Category: Blog

Posted on

Interview with Rose Sutherland, Author of A Sweet Sting of Salt

Born and raised a voracious reader of anything she could get her hands on in rural Nova Scotia, Rose Sutherland has an overactive imagination and once fell off the roof of her house trying to re-enact Anne of Green Gables. She’s continued to be entertainingly foolhardy since, graduating theatre school in NYC, apprenticing at a pâtisserie in rural France, and moonlighting as an usher and bartender in Toronto. Her hobbies include yoga, dance, singing, searching out amazing coffee and croissants, and making niche jokes about Victor Hugo on the internet. She’s mildly obsessed with the idea of one day owning a large dog, several chickens, and maybe a goat. 

I had the opportunity to interview Rose, which you can read below.

First of all, welcome to Geeks OUT! Could you tell us a little about yourself?

Oh gosh. I grew up in rural Nova Scotia, reading everything I could get my hands on, drawing, writing weird little stories, and being deeply uncool. The second I was finished high school, I left home to pursue a career in theatre —which I loved, but was ultimately frustrated by, so I went back to school in my 30’s to train as a pastry chef. At the same time, I started writing again, with no expectation of making a career of it—it was just for fun, to reconnect to something I used to love. Somehow, five years and a lot of hard work later, my first novel is being published.

What can you tell us about your debut book, A Sweet Sting of Salt? What drew you to write this project?

A Sweet Sting of Salt is a reimagining of the folktale of the Selkie Wife, as a queer historical fantasy set in early 19th century Nova Scotia. It’s told from the point of view of Jean, a young midwife who finds a mysterious woman in labour outside her home in the middle of the night. The stranger turns out to be the wife of Jean’s neighbour, but the entire situation raises instant red flags for the midwife, who sets out to discover what’s going on with the couple next door.

I’d been wanting to write a love story between two women for a while, but what really set the wheels in motion for Salty was a Tumblr post, of all things, about modern iterations of fairytale creatures. It mentioned selkies testifying before the UN about human trafficking, and boom! I had this galaxy brain moment, making utterly unhinged connections: Fifteen minutes later I was like: Oh, I found my story!

Since your debut is said to be inspired by the classic folktale “The Selkie Wife,” I’m curious what draws you in the selkie myth?

I have an interesting relationship with this myth. I’ve always connected with the setting, and the aching, capital-R Romantic sense of loneliness and longing baked into it. But it also left a bad taste in my mouth, because I couldn’t sympathize with the man whose wife disappears into the sea at the end. Even as a child, I was too keenly aware of how he’d forced her into a marriage through magical means, and the implications of that situation are even more disturbing to me now, as an adult. It’s the messy contrast between those different ways of viewing the story—as romance, or horror— that really drew me to it.

As a writer, what drew you to the art of storytelling, specifically speculative fiction?

Storytelling feels like it’s always been part of me. There’s a scene in this book that features a family repeating stories around the dinner table, and that’s very much how I grew up—some of those tales are cribbed directly from my parents, in fact. I love to entertain people, to open windows into other worlds, and to live in them myself as I work—my writing grew out of the same impulses as my love of theatre. I’ve always adored myth and folklore and history, and throughout my teens and early twenties I got very into fantasy and the gothic end of horror, gravitating toward books with a strong romantic subplot and focus on character. Even though I tend more toward historical than fantasy these days, the fingerprints of everything I loved reading in the past turn up all over the things I write now.

How would you describe your writing process?

Messy? But seriously, I’m very much a discovery writer. I come up with a situation, and some characters to throw into it, and spend my entire first draft figuring out what happens right along with them, and letting them lead the way forward as I discover more about who they are. I’ve tried planning and outlining but they don’t work for me—it just turns my brain in knots! Besides, it’s the wild surprises that the characters throw at me, the happy accidents and discoveries I make along the way that are the most fun and exciting for me, and where I often find the real heart of the story.

Growing up, were there any stories in which you felt touched by/ or reflected in? Are there any like that now?

There were so many that it’s hard to point at any single one, but an older book I feel particular affection for is Mercedes Lackey’s Arrows Of The Queen. A friend handed me a copy of it when I was thirteen years old and going through a really hard time. It was the first book I ever read that included queer characters, and I connected deeply with its young protagonist, Talia. No lie, I’m not sure I would have survived seventh grade without that book. The first time I read Sarah Waters’ Tipping The Velvet was a real Ah ha! moment for me.

I’ve also felt a particular affinity for Jo March since I was a child.

As a writer, who or what would you say are some of your greatest creative influences and/or sources of inspiration in general? 

I find inspiration in such random places sometimes that it’s hard to pinpoint, but I get a lot from just walking around and looking at the world, at old buildings and natural locations: I’ll see a place and know it’s going to turn up later, somehow. If I had an unlimited travel budget, I would never stop exploring. I also get a lot of ideas from historical and informational plaques. I spend a non-zero amount of time mucking around in weird corners of the internet, too— I’m fascinated by people’s niche interests and hyperfixations, and some of the deep dives I stumble across on unexpected topics send my imagination in unexpected directions. Conversations with my friends are good for that too—we’re like a flock of magpies, attracted to shiny and unusual tidbits; you never know what’s going to come up over coffee.

What are some of your favorite elements of writing? What do you consider some of the most frustrating and/or difficult? 

I adore settings! To me, finding the words to evoke not only how a place looks, but the entire feel of it—in all five senses— is its own kind of alchemy. Location is key for me in storytelling, the specifics of where and when impact everything.

Writing conversations makes me a bit nuts sometimes—not because I’m bad at it, but because it can get frustrating. It would probably be easier if my characters weren’t always trying to hide things from each other, saying things that aren’t exactly lies, but aren’t the whole truth, either…but where would the fun be without it? With Muirin, I added a language barrier on top of that, which made things even more complicated—clearly, I’m a glutton for punishment.

Many authors would say one of the most challenging parts of writing a book is finishing one. What strategies would you say helped you accomplish this?

Writing what I found exciting and wanted to read myself was a big part of it, but I have to give most of the credit to my trusted beta readers for giving me a sense of accountability. I send rough chapters to them as I draft, to read like a serial—I find it so much easier to push through the sticky bits when I know there’s someone else waiting to see what happens next, and if I really start to go off the rails, it’s nice to have someone to call me on it before things get too out of hand!

Aside from your work, what are some things you would want readers to know about you?

That I’m gobsmacked every day when I think how something I loved doing but dismissed as a viable career option more than twenty years ago and picked back up for fun ended up being the thing that finally stuck, after years of spinning my wheels and failing to find success with anything else in spite of all my best efforts. And maybe that I don’t have my sh*t particularly together, no matter how good a job I do seeming like it: I’m an ADHD hot mess who struggles with executive function, and it’s been a real battle finding the habits and routines that work for me, and I want other folks who are in the same boat to know that they’re not alone.

More than anything, I’d like folks to know how grateful beyond belief I am to have them as readers, to know that a book I wrote is finding its way into their hands, and hearts.  Thank you, thank you, thank you: I would bake you all a cake if I could!

What’s a question you haven’t been asked yet but that you wish you were asked (as well as the answer to that question)?

