Adam Blackman, Acquisitions Editor for Cardinal Rule Press, is on the faculty at the 2025 SCBWI-LA Working Writers Retreat
Registration for this year’s SCBWI-LA Working Writers Retreat closes in four days, and the event is only a few weeks away. Retreat faculty member Adam Blackman is Acquisitions Editor for picture books at the Cardinal Rule Press and a freelance editorial consultant on books for all ages. In this interview, he gives Kite Tales a taste of what he brings to a retreat conversation and what he hopes attendees will bring with them and be able to take away. In conversation, Adam listens closely, smiles easily, and laughs often. He also notes, “You can put in brackets, ‘gestured with hands,’ because I speak with my hands so much. It’ll be an art note.” Hooray, an editor with no fear of art notes! This interview has been edited for clarity and brevity. – JF
Kelly Pellico: Jenny, welcome to Kite Tales and congratulations on the one-year anniversary of your debut picture book, Tate’s Wild Rescue!
Jenny Turnbull: Thank you, Kelly. It’s exciting to be here celebrating Tate‘s first book birthday!
KP: What was the initial spark for this story?
JT: Tate’s story is rooted in my lifelong love of animals and feeling wild animals are happiest free in the wild where they can thrive, while companion animals deserve the love and comforts of home. Commitment to our furry family members, and animal welfare, has always been so important to me.
Ellen Hopkins is a New York Times best-selling and multi-award-winning author, a celebrated literary force whose courageous storytelling has enthralled readers like me for over two decades. She is perhaps best known for her raw and poignant novels written in verse. The real-life challenges of being a mother prompted the first of these, Crank, inspired by her now-recovered daughter’s struggles with an addiction to crystal methamphetamine and a consequent stint in prison.
Following the success of Crank, Hopkins has gone on to author more than a dozen acclaimed novels in unabashed verse. She has tackled subjects ranging from drugs to mental health to abuse to sex trafficking, and most recently, the foster care system in her new novel, Sync.
Longtime SCBWI member Joan Bransfield Graham is an award-winning children’s poet whose books include Splish Splash and Flicker Flash—shape poems about water and light (Houghton Mifflin Harcourt). Both books were School Library Journal Best Books of the Year and NCTE Notable Children’s Books in the Language Arts, among many other honors. Her other published works include The Song We Chose to Sing (ACTA), a poetry/music CD, and The Poem That Will Not End: Fun with Poetic Forms and Voices (Amazon Children’s Publishing/Two Lions). She has also contributed to many poetry anthologies.
Joan took a moment to answer some questions for the Kite Tales Blog.
ANN ROUSSEAU SMITH: Congratulations on your newest book, Awesome Earth, illustrated by Tania García. You have written many poems in many poetic forms. Why concrete or shape poems for this new book?
JOAN BRANSFIELD GRAHAM: Thank you, Ann! Since I was going to be featuring landforms, shapes that grace our Earth, what better way to explain a shape than with shape itself—concrete poetry. Not only is the poem talking about the landform but also showing it. Awesome Earth combines poetry, science, and art to explore what creates landforms from “Mountain,” “Glacier,” and “Volcano” to “Island,” “Hills,” and “Hoodoos”—artistic wonders that cover our Earth’s surface. It’s a perfect book for STEAM, National Poetry Month, and Earth Day. Many teachers have told me that my poetry has proven helpful for their students who are acquiring English as it offers many clues to unlocking the words.
ARS: I love how poems in any form—concrete or other—create visual images for the reader or listener. Can you share any writing tips for the poet in all of us?
JBG: MY FIVE FAVORITE POETRY WRITING TIPS
1. Use all of your senses.
2. Use vigorous verbs, marvelous metaphors.
3. Each poem is a mini-story with a beginning, a middle, and an end. If your poem doesn’t have a payoff or new perspective at the end, maybe it’s upside down. Don’t give it away at the start.
4. Use details to reach the universal. Zoom in for a close-up or write a wide-angle, big picture poem.
5. Write the poem you’ve never read before.
ARS: Since Awesome Earth is a nonfiction book it contains back matter, including information on landforms, a glossary, and additional resources for readers. How involved are you with the back matter? Do you find all the information and references, or does the publisher assist?
JBG: I did all of the back matter myself, including the photos. Originally, the additional information was going to be sidebars, but the design team decided to use everything as back matter. It’s a challenging endeavor to take a huge amount of research, distill it, and make it easy to understand. How do you introduce tectonic plate theory and continental drift to a four- to eight-year-old? My books always have a much wider age range than what is listed. In ice-skating, doing jumps and twirls can look so effortless because the skaters have put a lot of work into it. The same goes for writing. Speaking of age range, landforms are studied in all grades, just in different ways. Once a woman said to me, “I don’t know who is having more fun with this book (Flicker Flash)—my six-year-old grandson or his father, who is a physicist!” It’s wonderful to get a response like that!
ARS: You are a longtime member of the SCBWI and a volunteer board member of the Central-Coastal California (CenCal) Region. How helpful has your involvement with the organization been to your writing and publishing career?
JBG: When we first moved to California, I was at the local library one day reading a copy of The Writer magazine, where I saw an ad for the SCBW (it didn’t have the “I” yet) Summer Conference in Santa Monica. Where is Santa Monica? I thought it wasn’t too far away, decided to attend, and have been going ever since. I’ve made lifelong friends, heard amazing writers, artists, editors, and agents speak and share their knowledge of both craft and the business side of publishing, learned a great deal, and had an incredible opportunity to meet a wealth of creative, amazing people, and so I have been a volunteer forever—I am so grateful I joined! Thanks to you, Ann, for your volunteer work, for helping to share happy news and keep us all connected!
