This post originally appeared on the Engage/Teacher to Teacher blog in February 2012.

Vaunda Micheaux Nelson received the 2010 Coretta Scott King Author Award for BAD NEWS FOR OUTLAWS: THE REMARKABLE LIFE OF BASS REEVES, DEPUTY U.S. MARSHAL (Carolrhoda Books 2009). WHO WILL I BE, LORD? (Random House 2009), ALMOST TO FREEDOM (Carolrhoda Books 2003), READY? SET. RAYMOND! (Random House 2002), and MAYFIELD CROSSING (Putnam 1993) are among her other books. She co-authored JUNETEENTH (Millbrook 2006) with her husband, Drew, with whom she lives in New Mexico.

The subject of your latest book, NO CRYSTAL STAIR, is Harlem bookseller Lewis Michaux, who left behind some mysteries (like his exact birth date). Can you describe your research process for uncovering the facts about his life?

This is a huge question about a process that extended over many years and continues, not only formal research but family history. In brief, I acquired source material from family members, the Schomburg Center in Harlem, Howard University, the Hatch- Billops Collection, court records, church documents, FBI files, census records, death certificates and other vital statistic sources, and oral stories. I traveled to New York City, Washington, D.C., Pittsburgh, and Newport News, Virginia. Many questions went unanswered and will likely remain so. When faced with contradictory information, I weighed what I could, drew conclusions and made reasonable guesses.

NO CRYSTAL STAIR is billed as a “documentary novel,” and your first foray in writing for teens. Why did you make the decision to write this story in this particular genre?

My early drafts, written as straight biography, lacked the emotion I was reaching for. The fictionalized documentary format gave me the flexibility to reveal Lewis’s spirit, intelligence, charm, and weaknesses. By the way, I consider my novel POSSIBLES as my initial foray into writing for teens.

The title NO CRYSTAL STAIR is taken from the Langston Hughes poem “Mother to Son.” What’s the connection between the two?

Hughes’s poem addresses the struggle to overcome long odds, the spirit to keep climbing, and in this case, Lewis’ journey from troubled young man to “Professor.”

In your Coretta Scott King Book Award-winning BAD NEWS FOR OUTLAWS, you wrote about another lesser-known historical figure—Deputy U.S. Marshal Bass Reeves. What drew you to Reeves as a subject?

His character. His absolute commitment to doing his duty. His unwavering devotion to what was right. Also, he lived in a time and place that has always intrigued me—the Old West.

How does your position as a youth services librarian influence your writing?

On the downside, my full-time library work creates a time obstacle to my writing. On the upside, it keeps me immersed in the literary world, abreast of what is current, as well as classic, and in touch with the mood of my patrons. It has also proven invaluable in meeting and interacting with other writers.



5 Questions With... Doug Abrams (DESMOND AND THE VERY MEAN WORD)

Putting Books to Work: Joseph Lambert’s ANNIE SULLIVAN AND THE TRIALS OF HELEN KELLER

Doug Abrams was Desmond Tutu’s co-author for GOD HAS A DREAM and for his children’s books, GOD’S DREAM and DESMOND AND THE VERY MEAN WORD. He was also the editor of Tutu’s CHILDREN OF GOD STORYBOOK BIBLE and MADE FOR GOODNESS. Abrams is the founder of Idea Architects, a book and media company that works with visionary authors to create a wiser, healthier, and more just world. Previously he was a senior editor at HarperCollins. His novels THE LOST DIARY OF DON JUAN and EYE OF THE WHALE have been published in more than thirty languages.

You co-wrote the recently released DESMOND AND THE VERY MEAN WORD (Candlewick, 2012), with Archbishop Desmond Tutu. Previously, you’ve worked with several other influential spiritual leaders and activists. What is it like to collaborate with such esteemed individuals?

It is quite a privilege to spend time with, learn from, and create with someone like Archbishop Tutu. It requires a kind of creative communion that is a rare and profound gift. The Arch—as his friends call him—is one of the truly great moral leaders of our time. He was a hero of mine when I was in college—the anti-Apartheid struggle was the Vietnam of our generation. It is a deeply rewarding experience to meet someone who is even more extraordinary and more inspiring in person than from afar. This is often not the case, but it is with the Arch.

He’s also much shorter than one would think.

DESMOND AND THE VERY MEAN WORD (illustrated by A.G. Ford) is based on an event when a group of boys hurl a racial epithet at a young Tutu. The story emphasizes forgiveness over retaliation, which is a core principle of the Archbishop’s mission. How challenging was it to convey the concept of Ubuntu in the picture book format?

Wonderful question. I’ve written all kinds of books for all different ages, and there is nothing harder to write than picture books. It is like writing a sonnet. Every word matters and every word must be just right. One cannot assume anything when writing for children and one must really crawl into the thought world of young children.

At the same time, children understand Ubuntu—that we are deeply connected to one another—which is why it is so hurtful to be left out or excluded. So, yes, it was difficult in form—we must have gone through three dozen drafts—but easy in conveying the content.

Early reaction to the book has been mixed; KIRKUS praised it for delivering a “thought-provoking lesson for young readers on the destructiveness of bullying and racism,” while PUBLISHER’S WEEKLY questioned the book’s lack of historical context. What was behind the decision to limit references to apartheid in this South Africa-set story?

Ah, reviews. It’s always easier to critique than to create, and I say this as an editor who gets paid to critique. Our decision was to make this a universal story about forgiveness and bullying, which KIRKUS understood. The goal of this book is not to teach children about a racist system in a far away country from an era before they were born.

