Poetry Friday: On Langston Hughes, School People, and Riotous Punctuation: an Interview (& Giveaway!) with Lee Bennett Hopkins

School People (Wordsong), Lee Bennett Hopkins’ new children’s poetry anthology, is officially in stores!

Edited by  Flashlight Night editor Rebecca Davis, this book includes 15 poems about the grown-ups that children meet at school – including my poem, “Bus Driver.” Today, Lee Bennett Hopkins joins me for a brief interview about the book and how he goes about creating these exceptional anthologies.

First of all, Lee, I want to thank you for asking me to contribute a poem to another one of your books! I know I speak for all of the contributors when I say that is always an honor when asked to write something for a Lee Bennett Hopkins anthology. What was your first anthology, and how did it come about?

After teaching for six years in an elementary school in Fair Lawn, New Jersey, and having completed my Master’s Degree at Bank Street College of Education (when Bank Street College was on Bank Street in Greenwich Village),  I was offered a job working with Bank Street to develop new programs in Harlem where I wrote numerous articles, many dealing with African American studies. My work was with junior high school students and teachers to bring African American literature and poetry to weave into curricula.

Born in Scranton, PA, Hopkins graduated Kean University, Bank Street College of Education, and holds a Professional Diploma in Educational Supervision and Administration from Hunter College. He received an honorary Doctor of Laws degree from Kean University, the University of Southern Mississippi Medallion for “outstanding contributions to the field of children’s literature,” and a place in the Guinness Book of World Records for his 120+ children’s poetry anthologies. He also received the National Council of Teachers of English (NCTE) Excellence in Poetry for Children award and the Florida Libraries’ Lifetime Achievement Award.

On May 22, 1967, Langston Hughes died in Harlem; a few blocks away from where I was working. I wanted to share more of his work. The only book he had done for children was The Dream Keeper and Other Poems (Knopf) published in 1932. 1932! Although the words were as universal as ever, the artwork was stereotypically appalling. I could not share an Aunt Jemima-looking woman in her bandana nor a tap dancing-like dude with cap and cane with students or colleagues.

I brazenly called the Knopf office and asked to speak to their current editor. Imagine this! I was young, naïve – and truly didn’t know better! After asking why a new book of Hughes poems had not been published and angry over the artwork, the editor, Virginia Fowler, stopped me mid-ranting and asked me to meet her for lunch. She remained shocked I had the nerve to call her but told me how she loved my enthusiasm.

Voila, I was offered a contract to bring a new edition of Hughes work to life. The result Don’t You Turn Back, with exquisite woodcuts by Ann Grifalconi. The book was highly touted, won numerous awards including an ALA Notable Book. The Introduction was written by Arna Bontemps, noted author, historian, and friend of Hughes. I was truly on my way; the first of many books I published with Knopf!

These days, there are poetry collections about everything from food to bugs to historical events. How difficult is it to come up with thematic concepts that will not only be commercially successful, but of a high literary value, as well?

It isn’t so much a theme but how one executes it. There are many books of poems about school. In School People, for example, I begin with the building itself; it is “School’s Story.” I asked Rebecca Kai Dotlich to begin the book with the building… what it awaits, what it holds, what it is. “I am waiting—come on in!” Come on in to “A building full of soul and heart.”

The cast of personnel is then presented beginning with your poem “Bus Driver” showing the empathy of a smiling face that brings a child to school and home again. Various school workers are presented, each detailing their various roles. The book ends with “School’s Story Reprise” by Dotlich who brings the collection to a whole where the building tells of ‘all these parts; / hours of wonders, surprises, starts.”

The “high literary value” comes via the pens of today’s poets, established voices and well as newer ones. It is the culmination of hours, days, months, sometimes even years of back-and-forth-ing, editing, rewrites galore, the supreme delight of working with disciplined poets. How lucky I am to have them in my life.

Lee’s poem from “School People,” ©2018 Wordsong, all rights reserved, reprinted with permission (Click to enlarge)

Can you provide us with some insight as to how an anthology comes together? That is, once a subject is determined and the publishing contract is signed, what happens next?

I make a list of poets I would like to invite. Knowing their work I have the gut feeling of what they will create. Many have appeared in past collections. I know, for example, that Joan Bransfield Graham writes with emotion which gives me goose bumps. I sigh after she is finished with a poem. It is remarkable the empathy she can bring to a few lines. I also want to take chances with ‘newer’ poets to help them advance their careers.

Once all the poems are in they are sent to an editor. In this case, Rebecca M. Davis at Wordsong/Boyds Mills Press. Rebecca and I have worked on countless collections. Not only is she my dearest friend, she is among the best editors in the industry. We sort of know where to go. If I go astray she’ll lead me right back on track. She is my Poetry Mistress! (Smile, Rebecca!) I can’t wait to begin a collection under her keen guidance.

Last year, you were inducted into the Florida Artists Hall of Fame along with such highly esteemed folks as guitarist Don Felder of the Eagles and country signers Billy Dean and Jim Stafford. I know you were very surprised when it was first announced…but how did it feel to actually be there, accepting the award?

The Award Ceremony was held in Gainsville, Florida. It was a mind-boggling gala to be in a room filled with such creative people. A host of people were instrumental to my induction including the tireless, determined work of Jude Mandel and Stephanie Salkin. My greatest shock and delight was to appear on a roster of people such as Ernest Hemingway, Zora Neale Hurston and my all-time idol, Tennessee Williams. I shall forever be on A Streetcar Named Desire due to this honor!

The Contents page reads like a Who’s Who of children’s poets…and somehow, I ended up in there, too! ©2018 Wordsong, all rights reserved, reprinted with permission (Click to enlarge)

Finally, since this new book, School People, is all about the grown-ups that children meet when they go to school…who was your favorite “school person” when you were in elementary school?

There were many but one stands out – my eighth-grade teacher, Mrs. Ethel Kite MacLachlan, who saw something in the mixed-up child I was and turned my life around with her compassion and understanding. Like Joan Bransfield Graham’s poem, “Teacher”, she was the one to ‘stretch my world much wider” made me feel “I, too, can fly.”

Oh, and I would be remiss if I neglected to ask what is next on your publishing schedule! I know you have a couple of other anthologies coming out next year; any more books this year?

I am looking forward to the release next month of World Make Way: New Poems Inspired by Art from the Metropolitan Museum of Art (Abrams). World Make Way is visually stunning, highlighting masterpieces by artists as Mary Cassatt and Henri Rousseau to the contemporary Kerry James Marshall. The poetry is ekphrastic verse featuring all new works by such award-winning poets as Guadalupe Garcia McCall, Marilyn Nelson, Naomi Shihab Nye, and Carole Boston Weatherford.

