Author: Amanda West Lewis

It’s a busy time! I am thrilled to be launching a new book for young people A Planet is a Poem, which you’ll hear more about in the coming days. In the meantime, happy reading…

You are a writer, calligrapher, and theatre artist, three creative pursuits which are built on the foundation of words. What attracts you to words? How do words inspire, motivate, challenge and/or change you as a writer?

I come from a word-obsessed family. My grandmother was a writer, editor, and bookstore owner. My mother was a book designer. My uncle was a journalist. I married a writer. Perhaps it is not a big surprise that words are the foundational tool in my life!

My mother enrolled me in a calligraphy course when I was a teenager. I went on to do extensive studies of the development of letterforms. For me, calligraphy was a gateway into cultural history and the whole concept of written language. It was also fundamental in giving me a tactile relationship to words. When you calligraph, you work very slowly. You focus on creating shapes and manipulating space on the page. On a good day, it is very meditative. You involve your breath and connect to the movement of your hand on the page. You go down into the bones of a word, and how one letter connects to another. It’s an intimate relationship between gesture and meaning.

This may be why I write first drafts by hand. I love feeling the graphic line and how it dances across a piece of paper. It stimulates a particular part of my brain and opens me up to things that are not available to me through typing on a keyboard. My manuscripts would be illegible to anyone else –– they are filled with the movement of my hand and brain, working together.

However, the challenge for me is not to overwork words in the editing process. How do I keep the sense of freedom and lightness of the word dance on a page, when I want to work on word choice? How do you make something look effortless when it takes a huge amount of effort and skill? But that, I think, is the plight of anyone working in the arts. You must make it feel fresh and new, yet it must be crafted to the best of your ability. That’s where practice and rehearsal become essential. It’s not something you can achieve in a first draft.

Photo courtesy of The Ottawa Children’s Theatre

The theatre world is a place you know well. You served as executive director of Ottawa School of Speech & Drama as well as founded Ottawa Children’s Theatre and served as its artistic director. Your writing and theatre worlds united when you and your husband co-wrote Rosie Backstage. How else has your work as a theatre artist influenced or informed your writing for young people?

I can’t imagine being a writer without being a theatre artist. Words are a metaphor for communication, but not the sine qua non of communication. Movement, gesture, tone, inflection, silence –– we use all of these to communicate thoughts and feelings. In theatre. all of these tools are at your disposal. Theatre gives you the ability to create nuances that are harder to communicate with words alone. It uses movement and sound. It uses timing. It is so much more than a series of dialogue lines. So much more than a set. When you are creating for the stage, you need to think about what happens between the words and to the people as they move in space.

As a writer, I try to explore how to create this complexity on the page. I read everything out loud, many times. I listen for the beats, the pauses. I listen for the movements and gestures. I listen for what the character isn’t saying. I place each character in the scene, being aware of where they are and what they are doing when someone else has the focus of the scene.

I also use a lot of theatre exercises in my writing. For example, there’s a theatre game called “What’s Beyond,” where you work on coming into a space focused on what you have just left. You don’t try to tell a story, you don’t try to do anything. You just cross the space with a history. When I am writing, I think a lot about where my character has been before they come into the space, into the scene. It’s different from a backstory. It’s more immediate. A character must come on with their scene already in motion. They aren’t coming on from a vacuum. What they bring with them is going to affect their behaviour in a myriad of small ways that are never discussed.

Perhaps even more fundamentally, however, is how my vocal training has affected the way I work with words and my word choices. Writing is a stand-in for spoken words, so I need to always go back to the vocal source. Learning about breath, resonance, and articulation has given me a very deep physical relationship to words. There is some brain science that suggests that as we read, our mind and body recreate the physical sensation of making the words we are reading. I want people to not only hear the words on the page, but to feel them and recognize them in their own body.

On a practical level, I have taught theatre to young people for many, many years and continue to work in that field. Working with youth keeps me honest. They engage me in their concerns and in what matters to them. It is far too easy to get ghettoized in your own age group. Working inter-generationally is vital to me.

In These Are Not the Words, Missy and her father write poems for each other – poems that gradually become an exchange of apologies as her father’s alcohol and drug addiction begins to overtake their lives. How can we use poetry to communicate with others and to heal ourselves?

I think that writing can be a way of talking to yourself. Ultimately, you are having a conversation with your mind and your heart. But I think you need to trick yourself into going more deeply.

When you have a conversation with a good friend, you usually stay on a particular level for a long time. But after a while, if you are close and trust your friend, it morphs into something deeper. Those are the special times where you get closer and listen harder and respond more honestly. You have to give yourself time to go through the superficial things before you can get to the heart of the matter. Writing poetry can do this. You write too much and then you cut out all of the fluff. You see what words are essential. That’s when you discover what it is you are really trying to communicate.

