GUEST POST: Chris Baron on SPARK

I'm so pleased to welcome Chris Baron to the blog today with his guest post on his forthcoming novel in verse, Spark. This powerful novel shows how personal experience plus extensive research can combine to tell a truly compelling and timely story.

Research, Poetry, and Discovering the Lore in Spark

by Chris Baron

I’ve never researched for a book, more than I have researched for Spark. I’ll be honest. I love to research, and like most writers, I find joy and inspiration in the process. But during a recent school visit, when I told the young readers about how much I researched, they groaned. Actually groaned. “Research?” “for poetry?” “Isn’t that boring?” I told them that yes, sometimes it can be boring, but it also gives us a chance to learn even more about what we care about! They didn’t buy it. But that’s when one brave soul raised their hand and said. “I like to learn more about the Star Wars universe.” And it was on. We talked about how they know everything about Pokémon, and Star Wars, and books they love, stories they read over and over. They know the “lore” of the world and the characters. “That’s what research is in stories.” I told them. “It’s the lore of the world you are creating for your story.”

“Even in poetry?” they questioned. 

“Yes. Especially for poetry. In fact, poetry is the only way I can write about a friendship so deep, and an experience so challenging.” 

At its very heart, Spark, my new, middle grade novel in verse, is about the friendship between Finn, who just wants to do well in school even though his family has had employment struggles, and Rabbit, his feisty best friend, who, if she could, might just live in the national park near their home in the California Sierras. Together, they love watching their trail cameras and learning about the animals in the forest.. They even want to use their trail cameras for their eighth grade project.

But the climate is changing. The seasons are all mixed up. It’s dry, and the fire danger casts a shadow over their green lives. Like so many places around the state, and around the country, communities are suffering. When the wildfires come to their town, the kids must suddenly evacuate and their worlds are turned upside down. They must escape. Live evacuated, and eventually return, but to what? 

What can kids do against such a threat?

So what’s the “lore” of Spark? It is, of course, our world. And with such real threats we face, like wildfires, climate change, over-development, and a host of other things, I wanted to create an authentic world and in some small way hopefully represent the unreal impact of wildfires.

My own experience with the devastating wildfires in San Diego, plays an enormous role in my understanding of the story.

The Cedar Fire outside my house (Photo credit: kpbs)

I remember orange skies, watering down roofs, getting animals to safety. I even wrote poems trying to cope.

But my own experience was only the start. I decided to travel across the state to meet people, visit locations, and discover as many voices as I possibly could.

Remains of a house in Rancho Cuyamaca State park 

The research allowed me to infuse the book with authentic language from firefighters like Matt Ryan, and Torii Cooper, Park Ranger/Photographer with the National Park Service. Provide authentic animal encounters guided by renowned researchers like Roland Smith, and current, historical and cultural significance of fire by working with Frank Lake, Tribal Liaison and ecologist for the US Forest Service. Their voices and experiences come alive as characters, settings, and messages of hope and understanding. In the author’s note in the book, I have extensive information and credits to all of those people and organizations who helped in the creation of the book, and I am forever grateful to them. They are the voices of the “lore” in the story.

But how does research work in verse?

Every poem is a chance to dive deeper into the minds and hearts of the characters and what they are experiencing. Poetry is a form of expression that speaks for the heart and allows the reader (or hearer) to explore the internal landscape of a character.. We, especially young people, often have so much to express about what they have seen and experienced, but need time and language to process. Poetry is so often the language of the quiet and extraordinary soul.

Research provides some of the richest opportunities to inspire poems. t’s well known that CS Lewis' famous work The Lion The Witch and The Wardrobe, was initially inspired by an image of a faun carrying packages in the snow. Sometimes a single image can inspire an entire book! Researching galleries of images and exploring the many fires, Paradise, Camp, Cedar, Witch Creek, was extremely difficult. It was so hard to see them up close, devastating. But it’s real. Those scenes find their way into the book. Here’s one where Finn and his mom first see a photo of their own town.

Photos

The Hollows is unrecognizable—

life

interrupted.

Skeletons of cars,

a basketball hoop

with a melted backboard,

cracked plant pots,

bent street lights,

barbecue grills torn apart,

a hollowed trampoline,

and everywhere houses should be,

nothing

but ashes

and silence.

But there are also images of hope and healing. Firefighters rescuing animals, notes left on door frames, and windows of houses they saved, and couldn’t save.

Sorry for tracking dirt on the

upstairs carpet needed to close

windows to keep fire out!

