August 30, 2025 • 48 mins
Could your next favorite children's book be waiting inside this episode? Join us on Craft Chat Chronicles as we sit down with the incredibly talented author and editor Hena Khan. From a childhood immersed in storytelling to an inspiring career in public health, Hena reveals the pivotal moments that led her to write for children. Discover how a chance opportunity at Scholastic ignited her passion for middle grade fiction and how her experiences as a young mother have deeply influenced her writing.
Aspiring authors, this episode is a treasure trove of practical advice! Hena shares her strategies for crafting captivating middle grade novels, emphasizing the importance of reading widely and utilizing beta readers to fine-tune your voice. Learn how to create multidimensional characters grounded in reality, and get tips on hooking young readers from the start. We'll also explore how to avoid the dreaded saggy middle and craft villains who are both complex and relatable.
But that's not all—if you're looking to promote your work and engage with educators and young readers, Hena's got you covered. She reflects on her debut year and shares essential tips for successful school visits and connecting with teachers. Hear about the impactful work of We Need Diverse Books and the evolving landscape of children's literature. Plus, get an inside look at the collaborative process of writing and editing, the joys and challenges of a full-time literary career, and the importance of flexibility and mentoring in the writing world. Don't miss this episode packed with insights and inspiration!
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Episode Transcript
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Speaker 1 (00:05):
Welcome to Craft Chat Chronicles, the go-to podcast
for tips on craftingbest-selling fiction.
Here at Craft Chat Chronicles,we bring you expert interviews,
insights and tips on writing,publishing and marketing.
Join the conversation andembark on a new chapter in your
(00:26):
writing journey.
For workshops, show notes andmore information, visit jdmycom.
J.D. Myall (00:33):
That's jdmayalcom In season two, episode four of
Craft Chat Chronicles, we'll bechatting with author and editor
Hena Khan.
Hena will be giving us a deepdive into crafting compelling
middle grade fiction.
She'll talk a little bit abouther publishing journey, writing
picture books, give some tips onschool visits and so much more.
(00:59):
So, without ado, let's get intoseason two, episode four of
Craft Chat Chronicles.
Let's get chatting.
Thanks so much for chattingwith me.
Thank you, I appreciate it.
Okay, tell me about your lifebefore books.
Before books.
Hena Khan (01:16):
Honestly, it's hard to separate my life from books
because they were a part of myearliest life and memory Ever
since learning how to read.
I remember that being such abig moment in my family and how
proud my mom was and I remembersounding out words to her and
(01:38):
her feeling and feeling herpride and actually her making me
perform that ability in frontof other people, so that, and
then trips to the library likeshe she was a big, she was a big
advocate of of reading, so shewould take us pretty regularly,
(01:58):
and so my childhood was filledwith books, and that was a lot
of how I spent my free time was,you know, with library books
and, you know, living in stories.
J.D. Myall (02:11):
That's cool.
What inspired you to become anauthor?
How did you start yourpublishing journey?
Hena Khan (02:17):
So you know, I never considered it.
I wasn't doing a lot ofcreative writing at the time.
I was working in public healthcommunications, so I was doing
writing, lot of creative writingat the time.
I was working in public healthcommunications, so I was doing
writing and editing, but fortechnical audiences.
And I had the chance to writefor kids because of a friend who
was working at Scholastic withtheir book clubs and she needed
(02:38):
help with editing and rewritinga book for a series called Spy
University.
And knowing that I love towrite and we had written
together back in school on ourhigh school newspaper, she asked
if I would, you know, give it atry.
And that was the firstexperience I had, writing for
kids specifically, and I had tomaster the voice and try to
(03:01):
imitate the style of the bookthat she was working on.
But that just opened up thewhole world of writing for kids
to me and made me realize it wassomething I wanted to do and I
was also a young mother at thetime and it made me think about
the stories that I didn't haveas a kid, that I wanted my
children to have, and sort ofsent me on that path to
(03:22):
eventually writing my ownstories.
J.D. Myall (03:25):
How did you get your agent?
Hena Khan (03:28):
I went the traditional route of querying a
bunch of people um and getting alot of rejections, and um,
eventually, matthew and Iconnected and um, I was, you
know, just super excited andgrateful.
Um, and I think we've we'vegrown through this process
together.
(03:48):
Um, he, he represents a lot ofadults and so, um, I think I
might have been his first, youknow, picture book and middle
grade author, so, um, I feellike we've been been figuring
things out together, but have ahave a great understanding and
he's been super supportive of me, so I'm happy it worked out.
J.D. Myall (04:07):
That's good what do you consider the core elements
of a good middle grade novel?
Hena Khan (04:18):
for me it's always about the things that I cared
about a lot as a middle schoolerthat I think are the universal
concerns of being a kid.
So you know a lot of um,friendship and family and
concerns around belonging andand fitting in um, and just, you
(04:41):
know kid size problems thatdon't feel like kid size
problems when-sized problemswhen you're experiencing them.
But I think you know we need.
You know characters that aresuper relatable, that readers
can connect to, who feel reallyauthentic, and you know
(05:01):
multidimensional and you knowencourage readers to think in
some way because the magic ofmiddle grade.
I just want to live in yourbackground it's so beautiful.
J.D. Myall (05:15):
It's a zoom background, a picture it looks
so nice.
I'm like, oh, that looksfantastic how did you make the
switch from writing to editingtraditionally published books,
and which do you have a favorite, or do you love them both
equally?
Hena Khan (05:35):
So the first editing?
Oh, I'm sorry, Do you meanwriting, editing the anthology?
That?
J.D. Myall (05:41):
just came out.
Hena Khan (05:43):
Yeah, so this was my first experience, um editing a
volume like this.
Um, I had done, you know,professional editing for, um,
public health organizations, soI was familiar with the
editorial process.
But I'm not working withauthors who I greatly admire and
(06:04):
, you know, not putting togethera compilation like this.
So it was definitely a newexperience, but I loved every
minute of it.
I loved, you know,conceptualizing the initial idea
of an interlinked volume ofshort stories taking place at
this community center and thenhaving, you know, a bunch of
(06:26):
south asian american writers whoI really really look up to and
whose work I love.
Um, you join me to sort ofpiece it all together and, um,
and I loved, I've always lovedediting, perhaps more than
writing in a way, because it tome it's more natural and I
struggle with first drafts, likea lot of writers do, and I'm
(06:48):
always filled with a lot of um,self-doubt and um, and I love
the process of going back evento my own writing and putting
that shine on it and revising.
So, um, I love, I loved havingthe chance to do that with other
people in their writing.
And, yeah, and it was just afantastic group of authors, some
(07:11):
you know really well respectedand award winning authors, and I
mean all.
I strike that all wonderfulwell respected authors, but some
who've been doing it for a verylong time and others who were
newer to writing middle grade,and so it was lovely to have
that range of experience and andjust everyone's unique
(07:36):
perspective.
J.D. Myall (07:38):
How did the anthology come to be, what's the
concept behind it and how didit happen?
Hena Khan (07:43):
Yeah.
So I owe a lot of it to uhauthor ellen o, who I was
speaking with about this idea,and she had a similar anthology,
uh of called you are here ofeast asian writers that hadn't
been published yet, but I knewshe was working on it and, um, I
(08:03):
was toying with this idea andshe was very encouraging and she
pushed me to connect thestories, which ended up being a
bit different from her anthologyin the way I chose to approach
it, but I thought of, you know,an interlinked anthology of
short stories where thecharacters would all appear in
(08:25):
each other's stories and theywould all be taking place at the
same location and then thestories themselves would build
to a bigger story in thebackground.
So once I had that idea, Ireached out to the various
authors and asked them if theywanted to be a part of it and
(08:46):
was so happy that they allagreed and we got some sample
stories, story ideas.
We decided to set the storiesat a fictional community center
set in New Jersey and, like inmy hometown New Jersey, and like
(09:08):
in my hometown, communitycenters were often a place where
immigrant communities will rentout halls to have various
functions, whether it'sreligious celebrations or
birthday parties or graduationsor, um, you know, prayers,
services or charity events, andso it's just a big um, it's
(09:28):
something that all of us had hadexperience with and um, that's
why we decided to set it there.
But then there's also a largerstory about the community center
itself, um, and what'shappening to it that you know is
meaningful to all of these kidswho are connected to it in some
way love that, thank you.
