Concetta interviews Sneha Goel about her teaching methods, which led to the creation of her five students’ book, ‘Speaking Out: Five Young Voices’, exclusively for Different Truths.
Sneha Goel is a poet by heart, a writer by passion, and a teacher and writing coach by profession who teaches English grammar and creative writing to children and grownups. She graduated from Delhi University, has IELTS teacher training from the British Council, and is the founder of Young Story Weavers This institute teaches story writing, poetry writing, public speaking, and phonetics.
Being a domestic violence victim and survivor, her writings are greatly influenced by issues faced by a woman since birth. Her short story inspired by true events of her life, ‘When Pihu was Born’, has been published by Scholastic India in the anthology, ‘Path up the Hill-Enduring Short Stories’. She is the mentor and editor of ‘The Land of Mourns’, ‘Smell of Cinnamon’, and ‘Speaking Out: Five Young Voices’. Her short story ‘The Dark Truth’ was shortlisted and published in ‘Life’s Like That’ by Writer’s Pocket. Her poems are part of various national and international anthologies like Manushatvam, 11:11 Wishes, Cityscapes, Flame of a Distant Mountains and others.
Speaking Out: Five Young Voices is a poetry anthology by five of Sneha Goel’s students.
Veteran writer Dr Roopali Sircar Gaur writes the foreword; Kkumar Prasanna pens the reflection; the blurb is written by skilled storyteller and writer Narinder Jit Kaur; and the words of appreciation are by poet and writer Setaluri Padmavathi.
CP: How did you first introduce poetry to your students?
SG: Once we’ve done some storywriting, it’s time for poetry! I always start with Wordsworth’s ‘I Wandered Lonely as a Cloud.’ It’s so easy for them to picture those fields of sunflowers, and it’s a great way to show them how figures of speech can bring their writing to life.
CP: What were some initial challenges you faced when teaching poetry?
SG: Poetry writing is not everyone’s cup of tea. While some students struggle to decipher the meaning of poems, others find the act of writing basic rhyming poetry difficult. Mostly, the students who do not understand the concept of explaining myriad things in concise words show no interest in the poetry writing classes.
CP: Were there particular poets or styles you encouraged them to explore?
SG: I began with “I Wandered Lonely as a Cloud” and then gradually introduced poems according to the figure of speech I am teaching. I have noticed that students love sound poems more, so I read “Noise Day” by Shel Silverstein. I also talk about different forms of poetry and make them aware of haiku, limerick, cinquain, and acrostic, which they enjoy reading and trying their hands at.
CP: How did you create a classroom environment that fostered creativity and experimentation with writing?
SG: I don’t just teach. After exploring a particular style of poetry writing, I give them an exercise to write a poem with the help of fellow students, and I too participate in such exercises. Then, we share our poems in the classroom. I tell them if I like their poem, I will publish it on my website, and this always motivates them to try and write to their best capability.
CP: Can you describe your approach to developing writing skills in young students?
SG: Usually when students come to me, they have no idea what to write. I ask them to pick up one idea and jot it down in their copies. I provide them with a simple story structure with pointers and ask them to follow these. It always works. Gradually, I introduce them to richer and detailed writing, by which they can elaborate their one idea into a full-fledged story.
CP: Did you implement any specific writing exercises that helped them connect with poetry?
SG: I give them exercises that build their ability to apply figures of speech, showing how these devices function in diverse literary forms.
CP: How did you provide feedback to your students during their creative process?
SG: I observe the students in my classroom and the way they interact, answer, write, and understand the concepts taught. Based on that, I give my feedback.
CP: How did you track their progress, especially those who eventually got published?
SG: This is an interesting question. Getting published is merely a point on the map for young poets. Their true work lies in the continuous refinement of their writing, a process that unfolds with every book they produce.
CP: What kind of relationship did you establish with the students to motivate and inspire them throughout the writing process?
SG: I have a friendly relationship with my students. There are days when they do not want to write, and that’s completely okay. I do not push them lest they lose motivation; I just give them a gentle nudge now and then that they have a book to finish and it’s important. Besides, my work as a contributing poet in various anthologies inspires them to see their poems published.
CP: How did the students’ work evolve from the first poem to the point where they had a book published?
SG: First, the poem was written in the classroom with topics and style of writing dictated by me, but by the time their book got published, they were independent writers. They no longer needed handholding and proudly called themselves poets.
CP: Were there any specific moments or breakthroughs in the classroom that helped them realise they could have their work published?
SG: When a student demonstrates poetic skill by creating popular poems in class, I highlight their talent and suggest they consider publishing their work.
CP: What advice would you give to other teachers who hope to help their students achieve similar success in poetry?
SG: Children are like raw clay pots taking shape as they are taught and guided. Guided by a pure desire for student success, teachers can effectively cultivate their students’ abilities.
Photos sourced by the interviewer
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