Posts Tagged New Releases

Author-Illustrator Spotlight: Jessixa Bagley

By Landra Jennings on July 14, 2025 / Author Interviews / 1 Comment

In today’s Author Spotlight, Landra Jennings chats with author-illustrator Jessixa Bagley about her new middle-grade graphic novel, Jazzy the Witch in Broom Doom (Simon & Schuster Books for Young Readers, July 15). She’ll share her inspiration behind writing it, her creative process and a few hints about the next Jazzy book!

Book Summary:

“Whimsy abounds in this playful” (Publishers Weekly, starred review) middle grade graphic novel about a young witch who struggles to fit in—perfect for fans of The Okay Witch and Hooky!

In her town full of witches, Jazzy’s always been a little bit different. She’s not excited about magic. She forgets the steps to spells. And even though her parents run the town’s broom shop, she doesn’t want to fly.

Then, one day, she discovers what she was born to do: cycling! Now she just has to find a way to get a bicycle…and learn how to ride it. But will her new passion come between her and her best friend—and possibly get her in big trouble?

Interview with Jessixa Bagley

LJ: Welcome to the Mixed-Up Files, Jessixa! Thanks for joining us today.

JB: Thank you so much for having me.

LJ: First off, I want to tell you how much I enjoyed this novel. Your characters’ expressions—those nuances—really take us into the heads of the characters and into the story. There are so many laughs and so much heart. Can you tell us about your inspiration for writing this book?

JB: It’s a funny thing how the idea came about. I had a dream, and when I woke up in the morning, I drew a picture of a little witch that looked kind-of like me as a kid. It made me think of a lemonade stand or Lucy’s advice booth in Peanuts, but the kid in my dream was selling bicycle seats for broomsticks to witches. I posted it on Instagram and the feedback was: This needs to be a book!

Around that time, my son was learning how to ride a bike and I was reflecting on how I had a really hard time learning how to ride a bike myself. As I began developing my little witch character, I found myself putting more of “me” into her. I also added some snark and sass because I love characters with some texture. So, my inspiration was a mix of the unconscious, my childhood, and some bits from real life.

Developing Ideas

LJ: I’m always curious about how author-illustrators work. How do you develop your ideas?

JB: My process has changed over the years. Before I was published, I was looking everywhere for a story, trying really hard. I didn’t feel the ideas were coming to me very easily; the stories didn’t feel interesting or personal and I didn’t have much of a connection.

These days, as I’ve tuned more into my own experiences and my childhood, I might be inspired by something in a dream, I might get ideas while I’m meditating, or something in the world might catch my eye. I try to capture these moments. During school visits, I show the students the place in my sketchbook where I do just that—I jot down words or phrases or an animal that I like, because there’s something inside of those that was inspiring.

Writing and Illustrating

LJ: What’s your creative process like? Does the writing come first, or the pictures?

JB: These things are usually happening simultaneously. I jot down some ideas and then I’ll sketch a little and go back and forth.

For illustrations for Jazzy, I had my stylistic approach from that initial sketch. I was also inspired by Adrienne Adams’ The Woggle of Witches, which has a beautiful and moody quality to the artwork, and Norman Bridwell’s The Witch Next Door series, with those minimal illustrations and simple colors. I wasn’t intentionally creating something retro or vintage, but I was picking up on the things that I liked.

As far as the writing, my process is that after I get the initial concept, I outline the novel, considering total word count and what I plan to happen. Then I’ll reverse-engineer, writing the whole manuscript before I start sketching. My years of creating picture books (those page-turn moments!) and making comics really informs my work. For this project, I was focused on dialogue, because graphic novels are all dialogue.

Overall, making graphic novels is fun because there’s that sense of the unexpected that comes through during the process. I just try to go with the flow and stay loose and let things happen.

Creative Tools

LJ: What’s your medium? Do illustrators still use pen and paper or is everything software-driven now?

