by Laura Shovan

School Poetry Workshop: Food and the 5 Senses

Poetry Friday is at Kiesha’s Whispers from the Ridge. Click through to find more delectable poetry posts from the kidlitosphere.

It’s Poetry Friday! Welcome back to Northfield Elementary, where the third grade poets are using their five senses to write about food.

When I’m working with young writers on food poems, I want to guide them away from catch-all words: delicious, yummy, tasty, good, disgusting. Pizza and ice cream are both delicious, but they don’t taste anything alike (unless you visit this LA restaurant.)

Here’s a quick cooperative writing game/exercise you can use to help students focus on specific, descriptive language.

Mystery Food
Goal: Get the class to guess your mystery food in three words.

  1. Make a set of small cards with the name of a food on each one. I use half an index card. The foods I use are: ice cream, bubble gum, tacos, hamburger, pizza, apple, chocolate, orange, celery, spinach.
  2. Give groups of four-six students one card each. Don’t read the card aloud (we don’t want our classmates to hear), but pass it around the group.
  3. The group has 5 minutes to come up with the three adjectives that are so descriptive, the class will be able to figure out the food in one guess.
  4. Each group take turns reading their three words. The rest of the class tries to guess the food.

My students have a great time with this one. The classroom teacher and I do walk around, reminding them that they can use color, shape, texture, flavor, and other descriptors.

Our mentor text for the food poems workshop is “Good Hotdogs” by Sandra Cisneros.

Thanks to the Northfield 3rd grade team and families for giving me permission to share the students’ poems. Today, we were focusing on using imagery of the five senses.

Poet: Ayesha A.

Popsicle

Going outside
In the warm sunshine.
You run behind me.
Something’s in your hand.
You yell, “Wait!”
I turn around, something plops in
My hand.
I rip open the foil
And see all the types
Of colors. I take a bite
And out leaks the juicy
Cherry flavor. When I’m done there’s
A stick left behind.
I then say thanks and then
I leave. Yum.

Poet: Will Y.

Sushi

Waiting ‘til Friday
Hearing a ding
Going to the door, meeting
The sushi man
Pizza, sushi, and video games
End of the week, tired
California roll, sweet crab, soft avocado
I think it is tasty

Poet: Celia V.

Pepperoni Pizza

As I taste the spicy pepperoni
Smell the cheese at the tip
Of my tongue, see the cheesy
Pizza, hear the likes of
My mouth, ready to eat it
Up, I touch the hotness of
My pizza.

Poet: Tanishka H.

S’mores

Out in the dark
We sit in the pitch black.
Mom and Dad
Shout surprise! Out come
Hershey bars, marshmallows
Honeylicious graham crackers.
Mom and Dad light up the fire.
I see marshmallows
On a stick soft, crispy,
And looks yummy! First goes
The cracker, then goes toasty
Marshmallows and sweet
Hershey piece and another
Honeylicious graham
Cracker on top. We take
A s’more. We smell sweet crisps
Of marshmallow burns.
We take a bite. “Yum,” we say. Chewy
Squishy marshmallows in our mouths.
S’mores we all love.

Poet: Ava R.

Warm Drinks in the Winter

I hear the coffee machine dispenses warm liquid.
I feel the warm cup against my cold fingers.
I smell the hot chocolatey air.
I see the marshmallows melt into the hot chocolate.
I hear the sound of the whipped cream
Squirt out of the can into the hot chocolate.
It tastes as if I got it from heaven.
The warm liquid swishes in my mouth.
Swish, swash, gulp!

Still hungry? I’ll post more Northfield food poems next week.

Check out the previous posts in this School Poetry Workshop series:

School Poetry Workshop: Haiku Hike, May 12, 2017

School Poetry Workshop: Haiku Hike

Thank you for hosting today’s Poetry Friday link up, Tara Smith! You’ll find a list of today’s poetry posts at Tara’s blog, A Teaching Life.

Happy Poetry Friday, Readers.

It’s May, my month to serve as poet-in-residence at Northfield Elementary School. This is my longest running residency through the Maryland State Arts Council. 11 years!

When I had my orientation meeting with third grade educators this year, they had important information for me. This year’s 3rd graders are active. They need to move! How could we adapt the poetry lessons to meet this need?

We decided to kick off our series of poetry workshops with a haiku hike, inspired by the book HAIKU HIKE from Scholastic. This book won the 2005 “Kids Are Authors” award. It’s a great introduction to haiku and inspired us to go outdoors and gather images for our poems.

Haiku poems have a rich history, steeped in Japanese culture. We talked about a few quick things before we went outside.

  1. Japanese is read from top to bottom, not left to right like English. The 5-7-5 syllable count isn’t a rule, but an attempt to recreate the rhythm of a Japanese haiku. I encourage students to write three lines — short-long-short — or even two lines for their haiku. (We looked at a traditional haiku, in Japanese, from a page in the book WABI SABI, by Mark Reibstein, illustrated by Ed Young.)
  2. The book HAIKU HIKE introduces the concept of kigo, a word in the haiku that symbolizes the season.
  3. In some classes, we discussed the difference between haiku and senryu.

Then we were ready for our hike.

Each of the five third grade classes went outside for about 10-15 minutes on a series of sunny, very windy days. Wow! They student poets were so observant, paying attention to details small and large.

The wind was so chilly, students lay on the warm blacktop while they wrote down observations.

 

Thanks to the Northfield 3rd grade team and families for giving me permission to share the students’ poems.

Poet: Jessica M.

Leaves whispering quietly
My name in the breeze
Come outside with me

Modeling for students: flowers in our path/ buttercup turns our chins yellow/ on a haiku hike

Poet: A.J. H.

Itchy eyes
Acorns on the tips of trees
Millions of grass

Poet: Jameson I.

Running in grass
Brown pine cone in our path
Sappy hands

Poet: Sarah B.

On a sunny day
Spring flowers start to bloom
Then I do too

 

Poet: Sarena D.

Scratch, dirt creaks and crack
Under tree, all alone, far away from home
No movement, no tossing

Poet: Kate A.

Cute little creatures
Scurrying through green tree tops
Eating lots of nuts

Poet: Lucas B.

Shooting star
Some people make a wish
Others just watch

Poet: Milie S.

Shh, the leaves go
Rustled by the spring wind
Nature’s librarian

Poet: Jackson A.

