A New Year, A Fresh Start.

On how I love making plans to form good habits.

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Hello dear my friends! Happy new year!

If I sound brisk and giddy, it is because I LOVE this time of the year. The logical part of my brain tells me it’s just a fabricated moment when Earth finishes yet another orbit around the Sun (“fabricated” because we as human collectively decide this is the starting/ending point of the loop). But the emotional part of my brain, which trumps all other parts, tells me it’s a fresh start.

And a fresh start is wonderful – because it is in the dwelling of possibilities that makes life so exciting.

Friends who know me KNOWS I am actually a very pragmatic person. Yes, I like to dream big, but I am also a realist. I like 10% inspiration (to satisfy my emotional brain) and 90% actionable stuff (to attain perceivable goals, or at least to give them a try).

What does this have to do with learning comics and graphic novels?, you asked. Well, I think it’s an important life skill. It certainly applies to how I schedule my work as a writer and illustrator, but it also applies to other aspects of my life.

So, in the first post of this new year, I would like to share with you some of the ways I track my habits. They’re not a brand-new invention. In fact, perhaps many of you do the same things already. I do it because I find them easy and effective, for me.

“Goals are about the results you want to achieve. Systems are about the processes that lead to those results.” ~James Clear, from his book Atomic Habits: Tiny Changes, Remarkable Results

For starter, I keep a daily planner. I’ve tried several different versions over the years, and I find what works best for me is a A6 planner (A6 is roughly 4.1x5.8 inches in size). It’s small enough that I can throw it in whichever bag I’m carrying.

In terms of methods, it is similar to this video:

I like this system because I can approximate my schedule for the day (very important for a freelancer) and jot down all the tasks. I leave the top part blank for stuff like things quotes, books/movies/TV I want to read or watch, grocery lists, etc.

In terms of notebook brands, I switch around quite a bit, usually between Moleskine and Leuchtturm (It’s pronounced Loy-s-torm, which means lighthouse in German). Both have nice quality. Leuchtturm has the extra benefit of pages being numbered. I find it useful, but I can easily write my own numbers in the page corners. The ones I use usually last about 3 months, as I use them everyday. I like it because in 3 months time, I get a fresh start again, improving from my last system.

In terms of pens, I use a regular Uni Jetstream 0.5 ballpoint pen. They are economical, don’t bleed through the pages, and don’t have a cap (I hate keeping track of where the pen caps are). I took out the rubbery part of the pen for my A6 notebook, as it snags in the pen loop (they are cheap pen loops I bought in bulk). It’s not as nice to hold onto the pen without the rubbery part, but this planner is for functional purposes; it’s not my diary. I don’t spend hours writing in it. I just need quick access to a writing tool without the hassle of hunting for one at the moment.

I have a separate notebook that serves more like a diary or a journal. I call them my “soliloquies”. They are at a bigger size (I use A5, at 5.8x8.3 inches) because I enjoy writing self-reflections and philosophical contemplation on bigger pages. Plus, I don’t have to worry about weight, as they don’t leave my house.

One thing to keep in mind: I’ve tried cheaper notebooks before. Amazon sells these A5 notebooks at less than $5 on sale. I dislike them because their lines are too dark. I want to see what I wrote, and the dark lines are a visual nuisance. When you’re picking a notebook, consider lightly printed lines / squares / dots. (On the other hand, if you simply want to try out a notebook size to see if it works for you, go for something economical first. I did. It’s unnecessary to spend money on expensive notebooks during the early trial-and-error phase.)

Of course, if you are a digital person and prefer doing all these on your digital devices, that’s totally cool, too! I prefer analog because I get less distracted.

That’s my daily tracking habit.

My good friend Debbie Ohi recently shared her journaling habit on her wonderful Substack post. Check it out!

I don’t know what goals or new habits you have in mind this year. Whatever they are, I hope you will find a system that works for you, and I hope you will succeed. I hope you will consider redefining “success” as the courage to take the first step, and the next, and the next. It is in those baby steps that makes it more fun and thrilling than reaching the milestones. (◍•ᴗ•◍)♡

“Happiness is in the doing, not in the result.” ~Hector Garcia and Frances Miralles, from their book Ikigai: The Japanese Secret to a Long and Happy Life.