RHHotshots

Through research with ecologists and indigenous tribal liaisons, I also found so many startling and amazing facts about wildfires, their importance to the regions, historically and culturally, and how important it is that we learn the greater “lore” of wildfire. This created an abundance of inspirations. I wrote so many poems that never made it into the book in their first-draft form. Here’s an example, a poem, “Alive,” that eventually exists as just a few lines in the book, but is taken directly from a process used by first rangers.

Alive

It’s alive! I shout!

Uncle Charlie looks back,

lowers his glasses,

reaches into a pouch

pulls out a wiry flag

and places it at the base

of the living tree.


Good, he says. That’s excellent.

holding it up to the light

This tree needed

the fire to germinate.


The other kids

come to see

the living tree.


He looks toward the sun,

points a finger at the sky

and back to the forest floor.

Most teachers teach

with as many words as possible.

but Uncle Charlie is a great camp counselor

He wants us to figure things

out for ourselves.


Jonas, he says,

lift up that pinecone.

He lifts it up from the sooty ground

Now shake it


When he does,

flittery seeds

on tiny wings

fall out from

between the cracks.


These are serotinous cones

they need the fire to be free.


All of us stare

at the pinecone

while seeds

fall into the ashes.

Finally, when Finn and Rabbit discover something incredible and mysterious in the forest, their hope of preserving that last remnant of the living forest, Forest Heart. is sparked even as developers have other ideas. This is when they decide to use their love and experience with trail cameras to become unlikely activists.

Here are some of the remarkable trail cameras channels that I researched and consulted to help create their experience.

Links for Trail Camera Channels:
Swan Valley Connections: https://www.youtube.com/@SwanValleyConnectionsCondon

The very famous Pennsylvania Trail Camera
https://www.youtube.com/watch?v=JyrbqiCokdw

I’ll conclude with this. Research and poetry are perfect companions. Poetry is often the exploration of a single thought, idea or image. Something moved us or affected us so much, that there are no “normal” words that can express the transcendent nature of it. In writing Spark, I knew I couldn't capture the wide range and depth of living with wildfires, but in verse, there are portraits, moments, voices, relationships, healing, and, dear reader, hope, that we can all share together. Here’s one last poem from Spark.

Hope

Hope is the simplest thing—

a warm bed to sleep in,

a loving voice,

saying goodnight.

Hope is sunlight

through the morning window.

Hope is omelets

and French toast for breakfast.

Hope is pine cone scales

opening wide,

the seeds flying off

into the wind.

Hope is oak saplings

coming to life

somewhere out there

in the ashy earth.

Hope is walking

in the forest with Rabbit

imagining any second

we will discover

something new.

Hope is believing

that the ones you love

love you back,

even when you can’t see them.

Hope is having

enough faith

for someone else,

even when you might

not have enough on your own.

Spark is out July 15th. You can preorder signed editions from here.

Head on over to A(nother) Year of Reading where our fearless leader Mary Lee Hahn is hosting our Poetry Friday gathering this week. 

Guest Post: Lee Wardlaw on MY BOOK OF FIRSTS

I invited Lee Wardlaw to give us a sneak peek into her new poetry book, My Book of Firsts: Poems Celebrating a Baby's Milestones illustrated by Bruno Brogna and published by Red Comet Press. Lucky for us, she shares an interview led by fellow poet Kristine O'Connell George, author of Old Elm Speaks, Toasting Marshmallows, Little Dog Poems, Hummingbird Nest, Emma Dilemma, and many more. Here they dig deep into Lee's process in creating My Book of Firsts.

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KRISTINE: I admire how creatively and deftly you used off rhyme. Can you tell us more about how you construct your rhyme schemes?

LEE: Yikes. Couldn’t you start with an easier question, such as “What is your middle name?” (I’ve always hated it and don’t use it. I’ll give you a hint, though: it’s a palindrome.*)

As for rhyme schemes: First, I decide what the poem is going to be about. Then, with paper and pen, I brainstorm what sorts of things I want to say, possible ways to say them, who might say them, etc. And thenI scribble words or sounds or phrases that rhyme with the words and sounds and phrases I might use in the poem. I jot down true rhymes, off rhymes, internal rhymes; big words, little words, multisyllabic words. Everything. And when an inkling inkles, I use whatever paper is handy: notebooks, paper placemats, grocery store receipts, the back of a canceled check…

I used to have a rhyming dictionary, and I’d boost my brain with words from that; now I visit RhymeZone.com because it’s both a rhyming dictionary and a thesaurus – which is handy when I’m stuck for a rhyme and need to find a synonym that rhymes with more words than the original one did.

Sometimes my brainstorms are very neat. Other times – not. Doesn’t matter. The deeper and messier I get, the better the words are. I never want to use the first words/rhymes that come to my mind, because those tend to be cliched, predictable, ho-hum.