In the fall, a romp of a collection, A Bunch of Punctuation (Wordsong/Boyds Mills Press) bringing punctuation marks to riotous adventures. O! what some of my wondrous poet friends have come up with including odes to a dash, a hyphen and parentheses!

French artist, Serge Bloch’s whimsical artwork is simply “!!!!!!!!!!!!!”

Well, thank you again, Lee, for taking the time to chat – and thank you also for inviting me to be part of School People and some of your other upcoming books. Congratulations on this newest accomplishment!

Thank you, Matt, for all you do to promote poetry.

Speaking of poetry, folks…if you head on over to Ms. Mac’s place, Check It Out, you’ll find today’s complete Poetry Friday roundup! If you’d like to order a copy of “School People” personally signed by Yours Truly, just CLICK HERE!




SCHOOL PEOPLE are here…and the DINOSAURS are on their way!

“Don’t Ask a Dinosaur” hits bookshelves April 17!

New dates continue to be added to the Dinosaur Tour! Don’t Ask a Dinosaur co-author Deborah Bruss and I have quite a busy schedule planned, and more dates continue to be added:

  • Sat., April 14, 11am:  Toadstool Bookshop, Peterborough, NH, (Children’s Author Day with illustrator Ryan O’Rourke AND Local Book Launch for Don’t Ask a Dinosaur!)
  • Sat., April 14, 2pm:  Toadstool Bookshop, Keene, NH, (Children’s Author Day with illustrator Ryan O’Rourke AND Local Book Launch for Don’t Ask a Dinosaur!)
  • Tue., April 17, 7pm:  Porter Square Books, Cambridge, MADon’t Ask a Dinosaur National Launch Party!! 
  • Thur., April 26, 10:30am:  Pillsbury Free Library, Warner, NH, Dinosaur Storytime with Don’t Ask a Dinosaur!
  • Sat., April 28, 10:30am: Brookline Booksmith, Brookline, MA, Don’t Ask a Dinosaur reading/signing
  • Sat., April 28, 2pm: Barnes & Noble, Framingham, MA, Don’t Ask a Dinosaur reading/signing (with Sara Levine, Fossil by Fossil: Comparing Dinosaur Bones reading/signing)
  • Sun., April 29, 2pm:  MainStreet BookEnds, Warner, NHDon’t Ask a Dinosaur reading/signing and discussion
  • Sat., May 5, 10am: Barnes & Noble, Burlington, MADon’t Ask a Dinosaur reading/signing
  • Sat., May 5, 1pm:  Barnes & Noble, Nashua, NHDon’t Ask a Dinosaur reading/signing
  • Sat., May 12, 11am:  Gibson’s Bookstore, Concord, NHDon’t Ask a Dinosaur reading/signing


Thank you so much to all the librarians, bloggers, and parents who are still discovering “Flashlight Night!” 


Purchasing personalized signed copies ONLINE? Yes, it’s true!

In case you haven’t heard, there’s a new way to purchase personalized signed copies of not only Flashlight Night, but ANY of my books or anthologies I’ve been part of!

I’ve teamed up with the good folks MainStreet BookEnds in Warner, NH to present an option for people who would love to have a signed copy of one of my books but don’t live anywhere near me. MainStreet BookEnds has ALL but one of my books available for ordering…and the best part is, you can get them personalized!

Just log onto my website and click the cover of whichever book you want, and they will get it to me to sign and send it off to you. Try doing that with those big online booksellers! (Plus, you’ll be helping to support local book-selling – and wouldn’t that make you feel good?)


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Poetry Friday: A really big post about very little things

Once again, fellow writer/blogger Michelle H. Barnes has had a massive response to a little challenge, and I’m happy to be included among those who participated!

poetryfridaybutton-fulllEarlier this month, Michelle interviewed children’s poet and blogger (yes, we’re all bloggers!) Amy Ludwig VanDerwater about writing, inspiration, and her brand-new book, Every Day Birds (Orchard/Scholastic, 2016). Amy challenged readers to write poems about “small things.” All March long, folks have been submitting their poems…and today Michelle is sharing all of them on her blog!

Click HERE to read my poem as well as all of the poems that Michelle has received, and for all of today’s Poetry Friday links and fun, please visit Heidi Mordhorst at My Juicy Little Universe!

(Oh, and if you’re wondering what it’s like to be a stay-at-home parent trying to raise two kids while running a business AND being a children’s writer, I share a little insight in this past Tuesday’s post!)


Did you like this post? Find something interesting elsewhere in this blog? I really won’t mind at all if you feel compelled to share it with your friends and followers!
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To keep abreast of all my posts, please consider subscribing via the links up there on the right!  (I usually only post twice a week – on Tues. and Fri. – so you won’t be inundated with emails every day)Cybils-Logo-2015-Web-Sm
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Book Review: “When the Sun Shines on Antarctica”

Antarctica coverIrene Latham has done it again. A couple years ago, she was hanging out at a watering hole on the African savanna (and that’s not a metaphor – by “watering hole,” I mean a real watering hole) and this year she’s at the bottom of the world, on the largest continent – and largest desert – on the planet.

Irene follows up her 2014 children’s poetry collection, Dear Wandering Wildebeest: And Other Poems from the Water Hole (Millbrook Press) with the equally entertaining and insightful When the Sun Shines on Antarctica: And Other Poems from the Frozen Continent (Millbrook Press).

In fifteen poems, Irene not only teaches readers a little bit about the wildlife and habitat of Antarctica, she imbues each of her subjects with a bit of magic here and a touch of tenderness there, so that each poem helps bring the reader a little closer to the truth. The book opens with the dawn of summer and concludes with the start of winter as the sun sets.

When the Sun Shines on Antarctica

Icebergs brighten
as the sky peels

itself of darkness
and stretches awake.

Glaciers murmur.
Penguins reunite

and seals rouse
from slumber

Whales breach
and blow;

waves rush
and slush

against shifting
ice shelves.


We’ve been waiting
for you.

– © 2016 Irene Latham (Millbrook Press), all rights reserved

The poems are primarily free verse, so Irene makes great use of internal rhyme and enjambment to create touching scenes that are sometimes quiet, and other times full of energy.

One of the nice things about this book – and Wildebeest, as well – is that although there is plenty to learn via Irene’s poems, they never feel didactic; they are poetry for poetry’s sake, first and foremost. Sidebars on each page provide more information about each subject (from seals to krill to brinicles!), and the earthy blues and greens of Anna Wadham’s illustrations complement the icy, watery nature of Irene’s scenery – all adding up to a beautiful book to read as well as simply admire.

I had a chance to chat with Irene about the book, her life of writing, and what she has coming up in the near future!

Irene headSo tell us, how did a social work major from the University of Alabama end up with 5 books of poetry, 2 middle grade novels, and another poetry collection due out next month?

