Kwame Alexander’s latest middle grade novel, The Crossover, stole my heart this summer. It’s a novel-in-verse about two brothers – both basketball phenoms – and what threatens to pull them apart. At its heart, this powerful book is about family, young men, and the choices we make as we grow up – all all told in an irresistible, thumping style. Kwame will be speaking at the James River Writers Conference, which is one of my favorite conferences each year. Here Kwame joins me for a quick taste of what he’ll bring to conference-goers. We talk dialogue, why poetry makes sense for boys, and the one thing he’s learned about the writing life.
1. The dialogue in He Said, She Said is absolutely amazing in evoking character. How do you go about crafting dialogue? What advice would you give writers about the line between authentic sound and going too far?
Yeah, I took some chances with the dialogue in HSSS. It took a minute to commit to the language and style of the characters, but once I did, it was ON! I work with young people, through my Book-in-a-Day program. So regularly, I am interacting with them over lunch, teaching poetry, making jokes, and eavesdropping on their conversations. I am very perceptive (and nosy), so I stole a lot of what I heard, felt, participated in. Also, I try to remember how my friends and I kicked it back in the day.
I think that when you’re writing for young people, the trick is to not TRY to write like young people, but rather, put yourself in the classroom, in the lunchroom, in that experience, and write like YOU. There’s a kid in you, just remember what made you smile, laugh, cry, ponder, wonder, wander. Be real and authentic to yourself, and the sound will come across authentic. Of course, you still gotta make it interesting, ‘cause nobody cares that you’re being authentic if you’re boring.
True story: While I was writing, I would go to urban dictionary to come up with cool, clever words to insert. When I’d go back and read it, it just sounded unreal, uncool, suspect. Eventually, I wrote what sounded good and right to me, and I went with that.
2. The Crossover, your 17th book, is a novel in verse, with themes that would be strongly appealing to boys. Was writing in verse a risk in your opinion? What are the pluses of writing in verse for you? What are the challenges?
In fact, it wasn’t a risk at all. Far too often, as writers, as teachers, we fear poetry. It probably has a lot to do with the agony with which we were taught it growing up. In my opinion, it’s the easiest thing for young people, especially boys, to grasp: It’s short, it’s rhythmic, and there’s a lot of white space. The fact that it packs a lot of emotion and feeling is just the coolest byproduct. As it relates to The Crossover, I felt that poetry would mirror the energy, the movement, the pulse of a basketball game the best. Want to get reluctant engaged with reading and writing, read them Nikki Giovanni, teach them haiku, plan an open mic, let them be firsthand witnesses to the power of accessible, relatable poetry. Recently, a kid I met at a book event told me, “I opened up The Crossover, and was like, ughh, these are poems. But then, I started reading them, and I couldn’t put it down. It was like good poetry, and it told a story. The best thing ever.”
3. So often in middle grade and young adult fiction, we find parents who’ve dropped the ball (sorry for the pun). One of the things that struck me about The Crossover is that it celebrates family, including involved and loving parents. Can you tell us about that decision and why it made the most sense for you?
Hey, the first inclination was to somehow get the parents out of the story. That would have been easy, but I wanted to try something different. Once I started marinating on my childhood, my middle school years, I remembered the woes and wonders of my parentals. Of course, once I decided to keep them around, I couldn’t just have a loaded bullet in the chamber. I had to fire it. For me, the story exploded when I did this. I had so many new and exciting literary choices to make. And, that was a fun part of the writing process. I guess I tried my best to mirror the life of a middle school boy as best I could, and you can’t do that without an authentic familial environment. Oh, and also, it gave me a chance to sort of depict my family life, in particular the life of a humorous and handsome dad (smile).
4. The life lessons through basketball never feel heavy-handed. I wondered which of those lessons is the most meaningful to you?
I remember taking an advanced poetry class with Nikki Giovanni, and being told that my poetry was too didactic. That kind of stuck with me, and I’ve been very aware of those tendencies in my writing, because I am a big fan of offering meaning and messages in my writing. I mean the impetus for writing He Said She Said was really to share one BIG message (or maybe two), and it was quite challenging to make it a PART OF the story, but not THE STORY.
The beauty of poetry is that because of its conciseness, because of metaphor and simile, because of line breaks, because of rhythm and rhyme, you are generally more reflective and inspirational, and less didactic. I had so much fun writing the Basketball Rules, and my favorite is #3, the one about not allowing others expectations of you to limit your aspirations. I was taught this as a child, and I believe it now. Especially in my writing career. If I let the number of NOs, the plethora of “Your book is just not that good” emails, define me, I’d be in a not so pleasant place. I’m a Say Yes person, and that’s how I move through the world.
5. Finish this phrase for me. One thing that I’ve learned in my writing life is…
…there are going to be some NOs, perhaps many NOs (I got 29 for The Crossover alone) out there, and you’re going to be disappointed, but if you believe you’ve written a good book (and your spouse confirms this when she sees you pouting), then you’ve got to keep it moving. Know that it’s important to get all the NOs out of the way, so that the YES can get through. All it takes is one (and after 29 rejections and five years, mine came)!
Now I have to put my pen and paper where my mouth is. Over the next four years, I have eight books coming out. Whoa! Right now, I am working on a new novel-in-verse and a second YA novel. It’s a little overwhelming. So much so, that I called my mentor, and said, “Is there such a thing as overkill, or overexposure.” She replied, “Not for a writer, Kwame. Not for a writer.”
Oh, and recently, in the middle of all these projects, my friend Lois Bridges at Scholastic, asked me to contribute to her anthology on the Joys of Reading. My answer, of course, was YES!