What inspired you to take the self-publishing route, and how do you respond to the stigma about self-publishing?
My first book was a bedtime story I would tell my daughter when she was a child for my granddaughter to enjoy. It was a deeply personal and cherished story that I wanted captured exactly as I envisioned it, so having full creative control over its publishing was important. I taught myself Adobe Illustrator to illustrate it, and once published, I thought that would be it. But the universe had other plans—people loved it and began asking about my next book!
I think the stigma exists because there are so many self-published authors who haven’t invested in the practice and learning of writing children’s literature. Anyone, regardless of skill, can self-publish, so there are a lot of poor-quality books on the market.
What advice do you have for aspiring BIPOC authors who are considering self-publishing?
Know that self-publishing isn’t for everyone! Be certain it’s the right path for you. Authors have to juggle multiple roles throughout the process to ensure their books are high-quality and engaging. It takes a unique set of skills, talent, and commitment that may not suit every author. You handle EVERYTHING—from editing and illustration to design, marketing, and distribution, and at your own expense. I happen to be someone who’s built for the work of self-publishing!
As a BIPOC storyteller, embrace the freedom to tell the stories that matter to YOU! Some self-published authors look to traditional publishing for trends and bestseller lists, but you can explore and experiment. The industry often expects BIPOC authors to focus on trauma, historical figures, or celebrities—topics that are important—but brown children also deserve stories that celebrate their everyday joys, adventures, and the magic of childhood.
What resources (grants, mentorships, networks) have been most helpful to you as a self-published author?
When the community began asking about my next book, I attended a writer’s conference to learn about writing KidLit. It was there that Cori Doerrfeld saw my potential when critiquing my gingerbread man story, and connected me with valuable resources and networks. I joined the Twin Cities Picture Book Salon, a supportive community of writers and illustrators, and received a Next Step Fund grant from the Metropolitan Regional Arts Council to help advance my career. The grant funded my attendance at the SCBWI summer conference in L.A. and vendor tables at the Brooklyn and Decatur Book Festivals. In Decatur, I met the founder of Jambo Book Club —a monthly subscription-based business that sends books that star children of color to subscribers. They later featured my gingerbread man book in a bulk order—an unforgettable moment of community support as an emerging author!
Being in BIPOC-focused spaces has helped me build a sense of community. Groups like MN BIPOC KidLit Creators and the ROHO Collective have given me much-needed support, understanding, and collective strength as we work to uplift diverse voices in children’s literature.
