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 Neela Sakaria: Thank you for joining us, Ms. Creech. Please tell us how your interest in writing developed. How and when did you decide to write your first book?
Sharon Creech : I've always written, for as long as I can remember. When I was young I wrote poetry, and then in college began writing short stories. When my children were young, I wrote stories and poems for them, and later when I was teaching, I began a story that got longer and longer until I realized it was becoming a novel. I was hooked, and continued to write novels thereafter.
Neela: You have spent several years as a teacher, correct? Is this part of why you chose to write books for children? Have you ever written for an adult audience? If not, would you consider it?
SC: Yes, I was a teacher for 15 years (high school English and writing). My first two novels were for adults. I didn't realize that the third one was a children's book until a publisher asked to publish it as such. I liked writing about younger people so much that I have continued to write stories about them.
NS: Love That Dog is the story of a student who learns to love poetry and writing. Is Jack's character at all based on students you have had in your own classes? Do you find that students are often resistant to learning about poetry?
SC: Although I wasn't conscious of this as I was writing Love That Dog, I'm sure Jack is based on many of my students, as well as on my own children and on myself when I was young. I can remember a teacher expounding on a poem when I was Jack's age, and I had no clue as to what she was talking about. Later, in high school, I had a terrific English teacher who made poetry exciting -- I was mesmerized by the rythms, the sound, the distillation of thoughts into so few words.
My own students often seemed to arrive with a built-in dread of poetry, and I hope that I was able to guide them towards a better appreciation of it. I loved seeing their growing confidence with poetic forms over the course of a school year, and I loved watching them find their own voices.
NS: Did you feel any added pressure after winning the Newbery Medal for Walk Two Moons and the Newbery Honor Book for The Wanderer? If so, how do you deal with such pressure?
SC: No, I didn't feel pressure. What I felt was a boost of confidence. Each book is the best I can do at the time, and the only one I can do at the time, and I can't predict which might receive awards. It's much more meaningful to write what feels as if it has to be written.
NS: I love when Jack asks "And what does anonymous mean?/Is it good?" Like so many other students, he is scared to let people know that he is the author of his writing. As an accomplished author, do you ever feel those same moments of embarrassment or hesitation towards sharing your work, during the writing process?
SC: I suppose I hesitate twice with each book. The first time is when I send it to the editor. I hope she will like it as much as I do, but I always fear that she might say it is rubbish. (She has never said this, fortunately.) The second time I hesitate is when the book is published. That's a bit scary, a bit like sending your child out into the world, and I hope it will be treated kindly.
NS: Tell us how your ideas come to you, when initially thinking of a new book. How do you decide what it will be about? What is it like when that inspiration hits you?
SC: A book usually begins with a very clear image in my mind of a person and a place. These images come unbidden; they're always a surprise. Sometimes this person and place will hover there for days, weeks, months, until I also hear the person's voice. As soon as I hear the voice (usually it's one sentence or a phrase), I feel compelled to begin "recording" that voice, to explore the place, to find out what this character is up to.
I don't ever "decide" what the book will be about. I just explore and keep going. After the first rough draft, I then can usually see what it is about.
NS: As a children's author, you deal with illustrators and cartoonists. Tell us about that process. As the author, are you actively involved in the illustrations? What role do you think the illustrations play?
SC: I've only done two picture books, but I've found the process thrilling! I submit a text to the editor, and we discuss possible illustrators and look at sample art styles. When the editor has chosen the illustrator and offered some preliminary guidance, the illustrator does some rough sketches.
Some of these, I see and comment on, but the editor is the main liaison between author and illustrator. Then the illustrator goes to work on developing full illustrations, and I get to see them at various stages. Occasionally I offer minor comments, but mostly the editor and illustrator have free rein (which is fine with me, because they are much more experienced with artwork than I am.)
I absolutely loved watching the development of Chris Rascka's illustrations for Fishing in the Air, and Harry Bliss's illustrations for A Fine, Fine School. It is fascinating to watch how these artists interpreted my words. Both of these artists rendered images close to what I had in my head -- only better, far, far, better.
Illustrations are key to a picture book. They best expand on and illuminate the text, enriching it in every way. I can now no longer see my story without the illustrations of Raschka and Bliss.
NS: Are you currently teaching? How do you make time for your writing. Do you set aside special time daily?
SC: No, I am no longer teaching. I write (and answer mail, write speeches, etc.) full time now. I feel fortunate to be able to do what I love to do!
NS: That's wonderful. Thank you for sharing.
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