Making Our Own Market: DuEwa Frazier

July 23, 2014

We are honoured to welcome DuEwa Frazier to the Brown Bookshelf today. Poet, founder of Lit Noire Publishing, author of DEANNE IN THE MIDDLE, and much, much more — DuEwa is a true wonder woman. Grab your notebook and a glass of iced tea, lemonade, or just some cool, clear water…and prepare to be inspired.

duewa
If I could describe myself in one word, it would be determined. When I graduated from Hampton University as an English major, a few of my classmates asked me what I planned to do after graduation. I told them, “I’m going to be a writer and children’s author.” I didn’t know how I was going to do it but that was my goal and I was determined. Upon graduation I was chosen to be an editorial intern at a teen publication in Massachusetts, my family did not think it was a good idea for me to move to Massachusetts by myself, being so young and right out of college. So I moved back to the Midwest and became an elementary school teacher, I also started graduate school in Secondary English.

Through the 90’s and into the early 2000’s I wrote poetry and children’s stories. In 1999, I moved to my birthplace of Brooklyn. The internet wasn’t quite as booming as it is now, so when I submitted my work for publishing, I made phone calls to agents and publishers and sent my submissions via mail. I even submitted my children’s stories to Nickelodeon hoping to write for the hit show “Little Bill.” I started hand making children’s picture books, putting pencil sketched illustrations to words, in order to create visuals for the stories I wanted to share with young readers. During this time, I received rejection after rejection. Agents and publishers communicated to me that they couldn’t accept my work because I didn’t have a solid track record in publishing. I met an editor at an event who was seeking to publish poets. My first poem “Son of My Sun” was published in Essence Magazine’s December 1999 issue featuring Samuel Jackson and his wife on the cover. It was my first publishing experience and I was actually paid for it!

Years ago I heard the phrase, “What you put your attention on – grows.” This became true for me in my creative life. My poems were published in Essence several more times, as well as in literary journals, online and anthologies. I also published editorials and interviews online. Still, receiving a “publishing deal” through a book publisher was not something that was offered to me, and after a while I didn’t seek it. I kept writing, networking at author signings, attending conferences, reading, doing research, performing my poetry and saving money. Eventually, I taught myself how to self-publish. There was no one there to hold my hand through the entire process but I did receive support. I took writing workshops with the late, great poet, Louis Reyes Rivera and was mentored by Abiodun Oyewole of the Last Poets. I attended many of the Center for Black Literature’s National Black Writers Conference’s early panels and workshops. I later took children’s writing and non-fiction workshops at other centers in the city. I became a part of a community of writers who had academics and cultural consciousness in their backgrounds.

When I published my first book, Shedding Light From My Journeys in 2002, publishing became an act of community service for me and an added connection to my being an educator. My company, Lit Noire Publishing was founded in 2002. I became an author, publisher, cultural organizer and consultant all under one umbrella. I hired graphic designers and printers. I shared my book and the books of other authors with my middle school students in Brooklyn. Louis Reyes Rivera helped me edit my first collection. He gave me advice about selecting poems that relate to each other in theme. I had been performing on the poetry circuit in various cafes, arts venues and colleges. I was no different from many other writers and poets who wanted their work heard and read, but I made a conscious decision to publish my books because long after we are all gone, the books will still stand.

I am the author or editor of six books to date: Shedding Light From My Journeys (2002), Stardust Tracks on a Road (2005), Check the Rhyme: Anthology of Female Poets & Emcees (2006), Ten Marbles and Bag to Put Them in: Poems for Children (2010), Goddess Under the Bridge: Poems (2013) and Deanne in the Middle (2014). The anthology I edited, Check the Rhyme features 50 women poets from across the globe and was nominated for three awards: NAACP Image Award in Outstanding Literary Work – Poetry, African American Literary Awards Show – Poetry and Writer’s Digest Publishing Awards – Poetry. If your intent is to produce quality literature and share with a community of readers, your work will land where it is supposed to.

