how to convey arabic language in a specific dialect is being spoken without lengthy descriptions of how words/specific letters are pronounced?

Anonymous asks:

I believe my question revolves around linguistics, but please correct me if there’s something I didn’t take into account.

I’m an Egyptian girl who speaks Arabic (the Egyptian dialect specifically), and I am currently writing an urban fantasy set in modern day Egypt. Naturally, the characters would be speaking Egyptian arabic (i even have a scene where my character converses with a tourist and struggles to speak to them ‘in english’) 

But as the story is written in english, I found this is really hard to convey, especially with the entirely different alphabet, and the words that simply cannot be transcribed (sometimes in definition, and sometimes in letters that don’t have an equivalent).

What would be a good way to send the message that these characters are by no means speaking English (unless stated) without having to hold the reader’s hand through lengthy descriptions of how a word is pronounced at every corner?

Hi Anon! This is a tough spot. I’m no expert, just a mod and fellow writer trying to support your fantastic ask. Any bilingual readers, especially other Arabic speakers, feel free to chime in.

1- Disclose they’re speaking Arabic, even though you’re writing in English:

Example A: “Hey, Noor! Wait up,” he said in Arabic. 

Example B: “Habibti, I haven’t seen you in a while,” she reminded me. It was true - I had missed the lilt of her Darija-Moroccan dialect-so different from the Mesri, the Egyptian twang, that rolled off my tongue.

2- Consider using Arabic semantic structure or phrases and idioms used mostly in Arabic.

Example A: She reddened with embarrassment. // They whitened at the sight of it. ((English would probably say she ‘turned red’ rather than reddened, or ‘paled’ rather than whitened. Since Arabic has this natural and fun ability to let color be a verb, which English can but doesn’t have naturally - make use of it! It will read differently in English because it’s an Arabic construct. Use other examples like this that you’d know better than me.))

Example B: Consider using “May the Gods smite her house!,” instead of the classic English ‘Fuck You.’ Or use “On my eyes” rather than ‘min ayooni’ or its English translation of ‘of course.’ Since Arabic language is beautifully expressive, you could lean into that when you can rather than using common English alternatives.

 Example C: Consider interspersing Arabic transliterations of common words/phrases like; habibti/habibi; yani; mashallah casually through the story.  

3- When speaking with English speakers, consider using informal text/chat speak (Arabizi?) to communicate the Arabic, since it’s already transliterated to the Roman alphabet. [disclaimer - I am atrocious at this, and will be surprised if anyone can read it… but for science!]: 

Example A: Instead of (انت طالب بالجامعة) or “are you a student?” it becomes; 

“Ente 6albeh bel jam3a?” I asked, staring at the textbook in his arms. 

He looked at me confused. “I don’t understand,” he said. “I can’t speak Arabic.” 

“Wain 3m tedrus? Where do you… y3ni… where do you study?” I tried again in slow, awkward English.

These examples may or may not work for you. It’s important to remember that there’s no single “right” way to do this, but it’s mostly about finding a balance that reads well, and feels good to you. Subtle cues like sentence structure, idioms, the occasional untranslated word, and natural context can help to show the language shift. Good luck and happy writing!

~ Melanie 🌻  

P.S. Mod Meir suggests checking out the book When the Angels Left the Old Country by Sacha Lamb, which handles this issue well. There’s a lot of “He said in English” or “He repeated it in Yiddish for the old woman’s benefit” or “It took him a moment to realize he had spoken in English” (( Thanks Sacha! @kuttithvangu ))

@run-remi-run asks:

Hello, I’m developing a teen character living in Michigan and have been considering making her/her family Jewish; however I’m worried they’ll fall into the evil Jewish person stereotype. The teen is the protagonist of her story, but she is pressured into killing at least one person. I understand that villains in media being portrayed as Jewish or with Jewish features has furthered antisemitism, and I understand my character isn’t exempt from this just because I see her in a positive light. Should I refrain from making her Jewish?

This doesn’t fit the stereotype

If the whole idea is that she’s pressured into doing bad things, that doesn’t fit the stereotype or trope at all because the trope has us as evil masterminds but in your scenario she’s the one being manipulated. The negative trope isn’t just “Jewish person does something bad” it’s a lot more specific than that.
-Shira

Any Michigan influences?

Commenting strictly as a Michigan resident: is there any reason why you included the character’s Michigander origins in your question? Is there something about Michigan that’s influencing how you think a Jewish character might be depicted or viewed by others in your story? I’m asking not to be interrogatory, but out of curiosity and need for clarification.

–Jess

Evil Jewish person stereotype

Shira’s answer speaks directly to this and a lot more concisely, but I wanted to take a minute and go deeper into the phrase “Evil Jewish person stereotype,” for the sake of helping break down what’s actually happening and why it works the ways that it does.

There are two forces at work here, not unrelated to each other but not identical either. One is the portrayal of evil characters using tropes that suggest Jewish coding, and the other is a cultural suspicion of Jewish people’s motives and actions. They’re two sides of the same coin, perhaps, but I’d like to look at them separately, since the difference–that one refers to fictional characters and the other to actual people–matters in the context of reading and writing fiction.

