Articles

Interview With Ally Malinenko, Debut Author of Ghost Girl

By Lisa Schmid on August 8, 2021 / Articles, Author Interviews, New Releases

Hi, Ally! Thanks so much for joining us on the Mixed-Up Files Blog. I am so excited to talk all things, GHOST GIRL. I’m just want to say upfront; I’m an Ally Malinenko super fangirl. I loved your book so much. The writing, the storytelling, the characters . . . Everything was simply brilliant and creepy and left me wanting more. So let’s not keep your fans waiting . . . Time to put you on the hot seat.

Lisa: Tell us about Ghost Girl.

Ally: Ghost Girl is the story of Zee – a spooky story-loving, tow-headed, stubborn girl – her best friend Elijah and her bully turned buddy Nellie. After a massive storm washes through Knobb’s Ferry strange things start to happen. People are missing. And a new principal arrives who seems to be able to help people manifest their deepest desires. When things start going bad it’s up to Zee and her friends to figure out what’s going on, embrace exactly what makes her “Ghost Girl” and save their families.

Lisa: How did you come up with the idea?

Ally: Zee as a character has lived in my head for a long time. I tried slotting her into other short stories and it never worked. But she was always there, chattering on in the background. Two major things lead to the writing up Ghost Girl. One was a heartbreak and the other was art. The heartbreak came in the form of having spent over 7 years writing and rewriting a YA science fiction novel with a magical system based on chess. It was called Palimpsest. This book landed me my agent. We went on submission and, like one of those publishing horror stories you hear, it was rejected by every major house. So at many editors suggestions I tried to break the bones of that story and refit it as an MG. It was brutal. Afterwards, I was pretty heartbroken. So I decided to go back to the books that made me a reader – the books that I obsessed about as a kid – Middle Grade Horror. The other reason, art, is that I got very into a recording artist named Nick Cave. The book has 17 references to Nick Cave’s music. Hence the red right hand. If you know, you know.

Lisa: Did you base any characters on people you know? If yes, spill the beans!

Ally: I used to tell people that all of my characters were me, and I still believe that. I wouldn’t say the characters themselves are based on anyone but the events are. I grew up with my best friend around the corner and he and I spent a lot of time galivanting around the woods of our little town, drawing eyes on trees and making up stories about the Birdman who stole kids out of the rooms at night. I also have two older sisters who I love very much so it was important to me to show sister representation.

Lisa: How much of your real-life experiences play a role in the stories you tell?

Ally: Well for Ghost Girl it was, as I said, a lot of my childhood. The town of Knobb’s Ferry is based on Monroe, NY where I grew up. Knobb’s Ferry is definitely smaller than Monroe and Monroe sadly does not have a massive cemetery to explore but otherwise they’re similar. In my next book This Appearing House, there were definitely some serious life experiences with trauma and illness that found it’s way into that book. I think it’s impossible for real-life experiences to not inform any writer’s work. I mean, our books are just our experiences filtered through our imaginations and then held up to the light. Stories exist to create empathy. They are the bridge for people to say to each other “I feel this way. Have you ever felt this way too?” and then to hopefully have the answer be “yes.”

Lisa: Did you get bullied in school? And or were you ever a bully? If yes, to either, how does that impact your writing?

Ally: I did get bullied in middle school. When I joined facebook, she attempted to friend me and while I had not thought of her in a long time, those feelings of helplessness and anxiety came back pretty fast. But I didn’t include bullying in Ghost Girl because I was bullied. I included it because so many kids are bullied, because bullies are often more than just mean kids, and because I wanted to blow up the “mean girl” trope that I see everywhere. I wanted girls who were different to learn to understand their differences and work together. It’s my life’s mission to abolish the term “catty.”

Lisa: What books did you like to read when you were a kid? Do those books influence your writing?

Ally: Everything honestly, from non fiction animal books to classics like A Wrinkle in Time but I had a love for horror that burned bright. Scary Stories to Tell in the Dark, non-fiction books about Halloween, anything about witches – those were my favorites. I recently read a piece by Ally Russell called “On the Loneliness of the Young Horror Fan” that really hit home. Ally talked about how she struggled to find other kids into horror, especially as a young Black girl. She talked about being shamed for reading horror. Which reminded me of an experience I had. I was fortunate to meet a well-known biographer who happened to write the biography of one of my favorite writers. I had just gotten my book deal and this woman wound up being the first non-family member that I shared the news with. When I told her it was middle grade horror, she wrinkled her nose in disgust and said, “Why would anyone write books like that? I would never let my children read something like that.”

