What is the challenge of writing poetry for children?
Janet: The hardest part of writing is knowing when to stop, which draft to choose. Most children like bouncy, silly rhymes, so it takes discipline to choose a more subtle approach. It's sort of like choosing between serving chicken nuggets and chicken soup.
April: To get quiet inside and find the real, the true. To get past the obvious, to not write superficially. That's the challenge of writing anything. It's all the same. To be clear but not corny. Be accessible but don't underestimate the audience.
Joan: The challenge of writing poetry for children is to be original, capture a moment in time, create the poem you've never read before, connect with readers and make them say--"Oh, YES!" Each poem should be an act of discovery that surprises the senses, shakes you awake, and startles your imagination.
Which poets are your influences, and what about them do you admire?
Janet: Myra Cohn Livingston nurtured and "created" so many of us; she will forever be The Grandest Teacher of Children's Poets (and the most generous). She would go to great lengths to help new poets connect with editors (once you'd demonstrated some serious effort).
April: I love so many writers. I have to say that I love Janet Wong for her originality, for the often casual, conversational tone of her work. I love Joan Bransfield Graham for her use of language and for always finding a new way to look at things. My mother used to read Ogden Nash to us. In fact, I was named for his poem, "Always Marry an April Girl," which my parents would say aloud to me often. I love the way he invents words and his humor. I love e.e.cummings for his fanciful flights of poetry. I fell in love with Lawrence Ferlinghetti when I was thirteen. I loved his book, A CONEY ISLAND OF THE MIND.
Joan: I've always admired Valerie Worth's use of metaphor and David McCord's and Eve Merriam's wordplay. Richard Wilbur and Mary Oliver provide such stunning imagery, as does Billy Collins, whose perspective and humor are a constant surprise and delight. I was fortunate to be able to study with Myra Cohn Livingston in her Master Class at UCLA--along with Janet and April. What an amazing group--we learned so much from each other!
What is one of the most "autobiographical" poems you've written? Why does it have special meaning for you?
Janet: In GOOD LUCK GOLD (out-of-print, but I will be bringing it back to life soon in Kindle form) there is a poem called "Dad," where I say that my father is like a turtle. When he's mad, he snaps and pulls into his shell. It's becoming quite autobiographical because my own "turtle tendencies" are growing stronger each year--my son can tell you all about that!
April: EVERY one is in some way autobiographical. I've written poetry for many years and one poem a day for over a year...so I have too many to choose from! Whine, whine, whine... : ^ )
Joan: At first I did not realize this, but my books SPLISH SPLASH and FLICKER FLASH are very autobiographical! Growing up on a barrier island along the southern coast of New Jersey, I loved the ocean, boats, the salty air, the sound and rhythm of the waves. What was my first book? Water poems. For years I've studied photography, and I'm always conscious of the interplay of light and shadow. Before digital I developed my own black and white prints in the darkroom, where I saw the effects of light take shape. My next book? Poems about light. Philosopher Immanuel Kant said, "We see things not as they are, but as we are."
Any tips for classroom teachers on how to integrate poetry into the curriculum?
2) Have kids write poems on endangered animals and send them to me via www.OnceUponATiger.com (where you'll find more info about what we're doing to build awareness of endangered animals and how we're donating money to help protect them; a good discussion topic for Earth Day); and
April: Go to TeachingAuthors.com -- six children's authors who also teach writing. On most Fridays, which is "Poetry Friday" in the Kidlitosphere, one of us has posted poetry and a writing tip.
And here's another tip: be present. That's what I've learned in writing a poem a day. I've learned that for me, the way to net today's poem is to tune in: what am I feeling? What is that kid is saying? What does the smell of her peanut butter cookie remind me of?
Ask yourself what feels interesting in class today? Can I condense this into a poetry prompt? Maybe you're teaching cursive writing and you've talked about forming the curve of a letter.
Ask the class to become aware of other curves in class, then brainstorm a list of things with curves on the board (a swimming pool, the arch of a doorway, a macaroni noodle, a cat's tail...).
Then have each student make their own list of 5-10 things that curve...if there's time, let them walk around the school campus looking for ideas or eat their lunches and think about curves, then come back and write their list.
Then have them pick one thing from their list to explore in a poem.
Because rhyming can take you away from what you want to say and force you in another direction, you might ask them to avoid rhyming this time.
Why did they pick that particular item from their list? Ask them to think about why it's interesting and how they can weave details of it into the poem so that it will be interesting to readers.
Then stand on your head when you read their poems aloud.
Joan: Each poem creates its own small world with vivid imagery and vigorous verbs . . . perfect to tuck into so many areas of the curriculum. Since I do lots of school visits and am a former teacher, I know that my poems in SPLISH SPLASH and FLICKER FLASH have been used to open science units on water and light, to inspire students to write their own concrete poetry, and to spotlight "word art" for art classes. You can find Teacher Idea Sheets on my Web site: www.joangraham.com. I've had many teachers tell me that my shape poems--since they are so visual--work well for their ESL students . . . providing clues to help decode words. I love the "Poetry Break" idea, where someone pops into each classroom to share a poem. You should always have a Poem in Your Pocket, and every month should be Poetry Month! All the lessons poetry teaches enhance any kind of writing you choose to do.
This is Part One of the Q & A. (Joan, April and Janet will talk about their writing process in Part Two, which I'll post next Friday.)
The Poetry Friday round-up is hosted today by Book Aunt.
Michelle Markel's books for children span a variety of genres including fiction, non-fiction and creative non-fiction. Her critically acclaimed biographies include BRAVE GIRL: CLARA AND THE SHIRTWAIST MAKERS' STRIKE OF 1909 and THE FANTASTIC JUNGLES OF HENRI ROUSSEAU. Michelle teaches a class in Writing the Picture Book at UCLA Extension's Writers Program and is a founding member of CAN!, the Children’s Authors Network.
BRAVE GIRL: Clara and the Shirtwaist Makers' Strike of 1909, Illustrated by Melissa Sweet
My Latest Artist Biography
THE FANTASTIC JUNGLES OF HENRI ROUSSEAU:Illustrated by Amanda Hall
Honors for The Fantastic Jungles of Henri Rousseau: 2013 PEN/Steven Kroll Award for Picture Book Writing, Junior Library Guild, one of the New York Public Library's 100 Titles for Reading for Sharing, Booklist's Top Ten Arts Books for Youth, top 10 picture books of 2012 by The Guardian UK, a Bank St. College of Education Best Children's Book of 2013, Parents' Choice Gold Award, Red Clover Nominee.
Illustrated by Doug Cushman
For information about school visits and other types of presentations visit my website.