q&a | cynthia leitich smith & rosemary brosnan
A ‘sky-high dream’ come true Go behind the scenes at Heartdrum, the first imprint at a major American publishing company dedicated to the work of Native American creators. What does it mean to have an imprint like Heartdrum within a major publishing company like HarperCollins? Cynthia: I have a clear memory from around 2005 of being told by a respected publishing professional that if Kevin Costner decided to make a sequel to Dances With Wolves, then maybe someone at a big publisher Where did the idea for Heartdrum come from? would be interested in acquiring another of my titles. I also recall being Cynthia: Over a bountiful, laughter-filled breakfast at a Houston confertold, over and over, that kidlit already had Joseph Bruchac (and then ence hotel, Ellen Oh—who Sherman Alexie), so there is a powerhouse, a radiant was no need for another literary voice in her own Native author. One voice, right and a game-changing always male, tended to be leader in the movement the default. for more inclusive and eqPart of me wishes that I uitable books—cheerfully could travel back in time suggested that I might conto that young writer I used sider founding an imprint to be, the one who at times featuring books by Native struggled with discouragecreatives. I smiled, flatment and kept pivoting in tered, and slowly shook my search of a way forward in head wistfully. I replied that a rocky landscape. I wish I I wasn’t famous or fancy could assure her that someenough to pull off someday she would spin with joy thing like that. thinking about the growth It sounded like a sky-high and strength of the Native dream, and it was. I mulled kidlit community and find over the idea for some herself in a key position to “I tend to think of Heartdrum as the 2.0 of our relationship,” says months until I found myself help connect young readers children’s author Cynthia Leitich Smith (left), who co-founded teaching Native writers at with Indigenous narratives. the LoonSong Turtle Island Heartdrum with her first editor, Rosemary Brosnan (right). workshop. The energy was Rosemary: It’s a huge step. incredible. My fellow Indigenous writers inspired me. I decided to try. As an editor, I struggled for years to acquire books by diverse authors and I approached Rosemary Brosnan at HarperCollins. Rosemary is my origto publish the books well. I heard numerous times from teachers and liinal children’s book editor and one of the legendary editors in the field. She brarians at conferences, “I don’t have those kids in my class/school/comhas also been a devoted and accomplished diversity advocate since I first munity,” meaning, “I don’t need these books.” We needed to see dramatic entered the field. Her response was oh-so enthusiastic—the dream came changes not only in the industry but also in society to be where we are true, and we got to work! now. I credit We Need Diverse Books and the Cooperative Children’s Book Center in Madison, Wisconsin, for helping me as an editor and for giving You two have worked together for a long time! me talking points about demographics and about lack of representation, Rosemary: I believe that Cynthia submitted her first manuscript to me, for points that I could take into acquisitions meetings. the picture book Jingle Dancer, around 1996. It was just what I was looking for: a beautifully written story about a contemporary Native girl. At the time, What has been most rewarding about working on the first season of the few books about Native kids were often historical and/or not written by Heartdrum titles? Native authors or illustrated by Native illustrators. The book came out under Cynthia: It’s like everything I’ve done before has prepared me for what I’m the HarperCollins imprint in 2000. doing now. When I first decided to leave law and journalism to write books for kids, my vision was always about more than my own writing—although Cynthia, how would you describe what you do at Heartdrum to somebeing a writer is the most “me” thing I do. one who doesn’t know much about publishing? The rewards are limitless. We’re bringing forth new voices, propelling Cynthia: Author-curator is a new role in book publishing. I’d say I’m the rising stars and embracing well-established names, too. We’re showcasing devoted auntie of the Heartdrum titles. I provide all kinds of support to books that will really speak to Native and non-Native kids, ones that are their creators, help feather their nests, offer various gifts and celebrate both intrinsically marvelous reads. We’re also publishing books that will help day-to-day life and the big milestones. That said, Rosemary is the in-house to correct centuries of misrepresentation. The books that I longed to read editor for the imprint, and she’s the one doing the heavy lifting. as a child. Books worthy of this generation and those to come. —Stephanie Appell Rosemary: As author-curator, Cynthia works with Native authors who are interested in writing books for children and teens and mentors these authors. Visit BookPage.com to read an extended version of this Q&A, and turn the page to read our review of Heartdrum’s first book. Cynthia does a lot of work with the author before I even see a manuscript. © KATE MORGAN JACKSON
© CHRISTOPHER T. ASSAF
Children’s author Cynthia Leitich Smith and veteran editor Rosemary Brosnan, co-founders of HarperCollins Children’s new imprint Heartdrum, share its origin story and explain why its existence is breaking important new ground.
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