Charles Waters today

BULLETIN #1: Be sure to come by on Monday. I’m issuing a new challenge that I hope you will enjoy.
BULLETIN #2: This just in from our talented friend Steven Withrow. It’s fantastic news so check it out. “Publishers Weekly ran a great online article about the Library of the Early Mind documentary today”: http://www.publishersweekly.com/pw/by-topic/childrens/childrens-industry-news/article/43774-new-film-on-children-s-book-authors-and-illustrators.html

Charles Waters from Florida,

Today I bring you my interview featuring Charles Waters. After you read his account of his dedication to becoming a writer, I know you will be impressed and reminded that what we do is not easy and is not for those who give up before they realize their dreams. Here’s Charles.

Interview with Charles Waters, July 9, 2010
Q
You find outlets to express your creative side in a variety of ways. Describe your journey of self discovery and your hopes for the future.
A
For me it’s always been about finding something that gives you joy, challenges you in a great way and sticking to that no matter what obstacles arise. I started acting professionally in 1997. I’ve worked many survival jobs in the interim (a market researcher, car collector, waiter, shuttle driver, valet, warehouse employee, security guard) and a few others. All those jobs were what I needed to go through in order to get to where I needed to be, which was an employed actor. If I had to describe everything that I’ve learned along the way in one word I would say humbleness.
I feel I haven’t scratched the surface in what I can do as an actor, children’s poet and person. I’m grateful to be alive every day because if you think about what’s going on in the world any problems you may have are maybe infinitesimal in comparison. What I hope for the future is continue to grow in all facets of my life. I feel by staying humble, working hard and being a good person, great things will happen.
Q
How did you know you were a poet? Describe your decision and how you went about getting published.
A
I guess I was always a poet because since I was a child I felt I might have looked at the world different from my classmates, at least I verbalized it which made people look at me like I was a bit off-kilter.I didn’t knowingly realize I was a poet until I started performing for Poetry Alive in the fall of 2003. I was with them for 3 years and I really have to thank them for turning me on to poetry because it was never taught to me in school. Because you have to learn at least 70 new poems a year for them, you couldn’t help but fall in love with the best writers in the world.

In terms of getting published, I realized after about 4 years of writing children’s poems that I MAY have something to share so I started submitting and started piling up the rejection letters. I will say that being an actor and having been rejected thousands of times in my career gave me some preparation for it, but it still stinks.

There’s no way around getting rejected, it’s a way of life, the good news is that when you finally do get an acceptance, it feels like all the work you put in was worth it. I’ve been published in the newspaper The Evening Sun, a wellness magazine called Spotlight on Recovery, the 30 Poets/30 Days blog by Greg Pincus and now your blog and the key for me to have that happen was to get my name out there, find all my favorite children’s poets on Facebook, ask them advice and hopefully they may ask to see my work. I’ve had the incredible good fortune of having Rebecca Kai Dotlich take interest in me not only as a poet but as a person and she’s been instrumental in passing my name to her fellow friends/poets and that’s been a huge boost for me.

I’m still working hard towards getting a book of mine published, be it my own children’s poems, an anthology or both. The fact that you, David, were rejected something like 80 times and now you have 80 books published gives me hope!
Q
Why are some people afraid of writing poetry? How can a beginning poet get past the fear factor?
A
It all starts in the schools. I believe it’s a vicious cycle where teachers back when they were students had to learn poems by rote instead of by heart and they resented that so when they became teachers they would make sure that didn’t happen again. I can tell you that not having poetry taught to me in school was a shame because it really does make you feel less alone in the world, especially at a young age. I don’t want to make it seem like I’m disparaging teachers, especially since my mother was one and my high school teacher, Becky Vandenberg, was one of the most influential people in my life. It’s just that it’s such an important tool to a better understanding of our world.

For me getting past the fear factor is all about reading and writing. The works of Jack Prelutsky, Lee Bennett Hopkins, Rebecca Kai Dotlich, Sara Holbrook, and many others will help you write poems because the more you read the better understanding you have of metaphors, similes, imagery and other forms that will make you not only appreciate words but savor them like dark chocolate out of the fridge.