I have many writing projects that are “waiting” to be further worked on or picked up, including a few I am currently editing. Creation never stops when you have a passion for writing, but I am not interested in releasing a book every few months. I think each project should have its own space and time. A possible challenge in self-publishing is that you have to motivate yourself to use both traditional and alternative or creative methods of marketing and promoting your work. I have an entrepreneurial, pull myself “up by the bootstraps” spirit, so self-publishing and managing my work doesn’t frazzle me. But every writer may not be suited for it, because you do not have a publicist, manager and editor at your disposal 24/7 creating plans, representing your ideas and doing your bookings.

When you’re self-published, you become DIY all around and you have to be okay with that, including being okay with spending your money to fuel your ideas. However, I do support writers who have good experiences with traditional houses and I find value in it. It’s all about communities of readers and however you are able to share you work is what is most important.

To date, what I enjoy about publishing my work is that I have a certain amount of creative control and as long as I am here, my books will not go out of print. I have talked with writers who have had experiences with publishers who allow their works to go out of print. I do not know why that happened, but I thought it was unfortunate because we’re living in an age where our children need access to books in print to become literate. And one of our legacies is printed books. As an author, I love participating in programs with my books and interacting with readers – both youth and adults. There is nothing like discussing books and hearing about the interests of readers. I have been fortunate to participate in numerous literacy programs for youth, literary conferences and author signings where it has not mattered that I represent myself as an indie author. I have been a writer for fifteen years and I think I have shown my commitment to the work. But I have humility in knowing I still have much to learn and work to do. As a new children’s author, I believe there is great value in continuing to produce books in print, not just in digital format. When I teach workshops for youth, I bring my books with me as references and students enjoy paging through the books and reading from them. There is relationship that a reader has with a book, which digital reading cannot replace. You can curl up with a book and dog ear your favorite pages. You can make notes and symbols in books on the pages. And there’s nothing like the smell of a book – whether new or worn. I am also a big library geek, and I promote our young people to always have a library card and access books through the local library.
My new book Deanne in the Middle chronicles the experiences of 14-year old Deanne Summers who is starting her first year of high school.

Not unlike many youth, Deanne faces bullying, peer pressure and issues in conflict resolution during her first semester. I wrote the story to have a dialogue with young readers about conflict and having friendships with those who are different from you. So many students are bullied and harassed for being different.

I felt Deanne in the Middle was a worthwhile story to tell. This is a story I began writing in 2007 and I submitted it to agents in the past. I was told there was “no market” for my story. ditm-FRONT-vEBOOK-1 And when I workshopped the story I was told that my characters didn’t “sound black enough.” Well as an educated person who has worked with youth of diverse backgrounds, and whose family is also diverse, I really didn’t know what “black enough” was. How many “yo shortys” and “what ups” can you put in a young adult novel to make it believable? For me, not many. If I were a teen, I would become bored with a book written with lingo just to target me and I would feel that the author is patronizing and stereotyping me. And these are among my reasons for publishing my novel Deanne in the Middle, and not waiting another five years or so for someone else to find the “market” in my work. There is value in my story because I know the youth who I serve and young readers deserve to have a myriad of stories to choose from when selecting books to read.

I suggest to aspiring authors and writers for children to: (1) write often (2) have your work workshopped and critiqued and (3) attend literary events and conferences to network. There are times when I could not devote 100% of my time to publishing due to working and attending graduate school (I earned three Master’s degrees from 2006 to 2013 and have an M.F.A. in Creative Writing from The New School) but I realize that it’s all about the journey. The journey is filled with learning experiences – how I learn from other authors and what I have to teach. I made a market for my work and have felt privileged to share my writing with young readers and connect with like minded authors.

Thank you for this opportunity to tell my publishing story!

For more from DuEwa Frazier, visit her online at duewaworld.com.

What are you waiting on? Go!


MAKING OUR OWN MARKET: Cake Literary on Writing Diversity and Spicing Up High Concept Fiction

May 15, 2014

CAKE logo+2.7.12

Honoured to welcome Cake Literary to The Brown Bookshelf today! Writers, activists and entrepreneurs who “believe that crafting a good read is like baking a great cake — rich, fresh, delectable flavor with a healthy dose of heart”, the founders of Cake have already transformed the publishing landscape with a mission to engage readers and writers from all walks of life. From their Web site: “Co-founded by New School MFA grads Sona Charaipotra and Dhonielle Clayton, Cake Literary is a creative kitchen whipping up decadent literary confections for middle grade, young adult, and women’s fiction readers.”

