SCBWI Serves Up A Slice of Literary Camaraderie at Booth #826

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Annelouise Mahoney, authors, C.K. Malone, Caroline L. Perry, Glenda Armand, Heather Buchta, illustrators, Janie Emaus, Jennifer Pitts, LATFoB, Los Angeles Times Festival of Books, Molly Ruttan, PAL events, published, R.S. Mellette, SCBWI community, SCBWI members, Tina Athaide, writing

by Annelouise Mahoney

Saturday morning booth exhibitors (l-r) Glenda Armand, R.S. Mellette, Annelouise Mahoney, and Janie Emaus get a thumbs-up from SCBWI-L.A. volunteer Jennifer Pitts (r) as they all prepare to greet festival-goers.

The Los Angeles Times Festival of Books is an annual tradition of literary wonder. It’s the Coachella of book festivals, the largest in the country.

This year, as they do each year, the SCBWI Los Angeles chapter extended an invitation for its PAL members to sell and sign their books at a festival booth. SCBWI SoCal joined the L.A. chapter at the festival for the first time ever, sharing Booth #826. PAL members of the two regions who signed up could choose a two or three-hour time slot for either Saturday or Sunday of the event.

Interview with Author Tina Athaide

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authors, Christine Van Zandt, interview, Lee and Low, middle grade, Page Street Kids, SCBWI community, SCBWI members, Tina Athaide

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.