We Need NEW SHOES, More Than We May Know

May 22, 2015

By Kirsten Cappy, Curious City

Yes, #WeNeedDiverseBooks and #BlackLivesMatter. These hashtags and sentiments are integrated into my many literacy projects and into our ongoing commentary on this troubled nation. Yet, the more I hashtag, the more I wonder if the book industry’s endearing and infuriatingly slow pace can create a place where black lives matter simply by producing more diverse books.

Authors and illustrators will do their groundbreaking and childhood-lifesaving work and the publishers will publish them. But, are the consumers, educators and libraries buying enough books?  Are they buying at a pace that will expose a child to enough books to show him or her that their lives matter—matter to all of us?

Into the middle of these thoughts, a picture book New Shoes by Susan Lynn Meyer and illustrated by Eric Velasquez (Holiday House) landed on my desk. In the book, young Ella Mae is forced to wait for a white girl who came in the shoe store after her and then denied the right to try on the saddle shoes she and her mother have come to buy. Jim Crow sends Ella Mae’s mother to her knees to trace her daughter’s feet on paper.


The next day at school, Ella Mae has on her new shoes but “feels bad most of the day.”

“That’s happened to me too,” her friend Charlotte whispers when Ella Mae tells her about the store. What makes this story a marvel is that Ella Mae and Charlotte counter this Jim Crow discrimination with entrepreneurship.

Doing chores for neighbors, the girls ask to be paid in nickels and old shoes. After rounds and rounds of chores, they go into an old neighborhood barn. There they do not just play store, but create a store. With their nickels and their careful attention, they transform the old shoes into shelves of refurbished footwear.

When they post their “open” sign, the lines form and “anyone who walks in the door can try on all the shoes they want.”


We all strive to have children try out all the books they want. I want young readers to experience the tenacity and creativity of Ella Mae and Charlotte! But how many will? How many families will buy this acclaimed picture book from a bookstore shelf? How many libraries will have the funds to buy it for kids to check out or for teachers to pull from the shelves for a lesson?

If books and stories change lives, if diverse books allow children of color to be seen and validated, then why is book purchasing not a major charitable action?

For example, if the message of empowerment through entrepreneurship speaks to you and you have the means, why are you not buying New Shoes by the caseload for schools, libraries, and after school programs? Books have meaning and mission, but the industry has always been designed for single purchase use.  The bulk sale is rare.  If #WeNeedDiverseBooks, can we not find an entrepreneurial solution like Ella Mae and Charlotte?


We certainly can match a person or organization’s mission – to instill a feeling or lesson in children’s minds – to a children’s book that imparts that mission.

Public funds for schools, libraries, and many non-profits serving children continue to diminish. These institutions would welcome donated materials.  For example, I recently posted an offer on the American Library Services for Children email listserv offering 500 individually-donated paperback chapter books by Polly Holyoke. That offer brought 1,000 grateful schools and libraries to our site in less than 48 hours.  They would say a resounding “yes” for books that reflect their community.


The statement in New Shoes, “That’s happened to me,” is such a simple and searing statement of subtle and daily discrimination. Those subtle experiences of discrimination remain long after the end of Jim Crow.

Can we give kids of all races the tools to believe and act like #BlackLivesMatter by driving charitable donations of books? Is it as easy as setting up in the barn and painting a sign? It might be. Who wants to do the chores and gather the nickels with me?

NEW SHOES Text copyright © 2015 by Susan Lynn Meyer, Illustrations © 2015 by Eric Velasquez, Used by permission of Holiday House.

Kirsten Cappy of Curious City and Curious City DPW is an advocate for children’s literature and its creators and for schools and libraries. Through creative marketing projects, she seeks to create places where kids and books meet. She can be reached at kirsten@curiouscity.net or 207-420-1126.

Tracey Baptiste and The Story Behind “The Jumbies”

April 28, 2015

Headshot 1 crop


I interviewed Tracey for the Brown Bookshelf in 2012. As she shared Angel’s Grace with me, I quickly became a member of the Tracey admiration club. She writes. She edits. She encourages and she shares her knowledge with young people. Today, Tracey is giving the Brown Bookshelf and its readers the inside scoop on her latest book, The Jumbies. Welcome back, Tracey!


