Journal Articles:

• “The Trouble with Transmediation: Fandom’s Negotiation of Transmedia Storytelling Systems” (2010) in Spectator: “I’d like to…close by pointing towards one of transmedia’s greatest potential threats: its ability to fracture fandom and studies of fandom into two gendered camps, instead of focusing on its intersections and questioning binary assumptions about how fans consume and produce.”

• “Fangirls in Refrigerators: The Politics of (In)visibility in Comic Book Culture” (2013) in Transformative Works and Cultures: “I don’t mean to suggest that the comic book industry treats female fans as brutally as it occasionally treats its female heroes, but rather that female fans of comic books have long felt ‘fridged,’ an audience segment kept on ice and out of view.”

• “Towards a Theory of Producer/Fan Trolling” (2018) in Participations: “[Instances] of producorial or fannish trolling reveal a great deal about each groups’ esteem for one, but also function as part of broader efforts to reassert power and/or align one camp with the other’s distinct understandings of ‘appropriate’ affect.”

Publications on In Media Res (“Each weekday, a different scholar curates a 30-second to 3-minute video clip/visual image slideshow accompanied by a 300–350-word impressionistic response.”):

• “‘Something to Prove?’ Contemplating the Fake Geek Academic” (2014): “If the ‘fake geek girl’ and GamerGate movements seek to silence marginalized voices, open source academia needs to collectively ensure that these instances of authenticity policing don’t have a similar effect on scholarly production.”

• “WoMEN’s Work: Representing Fan Labor on Heroes of Cosplay” (2015): “[Professionalized] female fans are represented and received differently from their fanboy counterparts, whose capacity to professionalize their labor is rarely scrutinized.”

• “On the Feminist Impact of DC Bombshells” (2015): “Between franchises like DC Bombshells, and transformative fan art movements like The Hawkeye Initiative, we appear to be in a moment in which the intersections between pin-up iconography and superheroine representations are being challenged and repurposed.”

• “Rethinking Fan ‘Investment’: Legion M and the Future of Fanancing” (2018): “What [Legion M delivers] is a pedagogical vision of corporatized fan culture, in which the perks of professionalization (e.g. access to “pitch elevator” contents, Hollywood premiere and parties, and celebrities) are valued above creative autonomy or fan community.”

Guest Blog Posts on Confessions of an Aca-Fan: The Official Weblog of Henry Jenkins::

• “Acafandom and Beyond” (2010), conversation with Will Brooker, Melissa A. Click, and Sangita Shresthova (Part I, Part II): “A fannish sensibility isn’t a quirk that must be concealed, but something that can be wielded strategically to think about how to model transformative scholarship, or design more participatory pedagogical models.”

• “Kickstarting Veronica Mars: A Conversation About the Future of Television” (2013), conversation with Aymar Jean Christian and Mauricio Mota (Part I, Part II, Part III, Part IV): “Many, myself included, are inclined to view the Veronica Mars Kickstarter as a prime example of fan empowerment… But, I still worry about what it means to discursively celebrate fans’ power in purely economic terms.”

• “The Last Jedi: An Online Roundtable” (2018), conversation with Will Baker, Mar Guerrero-Pico, and William Proctor (Part I, Part II, Part III): “My primary complaint is that the film so consistently pulls its punches both representationally and mythologically.”

In Ausma’s Own Words:

• “Writing about Human Rights and Civil Rights” (2015), a guest post for Southern Writer’s Author’s Blog: “I’ve always been deeply interested in human rights and civil rights issues, so with every book I write, I’m looking to tell a story that focuses on one or several of these issues.”

• A guest post for Dear Reader (2015): “I’ve been an untrained, unqualified singer since I was five years old and insisted to my mother that I should have won first prize at a competition instead of coming in second for mispronouncing the words, ‘Winter Ade.’”

• “If the Devils of Our Imagination Are Let Loose in Politics, What Can Literature Do?” (2017), an article written for The Globe and Mail: “[The novel] must insist on complexity and nuance, it should reflect a plurality of voices, no matter how challenging the task.”