I took the scenic route, that’s for sure! While I didn’t attend a single writing class in college, all those courses on developmental psychology and family dynamics have certainly enriched my writing life.

Without any training, how did you end up learning your craft? And what was your first published piece? What do you think of it today – still good, not bad, or would you totally revise it?

I started honing my craft by entering contests sponsored by Alabama State Poetry Society. At first I didn’t place at all, then I started getting Honorable Mentions, and eventually prize money! My big break came when I won a chapbook contest — no cash, but publication and 100 copies of my chapbook NOW PLAYING (poems that used classic movie titles, but were often about something else entirely).

I kind of cringe when I read those poems now — as I’ve continued to grow and develop as a poet I can now see all sorts of flaws! But it was my best work at the time, and an essential, precious part of my journey. Those poems are exactly what they needed to be — and one or two of them I do still like. 🙂

How do you move between the children’s poetry thought process and an adult’s? Do you work exclusively on one or the other, or do you bounce back and forth, depending on your mood and inspiration?

My initial efforts are most often from my adult self. I was writing a poem last week about pears, and the image that came immediately to mind was Sylvia Plath’s “little Buddhas.” I love that! But of course a kid probably wouldn’t get that. I so admire those children’s poets among us who seem to so easily and naturally find those child-like comparisons. It’s a challenge for me. I am constantly having to coax my inner 8 year old out to play. She’s shy, but one thing I’m good at is persistence.

WildebeestTwo years ago, you were at an African watering hole; this year, you’re in Antarctica! How do you come up with the ideas for your collections, and how long does it usually take you to complete a manuscript?

I have an abundance of obsessions, so coming up with themes/ideas for collections is not my problem. Usually they arise when I read books or go to museums or attend local community events where a speaker might mention something, and I investigate further, and next thing I know, I’m neck-deep!

As for the second part of your question, “complete” is a very slippery word, isn’t it? I could keep tinkering with poems forever and more than once have had a great idea for a way to improve a manuscript after the book is already in print. It’s one of the things that attracts me to writing in the first place – the endless learning curve.

I can churn out a bunch of first-draft poems that will be the skeleton of a poetry book manuscript within a few weeks – I strive for a poem a day. But then it can take years for the individual poems to grow and develop and for me to figure out the point of it all. I’m constantly asking of the manuscript: what is your purpose? what are you trying to say to the world? what else?

Next month, you have ANOTHER collection for children, Fresh and Delicious! Tell us about that! How did it come about?

Fresh Delicious coverFRESH DELICIOUS: Poems from the Farmers’ Market (Wordsong) is my first attempt at poems for a younger (K-2) audience. It started with a contest through my SCBWI region (Southern Breeze, which includes AL, GA, and the FL panhandle). Each June, for free, we can submit some pages for a contest that’s judged by editors. All entries receive a feedback sheet. I wanted to enter the contest, and I had just been to the farmers’ market. Voila! Poems from the farmers’ market!

I was so excited about the poems that I did NOT enter the contest – results aren’t announced until October – and sent them straight to my agent instead. She sent them to Rebecca Davis at WordSong, who had read (and rejected) at least three, perhaps four prior manuscripts (including Dear Wandering Wildebeest). She liked the poems, saw lots of promise, but didn’t feel they were quite ready. Instead, she gave me some brilliant feedback (seriously. BRILLIANT), and off I went, revising away! A couple of revisions later, she presented it at the editorial meeting and we got a green light on the project. O frabjous day!

I am always trying to explain to people that children’s poetry does not need to rhyme! (In fact, I’m hosting a workshop at an upcoming SCBWI conference about free verse) Why do you suppose you are drawn more towards free verse than rhyming poetry?

I am so happy you are teaching people that children’s poetry need not rhyme! Confession: for many years I thought all children’s poetry was Shel Silverstein! I really didn’t know there was a market for the kind of poems I write, which are by and large free verse, until I attended a poetry retreat with Rebecca Kai Dotlich in 2011 (organized by the one and only Robyn Hood Black! I’m so so grateful!). That weekend was a turning point in my writing life.

Afterwards I went on a nearly sleepless writing jag for a week as I discovered I could write the way I write for adults – but for kids. I have a gypsy heart, and being hemmed in by form or rhyme makes me irritable and unhappy. Plus I love beautiful words and lyricism, and for me, writing is a spiritual practice. It’s a way for me to love the world. I am able to achieve all of those things with free verse.

By the way, I’d be remiss if I didn’t congratulate you on TWO OTHER manuscripts you just sold, Pop! Bam! Boom! and It’s Not Black and White. What are they about?

Thank you! Pop! Bam! Boom! started with Langston Hughes’ poem “Harlem.” http://www.poetryfoundation.org/poem/175884 I got to thinking about all the things that explode – seed pods and symphonies and dreams – and I started writing. It’s Not Black & White is a special project based on real-life experiences that I co-wrote with Charles Waters. Told in two voices, it’s about friendship, race, and understanding as it happens in a 5th grade classroom when a black boy and a white girl are forced to be partners on a writing project.

Final question! I have to ask…do you ever get a chance to chat with Father Goose -Charles Ghigna – who’s just south of you in Homewood, AL? And what’s the best advice you ever received – from anyone?

Chuck and I do, in fact, chat from time to time! He’s famous around these parts (more than a hundred books to his credit now!), and he’s been a lovely supporter of my work.

As for advice: When my first book of poems came out (2007), my husband gave me a small plaque that reads, “Live Your Poem.” That’s where my blog name comes from! For years I have shared in presentations that writers have a responsibility to “live a life worth writing about.”

But it’s more that that: we need to be present, open, and delight in our lives – really LIVE. That’s poetry! I also love how those words can mean whatever they need to mean to an individual – your poem-life will be different from mine. And every single incarnation is beautiful.

I think that concept is what draws most of us to poetry, Irene…so thank you for taking the time to chat!

Thank you, Matt, for having me, and for your great questions. I’m excited for YOUR forthcoming books. Yay!

To my readers, I’m so glad YOU took the time to read today’s post, I’m going to give you an opportunity to win an autographed copy of Antarctica! Just leave a comment below, and I’ll draw a winner at the end of the month…so please let your friends know, so they can get in on it, as well. (and if you share this post via Twitter (using the Twitter button below), you’ll get an ADDITIONAL entry!)


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To keep abreast of all my posts, please consider subscribing via the links up there on the right!  (I usually only post twice a week – on Tues. and Fri. – so you won’t be inundated with emails every day)Cybils-Logo-2015-Web-Sm
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Interview with children’s poet Rebecca Kai Dotlich

I have been a fan of Rebecca Kai Dotlich’s work ever since I began striving in earnest toward my goal of becoming a published children’s writer, so I’m thrilled to present this post today!