As a kid I could not get enough of fairytales. Princes, princesses, helpful fairies, vindictive witches, magical mishaps, and cleverly-hatched plans that led to happy endings were all I dreamt of all day long as I flipped through the pages of my beautifully illustrated Grimm’s fairytales, a book almost too large and heavy for my three year-old hands. But fairytales were something that happened in places far away from my native Trinidad, in lands where children could leave footprints in the snow, and you needed a large red cloak to keep the cold off your back. Besides, none of the characters looked anything like me with their golden hair and pale skin. So I had no hope of being chosen to marry a prince, or encountering a witch with architectural baking skills, or meeting an opinionated fairy (this being the greatest disappointment of all). But on warm island nights when the books were closed, and the ships at port bellowed out mournful horns, the stories were different. They came with warnings from the adults in my life such as “Never answer if you hear your name called at night. That is how the douens will get you,” they said.

The Jumbies

The Jumbies

Then I would listen to stories about how douens roamed naked through the forests of Trinidad with their feet on backwards to fool anyone who might follow them. They were small like children, but with the strength of grown men, and wore cone-shaped hats and not one stitch of other clothes. The douens would learn the names of children so that they could lure them into the forest, where the children would never be heard from again. “Just ask ‘did you call me?’ and wait for us to answer,” the grownups said. If they hadn’t called, I could be sure it was a douen trying to get me, and I would pull the covers more tightly under my chin. But the douens were not the only creatures to be feared at night in Trinidad.

There were also soucouyant, who were old ladies who shed their skin at night, burst into flame and came flying through your window to suck your blood. And there were La Diablesse, who had one regular foot and one cow hoof that they covered under long skirts. The lagahoo was a wolf-man who might help you as often as he might eat you. Papa Bois protected the animals in the forest, and sometimes punished the hunters who were after them. The water was a worry too, with Mama D’Lo, a half-woman, half snake who was as beautiful as she was vindictive. All of these creatures were called jumbies, a group of malevolent creatures who were hell bent on harming or at least tricking any human who dared to cross their path.

Jumbies were fascinating, but they didn’t come in beautifully illustrated books like my Grimm’s. Jumbie stories were very much alive. My uncles might meet a La Diablesse on their walk home at night. The red itchy bites that showed up on my legs in the morning might not be from mosquitoes, they might be from a soucouyant. And always, there was the threat of voices calling at night. I was living my own dangerous fairytale. Every person who encountered a jumbie and lived to tell the tale was brown-skinned like me, some even wore their hair in plaits like mine. But they were never in books. Why didn’t the children who looked like me have their own fairytales? We were just as clever. We had to be just as brave. Our foes were just as treacherous. Didn’t our stories deserve to be written down?

A young Tracey in the days before books had her name emblazoned on them.

A young Tracey in the days before books had her name emblazoned on them.

At the very mature age of three, I declared that I would grow up and be a writer. I would have my own stories with beautiful pictures that I could hold and flip through and read over and over again. I had just learned how to write my name. So the next step, of course, was a book.
Years later, I was in New York, between classes at NYU, and browsing through the shelves at Barnes and Noble when I came across a book of fairytales from around the world. I scanned the table of contents looking for Trinidad. Were there douens in here? Papa Bois? A soucouyant? No. But there was a story called “The Magic Orange Tree” from Haiti. “Close enough,” I thought and I flipped to the page. It was a Cinderella-type story about a clever girl, a magical tree, and an evil stepmother. I knew instantly that I could somehow take this story and make it my own. I would give my three-year-old self the fairytale she had been waiting for. I reread The Magic Orange Tree for years but it was only after my first novel had been published that I started working on the story that would become The Jumbies. Early titles were: The Green Woman, The White Witch, and the Magic Orange Tree; The Orange Tree Girl; and Growing Magic. And jumbies being the tricky, malevolent creatures that they are, didn’t make it easy for me to get them down on the page.

Tracey discussing her writing process with students.

Tracey discussing her writing process with students.

I worked on the story off and on for almost nine years. Over the course of that time, several people in the industry told me to just give up on the story and move on. “Some stories belong in the desk drawer,” one editor said. But there was something about this story that compelled me to keep pulling it out of the drawer even if it had been sitting there for years at a time. It wasn’t working. It was always missing something. But I kept slogging. My three-year-old self, it turns out, is quite the taskmaster. I lost an agent along the way, but found another with the manuscript for this story. Marie Lamba and I worked on it a little longer before she approached just the right editor—Elise Howard—who had also worked on another creepy tale, Neil Gaiman’s The Graveyard Book. The Jumbies was just her kind of story, and even then there were a few rounds of changes before it was final.

