Category Archives: Interview

Author Interview: Kathleen Burkinshaw

The last special guest for May Asian author interviews is Kathleen Burkinshaw. Her debut novel, The Last Cherry Blossom, was published just last year, and in this interview delve into the behind the scenes writing process for the book, which was based on Kathleen’s mother’s experience.

The Last Cherry Blossom

From Goodreads:

Yuriko was happy growing up in Hiroshima when it was just her and Papa. But her aunt Kimiko and her cousin Genji are living with them now, and the family is only getting bigger with talk of a double marriage! And while things are changing at home, the world beyond their doors is even more unpredictable. World War II is coming to an end, and Japan’s fate is not entirely clear, with any battle losses being hidden from its people. Yuriko is used to the sirens and the air-raid drills, but things start to feel more real when the neighbors who have left to fight stop coming home. When the bomb hits Hiroshima, it’s through Yuriko’s twelve-year-old eyes that we witness the devastation and horror.

SW: Please tell us a little about The Last Cherry Blossom beyond what the synopsis says.

Kathleen: The Last Cherry Blossom depicts the culture, mindset, and daily life during WWII before the bomb was dropped through the eyes of a 12-year-old-something that has not been done before.

My hope is not only to convey the message that nuclear weapons should never be used again; but to also reveal that the children in Japan had the same love for family, fear of what could happen to them, and hopes for peace as the Allied children had. I want the students/readers to walk away knowing that the ones we may think are our “enemy” are not always so different from ourselves. A message that needs to be heard now more than ever.

SW: I definitely agree since the othering of the “enemy” is constantly used to justify violence.

Aside from talking to your mother, what kinds of research did you do for this story? What was the most interesting or surprising thing you learned?

I had to search for books that were about daily life in Japan during WWII-not as easy when you need to find them written in English 😊 But I was lucky to find a couple out of print books on eBay. Also, my local library had some great resources.  In addition, the website for Hiroshima has some information on life during WWII in Hiroshima as well.

The most surprising and interesting piece of research happened while in Hiroshima. In July 2015, we went to honor my mom at the Hiroshima National Peace Memorial Hall for the Atomic Bomb Victims. (Sadly, my mom had passed away in January 2015. Thankfully, she did know TLCB would be published and had read one of the drafts).  The most surprising information came while visiting with the librarians at the Memorial Hall. They kindly spent about 2 hours with me. I gave them my mother’s Hiroshima address and they showed it to me on a map from the early 1940’s.  My mother had always said she was over an hour from the center of the city. However, when we looked at it on the map she was only 2 miles away from the epicenter; much closer than what I had thought! To me, it’s a miracle that she survived considering how close she was to the epicenter.

Also, while there I realized the beauty of Hiroshima.  I had been so focused on the horrific destruction of August 6th itself.  But while we were there I saw the beauty of the sea, the mountains, and palm trees!  My mother always said she grew up in a beautiful place and I finally could see it through her eyes.  This came in very handy when I returned to my first round of edits from my publisher.  The visit to Hiroshima enhanced my descriptions in of Hiroshima before the bombing.

SW: I’m glad your trip surprised you in a good way and allowed you to connect to your mother’s feelings and memories. 🙂

Representing a culture that is unfamiliar to most readers is like an act of translation. Did you have any difficulties on this front while writing your book?

Kathleen: Yes, I wanted to be as true to the culture and time period as I could.  However, I needed to make it flow naturally. I spent a great deal of time working through this. One of the issues I had involved dialogue. The Japanese language has a polite form-especially at that time.  There are also no contractions when they speak.  So, I wanted to show that, but struggled with it sounding stilted.  I finally found a balance by using contractions and less formal conversation when Yuriko narrated and when speaking with her friends.  However, when a younger character spoke to an adult, or an adult was speaking to the younger character’s, it would be more formal and no contractions used.

SW: Making historical fiction both educational and engaging can be difficult. What techniques did you use to strike this balance?

Kathleen: Yes, it is very difficult. I tried to describe the historic information so it would flow with the story.  I didn’t want it to read like a report of Japan during WWII.  One of the reasons I used newspaper headlines, propaganda poster text, and radio slogans as chapter headings was to set the tone on what was happening and how it was reported. I wanted the story to be about the characters and their personal issues. The war would be part of the scenery in the world that these young girls happened to live in. I hope I came close to that balance for the readers. 😊

SW: Do you have any favorite historical fiction kidlit titles?

Kathleen: Yes, I do! I have too many to list them all.  But a few are: Kira-Kira and Weedflower by Cynthia Kadohata. Two books that were inspirational to me were Blue by Joyce Moyer Hostetter and Eleanor Hill by Lisa Williams Kline.   Also from the 2016 debut authors- Paper Wishes by Lois Sepahban.

SW: I have Kira-Kira and Weedflower on my shelf, but I still need to read them. Weedflower stands out to me in particular because it shows a Japanese girl prominently on the cover.

Although it doesn’t have a person represented in it, I honestly love the cover for The Last Cherry Blossom. Did you have any input on the design, and how did that process work?

Kathleen: Thank you! Katy Betz is the talented artist behind the stunning cover art. My editor asked me to make a mood board.  A few weeks later she sent me the cover art. I would have never come up with it (which is why I write and can’t draw), but from the moment I saw it I knew it perfectly represented beauty from the ashes.

SW: What would you say has been the most rewarding part of being a children’s author?

Kathleen: Meeting readers and students who tell me that my mother’s story taught them something they didn’t know about WWII, that her story inspired them, they think differently about nuclear weapons, and that they want me to write more books, touch my heart and amaze me so much.

Also, I’ve received emails from students/readers who didn’t like to read, but after reading The Last Cherry Blossom, they are interested in reading again! What could be a better compliment to an author?!

SW: That sounds lovely. I can’t wait to read and experience The Last Cherry Blossom for myself!


scbwisigningyay! (1)Kathleen Burkinshaw is a Japanese American author residing in Charlotte, NC. She’s a wife, mom to a daughter in college, and owns a dog who is a kitchen ninja.  Kathleen enjoyed a 10+ year career in HealthCare Management unfortunately cut short by the onset of Reflex Sympathetic Dystrophy (RSD). Writing gives her an outlet for her daily struggle with chronic pain. She has presented her mother’s experience in Hiroshima to middle schools for the past 6 years. She has carried her mother’s story in her heart and feels privileged to now share it with the world. Writing historical fiction also satisfies her obsessive love of researching anything and everything. The Last Cherry Blossom is a SCBWI Crystal Kite Award Finalist (southeast region) and 2016 Scholastic WNDB Reading Club selection.

You can find Kathleen online at kathleenburkinshaw.com and on Twitter @klburkinshaw1.

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Author Interview: Tara Sim

Today’s special guest for my Asian author interview series is Tara Sim! Her debut YA novel, Timekeeper, released last November and was one of my favorite books of 2016. In the interview we’ll be discussing the sequel, Chainbreaker, which comes out November 7th.

No cover yet, so here’s the cool placeholder with the font from book 1.

chainbreaker-placeholder

From Goodreads:

Clock mechanic Danny Hart knows he’s being watched. But by who, or what, remains a mystery. To make matters worse, clock towers have begun falling in India, though time hasn’t Stopped yet. He’d hoped after reuniting with his father and exploring his relationship with Colton, he’d have some to settle into his new life. Instead, he’s asked to investigate the attacks.

After inspecting some of the fallen Indian towers, he realizes the British occupation may be sparking more than just attacks. And as Danny and Colton unravel more secrets about their past, they find themselves on a dark and dangerous path―one from which they may never return.

Well how’s that for ominous…

(My comments/questions are in bold and labeled “SW.”)

SW: Tell us a little more about Chainbreaker beyond what’s in the Goodreads synopsis.

Tara: There’s a lot more action (and airships) in this one, plus more POVs other than Danny’s. I was excited to dig deeper into Colton’s story arc the most. You’re going to see a lot of India, and a new villain will be introduced that I can’t wait for readers to meet!

SW:  Airships! That’s definitely an upgrade. Also Colton is my son, so I will never say no to more development for his character. Excited to find out who the new villain is too.

How would you say the experience of writing book 2 differs from writing book 1? This can be in general or specific to your series.

Tara: If you ask any author about writing a book 2, chances are they’re going to cringe or groan or some combination therein. Honestly, they’re challenging—especially in a trilogy, when they have to have a story arc on their own as well as moving the series arc forward. A lot of the time a book 2 will feel more like a stepping stone, something that you have to get through in order to reach the finish line.

However, I enjoy the challenge of sequels. Writing CHAINBREAKER was a lot of fun because not only was I getting to understand these characters better, but I was exploring their world outside of England. For that matter, getting to write about India for the first time—while daunting—was also a very cool experience.

SW: I thought it was cool that you chose to set Chainbreaker in India since it’s an opportunity to explore colonialism through fantasy. Since your setting is actually an alternate timeline, I’m curious as to how the history of your fictionalized India is different from real life. Can you elaborate a bit on the background context for the events of Chainbreaker?

Tara: In regards to India’s hist itory of colonialism and oppression, I kept most things the same, since I didn’t want to erase this huge part my family’s history. I didn’t want to make light of it, or to somehow sweep it under the rug, so it’s at the very heart of the story in book 2. I think, especially during these current times, we all need a reminder of what’s been done in the past and how people have suffered as a result. I will say that there is one way I bend history a little, but *River Song voice* spoilers.

SW: Guess we’ll have to wait and see. 😱

Although Daphne wasn’t as central of a character, I loved reading about her perspective as someone who defies expectations and norms in terms of both race and gender. Will she play a larger role in books 2 and 3? How did it feel to write about a character with a similar background as a biracial Indian?