I wish folks would ask if there have been any life-imitates-art coincidences involved in the writing of this book, if only so I could tell them about the day I ended up with a man named Tobias working on the roof of my house following a chimney fire… at the exact same time that I was doing revisions on a scene that features A MAN NAMED TOBIAS WORKING ON THE ROOF OF HIS HOUSE. Utterly surreal.

What advice might you have to give for aspiring writers?

Write what you love, because you’re going to end up spending a lot of time with it. Make friends with other writers, and support each other. I’ll also paraphrase this particular gem from Neil Gaiman: If people tell you that there’s something wrong with your work, they’re probably right—but they’re almost always wrong about how you should fix it. I like this a lot; it always leads me to creative problem solving.

Are there any other projects you are working on and at liberty to speak about?

I have a couple of things on the go, but the one on the front burner right now is another historical, set in 18th century provincial France. It’s loosely based on a true story, and although I wouldn’t consider it a direct retelling, it is a riff on a popular fairytale. I’m having a lot of fun researching a very specific branch of French folklore as I work on the first draft!

Finally, what LGBTQ+ books/authors would you recommend to the readers of Geeks OUT? 

I always find it difficult to make blanket recommendations, as people have such varied tastes, but that said, my friend Isa Arsen’s debut Shoot The Moon came out earlier this year, and it’s spectacular: The main character is working with NASA in the lead up to the moon launch, and it’s speculative in a way that plays fast and loose with time.


For something completely different, if you’re into pirates, indie author Katie Crabb‘s epic Constellation trilogy is concluding this spring, with the third book, Sailing By Gemini’s Star, coming out on May 28.

Header Photo Credit Dahlia Katz

Posted on

Queer Creator Spotlight: Graphic Novelist, Jonah Newman

Greetings All, Chris Allo here with another queer creator spotlight this time with Graphic novelist-Jonah Newman 

Jonah is a cartoonist and editor. As an editor at Graphix, Scholastic’s graphic novel imprint, he has worked with Dav Pilkey, Jamar Nicholas, Angeli Rafer, and many others. When he’s not creating, editing, or reading comics, you might find Jonah binge-listening to history podcasts, playing in an LGBTQ+ softball league, or getting way too invested in his fantasy baseball team. He lives in Brooklyn with his husband (who’s a human) and two kids (who are cats). 

Art by Newman/Publisher Andrews McMeel

Jonah’s autobio-graphic novel, “Out of Left Field is his debut graphic novel. We get a look into the trial and tribulations of navigating high school, relationships, grappling with sexuality and learning to live our truth. through Jonah’s lived experience. With a signature and fantastic style of art, Jonah tells a tale that we all can connect to on some level.

Chris Allo: Tell us when you discovered comics/graphic novels.

Jonah Newman: I first encountered comics as a child in the form of the strips in the Sunday paper. In fact, the first comics I ever made were short “gag” strips like these. When I was a teenager, I discovered graphic novels and immediately fell in love with the format. Alison Bechdel’s Fun Home blew my mind — not just because of the queer representation, which was so meaningful to me as a closeted gay kid, but because of the rich storytelling. The way Alison’s words and illustrations work together to create a whole that’s greater than the sum of their parts opened my mind to the magic and power of the comics medium.

CA: How old were you when you started drawing?

JN: I’ve been drawing for as long as I can remember — since early childhood. Other than a couple of continuing ed classes as an adult (more on those later!), I didn’t go to art school, so my drawing skills are borne of decades of practice.

Art by Newman/Publisher Andrews McMeel

CA: When did your love of baseball manifest?

JN: I wasn’t interested in baseball at all until I was about 13, when my younger brother started to play. At the same time, all the “cool kids” at my middle school — some of whom I may or may not have had crushes on…! — were preparing for Little League. I decided to jump in despite having zero experience and less than zero athletic talent, and soon developed a genuine love for the game. I simplified and fictionalized my path into baseball in my book.

CA: When did you decide to write “Out of Left Field” and why a graphic novel as opposed to prose?

JN: I’ve wanted to tell this story ever since the events that inspired it ended. As early as freshman year of college, I wrote a short story based on my experiences in baseball. I remember the story pouring out of me; I was “in the zone” and tapping easily into those emotions and experiences. But I set the idea aside for several years while I worked on a historical fiction comic. By the time I came back to the baseball idea, comics, not prose, had become my medium of choice. Not only did I enjoy making comics more, but I had spent almost six years getting better at it while letting my prose skills stagnate. By now, my storytelling skills are so honed to comics in particular that it’s hard for me to imagine working in any other medium.

CA: The story is so relatable on so many different levels.  Not only growing up gay/queer but getting through high school. Growing up geeky. Discovering you have a passion for something that no one else at your age does, in your case history. As someone who went through all these experiences, what words of advice do you have for kids today, who are most likely going through some very similar experiences?

JN: It’s pretty simple: Be yourself, no matter what other people might think. I spent so much of high school worrying about how I was perceived by others — how cool I was, how popular, how athletic, how respected by my baseball teammates, etc. — that I often pretended to be someone I was not: a straight jock. Once I abandoned that act, I immediately became much happier. Now, I go through life openly and unabashedly loving (among other things) history, baseball, Star Wars, Lord of the Rings, and — yes — men! I’m really lucky to have friends and family who accept me for who I am, which has definitely made things easier. But I think that, regardless of one’s circumstances, authenticity is almost always the best policy. Living dishonestly is incredibly draining. I’d urge today’s kids to be genuine at all costs, because in the long run, and despite the challenges, doing so will make them happier.

Art by Newman/Publisher Andrews McMeel

CA: I love your art style in the book, it has a hint of the old Archie and Jughead comics. I love that it is not the Disneyfied version of art that seems to be many publishers’ preference these days. Who/what are some of your artistic inspirations?

JN: My art style developed organically, just by practicing, so I’m not intentionally trying to draw like anyone or follow any style in particular. However, some of my favorite cartoonists — people who I think are masters of the comics medium and from whose work I’ve learned a lot and drawn inspiration — are Alison Bechdel, Thi Bui, Gale Galligan, Jason Lutes, Dav Pilkey, Marjane Satrapi, Art Spiegelman, Raina Telgemeier, Ngozi Ukazu, Tillie Walden, and Gene Luen Yang.

CA: Aside from creating a wonderful story about growing up gay, you’re an editor at Scholastic. Can you tell us how you landed that job, and what do you like about it?

JN: I worked at a couple of indie publishers, So What? Press and Street Noise Books, before being hired as an editorial assistant at Scholastic in 2018. I find that my work as a kids’ graphic novel editor and my work as a cartoonist inform each other constantly and in extremely valuable ways. As an editor, I have a lot of empathy for the creators I work with because I know firsthand how much of a grind it is to write and draw a 200+ page graphic novel. And a lot of what I’ve learned as an editor — how to position a book to give it the best chance of selling, how to set up digital art files for print, how to make a publisher’s life easier as an author, and more — has made me a smarter and more professional creator.

Art by Newman/Publisher Andrews McMeel

CA: When did you discover your love for history/historical figures?  Which I think is a great aspect of the book and you/.your character.

JN: I’ve been a history buff for as long as I can remember! When I was five, I developed a strange obsession with George Washington. You might have spotted young Jonah wearing a powdered wig and a Continental Army jacket even when it wasn’t Halloween. My childhood thereafter was defined by phases of interest in lots of different historical eras and people: ancient Rome, medieval Europe, the Civil War, Native Americans, feudal Japan, and more. Then, when I was eleven, I developed a passion for Napoleonic history that has persisted to this day. (It’s one of the truest parts of my book!) I majored in history in college, and although my career path isn’t directly connected to my major, I still love learning about history through books and podcasts and have relished doing historical research for several comics projects over the years.