Furious wind
Trees swaying and branches battling
Spring wind war

Then, this happened. (Haiku by Ms. Shovan)

windy spring day
student papers take flight
haiku blizzard

Inspired by the wonderful haiku by Northfield third graders, I’ve been working on my own haiku poems this week.

During one of my walks, I took photos instead of notes, then came home and wrote haiku like this one.

May walk
Sun puddles on pavement
Watch your step!

Want to try this lesson with your students? This is the frame I used. Feel free to borrow.

NPM 2017: 5 Questions for the Verse Novelist, Featuring Holly Thompson

National Poetry Month 2017 has flown by in a blur of words. I’ve asked poet and author Holly Thompson to close out my NPM17 series of interviews with verse novelists. You’ll find links to each interview at the bottom of this post.

Holly has published many books–including a picture book, MG, YA, and new adult novels–but two of my favorite are her verse novels ORCHARDS and THE LANGUAGE INSIDE. We met years ago at an SCBWI conference and connected over poetry (what else?!) As I was working on my own novel-in-verse, Holly read early drafts. I am grateful for her feedback and her willingness to mentor a pre-published author.

Happy National Poetry Month, Holly!

Tell us about your most recent verse novel. What is it about the story and characters that led you to write the book as poetry?

My third and most recent verse novel Falling into the Dragon’s Mouth confronts school bullying in Japan. As with my verse novel Orchards, and sections of The Language Inside, Falling into the Dragon’s Mouth is set in Japan. Bullying, or ijime, is a chronic social problem in Japan. Incidents of bullying and intimidation are on the rise in U.S. schools as well, but in Japanese schools, bullying tends to be a group phenomenon. My children’s experiences as outsiders in Japanese schools and the experiences and struggles of many other intercultural children I have come to know in my years of living in Japan led me to write this story. Main character Jason, a non-Japanese boy attending a Japanese school, has so much bottled up inside him as he copes with bullying—yet he confides to no one. Writing this story in a spare free verse style enabled me to tap into his struggles—and his valiant efforts to overcome his problems.

Does your story spin on one central event and how it impacts the characters in the book? If so, how did you incorporate poetic elements such as metaphor and symbolism to show the echoes of that event through the novel? Would you share an example of this from your book?

In Falling into the Dragon’s Mouth, Jason is an outsider and a year older than his classmates, and when the classroom han groups are changed, Jason finds himself placed with five of the most aggressive members of the class. He knows he will be with seated with this han for many weeks—in homeroom for most classes, at lunch, and during unsupervised school cleaning periods. His friends at school are sympathetic but remain passive bystanders, urging Jason to just go along with the bullies and not make waves. Jason tries to find confidence and balance through his practice of the martial art aikido as aggressions escalate.

The following are two of five “page poems” in an early chapter of Falling into the Dragon’s Mouth called “Centering.”

You can see the correct formatting of the poems on the page in this photo.

_____

at the dojo
you bow to enter
and on the mats
you kneel, you meditate
you hold your one-point center
even when Yamada-sensei
pushes your forehead to test you

you chant, you stretch
you roll
across
the mats
forward
and back
you bow to your opponent
you practice holds and moves
you take your opponent’s energy

and turn it to overcome him
or her

and what matters most
through every move and fall
is you keep firm
you stay in control
you hold your center

_____

in aikido
we practice protecting
we imagine attackers
we use mind and body together
our ki energy
to keep calm
perform our best
so we can dare to face
an enemy of millions

but today I picture real attackers

so while entering and turning
and receiving strikes
I’m thinking of
Shunta

Yuki
Naho
and Mika

I focus hard
make no mistakes
calm and action
as one
_____

Have you ever written a full or partial draft of one of your verse novels in prose (or vice versa), only to decide to switch? How did you go about making that change? What were some of your clues that you needed to rethink the form?

Before setting out to complete a full draft, I always play with scenes in both prose and poetry, and listen to the narrative voice closely to test and confirm that verse is the appropriate form for the novel. One scene of Falling into the Dragon’s Mouth had first existed as a prose short story, but that storytelling mode felt too distant. For a character enduring ongoing harassment in a society like Japan that emphasizes conformity and where the standard survival mechanism is to do anything to blend in and gaman—persevere stoically, I felt that free verse enabled an interiority that was critical in this book. In verse, you can pare the language down to reach the core of an episode, which can make the experience of a scene more visceral. With this interiority, and with pages that don’t overwhelm with details, verse can also enable readers to enter a world they may not know and to experience a situation in a first-hand sort of way.

I see a similarity between the poems in novels-in-verse and dramatic monologues. Each poem in a verse novel has a character communicating his or her emotions and observations. There is often a realization or shift in thinking that happens in both monologues and in a verse novel’s poems. What do you think about the overlap between a speech for the stage and a poem in a verse novel?

In my three verse novels so far, I’ve written in chapter poems that are composed of “page poems” or “sub poems.” These page poems are not titled, and rarely can they stand alone, but they are broken deliberately for page turns that affect the pacing in the novel. As a result, some chapters may resemble dramatic monologues. Or, a series of page poems from a subplot that spans multiple chapters may cumulatively serve as a dramatic monologue. I was pleased to learn that students sometimes perform dramatic interpretations for speech contests using my excerpts from my verse novels.

Most of the middle grade and YA verse novels I have read are contemporary or historical. I’d love to see a fantasy or science fiction novel-in-verse for kids. Do you think the form is flexible enough to stretch into other genres of fiction? Why or why not?

I think any genre of story can be told with poetry. There are so many ways to write poetry, and limitless possibilities for using poetry to propel a narrative, so I think we’ll be seeing many style, structural and genre variations in verse novels in the future. Why not a fantasy novel? Why not sci-fi? Poetry can do anything, and verse novels are a completely malleable form. I look forward to future verse novels!

I agree. With poetry, anything is possible. Thank for visiting, Holly!

Holly Thompson (www.hatbooks.com) is a longtime resident of Japan and author of the verse novels Falling into the Dragon’s Mouth, The Language Inside, and Orchards. She edited Tomo: Friendship Through Fiction—An Anthology of Japan Teen Stories, and she writes poetry, fiction and nonfiction for children, teens and adults and teaches writing in Japan, the U.S. and internationally.

I hope you’ve enjoyed this series of  interviews with verse novelists. Thanks to all of the authors who took the time to share insights in their writing.

Here is the full list of posts:

4/3 Jeannine Atkins, STONE MIRRORS: The Sculpture and Silence of Edmonia Lewis (Find the post here.)