• “Fighting Injustice with Fiction: The Activism of Ausma Zehanat Khan, On and Off the Page” (2018), a post for CrimeReads: “[When] we connect with each other’s humanity, person to person, story to story, we’re able to forge a bond of empathy, which may in turn lead to action.”

• “Month of Joy: My Father” (2019), a post for The Skiffy and Fanty Show: “[My father] helped me with these projects, teaching me to grapple with all sides of an issue, but he made sure I understood that the well-being of the patient should be central. This is just one of many reasons why he was an amazing father, and just one example of how deeply he shaped my character and worldview.”

• “Grief and Understanding” (2019), an article originally found in The Globe and Mail, published in the wake of the New Zealand shooting: “My work as a writer is to describe that weight: to make it tangible and real, so that the wall of separation between those who experience the impact of hate and those who are immune to it erodes.”

Ausma in Conversation:

• Interview for Megan Write Now (2017): “What I find inspiring is when people try to do the right thing even when the odds are stacked against them. It’s not that you succeed at bringing down Goliath, it’s that you try because you know you deserve better.”

• Interview for The Qwillery (2017): “Much of the fantasy I read is about the struggle between good and evil and the desire of good people to reclaim their worlds from darkness. I find that necessary and relevant today.”

• “On Feminism, Islam and Civil Liberties in an Era of Fear: Ausma Zehanat Khan in Conversation with Monia Mazigh” (2017), an article for The Literary Review of Canada: “I’m a Muslim woman of South Asian background, born in England, essentially Canadian, but I’m also starting to feel like an American, and I just as frequently refer to myself as Pakistani, or some hybrid identity that encompasses all of these. I negotiate these identities differently depending on the cultural context I’m in.”

• “I’m Novelist Ausma Zehanat Khan, and This Is How I Work” (2018), an interview for LifeHacker: “With my Khattak/Getty crime series, I’m looking outward at intersections and points of conflict between different communities. With The Bloodprint and The Black Khan, I’m looking inward at the communities I come from, and attempting to be reflective and self-critical.”

• “Writing Novels with a Purpose: Muslim Woman of the Week: Ausma Zehanat Khan” (2019), an interview with MissMuslim: “Everything I’ve written, my years with Muslim Girl Magazine, the life I’ve lived, the women and communities I know, and the depth of sisterhood I’ve benefited from throughout my life—it all speaks back to this. It rejects a lack of agency as the prism through which to view Muslim women.”

Mishell’s short fiction:

• “Throwing Stones” (2010): Originally published in Beneath Ceaseless Skies, a short story about a young man disguised as a woman and a goblin disguised as a human who discover that they have a common purpose.

• “Break” (2011): Originally published in Daily Science Fiction, a story in which aspirin counters the effects of a love potion.

• “Vaporware” (2011): Originally published in Redstone Science Fiction, a short story where two characters use simulations to select between eight embryos.

• “Fire in the Haze” (2016): Originally published in Beneath Ceaseless Skies, a short story that revisits the protagonist from “Throwing Stones” many years later.

In Mishell’s own words:

• Not as Crazy as You’d Think: The Borderline Protagonist in Fantasy (2016), a guest post in Uncanny magazine: “So in fantasy, at least, a Borderline is in her element. And if we can imagine a context in which a stigmatized disorder does not destroy the life of the person who suffers from it, what questions does that raise?”

• Interview in My Bookish Ways (2016): “For me, what makes Millie sympathetic is how hard she works at getting through or around her own vulnerabilities . . . I guess you could say she’s given up on giving up.”

• Interview in The Speculative Herald (2016): “ I knew that I wanted to write about someone who had survived a suicide attempt, because I have such strong feelings about the phoenix-like effect of hitting rock bottom and then emerging into an entirely new existence.”

• Mishell’s The Big Idea post (2017) on Whatever, John Scalzi’s blog: “Anytime we battle the invisible, whether it’s a ghost or something that haunts us psychologically, the only weapon is investigation. Find the source of the pain and hold a mirror to it, create something real and tangible that you can fight in its stead.”

• A Heroine Like No Other (2017), Mishell’s interview in The Huffington Post: “I always think of my stories as ‘interactive’ even when they aren’t, in the strictest sense.”