CA: Any projects you want to boost that you’ve worked on for Scholastic?

JN: Yes! First, I’ll plug the Leon series by Jamar Nicholas. The first book, LEON THE EXTRAORDINARY, published in 2022, and the second book, LEON: WORST FRIENDS FOREVER, will publish in October 2024. They are funny, heartfelt, and action-packed books about an ordinary kid who wants to be a superhero, and Jamar is one of the loveliest people in comics. Second, I’ll plug the Adventures of the Bailey School Kids graphic novels by Pearl Low and Angeli Rafer. I edited all four books in this wonderful series, which is based on Scholastic’s classic chapter books written by Debbie Dadey and Marcia Thornton Jones. They’re perfect for beginning readers and/or fans of monsters and light horror.

Scholastic

CA: What words of advice do you have for others who are trying to get their graphic novel published? Things you wished you knew when you started this journey?\

JN: I hope readers find my book entertaining, feel encouraged to be themselves, and realize that it’s OK to make mistakes — like Jonah does in the book — as long as you own up to them and use the experiences to improve as a person. Today’s cruel and divided world needs more forgiveness and grace. I hope that my book makes LGBTQ+ teens in particular feel comforted and seen, but because it depicts a lot of common teenage experiences — like feeling uncool, developing friendships, and exploring romance and sex — I also hope it’s relatable to a broad range of readers, whether or not they play sports or identify as LGBTQ+.

CA: Thanks, Jonah. Looking forward to reading your graphic novel and much success to you!

You can check out upcoming and past projects from Jonah as well as upcoming appearances on Jonah’s website just click the link: https://www.jonahnewmancomics.com

See you in the next installment!

-Chris Allo

Posted on

Rebelle Re-views: Darkwing Duck

Our current cultural landscape loves a reboot. One 90’s nostalgia fan favorite that’s been in and out of the headlines for the past few years is Darkwing Duck. The “terror that flaps in the night” has been perpetually making a comeback, whether it’s been talks since 2020 about a new series on Disney+ or the revival comics that began coming out last year, there seem to be plenty of folx out there ready and waiting to get dangerous. Earlier this year, when I was looking for a comfort show to nap to, my go-to policy for escaping the horrors, I remembered the bumbling resident hero of St. Canard and thought, perfect. Having not watched it since I was a literal child refusing to nap (foolish), I was delighted by the fact that I somehow remembered most of the lyrics to the theme song and intrigued to find that The Masked Mallard was not the typical hero of the super or anti variety. He’s just a guy constantly at odds with trying to find that thing we all strive for: work/life balance. 

Drake Mallard and his partner Launchpad McQuack are often caught in the endless cycle of how to stay on top of your work, navigate relational dynamics, while also raising their gosling Gosalyn. In fact, writer of the revival Dynamite series Amanda Deibert mentions parenthood as a major focus of the comic, telling Brandon Schreur at CBR in 2022, “I grew up with Darkwing in the 1990s and now, like Drake Mallard, I’m a parent myself and have to grapple (pun intended) with my superhero life and my life as a mom.” The fun and challenges are seemingly endless especially with a kid like Gosalyn who, “… is as brilliant and feisty as they come, a combo that is every parent’s simultaneous dream and nightmare,” and her polar opposite BFF and partner in cute crime, Honker. It’s enjoyable viewing watching a generally more relatable dimension of a caped crusader character. 

For those unfamiliar with the show, it’s a tale as old as time. A dramatic and egomaniacal duck with a savior complex and a propensity to dress like a villain, meet-cutes with a tall, sweet, and handy enabler quickly U-hauling it and adopting a spunky orphan all in the same episode. Though the relationship between Mallard and McQuack isn’t explicitly romantic, it was the 90s after all, the relationship does feel less like a superhero and his sidekick trope and more like a sitcom marriage where kids and shenanigans are the name of the game. According to the show’s creator, Tad Stones, this heart-centered family dynamic setup was what got the show picked up by Disney in the first place. “I wanted it to be as wild as a Warner Bros short but it had to have Disney heart, and that’s where Gosalyn came in… as far as Disney heart it was very important to me that Gosalyn is going to be a wild character too. She’s not going to be the old fashioned Webby, she is closer to Calvin of Calvin and Hobbes. She should be fun. They are going to get on each others nerves, but it is very important that they will say they love each other. They will hug, they will make contact, which was very rare in cartoons.” That rare quality also adds a certain depth to the episodes and a connection to the characters that can often go missing from other superhero or spy-driven stories. Where the stakes are a little bit higher because the care the characters have for each other influence the audience’s care for their safety and ability to stay together.

Darkwing Duck, 1991

Upon rewatch of the series, the stakes rarely feel too high, though as the laws of Loony Toons assure every exploding stick of dynamite and strike by falling anvil is survivable conjunct the silliness of the villainry adding a lightness to even some of the heavier plots. (At least for the ~40+ episodes I rewatched). The episode “Dead Duck” for instance, grapples with consequences, mortality, and navigating grief where the harder emotions and declarations of love are not shied away from and ultimately buoyed by a second chance at life. The show is also brim-filled with puns, a majority of which point to a love of pop culture and storytelling of all varieties. The episode titles are entertaining in and of themselves: “All’s Fahrenheit in Love and War” (S1 E26), “Toys Czar Us” (S1 E32), “Dry Hard” (S1 E36), and “Twin Beaks” (S1 E44) to name a few. Like with many animated series, there is a lot there for kids and adults alike. Goofy hijinks for the young ones, jokes that go over the heads of the former for the adults, and characters that both demos may relate to and identify with. 

As I keep rewatching the series, I am continually astonished by the quality and creativity of the content of the this program and many others that were just in the ether at the time I was growing up. There will rarely be any project that doesn’t have issues upon reflection, and Darkwing Duck certainly has a few, but it’s the spirit of whimsy, mischief, and fun from the entertainment we consume that was so present then and I’ve been missing for a long time now. I’ll be curious to see how a new Disney+ series, should it ever get through development hell, manages DW, Launchpad, and Gosalyn in world that has felt more and more dangerous with each passing day. How will this family unit stay curious, fun, and supportive in a landscape where uncertainty and conflict tears people apart? Maybe that’s a lot to put on a cartoon. But, if the show is showing me anything, it’s that loving and caring for each other does not have to be discarded when danger presents itself. In fact, it may be the thing that keeps us going and managing one day at a time. 

Posted on

Interview with Crimson Chains, Creator of Star Crossed

Crimson Chains is a self-taught artist who has always loved to create comics and stories. Star themes and aesthetics are some of her favorite things to create, and Star Crossed is her first published work.

I had the opportunity to interview Crimson, which you can read below.

First of all, welcome to Geeks OUT! Could you tell us a little about yourself?

Hello! Thank you so much for reaching out, I am super excited! I go by Crimson Chains (She/her) and I’m an adopted Chinese American and creator of the comic Star Crossed. I’ve been drawing for nearly two decades and creating comics and stories for about the same amount of time!

What can you tell us about your comic, Star Crossed? Where did the inspiration for this story come from?

