After studying literature at the University of California at Santa Cruz, Nidhi worked with several non-profits before turning to art. In 2009 she began completing one illustration every day of the week. She called this Every Day Love and developed her narrative style and voice with three years of daily practice. This launched her art career and business. Her beautiful 2017 debut graphic novel, Pashmina (First Second/Macmillan), has received positive reviews in the School Library Journal, Publisher’s Weekly, and the New York Times. Pashmina was a Junior Library Guild selection, Chicago Public Library Best Book, Texas Maverick Graphic Novel, Northern California Indie Bookseller Association Long-List Title and a YALSA Top Ten Great Graphic Novels for Teens. Similarly, her second graphic novel, Jukebox (2021), was a Texas Maverick Graphic Novel, Northern California Indie Bookseller Association Long-List Title and a YALSA Top Ten Great Graphic Novels for Teens. Other works include Super Boba Cafe as well as picture books for children. Read along to learn more about Chanani’s craft and vision.

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Riya: Thank you so much for taking the time to speak with me. I loved your first book Pashmina, and also, Jukebox, so it is a real treat to meet you. 

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Nidhi: It’s nice to meet you as well. My cat is here. She really likes video meetings, so she’ll join us as long as she feels inclined. This is Sparkles.

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Riya: That sounds great! Hello, Sparkles! My first question for you is: can you share how you balance the magical realist and fantastical elements with the personal narrative to create a story? What’s your process for that?

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Nidhi: Well, the reality of the character gives me a base. So it's not a complete fantasy. And that's part of why the magical realism works–because it's got that kind of combination that makes it easier for readers to access. Not that fantasy isn’t accessible–I do think fantasy serves a purpose. I like to read fantasy. But there's a lot of world-building and a lot of world introduction that you don't need in magical realism. Part of the reason that I'm drawn to magical realism is because it gives me a really good scaffolding for a character and a story in which I base real struggles. In that sense, magical realism allows me to use magic, not as a solution, but as a doorway, into what you can't see because you are too rooted in the real world. So for me, I always wonder: what if we could just open this door, and it took us to a different world, and then we could come back and refresh? 

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Riya: That is a beautiful description of the power of magical realism. Can we now turn to talk about how your approach to crafting a graphic novel has shifted over time (or has not shifted)? From your first graphic novel to your most recent work, how has your art changed?

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Nidhi: That's a good question. It's changed pretty dramatically–both in process and tools, and in terms of the actual writing and the execution. The bigger, more conceptual things have changed, as have the more logistical things. Most importantly, my writing has changed, because I've grown as a storyteller. I understand so much more about what is at stake, and what I have to do for my characters to make them relatable, to make them accessible, to make them flawed, but also to give them agency and give them a pathway forward. 

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The thing that I've noticed the most in my current storytelling is that I am now at a place where I can see the arc of the story; I can see ways that I can weave in things that almost are breadcrumbs, even though it's not a mystery. Some of my books are, but  the reader isn't surprised at some big reveal at the end or some twist at the end, because I'm guiding you in a way that feels more satisfying.

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Riya: Thanks for sharing that. Shifting gears: since the graphic novel medium in general draws upon a lot of visual metaphors and symbolism, could you share whether there is a particular recurring motif or element in your work and how it's evolved across your different stories?

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Nidhi: I think color is something that I think a lot about; from 'Pashmina' to 'Jukebox' to my current series 'Super Boba Cafe'. The one thing that's changed process-wise is that while I colored 'Pashmina' myself, with 'Jukebox' I chose my own colorist and I gave them a lot of direction and a lot of feedback.  Sometimes there are cartoonists who don't do a lot of color work, and they're really strong inks, and they just kind of let the colors do their thing. I'm a little more hands on than that because I do a lot of illustrative work that is in full color. So I understand that kind of gamut and that range. I like utilizing color to give the reader an indication of time to give the indication of fantasy, and of a difference of place. I also sometimes use color as a visual cue to indicate that something has changed–the time, or the location, or even the feel of a place. And I've explored that more and more as I've done more books. I find that–the visual aspect of comics–to be really gratifying because you can't really do that in prose.

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Riya: That’s wonderful! And it actually takes me back to ask you: what inspired you to start creating graphic novels?

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Nidhi: I always say this, and it is will forever be true. It is American Born Chinese. I read American Born Chinese, and prior to that, I had had a misconception of what comics and graphic novels were like. You know, coming from my background and my community, I feel that our community values awards and success–a very specific kind of success. I didn't really think about picture books and comics as a career path. It wasn't even something that I thought you could do full time, or was something of value, exploring different themes and topics. 