JB: I used to be much more of a traditionalist. Thumbnail, then pencil, ink, color. That’s how I did my comics. For most of my picture books there was very minimal involvement of digital tools. I created everything by hand and with watercolor. I loved doing that.

But making picture books the traditional way creates so much pressure because if you don’t get it right, you’re starting over. And an entire graphic novel done in traditional fashion can also take a real physical toll.

The newer tools allow for moving things around, changing things. They make the process easier and more fun. I’m trying to be freer with how I make art. For me, that’s allowing for the opportunity to work smarter. I enjoyed using Photoshop for iPad for this project, my first attempt to do an entire book digitally.

Character Expressions

JB: You mentioned the facial expressions that you loved. I created this postcard, as part of my pre-order goodies, reflecting Jazzy’s different moods.

LJ: Thank you so much for sharing the postcard! It really nails Jazzy’s feelings. For those interested in obtaining a copy, Books of Wonder may still have some of the pre-order goodies available with purchase.

Deep relationships

LJ: I love how you handled relationships, with Jazzy and her family, with her best friend Aggie, with her mentor Madame Melcha (even the bickering familiars got a relationship arc!). How did you balance all those threads?

JB: Collaborating on graphic novels for upper elementary with my husband Aaron had me thinking on character arcs for that slightly older reader. So, I was used to keeping an eye on what was happening with the different characters, building that muscle memory, like, “When’s the last time we saw Aggie or Madame Melcha?” And making sure that the characters all evolved a little bit differently.

One of the relationships I loved the most was that minimal arc that Aggie’s familiar, Cassie has with Jazzy’s familiar, Fiona. Cassie hates Fiona. Fiona likes to needle her. I enjoyed having a moment where they come together. So even though this novel is for a middle grade audience that’s a bit younger than the books I did with Aaron and the relationship arcs are simpler and more straightforward, I still wanted to make sure that they were there.

Favorite Scene(s)

LJ: There were so many scenes that were hilarious with a lot of fun details. There were also others like the “I found it” scene (where Jazzy stares into the television) that were simpler, but impactful. What was your favorite scene to create?

JB: There’s three that come to mind. I really love the conversation that Granny Titch has with Jazzy where she’s telling the family history over the course of a few pages. It was an opportunity for me to go outside the panels and do more of a flowy composition. I also liked being able to tuck in bits about the history of witches.

A similar moment occurs with Madame Melcha where she’s telling Jazzy about her past. Witches have a complicated history and I really liked the opportunity to acknowledge some of the things we know about witches and witchcraft, like, for instance, that relationship to nature and to the harvest, while also keeping the story sweet and joyful and age-appropriate

My other favorite scene is when Jazzy and Aggie go to the junkyard and they make the bike. We see Aggie coming prepared. She has her spell and Spellopedia and she’s very confident. But Jazzy has to bring her own magic to it too. And she’s a little unsure, but she makes it work because she really wants this and she really loves this. I loved that element—that when we really want something, we can bring a lot more of ourselves to it and we can actually make it happen.

On Learning How to Ride a Bike

LJ: There are actually quite a few panels about riding a bike after that scene. What was your thinking there?

JB: I mentioned that I was a very late learner to riding a bike and I fell a lot. I was very much like: Why can’t I just do this thing? Well, it takes practice. You have to form this energy force effectively between yourself and this object. You have to find your balance.

So, after Jazzy created a bike for herself, I found a really fun opportunity to have all that in there. What are the things you need to think about when riding a bike? Because maybe some of the kids who are going to read this novel don’t know how to ride a bike yet. I wanted that little tutorial and also the message: You’re going to fall and that’s part of it. It’s okay.

To the heart of Jazzy

LJ: The theme of being your own person is meaningful for so many. Can you share with us what drew you to that theme?

JB: If I were to have had a theme in mind from the beginning, I don’t think the book would’ve worked. I didn’t want to make a self-help book for kids or beat anyone over the head with theme. I wanted to create this as much from a “kid feeling” as I possibly could. So, I really just set out to create this little book about this witch and her world.

