 In 1843, thirty-one-year-old Charles Dickens had money problems. His wife was expecting their sixth child, he was in debt, and he supported a slew of needy relatives. He was known for long novels that were published in weekly installments, but because time was of the essence, he decided to write a short story (actually a long story by our standards, but short by his) that he could publish quickly. The British were enamored with the paranormal, so he decided it would be a ghost story. To increase interest, he included THREE ghosts. And to seal the deal, he added a bonus apparition that appeared at the stroke of midnight, dragging its chains from hell. That would get readers’ attention. He didn’t intend to simply entertain them. He was Charles Dickens, after all, and his writing was also meant to inspire. His family had once been poor, and his quest, as always, was to help the less fortunate. The tale he crafted happened at Christmas, a holiday that in England included charitable giving—the perfect setting for his message that charity must come from the heart, and that it’s never too late for redemption. From his fertile imagination he conjured up Ebenezer Scrooge, “a squeezing, wrenching, grasping, clutching, covetous, old sinner!” whose refrain to anything distasteful was “Bah, Humbug!” Scrooge represented the self-serving upper classes, while his poorly paid clerk, Bob Cratchit, and his family, including sickly Tiny Tim, represent the deserving poor. Dickens sent Scrooge on a wild night’s journey, led by the ghosts of Christmases past, present, and future. Scrooge visited his childhood and learned why he’d become such a miserable miser, and he saw a grim future awaiting him if he didn’t change his ways. By sunrise Christmas morning he was a new man: his hard heart had melted and he became a good friend to the poor, beginning with the Cratchit family. He resolved to “honor Christmas in my heart, and try to keep it all the year.” To Dickens’ delight, his readers did the same. In example after example, A Christmas Carol inspired the upper classes to be more charitable to the lower classes. And because the book became a bestseller, it eased Dickens’ financial worries. Dickens’ ghost story remains popular today, reminding us all that it’s never too late to do the right thing, and allowing us to proclaim with Tiny Tim, “God Bless Us, Every One!”  The title page of the original 1843 edition of "A Christmas Carol. In Prose. Being a Ghost Story of Christmas."
 Ignorance and want of the miser -- a particularly moving etching of children suffering. Drawn by John Leech for the original edition of "A Christmas Carol."  You can learn more about Charles Dickens and his stories in Andrea Warren’s book Charles Dickens and the Street Children of London and on her website. Andrea Warren is a member of iNK's Authors on Call and is available for classroom programs through Field Trip Zoom, a terrific technology that requires only a computer, wifi, and a webcam. Click here to find out more. MLA 8 Citation Warren, Andrea. "Dickens' A Christmas Carol: How a Short Story with a Big Message Helped the Poor." Nonfiction Minute, iNK Think Tank, 12 Dec. 2017, www.nonfictionminute.org/Dickens-a-christmas-carol. 