J.D. Myall (09:55):
What techniques would you give to aspiring
writers on crafting?
A good middle grade novel?
Speaker 1 (10:04):
hmm, writers on crafting a good middle grade
novel.
Let's see.
Hena Khan (10:13):
A few things.
I would really recommend, well,reading a lot of middle grade
before starting if you're new tothe genre, are starting if
you're new to the genre andseeing what speaks to you and
the types of stories and andvoices you know you really
(10:39):
connect with and, um, I think ithelps to have a lot of beta
readers if you're new to thegenre as well.
Um, kids, if you can accesssome, but definitely other
writers and people who youadmire to give critique, I think
, especially when I was writingmy debut middle grade novel, I
think I made some very novicemistakes of you know,
oversharing or overtelling mystory, maybe because I was
(11:02):
telling it to myself.
So I think having other peoplehelp you cut down your story to
what a middle schooler reallycares about and might focus on
is really helpful, as well ashaving those young readers who
can make sure that you have thevoice and the details right.
(11:25):
But I think it really is aboutlooking at the world through the
eyes of a young person and nottelling them what to think.
And I think a lot of us arestill, as adults, concerned with
the same things that kids arelike, whether it's does my
(11:47):
friend still like me, or how amI going to reach this goal?
Or you know how do I help myloved one who's going through a
hard time?
You know, those are allconcerns we're dealing with on a
day-to-day basis and it's justa different point of view, a
younger point of view, but Ithink a lot of times, as adults,
we might feel like we need totell kids how to solve their
(12:07):
problems or how to navigate life.
So I think avoiding any type ofpreachiness, um or um, you know
diet, just um, yeah, any typeof preachiness and um.
Feeling like you're beingtaught a lesson is probably the
(12:30):
the best way to start.
Um and and.
Just trying to find thatauthentic, relatable voice.
J.D. Myall (12:38):
And once they found that relatable voice, you have
any other advice for helpingthem develop good characters
that?
Hena Khan (12:47):
relatable voice.
Do you have any other advicefor helping them develop good
characters?
Yeah, I think.
For me personally, it helps meto ground a character in some
kind of reality.
So most of my characters areinspired by at least part of
their personality is inspired bysomebody I know and then I
build around that.
So, whether it's someonefictional that I've read in a
(13:10):
book, if it's inspired byanother character or a real life
person, but you want to makesure you you really know your
character well and to make themmultidimensional, that they have
more to their personality thanone key trait.
You know you want to give themlots, just like a regular person
would have many sides to them.
(13:30):
You want to make sure yourcharacter feels as real as
possible and you know and flawedand you know complex and
nuanced and not all the thingsthat you want in a good
(13:52):
character.
That's going to make youbelieve that they're they're
real as a reader.
J.D. Myall (13:58):
What makes a good villain?
Hena Khan (14:00):
Ooh, you know, apart from some of the pick your path
style stories and um fantasybooks I've coauthored, I haven't
had true villains in my stories.
Um, and it was fun in thosebooks to make them, you know,
(14:23):
over the top and um, um, as evilas possible but um, as evil as
possible but um, I think a goodvillain is actually, uh, just as
multidimensional as theprotagonist.
You know, if they were just acaricature of a person and
(14:47):
they're not as compelling.
But I think, if every characterhas something redeemable or
something likable we're seeingthis, you know, even in in film
and and superhero movies, we'reseeing the, the misunderstood
villain as a hero, and I thinkit's because all of us have, you
(15:07):
know, things that in us that wework hard to suppress, and some
people aren't as good at it.
Um, so, you know, I think it'srecognizing that that there is a
very human element to thevillains as well.
They shouldn't be too extremelove that.
J.D. Myall (15:27):
Um, how would you suggest that aspiring writers
who want to get into middlegrade hook their young readers
from the start, like, how do yougrab the audience, especially
the young audience, that earlyin a book?
Hena Khan (15:45):
Yeah, I think there's so many different ways and you
know it's funny.
My newest middle grade novelthat I authored solely drawing
Dina, came out in February andmy opening chapter takes place
at the dentist.
She's sitting in the dentistchair.
How he does first chapterFridays with his students and
(16:14):
how he read the opening chapterof drawing Dina to his kids.
And he said they were begginghim to keep reading.
And I started laughing because Isaid you know, I had so much
doubt about starting this bookat the dentist's office.
I was like what am I doing whenI was writing it.
But I think it's a matter of,you know, taking your reader to
a moment where they feel likethey're there with you, they are
(16:39):
invested, um, they understandyour character through their
actions, through their words,through their thoughts.
You know a combination of allof that, um, and they're just in
it with you, in action moment.
It could be a quiet moment, butit's a matter of just sort of
making your reader care aboutyour character as quickly as
(16:59):
possible, um, because if yourreader doesn't care, they might
not want to continue to readvery true, very true.
J.D. Myall (17:11):
How do you avoid the saggy middle in a story?
How do you avoid losing thatmomentum halfway through?
Hena Khan (17:33):
a great extent of detail, but enough so that I
have some sort of roadmap, sothat when I do hit that middle
point and say what am I doing, Ican go back and at least see
what I had been thinking wouldhappen next.
And of course it changes as youwrite, um, but I think, um, you
know, having a strong sense ofat least your goal in writing
and you know the overall storyarc and point can sort of help
(17:55):
you get through that part.
And then of course, you know,as I said, I think I'm a natural
editor, so that's the part Iprobably spend the most time on,
where you know I'm building tothat climatic moment and trying
to make sure all the pieces arethere that you know the reader
needs to feel satisfied.
(18:15):
Um, so you know, it is a matterof for me mapping it out first,
trying to trying to achievethat, but then going back and
really finessing and sort ofmassaging that, that middle
section, because I do think thatas much as as a writer you can
get lost and frustrated.
Um, you know that's where youreally need to make sure your
(18:38):
reader is going to stay with youto the end.
J.D. Myall (18:42):
And how about the end?
How do we tie it up?
Good, what are some tips forthat?
Like do middle grade um, excuseme, middle-agers like the happy
ending, are they okay?
Hena Khan (18:52):
You know, that's something that I think I've had
to work on the most.
I've always, ever since I wasin grade school, struggled with
conclusions the most, with myessays, and I always felt like,
well, I've said everything I'vehad to say.
Why do I need to repeat myself?
So of course, in fiction it's abit different, but I do think
that we have to resist.
I know I've had to learn toresist the temptation to tie
(19:14):
everything up super neatly forour readers, and if you're
trying to convince them that astory is believable, you have to
keep it.
You know, believable all theway through.
So, just like in life, you know, our problems don't all get
solved very neatly.
I think it helps to end on ahopeful note.
(19:36):
That's what I like to do formiddle grade, but not, you know,
have every part of everychallenge resolved.
J.D. Myall (20:03):
And, yeah, to keep some doors open and, of course,
that's also helpful if you'reever considering a sequel or
continuing the story as well,not to have everything you know,
complete, 100%.
Love that, love that.
What was your biggest surprisewith the idea of publishing that
you had before you became apublished author?
And then the reality working inthe industry what was your
biggest surprise?
Hena Khan (20:26):
I think it was how, how much work comes after as an
author that has nothing to dowith writing.
So all of the business side ofthings, all of the marketing and
promotional activities, all ofthat was a big surprise to me,
you know.
I think I knew that there wasthe writing and, you know,
(20:50):
expected the editorial processto be rigorous.
I understood the sale of a bookwould be difficult, but I
didn't realize how much, howmuch I would do later.
That is outside of my elementand I think a lot of writers are
naturally perhaps moreintroverted or, you know, not
(21:11):
really dying to be on a stage orhave the spotlight and be a
public speaker.
And you know, all of that hastaken me by surprise and a lot
of it's been wonderful and I'velearned to adjust and some of
it's draining, but it wasn'tsomething I understood before I
got into the industry.
J.D. Myall (21:29):
Did you have to do a lot of them, or do you do a lot
of school visits and thingslike that?
Hena Khan (21:33):
I do a lot of school visits and that's something I
enjoy very much like connectingwith readers and getting
feedback from them andunderstanding the way they think
and, you know, their questionsis so valuable, so I adore doing
school visits.
You know, it's more of the.
You know, giving a keynote issomething that I also really
(21:54):
appreciate, but it's justnerve-wracking because it's like
you know, all of a suddenhaving a thousand eyeballs on me
.
