#ILLibrary15 Illinois Library Association conference panel on Diversity

In October 2015, I was moderated a panel of authors and illustrators of diverse books at the Illinois Library Association meeting in Peoria, Il.

B A Binns, Miranda Paul, Chris Raschka, Laura Park

This well attended panel presentation took place in a double room at the Peoria Civic Center on October 23, 2015 in front of a packed crowd of public and school librarians eager to learn and panel members eager to do our job to help.

But looking back, I'm afraid we failed on one particular question. One librarian asked if any of us had ever been asked to change a character's race or ethnicity. We all gave quick, and technically correct answers: No, nothing like that had never happened to any us. Then we went on to the next audience question.

It was only after the presentation ended that I realized the answer was too quick and too literal. No, none of my editors has ever asked me to change a character's race. But they have done other, sometimes more sinister things.

Before I was published I had someone explain that my black male character did not talk like a real black man. That person gave me a list of books featuring black characters to read as examples of how African-American males talk, books written by white authors that featured stereotypical black characters. My brother and I had a laugh when I told the man I used as a model that he did not talk like a black man. I had one editor who looked at my first published novel, Pull, claim the heroine was too smart. I still get the "I just can't feel this character" kinds of comments from editors looking over my books; something that I never hear from readers. And right now, one of the editors looking at my most recent manuscript said the dialog "needs a lot of work."

No, they didn't exactly ask for a change in the race of the character, but I do get comments that would never happen if the character were white. Like the suggestion that I was wrong having the mother of a boy recently released from juvenile detention feel ashamed because that kind of behaviour is normal in neighbourhoods like that. Or that it was unrealistic that a ghetto school would have a thriving music program.  When I mentioned that I never said the place was a "ghetto" just that the student body was predominantly black and latino, the response was to tell me that if it was not a ghetto area I needed to say that in so many words.

So no, I've never been asked to change a character's race in so many words.  I just get the push backs because of their race.

It's not just me. Some authors censor themselves first. I know one black author who writes white characters because that's the way she can get published. CCBC statistics show that many Asian authors do not create Asian characters. ( See the numbers on books by and about different races as compiled by the CCBC - the Cooperative Children's Book Center -   http://ccblogc.blogspot.com/2015/09/the-numbers-so-far.html) At the same time I have seem a middle grade book whose publishers decided to "shade in" (and that's a direct quote) one of the characters and call it diverse.

This is the real answer to the question.

Class on incorporating diversity in your writing

Authors, are you interesting in using more diversity on your writing?

Beginning August 31, I will be teaching the Adding The Spice Of Diversity to your writing class in conjunction with the RWA Online chapter.  

 

Course objectives:
1. Gain a better understanding about what is meant by diversity
2. Learn why diversity is important to writers, publishers, and especially readers
3. Learn about problem tropes and caricatures to avoid
4. Understand the importance of cultural research and provide  some new sources for research
5. Find new ideas for characters, settings, building tension, and conflict that can both spice up your plots and attract new readers
6. Help you build the confidence to use these new ideas

Take a look at  http://www.rwaonlinechapter.org/campus.htm for more information and to register.

This is a four week online course and the cost is only $15. 

Hope to see you in class! 

Adding the Spice of Diversity class

Some of you know that I give workshops and teach classes for authors and readers.  One of those classes is Adding The Spice of Diversity.  Originally given as a Workshop at the 2014 Chicago North RWA Spring Fling conference, the material is now a four week course allowing attendees time to delve deep in to the issues and find solutions that match their needs.

Comments from previous students:

Thanks you so much for the great workshop. In the car on the way home, I figured out how to solve a major problem with one of my short stories, thanks to some of the things you said. - Mary Driver-Thiel

The online class is being offered in February 2015 in association with the Young Adult RWA chapter. Find out more about the class and register at YARWA Workshop site

Course description:

Many authors fear inserting diverse characters and settings into their work for fear of creating a stereotype of not getting it right. This course will explore both the reader’s need for something different, and ways an author can put those different characters on the page free of stereotype. This includes characters from different races, ethnic backgrounds, and with disabilities.

Course outline:

Week 1 What is diversity/multiculturalism? (It may not be what you think) Why is it important to writers/readers
Write what you know - good advice that may not mean what you think it does Week 2 Taking ourselves out of the story, putting the character in
Research
Introducing your characters and settings to your readers. Sometimes the hardest work happens at the start. Week 3 Backstory - Getting to the heart and soul of a character
Setting
Description
Dialog/Voice Week 4 Final touches & Resources Keeping it together, revision and editing and keeping things real

This is a four week class and will include homework assignments. The target Audience is beginner and intermediate writers and anyone interested in about adding diversity and multicultural elements to their writing.