Tara: Absolutely! Daphne has more POV chapters in book 2, and what with them being in India, a lot of her arc involves identity. It was interesting to write a character with a somewhat similar background to me, since I’ve never done that before, but it was a cool way to transcribe some of what I grew up with into a character who’s different enough from me that it didn’t feel autobiographical. Daphne deals with her identity in her own way, and I loved writing it.

SW: Even when we aren’t writing about characters whose identities match ours, our background and identities inform our writing. How would you say yours have influenced Timekeeper and your other projects?

Tara: I think my background and identity inform a lot of what I write, but like I said above, not in a way that’s autobiographical. As a biracial girl, I’ve always been more inclined towards characters who are half—whether that means biracial or half fire demon or half elf, you name it. Also, as a bisexual girl, I’ve been more inclined towards LGBTQ+ stories. I think this intersection between race and sexuality guides a lot of my characterization and storytelling.

SW: Because in general people tend to envision 1800s England as populated by straight white people, it was a breath of fresh air to read about a cast that was as diverse as the one in Timekeeper and also great to see the ways in which you tweaked the social norms of your world. What are your thoughts on playing with these implicit normative rules in historical fiction, and do you have any advice on worldbuilding for alternate histories?

Tara: I think bending the rules in historical fiction is like walking on eggshells. On the one hand, you want to acknowledge what actually happened, and not erase the true and heartbreaking struggles that marginalized people faced. On the other hand, with TIMEKEEPER, I wanted to create a world where people felt safer to be themselves. We live in a scary world, and personally, I was tired of reading about secrets and fear and being discriminated against.

So, while there is still some discrimination in the books, I bent the rules a bit to allow for less of it. My two biggest focuses were homosexuality and gender equality, which are explained as being societal results of the early boom in technology.

I think, when you’re crafting an alternate timeline, you have to be mindful of those eggshells and not crack too many of them. There should be a logical reason for your changes, rather than just “I wanted it to be this way, so here it is.” Think deeply about your alternate timeline and the causes and effects. And don’t forget to acknowledge those who have struggled.

SW: It’s a tough balance for sure.

Last question! What would say was the most challenging and the most satisfying parts of writing Chainbreaker? What do you think you have learned about the writing process?

Tara: The most challenging part was writing about India. Although I’m half Indian, did a bunch of research, and went to India for a few weeks, it was still a challenge to capture everything I wanted to convey. More so because this takes place in the past, when the British Raj was at its peak. As for the most satisfying parts, I think delving deeper into everyone’s character was super satisfying.

I think this was the book that taught me the importance of double checking facts and research. Although I’ve done a lot of research for books in the past, this was the one that needed the most, and it was a long process that I hope will pay off.

SW: I can’t wait to see the fruits of your labor! Thanks for answering these questions!


Author Photo_Tara SimTara Sim is the author of Timekeeper (Sky Pony Press) and can typically be found wandering the wilds of the Bay Area, California. When she’s not chasing cats or lurking in bookstores, she writes books about magic, clocks, and explosives. Follow her on Twitter at @EachStarAWorld, and check out her website for fun extras at tarasim.com.

Author Interview: Sarah Kuhn

Today’s special guest for my Asian author interview series is Sarah Kuhn! Last year, her debut novel, Heroine Complex, released and was one of my top reads of 2016. Come July 4th, the sequel, Heroine Worship, will be out. I’ve invited her to talk a little about the series and Heroine Worship.

Heroine Worship

Honestly, this cover is everything. It’s so dynamic and kickass. Thanks to Jason Chan for saving Asian SFF with his amazing cover illustrations. (In addition to the covers for this series, he also illustrated Cindy Pon’s Want.)

To keep things mostly spoiler-free for book 1, I’ll just link to the synopsis on Goodreads.

As always, my comments/questions are in bold and labeled “SW.” Here we go!

SW: Well, I am super excited that Heroine Worship is about to be released. Can you offer us any teasers beyond the synopsis?

Sarah: Thank you—I’m excited too! Heroine Worship is really about Annie Chang/Aveda Jupiter figuring out who she is now that everything she’s ever known has changed. We see a lot of her internal landscape, learn a lot about what she’s been feeling. There are so many superhero feelings in this book, y’all. There are also tons of supernatural wedding shenanigans, gorgeous vintage outfits, and at least one scene with sexy cake-eating. And it gives folks something that was only teased in Heroine Complex: Evie and Aveda fighting side by side as legit co-heroines.

SW: Annie’s character is interesting to me because she’s such a drama queen but also tough at the same time. Did she spring from your head, fully-formed, like Athena, or did it take some work to bring her to life? What has your character design process been like for this series?

Sarah: She’s actually the character that’s changed the most since I came up with the idea for Book 1! Evie and Aveda weren’t originally childhood friends and she was much more of a cartoonish diva boss character I plugged in to service this bigger idea of the superhero’s personal assistant story. Once I made them longtime friends, I had to think about her in a lot more depth, think about what drives her and what makes her and Evie’s bond so deep and complicated. I kept coming back to this intense drive she has to be The Absolute Best at whatever she’s doing and how that sometimes blocks out everything else—that’s certainly something I can relate to. She’s one of my favorite characters to write because she’s so bold and loud and has a tendency to charge into situations without thinking about the consequences. I love how she 100 percent refuses to be ignored.

As far as developing characters in general for this series, one of the things I enjoy the most is putting them all in a scene together and seeing how they interact, how they bounce off of each other. For instance, Nate (Evie’s scientist boyfriend) mentoring Bea (Evie’s science-intrigued little sister) came out of that.

SW: Complex characters are more compelling! In the Heroine Complex series, we have three Asian American girl protagonists, Evie, Annie, and Bea. Which of the three are you most like, if any? What traits do you share in common with each of them?

Sarah: I think of myself as being the most like whichever character I’m writing at the time because I’m so intensely in their headspace. I connect a lot with Evie’s snarkiness and using humor as a defense mechanism and her initial insistence on seeing herself only as a sidekick—that’s how I saw myself for a long time. And I relate to Aveda’s need to be the best and fear of failure and vulnerability—as well as her extreme love of fashion. I suppose like Aveda, I now also refuse to see myself as anything less than the protagonist. Bea, I’m still getting to know—stay tuned.

SW: I can’t wait to get into Aveda/Annie’s head because I’ve been wondering what goes on there since Book 1. And I also can’t wait to see more of Bea’s perspective since she’s younger than both Aveda and Evie and therefore will have a different perspective.

If you could cast any actors for the major characters in Heroine Worship, who would you choose, and why?

Sarah: That’s impossible to answer because there are so many awesome Asian American actresses doing great work right now! My mind overloads with the possibilities. I always love seeing people post their fancasts, though!

SW: I feel like I need to go looking for good fancasts now. *makes notes to search later*

I know for your journalism, you talk a lot about Asian Americans in media. What kinds of stories are at the top of your wish list?

Sarah: I’ve said this a ton, but I always love and want to see more stories about Asian Girls Having Fun. Those stories could take so many different forms—Asian Girls Falling in Love, Asian Girls Kicking Demon Butt, Asian Girls Going Shopping and Seeing Star Wars and Gossiping Afterwards While Looking at Pictures of Cute Dogs. Just as much Asian Girls Getting to Do Cool-Ass Shit as possible.

SW: I’m on board with that. It’s great to see that more of these stories are starting to appear in YA and beyond.

Looking at what’s already out there, what are your favorite Asian American creative works (e.g. movies, tv shows, books, comics, etc.)?

Sarah: We’ll be here all day unless I restrict myself somehow—there are so many awesome Asian American creative people doing awesome shit in all mediums right now! So I’ll keep it to recommending a few books either in my genre or adjacent to it:

Last Call at the Nightshade Lounge by Paul Krueger is a fantastic, funny, wonderfully earnest urban fantasy about bartenders who fight monsters with alcohol magic. Not Your Sidekick by C.B. Lee is a clever, trope-deconstructing YA superhero book in a fun near future setting featuring cute robots and even cuter romance. And Trade Me by Courtney Milan is a swoony, sexy, witty contemporary romance about two seemingly opposite people who decide to switch lives for a month—this books makes me feel so many things and I adore the main couple so much. And all three of these books have awesome Asian American girl protagonists.

SW: Okay, I am seconding the hell out of Last Call and Not Your Sidekick, which were also among my top reads of 2016. (I’ve linked my reviews above for everyone who’s interested.) Trade Me I’ve heard of but haven’t read, but I’ll add it to my TBR. Thanks for taking the time to answer these questions, and I wish you a wonderful launch for Heroine Worship!


Sarah Kuhn Credit CapozKnows PhotographySarah Kuhn is the author of Heroine Complex—the first in a series of novels starring Asian American superheroines—for DAW Books. Heroine Complex is a Locus bestseller, an RT Reviewers’ Choice Award nominee for Best Urban Fantasy, and one of the Barnes & Noble Sci-Fi/Fantasy Blog’s best books of 2016. The sequel, Heroine Worship, is out summer 2017. She also wrote “The Ruby Equation” for the Eisner-nominated comics anthology Fresh Romance and the geek girl rom-com novella One Con Glory, which earned praise from USA Today and io9 and is in development as a feature film. Current writing projects include a series of Barbie comics and a comic book continuation of the cult classic movie Clueless. Her articles and essays have appeared in The Toast, The Mary Sue, Uncanny Magazine, AngryAsianMan.com, IGN.comStarTrek.com, The Hollywood Reporter, and the Hugo-nominated anthology Chicks Dig Comics. (Photo Credit: CapozKnows Photography)

You can find Sarah on the Web:

Author Interview: Axie Oh

Continuing with the Asian author interview series, today I have special guest Axie Oh to talk about her debut sci-fi dystopian YA debut, Rebel Seoul, out this fall on September 15th!

Rebel Seoul

From Goodreads:

After a great war, the East Pacific is in ruins. In brutal Neo Seoul, where status comes from success in combat, ex-gang member Lee Jaewon is a talented pilot rising in the ranks of the academy. Abandoned as a kid in the slums of Old Seoul by his rebel father, Jaewon desires only to escape his past and prove himself a loyal soldier of the Neo State.

