In my writing I hope to have a balance between the good and bad, the hard and soft.
I teach young people how the arts can be used to stand up against injustice.
Students can't leave their lives at the door when they come to school. They bring with them whatever is going on at home and in their communities. Poetry and theater provide an outlet for students to express themselves and process what they're going through.
I have a writing space in my apartment, but I prefer to write at coffee shops. When I'm stuck, I take a walk and spend time outside to clear my mind. I get inspired on these walks, often getting new ideas for stories and finding solutions to the problems that need to be fixed in the draft I am working on.
For me, the lives of children and teens are interesting - they are always changing. There's just so much to sort through. All of this makes for good plots and complex characters.
One important thing I take away daily is that for all the talk about what youth are not doing - especially young people of color - I know there are many who do care about their future, who are striving to affect their world in a positive way.
I have always known that I wanted to work with youth through the arts and I believe the arts can help young people cope with hardship.
Picture books are more difficult for me because it is telling a huge story in the least amount of words.
Once I became an adult and started to pursue writing as a professional career, I realized my main characters were always young people. My stories naturally center around children and teenagers. I think it's because I have worked with youth for about twelve years. The pains and joys of adolescents are moments I witness on a daily basis, so their stories are always with me as I write.
There are many writers who have influenced me and who I enjoy reading, but Lucille Clifton and Gwendolyn Brooks are at the top of the list.
I have known I wanted to be a writer since I was seven-years-old. Seriously. In the second grade I wrote a 21-page story and handed it in to my teacher. She told my mother I was going to be a writer. Since then, I always kept a journal and wrote poetry, plays, stories.
These days, most of my interactions with young people are centered on the poetry or theater classes I teach, so the students I know are reading contemporary poets (they love Willie Perdomo) and scripts (No Child, by Nilaja Sun and Twilight by Anna Deavere Smith). I don't know their reading habits outside of our class, but I believe that they enjoy stories that they can relate to, learn from, be challenged by - you know, the usual good writing that every reader craves.
Post-publication I have been surprised at the limited resources publishers have to promote books. I certainly knew that being a new author, I would have to do a lot of self-promoting, but it really has surprised me just how much I have had to do myself to make sure the books get into the hands of young people.
I have learned patience, for sure. Pre-publication is a long waiting game, especially for authors of picture books. We write the manuscript, sign the contract, and wait. It takes a while for the art director to find an illustrator and then the illustrator works on the sketches, and depending on those first round of sketches, it could be a few more months before you see a final illustration. I was surprised at how long it takes for all the pieces to come together.