In just a few weeks, the three-year-old me will get the book she has been waiting for. Maybe not beautifully illustrated as she would have liked (though the jacket art is amazing), but this time the book will fit easily in her hands, and the hero will look like her, with plaits falling down her back. There is even a nod to the fairytale stories she used to love, with a little frog providing comic relief. But this story is all Caribbean. All Trini. All sun-kissed brown-skinned, and still, all fairytale.

Tracey and her fans.

Tracey and her fans.

Pronunciation guide:
Douen = dwen
Soucouyant = SOO coo yah
La diablesse = LAH jah bless
Lagahoo = LAH gah hoo
Papa Bois = Papa BWAH
Mama D’lo = Mama Juhlo
Jumbie = JUHM bee

Early reviews for The Jumbies:

“Her fantastic cast of characters and lush, vibrant setting make you feel immersed in her Caribbean island.”
–Valerie R. Lawson’s Blog, Barbies on Fire

“Endlessly addictive and hypnotic.”
–Essence Magazine

“A well-written tale full of action.”
–School Library Journal

“Tracey Baptiste knows just how to seize kids’ attention.”

“It’s refreshing to see a fantasy with its roots outside Europe.”

More about Tracey’s career The Brown Bookshelf 2012.

About The Jumbies
Caribbean island lore melds with adventure and touches of horror in The Jumbies, a tale about Corinne La Mer, a girl who on All Hallow’s Eve accidentally draws a monstrous jumbie out of the forest, sparking a very personal war that only she can stop – a war made even more difficult once she discovers her own dark truth.

Jumbies (pronounced JUM bees) are trickster creatures from Caribbean stories, like the pint-sized douen with its backward feet, the soucouyant who turns into a ball of flame, or the man/wolf lagahoo.

Can Corinne save herself, her father, her friends, and her entire island from the jumbies? Preorder now to find out!

Barnes and Noble

Join me for the launch of The Jumbies at
Watchung Booksellers, Montclair, NJ on April 28, 4-6pm
La Casa Azul Bookstore, Harlem, NY on April 30, 6-8pm
Enjoy the trailer!

Tracey is also the author of the young adult novel “Angel’s Grace” which was named one of the 100 best books for reading and sharing by New York City librarians. Tracey is also an editor at Rosen Publishing.

You can find out more about Tracey on her website Tracey Baptiste or by following her on Twitter @TraceyBaptiste, or on Facebook and Instagram at TraceyBaptisteWrites.

The Jumbies will be in stores on April 28th.

Join her for the launch of “The Jumbies” at
Watchung Booksellers, Montclair, NJ on April 28, 4-6pm
La Casa Azul Bookstore, Harlem, NY on April 30, 6-8pm

If you can’t attend the launch, it is available at

AmazonBarnes & Noble, and Indie Bound.



The Gift of Reading: An Open Letter

April 1, 2015

Brian O. Jordan

On March 21, 2015, I had the pleasure to share the gift of reading with the “Birdy Book Club.”   What a wonderful group of young men. I am proud of their parents and grandparents for beginning to instill the love of reading at such a young age. My parents did the same with me.

I read them my book titled, I Told You I Can Play (illustrated by Cornelius Van Wright and Ying-Hwa Hu, published by Just Us Books). This was the first time I ever did a children’s reading leveraging FaceTime on my computer and it turned out to be a good experience for the young men.  This book captures a story about my own youth and speaks to being a small child who was always told I was too young to play. The book goes on and shows how I proved to my family and others that I could play, but it took focus, determination, and dedication for me to do this. These are characteristics I like to instill in young children. I invite others to reach out and read my book I Told You I Can Play. I also have two other books that youth may enjoy and others I am working on:

Birdy Book Club members show Brian via FaceTime one of their favorite pictures from his book.

Birdy Book Club members show Brian via FaceTime one of their favorite pictures from his book.

  • Overcoming the Fear of the Baseball details a childhood experience when I was hit in the face with a fastball.  Instead of calling it quits, I was forced to face my fear and return to the baseball field where I went on to play 15 years of Major League Baseball.
  • Time-Out For Bullies discusses how my mother taught me first-hand what bullying was and how it negatively impacts children.  I then reveal how I used my athletic ability to help those dealing with bullies in my school.