I also think that poetry, like theatre or calligraphy, is a kind of game. It’s got some great rules that give us a context for deep exploration. You play with sound and rhythm, and in that playing, you can trick your mind into finding new meanings.

Writing is about asking questions –– of yourself, of your imagined reader. Questions can form the base for a dialogue. It’s the best way to talk to yourself. And when you talk to yourself, you can heal.

*Science and poetry may seem like strange bedfellows but they share commonalities such as formulas and patterns. What was your inspiration to write A Planet is A Poem, a collection of poems about the solar system?

A Planet is a Poem came about through a series of coincidences. When I was doing my MFA in Writing for Children, I started a serious study of poetic forms. I hadn’t done that before. My previous schooling was, at best, pretty spotty. I began working my way through the delightful The Ode Less Travelled by Stephen Fry, and challenging myself to try out as many different forms as I could.  As we know, books for younger children rely on sound and word play, so I wanted to drill down and understand things that I had known about but had never tried my hand at. I had avoided writing poetry all of my life. I reasoned that there are so many bad poems out there, the world didn’t need mine as well. But this was a technical challenge I was setting myself, and I wasn’t thinking of publishing anything at that point.

At the same time, I was introduced to the American poet Joyce Sidman. Sidman writes non-fiction poetry books for young people. I love her work and it opened up a whole world for me. My first books had been non-fiction books for young people and truth be told, I am much more comfortable writing non-fiction than I am writing fiction. I became open to the idea that poetry could be a vehicle for young people to learn about nature. I thought that maybe I could write non-fiction poetry and it wouldn’t be as embarrassing as bad personal poetry.

The other influence was the CBC radio program Quirks and Quarks. I love that show and in one particular episode (September 11, 2015), they talked about the New Horizons space probe. It had just started sending images of Pluto back to earth and everyone was talking about these amazing things we were learning. On Pluto, the skies are blue! There are volcanos of slow-moving nitrogen mud! There’s a red, heart-shaped plateau that moves like a heartbeat! Who wouldn’t want to write a poem about that? I wrote A Pantoum for Pluto so that I could explore Pluto but also try that poetic form. Ultimately, we didn’t use that particular poem in the book, but the process was set in motion. Before I knew it, I was deep into researching (always my happy place), and the puzzle of writing non-fiction poetry.

*A Planet is a Poem offers readers multiple access points for interaction.There are its 14 poems which can be enjoyed on their own. Plus, there is accompanying factual information about each poem’s subject matter. And last but not least, there is information on the forms in which the poems are written. How did you decide to present the book in this format? And why was it important to you to create the book this way?

I had quite a few coffee dates with Katie Scott at Kids Can Press, where I tried to pitch her on the idea of non-fiction poetry about planets and/or insects (another area I was obsessing about because of Quirks and Quarks). But they already had a book coming out the next year on space, and one on bugs. The question was what might make mine unique.

I don’t know exactly how the idea of a cross-curricular book came about. I was pretty passionate about poetic forms, and somehow the brainstorming led us to a book that could give the science and the poetry equal weight. Both Katie and my editor Kathleen Keenan got excited about doing a book that could show kids both the magic of language and of the solar system.

Once we had the basic idea, I researched the solar system. I’m not a scientist, but I love astronomy and still remember being in the Hayden Planetarium in New York when I was a child. I researched each planet as though it was a character in a novel. I worked on matching those characteristics with a particular poetic form. For example, Mercury, which is the smallest planet, is incredibly fast. It travels around the sun more quickly than any of the others. So, I paired it with a very fast rhyming and rhythm scheme inspired by Dr. Suess, with only two beats to the bar.

Mercury’s tiny ––

Of planets, the smallest.

But named for a god

Who was known as the fastest.

I researched because I loved it. But as with my experiences in writing historical fiction, it became impossible to squash all of exciting things I was learning into each poem. So, we came up with the idea of sidebars to give more of the scientific information.

The more I worked on the book, the more I got excited about the poetic forms I was using. We came up with the idea of sidebars for the poetry too, just as there were sidebars for the science. It was designer Marie Bartholomew who had the tough job of pulling all of that together with the great illustrations by Oliver Averill.

*What advice would you impart to young people and the young at heart who would like to pursue careers as writers?

Read. Read everything. Listen to words, make them your friends and play with them. Sing them! Foster your sense of curiosity. Let your curiosity take you to new places. Always, always challenge yourself to try new things. Care passionately and let your writing follow your passion. Make it matter.

Photo Courtesy of MASC