Rebecca has a way of writing that simultaneously paints a familiar picture while touching the reader in a new way. We recently had an online chat about writing, inspiration, collaboration – and a similar start to our careers!

But before we begin, a little background:

REBECCA headRebecca grew up in the Midwest exploring trails, reading comic books, making paper dolls, and building snow forts. She was a good student in school…but by her own account, not a perfect one. Although she loved reading and writing, numbers (ie, math!) was a bit of a challenge.

She attended Indiana University where she studied creative writing, art history and anthropology while working in the student library. After college she held many jobs: working in a department store, for a real estate firm, a state representative, and in public relations. After her children were born she decided that writing for children would be her life’s work – although that took many years to achieve, as you’ll see from the interview.

RKD - CraneRebecca is the author of titles such as What Can A Crane Pick Up? (Knopf Books for Young Readers, 2014), which received a *starred* review from Publishers Weekly; What is Science? (Henry Holt and Co., 2006), an AAAS Subaru SB&F prize finalist; Bella and Bean (Atheneum Books for Young Readers, 2009), an SCBWI Golden Kite Honor; and Grumbles From The Forest; Fairy Tale Voices with a Twist (WordSong, 2013), co-authored with Jane Yolen.

She speaks at conferences, retreats, libraries, and schools across the country to teachers, aspiring writers, poets, and students of all ages. Her books have received the Gold Oppenheim Toy Portfolio Award as well as a Bank Street College of Education Best Book of the year, and her work has been featured on television programs like Reading Rainbow and Between the Lions.

She lives in the Midwest with her husband and her four young grandchildren live nearby.

First of all, thanks so much for taking the time, Rebecca! There is so much to talk about, but I would be remiss if I neglected to share a little “mutual experience” of sorts that you and I  share…and that is that we both can say our very first books were published by the good folks at Boyd’s Mills Press!

REBECCA KAI DOTLICH - Sweet DreamsYours was Sweet Dreams of the Wild, a bedtime book of poems published in 1995…and since then, you’ve had approximately 30 books you’ve authored, co-authored, or have in the pipeline, and you’ve had poems selected to be in about 100 anthologies. So congratulations on all your successes!

I heard the good news Matt, and send you an abundance of congratulations! Each and every book is exciting in its own way every single time, yet that first book, that first sale, will always be something so very special.

Who – or what – inspires you? And how do you know when a piece of writing is complete? 

I’ve always been inspired by words noodled together like a puzzle; words that send my head into the clouds or my heart thumping or my dreams dreaming. Since I can remember, lyrical language and metaphor have been somewhat like a hobby for me. When I came across words or phrases or metaphors I loved, I collected them by writing them down in notebooks.  Sometimes I’d paste photos to go with them.

Rebecca’s newest! (Knopf Books for Young Readers, 2014)

My grandparents and my parents inspired me in every way. My big brother had a sea of books on his shelves, on his bed, in front of his nose. He’d read me excerpts when I didn’t even understand what I was hearing. He’d throw words into conversation to stump me, and when I didn’t know what the word was, he’d tell me to look it up. So I did. Probably he nudged me to feel the wonder of books and what they held inside.

And I was initially inspired to write poetry for children when my own children were small and I was going through a hard time in my life, and pouring over poems about puddles and umbrellas, giants and mermaids, skies and stars and snowmen seemed to soothe my soul.

Two books that initially inspired me to write poetry for children were Poems and Rhymes, a book from the Childcraft library, and Side by Side compiled by Lee Bennett Hopkins. And by the way, LBH has always inspired me to dig deeper just when I think I can’t.

So at what point do you decide a poem is finally done?

Can you ever really know when the writing is complete? I don’t believe so. That’s the magic of creativity. It’s a feeling of finally letting go, of sensing you’ve wrapped up a moment or an idea or a package of words as tight and as telling as you can.  For the moment. It’s like saying how do you know when you’re done staring at the sky.  You don’t. You just feel it’s time to get up. To move on. Time stopped for that small bit of time, and held some form of magic or fascination or angst or play or joy in your soul, and hopefully will again.

Do you share your poems or manuscript texts with anyone before submitting?

For the most part I don’t; I am a pretty solitary writer and submitter. When I began years (and years) ago, I knew no one to share with and of course it was way before computers and internet, so I just happily read, studied and wrote. But having said that, there are times now that I do share poems and manuscripts back and forth with just a few poet and author friends who I respect and trust. I am also lucky enough to have an agent, and a few really special editors who are in my corner.

How did your career progress from writing poems and picture books to writing things like books for HarperCollins’ I Can Read and Growing Tree series, which – while creative – are more educational in nature? How does a poet make that leap?

REBECCA KAI DOTLICH - RoundThe shape books for The Growing Tree series started out actually as a poem.  I wrote What is Round, a list poem, simply because I had always loved (and still do) things like marbles and beads and coins and all things round, and I had intended to send it to a magazine.  My agent decided to send it to Harper for the Growing Tree series.  They bought it right away and gave me an additional two book contract to write Square and Triangle.  If I remember right, Away We Go was bought then as an additional and different book for the series (again, a poem that I had written about transportation, with thoughts of sending it to a magazine.)

REBECCA KAI DOTLICH - P&PNow the I Can Read (Peanut & Pearl) is a different story.  I had always wanted to write an I Can Read book. I fell in love, years ago, with Frog and Toad.  Who didn’t?  I read them to my children when they were young. So I had studied the structure, word count, page breaks, etc., on and off for a long time.  They seem simple, but they really aren’t.  I’d like to write more.

Are there any genres of writing that intrigue you, but that you have yet to tackle?

Yes. I am working on a novel in verse and have ideas for a chapter book series.  But poetry is (as my granddaughter would say) my favorite and my best.

Do you have a process for figuring out what you’re going to write and how you’re going to write it? That is, if a subject is a poem or a picture book, and how you’ll construct it?

I wish I did have a process. I can’t say that I do. Things just kind of happen. A seed of an idea, a lyrical line, a phrase, and I let it spill onto the page and see where it takes me. Then when I get the bones of it down, I take a look and see if I want or need to mold it differently.

Over the years, what part of writing has gotten easier for you, and what has gotten more difficult?

Nothing has gotten easier.  Finding time has gotten more difficult.


You collaborated with Jane Yolen to write Grumbles From the Forest, a collection of poems about the secret thoughts of fairy tale characters. How do you come up with fresh ideas for collections such as this, and what is it like to write a book with someone who is half a country away from you?

To be honest, I didn’t come up with the idea, Jane did. Sounded great to me; I’m always on board with anything that involves fairy tales.  I loved them as a young girl, and still do.  We both thought putting a twist on them by way of poems would bring new readers to the tales.  Working together was easy  because of the internet. Much easier than it would have been by letter writing before email. We had ideas and first drafts and revisions flying back and forth constantly.