Some ask why I decided to write children’s books. It came from my wanting to find ways to educate youth, get them to read, and have others learn from my experiences.   I thought I-told-You-I-Can-Play__22529_1405364701_1280_500if I could engage youth at a young age then maybe I could capture their minds to read and to learn to believe in themselves to reach their future goals. Mr. Wade Hudson from Just Us Books, Inc. in New Jersey published my first book. He heard my story and wanted to help me get started. He taught me the process of publishing a book and leveraged his best creative people to illustrate my book. I was blessed to have met Mr. Wade Hudson and what he is trying to do through Just Us Books, Inc. to get youth to read.

I went on to write and self-publish other books and at the end of the day I just really want youth to read and believe in themselves to reach their dreams. The hardest part for me about being a children’s book author is my transition. Most of the world sees me as an athlete, and yes I did play Major League Baseball and in the NFL, but I also received my education while I was in college. With that education, I knew that after sports I could transition and do multiple items. So many athletes just see themselves as that, but I knew that at some point my body would not be able to compete at those professional levels and my education from University of Richmond would take me further. Getting others to take a retired professional athlete seriously as an author has been challenging. But as people see my love for writing and reading about children and my publishing new books, this makes people realize I am serious and they are respecting me as an author.

Thank you to Kelly Starling Lyons for reaching out to me to do this children’s reading virtually. I welcome others to leverage my books to help youth develop the love of reading and to find that confidence in themselves to reach their goals.


Brian O. Jordan

Former MLB Player and NFL Player




Happy Book Birthday!

April 1, 2015



Illustration by Don Tate

We didn’t want to let the day end without wishing our brother Don Tate congratulations on his new picture book with Chris Barton, The Amazing Age of John Roy Lynch (Eerdmans). What makes this collaboration even more special? Chris and Don are friends.

Chris suggested Don, his critique partner, as the illustrator of his story that had been years in the making. “I don’t know that I could articulate then why he would be a great artistic choice,” Chris said in this interview, ” but his style turned out to be just right both for making John Roy Lynch accessible as a person and for conveying acts of violence and terrorism in a vivid but not overwhelming way.”

The collaboration is paying off. Their book earned starred reviews from Booklist and Publishers Weekly. We’re proud of Don and Chris and look forward to seeing many more accolades. Learn more about The Amazing Age of John Roy Lynch on their sites: http://www.dontate.com and http://www.chrisbarton.info.

Check out the buzz here:

“The fascinating story of John Roy Lynch’s life from slavery to his election to the U.S. House of Representatives at age 25, gets a stirring treatment here . . . Tate’s often expansive illustrations emphasize important incidents in the text. A reference to harsh laws passed by whites is coupled with a dramatic two-page spread of a whipping, a potential lynching and lots of angry white faces in the foreground, fists clenched. A small African American boy covers his eyes at the scene. The horrors of a school burning shows praying figures overshadowed by masked attackers with burning torches. The emphasis in other illustrations is on faces, full of emotion add to the power of the telling and the rich soft tones of Tate’s palette welcome the eye to linger.”

– Booklist, starred review

“Barton offers an immersive, engaging, and unflinching portrait of the difficulties of the Reconstruction era, while Tate’s cartoonlike artwork softens moments of cruelty and prejudice without diminishing them.”

– Publishers Weekly, starred review

“A picture book worth reading about a historical figure worth remembering.”

– Kirkus

Day 27: John Steptoe

February 27, 2015

DG1168In his twenty-year career, Mr. Steptoe illustrated sixteen picture books, twelve of which he also wrote. The American Library Association named two of his books Caldecott Honor Books, a prestigious award for children’s book illustration: THE STORY OF JUMPING MOUSE in 1985 and MUFARO’S BEAUTIFUL DAUGHTERS in 1988. Mr. Steptoe twice received the Coretta Scott King Award for Illustration, for MOTHER CROCODILE (text by Rosa Guy) in 1982, and for MUFARO’S BEAUTIFUL DAUGHTERS in 1988.

While all of Mr. Steptoe’s work deals with aspects of the African American experience, MUFARO’S BEAUTIFUL DAUGHTERS was acknowledged by reviewers and critics as a breakthrough. Based on an African tale recorded in the 19th century, it required Mr. Steptoe for the first time to research African history and culture, awakening his pride in his African ancestry. Mr. Steptoe hoped that his books would lead children, especially African American children, to feel pride in their origins and in who they are. “I am not an exception to the rule among my race of people,” he said, accepting the Boston Globe/Horn Book Award for Illustration, “I am the rule. By that I mean there are a great many others like me where I come from.”