This is something I I'mthinking of when I'm writing a
book so um, yeah, it's just beena learning process, but you
know it's good.
It challenges you to go indifferent ways that you wouldn't
think you might have to as awriter, and you know being a
(22:17):
public speaker right, you knowhaving to market yourself and do
social media, for example.
Or you know some unexpectedthings like uh, even you know
having a interview with a puppet.
You know you just didn't thinkyou were going to have, but can
(22:40):
be really fun in the end.
Very true.
J.D. Myall (22:43):
So for a newer um, a newly published author, what
would be like the four or fivemarketing things that you would
suggest that have worked thebest for you?
Hena Khan (22:59):
I wish I knew what was what really worked in
marketing.
Um, you know, I think,depending on who you're, you
know what age level you'reworking.
Did you ask middle grade?
Sorry?
J.D. Myall (23:04):
yeah, I'm asking middle grade because that's
mostly what you do, but yeah,yeah so I elaborate in other
areas, but well, you know, I'veread picture books too.
Hena Khan (23:12):
But, yeah, I think it depends on your, on your age
range, who you're, who you'retrying to reach.
But I could answer the questionfor middle grade.
Let's see what has worked, Ithink you know.
However, however, you can feelcomfortable.
Engaging with educators is awonderful way to get your work
(23:36):
out there, because they are soinstrumental in getting the hand
your book into the hands ofreaders.
So, whether it's through socialmedia or by attending
conferences or writing foroutlets that they might be
reading, I think that'sexcellent, um, you know, it's
(24:03):
hard to know how much generalsocial media engagement helps,
um, and every day it seems to bechanging.
So, um, I'm, I'm not the bestat social media.
I try, um, and I can't say I,you know, I know whether or not
there's certain strategies thatwork better than others, but, um
, like, I'm not on TikTok, forexample.
So, um, but I think you know,just being positive, being
(24:25):
authentic, um, you're trying toconnect with people, whether
it's kids or parents, any wayyou can really is is always well
received, and I think it's, youknow, the best way to share
your books.
Obviously, the public eventsare always fun, but they can be
hit or miss, so it's alwayschanging it is.
(24:49):
It is the hardest part.
J.D. Myall (24:51):
I think I love that you mentioned school visits.
Do you have any tips for doingthat?
Well, like, what have you found?
Like, are there any activitiesyou do with the kids or do you
bring something for teachers?
Like any tips that you want to?
Hena Khan (25:03):
yeah, I love talking to kids and I think what's been
effective for me over the yearsis, um, you know, through
practice, really learning how tospeak to kids at different ages
at the level that they canrelate to what I'm saying, um,
but really at any age, speakingto them as equals and um, and
(25:27):
really being very honest aboutsome of my own challenges with
writing and editing, and beingafraid or feeling less than or
comparing myself to others, andI find that so many kids who
readily admit that they don'tthink they're good writers or
(25:48):
don't like reading or don't likereading, it's so wonderful to
be able to try to challenge themand get them to realize that
everyone can be a good writer ora good reader, and it's a
matter of finding, you know, theways to be inspired and to want
to do it and to practice enough.
So I think just being reallyreal with kids and not talking
(26:09):
down to them is really important.
Really real with kids and nottalking down to them is really
important.
Um, they love visuals and um,you know goofy pictures and all
that stuff too.
So that helps Um and uh.
And you know they love stories.
So whatever interesting storiesyou can bring are always well
received too.
J.D. Myall (26:27):
How was your debut year?
Like, did you have a launchparty.
Like did you do anything?
Hena Khan (26:33):
How was your debut year?
Like?
Did you have a launch party?
Like, did you do anything?
So for me, you know, my careerwas sort of spread out over a
long time.
So I started as a writer forhire, for Scholastic Book Clubs,
like I mentioned, and then Ihad my debut picture book come
out back in 2008.
So it was, it was reallydifferent than in terms of
(26:53):
social media and I didn't have adebut group or anything like
that.
I did have a surprise partythrown by my husband which was
really fun for family andfriends, but you know, it just
felt really different then andit's been fun to see the
industry sort of evolve and forme personally to have a
community of, you know, diverseauthors that I feel very
(27:17):
connected to are now on theboard of we Need Diverse Books,
which I'm, you know, reallygrateful for all they've done to
expand the landscape forchildren's literature and adding
diverse voices.
But when I started the landscapefor children's literature and
adding diverse voices, but whenI started, you know, I felt a
bit isolated and I wasn't sureif I would ever publish a second
(27:38):
book or what the industry, youknow how it would receive what
my first book and you know whatthe market would be like, and so
each time at the beginning ofmy career, I felt like I was
waiting and seeing what might benext.
And you know, I finally sold myfirst novel, amina's Voice, back
in 2016.
(27:59):
And that felt, you know, atthat point I had an agent and
that felt like the moment toreally invest full time in this.
But before that, I was writingpart time for kids, I was
consulting for public healthorganizations or still working
for them, and I didn't even callmyself an author for a long
time, even though I hadpublished books.
(28:20):
I used to refer to myself, asyou know, communication
specialist, and I also writechildren's books.
So it took a while for me toown this as my profession and
really to feel comfortablemaking this my full time work.
J.D. Myall (28:40):
That's awesome.
So what do you guys do with?
We Need Diverse Books.
I know you guys used to havelike scholarships to help with
housing and stuff like that.
Do you guys still do?
Hena Khan (28:50):
all that.
What are some of the programs?
So, there's definitelyscholarships for writers and
also for industry professionals.
To try to expand that, we needmore.
You know diverse editors andpeople working in the publishing
industry.
We have various campaigns toget books into the hands of
(29:12):
diverse books, into the hands ofreaders.
Um, there's the Walter awards,which is a wonderful um award
for diverse books.
That also involves gettingthose books out into the hands
of readers.
Um, and then special programsfor um, you know, against book
banning, for example, to helpthe fight against book bans, to
(29:36):
support different communities,respond to, you know, various
things happening in the mediaand in the world.
So, yeah, really, really greatstuff.
J.D. Myall (29:48):
Important work.
Good to hear.
Good to hear.
Yeah, I'm going to segue back.
I'm sorry if I'm jumping around.
I promise when I write iteverything will be all right.
I'm sure no worries I just gotwhen you said that.
I got curious because, like Isaid, I used to know a little
about it, but the industrychanges.
I wasn't sure if what I thoughtto be true was still true.
Yeah, sounds like it is Okay.
(30:10):
With picture books, how doesthat process work, do you like
in general, how does yourrelationship work with your
agent?
Do you discuss this issomething I'm interested in
writing and then, you know,discuss if it can sell
beforehand, or do you justcreate and then send it?
Or how does that work?
And with picture booksspecifically as well, how is
that, you know process, Iimagine is different than the
(30:32):
middle grade um, it depends on,um.
Hena Khan (30:37):
You know, if you're writing middle grade, as a as a
first time middle grade writeror any type of book for the
first time, you will likelywrite the entire book and then
try to sell it, whether it's,you know, middle grade,
contemporary, or a fantasy or agraphic novel.
You'll, you'll write the wholepiece of the whole work With a
(30:58):
picture, and then, after you'vebeen published, you might not
need to write the whole thing.
You might be able to sell it ona proposal with a few chapters,
for example, but with a picturebook, you, you, you really need
to write the whole picture book.
Um, and of course it's fewerwords, many viewer words, um,
(31:19):
but I think it's harder to sella book, a picture book, on a
proposal.
Um, so, with my agent, you know,there's times where I've
written a whole picture bookbecause I'm excited about it or
I think I have the concept, or Iwant to see if it works.
So I'll write the whole thingand then share it with my agent
and see what he thinks and he'll, you know, weigh in and then,
you know, decide if we want togo forward with it.
(31:40):
Sometimes I'll have an idea,something specific will pop in
my head and I think this couldmake a picture book.
What do you think?
And we I might just you mentionit we might talk through it and
sort of workshop it together.
So it really depends on how, howfully formed my idea is and how
, how strongly I feel about it,If I'll just jump right in and
(32:02):
write it first.
But you know, since I don'tillustrate, once we do, you know
, get a manuscript ready tosubmit and then sell it, then
the editor, the acquiring editor, will help pair us with an
illustrator who brings it tolife and brings you know their
(32:24):
own take on it.
