writers and Illustrators.

When not writing, she can be found walking the dogs, playing board games, and spending time with family and friends. Twitter: @fictionforge

The Bologna 2016 Interview series is coordinated by Angela Cerrito, SCBWI’s Assistant International Advisor and a Cynsational Reporter in Europe and beyond.

Monday, February 08, 2016

Cover Reveal & Author Snapshot: The Alarming Career of Sir Richard Blackstone by Lisa Doan

By Cynthia Leitich Smith
for Cynsations

Check out the cover for The Alarming Career of Sir Richard Blackstone by Lisa Doan (Sky Pony, 2017). From the promotional copy:

A funny middle grade mystery adventure complete with an unconventional knight, a science experiment gone awry, a giant spider, and a boy to save the day!

Twelve-year-old Henry Hewitt has been living by his wits on the streets of London, dodging his parents, who are determined to sell him as an apprentice. 

Searching for a way out of the city, Henry lands a position in Hampshire as an assistant to Sir Richard Blackstone, an aristocratic scientist who performs unorthodox experiments in his country manor. 

The manor house is comfortable, and the cook is delighted to feed Henry as much as he can eat. Sir Richard is also kind, and Henry knows he has finally found a place where he belongs.

But everything changes when one of Sir Richard’s experiments accidentally transforms a normal-sized tarantula into a colossal beast that escapes and roams the neighborhood. 

After a man goes missing and Sir Richard is accused of witchcraft, it is left to young Henry to find an antidote for the oversize arachnid. Things are not as they seem, and in saving Sir Richard from the gallows, Henry also unravels a mystery about his own identity.

Congratulations on your upcoming release! What do you think of your new cover?

I love it! Huge thanks to Sky Pony and my editor, Adrienne Szpyrka, for capturing the humor of the book while at the same time working in two prominent elements – the giant tarantula and a journal detailing a trip to South America.

The tarantula is Henry Hewitt’s problem and the journal is the key to figuring out what to do about it, which he must do to save his friend and protector, Sir Richard Blackstone.

More specifically, how does the art evoke the nuances of your book?

We wanted the journal to feel Old World, hence the faded brown, as this story takes place in the late 1700’s English countryside.

Sky Pony’s designers had the genius idea of having the tarantula holding the journal to tie it all together. The red and yellow lettering really pop and signal the lighthearted tone.

I couldn’t be happier with how it turned out.

Isn’t it every middle-grade writer’s dream to have a cover with a tarantula on it?

I know it has always been one of mine!

Cynsational Notes

Lisa Doan has an MFA in Writing for Children and Young Adults from Vermont College of Fine Arts and is the author of the award-winning series The Berenson Schemes (Lerner).

Operating under the idea that life is short, her occupations have included: master scuba diving instructor; New York City headhunter; owner-chef of a restaurant in the Caribbean; television show set medic; and deputy prothonotary of a county court. She currently works in social services and lives in West Chester, Pennsylvania.

Sunday, February 07, 2016

Don Tate & Phoebe Wahl Win Ezra Jack Keats Book Award

By The Ezra Jack Keats Foundation
from Cynthia Leitich Smith's Cynsations

The Ezra Jack Keats Foundation, in partnership with the de Grummond Children’s Literature Collection at The University of Southern Mississippi, announced the winners of the 30th annual Ezra Jack Keats Book Award.

Each year, a new writer and new illustrator are celebrated. The 2016 award ceremony will be held April 7 during the Fay B. Kaigler Children’s Book Festival at The University of Southern Mississippi in Hattiesburg. The winners receive a gold medallion as well as an honorarium of $1,000.

“We are proud to present the Ezra Jack Keats Book Award to the best new talents in children’s illustrated literature each year. These are writers and illustrators whose books reflect the spirit of Keats, and at the same time, are refreshingly original,” said Deborah Pope, Executive Director of the Ezra Jack Keats Foundation. “This year is Ezra’s 100th birthday! So we are especially delighted to celebrate him by honoring those whose books, like his, are wonderful to read and look at and reflect our multicultural world.”

“The Keats Archives at the de Grummond Children’s Collection is a happy reminder of the joy that Ezra’s books have brought to readers and the impact they have had on children’s book makers.

"Once again, we see that influence in the work of this year’s EJK Book Award winners. We are confident that they’ll join the long list of illustrious past winners whose books continue to delight and make a difference,” said Ellen Ruffin, Curator of the de Grummond Children’s Literature Collection.

Lois Lowry, two-time winner of the Newbery Award for Number the Stars (1990) and The Giver (1994), will present this year’s Ezra Jack Keats Book Awards. Michael Cart, columnist/reviewer for Booklist and a leading expert on young adult literature, will deliver the Keats Lecture.

The 2016 Ezra Jack Keats Book Award winner for new writer is:

Don Tate for Poet: The Remarkable Story of George Moses Horton (Peachtree)

In the South before the Civil War, it was illegal to teach slaves to read, but George Moses Horton loved words too much to be stopped. He taught himself to read as a child and grew up to be a published poet, while still a slave.

Writing about slavery for young readers is challenging but important, and Don Tate succeeds brilliantly, in an engaging, age-appropriate and true narrative.

Tate said, “Three years ago, I won an Ezra Jack Keats honor award, one of the proudest moments of my career. I never imagined being considered again… this time [for] the top award. There has always been a special place in my heart for Ezra Jack Keats. When he chose to picture brown children in his books, he chose to acknowledge me. I wasn’t invisible to him.

"As a creator of color in a field that sorely lacks diversity, it can be easy to sometimes feel unseen. This award serves as a reminder to me that I am not invisible and that my work matters.”

The 2016 Ezra Jack Keats Book Award winner for new illustrator is:

Phoebe Wahl for Sonya’s Chickens (Tundra)

Sonya’s dad presents her with three baby chicks to care for, and she does her job well, providing food, shelter and lots of love as they grow into hens. Then one night, Sonya discovers that one of her hens is missing! But as her father explains, the fox stole the hen because he loved his kits and needed to feed them.

The circle of life is gently and exquisitely depicted in Wahl’s rich and colorful watercolor and collage illustrations of a multicultural family’s life on a farm.

Wahl said, “Keats’ work stands out as some of the most impactful of my childhood. I can directly trace the roots of my obsession with pattern, color and my use of collage to my affinity with the lacy baby blanket in Peter’s Chair. Keats inspired me to create stories that are quiet and gentle, yet honor the rich inner lives of children and all of the complexity that allows.

"I am humbled to be associated with Keats’ legacy in being presented with this award, and I am so grateful to the Ezra Jack Keats Foundation and the children’s literature community for this show of support and encouragement.”

The 2016 Ezra Jack Keats Book Award honor winners are:

2016 New Writer Honors


Julia Sarcone-Roach for The Bear Ate Your Sandwich, also illustrated by Sarcone-Roach (Knopf)


Megan Dowd Lambert for A Crow of His Own, illustrated by David Hyde Costello (Charlesbridge)

2016 New Illustrator Honors


Ryan T. Higgins for Mother Bruce, also written by Higgins (Hyperion)


Rowboat Watkins for Rude Cakes, also written by Watkins (Chronicle)

The Ezra Jack Keats Book Award Criteria

To be eligible for the 2016 Ezra Jack Keats Book Award, the author and/or illustrator will have no more than three children’s picture books published prior to the year under consideration.
Related Posts Plugin for WordPress, Blogger...