I’m getting a little off topic here, but what I’m saying is horror books were my favorite as a kid. Kids today are no different. They know the world is scary. Horror gives them a safe space to navigate those fears. Adults need to support that.

Lisa: Were there any scenes or chapters you found difficult to write because of an emotional experience you had to tap into?

Ally: Without getting too spoiler-y, there is a scene towards the end where Zee, fearing she is losing Elijah to the bad guy, has to convince him that the thing he wants most in the world – for his mother to be well again – is not really happening. She has to tell him the one thing Elijah doesn’t want to hear in order to help him and I had to walk away from that scene a couple times. It’s not easy to write about breaking the heart of someone you love in order to save them.

Lisa: Do you believe in ghosts? If yes, have you had any first-hand experience with the paranormal?

Ally: Do I believe in ghosts? The million dollar question. I don’t believe in ghosts but I also don’t NOT believe in ghosts. I have never had a paranormal experience (though I did once see something very unsettling in the sky that I have not been able to shake) but I know people who have and I believe 110% that something happened to them and that if they tell me it was a ghost then it was a ghost. Who am I to say? Like Shakespeare said, “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.”

That said if any kind ghosts out there want to say hello, I wouldn’t mind.

Lisa: What is your writing process? Are you a plotter or a pantser?

Ally: Both? Neither? I wrote ONE synopsis in my life when I sold my second book and thought I know I’ll have to I never want to do it again. So outlining is not for me. Usually I know how a story opens and how it ends. The in between is a little murky so that’s the space where I let my characters surprise me. I also find that the universe delivers so many little nuggets of inspiration when I’m drafting. Like, it KNOWS I need some guidance. It just happened last night, listening to a podcast, I figured out the missing part of Book 3. The universe can be very generous if you’re paying attention.

Lisa: What advice would you give 12 year-old Ally?

Ally: Well considering 12 year-old Ally wanted to be a writer more than anything in the world, I would tell it was going to happen! YAY!

But then I would gently tell her the road is long and winding and there are so many ups and downs, so much joy and heartbreak, and so much hope and tears but that’s okay.

That’s what an adventure is.

Lisa: Thank you for chatting with me, Ally. And congratulations on your debut novel! For more GHOST GIRL fun and games, please join Ally’s Ghost Girl Launch Party on August 10th at 3:00 pm EST.

Why Writing Kid Constantine Was No Mystery for Ryan North

By Mimi Powell on August 5, 2021 / Articles, Author Interviews

Ryan North, whose credits include an award-winning runs of Adventure Time, Jughead, and The Unbeatable Squirrel Girl recently wrote a middle grade graphic novel featuring John Constantine, one of my favorite DC Comics characters, and I got the opportunity to sit down and talk with him about it.

MUF: I’m Mimi. I write for From the Mixed-Up Files of Middle Grade Authors, a blog for people who love middle-grade books (parents, teachers, librarians, kids, writers, etc.). It’s an honor to be able to interview you. (My husband is also a fan. He’s the one who introduced me to Dinosaur Comics). And congratulations on the Eisner nomination this year.

Ryan North: Aw thank you, Mimi! That’s very kind. I’m excited about it! And say hi to your husband for me. 🙂

MUF: So, tell us about The Mystery of the Meanest Teacher?

Ryan North: The Mystery of the Meanest Teacher is a middle-grade graphic novel about a younger version of Constantine – Johnny Constantine, but he prefers you call him “Kid”. Kid Constantine has to escape from the UK to the United States after one of his capers involving ghosts and demons goes wrong. When he arrives at his new boarding school in America, he discovers his spells don’t work as well as they used to, so he’s left scrambling, faking it till he makes it – but luckily he soon discovers he’s not the only magical kid there. And he’s going to need all the help he can get when one of his new teachers seems to have it out for him personally, and might be a real-life witch…

It’s a stand-alone graphic novel, so you can read it knowing nothing of the character (or even DC Comics!) but if you do, there’s some fun little secrets you might pick up on.

MUF: I’ve gotta admit, Constantine is one of my favorite DC characters, but he’s not exactly kid-friendly, why did you choose Constantine for this project?

