For Writers

Summer Dreaming and Writing Poems

Hot days, cold poems
Let’s capture “aha” moments
Lazy summer days
               — Ann Angel

 

Summer days are meant for daydreaming on beach blankets, sitting on porches lost in a great piece of fiction, and writing about this very moment we’re in. It’s a great time to pull out a journal and create a poem that captures these special moments. Poetry seems to fit the lazy timeless summer experience and allows writers to capture the thunderstorms that feed our gardens even as they shake us to our toes, or paint the experience of hot sun on our faces, popsicle juice dripping down our hands, and even the moment we dip our faces into clover or lavender and breathe deeply.

But where to start? There are some iconic how-to books including Mary Oliver’s A Poetry Handbook: A Prose Guide to Understanding and Writing Poetry.   While this book tends to be a bit dense, there are a few books that speak directly to middle graders. Poetry Play by Amanda Shackelford uses rhyme to encourage writers to play with their experiences.

 

by JoAnn Early Macken

One of my personal favorites that speaks directly to writers in clear language is JoAnn Early Macken’s Write A Poem Step-by-Step. This how-to walks writers through idea generation to revision.

 

 

 

Giggle-Worthy Poetry Prompts for Kids by Mike Downs and Sandra Athans offers writers six poetic forms and suggests easy ways to generate poems.  Writers might use their own names to create acrostic poems, use free flowing ideas like “Purple Pickles” for free verse poems, or create concrete forms from surroundings (think a star-shaped poem about a star or back to lavender, consider that shape in simply describing this plant).

In thinking about writing poetry on timeless summer days, I’d recommend picking up a classic collection that also teaches style such as A Kick in the Head: An Everyday Guide to Poetic Forms illustrated by Chris Raschka with poems selected by Paul Janeczeko.

Over 25 poetic forms and examples are provided. (This is the most borrowed book from my personal university library and the one book that I keep having to replace because students forget to return it. I don’t mind because they end up writing a variety of amazing poems).

Of course a summer library visit to choose poetry by Robert Frost, Mary Oliver, Amanda Gorman, and Eve Miriam who offers us the opportunity to bite into poetry with her poem, “How to Eat a Poem” or seeking pictures books by JoAnn Macken, or the above authors of How-to books, mentioned above, as well as so many other favorite picture book writers who write in a variety of verse styles and provide hours of learning enjoyment even as the poems will tickle our spirits and help us lose our creative hearts in our own writing.

Here are a few more possible writing prompts:

  • Look around you. What color is your world?
  • Study a blade of grass and look so closely you can see an ant wandering through that jungle, or find cracks in the dirt below. Describe it in a haiku (3 lines, 5 syllables, 7 syllable, 5 syllables).
  • Write about how timeless summer feels, using free verse let metaphors for timelessness flow.
  • Consider a more difficult poem like a sestina which requires you to find 6 words that will be ending words that change order to create a 36 line poem. To find the words, look around you and select a few nouns, some verbs, and possible adjectives and adverbs.
  • Make a list of the best things about summer.
  • Write a concrete poem about the last thing you ate.
  • Write a persona poem.
  • Style copy a classic poem or respond to a classic poem. For example, Mary Oliver’s poem, “At Blackwater Pond” tells the story of the poet’s sensory experiences at this pond. There’s a frog in this poem and I wrote a poem from the frog’s viewpoint. Here’s that response:
A Frog At Blackwater Pond
In Blackwater Pond the lily pads tremble
throughout this night of rain.
I absorb water through green skin. I breathe
oxygen and moisture. The excess slides
down my slimy back and puddles
on the leaf pad. I hear the drumming
of drops, spattering,
insistent reminders that this beautiful
water is my life force.
— Ann Angel

Explore your summer world and see if you can fill a journal with this summer’s “aha” moments. I don’t think you’ll be disappointed.

 

 

GET A CLUE with Author Fleur Bradley

I’m delighted to welcome award-winning author Fleur Bradley to the blog. I first discovered Fleur when I devoured her middle grade mystery Midnight at the Barclay Hotel. With its clever clues and spectacular twist, it felt very Agatha Christie for kids. I became an instant fan. She followed with Daybreak on Raven Island, another page-turning mystery that kept me guessing right to the very end. Book cover of Midnight at The Barclay Hotel

Now Fleur is sharing her sleuthing secrets in Get a Clue (available April 7th) , a smart, practical guide for anyone ready to crack the code of writing MG and YA mysteries. Packed with clear, actionable advice, the book offers valuable insights for writers at every stage. Even with a couple of books under my belt, I had several “aha” moments that will serve me well moving forward.

