WANTED Lead Camera and Lights for a documentary-style film.”

“Congrats to Maximilian Zarou (PO ’99) on his upcoming TV appearance!”

“If anyone has a short or feature film they’d like to get into a festival, PM me.”

With nearly 2,000 members, the Claremont Entertainment & Media networking group’s Facebook page is a lively community of alumni of The Claremont Colleges who mostly either work in Hollywood or aspire to.

Founded in 2007 by a group that included actor Kelly Perine ’91, the network offers a clearinghouse for job openings, freelance gigs, congratulations and queries from alumni and current students of the seven Claremont campuses.

“I was on the ground floor of getting this puppy up and running, and after 10 years we’re on the brink of turning The Claremont Colleges into forces to be reckoned with, just like other universities that seem to have a stronghold on Tinseltown,” says Perine, who is currently appearing in Nickelodeon’s Knight Squad.

The Claremont Colleges have some Hollywood heavyweights in their corner, including Interstellar producer Lynda Obst ’72 and The Martian producer Aditya Sood ’97, who is also a Pomona trustee.

“What they’re doing is fantastic,” Sood says of the group, also known as CEM.

Before the last decade or so, students and alumni often discovered Claremont entertainment industry contacts either by digging hard or by accident, which is how Sood met his first show business contact, Greg McKnight ’90, now a partner at United Talent Agency. “I was a sophomore sitting in Honnold reading weekly Variety, the print paper,” Sood remembers. “All of a sudden this guy came up to me and said, ‘Oh, how long have they had that here?’ And I said, ‘Ever since I’ve been a student.’ And he said, ‘When I was a student here, I used to write letters to get [the library] to subscribe.’ Then he said, ‘Do you want to get lunch?’ and we did. We became really good friends and have crossed paths many, many times in business over the years.”

At the offices of Lynda Obst Productions on the Sony Pictures studio lot in Culver City, Obst’s right-hand woman is Katarina Hicks ’10, who reached out to Obst because of their Pomona connection and was hired as Obst’s creative executive. She since has been promoted to development executive. There are “tons of people my age in the ‘trenches’ making moves up the ladder,” says Hicks.

Obst proudly notes that one of her former Pomona interns, Justin Huang ’09, is now the head of development at Pearl Studio, the Shanghai-based animation studio formerly known as Oriental DreamWorks. Obst says the CEM group has grown “very strong,” and she continues to speak on the Claremont campuses and offer guidance to students and recent graduates.

“I have always responded to anyone from Pomona, and they’ve come to my office, and I’ve given them advice—but not when I’m in production,” Obst says. “Also, they’ve tended to be my smartest interns, because you know when you get a Pomona person, they can write English sentences; they can analyze scripts; they can speak well; they can think on their feet. I mean there’s just been a very consistently high quality.”

It is a competitive field, and a shared alma mater isn’t enough on its own. But Sood emphasizes the value of the preparation students receive at the 5Cs, as the Claremont undergraduate schools are known. “There’s a real literary component to what we do,” he says. “You’re reading books; you’re analyzing material; you have to have critical thinking and a lot of problem-solving in novel situations. I really think the liberal arts background is a perfect steppingstone for this kind of work.

“The advice I give every time I talk to students is something I didn’t really have but I think would have been great to have: Try to find the other people on campus who also want to do this, and get to know them now. Get to know them as students, because they will form the nucleus of your network that will last you throughout your entire career.”

A storyteller from childhood and now an all-grown-up author, Ali Standish ’10 is writing children’s and middle-grade books that are being noticed by children and critics alike.

Her first book, The Ethan I Was Before, received a coveted starred review from Publishers Weekly: “Readers will be riveted.” Her debut was an award-winner, racking up accolades like the Children’s Book Review Best Book of the Year and the North Carolina Young People’s Literature Award, and landed on a slew of long-lists, including being named a Carnegie Medal Longlist Title.

August Isle, Standish’s second book published by HarperCollins, was released in April and is a work with themes of secrets and lies. A Junior Library Guild Selection, it was praised by Kirkus Reviews as “a beautifully written story. An emotional journey of family, friendship, loss, and healing.”

Pomona College Magazine’s Sneha Abraham talked to Standish about inspiration, imagination, what’s an absolute must in children’s literature and more.