When Jaewon is recruited into the most lucrative weapons development division in Neo Seoul, he is eager to claim his best shot at military glory. But the mission becomes more complicated when he meets Tera, a test subject in the government’s supersoldier project. Tera was trained for one purpose: to pilot one of the lethal God Machines, massive robots for a never-ending war.

With secret orders to report on Tera, Jaewon becomes Tera’s partner, earning her reluctant respect. But as respect turns to love, Jaewon begins to question his loyalty to an oppressive regime that creates weapons out of humans. As the project prepares to go public amidst rumors of a rebellion, Jaewon must decide where he stands—as a soldier of the Neo State, or a rebel of the people.

Pacific Rim meets Korean action dramas in this mind-blowing, New Visions Award-winning science fiction debut.

Now, for the interview! As always, my comments are in bold and labeled “SW.”

SW: Can you tell us a bit about where the idea for Rebel Seoul came from?

Axie: The idea for REBEL SEOUL came from a very productive senior year of college watching anime and K-dramas. Haha. Jokes aside, I’ve always loved anime, K-dramas and books. I was also a creative writing and East Asian history double major in college, so I love writing and history. But the actual spark that lit the flame of REBEL SEOUL was a dream (really, all writers should depend on their dreams for ideas). In the dream, a girl was standing on top of the tallest building in Seoul, and in the distance, she heard someone singing a song. I woke up from this dream crying because something about the song moved me so deeply. I thought to myself—what about the song would make me/her cry? Who is she? How did she get up there? Was this the first song she’d ever heard? The dream was cold. I set the book in winter. The girl was fierce. I made her a supersoldier.

SW: I’ve never had a dream that has inspired a story, but hopefully it will happen in the future because your dream sounds so cool.

Rebel Seoul has been pitched as Pacific Rim meets kdramas. Were there specific kdramas that inspired the story?

Axie: So many! But the dramas that most directly inspired the story would be: Shut Up Flower Boy Band, Gaksital, and School 2013. Shut Up Flower Boy Band and School 2013 are both realistic high school dramas that deal with the day-to-day life of students and their hardships and relationships, joys and growth. Gaksital is an amazing historical action drama about a masked freedom fighter in Korea during the 1930’s Japanese colonial era. The themes in both shows (combined with the futuristic settings and tech of anime) directly influenced REBEL SEOUL.

SW: I’m tempted to watch Shut Up Flower Boy Band, if only because Kim Myungsoo, a member of my favorite kpop group, Infinite, is in it, haha. Gaksital sounds completely up my alley in terms of genre!

A good part of the work of writing speculative fiction is drawing on reality to make your world convincing. What kinds of research did you do for Rebel Seoul, if any?

Axie: Most of my research for REBEL SEOUL was in Korean words and honorifics since I use Korean to complement the voice of my narrator. My first language is English, so I wanted to make sure my Korean was accurate and reflective of the language (since it’s written out in English, not Hangeul). I’m indebted to the keen eyes of my Korean readers, as well as my Korean copyeditor. Other research included: looking around Seoul when visiting family, reading other works of fiction written by Korean and Korean American authors, and watching K-dramas and films.

SW: Representing languages that don’t use the Roman alphabet is always tough and something I’ve dealt with myself while writing. This factors into character name decisions all the time for me.

Speaking of character names, I noticed that there are a lot of Korean characters in YA named Jaewon. There’s Jaewon from Ellen Oh’s Prophecy, Jaewon who’s Daniel Bae’s brother in Nicola Yoon’s The Sun is Also a Star, and now your protagonist for Rebel Seoul. How did you decide on his name, and what was the overall process of coming up with names for your characters like?

Axie: I love PROPHECY’s Jaewon! By the time I read PROPHECY, REBEL SEOUL’s Jaewon had already inhabited his name, so I just thought of it as a fun coincidence. Now with Nicola Yoon’s Jaewon, I wonder if we all had the same naming process! For me, I wanted a name that would be easy to pronounce for English-speakers, since I knew it would be Romanized (converted from Korean to Roman/Latin script). As anyone who has an ethnic name knows, it really matters that our names are pronounced correctly. Whatever name I chose for my protagonist, it would be a real Korean name, and I wanted it to be pronounced correctly. But for how I actually chose the name, at the time I was watching a Korean drama called “Can You Hear My Heart” starring Kim Jaewon; hence, Jaewon was born (but with a different surname). In another revision, I later changed his surname to “Lee” because my actor inspiration for Jaewon became Lee Jong Suk. So, Kim Jaewon  + Lee Jong Suk = Lee Jaewon. The other characters’ naming process was less complicated, but no less thought out. I really believe names are important.

SW: I agree! I swear I spend more time coming up with names for my characters than writing sometimes.

What would you say was the most difficult part of writing Rebel Seoul?

Axie: The actual drafting of REBEL SEOUL was fun, as were the revisions I completed with help from CPs and beta readers. The most difficult part were the revisions post-winning the New Visions award, mostly because I rewrote a lot of the book. I drafted the book in 2013-4, won the award in 2015, and then rewrote most of the novel in 2016. By then, it had been awhile since I last worked on it. I had gone a year through grad school and written whole books since that initial draft, and it was a challenge to face the novel, flaws and all. I managed, with the help of my brilliant editor, to revise the novel into the best possible version of itself, but…it was difficult, to say the least!

SW: Rewriting is definitely tough because you have to apply tough love and tear down what you’ve created to rebuild in a better form.

What was your favorite part of writing Rebel Seoul?

Axie: My favorite part was how a lot of my own love of Korea—the country, the people, the culture—appeared in the book without conscious intent on my part. In a way, I was re-discovering my love of Korea while writing the book—its back alleys, food, music, fashion, everything. The ways these elements came out in the book as I was writing it constantly surprised me!

SW: I guess that’s the beauty of #ownvoices, being able to incorporate the things you know and love into your writing. 🙂

Last question is a fun one. If Jaewon had a character theme song, what would it be and why? (does not have to be a song sung in English!)

Axie: I love this question! Jaewon’s theme song would be “Just (그냥)” by Zion T. featuring Crush. When I heard it for the first time, I thought, “This is Jaewon’s theme song!” Lyrics include:  If you’re saying hi / Because I look down / Don’t worry about hurting my feelings / And just pass by (translated lyrics from: 1theK). It’s such a melancholy song and captures how Jaewon feels at the start of REBEL SEOUL—a self-imposed loneliness that refuses to let others in.

SW: I am a huge sucker for loner types, haha. I can’t wait to finally meet Jaewon when Rebel Seoul releases. Thanks a bunch for the interview!


AxieOh_Headshot copyAxie Oh is a first-generation Korean American, born in New York City and raised in New Jersey. She studied Korean history and creative writing as an undergrad at the University of California San Diego and is currently pursuing an MFA in Writing for Young People from Lesley University. Her passions include K-pop, anime, stationery supplies, and milk tea, and she currently resides in Las Vegas, Nevada, with her puppy, Toro (named after Totoro).

Author Interview: F.C. Yee

This month is packed with interviews because of #AsianLitBingo, and there are four more to go before the end of the month, not counting this one, so I hope you are ready for the flood. Today’s special guest is F.C. Yee, whose debut YA novel The Epic Crush of Genie Lo is releasing August 8th!

I have to take a moment to appreciate this cover because it’s so eye catching.  (In an earlier version of the cover, Genie was much smaller compared to the title, and the difference in the visual impact is pretty dramatic.) I especially love the tagline because it’s a hyperbolic rendition of a typical Chinese parent line and sets the tone for the story.

Before we begin with the interview, here’s the Goodreads synopsis:

The struggle to get into a top-tier college consumes sixteen-year-old Genie Lo’s every waking thought. But when her sleepy Bay Area town comes under siege from hell-spawn straight out of Chinese folklore, her priorities are suddenly and forcefully rearranged.

Her only guide to the demonic chaos breaking out around her is Quentin Sun, a beguiling, maddening new transfer student from overseas. Quentin assures Genie she is strong enough to fight these monsters, for she unknowingly harbors an inner power that can level the very gates of Heaven.

Genie will have to dig deep within herself to summon the otherworldly strength that Quentin keeps talking about. But as she does, she finds the secret of her true nature is entwined with his, in a way she could never have imagined…

As always, my comments and questions are in bold and labeled with “SW.” F.C. Yee’s answers will be labeled “Christian” (because that’s what the C stands for and I’ve been using given names for all these interviews).

SW: Please introduce yourself!

fcyeeChristian: Hi! I’m F.C. Yee, author of The Epic Crush of Genie Lo. It’s my first work of fiction to be published. Prior to that, most of the writing I did was in college for a humor magazine. I live in San Francisco and enjoy varied pursuits like staying in, staying in and watching TV, and staying in and playing games.

 

SW: Beyond what’s the in the Goodreads synopsis, tell us a little about The Epic Crush of Genie Lo.

Christian: This book, if I did it right, is about knowing exactly what you want and being kept from it by forces that claim they’re beyond your control. It’s about discovering your inner power, testing the validity of those claims, and finding out that they were BS all along.

If I did not do it right, then it’s solely about make-believe punching.

It is not the first book I ever wrote; in fact the first words I put to paper for The Epic Crush of Genie Lo were during a writer’s conference where I was supposed to be talking about a different book entirely. I solidified some ideas on hotel stationary during a pitch session and read the pitch to the group before the rest of the story existed. They didn’t hate it, so here we are.

SW:  Since your book incorporates some Chinese lore, what is your favorite Chinese myth/folktale/legend?

Christian: My favorite story would be how the goddess Nuwa created humans. According to some versions, she started by sculpting individual people out of clay. But at some point she got impatient and started flinging the clay around, creating people wherever drops of it landed.