REBECCA KAI DOTLICH - One DaySpeaking of collaborations, tell us about your upcoming new book, One Day, The End: Short, Very Short, Shorter-Than-Ever Stories (Boyd’s Mills Press, 2015). This must have required a great deal of collaborating with illustrator Fred Koehler, yes?

No collaborating at all! I didn’t know Fred. I wrote the (short) and spare picture book knowing an illustrator would add layers to it, and possibly even take over the book in his or her own way, which I expected and delighted in.

That’s fascinating to me, because it looks like the type of book that would have necessitated the author conspire with the illustrator.

Artists, and what they bring to the table, fascinate me.  It’s magical to see your words brought to life in a new, different, clever and colorful way.  My editor, Rebecca Davis, brought Fred Koehler on board and gave him full reign to add his own view of the stories.  He had a different vision that I had, but that is usually a very good thing!

Sometimes I’ll get an idea for a poem or book, but can’t flesh it out for weeks or months or even longer. Are there any subjects or ideas you’d like to tackle in a poem or book, but just haven’t yet?

Absolutely.  I have drawers and files with parts and pieces and beginnings. Some take months and some take years and some never do get fleshed out. I have a few ideas on the back burner but since they are just ideas, I probably will let them simmer awhile.

In some ways, it’s become harder for a new writer to break into children’s literature and get published; technology has allowed more and more people to share their work via blogs and self-publishing, so making a mark for oneself can be difficult with so much competition. Conversely, though, technology has also allowed more people to learn the craft and be able to connect with editors and agents – so in some ways, it’s easier. What are your thoughts on the changes in the industry, as you’ve witnessed them over the past 20 or so years?

The opportunity to publish is definitely easier.  My younger self can’t imagine *connecting* with, or *chatting* with an editor all the way in New York City. Goodness, one lived in Indiana or Montana or Texas and sent a manuscript with an SASE and hoped for a postcard months and months later.  There was no connecting until the connection. Hard to imagine now.

Finally, the obvious last question is…what’s next??

REBECCA KAI DOTLICH - Race CarOne Day, The End (Boyd’s Mills Press, 2015), will be out this fall along with Race Car Count (Henry Holt, 2015)illustrated by Michael Slack.  Then next year will be The Knowing Book (Boyd’s Mills Press, 2016), illustrated by Matthew Cordell – a picture book that is closest to my heart – and a poetry collection in the Grumbles series, Grumbles from the Town (Boyd’s Mills Press, 2016)illustrated by Angela Matteson. Soon after, What Is Math? (Henry Holt and Co.), will be added to the What Is Series (What Is Science?).

I’m also finishing up a new picture book to be published by Boyd’s Mills Press about a young boy who imagines himself a wizard at bedtime and another poetry collection, which I’m excited about. I bet I’ve forgotten something, but anyone who knows me won’t be surprised.

Can you share your favorite self-penned poem here?

Favorite is a hard concept to nail down.  It seems cliché to say I don’t have a favorite, but I don’t.  I have a few favorites though, and one would be a poem that conjures up the memory of my mom tucking me in all those years ago – published in Hopkins’ anthology, Song and Dance (Simon & Schuster Children’s Publishing, 1997):


Down the narrow hall she came,

a symphony of jingle bells

as tiny


silver charms

waltzed like wind-chimes

on her arm,

and haunting notes

of tinkling tin

played music on

her perfumed skin . . .

when mama came to tuck me in.

– © Rebecca Kai Dotlich, reprinted with permission; all rights reserved

(I still love and wear charm bracelets, not only for the clink, clang and jingle, but because they remind me of mom.)

I love those “waltzing wind-chimes” and the “tinkling tin!” Well, thank you so much, Rebecca, for taking the time to chat…it’s very much appreciated, and I wish you much success with all your new books!

And for anyone who is interested in learning more about Rebecca, visit her website HERE!

Did you like this post? Find something interesting elsewhere in this blog? I really won’t mind at all if you feel compelled to share it with your friends and followers!
SCVBWI_Member-badge (5 years)
To keep abreast of all my posts, please consider subscribing via the links up there on the right!  (I usually only post twice a week – on Tues. and Fri. – so you won’t be inundated with emails every day)
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National Poetry Month: Interview with Margarita Engle

National-Poetry-Month-Logo (2015)

I’m very excited to share another interview today – not just because it’s National Poetry Month, but because it’s with a woman whose writing I truly admire: Margarita Engle.

MargaritaA Cuban-American living in central California, Margarita was the winner of the very first Newbery Honor awarded to a Latino. Her award-winning young adult novels in verse include The Surrender Tree, The Poet Slave of Cuba, and The Lightning Dreamer, winner of the prestigious PEN USA Award.

I first came to learn of Margarita’s work about 5 years ago, when I stumbled upon her historical novel-in-verse, Hurricane Dancers, about the first Caribbean pirate shipwreck. It was the first novel-in-verse I ever read, and I was captivated by the way she used poems from the perspective of each character to move the story.

I’m honored to have Margarita join me today:

First of all, thank you for taking the time for this interview, Margarita – you’re so busy, I can’t imagine how you find any time to write! Three books published in just the past 2 months with more on the way is rather prolific! Seriously, how do you find the time??

Thank you for the invitation to explain that when three picture books are released within a few weeks of each other, it doesn’t mean they were written at the same time. Actually, they were started years apart, but some took longer to be accepted, edited, and illustrated. Release dates for Orangutanka, Drum Dream Girl, and The Sky Painter just happened to coincide, after following widely divergent publishing pathways! As far as finding the time to write, I try to stick to a calm, quiet routine of scribbling a few pages each day.

Well, certainly, publishing is an up-and-down, stop-and-go kind of industry – a book you write today might get picked up and released next year, while one you wrote 5 years ago may still in production! But finding the time to write is only part of the battle…how do you find your topics? Where does your inspiration come from, and how do you know if a potential story idea has what it takes to be publishable?

My historical verse novel topics generally emerge from a combination of reading, travel and daydreaming. Picture books are a bit different. They usually don’t require years of research. Orangutanka, for instance, was already writing itself in my mind even while I was standing in the rain forest, watching wild orangutans at a refuge in Borneo. Drum Dream Girl just danced right into my head after I read about Millo (Castro Zaldarriaga, see below) in a book by her sister.

The Sky Painter was more like a verse novel. I’m a botanist, agronomist, and birdwatcher, so I love writing about great Latino naturalists who have been forgotten by history. However, this one required a lot of research, and was difficult to find a publisher willing to accept a book about someone who was not already “famous enough.”