PCM: So, why writing? What led you down this path?

Standish: You know, it’s hard to say that I chose writing. This sounds very cliché, but I think writing more so chose me, or at least storytelling did. A lot of my earliest memories are of making up stories about things. And from when I was really little, my mom and I would play storytelling games. So it’s always been something that I needed to do as a creative outlet. I wrote my first manuscript when I was in the sixth grade and have been writing ever since. When I was at Pomona, I was fortunate to be able to take some creative writing classes with [poet and former Pomona College Professor of English] Claudia Rankine, and it was wonderful. I also was able to do creative writing as part of my study-abroad curriculum in Cambridge.

I’ve just been doing it for really as long as I can remember. Then one of my really good friends, an important person in my life, passed away in fall of my senior year. And a big part of coping with that for me was writing my first children’s lit manuscript. I wrote a manuscript that was a very boilerplate, poorly written fantasy novel. And I was able to submit that as my final project for Children’s Literature 101. So senior year was when I really edged over into writing children’s literature.

PCM: Talk about why you moved into children’s literature.

Standish: Astrid Lindgren, who is the author of the Pippi Longstocking series, has this great quote about how she only wants to write for children because children are the only ones who can perform miracles when they read. That quote really resonates with me because I just have such powerful memories of being a reader as a child. And what a sacred experience that was for me and a formative experience. To be a part of creating that for another generation of children, I think, is probably the most rewarding thing that I can imagine doing.

PCM: Where do you get your ideas from?

Standish: I think every book that I’ve written so far has started with a kernel from my own life experience. With The Ethan I was Before, that book really started with the grief that I felt after losing the best friend that I mentioned earlier. With August Isle, it started with a trip to Indiana for a family funeral where I was reminded of a family secret that stoked some curiosity for me, and that I thought could potentially make a good book. Then with Bad Bella, that book is actually based on my own dog, Bella. The one I have coming out in the winter, called How to Disappear Completely, is actually about a girl who gets vitiligo, which is a condition that my husband was diagnosed with a couple of years ago.

It always starts with something from my life experience. Then it becomes a process of finding enough other inspiration in the world around me to take that seed of truth and turn it into a story that is not my story, that is something new and exciting. I was just working on my launch-party speech for August Isle, and I was comparing it to being a kid hunting for Easter eggs. It’s always that hunt of keeping your eyes out wherever you go and waiting for those interesting people to cross your path, or a news article that has something in it that you are  drawn to.

And then once you have those different kinds of sources of inspiration, it’s pulling them together and trying to find the connections between them. Because I think how you make the connections between the  different elements of your story is how you make your story unique. There’s no subject that hasn’t been written about; it’s how you write about it and what you connect it to that makes it interesting. So that’s the part  of the process that really is my favorite part, that gets my neurons really firing—thinking about how to bring things together in a  new way.

PCM: How do you feed your imagination? You’re looking for new ways of telling things. What do you do to stoke that fire?

Standish: I read—that’s the main thing. And then I have an overactive imagination. The positive manifestation of that is that I am quite easily able to take someone passing me on the street and create a story around them. The downside is that I have a lot of anxiety in things, and I think that is also a product of imagining different scenarios. Let’s see. I travel whenever I can. That is really helpful. In August Isle, there’s a character who is an old and wizened seafarer who has just come back from a long journey around the world. Being able to rely on what I’ve learned from being in different places is really helpful in that, and it’s cool to be able to introduce those places and different concepts to young readers.

PCM: What’s your favorite book or books from your childhood?

Standish: The two that I always go back to are Bridge to Terabithia by Katherine Paterson and The Lion, the Witch and the Wardrobe by C. S. Lewis. I read both of those books in fifth grade, which was a really transformative and transitional year for me. They are interesting counterparts to one another because they’re both about children who find magic worlds. And in one they stumble into Narnia. But in Bridge to  Terabithia they create that world for themselves. That idea really intrigued me. I lived in kind of a rural place that had a little forest in the backyard, and I just decided that my backyard was going to be my magical kingdom and called it “Nabithia,” because I hadn’t learned a lot about originality at that point. I just took Narnia and Terabithia and stuck them together, and I brought that into our playing make-believe. I kept a diary in the hollow of a tree, where I would write down these different episodes that I created for myself. And that was a really foundational experience for me in learning how far I could stretch my imagination and what I could do with it.

