e are often told: write what you know

4/4/12 An Outsider's Guide to Writing Multicultural Fiction

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By BJ Marshall

Bonus!: Words in the Dust: A Case Study in Writing Multicultural Fiction withAuthor Trent Reedy and Editor Cheryl Klein

e are often told: Write what youknow.

Those are valuable words of wisdom that have

brought many authors great success. But what if you

want to write about what you don’t know? What’s a writer

to do when she’s bursting with inspiration for characters

whose lives are very different from her own?

Other writers have done it—to great acclaim as well as to hefty criticism.

Is it possible to create engaging multicultural characters who are believable and

true when we haven’t walked in their shoes? What does it take to bring to life a

Korean heroine from another era or a young Afghan protagonist in the throes

of war?

When the very culture and family life that shapes your characters and stories

are foreign to you, it’s easy to fall into clichés or keep your distance. But with a

healthy dose of respect and solid research, you CAN create multicultural

characters that will capture the hearts of your readers. Authors from many

genres have done so with resounding success, and they’ve shared their best



genres have done so with resounding success, and they’ve shared their best

tips with WOW! Five incredible authors, editors, and agents share their

successes and struggles on the road to publishing memorable multicultural

books based on characters that refused to step aside.

“There’s a certain amount of

escapism that’s nice when we

imagine ourselves in exotic places.”

(Photo: Elise Capron)

Readers Love Being Swept Away

Multi-culti books are doing brisk business these days. Whether it’s traveling

overseas through the experience of a dynamic character or traveling back in

time to an enclave of America that has been long forgotten, readers love to

learn about other ways of life.

“A big part of reading, especially these days, is that we want to learn while we

read,” says Elise Capron, literary agent and office manager of the Sandra

Dijkstra Agency.

Multicultural novels give us a way of seeing the world and learning about it from

a different lens, if only for a while.

“It’s an important part of understanding the world and what it means to be

human,” Capron says. “There’s a certain amount of escapism that’s nice when

we imagine ourselves in exotic places. It’s also a great way to learn about

history around the world through fiction that is still entertaining.”

Perhaps you have been inspired by your own travels, a family history, or simply

a special connection you feel with another culture. Whatever the reason, more

writers than ever are tackling the challenge of telling a story based on a culture

that’s not their own. Here’s how to take readers on that enlightening journey—

and perhaps become enlightened yourself along the way.

“It’s about being fully present inside the skin of

our character.”

(Photo: Gayle Brandeis)

Through the Eyes of a Beloved

Character

From children to adults, readers love

CreativeWritingMaster's

Learn the Toolsand Techniquesto Bring your

Stories to Life!www.FullSail.edu



From children to adults, readers love

to hear tales of exotic or quirky locales. It’s through the pages of a book that

we can experience the sights and sounds of a foreign land or a different way of

life through the eyes of a beloved character. These characters often teach us

that people all over the world are more alike than they are different, despite

outward appearances and daily customs.

Creating those beloved characters that take us on the journey takes profound

respect, says Gayle Brandeis, author of The Book of Dead Birds, which won

Barbara Kingsolver’s Bellwether Prize in 2002. “Coming from a humble and

respectful place is crucial,” she said.

The protagonist in Brandeis’s novel is a Korean woman, and Brandeis says it

took a lot of research for her to feel comfortable telling the story.

“This character felt so real,” she said. “But I was completely terrified because I

knew very little about Korean culture at the time; and as a white woman, I just

didn’t feel like that was my story to tell.”

When she couldn’t get the character out of her mind, Brandeis turned to

research to make sure that her character’s thoughts, actions, and dialogue

were authentic. “I decided that I needed to write this character with as much

research as possible, so that I could write with knowledge and respect and

authenticity,” she said.

Though book research was an important part of her process, Brandeis felt it

was critical to have a complete sensory profile of Korean life. She spent a great

deal of time in Korean-heavy neighborhoods near her California home, eating

Korean food, listening to Korean music, and absorbing the sights and sounds

around her.

“When we experience it with our bodies, we can write about it in a more three-

dimensional way,” she explained. “Then it’s not just a mental exercise—it’s

about being fully present inside the skin of our character.”

