Good Points. Bonus: Funny!

Just a quick post to mention two things related to books and storytelling.

This blog post by author Neesha Meminger does a great job addressing what I feel to be an important issue: the way people of color are so often found just in stories that are about the struggle and strife they must face as a result of being people of color. What about fantasy, adventure, comedy, romance? These are not solely the domains of white (or straight, able-bodied, cisgender, probably attractive) people, and shouldn’t be shown that way in books. I won’t go on too much about it, though, as Ms. Meminger says it so well. I am totally adding her book Jazz in Love to my to-read list.

Relatedly, this video, referenced in Ms. Meminger’s post, features author Chimamanda Adichie speaking about the dangers of representing a group of people with “a single story.” It’s not only insightful but funny. And it’s just under twenty minutes. You totally have time to watch it.

Sad News

Brian Jacques, author of the Redwall series, just passed away at age seventy-one.

The Redwall series was a big deal to me as a kid and teenager. It was the first set of books I liked so much that I was willing to throw down my money (which was pretty scarce before I got old enough to babysit) for any one of them without having read it first. Even now, I own most of the series, my copies in various states of well-loved scruffiness.

Most of my copies are the paperbacks – small, fat books, quite distinctive to my eye. I can still pick out a Redwall book from a distance. Which is not to say that they’re interchangeable to me. Far from it.

Among the fuzzy-edged paperbacks on my shelf of Redwall books stands my copy of Mossflower, the first book I ever bought in hardcover. I was extremely proud of it. A hardcover book cost a lot of weeks of allowance!

Then there’s Mattimeo, a favorite of mine, which I was always bringing to school, only to hit one of those points where I had to stuff it into my backpack to continue reading at home because I knew I was coming up on one of the parts where I always cried.

Once I did get old enough to babysit, Pearls of Lutra was, for some reason, my go-to book for when I’d be staying past a kid’s bedtime and needed something to do until the parents came home. I also made myself a t-shirt quoting the poem at the beginning of the book. And I wore it. In public.

With Salamandastron, I formed a connection between the book and, of all things, Reese’s Peanut Butter Puffs cereal. I don’t normally snack on cereal, reserving it for breakfast, but I would eat these sugar bombs in the middle of the afternoon while reading Salamandastron. (I have one particularly golden memory of sitting at our kitchen table at maybe 2:00, a time when ordinarily I’d have no reason to be sitting at the kitchen table, and eating Peanut Butter Puffs while reading Salamandastron, taking a pause to think that wow, life was good.) After awhile, either of the two would make me crave the other. Even now, a glimpse of that badger on the cover takes me back to the taste of a sucrosey excuse for a cereal that I haven’t had in at least ten years.

My parents used Redwall books to bribe me to break my hair-twirling habit. (Didn’t stick long-term, but I made it work long enough to get the books.)

I learned new words from the Redwall series. “Stygian” was one I was proud of. Also “desultory.” And in eighth grade, when my Latin I teacher told our class jokingly that we were getting so good that soon we’d “know the Latin for right and left!”, I surprised both of us by guessing the words based on a reference a Redwall book. (And that’s not even getting into everything I learned about siege warfare.)

I loaned my copies out to friends in high school, got my brother and his friends reading them, and gasped over a friend’s sister’s copy that was *fans self* signed by the author.

In the winter of 2008-2009, living in England with friends, I hit up the library for the newest Redwall books – the only two I didn’t have – and read them.

Which is all just to say that, you know, books make a difference to people.

Thanks for all the good times, Mr. Jacques. You’ll be missed.

The Truth About Lying

You know what bothersome thing I’ve frequently seen in fiction? Characters who apparently have unnoted psychic lie-detecting abilities.

Looking into his eyes, she knew he spoke the truth.

Or,

“She’s lying,” I said with certainty.

Or,

He clearly believed what he was saying.

Righty-ho. Maybe our hero saw the suspect leaving the scene, so he knows for a fact that she’s lying when she says she was never there. Perhaps our hero is the suspect’s lifelong bestest best friend, and feels able based on that to judge whether she’s telling the truth. Possibly our hero is actually psychic. In these cases, the reader is usually made aware of the relevant facts.