Ryan North: Right? He’s basically the last DC character you’d ever expect to be in a middle grade graphic novel. I was working with DC on another project that got bogged down unfortunately, and when they said “Hey, what about Kid Constantine?” I laughed at the idea – always a good sign! And I quickly realized that he actually transforms into a 13-year-old version of himself very easily. That idea of trying to cover for what you don’t know, trying to act like you’re super cool and in control even though you have no idea what’s going on – it’s something that I think feels pretty universal to most of us, and to both Adult and Kid Constantine. So there weren’t actually a lot of changes I had to make! The adult version has a lot of bad habits that we altered (instead of smoking, Kid has a lollipop sticking out of his mouth at the start of the book) but beyond that there really wasn’t a lot to change, to adapt for younger readers. So I loved that the idea sounded so wild, and really wanted to see if we could pull it off.

MUF: You do a great job of capturing Constantine’s wit in a way that’s accessible for kids. Was writing young Johnny difficult?

Ryan North: No, it was actually pretty familiar! Like I mentioned before, Constantine goes through some pretty relatable stuff, so all I had to do was remember what it felt like being the new kid, being somewhere where I don’t know anyone, and I could tap into that pretty easily for Constantine. And while some of the fun is seeing him cover for what he doesn’t know, he’s also a really clever guy, and it’s always fun to write clever characters. They get in the best zingers.

It’s funny – if you look at the Wikipedia article for John Constantine, there’s a section called “In real life“, where several (several!) of the authors who have written Constantine claim to have met him in real life. I kept my eye out for any young kids in a trenchcoat while I was writing – it would’ve been way easier to write the book if I could just ask Kid Constantine what he’d say and do in particular situations! – but unfortunately I never spotted him. So far, anyway…

MUF: I love that you included Etrigan as a “young” demon and that his rhyming is forced. It’s such a cool nod to his lore. What other Easter eggs can eagle-eyed fans catch?

Ryan North: Haha, thank you! Etrigan was the hardest character to write because he speaks in rhymes. It would always slow me down when I got to him, until I finally started writing placeholder dialogue for him: it had what I wanted him to say, but didn’t rhyme, and then I got to go back and spend an afternoon composing poetry that said what I needed it to say.

Beyond the lollipop visual reference I mentioned earlier, there’s also elements in what Constantine and his new friend Anna wear that references the costumes they wear as adults. The artist of the book, Derek Charm, told me that the challenge in designing the characters was that we wanted them to look like their adult versions, but still look credible as kids: their outfits had to be something a 13-year-old would wear. Constantine wants to look cool all the time, so it’s no surprise to me that he’d have a t-shirt printed with a design that makes it looks like he’s wearing a tie. I wanted a shirt like that when I was a kid. Still do, really!

MUF: Also, was it hard coming up with all of those rhymes and/or was it difficult to make them sound stilted?

Ryan North: Hah – well, the secret is that it’s never hard to make a rhyme sound stilted, so that was good at least! As hard as Young Etrigan was to write, Adult Etrigan would be even harder, because there he’s got his rhymes down pat. I tried to use iambic pentameter for his rhymes at the start until I realized Etrigan is speaking a second language here, and he’s definitely not as good at it as his adult version is, so that became a bit less precise in his speech. But honestly, I just went for walks and tried to think of different ways to say what he wanted to say until I came up with one that worked! I like to think out loud when doing character voice writing, so my Secret Writing Technique is to wear a headset with a mic on it when I’m walking. That way, passers-by think I’m a very important businessperson on a very important call and not a random guy trying to make a demon in his head have better rhymes.

MUF: In the book, Constantine and Anna have a few tricks up their sleeve, what do you wish that you had a magic spell for?

Ryan North: Kid Constantine mentions at one point having an anti-blushing spell, and for most of my life before 20 I would’ve loved to have that power. But these days I’d love a spell that would let me learn faster. Every time I try something new there’s such a gulf between what you want and what you can accomplish, and yes it just takes practice, but that means you make a lot of just okay cookies before you unlock the really good stuff. So that’s a shortcut I’d gladly take, thanks magic!

MUF: And similarly, if you were able to sneak into an otherworldly candy shop, what would be your go-to snack?

My favourite food is ice cream, so if I could find a ghost who’s spent their entire afterlife perfecting the art and craft of ice cream production, unlocking levels of flavour and delight that simply aren’t reachable or teachable within a standard-issue human lifetime… I would be there in a heartbeat.