It was only when it was done that I realized this book actually speaks to larger themes that could apply to kids in so many different ways: You don’t have to be what others expect you to be. Jazzy perceives that she’s supposed to be a certain kind of witch. And her family just assumes she’ll be into witchcraft because it’s their whole world. These sorts of expectations come in so many forms in real life for kids, be it academic, athletic, religious, cultural, or community. And that can be very hard when you don’t feel those things are your identity.

What I absolutely love about making books, about making art in general, is that people will look at it and reflect and bring their own feelings to it. I don’t get to decide what this book means to somebody, the same way I don’t get to decide what a painting means.

On Creating

LJ: Anything else you want to share?

JB: I hope I’ve set a tone for Jazzy’s world. That it can feel real in people’s minds and these characters feel big and rich. Making graphic novels is not for the faint of heart, for sure. But I have loved every second of this, even the hard parts, because it was just so much fun. I would encourage anybody that has an interest in it to give it a try. I know that it can be daunting. But kids love graphic novels so much. I feel like I’m trying to make up for all the books that I didn’t get to have when I was a kid.

More Jazzy

LJ: What will the next Jazzy book be like?

JB: I have so many more of those big, full-page moments that really add emotional heft to the book. This next book is even more expressive, even more yelling, more faces.

LJ: I already know we’ll love it!

Lightning Round

No MUF interview is complete without a lightning round, so. . . .

Coffee or tea?

I drink tea, but I like the idea of coffee way better. Like, I love the ritual and the idea. My body just doesn’t love coffee as much.

Sunrise or sunset?

Oh, that’s really hard. I’ll say sunsets. But what I have learned in living in a place where I get to see the sunrise, is that it does give you a sense of hope.

Favorite city besides the one you live in?

I have two. I’m a bit of a Francophile. I love Paris. And I do really love New York. My dad was from there.

Favorite childhood television show?

Pee Wee’s Playhouse. I’m staring at things from the show right now!

Favorite ice cream.

I like inclusions. So, I’ll say Mint chocolate chip.

If you could choose a superpower, what would it be?

Teleportation, hands down.

Favorite book from childhood?

Beatrix Potter books. I was really steeped in those when I was a kid. And that definitely led me as an adult to making books that featured animals. They were “delicate,” those books, with whimsy before I knew what whimsy was.

LJ: How can readers obtain a copy of the book?

JB: The book can be ordered at your local independent bookstores, Books of Wonder, Bookshop.org, Barnes and Noble, or Amazon, or any place books are sold.

About the Author

Jessixa Bagley is a children’s book author-illustrator with a background in fine art and comics. She has had work featured in publications such as New American Paintings, Highlights Magazine, The Stranger, and Illustoria Magazine. She’s also the author of the middle grade graphic novels Duel and Dear Jackie (illustrated by Aaron Bagley) and the author-illustrator of the middle grade graphic novel series Jazzy the Witch. Jessixa is a two-time Washington State Book Award recipient; first in 2016 for her debut picture book, Boats for Papa, and again in 2024 for her graphic novel, Duel. Jessixa also received a 2018 Ezra Jack Keats Honor Award for picture book Laundry Day. Many of her books are Junior Library Guild Selections. In her work, she’s drawn to animals and emotional themes often inspired by her own experiences. Jessixa also teaches and speaks about writing and illustration. She often illustrates for other writers and artistically collaborates with her husband, Aaron Bagley. Jessixa lives in Seattle with her husband and son.

When You Reach Me Turns Sweet 16! An Interview with Rebecca Stead

By Melissa Roske on July 10, 2025 / Author Interviews / Leave a comment

MG author Rebecca Stead needs no introduction.

We’ve all read, and reread, and re-reread her Newbery-winning classic When You Reach Me—which was published in 2009 and has sold 1.5 million copies—as well as her bestselling booksLiar & Spy, First Light, Goodbye Stranger, and The List of Things That Will Not Change. The two novels she co-authored with Wendy Maas, Bob, and The Lost Library, are familiar favorites as well.