“I think the job of any good writer is to get into the head

of your character or your situation.”

(Photo: Caren McNelly McCormack)

For Caren McNelly McCormack,

getting an in-depth look at her

characters’ ethnic customers

simply meant being observant

throughout her childhood.

McCormack wrote her picture

book, The Fiesta Dress, based

on her experiences growing up

in Texas and attending the

traditional quinceañera

celebrations of her Latina friends.

“I don’t think you have to be a member of a certain ethnicity to write

authentically about that topic or that group,” McCormack says. “I think the job

of any good writer is to get into the head of your character or your situation.”

McCormack believes that the research and professionalism required for

multicultural fiction hold true for all types of writing. “If you look at historical



fiction, none of the authors lived in the time period they’re writing about,” she

said. “I don’t see multicultural writing as that different.”

If you’re anything less than intimately familiar with the culture that has inspired

you, in-depth research is critical. Immerse yourself in books, photographs,

films, and documentaries about it.

Author Lisa See, who is part-Chinese and has written a number of best-selling

books based on her family history and cultural heritage, agrees that hefty

research is a must. “Do all the research you can—go to your local library and

read everything you can find; go to a university library and read published and

unpublished dissertations on your subject; and poke around on the Internet to

see what you can see,” she advises.

See also recommends visiting every place that you write about if possible,

putting yourself in your character’s shoes at every step along the way. “The

biggest pitfall I see is not doing the work,” she said. “Readers will spot that a

mile away.”

If you can’t get to the setting in person, savor the sensorial details that will give

you a true picture of day-to-day life by spending time with people from that

culture. “Having a connection with people is really a way to make sure you are

making the character ring true,” Brandeis advises.

Agents and editors have seen countless manuscripts in which writers haven’t

done their research and can spot them right away. “With fiction, you can really

tell that the author has done a lot of research. It doesn’t feel fake, and it

doesn’t feel forced,” said Capron.

To get to the place where research brings your story to life, keep in mind the

passion for the characters and culture that sparked your journey. It’s that

combination of research and passion that will make your story sing. “You can do

enough research until you get to a place where you can write what you know;

but I still believe you should have a deep-heart, blood affinity for your story,”

said See.

“I still believe you

should have a deep-

heart, blood affinity for

your story.”

(Photo: Lisa See)

The Devil in the Details

Even if you have a gripping tale and beloved characters, a publisher may not be

willing to take a chance on your work if you haven’t perfected the details. That’s

your chance to show that you’ve mastered the intricacies and know the culture

inside and out.

For McCormack, that’s what sold her editor on the manuscript. “The way she

used Spanish throughout the story, it felt like it was flowing; and you weren’t



used Spanish throughout the story, it felt like it was flowing; and you weren’t

thinking about it being a Latino story. You were just getting pulled into the

story,” said Marilyn Brigham, McCormack’s editor at Marshall Cavendish. “I think

that showed that it was coming from a more authentic point of view.”

In many cases, that means going beyond the surface to understand some of

the lesser-known traditions and meanings in a given culture. For example,

Brandeis learned through her research into Korean culture that using a red pen

symbolizes death, and that writing someone’s name in red had great symbolic

meaning. Whether it’s something that dramatic or knowing precisely what type

of shoes your character would wear, specific cultural details can bring your story

to life. “If you get the details right, that will bring a level of authenticity to the

story that will be hard to dispute,” Brandeis says.

In addition to adding authenticity, the details can teach us about another

culture and add depth to the story. “Writers should keep in mind all the little

things about a culture that readers may not know and really want to learn

about,” encourages Capron. “Everyday details of life are where some of the

most exciting stuff can happen.”

Just as important as the details you put in the story are those you leave out. If

there’s a critical component to life in your character’s culture, be sure you’ve

worked it into your manuscript. Glaring omissions can be just as off-putting.

“The way she used Spanish throughout the story,

it felt like it was flowing.”

(Photo: Marilyn Brigham)

Talk It Up

Through dialogue, you have the opportunity to let your character’s personality

shine through. It’s especially important to get the dialogue, word choice, and

speaking patterns right in a multicultural work. When writing the dialogue for

her Korean character, Brandeis had reservations about using broken English,

but felt it was critical to the authenticity of the story.