4/6 Caroline Starr Rose, BLUE BIRDS (Find the post here.)

4/10 Leza Lowitz, UP FROM THE SEA (Find the post here.)

4/13 Shari Green, MACY McMILLAN AND THE RAINBOW GODDESS (Find the post here.)

4/17 Annie Donwerth-Chikamatsu, SOMEWHERE AMONG (Find the post here.)

4/20 Ellie Terry, FORGET ME NOT (Find the post here.)

4/24 Margarita Engle, MORNING STAR HORSE and FOREST WORLD (Find the post here.)

4/25 Tamera Will Wissinger, GONE CAMPING (Find the post here.)

4/27 Debut novelist Amanda Rawson-Hill (Find the post here.)

4/30 Holly Thompson, FALLING INTO THE DRAGON’S MOUTH (Find the post here.)

You can find a list of National Poetry Month blog projects at Jama’s Alphabet Soup. And check out this great list of recommended MG verse novels from educator Cassie Thomas at the blog Teachers Who Read.

NPM 2017: 5 Questions for the Verse Novelist, Featuring Amanda Rawson Hill

It’s the last Poetry Friday of National Poetry Month. We’re down to the last two author interviews of my NPM17 series on verse novelists.

A quick note first: I’m part of Bookology’s month-long poetry mosaic, which features many of our Poetry Friday friends reading their own poems. You can find that here.

Thanks to JoAnn Early Macken for hosting Poetry Friday this week. You’ll find April and all of this week’s poetry links at Teaching Authors.

I have something and someone different to share with you today:  A verse novelist in the making! Meet Amanda Hill, a debut prose-novelist who just finished polishing up a novel-in-verse with her agent. The working title of that book is THE HOPE OF ELEPHANTS.

Amanda interviewed me about writing verse novels a few months ago. (Read part one of that interview here.) I’m happy to include her in this months verse novelist series.

Tell us about the verse novel you’re working on, Amanda. What is it about the story and characters that led you to write the book as poetry?

The verse novel is an MG/YA crossover about a girl who finds out she has a 50/50 chance of having the same cancer gene that is killing her father.

I knew it was in verse almost from the very beginning, simply because that is how the character started speaking to me before I even wrote anything down. It took me a couple minutes of listening to her words and hearing the rhythm of them before I said, “I think she’s talking in free verse.”

Sure enough. She was. And it’s a good thing, too. Because the idea in the story of something being 50/50 and having two different paths one can possibly take in life is something that I was able to actually illustrate in form using poetry.

Does your story spin on one central event and how it impacts the characters in the book? If so, how did you incorporate poetic elements such as metaphor and symbolism to show the echoes of that event through the novel? Would you share an example of this from your book?

My story spins on this idea of the character wondering, “Am I living or dying?” while simultaneously watching her father die. So, this idea of death and what it means to die is echoed a lot through my book, especially through the last half. Although, I very rarely talk about it outright. I use a lot of symbolism. One poem says death is like finishing a really good book. Another compares terminal illness and death to waiting in an airport and then getting on a plane. The very last poem is left up to the reader as to whether it is another metaphor for dying, or simply something that truly happened, and it’s about crossing a bridge.

Your debut is a prose novel. How was the experience of working on this book different from writing prose fiction? What made you turn to poetry as the backbone of how you tell a story?

Writing a verse novel felt harder to me. First of all, the number of words I could get onto the page in an hour was totally different. When I’m writing prose, I can do 1000 easy. With a verse novel, my max was about 400. After that, I would feel so drained mentally, that I just couldn’t do anymore. It was also different in how the story was told. While there were still scenes, I had to tell them in glimpses. Each poem feels more like telling a story through snapshots. A certain feeling or symbol or focus for each poem all adding up to a greater whole and story. It was hard to train my brain to think in snapshots instead of narration, if that makes sense. It still took several rounds of revision to realize that I didn’t need so many poems for one scene. That I was still trying to narrate some things, instead of just giving a glimpse.

That makes perfect sense. My brain tends to think in those snapshots. Even when I’m writing in prose, it’s scene by scene. The narration, the glue between moments, comes later.

Most of the middle grade and YA verse novels I have read are contemporary or historical. I’d love to see a fantasy or science fiction novel-in-verse for kids. Do you think the form is flexible enough to stretch into other genres of fiction? Why or why not?

That’s a good question! I think it definitely could, but probably with limitations. I don’t know if you could do a real epic or high fantasy that needs a ton of world building because I think that would either bog down the poetry, or not be effectively communicated. But I think a light fantasy or a contemporary fantasy with familiar characters like werewolves, vampires, fairy tale characters, etc. could definitely be done well. So I say, Yes…with limits.

Imagine one of your favorite poets has just written his or her first verse novel for children or teens. Which poet is it? Why do you think this person would be a great fit for a kidlit novel-in-verse? Any guesses as to what the book might be about?

I have lots of favorite poets. But when I think about which one could write a great novel in verse for kids, I’m going to have to go with Maya Angelou. I just think MG lit is all about finding hope and starting to figure out how the world works. I think those themes and ideas are really exemplified in some of her poetry. I can totally see an MG character saying, “I rise, I rise, I rise.” Or, “Nobody, but nobody, can make it out here alone.”

As to what it would be about, I think it would follow in the tradition of Nikki Grimes and Janice N. Harrington. a beautiful, family-centered story with a black main character finding their voice.

I’m excited to read your prose novel, Amanda — and happy to have  you in the verse novelist community too.

Amanda Hill grew up in southwest Wyoming, with a library right out her back gate (which accounts a lot for how she turned out.) She attended Brigham Young University, where she earned her bachelor’s in chemistry. From there, Amanda has lived all over the country with her husband and family. She now resides in central California, where she enjoys homeschooling her children, gardening, working with refugees, and, of course, writing. She is represented by Elizabeth Harding at Curtis Brown and has a debut novel  being published in 2018.

We wrap up my series of National Poetry Month interviews with verse novelists on Sunday. Holly Thompson will be here to talk about her MG verse novel, FALLING INTO THE DRAGON’S MOUTH.

Here is the full list of posts:

4/3 Jeannine Atkins, STONE MIRRORS: The Sculpture and Silence of Edmonia Lewis (Find the post here.)

4/6 Caroline Starr Rose, BLUE BIRDS (Find the post here.)