Jewish coding in Villain characters

There are aspects of a character’s physical appearance that can suggest Jewishness even as we acknowledge that Jewish individuals don’t necessarily match those looks. Those might include a hooked nose, hair that is curly or red, a sallow complexion, an angular face. These attributes are not inherently bad: a text portraying them is antisemitic when these attributes are a visual signal of bad motives or are only present in bad characters and not good ones. Although not at issue here, it’s worth noting that these attributes can also raise questions in settings where all Jewish characters have them, because the flip side of these attributes being used to denote Jewishness is the erasure of Jewish people who don’t have these looks. 

 There are also aspects of a character’s personality that are repetitions of historical accusations against Jews, justifications for violence or persecution rather than reflections of genuine events. These might include greed, arrogance, bloodthirstiness, and a willingness to hurt or kill children for personal gain. These tropes have accrued over centuries in spite of the fact that every single one of them runs counter to any genuine Jewish values because ultimately, they’re not based on real-world actions by real-life Jewish people, but a product of leader after leader over time riling up their followers into dehumanizing a minority population, for the usual reasons people have for dehumanizing minority populations. 

Jewish coding in villain characters is not necessarily the same as stereotyping Jewish people as being evil. It does however support and maintain unconscious antisemitic biases. That is to say, when you meet someone who is Jewish, you’re not necessarily thinking “Mother Gothel was coded with Jewish tropes so this Jewish person probably is evil,” but if someone shows you a picture of a person with a hooked nose and curly hair and says “this person is greedy and hurts children,” exposure to Mother Gothel and other fictional villains on the same model might make you less likely to say “That doesn’t sound right.” 

Meanwhile, back in Michigan

Like Shira said, your character is not the mastermind of the murder she’s being forced into. Rather, she’s a victim of whatever character or circumstance is forcing her into it. As long as that’s apparent in your narrative, you’re not supporting an existing harmful trope or stereotype. I would treat the concept differently if this were, for instance, a dark narrative of a remorseless killer. In the current climate I would also advise against any imagery of a Jewish person of any age or agency killing a child or person of color of any kind, as that is the latest iteration of the medieval blood libel in modern times.  I would even have pause in this situation, where she’s not the author of her own act but does commit it, if she does not experience remorse or if she enjoys doing it. What matters here is her motive. 

If this character is Jewish, then that’s going to affect her approach to the incident in certain ways. While Christian and Christian-influenced secular culture regard “good” and “bad” as the ultimate thing to worry about, even at the cost of martyrdom or murder, Judaism places life as the highest value. There are very few of the laws and customs of Jewish life that one is not expected to break in order to avoid death, but one of those is murder. Now, Jewish characters make choices that aren’t perfectly consistent with Jewish law all the time, so what I’m asking is not to not write this, but to write it on purpose.

• What does it do to your character?
• Who is she before and after?
• How many of us could truly choose to die rather than kill in her situation?
• Does she own perhaps a necklace or decor item with the word “חי” on it?
• What does seeing it do to her?
• In what other ways does her Jewishness make her interesting and relevant as a character?

If it’s just curly hair and matzah ball soup on an otherwise Christian character, why bother. But if you’re willing to put in the time to research Jewish attitudes toward life and death and how they differ–even and especially in a teenager’s schema–from the Christian and Christian-influenced majority conception, then there’s room for an interesting narrative here. 

-Meir 

Anonymous asked:

I have a character in a comic I’m hoping to write one day. She’s a light skinned black woman(she’s half white if that helps!) living in New York City during an 80s themed post nuclear apocalypse. The comic’s main characters are all rock stars, so a lot of the character design elements revolve around the different rock genres. The character in question is in a glam rock band, so there’s lots of bright, saturated, crazy colors involved in her design.

The problem I’m having involves this one story beat where she gets mutant superpowers that give her electricity and sound based abilities. Her skin turns cotton candy blue as a result of the mutation. I’m hung up on whether or not this might fall under some kind of skin lightening or white-washing trope since it’s a fairly light shade of blue. I designed her mutant look before her human look, so this was well before I’d even figured out what race she was, and I simply thought the shade of blue would compliment both the electricity powers and the fact that her hair is dyed pink. Is there a way I could still make this work? Or am I worrying about nothing?

Ideally, it would be nice to keep her brown skin tone. There’s a common comic and supernatural trend where Black people’s skin is covered up by a suit or Black-coded characters are an unnatural color (blue, green, purple, etc).

This is more of an issue when: 

• There are no other Black characters of those identities besides the covered up/ ones with unnatural skin colors.
• The creator adds this change to make them “special” because they do not believe Black characters, with features commonly associated with Black people like dark hair, skin and eyes, are acceptable enough for the character to stand on their own.
• The supernatural special Black people are treated well by the story. The “non-special” Black people have unhappy stories and misfortune.
• Other races of characters do not get their skin covered up or changed. Only the Black ones and/or BIPOC in general.

I think a quick fix for this would be for her skin to turn blue when she’s actively using her powers, at random, or other specific times, besides constantly. If she needs to be more consistently “mutant looking” Are there other ways she could change without her skin color changing or changing completely?

People with glitter on skin, light surrounding their face, and blue braids. Images from pexels.

More ideas that keep her skin brown

Hair

Her hair color changes blue or your color of choice (which could include body hair too, which would give her a more “otherworldly” appearance).

Note: If her hair is curly or natural, please keep it so! At least, the powers shouldn’t change it straight.

Eyes

Her eyes glowing brighter or colorfully during power-use.

Note: If they’re usually brown, they could stay brown when powers not in use, like Marvel’s Storm in some versions.

Storm by Marvel Entertainment//20th Century Studios.

