Charlie Lovett was born in Winston-Salem, NC, and was graduated from The Summit School (1977), Woodberry Forest School (1980), and Davidson College (1984), where he received his B.A. in Theatre.  Charlie lived in Atlanta briefly in 1984–85, before returning to Winston-Salem to open a rare book business which he operated for the next several years. 

His first book, Alice on Stage, was published in 1990, and he has since written several books and many pamphlets and articles on the subject of Lewis Carroll as well as books on other topics.  He owns one of the largest collections of Lewis Carroll books and related materials in the world.

After moving to the Kansas City area in 1993, Charlie decided to devote himself full time to writing.  He attended the Sewanee Writer’s Conference in 1994.  In December 1994, he enrolled in the MFA-Writing program at Vermont College of Norwich University.  During the course of his graduate studies, he researched and wrote most of the critically acclaimed Love, Ruth: A Son’s Memoir (published 1999).  He also wrote numerous short stories and personal essays.

After receiving his MFA in January of 1997, he lived in England for six months where he researched two more books on Lewis Carroll.  In 1998 he returned to Winston-Salem where he lives with his wife Janice, step-daughter Jordan, and sometimes with his daughter Lucy.  In 2002 he published Sparrow Through the Hall, a travel memoir about a pilgrimage he took in the summer of 2000 from Iona, Scotland to Canterbury, England.

He is Writer-in-Residence at Summit School, where his plays Twinderella; Wooing Wed Widing Hood; Snew White; Romeo & Winifred; Omlette, Chef of Denmark; A Hairy Tale; A Nose for the News; Unwrapped; Porridgegate; and Supercomics have had their premieres.

“My philosophy of drama for children has developed over many years in volunteering with school productions and with the help of my wife, Janice, who is a third grade drama specialist. Rather than assuming that children are incapable of understanding certain words and ideas and that they are broadly divided into ‘stars’ and those who can’t act, I assume that children’s performances will rise to meet the level of the material they are given and that at the elementary level all children should be given equal opportunities on stage. My plays for elementary students, therefore, tend to have a fairly even distribution of parts and are filled with humor and cultural allusions that provide learning opportunities for the students and fun for the parents and teachers.”