These women are awesome. Let me just get out of the way:

Guest Post: Making Our Own Recipe – CAKE Literary on Writing Diversity and Spicing Up High Concept Fiction


Black people don’t often view writing as a viable career path.

A professor in my first MA program told me this during an advisory meeting. He said it so casually, as if he was talking about the sky being blue or water being wet. He waited for me to affirm his conclusion: to shake my head up and down, acknowledging that he’d made an astute social observation, or to start crying while launching into my story of overcoming adversity to get into college, and now, against all odds, into a specialized graduate program in children’s and young adult literature.
I gnawed at my bottom lip, kneading my hands in my lap, and waited anxiously for him to hand me back my paper on religious programming in children’s fantasy fiction, so I could leave. There was no story to be told to validate his belief. I grew up a spoiled nerd in the suburbs of Washington, DC, with my nuclear family (minus the dog), and an endless pile of books.

I said nothing.

My professor wasn’t a racist who had a closet full of white KKK robes. Instead, he was a deeply intellectual widower with a quiet, almost granola, hippy-ish energy, and this made the whole thing even worse. He was kind and supportive. He was smart and well-read. Yet his observation of me (and my people) was so limited and reductive.

I should’ve corrected him. I should’ve told him that I stand on the words and pages and books of others who paved a road for me: Alice Walker, Nella Larsen, Langston Hughes, Virginia Hamilton, James Baldwin, Toni Morrison, Zora Neale Hurston, Andrea Pinkney, and many more. That I wouldn’t be knee-deep in unsubsidized federal school loans if I didn’t see being a writer as a viable career path.

To make sure I didn’t come off as the aggressive/overly-spirited/feisty/sassy/angry black woman, and to make sure he didn’t feel uncomfortable around me (or with my blackness), I stayed silent. I smiled, sipped a cup of tea, and I let his statement stand. I stayed in the safe-zone.

I should’ve said something.

The phrase still replays in my head. Dhonielle Clayton photo
I failed those who had taken the risk to put pen to page, who had fought to get published. Over the last six years, this moment became a little suitcase of shame that I carried around, where his words and the way I felt were neatly packed inside like layers of folded shirts and matching socks and starched dresses.
I should’ve said something.

When I met Sona Charaipotra, a super smart and savvy woman who I connected with on the first day of class at The New School, I knew she was going to become a major part of my life. Over endless chats and shared stories of invisibility (and not the kind that comes with a cloak) and being TV/film junkies and a collective well-spring of great ideas that we wish were on the shelves, we knew we’d stumbled upon something that was missing from the books we read as kids and teens, and the books and media circulating now.

Diversity.
sonaheadshotWe discussed the books we wanted to write, those that we thought would be awesome, and tinkered around with starting a venture that used diversity as a spring-board to great story-telling in a fun, sexy, page-turning, un-put-downable way. And CAKE Literary was born.

CAKE Literary is a literary development company that focuses on high concept fiction with a strong commitment to diversity.
What exactly does that mean? We’re not a literary agency, or a publisher. We’re a packager cooking up decidedly diverse book ideas, manuscripts, and proposals, and providing work-for-hire opportunities to authors in order to bring those books into reality.

What’s high concept? That book or movie or TV show you can describe in one-line. An orphaned boy discovers he’s a wizard and must destroy the evil warlock who murdered his parents. A feisty girl takes her sister’s place in a televised death game in a dystopian America. Two sick teens fall in love and confront the fault in their respective stars. Sound familiar? These are the kind of books we’re aiming to create. Big stories with heart, delicious concepts, a compulsive energy, and a healthy dose of diversity. We have a secret recipe that you’ll have to stay tuned to learn more about.