Skin and body

• Blue patterns appear on her skin.
• Blue glow or sheen to her skin without fully changing the color.
• Her skin projects color and light.
• New growths or changes to body, such as ear shape, wings, etc.

No matter what you decide, please make clear in your tale that she’s a Black mixed race woman. And have fun!

More reading:

How Special is Too Special? The Politics and Characterization of Stacking Special/Abnormal Traits on Mixed Race Characters

~Colette

Anonymous asked:

I have a short story planned revolving around the supernatural with a Jewish character named Danielle (who uses they/them pronouns). Danielle will be one of a trio who will be solving the mystery of two brides’ deaths on the day of their wedding. My concern with this is the possibility of accidentally invalidating Danielle’s religion by focusing on a secular view of the afterlife. At the same time, I don’t want to assume that Jewish people can’t exist in paranormal stories, nor do I want to use cultural elements that don’t belong to me. So, how do I make sure that Danielle is included in the plot without erasing their Jewishness?

Okay so to start with I think we need to ask a question about the premise: what is a secular afterlife? I’m not asking this to nitpick or be petty, but to offer you expanded ways of thinking through this issue and maybe others as well.

A Secular Afterlife

What is a secular afterlife? To begin with, I get what you mean. The idea of an afterlife we see in pop culture entities like ghost media owes more to a mixture of 19th-century spiritualist tropes drawn from titillating gothic novels than to anything preached from the pulpit of an organized house of worship. Yet those tropes–the ominous knocking noises from beyond, the spectral presences on daguerrotype prints, the sudden chill and the eerie glow, all of those rely on the idea of there being something beyond this life, some continuation of the spirit when the body has ceased to breathe. For that, you need to discount the ideas that the consciousness has moved on to another physical body and is currently living elsewhere, and that it was never separate from the body and has now ceased to exist. Can we say that this is secular?

More so: Gothic literature, as the name suggests, draws heavily on Catholic imagery, even when it avoids explicit references to Catholicism. Aside from the architectural imagery, Catholic religious symbols permeate the genre, as well as the larger horror and supernatural media genres that grew from it: Dracula flinches from a crucifix, priests expel demons from human bodies, Marley’s Ghost haunts Ebenezer Scrooge in chains. The concepts of heaven and hell, and nonhuman beings who dwell in those places, are critical to making the narratives work. 

The basis also draws from a biblical story, that of the Witch of Endor. The main tropes of Victorian spiritualism are present: Saul never sees the ghost of Samuel, only the Witch of Endor is able to see “A divine being rising” from wherever he rises from, and her vague description, “I see an old man rising, wearing a robe,” evokes the cold readings of charlatan mediums into the present (Indeed, some rabbinic sources commenting on this assert that this is exactly what was going on).

While neither of these views of its origin define the genre as the sole property of Catholicism–or of Judaism for that matter–it would be hard exactly to categorize them as secular.

A Jewish Perspective on ghosts

However, it’s not the case that ghost media is incompatible with Jewishness, assuming that it doesn’t commit to a view of heaven and hell duality that specifically embraces a Christian spiritual framework. 

Jewish theology is noncommittal on the subject of the afterlife. The idea of a division between body and soul in the first place is found in ancient Egypt, for instance, earlier than the earliest Jewish texts. In Jewish text it’s present in narratives like the creation story, in which God crafts a human body out of earth and then breathes life into it once it’s complete. It also appears in our liturgy: the blessings prescribed to be recited at the beginning of the day juxtapose Elohai Neshama, a blessing for the soul, with Asher Yatzar, expressing gratitude for the body, recited by many after successfully using the bathroom. 

Yet it’s not clear that this life-force is something separate than the body that lives beyond it, until the apparition of the Witch of Endor. The words we use to describe it, whatever it is, evoke the process of breathing rather than that of eternal life: either ruach (spirit, or wind) or neshama (soul, or breath): neither is a commitment to the idea that it does–or that it doesn’t–go somewhere else when the body returns to the earth. 

Jewish folklore, however, leans into the idea of ghosts and other spiritual beings inhabiting the earthly plane (and others). Perhaps most famous is the 1937 movie The Dybbuk, in which a young scholar engaging in kabbalistic practices calls upon dark forces to unite him and his fated love, only to find himself possessing her body as a dybbuk. It appears that he is about to be successfully exorcized, but ultimately when his soul leaves her body, hers does as well. 

More relevantly to your story, a Jewish folktale inspired the movie The Corpse Bride. In the folktale version, a newly-engaged man jokingly recites the legal formula he will soon recite at his wedding, and places his ring on the finger of a nearby corpse–a reference to a time when antisemitic violence is said to have gotten worse not only at Jewish and Christian holidays as it does still to this day, but around Jewish weddings as well. The murdered bride stands up, a corpse reanimated complete with consciousness, and demands that the bridegroom honor his legal obligation. 

In the movie, the bride gives up her demand willingly: her claim on him is emotional rather than legal, and she finally accepts that he has an emotional connection with another person, that he doesn’t love her. In the folk tale, the dead woman takes him to court to decide whether their marriage is legal, since he spoke the legal words to her in front of witnesses as is required, and the court rules that the dead do not have the right to make legal demands on the living. In this version, the moral of the story is that a legal formula is an obligation; that when he jokingly bound himself to the corpse, he not only disrespected the dead but also the legal framework that structures society, and by so doing risked being obligated to keep his side of a contract he never intended to enact. 