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My degree is in literature, and I love books–I've always loved books. But I always thought comics were something where you couldn't find the same things in comics. And then I read American Born Chinese, and it opened up my eyes and my world to a whole host of comics and graphic novels that not only bring in tough topics, but also address important topics in a way that was accessible. It was enjoyable, and I was just floored, reading the book, at how it wove in cultural things, internalized racism, and so much more. There were so many things that were happening in that one book, and I didn't realize that was possible in comics until then. And at that point, I went and looked for more. And when I looked for more, I came up short. There were no Indian graphic novels that I had come across. I'm sure there are some. But they weren't readily available to me. That's when I started to think that this would be a good thing for me to do. I had never made comics before. So it was a huge challenge. But I don't like to shy away from challenges. 

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Riya: Yes, I loved American Born Chinese as well! How do you think graphic novels can contribute to discussions about diversity and representation in literature? You already touched on this a little bit but I’d love to hear more. 

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Nidhi: Well, I think we’re in a renaissance of graphic novels right now. There are so many that are being rushed to the hands of readers because they're hungry for them. They're the most circulated in most libraries and schools. There's a big pushback, of course, because some folks think, “I thought that comics were a certain type of thing.” But I do think that graphic narratives have become more of a mainstay and they've become far more recognized and applauded for what they are. The National Book Award for children's literature just went to a graphic novel. I think that in terms of diversity and discussions around those topics, they are really just in step with the pros. They're bringing up the same issues. But I think that graphic novels have an ease to them that allows more readers to access them in a way that is comprehensible faster. When you pair a text with an image, your comprehension goes up 50 to 120%. That's a statistic I just know, you know; as a comics artist, you just kind of know these things. So many people have negative thoughts about comics and push back against kids reading graphic novels. But I think a graphic novel is very much just like a prose novel, just like any other book, and can contribute to that conversation about diversity.

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Riya: Thank you! This is my last question: what advice would you give to anyone who wants to create a graphic novel or is interested in learning more about that medium?

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Nidhi: Okay. My advice (depending on where you are in your life), is that if you're a young creator, there's a variety of things that I would share with you now, that are not based on what my experience was. What I did 15 years ago doesn't matter now. The things that matter now are: when you really want to make something, you often want to make this the big thing, you want to make your life's work–the thing that you've been thinking about, for ten, eight, or five years… you've been thinking about it for a long time. So it's hard to hear, but it's always good to start small and to do something that's shorter. Don’t abandon the thing that you've been thinking about for a long time. But to get your chops, get your experience, make all your mistakes, at something that's smaller. 

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And then the other thing that I haven't seen a lot of people talk about, but that I think is important, is: there’s a certain way that we see literature, and we see books, especially when we're young, we see it as kind of the end, right? Like, if I can get a book published, this would be so amazing. And I think it is. As somebody who's on the other side, it was amazing. However, there is the flip side of it, which is that then it goes from something that was yours, to something that is everybody else's. And that comes with a variety of things, a variety of comments and variety of reviews, and ways that I think you need to be prepared for. 

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I would say that when you're thinking about making a big book, and I think that you should, because it's a worthwhile endeavor, remember that not everything needs to be for everybody. Sometimes you can make something just for yourself. I think in the age of oversharing we are losing that sense of making art for ourselves and making art that maybe you just share with your best friend or you know, a few people that you're close to in your family. There's a certain kind of pressure that comes from wanting to do this, because you love books and love comics. So my message is: it’s okay to make art that's just for you. And it's okay to keep it private, if you're not ready for the deluge of comments and feedback. I would say: do it. Absolutely. Pursue whatever you want to pursue. Dream big. But just share when you're ready. There's no rush. 

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Riya: Thank you so so much It was such a pleasure to talk to you. You're so amazing! All the answers were so beautiful and inspiring.

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Nidhi: Thank you, it’s very nice to meet you. I love your project. I checked out your website for Comics for Change.

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Riya: It was so great to talk to you because I remember, I was always obsessed with graphic novels like Sisters and Smile. And we were in the airport on a flight to India as we do every year. And my mom told me to pick out a book for the flight at one of the little pop-up bookstores. And I found Pashmina! I'd never seen a graphic novel about an Indian girl. So I saw yours and I thought,“Oh my gosh!” I was obsessed with it. It's so beautiful.

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Nidhi: That's awesome. Well, I love that you found it. I'm glad that you found it. And your project is awesome. I'm sure you're gonna make awesome comics, whether you share them or not, you know? You seem so dedicated and this is a lot of work. 

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Riya: Thank you so much!

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Nidhi: Well, if you have any follow up questions or anything that you need, you know how to get in touch with me. All the best to you. 

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Riya: I will thank you so much. I really appreciate it. 

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