KRISTINE: The poems in MY BOOK OF FIRSTS are such fun to read aloud. Do you read your poems aloud as you are working?

LEE: Constantly (to the great frustration and confusion of my cats, who think me speaking aloud is a precursor to petting or feeding them). All poetry is meant to be read aloud. Sure, you may need to read poems silently in certain situations, but to get the full effect of the sounds, rhythms, the rhymes, you MUST hear them. A poem is learned best, understood best, enjoyed best, when read aloud. And, obviously, since babies can’t read, reading aloud is the only way to share the poems from my book!

Too, reading my work aloud helps me to hear mistakes: places where the meter and rhythm are off, where a line doesn’t flow naturally or doesn’t fit the expected pattern. I can also hear the places where I trip or stumble. And I can better hear if a word truly rhymes or if I’m simply forcing the word to rhyme. I once had a spat with an editor because I used the word ‘mirror’ as a one-syllable word, pronouncing it ‘mere.’ She said, “No, no, no. It’s TWO syllables. Mir-ror.”

I said, “But I pronounce it as ONE syllable.” Her response: “Doesn’t matter. Most people don’t. Choose a different end word.” That wasn’t so easy. I had to rewrite the entire stanza.

KRISTINE: You are a trained Montessori teacher. Did that experience influence this or your other books? If so, how?

LEE: I have a B.A. in Education and a public school teaching credential. But I’ve always been fascinated with Dr. Maria Montessori’s work, and my son attended an AMI Montessori school for 11 years. So at the tender age of 53, I went back to school to get my M.Ed. in Child Development and my Montessori certification for teaching at the primary level (ages 3-6). I didn’t intend to teach; I just wanted to write better books for children. What I learned is: From that first breath at birth to quasi-maturity at age 24 (okay, for some people, 42), children go through four stages of dramatic physical, intellectual, emotional, and psychological changes. Knowing what these changes are, and when and how they appear, has helped me to better choose age-appropriate themes, construct believable, authentic characters, and hook kid-readers from the first sentence. I know the difference between what kids find hilarious at six months and what cracks them up at age six – and 16! – and why. And I now know the important milestones they must reach in those first three years of life in order to build upon that knowledge, that development, as they grow. I teach workshops for writers about this. When you write for children and teens it’s crucial to know your audience. And for young readers, that means it’s hugely helpful to take crash course in child development.

KRISTINE: Designing your book as a keepsake was an inspired decision by your publisher, Red Comet Press. I can see MY BOOK OF FIRSTS being one that stays in a family for generations. What keepsakes did you keep (or wish you had kept) from your son‘s very early years?

LEE: I kept a lock of Patterson’s soft, wispy hair from his first haircut. I also kept his first tooth. True confession time: I kept all his baby teeth! Well, except for the one that popped out when he bit into his seat belt while we were on a ride. That tooth got lost somewhere in the crumb-y, dusty depths of his car seat. I kept the rest of his wee chompers in a small crystal jar with a sterling silver lid. My great-grandmother’s initials are engraved on the top. One day, when Patterson was 12 or 13, he found the jar and shook it. It made a faint chinka-chinka sound. “Hey, what’s in here?” he asked.

“Take a peek!”

He did. “WHAT the - - are those - - ?”

“Yep, your baby teeth!”

“Mom. MOM. That is just…GROSS.” 

He was so creeped out, and I was so embarrassed, that I threw them away. But I saved other ‘first’ items from his babyhood, like the remaining scrap of his favorite blankie. “Rag” is too good a word for it. But it’s poetry in cotton flannel to me. Oh! I also saved most of Patterson’s toothpaste collection. He started collecting tubes when he was two. (Don’t ask why. We don’t know.) Friends heard of his collection and brought tubes home from their travels. France. Israel. Mexico. Japan. China. Iceland. Patterson kept them in a container under his bed, so his room always smelled minty fresh. That story is going to be a picture book someday…”

KRISTINE: What question(s) do you wish someone had asked you? (Besides your preference for milk or dark chocolate?

Lee's first hat!

LEE: But dark chocolate is LIFE. And my favorite is: Trader Joe’s The Dark Chocolate Lover’s Dark Chocolate. It is The Best. 

But I wish someone had asked me about MY firsts. So here are a few: First Word: Kitty. First Cat: Pit-a-Pat. Got him when I was 7. First Haircut: Didn’t get one till I was 3. My mom said I was bald for a very long time. First Poem I Wrote: “The Midnight Ride of Mouse Revere.” (Refrain: “The Cats are coming! They Cats are coming!” ) First Hat: See picture  

>>> Thank you to Lee and Kristine for this fun look at the poet's process and the intersection of life and writing! Be sure to look for My Book of First's-- the perfect gift for a family expecting a new baby or for prompting older kids to learn more about their own arrival! 