PCM: Nature plays a big role in your writing. Can you talk a little bit about that?

Standish: Yes. I wrote The Ethan I Was  Before after my husband and I moved to England. I didn’t know anybody. I had no job prospects. I was very isolated. And I was really homesick and particularly homesick for the American South. So writing the  setting for The Ethan I Was Before—writing that town of Pam Knot, Georgia—was a  way for me to reconnect with a place that  I really missed.

Nature played a huge part in my imaginative journey. And I think we continue to learn about how important nature is in terms of development, in terms of mental health. I was just reading an article in The New York Times yesterday written by Oliver Sacks about the importance of gardens in helping patients that have neurological issues. Unfortunately, because of the way that society has moved, it’s harder and harder for kids to have meaningful interactions with nature on their own. So I think it’s more important that they get that through books. If they’re not getting it anywhere else, at least they can have it on a page.

PCM: Narnia is outdoors. You’ve been inspired by that.

Standish: Yeah. You think about spaces like the Forbidden Forest in Harry Potter and how alluring that is. And even going back to fairy tales, we have a fascination with forests and the secrets that can be found there. Een in an age where children don’t play outside as much, I think that fascination is very much in our DNA.

PCM: Something primal about it.

Standish: Yes, yes. And I also think it’s important for kids to develop a healthy appreciation of our Earth and to know how important it is to safeguard it. This is kind of off-topic, but I think we’re coming to a point where we know that this generation is going to be the one who’s either going to really create change and be able to be the ones who are going to force everybody else to save the planet, or they’re not. I think having that emphasis there and that exposure early on is vitally important.

PCM: What elements do you think a  children’s or middle-grade book has to  have to tell a story successfully?

Standish: I think the biggest thing is honesty. Kids that age are … they’re coming into themselves. They’re already looking back on their childhood with the sense of nostalgia but also suspicion. Because for most of them, if they’ve had healthy upbringings, they have been isolated and insulated from a lot of the harsher realities of life. And they’re really curious about those things. So my books tend to have heavier subject matter in them. Adults come up to me all the time and say, “Do you really think an eight-year-old or 10-year-old wants to read about this?” And my answer is emphatically, “Yes, they do,” because books are a safe place to learn about those kinds of topics, so what better place to introduce them.

Adventure is always going to be key for middle graders because as much as they may be growing up socially, I think a lot of them are still holding on to that quest kind of structure that they have probably read in The Lion, the Witch and the Wardrobe and Harry Potter and books like that. So I always try to mix issues that can be hard to talk about with a sense of adventure and humor and sometimes a little bit of magic that helps to lighten up that heavier stuff.

PCM: Kids can deal with more than we give them credit for.

Standish: Exactly. And, you know, they do with the internet and social media, the way they are; they’re always dealing with more than we know that they are.

PCM: How do you think your Pomona  education contributed to your taking this  literary path?

Standish: Pomona gave me everything that I needed to be able to take this path. Part of it was just being around so many people who were passionate about whatever it was they were doing. Even if it was something that didn’t seem like it could translate easily into a lucrative career path. And people who were unashamed about what they were passionate about. That made me feel like it was a safe place to explore my passions and to not put myself down for having an idea that I might one day be able to write professionally. I got a lot of encouragement from the faculty there in terms of my writing. I also got an occasional kick in the pants that I really needed.

My advisor was [Professor] Toni Clark, who passed away a couple of years ago. I will never forget the first class I took with her; I wrote an essay on Virginia Woolf’s To the Lighthouse, where I looked at bird imagery. I typed it up and sent it off to her, and she gave me a C-minus. I was devastated and horrified. That was early on in my career at Pomona. I had a sense that it was confirming everything that my impostor syndrome had told me about—not being worthy of a Pomona education.

When I went in to see her to ask her what I could do better and to plead the case for extra credit, she told me that she had given me that grade because she knew from my contributions in class that I could do much better. And if I were another student, she might have given me a different grade, but she knew that I had it in me to do  more and she wanted to pull that out of  me. I am so thankful that she did that, because even though it was just a little paper and a small moment, it really made the difference in how I—I’m about to cry about it—it really made a difference in how I saw myself and my potential. That was a message that I didn’t get a lot in high school. Pomona gave me a lot of emotional and intellectual tools to be able to pursue this career path.