This speaks to the ways that a Jewish outlook can differ from a Christian-influenced “secular” one. Christian-influenced cultural ideas can often focus around feeling the right thing, while Jewish stories will often center on doing the right thing. Does the Corpse Bride leave because she realizes she is not the one he loves? Because she–or he–learned a valuable lesson? Or because she loses her court case? It’s not that the boy’s emotions are irrelevant to the story–the tension, the suspense, the horror of the story takes place primarily within the boy’s emotional landscape–but emotions on their own are not a solution. The question “should he marry her” can be answered emotionally, but “has he married her” can only be answered by a legal expert, and once it has been the deceased bride may not have changed her emotional attachment to him, but she no longer has legal standing to pursue her claim. 

Centering legal rectitude over emotional catharsis isn’t a requirement for having Jewish characters in your story, but it’s worth thinking about what is and isn’t universal, what is and isn’t actually all that secular. 

Meanwhile, back at the topic:

Where does any of this place Danielle?

Well, unless you’re positing a universe in which Christian or other deities or cosmologies are confirmed to exist (See Jewish characters in a universe with author-created fictional pantheons for more on that topic), there’s no reason why they shouldn’t be perfectly fine interacting with whatever the setting you’re building throws at them. 

My wishlist for this character and setting runs more to the general things to consider when writing fantasy settings with Jewish characters: 

• Don’t confirm or imply that Jesus is a divine being. That means no supernatural items like splinters of the cross, grails, nails, veils, etc. There’s nothing particularly powerful or empowering about this one guy who lived and died like so many others.
• Don’t show God’s body and especially not God’s face, or confirm that any other gods or deities exist, whether that’s Jesus, Aphrodite, or Anubis, or someone you made up for the context. 
• Don’t put Danielle in a position where they’re going to play into an antisemitic trope like child murder, blood drinking, world domination, or financial greed. If you have to, name it and let Danielle express discomfort with or distaste for those actions both because Jewish values explicitly oppose all of those things but also because Danielle as a Jewish character would be painfully aware of these stereotypes as present and historical excuses for antisemitic violence. 
• Do consider what Danielle’s personal practice might look like. What does Danielle do on Shabbat? What do they eat or refrain from eating? What are their memories of Jewish holidays and how is their current holiday observance different than their childhood? I know I say “Jewishness is diverse” on every ask, but it is, and these questions–which also underscore how very much Judaism is rooted in one’s actions during this life–will help you develop how Judaism actually functions to inform Danielle’s character, even if you don’t spell out the answers to each of these questions in text. 
• Do let Danielle find joy, comfort, and identity in their Jewishness not just in contrast with Christianity but simply because it’s part of the wholeness of their character. I know the primary representation of Jewishness is a snappy one-liner in a Christmas episode followed by the Jewish character joining in the Christmas spirit, blue edition, but make room for Jewishness to inform how Danielle approaches the events of your story, or why they decide to get or stay involved.  

-Meir

Hi it’s Shira with some Jewish ghost story recs written from inside–

When The Angels Left the Old Country by Sacha Lamb (deliriously good queer YA Jewish paranormal, mainstream enough that it’s got a good chance of being at your local library and won all kinds of awards)

The Dyke and the Dybbuk by Ellen Galford (sorry for the slur, warning for a paragraph of biphobia in the book but it’s an older book. I read this right before my divorce so my memories are super fuzzy but it’s about this modern day lesbian who gets possessed by the ghost of a different lesbian from hundreds of years earlier in Jewish history.)
Nine of Swords Reversed by Xan West z’L of blessed memory - another queer Jewish paranormal.

The general plot is that two partners are struggling with how to be honest with each other about the effect disability is having on them. It’s got a very warm and fuzzy cozy vibe but kink culture is central to the worldbuilding so if that isn’t your vibe I didn’t want you to go in unaware.

The Dybbuk in Love by Sonya Taaffe. I don’t remember the details but I remember loving it, it’s m/f and romance between possessor and possessed.

I wrote a really short one called A Man of Taste where a gentile vampire woman and a Jewish ghost/dybbuk get together.

~S

@writingraccoon said:

My character is black in a dungeons and dragons-like fantasy world. His name is Kazuki Haile (pronounced hay-lee), and his mother is this world’s equivalent of Japanese, which is where his first name is from, while his father is this world’s equivalent of Ethiopian, which is where his last name is from. He looks much more like his father, and has hair type 4a. I plan to make his character very finnicky about his hair, both enjoying styling it, but also often being unsure how to style it (not in that he doesn’t know how to, but has so many options for how to style it, he has trouble choosing). However, I know that there are some very harmful ways to write black hair, especially in regards to how the black character themselves feels about it. Kazuki does not hate his hair, in fact he takes joy in it, and I’m researching black hair and hair styles to be as accurate as possible. But I’m unsure if portraying a black character as occasionally overwhelmed by or vain about his hair is negative. How would you suggest either changing this or making it work? Does it need to be changed in the first place?

Black Character Overwhelmed by Curly Afro Hair

Your Black character wanting his hair to look its best and at times feeling overwhelmed seems reasonable and natural to me. It appears their challenge comes with how to style it. Not so much with struggling how it looks or how hard it is to manage. That is good, as this further helps avoid placing a strong negative focus on Black hair. 

Him caring a lot about how it is style should not be deemed vain or frivolous, either. In any case, hair care is self care. There’s nothing wrong with having pride with your hair, especially hair that mainstream society, historically and present, might say is not beautiful. This still matters, even in a fantasy world, since your readers still exist in this reality. It’s empowering and a welcome change to see someone who loves their afro hair, actually.

