Making Our Own Market: Charlesbridge Publishing on marketing diverse titles

June 13, 2014

603526_495373203869993_2116115699_nEarlier this year at a reading conference, I signed my picture book, The Cart That Carried Martin, written by Eve Bunting. The book was published by Charlesbridge Publishing. Before my signing, I nervously wandered around the Charlesbridge booth. Signings can be a scary thing, especially as a book creator of color, in an exhibit hall filled with people who don’t look like you. Would anyone come to my signing? Would anyone want my book featuring mostly people who look like me? To pass time, I flipped through the Charlesbridge catalog. I was put at ease with what I saw—many brown faces looking back at me. I saw the names of authors and illustrators who I knew to be people of color, or whose names suggested they might be. Charlesbridge—not really marketed as a multicultural publisher—has a nicely diverse list. I felt proud. And my signing went great!

I asked the marketing department at Charlesbridge to contribute to our discussion on marketing titles by and about people of color.

Donna Spurlock, Director of Marketing, Charlesbridge Publishing

Recently there was an online campaign called #WeNeedDiverseBooks. Everyone—publishers, authors, illustrators, librarians, teachers, readers, etc.—were joining in with pictures of themselves with their favorite books or with signs that said “We need diverse books because. . . .” People filled in the blank with responses, such as “. . . because people are not the same;” “. . .  so that someday all good “multicultural” stories can just be called good stories;” “. . . because I want to be the hero, too;” and so many more.95507

As a marketer, I love these opportunities to join the conversation. I think this would be my number one piece of advice to any author or illustrator just starting out in the industry:  Join the conversation! 

At Charlesbridge we publish a very diverse list of books. Our trade book publishing program started twenty-five years ago with five nature books by Jerry Pallotta and we have continued introducing the natural world to young readers ever since, including books about a strange little species known as Human. What those critters get up to is strange, hilarious, inspiring, sometimes shocking, and always interesting. 

At Charlesbridge we are privileged and proud to publish books by authors and illustrators of all stripes—established authors and illustrators, new voices, fiction writers, and nonfiction writers. Many of the people we work with are people of color including the awesome Don Tate, the wonderful Grace Lin, the incomparable Mitali Perkins, and so many more. One of the best reasons to work in publishing is to bring stories to people—ALL people. And all people are different. Stories aren’t about a race or a gender or a religion. And while stories may be born in a particular culture, aren’t they all really about being human and living in the world? Screen Shot 2014-06-13 at 7.46.34 AM

When I read The Cart That Carried Martin by Eve Bunting and illustrated by Don Tate, I didn’t feel that this was an African American story that I couldn’t relate to. Nor was it a piece of history that I’ll need to know about for an upcoming test. This was a story about a man, about the people his life touched, and also about the world we live in today. I didn’t need to approach this book differently than I do any other book as a marketer. I had a beautiful book on my hands with a story that still touches everyone’s lives. All I had to do was join the conversation. 

In this day and age we have so many opportunities to talk to people about books:  via a slew of social networks, at conferences and trade shows, through the media, and one-on-one with our friends and neighbors. The main purpose of marketing is to gain word of mouth for your book. How do you do that? By telling people, not so much about the book, but about the story. And by listening to their stories and telling someone else about the story you just heard. It’s like that old shampoo commercial: You tell two friends and they’ll tell two friends and so on and so on. When you join the conversation in a campaign like #WeNeedDiverseBooks you are telling thousands of people that you hear them and you are interested in what they have to tell you. And they are telling you the same thing. 92421

Don Tate asked me to contribute to this blog as a marketer to speak about how I approach marketing books by and about people of color. I don’t think I do anything differently than I do for a book about life under the sea or man’s journey to the Moon.  I find my audience and I tell them about the story I have to share. Authors and illustrators can do this with a minimal of effort: have a Twitter account and follow the authors and illustrators who interest and inspire you, have a Facebook page and like booksellers and libraries, visit schools and share the passion you have for your subject with students who have the potential to be passionate about everything, or whatever else you can think to do. Do what you can conceivably keep up with. Many authors and illustrators have a hard time putting themselves out in the world as a marketer, but you don’t have to. You don’t have to be a salesperson. Just be yourself, tell your story, share your passion and people will join your conversation. duke ellington nutcracker