Rebecca’s books—which have been lauded as “mesmerizing” (The New York Times), “incandescent” (The Washington Post), and “superb” (The Wall Street Journal)—have been awarded the Newbery Medal, the Boston Globe–Horn Book Fiction Award and Fiction Honor, and the Guardian Children’s Fiction Prize; shortlisted for the Carnegie Medal, Waterstones Book Prize, Barnes & Noble Children’s Book Award; and named New York Times Notable Books for Children, NPR’s Books We Love, and a Time Top Ten of the Year.

Today, Rebecca stops by to chat about her long and storied career, her writing life, and When You Reach Me’s sparkly new cover (below), which was released on July 1 by Random House Children’s Books to commemorate the novel’s 16th year in print.

And now, without further ado…

Rebecca Stead!

MR: Welcome to the Mixed-Up Files, Rebecca! I am beyond excited to have you here today and I know our readers are, too. Now, before we dive in, I want to congratulate you on When You Reach Me’s gorgeous new cover. Can you believe it’s been sixteen years since the book came out? (Rhetorical question, I know.) What prompted your publisher’s decision to update the cover?

RS: It’s wonderful to be here – thanks for the invitation. Ah, this new cover from R. Kikuo Johnson is such a delight. Covers are a real puzzle. I’m still in love with the original (by Sophie Blackall), but I think the blue and yellow font-driven paperback was a dish with too many cooks (I was one of them, and definitely throwing elbows.) One day, Barbara Marcus (formerly head of Random House Children’s Books) said she’d been thinking for a while about something different, and this time the process was magically easy. Everything felt right. The new cover has “story energy” and it’s so appealing. I love covers that yield more as you read the story. This one does that, too.

MR: Since time travel plays an essential role in When You Reach Me, I thought we could do some time travel of our own; specifically, looking back on your impressive career, starting with the publication of your first novel, First Light (2008). How has your writing—and your life as a writer—changed since then? What’s stayed the same?

RS: What’s different: I have more writing friends and publishing-world knowledge. Writing a first book without book community can be a good thing – I was alone with my story for a long time, and oblivious to the publishing world in helpful ways. I didn’t know about “buzz” or starred reviews. I told my editor, Wendy Lamb, that I’d be coming to ALA in DC without realizing that I was supposed to be invited! (She was gracious, met me for coffee, and let me come to a party I wasn’t supposed to be at.)

What’s not different: Writing. It’s not easier, and I expected it to be. I have absolutely learned things, and those things help in small ways: I no longer feel compelled to explain that my characters grab doorknobs before they leave rooms. But the big picture is the same – gathering material, shaping it over time and hoping it amounts to something.

When You Reach Me: A Modern Classic

MR: As stated in the intro, When You Reach Me has received countless accolades and is considered a modern classic. Without making you blush or think I’m fawning (which I probably am), how does it feel to have written a book that’s so beloved by middle-grade readers? It must be pretty mind-blowing.

RS: It still feels surreal that a lot of people have read the book. Despite the time travel, When You Reach Me is a personal story, and so when someone tells me they connected with the book it feels like acceptance. I’ll never stop feeling grateful that it came together the way it did. I could easily have swerved or doubted, but I had genuine support from my agent, Faye Bender, from my editors, and from my other readers, my family and friends. So much support.

MR: Along these lines, I’m sure your fans have been begging for a sequel since the book was released. You must have considered it, right?

RS: I actually haven’t considered. I know when to leave something alone. (In fact, I have never written a sequel. And I did try, once, for another book.) The most common thing I hear is that I should re-tell the story from Marcus’s point of view, which is fun to think about, but the truth is that I’m not as smart as Marcus is.

Readers of the World: Unite!

MR: Like you, I grew up in New York and attended an elementary school where I was lucky enough to sit on the windowsill, or under a table, with good book. What were your favorites in addition to A Wrinkle in Time? Also, how did your experience as a book-loving child impact your decision to become a writer?