Or, ooh! Maybe the author wants to stop that line of questioning and proceed in another direction, so we need to believe this loose end is tied up, which doesn’t work if the person in question might be lying. Or perhaps our heroine is about to rough the suspect up, and would seem like a jerk for doing that if she wasn’t sure he was lying.

This is especially common with characters who are trained as psychologists, or are cops, or grew up on the streets and had to learn to read people, or are just “very intuitive.” There are any number of qualifications that render a character able to act as a lie detector. Only, you know, reliable. Unlike actual lie detectors.

I personally can’t claim any degree of this ability. It sometimes takes me a moment to realize people are even being sarcastic. If someone were actually trying to deceive me, I fear the chances of my recognizing that fact would be perilously slim.

But I’m not alone! I recently read the excellent – if eerie – article “On the Psychology of Confessions: Does Innocence Put Innocents at Risk?” by Saul Kassin. This paper, which spans many experiments and case studies, explores the question of how good people actually are at telling whether or not other people are lying. Not good, as it turns out. Furthermore, training – such as that given to police interrogators – did not statistically increase their accuracy, but did increase their confidence in their accuracy. (How’s that for scary?)

While the whole article is a fascinating read, the fact that grabbed me most comes from a footnote. “After testing more than 13,000 people from all walks of life, O’Sullivan and Ekman (2004) have thus far identified only 15 ‘wizards’ of lie detection who can consistently achieve at least an 80% level of accuracy in their judgments” (Kassin 2005). (I would cite the original work, The Wizards of Deception Detection by O’Sullivan and Ekman, rather than citing a citation, but the original is a book rather than an article I can just read online and link to.)

That’s about 0.001% of people who are consistently correct in distinguishing between truth and lies . . . at least four times out of five.

So even the 0.001% of humans who are the absolute best at telling truth from lies might still be wrong as much as 20% of the time.

I’m sure there are rogue super-wizards who are correct so consistently that they are, for all practical purposes, accurate lie detectors. Still, it would be nice for writers to keep in mind that this is extremely, extremely rare. Just being a cop or psychologist or a streetwise con artist does not qualify a person to sniff out falsehoods.

Naturally, this doesn’t preempt a character’s believing that s/he is super-accurate, or that someone else is. But if a character actually is reliably accurate, the writer should perhaps be aware that that character has been endowed with an incredibly rare ability. (Or possibly absurdly good luck.)

Besides all of this hard-facts stuff, I typically find characters more relatable when they’re unsure about who to believe in these situations. It also gives a scene more depth and tension when the character and the reader aren’t sure what’s true and who to trust.

It Just So Happens . . .

I recently came across an explanation of an interesting writing technique. One ubiquitous but practically invisible until you’re thinking about it, at which point you see it everywhere. Especially in mystery-type stories/movies/TV shows.

The fact is that there are many things people simply aren’t likely to remember. If I asked you right now what you were doing the evening of Wednesday, January 5, would you remember that offhand?

Ah, but what if January 5 was your kid’s birthday? Would you remember then?

Coincidences like this come up frequently when someone is being investigated. Shortly after learning about the technique, I came across an example in Alan Bradley’s excellent book The Sweetness at the Bottom of the Pie. Not a significant spoiler: an innkeeper being questioned on a guest says he’s sure the fellow never stayed there before because the guest’s surname is the same as the innkeeper’s wife’s maiden name, and he’d have remembered seeing it.

Naturally, coincidences are to be handled with care. What makes them work well for this purpose is that they’re quick, passing references that basically mean the person being questioned doesn’t have to go through her day planner for the last month or whatever. You might think of them as harmless coincidences. The plot does not hinge on them. They just keep things moving.

You could, of course, create a seeming coincidence that’s actually meaningful. Say a baker remembers a particular customer because she ordered a birthday cake on the baker’s own birthday. The cake may not actually be connected to the baker’s birthday, but it could have meaning in the story beyond being a plot-provided memory aid for the baker. Maybe it’s a clue. Maybe it’s the murder weapon. (Okay, maybe not. Can you drown in cake? Hmm . . .)