Making Our Own Market: Jackie Wellington and Leila Monaghan

June 12, 2014

Facebook can be what you make it. Want to reconnect with family and friends? Got you covered. Want to use it as a way to unite with other kidlit folks? Got your back there too. That latter reason brought writer Jackie Wellington and publisher Leila Monaghan together. Rallying around the cause of pushing for more diverse books, they found each other. They’ve come up with inventive ideas including a Read Same Read Different campaign  and an initiative to promote wonderful middle-grade novels like The Laura Line by our own Crystal Allen. Here’s an inspiring conversation between these two FB friends and advocates dedicated to helping writers of color and multicultural children’s books succeed:

Reaching the World through Facebook

By Jackie Wellington and Leila Monaghan

Jackie:  I write books for 4 -12 year olds. For years, I struggled to find books for my students. I taught in four different states and worked with students with worlddisabilities.  When the states adopted alternative assessments for these students, I was forced to create reading materials. My students had one request, “Miss, make sure that it is not boring. And make sure they (the characters) look like us.” So I started writing stories and assigning my students’ names to the characters based on their personalities. It was then that I developed a love for writing. Especially since my students would say, “Miss, you should write books.” So now I am on a writing journey.

I read the Walter Dean Myers article in the New York Times and smiled. “Finally,” I thought. “Someone is seeing what I am seeing and they are talking about it.”

So when I was finished reading the article, I left a comment. A few days later, Leila Monaghan contacted me via Facebook. We chatted about the need to see all children represented in books. I joined Kids of Color Children Books. And since then we have been brainstorming different ways to get the word out about our mission. And that is to promote books written by people of color. To advocate for more books with children of color.  And equal marketing strategies for authors of color.

Leila:  Just like Jackie, I was very excited to see Walter Dean Myers and Christopher Meyers talking about the lack of books for children of color.  I used to teach second grade in West Philadelphia and there were no middle grade books I could find that reflected my students’ experiences.  I was excited that a lot of them read Harry Potter but really frustrated that there was nothing like the Potter books set in West Philly or a similar urban neighborhood.  It led me to write stories set in West Philly under the name of Lee Mullins.  As I am a PhD in linguistic anthropology, I left grade school teaching to go back to college teaching but the importance of diverse children’s literature stuck with me.  Since then, I have also started a small publishing company, Elm Books.

The articles by Myers and Myers and comments like Jackie’s inspired me start a children’s division and to reach out to others who also cared deeply about diverse children’s books.  I feel it is a civil rights issue.  Children need books with which to identify so they may develop a love of reading, which will eventually lead to strong literacy skills.  Without solid skills in reading and writing, so much of the world is closed off to young people, particularly in today’s high tech age.  But the social media of today also allows people who share a vision to get together in ways that just weren’t possible before.

Jackie: At this time, we are still brainstorming networking strategies. However, we cannot deny that we are blessed to be in an era where social media speaks volumes. Facebook, Tumbler, Twitter, and blogs have the potential to reach thousands even millions. Within the next few months, we will be using these medium to get our message out.  One campaign we will be promoting is Read Same Read Different” (#ReadSameReadDifferent). The idea is to get all children to read books that reflect their experiences (Read Same) and those quite different from their experiences (Read Different).  Michelle Obama recently spoke about the resegregation of America and we all need to reach across lines including the lines of the publishing industry. For example, even if libraries have diverse books on their shelves, people are not necessarily taking them out so they get taken off shelves.  Our goal is to reach out to the publishing industry, libraries, schools, music industry and Hollywood. I know it seem like a stretch, but we can do it. It is about reaching the right people at the right time and making sure diverse books get a fair chance at being read.

Leila: For me, this is a time for experimenting in networking, for trying to build bridges that support diverse children’s books. We are still trying to understand LauraLinehow it works ourselves.  Some of the ways that we have been working on this have been launching the #ReadSameReadDifferent campaign, building the Kids of Color Children’s Books group on Facebook, and promoting specific diverse children’s books such as Crystal Allen’s lovely The Laura LineWe now have almost 400 members in the KoCCB group and 400 likes for the Facebook page we set up for The Laura Line.  This is just a small first step but at least it is a step in the right direction.

