Page One, Panel One: Researching & Hunting for Ideas with Gene Luen Yang
Page One, Panel One features in-depth discussions between comic writer Van Jensen (The Flash, Pinocchio, Vampire Slayer) and other scribes diving into the creative process behind the medium. This week’s conversation features Gene Luen Yang, a writer and cartoonist who established himself as a prominent voice in comics with his 2006 graphic novel, American Born Chinese, which was a finalist for the National Book Award and also took home an Eisner that year for Best New Graphic Album.
The writer and artist has since gone on to create a host of acclaimed books the celebrate diversity and Yang’s heritage, including the historical epic Boxers & Saints and pulp reinvention, The Shadow Hero with artist Sonny Liew. Yang recently took over as writer of Superman with issue 41, joining series artist John Romita Jr.
While Yang mostly works in genre fiction, his stories often stem from reality and history. Jensen sat down with the creator to discuss researching projects, the challenges of writing an icon like Superman and living the sacred life of a writer.
Van Jensen: We’re talking about research, and I thought of this topic for you specifically because though you don’t write nonfiction, I’ve always seen your work as having this very real feel to it. There are books like Boxers & Saints, of course, that are historically based. But even Shadow Hero and American Born Chinese felt like a lot of work was done to ground them in a specific time and place. And for me, as a journalist, that really drew me to your writing. So, is that a fair characterization? Do you think of yourself as a writer who works in that style?
Gene Luen Yang: I’ve been doing more and more research. In Story, Robert McKee talks about three kinds of research: memory, imagination and books. For American Born Chinese, my first graphic novel with First Second Books, I did mostly “memory” research. It’s fiction, but I pulled heavily from my own childhood.
Jensen: Very interesting. I’d forgotten that bit of Story. I’m due for a re-read, it seems.
Yang: Boxers & Saints, which I did six years later, was my first project that required lots and lots of “books” research. And honestly, I loved it. It was nerve wracking, too—I never felt like I was done. But it added so much depth to the process. My next big project is nonfiction, actually. I’m doing tons of “books” research for that.
Jensen: How have you changed how you go about preparing for this nonfiction project? How do you split the focus for gathering information vs. gathering visual reference?
Yang: With my nonfiction project, I am just feeling my way around. I feel like I’m in a room with all the lights off. I read a book about creative nonfiction. But I’m really in the heat of it. I feel like I’m only going to end up using 20 percent of what I’ve gathered.
Jensen: Prior to working in comics, had you ever had a job that required research? Or was it a significant part of your college experience? Was that part of your life as a teacher?
Yang: No, I never worked a job that required research. I’m not really good at it, to be honest. I’m still learning. I was a computer science major. I worked as a programmer and then as a high school computer science teacher.
Boxers & Saints Cover Art by Gene Luen Yang
Jensen: Was there a moment or experience that showed you the power of research, or if it’s something that just naturally developed as you progressed into creating stories?
Yang: I don’t know if there was a specific moment where I realized the power of this… but I did eventually realize creativity doesn’t mean creating something out of nothing. Creativity requires input, and that’s what research is. You’re gathering material with which to build.
So you were a journalist? Are you still?