The legend isn’t very funny when used to justify social hierarchies like it apparently was in the past, but it is pretty amusing to imagine a creator goddess going “Eh, whatever. It’ll work out.” I like to think we’re all of us the product of hasty assembly, without exception.

SW: That sounds less flattering than what the Greeks came up with, but hey, we can’t all be artists and masters of crafting, right? Speaking of craft, did you do any research for the story? If so, what kind?

Christian: I read multiple versions of Journey to the West, including an abridged one that has maybe three demons tops, and an unabridged version that was so long I doubt I remember every part of it. Prior to that I had read or watched media about Sun Wukong in passing, but it wasn’t with the intent of doing research. Also, it would be impossible to claim that I wasn’t influenced by American Born Chinese, which I’d read before the idea of doing fiction ever crossed my mind.

SW: My background with Journey to the West is fairly similar. My dad read me these illustrated storybooks about the Monkey King and I watched a cartoon movie about him, but I’ve never actually read Journey to the West in either English or Chinese. I’ve been meaning to though.

But even with only bits and pieces the human mind can create so much. You start out with a seed of an idea but end up with a fully fledged story. How has your story grown and changed from its earlier iterations?

Christian: The major plot beats and characterizations were pretty much the same since early drafts, but a lot of the smaller details kept evolving to fit the story and tone. I ended up removing some unnecessary complications that would have caused the narrative to come to a screeching halt or thrown the reader out of the flow of the story. There was also a steady shift over time towards increased focus on Genie’s relationships with her best friend, and especially her divine mentor/boss/older sister figure.

SW: I loved that character, so I’m glad you decided to give her more page time. It was cool to see a very modernized depiction of her. Coincidentally, she’s sort of important to one of the stories I’m writing, so I’m just going to pretend our stories happen in the same universe about a thousand years apart 😉

What was your greatest challenge with writing the book?

Christian: I struggled for a while with how to relay the origins of Sun Wukong to anyone who wasn’t familiar with the original story. Going back to the above question, another draft of the book had interludes that tried to summarize relevant chunks of Journey to the West, and that didn’t work as well as what I eventually landed on.

To my surprise I also got stumped on some small key plot mechanics that I needed to keep the story moving forward. Certain elements that should have been obvious in retrospect took me weeks of banging my head against the wall to figure out.

SW: I think I’ve been through something similar in the past. On the flip side, what was your favorite part of writing the book?

Christian: I enjoyed creating the reversals that occur during fight scenes and giving off that manga-esque “You think you have me beat but this isn’t even my true power!” feeling. I may or may not have imagined most of those moments before writing the book and used them as motivation to finish the rest. *cough*

SW: “Write the shiny, explosive parts first, sweat the small stuff later” is probably a lot of writers’ modus operandi, to be honest, ha. 😂

This next question is something that came up while I was reading the ARC of your book. (Spoiler free zone, don’t worry) What’s your beef with bubble tea? Okay, I’m being facetious, but Genie seemed to be very adamantly against bubble tea. Speaking seriously, was there any reason besides familiarity that motivated you to set the book in the Bay Area in particular?

Christian: I personally love bubble tea! I just thought it would be funny if Genie hated something that most everyone in the Bay Area loves. The thought of her silently grousing as all her friends keep wanting to meet up for bubble tea was a very Genie-like image in my head.

As far as for why the book takes place in the Bay Area, I’m afraid it was just proximity coupled with an Asian American population that lent the setting elements that I wanted. I’m sure there’s an alternate universe where I lived elsewhere and wrote the book to be in Flushing, NY, or maybe Vancouver.

SW: I guess that means Genie and I would not hit it off​ that well. I love bubble tea and wished I lived somewhere that has plenty of bubble tea shops nearby. 😅

Now, for the last question…

Although the book feels like it can stand alone, I also think there’s room for more stories about Genie. Are there are any sequel ideas/plans? If not, any hints at what’s next/what you’re working on?

Christian: There will definitely be at least one more book about Genie (hooray for contractual obligations!) After that, I might try my hand at YA Fantasy, or even a Middle Grade book. I would love to do a book that has a Korean influence as I’m of Korean descent as well as Chinese, and I have to be fair to both sides of the family ☺

SW: Yesss! I’m so down for another book about Genie and Quentin. I’m also excited about the possibility of a Korean-influenced book because we need more Korean rep in YA, especially SFF.👀

Thanks a bunch for this interview! I’m looking forward to receiving my copy of The Epic Crush of Genie Lo on release day!


You can find F.C. Yee on the web:

And don’t forget to add The Epic Crush of Genie Lo on Goodreads!

Author Interview: Mina Li

This is the fifth in my author interview series for Taiwanese American Heritage Week. Today’s special guest is Mina Li. In this interview we will be talking about two of her published short fiction pieces and her writing experiences.

As usual, my comments and questions are in bold and labeled with “SW.”

SW: Asking this of everyone: What’s your favorite Taiwanese food? (Feel free to list as many as you like if you can’t pick one.)

Mina: This is going to be a really disorganized list, so in no particular order: scallion pancakes, bubble tea (50 Lan has this oolong bubble tea that is just the right amount of smoky, creamy, and sweet), aiyu jelly, sheng jian bao, pineapple cakes with actual pineapple bits in the filling, custard apples, wax apples, and beef noodles.

Oh, and one thing I was introduced to in the US from my mom: green mango pickles. I have some in my fridge right now.

SW: Scallion pancakes, bubble tea, pineapple cakes, and beef noodles are also among my favorites. I’m sad that there are no Taiwanese bubble tea chains anywhere near me. 😦

So I just finished reading “Of Peach Trees and Coral-Red Roses” and loved it. It strikes me as a very Asian American story, with a heroine who has been displaced from her homeland and is fighting to preserve her connection to it. What inspired this story?

Mina: There was a fairy tale meme going around with a writing group of mine, where we could request retellings starring our OCs. A good friend of mine requested Tam Lin with the heroine of another story I had, and a side character that she had Unresolved Romantic Tension with. As in, the only story that had them remotely as a pairing was a drunk kiss during a wedding reception.

And then it turned out some of the readers were into that pairing, so I took it and ran. That was back in 2012 or so. The story written wasn’t “Peach Trees” since it was mainly for readers familiar with my OCs, and also, it was from “Tam’s” point of view.

Around 2013-2014 I was really considering submitting my work, and I thought of rewriting that story from “Janet” (now Kairu’s) PoV. It really does strike me that you liked the diaspora aspect of it, considering an editor I’d spoken to at the time said they wouldn’t have taken the story. I still remember their words: “Why can’t it take place in her own country?”

It does bother me that there are those out there that don’t recognize that Asian diaspora characters aren’t white people with Asian faces, that we’ll have different experiences that aren’t quite the same as our white or Asian-in-Asia counterparts. So when I was writing “Peach Trees,” I took special care in how Kairu perceived The Borders v. the kingdom of Yue. That took more work than I was anticipating, since there were a lot of internalized things I had to confront, like beauty standards and perception of environment. I suppose one of the points I was trying to make was that an Asian character in a Western environment isn’t necessarily going to be the same as a white character in a Western environment. There seems to be a notion that when people immigrate to the West, they abandon their culture and adapt right away, and when it comes to my immigrant family, immediate and extended, that couldn’t be farther from the truth.

Warning: SPOILERS for “Of Peach Trees and Coral-Red Roses.” Highlight to read:

Jumping off of that point, that’s actually where the peach tree came in. Fairies are weak to iron, but in Chinese folklore, if you want to keep away demons, peach branches and peach wood are used in exorcising demons. The original weapon I was going to have for Kairu would have been some MacGyvering of iron and a peach branch. A beta reader, R.P., suggested a different idea where the peach tree was magic, and the rest is history. (I really, really owe her for suggesting that–it was such a good idea that I managed to rewrite the draft in two weeks!) I like how it has Kairu triumphing over the faerie queen using a weapon from her own folklore, and what that implies for diaspora–that despite their new surroundings, their culture is still viable and valid. (End spoilers.)

SW: To be honest, I’ve been wanting to write secondary world diaspora stories because diaspora seems to be missing from a lot of high fantasy. In most fantasy stories, racial/ethnic groups tend to be very self-segregated, which feels unrealistic given that the migration of people has happened since as long as there have been people.

I also read “Dreaming Keys” because I bought the An Alphabet of Embers anthology a while back. I was pleasantly surprised to find that the main character/narrator was Taiwanese American and that the story used actual Chinese characters (hanzi) in dialogue, as opposed to pinyin and/or translations. What motivated this decision, and how would you say your multilingual background plays into your writing?

Mina: A good friend of mine showed me John Chu’s “The Water That Falls on You from Nowhere,” and that was really the first story I’d seen that had hanzi instead of pinyin or translations. It was revelatory, in a sense, because before that, I would have thought “no, I can’t do that, it’s simply not done, how are readers going to understand what the characters are saying?” Chu showed that it could be done, and extremely well, too–that story won a Hugo! So I’d have to say that that story had a major influence in writing hanzi dialogue in “Dreaming Keys.”

Prior to that, a lot of my multilingual background was trying to directly translate proverbs or hanfu items into terms that non-Chinese/Taiwanese readers could understand. I remember adding notes at the end of stories that explained the proverbs or any terms/items that readers might not be able to get.

When it comes to Bethany being Taiwanese-American, I guess the motivation in its simplest terms is that I don’t see a lot of Taiwanese protagonists in books or stories outside of Taiwan. Fresh Off the Boat was a big deal for me when it aired (despite the first season finale where they apparently thought the mainland and Taiwan were interchangeable) because it was the first TV show that immediately felt familiar and like home.

SW: Yeah, I can practically count on two hands the number of Taiwanese protagonists I’ve come across (book list coming soon) in my years reading Anglophone lit. Which is why I always jump for joy when I see another.