Which is always the mostamazing part of writing picture
books is seeing two creativeminds come together and, with
their own vision and and createsomething magical.
J.D. Myall (32:39):
I love that.
Do you see yourself doing moreanthologies in the future?
Hena Khan (32:44):
I would love to Like I said, this was such a fun
experience and I know I've heardothers talk about how it can be
challenging at times and Iwasn't sure what to expect, but
really it just brought me somuch joy to be able to do this
and to have it out in the worldand everybody was so excited
(33:05):
about it and, um, we just wefeel like a little family now
who worked on this book togetherand yeah, I would.
I would love the chance to doit again.
J.D. Myall (33:16):
How long did it take ?
Hena Khan (33:28):
Um, the initial drafting.
You know, we, we went throughvarious stages of, you know,
everybody signing on, and then,um, and then we brainstormed
together and, uh, worked out thespecifics of our, where this
community center would be andthe types of stories we wanted
and we all agreed to to write inthe first person present tense
(33:51):
to try to give it more, um, morecontinuity between stories.
Even though it is differentcharacters and different authors
and different voices, it stillfeels a bit more unified that
way.
And once we decided on who ourindividual characters would be
and their names, we created adocument where we could share
details of the theme of ourstory and a little bit about our
(34:12):
characters' personalities, sowe could weave each other's
characters into our own stories.
And then we all wrote well, Iactually wrote my story last,
but the other writers wrotetheir drafts and we did some,
you know, revisions, um, untilit felt ready to piece all the
(34:34):
stories together and that was myjob of deciding what order to
put them in, going back andasking the writers to weave in
elements of the bigger backstory, and then I wrote my story and
inserted it in the place Ithought it fit.
So all of that, you know frominception to the final draft
(34:55):
probably took at least a year,and you know we had a switch
with our editor in the middle sothat caused a little bit of a
delay.
But, um, yeah, all in all itwas, you know, a pretty smooth
process and, um, fairly quickoverall, I would think, because,
considering how many peoplewere involved, you know, that's
(35:17):
surprising to me, though,because I thought it was going
to be shorter, because it wasmore people yeah, so I think you
know, from idea inception to itbeing done.
Yeah, I would say it was about ayear, but that includes like
selling the book and oh okay, sothen it was there.
J.D. Myall (35:35):
Yeah yeah, the actual, like I would say it was
probably about six months okay,well, that was definitely
quicker because a lot of peopletake like a year to draft alone.
So that's why I was thinkingyou were talking just the
drafting process.
Hena Khan (35:48):
Yeah, no, people were pretty quick with their first
drafts.
I think I gave everyonesomewhere between six weeks to
two months and and everybody wasgreat about getting things to
me in a timely way to keep us onschedule.
J.D. Myall (36:06):
How does how's your life changed now versus before
you were writing, full timeediting and all that great stuff
.
Hena Khan (36:14):
Yeah, I, I definitely have more autonomy over my time
you know, not not working forsomebody else and working for
myself, um, and I feel, you know, I just feel so lucky to get to
do this for a living, um, andto be able to to tell stories
(36:38):
and and connect with kids and bearound other authors and
educators and, you know,librarians and parents and like
people who just care about kids.
So I feel like that brings me alot of joy because it's it's a
really wonderful space to be in.
I feel like the things Istruggle with are time
(36:59):
management and trying to juggle,you know, writing with all the
stuff we talked about before,like the marketing promotion,
the travel, the school visits,um, and you know, make sure that
I'm not failing or trying totry to keep, you know, keep
everything, uh, going on top ofyou know, regular life stuff
(37:21):
that comes at you, um.
So, yeah, I definitely feellike having having more.
Um.
The biggest change has beenturning a passion into a, into a
career and and balancing themoments where you feel like the
(37:49):
joy is being squeezed out of itbecause it is a job, um, and
then regaining the joy throughwonderful things that happen,
like amazing interactions withreaders or you, you know,
teachers or fans.
So I feel like it's likeanything else, a balancing act.
J.D. Myall (38:11):
What are your long-term goals in the industry?
Hena Khan (38:17):
I would like to keep writing and publishing stories
as long as I feel like I havethem to tell inside me.
I am doing some more mentoringof other writers and I really
enjoy that, and doing somedevelopmental editing as well.
So I enjoyed editing this bookso much.
(38:41):
I'd love to see if in thefuture perhaps more editing or
even more teaching might be inmy future.
But for now I'm really happy tofocus more mostly on writing
and doing some editing as well.
But we'll see if that changesin the future.
J.D. Myall (38:59):
Is the mentoring through we Need Diverse Books or
is that through something else?
Hena Khan (39:08):
Some of it's unofficial, some of it's through
the highlights foundation ummuslim storytellers fellowship
um.
That was a program that Iparticipated in as a mentor
you've gotten on writing what'sthe best advice.
I don't know if this is advice,as much as it was a relief to
(39:29):
hear people say you don't needto write every day to be a
writer, because I think I hadheard that so much when I was
growing up and I imagine writersto be so passionate about
writing that they did it everyday and that they had a specific
schedule.
And I feel kids visibly, youknow, really like exhale in
(39:56):
relief when I tell them that Idon't write every day and I
don't have a schedule and Ithink writing when you feel like
doing it will produce betterwork than forcing yourself to do
it when you don't want to.
So, you know, I get asked allthe time about writer's block
(40:18):
and how I overcome that, and forme, writer's block is really
just being distracted or beingconfused about my story or not
not knowing what, to where totake a story or a character, and
just taking time away from thatand doing something else and
not feeling like I have to forceit.
So I really feel like lettingyour creative self, you know,
have space.
(40:39):
Um is the advice that I'veappreciated.
Um, and not giving yourself,not being too hard on yourself
with word counts and page limits, or like the number of hours
you have to spend per day doingit okay and best advice for
aspiring authors.
(41:03):
I would say to to really readwidely um while you're writing
or before you write even youknow.
To really get to know the genrethat you're working in, the
types of voices that are outthere, and to really understand
what appeals to you and thestyle that you like the best Um.
(41:28):
And to really be open tocritique um, cause you're going
to get a lot of it from agentsand from editors and so if
you're not used to that, it's agood um, a good thing to
experience and get comfortablewith Um, cause I think sometimes
(41:50):
, especially as somebody whoedited researchers in the past,
we can get very attached to ourwords and our stories and you
have to be able to be.
You have to learn how to beflexible and to be able to
understand that others may notbe receiving your writing the
(42:10):
way you think all the time.
So to get used to that isreally helpful and will, I think
, not only make you a betterwriter and your story better,
it'll make the process a littlelike smoother down the road.
J.D. Myall (42:26):
Awesome, I love that , thank you.
So where can people um connectwith you if they wanted to be
mentored or edited, or just finda hub where all your books lie?
Hena Khan (42:41):
Oh well, they could find me online at on my website,
so you'll find lots ofinformation about me.
I have some resources foreducators and a special page for
kids, so you can find lots ofstuff about my books and
resource guides and videos andfun things there.
(43:02):
So it's just my name, hennakhancom, and there was also a
forum where people can contactme through that.
Um, also on social media um,mostly Instagram, much less
anywhere else.
So at henna khan books, and Ilove hearing from readers.
I always appreciate reviews andI'm one of the writers one of
(43:24):
the few authors I know, whoactually reads all her reviews
online and they go on.
Goodreads and read them.
So thank you to everybody outthere reading and reviewing my
books.
J.D. Myall (43:37):
I love that.
What's up next for you?
What are you working on now?
Hena Khan (43:41):
What's up next for you?
What are you working on?
Now?
I'm working on my, my secondgraphic novel, and I'm deciding
and a picture book and justdeciding what my next project
will be.
And this is a big publishingyear for me with five books
releasing, so a lot of the fun,the fun stuff of promoting in
(44:02):
the meantime.
J.D. Myall (44:04):
That's awesome.
How'd you do five in a year?
I'm thoroughly impressed.
I don't think I've ever heardthat before.
Hena Khan (44:08):
Oh, thank you.
It's just sort of a, you know,just scheduling different
publishers and differentprojects that cropped up and
others that maybe got moved, andso because of that it worked
out this way.
So L5 are different genres.
So I have a contemporary middlegrade drawing, dina, that came
(44:29):
out in February, the anthologythat just came out last week,
and then I have a picture bookin a couple of weeks and my
graphic novel debut coming outin the summer and then a
co-authored book, um book for ina series called best wishes
with sarah molinowski coming outin the fall.