Our first project, formerly called DARK POINTE, now TINY PRETTY THINGS, follows the journey of three ballerinas at a cutthroat ballet academy. Each girl has a different background, mirroring the natural (and sadly, often hidden) diversity in the ballet world. But it’s not the primary focus of the book. It’s about ambition and dance and what one is willing to do to be the best. But these diverse characters are not tokens either – with just their skin color or hairstyle described one or twice to remind the reader of their “otherness.” Their otherness is innate, integral. Readers won’t forget how their backgrounds inform parts of their everyday experiences – the very way it shapes both Sona and I as we navigate our realities.
What’s cooking in CAKE’s kitchen? We’re working on several projects, and busy trying to find talented writers to join us on this mission. We hope to have more news to share soon.

We’re hopeful that, with the recent articles being written about the dearth of diversity in YA and children’s book publishing, and Ellen Oh’s fabulous #WeNeedDiverseBooks campaign, our colorful world will start to be reflected in the books written for children and teens, and that more authors of color realize that their voices are needed.

I am lucky because CAKE Literary is helping me finally say something.

Interested in learning more? We’ll be looking to hire writers beginning this summer, so connect with us on CAKELiterary.com or via CakeLiterarySubmissions@gmail.com. You can also follow us on Twitter @CAKELiterary.


Day 12: Alice Randall and Caroline Randall Williams

February 12, 2013

My daughter was immediately enchanted by The Diary of B.B. Bright, Possible Princess, big time. From the moment she saw the luminous cover to her nonstop read of the lyrical, lovely tale, she was hooked. And no wonder. AliceandCarolineCookbookCaseThis mother-daughter team packs a powerhouse punch.

At Vanderbilt University Alice Randall teaches Bedtime in the Briarpatch: African American Children’s Literature. Briarpatch is an intensive examination of African-American children’s literature from the 17th century to the present. In her course and in her writing Randall is concerned with how African-American children’s literature can be used to reflect and challenge the larger society. Some of the books her students read include: Peeny Butter Fudge, by Toni Morrison and Slade Morrison, Please, Baby, Please, by Spike Lee and Tonya Lewis Lewis, We Are the Ship: The Story of Negro League Baseball, by Kadir Nelson; Stitchin’ and Pullin’: A Gee’s Bend Quilt, by Patricia McKissack; Zeely, The House of Dies Drear, and M.C. Higgins, the Great all by Virginia Hamilton, Monster and All the Right Stuff, both by Walter Dean Myers;
Roll of Thunder Hear My Cry, by Mildred D. Taylor, The Watsons Go to Birmingham-1963 , by Christopher Paul Curtis, Tar Beach Faith Ringgold, I Know Why the Caged Bird Sings, by Maya Angelou and Life Doesn’t Frighten Me by Maya Angelou and Jean-Michel Basquiat.

Caroline Randall Williams is the great-grand daughter of the man many consider to be the father of African-American children’s literature, Arna Bontemps. Like Bontemps, Williams is poet and a children’s author.

Many thanks to both for their wonderful and wise words (and a fabulous bit of history below!):


    A Gift To You

“First, we want to wish all the readers out there a very, very happy Valentine’s Day and an inspiring Black History Month. Because it is Valentine’s week and Black History month we have a cyber Valentine for you made possible by the Library of Congress—a link that will allow you to peruse one of the great treasure troves of Black Kid Lit—The Brownies Book.

Edited by W.E.B. DuBois and Jesse Redmon Fauset , The Brownies’ Book was a
“Monthly Magazine for the Children of the Sun.”According to the cover The Brownies’ Book was “designed for all children but especially for ours. “ We love the Brownies’ book. And we think you’ll love it too. What reader of the Brown Bookshelf wouldn’t love a magazine that states on its cover that “it aims to be a thing of Joy and Beauty, dealing in Happiness, Laughter and Emulation, and designed especially for Kiddies from Six to Sixteen.”

There’s poetry, and short stories, there’s history, and letters. And there are wonderful photographs and drawings. Page after page of brilliance by and for African-American children. Elegant and amusing The Brownie’s Book was a kind New Yorker for children.”