Now let's meet up at Heidi's place, My Juicy Little Universe, for our Poetry Friday celebration. See you there! 

Blog Tour: Nikki Grimes and A CUP OF QUIET

Photo credit: Marchel Hill 

I'm so happy to welcome Nikki Grimes to the blog today. I've been a huge fan of hers for YEARS. She's won nearly every imaginable award including a lifetime achievement award from NCTE for her poetry and from ALSC and from CSK for her entire body of work. She's a legend! So many amazing works from her poetry collections, novels in verse, picture books, and a memoir. So many of her works are landmark books, like her prose-poetry blending in Bronx Masquerade, her spunky girls Danitra Brown and Dyamonde Daniel, her novels in verse for middle grade readers like Garvey's Choice (now also a graphic novel), her golden shovel poem collections like One Last Word, her powerful memoir, Ordinary Hazards, her picture book biographies like Talkin' About Bessie-- I could go on and on and on. And she's still going strong! 

Her newest book debuts April 15 and I'm so happy to be part of the virtual book tour to help launch it. A Cup of Quiet is a lyrical picture book about a loving grandma and imaginative granddaughter as the little girl gathers all the quiet noises she discovers in her backyard garden and gifts that "cup of quiet" to her grandma. I asked Nikki four questions to explore a bit of background about this gem of a book Here are her thoughtful, interesting responses.

1. Where did the idea for A Cup of Quiet come from?

Silence and quiet have grown increasingly important to my work over the years, and so I have long been attentive to both, and have particularly mulled over the difference between the two. Silence is refreshing, but I relish the quality of quiet found in nature. I wanted to celebrate that. Nature's quiet—which can be quite noisy, if you're paying attention—is a source of both inspiration and calm. It is musical, rhythmic, and dynamic. It is, in fact, the very stuff of poetry. And it can be a great source of healing, if we allow ourselves to take it in. I wanted to write a story that would allow readers to experience a moment of that in a book. And who better to orchestrate such a moment than a grandmother?

2. The illustrations are almost as lovely and lyrical as the narrative.  Were you able to consult with the illustrator, Cathy Ann Johnson, in creating this book?

 

I never consult with my illustrators because I dare not interfere with their creative process. The minute an author does that, you risk inhibiting the artist's creativity. That's one bell you cannot un-ring. Anything you say creates a boundary the artist may not be able to circumvent and, thereby, limits the possibility of what an artist might have been able to create, or which wonderful, fantastical direction the art might have taken. Instead, I focus on being involved in the selection of the artist. If I trust that the style and sensibility of an artist's work is right for my book, then I trust them to interpret my story, and to bring their own, complementary visual narrative to the party. That is very much what happened here with the luminous work of Cathy Ann Johnson.

 3. You have so many loving grandmas in this picture book and in your poetry.  Can you share memories of special grandmas or grandma friends?

 

The grandma in this book is very much a grandmother of my imagination, as are many of the grandmothers in my stories and novels in verse. I only had one grandmother—my mother's mother—and she was nothing like the grandmas of my imagination, or the grandmother in A Cup of Quiet—except that she was equally stylish. But she was very practical, not given to playfulness, or games of imagination, or overt expressions of emotion. She had a sharp tongue and would routinely whip out a pithy cultural colloquialism that would stop you in your tracks. Say something that she considered silly, or foolish, and she'd cut you off you with "Why don't you use your head for something other than a hat-rack?" This was a pragmatic, no-nonsense grandma who had no time for hanging out in the garden with her granddaughter or talking about imaginary cups of quiet. So, I suppose I've lifted elements of grandmas I've encountered in stories and films, or observed in the lives of people around me. They all helped me conjure up the grandmother in A Cup of Quiet.

4. Which of your previous poems might you pair with this picture book?

"Pineapple Surprise" is a poem I wrote for Food Fight, an anthology of food poems edited by Michael J. Rosen.  I referenced it again in my memoir, Ordinary Hazards.

"Pineapple Surprise" is not a poem about nature, but it is a poem about a grandmother's love for her granddaughter, and how that young girl comes to appreciate the particularly thoughtful, time-consuming, concrete way her grandmother—my grandmother—chose to demonstrate that love.

As a grandma myself, I love this look at the intergenerational love between these two characters. A Cup of Quiet is a lovey book to read aloud-- with its evocative illustrations and perfectly paced narrative. It could prompt a walk together outside, a heightened awareness of the noises around us, and a closer bond between the two. Check it out! 

Now head on over to Live Your Poem where the lovely poet Irene Latham is hosting our Poetry Friday gathering. See you there!