Some ways we came up with to support diversity in children’s books:    

–Write diverse children’s books

–Read diverse children’s books

–Get everyone you know to read and buy diverse children’s books

–Support the diverse books you love like The Laura Line on social media including Facebook, Goodreads and Twitter.

–Go to Facebook, like the author’s page, and encourage friends and families to do the same.

–Write reviews and give stars to books on Goodreads, Amazon, Barnes and Nobles and other sites.

–Tweet about what you are reading.  Take a picture of it and tweet why you like it.

–Blog about diverse books and review the books you read.

–Start a book club and emphasize diverse books.

–Make connections in the media or at conferences and workshops with other people who care about diversity.

A Few Media Starting Places:

Kids of Color Children’s Books

The Laura Line on Facebook

The Laura Line on Goodreads

Read Same Read Different Blog


MAKING OUR OWN MARKET: Kirsten Cappy on marketing African American titles

June 9, 2014
Don Tate, Kirsten Cappy

Don Tate, Kirsten Cappy


For our series, MAKING OUR OWN MARKET, Kirsten Cappy of Curious City, a book consulting company, tackles the subject of marketing books created by or about African Americans.


Books Image

 Taking Book Marketing Off the Page, Out of the Park

by Kirsten Cappy of Curious City

For me, children’s book marketing on the Brown Bookshelf or off has never been about social media, press,  coverage, or other perils of “self-promotion.” For me, marketing has always been about storytelling and discovery.  The best marketing finds ways to:

  • retell a story beyond the framework of the book
  • engage readers deeper in the story
  • create partners for the book by finding commonalities
  • exhibit the book in unlikely locations

A bulleted list is meaningless, of course, without stories. Let me tell you a few. Let’s go out of the park and off the page to show how my small firm, Curious City used these marketing methods on a group of exceptional African American titles.

Beyond the Framework: Book Trailers

A book trailer is not a must in releasing a book. Yet, when we look at the challenges of getting a book stocked by a  bookseller or the challenges of a reader walking into a store and saying, “that book is for me,” book trailers can be a way to bring the book to where readers are. A book trailer can “retell a story beyond the framework of the book” to a targeted online community, classroom, or a lone librarian or book buyer—all outside the confines of the traditional browsing experience.

How could I not want to open Don Tate’s illustrations for She Loved Baseball: The Effa Manley Story (HarperCollins) by Audrey Vernick to a wide audience? The day Don sent us the original scans of the art (complete with splashes of paint on the edges) was more than memorable. We choose to weave Don’s work with the narration of actor Dion Graham. Graham is known for TV roles including regular spots on The Wire and Law & Order, but for those in the book world, he is known as the voice of Kadir Nelson’s audio for We Are the Ship. Dion Graham’s is the kidlit voice of the Negro Leagues.

By sharing the trailer with bloggers who cared about female sports leaders or the Negro Leagues, we were able to “create partners for the book by finding commonalities.” Their blog posts would have been decent coverage for the book, but NJ author Audrey Vernick thought an additional partner might be the city of Newark where Effa Manley is still known. Audrey took the book and trailer to the firm that does publicity for Newark. Before we knew it, the city and minor league team based in Newark decided to honor Effa Manley with a special day at the ballpark that Effa and her husband had founded.


On a summer afternoon, cases and cases of the book were given away at the gate (courtesy of HarperCollins) and the book trailer played on the jumbotron. Dion Graham’s voice filled the stadium and Don Tate’s illustrations filled the screens. The team management liked the trailer so much, they played it in a free advertising jumbotron slot for the rest of the season, exposing the book to 1000’s of baseball fans. This was indeed an “unlikely location for an exhibit” of Don Tate’s work.

The book trailer can also be used to give voice to an African American character or subject when the author wants to be back stage, especially when the author of an African American title is White.  We used the trailer for Claudette Colvin: Twice Toward Justice (FSG) to allow author Phillip Hoose to introduce Civil Rights heroine Claudette Colvin. After the intro, however, Phillip takes a step back (both in the visuals and the audio), clearly indicating that this is Claudette’s story, not his book.