Star Crossed is about Polaris who is king of the stars and his knight Yildun. Due to Yildun’s lower status he feels unworthy to love Polaris, even though the king is willing to throw away tradition for their relationship. It’s a soft and sweet love story with a little bit of yearning!

The inspiration for this story is rather funny, in my opinion. For Star Crossed the story wasn’t something I thought of and then designed the characters, rather, it was the other way around. I drew a king with white hair, closed eyes and a star cloak and then a knight looking at him solemnly and instantly fell in love with the drawing. I posted it to my discord channel and talked with fans about it and slowly developed the story from there.

How did you find yourself getting into storytelling, particularly comics/graphic novels? What drew you to the medium?

I’ve always been drawing comics as far back as I can remember picking up a pen! I don’t think there’s been a long period of time in my life where I haven’t been creating a comic or two. Back in high school I was working on three at once and the longest one got to be 1800 pages. I think I just love watching a story come to life panel by panel, it’s very satisfying.

For those curious about the development behind making a comic, how would you describe the process?

My process is particularly chaotic! I wouldn’t really recommend it to most people, haha. I sort of have a general outline in my head about where the story will go, points A to B to C and then as I draw I let the parts between those points fill out. I think it can make the pacing a little messy at times, but, for me it’s a lot of fun.

To me, comic making is a marathon and not a race. It requires a lot of focus and it can be hard to slog through some scenes which aren’t as interesting or are difficult to draw. But, looking back on the story and all the places it goes is very rewarding.

As a creative, who or what would you say are some of your greatest creative influences and/or sources of inspiration?

I feel like it’s hard to name them, as, I’ve just always read a lot of comics and manga growing up and it’s all been very fun and interesting, but, I can’t say if there are any in particular which influence me! When I was much younger I’d often trace panels out of Calvin and Hobbes pages or try and copy a jpeg I found of Sesshomaru online somewhere. I think maybe it was just having access to a lot of really different art styles which inspired me to just keep drawing.

Growing up, were there any stories in which you felt touched by, reflected in, or that inspired your love for storytelling?

A lot of the stories I read growing up were fantasy based, I remember checking out basically every book I could find in the library which mentioned dragons! I’m not sure there was any particular story that inspired my love for stories, I just think I had a lot of fun reading and it grew from there.

Are there any like that now?

Lately I find myself really enjoying reading autobiographical comics! Definitely “Fun Home” is a really excellent read which I find myself going back to a lot. It’s very interesting seeing so many different perspectives and life experiences.

Besides your work, what are some things you would want readers to know about you?

Haha, I feel like there’s not a lot to know about me which would be interesting. I really like birds and I sometimes think it would be fun to be bitten by a goose.

What’s a question you haven’t been asked yet but wish you were (and the answer to that question)?

Oh, another tough one! Perhaps “How long does it take to draw a page of Star Crossed?” In which case the answer is that it takes anywhere from 6 to 8 hours depending on how complex the page is. My favorite part of the process is coloring the page.

Are there any projects you are working on or thinking about that you are able to discuss?

At the moment I am only working Star Crossed! But, I definitely have some plans down the line for my next comic. I’d really like to draw a comic based on the story of Swan Lake, except the cursed prince falls in love with the son of the sorcerer. It would be a light hearted comedy, I think!

What advice would you give to any aspiring creatives out there?

Especially with comics I think my biggest advice is to just start! The biggest roadblock I see with creating comics is that people can get too caught up in the planning and the idea they have to start out perfect. If you look at any comic creator you see their work get better as they go, both in story and in art, it’s okay if it’s not exactly what you want from the beginning. Tell your story, learn as you go, and enjoy the ride!

Finally, what LGBTQ+books/comics would you recommend to the readers of Geeks OUT?

Heaven Official’s Blessing is a great book series, I also enjoyed reading Cherry Magic for manga!

Posted on

Interview with F.T. Lukens, Author of Otherworldly

F.T. Lukens (they/them) is a New York Times bestselling author of YA speculative fiction including the novels Spell Bound, So This Is Ever After and In Deeper Waters (2022 ALA Rainbow Booklist; Junior Library Guild Selection) as well as other science fiction and fantasy works. Their contemporary fantasy novel The Rules and Regulations for Mediating Myths & Magic was a 2017 Cybils Award finalist in YA Speculative Fiction and the Foreword INDIES Book of the Year Gold Winner for YA fiction and won the Bisexual Book Award for Speculative Fiction. F.T. resides in North Carolina with their spouse, three kids, three dogs, and three cats.

I had the opportunity to interview F.T., which you can read below.

First of all, welcome back to Geeks OUT! Could you tell us a little about yourself to readers who might not know you yet?

Hello, I’m F.T. Lukens. I’m an author of queer YA speculative fiction. My previous works include So This Is Ever After and Spell Bound.

What can you tell us about your latest book, Otherworldly? What was the inspiration for the project?

Otherworldly is a paranormal romance that blends elements of Faustian folklore and classical mythology in a contemporary fantasy setting. There are crossroads bargains, supernatural beings, liminal spaces, and a magical romance.

The inspiration was that I wanted to write a retelling and explore themes with different myths and folklore. I have always wanted to write a Faust-esque book because of a class I took in college. And magical bargains with dire consequences had started to appear in YA spaces again recently so it felt like a perfect time. I also relied on some classical myths and mythical figures as well as western European folklore to round out the worldbuilding.

As a writer, what drew you to the art of storytelling, particularly young adult fiction and romance?

The themes of young adult fiction—coming-of-age, finding yourself, making steps toward adulthood, making difficult choices—are themes to which most readers can relate. And I enjoy writing characters who are in that process of discovering themselves. As for romance, I am a fan of a good meet-cute and love writing them even if they are at times a meet-disaster. Also, I feel that books with a ‘happy ever after’ or a ‘happy for now’ are important for queer teens to be able to read and access as a part of YA shelves. It’s empowering to see queer characters thriving and overcoming odds in an adventure or romance.

How would you describe your creative process?

Honestly, it changes for each book. For Otherworldly, the process started with an idea for a specific scene between the two main characters. And from there I started brainstorming a narrative for how that scene would take place. However, I had started the novel as a high fantasy, more in the vein of So This Is Ever After but changed it to a contemporary fantasy. And when doing so, many of the details had to be altered, including that initial scene I had thought of. But the core of the story and relationships remained the same.

As a creative, who or what would you say are some of your greatest creative influences and/or sources of inspiration in general? 

I’m a big believer that inspiration can come from anywhere at any time. I’m inspired by the authors that I read when I was a teen/young adult – Douglas Adams, Mercedes Lackey, Neil Gaiman—but I’m also inspired by authors who are my contemporaries. Like Ryan LaSala, Julian Winters, CB Lee, Beth Revis, Becky Albertali, etc.

For inspiration in general – I watch tons of movies and tv shows – especially anything speculative. I also read widely, not only fiction novels and comics, but non-fiction, newspaper/magazine articles, and the occasional social media app (though I’ve taken a huge step back over the past few years). I love browsing tvtropes.com and similar websites and watching YT videos on various subjects. And I like to explore new music as well.

What are some of your favorite elements of bring a book to life? What do you consider some of the most frustrating and/or challenging? 

One of my favorite things to write are character interactions, relationships, and dialogue. I think it’s one of the aspects of writing where I excel.

