THE WORLD

WE LIVE IN THE WORDS

WE CREATE
/
A Conversation Starter on Gender
and Diversity in Indian Picture Books
 CONTENTS
Introduction // 4
www.prathambooks.org
[email protected]
Who Can Use This Guide // 11
How Not to Use This Guide // 12
Glossary // 13
What Story Do I Want to Tell? // 15
Character Development // 17
Environment // 29
‘The World We Live in, the Words We Create’
by Pratham Books and UNICEF Language // 37
Published by: Pratham Books | www.prathambooks.org

The development of this document has been supported by UNICEF Takeaways // 43

The Guide’s Guides // 45
Some rights reserved. The text and the illustrations
are CC-BY 4.0 licenced which means you can
Read More // 46
download the digital version of this book, remix

Illustration Credits // 47
illustrations and even make a new story — all free
on StoryWeaver: www.storyweaver.org.in.
You must attribute the original creation, give
appropriate credit, provide a link to the licence,
and indicate if changes were made. For full terms of
use and attribution, visit http://prathambooks.org/cc.
“Children’s picture books
are like maps — they help
children navigate territories
which are unfamiliar and
unique to children’s lived
experience.”
Raviraj Shetty,
Occupational Therapist and Writer
INTRODUCTION
A group of children sat in their At a different occasion in a classroom in rural In both these instances, it was clear that the power of dreaming up futures
community library in Bengaluru, Rajasthan, a group of children sat listening was divided along gender lines. In both instances, books became conversation
the room neatly divided with boys to How Do Aeroplanes Fly? by Aditi Sarawagi starters, one to talk about dreams, the other to talk about opportunities.
and girls on opposite sides. and Lavanya Karthik. They saw an image of It reinforced in us the belief that books matter. They give wings to the
a woman in a cockpit. One of the girls told a imagination and aspirations of young minds; they offer possibilities. They
The team asked them: team member, “We didn’t know that women are windows to new, oft-unknown worlds, mirrors to the readers’ own,
What do you want to could fly planes.” familiar worlds. Children’s books have the power to influence individual and
community beliefs and behaviours.
be when you grow up?
Hands shot up. As we looked The omission of marginalised and/or non-normative identities in children’s
around, we realised the boys were books — fiction, non-fiction and textbooks — is deep rooted. When the Belongg
brimming with answers — police Research Collective analysed first- to fifth-standard National Council of
officer, engineer, army man, Educational Research and Training (NCERT) textbooks to review existing biases,
doctor. The girls, however, were stereotypes and omissions based on caste, gender and disability, they found that:
silent. When pushed a little more,
a couple of them said they were “Non-men are underrepresented “Discussions around caste realities
unsure, the rest stayed quiet. in textbooks. While men are are strictly centred around people
shown in a variety of professions, from marginalised castes. There
women are relegated to domestic is no mention of how people from
spaces or in professions that dominant castes are responsible
institutionalise care” (for example, for perpetuating and validating the
teaching or nursing). legitimacy of the caste system.
This evokes a lack of accountability
Disability is “mostly invisibilised”, for dominant castes.”
and, when mentioned, disability
or disabled persons are either The appearance of all characters
portrayed as vulnerable or wicked. “reflects strictly Hindu religious
markers” in most instances.

Introduction 4
But, as scholar and educator or banned, it leads to the erasure
Rudine Sims Bishop said, when of several sets of readers, their
readers “cannot find themselves identities and their concerns.
reflected in the books they read, To the privileged child, it says:
or when the images they see are not only is there no space for
distorted, negative, or laughable, anybody who looks, speaks,
they learn a powerful lesson dresses or behaves differently
about how they are devalued in than them, but also that they
the society of which they are a have to be what society dictates
part.” them to be.

This invisibilisation of Diverse books question

marginalised and non-normative stereotypes of gender, class,
identities and their issues exists caste, culture, disability, family
in most countries. According structure and many other facets
to a study conducted by the of identity; stereotypes that
American Library Association, remain widespread in the books
most books that were questioned that adorn many bookshelves,
or challenged for being stocked from homes to community
in North American school and libraries. These books tell
public libraries for their content readers from marginalised
in 2020 included themes of backgrounds that their stories
racial justice, stories centred and voices matter and that their
around BIPOC, and LGBTQIA+ feelings are valid. They make
narratives. other readers aware of their own
privilege in this vastly unequal
When such books are labelled as Of the top 10 most challenged books, 70 per cent world and help inform their
problematic or corrupting, subsequent actions.
were by authors from marginalised groups.

Introduction 5
 A REBEL BOOK
When the creators of Good Night
Stories for Rebel Girls, Elena
Favilli and Francesca Cavallo,
were looking for stories of female
role models in their libraries,
they found books packed with
gender stereotypes. What’s more,
a study of 6,000 children’s books
published between 1900 and 2000
showed that just 7.5 per cent had
female protagonists. Elena and
Francesca’s book jump-started
a worldwide phenomenon on
fabulous feminist stories.

This phenomenon reinforces that

diverse books disrupt, create space
for everyone in the margins and
promote authenticity — in thought
and experience.

Introduction 6
 FOCUS GROUP DISCUSSION
When Pratham Books Here are some questions
and UNICEF set out to create we posed:
this ever-evolving, open-source

?
What were the most
guide on breaking stereotypes in
prevalent stereotypes/
children’s books, our aim was to
tokenistic gestures in the
find ways for all those involved
Indian picture books they
in the creation of picture
had read?
books to reflect upon their own
unconscious biases, and think of

?
Why is the children’s literary
diversity in their stories from the
landscape still struggling

?
very beginning.
to see voices and stories
from the margins in the
We organised a two-day virtual
mainstream? Who are the
Focus Group Discussion to
gatekeepers?
understand what the process
of thinking and creating was for
How do the participants
those involved in the making of But we started with an easy question:
make their stories and
diverse books. The participants
characters inclusive?
included authors, illustrators,
editors and activists associated What kind of questions
What are some diverse
with children’s publishing
in India.
should this guide be asking
creators to reflect on in
and inclusive books?
their creative process?