At the same time, everything in the story is completely accurate to the time and place (we worked very hard with the Arch to make sure that the houses and the clothes and every detail) was historically accurate.

At the end of the day, all children have experienced their own “mean word” and this story allows them to discover how to deal with their hurt, and shame, and anger. Our goal was not information but identification, and this is what we are hearing from young readers, who ultimately are the most important reviewers!

The tag line on your website is “Fact based fiction for a wiser, healthier, and more just world.” What role can children’s literature play in affecting positive change?

Children are the pivot point of history. The messages and images and ideas we give to our children determine the world that will come to pass. This is why teachers, and librarians, and children’s literature are so important. Archbishop Tutu loves to meet with and connect with young people; nothing energizes him more. I think this is because they are full of life, hope, and possibility.

I think that children’s literature can channel that life in positive directions. I had dyslexia growing up and so books were for many years a locked room, but when I found the key, I discovered the treasure inside. Our responsibility is to make sure that every book a child opens is a treasure.

After publishing the ecological thriller, EYE OF THE WHALE, you became involved with raising awareness about pollution and marine life. How have you maintained that, and what other causes have inspired your more recent books?

The books I write are always inspired by a question that I need to answer and an issue that I care deeply about. EYE OF THE WHALE was inspired by two questions: “Is there hope for our planet?” and “Is there something in our nature that is stronger than ignorance, fear, and greed?”

It was quite amazing to discover from the biologists that there is. I did learn a great deal about pollution and the challenges that all of us face in this watery world. I have had the opportunity to support a number of environmental charities that are doing great work, like the Natural Resources Defense Council.

I’ve also been very passionate about a group called Free the Slaves who is trying to end contemporary slavery, and more recently a group called the Equal Justice Initiative, which is working to transform the criminal justice system into a less racially biased and ultimately a more healing and forgiving place.

To come back to DESMOND, perhaps when we give children a story of forgiveness and how deal with pain and anger, we may be altering the whole course of their life. This is the power of children’s literature.



Teaching Tips: Stand Up in Silence

5 Questions With... Glennette Tilley Turner (FORT MOSE; AN APPLE FOR HARRIET TUBMAN)

This post originally appeared on the Engage/Teacher to Teacher blog in January 2012.

Michael Buckley is the New York Times bestselling author of the Sisters Grimm and NERDS series. He lives in Brooklyn, New York, with his wife and son. The most recent addition to the Grimm series, THE SISTERS GRIMM: A VERY GRIMM GUIDE, was released in hardcover earlier this month.

Your recent release, THE SISTERS GRIMM: A VERY GRIMM GUIDE, comes just before the final book in the popular series. What are some ways that teachers could use the guide to introduce students to your series and fairy tales in general?

My wife, Alison Fargis, was instrumental to the design and concept of this book. Her company, Stonesong, put all the pieces together and we both agreed that we wanted to make it fun and useful. On top of all the fun insider info, the Very Grimm Guide has some historical info on the origins of some of the most famous fairy tales as well as biographies of the writers behind them. Teachers and librarians have been my biggest cheerleaders so we were thinking about them when we put the book together.

Puck is a very humorous character, and you’ve given him the role of editor for A VERY GRIMM GUIDE. What made you select him as your editor?

Hands down, Puck is the most popular character in the series. I get more fan mail about him than anyone else. When we had a working draft of the book I realized the fans would kill me when they found out there were only a few pages dedicated to Puck. Having him take over the final edit sounded hilarious and he has scribbled his little comments all over the book. I think it makes it unique from other fan guides.

There has been a recent proliferation of fairy tales in pop culture. Why do you think traditional tales (and creative remixes) have become so popular?

I think fairy tales are written into our cultural DNA—we go back to them again and again and again. There are always movies and books and comics that dive into the material because it is so rich. I'm happy to see that my series is inspiring so much of what is being produced these days.

There is an upcoming Sisters Grimm movie. As someone with experience writing for television, how does it feel to have your series turned into a movie?

Well, we don't technically have a movie in place. We have an amazing producer, a great script, and an up-and-coming director. Now all we really need is someone to write us a check for $100 million dollars so we can get it done. I'm excited about what is going on as I've talked to so many producers and studio executives who really didn't get the books. They wanted to make them boys or make them teenagers or try to write a bigger part for a movie star. Really, in its essence, the series is about two girls and a flying boy who fight monsters. I don't know what's so hard to understand. But these days we have a team that not only gets it, they love it. So, keep your fingers crossed.

You’re also the author of the wildly popular N.E.R.D.S. series, which Horn Book called “great girl books for boys.” What does that mean to you?

I'm often called a writer for girls but I shy away from that description. I write for kids—boys and girls. Sometimes I ask the boys to be brave and read about girls and sometime I ask the girls to tap into their inner obnoxious boy and jump in head first. I'm happy that what I do is hard to define—it keeps the readers on their toes. It's so easy to get into this idea that there are books for boys and books for girls. I believe that they both really want the same thing from a book:adventure, thrills, laughs, and a little something to think about when the book is done. I think that's what kind of writer I am.

Michael Buckley will be appearing at IRA’s 58th Annual Convention in San Antonio, as part of “The Serious Business of Writing Humor: The Importance of Funny Fiction in the Classroom.” The panel includes fellow authors Andy Griffiths, Laurie Kellar, and Devin Scillian.

5 Questions With... Sean Beaudoin (THE INFECTS)

IRA 58th Annual Convention in San Antonio