One of the things I’ve experienced during my years writing as a Person of Color and Asian American is a shift from writing European-esque settings (for fantasy) and white characters (mostly for contemporary) to writing fantasy inspired by my own Taiwanese heritage and characters who look like me and share parts of my identity. Did you ever go through such a phase or transformation? How would you say your approach to writing has changed over time?

Mina: I think I always leaned toward Asian characters, when it came to fanfiction or RPs. The few times I’ve written sympathetic protags that aren’t explicitly Asian, it feels…off to me, for lack of a better word. I have to work a bit harder at getting inside their heads from time to time. With Asian characters, it’s easier, for lack of a better word.

When it came to fantasy (the genre I write the most), I don’t know if I ever thought of writing Western-style high fantasy? I’ve done urban fantasy with Western settings and Asian protagonists, and I have an wuxia fantasy story that takes place in both fantasy versions of Asia and Europe. The main character is Chinese, and it’s basically four years of her growing up in those circumstances. It’s currently on ice now, but if/when I do go back to it, I’d probably redo a few backstories and try to be more inclusive on marginalizations. I’m still rather fond of it.

SW: When I was younger I wrote high fantasy with European-esque settings, but a lot of my stories had dark haired characters who were coded as Asian. As I got older I converted over to writing explicitly Asian characters and #ownvoices narratives.

For marginalized writers, writing #ownvoices stories is often a means of speaking back to a society that others us and erases us. How do you approach writing #ownvoices narratives, and what are your goals, if you have any, when writing them?

Mina: I don’t know if I have any goals at the moment. When it comes to writing #ownvoices narratives, I tend to pull from my own experiences, which tend to come from the majority in some cases (Taiwanese Mandarin is the only dialect I speak, and my parents immigrated to the US for grad school, for example). It does bother me from time to time when outsiders are all, “this is just another narrative of X” sometimes. I did see a book review critiquing the fact that the main character was another high achiever kept from her artist dreams, and the author commenting quite politely that while she could understand that, that those were her actual experiences she was writing about.

I think we have to be careful not to internalize the myriad demands of what diverse audiences wants–that it’s totally okay if you yourself cannot provide them. I think what we could do instead is that if there is someone writing #ownvoices from PoVs you can’t provide, to support them by boosting their work and purchasing it. But even if your voice falls within the majority or the mainstream, it’s still important and deserves to be heard.

SW: I think as Asian Americans we get our writing policed as either “too Asian” or “not Asian enough,” and in my case I always wonder if people are going to question the authenticity of what I write because I’m not writing oppressive Asian immigrant parents.

Although Asian American literature is often pigeonholed as being about “the immigrant struggle,” there’s so much more to it than that. What aspects of Asian America and Asian American identities and experiences do you find yourself drawn to? What kinds of Asian American stories do you want to write about?

Mina: So the “immigrant struggle” doesn’t do a lot for me personally; my folks had no tragic backstories, and their memories of growing up in Taiwan aren’t particularly hardship-filled or tearjerking. They go back every now and then and seem to have a grand old time, so.

I’m a bit more focused on Asian American stories that don’t take place on the coasts, where there isn’t a Chinatown–we certainly have a strong Taiwanese community here, but there’s no area in my neck of the woods that would be considered a Chinatown, you know? And of course not all Asian-Americans are raised in California or New York.

I have a novel planned that’s got a Taiwanese-American protagonist. She wasn’t the perfect daughter in high school because she didn’t get straight As, never really smiled, and basically had interests that were outside the mainstream. At that age, she discovered certain powers that she had, but due to bullying, used them to hurt instead of help. The novel begins when she’s in her thirties, where she’s tried to bury that really hard, but also still isn’t the perfect daughter (unmarried, occupation is respectable but doesn’t pay a lot, body issues, etc). Another character in the novel is her rival, someone she was unfavorably compared to growing up, and how his boyfriend comes to her for help.

When I was a kid, one of the things I hated most was being compared to other kids. It really made me feel inadequate, like I would never be good enough. So and so spoke better Mandarin; so and so smiled; so and so was better looking; so and so excelled in sports/math/whatever. As I’ve gotten older, I’ve realized that they’ve had their own issues growing up, or actually were really cool people. And it surprised me a lot later to hear from one of those kids that his mom had been comparing him unfavorably to me!

SW: I’m totally with you on wanting to write (and read) Asian American stories that aren’t on the coasts, having spent the majority of my life in the South in Texas (14 out of 24 years, welp), where it is a very different environment than, say, the Bay Area.

I’m also on board to read this Taiwanese American novel if/when it happens. In many ways I was very much a model Asian student in high school. Now that I’m out of college, I’ve fallen into a not-so-perfect Asian life, off the beaten path of conventional success that I once envisioned for myself. Because of this, books that explore Asian Americans’ quarter-life crises in their 20s and 30s appeal to me.

But enough about me. Next question…Are there any writers who have influenced you, and if so, who are they?

Mina: John Chu has been an influence with the hanzi, at least, although I’m still trying to find my way with that. (It’s been noted when I write in hanzi that the dialogue sounds very waishengren, so make of that what you will!)

David Mitchell has been one as well. I remember getting Ghostwritten at fifteen and just reading it over and over until the spine cracked. My copy of Cloud Atlas has the cover coming apart from the binding. I just love how he writes his prose, and I’d love to write like that one day.

SW: I think I need to read more John Chu since you’ve mentioned him twice now. I’ve only read one of his short stories to date.

Last but not least, because I’m a youngster looking for guidance, I have to ask: if you could give your younger self writing and publishing advice, what would you say?

Mina: You don’t need an MFA or to take a ton of creative writing classes to get published. Even if you have a day job, you can still write, and you’ll be grateful for the stability. And if you keep at it, you’ll find your folks will come around.

Also, no matter how off the wall an idea sounds, just…just write it. People are more receptive than you think, really. More often than not they’ll think the idea is cool.

Also also: don’t self-reject. Send in the story anyway–the worst they can say is no.

SW: I’m definitely going to keep these words in mind as I continue on in my writing career and graduate to submitting things. Thanks a ton for answering these questions so thoughtfully! I look forward to reading whatever you publish next.


Mina Li’s Self-Intro/Bio: I’m a Taiwanese-American writer, Michigan born and raised. When I’m not writing I like to knit my own sweaters and socks, try out new recipes, and go for long walks. I’ve also got a thing for mermaids, considering The Little Mermaid came out when I was six. Also, a guilty pleasure of mine is watching online reviews of bad movies.

You can find her online at https://minasli.wordpress.com/ or on Twitter @CodenameMinaLi.

Author Interview: Emily X.R. Pan

This is the fourth in my author interview series for Taiwanese American Heritage Week. Today’s special guest is Emily X.R. Pan. Her debut novel, The Astonishing Color of After, is coming in spring 2018!

Since there’s almost nothing out in the wild (i.e. Goodreads) about the book, we’ll get an exclusive first look at what it entails through this interview. But first, an aesthetic collage to represent the story that I put together.

The Astonishing Color of After aesthetic collage

Since I haven’t read the book, this is based on what I gathered from the interview below. As usual, my comments and questions are in bold and labeled “SW.”

SW: First question is mandatory and the standard for this interview series: What’s your favorite Taiwanese food? (You are welcome to list multiple because it’s probably impossible to choose just one.)

Emily: Ooooh. I think it would have to be the breakfast dan bing. But I’ve been vegetarian for quite a long time now…if I were to go back to my non-vegetarian days it would probably be a toss-up between oyster omelettes and ba wan.

SW: Danbing is the ruler of all breakfast foods, in my humble opinion. I eat so much of it when I’m in Taiwan. Simple but satisfying.

Since the Goodreads synopsis that’s available is rather cryptic, can you tell us a little more about your upcoming book, The Astonishing Color of After?

Emily: Sure! So the Goodreads synopsis says: “A girl is convinced that her mother has transformed into a bird after committing suicide, and attempts to find her in Taiwan.” Well, the main character is named Leigh Chen Sanders, almost sixteen years old, and she’s dealing with quite a lot. She’s a dedicated visual artist, butting heads with a father who’s not exactly supportive of that pursuit. She’s navigating the complications of falling in love with her male best friend. She’s also biracial, and has never met the Asian side (her mom’s side) of her family, and has no idea why. It’s in the midst of all this that she loses her mother. So Leigh goes to Taiwan to find the bird, and there she meets her Taiwanese grandmother and Chinese grandfather for the first time, and starts to uncover all these deeply buried secrets that help her connect the dots of her broken family history.

SW: I was already sold when I first read the book deal announcement, but now I’m even more invested. I’m honestly super excited about this book because it’s set in Taiwan, where my family is from. Which part of Taiwan does it take place in, and why did you pick that particular location?

Emily: It’s all in the north. Leigh’s grandparents live in an unnamed part of Taipei that mostly feels like Shilin but in its fictionalization has elements of Beitou, and at one point Leigh also makes a trip up to Jiufen. My grandmother lives in Beitou and she was such a huge inspiration for the story that I knew I wanted to draw from her neighborhood. But also, I made a research trip to Taiwan, and when I was picking an Airbnb to be my home base I wanted somewhere that would feel just like where Leigh was staying with her grandparents. I asked friends and family to help me figure out a neighborhood that felt right, and ultimately landed with Shilin. So it was partly the places I went and saw during my research trip that dictated where the various pieces of the story happened, because I wanted to have a really solid feel for the setting.

SW: I actually visited Jiufen in 2015 and while it was pretty, I was also kind of scared because the elevation is high and everything is steep and built into the mountainside. I’ll admit I’m not super familiar with either Shilin or Beitou since the part of my family that’s in Taipei lives in Xinyi district.

What other research  did you do for the book?

Emily: In previous drafts, some of the novel was set in Shanghai (where I’d lived for a year in college) and for the sake of the book I made two research trips back to Shanghai. Later when I changed it so that all of the time in Asia was spent in Taiwan, that was when I made the aforementioned trip to Taipei to help me rework the book. (I’d been to Taiwan to visit family before, but not in a long time.) All the (non-historical) steps that my characters take, I actually walked myself in effort to really capture the atmosphere.