So it's a lot of differenttypes of books.
Speaker 4 (44:52):
That wraps up today's craft chat chronicles with jd
mayor.
Thanks for joining us.
If you like the episode, pleasecomment, subscribe, subscribe
and share.
For show notes, writingworkshops and tips, head to
jdmayocom.
That's jdmayorcom.
(45:13):
While you're there, join JD'smailing list for updates,
giveaways and more, and I wishyou all the best.
J.D. Myall (45:22):
continued success, you too, and I wish you too, you
too stay strong.
Thank you.
Welcome to Craft Chat Chronicles, the go-to podcast
for tips on craftingbest-selling fiction.
Here at Craft Chat Chronicles,we bring you expert interviews,
insights and tips on writing,publishing and marketing.
Join the conversation andembark on a new chapter in your
(00:26):
writing journey.
For workshops, show notes andmore information, visit jdmycom.
J.D. Myall (00:33):
That's jdmayalcom In season two, episode four of
Craft Chat Chronicles, we'll bechatting with author and editor
Hena Khan.
Hena will be giving us a deepdive into crafting compelling
middle grade fiction.
She'll talk a little bit abouther publishing journey, writing
picture books, give some tips onschool visits and so much more.
(00:59):
So, without ado, let's get intoseason two, episode four of
Craft Chat Chronicles.
Let's get chatting.
Thanks so much for chattingwith me.
Thank you, I appreciate it.
Okay, tell me about your lifebefore books.
Before books.
Hena Khan (01:16):
Honestly, it's hard to separate my life from books
because they were a part of myearliest life and memory Ever
since learning how to read.
I remember that being such abig moment in my family and how
proud my mom was and I remembersounding out words to her and
(01:38):
her feeling and feeling herpride and actually her making me
perform that ability in frontof other people, so that, and
then trips to the library likeshe she was a big, she was a big
advocate of of reading, so shewould take us pretty regularly,
(01:58):
and so my childhood was filledwith books, and that was a lot
of how I spent my free time was,you know, with library books
and, you know, living in stories.
J.D. Myall (02:11):
That's cool.
What inspired you to become anauthor?
How did you start yourpublishing journey?
Hena Khan (02:17):
So you know, I never considered it.
I wasn't doing a lot ofcreative writing at the time.
I was working in public healthcommunications, so I was doing
writing, lot of creative writingat the time.
I was working in public healthcommunications, so I was doing
writing and editing, but fortechnical audiences.
And I had the chance to writefor kids because of a friend who
was working at Scholastic withtheir book clubs and she needed
(02:38):
help with editing and rewritinga book for a series called Spy
University.
And knowing that I love towrite and we had written
together back in school on ourhigh school newspaper, she asked
if I would, you know, give it atry.
And that was the firstexperience I had, writing for
kids specifically, and I had tomaster the voice and try to
(03:01):
imitate the style of the bookthat she was working on.
But that just opened up thewhole world of writing for kids
to me and made me realize it wassomething I wanted to do and I
was also a young mother at thetime and it made me think about
the stories that I didn't haveas a kid, that I wanted my
children to have, and sort ofsent me on that path to
(03:22):
eventually writing my ownstories.
J.D. Myall (03:25):
How did you get your agent?
Hena Khan (03:28):
I went the traditional route of querying a
bunch of people um and getting alot of rejections, and um,
eventually, matthew and Iconnected and um, I was, you
know, just super excited andgrateful.
Um, and I think we've we'vegrown through this process
together.
(03:48):
Um, he, he represents a lot ofadults and so, um, I think I
might have been his first, youknow, picture book and middle
grade author, so, um, I feellike we've been been figuring
things out together, but have ahave a great understanding and
he's been super supportive of me, so I'm happy it worked out.
J.D. Myall (04:07):
That's good what do you consider the core elements
of a good middle grade novel?
Hena Khan (04:18):
for me it's always about the things that I cared
about a lot as a middle schoolerthat I think are the universal
concerns of being a kid.
So you know a lot of um,friendship and family and
concerns around belonging andand fitting in um, and just, you
(04:41):
know kid size problems thatdon't feel like kid size
problems when-sized problemswhen you're experiencing them.
But I think you know we need.
You know characters that aresuper relatable, that readers
can connect to, who feel reallyauthentic, and you know
(05:01):
multidimensional and you knowencourage readers to think in
some way because the magic ofmiddle grade.
I just want to live in yourbackground it's so beautiful.
J.D. Myall (05:15):
It's a zoom background, a picture it looks
so nice.
I'm like, oh, that looksfantastic how did you make the
switch from writing to editingtraditionally published books,
and which do you have a favorite, or do you love them both
equally?
Hena Khan (05:35):
So the first editing?
Oh, I'm sorry, Do you meanwriting, editing the anthology?
That?
J.D. Myall (05:41):
just came out.
Hena Khan (05:43):
Yeah, so this was my first experience, um editing a
volume like this.
Um, I had done, you know,professional editing for, um,
public health organizations, soI was familiar with the
editorial process.
But I'm not working withauthors who I greatly admire and
(06:04):
, you know, not putting togethera compilation like this.
So it was definitely a newexperience, but I loved every
minute of it.
I loved, you know,conceptualizing the initial idea
of an interlinked volume ofshort stories taking place at
this community center and thenhaving, you know, a bunch of
(06:26):
south asian american writers whoI really really look up to and
whose work I love.
Um, you join me to sort ofpiece it all together and, um,
and I loved, I've always lovedediting, perhaps more than
writing in a way, because it tome it's more natural and I
struggle with first drafts, likea lot of writers do, and I'm
(06:48):
always filled with a lot of um,self-doubt and um, and I love
the process of going back evento my own writing and putting
that shine on it and revising.
So, um, I love, I loved havingthe chance to do that with other
people in their writing.
And, yeah, and it was just afantastic group of authors, some
(07:11):
you know really well respectedand award winning authors, and I
mean all.
I strike that all wonderfulwell respected authors, but some
who've been doing it for a verylong time and others who were
newer to writing middle grade,and so it was lovely to have
that range of experience and andjust everyone's unique
(07:36):
perspective.
J.D. Myall (07:38):
How did the anthology come to be, what's the
concept behind it and how didit happen?
Hena Khan (07:43):
Yeah.
So I owe a lot of it to uhauthor ellen o, who I was
speaking with about this idea,and she had a similar anthology,
uh of called you are here ofeast asian writers that hadn't
been published yet, but I knewshe was working on it and, um, I
(08:03):
was toying with this idea andshe was very encouraging and she
pushed me to connect thestories, which ended up being a
bit different from her anthologyin the way I chose to approach
it, but I thought of, you know,an interlinked anthology of
short stories where thecharacters would all appear in
(08:25):
each other's stories and theywould all be taking place at the
same location and then thestories themselves would build
to a bigger story in thebackground.
So once I had that idea, Ireached out to the various
authors and asked them if theywanted to be a part of it and
(08:46):
was so happy that they allagreed and we got some sample
stories, story ideas.
We decided to set the storiesat a fictional community center
set in New Jersey and, like inmy hometown New Jersey, and like
(09:08):
in my hometown, communitycenters were often a place where
immigrant communities will rentout halls to have various
functions, whether it'sreligious celebrations or
birthday parties or graduationsor, um, you know, prayers,
services or charity events, andso it's just a big um, it's
(09:28):
something that all of us had hadexperience with and um, that's
why we decided to set it there.
But then there's also a largerstory about the community center
itself, um, and what'shappening to it that you know is
meaningful to all of these kidswho are connected to it in some
way love that, thank you.
J.D. Myall (09:55):
What techniques would you give to aspiring
writers on crafting?
A good middle grade novel?
Speaker 1 (10:04):
hmm, writers on crafting a good middle grade
novel.
Let's see.
Hena Khan (10:13):
A few things.
I would really recommend, well,reading a lot of middle grade
before starting if you're new tothe genre, are starting if
you're new to the genre andseeing what speaks to you and
the types of stories and andvoices you know you really
(10:39):
connect with and, um, I think ithelps to have a lot of beta
readers if you're new to thegenre as well.