Introduction 7
 An inclusive
book does
not have to
be about
inclusivity.

Introduction 8
In a country fixated on retelling
and consuming traditional
inclusivity: “Mere inclusion
is not enough… It should be
We found that books and characters could be made
more inclusive by addressing concerns under three Character
stories with “good morals”, very
few authors find commercial
organic, as if that character
belongs there and is not there
broad areas:
Development
success with books that address to satisfy an agenda.” How characters define
contemporary issues and themselves, and their gender,
joyfulness. And even within As author and editor Aparna disabilities, skin colour, clothes,
this small number of books, Kapur, the moderator of the professions, families and more.
author Shals Mahajan pointed FGD, stated: “The danger
out, “there is a lack of diversity. of having such few diverse
When stories are told from
the margins — or about the
stories is that there’s too much
pressure on those stories to be
Environment
everything.” How their surroundings and the
margins — there’s a tendency
people around them define them
to diagnose the differences
Diverse ideas and identities on the basis of religion, caste,
instead of normalising them.
don’t need to be the protagonist class, socio-economic status,
There is a lack of acceptance,
of a story, nor does simply privilege, geography, nationality
of inclusivity, of celebrating the
changing one’s gender, caste and more.
small, everyday experiences of
everyday people.” or religion within a text make
it diverse. When we talk about
A country as diverse as India —
in which people from multiple
making choices in support of
diversity, it can look like many
Language
How words define characters,
religions, castes and classes things — showing a police
on the basis of their accents,
coexist — needs equally diverse uniform hanging on the hook
dialects and mother tongues;
stories. However, as author in a story about a mother and
their abilities to communicate;
Hansda Sowvendra Shekhar child, or having a doll or a
their education; the words used
points out, an inclusive book cooking set along with other
and the words they are called.
does not have to be a book about toys in a boy’s room.

Introduction 9
 The goal is simple:
to acknowledge, understand
and address biases,
appropriation, tokenistic
representations and stereotypes
in books while still having fun
(as creators, but also as readers).
Having access to relevant books in a familiar language
and familiar images gives children — especially those
who are often invisibilised, like women, and Dalit-
Bahujan, queer, disabled and trans children — the
chance to actively participate in and be included in
conversations to imagine, to learn effectively and
impact positive change; because, to paraphrase author
Rebecca Solnit, the act of being able to tell an own story
in today’s divisive world that is quick to cancel and ban
“is already a victory, already a revolt”.

Introduction 10
WHO CAN USE THIS GUIDE
Children’s literature in India is constantly picture books in India, who wishes to In that spirit, we ask you to read this guide
evolving, and has been a disruptor. From create authentic, stereotype-free and with an open mind, think of the difficult
weaving in difficult themes with joyful inclusive stories, this guide is for you. questions embedded here, and examine
writing, to the powerful illustrations that privileges closely. Because inequalities and
underscore the narrative, it has always We are aware of endemic discrimination are facts, and to dismantle
been pushing the envelope. inherent structures, whether patriarchal,
social inequalities, and
casteist, or ableist, we need to be aware that
If you are an author, illustrator, editor, we want to be agents of our actions have consequences and we have
translator, art director or publisher of changemaking. to take responsibility for the work we create.

Who Can Use This Guide 11

 You can use it:

HOW NOT TO • As a checklist once you’ve written something and need to inspect
the piece of work for any unconscious biases

USE THIS GUIDE • As an exercise in retraining the way you approach a story

• When workshopping new ideas and storylines

• As a thinking hat for when you are stuck and need some guidance
when creating characters or their environments
This guide is not a blueprint, rulebook or a
manifesto. It is a starting point.
It doesn’t need to be read in any particular order. Use it at any point
while creating your story. And don’t let the length or the number of
It is derived from conversations with creators
questions in this guide overwhelm you. Not everything in this guide
through a Focus Group Discussion as well as
applies to every story. Find the sections that are relevant to the work
Pratham Books’ own experiences of creating
you are creating, and apply accordingly.
diverse picture books. These are simply points to
take into consideration when creating a children’s
book. Creators are free to use this guide the way Not to be used to kill mosquitoes,
they feel the best. but to whack stereotypes.

How Not to Use This Guide 12

GLOSSARY This non-exhaustive glossary of terms has been populated and defined in the context of this guide. While these definitions have
been adapted from Dictionary.com and Nazariya Gender and Sexuality Terminology, a lot of the meanings of these terms are
dependent on the conversations and communities they are used within.

