First off, Nisi Shawl has a blog post up about Rochita Loenen-Ruiz, a Butler Scholar and one of my Clarion West students--and the Octavia Butler Scholarship program. You should go read it because it's beatiful and satisfying and a perfect example of how SFF, at its best, is a family I am proud to be a member of. Also, it contains some ideas on how one can go about encouraging Diversity in Our Despised Genre.

Second, climbed tonight. Half a move higher on my project wall--got my hand on the next hold but couldn't stick it. I'm now really really good at the bottom two thirds, though. Screamed when I fell off it, and the route setter was standing right there, so I teased him a little. *g*

Other than that, 5.6 warmup and then three 5.8s I've done before, and I had a good time doing them. Also, new routes accomplished last week were rated 5.8, 5.8, and 5.9, respectively. Go, team me.

Then I made wonton soup for dinner.

Now I'm going to watch old episodes of House until I fall asleep.

Yeah, I'm late to the party.  Apparently, this has been her new look for years. *sigh*

matociquala (1:22:17 PM): Speaking of annoying, since when is Vixen a white girl?  (linky)
cristalia (1:24:34 PM): Since the spinal surgery?
matociquala (1:24:57 PM): heee
matociquala (1:25:06 PM): They accidentally sent her to Michael Jackson's clinic?
cristalia (1:25:37 PM): Who's bad?
matociquala (1:25:54 PM): Good lord, they did.
matociquala (1:25:56 PM): (link)
matociquala (1:26:04 PM): She had a process while she was there.
matociquala (1:26:36 PM): It chaps Diana's ass, too. You can tell because she's hiked up her panties to avoid irritating it.
matociquala (1:26:44 PM): How do you fight crime in anal floss?
cristalia (1:27:03 PM): ...badly.
cristalia (1:27:05 PM): With jiggles.
matociquala (1:27:09 PM): Her boobs are less ridiculous than Clark's biceps though.
cristalia (1:27:11 PM): (okay, maybe Diana's butt doesn't jiggle.)
matociquala (1:27:19 PM): He has like four sets of muscles there
matociquala (1:27:26 PM): Diana has an ASS OF STEEL


For reference, the Vixen in my head looks like this.

...this is probably why I keep not reading superhero comics any more...

An excellent blog post by the estimable Justine Larbalestier on "whitewashing" in cover art. 

And no, really, authors don't have control over what goes on the covers of our books. Unfortunately. Because as Justine says, this is exclusionary and also kind of dumb, and like so much in our industry, smacks of Received And Unquestioned Wisdom that has gone unexamined since the 1930s.

It sounds like Justine gets more input than I do (as I would expect and is only fair, as she's a bigger "name") --I don't get to see preliminary sketches. Often I find out what my cover will look like when it goes up on Amazon.

What follows is a brief rant on my own frustration regarding this topic.

Of my published or nearly-published novels, nine (Hammered, Scardown, Worldwired, Blood & Iron, Whiskey & Water, Carnival, Undertow, All the Windwracked Stars, and The Sea thy Mistress) feature primary or secondary protagonists who are not white. Of those, exactly one (Carnival) has a character of color on the cover, and Michelangelo's face, while clearly bearing African features, is almost entirely obscured by a mask.

Now, I actually love the Carnival cover--it's beautiful, and it captures the book very well. But I would love it more if it didn't feel like part of a toxic trend. (Well, there's no cover art yet for TSTM. Maybe one of the two dark-skinned protagonists will get on it.)

I find this intensely frustrating. (When I first picked it up, I remarked on the cover of gregvaneekhout's Norse Code, which has a Latina protagonist, portrayed on the cover by Ambiguously Ethnic Lass. (Two of my dearest friends have Ambiguously Ethnic Lass as a superpower, but neither they nor Greg's cover art make me think "This young lady is of Mexican descent!") But she is at least potentially somebody who might be of mixed heritage, unlike the mysterious thirty-year-old white woman with cleavage down to there portraying a fiftyish Iroquois on some of my book covers.)

Of the rest of my books--well, Shadow Unit doesn't have any cover art, and what art there is we commissioned. (You can meet the characters here.)

Dust and Chill have largely-white casts with a few characters of Southeast Asian/American descent, for various reasons involving my theories about who the crazy-ass Christian apocalyptic eugenicist cultists would be taking into space. (This will change in Grail. Yeah, that was a hint.) But at least Chill has the albino on the cover now instead of some random winged girl. Ink & Steel, Hell & Earth, A Companion to Wolves, and By the Mountain Bound have all-white casts, for demographic reasons (I could have brought in Azeem the Wonder Moor, I suppose, but tokenism annoys me unreasonably) having to do with the historical period and geography, so I have nothing to complain about there.