Um, kids, if you can accesssome, but definitely other
writers and people who youadmire to give critique, I think
, especially when I was writingmy debut middle grade novel, I
think I made some very novicemistakes of you know,
oversharing or overtelling mystory, maybe because I was
(11:02):
telling it to myself.
So I think having other peoplehelp you cut down your story to
what a middle schooler reallycares about and might focus on
is really helpful, as well ashaving those young readers who
can make sure that you have thevoice and the details right.
(11:25):
But I think it really is aboutlooking at the world through the
eyes of a young person and nottelling them what to think.
And I think a lot of us arestill, as adults, concerned with
the same things that kids arelike, whether it's does my
(11:47):
friend still like me, or how amI going to reach this goal?
Or you know how do I help myloved one who's going through a
hard time?
You know, those are allconcerns we're dealing with on a
day-to-day basis and it's justa different point of view, a
younger point of view, but Ithink a lot of times, as adults,
we might feel like we need totell kids how to solve their
(12:07):
problems or how to navigate life.
So I think avoiding any type ofpreachiness, um or um, you know
diet, just um, yeah, any typeof preachiness and um.
Feeling like you're beingtaught a lesson is probably the
(12:30):
the best way to start.
Um and and.
Just trying to find thatauthentic, relatable voice.
J.D. Myall (12:38):
And once they found that relatable voice, you have
any other advice for helpingthem develop good characters
that?
Hena Khan (12:47):
relatable voice.
Do you have any other advicefor helping them develop good
characters?
Yeah, I think.
For me personally, it helps meto ground a character in some
kind of reality.
So most of my characters areinspired by at least part of
their personality is inspired bysomebody I know and then I
build around that.
So, whether it's someonefictional that I've read in a
(13:10):
book, if it's inspired byanother character or a real life
person, but you want to makesure you you really know your
character well and to make themmultidimensional, that they have
more to their personality thanone key trait.
You know you want to give themlots, just like a regular person
would have many sides to them.
(13:30):
You want to make sure yourcharacter feels as real as
possible and you know and flawedand you know complex and
nuanced and not all the thingsthat you want in a good
(13:52):
character.
That's going to make youbelieve that they're they're
real as a reader.
J.D. Myall (13:58):
What makes a good villain?
Hena Khan (14:00):
Ooh, you know, apart from some of the pick your path
style stories and um fantasybooks I've coauthored, I haven't
had true villains in my stories.
Um, and it was fun in thosebooks to make them, you know,
(14:23):
over the top and um, um, as evilas possible but um, as evil as
possible but um, I think a goodvillain is actually, uh, just as
multidimensional as theprotagonist.
You know, if they were just acaricature of a person and
(14:47):
they're not as compelling.
But I think, if every characterhas something redeemable or
something likable we're seeingthis, you know, even in in film
and and superhero movies, we'reseeing the, the misunderstood
villain as a hero, and I thinkit's because all of us have, you
(15:07):
know, things that in us that wework hard to suppress, and some
people aren't as good at it.
Um, so, you know, I think it'srecognizing that that there is a
very human element to thevillains as well.
They shouldn't be too extremelove that.
J.D. Myall (15:27):
Um, how would you suggest that aspiring writers
who want to get into middlegrade hook their young readers
from the start, like, how do yougrab the audience, especially
the young audience, that earlyin a book?
Hena Khan (15:45):
Yeah, I think there's so many different ways and you
know it's funny.
My newest middle grade novelthat I authored solely drawing
Dina, came out in February andmy opening chapter takes place
at the dentist.
She's sitting in the dentistchair.
How he does first chapterFridays with his students and
(16:14):
how he read the opening chapterof drawing Dina to his kids.
And he said they were begginghim to keep reading.
And I started laughing because Isaid you know, I had so much
doubt about starting this bookat the dentist's office.
I was like what am I doing whenI was writing it.
But I think it's a matter of,you know, taking your reader to
a moment where they feel likethey're there with you, they are
(16:39):
invested, um, they understandyour character through their
actions, through their words,through their thoughts.
You know a combination of allof that, um, and they're just in
it with you, in action moment.
It could be a quiet moment, butit's a matter of just sort of
making your reader care aboutyour character as quickly as
(16:59):
possible, um, because if yourreader doesn't care, they might
not want to continue to readvery true, very true.
J.D. Myall (17:11):
How do you avoid the saggy middle in a story?
How do you avoid losing thatmomentum halfway through?
Hena Khan (17:33):
a great extent of detail, but enough so that I
have some sort of roadmap, sothat when I do hit that middle
point and say what am I doing, Ican go back and at least see
what I had been thinking wouldhappen next.
And of course it changes as youwrite, um, but I think, um, you
know, having a strong sense ofat least your goal in writing
and you know the overall storyarc and point can sort of help
(17:55):
you get through that part.
And then of course, you know,as I said, I think I'm a natural
editor, so that's the part Iprobably spend the most time on,
where you know I'm building tothat climatic moment and trying
to make sure all the pieces arethere that you know the reader
needs to feel satisfied.
(18:15):
Um, so you know, it is a matterof for me mapping it out first,
trying to trying to achievethat, but then going back and
really finessing and sort ofmassaging that, that middle
section, because I do think thatas much as as a writer you can
get lost and frustrated.
Um, you know that's where youreally need to make sure your
(18:38):
reader is going to stay with youto the end.
J.D. Myall (18:42):
And how about the end?
How do we tie it up?
Good, what are some tips forthat?
Like do middle grade um, excuseme, middle-agers like the happy
ending, are they okay?
Hena Khan (18:52):
You know, that's something that I think I've had
to work on the most.
I've always, ever since I wasin grade school, struggled with
conclusions the most, with myessays, and I always felt like,
well, I've said everything I'vehad to say.
Why do I need to repeat myself?
So of course, in fiction it's abit different, but I do think
that we have to resist.
I know I've had to learn toresist the temptation to tie
(19:14):
everything up super neatly forour readers, and if you're
trying to convince them that astory is believable, you have to
keep it.
You know, believable all theway through.
So, just like in life, you know, our problems don't all get
solved very neatly.
I think it helps to end on ahopeful note.
(19:36):
That's what I like to do formiddle grade, but not, you know,
have every part of everychallenge resolved.
J.D. Myall (20:03):
And, yeah, to keep some doors open and, of course,
that's also helpful if you'reever considering a sequel or
continuing the story as well,not to have everything you know,
complete, 100%.
Love that, love that.
What was your biggest surprisewith the idea of publishing that
you had before you became apublished author?
And then the reality working inthe industry what was your
biggest surprise?
Hena Khan (20:26):
I think it was how, how much work comes after as an
author that has nothing to dowith writing.
So all of the business side ofthings, all of the marketing and
promotional activities, all ofthat was a big surprise to me,
you know.
I think I knew that there wasthe writing and, you know,
(20:50):
expected the editorial processto be rigorous.
I understood the sale of a bookwould be difficult, but I
didn't realize how much, howmuch I would do later.
That is outside of my elementand I think a lot of writers are
naturally perhaps moreintroverted or, you know, not
(21:11):
really dying to be on a stage orhave the spotlight and be a
public speaker.
And you know, all of that hastaken me by surprise and a lot
of it's been wonderful and I'velearned to adjust and some of
it's draining, but it wasn'tsomething I understood before I
got into the industry.
J.D. Myall (21:29):
Did you have to do a lot of them, or do you do a lot
of school visits and thingslike that?
Hena Khan (21:33):
I do a lot of school visits and that's something I
enjoy very much like connectingwith readers and getting
feedback from them andunderstanding the way they think
and, you know, their questionsis so valuable, so I adore doing
school visits.
You know, it's more of the.
You know, giving a keynote issomething that I also really
(21:54):
appreciate, but it's justnerve-wracking because it's like
you know, all of a suddenhaving a thousand eyeballs on me
.
This is something I I'mthinking of when I'm writing a
book so um, yeah, it's just beena learning process, but you
know it's good.
It challenges you to go indifferent ways that you wouldn't
think you might have to as awriter, and you know being a
(22:17):
public speaker right, you knowhaving to market yourself and do
social media, for example.
Or you know some unexpectedthings like uh, even you know
having a interview with a puppet.
You know you just didn't thinkyou were going to have, but can
(22:40):
be really fun in the end.
Very true.
J.D. Myall (22:43):
So for a newer um, a newly published author, what
would be like the four or fivemarketing things that you would
suggest that have worked thebest for you?