The problem with the industry’s general prejudice against biographies of people who aren’t famous is that women and minorities were left out of history books. If their accomplishments are ever going to be recognized, we have to start telling their stories now.

OrangutankaDD GirlSky Painter

The follow-up question then has to be, how do you decide what form the story should take – picture book, verse novel, picture book-in-verse, etc.?

Thankfully, that is rarely a struggle. It’s actually one of the truly satisfying stages in the process. I love to experiment, try it this way, try it that way, and ultimately allow the characters to decide. Their voices and the events in their lives offer a certain rhythm. When it feels natural, I proceed.

I need to ask a question that I think only fellow writers will truly understand: do you feel that winning the Newbery helped you gain more confidence in your writing…or did it have the opposite effect, by making you feel the pressure to maintain that level of writing? (If it was me, I think I’d be so nervous about writing my next book I’d never get it done!)

It’s a mixture.  I alternate between days of confidence and months of timidity. The truth is I write best when I’m convinced that my work is unpublishable, and no one will ever read or judge it.  That gives me complete freedom to experiment!

Good point. Nothing is more freeing than knowing you have nothing to lose.

We write well when we don’t worry about being judged. My creative writing professor, Tomás Rivera, told me to write in the moment, for myself, rather than thinking ahead toward publication, something that comes much later, if at all.

Speaking of publication, you’ve become well-known for your verse novels – Hurricane Dancers was the first of that genre I’d ever read, and I was blow away! – but you also apply that format to some of your picture books. Hurricane dancersHow do you go about finding those nuggets of gold you need to craft the individual poems, in order to tell the larger story?

Thank you! Hurricane Dancers is my most complex verse novel. For a simple picture book made of linked poems, I’m generally writing a biographical story. Each poem is a different stage in the character’s life. I don’t know any other way to carry him/her gracefully through time, without adding a lot of clunky facts and figures that I’d rather omit.

Orangutanka is a bit more lighthearted than some of your other books. What was your process for deciding its tone and structure?

I actually love lighthearted picture books, but most of them never find publishers. I have drawers filled with collections of poems on cheerful themes, but in the U.S., there seems to be an expectation that all my work has to be serious. (Tiny Rabbit’s Big Wish is doing very well in Japan – maybe I should move!)

Orangutanka came out in the form of tanka because it’s the form I often use as a travel diary. Visiting a wildlife refuge in Borneo was so profoundly moving, I needed a sensitive form, but also playful, like young orangutans.

Your other new book that just came out is Drum Dream Girl, a biographical picture book about a real-life Chinese-African-Cuban girl, Millo Castro Zaldarriaga, who wanted to be a drummer at a time when that sot of thing was frowned upon. How is writing this type of book different from writing a verse novel? (Some people would say shorter means it’s easier – but anyone who writes for a living will tell you shorter is often much harder!)

Drum Dream Girl is more of an “inspired by” story than a true biography. I didn’t want to load it with facts and figures. I just wanted to evoke the spirit of Millo’s courage, as a ten-year-old girl defying Cuba’s taboo against female drummers. I wanted to avoid discussing the taboo itself in any detail, because it’s part of an extremely complex West African religious tradition that would be confusing for young children.

Many of my picture book manuscripts are extremely short, but sometimes an editor asks me to add detail, and then they have to grow. Fortunately, this one stayed in its original form, leaving plenty of room for Rafael López’ spectacular artwork!

Surrender TreeSilver peopleLightning DreamerPoet Slave

What would you say is the most important consideration a writer needs to make when crafting a verse novel, as opposed to another genre?

The heart is the most important consideration. The heart of the story, the heart of each poem, the heart of each character. I love the verse novel format because like a haiku, it has room for universal emotions, without all the clutter of too many facts and figures. However, I do need to research my subject thoroughly. I need to know those facts and figures, and then I need to choose which ones are truly important to me. The rest can be left out completely, or distilled into a brief prose historical note at the end.

Please tell us about your upcoming new book, The Sky Painter: Louis Fuertes, Bird Artist. What drew you to this particular person?

I love writing about great Latinos who have been forgotten by history, and I love writing about people who are independent thinkers, willing to try something new. Fuertes pioneered the painting of living birds in flight, instead of killing them like Audubon. I think that’s a creative approach that will inspire children! Just because someone is taught to do something destructive, that doesn’t mean he/she can’t figure out a better way to accomplish the same goal.

Ornithologists consider Fuertes to be the best bird artist who ever lived, and he was also a great conservationist at a time when women still wore whole birds on their heads – hats were not just ornamented with feathers, entire specimens of rare and endangered species could be spotted on hats in fashion shows! He talked to women’s clubs, asking them to use ribbons or other decorations, instead of dead birds. It sounds absurd now, but that was the reality of the time. It makes me ask myself: what are we doing now that will seem horrifying in a few decades? How can we change?

Finally, I’d love to know more about your upcoming childhood memoir in verse, Enchanted Air. How different was writing an autobiography from writing the biography of someone else, and how does a writer find the objectivity needed to determine what works and what doesn’t?

Enchanted AirEnchanted Air is subtitled Two Cultures, Two Wings. It’s the story of my childhood summers in Cuba, where I bonded with my mother’s extended family, and fell in love with tropical nature.

It’s also the story of the Cold War, and the loss of travel rights. I know the Missile Crisis affected every child of my generation, but it affected Cuban-Americans in a unique way. Writing this book was excruciatingly painful. I won’t be able to read certain parts out loud without crying. I don’t claim to be objective about something so personal and emotional.

By the way, are there any subjects or even genres you haven’t tackled yet, that you would like to?

That’s a long list! My one great unfulfilled wish is a bilingual picture book. I keep writing them, but none are ever accepted. I also wrote a magic realistic middle grade book that has not found a publisher, but I enjoyed experimenting with fantasy. I’m also enjoying experimenting with a historical verse novel set in my home state of California. I would love to try a collection of natural history poems. I haven’t yet tackled the subject of contemporary Cuba.

Well, thank you so much, Margarita! I appreciate you taking the time to chat.

For more info on any of Margarita’s books, check out her website HERE or simply click any of the book covers above!


Poetry Cubed logoBy the way, you have one week left to send me your “Poetry…Cubed!” entries for a chance to win one of two books! Last week I shared a new poetry challenge…and I’m looking forward to seeing what you can come up with! It’s my take on the Food Network show, “Chopped!” – but instead of using surprise ingredients from a basket to create a meal, you need to use three photo prompts to create ONE fantastic poem!

(Don’t worry, you won’t be graded…winners will be chosen at random. Get all the details HERE!)


By the way, Irene Latham’s annual Progressive Poem is…well, progressing – very nicely! A different writer adds a line each day, and today Tara at A Teaching Life adds her touch to the adventure. On April 30, we’ll see where it ends when Yours Truly caps it off with the final line.