Q
Which is easier to write, verse or free verse?
A
I’m here to tell you that writing verse is hard work. Because so many words rhyme together one is in danger of their writing coming off as a cliché. Having said that, free verse takes a huge amount of perseverance as well because putting words together slapdash really isn’t poetry. I guess a master on the subject, Jane Yolen, said it best when she stated “make every word count.”
Q
Why poetry? Why not stick with fiction or nonfiction? What attracts some writers to poetry?
A
In my opinion, distilling life’s essence down to a line or 20 lines is more a gut punch to me than something that’s served out over 300 pages. I’ve been reading consistently since the 6th grade when I started devouring the sports pages of the Philadelphia Inquirer, and I love a good novel like The Corrections by Jonathan Franzen (at 588 pages), but I’ve never been as gob-smacked as when I started getting into the children’s poems of, let’s say, Barbara Juster Esbensen who, in Cold Stars and Fireflies, goes through the 4 seasons in less than 70 pages!
Q
How much does a children’s poet need to know about poetry to become a poet?
A
You don’t have to know a lot in the beginning but you should keep learning over time because in order to write, not just children’s poetry, but in general, is to read a lot. It’s vital. Read, write, repeat!
Q
While waiting for the big break from an editor, how should budding poets work to perfect their craft?
A
What’s helped me is sharing my writing with people who I trust. I have a select group of people who read what I have and give me an honest critique. It’s important to listen to what they have to say, it’s also important to remember that you have the final decision. It’s all up to you!

Charles Waters tomorrow

I haven’t had a Friday Featured Guest in a while so I’m very pleased to bring you a good one tomorrow. I became familiar with Charles Waters and his work when Greg Pincus included him among his poets during April. Since then Charles and I have exchanged e-mails and I featured his picture and a poem as my second Summer Guest Reader.

Now I’ve invited Charles to become a Friday Featured Guest and he has provided stimulating responses to my questions, which will appear tomorrow. Be sure you stop by for more about Charles. For now, here is what he provided about himself.

Charles Waters has performed professionally in theatres all across the country since 1998. He’s also dedicated 3 years of service to Poetry Alive! a performance and teaching theatre troupe where he performed in 38 of the 50 states. His poems have appeared in The Evening Sun, Spotlight on Recovery, 30 Poets/30 days and now in Connecting the Dots. He currently acts at Walt Disney World in the roles of Judge in the American Idol Experience, Director in the Indiana Jones Epic Stunt Spectacular and Sports Host at ESPN Wide World of Sports. Charles currently lives in Orlando, FL where he hopes someday the hair will grow back on his head.

rubberman

David

Rob Shepperson today

Greetings all,

Today it’s a pleasure to feature Rob Shepperson, the talented illustrator of several popular books. You’ll enjoy meeting the witty voice behind the pen.

Q/A with Rob Shepperson
1- How does on artist prepare for becoming a book illustrator?
Someone once said that the difference between an artist and an illustrator is that an illustrator makes art for publication. In other words, art with a story. An artist planning to become an illustrator might want to look into that—does the art have something to say? And who’s listening?
2- How closely do you usually work with the author?
In the case of BUGS and VACATION, David e-mailed poems that looked pretty darn finished. I e-mailed back sketches that looked pretty darn finished. How close was that? We inspired each other, but didn’t tell each other what to do. Have you seen David’s drawings?
3- How long do you usually need to do a complete book project?
Sometimes the editor is having lunch, or is reading the wrong manuscript, and boy, things grind to a halt. But generally, it takes six to eight weeks to draw a book, if you don’t count naps.
4- What steps do you take from idea to finished work?
I think I’m finished as soon as the idea occurs. No-one else does, so I have to put the idea on paper. First, pencil sketches. Once the sketches are approved, or disapproved and redrawn, I use pen and ink to make the same drawings in a printable style. At this point, I’m finished again. Oh, and the artwork has to fit the page. For instance, if I’m drawing a snake on a “vertical” page, the snake has to stand on its back tail to fit in the book. Sometimes, I forget, and terrible things happen, like to that giraffe in BUGS.
5-How much do you revise your work?
With David, revisions are few, and painless. He writes clearly, and knows his subject. On the other hand, I just finished a job for someone else. Oh, there were many many revisions because new characters were introduced every time I sent in finished artwork. Sort of like if this question were changed after I answered it. What?
6- How do you use the computer as a tool for your art?
I use the computer to scan and send my inky drawings. Once they are scanned, they can be e-mailed anywhere, even to the White House. Or Antarctica. Or Mr. Harrison’s.
7- What advise would you give authors that would help an artist make a better book?

