Today I’m joined by the ever-so-talented, children’s book author, broadcaster, founder of The Kidlit Foundation, and my dear friend and critique partner, Sope Martins! During our conversation, we’ll discuss the agenting journey, finding your writing community, and balancing culture with a wide reading audience.
Sope, I am so excited to finally be welcoming you to the blog as a Feature Interview guest. Can you tell our readers where you’re joining us from today?
Hi Chelsea, I’ve been counting down to the day, so I’m very glad it’s finally here! I’m coming to you from Lagos, Nigeria.
How did you hear about the Feature Interview series, and what made you want to apply?
From your newsletter and Instagram posts. It’s been fun reading the conversations and discovering amazing authors and their books through the series.
What do you write, and when did your writing journey begin?
I write picture books, middle grade, and young adult novels. My writing journey began about ten years ago with my first picture book, The Greatest Animal in the Jungle, which was published in Nigeria.
As you know, breaking into the publishing industry requires a great deal of patience and persistence. How were you able to stay the course?
This is such a good question because it is one thing to understand that publishing is slow, and another thing to live through it. What helped me through it all, and continues to help me, is doing other things.
When I send a manuscript to my agent, I set a reminder on my calendar to check in later, then I move on to something else. Sometimes that’s another manuscript. Sometimes it’s teaching a workshop or working on programmes through The Kid Lit Foundation. Now, instead of waiting anxiously, I get these lovely bursts of excitement whenever I see an email from my agent.
What are some of the obstacles you’ve faced on this journey, and how have you successfully been able to overcome them?
One of the biggest challenges has been navigating the distance between the African children’s literature ecosystem and the global publishing industry. Many African writers are telling powerful stories, but access to publishing networks, mentorship, and industry knowledge can still be uneven depending on where you live.
That’s one of the reasons I care so much about building community and creating opportunities through The Kid Lit Foundation.
Let’s talk a bit about community. A writing community is an invaluable resource for writers to have. Can you share some of the ways that your writing community has helped you?
Oh, my days, where would we be without our community!
First mention has to go to our writing group, the Picture Book Society! We share manuscripts, news, opportunities, worries, and concerns, and encourage each other. We also meet regularly, which makes the writing life feel much less solitary.
I’ve also found wonderful community at conferences and festivals, and through my MFA programme. Writing might happen alone, but writing careers definitely need community.
Are there any writing contests/organizations/groups in particular that helped get you to where you are today? Explain.
Yes, several.
We Need Diverse Books has played a huge role in expanding the possibilities for writers from underrepresented communities. As a 2021 mentee, I got the opportunity to be mentored by the gracious and generous Erin Entrada Kelly. The editor-writer mentorship program from The Word: A Storytelling Sanctuary connected me with Caitlyn Dloughy, editor extraordinaire and the editor of Hairstory.
Mindy Alyse Weiss’s PB Party contest was another important one. It is such a well-run event and creates wonderful opportunities for writers to connect with agents and editors. Being in the showcase got me into conversation with a number of agents. 12×12 gave me the gift of our writing group, and SCBWI has done too much in my writing life for me to even begin. They’ve got grants, conferences, community, and The Book, which has all the resources a budding writer could need.
-Such fantastic groups- thanks for sharing! (I have included quick links if anyone is curious about checking these out!)
What are some contests/groups/organizations you might recommend to other writers, and why?
All of the above, definitely. They are so well run and so supportive of writers. And for writers based in Africa, I would also recommend Suyi Davies Okungbowa’s Literary Laddership for Emerging African Authors. It is one of the most thoughtful mentorship initiatives I have seen for African writers. I tell all my African writing friends and acquaintances about this.
Speaking of writing organizations… tell us more about The Kid Lit Foundation. What is it, when did you found it, and who is it for?
The Kid Lit Foundation is a space for young readers and creatives across Africa. I founded it in 2024 after years of visiting schools and meeting children who loved stories but had limited access to books or storytelling opportunities.
Through the foundation, we connect children with authors, illustrators, editors, and other creatives through workshops, mentorship programmes, storytelling events, and literacy initiatives.
One of our biggest events is KidLit Fest, our annual literature and storytelling festival. We also run book drives and our Box Library initiative, which provides mini libraries in spaces where children might not otherwise have access to books.
What kind of response has your organization received from its community?
It’s been really good. We’ve had great feedback from children, teens, and their caregivers. A couple of our mentees have gone on to complete their manuscripts – one even got published!
We’ve also had a great response from schools. This year, we’re working to expand the scope of our mentorship programme so we can go from tens of participants to hundreds.
