Dungeon Tales
Ottoline and the Yellow Cat
A Boy Called Bat
The Lizard of Oz and Other Stories
Pinkoo Shergill: Pastry Chef
Petu Pumpkin: Cheater Peter
Writing Poetry
I’ve been conducting writing workshops for a long time, and if there’s one thing I love working with, it’s poetry. Nearly every writing programme I conduct begins with a poetry module. Why? Because it’s accessible. It’s far easier to write a poem in a week than it is to write a story in a week.
And so, each time, I try to work with different kinds of poetry. We’ve done list poems and narrative verse, limericks, rhymes, poems with strong verbs, and much, much more. Everything serves as a poetry prompt for me, and I think it can work for anyone!
For instance, what we read always helps us to get creative, and so, my reading programmes too have an element of poetry sometimes. Here’s a brief look some of the kinds of poetry we’ve explored recently.
Cinquains
The first poem below is a cinquain, which the children wrote when we read I Survived: The California Wildfires, 2018. Climate change is a phrase children encounter all the time. What signs of climate change do we see around us? Cinquains push children to pay attention to each word they choose. Teaching cinquains creates opportunities to brainstorm, explore our vocabulary, and attempt to find the perfect fit.
List Poem
I led the children through the second poem below when we read Crenshaw. Guided writing exercises, with poetry worksheets, work so well! In the story, Jackson and Robin put together a keepsake bag, and this prompted us to write about a keepsake bag of our own. I think it’s a lovely way for children to think about what is precious to them.


Of course, writing programmes allow us to explore even more. With each writing programme I conduct, I, too, become more ambitious. During the last two editions of the programme, I chose the best pieces and put together a zine (download issue 1 here and issue 2 here). This pushed the children to work even harder, editing and rewriting their pieces until they were satisfied.
Free Verse and (Rhyming) Puzzle Poems
In the April to June session, I introduced the participants to Emily Dickinson’s Hope is the thing with feathers, and then I guided them through a poem in free verse, comparing an emotion to an animal. I also worked with puzzle poetry because I love riddles, particularly rhyming riddles. Plus, it was the perfect pre-writing activity for us to work on detective stories!
Free verse allows children to become more familiar with metaphors, similes, personification, onomatopoeia and the like. It allows them to look at these literary devices as more than just terms, understanding what poetic effect they create. And the puzzle poems we wrote? While working on rhyme and meter, we also find ways to involve the reader!


Haikus, Acrostics and Reverse Poetry
In the latest edition of the writing programme, we grew more ambitious. I came across Brian Bilston’s review haikus, and I wondered whether we could do something along those lines. We took this idea further and explored recipe haikus too.
In keeping with the same idea of testing our limits, I also wondered if we could take a form that every child explores at some stage – acrostics. Whether it’s for greeting cards or for a chart in school, children write, or at least read, acrostic poetry at some stage. So, we took this familiar form and tried to do something new. Can we write a backwards acrostic? Take a look at one of my favourite ones below!
Our most ambitious project so far has been reverse poetry, and I was impressed with the poems the children wrote. I’m not usually someone who is effusive with praise, but the reverse poems they created were clever and lovely. Of course, we read multiple examples, and of course, I guided them through the process. But to successfully write a reverse poem – which conveys the opposite meaning when read in reverse – is a feat. There are many more in the latest issue of WORDS, our very own zine!


Writing poetry is fun, and getting children to write it is, honestly, equally rewarding. When creative writing seems difficult, I turn to poetry. Not because it’s necessarily easier, but because it is liberating. More importantly, especially when working with children, I think it’s important to play with poetry. Explore it, enjoy it, create something new. Rhyme is great. But there’s so much more that all of us can explore.
Do read our zine, and tell us what you think. Before you read it, though, I’d like to say – I’m sure there are typos. I’m also sure that lots of people could have designed it better – I’m a writer, not a designer. Even so, I can unabashedly say that I’m proud of it and I’m waiting for the next edition.


Tara and the Friendship Theorem
Amelia Bedelia Goes Wild
The Amazing Story of Adolphus Tips
The Egghead Detective Agency
Talon the Falcon
My Year in Workshops: 2022
Building Dramatic Characters