A . . . Weighty Issue?

The Young Adult Library Services Association listserv, to which I subscribe, had an interesting round of discussion lately set off by this article, “YA Fatophobia”.

This all jumped out at me because there’d been some discussion a few months ago on YALSA about “fat pride.” It was the first time I’d heard the term, and I found it a bit problematic. I pretty much agree with one of the first YALSA responders to the “YA Fatophobia” article who, to paraphrase, says that she believes the focus should be on encouraging teens to be healthy, not to settle contentedly – let alone proudly – into habits that aren’t good for them. The YALSA poster says that she herself is overweight and that she’s long had weight issues connected less with genetics than with overeating and failing to exercise, and these are not behaviors she believes should be made okay for teens.

Let me say straight up that I’m aware that weight is often linked to genetics and that losing weight can be incredibly hard, and is harder for some people than others, which isn’t fair. Also, people are healthy at different weights. A teen can be a size 14 while having an active life and a nutritionally-balanced diet. It happens. But I don’t think this is the kind of overweight teen the article is discussing.

And the article makes some strong points. I agree that the covers of some of these books, like whitewashed covers on books with protagonists who are people of color, are shameful. If a publisher is willing to publish a book with a protagonist who is overweight, they should be willing to give it a cover that doesn’t feature a skinny model, or even an average-sized one. This kind of misrepresentation says that overweight people are taboo, that no one wants to see them, that even books that are about them have to pretend they’re not. And that’s a lot like bullying.

Naturally, I’m against bullying and shaming. Teens especially don’t need that from their books – as the article points out, they often turn to books in part to get away from the treatment they receive in real life. I certainly support the idea of books showing overweight teens as valuable people, with skills and friends and passions and all the things teens have, and not as fat jokes.

On the other hand, despite comparisons with whitewashed covers and with the treatment of characters in these other groups, being overweight, even with genetic components included, isn’t like being, say, queer, or a person of color, for two big reasons:

  1. It’s inherently a problem. Weighing significantly more (or less, of course, but I don’t think skinny characters have this problem in literature so much) than your healthy weight isn’t, well, healthy. It’s not something that’s a problem because ignorant, bigoted people might mess with you; it’s a problem because it increases your risk of heart problems, diabetes, and more. Because it can limit your ability to do and enjoy awesome things in life. And, yes, because jerky people might mess with you.
  2. There is an element of choice involved in whether a person stays that way.

I don’t mean to make light of the effort involved here. For teens, this can be an especially big problem, as they’re often not the ones making their own food and exercise decisions. I read an article last year by an eloquent boy who was, I believe, fourteen, and obese. He wanted to be healthier and to weigh less, but lived in an inner city and came from a family that could not afford a gym membership. After school, he came home to a house filled with fast-food takeout and, despite his requests for it, no produce. (His parents said fresh produce was too expensive and that the grocery stores that sold it were too far out of their way.)

What’s a young teen to do? He couldn’t drive and had no real source of income. Maybe he could start a low-cost exercise, like running, but then again, maybe his neighborhood isn’t safe, or he has to watch his siblings after school, or who knows what else. What I’m saying is that, for kids and teens, their weight may not always be something reasonably within their power to change. It shouldn’t, then, be treated as some kind of personal flaw, or even necessarily a life choice.

The article and the YALSA responders also say that overweight teens in YA fiction are often portrayed as binge eating, but without ever being diagnosed with an eating disorder, as if this is just something they do because they’re weak or disgusting. (Can you see an anorexic person being portrayed as someone who regularly makes him/herself throw up just because s/he’s weak and disgusting, with the disorder never being recognized over the course of a book?) Several YALSA listserv peeps who say they are overweight themselves were offended by the suggestion that people only get that way by snorking down boxes of Oreos in the dark. I don’t read a lot of realistic fiction, so I’ll take their collective word for it that these portrayals are overly frequent. I agree this is wrong. It fails to recognize what I suspect is the majority of problematically-overweight people, who simply have a diet that brings in a lot more calories than they’re burning off with physical activity.