Interested in taking the journey? Register at  YARWA Workshop site 


PS: The winner of the free spot in the class was Patricia M. Congrats and I can't wait to work with you in February.

Happy Holiday

My holiday gift to you is a short story (OK, flash fiction) I wrote featuring characters from my second book, Being God. Malik Kaplan's mother is Catholic and his father Jewish, so when the relatives get together to celebrate the holidays, festive is not always the right word.

If you read to the end I hope you enter the contest for a chance to get a free seat in my writing class on crafting diverse characters and situations - Adding the Spice of Diversity to your writing.   The class begins in February, winners will be announced the second week in January.

Chanukah

“Hey there, rocket man.” Mom’s eldest brother, Willie (I would have been a priest, but…) tries to rub my head, like I’m seven instead of seventeen. His new girlfriend giggles.

I nearly barf.

Our house is the spot marked X for the last day of Chanukah, which comes on Christmas Eve this year. The whole Chanukah/Christmas thing used to confuse me. I mean, Catholic mother, Jewish father. Neither all that heavy into religion, what did they expect? I was almost six before I understood there was a difference between Mom lighting a tree and singing hymns, and Dad lighting candles and chanting prayers. The dual season gives me more of everything, including a mountain of Chanukah gelt, chocolate coins wrapped in gold paper to make them special.

I also get more relatives.

I’m surrounded by family; Catholics, Jews, and a few uninterested in the idea of a deity but wanting their own version of gelt: free food. Mom takes her role as the wife of a black Jew seriously, fixing latkes from a non-traditional recipe that includes jalapeño’s because Dad likes them. She put up mistletoe as part of her yearly impossible mission of turning us into an old-fashioned Christmas card family, shiny black and brown faces and cheezy smiles.

“Where’s your husband?” Tyrese, Mom’s younger brother, clutches a crucifix like he’s begging God’s forgiveness for even entering this house. “It’s dinnertime.”

The door opens, bringing a blast of winter air and Dad. I catch a whiff of motor oil as he passes me and leans in to kiss Mom’s cheek.

“About time, Dwayne.” Willie sounds like an unforgiving parent. “We’re starving.”

“Sorry, I had a last minute customer snafu,” Dad says.

“You’re the owner; don’t you have people to handle Christmas Eve snafus?”

“This was a special customer,” Dad says gently.

Tell him to stuff it, Dad.

He never does. His brothers-in-law aren’t hot stuff. They talk smack about Dad, as if running an auto shop makes him dirty. Dad knows all about engines; they can’t even change the oil in their cars. Uncle Willie asked me once if a hemi was a disease. I know Dad hears how they rip into him. Yet every year he smiles and invites them back.

“I’ll shower and be right down.” Dad runs upstairs.

Mom herds the guests into the dining room. Instead of following, her brothers move to a corner.

“She abandoned her religion for that jerk and he ignores her over some ‘special customer.’” Willie makes air quotes, just like the girls at school.

“Don’t disrespect my dad,” I say angrily.

“He disrespected my sister first,” Willie says.

“You just hate on him because he makes more money than you.”

“Anyone could make money if they’re willing to get their hands dirty.”

“Not in front of the boy.” Tyrese tries to cut his brother off.

“You’ve said worse,” Willie insists. “This kid’s the mistake that forced Sis to marry Dwayne.”

“Mistake?” I can’t be a mistake. My head spins.

“You’re the best thing Dwayne ever did,” Tyrese says. “No one blames you.”

“Take your blame and shove it.” Dad steps to my side. His hair is moist around the red kipah on his head; his eyes spit fire. “Neither my son nor my marriage was a mistake.”

“Maybe we should go.” Tyrese fingers his crucifix.

“No.” Dad’s lips tighten, hands clench at his side. “My wife wants you here. You’ll stay to make her happy.”

Dad and I enter the dining room together. “Would you perform the mitzvah berakhah?” The familiar scent of motor oil still clings to him.

“But…you always do that.”

“Not today.” He smiles. “You are the best thing I’ve ever made. You say the blessings.”

My hand shakes when I take the shamesh, the server candle, and chant the words I learned at Beth Shalom in Chicago; the blessings thanking God for miracles performed for our ancestors.

Baruch atah Adonai Elo-heinu Melech ha’olam asher kid’shanu b’mitzvosav v’tzivanu l’hadlik ner shel Chanukah

As I light the other eight candles of the chanukiah, I give silent thanks for my personal miracle, standing beside Mom.

There are no mistakes in our family.