Mr. Steptoe frequently spoke to audiences of children and adults about his work. He was the 1989 winner of the Milner Award, voted by Atlanta schoolchildren for their favorite author.

John Steptoe died on August 28, 1989 at Saint Luke’s Hospital in Manhattan, following a long illness. He was 38 years old and lived in Brooklyn. Mr. Steptoe was among the handful of African American artists who have made a career in children’s books.

Day 26 Brandy Colbert

February 26, 2015



Pointe may be Brandy’s first published novel, but it is not her first attempt at writing. She is a magazine journalist. Add that to her tap and jazz dance training and you have the perfect person to write about ballet. Her life story is riveting and so is Pointe. After learning about Brandy, you will not be able to resist the urge to read her first novel. The Brown Bookshelf is honored to feature Brandy on 28 Days Later 2015.

The Journey

I’ve wanted to be an author since I was seven years old (at least that’s the first time I documented my aspiration), and have been writing stories since then. I took a bit of a break in college and afterward, while I earned a journalism degree and moved out to Los Angeles to start my career in magazine publishing. Of course I never stopped reading, and I would write sporadically, but I had a hard time finishing projects that I’d started. At the time, I also found it hard to come home and work on my own manuscripts after writing and editing all day at my full-time job.

In 2006, I decided to get serious about pursuing publication. I completed a novel during NaNoWriMo and also signed up for a writing class, as I realized I’d have to start sharing my work with others and get feedback (terrifying!) if I wanted to get published. That project was the first book I’d finished writing since I was a child. It started out as an adult book, but I soon realized the voice wasn’t right. After I switched to teenage characters, I felt like I was on the right track—exploring the issues and lives of teens, as well as writing in their voice.

The Inspiration
I think inspiration can (and should) come from various and unexpected sources. I’m inspired by honest writers, those who aren’t afraid to tackle messy subjects (and even messier characters). Some of my favorites are Chimamanda Ngozie Adichie, Courtney Summers, Colson Whitehead, Aimee Bender, Sarah McCarry, ZZ Packer, and Toni Morrison.

The Back Story
Pointe is the fourth book I’d written since I began actively working toward publication, and it’s strange to look back pointecoveron this now, but I was just about ready to give up if I hadn’t found representation with that book. It was easily the most honest book I’d written to date, and the one I’d put the most work into. I ended up working on it with an agent who was interested in signing me, but unfortunately, once I turned in the final book, we saw that our visions for it were quite different. After that, I queried a few other agents at the top of my list, not expecting to get very far. But much to my surprise, Tina Wexler of ICM requested a full manuscript just a few hours after I’d queried her! She asked for a fairly big revision, which I turned in around six weeks later. She offered representation shortly after that, and just three days after I’d been laid off from my job as a business writer in Chicago.

After three books and four years of rejection from agents, I also didn’t anticipate interest from editors, though I believed in the book and finally had someone else in my corner who did, too. I’d decided to move back to Los Angeles after being laid off, and at the end of my first day driving cross-country, I stopped in Missouri to see my parents and recharge for a few days. And the morning after arriving in my hometown, Tina called to tell me we had an offer from Ari Lewin at Putnam! I was happy to have an offer, but more important, I was thrilled that Ari believed in my book and had some wonderful ideas on how to improve it while staying true to my vision.

The Buzz
Pointe received a starred review from Publishers Weekly, was named a Publishers Weekly Flying Start, is a Cybils Awards finalist, and was named a best book of 2014 by Publishers Weekly, Book Riot, BuzzFeed, the Los Angeles Public Library, and the Chicago Public Library.

The State of the Industry
I think 2014 was a turning point for the children’s books industry in that the conversation on diversity really began to make waves. Many people had noted prior to last year that diversity was an important (and often overlooked) initiative in children’s books, but We Need Diverse Books catapulted it to the forefront, turning a hashtag campaign into a pledge into a nonprofit. I’m so impressed by the group’s commitment to implementing change in the industry, including the provision of publishing internships and grants and awards to writers and authors of color.