MUF: I read in your bio that you studied Computer Science. How do you go from Computer Science major to creating award-winning graphic novels?

Ryan North: I always kinda did both at the same time! I started my webcomic, Dinosaur Comics, in 2003, when I was in undergrad. (It’s still running today – you can read it at qwantz.com!) Then I kept up the comic through grad school (I studied computational linguistics) and then when I graduated I faced a choice: keep doing comics, or get a real job. And it was really easy to keep doing comics, because all I had to do was fail to get a real job! Super easy. So since then I’ve used my CS knowledge to develop different services that help comic creators, and get to live the best of both worlds. It’s an unusual career path but it’s one that I recommend! All of us have lots of interests and I don’t think you should have to pigeonhole yourself so early in your life – do different things! If you can, do different things simultaneously!

MUF: What were your favorite books and/or comics as a kid? Who were your influences?

Ryan North: The earliest book I can remember loving is The Monster At The End of This Book

by Jon Stone and Michael Smollin. If you haven’t read it, it’s a great Little Golden Book where the fourth wall doesn’t exist, and Grover is afraid because he knows there’s a monster at the end of the book. He does all he can to stop you from turning the pages of the book – building walls that you smash through with your mighty page-turning strength, and so on, until you reach the end, and he finds out the monster… is him, loveable ol’ Grover! And then he’s really embarrassed. It just blew my mind that books could do that, that you could have this object in your hands that was physically like all the other books but told a story in a different way. I still love that, and lots of my projects involve playing with the potential of the form like that. That’s actually one of the things I love about comics: it’s still a young medium and there’s still discoveries about the basic form being made. You can do things in comics that haven’t been done before, and I think that’s really incredible!

MUF: What advice do you have for someone wanting to write comics or videogames or basically just be like you?

Ryan North: The greatest advice I have for someone looking to do writing is to start doing it, keep doing it, and put that work online. This has two benefits: it makes your commitment public, so now you have to keep writing to keep that commitment up (this is why a webcomic works so well: if you say you’re going to every day, you’ve got to do it!) and of course the more you write the better you get at it, even if you’re not trying to improve. There’s no way you can spend a few years writing a comic and not get better at writing comics, it’s just how our brains work. The other thing putting your work online can get you is an audience: people who like your work and want to support it. This helps you in a bunch of ways, but one of the first things it does is make you realize you’re not alone and people are interested in hearing what you have to say. For an early writer, that was really big for me. It made me feel like there was a purpose to it, that it wasn’t just me talking to myself! And of course, when your work is online people can see it and maybe, on day, say “hey, I really like the writing that person did, I wonder if I could hire them to write for me?” and that’s literally how I went from writing a webcomic for free to being paid to write comics for other people too.

MUF: What would fans be surprised to find out about you?

Ryan North: I’m really tall, but also, taller than you think even if you think I’m really tall. I’m that tall. Other than that I don’t think I have that many secrets! Unless of course this is a ruse to get people off the trail of my many startling secrets!

MUF: What are you working on now?

Ryan North: I’m working on a few unannounced projects I can’t really talk about, but I will say that Derek Charm and I have been trying to do more books together for a while and hopefully some of those will bear fruit soon! I’m also working on something that’s sort of a spiritual successor to my first nonfiction book, which was called “How To Invent Everything: A Survival Guide for the Stranded Time Traveller”. (That book has also found a lot of middle-grade readers: turns out we’re all kinda interested in seeing if we can rebuild civilization from scratch if we ever get sent back in time!)

MUF: How can people follow you on social media?

Ryan North: I’m not really active anywhere but Twitter, where I’m @ryanqnorth ! I’m also @qwantz on Instagram, where I sometimes post pictures of my dog, Noam Chompsky.

MUF: And, that’s all I’ve got. Thank you for your time, and the opportunity to interview you.

Ryan North: Thanks Mimi! These were really thoughtful questions – I appreciate it!

The Mystery of the Meanest Teacher is out now! And I enthusiastically recommend it to anyone who is interested in spooky, mysterious adventure comics with smart, sarcastic heroes, as well as anyone who is a fan of the grown-up Constantine comics.