There are unique factors someone with coily afro hair would experience vs. straight, wavy, or looser curls, but people struggling with their hair (too frizzy, too flat, too limp, too thin, too thick!) is universal. 

There is a delicate balance to achieve.

Avoid Writing a Black Hair Journey Experience 

An overall negative Afro hair journey might be the reality for many, especially when society deems Afro hair as unacceptable and slaps so many uninvited opinions, laws and policies over its existence and on certain styles (again, historically and very much at present), but that’s the kind of story that is best handled by someone with the background. Someone willing to commit to the research might also be able to pull it off, although it’s truly not the kind of thing an escapism novel needs in my opinion. If the story is not meant to delve into “A Black /Black Hair Experience” then I’d avoid going that route. That is moving a bit towards a struggle narrative, depending on how much it defines your character’s story.

Add positive and neutral hair language and interactions

For your writing, I’d avoid using unchallenged negative language about his hair. Being overwhelmed at times and frustrated is one thing and expected. If his hair is constantly brought up, and is associated with uncontrollable, ugly, or too [insert struggle here], then rethink the direction you’re going. 

Add some positive or neutral terms, reactions, and interactions in the narrative towards afro hair, such as describing color and texture.

“His fine coils bounced in the wind.” 

“Hair black and shiny” 

“She wore her hair in two large, fluffy buns.”

“He admired his fresh, neat braids in the mirror, smiling at his reflection, before turning to leave.”

Another tip: It may have been for research purposes, but leave out any hair number categorizing in the story and rely on description. I’d say this goes for any story, as reading the number would feel off. 

“He had coily 4a hair.” Nahh! :P 

Also, I would suggest sending all passages that focus on his hair to a Black sensitivity reader for review.

More reading:

~Mod Colette

@pleasespellchimerical asked:

So writing historical fiction, with a white POV character. I’m not sure how to address race in the narration. I do have a Black main character, and I feel like it’d feel out of place to have the narrator refer to her as ‘Black’, that being a more modern term. Not sure how to do this without dipping into common historical terms that are considered racist today. Thoughts on how to handle this delicately, not pull readers out of the narrative? (fwiw, the POV character has a lot of respect for the Black character. The narration should show this)

There are non-offensive terms you can use, even in historical fiction. We can absolutely refer to Black people without slurs, and if slurs is all one can come up with, it’s time to go back to the drawing board. I cannot say which terms are best for your piece without knowing the time period, but hopefully the list below helps.

Historical terms to use for Black people (non-offensive)

• African American documented as early as 1782 (documented in an ad in the Pennsylvania Journal). Note the identity isn’t accurate for non-American Black people.
• African could refer to African people or “from 1722 as ‘of or pertaining to black Americans.’”
• The place of origin could also be used. For example, “a Nigerian woman”
• Africo-American documented as early as 1788.
• People of Color documented as early as 1796 (with specific contexts, usually mixed people)
• Afro American documented as early as 1817, 1831 (depending on source)
• Black American documented as early as 1831 
• Black was used in Old English to refer to dark-skinned people. Black was not capitalized until recent years, so “She was a young black woman.” would make sense to say, though “She was a young Black woman.” is the better standard today, although not universally adopted. I personally prefer it capitalized. 
• Moor was used as early as the late 1400s for North African people, but had a somewhat flexible use where anyone visibly Black / Of African descent or the Afro Diaspora might be referred to or assumed as a Moor. Note, it has other meanings too, such as referring to Muslim people, but that doesn’t mean the person using it is going by the dictionary definition. Not really the way to go today, but okay in a historical setting (in my opinion).
• Biracial (1860s), mixed race (1872), multiracial (1903) and multicultural (1940s) are also terms to refer to people of two or more races.
• Occupation + description. Throughout history, many people have been referred to as their occupation. For example, the Carpenter, The Baker, the Blacksmith. Here’s an example of how you might go about using occupation and traits to identify a Black character in history. Here’s an example I came up with on the fly.
• “You should go by Jerry’s. He’s the best blacksmith this town’s ever seen. Ya know, the real tall, dark-skinned, curly haired fellow. Family’s come here from Liberia.”

Offensive and less-sensitive terms for Black people 

• Blacks was used in plural more, but this is generally offensive today (Even writing it gives me **Thee ick*)
• Colored was mostly used post-civil war until the mid 20th century, when it became unacceptable. This is not to be conflated with the South African Coloured ethnic group.
• Negro/Negroes were also used as early as the 1550s. Capitalization became common in the early 20th century. I’m sure you know it is offensive today, though, admittedly, was not generally seen as such until around the 1960s, when Black replaced it. It does have its contexts, such as the trope “The Magical Negro” but going around using the term or calling someone that today is a lot different. 
• Mulatto referred to mixed people, generally Black and white, and is offensive today. 
• The N-word, in all its forms, is explicitly a slur, and there is absolutely no need to use it, especially in a casual manner, in your story. We’ve written about handling the N-word and alluding to it “if need be” but there are other ways to show racism and tension without dropping the word willy-nilly.

Deciding what to use, a modern perspective

I’m in favor of authors relying on the less offensive, more acceptable terms. Particularly, authors outside of the race. Seldom use the offensive terms except from actual direct quotes.