When I was growing up, I didn’t need two hands to count the number of black kids in contemporary stories, and it’s sad to me that things aren’t much better so many years later. But I believe the conversation is a great start. And in addition to books that reflect the world around us, we also need diverse authors and agents and editors and publicists and marketing departments—people of color, people with disabilities, people who identify as LGBTQ. I truly believe that if diversity is championed from within the industry, there will be a greater chance of seeing these stories published. And they are stories that desperately need to be told.

For more about Brandy, please check out her website Brandy Colbert. Brandy’s twitter handle is @BrandyColbert.

Posted by Gwendolyn Hooks

Day 25: Georgia McBride

February 25, 2015

georgiamcbrideGeorgia McBride is founder of Georgia McBride Media Group, home of Month9Books, Swoon Romance, and Tantrum Books. She develops content for film and TV, and is also a speculative fiction writer. Georgia founded the #YAlitchat hashtag and weekly chat on Twitter in 2009.

Georgia is one of Publishers Marketplace’s most prolific publishers and has spent most of 2014 atop the editors lists in Young Adult, Digital New Adult and Digital deals. She’s completed over 120 publishing deals on behalf of three imprints in the past 24 months.

Georgia McBride Media Group imprints publish debut authors as well as USA Today and NY Times bestselling author Diane Alberts, Bram Stoker Award nominated author Janice Gable Bashman, Amazon #1 Dystopian authors Abi Ketner and Missy Kalicicki, Amazon US #1 erotica author Kenya Wright, Amazon #1 Children’s Fantasy author Nicole Conway, Amazon UK #1Teen Mythology and Legends author Jen McConnel, and renowned Young Adult authors such as Jackie Morse Kessler, Michelle Zink and Cindy Pon.

On the film and TV side, The Undertakers series has been optioned for film by Moderncine Films with the creator of the Final Destination films attached. Dead Jed: Adventures of a Middle School Zombie has been optioned to Nickelodeon, and Nameless has been optioned to Benderspink.

But wait, there’s more! Ms. McBride’s list of credits is extraordinarily impressive — she is no joke. And we are honoured to share her words here on The Brown Bookshelf.

As the effort to increase diversity in the book community grows with new initiatives such as We Need Diverse Books, Diversity in YA and of course, this very site, I am struck by how many “discussions” are being had about Diversity without anyone addressing the sweeping changes that need to happen in order for that dream to be fully realized.

Talking about the need is a fantastic first step. We have come a long way from ignoring the lack of diversity and refusing to admit there is a problem, to now to freely discussing the need for diversity and challenging those in a position of power to act upon it.

When I first started writing young adult material in 2008, I took a lot of heat from people for a statement I made on Twitter about being afraid my book would be stocked in the back of the bookstore because it is written by an African American writer and features a diverse cast of characters.

Many shouted from behind their screens about how if the book was “good enough,” it would certainly receive the same placement as any other book of its kind. It was a heated discussion that ensued and one that I will never forget. I wondered whether those same folks were naïve, blind, ignorant or just plain crazy. Where they living in the same publishing world I was living in?

I started writing around the time a major publisher took a hit for putting a white teen girl on the cover of a book about a black girl. Shortly thereafter, readers of the Hunger Games went crazy over the possibility that Katniss Everdeen may be cast as other than a white in the film adaptation, despite the author’s own description of the character as having olive-toned skin. Readers, fans and others took to social media to voice their concern, and some even said they would boycott the film if Katniss was not cast as white. Even the author refused to officially define the character’s ethnicity.

Flash forward to today. It’s 2015, and we have only just begun to accept the need for diversity in books for young readers. This is a major step in the right direction, but we need to do more. We need to make sure the images being put into the market are not the same tired stereotypes of non-white youths. We need to make sure that tokenism, in all its forms, is rejected as a response to the need for diversity, and dare I say, we need more people in a position to acquire and publish diverse books to make doing so a priority.
And finally, when we come across an amazing book with diverse characters, we need to simply call it an amazing book, not an amazing “diverse” book. Because by doing so, it is nearly the same as calling me a “black writer” or “black publisher.” After all, it’s not the color of my skin that defines me, but the content of my character. And if we want readers and trade to stop judging books by the color or ethnicity of the characters in them, we must stop calling attention to it ourselves. I would love to hear what you think. Please feel free to comment and I will do my best to respond. Thanks for allowing me to share my opinion and experience with you.

Georgia McBride

You can find more about Georgia McBride at her web site, and connect with her on Twitter.


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