Hena Khan (22:59):
I wish I knew what was what really worked in
marketing.
Um, you know, I think,depending on who you're, you
know what age level you'reworking.
Did you ask middle grade?
Sorry?
J.D. Myall (23:04):
yeah, I'm asking middle grade because that's
mostly what you do, but yeah,yeah so I elaborate in other
areas, but well, you know, I'veread picture books too.
Hena Khan (23:12):
But, yeah, I think it depends on your, on your age
range, who you're, who you'retrying to reach.
But I could answer the questionfor middle grade.
Let's see what has worked, Ithink you know.
However, however, you can feelcomfortable.
Engaging with educators is awonderful way to get your work
(23:36):
out there, because they are soinstrumental in getting the hand
your book into the hands ofreaders.
So, whether it's through socialmedia or by attending
conferences or writing foroutlets that they might be
reading, I think that'sexcellent, um, you know, it's
(24:03):
hard to know how much generalsocial media engagement helps,
um, and every day it seems to bechanging.
So, um, I'm, I'm not the bestat social media.
I try, um, and I can't say I,you know, I know whether or not
there's certain strategies thatwork better than others, but, um
, like, I'm not on TikTok, forexample.
So, um, but I think you know,just being positive, being
(24:25):
authentic, um, you're trying toconnect with people, whether
it's kids or parents, any wayyou can really is is always well
received, and I think it's, youknow, the best way to share
your books.
Obviously, the public eventsare always fun, but they can be
hit or miss, so it's alwayschanging it is.
(24:49):
It is the hardest part.
J.D. Myall (24:51):
I think I love that you mentioned school visits.
Do you have any tips for doingthat?
Well, like, what have you found?
Like, are there any activitiesyou do with the kids or do you
bring something for teachers?
Like any tips that you want to?
Hena Khan (25:03):
yeah, I love talking to kids and I think what's been
effective for me over the yearsis, um, you know, through
practice, really learning how tospeak to kids at different ages
at the level that they canrelate to what I'm saying, um,
but really at any age, speakingto them as equals and um, and
(25:27):
really being very honest aboutsome of my own challenges with
writing and editing, and beingafraid or feeling less than or
comparing myself to others, andI find that so many kids who
readily admit that they don'tthink they're good writers or
(25:48):
don't like reading or don't likereading, it's so wonderful to
be able to try to challenge themand get them to realize that
everyone can be a good writer ora good reader, and it's a
matter of finding, you know, theways to be inspired and to want
to do it and to practice enough.
So I think just being reallyreal with kids and not talking
(26:09):
down to them is really important.
Really real with kids and nottalking down to them is really
important.
Um, they love visuals and um,you know goofy pictures and all
that stuff too.
So that helps Um and uh.
And you know they love stories.
So whatever interesting storiesyou can bring are always well
received too.
J.D. Myall (26:27):
How was your debut year?
Like, did you have a launchparty.
Like did you do anything?
Hena Khan (26:33):
How was your debut year?
Like?
Did you have a launch party?
Like, did you do anything?
So for me, you know, my careerwas sort of spread out over a
long time.
So I started as a writer forhire, for Scholastic Book Clubs,
like I mentioned, and then Ihad my debut picture book come
out back in 2008.
So it was, it was reallydifferent than in terms of
(26:53):
social media and I didn't have adebut group or anything like
that.
I did have a surprise partythrown by my husband which was
really fun for family andfriends, but you know, it just
felt really different then andit's been fun to see the
industry sort of evolve and forme personally to have a
community of, you know, diverseauthors that I feel very
(27:17):
connected to are now on theboard of we Need Diverse Books,
which I'm, you know, reallygrateful for all they've done to
expand the landscape forchildren's literature and adding
diverse voices.
But when I started the landscapefor children's literature and
adding diverse voices, but whenI started, you know, I felt a
bit isolated and I wasn't sureif I would ever publish a second
(27:38):
book or what the industry, youknow how it would receive what
my first book and you know whatthe market would be like, and so
each time at the beginning ofmy career, I felt like I was
waiting and seeing what might benext.
And you know, I finally sold myfirst novel, amina's Voice, back
in 2016.
(27:59):
And that felt, you know, atthat point I had an agent and
that felt like the moment toreally invest full time in this.
But before that, I was writingpart time for kids, I was
consulting for public healthorganizations or still working
for them, and I didn't even callmyself an author for a long
time, even though I hadpublished books.
(28:20):
I used to refer to myself, asyou know, communication
specialist, and I also writechildren's books.
So it took a while for me toown this as my profession and
really to feel comfortablemaking this my full time work.
J.D. Myall (28:40):
That's awesome.
So what do you guys do with?
We Need Diverse Books.
I know you guys used to havelike scholarships to help with
housing and stuff like that.
Do you guys still do?
Hena Khan (28:50):
all that.
What are some of the programs?
So, there's definitelyscholarships for writers and
also for industry professionals.
To try to expand that, we needmore.
You know diverse editors andpeople working in the publishing
industry.
We have various campaigns toget books into the hands of
(29:12):
diverse books, into the hands ofreaders.
Um, there's the Walter awards,which is a wonderful um award
for diverse books.
That also involves gettingthose books out into the hands
of readers.
Um, and then special programsfor um, you know, against book
banning, for example, to helpthe fight against book bans, to
(29:36):
support different communities,respond to, you know, various
things happening in the mediaand in the world.
So, yeah, really, really greatstuff.
J.D. Myall (29:48):
Important work.
Good to hear.
Good to hear.
Yeah, I'm going to segue back.
I'm sorry if I'm jumping around.
I promise when I write iteverything will be all right.
I'm sure no worries I just gotwhen you said that.
I got curious because, like Isaid, I used to know a little
about it, but the industrychanges.
I wasn't sure if what I thoughtto be true was still true.
Yeah, sounds like it is Okay.
(30:10):
With picture books, how doesthat process work, do you like
in general, how does yourrelationship work with your
agent?
Do you discuss this issomething I'm interested in
writing and then, you know,discuss if it can sell
beforehand, or do you justcreate and then send it?
Or how does that work?
And with picture booksspecifically as well, how is
that, you know process, Iimagine is different than the
(30:32):
middle grade um, it depends on,um.
Hena Khan (30:37):
You know, if you're writing middle grade, as a as a
first time middle grade writeror any type of book for the
first time, you will likelywrite the entire book and then
try to sell it, whether it's,you know, middle grade,
contemporary, or a fantasy or agraphic novel.
You'll, you'll write the wholepiece of the whole work With a
(30:58):
picture, and then, after you'vebeen published, you might not
need to write the whole thing.
You might be able to sell it ona proposal with a few chapters,
for example, but with a picturebook, you, you, you really need
to write the whole picture book.
Um, and of course it's fewerwords, many viewer words, um,
(31:19):
but I think it's harder to sella book, a picture book, on a
proposal.
Um, so, with my agent, you know,there's times where I've
written a whole picture bookbecause I'm excited about it or
I think I have the concept, or Iwant to see if it works.
So I'll write the whole thingand then share it with my agent
and see what he thinks and he'll, you know, weigh in and then,
you know, decide if we want togo forward with it.
(31:40):
Sometimes I'll have an idea,something specific will pop in
my head and I think this couldmake a picture book.
What do you think?
And we I might just you mentionit we might talk through it and
sort of workshop it together.
So it really depends on how, howfully formed my idea is and how
, how strongly I feel about it,If I'll just jump right in and
(32:02):
write it first.
But you know, since I don'tillustrate, once we do, you know
, get a manuscript ready tosubmit and then sell it, then
the editor, the acquiring editor, will help pair us with an
illustrator who brings it tolife and brings you know their
(32:24):
own take on it.
Which is always the mostamazing part of writing picture
books is seeing two creativeminds come together and, with
their own vision and and createsomething magical.
J.D. Myall (32:39):
I love that.
Do you see yourself doing moreanthologies in the future?
Hena Khan (32:44):
I would love to Like I said, this was such a fun
experience and I know I've heardothers talk about how it can be
challenging at times and Iwasn't sure what to expect, but
really it just brought me somuch joy to be able to do this
and to have it out in the worldand everybody was so excited
(33:05):
about it and, um, we just wefeel like a little family now
who worked on this book togetherand yeah, I would.
I would love the chance to doit again.
J.D. Myall (33:16):
How long did it take ?