Ableism: discrimination Cisgender: people whose Exoticise: the act of making Gender: a socially Heteronormative: a
against disabled people by sense of personal identity something look unusual or constructed attribute that is world view that promotes
giving unfair advantages to and gender is the same as glamorous just because it linked to biological sex. heterosexuality as the
able-bodied people. their birth sex. is connected with foreign It loosely includes behaviours normal or preferred sexual
countries/cultures/identities. of and roles played by a orientation.
Appropriation: the act of Disability: a physical or person in a society.
inappropriately adopting mental condition that may Feminine: denoting Heterosexual: people who
somebody else, especially make it challenging for a something conventionally/ Gender-fluid: people whose are attracted to people of a
without permission. Most person to go about basic traditionally associated with gender identity keeps gender other than their own.
often people belonging to everyday tasks in their femaleness and womanhood. changing with time
dominant groups in society current environment. Inclusivity: the practice or
appropriate concerns of Gaze: how we view our Glorify: describe or policy of providing equal
minority groups. Disability rights activists characters and what we represent as admirable, access to opportunities and
have been working towards find interesting enough to often unjustifiably. resources for people who
Binary: a way of looking at normalising conversations weave into a narrative. Our might otherwise be excluded
something that divides it into on putting the onus of gaze comes from our ideas Hegemony: the power of the or marginalised, such as
just two different, and often how disabled bodies are and notions, and biases and ruling section of society to those having physical or
opposing, categories. For perceived and included on stereotypes about the subject. convince other sections that intellectual disabilities, or
example: Right/wrong, good/ society itself and not just on the interests of the ruling belonging to non-normative
bad, male/female, hot/cold. disabled people. Gender expression: the ways section are the interests of all. genders and sexualities.
in which a person expresses Often, this power is exerted
Body positivity: a social Diversity: includes a range their gender identity, often through means of economic Internalised: to make part
movement that aims to of people or things across through their appearance, and political control, and also of one’s nature by learning
normalise bodies of all different identities and dress, and behaviour. through a more subtle control or unconscious assimilation.
shapes, sizes and colours, cultures. of education and the media.
irrespective of the standards
of society and dominant
cultures.
LGBTQIA+: an acronym to • Queer: an umbrella term Marginalised: people, Privilege: a special right, Toxic Masculinity: a set
represent various gender and for people who don’t groups, or concepts treated advantage, or immunity of attitudes or behaviour
sexual identities. This includes, identify themselves as as insignificant or peripheral granted or available only to a stereotypically associated
but isn’t limited to: heterosexual and/or on the basis of their caste, particular person or group. with or expected of men,
cisgender. class, gender, religion, which can harm men and
• Lesbian: a person who race, physical appearance, Stereotypes: widely held but society as a whole.
identifies as a woman and is • Intersex: they have disability and/or sexuality. biased, oversimplified and
attracted to other people who variations that do not often derogatory notions
identify as women. fit into the categories Masculinity: qualities or about a particular person or
of “male” and “female”. attributes conventionally or group. These notions may
• Gay: a person who identifies Intersex variations associated with people who be partially or completely
as a man and is attracted to might include, but are identify as men. untrue, and can be influenced
other people who identify as not limited to, primary by our cultural upbringing.
men. or secondary sexual Non-binary: an umbrella
characteristics, external term for gender identities Tokenism: the practice of
• Bisexual: A person who is or internal genitalia, and/ that do not adhere to binary making only a perfunctory
attracted towards people or chromosomal and categories of men/women. or symbolic effort towards
of their own gender and hormonal variations. improving the representation
genders different from Other: view or treat a of marginalised people in
theirs. • Asexual (Ace): people who person or group of people as any activity. Often, tokenism
experience little or no intrinsically different from includes recruiting only a
• Trans: an umbrella term sexual attraction. oneself. This othering can small number of people from
for a person whose gender also be subtle and intrinsic to under-represented groups in
identity is different from a lot of literature, especially order to give the appearance
the sex assigned to them when Hindus write about of sexual or racial equality.
at birth. Muslims or savarnas write
about Dalit Bahujan or
Adivasi communities.

Own voice: a first-person

account/narrative of lived
experiences.
WHAT STORY DO I
WANT TO TELL?
Before you start creating the But we make conscious choices
worlds and characters that to centre stories around
populate your books, you need certain identities. Thus, the
to assess and decide what kind reason you are choosing a set
of a story you’re trying to tell. of identities needs to advance
Is it a universal story, in which the story too, and the identities
case your character can be of your characters must be
anybody, or is it one that hinges integral to the plot and vice
on particular identities? Both versa. This choice comes from
kinds of stories must make being conscious of your socio-
space for the coexistence of political stance too: how do your
characters from all walks of life privilege and politics influence
and lived experiences. your story and your perspective?
How do they get recreated in
your story?

What Story Do I Want to Tell? 15

You will understand the power dynamics you are Rethink your
It is inspirational, motivating, Does the subject of No
propagating in your story when you answer the approach and
very few people know about it, the story want their
following questions for yourself: I can tell this story well. return to the
story to be told as an flowchart.
inspiring one?
Why do I want to Yes
I am documenting/
tell this story? informing/entertaining/
educating through this story.

Yes Is it my story to tell?

Yes, I have researched Do I know enough
on the subject. about subject/
context to write
this story? Go back
Does this
What kind of research do to the No
No, but I am curious to story need No
I need to do to write this drawing
know more/interested in to be told?
story? How am I going to board.
learning more.
conduct it?

Oh, I am
Is my information Am I exoticising/ not sure.
Am I aware of some of appropriating the
about the identity/ No harm
the biases/privileges Yes, I am. story? Do I have a
community coming I may have because of in checking
saviour complex?
from my assumptions my gender, sexuality, your biases.
No
from reading/social caste and class positions,
media/news, my or ableism?
interactions or from Maybe I am not.
my lived experiences?
CHARACTER Observation is key.
Look towards people
DEVELOPMENT around you. People like you,
but also unlike you.
As readers, characters stay with us. The ones
we’ve loved over the years and feel like our closest
friends — like Neema, Puchku and Ammachi.
The most unforgettable These memorable characters have distinct
voices, and are multidimensional and human
stories are driven by (irrespective of whether they’re actually human
unforgettable characters. or not). These are the kind of characters we try to
create as writers and illustrators as well.
Characters that arise
not from blueprints but Think about your favourite picture book character.
Why do you love them so much? Write about it
from unique human here, using specific examples.
imaginations, an
alchemical fusion
of DNA, memory
and experience.