Can you tell us about your mentorship programs that you’ve participated in and some of the other writing-related festivities that you’ve been able to partake in?
I can confidently say that mentorship programs have gotten me to where I am today.
The WNDB mentorship programme paired me with Erin Entrada Kelly, who introduced me to my agent, Sara Crowe. The Word Editor-Writer mentorship paired me with Caitlyn Dloughy, who acquired Hairstory.
PB Party helped get my work in front of agents, and SCBWI conferences are always fun, informative, and a great way to meet people in the industry.
I also attend Nigeria-based workshops and festivals. They’re wonderful spaces for gathering with the writing community.
Let’s explore query letters. What did the querying process look like for you, and how long were you in this stage before finding your match?
My goodness, querying is an education in persistence.
For me, the process involved researching agents carefully, sending queries in batches, and constantly revising both the query letter and the manuscript based on feedback. I was one of the luckier ones – I spent about nine months querying before getting into the PB Party final showcase and getting my agent. And yes, querying is very much about luck and timing and opportunity as opposed to just talent. Because I have seen gloriously gifted writers spend years in the querying trenches.
It can feel daunting because you are asking someone to believe in a story that only exists in your imagination. But the right agent is out there looking for the exact story you are writing.
“…querying is an education in persistence…”
Sope Martins
“The right agent is out there looking for the exact story you are writing.”
Sope Martins
Do you have any tips on how a writer and/or illustrator can write a strong query letter?
Research. Know what the agent you’re querying is looking for, see how your work fits that, how it is distinct from other stories like it, and write a letter around that. You don’t need bells and whistles. You just need to keep it clear and focused.
And most importantly, make sure your manuscript is as strong as possible. The query letter will open the door for you. Your manuscript is what gets you in.
-YES, to all of the above!
You’re currently agented, and not long ago, your debut picture book, Hairstory, was released with Atheneum/Caitlyn Dlouhy Books in January 2026. (YAY!) But before we talk about that, I’d love to dig a little into how you got to this point in your publishing career. How and when did you connect with your agent?
I signed with my agent, Sara Crowe, shortly after the PB Party Finalist showcase. During my WNDB mentorship, Erin Entrada Kelly had very kindly introduced me to Sara, who is also her agent. At the time, Sara gave me really thoughtful notes on a middle grade manuscript and invited me to revise and resubmit.
What’s funny is that I hadn’t queried her with my picture books at all. She was looking for MG and YA, and I had only sent her that middle grade project.
Then PBParty happened. My picture book manuscript got some lovely responses from agents, and I had this stray thought: why not send it to Sara, too? Even though she wasn’t actively looking for picture books.
Lo and behold, she loved it and offered representation.
Was the manuscript that initially got you your agent the same one that got you your first book deal?
Interestingly enough, no, it wasn’t. The PB manuscript that got me representation was called Masquerade Dance. I didn’t have that much hope for Hairstory because the word on the street was that there were rather a lot of hair books out there, and publishing land didn’t need any more. But I guess you can’t believe everything you hear because Hairstory got snapped up by Caitlyn!
How did you know your agent was the right fit for you? Tell us some of the green flags.
I liked Sara’s energy straight away. That was the biggest green flag. I really liked that, though she didn’t sign me at first, she took time out to give me really detailed and constructive notes on my manuscript. When we had our conversation, I had a list of questions I had prepared, and she answered every one of them thoughtfully. She was prepared and had thought of how she would present me to editors. And she’s always open to communication. I can tell her what I need from her without worries.
What are some things that you’d say make a successful agent/author relationship?
Trust and communication for sure. You need to trust that you and your agent share the same vision for your work. And you need to know what you want and clearly communicate that.
For those who may be at the pre-agent stage and curious about post-representation, can you tell us about the next steps? What has your submission process been like since acquiring representation?
Once you sign with an agent, the next stage is often revision.
You and your agent may refine the manuscript before sending it out to editors. After that comes the submission process, which can involve multiple rounds of editors reading, discussing, and considering the book.
It requires patience, but it is also an exciting stage because your story is finally entering the publishing world.
What projects are you working on now, and what sparks your creative interest?
I’m working on my Moby Dick right now! It’s a YA novel, and it was the first idea for a book I ever had, but I knew I wasn’t ready to tackle it. Now I’m ready. It’s slow going, but it’s fun. I’m also working on a middle-grade novel in verse.
Many of your stories embrace parts of your heritage and culture. Hairstory is a great example of this. Can you tell us about how you were able to balance culture while writing for a wider reading audience? Explain.
Honestly, I don’t really think about balancing culture for a wider audience when I’m writing. I start with the characters and the world they live in, and I try to be truthful to that.