Do you have specific tracking or journaling methods? Any fun goals or habits for the new year? I would LOVE to hear from you!

Wishing you a great new start! Happy new year!

Goodbye 2023! Thank you. See You in 2024!

Some reflections, and two recommended organizations to join in 2024.

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Ah, the holiday season is coming. This will be the last post of 2023.

To everyone who subscribes, who follows me, and everyone who reads my posts here: I thank you wholeheartedly. This space started because I wanted to share everything I love and have learned over the years on comics and graphic novels, and I had a lot of fun writing each post. I hope you had fun reading them as well.

I look forward to sharing more with you next year in 2024!

My picture book DIM SUM, HERE WE COME! came out this January. It’s a story that celebrates culture, family, and food! I’m very proud of the book, and I hope you would enjoy it, too.

Creating kidlit books, both in picture book and graphic novel formats, gives me a lot of joy. There are a lot of challenges, too. While the process often feels lonely, the journey doesn’t have to be.

I say that because I’ve had SO MUCH help and support over the years.

To my family and my friends, I can’t stress how much I love you all. Your continuous support means the world to me. As many of you do not like having your face shown on public platforms, I won’t share photos here. But please know I love you.

For anyone who wants to learn everything about children’s book publishing, I highly recommend the Society of Children’s Book Writers and Illustrators (SCBWI). It’s a great place to learn about the industry, to work on and hone your craft, and, most importantly, to connect with fellow creatives.

I am a member for more than a decade. Over the years, I have met many wonderful and talented friends. Their hard work and kind souls continue to inspire me everyday.

SCBWI New York Conference 2013. We’ve always joked this was our band photo. (From left) Andrea Offerman, Lisa Anchin, Maple Lam, Arree Chung, Jen Betton, Jessica Lanan. Photo by Debbie Ohi.

SCBWI LA Summer Conference 2014. Still a bunch of newbies learning our ways. (From top left) Kathryn Ault Noble, Brooke Boynton Hughes, Andy Musser, Corinna Luyken, Rodolfo Montalvo, Suzanne Kaufman, Katie Kath, Maple Lam.

My LA crit-group I met through SCBWI back in the days. (From left) Maple Lam, Rodolfo Montalvo, Ashlyn Anstee, Kimberly Gee, Michelle Thies, Jennifer Gray Olsen, Julia Collard.

Good friends I met through SCBWI and did presentations together at CSLA (California School Library Association) 2019. (From left) Benson Shum, Meg Fleming, Maple Lam, Marcie Colleen, Cindy Derby.

If you are interested specifically in working on children’s book graphic novels, a great organization to check out is Kids Comics Unite. It’s an online community with tons of great resources, workshops, courses, etc. I have taken courses at KCU, and I found them really helpful.

Last my not least, I am SO excited every time I think about my debut graphic novel Monkey King and the World of Myths: The Monster and The Maze, coming out in April 2, 2024! It’s a brand new adventure weaving reimagined world mythologies, filled with action and laughter. I can’t wait to share the book with everyone!

Buy MONKEY KING

Pre-ordering means a TON, as it sends a signal to the publisher that there is a strong interest in the book. I thank you in advance for your support.

And while you are at it, please consider pre-ordering through independent bookstores. It doesn’t make a difference to me, but it makes a HUGE difference to the book community and to all the hardworking staff and small business owners who dedicate every moment of their lives sharing the joy of reading to local communities.

If you don’t have a local bookstore in mind, two of my favorites are Once Upon a Time Bookstore in Montrose, California, and Green Bean Books in Portland, Oregon.

Indie bookstores also sell books online. You can order them and have the books mailed to you, just like any other online stores!

Support indie! (◍•ᴗ•◍)♡ ✧*。

Friends supporting each other at book launches. This photo was taken at Once Upon a Time Bookstore and featured on Publishers Weekly. (From left) Kimberly Gee, Maple Lam, Eliza Wheeler, Ken Min, Keika Yamaguchi, Rodolfo Montalvo.