I’ve also done a lot of character research over the last several years; I interviewed several Asian American friends and biracial friends about their experiences both inside and outside the states. Many of those conversations happened for the sake of other projects I was working on, but what I learned from them made its way into this book all the same. And since so much of the novel is inspired by my family, I spent quite a lot of time interviewing relatives, collecting their stories. Even within just my family there’s so much variation from person to person in their customs and religious activity and level of superstition, for example—I gathered up every bit of detail I could.

Probably the most difficult and time consuming aspect was that I did a lot of sociological / cultural research through books and documentary films and various articles on the internet, for example about people’s beliefs surrounding ghosts and Ghost Month in Taiwan, and about various Buddhist and Taoist ideas and practices, both in history and currently. I wanted to get a lens on this stuff outside of any potential bias from my family, and even the material that didn’t actually make its way into the book still informed how I told the story.

SW: It sounds like you learned a lot from your research. What was your favorite part about writing the book?

Emily: My favorite part is that I got to know my family on a completely new dimension. Even with my parents—I’ve always been incredibly close to them (like we talk on the phone every single day and really struggle to keep our calls short). But in the course of writing and revising this book, I kept asking them about things we’d never talked about before, and from that I was constantly learning something new about their beliefs and values, and even their own histories.

SW: I’m glad you got to deepen your bond with your parents. On the flip side, what was the most challenging part about writing the book?

Emily: The hardest part was figuring out what the story actually wanted to be. I started writing this in 2010 as a very different novel. It was originally an adult literary / historical fiction project spanning the first forty years of this woman’s life beginning in 1927 in Taiwan—that woman being a fictionalization of my waipo (maternal grandmother), who’s lived a fascinating life. But all the historical stuff grew unwieldy and overwhelming, so I reframed it as a contemporary story with a teen narrator discovering the stories of her family. After that it still morphed several times—I’ve lost track of all the ways I tried rewriting it but the various iterations spanned the realistic and the fantastical across middle grade, young adult, and adult literary—until finally in January of 2015 I wrote a new opening, and the rest of THE ASTONISHING COLOR OF AFTER poured out from there.

SW: I can only imagine the amount of effort that went into rewriting the story. In my experience, finding the heart of a story can take a while, but once you find it, it’s usually much easier to write.

Now, the last question: What are some writers or books that have influenced your writing?

Emily: As one might guess based on the kind of book I’ve written, I love writers who explore human instincts and experiences through the lens of something weird or perhaps slightly magical. Some of the amazing authors who immediately come to mind: Nova Ren Suma, Anna-Marie McLemore, Aimee Bender, Haruki Murakami, George Saunders, Laura Ruby. I also love the writers who just tell a story so sharply I can’t get it out of my head. I’m thinking of Celeste Ng, Emily St. John Mandel, Alexander Chee, Jandy Nelson, Hanya Yanagihara. But really my writing is influenced by everything I consume, whether it’s an advertisement or a graphic novel or the libretto of an opera.

SW: Time to bookmark a few titles for my TBR. Thank you very much for participating in this interview. I can’t wait to read The Astonishing Color of After next spring!


Emily X.R. PanEmily X.R. Pan is the author of THE ASTONISHING COLOR OF AFTER, coming in spring 2018 from Little, Brown in the US and Orion in the UK. She is also a 2017 Artist-in-Residence at Djerassi. During her MFA in fiction at NYU she was a Goldwater Writing Fellow and the editor-in-chief of Washington Square Review. She is the founding editor-in-chief of Bodega Magazine and lives in New York, where she also practices and teaches yoga. Find her on Twitter and Instagram: @exrpan.

Author Interview: Gloria Chao

This is the third in my interview series for Taiwanese American Heritage Week. Today’s special guest is Gloria Chao. Her debut novel, American Panda, will be releasing in Spring 2018, which cannot arrive soon enough!

Since there’s no cover for American Panda yet, here’s the aesthetic collage she put together for her book:

American Panda Aesthetic

Not surprisingly, there is food involved. But also the Great Dome of MIT, an MIT class ring, a stethoscope, traditional Chinese dance, and terracotta warriors, not to mention DDR, and are those wedding decorations? Time to find out more.

From Goodreads:

At seventeen, Mei Lu should be in high school, but skipping fourth grade was part of her parents’ master plan. Now a freshman at MIT, she is on track to fulfill the rest of this predetermined future: become a doctor, marry a preapproved Taiwanese Ivy Leaguer, produce a litter of babies.

With everything her parents have sacrificed to make her cushy life a reality, Mei can’t bring herself to tell them the truth—that she (1) hates germs, (2) falls asleep in biology lectures, and (3) has a crush on her classmate Darren Takahashi, who is decidedly not Taiwanese.

But when she reconnects with her brother, Xing, who is estranged from the family for dating the wrong woman, Mei starts to wonder if all the secrets are truly worth it. Can she find a way to be herself, whoever that is, before her web of lies unravels?

From debut author Gloria Chao comes a hilarious, heartfelt tale of how unlike the panda, life isn’t always so black and white.

My comments and questions are marked in bold and labeled “SW.”

SW: To start off, since food is such an important part of Taiwanese culture and because your book’s aesthetic collage inspired me/made me hungry, what’s your favorite Taiwanese food? (You are more than welcome to list multiple foods as I’m sure it is impossible to choose just one.)

Gloria: I agree, it’s not possible to choose just one. But if I absolutely had to, I’d go with soup dumplings because I will never say no to one, no matter how full I am. Other favorites include shredded turnip cake (drool), pork belly buns, braised pork rice, three cup eggplant, and oyster pancake. Aiyah, I’m so hungry now!

SW: Soup dumplings are everything. Too bad there’s no Din Tai Fung anywhere near me.

I feel like I have the Goodreads synopsis for American Panda memorized by now and need more teasers. Can you tell us a little bit more about the story and the inspiration behind it beyond what’s in the synopsis?

Gloria: Ah thank you so much! American Panda is the book I wish I had as a young adult, and I started writing it because I wanted other children of immigrants to know (1) they aren’t alone, and (2) it’s okay to feel stuck between two cultures without fully belonging in either.

Also, I wanted to write a Chinese My Big Fat Greek Wedding chock-full of cultural humor. An example: in the first five pages, a family friend compliments the main character’s big nose, referencing a Chinese superstition that having a big nose means you will make a lot of money. But of course, the protagonist, Mei, only hears that she has a gigantic nose, which is not something an American teen typically wants to hear. And yes, I am speaking from personal experience—I was cursed, er, blessed with a large “lucky” nose.

American Panda is also about figuring out who you are and how to be that person. Being different makes it hard to fit in, but I didn’t feel whole until I owned it. Mei Lu may struggle with her identity, but she doesn’t hesitate to own the parts she does know—like ordering hot chocolate in front of her crush even though she thinks it’ll look juvenile, or continuing to dance even though her parents want her to focus on her studies.

SW: *checks my nose* I think mine’s fairly average sized, but hopefully hard work will make up for that, ha. American Panda sounds like a book that I would have loved as a teen. I only had one #ownvoices YA featuring a Taiwanese American protagonist when I was a teen.

Writing a book that’s considered “own voices” means you’re writing about a character whose identity or experience(s) you share in some way. However, that doesn’t necessarily mean it’s autobiographical (which is an assumption I’ve heard several marginalized authors say they’ve dealt with). How much of American Panda would you say is based on your own life? In what ways is it different?

Gloria: While Mei’s storyline is not completely autobiographical, it is rooted in truth. The themes, struggles, and emotional arcs are based on my experiences, as are the MIT setting and medical scenes. I also drew upon the lives of friends and acquaintances who trusted me with their stories. The novel is based on experiences, but it has been fictionalized and no characters or situations are exactly as they unfolded in reality.

For example, my parents did not insist I become a doctor, but they initially were not on board with my career change from dentist to writer. While I am not as germophobic as Mei, I always carry hand sanitizer with me, and I struggled with spit, pus, and cadaver bits in dental school. While my mother was supportive of my non-Chinese husband, she did try to set me up with her Taiwanese friends’ sons on multiple occasions.

As for Mei’s personality, she’s an exaggerated version of me, especially her awkward social skills and sweaty palms. When she tries to flirt with her crush, she pops these weird hip-level waves, and yes, I did that when I met my husband.

I worked hard to keep the book based on real experiences to breathe more life into the pages. Also, it was important to me to keep the story authentic. Since there aren’t enough Taiwanese-American stories out there (and I hope there will be more soon), I wanted to do everything I could to write an accurate representation of at least a few Taiwanese-American experiences, starting with mine. In the future, I plan to continue writing Taiwanese-American characters, exploring even more personal demons along with storylines that diverge from my own.

SW: The doctor thing is so real for Taiwanese kids, and I found out from my dad that there’s a historical reason behind it. During Japanese colonial rule of Taiwan, one of the few professions that offered upward social mobility for Taiwanese people was studying medicine. My dad himself was faced with that pressure early in his life, but thankfully my grandfather let it go later on. I was lucky that my parents never pressured me to become a doctor, but it’s still a career that’s highly valued among Taiwanese parents for sure.

After thinking about it a bit, I realized the synopsis for American Panda focuses a lot on what Mei Lu doesn’t like or want. So I’m curious, what are some things that do spark her interest and passion?

Gloria: Dancing is Mei’s passion. She loves to mix styles and music in her private dance sessions—the one place she feels like herself, where she doesn’t have to choose between her two cultures or identities. Her dream is to open a dance studio where she can teach Chinese dance to hip hop music, or ballet to Chinese pop.

Mei is also a nerd, but not in the stereotypical way. She’s intellectually curious and fits in at MIT in a way she never has elsewhere.