You do not have to use those offensive terms or could at least avoid using them in excess. I know quite famous stories do, but that doesn’t mean we have to so eagerly go that route today. Honestly, from teachers to school, and fellow non-Black students, it’s the modern day glee that people seem to get when they “get a chance to say it” that makes it worse and also makes me not want to give people the chance. 

It goes back to historical accuracy only counting the most for an “authentic experience” when it means being able to use offensive terms or exclude BIPOC from stories. We’ve got to ask ourselves why we want to plaster certain words everywhere for the sake of accuracy when there are other just as accurate, acceptable words to use that hurt less people. 

Disclaimer: Opinions may vary on these matters. But just because someone from the group cosigns something by stating they’re not offended by it, doesn’t mean a whole lot of others are okay with it and their perspectives are now invalid! Also, of course, how one handles the use of these words as a Black person has a different connotation and freedom on how they use them.

~Mod Colette

The colonial context

Since no country was mentioned, I’m going to add a bit about the vocabulary surrounding Black people during slavery, especially in the Caribbean. Although, Colette adds, if your Black characters are slaves, this begs the question why we always gotta be slaves.

At the time, there were words used to describe people based on the percentage of Black blood they had. Those are words you may find during your searches but I advise you not to use them. As you will realize if you dive a bit into this system, it looks like a classifying table. At the time, people were trying to lighten their descent and those words were used for some as a sort of rank. Louisiana being French for a time, those expressions were also seen there until the end of the 19th century.

The fractions I use were the number of Black ancestors someone had to have to be called accordingly.

Short-list here :

• ½ : mûlatre or mulatto
• ¼ or ⅛ : quarteron or métis (depending on the island, I’m thinking about Saint-Domingue, Martinique and Guadeloupe)
• 1/16 : mamelouk
• ¾ : griffe or capre
• ⅞ : sacatra

In Saint-Domingue, it could go down to 1/64, where people were considered sang-mêlé (mixed blood for literal translation, but “HP and the Half-Blood Prince” is translated “HP et le Prince de Sang-Mêlé” in French, so I guess this is another translation possibility).

-Lydie

Use the 3rd person narrative to your advantage

If you are intent on illustrating historical changes in terminology consider something as simple as showing the contrast between using “black” for first person character narration, but “Black” for 3rd person narrator omniscient.

-Marika

Add a disclaimer

I liked how this was addressed in the new American Girl books
it’s set in Harlem in the 1920’s and there’s a paragraph at the beginning that says “this book uses the common language of the time period and it’s not appropriate to use now”

-SK

More reading:

• NYT: Use of ‘African-American’ Dates to Nation’s Early Days
• The Etymology dictionary - great resource for historical fiction
• Wikipedia: Person of Color

Judaism, Angels, and Monstrosity

@neapolitangirl asked:

I’m writing a story about the angel Muriel traveling through a world inspired by American folklore (Ex. The Bell Witch, Fearsome Critters, etc) while hunting demons. I wanted to draw inspiration from the legend that says Muriel and Abaddon are one and the same because I thought it was interesting. However, I also know that Abaddon is important to Jewish cosmology and wanted to avoid any unfortunate implications.

Muriel is very skittish and kind of a coward, but turns into the more violent and vengeful Abaddon in the presence of demons. Appearance-wise both Muriel and Abaddon are tall and skinny, but Muriel is more like an owly-human while Abaddon is a spiky skeletal being. Would this be connecting Judaism to monstrosity? Also, is there anything else I should try to avoid?

So…angelology, the whole idea of angels with names and personalities and individual jobs, is just…not something the average Jewish person thinks or cares about, even the ones who know a little about it. Not that it’s bad, it’s just not something that is prominent enough that it would have tropes attached that we might be able to warn you against.

That said, we’re posting on the Niche Scholarship and Special Interest website, so if there’s a reader who happens to have a lot of knowledge and feelings about Jewish angelology we would welcome the contribution and specialized expertise.

As it stands, my instinct is to give these more general considerations:

Balancing Jewish and Christian Elements

To what degree are you trying to tell a Jewish story, a Christian story that does not harm Jewish readers, or a story strongly influenced by Christian ideas about the heavens in a way that does not harm Jewish readers? How does deciding where you fall among those distinctions affect how you construct your story, and how you portray your angels?

Jewish Concept of God and Angelic Appearances

To Jews, God Godself does not have a physical body or visible appearance. If you’re describing the appearance of God as you’re navigating your angel-centering narrative, you’re squarely outside the territory of inclusivity toward Jewish readers. That’s okay, if you’re clear with readers that you’re not telling a Jewish story. It’s not okay if you’re trying to conflate Jewish and Christian ideas into a single narrative when they are often incompatible.

Angelic Appearances and Jewish Scripture

Angels might have appearances, and some descriptions of some types of angels in some Jewish scriptures have body parts of various animals. I haven’t the foggiest clue if it matters to anyone what appearances belong to which angels, so if it matters to someone reading this I hope they will speak up.

Are angels Jewish? This is a subject that could make for a fun discussion among Jewish people as a way of exploring the nature of Jewishness, but in your narrative you will have to think this through in your own way. If your angels engage in Jewish practices, then what does that look like and why, and if they don’t, why don’t they? The answer to that may of course be “Because I’m not actually telling a Jewish story.”

Christian Themes and Sensitivity to Jewish Culture

It’s okay to not be telling a Jewish story. But in that case keep in mind what demonstrations of Jewishness you include in a Christian story.