As an illustrator, I believe authors should write stories without clobbering the narrative with descriptions that can be shown more efficiently visually. Unless the illustrator is dim-witted. It happens.
8- Which usually comes first, the words or the art?
The WORDS come first! Did I say that?
9. How did you get into this business?
I got into the business by pestering editors, back in the day when editors could be pestered in person. That means I took drawing samples to publishing houses, and received jobs. It wasn’t as easy as that, ’cause I’ve forgotten all the jobs I didn’t receive.
10. Describe your work as a political cartoonist.
Political, or editorial art, is done on a short deadline. In fact, the art must be finished before the manuscript is read, and often before it is written. It’s no wonder that grownups are confused.

Didn’t I tell you? Please leave your questions and comments for Rob.

David

JonArno Lawson today

Today I’m pleased to introduce you to my guest, JonArno Lawson. Yesterday I posted our Q/A bio of JonArno but here’s another site where you can see some of his selected work. Thanks again to our friend Tricia Stohr-Hunt for making me aware of JonArno and his work. http://missrumphiuseffect.blogspot.com/2010/04/poetry-makers-jonarno-lawson.html

NONSENSE

By JonArno Lawson

Lately, under the influence of Michael Heyman’s brilliant introduction to his collection of Indian nonsense THE TENTH RASA, I’ve been thinking a lot about the role of nonsense in life and literature.Tom Bombadil, in Tolkien’s THE FELLOWSHIP OF THE RING, is a nonsense poet. He’s much else besides of course, but clearly he loves singing and making up silly verses. For instance – “Hey dol! merry dol! ring a dong dillo!/ Ring a dong! hop along! fal lal the willow! /Tom Bom, jolly Tom, Tom Bombadillo!” I think it’s noteworthy that he’s also the only character in THE LORD OF THE RING over whom the Ring of Power has no power.

In Beatrix Potter’s GINGER AND PICKLES, the Dormouse family sells bad candles to customers who become very disgruntled. How does Mr. Dormouse deal with his customers?:

”. . . when Mr. John Dormouse was complained to, he stayed in bed, and would say nothing but “very snug;” which is not the way to carry on a retail business.”
See also Mole in Kenneth Grahame’s WIND IN THE WILLOWS:

“Hold up!’ said an elderly rabbit at the gap. `Sixpence for the privilege of passing by the private road!’ He was bowled over in an instant by the impatient and contemptuous Mole, who trotted along the side of the hedge chaffing the other rabbits as they peeped hurriedly from their holes to see what the row was about. “Onion-sauce! Onion-sauce!” he remarked jeeringly, and was gone before they could think of a thoroughly satisfactory reply. Then they all started grumbling at each other. “How stupid you are! Why didn’t you tell him — — “ “Well, why didn’t you say — — “ “You might have reminded him — — “ and so on, in the usual way; but, of course, it was then much too late, as is always the case.

“Very Snug” and “Onion Sauce” in the face of reprimand and confrontation seem like very clever ways of muddling the issue in what might otherwise have become more difficult (even dangerous) situations. . .is it also a way of putting things back in their proper perspective?

Nonsense for the purpose of creating confusion (for socially beneficial reasons, or simply out of wiliness) seems like a very English strategy, but I’m wondering if these kinds of scenes appear in children’s books in other traditions?

In Robert Chenciner’s book DAGHESTAN: TRADITION AND SURVIVAL, he writes about what almost became a violent confrontation between groups of Kumyks and Laks back in the 1990s. A policemen, who was trying to keep the groups apart, finally said “If you’re going to beat somebody, why don’t you beat me?”.

This is nonsensical, of course, and it put an instant end to the tension – the two sides stopped, thought again, and finally decided to resolve things by negotiating.

This reminds me too of a psychologist my mother told me about, who advised parents with children who wouldn’t listen to them to behave in a bizarre manner – for instance, let’s say Michael’s Mom has come to pick him up and says over and over “Come on Michael, we have to go” but Michael never listens. Michael’s mother, instead of shouting, should start to tap-dance and sing loudly. Michael, baffled, and possibly embarrassed, now wants to leave as quickly as he can.

To me, writing nonsense poetry has always been very much about playing with (or being played with by) words. For instance, two sets of words with a similar sound start to repeat over and over in my mind, like “bare knuckles” and “barnacles”. Any sensible person might notice this for a moment, and then forget all about it. But my mind, for whatever reason, refuses to let it go. It has to be more than just a coincidence! Why are they suggesting themselves to me, over and over again? There must be a reason. They refuse to see it as a chance meeting, and my task is to find out what their relationship is – what do they mean to each other? A character emerges, a woman who swims to the bottom of the sea in search of treasure, who “barks her bare knuckles on bevies of barnacles” – now they’re satisfied, and I can forget about them. They end up in a book (which could also be seen as a set of formulas to neutralize my word obsessions), and now my mind can move on to other things.