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Would parents willingly send their twelve-year-old son to war? During the U.S. Civil War, that’s exactly what General Ulysses Grant and his wife, Julia, did. Of course they expected Frederick to stay safely behind Union lines—only Frederick wasn’t the type to miss any excitement, and he ended up paying a big price for that. It wasn’t unusual for officers to have a family member with them, for they often faced separations that could last months or even years. Grant knew the campaign to silence Confederate cannons along the Vicksburg, Mississippi waterfront that were preventing Union ships from taking control of the Mississippi River was going to be a long one. He was a devoted family man and became depressed if away from his wife and four children for very long. Julia suggested their eldest son keep Grant company. Frederick, who wanted to make the military his career, was thrilled. I learned about Frederick while researching my book Under Siege! Three Children at the Civil War Battle for Vicksburg. He joined a boy and girl who were inside Vicksburg as my eye-witnesses to Grant’s brutal forty-seven-day siege in 1863 of that little river town. And what an eye-witness he was! As the general’s son, he had his own uniform and pony. He accompanied Grant during daily troop inspections and shared his tent at night. He knew he was supposed to stay in camp, but he was so eager to be part of the action, and several times he put himself in harm’s way. That ended when he foolishly rode into battle, only to be shot in the leg by a Confederate sniper. Frederick realized that if his leg were to be amputated—common treatment for a bullet wound--he’d never be a soldier. Even though his leg became painfully infected, doctors were able to save it. But in his weakened condition he became ill with typhoid fever, a common camp disease. He was still recuperating in his father’s tent when Grant received word of Vicksburg’s surrender. Frederick limped outside to excitedly announce the Union’s victory to the troops. Luckily, Frederick fully recovered. He returned to school and later served as his father’s private secretary while Grant was President of the United States. He also joined the army, rising to the rank of general: the siege of Vicksburg had taught him a hard lesson about what it took to be a military man.  Ulysses S. Grant, wife Julia and their children Frederick (standing), Buck, Nellie, and Jesse. Credit: Library of Congress  Frederick (seated, fourth from left in the oval), with his father (standing in the middle) and his officers. Credit: Library of Congress  Period photographs, engravings, and maps extend this dramatic story as award-winning author Andrea Warren re-creates one of the most important Civil War battles through the eyes of ordinary townspeople, officers and enlisted men from both sides, and, above all, three brave children who were there. One of those children was Frederick Grant. Click here for more information about the book and all of the awards it has won. Andrea Warren is also a member of Authors on Call. Bring her into your classroom via interactive video conferencing. Here’s where you can learn more about her and her programs. MLA 8 Citation Warren, Andrea. "Young Frederick Grant Goes to War." Nonfiction Minute, iNK Think Tank, 16 Nov. 2017, www.nonfictionminute.org/ young-frederick-grant-goes-to-war.  
If you yearn and burn to be a writer, how can you make that a reality? From the time I was a teenager, I wanted writing to be my life’s work. But even though I loved to write, how to become a writer stumped me. I thought education must be the answer and had master’s degrees in both English and journalism before I realized that the only one who could harness and develop my inner writer—my writing soul—was me. Like most writers before me, I had to mostly teach myself what I needed to know. I have since published hundreds of articles and a dozen books. While writing a book about Charles Dickens, I was surprised to learn that even he—one of the greatest writers of all—also had to teach himself. Because of family circumstances, he had only two years of formal schooling, so he learned the fine points of grammar and style on his own. Beginning at age fifteen, he worked upward through a series of jobs until, based solely on his writing ability, he became a newspaper reporter. In his spare time he wrote stories, articles, sketches, essays, editorials, theatre reviews, and plays. Gradually he began getting published in a monthly magazine. It didn’t pay him, but he was honing his craft, finding and training his voice as a writer. Then a publisher who liked his magazine stories gave him the opportunity to write his first novel—and the rest is history. My advice to you is Dickens’ advice to you: don’t wait for someone to give you permission to be a writer or to teach you how. Give yourself permission. Teach yourself. Just write. Do it every day. Write about what you see, what you feel, what you dream. Make up stories. Observe people closely: what they wear, how they speak, what they do, how they feel and why. Learn how to write articles and essays. Study your favorite authors and pattern your work after theirs. Don’t worry that you are mimicking them, for you will find your own style. Trust me on this. Draw from the wisdom and skill of writers who have gone before you, because everything you need to know, you can learn from them. When you’re ready, publication will follow. Read, read, read. Write, write, write. If you want to become a writer, start now. Be a writer.  Charles Dickens at age 37 (c) Andrea Warren 2014  Andrea Warren often teaches writing classes, and she often talks about Charles Dickens and how writing ultimately comes down to teaching yourself. Warren talks more about the writing process on her website, And to learn more about Charles Dickens and his quest to become a writer, check out her book, "Charles Dickens and the Street Children of London." Andrea Warren is also a member of Authors on Call. Bring her into your classroom via interactive video conferencing. Here’s where you can learn more about her and her programs.  MLA 8 Citation Warren, Andrea. "How Do You Become a Writer? Ask Charles Dickens." Nonfiction Minute, iNK Think Tank, 21 Sept. 2017, www.nonfictionminute.org/the-nonfiction-minute/how-do-you-become-a-writer-ask-charles-dickens. 