4/10 Leza Lowitz, UP FROM THE SEA (Find the post here.)

4/13 Shari Green, MACY McMILLAN AND THE RAINBOW GODDESS (Find the post here.)

4/17 Annie Donwerth-Chikamatsu, SOMEWHERE AMONG (Find the post here.)

4/20 Ellie Terry, FORGET ME NOT (Find the post here.)

4/24 Margarita Engle, MORNING STAR HORSE and FOREST WORLD (Find the post here.)

4/25 Tamera Will Wissinger, GONE CAMPING (Find the post here.)

4/27 Debut novelist Amanda Rawson-Hill (Find the post here.)

4/30 Holly Thompson, FALLING INTO THE DRAGON’S MOUTH (Find the post here.)

You can find a list of National Poetry Month blog projects at Jama’s Alphabet Soup. And check out this great list of recommended MG verse novels from educator Cassie Thomas at the blog Teachers Who Read.

NPM 2017: 5 Questions (+1) for the Verse Novelist, Featuring Tamera Will Wissinger

It’s the last week of National Poetry Month. I’ve got three more author interviews lined up for us. They’re part of my NPM17 series on verse novelists.

I met Tamera Will Wissinger last year, at the 2016 ALA conference. We were both in the audience–and both of us were totally fangirling–when Marilyn Singer  hosted a wonderful reading by kidlit poets.

I’m a big fan of Tamera’s debut novel-in-verse, Gone Fishing. And I’m thrilled to welcome her to my blog today.

Tell us about the most recent verse novel. What is it about the story and characters that led you to write the book as poetry?

Gone Camping is a companion book to my first verse novel, Gone Fishing. I enjoyed that process of poetry story telling so much that I decided to try again. For me it was trickier writing a follow up than the original. The story line, setting, and characters needed to be familiar but not the same – a delicate balance. The poetry aspect was actually easier than getting the story line just right. Since forms are fixed, it’s a matter of selecting those styles that best help tell the story.

Does your story spin on one central event and how it impacts the characters in the book? If so, how did you incorporate poetic elements such as metaphor and symbolism to show the echoes of that event through the novel? Would you share an example of this from your book?

There are actually two central events – the setting and plotline are built around a camping trip, and there is also an emotional arc of one of the character’s fear of staying overnight in the tent. Incorporating poetry elements seemed like a natural way to echo the fears that Lucy has from early in the story. I like to use repetitions, refrains, and strong rhythm and end rhyme to drive home those fears, and how Lucy overcomes her fears. One example is in a poem called “To Noises in the Night”. In it Lucy talks directly to Spookiness, Shadows, and Strange Noises, which is personification. Since the whole poem is done in this way it’s a poem of address. I also threw in anaphora, the repetition of a phrase, because it echoes a chant from a favorite story from my childhood. (More on that below.)

TO NOISES IN THE NIGHT 

Poem of Address

Spookiness, Shadows, Strange Noises: Beware.
I’m not so little or easy to scare.

Spookiness, Shadows, Strange Noises: Behave.
I am ferocious: I’m Lucy the Brave.

My shield is this pillow, my sword – this flashlight.
Spookiness, Shadows, Strange Noises: GOODNIGHT.

Illustrations by Matthew Cordell.

 

Have you ever written a full or partial draft of one of your verse novels in prose (or vice versa), only to decide to switch? How did you go about making that change? What were some of your clues that you needed to rethink the form?

Yes. I have a full prose novel that I’m rewriting as a verse novel. The topic is sort of heavy for young readers and the prose also felt heavy, so I’m hoping that the switch will give it balance. It’s more free verse than I usually use, so it’s very liberating to give it a try.

I see a similarity between the poems in novels-in-verse and dramatic monologues. Each poem in a verse novel has a character communicating his or her emotions and observations. There is often a realization or shift in thinking that happens in both monologues and in a verse novel’s poems. What do you think about the overlap between a speech for the stage and a poem in a verse novel?

It’s interesting and not something I had thought of before, but I like it and think it makes sense. I have tended to think about musical theater – a sister to dramatic monologues – for my inspiration. If you look at the sample poem above, there is a link to a certain L. Frank Baum-based musical film chant from the 1930s involving Lions and Tigers and…(oh my!)

Most of the middle grade and YA verse novels I have read are contemporary or historical. I’d love to see a fantasy or science fiction novel-in-verse for kids. Do you think the form is flexible enough to stretch into other genres of fiction? Why or why not?

Yes! I would love to see the form expand to any genre that authors and readers may be interested in writing and reading. It’s probably not that simple, though. Since prose is the standard storytelling format and other forms such as poetry or epistolary add a literary constraint beyond sentences, paragraphs and chapters, it’s not something that everyone is interested in writing. Also, fantasy and sci-fi have the world building aspect which is another constraint that is more integral to the story for those particular genres, than a format choice. If someone does take on all those challenges, though, I will eagerly read it and I bet there are many others who will, too.

Imagine one of your favorite poets has just written his or her first verse novel for children or teens. Which poet is it? Why do you think this person would be a great fit for a kidlit novel-in-verse? Any guesses as to what the book might be about?

Ooh, this is fun! I would choose Samuel Taylor Coleridge because he has a strong grasp of poetic storytelling and he also understands poetic forms: “What is an Epigram? A dwarfish whole, / It’s body brevity, and wit its soul.” I would guess it might be a ballad of some sort, maybe about something or someone at sea, with a boat, maybe fish…

Thank you for including me in your National Poetry Month verse novelist feature, Laura. What fun!

Thank you, Tamera. It was fun to catch up with you!

Tamera Will Wissinger writes poetry and stories for children. She earned her B.A. degree in English from Sioux Falls College (now the University of Sioux Falls, and her M.F.A. degree in Writing from Hamline University. She is the author of GONE FISHING: A Novel in Verse, GONE CAMPING: A Novel in Verse, (Houghton Mifflin Harcourt Books for Young Readers) THIS OLD BAND and THERE WAS AN OLD LADY WHO GOBBLED A SKINK (Sky Pony Press).

My series of National Poetry Month interviews with verse novelists continues on Thursday with Amanda Rawson-Hill, who will tell us about her debut verse novel!

Here is the full list of posts:

4/3 Jeannine Atkins, STONE MIRRORS: The Sculpture and Silence of Edmonia Lewis (Find the post here.)

4/6 Caroline Starr Rose, BLUE BIRDS (Find the post here.)