WNDMG Wednesday – Author Shing Yin Khor

By Heather Murphy Capps on August 4, 2021 / Articles, WNDMG

Artwork by Aixa Perez-Prado

WNDMG Author Interview with Shing Yin Khor

Featured in today’s WNDMG Wednesday, a WNDMG author interview with Shing Yin Khor about their graphic novel, THE LEGEND OF AUNTIE PO. (Penguin Random House, June 2021)

About THE LEGEND OF AUNTIE PO

Part historical fiction, part magical realism, and 100 percent adventure. Thirteen-year-old Mei reimagines the myths of Paul Bunyan as starring a Chinese heroine while she works in a Sierra Nevada logging camp in 1885.

Shing Yin Khor Interview

MUF: Thanks so much for doing this interview with me – I appreciate the opportunity to talk with you about THE LEGEND OF AUNTIE PO. And I have to tell you, both my 9-year-old daughter and I enjoyed it immensely – she’s already reading it again! We’re grateful to you for bringing such a vibrant, creative book into the world.

What is the origin story for THE LEGEND OF AUNTIE PO? What is the significance of your decision to incorporate the Blue Ox?

SYK: My interest in the Paul Bunyan mythos goes back many years – it started with a fairly straightforward interest in logging history and this American myth, but as I learned more about early American history, especially in the Wild West, I realised how much history I didn’t know, or that was left deliberately untaught to me. A lot of these histories are glossed over in the popular American narrative. The popular conception of early American history, and especially that of Old West heroism is one full of white heroes and white individualism, which is more a matter of myth-building than historical fact. Often, marginalized groups are spoken of as a monolith, as a people rather than a collection of individual people, living a diversity of lives. This is not true now, and it wasn’t then either.

Paul Bunyan and the Blue Ox

SYK: The evolution of the Paul Bunyan myth feels like a microcosm of this history to me – it has become a story of individual strength, while the stories in the oral tradition are often far more about collective labor. Including Pei Pei(as the stand-in for Babe the Blue Ox) felt pretty compulsory to me, he’s just such a signifier of the Paul Bunyan myth, and I also just wanted a big goofy ox in the book.

I find American myth-building extremely compelling, and Paul Bunyan is probably the biggest American mythological figure, although probably a less generally destructive one than the myth we have made our “founding fathers” out to be. The American mythology dehumanizes and caricatures us. It tells us that indigenous people were “savages,” or healers, with no nuance for the individual, it tells us that enslaved people were “treated well,” it ignores the labor and death that this entire country was predicated on, and yes, some of the early Paul Bunyan stories are racist.

And to also know that these logging camps were filled with immigrants, and Black and Indigenous workers, that they had tons of Chinese and Japanese workers in them – at the center of this book is the simple question – what were the stories that we lost, because of the person that told them?

MUF: Why did you decide to set this story in a logging camp?

SYK: I am specifically interested in logging and forest history, and in the evolution of the Paul Bunyan mythos – a logging camp was the obvious choice.

The Power of Myth

MUF: A major theme of your book is the reclaiming of the power of myth and who gets to own it. How do you hope to empower your readers with this message?

SYK: I’m writing quite indulgently here – the reader I’m trying to write for is the 12 year old version for myself, not anyone else. I wrote this book to restore something to the young version of me, who only found books about brave imaginative kind white girls. I hope that young readers today won’t need to have that futile search because my fellow authors have already been writing them into history. I hope there are more books like this, especially those that center Black and Indigenous perspectives, but I am heartened that this book is coming out at a time where marginalized voices are centered more, even though I think the traditional publishing industry still has a very long way to go. I hope that this book assures young readers from marginalized communities that they can tell their own stories too, and I hope that the collective work of my elders and my peers and the work that I try my best to do now and in the coming years, will help to ease the path for them to center their own voices as storytellers and be their own protagonists.

The Chinese Story in Logging Camp History

MUF: One of the most painful moments in the book is drawn from the racial tension that followed the Chinese Exclusion Act—can you describe the experience of writing and researching that period?

SYK: The thing about doing research about any marginalized peoples, and especially if you are from the same group, is that you often get bogged down by the grief and trauma of the research. It is difficult, because a lot of the history is not well documented, and what is documented is often the violence of the time period against Chinese workers.

