Tag Archives: Robin Stevenson

WNDB 2019 Mentorships Announced

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a1a3d5c0-e214-46fb-8a60-6b52c89d4cccBeginning in October, the We Need Diverse Books™ (WNDB™) Mentorship Program will accept applications for the program’s fourth consecutive year. The mission of the program is to support writers early in their career by pairing them with an experienced children’s author or illustrator.

A total of 11 applicants will be matched with mentors, in picture book text, middle grade fiction, young adult fiction, MG/YA nonfiction and illustration. Read more about the mentorship and application process on the WNDB™ website. For further information, contact co-chairs Miranda Paul and Meg Cannistra at mentor@diversebooks.org.
The 2019 WNDB™ mentors are an award-winning group of children’s book creators including Alex Gino, Swati Avasthi, Coe Booth, Traci Sorell, Francisco X. Stork, Robin Stevenson, JaNay Brown-Wood, Samantha Berger, Kathi Appelt, Marina Budhos, and Joyce Wan.
I invited the 2019 mentors to share some thoughts about their experiences with mentoring. Look for their responses here in the next few days.

Writers Supporting Refugees in Canada

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Writer and author of books for young readers  Robin Stevenson asked if I’d like to moderate a panel she’s putting together. Unfortunately, I couldn’t make that date, but the panel is in a cause that’s worth writing about and somehow it seems right to publish this post on September 11.Robin-Stevenson_event_08-30-18-Poster.jpg

20180606-20180606-_M8A1619.jpgI asked Robin to tell me more about her forthcoming event. Here is what she wrote:

Like many Canadians, I got involved in refugee sponsorship back in 2015, when the refugee crisis was headline news. Since that time, media interest has waned, but the number of refugees worldwide has continued to grow. Canadians have a unique opportunity to help: by joining with others to form sponsorship groups, we can help more refugees resettle in our communities. I’ve been a part of two groups sponsoring wonderful families who are now living here in Victoria, and I have started a third group—this one to sponsor an 18 year old girl who fled persecution in her country two years ago, and has been on her own as a refugee since. She is highly vulnerable in her current situation– we hope her case will be processed quickly so she can start a new phase of her life here in Victoria.

Part of the commitment of a sponsorship group is financial: the group commits to supporting the refugee for their first year in Canada. So we are fundraising. And because I am a writer who loves working with other writers, I am working with author and sponsorship group member Kari Jones to organize an event that combines our interest in refugee justice with our love for all things literary. It is called Pathways to Publication: Finding a Home for Your Children’s Book or Teen Novel, and it will take place Saturday October 27, in Esquimalt.

We will have two panels: one of successful authors— Susan Juby, Mahtab Narsimhan, Ria Voros and Laurie Elmquist–and one of professional editors of picture books, middle grade and young adult novels. There will be opportunities to ask questions and chat with the panelists. And there will be door prizes! You could even win the chance to get a chapter of your own manuscript critiqued by a published author.

Tickets are available on EventBrite. (link:  https://www.eventbrite.ca/e/pathways-to-publication-tickets-49233930010) I hope to see you there! And if you can’t come, but want to support this young refugee, please consider donating through our fundraising page. (link: https://chimp.net/groups/victoria-young-refugee-sponsorship-group) Every dollar gets us closer to our goal. Thanks so much!

And thank you, Robin, for those important thematic links of community and home–for writers, for the work they care about, and for these young people who have endured horrific circumstances and whose future now depends on the help and goodwill of strangers.

Arushi Raina on When Morning Comes

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Photo © Nidhi Raina

Meet Arushi Raina, Canadian author of When Morning Comes, a YA historical novel set in South Africa at the time of the Soweto student uprising. I had a chance to trade emails with Arushi about writing in multiple voices, fiction vs. life, and the power of the children’s and YA writing community.
[Uma] What made you choose to tell this story the way you did–in multiple voices, and aimed at young readers?
[Arushi] More often than not, these artistic choices emerge when I realize the story I want to tell, in a pretty organic, or intuitive way. Some of this choice traces back to my growing up in South Africa, living with the narrative instability of a place that had just come out of apartheid and the diverse, often conflicting perspectives that different racial groups, genders, had in South Africa in the late 1990s. I grew up in a time when South Africa, and its people were trying to make sense of what, indeed Mandela’s “Rainbow Nation” would be, and what to make of this country’s traumatic past.
 
And so no story I could tell of South Africa, could have one “true” narrator. At every point Jack, Zanele, Thabo and Meena’s perspectives interact, conflict, and grow from eachother. The plot, if you look closely, is solely based on the characters interactions from eachother, and the tensions between their different perspectives.
whenmorningcomes[Uma] You have said about this book, “To make it real, emotionally, I needed to fictionalize it.” Tell me what that means to you—what power does fiction hold for you?
[Arushi] I learned about the Soweto Uprising in Grade 10 History class in Johannesburg. At that time, that was maybe what I needed, understanding the facts, the first hand accounts, trying to put the timeline together, connect it with our school visits into Soweto, the Apartheid Museum. At the same time, however, non-fiction can have the affect of distancing us from the story. We are concerned about facts and objectivity – but sometimes these aspects cannot be experienced or felt. We are not following the path of a living, breathing person, in the way we typically access non-fiction. There are some exceptions, of course. Fiction, though, is very freeing. I am not trying to stick to the facts, only, to be objective. Instead, I’m trying to hit on a far more difficult thing – the emotional truth of the story, of the different stories and points of view that are in this story. How can I come to this emotional truth, with the tools I have in my hands?
[Uma] Grade 10 history class. That’s quite a timeline. Thank you for sharing that.
[Arushi] Thank you so much, as a writer yourself, for showcasing and supporting other writers. Its a small but mighty world, and I so appreciate your time, thoughtfulness and perspective.
[Uma] It’s my delight! But your comment leads me to another question. Generally, in the marketplaces of the real world, we think in terms of competition. Businesses that produce similar good or services compete with one another. In some ways, of course, that is true of writing and publishing as well. But writing is also an art and it’s a solitary pursuit. We spend quite a lot of time, let’s face it, talking to imaginary people. We’re at the mercy of our own minds! In that context, what does that notion of community mean to you? How do we participate in our literary marketplaces while still viewing other writers as community rather than competition?
[Arushi] For me, one of the most magical things that happened when I got published, was getting to meet other writers, and experiencing the kindness and generosity of writers, particularly children’s writers. I cannot even count the number of authors who have shared so much of their time, and supported me through my debut year. Some shout outs would include: RJ Anderson, Robin Stevenson, Adwoa Badoe, Rachel Hartman.
What I realized, really early on, is that writers are the best support for writers. And there’s a business rationale for this too: we live in a world where the literary marketplace is shrinking and consolidating. There are now a smaller percentage of diehard readers who read a lot. There are fewer publishing houses. You realize very early (particularly if you’re with a small publishing house) that other writers are going to be your biggest supports, your encouragement, the ones that shout out your work. In this way, they draw their readers to your work.  As a collective of writers, we’re trying to get everyone to buy and read more books, not to compete for a reader’s specific attention. The advice I give to writers who haven’t published yet is to build that support system of writing friends early on.
[Uma] Very true. I’m grateful myself to my book collective. Good luck and good writing, Arushi Raina!