4/10 Leza Lowitz, UP FROM THE SEA (Find the post here.)

4/13 Shari Green, MACY McMILLAN AND THE RAINBOW GODDESS (Find the post here.)

4/17 Annie Donwerth-Chikamatsu, SOMEWHERE AMONG (Find the post here.)

4/20 Ellie Terry, FORGET ME NOT (Find the post here.)

4/24 Margarita Engle, MORNING STAR HORSE and FOREST WORLD (Find the post here.)

4/25 Tamera Will Wissinger, GONE CAMPING (Find the post here.)

4/27 Debut novelist Amanda Rawson-Hill (Find the post here.)

4/30 Holly Thompson, FALLING INTO THE DRAGON’S MOUTH (Find the post here.)

You can find a list of National Poetry Month blog projects at Jama’s Alphabet Soup. And check out this great list of recommended MG verse novels from educator Cassie Thomas at the blog Teachers Who Read.

NPM 2017: 5 Questions for the Verse Novelist, Featuring Margarita Engle

It’s the last week of National Poetry Month. I’ve got four great author interviews lined up for us. They’re part of my NPM17 series on verse novelists.

The community of authors who write novels-in-verse for children and teens is a small, supportive one. One of the widely published verse novelists who gives tireless support to newer authors is Margarita Engle.

I’ve been a fan of Margarita’s historical verse novels for many years and we’ve done several interviews together. (We talked about SILVER PEOPLE at my old blog.) I was thrilled when Margarita wrote a blurb for my own debut verse novel.

Welcome, Margarita.

Tell us about your verse novels publishing in 2017. What is it about the stories and characters that led you to write these books as poetry?

My newest verse novel is Morning Star Horse/El caballo Lucero (HBE Publishers), which will soon be followed by Forest World (Atheneum).  Both are middle grade. The first is historical magical realism, while the second takes place in Cuba in 2015, a time of change. I wrote both in verse simply because poetry makes me happy.  For years, I have struggled to pinpoint the source of my preference for verse novels, and in the end, I realized that it is not a complicated decision.  I choose poetry for the sheer beauty and comfort of rhythmic language. Even when I write about a sad topic, I can feel happy if the vessel for my sorrow is verse.

Why do you think verse pairs so well with historical narratives?

I realized long ago that poetry allows me to distill complex historical situations down to their emotional essence. What did it feel like to live in a particular time and place? Most of my verse novels have been historical, and most have been about Cuba, but Morning Star Horse/El caballo Lucero actually follows a young refugee girl from the island to an unusual school in San Diego, California, where Spanish American War orphans became known as the Raja Yoga Cuban Kids. By using first person and present tense, I hope to offer young readers a sort of time travel experience, eliminating the distance found in academic history books.

Morning Star Horse is published by an innovative small press which has made it available in a choice of English, Spanish, or bilingual editions.

Forest World is an environmental-themed verse novel about the reunion of estranged siblings in rural Cuba, during the summer of 2015.  The boy grew up in Miami, and doesn’t even know he has a sister. Once they get to know each other, they end up having adventures, in an effort to save endangered species.

Forest World will initially be published in English in August, 2017, and will become available in Spanish the following year.

Have you ever written one of your verse novels in prose, only decide to switch?

For ten years, I struggled to write a traditional adult prose version of my first children’s verse novel, The Poet Slave of Cuba.  The clue that I needed to rethink the form came in the form of a knock on the head from my subject, Juan Francisco Manzano, who reached down from heaven to remind me that he was a poet, and needed his story told in poetry.  The clue that I needed to write about him for children instead of adults was the simple fact that only the first half of his autobiographical notes survived the era’s censorship.  In order to have his first person narrative as my primary source, I had to focus on his childhood and youth.

Many of your verse novels are written in more than one voice. How do you develop the vocabulary and the rhythm for each character? What methods did you use to differentiate the characters’ voices?

I often use many voices in young adult novels, but for middle grade ones I tend to limit the text to one or two voices.

Morning Star Horse/El caballo Lucero alternates between the free verse voice of a girl and the prose poem voice of a magical horse.

Forest World alternates between the free verse voices of two siblings. Because one grew up in the U.S. and the other in Cuba, their experiences are extremely different. The life style of the boy will be more familiar to American readers.  His sister has grown up without WiFi, a cell phone, dependable transportation, electricity, or adequate food rations, but she knows a lot more about nature, wilderness, agriculture, and art.

Most of the middle grade and YA verse novels I have read are contemporary or historical. I’d love to see a fantasy or science fiction novel-in-verse for kids. Do you think the form is flexible enough to stretch into other genres of fiction? 

Writing Morning Star Horse/El caballo Lucero was a wonderful experience that allowed me to return to my magical realistic Latin American roots.  When I was writing for adults in the 1990s, magic realism was at the heart of every story.  Of course, in Spanish it’s a much more beautiful term, lo real maravilloso, marvelous reality.  Gabriel García Márquez described it as Caribbean reality, because strange things happen during the daily lives of people who live in places that seem to be lost in time, with a natural blend of modern life, traditions, superstitions, and legends.

In Forest World, only the Cuban sister understands magical realism, and uses it in her art.  Her American brother has grown up with so many technological distractions that his view of the term magic would lean toward the dragons and trolls of video games, rather than the marvelous aspects of culture and nature.

Thanks for joining my National Poetry Month project, Margarita! 

Margarita Engle is the Cuban-American author of verse novels such as The Surrender Tree, a Newbery Honor winner, and The Lightning Dreamer, a PEN USA Award winner.  Her verse memoir, Enchanted Air, received the Pura Belpré Award, Golden Kite Award, Walter Dean Myers Honor, and Lee Bennett Hopkins Poetry Award, among others.  Margarita’s books have received multiple Pura Belpré, Américas, International Latino, and Jane Addams Awards and Honors, the Claudia Lewis Poetry Award, and an International Reading Association Award.  Her picture book, Drum Dream Girl, received the Charlotte Zolotow Award.

Margarita’s 2017 verse novels are Forest World and Morning Star Horse/El caballo Lucero.  Her 2017 picture books are Bravo!, All the Way to Havana, and Miguel’s Brave Knight.  She lives in central California, where she enjoys helping her husband train his wilderness search and rescue dog. You can find her at www.margaritaengle.com

My series of National Poetry Month interviews with verse novelists continues tomorrow with Tamera Will Wissinger.  