One of the most challenging is conveying the picture or thought I have in my head to the page. Sometimes, I forget to add a detail or explain a concept because it makes sense to me and to the world I built in my mind. And there are times I don’t quite translate the idea to the page. Luckily, I have an amazing editor who assists with that process.

Many creators would say one of the most challenging parts of writing a book is finishing one. What strategies would you say helped you accomplish this?

Outlines! I’m a big fan of outlining. Recently, I’ve found that writing a detailed synopsis and then an outline of events through to the end has really helped with staying on task and following through. I also will utilize word sprints/timers and writing communities to help when I need encouragement. I use wordcount trackers because it’s helpful for my brain to see the numbers increase and to see the future finish line. And I like to envision the ‘happy ever after’ or ‘happy for now’ for the characters as well and it motivates me to give the characters that resolution.

Aside from your work, what are some things you would want others to know about you?

I’m an avid crocheter and fiber artist and currently have too much yarn. I have a deep affinity for the characters of Nightwing and Spider-man from DC and Marvel respectively. I collect Funko Pops and action figures of both. I try to attend DragonCon in Atlanta every year as both an author and a fan.

What’s a question you haven’t been asked yet but that you wish you were asked (as well as the answer to that question)?

I haven’t been asked about the research I did for Otherworldly. And I know it might seem weird that a paranormal romance book would require many hours of research, but it did. I re-read Chrisotpher Marlowe’s Doctor Faustus and did research on crossroads bargains in media and in other cultures. I re-read the myths of Eurydice and Orpheus. I refreshed my memory by reading about classical gods and goddesses to develop the characteristics of those in the world of Otherworldly. And I read tons of articles on folklore for specific references.

What advice might you have to give for other aspiring writers?

I would say to not give up. I know it can be difficult. Publishing is a challenging business and can be disheartening. But just keep writing, practicing, and developing your craft.

Are there any other projects you are working on and at liberty to speak about?

Yes. I just turned in a manuscript for my next YA novel. Currently, it’s titled The Future Tense and it’s pitched as Wednesday meets Heartstopper.

Finally, what LGBTQ+ books/authors would you recommend to the readers of Geeks OUT? 

I mentioned a few above but I think readers should check out Jason June, Ryan LaSala, Julian Winters, CB Lee, Terry J. Benton-Walker, & Sophie Gonzales.

Posted on

Interview with Dane Liu, Author of LaoLao’s Dumplings

Dane Liu believes in the power of stories to affirm, transport, and transform. Her debut for young readers FRIENDS ARE FRIENDS, FOREVER is a Junior Library Guild Gold Standard Selection, a Kids Indie Next Pick, and a Best Book of the Year from the Bulletin of the Center for Children’s Books. It has been selected for national and international reading programs, including the Forest of Reading in Canada, the Panda Award in Asia, and the Gold House Book Club. As a writer, Dane hopes to empower young people to see the importance of their own stories and the beauty of sharing them.

I had the opportunity to interview Dane, which you can read below.

First of all, welcome to Geeks OUT! Could you tell us a little about yourself?

I write books for young readers. My family and I live in a forest in the Pacific Northwest.

What can you tell us about your latest project, LaoLao’s Dumplings? What was it like to work on this book?

LAOLAO’S DUMPLINGS is a picture book about intergenerational relationship, this food we love (dumplings!), and the different ways we show care. It is also a tribute to the North American communities of Chinatown and the relationships they nurture.

As a writer, what drew you to storytelling, specifically to picture books?

For me, storytelling is a game, a puzzle, a world to be constructed—character by character, scene by scene. It also helps me digest my own experiences and make sense of things. When my thoughts are heavy, I can unload them and let the paper help shoulder the weight. When my feelings are joyous, writing lets me live them twice. Then when we share our storytelling, we create a bond with someone else, a connection that wasn’t there before. Lucky for me, picture books connect me with our younger readers, though not only. I think the genre is for everyone. It is our easiest access to fine art.

What were some of your favorite picture book growing up? What are some of your favorite now?

I grew up in Northeastern China until my tween years. So I didn’t know picture books the way we know them here, until I became a parent. There are so many good picture books! I love MOLE IS NOT ALONE by Maya Tatsukawa, THE QUEEN IN THE CAVE by Júlia Sardà, THE WATER LADY by Alice B. McGinty and Shonto Begay, WHEN YOU CAN SWIM by Jack Wong, Mr. FIORELLO’S HEAD by Cecilia Ruiz, and DESERT QUEEN by Jyoti Rajan Gopal and Svabhu Kohli.

Growing up, were there any books/stories in which you felt touched by/or reflected in? Are there any like that now?

When I was a kid, there weren’t many stories about Asian girls in North America. Today (finally!), we see more and more books that center Asian kids, their families, and their many human layers, such as MEASURING UP by Lily LaMotte, WHILE I WAS AWAY by Waka T. Brown, STARGAZING by Jen Wang, THE TRYOUT by Christina Soontornvat, FRONT DESK by Kelly Yang, and Maizy Chen’s Last Chance by Lisa Yee. I would love to see more stories that look at Asian families through the lens of humor.

How would you describe your general creative process?

When an idea comes, I write it down right away. I used to jot it on paper. These days, I use Notes on my phone to avoid misplacing it. LAOLAO’S DUMPLINGS began in Notes as a dialogue between a girl and her grandmother. FRIENDS ARE FRIENDS, FOREVER began with my childhood memory of making paper-cut snowflakes and freezing them outside. Some ideas never go beyond Notes. But ones that stay with me, where the characters keep yapping in my ear and I see them in everything I do, become first drafts. Then I revise. I get feedback from my critique group and my agent. Then I revise some more.

As a creative, who or what would you say are some of your greatest creative influences and/or sources of inspiration in general?

I think everything is a source. Every thing can be the seed for a story. For me, being a creative is a lifetime practice of paying attention and growing those observations into something new.

What are some of your favorite elements of writing? What do you consider some of the most frustrating and/or challenging? 

My favorite is humor. The most challenging is also humor. When it works, humor deepens everything.

Aside from your work, what are some things you would want others to know about you?

I love nature, and I love city. My husband and I live in a forest, but we met and married in New York City. I return often, including for LAOLAO’S DUMPLINGS’ book launch, and it feels like home. I have two little kids. Our family of four is fluent in English, Mandarin, German, and French.

What’s a question you haven’t been asked yet but that you wish you were asked (as well as the answer to that question)?

My mom and my kids are the inspiration for LAOLAO’S DUMPLINGS. The exact moment was a conversation I overheard. A few years ago, my daughter asked Laolao if they could eat dumplings. It was a weeknight. There was no celebration. So my mom said, “Which tooth of yours craves my dumplings?” And my daughter answered, “All of them!” I wrote this exchange in Notes right away and grew the idea into a story.

What advice might you have to give for other aspiring picture book writers?

Write foremost for yourself. You are the story’s first audience. The story (and this pursuit) isn’t working if you are not entertained. Read in the genre and widely. Stay observant. Write badly then rewrite. Join a critique group. Definitely join a critique group. Learn by giving and receiving feedback. Read more. Take risks with your storytelling. Repeat.