    The Journey

Our journey to publishing was a bit circuitous. Though we have a big New York agent for this book, Conrad Rippy, we ultimately chose to publish with a distinguished independent publisher, Turner Books located in our hometown, Nashville.
B.B.coverandsketch

    The Inspiration

Working on the creation of a Black Fairytale Princess, B. B. Bright, we were very, very inspired by The Brownies’ Book which was only published for a year or two starting about January 1920. The Brownies’ Book celebrates the writing of Black children by publishing their letters. That was part of our inspiration to narrate our novel in the forms of letters written into a diary. The Brownies’ Book assumed that the child reader was sophisticated and curious and recognized that adults often peer over the shoulder of the children reading in the house. Like The Brownies’ Book our novel is written for children, and for folks who once were children. Other writers who have influenced us significantly that we love include Virginia Hamilton and Patricia McKissack. Both of these writers bring beauty and grace to the page—are willing to summon a kind of archetypical elegance—and they always tell a good story in a voice that is at once feminine and universal. That’s hard. But they do it and do it well. Creating a girl’s voice that boys would listen to was something we were seeking to do. But we were most strongly committed to writing to empower girls to be their full authentic selves and to know when they are being fully and finally themselves—they are royal. No matter who their parents are or what the situation into which they are born or live.

    The Back Story

This story began in a doctor’s office over twenty years ago. Caroline got bored and Alice started telling her a story—about a fairytale princess that looked like young Caroline with beautiful brown skin and brown eyes. Immediately Caroline started changing and adding to the story. Twenty years later we had a book—and a contract for seven more.

    The Buzz

We were so excited that The Diary of B.B. Bright, Possible Princess was nominated for a NAACP Image Award; that was a big honor. Making it better we got to sit next to a hero of ours, Christopher Paul Curtis (The Watson’s Go to Birmingham) at the awards! We were also excited that The Diary of B.B. Bright, Possible Princess was nominated for a Cybils Award in MG Fantasy. We’re even more excited that there’s been some talk of turning The Diary of B.B. Bright Possible Princess into a movie. We’ve begun talks with an Oscar nominated producer about optioning the rights.

    The State of the Industry

It has always been hard to get African-American children’s books published and hard to get the word out about them once they are published. There are precious few of us working as agents booksellers, editors, publishers, or publicists. And precious few writing and illustrating. But our children read. There is a growing audience that gets larger by the day. Children are profoundly influenced by the books they read and don’t read. This keeps us writing, to close gaps. There are still far too many aspects of ourselves not reflected on published pages.

We take heart from our history from knowing what our foremothers and forefathers endured to get published and read. The history of African-American Children’s literature (something Alice teaches at Vanderbilt) is a history of writers who manage to triumph over obstacles and land in homes and schools, and set up residence in the hearts and heads of children of color.
ALICE

Many thanks for your amazing work!

Visit Alice Randall online at her Web site.


Day 29: Meet the BBS — Olugbemisola Rhuday-Perkovich

February 29, 2012

Wow, participating in the special celebration that is 28 Days Later has been such a wonderful honour for me. I am floored by how much I learn from the campaign every year, and it breaks my heart too — I should be hearing about these amazing authors and illustrators more often!

DAILY INSPIRATION: My debut novel, 8th GRADE SUPERZERO (Arthur A. Levine/Scholastic, 2010), has brought so many opportunities my way. I’ve loved meeting (in person and in the digital world) readers of all ages who have their own precious stories to tell, who are exquisite reminders of one of my biggest WHYs for this work: writing, telling stories, brings new opportunities to listen, to step outside of myself and my affinities into unknown people and worlds. I’m so grateful for your stories that make mine richer.

One of the challenges I think we face in today’s culture is a directing away from nuance, from complexity, from in-depth exploration and discomfort. I’m glad that we still hold on the stories. Stories give us room to ask the questions that have more than one answer, or don’t have any answers at all. While preparing for a conference talk, I found this, from the poet Wendell Berry: “In the dark of the moon, in flying snow, in the dead of winter, war spreading, families dying, the world in danger, I walk the rocky hillside, sowing clover.” That’s what I want to do with my writing: sow clover. I write to honour the particular, and embrace the universal. To listen between the lines to your story, and mine. I wrote an essay about listening recently (my writing is all about what I listen to), and came to see that I write because I “cherish the magic and mystery of life, and I want to imagine, and remember, and share.” And even when I’m beyond frustrated, completely flummoxed, or bored to tears with my efforts — I love this work deeply. All my life, I’ve been grateful for the stories.


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