Piers Torday,
Children’s Book Author

Character Development 17
Character STEP 1 Is your character:

What do they • Girl/Woman

Building • Boy/Man
look like? • Genderqueer
Let’s break down the process • Transgender
(this is just one of many ways, • Genderfluid
really) of dreaming up a new GENDER • Agender
character. This could be
• Gender non-binary
someone at the centre of your We start with gender because often
story, a secondary character or gender becomes the first marker or • Gender non-conforming
someone from real life. identifier of a person, even from afar.
Society has imagined gender as a binary Another option is to keep your
(man and woman) and constructed strict character’s gender vague by giving them
rules around how people from these a gender-neutral name and asking the
genders should look, dress and behave. illustrator to depict them in gender-
However, gender is not binary. Gender neutral clothing. You can let your reader
identity and expression are about who decide — and that’s perfectly fine too!
the characters are and how they want the
world in the book — and by extension, Try to create a world that is inclusive by
the reader — to perceive them. giving various gender identities space
within your work, whether a character
is human, animal or alien.

18
 BODIES
Readers need to find themselves Here are some quick tips:
as well as discover the many
different possibilities and Observe the bodies around you — there
realities of how people look. are a variety of body types, and they are
This helps readers navigate their capable of doing different things.
world and their emotions.
Create body-positive characters and
subvert conventional ideas of beauty
— be it hair, skin colour or body shape.
Read I Love Me by Menaka Raman
and Ekta Bharti (Pratham Books)
to meet someone who loves herself
unconditionally and isn’t afraid to say
so. Your Body Is Yours by Yamini Vijayan
and Aindri C (Pratham Books) celebrates
different bodies while talking about
consent and respect for boundaries.

Character Development 19
 Disabled bodies are just as varied as
non-disabled bodies — “they aren’t
symmetrical and shouldn’t be either,”
says Raviraj Shetty.

Go beyond showing disabilities through

wheelchairs, hearing aids and crutches.
Show and understand disabled bodies
through their own lenses. Research
your character. Show the socio-cultural,
physical and policy-driven barriers
placed upon diabled bodies, which hinder
disabled bodies from participating in all
spaces, as seen in Chuskit Goes to School
by Sujatha Padmanabhan and Madhuvanti
Anantharajan (Pratham Books).

Say no to caricatured Avoid ascribing typical physical

stereotypes of people, whether features to characters based on
it’s skin tone, body type or whether they are protagonists
facial features. or antagonists. For example, just
kings were always portrayed
Abilities have nothing to do as handsome whereas greedy
with age, body type or other kings were fat in most of the
physical traits. Senior citizens fairytales we grew up reading,
can have fantastic adventures and witches were described
like Nanammal and Kamalathal as old hags. This perpetuates
by Menaka Raman and Sushant negative representation and
Ahire (Pratham Books) do, with stereotyping.
great flair; and children can be
anything they want, like Dodla,
Aarna and Farida.

Character Development 20
STEP 2
Where do they
come from?

“While writing and

illustrating characters,
we should be more
aware of where we
locate them and the
world they exist in.”

Shrujana Shridhar,
Author-illustrator and
FGD Participant. Families are varied
They can be nuclear, single-parent families,
A character’s background adoptive families, inter-faith families, inter-
can impact their personality, caste families, joint families, blended families,
circumstances and choices. LGBTQIA+ families (which can include same-
What’s their family like? What is sex parents, trans couples or families with
their economic status? What does polyamourous relationships). Moreover, families
this family have access to, what are do not necessarily need to follow traditional
their beliefs? Diverse characters kinship structures. For example, families can be
help spotlight different genders, chosen, like many queer-trans individuals do.
families, class, caste, religions, etc. Further, families can include friends, pets and
and their stories. neighbours, if one chooses.

Character Development 21
 Family roles
can be equitable
Homes in books can be spaces These imbalances are
where responsibilities, chores also visible in personal
and decision-making are shared relationships: often women
by all members of the family, are identified and named
irrespective of age or gender. in relation to someone
It is important to steer clear else — they are someone’s
of gendered representation of mother, daughter, aunt, sister,
household responsibilities. For grandmother or wife. It’s valid
instance, fathers can be shown when writing from a very
working in the kitchen and young child’s point of view,
mothers reading newspapers but best to avoid when writing
and fixing things, like in for an older age group.
What’s Ameena Up To? by Roopa
Banerjee and Preetam Dhar Where inequitable family
(Pratham Books), Amma’s Toolkit roles are unavoidable, which
by Nandini Nayar and Ashwini can be in the case of non-
Hiremath (Pratham Books) and fiction books that mirror
Roja
In MyisHeart
sad. Amma is
by Nandana Dev someone’s reality, do it
going
Sen and to Ruchi
work. Mhasane (Puffin without glorifying patriarchal
Books). Similarly, working norms.
“I will behave
women backbeen
before
shown in
bedtime,
When Willkannamma,”
Amma Be Back? by
says Amma.
Prathiba Swaminathan and
Alankrita Amaya (Pratham
Books).

2/16
Character Development 22
 Every home and
family is different
Economically and socially Stories that include
disadvantaged homes are often
associated with a lack — be it of characters with marginalised
access, resources, knowledge identities need not be
or opportunities. Whereas,
economically and socially stories about the struggles
privileged homes are associated or differences of these
with an abundance of these
things. These ideas, while not marginalised identities,
necessarily untrue, are often but the everydayness of
exaggerated by our unconscious
biases. their lives and concerns
within universal themes.
Sometimes these assumptions
could be true for the characters They can also be about their
you create, in which case achievements, successes
including them would be true to
your story. But make conscious and most importantly, joys.
choices about why a person or
family is shown the way they are A good example of this would be Laundry Day
and how they can be portrayed by Mathangi Subramanian and Shambhavi Singh
in a way that isn’t demeaning or (Pratham Books) and The Theatre of Ghosts by
doesn’t malign. Pankaj Saikia (Pratham Books).