Time to follow the clues to Fleur’s success . . .

Lisa: What inspired you to write a craft book specifically about MG and YA mysteries?

Fleur: I had been teaching mystery writing to kidlit authors for years, and kept looking for books to recommend my students. I realized there wasn’t anything out there that speaks specifically to writing MG or YA mysteries, so… I wrote it. It took me a while, but Get a Clue: How to Plot, Write, and Sell Your MG or YA Mystery is out in April. I really hope it helps writers and gets them excited about writing mysteries for kids or teens.

Lisa: You talk about “picking the crime”. What makes a crime appropriate for MG versus YA?

Get a Clue book cover.

Fleur: For MG, you have to remember that kids as young as seven or eight years old will read your book, so it’s best if the crime happens off-screen or isn’t too gory—like in a cozy mystery. For older MG or YA, anything goes, but you do want to think about your target reader. MG readers (and YA readers often, too) read a mystery to put the clues together and solve the puzzle—that’s the fun. So focus your story on that element of the mystery,
particularly for younger readers.

Lisa: You discuss building an outline using sequences. Can you explain that approach?

Fleur: When I got my start writing mysteries, I mainly wrote short stories. I struggled with keeping track of my plot and character ARC for the length of a novel. I learned that script writers often use sequences to build their story—eight to ten of them, forming the building blocks for a screenplay. You can use that same approach to plot or revise your novel; it makes an entire novel’s worth of words more manageable. One sequence builds upon the next, in a classic story arc. It’s very practical way to plot, but not so restrictive that it takes the fun out of drafting the story.

Lisa: How do you avoid info-dumping while still giving readers enough evidence?

Fleur: This sequence method I use makes it a lot easier: I simply make sure that there’s a clue (or usually more than one) in each sequence, so I’m playing fair with the reader. By the end of the story, you want to make sure that there’s only one conclusion to the mystery (the aha! whodunit). The reader should be able to go back and put together the puzzle—this is not easy to accomplish as writer. A lot of this careful revelation and pacing is done in revision. So don’t be too hard on yourself if it takes a while to get it right.

Lisa: Do you recommend outlining before drafting, or can discovery writers succeed in mystery?

Fleur: You can take either approach; sometimes people think that writing a mystery means you have to outline in detail, and that’s not the case at all. I use the sequence method to create a rough framework, but then I discover the story as I write. For my MG mystery Midnight at the Barclay Hotel, I had no idea who had murdered Mr. Barclay—I simply investigated the mystery along with the kids in the story (it was so much fun, y’all…). Once I finished writing the rough draft and uncovered whodunit, I simply revised and placed clues so it became the only natural conclusion.

On the flipside, you can outline in detail, which means there’s less editing to be done after… I just struggle with outlining, so I use a mixed approach of broad outlining and fly-by-the-seat-of-your-pants writing.

Lisa: How do you plant clues without making them too obvious—or too invisible?

Book cover of Daybreak on Raven Island

Fleur: I use that sequence method of outlining to sprinkle clues like breadcrumbs, leading the reader to solve the mystery. It’s very much like a game. You can use beta readers to check if your clue revelation is too obvious or not obvious enough. This is definitely a balancing act—some readers will catch on quickly, while others might not ‘get’ the mystery until the reveal.

Lisa: What is the most common pitfall you see in mystery manuscripts?

Fleur: I often see writers start slow, or have character moments that go on a bit too long and drag the pace. Mysteries do need a certain amount of tension surrounding the clue hunt, and characters who are going places and doing stuff. You still want three-dimensional characters and depth, but those moments must be woven into plot in mysteries. So have your characters in conversation while they’re following a lead, rather than slowing the plot down.

Lisa: If a writer wants to start writing their mystery this week, what is their first step?

Fleur: Find your crime, character, and setting, and just test the waters with a scene or two. See if you like where it’s going enough to make a book out of it. You can then work on an outline, a character arc, your whodunit, etc. But remember that this is supposed to be fun. Mysteries really are the best.