Especially, if you’re depicting a divine Jesus, or a Jesus character with any type of more-than-human powers or ancestry, or you are including any reference to the idea that Christianity might be in any way objectively correct, then you must tread EXTREMELY CAREFULLY with including any depiction of Jewish practice in your work, as the line where depiction turns to appropriation is in that case extremely near.

In all things, try and avoid depicting Jewish humans and any character who might be Jewish or be seen as Jewish in ways that are otherwise harmful: we’ve often talked about tropes around greed, sneakiness, power-grabbing, gender and sexual dynamics, and other tropes that apply to portrayals of Jewish characters. If your angels are Jewish, or Jew-ish in flavor, that goes for them as well.

Again, I know absolutely zero about Muriel and Abbadon and am not very interested in learning more as their lore has zero bearing on my Jewish practice in any way, and that’s a somewhat important point to me to be making because…2J3O. Two Jews, three opinions. So again, if a reader does in fact have knowledge and opinions about the specific angels themselves, please speak up.

–Meir

creatingstories submitted:

I wanted to ask a couple of questions about a comment i found. I was reading an article about the bad representation of Korean people in Eleonor and Park. I remember reading this particular comment “Rainbow Rowell is a white-americas writer that didn’t really educate herself on what it means to be an East Asian American, as non-East Asians are often grouped and erased under typical Asian stereotypes.”

Plus in the last years among non east-Asian people there is a huge fetishization of east-asian men, especially from Korea and Japan. So every time someone write about an interracial couple between usually a white character and a east-asian character written by a white author, there is always the fear that this relationship is just a projection of the white author desires and fetishization of east-asian people. So, I was wondering, is it actually ok, as a white author, considering the huge problem with fetishization, to write about an interracial relationship between a white person and an east-asian person? Won’t it alway be perceived as a projection of the white author fetishization even if it is not? Wouldn’t it be harmful?

Okay. 

So first of all, regarding Eleanor and Park itself. There are a lot of articles like that, as this is a pretty well known issue about the book. I couldn’t find the particular article you’re referring to, don’t know if you paraphrased or altered the quote in any way, but what you describe is the least of its problems. But basic basic rundown for people who have forgotten or are too young to remember this book’s release:

• Park gets no escape from microaggressions from so-called friends, and simply accepts them
• Fetishistic and unrealistic descriptions of Park by POV narrator Eleanor
• Frequent calling attention of Park’s mixed-race status used to minimize his Asianness when convenient
• A white savior military marriage for Park’s parents’ backstory with no critical lens or irony, described by Eleanor through a similarly white-savior-y & orientalist lens
• Internalized racism is part of Park’s character yet nowhere in his arc does he grow out of it

THOSE are the problems, not the inherent lack of perspective on the part of the author. Claiming a white author like Rowell could never have written this properly is like saying “only write what you know, and that’s your own race and ethnicity.” We’ve already discouraged that kind of thinking on the blog, because it’s not true—we want more diversity! It’s not that Rowell was incapable of researching and understanding the viewpoint of an East Asian character, she just didn’t choose to. 

Which should already answer your question: white-asian relationships are not off the table just because white authors have been really bad at it so far. It only means that white authors actually have to do better. 

I’ll let you in on a secret: 

I am dating a tall white guy with blue eyes. I have Asian (East and South) friends who are dating tall white guys with blue eyes. My mom is married to a tall white guy with blue eyes (I did not inherit them). It’s very. Common. 

Originally posted by excitementshewrote

“GASP…! OH MY GOD…! THE BETRAYAL.!! IT CAN’T BE!”

I know, I know, discredit to the race, etc. /extremely facetious and sarcastic

It’s real life and it happens and it deserves to be treated as normally as the straight YA couples or the white gay boy YA couples or the paradigmatic Black disabled lesbian couples. 

And what irks me is, it is so easy to be normal about it. My boyfriend does not compliment me like “my, how glowing yellow your skin is” (like a certain character that starts with “E” and rhymes with “bore”). He compliments me like, “your eyes are so cute. I like the little flecks in them.” 

Of course, I’m NOT saying to completely avoid describing or complimenting oft-racialized features, because it will look conspicuously absent (“colorblindness” is still a racial bias). But I AM saying that avoiding obviously controversial choices is an easy starting point for white authors, at least before they do the legwork of researching the facts, learning what microaggressions are most harmful, and reading or interviewing people’s experiences. Don’t branch out into writing racism arcs or white love interests with existing unquestioned biases until you’ve done the work to know what’s appropriate & what serves the character arcs. This is exactly what Mod Colette’s advice on the NaNoWriMo collab here about starting on “easy mode” is about. 

The reason I am bothering to answer this…

…when the ultimate answer is something that is already oft-discussed on this blog? Normally, this question would have gotten our ol’ reliable “Motivations PSA” and the “please read our FAQ & main How-Tos to see that avoiding certain identities is not fixing the problem.” However, I personally feel the need to address this because we have a scenario where I, a WOC, am standing here defending my lived experience in the face of the notion that white-asian relationships are inherently “projection[s] of … white fetishization.” 

You do see how that’s screwed up, right? 

Let me be clear: is it all sunshine and Rainbow Rowells? No! 

Are many historical interracial relationships still rooted in colonial power imbalances? Yes! 

Do these colonial legacy burdens weigh heavily on mixed-race POC today? Yes! 

Do these legacies combine with present-day experiences of racism into feelings of conflict and shame that may interfere with mixed race POC’s feelings of desire? Yes! 