This kind of work renders me harmless, in general, and I suppose that’s one of the valuable aspects of it. While I might be doing some sort of large scale world-damaging work, instead I’m playing about with (or being played about with by) words.My thanks to JonArno for today’s guest appearance. Please post your comments below. Everyone appreciates a little feedback.
David

Rebecca Dotlich today

My thanks today to Rebecca Kai Dotlich for being my guest, and to those who have been asking why she didn’t appear last Friday as promised. Rebecca and I both did our best to get her here on the 16th but busy people are simply busy people and sometimes we can’t do it all at the same time. My philosophy toward my guests is that I wouldn’t be asking them to be here if they weren’t successful, popular people. I’m grateful that so many are giving their time and attention to posting remarks here to share with the many readers who have learned to check in on Fridays.I promise you that the extra week of waiting for Rebecca’s remarks are well worth the expectation! I’ve arranged some of the best questions Rebecca received into a Q/A format so without further waiting, here’s Rebecca Dotlich.

Q/A for David L. Harrison’s blog
Rebecca Kai Dotlich
April 23, 2010

Q: Diane Roberts
When you begin to write a poem, do you always know how it’s going to end?
A: Rebecca

Not always, Diane. After the first line, idea, or emotion, I usually try and let the words lead me. Sometimes I have a pretty good idea how I want the poem to end, but it isn’t rare for me to let the poem surprise me. I start, I try things, I pay attention, but still there are times the words take me in a different direction than I had planned.

Endings are not easy, and I think it’s partly because there are so many choices for those last lines, depending on decisions of voice or direction or emotion. If it is a rhyming poem of course rhyme helps dictate the ending. And a poem is part mystery, so no way explaining how it goes, how it ends.Sometimes a poem fits together and flows out like it’s meant to be. Sometimes the making of a poem is sheer luck. And most times it is like anything we set our minds and hearts to; it is work.

So back to your question. I either know the ending and write each and every word and line to ‘get there.’ Or I have no idea and it’s as much a mystery to me as how a conversation with a friend might end; at some point, the words and the emotions just bring you to that last goodbye.

And Diane, I love it that you read Lemonade Sun to your granddaughter!

And I was the fortunate one, getting to know you at the workshop. You kept me laughing. And laughing some more.

Q: April Bedford
I’m looking forward to seeing you at IRA! I know you have collaborated with other poets like J. Patrick Lewis in the past, and I wonder how collaborating changes your writing process from creating poems individually?
A: Rebecca
Thanks for your great questions, April. Let’s see. Collaborating is a very different way to work. Pat and I worked well together on CASTLES because we’re both perfectionists and had the same vision. (Although I’m sure many if not most writers might be perfectionists.) For the most part, we made a list of all the castles we wanted to write about and split them up. So besides the splitting up, that is what I would do if I were writing a collection alone. Make a list of the poems I wanted to write.

But then after we wrote each poem, we’d email it to the other and we’d each make suggestions for revision. I can’t think of an instance where we didn’t agree with the other, so we made the changes and the poem was completed. I guess the real difference is that instead of writing to please just yourself and your readers (and editor) you know you have another person to please, too, because the book is part theirs. So you want to make sure they really like each poem.

We also shared research. If one of us needed to know a fact about a castle or a time period and had any confusion, the other would pitch in and do some research, too. Pat works faster than I do (an understatement) and so he completed his poems long before I did. He probably had a level of frustration at that, but never said it. He is a gem and a gentleman.

I have also collaborated with Jane Yolen on two collections and we work very similar and had more back and forth during the poem writing process. (Where Pat and I shared poems and suggested revisions more after a poem was finished.) We suggested revisions freely and for the most part took each other’s advice. I think once or twice we each said ‘well, you’re right, I’ll change x, but I’m keeping z.” Or something similar.

It was loads of fun. Jane is very straight out. She tells you when something doesn’t work (Cut that part!) but she also has loads of delightful praise. Both times went very smoothly for me. I’m also discussing the possibility of collaborating with two other poets in the near future. If we come up with a project we love.