Deep Reader Engagement: Reader Expression

Author Terry Farish had the privilege of becoming close to an extended family of Sudanese refugee girls and women in Portland, Maine. The mothers, worried about their daughters, welcomed Terry to write about their daughter’s struggle of being African and trying too quickly to become American.  The Good Braider (Amazon Children’s Publishing) was vetted and blessed by the community before publication. After publication, however, Terry was hyper-aware of her whiteness. “Please, please do not put me behind an author table,” she said in our first meeting, “I do not want to be the face of this book.  It is not my story.”

OD Bonny Photo

In “creating partners for the book by finding commonalities,” I reached out to a young Sudanese hip hop artist and shared a galley of the book with him.  A few months later OD Bonny told me the book reminded him of his flight out of South Sudan alongside his brothers.  I asked if we could pay to use one of his songs as the audio for a book trailer.  He responded, “Why wouldn’t you want a song of your own? I’ll write it. Tonight.”

When I heard his song, “Girl From Juba,” I realized that it was not just marketing, but a reader’s genuine tribute to a work of fiction. An author can have no greater gift.  I also realized that I did not need to be the one to produce this trailer. I transferred the book trailer funds to OD and the music video/book trailer was created with an all Sudanese American cast (save one Irish kid), crew, and director. The video had 1000 hits within a week, not of book professionals, but of Sudanese and African American young adults that follow OD’s music.

Getting  a reader or a small group of readers deeply engaged can lead to a product which can become an incredible discovery tool for your book. A group of middle school students were the first ones to read Claudette Colvin: Twice Toward Justice. Using photocopied galleys, librarian Kelley McDaniel led students in a discussion of Claudette’s life.

While Kelley was doing this, I was reading the book with a group of college Art Education majors. Together we designed a way for the middle school students to express their thoughts about Claudette in art. Because 14-year-old Claudette refused to give up her bus seat nine months before Rosa Parks became famous for doing the same, and because Claudette testified as a teenager in the court case that rang the death knell for transportation segregation, I proposed we exhibit the student’s art on a public bus.

CCTTJ Art Photo

Imagine the conversation I had with the bus company! They listened carefully and responded, “You want to talk about the abuse of African Americans onboard buses…on my bus system??” The NAACP representative who had planned to attend with me could not come at the last minute, so I had to figure out how to answer on my own. By the time I left, the bus company had not only said “yes,” but had given me old bus advertising signs to use as our canvasses.

Using a combination of small grant funds, school partnerships, and community sponsors like the NAACP, we launched the exhibit by flying Claudette Colvin in for a preview. After a lifetime of silence and before publication would make Claudette’s story national, this was the first time she had seen her words in print.  The effect was breathtaking. This exhibit in an “unlikely location” toured the city for a month, introducing riders to a story they had never heard. You can read more about the reproducible Understanding Courage Project here and see more photos here.

CCTTJ Bus Exhibit Photo

Create Partners: Interns, Education, & WordPress

I have buckets of examples of how blogging on WordPress about the content of your title leads to discovery. When you take the non-fiction elements of your book (yes, even your novel) and explore them deeper in blog posts, you are creating delicious fodder for the search engines.

Working again with the local arts college, I designed a semester-long course of study on Bill Traylor, the outside artist brilliantly profiled in Don Tate’s book It Jes’ Happened (Lee & Low). An intern, Morgan Cremins, studied not only Taylor, but the illustration of Don Tate and R. Gregory Christie. Together Morgan and I built a website  in support of the book where she blogged about all she had studied.

IT JES Curric

Paired with that site was an art curriculum created out of the same college’s Art Education department. The curriculum allows children to recognize, experience, and create with Bill Traylor’s visual lexicon. That curriculum served as an opening for Don Tate, R. Gregory Christie, the art educator Kelly McConnell, and myself to be the first outside educators to work at the American Folk Art Museum in New York. Tate and Christie appeared at the museum in conjunction with a Traylor exhibit.  You can see photos of the appearance and art project here.

At the event, children created amazing art inspired by Bill Traylor. One of the most powerful moments came when Don Tate stepped forward to talk with kids about the depiction of African Americans in Bill Traylor’s work and in R. Gregory Christie’s illustrations. When a white 9-year-old raised his hand and asked the white staff educator why the Bill Traylor figure’s had the “bump on their back,” the educator became flustered and tried to move on. Don stood and explained that Bill Traylor emphasized the large “backends” of African Americans seen from his street corner in Montgomery, AL.