Thank you, Joan, for all your thoughtful responses!
For more information about Joan and her books visit her childrensauthorsnetwork! website. Join her on Facebook.
For information on SCBWI-CenCal events (open to all SCBWI members!), go to scbwi.org/regions/cencal.
For more fantastic content, community, events, and other professional development opportunities, become a member today! Not sure if there is a chapter in your area? Check here.
Images provided by Joan Bransfield Graham and the SCBWI Central-Coastal Region
Author Harshini Vankineni with the proof copy of her debut, What Color is the Baby?
Harshini Vankineni is a writer and an immigrant from India and lives in Southern California with her husband and children. Her debut picture book, What Color is the Baby?, is set for release on April 1, 2025. Harshini writes picture books, young adult fantasy, and new adult romance. She likes to write complex characters who are often dealing with societal pressures head-on and to tell stories that are a lens to her culture.
Judy Y Faulkner: Welcome to Kite Tales, Harshini! Tell us a bit more about your history. Have you always been a writer?
Harshini Vankineni: Thank you, Judy. I think I’m a specimen of what middle-class Indian kids are brought up to be—despite many dreams and talents, you end up becoming a computer engineer or a doctor because of parental and societal pressures. I’m a graduate of Software Engineering. I came to the USA, or should I say was sent to the USA, to pursue a master’s in Computer Engineering. But I have been writing since the day I read an abridged version of The Tempest (with pictures and everything). My first manuscript was a really messy tale inspired by Johanna Spyri’s Heidi. I was twelve then, and boy, did I plagiarize. I wrote it in an expired, dated journal that an uncle gifted me, and my mother preserved it until I burned it. Because in that, the villain was my mother.
Joy Peskin’s personality is so unassuming that it can seem at odds with the magnitude of the rank and importance of her current role as Executive Editorial Director for Farrar, Straus and Giroux Books for Young Readers.
She graduated from Vassar College and earned a certificate from Columbia University’s Radcliffe Publishing Course before starting off her career as an assistant for a small education publishing company called Course Crafters in Massachusetts. Next, she worked for powerhouses such as Puffin Books, Scholastic, and Viking Children’s Books before settling into her current role at FSG in 2012.
Over the years, she has guided such acclaimed authors as Dashka Slater, Mariama J. Lockington, Christina Wyman, Tameka Fryer Brown, and Hope Larson through the editorial trenches.
The remarkable and refreshing contrast in Joy’s career, however, is her balance of extraordinary editorial credentials with a tender approach with writers.
Poet-TeacherJessica Wilson, Los Angeles area coordinator for California Poets in the Schools
California Poets in the Schools Poet-Teacher Jessica Wilson brings poetry to students at elementary, middle, and high school levels. As CalPoet’s area coordinator for Los Angeles County, she onboards new Poet-Teachers and manages new opportunities for the program. Jessica is also active in the broader Los Angeles poetry community, including as founder and director of the Los Angeles Poet Society, whose offerings include year-round open mic events, a Creative Aging Senior Advocacy program, and Bilingual Poetry Workshops for all ages.
Meg Hamill, executive director, California Poets in the Schools
California Poets in Schools (CalPoets) is a thriving program that encourages students to write. Established in 1964, the nonprofit has been successful not only in improving its students’ writing skills, but also in enhancing their personal development. Part of what makes it so special is that the medium used is poetry. I was fortunate to interview Executive Director Meg Hamill for Kite Tales.
Poet, picture book writer, and verse novelist April Halprin Wayland
In her own words, April Halprin Wayland is “a writer, a mother, a wife, a speaker, a fiddle player, an organizer, a teacher, a poet, a doodler (see blog posts), a daughter, a sister, a performer, a storyteller, a peace activist, a traveler, a walker, a hiker, a meditator, an aqua farmer, a sun farmer, an animal lover, a cloud collector, a procrastinator, an infrequent twitterer, facebooker (sometimes) and instagramer. All!”
Paige Vinten Taylor: Welcome to Kite Tales, April. We’re so glad you’re here with us to talk everything poetry. Can we begin at the beginning? When did you first decide that you loved poetry?
Southern California author Tina Athaide’s middle-grade debut was the critically acclaimed novel Orange for the Sunsets (2019, Katherine Tegen). Her latest publication is picture book Meena’s Mindful Moment (2021, Page Street Kids).
CHRISTINE VAN ZANDT: Welcome to Kite Tales! Your historical fiction, middle-grade book, Orange for the Sunsets, about two friends (an Indian girl and a Ugandan boy) is set in 1972 Uganda when President Idi Amin announced all Indians with British citizenship had 90 days to leave Uganda—a story that is close to your heart. Did the span of decades help give this life-altering event perspective?
TINA ATHAIDE: Time is exactly what this story needed. The decades in between gave me a broader perspective, which allowed for the space to present two alternating points of view. When I first set out to write the story, it was in the late 1990s, and I had a singular vision—telling the story from an Asian Indian POV. Now when I look at the story, I cannot imagine it without Yesofu, the Ugandan boy. Time healed to look past the loss and pain of the Asian Indian experience so I could give a voice to the Ugandan experiences during that time, so the story had balance.
Kite Tales 