Hena Khan (33:28):
Um, the initial drafting.
You know, we, we went throughvarious stages of, you know,
everybody signing on, and then,um, and then we brainstormed
together and, uh, worked out thespecifics of our, where this
community center would be andthe types of stories we wanted
and we all agreed to to write inthe first person present tense
(33:51):
to try to give it more, um, morecontinuity between stories.
Even though it is differentcharacters and different authors
and different voices, it stillfeels a bit more unified that
way.
And once we decided on who ourindividual characters would be
and their names, we created adocument where we could share
details of the theme of ourstory and a little bit about our
(34:12):
characters' personalities, sowe could weave each other's
characters into our own stories.
And then we all wrote well, Iactually wrote my story last,
but the other writers wrotetheir drafts and we did some,
you know, revisions, um, untilit felt ready to piece all the
(34:34):
stories together and that was myjob of deciding what order to
put them in, going back andasking the writers to weave in
elements of the bigger backstory, and then I wrote my story and
inserted it in the place Ithought it fit.
So all of that, you know frominception to the final draft
(34:55):
probably took at least a year,and you know we had a switch
with our editor in the middle sothat caused a little bit of a
delay.
But, um, yeah, all in all itwas, you know, a pretty smooth
process and, um, fairly quickoverall, I would think, because,
considering how many peoplewere involved, you know, that's
(35:17):
surprising to me, though,because I thought it was going
to be shorter, because it wasmore people yeah, so I think you
know, from idea inception to itbeing done.
Yeah, I would say it was about ayear, but that includes like
selling the book and oh okay, sothen it was there.
J.D. Myall (35:35):
Yeah yeah, the actual, like I would say it was
probably about six months okay,well, that was definitely
quicker because a lot of peopletake like a year to draft alone.
So that's why I was thinkingyou were talking just the
drafting process.
Hena Khan (35:48):
Yeah, no, people were pretty quick with their first
drafts.
I think I gave everyonesomewhere between six weeks to
two months and and everybody wasgreat about getting things to
me in a timely way to keep us onschedule.
J.D. Myall (36:06):
How does how's your life changed now versus before
you were writing, full timeediting and all that great stuff
.
Hena Khan (36:14):
Yeah, I, I definitely have more autonomy over my time
you know, not not working forsomebody else and working for
myself, um, and I feel, you know, I just feel so lucky to get to
do this for a living, um, andto be able to to tell stories
(36:38):
and and connect with kids and bearound other authors and
educators and, you know,librarians and parents and like
people who just care about kids.
So I feel like that brings me alot of joy because it's it's a
really wonderful space to be in.
I feel like the things Istruggle with are time
(36:59):
management and trying to juggle,you know, writing with all the
stuff we talked about before,like the marketing promotion,
the travel, the school visits,um, and you know, make sure that
I'm not failing or trying totry to keep, you know, keep
everything, uh, going on top ofyou know, regular life stuff
(37:21):
that comes at you, um.
So, yeah, I definitely feellike having having more.
Um.
The biggest change has beenturning a passion into a, into a
career and and balancing themoments where you feel like the
(37:49):
joy is being squeezed out of itbecause it is a job, um, and
then regaining the joy throughwonderful things that happen,
like amazing interactions withreaders or you, you know,
teachers or fans.
So I feel like it's likeanything else, a balancing act.
J.D. Myall (38:11):
What are your long-term goals in the industry?
Hena Khan (38:17):
I would like to keep writing and publishing stories
as long as I feel like I havethem to tell inside me.
I am doing some more mentoringof other writers and I really
enjoy that, and doing somedevelopmental editing as well.
So I enjoyed editing this bookso much.
(38:41):
I'd love to see if in thefuture perhaps more editing or
even more teaching might be inmy future.
But for now I'm really happy tofocus more mostly on writing
and doing some editing as well.
But we'll see if that changesin the future.
J.D. Myall (38:59):
Is the mentoring through we Need Diverse Books or
is that through something else?
Hena Khan (39:08):
Some of it's unofficial, some of it's through
the highlights foundation ummuslim storytellers fellowship
um.
That was a program that Iparticipated in as a mentor
you've gotten on writing what'sthe best advice.
I don't know if this is advice,as much as it was a relief to
(39:29):
hear people say you don't needto write every day to be a
writer, because I think I hadheard that so much when I was
growing up and I imagine writersto be so passionate about
writing that they did it everyday and that they had a specific
schedule.
And I feel kids visibly, youknow, really like exhale in
(39:56):
relief when I tell them that Idon't write every day and I
don't have a schedule and Ithink writing when you feel like
doing it will produce betterwork than forcing yourself to do
it when you don't want to.
So, you know, I get asked allthe time about writer's block
(40:18):
and how I overcome that, and forme, writer's block is really
just being distracted or beingconfused about my story or not
not knowing what, to where totake a story or a character, and
just taking time away from thatand doing something else and
not feeling like I have to forceit.
So I really feel like lettingyour creative self, you know,
have space.
(40:39):
Um is the advice that I'veappreciated.
Um, and not giving yourself,not being too hard on yourself
with word counts and page limits, or like the number of hours
you have to spend per day doingit okay and best advice for
aspiring authors.
(41:03):
I would say to to really readwidely um while you're writing
or before you write even youknow.
To really get to know the genrethat you're working in, the
types of voices that are outthere, and to really understand
what appeals to you and thestyle that you like the best Um.
(41:28):
And to really be open tocritique um, cause you're going
to get a lot of it from agentsand from editors and so if
you're not used to that, it's agood um, a good thing to
experience and get comfortablewith Um, cause I think sometimes
(41:50):
, especially as somebody whoedited researchers in the past,
we can get very attached to ourwords and our stories and you
have to be able to be.
You have to learn how to beflexible and to be able to
understand that others may notbe receiving your writing the
(42:10):
way you think all the time.
So to get used to that isreally helpful and will, I think
, not only make you a betterwriter and your story better,
it'll make the process a littlelike smoother down the road.
J.D. Myall (42:26):
Awesome, I love that , thank you.
So where can people um connectwith you if they wanted to be
mentored or edited, or just finda hub where all your books lie?
Hena Khan (42:41):
Oh well, they could find me online at on my website,
so you'll find lots ofinformation about me.
I have some resources foreducators and a special page for
kids, so you can find lots ofstuff about my books and
resource guides and videos andfun things there.
(43:02):
So it's just my name, hennakhancom, and there was also a
forum where people can contactme through that.
Um, also on social media um,mostly Instagram, much less
anywhere else.
So at henna khan books, and Ilove hearing from readers.
I always appreciate reviews andI'm one of the writers one of
(43:24):
the few authors I know, whoactually reads all her reviews
online and they go on.
Goodreads and read them.
So thank you to everybody outthere reading and reviewing my
books.
J.D. Myall (43:37):
I love that.
What's up next for you?
What are you working on now?
Hena Khan (43:41):
What's up next for you?
What are you working on?
Now?
I'm working on my, my secondgraphic novel, and I'm deciding
and a picture book and justdeciding what my next project
will be.
And this is a big publishingyear for me with five books
releasing, so a lot of the fun,the fun stuff of promoting in
(44:02):
the meantime.
J.D. Myall (44:04):
That's awesome.
How'd you do five in a year?
I'm thoroughly impressed.
I don't think I've ever heardthat before.
Hena Khan (44:08):
Oh, thank you.
It's just sort of a, you know,just scheduling different
publishers and differentprojects that cropped up and
others that maybe got moved, andso because of that it worked
out this way.
So L5 are different genres.
So I have a contemporary middlegrade drawing, dina, that came
(44:29):
out in February, the anthologythat just came out last week,
and then I have a picture bookin a couple of weeks and my
graphic novel debut coming outin the summer and then a
co-authored book, um book for ina series called best wishes
with sarah molinowski coming outin the fall.
So it's a lot of differenttypes of books.
Speaker 4 (44:52):
That wraps up today's craft chat chronicles with jd
mayor.
Thanks for joining us.
If you like the episode, pleasecomment, subscribe, subscribe
and share.
For show notes, writingworkshops and tips, head to
jdmayocom.
That's jdmayorcom.
(45:13):
While you're there, join JD'smailing list for updates,
giveaways and more, and I wishyou all the best.
J.D. Myall (45:22):
continued success, you too, and I wish you too, you
too stay strong.
Thank you.
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