My last three long works have, or are going to feature a multiplicity of genders, races and that’s by design. On the completed side, there’s a hard science fiction novella featuring an all female cast and a novel with multiple sexual identities across the main characters. My current WIP is a long work – which is based in a society where gender fluidity is the norm and slaves are identified because they’re non-gendered.
I’m happy with these stories, love what they’ve allowed me to explore and I’ve deliberately chosen to construct them in this manner.
I’ve adopted this approach because I want to tell stories with these characters at the heart of what I’m writing – to explore their challenges and, in no small part, to allow me to work through the issues such ideas bring up. I’m not preaching to anyone about it and, to be honest, I’ve worked pretty hard to make these characters meaningful in their own sense – so that it’s not a side show that all the characters are female, or that there are people of every skin colour present. They’re there because they are – not to make a point, not to fulfil a stereotype or satisfy an agenda.
Yet this week, as I prepared for a number of panels in the upcoming FCon, I was reminded by one of the panel members as they discussed their experience of the world of publishing, just how hard it is to get from the word on the page to the audience. Furthermore, just how much hostility there is for all of the ideas I’m loving writing about. Homophobia, transphobia, plain old racism and deeply rooted sexism and misogyny appear to be present at almost every gate to getting stories out there (except self-publishing, because then you can just get on with it).
There’s a reason why non-white people are voted off Strictly and it’s the same reason why marketing people are wary of stories that are going to exclude possible audiences – because it hurts sales. It’s collusion with those forms of oppression – collusion with those ignorant hateful attitudes for sure, but it’s something else too.
Poor sales mean businesses stop making money and then people lose their jobs and whatever progressive hopes and ideas they had lose their channel into the public debate.
You can hate gatekeepers because they are the unwilling (I hope) face of society’s wider nastiness – they’re the people we see – the casting agents wanting young beautiful (by their standards) women to portray having sex with maverick older white men as the dominant picture of success. Literary agents who only want fantasy stories about the orphaned wunderkind who comes along to ‘magic/assassin/mythical’ school and beats everyone at their own game and changes the world within a context of hetero-normative relationships and maintaining the status quo of those in power…again.
Yet they are just that – gatekeepers – they understand the calculus and often, regardless of their personal preferences, are completely powerless to affect any change.
Do I wish they were braver? Of course I do (and the completed works of my own I’ve listed above have found homes), but when being brave gets your head chopped off does that have any point? Sometimes I think yes – better to resist fascists than capitulate. However, other times I think better to make small compromises on the promise of making the other side move at the same time. Sometimes not ceding the floor is the right thing to do just as much as sometimes you have to rip the other side’s face off or die trying (metaphorically of course, although I’m a sword fighter…so…I think it’s probably ok to punch nazis since they want to stuff me in a gas chamber).
I’m not going to stop writing stories with themes that I’m passionate about – with characters that I deliberately want to see from all edges of society who aren’t secretly super powered divinely ordained kings of old (which is why, incidentally The Last Jedi is brave enough to kick your faces in – who the hell wants to discover the galaxy’s fate is actually in the hands of a divinely chosen single fricking family??? I thought we were done with divine right…right?)
However, I think I need to acknowledge that many people out there aren’t going to want to read them – because I don’t judge my cis or trans characters. I don’t tell you that there’s a moral choice between hetero, homosexual or other identity. I’m interested in what those perspectives tell us about who we are for their own sake.
I wish I knew how to say this better. Sometimes people want to be homemakers. Sometimes they want to be part of a team and sometimes they want to self destruct. It’s these nuances that make writing (and living) so interesting. They don’t always fit in with the dominant narratives our society feeds us as ‘natural’ but screw that – shouldn’t we be questioning what we believe is natural, shouldn’t we approach our comfort zones and disrupt them? Isn’t that part of the point of fiction?
I hear the ‘I just want to be entertained’ argument a lot. Generally that’s code for ‘I want to escape to a fantasy that suits my prejudices’, which is of course why so many people hated TLJ – because it punctured the idea that maverick men can save the universe alone.
I’ve had this discussion with my kids – that films should make us FEEL something. That we should be wary of being manipulated by how other people tell stories but we should remain open to being moved to wonder, sadness, joy, despair and rage. Stories that deliver us out the other side having only confirmed our unspoken prejudices are, generally, unrepresentative and regressive (and I’ll debate that with you all day long) – stories that leave us washed out, excited, exhilarated, worried, scared, hungry and angry – those are the ones worth something.
I hope to write those stories. Sometimes I think I manage it. Regardless of that, I hope you can be brave enough to buy stories that aren’t obviously about people like you, that aren’t showing you nothing but a blurred out mirror with only the bits you like reflecting back.
Why? because then my friends who write together with those buy, market and publish those stories will be able to justify changing the world – because you’ll have done it first.