When I’m writing nonfiction, I usually begin with something that catches my attention. Then I start digging into why it fascinates me.
With Hairstory, for example, I kept thinking about how expressive Yoruba culture is and how much we love telling stories. If you’ve ever been to a Black salon, you know that hair time is sharing time. I found myself wondering where did that come from? So, that was my angle into writing about black hair.
What I’ve found is that when you write those things honestly, readers connect to the emotions inside the story. Even if the setting or traditions are unfamiliar, the feelings are not. The more specific you are, the richer the story becomes.
For other writers who may be passionate about sharing their personal roots and culture in their writing, do you have any tips on how they can do this while also connecting with a wider audience?
I think you have to write the specifics. Sometimes, you might want to make your writing more general because that feels like it will be more accessible to a wider audience. But, counterintuitively, it’s digging into the specifics. The more grounded your story is in real experiences, traditions, and emotional truth, the more readers will connect with it.
While we’re on this topic, now is a fantastic time to delve into more about Hairstory. Tell us about your book! What is it about?
Hairstory is really a celebration of Black hair and everything that comes with it. The creativity, the history, the pride, and the cultures behind it.
What was your inspiration for writing this story, and what message do you hope it will impart to readers?
Hair rituals were always a big part of growing up for me. I spent a lot of time at the hairdresser’s. We had different styles of hair for school and at home. Different cultures spawned different hairstyles, but they had the same motivations. I wanted to highlight that connectivity.
What kind of feedback have you received from readers?
It’s been great. I’ve been in conversation with authors, teachers, and parents. The feedback has been amazing, and one thing I’m so happy about is that Hairstory got to be out in time for Black History Month.
What have been some of your happiest publishing highlights?
Definitely Hairstory coming out! And it getting starred reviews!
What keeps you motivated to continue writing?
Curiosity. And the look in a child’s eyes when they’ve read my story and loved it.
Have there been any books/writers that/who have influenced or inspired your writing career?
So many. Enid Blyton, because that’s who I grew up reading, Mariama Ba, Chinua Achebe, Nina Bawden, Carole Boston Weatherford…the list goes on.
What words of wisdom would you like to offer readers today?
If you’re writing for children, you’re doing a wonderful thing. You’re doing a creative thing. You’re doing an inventive thing. You’re doing a hard thing. You’re doing a worthwhile thing. You’re doing a rewarding thing. You’re doing a frustrating thing. You’re doing a lot of things for the thing you love.
Beautiful way to end. And very true! And now, it’s time for a giveaway.
GIVEAWAY
This month, Sope is offering a picture book critique to one winner! Parameters: No rhyme. Fiction: under 800 words. Nonfiction: under 1,300 words.
HOW TO ENTER THE GIVEAWAY
LIKE AND SHARE this article to X and/or Instagram and mention/tag my handle X @chellysbooks / Instagram @chelseasworldofbooks so I can add your entry! Don’t have X or Instagram? Enter the giveaway by LIKING and leaving a COMMENT at the bottom of the interview.
ENTRY WINDOW: Once the Feature Interview is posted, you will have one month (roughly 30 days) to enter. The entry window for this feature interview giveaway will close once next month’s feature interview is posted. At that time, the next month’s feature interview giveaway window will open. Meaning, there will always be a giveaway opportunity.
NOTE: Feature Interviews come out on the third Wednesday of every month.
Example: January Feature Interview is posted: January giveaway window opens/begins. February Feature Interview is posted: January giveaway window closes/ends, and February giveaway window opens/begins.
Questions? Visit the FAQ page or drop a comment below.
Did you enjoy this interview?
Thank the author & host by purchasing or reviewing a copy of one of their books or by requesting it be purchased by your local school or library! Using the sponsored links below to purchase also helps support this blog.
Purchase ADHD and Me HERE
Purchase Hairstory HERE
Sope Martins is a Lagos-based children’s author, broadcaster, and founder of The Kid Lit Foundation. She writes books, runs a storytelling festival, and connects children with established authors, illustrators, and storytellers through mentorship programmes—despite the Lagos traffic trying to write her out of the plot!
Her happy place is helping African children find themselves on the page, right in the middle of epic adventures.
Sope’s the author of several picture books, including The Greatest Animal in the Jungle and The Adventures of Nosa the Superhero (Farafina Books), and has worked on international literacy campaigns from Lagos to Johannesburg. Her upcoming picture book, Hairstory (Atheneum/Caitlyn Dlouhy Books, 2026), is an ode to Black hair in all its beauty, strength, and sculptural glory—because hair, like story, is never just one thing.