Here is the full list of posts:

4/3 Jeannine Atkins, STONE MIRRORS: The Sculpture and Silence of Edmonia Lewis (Find the post here.)

4/6 Caroline Starr Rose, BLUE BIRDS (Find the post here.)

4/10 Leza Lowitz, UP FROM THE SEA (Find the post here.)

4/13 Shari Green, MACY McMILLAN AND THE RAINBOW GODDESS (Find the post here.)

4/17 Annie Donwerth-Chikamatsu, SOMEWHERE AMONG (Find the post here.)

4/20 Ellie Terry, FORGET ME NOT (Find the post here.)

4/24 Margarita Engle, MORNING STAR HORSE and FOREST WORLD (Find the post here.)

4/25 Tamera Will Wissinger, GONE CAMPING (Find the post here.)

4/27 Debut novelist Amanda Rawson-Hill (Find the post here.)

4/30 Holly Thompson, FALLING INTO THE DRAGON’S MOUTH (Find the post here.)

You can find a list of National Poetry Month blog projects at Jama’s Alphabet Soup. And check out this great list of recommended MG verse novels from educator Cassie Thomas at the blog Teachers Who Read.

NPM 2017: 5 Questions for the Verse Novelist, Featuring Ellie Terry

Happy Poetry Friday! I’m excited about today’s interview.

A few years ago, my PitchWars mentor, Joy McCullough-Carranza, was working with a new mentee on another middle grade novel-in-verse. Joy asked me to read the manuscript and share some feedback.

This story has two happy endings! The manuscript Joy sent me became Ellie Terry’s debut novel, FORGET ME NOT. And then Joy sold her own young adult verse-novel, BLOOD/WATER/PAINT which will be out in 2018.

Congratulations on your debut, Ellie! Tell us about FORGET ME NOT. What is it about the story and characters that led you to write the book as poetry?

FORGET ME NOT was released last month from Feiwel & Friends/Macmillan. It is the story of a girl named Calliope June who is desperate to hide her Tourette syndrome from her new school, while trying to convince her mother not to move them yet again, especially after she makes friends with Jinsong, the boy next door, who also happens to be the school’s popular student body president. It is told in two points of view. The MC, Calli’s, POV is in free verse and her neighbor Jinsong’s POV is in regular prose.

I did not set out to write the novel in (mostly) poetry. When I first began drafting Calli’s story, I heard her voice a certain way and I typed it into the computer that same way. When I looked it over, I realized I was writing a verse novel. Although I’d had plenty of experience writing free verse poetry, the thought of combining poetry with an actual PLOT really scared me. I’d never done it before. But I knew it was the way the story needed to be written.

Have you ever written a full or partial draft of one of your verse novels in prose (or vice versa), only to decide to switch? How did you go about making that change? What were some of your clues that you needed to rethink the form?

Yes! Both with my debut novel and a manuscript I am currently working on. With FORGET ME NOT, both Calli and Jinsong’s POV were originally in verse. But in order to differentiate between the two voices, I switched Jinsong’s to regular prose. (And I’m REALLY glad I did. His voice really came alive after that switch!) Besides wanting to differentiate between the two voices, Jinsong’s voice in verse felt . . . forced somehow. Stilted, perhaps? Whereas if felt completely natural for Calli.

The all-verse draft was the version I read. I’m excited to see what you did with Jinsong’s voice.

As a first time verse novelist, how was the experience different from writing prose fiction? What draws you to poetry as the backbone of how you tell a story?

My experience writing the verse for FORGET ME NOT felt like a very natural extension of how I feel and think inside my own heart and head. And having been writing poetry nearly all my life, it felt very natural for me and therefor seemed to flow from my fingers a bit easier than writing in prose. In fact, sometimes when I’m having trouble getting feelings out with my prose, I write it in verse first, then switch it over.

I see a similarity between the poems in novels-in-verse and dramatic monologues. Each poem in a verse novel has a character communicating his or her emotions and observations. There is often a realization or shift in thinking that happens in both monologues and in a verse novel’s poems. What do you think about the overlap between a speech for the stage and a poem in a verse novel?

I think the purpose of poetry is twofold:

  1. To be seen on the page
  2. To be spoken out loud

Really, you need to do both to get the full experience of a poem. If I may quote the first two lines of a poem I wrote when I was twelve . . . It’s titled, POEMS (really original, huh?) “Poems are meant to be read aloud / over and over again to a crowd.”

Also, as my children and husband will attest, I regularly read my verse out loud over and over again, to test the flow of words and catch bumpy syntax, to make sure the lines are conveying the emotions correctly, and to just enjoy hearing the words spoken aloud. So, I definitely see dramatic monologues and free verse poems as being related. Something like cousins, I imagine.

Most of the middle grade and YA verse novels I have read are contemporary or historical. I’d love to see a fantasy or science fiction novel-in-verse for kids. Do you think the form is flexible enough to stretch into other genres of fiction? Why or why not?

I think verse novels in general seem to be more character driven, rather than plot driven, so that may be one reason why verse lends itself more easily to contemporary and historical fiction. Lots of exploring of character feelings and such and less explosions and intricate conversations. However, I think it can work with fantasy and sci-fi, as long as the writing is good, it just may be slightly trickier to accomplish. I critiqued a friend’s fantasy verse novel a few years ago, and thought it worked very well. I personally would love to see a good fantasy or sci-fi verse novel published! (You hear that readers? Get your pens out and start writing!)

Thanks for being part of my National Poetry Month project, Ellie! 

Ellie Terry writes heartfelt contemporary fiction for middle-grade readers. Her middle-grade debut, FORGET ME NOT, was published March 14, 2017 by Feiwel & Friends, an imprint of Macmillan. She lives in southern Utah with her husband, three kids, two zebra finches, and a Russian desert tortoise.

My series of National Poetry Month interviews with verse novelists continues next week with Margarita Engle.  

And we’ve added a bonus interview! Holly Thompson will be here on April 30 to wrap up the series.

Here is the full list of posts:

4/3 Jeannine Atkins, STONE MIRRORS: The Sculpture and Silence of Edmonia Lewis (Find the post here.)

4/6 Caroline Starr Rose, BLUE BIRDS (Find the post here.)

4/10 Leza Lowitz, UP FROM THE SEA (Find the post here.)

4/13 Shari Green, MACY McMILLAN AND THE RAINBOW GODDESS (Find the post here.)