And of course, she loves Chinese food. There are food references and dumpling metaphors throughout the book!

SW: Food references are the greatest! Dumplings aside, I think this is only the second YA story featuring an Asian American whose passion is dance that I’ve heard of (the first being Tiny Pretty Things by Sona Charaipotra an dDhonielle Clayton, which features a biracial white/Korean American ballerina as one of the three main viewpoint characters). I’m constantly yearning for more Asian American stories that focus on sports and dance and art and so on because the stereotype is that we’re only good at academics and nothing else.

This next question is just for fun: If Mei Lu had a Twitter account, what would her handle/@ be and what would her profile bio say?

Gloria: @TwirlingPanda

TIM the MIT beaver’s sidekick. DDR maniac. Dumpling expert. Dancing is dreaming with your feet! 💃

SW: TwirlingPanda brings to mind the cutest image. I went to Google and this was among the image search results:

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I’m greatly entertained by how appropriate it is.

It’s rare for YA to tackle college since college students are generally considered to be outside of the range of YA. Personally, I wish there were more stories about the first years of college, not only because most first/second-year students are 18/19 and still technically teens (legal status aside) but also because it’s another stage of the coming-of-age period in life. If you’re not living at home, it involves a different environment than high school because you’re not as beholden to your parents, for better or for worse. Would you say that writing about a college student influenced the way you approached the story, and if so, how?

Gloria: I knew from the beginning that I wanted Mei to be in college for the exact reasons you mentioned. I wanted her to explore the fear, freedom, and self-discovery that comes with being on your own for the first time. I needed her out of her parents’ house to realize that what she wants isn’t the same as what they want. I also needed her doctor future to be closer on the horizon, and I wanted her to be struggling with what she wanted to do with the rest of her life.

And the more fun reason I wrote a college setting: I wanted to share some of MIT’s zany, unique culture with the world. Some scenes involve sneaking onto the iconic dome, chair surfing in the underground tunnels, hacking, and being nerdy in the best way possible.

Like you, I wish there was more college YA. Unfortunately, it’s a hurdle in the publishing industry. I’m grateful every day to have landed an agent and publisher supportive of American Panda’s MIT setting!

SW: I visited MIT with my family years and years ago, in 2007, and I remember the distinctive architecture and the lore surrounding the Great Dome and senior pranks. Later, I applied to MIT and didn’t get in, but no hard feelings. I’m excited to explore MIT through Mei’s eyes.

Last question set! What was the hardest part of writing American Panda? What was your favorite part about writing it?

Gloria: The hardest part of writing American Panda was finding the line between fact and fiction. The first draft of my book was essentially a memoir; I didn’t know how to separate my life from the narrative. It took three complete rewrites for the characters and plot to blossom from their real-life counterparts into fiction.

Funnily enough, my favorite part is closely related to the hardest. American Panda forced me to ask my mother questions about her upbringing, mine, and our culture, and it eventually improved our communication and helped us understand each other better. I drew upon all this while writing, and there’s one chapter toward the end of the book that always makes me tear up because it reminds me how far my mother and I have come.

Thank you so much, Shenwei, for these thoughtful, wonderful questions, and for putting this together for Taiwanese American Heritage Week! I’m honored to be a part of it!

SW:I also have to thank you so much for answering these questions so thoroughly. I’m honored to host on you my blog! I can’t wait for more news on American Panda and for it to hit the shelves next spring. 🙂


G.Chao--Author PhotoGloria Chao is an MIT grad turned dentist turned writer. She currently lives in Chicago with her ever-supportive husband for whom she became a nine-hole golfer (sometimes seven). She is always up for Dance Dance Revolution, cooperative board games, or spontaneous dance parties. She was also once a black belt in kung-fu and a competitive dancer, but that side of her was drilled and suctioned out. American Panda is her debut novel.

Visit her tea-and-book-filled world at gloriachao.wordpress.com and find her on twitter @gloriacchao.

Author Interview: Judy Lin

This is the second in my author interview series for Taiwanese American Heritage Week. Today’s special guest is Judy Lin, who is currently agented and hopefully soon to be published.

Since there isn’t a cover for Judy’s novel [yet], here’s a visual teaser in the form of an aesthetic collage she made:

Dead and Waiting aesthetic collage.jpg

That collage is imposing and mysterious but also hunger-inducing. Pork belly buns and mango shaved ice are among my favorites. Now, on to the interview! As with previously, my comments and questions will be marked in bold and labeled “SW.”

SW: I’m asking this to all of the authors I’m interviewing for this series, but since the protagonist of your novel is a food blogger, it’s perfect for you: What’s your favorite Taiwanese food? You are allowed to choose more than one!

Judy: My favorite Taiwanese snack is pineapple cakes. Buttery pastry outside and pineapple/winter melon jam on the inside. I’m also fond of fresh made egg/biscuit rolls. I love how they’re warm and crunchy and then crumbles into sweetness. My favorite flavor is original with black sesame seeds, but they come in tons of flavors like matcha or taro. I can probably write an essay on my favorite Taiwanese foods, but I’ll stop there!

SW: I would read said essay if you wrote it, ha. Tell us a little about your novel.

Judy: My novel Dead and Waiting is about a foodie named Lydia who goes back to Taiwan with her cousin to attend summer language camp. She accidentally summons a vengeful ghost with her fellow campers and they have to make their way off campus alive.

It’s filled with lots of descriptions of Taiwanese food, cousins who are more like sisters, and a dorky love interest. As well as a murderous ghost lurking in the hallways! I’m convinced all schools are haunted.

SW: So YA horror edition of Love Boat (a documentary on a famous summer camp for diaspora Taiwanese) or Seoul Searching (a dramedy film about diaspora Korean teens at summer camp). I’m very much looking forward to reading this. To be honest, I haven’t read much horror because it’s not my usual genre. What does the publishing landscape look like for the YA horror genre? Would you say it’s more or less diverse than other genres, for example, contemporary or SFF?

Judy: I wouldn’t say that YA horror is a very popular genre. It was difficult to think of comparable titles when I was querying my book, and even more difficult to think of horror novels set outside of North America. The Girl From the Well by Rin Chupeco draws from Japanese legends. A Darkly Beating Heart by Lindsay Smith is more of a dark contemporary fantasy with horror elements set in Japan. That’s the two that come to mind. Which is too bad because I grew up with Chinese and Japanese stories about hauntings and spirits and demons. There’s lots of creepy material there for inspiration. I would love for there to be more horror stories set outside of North America.

SW: For me, horror brings to mind the 1987 Hong Kong romantic comedy horror film (yes, it is all of those things) A Chinese Ghost Story, which is kind of a classic and features Leslie Cheung (R.I.P.) and Taiwanese actress Joey Wong, who rose to fame playing otherworldly maidens. The film is based on an 18th Century collection of supernatural stories called 聊齋誌異, which is translated as Strange Tales from a Chinese Studio. From yaoguai to jingling to jiangshi, there are so many creepy creatures and beings in Chinese culture.

Your novel is specifically about hungry ghosts. Ghosts, especially the spirits of our ancestors, are an integral part of Taiwanese culture, which is why families burn paper objects for their relatives in the afterlife to make sure they’re living comfortably. To stay up-to-date with modern technology, some families even burn paper iPhones or computers. If you were a spirit in the afterlife, what kinds of paper objects would you want your descendants to burn for you to keep you happy?

Judy: I would need a notebook and pen so that I can keep on writing stories and won’t be bored in the afterlife! Other than that I need a music player with 90s music and then I’ll be happy.

SW: I would probably want a laptop because writing by hand in the afterlife sounds like too much work, ha. Which authors have inspired you and influenced your writing?

Judy: When I was a teenager, I first fell in love with horror because of L.J. Smith. I devoured her Night World, Dark Visions, Secret Circle and Vampire Diaries books. I loved the idea of secret societies and people with magical/superhuman powers. I also loved the romance in those books.

Another author that I loved as a teen was O.R. Melling. She’s a Canadian author who was born in Ireland and writes books filled with Irish and Celtic folklore. Her books have a great sense of place and wonder. I hope one day a reader will tell me that my stories make them feel the same way.

I talk about this a lot, but seeing the cover of Cindy Pon’s Silver Phoenix was the book that made me realize – Hey, someone out there is writing stories featuring people who look like me and are from my culture! It made me feel like I might have a chance at pursuing my dream of publication, and it also made me less afraid of writing stories inspired by myths and legends I grew up with.

SW: Ooh, I’ve read O.R. Melling’s Chronicles of Faerie series as a teen, and I have to agree, they were atmospheric and richly imagined. I’m also in the same boat in that Silver Phoenix was the first fantasy YA with a main character that represented me. Seeing that plus subsequent Asian speculative YA getting published has been a great source of encouragement in my own writer’s journey, and I’m now at a point where I’m considering querying agents soon. What advice do you have for aspiring authors who are looking for an agent?

Judy: I think it’s so important to write the book of your heart. I didn’t know how marketable my story would be, but I knew it was the story inside me I wanted to tell. And I think it’s important to not self reject either once you finish the story if it might not be the current trend or a popular genre. I found my agent via a contest called Pitch Wars. I submitted my manuscript to Pitch Wars thinking that it wasn’t ready and that no one will ever pick it. But my mentors Axie and Janella picked my story and worked on it with me and helped me with my manuscript and beyond.

Contests like Pitch Wars contributed so much to my growth as a writer. I believe all writers should find their people. Writing doesn’t have to be a trek down a lonely road even though at times it seems like it. Find others to talk about writing, share stories, critique each other’s work and celebrate each other’s successes. Seeing people work hard and achieve their dreams is extremely inspiring to me and encourages me to work harder.

SW: I agree that finding friends and community is so important. Even as a blogger, that’s really sustained me and my work.

Now, back to horror. What is your favorite Asian horror movie?