IT JES Exhibit

“As an African American man,” Tate said, “I am proud to have bigger lips, a bigger nose, and yes, maybe a bigger butt than my white friends. It is what makes me unique and I am proud of it.”  The children, wide-eyed and smiling, accepted this as an uncomplicated and intriguing truth. And the program rolled on.

Books on the Brown Bookshelf share the same marketing challenges as any children’s book published, but they offer more opportunities to retell stories that break out of the framework of the book, pull children of all races deeper into the story, build crucial partnerships between different sides of the race equation, and have the freedom to exhibit themselves beyond the traditional confines of children’s publishing outlets. Let’s go off page, out of the park. and show kids the essential stories they have been missing.

Making Our Own Market with Irene Smalls

June 4, 2014









Irene Smalls is an award winning children’s book author with publishers like Scholastic, Simon and Schuster, and Little Brown. Not only that, she has presented programs at the White House Easter Egg Hunt, toured internationally and most impressively taken her career into her own hand. Study her website and you’ll realize that her motto must be “I am the master of my fate.”

My Nana






Determining My Fate  Two books, My Nana and Me and Pop Pop and Me and A Recipe, from a major publisher went out of print. The publisher gave the books no real support or marketing. They ignored my suggestions on how to promote the books. I suggested ebook and Spanish versions, but they did not agree. I feel strongly that I don’t want someone else determining my level of income. I decided to put the books back into print. My first thought was as a self-publisher but the inherent credibility issues and lack of marketing muscle behind self-publishing made that a last choice. Luckily I was able to find a small ebook/print on demand publisher who was interested in republishing my titles.     I negotiated a contract that gave very limited rights to the publisher.

Pop Pop






That is the major reason I am exhibiting at the world’s largest book fair in Frankfurt, Germany in October of 2014. At the Frankfurt Book Fair I can present my books to publishers from 120 countries to sell translation rights, etc. When I went to the Bologna International Children’s Book Fair I negotiated two international contracts for two of my titles.

Marketing My Books Authors have much more flexibility now than they did in the past. I have signed up for Apple’s ebook publishing program and a few others. The key element is the marketing effort you put into your products. Make contact with any celebrities you know. The celebrity angle helps. The challenges are time and money to support your book. You have to make marketing your books a semi-full time job. You have to allocate the money to support your books either to hire someone to help or to design, print and promote yourself. Some authors are not salespeople. To be effective you must sell, sell, sell. Authors have to wear a character, if necessary, to sell their books.

Rewarding Myself The rewards are clear. It is better to be “captain of your fate” versus letting people who really don’t care about you or your books determine what happens. When you are successful you maximize income from your efforts. But, it is not an easy thing to do. Authors must look at their books through market lenses. I recast Pop Pop and Me and A Recipe as a cookbook for kids and grandparents. I wrote an etiquette guide for kids to accompany My Nana and Me. The illustrator and I put together Spanish versions of the titles. Grandparents are very important in Latino culture. What is important is not what the books mean to me but what they mean to the market.

Also, as people of color, we have to go global. United States publishing as Walter Dean Myers and his son, Christopher Myers  noted in the NYT has such a limited and narrow view of books by authors of color for children of color. We have to move beyond the US.  Technology can save us if we learn how to use it effectively. The market is not good or bad, it just is. We have to learn how to use the market and market forces to our advantage.

Irene Smalls and the Frankfurt Book Fair: Join us at the Frankfurt Bookfair, the world’s largest, in October of 2014 Details at See our Frankfurt video

Click on for more about Irene Smalls’ fascinating career.

Posted by Gwendolyn Hooks


MAKING OUR OWN MARKET: JQ Sirls, Illustrator, Author and Founder of Moodi Studios

May 30, 2014

IMG_0319Why I chose Kickstarter to fund my Children’s Picture Book

by JQ Sirls

There are many reasons why I decided to go in the route of Kickstarter, all of which stem from a common idea about people in my generation (millennials). People of my parent’s generation often claim that we are lazy, entitled, ungrateful, selfish, the list goes on. The truth is that we are a highly observant and instinctual group of people, who have watched how the effects of following certain traditions harmed our parents, grandparents and families in general. 