4/17 Annie Donwerth-Chikamatsu, SOMEWHERE AMONG (Find the post here.)

4/20 Ellie Terry, FORGET ME NOT (Find the post here.)

4/24 Margarita Engle, MORNING STAR HORSE and FOREST WORLD (Find the post here.)

4/25 Tamera Will Wissinger, GONE CAMPING (Find the post here.)

4/27 Debut novelist Amanda Rawson-Hill (Find the post here.)

4/30 Holly Thompson, FALLING INTO THE DRAGON’S MOUTH (Find the post here.)

You can find a list of National Poetry Month blog projects at Jama’s Alphabet Soup. And check out this great list of recommended MG verse novels from educator Cassie Thomas at the blog Teachers Who Read.

My dear friend Tabatha Yeatts-Lonske is hosting Poetry Friday this week. To find poetry posts from around the blogosphere, visit The Opposite of Indifference.

Writing Diverse Characters in The Last Fifth Grade

I recently recorded a podcast with my friend and neighbor Matthew Winner of All the Wonders. Matthew is a school librarian just a few miles up the road from me.

Although his children are much younger than mine, Matthew and I talked about how we value the culturally, ethnically, and socio-economically diverse schools here in Howard County, Maryland. For both of our families, it’s been a gift to be part of culturally rich schools, where diversity just is.

Matthew asked me, as others have, how I — as a white woman — was able to write about children of so many different backgrounds. In the podcast, we talk about my own experience growing up in a multicultural (and interfaith, though I don’t mention that in the interview) family and being a first generation American. The feeling of unease, of being split between two cultures and countries, was my own point of connection with many of the characters in FIFTH GRADE.

As my critique partner Timanda Wertz says, “We don’t live each other’s specific experiences, which is where the research comes in, but we all have points of connection and shared human/ developmental experiences.”

One of the goals for the poetry collection that became the verse novel THE LAST FIFTH GRADE OF EMERSON ELEMENTARY was to make it feel like a real Howard County public school. For a long time, I’ve been planning to write a series of posts about the research I did and the help I received from our local community in creating Ms. Hill’s students.

Meet Rajesh Rao: Captain of Patrols, 5th Grader, (Reluctant) Poet

I’ve already written about a few of the characters, including Brianna Holmes, whose family is temporarily housed in a motel. Here is my interview with Kim McCauley, who works with homeless families in our county schools.

And in this guest post at Latinxs in Kidlit, I spoke with poet and translator Patricia Bejarano Fisher, who worked with me on Gaby Vargas’ Spanish and English poems.

Today, I’m going to focus on Rajesh Rao.

Points of connection: There’s a lot of my own childhood in Raj. He is the eldest, with three younger sisters. As a big sister to two wild younger brothers, I feel his frustration at always being in charge. Like him, I was the most academically-focused kid in my family, so parental expectations were high.

The first poem I wrote for Raj was “Raj’s Rant,” a sonnet about how he wants to break out of his Responsible Raj image. Originally, the poem (p. 162 in the hardcover) opened with these two quatrains:

My sisters Shreya, Priya, and Deepti
are wild and stubborn as a pack of mules.
They need−since they are all younger than me−
a brother who can make them follow rules.

Miss Hill chose me as Captain of Patrols.
I wear a badge and help kids cross the street.
It’s like I’m older brother to the world
when I tell students, “Hey! Slow down those feet.”

He’s tired of always being the responsible one. Oh, boy, can I relate!

In revisions, the focus shifted to show why Raj decides to rebel. I cut the first stanza, moved the second one up, and laid out his argument. Like many school-aged perfectionists, his breaking point is when Ms. Hill’s whole class gets yelled at, including the kids who weren’t at fault. That feels like an injustice to Raj. (Little known fact: Like Raj, I was co-captain of the safety patrols.)

Here are the first two stanzas of the poem, as published.

Ms. Hill picked me for Captain of Patrols.
I wear a badge and help kids cross the street.
It’s like I’m older brother to the world
when I tell students, “Hey! Slow down those feet.”

I’m always quiet when I ride the bus.
I get straight As. My homework’s never late.
But I got mad when Stiffler yelled at us
and told us that we might not graduate…

Research and help: My neighbor Shruti Thakur, whose daughter Shreya was a classmate and close friend of my daughter’s, was a huge help in creating Raj’s character.

When my children were in elementary school, I worked as a freelance features writer for our local edition of the Baltimore Sun, covering education, the arts, and community stories.

Several months before I began work on THE LAST FIFTH GRADE, Shruti suggested that I interview Chitra Kumar. Ms. Kumar was Shreya’s classical Indian dance instructor. I’d seen Shreya perform at school talent shows, but watching a Kathak teacher work with students was a new experience.

You’ll find my Baltimore Sun article about Chitra Kumar here.

With this background knowledge, and advice on details from Shruti, I wrote Raj’s second poem, “Talent Show.”

Talent Show
By Rajesh Rao

My whole family was sitting in the cafeteria.
Aunts, uncles, cousins, even my grandparents.
My three sisters were the first act.
When they came on stage
their ankle bells and costumes looked
too bright for our worn-out school.
The music started.
I’ve heard it a million times.
They are always practicing
classical Indian dance at home
and at their Kathak class.
My sisters moved their hands
as if they wanted everyone to come closer
and listen to the folk tale their dance tells.

I wanted to be in the talent show too.
I wanted to play piano for Mark’s band.
But my parents didn’t want me to spend
so much time at Jason’s house,
practicing rock music.
“Homework first,” Dad always tells me.
“It’s different for sons.”

What else went into this character? Wow. I gave Raj a lot of conflict to deal with. He’s feeling boxed in by how people view him, both at school and in his family. (I love using a strict poetic form like the sonnet when characters are feeling constrained by outside pressure.)

He’s also struggling to find his footing in the social dynamics of the classroom. As his friend Edgar pulls away, who will Raj connect with? This was the last layer I added for Raj’s character, finding a new friend and a way to stand up for himself.

Leave me a comment if you’d like more background stories on characters from THE LAST FIFTH GRADE. Any special requests?

NPM 2017: 5 Questions for the Verse Novelist, Featuring Annie Donwerth-Chikamatsu

April is one of my favorite times of year. Looking out my window this morning, the dogwood and redbud trees are in bloom. A carpet of purple phlox greets visitors at our door. And, of course, it’s National Poetry Month.