Writing takes guts, optimism, and persistence. It requires consistency, showing up at your keyboard and in your notebook. It takes confidence and humility, skill and luck, pushing and letting go. It takes passion, compassion, patience, and trust. Writing also gives. You know you are a writer, when you feel terrible not writing. When in that moment your story finally works, you feel indescribable joy. Being a writer has longevity when we accept what it takes and gives.

Are there any other projects you are working on and at liberty to speak about?

I am working on a board book, a chapter book series, a historical fiction picture book, a historical fiction middle grade, and a collaboration with an illustrator friend.

Finally, what books/authors would you recommend to the readers of Geeks OUT?

On my nightstand, there is LUNAR NEW YEAR LOVE STORY by Gene Luen Yang and LeUyen Pham, MEXIKID by Pedro Martín, THE CREATIVE ACT by Rick Rubin, NEPANTLA (one of my favorite poetry collections), THE LIFTERS by Dave Eggers, and ONE MORE JAR OF JAM by Michelle Sumovich (my critique partner!) and Gracey Zhang. I also recommend books by Cozbi A. Cabrera, Tracy Subisak, ShinYeon Moon, Sophie Blackall, Sydney Smith, Lian Cho, Lynn Scurfield, Beatrice Alemagna, and Julie Flett.

Posted on

Geeks OUT Highlights Ace Authors For International Asexuality Day

Today, April 6th is International Asexuality Day. To quote directly from their website, “IAD is a coordinated worldwide campaign promoting the ace umbrella, including demisexual, grey-asexual, and other ace identities.” We put together a round up of ace authors we interviewed for IAD in 2022 which you can find here. This year we would like to acknowledge this day by highlighting and promoting interviews we’ve conducted here at Geeks OUT with ace authors since our last round up, which are linked below.

Interview with Author Michele Kirichanskaya
Interview with YouTuber The Asexual Goddess
Interview with Michael Paramo, Author of Ending the Pursuit: Asexuality, Aromanticism and Agender Identity
Interview with Author Sarah Whalen
Interview with Author Alexandra Rowland
Interview with Author Rebecca Burgess
Interview with author Jen Ferguson
Interview with Author Skye Quinlan
Interview with Author Amanda Lovelace
Interview with Author Alice Oseman
Posted on

Interview with Yilin Wang, Author of The Lantern and the Night Moths: Five Modern and Contemporary Chinese Poets in Translation

YILIN WANG 王艺霖 (she/they) is a writer, a poet, and Chinese-English translator. Her writing has appeared in Clarkesworld, Fantasy Magazine, The Malahat Review, Grain, CV2, The Ex-Puritan, The Toronto Star, The Tyee, Words Without Borders, and elsewhere. She is the editor and translator of The Lantern and Night Moths (Invisible Publishing, 2024). Her translations have also appeared in POETRY, Guernica, Room, Asymptote, Samovar, The Common, LA Review of Books’ “China Channel,” and the anthology The Way Spring Arrives and Other Stories (TorDotCom 2022). She has won the Foster Poetry Prize, received an Honorable Mention in the poetry category of Canada’s National Magazine Award, been longlisted for the CBC Poetry Prize, and been a finalist for an Aurora Award. Yilin has an MFA in Creative Writing from UBC and is a graduate of the 2021 Clarion West Writers Workshop.

I had the opportunity to interview Yilin, which you read below.

First of all, welcome back to Geeks OUT! Could you tell us a little about yourself?

Hello! Thank you so much for having me. I’m a queer Chinese diaspora writer, poet, literary translator, and editor living on the stolen and occupied lands of the Musqueam, Squamish, and Tsleil-waututh nations (known colonially as Vancouver, Canada). I’m a genderqueer femme who is biromantic, demiromantic, and asexual. My book The Lantern and the Night Moths is forthcoming with Invisible Publishing available now.

What can you tell us about your upcoming book, The Lantern and the Night Moths: Five Modern and Contemporary Chinese Poets in Translation? What inspired this project?

The Lantern and the Night Moths 灯与夜蛾 is my debut book. It contains a selection of poems by five modern and contemporary Chinese poets whose work collectively span the past century. Each poet’s work is accompanied by a short essay that I wrote, where I delve into what their work means to me personally, the translation process, and any literary, cultural, or sociopolitical contexts.

I first started translating Chinese poetry around six years ago, in a creative writing workshop during my MFA program, when I became frustrated that many of the stories and poems being studied in English and creative writing programs tend to be very Eurocentric in form and content. I started deliberately seeking out more Chinese literature to read—both in Mandarin and in translation.

While I found many translations of classical Chinese poetry, especially translations of poems written in the Tang dynasty, many of the collections are completed by Sinologists for niche, academic readerships. Others are often full of outdated, orientalist, and exoticizing language. For Chinese poetry in particular, there are even numerous “bridge translations”–translations where a writer who couldn’t actually read the original text simply adapted and rewrote a “literal translation,” presenting their own imagined version of a Chinese poem, without sensitivity for the original text’s emotional nuance, stylistic features, and surrounding context.   

Frustrated by this phenomenon and the underrepresentation of BIPOC heritage speaker translators, I drew on my skills as a poet and my multilingual background to start translating classical and modern Chinese poetry. I eventually decided to create an anthology that could serve as an accessible introduction to modern Sinophone poetry, aimed especially at members of the Sino diaspora, fellow writers and translators, and general readers interested in Chinese literature.

Regarding the five poets chosen for this project, what drew you to these specific names?

I have chosen the work of five poets who I each consider to be a literary zhīyīn 知音. The first poet included in the anthology, China’s first modern feminist poet, Qiu Jin 秋瑾, wrote frequently about her own longing for a zhīyīn. A zhīyīn literally means “someone who understands your music” or “someone who understands your songs.” The word is used to describe a close friend, a kindred spirit with shared ideals, a queerplatonic soulmate.

When I translate Qiu Jin’s work—and the work of the other poets I have chosen for the anthology—I feel like I am in conversation with fellow zhīyīn. While each poet has their own interests and styles, I see their work collectively as a series of ars poeticas on the art of modern poetry in Chinese. Through the anthology, I hope to introduce readers to a wide range of voices, from the feminist poet Qiu Jin 秋瑾 (who wrote at the end of the Qing dynasty) to the celebrated modernist poets Fei Ming 废名 and Dai Wangshu 戴望舒 (who wrote in the first half of the 20th century) to the talented contemporary poets Zhang Qiaohui 张巧慧 and Xiao Xi 小西.

Out of all five poets included, I especially have a soft spot in my heart for Qiu Jin’s poetry. As a genderqueer femme, I connect deeply with her words that reflected on women’s friendships and cross-dressing, subverted heteronormative views on relationships and marriage, and advocated tirelessly for gender equality. Folks interested in listening to me discuss her work can check out this podcast interview with The Ace Couple.

Translating is often described as an art and a science. How would you tend to describe it and your own relationship to the work of translating?

In the book, I try to foreground the invisible labour that translators do, work that is often overlooked and underappreciated. The first translator’s essay is written in the form of a letter addressed to the poet Qiu Jin. A letter is a very personal, intimate form of writing. I chose the format because I see translation as a dialogue, unfolding between the translator and the poet, between the source text and the target language, between the translation and its readers.

In another essay, I also discuss that while the art of writing is often compared to pregnancy and childbirth, the work of a translator is closer to that of a maternity nurse. “How does one go about bringing a literary text, so tender with warmth, vulnerabilities, and lyricism, into a distant, unfamiliar world that it might not be ready to encounter? I must guide it with gentle hands to ensure its spirit is kept alive and intact during this transformative, and often excruciating process.”