“I was a little concerned that the mother’s broken English would come across as

stereotypical sounding, and I really didn’t want that to be the case,” she said.

By spending time in Korean neighborhoods talking with those around her,

Brandeis was able to get the dialogue just right. “It’s about just listening to

people speak around me and trying to get those rhythms right,” she said. “But

it did feel like a tightrope.”

When you’ve done all your homework and polished your manuscript, be sure

that one or more trusted members of that ethnic group reads your work before

you begin the submission process. If there are inaccuracies, omissions, or

awkward dialogue, a solid review by an honest reader can help catch any issues.



Multicultural Fiction Writer’s

Checklist

Research the culture extensivelyand with an open mind.

Fill your senses with the sights,sounds, and flavors of theculture.

Remain humble and respectful.

Ensure that your character’sexpressions and dialogue areauthentic.

Have someone from that culturereview your work.

Add details about the culturethroughout your story—bespecific!

“Fully committing to the character and leaving

your insecurities behind is the key to writing a

passion-filled story.”

Don’t Hold Back

If you’ve got an ethnic character that captures your imagination or a multi-culti

plot line that won’t leave you alone, don’t be afraid to embrace it. Fully

committing to the character and leaving your insecurities behind is the key to

writing a passion-filled story.

“Don’t let the fact that you aren’t a member of a particular group stop you from

writing those stories,” McCormack encourages. “If that is where you have

inspiration or where you’re drawn to, don’t be afraid. If you do your homework

and you come to it with the preparation that you hopefully come to any story

with, you can come out with an authentic and successful piece.”

Brandeis confesses that her initial concerns held her story back until she finally

decided to write it in the first person.

“I had been writing in the third person because it seemed safer—I was

observing my character and not pretending to be her, which seemed like less of

a creative risk,” she said. “I think my work suffered because I was keeping my

distance.”

Once she began writing in the first person, it all came together.

“I realized when I was done writing it how much I had in common with the main

character, even though she is so different from myself,” Brandeis explained. “It

was a great reminder for me of how fiction can help us connect with people who

are other than us. We end up realizing that we’re all humans, and we all share

human stories.”

Keep Your Story Strong

No matter in what context or culture your

story takes place, the key elements of

good writing still apply. “All of this still

comes down to good storytelling, and

good storytelling can occur in any

environment or context,” said Capron.

She encourages writers to focus on

creating a solid opening to hook readers.

“Everything you have, and every decision

that an agent, editor, and reader make are

going to be based on that opening,”

Capron encourages.

She says it’s also vital to read heavily in

your genre. “A writer has got to

understand what is already out there to

understand if his or her character is fresh



Avoid clichés and stereotypes.enough,” said Capron. “And be able to

come to the work with a really critical eye

to see if it is unique enough.”

The Power of Fiction

Though the settings, customs, and daily lives of the characters in multicultural

fiction are unique to each culture, many of the emotions and needs the

characters express are universal.

Though a good portion of McCormack’s readers are Latino, she believes that

many simply enjoy and relate to the story, which deals with a little girl’s feelings

of being left out during an important family event. “To some degree, that

happens to everybody, whether it’s a quinceañera or a bat mitzvah or

something else,” she said. “The universal connection is a child feeling left out in

the middle of the action.”

Although McCormack successfully created an authentic Latina character and

story, Brigham admits that many authors fall short when writing outside of their

own ethnicity. “In Caren’s case, she had been immersed in that culture growing

up, and her work was flowing with authenticity,” she noted.

Take a page from McCormack’s book—figuratively speaking—and see if

multicultural work inspires you. Maybe seeing the world from another point of

view will expand your horizons, and give you a window into yourself.

“This process really reinforced for me that fiction is all about connecting,” says

Brandeis. “It’s dangerous if we tell ourselves we can only write about our own

experience because then fiction isn’t doing its full job of stretching us wide

open.”

***

BJ Marshall is a freelance writer living in the Chicago

suburbs. Though she doesn’t write multicultural fiction,

she does know how to tell a good story. Read about her

adventures trying to take her family in a greener

direction at www.confessionsofagreenmom.com or check

out her website at www.bjmarshall.net.

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