Cultural Sensitivity For Writers
These curated resources provide discussions on the topic of cultural sensitivity and ethical representation that may assist emerging writers in finding the best way to thoughtfully approach inclusion and representation of cultures and ethnicities other than their own.
Writing about other cultures, and from the viewpoint of diverse characters, is not new, but in recent years writers have rightfully become more aware of the cautions they must take when attempting to do so. This may be particularly necessary when producing work from within the contemporary western cannon due to the benefits and advantages many Caucasian writers have been born with due to the historical subjugation of non-white cultures, and the effects of this subjugation still being felt by members of those cultures generations later. With this in mind, writers must consider not only the results and effects of writing ethnically diverse viewpoints, but also their reasons for doing so (both for themselves and within their narrative worlds).
The Responsible Writer
Angela Savage, Australian author.
Angela Savage has written from the viewpoint of characters outside her own cultural experience – Thai characters in particular – and was prompted to reflect on her creative practice by Lionel Shriver’s opening address at the 2016 Brisbane Writer’s Festival. In this article the writer puts forth her own five-part framework for how to ethically approach writing across cultural boundaries.
Representation in Fiction: How to Write Characters Whose Experiences Are Outside of Your Own
Diana M Pho, queer Vietnamese-American writer, editor and public speaker.
The author reflects on the different ways in which two books from her childhood treated Chinese characters and culture. Pho acknowledges that past writers who have offensively stereotyped their characters likely were unaware of what they were doing, and notes that considered representation of unfamiliar voices an uplifting manner is something that can be learned. The article includes a differentiation between an ‘invader mindset’ and a ‘tourist mindset’, outlines steps that can be taken when writing diversity and provides additional resources
Don’t dip your pen in someone else’s blood: writers and ‘the other’
Kit de Waal, British/Irish author.
De Waal makes clear the inherent fault in the advice ‘write what you know’, and elucidates the reasons why, when writing what we don’t know, we have a duty to cultural sensitivity and ethical representation. The author discusses stereoptying, ‘the other’, and respect, concluding that as writers, we must show that we aren’t just appropriating but seeking to understand.
Cultural Appropriation in Fiction
Itxy Quintanilla, multimedia journalist.
The author notes that while the presence of inclusive narratives is increasing, so too is the danger of cultural appropriation. Quintanilla defines and discusses cultural appropriation and inclusive fiction, then outlines eleven steps that writers can take to mitigate this risk.
Representation: Concepts Unwrapped
University of Texas.
This is a teaching resource featuring a video on the topic of representation (transcript included), case studies and discussion questions. Although likely intended for classroom use, the discussion questions provide a great way to reflect and consider the issues in question
5 Tips for Avoiding Cultural Appropriation in Fiction
Proofed.
This article was written by an online proofreading service. It lays out helpful and concise tips for writing sensitively.
Whose life is it anyway? Novelists have their say on cultural appropriation
The Guardian.
Eleven novelists from diverse cultural backgrounds each offer a thoughtful statement on the topic of cultural appropriation.
7 Tips for Writing About Other Cultures
Kathryn Tanquary, American author.
Tanquary notes that she’s often reminded of her own privilege as a white writer in Japan and offers an accessible list of seven things to consider when writing other cultures.
A Poor Imitation: “American Dirt” and Misrepresentations of Mexico
David J Schmidt.
This review of the same novel critiqued by Fernandes is a similarly critical insight into the failings of American Dirt. Schmidt summarises his review claiming that ‘Despite its entertainment value, American Dirt is an extremely inaccurate representation of the real situation of a real country’ and ‘It is time to see clearly, to allow Mexico to tell her own story in her own voice.’
The Great White Social Justice Novel
Sujatha Fernandes.
Fernandes uses the novels American Dirt and Act of Grace as a focal point for this article, asking and attempting to answer the question ‘why has the Great White Novel become the publishing industry’s answer to hate?’ Fernandes criticises the author of American Dirt for crafting migrant characters as sympathetic only by making them fit ‘white Western notions of who is considered a deserving and empathetic subject’ and notes the fault of Act of Grace in its presentation of characters as mouthpieces rather than real people. The article contains numerous links to relevant articles and statistics and notes a series of novels by non-white authors as a more authentic alternative to the abundant works of white writers. Fernandes concludes with a note that white writers providing a voice for the oppressed is not enough; ‘Rather, we might begin to think about how to reimagine writing and publishing, based in the connections we are forging from isolation, the growing assertion of minority groups who are speaking up […] and the demands to renew funding of public sectors in health, welfare education and the arts.’
Other peoples’ stories
Jeanine Leane.
Leane frames her article with a memory from her childhood of wanting to be white in order to see herself represented in fiction and media. She notes that the settler stories written by white authors – especially those that reach for ethical representation – should not be scrapped, but challenges the notion that they are Aboriginal stories. The author notes her discomfort when asked the question of whether white writers can or should write Aboriginal characters, claiming to have no authority to answer, and goes on to suggest methods of considered and considerate representation of Aboriginal characters. She cites the inequity of the Australian education system, including the lack of non-white voices in the canon being taught, and prompts questions that writers approaching representation of unfamiliar characters should consider: ‘Why do you want to write Aboriginal characters? Do you know any Aboriginal people? Have you read any of our books? What is your motivation? What do you want to say? Whose story is it going to be? Have you sought appropriate permission from the parties involved? Finally, why do you want to speak about Aboriginal people when you can never speak for Aboriginal people or be an Aboriginal voice?
Indigenous Cultural Protocols and the Arts: A book of case studies
Terri Janke and Company Pty Ltd, Lawyers and Consultants.
This link contains an in-depth, freely-downloadable document about why Indigenous Cultural Protocols are necessary in the arts. It provides case studies that represent best practice when working with Indigenous Australians on Arts projects and breaks down how each protocol was used. This is a highly-useful, professional document that provides practical advice grounded in real-world examples.
Cath McKinnon, UoW professor
In her article ‘Writing white, writing black, and events at Canoe Rivulet’.
“If I didn’t write an Indigenous narrator was I really writing about what it meant to be Australian? If I couldn’t write an Indigenous narrator did that mean I couldn’t write a Greek narrator? Or a Turkish one? It seems absurd to suggest that a writer should never write outside his or her own experience”
Angela Flournoy, American writer,
In her essay 'A Place to Call One's Own' from the book Light the Dark: Writers on Creativity, Inspiration, and the Artistic Process’.
“It’s not about having a background that lines up with the characters you’re writing about… That’s not the responsibility of the fiction writer. Instead, you have the responsibility to be knowing – to understand, or at least desire to understand, the people you write about.”
Resources curated by Matt Campbell