You can follow the 2015 Progressive Poem at the following blog spots:

2015ProgressivePoem1 Jone at Check it Out
2 Joy at Poetry for Kids Joy
3 Heidi at My Juicy Little Universe
4 Laura at Writing the World for Kids
5 Charles at Poetry Time Blog
6 Ramona at Pleasures from the Page
7 Catherine at Catherine Johnson
8 Irene at Live Your Poem
9 Mary Lee at Poetrepository
10 Michelle at Today’s Little Ditty
11 Kim at Flukeprints
12 Margaret at Reflections on the Teche
13 Doraine at DoriReads
14 Renee at No Water River
15 Robyn at Life on the Deckle Edge
16 Ruth at There is No Such Thing as a Godforsaken Town
17 Buffy at Buffy’s Blog
18 Sheila at Sheila Renfro
19 Linda at Teacher Dance
20 Penny at A Penny and her Jots
21 Tara at A Teaching Life
22 Pat at Writer on a Horse
23 Tamera at The Writer’s Whimsy
24 Tricia at The Miss Rumphius Effect
25 Tabatha at The Opposite of indifference
26 Brian at Walk the Walk
27 Jan at Bookseedstudio
28 Amy at The Poem Farm
29 Donna at Mainely Write
30 Matt at Radio, Rhythm & Rhyme

Did you like this post? Find something interesting elsewhere in this blog? I really won’t mind at all if you feel compelled to share it with your friends and followers!
PoetsGarage-badgeTo keep abreast of all my posts, please consider subscribing via the links up there on the right!  (I usually only post twice a week – on Tues. and Fri. – so you won’t be inundated with emails every day)  Also feel free to visit my voiceover website HERE, and you can also follow me via Twitter FacebookPinterest, and SoundCloud!

National Poetry Month: What is “Psychoetry?”

National-Poetry-Month-Logo (2015)April is fully underway, which means National Poetry Month is, too – and today I thought I’d share an interview with someone who has taken poetry into an area it hasn’t – officially – been before!

We all know that reading and writing poetry often can be therapeutic for folks who are going through tough times; but what if a licensed mental health professional was to incorporate poetry into his sessions and use it as a way to help people come to terms with the problems they’re dealing with?

Brian P. Wohlmuth is just such as person. He has written a book called Psychoetry: Lessons in Poetic Parenting and joins us today to chat about this intriguing concept.

Thanks for taking the time to be with us  today, Brian. First of all, what exactly is Psychoetry, and how did you come to develop it?

Brian-Psychoetry coverPsychoetry is the marriage of Psychology & Poetry.  As a clinician, I found myself regularly empathizing with children who had unceremoniously stumbled into one or more universal “potholes of childhood.” Although the provision of empathy is a common and essential therapeutic practice, I frequently encountered parents who were operating at a deficit.

Subsequently, the concept for a book that both enhances parental attunement and the ability to administer empathetic appreciation literally unfolded right in front of my face. My childhood exposure to Mother Goose/Dr. Seuss and The Beatle’s lyrics gave birth to the idea of using rhyme as a method of delivery.

What is the benefit of using poetry as that ‘method of delivery’ for your counseling lessons?

It seems to me that rhyme has a tendency to be internalized. Much like a song or lyric that can remain in your head forever, I believe a poem can generate an outcome of similar permanence. The introduction of poetry about psychology is intended to enliven those childhood experiences that reside within each and every adult. When accompanied by pictures and informative narratives, the illumination of forgotten  memories can help establish a common ground that allows parent and child to strive forward together.

Here’s an example”


Together with my classmates
against the school yard wall

Recess has just started
it’s time to “dodge the ball”

Scott and Jerry pick as captains
because they are the best

Team members must be chosen
First good players
then the rest . . .

Dave and Randy, they’re selected
Cindy, Greg, and Jenny

Another name that isn’t mine
Slow Todd and clumsy Benny

Large Freddie is a popular choice
cheered by a collective groan

Take me please,
the invisible man
I now stand all alone

What kind of reactions have you had to your Psychoetry? Have you been able to quantify any results?

The reaction to Psychoetry has been extremely positive. I have been a guest on three radio programs in 2015, and look forward to honoring invitations extended for April and May. As a general rule, each respective host has recognized Psychoetry’s content to be informative, and found the combination of Psychology & Poetry to make for an enjoyable read. I have also received feedback suggesting that after revisiting the “universal potholes of childhood” contained in Psychoetry, some parents have actually been the benefactors of a corrective emotional experience(s).

It must be noted, that as of this writing, no evidenced based research quantifying the efficacy of the Psychoetry Method has been gathered.

What types of issues do parents most often discuss with you, and how has poetry helped you to help them?

In my presentations to parenting groups, as well as those who seek private consultation, I find that many parents have allowed their children to become “LARGE AND IN CHARGE.” There are many names assigned to such a phenomenon, such as Entitlement, Narcissistic Personality Disorder, or Omnipotent Grandiosity. The latter describes a child who has taken up residence in the center of the universe, and has not been adequately taught/informed that there is a world beyond his or her egocentric position. Subsequently, the poems “PA” and “Just Say No,” introduce OPTIMAL FRUSTRATION (frustration in manageable doses)  as the catalyst which gradually engenders a shift from “ME-NESS” to “WE-NESS.” To simplify, and as I write in the book, “A YES IS FOR FUN, but A NO IS WHAT YOU GROW FROM.”

You cover a number of parenting issues in your book – from familial ties and positive reinforcement to doctor visits and the first day of school – and you have a poem for each of these! Are there any poems that seem to have a greater impact than others?

Included in Psychoetry is a poem entitled E = MC2,  which acquaints the reader to the concept of parenting as energy. Basically, it encourages parents to understand that “SOME OF THEIR BEST LIVING WILL BE DONE BY THOSE THEY LEAVE BEHIND,” and invites them to impart energy (parenting practices) that will compliment rather than complicate the development of their child.

The counseling topics that appear in Psychoetry encompass the DROOL to SCHOOL age periods of development. Those issues which accompany the SCHOOL to NOBODY’S FOOL (young adulthood) transition, are awaiting to be poetically addressed.

How long have you been writing and have you written any other poetry besides Psychoetry?

I began writing poetry about 20 years ago, which is when I came up with the idea to combine Psychology and Poetry. I had never written before, but with cautious optimism, I gave it a try. After making a list of the various “potholes,” I began to imagine how they would occur, the circumstances behind their occurrence, and the feeling(s) which might accompany each occurrence. Without previous experience, I had no indication of whether or not I was capable of writing anything worthy of publication.