RS: For me, there is no writing without reading. If I’m not reading, the desire to write abandons me within about eight hours. As a kid, I loved science fiction (Robert Heinlein’s Red Planet and Stranger in a Strange Land, Ursula LeGuin’s A Wizard of Earthsea, Ray Bradbury’s stories, Anne McCaffrey’s Pern books, and all the L’Engle, of course.) I loved contemporary stories that felt emotionally honest (too many to list! Judy Blume, Norma Klein, Louise Fitzhugh, Paula Danziger, Louise Meriwether); I loved stories about siblings (Half Magic, The Bobbsey Twins); I liked biographies (Maya Angelou’s I Know Why the Caged Bird Sings) but often lost interest after the “childhood” part. All of this reading kindled a secret longing to write, but a writer wasn’t what I “wanted to be” until I was in my thirties.

Story of Her Life

MR: As a follow-up, your first published story appeared in the P.S. 75 magazine, The Spicy Meatball. Do you remember what it was about? (As a frame of reference, my first story, “Behind the Lily Pond,” appeared in the City & Country School magazine and started: “Anna didn’t have a mother. Well, she did… before she died.”)

RS: That’s a great start! I do remember my story (title: “The Story”), which was about a girl who finds candy in the woods that allows her to understand what animals are saying. Coincidentally, my first book was about a girl who can understand what dogs are saying. The Spicy Meatball felt very special, thanks to our teachers at P.S. 75 and Teachers & Writers Collaborative, a group that really transformed my elementary school experience, along with a lot of other peoples’.

Easy Writer

MR: In one of your many (many!) glowing book reviews—this one in the Guardian, for Liar & Spy—you are praised for making writing look “easy.” What’s the secret to making writing seem effortless when in reality it’s hard, painstaking work?

RS: I don’t know why people say that about my writing – maybe it’s because I write short books? I do try to eliminate a lot of words while I revise. I’ll have my list of things to fix and also try to cut maybe 500 words a day. You can get a lot done with nothing but the delete key. I’m not a big “word count” person, but counting down is somehow satisfying.

Rebecca’s Writing Routine

MR: While we’re on the subject of writing, what does your writing routine look like? Do have a specific time of day set aside for writing? Also, are you a plotter or a pantser?

RS: Ahem. I prefer “plunger” to pantser, it sounds more dignified. What I am not is a plotter.

I have a process but I wouldn’t call it a routine because my days vary and I (very) often don’t write at all. Mornings are definitely better. My first draft is pencil and paper, and it’s really more of an exploration of territory than a story. It’s a collection of scenes that are often repetitive. When I feel TOO repetitive and there’s no forward motion whatsoever, I type up what I have. Then I draw a map of whatever is in there, just notes in little squares that summarize each scene. While I’m doing that I take notes and make little to-do lists, nothing too intimidating. I make those changes, moving things and doing bits of writing here and there. Then I made a new map. This goes on for a long time.

Advice, Please

MR: One more writing question: what’s the best piece of advice you’d give to writers—aspiring and well-seasoned alike? Also, do you remember any of the writing advice you received from Frank McCourt when he was your creative writing teacher at Stuyvesant High School?

RS: I hope someone corrects me, but I don’t remember Frank McCourt teaching us anything about writing. What I remember is that he read to us, and what he read was very, very good. It was teaching by example, maybe. He wanted us to read our work aloud, but I couldn’t bear to do it and I wildly admired everyone who could. If no one wanted to read, he would quietly chant the word “Warriner’s” in a sing-song way (“Warriner’s Warriner’s, Warriner’s Warriner’s . . .”) which was a threat. If no one stood up, he would have to teach us grammar. Warriner’s was the name of our textbook. He once wrote at the end of a story I wrote that I had talent, and I definitely never forgot that. Ever. That’s mostly what you need to become a writer – a word of encouragement.