The book includes five essays on translation in total, where I share my personal journey as a translator, reflections on the process, anecdotes about the poets, and historical and sociopolitical contexts. I’m always curious about the creative practices of other poets and translators, so I hope these essays can be interesting and informative to others in a similar way.

In your bio, it states that you are “a big fan of wǔxiá and xiānxiá fiction, historical c-dramas, Classical Chinese poetry, and East Asian storytelling and narrative structures.” If you wouldn’t mind, I would love to hear any of those stories that you would consider to be some of your personal favorites?

I wrote a primer on wǔxiá fiction for SFWA’s bulletin before for folks who are not familiar with the genre. I always recommend folks to read Jin Yong’s Legend of Condor Heroes 射雕英雄传, which I consider to be a classic in the genre. I also enjoyed the 2017 c-drama adaptation of the same series. Some other favourite xiānxiá dramas include Journey of Flower 花千骨, Love Between Fairy and Devil 苍兰诀, and Once Upon a Time in Lingjian Mountain 从前有座灵剑山.

For folks who want to learn more about Chinese narrative structures, I strongly recommend Ming Dong Gu’s Chinese Theories of Fiction; it’s an academic book and fairly dense, but really insightful. It does an exceptional job providing a framework for thinking about Chinese narratives and story structures.

I would absolutely recommend The Lantern and the Night Moths to readers and audiences who are interested in c-dramas and Chinese media in general, because I consider poetry to be inseparable from Chinese popular culture. Many dramas regularly quote and allude to poems full of idioms and allusions, and understanding the poetry can really help audiences better appreciate Chinese dramas and films. While my book focuses on modern poetry, the poems do build on and engage with the classical poetry tradition, and folks interested in that can check out this bingo card that I created a while back to introduce folks to common tropes in Classical Chinese poetry.

As a creative, who or what would you say are some of your greatest creative influences and/or sources of inspiration in general? 

I have so many influences, but I am a huge fan of Ken Liu’s work, both as a writer and translator. I love Gillian Sze’s book Quiet Night Think, which I re-read while working on this anthology. I also really enjoying reading a wide range of nonfiction on the art of translation; when I was fighting the British Museum over their misuse of my translations without permission, I drew strength and inspiration from the chapbooks Say Translation is Art by Sawako Nakayasu and Notes on Mother Tongues by Mirene Arsanios.

Are there any other projects you are working on and at liberty to speak about?

I’m currently working on translating a full-length collection of Qiu Jin’s poetry. She wrote over two hundred poems during the thirty-one years of her life, and I’d like to translate a selection of her most representative and powerful poems to share them with more readers. I’m also working on a collection of my own poems about multilingualism, translation, and Sino diaspora experiences.

Finally, what LGBTQ+ books/authors would you recommend to the readers of Geeks OUT? 

Some poetry books written in English I’d recommend are Isabella Wang’s Pebble Swing, Grace Lau’s The Language We Were Never Taught to Speak, Larissa Lai’s Iron Goddess of Mercy, and Mary Jean Chan’s Flèche. For readers who understand Mandarin, I recommend

同在一個屋簷下：同志詩選, an anthology of queer Taiwanese poetry.

Header Photo Credit Divya Kaur

Posted on

Dungeons, Drag Queens, D20: A Journey to the Underworld

Just in Case Disclaimer: This is a post about stars from RuPaul’s Drag Race appearing on an independent channel where comedians play RPGs. In case you did not realize this already, the language and references can get salty.

Have you watched all of Critical Role and don’t know how to get your RPG fix? Got behind on RPDR and want some new references to keep in your back pocket for trivia? Do you enjoy drag and/or RPGs? Check out D20, Dungeons and Drag Queens.

Still not sure? check out this trailer.

So, lets get started and say, “Hello Questing Queens!”

Welcome Adventurers to “Dungeons and Drag Queens,” where the worlds of drag and Dungeons & Dragons (D&D) collide in a fabulous campaign hosted by the ever-charismatic Brennan Lee Mulligan. Like Monet’s foundation, Brennan lays the character on thick.

In this Dimension 20 adventure, four iconic queens from “RuPaul’s Drag Race” embark on a quest to the Underworld, each bringing their unique flair and talents to the table.

The Queens of the Campaign

Bob the Drag Queen as Gertrude: The Wise Witch of the Woods

Bob the Drag Queen, winner of “RuPaul’s Drag Race” Season 8, brings her comedic genius and charismatic personality to the role of Gertrude, a sardonic and powerful witch. Known for her sharp wit and ability to command attention, Bob infuses Gertrude with a sense of humor and depth that adds layers to the character’s solitary existence and magical prowess.

Alaska Thunderfuck as Princess: The Towering Orc Warrior

Alaska Thunderfuck, an icon from Season 5 and winner of “All Stars” Season 2, steps into the armored shoes of Princess, an orc with a penchant for pink and a heart as big as her stature. Alaska’s flair for the dramatic and her larger-than-life persona translate seamlessly into Princess’s bold and fearless approach to both fashion and combat.

Monét X Change as Troyánn: The Merfolk-Assassin with a Mission

Monét X Change, co-winner of “All Stars” Season 4, embodies the role of Troyánn, a determined assassin with a complex heritage. Monét’s regal presence and versatility shine through in Troyánn’s dedication to her task and the emotional depth she brings to her quest for redemption and truth.

Jujubee as Twyla: The Fierce Fairy with a Fiery Spirit

Jujubee, a beloved figure from Seasons 2 and 5, and “All Stars” Seasons 1 and 5, well known for one of the most epic reads in RPDR herstory (IYKYK) takes flight as Twyla, a fairy with a passion for dance and a fierce determination to restore her realm. Jujubee’s charm, wit, and resilience are reflected in Twyla’s spirited fight to protect her people and her unwavering belief in hope.

The Quest to the Underworld

Each queen has a personal wish to be granted by the Queen of the Underworld, leading them to form an unlikely alliance. Gertrude seeks a new beginning away from the dangers of witch hunters, Princess yearns to resurrect her slain family, Troyánn aims to uncover the truth about her mother’s pact, and Twyla hopes to restore the Fey realm. Together, they travel the Gallows Road, facing challenges and uncovering secrets that will test their strength, resolve, and friendship.

The Journey Ahead

“Dungeons and Drag Queens” is more than just a campaign; it’s a celebration of diversity, creativity, and the power of storytelling. As these queens embark on their journey to the Underworld, they remind us that the worlds of drag and D&D are not just compatible, but complementary, offering a space where identity is celebrated, and every roll of the dice tells a story of courage, camaraderie, and fabulousness.

So, grab your dice, adjust your wig, and your nails (because if you don’t have nails are you really doing drag?) , beat your face to the gods, then roll for Charisma (there are no specific rolls for Uniqueness, Nerve, and Talent) and prepare for a journey that’s as fabulous as it is fantastical. This show made me laugh (including the always embarrassing snort laugh) it made me cry, it gave me all of the feels.

There’s character development, action, amazing miniatures and set work, outstanding improv, and a whole lot of shade. With Brennan Lee Mulligan at the helm and a cast of queens ready to slay, “Dungeons and Drag Queens” promises to be an adventure like no other.