My uncertainty was replaced by a quiet sense of confidence when Fox Television approached me to do a therapeutic news segment on the effects of being the last one chosen. The poem, “Exclusion,” was used as the backbone for the story, and Psychoetry was put into motion!

Are all your poems geared towards therapy and human relations?

After finishing the essentials for Psychoetry, I attempted to expand upon my creative process. Although I remain dumbfounded to this day, I began to generate poems which were oriented toward Spirituality, and/or Higher Love. What follows are two of my initial post-Psychoetry creations. The first, “Vision,” had the good fortune to be published (in braille) by the John Milton Society For The Blind (Discovery, Oct. – Dec 2000, Volume 1) and appear around the world. The second, “Behold His Mighty Hand, percolated to consciousness as the first of its kind, and thusly, is my personal favorite.


I overheard the blind girl say,
“he guided me again today.”
Although she felt no form, nor face,
she recognized his warm embrace.
Her tiny voice rang crystal clear,
“It’s faith,” she said, “that brings him near.”
As if to see she turned around
and placed one hand upon the ground.
She told her mom, “he made all this,”
then lovingly blew God a kiss.



Time had been canceled
My forever was death
As eternity dawned
I inhaled one last breath
Then matter of factly
she announced like I knew,
“It’s a quarter till Heaven
and 15 minutes from you”

Surrounded by warmth
I did not understand
In the brilliance of light
she extended her hand
And lifting me upward
she said, “Lord what a view . . .
It’s a quarter till Heaven
and 15 minutes from you.”

I thought to myself,
“these are magical things,
A halo cast sunshine
upon glorious wings”
She softly confided,
“we touch only a few . . .
It’s a quarter till Heaven
and 15 minutes from you.”

Beyond what she called
“The Celestial Whole”
She explained she had come
to enlighten my soul
And she echoed the words,
“what is written is true . . .
It’s a quarter till Heaven
and 15 minutes from you.”

Her message was clear
as she bid me farewell
From within we create
either Heaven or Hell
Now each moment on Earth
is HER work that I do . . .
“It’s a quarter to Heaven
and 15 minutes from you.”

(all poems © Brian P. Wohlmuth and used with permission)

If someone wants to find out more about Psychoetry, what should they do?

Please feel free to inquire about Psychoetry at parentingwithpoetry.com!


2015ProgressivePoemI’m very happy to once again be part of Irene Latham’s annual Progressive Poem! Each day, a different person adds their line to a poem that grows and grows over the course of the month…until it culminates April 30 with the final, closing line.

I’m excited – and a bit anxious – about the fact that it will be up to me to write that last line!

You can see how the poem looks so far at Catherine Johnson’s blog today…and then follow the 2015 Progressive Poem at the following locations:

1 Jone at Check it Out
2 Joy at Poetry for Kids Joy
3 Heidi at My Juicy Little Universe
4 Laura at Writing the World for Kids
5 Charles at Poetry Time Blog
6 Ramona at Pleasures from the Page
7 Catherine at Catherine Johnson
8 Irene at Live Your Poem
9 Mary Lee at Poetrepository
10 Michelle at Today’s Little Ditty
11 Kim at Flukeprints
12 Margaret at Reflections on the Teche
13 Doraine at DoriReads
14 Renee at No Water River
15 Robyn at Life on the Deckle Edge
16 Ruth at There is No Such Thing as a Godforsaken Town
17 Buffy at Buffy’s Blog
18 Sheila at Sheila Renfro
19 Linda at Teacher Dance
20 Penny at A Penny and her Jots
21 Tara at A Teaching Life
22 Pat at Writer on a Horse
23 Tamera at The Writer’s Whimsy
24 Tricia at The Miss Rumphius Effect
25 Tabatha at The Opposite of indifference
26 Brian at Walk the Walk
27 Jan at Bookseedstudio
28 Amy at The Poem Farm
29 Donna at Mainely Write
30 Matt at Radio, Rhythm & Rhyme

Did you like this post? Find something interesting elsewhere in this blog? I really won’t mind at all if you feel compelled to share it with your friends and followers!
PoetsGarage-badgeTo keep abreast of all my posts, please consider subscribing via the links up there on the right!  (I usually only post twice a week – on Tues. and Fri. – so you won’t be inundated with emails every day)  Also feel free to visit my voiceover website HERE, and you can also follow me via Twitter FacebookPinterest, and SoundCloud!

Interview with poet and anthologist Lee Bennett Hopkins

I don’t know how they do it. I have so many writer friends who somehow find the time to not only write stories and poetry, but update their blog every other day, maintain a family, run errands, and do all the other stuff that life requires…and yet for me, it’s always a struggle. I really don’t know how they keep it all together! Myself, I’m taking care of the kids, trying to keep on top of my voiceover business, keeping the house and yard from looking too shabby, trying to be a good hubby, AND find time to get all my writing in. And invariably, every day ends with me wondering where the hours all went.

That said, I’m reposting this interview with Lee Bennett Hopkins today. I’ve been out straight lately with commercial production work and writing children’s poems to submit to a few select publications, and since this interview was first shared in the fall of 2012 (Nov. 13, to be exact), I thought it remained on the shelf long enough and deserved a second posting! I hope you like it…


Lee Bennett Hopkins’ name is synonymous with children’s literature. He has written and edited numerous award-winning books; he’s worked with a veritable who’s-who of authors, from Dr. Seuss to Madeleine L’Engle; and he has even been an elementary school educator.  In addition to the numerous awards he’s received over the years, he was recognized by Guinness World Records in 2011 as the world’s most prolific anthologist of poetry for children:  at the time, he had edited 113 different titles. and he’s not slowing down.

I recently wrapped up an interview with Lee for Poetry Advocates for Children and Young Adults (PACYA), which we just finished editing and formatting yesterday….you can find the interview HERE.

PACYA is featuring all the recipients of the prestigious National Council of Teachers of English Award for Excellence in Poetry for Children; in addition to Lee, you can read biographies and interviews with poets like Karla Kuskin, X.J. Kennedy, Myra Cohn Livingston, Nikki Grimes, and more.  (I had the honour of interviewing U.S. Children’s Poet Laureate J. Patrick Lewis a few weeks ago, and that interview will be posted in a couple weeks.)  See the complete list of all the featured poets along with links to their pages HERE.

My thanks to PACYA for helping to promote children’s poetry, and for giving me the opportunity to help them in their efforts!


Did you like this post? Find something interesting elsewhere in this blog? I really won’t mind at all if you feel compelled to share it with your friends and followers!

PoetsGarage-badgeTo keep abreast of all my posts, please consider subscribing via the links up there on the right!  (I usually only post twice a week – on Tues. and Fri. – so you won’t be inundated with emails every day)  Also feel free to visit my voiceover website HERE, and you can also follow me via Twitter FacebookPinterest, and SoundCloud!