I witnessed past generations endure jobs that they hated, while missing special moments with their families, only to be laid off later on down the line, for someone younger who will accept less pay. I chose to honor their sacrifice, by using it as a trampoline to aim higher, so that no one in my family will ever have to endure that pain again. I took control of my own destiny by starting my own multimedia company that also publishes books. I would not only publish my own books, but in time, merge multimedia with physical product development to potentially create a whole new market for children’s storytellers.


JQ paces the story, inks final touches to NO MONSTER NO!

Yes, I could have published traditionally, and done exactly what history’s insanity cycle said was the correct path to comfort and happiness. But I witnessed too many others get burned from following that path. Many authors and illustrators of color follow the traditional path of publishing. They publish to critical acclaim, they win many awards, only to end up wondering why their books aren’t given the same marketing support as fair skinned creators. I did not want to become another goldfish in the same ocean. These are just a few of the many reasons why I chose Kickstarter over traditional publishing. It was my goal to shift history’s insanity cycle, and to create a better path for tomorrow’s children’s book creators. For the children’s book creators who came before me, I want to make them proud.

In 2007, my company, Moodi Studios, wrote and successfully funded our first picture book, No Monster No. The story is about a bold little girl who takes the monster under her bed to school and teaches him manners. I’d heard about Kickstarter through friends whose projects had been successfully funded. I was raised on two core principals: do better than the best you can with what you have and no matter what, keep moving forward because motion itself is a professor. So, without any extra marketing funds or heavy marketing experience, I started a campaign. However, the first campaign failed, and boy-oh-boy, was that an emotionally heavy learning experience. But without that failure, I wouldn’t have learned the steps that allowed my second campaign to soar beyond expectations.


Here’s what I learned:

1. Focus your fundraising on professional colleagues and social networks. And don’t rule out total strangers who are meeting you and your work for the first time. Imagine going to a department store and being exposed to something really cool. You talk about it, share it, and support it with a purchase. Then after you make that purchase, it’s like you justify it by getting others to agree with how cool it is and have them get one too. It’s kind of like that. They don’t  necessarily know you, just the work you represent. Close friends and family will likely be the last to support you — if at all. Keep them informed, though. When they see your success, they may want to join in at a later time.

2. No one is too little or insignificant. You will need to promote your Kickstarter campaign in various IMG_0279ways — but for now, lets focus on blogs and social networking (Twitter, Facebook, Pinterest etc). When you create a crowd-funding campaign, you are asking hundreds of people to be somewhat tech-savvy and pay for something they can not interact with. That requires trust. Social Media and blog articles create that trust, and trust is equivalent to the rarest stone on earth. Blogs allow you to communicate who you are, what you do and what you are trying to say. Much like what’s happening with myself and this very article. Social media, on the other hand, is like cable television where everyday people are searching for new channels to ‘follow’ for new content. Like television, many people do not want to think. You have to think for them. Your job is to create specific content that cater to the specific needs of a specific audience. You then have to remove the bells and whistles of distraction and communicate your topic simply and effectively. I am still learning this. Once you do that, your following that will come to see you as the foremost authority of a certain topic or product (think Apple and a new iPhone or Oprah and practically anything). Your following will buy whatever you sell and pledge on your crowd-funding campaign through trust. However, If you focus only on big blogs, like Huffington Post, or Buzzfeed, and promote on social media with no clear niche definition, you could miss the golden opportunity to grow outrageously. Smaller blogs (blogs with very little following) should never be counted out as they need content as bad as you need crowd-funding pledges. If the blog grows, you grow. Social media is crowded with millions of people who do millions of things. You will stand out through consistency of posts, clarity of topic, and discipline of work-ethic. If you plan on crowd-funding your book, Trust is your best friend.

JQ sought and received the support of various music and media stars, such as Da Internz and Timbaland, pictured here.

JQ sought and received the support of various music and media stars, such as Da Internz and Timbaland, pictured here.

3. Define it as it is—crowd-funding is pre-ordering. Never look at your campaign as soliciting  for donations. You are selling a product and getting pre-orders for that product. Market or sell it as anything else and you destroy the cool-factor and lose the magic, as you look like your are begging. Your product is amazing and one of kind. When people make a pledge, they are securing a copy of your first edition. I can’t stress this one more.