It'll be interesting to see what happens with The Steles of the Sky, if anybody picks those up, as for demographic reasons having to do with the historical period and the geography--as with Carnival--there are no white people in that book.

Dude. Marketing department. How hard is it to just put the damned brown-skinned protagonist on the cover?  

I await the response with bated breath.

The amazing Nalo Hopkinson (in my opinion, one of the five best writers of English-language fantasy in the history of the genre) has a wonderful essay today on what it means to be a fan or writer of color in the SFF genre.

Her essay is part of a protest meant to increase the visibility of people of color within the genre.

As previously posted, that you may shop more conveniently, I offer the ongoing nonexhaustive list of authors of speculative fiction writing in or translated into English who are not of European descent.

If you think that list begins and ends with Octavia Butler and Chip Delany, may I respectfully suggest that you click the cut tag. Emendations and additions are encouraged.

( Out of pity for your scroll bar... )

So I was thinking this morning about what I said about having a problem with the lack of female characters (other than the redheaded assassin) in kenscholes' book, and that got me thinking again about an ongoing problem in all writing (and most art), which is, of course, Writing The Other without being a dick.

I still hold by the unpopular theory that it's actually pretty simple. (Simple, in this case, still does not mean "easy.") That in the long run, we are all people, and the basic similarities in the Venn diagram are more prevalent than the differences.

Please note, as a fantasy and science fiction writer, I spend a lot of my time writing things that are really Other--intelligent wolves and giant talking stag-headed ponies, for example. Also angels (fallen and otherwise), hyperintelligent supercolloids, virtual winged dinosaurs, and other stuff. So I keep thinking, well, if I can write something that doesn't even have the same senses I do, how hard can it be to write a Jewish former Army Captain from St. Louis?

Well, the problem is, I'm much more likely to run into a Jewish former Army Captain from St. Louis. And she'll tell me I'm getting it wrong. The talking stag-headed flying ponies don't have much of a lobby here on our planet.

But here's the thing. Unless I'm going to write people just like me, I'm going to have to write The Other. And there's gotta be a limited market for EBear self-insertion novels. Especially if it starts looking like that scene in Being John Malkovitch, where all the Malkovitches are walking around going Malkovitch Malkovitch.

You know. Like you do.

And besides, then I'd just be like, the butch girly version of Tom Clancy, and--well, that doesn't bear thinking about.

So I'm going to have to write people who are not like me. Okay, cool.

How do I do that?

Well, I think the first step is to stop thinking about those people as The Other. Because they're not. I mean, okay, they may not be a lot like you? But they're also people, and if you can question your own cultural assumptions about what people ought to be like, and also the stereotypes you've probably assimilated without knowing it, you can hopefully write people who are not just like you.

They're not Those People. They're people. People are us.

You may not be able to do it with the kind of deep immersion somebody who grew up in that culture can--one of the real joys about cristalia coming on board for Shadow Unit is how much easier it's getting to make Falkner properly Jewish--but you can at least try not to make a dog's breakfast or a blaxsploitation film out of it.

You probably know some people who are not like you, and not like mainstream culture either. One thing to do is ask.

I am not Jewish. I am not Catholic. When I write Jewish or Catholic characters, I try to get a couple of friends who are Jewish or Catholic to read those stories and tell me where I blew it. I'm also not middle-class, black, latina, Muslim, Canadian, white American (in the sense that yes, I am fairly amelanistic and chiefly though not entirely of European descent, but my cultural upbringing has very little in common with that of your average WASP)...

...I'm really not anything at all. I've rejected the subculture I grew up in and was acculturated to. I'm totally out of touch with what it's become in the intervening fifteen years.`

So if I'm going to write anybody, really, I have to find somebody to ask. 

When I wrote "Sonny Liston Takes The Fall," I threw myself on the mercy of a lot of friends with heritage through the African diaspora, because it was important to me to get it right.

Not writing the story was not an option: it was in me and it wanted out, in the way that art has. And I still honestly think it's my best work, and I really hope I did it justice.

But when I write, I am very aware, always, that if I am writing a character who has a personal background that is not bog-standard, there is going to be some twelve year old kid out there who is going to find that character, and it's going to be the only character like them they have ever seen, and if I screw it up then I am, essentially, tossing sand in the eyes of that kid.

I knew that when I was writing Lily in Whiskey and Water. I knew it when I was writing Jenny Casey.

Actually, now that I think about it, I suspect the thing that all of my characters have in common is that they are somebody's Other. Because, having been the Other all my life, it's what I know how to write.

And because of that experience, I desperately do not want to be part of the problem. I want to be part of the normalization. I want to work against the idea of The Other in any way I can. I do not wish to contribute to tokenism, or stereotyping, or kicking sand in the eyes of that twelve-year old kid.

