New Year’s countdown of 2018 reader favs: day 4

In selecting highlights of 2018 from this blog, I’ve chosen posts resonate as well in these last days of the year as they did when first written. This one about writing diverse characters in our fiction first appeared March 27, 2018.

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When submitting stories, I often come across pleas from editors for diverse characters. But can authors write about people who are different from themselves? Will diversity simply lead to cringe-worthy narratives that typecast members of minority groups – not to mention women -- as surely as putting a red shirt does to a Star Trek extra? So, I circled the panel at the weekend’s WORDfest whose title was “Writing Outside Your Identity – tips for responsibly and realistically portraying other races, genders, abilities & beliefs” as a must-see. 

Thanks to moderator Ann Fields and panelists Rebecca Balcarcel, David Douglas, Kathryn McClatchy and Bill Ledbetter, I now have some tools to keep my diverse characters from being doomed to anonymous death. Tools to rip those red shirts off their backs and replace them with a rainbow of roles.

“What’s your most effective tip for inhabiting the skin of a character different from you?” moderator Fields asked her panelists, who included a Hispanic woman (Balcarcel), two differently-abled writers (Douglas and McClatchy, who is also a Native American), and yes, Ledbetter, an actual self-identified white guy without any special qualifications in sight. Except of course, that he’s a writer. And one eager to avoid emulating a nameless and clueless colleague who attempted to write a humorous take on sexual harassment. (Ouch!)

The key, often repeated by panelists, was to remember our common humanity – and that of our characters and readers.

l-r, Douglas & McClatchy

“We all have the same likes and desires,” Ledbetter said, “but everyone has their own backstory. I try to focus on ways I might be like the person (in the story) and steer away from the way I’m different. . . but I do think you should be brave and not shy away from writing a variety of characters. Don’t block people out.”

Balcarcel agreed – to some extent but cautioned writers to know their limits. Just as Ledbetter admitted he hasn’t (yet) tried to write a sex scene from a woman’s point of view, Balcarcel noted that although she’s the mother of autistic children, “I don’t know that I would write an autistic kid (character) in first person.”

What happens when the character’s difference lies not in ethnicity or ability but in sexual orientation? Can a straight writer do justice to a gay character? (I’d love to have heard from a gay author about writing straight characters!)

Falling back on the bedrock of common humanity with different backstories, Balcarcel noted, sexual orientation “is not all there is to say about that character. Write against type if there are types.” 

And as Douglas noted, “I so have a perspective about being disabled, being in a wheelchair. The inner part is the same, but you can add outer layers.”

And of course, no “red shirts.” Characters of color should earn their spot, panelists said. Don't write a diverse character just to be diverse.

What if the “different” character is the story?

Balcarcel admitted having qualms as she undertook a story about Sally Hemings, the mixed-race slave woman with whom Thomas Jefferson had a long-term relationship (and who DNA evidence now proves fathered Hemings’ children). 

“I didn’t think I had the right to that story,” Balcarcel said. But after doing extensive research, Balcarcel found herself at a conference sitting next to one of Hemings’ descendants.

“He said, ‘Write that story. You’re a human being, plus you have done the research – so write that story!”

Ledbetter noted the benefit of having a diverse group of writing friends to give him feedback. McClatchy agreed there. “This is one of the most important reasons to be in a writers’ group. . .  (Also) we should be reading the works of people different from us. Part of writing outside our identities is dropping the assumptions we have about people. If we don’t have characters outside our comfort zone, our characters fall flat.”

And don’t be afraid to ask for help. “I would so much rather you ask me what it’s like living with a service dog,” McClatchy said. “When you mention you’re a writer, it opens doors. People want their stories to be told.”