4. Don’t assume that everyone knows about Kickstarter and what it is. Even though Kickstarter has had millions of dollars pledged from millions of users, you have to assume and act as though NO ONE has ever heard of it or crowd-funding before. Then, you must assume that more than half of your potential pledges are people who think the internet is out to get them and steal all their money. Go with that assumption from the beginning and have a clear, holding-of-the-hand method to address it.

JQ documents his journey

JQ documents his journey

  • 5. Create an amazing video. Luckily for us, we had a cinematographer, video editor, audio engineer, and motion graphic artist on hand to create a nice video. However, with the first campaign, I failed in not having a great shot of me reading the book to kids. I added these features just days before the campaign ended, only reached half of my goal, making it unsuccessful. But I did use the same video for the second campaign that I started just two weeks later that eventually became funded. 


Here is what I learned from the second campaign (that succeeded).

1. There is power in happiness and a positive mind. Basic laws of attraction work here. You have to believe and be happy. It’s infectious and people are drawn to it like a magnet. They want what you have. The first campaign I let lack of support and struggle turn me into a stressed out bitter guy — totally the opposite of my own message with Moodi Studios. The second campaign, I approached it with peace and tried to remain childlike and optimistic. My faith changed for the better and I noticed other people noticing it.

2. People tend to help those who help themselves. Many people were moved by my determination to get back up and try again just weeks after the first project failed. If you believe in it this much, then it’s worth pledging in to find out why.

3. Don’t just post, become social. Don’t get on social media and talk at people like a club promoter. Engage in things with them and build a conversation. Let your profile or page say all that is needed to bring them to Kickstarter, with a post or two a day. But engage with people on their topics and ideas. Post a comment and retweet. Being self-centered will not create a following. I highly recommend the book Jab, Jab, Jab, Right Hook, by Gary Vaynerchuk. Whether or not you choose crowd funding, it’s a must read if you have a product or service you are selling.

4. “Thank you” goes a long way. There is nothing else more to write on that.

5. Like-ability is golden. You have to be likable and charming. If you aren’t, then let your campaign be led by someone who is. Be completely honest with yourself and set your ego aside for the success of the project. No one should want to punch you in the face after watching your video. 

Launching NO MONSTER NO with friends and family.

Launching NO MONSTER NO with friends and family.

And the biggest step of all:

6. Trust your instincts and embrace failure.I cannot stress that more. If you allow it, your instincts will tell you step-by-step what works and what doesn’t work. They already know what you want to do as they are the compass to how you will get there. Kickstarter success is primarily instinctual. It’s entire model is to grab and touch the hearts (and wallets) of people. But you have to embrace fear and failure to hear your instincts clearly. My biggest fear during my first campaign, was failure and the embarrassment of everyone seeing that failure. My ego, pride and hinge of doubt caused me to become deaf to my instincts and walk with panic. Following your instincts involve further risk, and when you are already in the midst of a larger risk, taking another is scary. However, when I eventually saw failure and embarrassment from the first campaign, my greatest fears came to pass and they didn’t kill me. I was just fine. The book didn’t explode and life as I know it didn’t end. I jumped off a cliff, expecting wings, but fell on my face instead. From there I learned that as long as you trust your instincts and jump, you can survive the fall. So keep jumping and embrace the fall. Embrace failure.

Celebrating with young fans at a school visit

Celebrating with young fans at a school visit

Greene on the Scene

May 29, 2014


heistAny time a new book enters the world is a great day. But it’s even more thrilling when the book comes from one of our own. The Brown Bookshelf co-founder Varian Johnson celebrated the birthday of his new stand-out middle-grade novel, The Great Greene Heist (Arthur Levine Books), on Tuesday. It’s already winning raves.

Today, Varian is featured in Kirkus. You can read the article here. Elizabeth Bird wrote this review in SLJ. And check out this inspiring movement: Bookstores are taking varianThe Great Greene Heist Challenge where they work to make Varian’s book a New York Times bestseller. A big thank you to author Kate Messner for championing Varian’s book and issuing the first challenge to readers. The contest runs through June 30.

We’re proud of Varian and so excited about his success. Learn more about him and his books at his site. And get your copy of The Great Greene Heistnamed a Publishers Weekly Best Summer Book of 2014, today. Here are links to two wonderful indies to make it easy: Buy The Great Greene Heist at Book People.