23
STEP 3
What makes
them them?

Who a character is can be

expressed through their clothes,
actions/mannerisms, language,
interests, professions, virtues
and flaws. Stereotypes can be
an easy marker for character
traits — a girl in shorts to show
that she’s not feminine or the
conventional notion of a boy
being outdoorsy and interested
in sports; a doctor is more likely
to be a man, and old people
are helpless. Beware of these
stereotypes because often they
are so internalised that they
unconsciously make their way
into our writing.

Character Development 24
Character Development 25
 Notice the choices made by the illustrators and authors — how are
Apart from these, meet:
they breaking boundaries and creating more inclusive characters?

Add your own favourites to this list!

Diya from I Want to Ride Ammachi from Ammachi’s The boy from A Very Busy Year
a Motorbike by Aarthi Incredible Investigation by by Shabnam Minwalla and
Parthasarathy and Rai Vinayak Varma and Rajiv Eipe Upasana Mehndiratta
(Pratham Books) (Pratham Books) (Pratham Books)

When writing non-human characters —

be it animal, imaginary or alien — most
of the points still apply. Unconscious/
popular stereotypes often get used while
writing these characters, like hyenas
are bad, lions are valorous, aliens are
evil, or long eyelashes and thin waists
for female-presenting characters and
Sulu in What House Shall I Tine in Tine and the Faraway Beauty from Beauty Is Missing by wider shoulders for male-presenting
Build Today by Shweta Ganesh Mountain by Shikha Tripathi Priya Kuriyan (Pratham Books) characters, etc. They affect the readers’
Kumar and Shubhshree Mathur and Ogin Nayam (Pratham
(Pratham Books) Books) perception of these characters in real life.
Character Development 26
Character Development 27
How does changing one particular
aspect of your character — be
it their gender, caste, religion
or physical or emotional trait
— change your story and the
character’s experiences?

How dependent is your plot

on the change you’ve just made?
 Circle 1 Circle 2 Circle 3
The one your protagonist The setting of the story. The cultural and social
directly interacts with. This could be a location, environment your
This could also be more a room, a school or a forest protagonist lives in. This is

ENVIRONMENT
abstract, a time or a — markers that help us place a reflection on how society
feeling too. This is the where the story is set. This treats them for who they
most immediate landscape in turn tells us what the are — their gender, caste,
readers will spot and make climate of the place would religion and so much
The environment in a picture
inferences from. be, what the geography would more.
book can shape your protagonist’s be like, what would people in
attitudes and biases. this locale do or eat or wear.
“We need a situation
where creators who come
from the margins have
the freedom to push
their own boundaries.”
Parismita Singh,
Author-illustrator and FGD Participant
Q1:

Why is it important to consider the

environment in a picture book?

The environment gives a piece of text several dimensions. It

establishes moods, socio-economic status, gender roles, family
structures, caste and class structures, geographies, socio-cultural
markers and much more to a story and is key to creating a larger
arc, plot or conflict in a story. Depicting realistic worlds:

Normalises behaviours or Introduces newer

behavioural patterns interactions and roles
within society
Familiarises readers with the
setting of a story Accepts or disrupts
societal norms
Helps readers build
connections in the story Defines relationships within
about situations or with and with the surroundings
characters and the people populating it

Environments often dictate the direction stories can take,

because your characters are directly and constantly interacting
with their environment, which propels the story forward.
Nani’s Walk to the Park by Deepa Balsavar (Pratham Books)
tries to create a sense of belonging for the distinct identities
through the environment the story is set in.

31
Q2: Often, having the permission or their communities want to
to write the story doesn’t make be seen and spoken about. Let
How do I create an you the right person to write it, them guide the narrative, but
environment that is especially if you’re an outsider reduce their labour by doing
to the community or identity your research first.
authentic? What if the that you are writing about.
world I am creating is When we are more privileged Because, in an attempt to
not one I am familiar than the community we wish be inclusive and diverse,
with? What if it’s just to represent, we could end up stereotypical or tokenistic
appropriating their concerns representations of
one I really want to
by merely speaking on their communities and identities
write about? behalf. There is someone who tend to creep in. It could be
belongs to the world you’re something like changing a
How do I write this story writing about, and can tell it character’s name to a name
without making certain better and more authentically, representative of a community
assumptions, especially step aside. Pass the mic to just to make it diverse, as
about marginalised them! opposed to creating a character
from the community with a
communities that If not, find a collaborator well-thought-out backstory.
have often been who has a more authentic
misrepresented, under- lived experience. “Whether Both caste and religion can
represented or erased you want to write about be represented through
your experience or someone markers such as professions,
from literature?
else’s, you need to put a lot of surnames, food items, clothes,
research into your characters traits and more. Be wary of
Research. Research. Research.
through interviews, reading reinforcing oppressive casteist
But before that, ask yourself
secondary sources, and getting or religious practices. When
if you have the permission
beta readers,” says author and you have characters from
to write the story. If yes,
education consultant Mathangi different religions and castes,
go ahead, write it. If not,
Subramanian. Ask individuals do it without reinforcing
withdraw. And pass on the
you are writing about, or hegemonies, or pitting one
opportunity to someone better
whose communities are being religion or caste against
suited to write the story.
represented, how they and/ another.

Environment 32
Q3:

Look at the world

around us, at how
fractured and divisive
it is! How do I show
this reality to a child
without sanitising it?