I've been that twelve-year-old kid, and I've seen my story exploited (cheaply, commonly, because some of the things that contribute to my own status as Other are things that are hot-button issues for a lot of readers, and easy for the writer to install and then push, push, push) and you know what?

It feels awful, and I'm going to try very hard not to do it to anybody else. I will probably fail, because people do fail, but I'm going to try.

So, okay, I said it's simple but not easy. How do I do it?

1) For one thing, stop thinking about this person you're writing as The Other. Think of them as human, an individual. Not A Man. Not A Woman. Not A Chinese Person or A Handicapped Person or A Person With Cancer or a Queer Person. A person. Stop trying to make them universal, and make them unique.

1a) Do not use Otherness as a basis for pointing out how Wrongheaded Those People Are. Or, conversely, How Enlightened And Noble. They're not. They're people. Sure, you can pick the subculture you like and line 'em up and knock them down, and some are easier targets than others. But out there, somewhere, is a 12-year-old kid just beginning to tentatively explore her sexuality as a furry, and do you want to be the one who makes her feel even more ashamed and awful than she already does?

If you are going to write about people, try to be humane about it. Please do not use queerness, whiteness, blackness, obesity, or any such thing as a shorthand for Ebil. (I have a special hate in my heart for Teh Ebil Albino. One of my best friends is albino. I will give you a Very Disappointed Look if I find you bandying about Teh Ebil Albino. Guy Gavriel Kay, I'm LOOKING AT YOU.)

Also, do not use it for a shorthand for Good. If all your good people are carnivorous and polyamorous, and all the bad ones are vegan celibates, we're going to catch on. You're either overcompensating, or you really hate vegans.

(One of the editorial comments on Carnival was that the New Amazonians should be culturally lesbian. I said no for several reasons. One: I believe straight people exist. I even know a few. Two: I was not going to have that subtext in my book, thanks.)

2) If you do not know a great deal about people who share experiences with the person you are trying to write, research. Find some people whose lives were informed by similar experiences and talk to them. Read primary sources.

ETA: per nojojojo's comment below, do the research before you corner your friends. Possibly even do the research, write the story, and then ask them to read it for dumb mistakes. if your friends are writers, so much the better. Also, do not assume that the experience of your friends is Universal, because they are also unique individuals, and real live cultures and subcultures resist being simplified into An Experience. (The Gay Experience. The Black Experience. The White Experience. The Rich White Guy Experience. The Jimi Hendrix Experience... okay, that last one is valid.)

Also, if you actually understand what you are writing about, it's much less likely to come across as exploitative or hurtful.

3) Listen. And try to listen with openness and without assuming you understand. In anthropology, we talk about ethnocentrism, and the idea that cultural preconceptions color everything we perceive. Try to alienate yourself a little from your own tribal programming. Try to set aside your gut reaction to things that may seem horrifying or inexplicable or ignorant, and accept that your tribal programming is just that, tribal programming, and this other person's life is as valid an experiential path as your own.

When you create, try to reflect that, rather than using it as window dressing.

ETA: 3a) When you create your alien races, please please please try to make them something other than thinly disguised Japanese people. It's racist, and we will notice. No, really. We will.

4) Diversify. If you have one woman, one person of color, one queer, one whatever in the universe you're creating, chances are that they will be perceived as a token, and anything you do to them will become fraught with symbolic freight. If you only have one female character, and her major contribution to the plot is to get raped and then marry the hero and have babies, I don't care what you intended to say about her strength and recovery from trauma, I'm going to see a writer who brings a woman on stage just to have her get raped and let Hero Protagonist show a little sensitivity. If you only have one character of color, and she's there to teach the protagonist earthy wisdom, mentor him, and then get snuffed, I'm going to roll my eyes.

5) Be wary of patterns. If all your characters who are not like American Culture Base White Middle Class Protestant Male Able default seem to have the same sorts of things happening to them, people will catch on. (Frank Miller, I'm looking at you.)

6) Accept that no matter what you're doing, some people are going to think you're getting it wrong.

And that's okay.

Quite probably, for them, you are, but you can't make everybody happy. It's physically impossible. And at least you'll be doing the best that you can.

...since it just came up again...

Here's a nonexhaustive list of authors of speculative fiction writing in or translated into English who are not of European descent.

Nationality is not considered. Many of the writers in question have non-speculative work as well, and in some cases the majority of their work may be non-spec. Magic Realism is considered as a genre unto itself, currently.

The original post where this list was compiled is over a year and a half old. It's here (http://matociquala.livejournal.com/1181728.html), and additions and emendations are encouraged.

(For all your Carl Brandon Society Awards-nominating needs. And also for the recommended reading of anybody who thinks the work of SFF writers of color began and ended with Octavia Butler and Samuel R. Delany.)

( Behind the cut, out of pity for your scroll bar.... )

Boy, it's kind of nice to see how many screens that fills up.

Now go buy some books.