My best advice is to treat writing as a discovery of your own process. Try different things and figure out what works for you. Always write toward yourself – what you know, or what you love, what makes you curious. Don’t reach for some idea that you hope others will approve of. Every one of us has memories, fantasies, and questions. Use those.

Anything Is Possible

MR: Changing gears, you’ve recently released your first picture book—Anything, illustrated by Gracey Zhang, about a father and daughter who move into a new home. What was it like for you to explore a new genre?

RS: It was great. I love new experiences. Picture books are different – there’s nowhere to hide. The editorial relationship is key here (and I had two wonderful editors, Melissa Manlove and Ariel Richardson), and revision was satisfying in a brand new way. The art (by Gracey Zhang) felt like a giant gift. I’d like to write more picture books, but it’s not something I can force. I have to start with a whole idea, rather than just a beginning.

The Experiment: A Sneak Peak

MR: Your latest novel, The Experiment, which releases on September 16^th, is about a sixth grader whose family is from another planet. Can you give Mixed-Up Files readers a sneak peek?

RS: It’s about a kid who grows a tail, which is terrifying because he can no longer pass for human. His family gets called back to the mothership, where he discovers that his family’s “noble explorer” story might be a lie and that his crush likes someone else now. Meanwhile, his tail is growing a personality. I just said yes to plot for this one. And it’s also about a kid who lets go of the story that keeps his parents afloat. Which is hard because they’re good folks and he never stops loving them.

MR: What are you working on now, Rebecca? Enquiring minds want to know…

RS: I’m doing a picture book workshop next month at Milkwood, Sophie Blackall’s retreat for people devoted to books for young people. High hopes!

Lightning Round!

MR: And finally, no MUF interview is complete without a lightning round, so…

Preferred writing snack? Hmm. Last time I was asked this I said pretzels and tzatziki, so this time I’ll say dried apricots (or dried mango, new fave).

Coffee or tea? Coffee.

Superpower? Expert healer.

Time travel: fact or fiction? Fiction, and more please.

Favorite place on earth? New York City.

If you were stranded on a desert island with only three things, what would they be? Can I pick people? If not, I’ll take a powerful motorboat, sunscreen and a nav system. I don’t love being alone.

MR: Thank you for chatting with me, Rebecca—and happy 16th birthday to When You Reach Me!

RS: Thank you!!!! This was so great.

Interview with Cassidy Wasserman about Graphic Novel ON GUARD!

By Jackie Peveto on June 9, 2025 / Author Interviews

Today, we’re excited to have Cassidy Wasserman with us on the Mixed-Up Files. I had the pleasure of reading her graphic novel On Guard!, which is releasing tomorrow, June 10! I also got to interview her about the book, her inspiration and process, and more. Thanks so much for taking the time to chat with us, Cassidy! Cover of On Guard by Cassidy Wasserman

The author’s note in the book shares that the original seed for this story was about a friend breakup but slowly became about the relationship between mothers and daughters. The line you shared about the real story finding you along the way was lovely, and I wondered if you could talk more about how the story on the page came to be. How did you know when that shift needed to happen?

When I started writing On Guard!, I was focused on Grace and Ava, and how they grew apart. As I wrote, I dug deep into the feelings I experienced in middle school that were likely to be a more universal experience for readers. The story of my parents’ divorce was prevalent in my mind, and I realized that there was a natural through line between Grace, Ava, and Grace’s mom. I decided the shift in focus had to come from Grace starting that school year all on her own, where her struggles at home and school are now completely intertwined. Not only do we see her struggling at home while butting heads with her mother’s personality, but even at school she’s faced with how much she believes her mother liked Ava more than her.

There is a lot of your own story inside of Grace’s (and it’s awesome that you’re both artists!). How did you approach weaving parts of your own life into the narrative?