Like with most things, your for girls, while highlighting In Kayu’s World Is Round by Lavanya Kapahi
description of the environment all that is unequal and unfair and Aditee Deore (Tulika Books), the world and
is a direct result of your gaze — without mincing words. how Kayu interacts with it is seen through the
how you look at things around eyes of a child with autism. The repetition of a
you and how you then go on to Then there are books like pattern is not seen as an obsession but a means to
portray them. Let’s consider That Night by Bijal Vachharajani understand and access the world.
Behind the Lie by Asha Nehemiah and Shrujana Shridhar (Pratham
and Aindri C (Pratham Books). Books) or Home by Fausto Aarya Stripping a world of its differences — be it gender
The immediate environment in De Santis and Ogin Nayam or disability or religion or caste — makes it
this book, the one within their (Pratham Books). They look at unrealistic but creating spaces for them within
home, is turbulent and violent. how children are impacted by books enables conversation and understanding.
But outside the home is a kind religious conflicts, where the Because when you sanitise a book, you are
community, which is there to child is unable to understand denying children who might have had to face a
listen and lend a hand. This what’s really happening. By world of difficulties and differences the space for
support system includes women showing the world the children their stories to be read. Your audience is every
in many roles — as protectors, live in through their own eyes, reader who has had a wide range of experiences
victims and confidants. Betiyaan unbiased and inquisitive, already, some pleasant and some not.
Bhi Chaahen Azadi by Kamla settings can be turned. They
Bhasin and Shrujana Shridhar can be unprejudiced and
(Pratham Books) is another any prejudice that is sensed
example which argues for equal in the narrative can then be
opportunities and a fair world questioned.

Environment 33
Q4:

What about when I am

writing about homes
— should I only be
drawing from my own
experiences?

What can I do to make

homes feel real?

Every home is an extension

of the values, cultures and
personalities of the people living
within it. Your experience of
your family is deeply personal,
and this is true for everyone
else too. It’s where children first
pick up ideas of (in)equality
across gender, caste and class
divides; it is where children
are first exposed to gendered
ideas of what girls and boys are
supposed or allowed to be like.
Here are some books that have The Weightlifting Princess by Sowmya Snip by Canato Jimo (Pratham Books): The Boy in the Cupboard by Harshala Gupte and
created spaces for children to Rajendran and Debasmita Dasgupta This book provides space to the two Priya Dali (Gaysi Family and Lettori Press):
express themselves and grow, (Pratham Books): This book introduces siblings, one girl and another boy; the Homes can be safe spaces from communities
free of the expectations from us to a world where gender biases don’t freedom to be whoever and look like and people who might not be accepting of our
their gender. exist. Men and women compete for the whatever they want to, irrespective of choices and identities. By being able to be who
same title and queens are weightlifting their gender. he is within the cupboard and then his house
champions — gender equality is and family, the boy in this book is finally able to
normalised in this world. be himself outside too.

Environment 34
Q5:

I want to disrupt
the stereotypical
representations and
interactions of people
of different genders in
my stories. How can I Giving all genders equal access Showing women in all types of Showing parenting and home-
make that a part of my to resources in your books — professions in the book, even if these making as a task that’s equally shared in
practice? meals, education, freedom, wealth, characters are in the background. a household, irrespective of gender.
professions, etc. Professions should not depend on gender.
Gender stereotypes get
disbanded by determining
how the character’s gender
manifests through their words
and actions, if and how others
interact with them on the basis
of their gender, and what they
have access to. Going beyond
tokenistic representations of
gender equality can involve:

Not ascribing colours, objects, Showing people of all genders Assigning actions and interactions between
clothes, or traits according to gender. occupying public spaces. On the Metro characters based on the story and the
Let’s not assume that if the character by Neha Singh and Rai (Pratham Books), circumstances, instead of doing it on the basis
is a girl, there would be a doll in her which is set inside a compartment of the of gender. Like in Ammachi’s Amazing Machines
room. Also, let’s not make assumptions Delhi metro, shows a vast intersection of by Rajiv Eipe, a grandmother and her grandson
about gender based on visual cues or people across genders, religions and ages and invent machines from everyday objects to
use stereotypical visual cues to show claiming their space, asserting their own make some coconut barfis. The grandmother is
someone’s gender. identities and presenting their realities. game for some fun and the grandson enjoys her
company too!
Environment 35
“Sometimes inequality
is a source of story, too.
Lots of great books are about
standing up to inequities. In the case
of children’s books — and especially
picture books — the children standing
up for their rights should be clear about
the inequality, should not be put at risk,
and should have a happy ending
where equity is realised.”
Mathangi Subramanian
 LANGUAGE
Words can hurt and words can heal,
Words can tell people how you feel.
Words demand respect, words can demean,
They indicate caste, religion and how characters lean.

Words can point to gender and words can stereotype.

Boys don’t cry, girls are shy — ideas to toss into the drainpipe.
Words to address and express identity are a person’s choice:
She, him, they, them — gender isn’t just ‘girls’ and ‘boys’.

Language 37
 But words can be tokenistic — try and stay away from these,
Words that cut through the noise, happythankyoumoreplease.
Words can create change, words are our arsenal (and not a toy),
So carefully choose words that don’t ‘other’ or annoy.

Words make you laugh, words make you stay,

Picking the right words makes prejudice go away.

Language 38
No one demonstrates the
power of words better
than Kamala Bhasin in
Naye Shabd, calligraphed Language, especially when
by Nikheel Aphale and
illustrated by Priyankar
we use another Indian
Gupta (Pratham Books). She language in an Indian
reminds us to be thoughtful
of what we choose to say
English book, can be a many-
when given a voice and how faced monster. It can help
words matter.
the reader learn more about
the character’s background.
But many Indian languages
are gendered and many words
can be casteist and it affects
our worldview. Be authentic in
the language but at the end of
the day use language that the
person or community you are
writing about uses to talk about
themselves. Not only does this
add nuance to the text but it
also makes the job of the writer
easier while creating gentler
narratives.