 St. Paul's Cathedral during the blitz of World War II. When I interview people in my work as a writer, I soak up the stories they share about their lives. This is what brings history alive. I’ve always wished for a way to interview historic buildings, because they could tell stories from such a different perspective, having seen it all and heard it all. My dream interview would be St. Paul’s Cathedral in London, a place rich with history—and therefore, with stories. I have learned that those with the most to say can be wary of interviewers. Sometimes employing a little charm can help them warm up. So I would begin by complimenting St. Paul’s on how wonderful it looks for a building that opened in 1708. I would reference its great architect, Christopher Wren, who was also an astronomer and mathematician, as is evidenced in many of its design elements. I’d mention its magnificent dome and its massive booming bells that can be heard for miles. “You’re the prize jewel in a city rich in architectural beauty,” I’d say. “No wonder so many notables have been baptized, married, and had their funerals here.” Flattered but still reserved, St. Paul’s might ask me what I like best about it. “I have two favorites,” I would reply earnestly, mentioning first the Crypt, where many of England’s war heroes are buried, along with famous painters and poets. (Writers and composers are at nearby Westminster Abbey). Other notables, like Florence Nightingale and Lawrence of Arabia, are here, too. It’s altogether quite a congenial place. Starting to thaw a bit, St. Paul’s might wonder aloud about my second favorite, and I would single out the American Memorial Chapel, located behind the High Altar and dedicated to the memory of the 28,000 Americans who died defending England in World War II. “And speaking of that war,” I would tell St. Paul’s, “I am awed by Londoners’ resolve that you, their national treasure, would not be destroyed during the Blitz when so much of the city burned. Volunteer firefighters, both men and women, were stationed at all times on your roof. When bombs exploded, starting fires, they were right there to put them out, a number of them sacrificing their lives.” St. Paul’s would nod, remembering. “The British love you very much,” I would say. St. Paul’s would pause, clear its throat, and then reply, “Let me tell you some of my stories.” © Andrea Warren, 2014
 MLA 8 Citation Warren, Andrea. "How to Interview a Historic Building." Nonfiction Minute, iNK Think Tank, 13 Sept. 2017, www.nonfictionminute.org/the-nonfiction-minute/category/warren-andrea.
Charles Loring Brace, a young Presbyterian minister with a big heart, was deeply distressed at the plight of the tens of thousands of abandoned children who roamed the streets of New York City in the early 1850s. Brace saw them everywhere. To stay alive, they had to beg and steal. In even the coldest weather, they had to sleep outdoors. Some of the street children were orphans. Others had been turned out by parents too poor to feed them. Or they had become lost in the vast city, or had run away because of abuse. Many were the children of immigrants and had no other family in this country. Brace was determined to do something. He raised money and started the Children’s Aid Society (CAS) to assist homeless children. While he started several beneficial programs for them, mostly he wanted to find them families—ones that would nurture, protect, and love them. Small town and farm folks would be best, he reasoned. He felt they were goodhearted and would be touched by the children’s plight and want to help. The child they took would help with chores and field work, just as all children did at that time. Could such a plan work? He decided to find out. So began what was soon known as the orphan trains. CAS assumed guardianship of orphans and children whose families couldn’t—or wouldn’t—care for them. Many lived in CAS facilities for months, growing strong and ready for travel. Then, in groups averaging 25 to 50, the children boarded trains dressed in new clothing, hair neatly trimmed, and bibles in hand. Posters went up in small towns along the tracks, announcing when the children would arrive. When they did, they were lined up, looked over, and matched with interested families. Whenever possible, CAS agents traveling with the children placed siblings together or near each other. They also tried to follow up on every placement, moving children to new homes if there were problems. Between 1854 and 1930, a quarter-million children made this journey in search of families to call their own. Sometimes they were taken only to be laborers or were never truly loved or accepted. But for most it worked well, and for some it worked splendidly. Said one rider who found a happy home at the end of the ride, “My life began when I got off that train.”
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