Can POC dating white people experience overt racism or microaggressions at the hands of their partners’ family and circles or even the partners themselves? Yes! 

Are our boundaries and approaches to addressing these problems complicated, unique, and highly personal? Yes!! 

*catches breath*

But can also be a beautiful experience. Reveling in our unique differences and our unexpected similarities is beautiful. The cultural exchange is beautiful. Seeing couples and families like us out in the world and in media, that’s a pretty neat bonus, too. 

Search our blog for interracial relationship topics, search our blog for describing East Asians, trust me, there’s a lot of content. It can be done. Just be normal about it. 

~ Rina

Postscript & Follower PSA

I brought this ask to Rina’s attention because, as another mixed race Asian, I never want any group of our mixed race Asian followers to feel as though there is something inherently wrong with seeing written depictions of the kinds of the relationships that resulted in their existence. As I anticipated, Rina did a great job illustrating why. Racism, fetishization, an author’s lack of competency and biases that are made evident during execution do not justify a non-attempt or an excuse to avoid representation of people who not only exist, but in places like Japan, Korea, and the US, are some of the fastest growing segments of the population. Similarly, an attempt (Like Eleanor and Park) is not a guarantee that an author is blameless. Rather, what a work like Eleanor and Park can highlight is which pitfalls to avoid. 

We welcome further commentary from white/E. Asian followers, but ask that people do not side-track with segues like “Well, there are too many depictions in fiction of white/ E. Asian relationships relative to other interracial Asian relationships” or “Well, this topic should be POC OwnVoices only and white authors shouldn’t be writing stories on interracial relationships in the first place.” These are separate issues that should be discussed in their own asks. 

- Marika

nathaliebjoern asked:

What concerns would A have going on a roadtrip in USA in an alien/sci-fi tourist stops type way (circa 2013)? A is Black, grew up and lives in Denmark, parents are from African-country-yet-to-be-determined (possibly Ethiopia, but I do take suggestions here), going to USA with (white) girlfriend. Example: they’re worried about being two young girls on a road trip (exacerbated by being wlw) so they are taking self defence before leaving (bonus: gets convenient/relevant later when they have to fight sudden, real aliens). Is there some specific concern A would have (bonus if relevant for alien hunting or car chasing adventures)? What precautions would she take or concerns might she have? Any concerns she might discuss with gf, even if there are no precautions to take? Or just ruminate over in internal monologue, i guess, but i want them to have a healthy relationship with lots of communication lol. She’s the planning, overprepared type! I want the focus to be on their Alien fighting road trip adventure and coming of age lesbianism in the background, but i want to still acknowledge any issues A might have.

“I want the focus to be on their Alien fighting road trip adventure and coming of age lesbianism in the background, but i want to still acknowledge any issues A might have.”

How far the world has progressed in terms of discrimination in your alien sci-fi world is up to you. Based on your description, racism and homophobia still exists. Perhaps it just isn’t as much of a problem in this setting or story. Or encounters would depend on the town so your characters avoid and don’t happen upon areas that may be a problem for the couple. Either way, it is not erasure to have a story where discrimination isn’t something the characters encounter. I find this to be especially true for science fiction and fantasy.

As a Black woman who likes to travel, and in an interracial relationship, I take certain precautions before I travel. One way I do this is to research the travel experiences shared from Black women and mixed couples who’ve been to the places that I’m considering. I also look into news stories and reports about any incidents in the area.

This could also apply if you’re LGBTQIA, in an interracial relationship and so on. As your character is a planning, super prepared type, it’d make sense if they mapped out their stops to make sure they were interracial couple / Black / LGBTQIA+ friendly and avoided any places that were not.

Also, what “friendly” or safe looks like may vary. Not all travel experiences are blatant in their discrimination or othering behavior.

What general attitudes might range from: ideas

• The travelers blend in. There’s enough diversity and tourism where you don’t get an unwelcome attitude from the townspeople.
• Some stares, second-glances and curiousity, but little to no blatant hostility.
• Strong “celebrity-status” othering, to the point of being touched, pictures snapped of you, asked to poise for photos if asked at all, given free gifts, etc. (Note: this can be quite uncomfortable)
• Stares and standoffish behavior from locals, but no incidents of violence.
• Bold-faced hostility, such as intimidating glares, recording, taunts, yelling, and possible physical encounters like spitting.
• Explicit threats, violence, being warned to leave, high risks of bodily harm.

Note that this doesn’t mean everyone in a place would all act this way. I’ve traveled where there were stares of curiosity in one city or standoffish behavior in others, but it didn’t extent to everyone in those places, staff, and so on. It also didn’t sum up every single encounter. I’ve even heard tales of the very hostile places where a person warns the traveler that they should leave to avoid trouble from others in the town, usually out of kind warning. One can travel anywhere, really, and come across hostile people, and in that same town experience kindness.

Applying these travel experiences your story

The characters just mentioning that they’ve done their research and will avoid these kinds of places with known negative experiences should be enough. You don’t need an actual experience of discrimination to play out, if you’d rather avoid that.

If you did want to include something without including an active experience, you could bring up the matter by mentioning the history of a place. For example, they learn some info and tell their partner that “Blank, Tennessee was once a sundown town and would’ve been unsafe for us ninety years ago.” Or they mention some historical event that happened at a certain place, possibly even visiting a historic monument or museum.

I hope this helps; your story sounds fun!

~Mod Colette