Language 39
 Read Friends Under the Summer Sun by
Ashutosh Pathak and Kanak Shashi (Pratham
Books) to understand how the book goes
beyond gender binaries and note the tone and
language used to establish the characters, their
attributes and choices they make about their
gender identity, i.e, how they would like to be
referred to and seen.

Some other great books on the same subject

include I Want to Ride a Motorbike by Aarthi
Parthasarathy and Rai (Pratham Books) and
Kanak Shashi’s Gutli Has Wings (Tulika Books).

Language 40
Ableism
When writing about disability
or mental health, it’s important
to understand the language and
the gaze with which a story is
being crafted. Words — be it
the vocabulary used to describe
disability, how it is portrayed,
and our gaze on the person with
the disability — can indicate
how a character with disability
is regarded, and can impact the
reader’s perception of the same.

If the person you are writing

about is a real person, make Pose author J. R. Thorpe’s Is your tone towards a Are the words being used Are your disabled
sure the language you are using question to yourself: disabled character one of to describe a character’s characters flawed? Do they
matches the way they see their “The difference between pity or of offering assistance disability overtly get to experience love and
disability. the perspectives essentially to better/fix them? How inspirational or positive all friendship? Do they have to
boils down to personhood can the story reflect the time, making them one- face the consequences of
Read My Brother’s Wheeeeelchair and disability: is it something realities better and give the dimensional? Is the tone their mistakes?
by Salil Chaturvedi and Tanvi that you have, or something characters agency? suggesting they are doing
Bhat (Pratham Books) to that’s at the core of your something in spite of their
identify the storyteller’s intent identity?” Does your disability? This is an ableist
while creating this story and character see themselves perspective and needs to be
see how they balance the fine as a “person with disability” kept in check.
line between inspiration and or a “disabled person”?
entertainment deftly.

Language 41
TAKEAWAYS
Things to keep in mind while writing about people
from genders, sexualities, disabilities, castes and
class positions that are different than yours:

Engage in conversations
before making assumptions
about the everyday lives, True inclusion is organic
Be an ally, nay... an struggles and successes of to the story; characters’
accomplice. Try to the people or communities identities or conflicts
comprehend the world from you want to write about. needn’t be told as those of
different perspectives, by How people interact with strength or inspiration, and
understanding how a person them, their culture and shouldn’t be put on display.
or community wishes to be history, their hopes and
spoken about, by listening, dreams, their relationships
learning and unlearning. and flaws, etc. But don’t
Write a story from a place of expect your sources to do all
empathy and not as a means the heavy-lifting for you.
to earn brownie points.
Thank you for being active
changemaking agents.

As we create, listen, learn, build empathy,

show solidarity and keep questioning our
belief systems, remember this guide is
best used for whacking stereotypes, and
is less effective in killing mosquitoes.

Happy book making!

THE GUIDE’S GUIDES
Focus Group Discussion Sensitivity Editor
Nimmy Chacko, editor Sayantan Datta, author and editor
Pallavi Chander, arts-based therapist
Parismita Singh, writer and artist Pratham Books Team
Priya Kuriyan, children’s book creator Bijal Vachharajani, commissioning editor
Raviraj Shetty, occupational therapist Neelima P Aryan, art director
Rinchin, activist and writer Poojana Prasanna, graphic designer
Salil Chaturvedi, writer and poet Priya Dali, art director
Shals Mahajan, writer and activist Radhika Shenoy, deputy editor
Shrujana Shridhar, illustrator Shinibali Mitra Saigal, senior editor
Smit Zaveri, editor
Moderator Vetrivel T, editor
Aparna Kapur, writer and editor

UNICEF ROSA team

Offline participants UNICEF INDIA team
Mathangi Subramanian, educator and writer
Hansda Sowvendra Shekhar, author and
translator

External Reviewers
Mathangi Subramanian, educator and writer
Raviraj Shetty, occupational therapist

The Guide’s Guides 45

READ MORE
Annihilation of Caste by Dr BR Ambedkar (1936) https:// Stamped: Racism, Antiracism and You by Jason Reynolds
archive.org/details/AnnihilationOfCasteDr.B.r.ambedkar/ and Ibram X. Kendi (Little, Brown Books for Young
mode/2up Readers, 2020)

Don't Tell the Grown-Ups: Subversive Children's Literature The Anti-Racist Writing Workshop: How to Decolonize the
by Alison Lurie (Little, Brown & Company, 1990) Creative Classroom by Felicia Rose Chavz (Haymarket
Books, 2020)
Gender & Sexuality Terminology (Nazariya QFRG, 2021)
Was the Cat in the Hat Black?: Exploring Dr. Seuss’s Racial
Indian Wheel of Power & Powerlessness by The Listeners Imagination by Philip Nel (Johns Hopkins University
Collective (30 July 2022, https://thelistenerscollective.org/ Press, N1, Volume 42, 2014, https://muse.jhu.edu/
indian-wheel-of-power-powerlessness/) article/546522)

Invisible Women: Exposing Data Bias in a World Designed Whose Story Is This? Old Conflicts, New Chapters
for Men by Caroline Criado Perez (Vintage, 2020) by Rebecca Solnit (Granta, 2019)

Muslims in Story: Expanding Multicultural Understanding Workers’ Tales: Socialist Fairy Tales, Fables, and Allegories
Through Children’s and Young Adult Literature by Gauri from Great Britain edited by Micheal J Rosen (Princeton
Manglik and Sadaf Siddique (ALA Editions, 2018) University Press, 2018)