Q: April Bedford
I would like to know which of your picture books you’ve been particularly pleased with in terms of the illustrations and why.
A: Rebecca
Of course it is hard to choose a favorite book with regards to illustrations. There are many things I admire about each one. But I have to say I am particularly pleased with, and attached to the illustrations for Bella & Bean by Aileen Leijten.(www.aleijten.com) . Her work is so whimsical, so magical. Tender yet playful. I love the colors and the movement. I adore the pages with words and stars just free flying in space. From the plum colored canopy of flowers on the beginning page, to the expressions on their faces, to the silhouette of Bella & Bean writing under the moon on the last page I was, and am, captivated.

 

Q: April Bedford
What are you working on now?
A: Rebecca
Right now I am working on a few things. I recently finished revisions for a rhyming picture book that will be coming out in 2011. I am working on a few poetry collections, a few picture books, and a beginning chapter book. I never seem to work on one thing at a time. (I can just hear my grandmother saying “what’s new, honey.”)

 

Q: Liz Korba
Just finished my stack of books from the library. It was a wonderful read. Lemonade Sun brought back a lot of great memories. I love the imagery captured in these poems. I’m wondering if that sort of thing comes naturally to Rebecca or if it is as much work as getting the meter and rhyme correct.
A: Rebecca
Thanks so much for writing, Liz. Wow, great question. Does the imagery come as naturally as getting the meter and rhyme right? For me, the imagery is probably more natural and the easiest if you will, part of writing a poem. The meter comes fairly natural to me, too. I’d say the hardest part is the rhyme, because I like the rhyme to either seem flawless or be unexpected. I don’t always succeed. Not at all. But I try. Like most poets, I try on and try out a million rhymes or rhyming words before the one that fits pops out at me.

 

Q: Liz Korba
I’m wondering how the Harper Growing Tree books were initiated. Was the series the publisher’s idea or yours? Mama Loves and A Family Like Yours are wonderful creations. I enjoyed the balance of the text, the repetition and the message.
A: Rebecca
My ‘series’ with Harper’s Growing Tree line started as one book. So it wasn’t my idea or the editor’s idea. To be honest, my agent Elizabeth Harding deserves all the credit on this one. I wrote a poem called “What is Round” and it was rejected by a two magazines. So I sent it to Elizabeth and asked her to send it out for me to a third magazine. She looked at it and said (basically) “magazine? This is a Growing Tree book.”

She sent it to Simone Kaplan, and Simone bought it, I believe, that day or the next. Wow, I thought, if she likes it that much she might like the same book on squares. So I wrote “What is Square?”, sent it to Elizabeth and it turned into a two book contract. After that, a few months later I wrote the triangle book. (So at that point I guess you could say I was thinking series, yes!) Then I looked in my files and found a poem about transportation that I had written and thought it might fit the series and we sent it in, too. Again, it was bought. Now I was on a roll.

And then they discontinued the Growing Tree line. Such is life. It was great while it lasted!

Q: Liz Korba
I’m wondering if Rebecca hears the sound of a line first or does she start with an idea and then try to find the sound. (I’m thinking it can work either way – and maybe other ways too! Come to think of it, I should probably re-read Bella and Bean for this answer…)
A: Rebecca
You are right Liz, it can be either way. But I would say for the most part I hear the sound of a line in my head first, like the first line of a song. I remember specifically hearing that first line for Mama Loves: “Mama loves dancing in slippers …”. Then the rest followed. Sometimes I just start with a word. I either overhear something, or I hear a word that I love the sound of … and I’m off. And of course a healthy dose of imagination always plays a big part in the making of each poem. And you’re right, Bella and Bean pretty much answers this better than I can.

 

Thank you everyone for writing questions and being curious and thank you David for inviting me on as a guest on your wonderful blog. Hello to every reader out there. I love it that you love poetry, whoever and wherever you are. Rebecca

My thanks to Rebecca! If you have questions or comments, please post them below. For further informatin about Rebecca, I’ve listed three good links for you to enjoy.

David

Click here: A Year of Reading: BELLA AND BEAN by Rebecca Kai Dotlich:http://readingyear.blogspot.com/2009/02/bella-and-bean-by-rebecca-kai-dotlich.html 

Click here: Seven Impossible Things Before Breakfast » Blog Archive » A Brief Breakfast Chat with theCreators of Bella & Beanhttp://blaine.org/sevenimpossiblethings/?p=1661

Click here: The Miss Rumphius Effect: Poetry Makers – Rebecca Kai Dotlich http://missrumphiuseffect.blogspot.com/2009/04/poetry-makers-rebecca-kai-dotlich.html