Part of my impetus for writing Auntie Po was actually learning how Chinese people were, in some ways, valued by the world beyond their own Chinese communities. The plot point where Ah Hao finds out that he was paid more than the white cook is a historical fact, that I encountered in Sue Fawn Chung’s Chinese in the Woods, which is just about the only academic book about working-class Chinese in the lumber industry in this era. This story of logging camp cooks sprang basically fully formed into my head when I read it – I already knew a lot about the Paul Bunyan mythos, and I knew a lot about the early American logging industry, but this book so clearly placed Chinese people in this history I was already interested in and made it feel like it was something I deserved to claim.

((Enjoying this WNDMG interview? Read this guest post from author Christina Li))

Today’s Bias

MUF: How do you feel that history connects to today’s awful bias against the Asian

community?

SYK: I don’t really feel like I have the ability to form complete thoughts about this yet. But it is clear to me that the only way we move forward is in solidarity with other marginalized peoples, especially Black and Indigenous people, and other people of color. Anti-Asian racism is not just a current issue, it is an ongoing pattern of institutional racism that this country has engaged in, rooted in white supremacy, that seeks to pit marginalized people against each other, which does not ever benefit any marginalized group, and only benefits white supremacy. A large part of my book is about Chinese people forced into navigating whiteness for their survival and comfort, and realizing the limits of what white-adjacency can bring them. Our histories are much more intertwined with other marginalized groups than the stereotypical Asian-American narratives suggest, and solidarity backed by solidarity action is our only way out of the model minority myth.

Personal Resonance

MUF: What is the most meaningful part of the book for you personally?

SYK: Mei’s relationship with her dad is really important to me, because it’s really similar to my relationship with my own dad. We immigrated to the United States when I was 16, and even though we are a much more privileged family than a logging camp cook, it is so clear to me the sacrifices he made to give me a life where I could make art for a living. He was the first person in his family to go to college, his brothers and sisters pooled their money so he could go, being an artist was never an option for him.

I also loved being able to write a queer character while not necessarily needing to make it a major part of the book! Mei is a queer character that exists in many intersections of experiences, just like many other queer people. Not every experience foregrounds queerness, it is just part of who she is as a person.

Publishing Team of Color

MUF: As a creator of color in the graphic novel space, what was your experience on your path to publication? In your Acknowledgements page, you note that this book was finished in collaboration with a team that was entirely made up of people of color. Can you talk a little bit about what that means to you?

SYK: I was already doing a lot of my own work, both self published and shorter works with online publishers, so the path to publication for this book was fairly straightforward. I had some early experiences in my early days as a writer, where I was often made to feel that the stories that were wanted from me in traditional publishing were about trauma, or confessional memoirs about even more trauma, and I was unenthusiastic about that. But because I was doing my own work, and had established enough of my own voice, my entire publication journey for The Legend of Auntie Po was with a team that was always on the same page about the sort of story that I was going to be telling. And of course, my book is coming out after so many other incredible marginalized authors and bloggers and editors have done the work of making publishing a more inclusive and welcoming space for a range of voices. I am extremely lucky, I am writing books about parts of the Asian American experience ten years after I first read MariNaomi Kiss and Tell, after Gene Luen Yang’s been making graphic novels for decades, after Kazu Kibushi’s Avatar series is wildly beloved.

Working with a team that is entirely composed of people of color(my agent, editor, art director – all of Kokila, my publisher), meant that while I had a lot of work to do on this book, the work that I did not have to do included things like “explaining racism” or “being nicer to the white characters.” Authors of color deserve to work with publishers and editors who understand their lived experiences. Working on this book has been a dream with them – the editorial team at Kokila is staffed with the most brilliant women of color, all of whom are thoughtful and incisive and philosophically devoted to centering stories like these in publishing.

MUF: What do you hope readers will take away from THE LEGEND OF AUNTIE PO?

I hope they will feel even more agency and urgency to tell their own stories.

Chickens and Cats

MUF: Is there anything I haven’t asked that you would like to share with our readers?

Every time I was stressed when drawing the book, I added a drawing of a cat or chicken to it. I think there are seven cats and four chickens, if you’d like to take a stab at finding them all.

MUF: I love that. Headed now to look for the cats and chickens. Thanks again, Shing, and congratulations!

Photo Credit: Shing Yin Khor

Shing Yin Khor is a cartoonist and installation artist exploring the Americana mythos and new human rituals. A Malaysian-Chinese immigrant, and an American citizen since 2011, they are also the author of The American Dream?, a graphic novel about travelling Route 66.

Connect with Shing:

Website

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WNDMG Wednesday – Author Shing Yin Khor