No Outlaws in the Gender Galaxy by Chayanika Shah, Writing the Other: A Practical Approach by Nisi Shawl
Raj Merchant, Shals Mahajan, Smriti Nevatia (Zubaan (Aqueduct Press, 2007)
Books, 2015)
You Can’t Say That!: Writers for Young People Talk About
Power, Voice and Subjectivity in Literature for Young Censorship, Free Expression, and the Stories They Have to
Readers by Maria Nikolajeva (Routledge, 2012) Tell by Leonard S Marcus (Candlewick, 2021)

Seeing Like a Feminist by Nivedita Menon

(Zubaan-Penguin Books, 2012)

Reading and Rebellion: An Anthology of Radical Writing

for Children 1900-1960 by Kim Reynolds, Jane Rosen,
and Michael Rosen (OUP Oxford, 2018)

Read More 46
Illustration Credits
Pratham Books

1. Beauty Is Missing by Priya Kuriyan, 2021 17. Babachya Mishya by Madhuri Purandare, 32. Tine and the Faraway Mountain, Written by
2016 Shikha Tripathi and Illustrated by Ogin Nayam,
2. The Right Way School, Written by Shabnam 2018
Minwalla and Illustrated by Fahad Faizal, 2020 18. Amma’s Toolkit, Written by Nandini Nayar
and Illustrated by Ashwini Hiremath, 2018 33. Nani’s Walk to the Park by Deepa Balsavar,
3. How Do Aeroplanes Fly, Written by Aditi 2018
Sarawagi and Illustrated by Lavanya Karthik, 19. When Will Amma Be Back?, Written by
2016 Prathiba Swaminathan and Illustrated by 34. Home, Written by Fausto Aarya De Santis
Alankrita Amaya, 2018 and Illustrated by Ogin Nayam, 2020
4. Children educating themselves and engaging
with the community by Nidhin Shobhana, for 20. Snip, by Canato Jimo, 2018 35. Betiyaan Bhi Chaahen Azadi, Written by
I Wish/Meri Aarzoo, 2020 Kamla Bhasin and Illustrated by Shrujana
21. What’s Cooking?, Written by Anjali Nayar and Shridhar, 2020
5. A child scribbling on the walls by Jayesh Illustrated by Kruttika Susarla, 2018
Sivan, for I Wish/ Meri Aarzoo, 2020 36. Behind the Lie, Written by Asha Nehemiah
22. Laundry Day, Written by Mathangi and Illustrated by Aindri C, 2018
6. Children doing different things by Priya Subramanian and Illustrated by Shambhavi
Kuriyan, for I Wish/Meri Aarzoo, 2020 Singh, 2018 37. The Weightlifting Princess, Written by
Sowmya Rajendran and Illustrated by
7. Your Body Is Yours, Written by Yamini Vijayan 23. When I Grow Up, I’ll Have a House, Written by Debasmita Dasgupta, 2018
and Illustrated by Aindri C, 2021 Jerry Pinto and Illustrated by Sheena Deviah,
2020 38. Ikru’s First Day of School by Sunaina Coelho,
8. Uma Versus Upma, Written by Meera 2020
Ganapathi and Illustrated by Renuka Rajiv, 2017 24. Have You Ever Climbed a Tree?, Written by
Priyadarshini Gogoi and Illustrated by Barkha 39. Anna’s Extraordinary Experiments with
9. Satrangi Ladkiyan, Written by Kamla Bhasin Lohia, 2021 Weather, Written by Nandita Jayaraj and
and Illustrated by Priya Kuriyan, 2020 Illustrated by Priya Kuriyan, 2018
25. Angry Akku by Vinayak Verma, 2017
10. Satrangi Ladke, Written by Kamla Bhasin and 40. Achchachi’s Bagbrella by Aithihya Ashok
Illustrated by Priya Kuriyan, 2020 26. Kali Wants to Dance, Written by Aparna Kumar, 2021
Karthikeyan and Illustrated by Somesh Kumar,
11. I Love Me, Written by Menaka Raman and 2018 41. A Book for Puchku, Written by Deepanjana
Illustrated by Ekta Bharti, 2019 Pal and Illustrated by Rajiv Eipe, 2017
27. Gappu Can’t Dance, Written by Menaka
12. Aarna and Iris’ Big Task, Written by Reshma Raman and Illustrated by Krishna Chandran, 42. On the Metro, Written by Neha Singh and
Thapa Gurung and Illustrated by Pankaj Saikia, 2018 Illustrated by Rai
2021
28. I Want to Ride a Motorbike, Written by Aarthi 43. Ammachi’s Amazing Machines by Rajiv Eipe,
13. Puchku Seeks a Song, Written by Deepanjana Parthasarathy and Illustrated by Rai, 2020 2017
Pal and Illustrated by Rajiv Eipe, 2019
29. Ammachi’s Incredible Investigation, Written 44. Naye Shabd, Written by Kamla Bhasin,
14. Nanammal and Kamalathal Travel by Air, by Vinayak Verma and Illustrated by Rajiv Eipe, Calligraphed by Nikheel Aphale and Illustrated
Written by Menaka Raman and Illustrated by 2019 by Priyankar Gupta, 2020
Sushant Ahire, 2021
30. A Very Busy Year, Written by Shabnam 45. Our Library, Written by Raviraj Shetty and
15. Friends Under the Summer Sun, Written by Minwalla and Illustrated by Upasana Illustrated by Deepa Balsavar, 2021
Ashutosh Pathak and Illustrated by Kanak Mehndiratta, 2021
Shashi
31. What House Shall I Build Today?, Written The Boy in the Cupboard, Written by Harshala
16. More or Less? Need to Guess!, Written by by Shweta Ganesh Kumar and Illustrated by Gupta and Illustrated by Priya Dali, ©Gaysi
Gayathri Tirthapura and Illustrated by Sahitya Shubhshree Mathur, 2021 Family and Lettori Press, 2021
Rani, 2017

Illustration Credits 47