Buy The Great Greene Heist at The Book Spot.

Thank you for supporting our brother and showing that diversity matters.


“The Great Greene Heist is one crazy cool caper!”

Rita Williams-Garcia

“A smart, charming, and hilarious novel featuring one of my favorite protagonists in years. I’d follow Jackson Greene anywhere, and The Great Greene Heist is a fantastic ride.”

Matt de la Peña

“The elaborate bait and switch of this fast-paced, funny caper novel will surprise its readers as much as the victims.”

Kirkus, starred review

MAKING OUR OWN MARKET: Why I Leaped into Print-on-Demand and Ebook Publishing by Carole Boston Weatherford

May 28, 2014

Carole Boston Weatherford starting writing poems in childhood and never looked back. Her first picture book, Juneteenth Jamboree, about a summer celebration in memory of the Texas Emancipation, was published in 1995 by Lee & Low Books She’s written numerous picture books, board books, poetry collections, chapter books, and more, including the award-winning The Sound That Jazz Makes, a poem that traces the history of African-American music. It’s our great pleasure to re-introduce Carole Boston Weatherford and her exciting latest ventures!

africaweatherfordA year ago, my son Jeff Weatherford and I partnered in establishing Great Brain Entertainment, a digital media company that produces books, video, and graphic T-shirts. The company’s has released two books: Africa, an ebook for preschoolers; A Bat Cave: An Abecedarian Bedtime Chronicle (for Pre-K-1). Princeville: The 500-Year Flood, a new chapter book edition of an out of print picture book title, is coming soon.


Here’s why Jeff and I became publishers.

  1. Printing and publishing have been the family business since the 1950s. My father was a printing teacher, I have been an author, editor, publicist and professor, and my son Jeff is a digital and fine artist. I may have ink in my blood, but Jeff has microchips in his. Ebooks and print-on-demand publishing are a natural evolution for both of us.
  2. For years, self-publishing was synonymous with vanity publishing. Then, services like Amazon CreateSpace provided a model that skipped the middleman and gave author-publishers higher royalties. Granted, few self-published books or ebooks become bestsellers. Fortunately, self-publisher don’t need blockbuster sales to make a profit.
  3. I had seen other upstarts succeed. I figured I could too—with my son’s help. I watched with awe as professor/blogger Sylvia Vardell and poet/ex-lawyer Janet Wong launched Pomelo Books. Using the print-on-demand model, the new press published the Poetry Tag ebook series and several Poetry Friday anthologies for K-12 classrooms. I am proud to have contributed to their projects.
  4. I want to meet my readers where they are. Today’s children are practically born with tablets in their hands. Reading Rainbow is even an app.
  5. Ebooks are the fastest growing segment of book sales, especially for children and young adults. I want a stake in that digital future.
  6. At a time when unemployment rates are high among young men, the publishing business is my son’s way of making a job for himself. Through his digital media company, Great Brain Entertainment, Jeff is putting his degree in computer graphics and animation to work.
  7. I couldn’t wait to show off my son’s mad design and illustration skills. We’re pitching collaborations to major publishers. While we await acquisition decisions, we are publishing on our own.
  8. Although I have 40-plus books and several projects in the pipeline at major houses, the wheels are turning slower in the publishing industry. The intervals between my new releases grew longer. I did not want to fall off the radar. Self-publishing gave me more control over the timing of my new releases.
  9. There is a market, and need for, more multicultural books and ebooks. The number of multicultural children’s books being released each year has plateaued at fewer than 100 titles a year. This at a time when the U.S. population is increasingly diverse.
  10. The reason I became an author in the first place was for my words to reach readers. I have built up a backlist of out-of-print and never-published titles, which editors say have promise but are too “niche.” For an ebook or on-demand publisher, the so-called niche doesn’t need to be as large as that of an established press facing higher overhead and lower profit margins.

This has been an adventure. Not that we have worked out some of the kinks in production, marketing is the next frontier. I had hoped to trade on the name recognition that I have as an award-winning children’s book author. To promote the books, Jeff plans to use social media more aggressively.Image

Carole Boston Weatherford, the author of more than 40 books, is a professor at Fayetteville State University in North Carolina.



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