Judy: I can’t pick one! My favorite is probably Shutter, a Thai film. It tells a great story and is spooky without being gory.

The scariest one I’ve ever watched is the Japanese version of The Grudge. Gave me nightmares for weeks. My childhood is filled with memories of being scared of creepy children (seems to be a popular concept in 80s and 90s horror novels and movies) and that fear has stayed with me still!

I recently watched Train to Busan and loved it. It was not a traditional horror film, but I was on the edge of my seat the entire time and cared a lot about all of the characters.

I think Asian horror movies are a wonderful blend of scary and heart. They are character driven instead of relying on jump scares, which makes them a lot more memorable than a violent slasher film.  

SW: I actually watched Train to Busan recently as well because my friends were watching it in the room I was in at the time, and I couldn’t concentrate with the noise in the background, so I joined in. I was not expecting to be hit with so many feelings, but that’s exactly what happened. I think I may need to give horror a chance from now on. Do you have any YA horror recommendations?

Judy: The Girl From the Well by Rin Chupeco as mentioned above. I love how it plays with structure and tells the story from a different perspective.

Ten by Gretchen McNeil was a fun read. Flashback to the Fear Street novels by R.L. Stein that I devoured as a teenager.

 Anna Dressed in Blood by Kendare Blake is one of my favorite YA horror novels because it has a great cast of characters, especially Anna.

Finally I want to recommend The Mall by S.L. Grey. Really creepy South African body horror. I’ve never read anything like it and don’t think I ever will. It’s not quite YA but it has “YA sensibilities.” Has commentary on consumerism and pursuit of youth and conjures up my teenage fears of being trapped in a mall.

SW: I’ve actually read other books by both Rin Chupeco and Kendare Blake (The Bone Witch and Three Dark Crowns, respectively), so I guess this is my sign from the universe to read their other books, among others. Thanks a bunch for participating in this interview. I wish you all the luck in getting published!


Judy Lin was born in Taiwan and moved to Canada when she was eight years old. She grew up with her nose in a book and loved to escape to imaginary worlds. She now divides her time between working as an occupational therapist and creating imaginary worlds of her own. She lives on the Canadian prairies with her husband, daughter and geriatric cat.

You can visit Judy’s website here and find her on Twitter @judyilin.

Author Interview: Cindy Pon

Welcome to the first in my author interview series for Taiwanese American Heritage Week! Throughout the week I will posting interviews with diaspora Taiwanese authors about their work. Today’s special guest is Cindy Pon! She’s making her sci-fi debut with Want, which releases June 13th. Before we get into the interview, let’s take a look at the beautiful cover of Want and the synopsis:

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The cover art is by Jason Chan, who is a gift to Asian SFF. He also illustrated the covers for Heroine Complex and Heroine Worship by Sarah Kuhn, which are super kickass.

And the synopsis from Cindy’s website:

From critically acclaimed author Cindy Pon comes an edge-of-your-seat sci-fi thriller, set in a near-future Taipei plagued by pollution, about a group of teens who risk everything to save their city.

Jason Zhou survives in a divided society where the elite use their wealth to buy longer lives. The rich wear special suits, protecting them from the pollution and viruses that plague the city, while those without suffer illness and early deaths. Frustrated by his city’s corruption and still grieving the loss of his mother who died as a result of it, Zhou is determined to change things, no matter the cost.

With the help of his friends, Zhou infiltrates the lives of the wealthy in hopes of destroying the international Jin Corporation from within. Jin Corp not only manufactures the special suits the rich rely on, but they may also be manufacturing the pollution that makes them necessary.

Yet the deeper Zhou delves into this new world of excess and wealth, the more muddled his plans become. And against his better judgment, Zhou finds himself falling for Daiyu, the daughter of Jin Corp’s CEO.

Can Zhou save his city without compromising who he is, or destroying his own heart?

Now, on to the interview! My comments and questions are in bold and labeled “SW.”

SW: Since your book takes place in Taiwan, and food is essential to Taiwanese culture, I’ll have to ask about it. What’s your favorite Taiwanese food? (You are more than welcome to list multiple foods as I’m sure it is impossible to choose just one.)

Cindy: It IS impossible to choose. And there are always so many new Taiwanese eats, and I have not been able to visit enough. *crying* I do love stinky tofu. I prefer the soft tofu cooked in giant vats of spicy broth that singe off your eyebrows in the night markets. In fact, I wrote that into the beginning chapter of WANT. Ha! Other than that, anything sticky rice. I’m a sucker for it. Sticky rice intestines come to mind as well as migao. I’m drooling just thinking about it. I also love iced and fresh sugar cane juice, and fresh made bite sized mochi.

SW: I feel like a bad Taiwanese person for not liking stinky tofu. Sticky rice, on the other hand, is the best. And mochi is amazing, especially mochi ice cream! Now that we’ve gotten past the appetizer, let’s talk about the main course, which is your book. Want is your first venture into science fiction. Has your writing process for this book been significantly different from the process for your previous ones?

Cindy: I’m not sure if significantly different, but it was definitely different. It is my first novel written in the first person and in a contemporary teen boy voice. The research was more tech involved, and the whole book just challenged me a lot. Because of that, I decreased my daily writing goal from the usual 1k words to 500. I’m all about going easy on myself when it comes to writing and a lot of pats on my back for even the smallest victory. No one else is gonna cheer me on like I have to cheer myself on. Ha!

SW: Speaking of research… Writing a book that’s considered “own voices” means you’re writing about a character whose identity or experience you share in some way. However, that doesn’t necessarily mean that no research is required. What kind of research did you do for Want: that is, for what topics, and what form did it take (e.g. reading, traveling, interviewing people, etc.)?

Cindy: I think my main form of research was actually going back to visit Taipei in 2013. It was a mother-daughter trip (with my mom), and it was lovely. I tend to naturally be a very sensory writer, and nothing is more sensory than to be on location of the place you are writing. I really wanted to bring Taipei alive in WANT—it was an ode to my birth city. In the end, I wound up using many locations in actual scenes of places I had visited. I had taken hundreds of photos, visually, everything can be an inspiration, a moment captured in time that I could relate to the reader. For me, it was a trip of a lifetime (seems strange to say because I was born there, but it was), and this book holds a very special place in my heart!

SW: I visited Taipei in both 2015 and 2016, and both times I took tons of pictures because there’s so much to take in. If I ever decide to write a book set in Taipei, I’ll probably already have half the hard work done. Which brings me to the next question… What would you say was the hardest part about writing Want?

Cindy: I would say the tech stuff, which thank goodness I had friends who could help me with, and also most definitely writing in first person contemporary teen boy voice. I can much more easily fall into the narrative voice of my Xia titles. Fantasy is what I have written for years and what I’m comfortable with. Grasping Zhou’s voice was a challenge, but when I did manage, I loved what I heard from him.

SW: You’ve mentioned in the past that you faced barriers in getting published because you wrote about Asians. Do you have any advice for aspiring Asian authors who are writing about Asians?

Cindy: F ‘em! 🙂 ha! Is that not good to say? Seriously though, it was a very personal choice on my part. And as a writer, and especially someone who wants to be published, you are going to be faced with hard and difficult choices all along your journey. I knew that I wanted to stay true to my stories and the characters in my head. I knew that I wanted to write what I loved and what drew me. Because writing is so damned hard already! And there are no guarantees in publishing. So why NOT write what you love? It’s too easy to lose your way in the craft as well as in the business. So my inner compass was always: Is this the story you want to tell? Are these the characters that matter to you? That simplified things for me.

SW: I’ll keep this in mind as I work on my own Asian stories. ^o^

Speculative YA seems to be your genre, but have you ever considered writing a contemporary YA? Contemporary YA could definitely use some more cute Asian boys. ;D

Cindy: #cuteasianboys 4evah! I always say never say never, but I honestly and truly cannot imagine NOT writing genre. I mean, I love to read to be whisked away, to be transported. It’s not that contemporary stories do not do that, it’s just that I want literally more magical journeys, I guess? So I don’t think I would? But again, never say never!!

SW: Well, if you ever do venture into contemporary, I will be first on the list of people demanding to read it! Now, for the last question. Do you have any hints as to what’s next after Want?

Well… I’m headed to Shanghai mid-May to do research for the sequel? I’m very excited about this trip. My first ever visit to China was in 2014 when I was asked to be the resident artist for a private school in Hangzhou. I was able to stay in Shanghai for just two nights, and the city totally captivated me. It just felt like the right location for the WANT sequel to take place. I won’t say anything else, other than I’m excited to write this story!

SW: Excuse me while I scream with excitement!!! I’m probably going to die waiting for more news about this sequel. But in the meantime, I’ll keep myself busy with a bunch of other amazing diverse books. Thanks a bunch, Cindy, for doing this interview! Can’t wait for my copy of Want to arrive! >o<


cindyauthor1dCindy Pon is the author of Silver Phoenix (Greenwillow, 2009), which was named one of the Top Ten Fantasy and Science Fiction Books for Youth by the American Library Association’s Booklist, and one of 2009′s best Fantasy, Science Fiction and Horror by VOYA. Her most recent duology Serpentine and Sacrifice were both Junior Library Guild selections and received starred reviews from Kirkus and School Library Journal. WANT, a near-future thriller set in Taipei, will be published by Simon Pulse in June 13th, 2017. She is the co-founder of Diversity in YA with Malinda Lo and on the advisory board of We Need Diverse Books. Cindy is also a Chinese brush painting student of over a decade. Learn more about her books and art at http://cindypon.com.

You can add Want on Goodreads here.

You can find Cindy on social media:

Cindy is doing a pre-order giveaway through her local indie bookseller, Mysterious Galaxy. If you pre-order Want from Mysterious Galaxy, you can get a signed and/or personalized copy of the book, and you’ll receive the following art prints:

a post card featuring illustration of Zhou and Daiyu by Jason Chan

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and a peach blossom brush art card by Cindy herself

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