Lightning Round:

Lisa: One must-read MG mystery?

Fleur: No fair, I can’t pick just one…! Adrianna Cuevas’s The Ghost of Rancho Espanto. Chris Grabenstein’s Lemoncello
series. Varian Johnson’s The Parker Inheritance. Hart & Souls by Lisa Schmid. I could go on for a while…

Lisa: Favorite mystery trope?

Fleur: The gathering of all suspects (in the library) while the detective does their spiel to reveal whodunit. Classic fun.

Lisa: One word that defines a great mystery.  

Fleur: Aha!

Lisa: What great answers! This has been informative and inspiring. Thank you so much for visiting From the Mixed-Up Files to chat about your new book. I truly appreciate your time and expertise. Now, if you’ll excuse me, I have a most intriguing crime to plot—strictly on the page, of course. 

Pre-Order GET A CLUE

Goodreads 

About Fleur Bradley:

Fleur Bradley is the author of award-winning middle-grade mysteries Daybreak on Raven Island and Midnight at the Barclay Hotel (Viking/PRH), and the Double Vision trilogy (HarperCollins), as well as numerous non-fiction titles for the educational market. Recently, she compiled her
process for writing mysteries for tweens in Get a Clue: How to Plot, Write, and Sell Your MG or YA Mystery (2026).

Image of Fleur Bradley Fleur’s short stories have appeared in the MWA anthology Super-Puzzletastic Mysteries, SCBWI’s The Haunted States of America (a story representing Colorado). How to Teach Yourself to Swim, originally published in Dark Yonder, was chosen for The Best Mystery Stories of the Year 2024. Fleur’s work has been nominated for the Agatha and Anthony Award and has won the Colorado Book Award and Colorado Authors League Book Award, among others.

A reluctant reader herself, Fleur is also a literacy advocate and speaks at events on how to reach reluctant readers. Originally from the Netherlands, she now lives in a small cottage in the foothills of the Colorado Rockies where she fosters rescue animals.

For more information about Fleur visit fleurbradley.com.

Listen to an in-depth interview with Fleur on Writers With Wrinkles. 

The Jack-in-the-Box Writer

You turn the crank on the side of the colorful box once, then once again, and then wait. 

You turn it slower and slower, rapt in anticipation of that freaky clown’s surprise appearance when the lid springs open. With every turn, your heart beats faster, and your eyes get a little wider. The chime plays its tune, one slow note at a time, as you get closer and closer to the always surprising endgame, and then…

POP!

 

Cristian Bortes from Cluj-Napoca, Romania, via Wikimedia Commons

Developing a story idea is similar to operating a jack-in-the-box. The writer cranks the handle by outlining, drafting, and doing the somewhat shocking writer’s task of actually writing. One word follows another, forming sentences and paragraphs representing the writer’s thoughts and vision. When the time is right, the breakthrough comes, and the story “pops”. The pieces begin to fall in place. The once-scary, freaky clown smiles at your accomplishment.

Creators must go through the process every time. Each new work needs the slow crank of the story’s jack-in-the-box to get through the process of creating a satisfying story from an idea. This is how creative development works. 

You work toward a goal. 

You grind it out day after day to what often seems to be no avail. 

You get frustrated. 

You despair. 

Sometimes, you quit and throw the whole draft across the room in the general direction of the freaky clown hiding in his little, brightly painted box. But to those who keep turning the handle of their story’s jack-in-the-box with grit and determination, success will come. 

Plus, it never hurts to bring in outside eyes to look at the raw story and see it with a fresh perspective. That’s where critique partners and beta readers can help turn the crank handle when one feels stuck. Help is a wonderful thing and, at the very least, builds a friendly support crew.

Find a way to keep cranking the handle by whatever means necessary. You will improve. The story will improve.

It is inevitable.

The story will be forever grateful. 

One of the most important things creators can do is to see the potential in an idea and do the work to help the idea achieve its full potential. Ideas are as numerous as pennies, but a story is a bar of gold. One needs to keep working, researching, and turning their cranks of improvement until their story springs upward and shows itself.

Because if you keep cranking the story handle, it will eventually “POP!” and show itself to you and the world.

Just ask the freaky clown!