Click here to enter contest for a free spot in Adding The Spice Of Diversity To Your Writing class

SCBWI Prarie Writers and Illustrators Day Diversity session

Today I am off at Harper college in Palatine, Illinois for SCBWI's annual Prairie Writer's and Illustrators day, a conference for filled with authors, illustrators, editors and agents. There are contests, workshop sessions, portfolio reviews, and general information sharing and networking. This year they are featuring something new. Lunch and Learn sessions, where people will meet and discuss different issues. I will have a table where people will come to discuss diversity and multicultural issues in children's books (which is just about my favorite topic).  I've got handouts discussing

1. Why we need diverse books
2. What these authors and Illustrators can do

The discussion will include the #WNDB movement, some of the historical issues in getting diversity and multiculturalism into children's books, how diversity is more than most people thing, the need for authentic voices, along with ways attendees can be more mindful of stereotypes and caricatures while still including diversity in all its facets (race, ethnicity, sexual orientation, physical and mental disabilities and much more) in their writing.

God, I'm on my soapbox already.

I'll also be giving a shout-out to a new group forming, the Association of Children's Authors and Illustrators of Color.  We are authors and illustrators out to meet the need for children's books featuring characters of color. Our website, ACAIC.ORG will be launching later this year.

Writer's group farewell

I am about to be completely, almost scary honest.  I'm an author, and I belong to multiple writing groups, we share our work, do critiques, give feedback, share tips and all that stuff.

Last night I attended my very last meeting of one group.

To me it's an example of what happens when good ideas go bad. There is a lot of turnover in the group. New people are allowed to walk in, read and begin critiquing with little background and no training. As a result, it has become a group of people who live to hear how great their writing is. I've recognized the problem, when I have something to critique people gush about the story details  but seldom have anything helpful to say about the writing and possible areas that need improvement.  We have several people doing memoir-type books and the so-called critiques have become gossip fests as people reminisce about an event, either the one being written about, or something similar that happened to them, or even once about something they saw on TV that was similar.  Last night I was trying to tell one young writer about plot and point of view, and the others jumped in saying "it's a fable, it doesn't need all that stuff."  The story involved a dying mother talking to her child, and one member whose father recently died gushed over the similarities. Forget that the story was in essence a soliloquy, it made her remember her own loss and cry, and that was enough for her.

I'm all for encouraging new writers. I'm teaching a class right now and have students with lots of questions who are eager to find ways to improve their writing skills instead of just having someone tell them they are stars and gush over the subject matter.  Social clubs have their place. So do venues where people read their writing and everyone applauds. But those aren't critique groups they are cheering sections.

Here's a question. What do you expect from a writer's group, Accolades? Self-affirmation? Criticism? Tell me, am I expecting the wrong things?

Class - Man Talk starting in November

**CLASS BEGINS** Man Talk Workshop.  Presenter: B A Binns

I am giving a four week class in November, entitled Man Talk, with the nitty-gritty of making your male characters sound real.  This is designed for those of us blessed with two X chromosomes who need to write about those people who happen to be XY. I'll share what I've learned from men, teachers, and shrinks about writing male characters of every age, while researching for Pull, Being God and Minority of One. 

As a special note, week three includes the opportunity for class participants to get individualized critiques from me on their own writing. Come join me, it will be fun and painless and there's only a little homework.

The class is sponsored by  Outreach International Romance Writers. For more information and a syllabus, look at: http://www.oirwa.com/forum/campus/#NOV5

Dates: November 1-30, 2014

Deadline October 29, 2014

Fee: OIRW Member $20

Fee: Non-Member $25

Registration: Non Members

Registration: OIRW Members

 

MAN TALK is designed to help writers make their male  characters talk and act more believable on the page. This is meant for both beginner and Intermediate level authors.  If you’ve ever been told that your male characters (hero, villain, and even minor characters) act a little too feminine or don’t seem realistic, this class can help change that.

We begin by building a guy from the brain out and understanding the filters he uses to see his world.  The lessons include:

A review of the impact of cultural issues

How the child and adult archetypes fit in without creating stereotypes

Backstory and how to use his personal history to make readers believe that whatever he does, it is exactly what a guy like him would do. 

Verbal and non-verbal communication styles

How emotions are handled (yes, there is more than just anger), as well as friendship, fights, and love. 

When to use the male POV and when to avoid it.

And finally, how much reality readers really want.

There are outside readings and homework. So bring your guys (the ones on the pages) and we will search for solutions. Please come with a male character from a WIP or one that you are developing, along with any specific issue you want addressed.  Please bring your specific issues.

Attend, and don't be a lurker

Schedule

 Week 1 Building our fictional men from the inside out

The Male Brain

 Male Archetypes

YA guest lecturer

Week 2

External influences, including culture

His backstory
M/M guest lecturer

Week 3

POV

Emotions

Feminine Markers

Dialog

(Note, during week 3, critiques of short excerpts of student writing are offered)

Week 4

Friendship, fights, and love   

What are romance readers looking for in the man on the page (i.e. how real should you be)

And yes, there is homework.