Wishing everyone a festive holiday season, and a wonderful 2024 to come!

Kidlit friends 2023 End-Of-Year holiday gathering in Los Angeles.

See you all next year!

On the Uniqueness of Comics & Graphic Novel Storytelling

CGN is a balancing combo between writing and artwork.

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When I was young, I thought the most important thing in comics and graphic novels was the artwork. Perhaps this was due to my background in illustration. I love to draw. Naturally, the first thing that caught my eyes would be the quality of art.

But as I grew up, I slowly realized that a good comic/graphic novel (Let’s just shorten this to CGN for typing-sake, shall we?) does not necessarily depend on how skilled the illustrator is.

This can be a controversial perspective, as it offends illustrators. Are you saying what we do is not important? How dare you.

Of course not. I’m an illustrator myself. I LOVE illustrations. I would buy a CGN if the cover artwork attracts me. I buy prints. Beautiful and unique arts make me go to a happy place. They touch my soul.

This summer, without knowing what the story was about, I bought “Takemitsuzamurai” (written by Issei Eifuku & illustrated by Taiyō Matsumoto). The artwork simply looks stunning, doesn’t it?

I’m saying, a good CGN depends much more than just the quality of art.

Here’s a famous example.

When One (that’s his pseudonym) made the web manga One-Punch Man, objectively, his artwork might not be considered great, in a traditional sense.

“One-Punch Man”, created by One.

Turns out, One-Punch Man became a big hit online because of its engaging storyline. It caught the attention of famous manga illustrator Yusuke Murata (村田雄介). He connected with One and re-illustrated One-Punch Man.

“One-Punch Man” was re-illustrated by Yusuke Murata and got picked up and serialized.

One-Punch Man became one of the best-selling manga series of all time.

It’s easy for me to say Story is King! Story is King! Story is King! But, if you ask my honest opinion, story is also just part of why One-Punch Man was so good. One might not have a formal illustration training background, but the story pace and storyboarding technique are clearly there. I wouldn’t call that a killer instinct in CGN storytelling methods. He must have spent a long time studying how CGN worked.

From plot to storyboarding, One clearly had a good understanding on how to execute a story in sequential art format.

Another example off the top of my head is Attack on Titan by Hajime Isayama.

When I first got my hands on the book, I was mildly surprised.

The artwork, especially character design in the early volumes, had room for improvement. (To be fair, the titans were designed in a very unique and memorable way.)

Once again, the story was very gripping. I personally did not enjoy anything overly graphic and violent, and Attack on Titan surely went there, but I ended up reading at least 10 volumes of the series. The story was fantastic, pacing was done well, and the world-building was a lot of fun to read.

Are there rules on the visual sides of creating CGN? Absolutely! I’m a creator, so I notice them more, but if the story carries through, I also know breaking those rules doesn’t matter.

Here’s an example when it comes to “CGN art rules”. I don’t remember when I learned this. It must have been in one of those how-to-create-CGN books. Basically, a speech bubble should never be kissing a panel box, as that tangent creates visual confusion, or, on a minimum level, a visual annoyance. Do I avoid it? Yes. Do I see it on other CGN? Sometimes. Do I immediately throw away that book? 100% not. If the story is good, the story is good. These rules have very little weight (if at all) when it comes to the bigger picture.

I think they are more suggestions than rules. :-)

A well-written story is still fantastic even with occasional grammatical errors.

CGN is a very interesting storytelling method. It’s not a play, but dialogues drive the story the majority of times. It’s not a movie script – because how a story unfolds in a two-hour screen-time is different from the length of a book. It’s not a regular novel – because a CGN too wordy becomes a heavily-illustrated novel, not a CGN. The art is important, but the plot, the pace, and the writing are also extremely important. A lot of times, the visuals can attract a reader’s attention, but the story will keep the reader.

It’s a balancing and integrating act. A special dance.

Which is why it’s so challenging but so fun to make them.

And the best practice is still read a lot, write a lot, and draw a lot.

In my opinion, “storytelling crafts”, “business skills” and “personal traits” combined to make each CGN creator unique. I’ll discuss more on this in future posts.