My series of interviews with verse novelists continues today with middle grade author Annie Donwerth-Chikamatsu.

Welcome, Annie! Tell us about your debut novel, SOMEWHERE AMONG. What is it about the story and characters that led you to write the book as poetry?

Somewhere Among is a middle grade novel set in Japan 2001. Ema, 11, is a bicultural, binational girl living in Japan with her American mom and Japanese father. Her mom is having a difficult pregnancy so they move in with her Japanese grandparents. Her grandmother  hasn’t spent much time with her and wants to make sure she knows Japanese culture. She is persnickety and creates a lot of stress for everyone. Ema is a peacemaker and doesn’t complain or confide, even when she is confronted by a bully at the school she has to attend temporarily.

I love the way that historical verse novels communicate a time and place without feeling weighed down by background information. Why do you think verse pairs so well with historical narratives?

I think verse pairs well with everything! Somewhere Among is a historical novel and it is a bicultural novel. The grandmother was trying to make sure her grand-daughter knew how to be Japanese, so it was imperative to include many cultural details. I was able to reveal culture in glimpses to illustrate the grandmother’s sensibilities.

Does your story spin on one central event and how it impacts the characters in the book? If so, how did you incorporate poetic elements such as metaphor and symbolism to show the echoes of that event through the novel? Would you share an example of this from your book?

Somewhere Among spins on the sinking of The Ehime Maru, a Japanese teaching vessel, on February 9, 2001 and the falling of the Twin Towers on September 11. The main character’s grandfather had witnessed the bombing of Nagasaki and her grandmother had experienced the bombings of Tokyo. The focus of the story is not these events, but memorializing the dead and moving on is. The characters are working on their hearts.

Images, poem titles, scenes and words of depth and elevation, water and space (stars, moon), grounding and lightening, burdening and brightening (hearts), and seasons changing are woven throughout.

The lotus is a symbol of change. In Great-grandfather’s garden in the past, lotus leaves reached up through muddy water. A dried lotus pod became Papa’s souvenir. At the New Year’s meal for 2002, the grandfather looks through the lotus root (like my father-in-law always did) and says “I see a better year ahead.” We are left with the hope that their hearts will blossom in time.

Like the Flow of the River

The molasses time of day

sakura leaves

pedal the wind at my feet.

I am going too fast
for Jiichan.

Waiting,
soles on the ground
in leaf drifts, I watch

a constellation,
dark and light
dull and sparkling
deep and shallow,

glide past me–

the river’s kimono
of autumn amber sun
flowing.

A dragonfly clings
to a waving pampas grass.

Most of the middle grade and YA verse novels I have read are contemporary or historical. Id love to see a fantasy or science fiction novel-in-verse for kids. Do you think the form is flexible enough to stretch into other genres of fiction? Why or why not?

Yes! It may be a challenge to ground a whole novel so readers don’t totally escape (the storyline.) Less white space between the fantastic and the tangible may be the key, I think. I have toyed with Keats’ Ode to a Nightingale (but not it being all a dream.)

Imagine one of your favorite poets has just written his or her first verse novel for children or teens. Which poet is it? Why do you think this person would be a great fit for a kidlit novel-in-verse? Any guesses as to what the book might be about?

I would love to see Naomi Shihab Nye write a midddle-grade verse memoir set in the US. We share the same childhood decades, growing up in the 1960s and 70s. I would love to hear her bicultural story. Her prose novels and poetry for children are wonderful.

That’s a great idea. I read Naomi Shihab Nye’s beautiful MG novel THE TURTLE OF OMAN recently (read a review at Notes from an Islamic School Librarian here). Like you, I’m part of a bicultural family and love that aspect of her work.

Thanks for being part of my National Poetry Month project, Annie! It’s been great to hear from you and Leza Lowitz this month, and how living in Japan has influenced your writing. Visiting Japan is an important item on my bucket list. Someday.

Somewhere Among is Annie Donwerth-Chikamatsu’s debut novel. It won the 2013 Writers’ League of Texas award in the middle grade category and is listed on Bank Street College of Education’s Best Children’s Books of 2016. Annie is a member of the Society of Children’s Book Writers and Illustrators in Tokyo, Japan. She taught reading and English for Academic Purposes at university programs in the United States, Malaysia, and Japan before marrying and raising two children in a multi-generational home in Japan. Her author website includes resources and bilbiographies for teachers. Her photoblog for children, Here and There Japan, provides cultural background. The paperback edition of Somewhere Among will be available on April 25.

My series of National Poetry Month interviews with verse novelists continues on Thursday with debut author Ellie Terry.

Here is the full list of posts:

4/3 Jeannine Atkins, STONE MIRRORS: The Sculpture and Silence of Edmonia Lewis (Find the post here.)

4/6 Caroline Starr Rose, BLUE BIRDS (Find the post here.)

4/10 Leza Lowitz, UP FROM THE SEA (Find the post here.)

4/13 Shari Green, MACY McMILLAN AND THE RAINBOW GODDESS (Find the post here.)

4/17 Annie Donwerth-Chikamatsu, SOMEWHERE AMONG (Find the post here.)

4/20 Ellie Terry, FORGET ME NOT (Find the post here.)

4/24 Margarita Engle, MORNING STAR HORSE and FOREST WORLD (Find the post here.)

4/25 Tamera Will Wissinger, GONE CAMPING (Find the post here.)

4/27 Debut novelist Amanda Rawson-Hill (Find the post here.)

4/30 Holly Thompson, FALLING INTO THE DRAGON’S MOUTH (Find the post here.)

You can find a list of National Poetry Month blog projects at Jama’s Alphabet Soup. And check out this great list of recommended MG verse novels from educator Cassie Thomas at the blog Teachers Who Read.

 

NPM 2017: 5 Questions for the Verse Novelist, Featuring Shari Green

Happy Poetry Friday, everyone.

My series of interviews with verse novelists continues today with middle grade author Shari Green.

But first, a quick PSA:

This week, I did a guest posting at School Library Journal’s Teen Librarian Toolbox blog. Blog team member Amanda MacGregor invited me to write up this year’s February Poetry Project as a social justice poetry prompt for teens. Check it out at SLJ online!

Shari Green is the author of ROOT BEER CANDY AND OTHER MIRACLES. Her latest book is the verse novel MACY McMILLAN AND THE RAINBOW GODDESS. Welcome, Shari!