My inspiration evolved from the ancient tales I discovered while living and teaching in Greece, first from 1992-1994 and then from time to time in the 2000s to pursue further writing projects in Greece.

I also co-authored Folktales from Greece: A Treasury of Delights (Libraries Unlimited, 2002), an anthology of twenty stories, illustrated with photographs by Georgios Katsagelos. Semolina-Semolinus: A Greek Folktale (Atheneum/Anne Schwartz, 1997) and The Orphan: A Cinderella Story from Greece (Schwartz & Wade/Random House, 2011), both illustrated by Giselle Potter. It is preceded by two award-winning co-authored picture books: Mr. Loukas and the Game of Chance (Mascot Books, 2019), my award-winning illustrated fantasy, for readers ages 8 & up, is actually my fourth children’s book. Tell us about the book and what inspired you.

How does one craft an interesting story?Ĭongrats on your debut, Loukas and the Game of Chance. Having read, analyzed, critiqued, and recommended all types of books over the years-books I loved-I decided to try my hand at story writing for young readers. One specific concentration was-and remains-literature for children, tweens, and teens. Reading, writing, speaking-with a focus on drama-and critical thinking were the topics that occupied me for years in universities and schools in the U.S.A. My teaching and research centered on literacy development among children and teens. (Sept.Tell us about yourself and how you came to write for children. This Cinderella somehow seems more resourceful than her French counterpart, and her happy ending more dearly earned. The doll-like faces and stiff limbs of Potter's na%C3%AFve-style watercolor figures suit the fairy-tale setting, and the pictures of tiny tailors and jewelers fawning before the pudgy stepsisters give the otherwise earnest story mordant humor. Details about Cinderella's bathwater (musk-scented), privations (her stepmother 'counted every drop of water the orphan was allowed to drink'), and technique for escaping the prince's ball (she scatters gold coins to distract pursuers) establish authority, while help from Cinderella's dead mother, whose voice returns to Cinderella at crucial moments ('Go, my child, go to good,/ Don't cry and don't despair'), make the heroine's plight seem less lonely. Cinderella's fairy godmother is replaced by Mother Nature and her many children (the Meadows give her three beautiful dresses the Sea, tiny blue slippers). Semolina-Semolinus: A Greek Folktale (1997) is close enough to the French version to satisfy young Cinderella-lovers, while sufficiently different to offer new color and interest.

The Orphan by Giselle Potter