PCM: It’s touching to have someone see more in you than you see in yourself.

Standish: Exactly. And for a girl who came from Greensboro, North Carolina, to Pomona—my guidance counselor cried when I told her I got into Pomona. She said, “I don’t believe it.” So, when I came, I really was not sure if it was something that I could handle or a place that I belong. So especially for me to have that reassurance was really powerful.

PCM: What are you reading right now?

Standish: I am reading … nothing that’s going to look good, in fact. I would love to say I’m reading Tall Story. But no, I am reading an audio book by an Australian author I love called Liane Moriarty. She did Big Little Lies, which got turned into that HBO series. And then I’m reading a British mystery.

But I will say that’s not my usual fare. Usually my bedside table is stacked high with 10, 12-odd children’s books that I’m reading.

PCM: Do you alternate between children’s books and adult books? Or do you have a method of how you choose your books?

Standish: I try to. It’s important for me to see what’s out there in children’s books. Every time I open a book, I treat it as a learning experience. I always feel like I come away having learned something new about the craft of writing, whether it’s what to do or what not to do. Then when I need a break from children’s books, generally I tend toward hedonistic pleasures in the adult books. I go straight for the mysteries and The New York Times bestsellers.

PCM: Great. No shame in that.

Standish: Yeah, thank you.

PCM: No, no.

Standish: The English major in me does die a little inside.

While Avis Hinkson was growing up in a Barbadian immigrant household in Brooklyn, she imagined a career in health care. Instead, her life’s work has been guiding college students, first as an admission officer, later as a director of advising and now as Pomona College’s dean of students. “I didn’t go to college thinking I would stay in college,” she says with a laugh. She tells students that “as a college student, you want to chart a career path, and I encourage you to do that. But I also encourage you to be open to the right and left turns that sometimes take place, because they can lead you to wonderful career spots that you couldn’t have possibly imagined.”

Absorb the lesson while growing up in a culturally rich neighborhood that education is the path to a better life. Watch your mother, a seamstress, graduate from college in her 50s after going to work as a teacher assistant.

Go along with a high school friend to meet a recruiter from Barnard College. Be impressed that the recruiter is African American, and with the help of financial aid (Barnard costs more than your father makes in a year’s work as a mason), become one of about 25 Black students in a class of 500.

Bump into Barnard student Vernā Myers on your way to the career center to pick a work-study job as a first-year student. Heed the advice of the future Netflix vice president when she suggests a job in the admissions office. Create Barnard’s first overnight-visit program for prospective students of color.

Listen to Barnard senior Marcia Sells (a future dean of students at Harvard Law School) when she encourages you to run for the student seat on the Board of Trustees. Take part in the decision that Barnard will remain a women’s college instead of merging with Columbia.

After graduation, become an admissions counselor at Bowdoin, establishing minority recruitment programs there. Decide on a career in higher ed instead of health care, later earning an M.A. in student personnel administration from Columbia University’s Teachers College and an Ed.D. from Penn.

Establish minority recruitment programs at Cornell before coming to Pomona in 1990 as asso­ciate dean of admissions. Contribute to Pomona’s minority recruitment plan before moving on to become director of minority recruitment at the University of Southern California.

As director of advising for more than 18,000 undergraduates in the College of Letters and Sciences of the University of California, Berkeley, get an eye-opening look at the bureaucracy of a large public university. While furloughed amid a California budget crisis, remember the allure of small liberal arts colleges.

Go home again and call your 96-year-old father to tell him you’ve been named as Barnard’s first African American dean of the college. Feel grateful that a man who felt most comfortable talking with the public safety officers and janitors when visiting campus lived to see it.

Go home again (again). Leave behind your newly renovated childhood home in Brooklyn and return to Pomona as you are drawn back to the campus where G. Gabrielle Starr has recently become Pomona’s 10th president, the first woman and first African American to lead the campus.

Discover that April Mayes ’94 is now a professor of history at Pomona, and Nate Kirtman III ’92 is on the Board of Trustees. (Both were student workers in admissions when you worked at the College before.) Know that the seeds you planted have helped make Pomona one of the most diverse private residential liberal arts colleges in the country.