Title Image and blog post include promotional images from Dimension 20, used under the principles of fair use for the purposes of commentary, criticism, and discussion. Dimension 20, Dropout:, and its related marks are trademarks of their respective owners, and their use in this post does not imply any affiliation with or endorsement by them.

Posted on

Interview with Michael Paramo, Author of Ending the Pursuit: Asexuality, Aromanticism and Agender Identity

Michael Paramo is a Xicanx researcher, writer, poet, and artist born and raised in the suburbs of southern California (on Tongva land) in a Mexican-American family. They created AZE in 2016, a platform that publishes the writing and artwork of asexual, aromantic, and agender authors. AZE has been recognized for its work in books and by several universities, whilst Paramo’s own writing has been published in the Video Game Art Reader and cited in the Handbook for Human Sexuality Counseling. Their visual art has been published in the University of New Mexico’s Blue Mesa Review and they release music under the name COZMECA.

I had the opportunity to interview Michael, which you can read below.

First of all, welcome to Geeks OUT! Could you tell us a little about yourself?

Thank you! I am a queer Mexican-American researcher, writer, and visual artist. I grew up in Orange County, California on the traditional and unceded territory of the Tongva people. My research and creative work broadly focuses on interconnectivity, transformation, and hybridity in the modern/colonial world. Aside from writing and visual artwork, I have also recently developed an interest in creating music, which I do under the name COZMECA.

What can you tell us about your first book, Ending the Pursuit: Asexuality, Aromanticism and Agender Identity? What was the inspiration for this project?

Ending the Pursuit is a book examining asexuality, aromanticism, and agender identity that calls for a deconstruction of the dominant ways we imagine sex, romance, gender, intimacy, love, and relationships. Each chapter focuses on a different aspect of this task. One chapter aims to deconstruct the idea that how we think about attraction should always be firstly sexual or romantic. Another chapter examines how some of our ideas about romantic love and desirability are influenced by colonial discourses that upheld myths of racial hierarchy. The book also features a lot of poetry sprinkled throughout as a place for readers to reflect on the subjects in a different, more creative, manner.

The book was inspired from my work with AZE, an online journal publishing the written and artistic works of asexual, aromantic, and agender people. When I first created the journal in 2016, I never imagined a book emerging out of it. However, as the journal evolved from a platform primarily focused on asexuality, I began to recognize the connections between asexual, aromantic, and agender experiences more readily. I realized that there was a lot left to be said about how these identities each destabilize dominant expectations of sex, romance, and gender. This motivated me to undertake the writing of Ending the Pursuit in order to consolidate all of my thoughts in one place.

As an author what drew you to writing?

What drew me most to writing was its potential to bring structure to conceptual thoughts that I wanted to express. It became a way for me to respond to the world around me and process my feelings in a deeper, more reflexive way. Poetry in particular has always flowed out of me more readily than analytical writing, the latter of which tends to be a more painful and slow leakage.

Growing up, were there any books/stories in which you felt touched by/ or reflected in? Are there any like that now?

When I was young, I was directed by my mother to read children’s storybooks with vibrant illustrations and themes that focused on fostering creativity, such as Harold and the Purple Crayon and Mouse Paint. I also worked through various craft books, where I was instructed to cut and paste expressive objects together, some of which remained fixtures of our household during holidays. These gestures made me feel like my creativity was supported by my family as a child, which excited my capacity to express myself. Lately I find myself researching various aspects of how colonialism has damaged the human imagination. Many of these historical accounts that I am drawn to have come to influence my creative work. I have often felt compelled to create works that focus on remembering the past that informs our present.

How would you describe your general creative process?

I tend to create intuitively, with an openness to being guided rather than trying to predetermine what is to come from the process. I sometimes might revisit a work months or even years later to continue its evolution in a new direction that I had not previously foreseen. Dwelling in the unknown of what is to come is essential to my creative process.

As a creative, who or what would you say are some of your greatest artistic and creative influences and/or sources of inspiration in general?

Music is my biggest source of inspiration and motivation in my work. If the music I am listening to stimulates my artistic spirit, then it guides me into a state of mind where being creative is more accessible to me. Some albums that have been influential to me in this way are Björk’s Vespertine, Fiona Apple’s Fetch the Bolt Cutters, Kelela’s Raven, and Shygirl’s Nymph.

What are some of your favorite elements of writing? What do you consider some of the most frustrating and/or challenging? 

I enjoy writing when I feel like I can swim in an idea through words. I enjoy discovering how writing can be a space for my imagination to relieve itself. This is what I consider to be theoretical writing. Conversely, writing becomes frustrating when I am being compelled to write for approval. It is in these instances that writing becomes constrained by other people’s perceptions and the task becomes monotonous.

What are some things for someone who is still new to asexuality/aromanticism/agender identity you would want people to take away from this interview?

I want people to remember that the human experience is broader than we have been led to believe. There are certain sexual, romantic, and gendered expectations that have been placed upon us that make it seem like it is impossible for people to not experience sexual attraction, not desire a romantic relationship, or not fit within the gender binary. However, acknowledging the vastness of human experience includes acknowledging that asexuality, aromanticism, and agender identity are possible.

Aside from your work, what are some things you would want others to know about you?

Nature is a very strong grounding force in my life that has encouraged me to stabilize myself in the modern/colonial world. The ocean has helped me feel peace. Just standing in the shoreline waters can relieve me of any deep stress or anxiety that has been incubating inside of me. Being in the presence of massive ancient trees, such as coastal and giant redwoods, is another way I try to relax myself.

What’s a question you haven’t been asked yet but that you wish you were asked (as well as the answer to that question)?

Who has been most supportive to you in helping make your work possible?

My mother has been the biggest supporter of my work. She has repeatedly encouraged me to continue being creative and has helped me establish a stronger sense of confidence in my voice. I would also like to thank my father for his financial support and my brother for being a close friend to me. There have also been many supportive people who have propelled my work forward at different times in my life that I would like to thank, including Susie Woo, Joelle Owusu, and Pilar Riaño-Alcala.

What advice might you have to give for other aspiring creatives/ graphic novelists?

  1. Find and keep searching for music and art that relaxes you and puts you in a place where you feel you can express yourself creatively.
  2. Don’t create to get published or to pursue validation from others, not only because this places undue weight on acceptance or rejection from others, but also because this can deeply cloud the creative process.
  3. Build your body of work. Although everyone works at a different pace, try not to dwell too long on one particular work trying to pursue some idea of perfection. Try to remain open to whatever comes to you creatively.

Are there any other projects you are working on and at liberty to speak about?

I am working on my dissertation that will examine and expand upon the hybrid methodology I employed in Ending the Pursuit, where I interweaved memoir, poetry, and historical research. I intend to also focus on the incorporation of visual artwork and soundscapes toward the development of critical reflection in my dissertation. I believe the purpose is to explore how such a hybrid critical and creative exploratory approach can foster a deeper understanding of ourselves in relation to complex social issues.

Finally, what LGBTQ+ books/comics/authors would you recommend to the readers of Geeks OUT

Refusing Compulsory Sexuality: A Black Asexual Lens on Our Sex-Obsessed Culture by Sherronda J. Brown

Belly of the Beast: The Politics of Anti-Fatness as Anti-Blackness by Da’Shaun L. Harrison