What fun we had at ‘Building Dramatic Characters’ – a guest session conducted by Neha Singh for my creative writing programme!
To quote Neha, anything can be a character. Maybe even a chair talking to the moon! The strength of a character simply depends on how much you have invested in the character to make it full-fledged and believable.
Step by step, she led us through the process of creating dramatic characters of our own, and before we were even halfway through, here are the characters we met:
- Bland – a lonely blade of grass
- Orange – a carrot with no friends
- Slippmery Slippers – an unwanted pair of slippers
- Mr Squeak – a mouse who loves to build things
- Madame Gabriella the Fifth – the poltergeist who simply cannot do something mischievous
- Gray – a sidewalk that’s about to be dug up
- Alexandra or Alex – half a personality in search of a human home
- Six-Face – a Rubik’s cube whose owner has sharp nails
Each child chose three props and gave their character a unique voice. Neha asked the characters questions, and we explored how we could help each one reach its goal. Now, I wonder what stories the children will come up with based on the characters they created today!
Flipped – Mystery Stories and Sci-Fi Stories
Crenshaw
Gulgul in Jungalu
Demystifying Publishing
One of the best things about my creative writing programmes is how much I learn on the way. For one, before each class, I research for hours. One hour of class time typically requires at least four hours of research.
And for another, I invite guests to talk about a variety of subjects from science fiction to cyber crime, historical fiction to comics.
Our latest guest was Andaleeb Wajid, a hybrid author who has published 37 novels in the last twelve years! Since so many parents and children have questions about Kindle Direct Publishing and whether they should publish their children’s work at all, Andaleeb was the ideal guest. Step by step, she took us through the process of publishing, comparing traditional publishing with KDP, with complete frankness when it came to costs, timelines and control.

For the most part, we followed a Q and A pattern for the session. Here are two answers that stood out to me.
What do you think about self-publishing, especially when it comes to children?
Free publishing platforms are now available to us, so go ahead and publish! Remember, though, that you should publish the best version possible. Work on your writing, edit, and get feedback. Because your name is going to be associated with that book.
Do you have advice when it comes to publishing children’s work?
Whether adults or children are looking to publish, my question is the same: why do you want to be published? Do you want to make money? Become famous? Or do you just want to get your work out there?
If you want to make money, publishing via KDP could work. If your book is well written and you market it well, you will find readers and make money.
If you’re looking to publish because you want to become famous, KDP is not the route I recommend. Your book isn’t going to be at a store. In India, KDP is restricted to ebooks, plus distribution networks don’t really make space for self-published books.
If you want to publish your book because you have spent so much time and effort writing it that you just want it out there, go for it! Publish. It gives you a sense of achievement!
The session was informative and useful; I can’t wait for the next one!
The Adventures of Mooli and the Bully on Wheels
Dragonflies, Jigsaws and Seashells
Yikes! Bikes!
I Survived the California Wildfires, 2018
A Cello on the Wall
The Shy Supergirl
Help, My Aai Wants to Eat Me!
Ivy + Bean
Frindle
The Great River Magic
Petu Pumpkin – Tiffin Thief
The Editor’s Perspective
The last guest session at this edition of my creative writing programme was with Daphne Lee, consulting editor at Scholastic Asia. It was everything I expected it to be – informative, detailed, and full of laughter. She answered questions, told us about the publishing process, and shared a manuscript with us, detailing how the editing process works. It was fascinating to see how the book took shape!
Here are a few of the questions I asked and the responses we received.

Varsha:
How do you decide whether to publish a book?
Daphne:
It’s hard to say. Voice is key. Things like grammar and spelling mistakes matter less. To me, even plot does not matter as much as voice. Thoughts and ideas draw me in.
Varsha:
While I understand that typos and grammar may not be the only things that are crucial, what do you feel about shoddily edited work? Work that seems carelessly written?
Daphne:
I think it really depends on the story and whether I’m willing to put in the work that publishing it would involve. The grammar won’t make my decision for me; the story and the potential I see in the voice do.
I also don’t like writing for an author. I make suggestions, but I don’t want to do the writing for them. More than once, I’ve cancelled a contract because a book isn’t shaping up the way I would like it too. But I suppose that is part of the job!
Varsha:
How many manuscripts do you typically receive per week?
Daphne:
Between 20 and 50 unsolicited manuscripts, I would say. I mark them as submissions and I allot some time to read them, but it’s time-consuming. The Scholastic website does mention how long to wait before considering it a pass from me.
Varsha:
Do you ever publish work written by children?
Daphne:
No, that’s also the company policy. You have to be 18 to submit work, and I agree with it. Where’s the rush? I know that when I was a child, I found myself imitating the style of the book I last read, and that is natural! I think you need to give yourself the time to find your own voice.
Varsha:
What about self-publishing? What do you feel about that?
Daphne:
Just my opinion, but like I said, children haven’t yet found their best voices. Yes, they are writing the best they can, but self-published work is often unedited. It isn’t even proofread. Do you think it’s fair to charge people to buy a book that is sub-par? Writing doesn’t pay anyway, so I think that publishing is just the icing on the cake, to use a cliche. If you enjoy the process of writing, don’t obsess over publishing your work.
Daphne also spoke about writing our own stories – stories about people and places that represent who we are. I was so glad she did!
All in all, it was quite an intense session, one that I wish I could have attended when I was a child!