I feel the best stories come from personal experiences. I approached adding these parts of my life to Grace’s story by picking the ones that felt the most relatable, and the ones that I hadn’t yet seen told. I mention in my author’s note that I didn’t get to see relatable stories of mothers and daughters growing up, and it was important for me that this feeling of alienation from your maternal figure would come through. I wanted to ensure the story was true to my lived experience.

Relationships are handled deftly in your work, whether it’s Grace with her mom, Grace with her dad, or Grace with her friends, old and new. It was fascinating to see how you gave all of these relationships space in the book—both in the text and in the art itself. Could you tell us how you balanced these threads?

It all comes down to pacing, and making sure every story is intertwined with another. Grace is going through quite a lot, and all of those relationships need their time on the page. I like to let the art tell the story where I can. When you can let a reader sit with a silent panel or two, it can have a big impact. I found that when the plotlines organically developed to suit the needs of Grace and the story, they all started to naturally click into place.

One of my favorite lines was when Grace admitted she mostly just wants to hold a sword—who doesn’t? There were many other powerful moments that came through analogies to fencing, like when Grace realizes she can only control her own moves, not her opponent’s. Could you tell us about how you got into fencing? Did that experience give you the idea for this book?

I could talk about fencing all day! When I was a kid, I read The Spiderwick Chronicles, and the sister in that book fences. Ever since then, I’d hoped to be able to do it myself someday. I didn’t get to fence in school, but after college I joined a local club. Epee just happened to be the only weapon they taught, as my coach was a collegiate women’s epee coach. (Go, Wellesley!) It worked out nicely, because epee is the simplest weapon to explain. Foil and saber have a few more rules. I was in love with the sport from the moment I walked into the club and heard the bell guards ringing. I had been mulling over a story about my “Ava” for a while, and after I starting fencing, it became clear.

You mentioned you’ve always loved to draw and read. Are there any favorite books or artists that have profoundly shaped you as an author-illustrator?

Lucy Knisley is a big influence on me when it comes to graphic novels. Her travelogues were my favorite thing to bring around in art school. I’ve also pored over Jen Wang’s artwork in The Prince and the Dressmaker a million times, and anything from Tony DiTerlizzi. Be Prepared by Vera Brosgol is also one of my favorites. The biggest influence on me as a writer, though, has to be Rick Riordan. I am a Percy Jackson kid through and through—it holds such a special place in my heart.

You’re also passionate about video games and work as a UX/UI artist. Do video games influence your creative process or storytelling?

Yes! Some of my favorite plots and stories to study are video games. The Last of Us in particular is incredible—I love how it deals with difficult topics and gray areas. My coworkers teach me to be a better artist and listener every day. As a UX/UI artist, I care deeply about accessibility and inclusion, and that naturally follows me to creating comics. Things like: Are the colors on the page workable for someone who is color blind? What about the font—is it easy to read for those with dyslexia? These are important questions when it comes to both comics and video games!

It sounds like book two for Grace is already underway! Will we get to see more fencing as well as more of Asher and Nia?

Yes! I cannot wait to dive deeper into their stories.

Do you have any other projects in the works we can get excited for?

I can’t say just yet, but stay tuned—I’m excited to show the world what’s next.

Cassidy Wasserman

If you could give writers any advice on how to keep writing even in the face of rejection or overwhelming odds, what would it be?

Keep going! Your story is worth telling—we need new perspectives on life. Take breaks when you need to and be kind to yourself, but don’t give up. Getting your story out there is sometimes about having it resonate with the right person, so writing something that is meaningful to you will always be worth that initial rejection.

No MUF interview is complete without a lightning round, so here it is!

Favorite place to write? My office!

Coffee or tea? Coffee, coffee, coffee!

Superpower? I want the chalk zone powers, where whatever you draw becomes real. I would draw myself so many ice cream sundaes.

Dream vacation? The Australia Zoo!

Dream job when you were a kid? I specifically wanted to be a “veterinarian, and an artist on my lunch breaks.”

House pet? Dogs and cats

Learn more about Cassidy and her projects at her website: https://www.cassidywasserman.com/