While I’m not sure about books being what the article calls “fat-positive,” I would definitely agree that they should be fat-character-positive. From what I hear, some YA books are really doing pretty well at this already. The recent book The Dark Days of Hamburger Halpin, of which I’ve heard great things, features an overweight teen who solves a murder. He doesn’t glory in being overweight – my impression is that he’s a bit frustrated with it, but recognizes that unless he chooses to change his eating and exercise habits, it won’t change – but neither does he angst over it. It’s not what his story’s about.

If an overweight person doesn’t take steps toward healthier habits, it’s that person’s life, and no one has the right to harass him/her about it. But I don’t think books need to portray that as a totally fine choice with no possible consequences. Teens – like anyone – should be proud of who they are. They should be proud of their drawing ability, their loyalty to friends, their skill with the saxophone, their stamp collection, whatever. But I don’t think an unhealthy weight – whether come by through genetics, bingeing, or unwillingness to exercise – is something to be proud of.

Boy, Will Spell-Check Like This Entry

An interesting line of questioning struck me today.

I’ve already pondered the relative merits of rabbits and smeerps. Today, though, it occurred to me that I’m not sure the goblins in my fantasy world are so similar to the goblin archetype – what there is of a goblin archetype, anyway – that calling them that is the best option. So: calling a goblin a smeerp?

This is a slightly nerve-wracking idea, because my fantasy world includes my own versions of a number of common fantasy species, including elves and dragons, as well as original species that have names I made up because they don’t approximate any fantastical creatures I know of. Calling goblins smeerps could be a slippery slope. While readers are unlikely, in my case, to say, “Hey, those smeerps are totally just goblins with a different name!”, it’s quite possible they would say, “Hey, those eerps* are totally just elves with a different name!” In a few cases, it would be just absurd. No matter how different its powers and behavior might be, a horse with a horn in the middle of its forehead is a unicorn, and to call it otherwise invites ridicule.

I’ve read fantasy that included monsters that were definitely orcs or goblins but were called Nar’kizul or Ur-gizen or whatever, and I’m not sure it added much to the story. On the other hand, I don’t want readers’ minds drifting in the direction of, say, the Gringotts goblins, or even the awesometastic Labyrinth goblins, while reading my stories.

So, something I’m thinking of at the moment.

*Because of the eers. Get it?

Overdue Update

*Generic final exams/holiday/family stuff happening-related excuse for not posting*

Work on the graphic-novel-ish project is coming along well. I’ve been doing both the writing and the drawings for it, though the writing is far ahead of the artwork (eight chapters written, two illustrated). I’ve already scanned the drawings for the first two chapters and integrated them with the written parts in a sort of mock-up of what the story should be like.

The written work is in its first draft, of course. I’m not sure, draft-wise, where the drawings are. I’ve been sketching them in mechanical pencil, then tracing with pen and erasing the sketches. I’m quite happy with them, but I am beginning to look at tablets that would let me use a pen-like tool to draw things directly on the computer. This would make changing them immeasurably easier, and also give me the valuable ability to draw lines that have the potential to be erased, but also the potential to be final draft lines. As it is now, I basically draw every illustration twice, and occasionally – despite things being just how I want them in the sketch – the pen just goes jagging off on its own and does something else.

My brother has a tablet that he rarely uses, but when I tried it once before, I found it unintuitive and difficult to use. I plan to try it again over winter break. Lots of artists I admire – especially webcomic ones – use tablets to do awesome art, so obviously it can be done.

Anyway, the project is still very exciting to me. And it provides a brand-new list of strange things for me to research, e.g. hummingbird species of northern California. I do love me some bizarre research!

Interesting . . .

Apparently there’s this guy, James Frey. Whose name I might have heard once or twice before. Who’s now doing . . . stuff . . . with YA books.

Specifically, Mr. Frey is gathering a stable of writers to write high-concept books in an attempt to produce the next commercially huge YA book phenomenon. The idea for one of these books can come from Mr. Frey or from the writer, but either way, in return for Mr. Frey’s contacts and support, these writers sign contracts that basically forfeit all of their rights to everything short of their DNA. They are then paid – get ready for it – $250 up front, and another $250 upon delivery of the book. They also get some percentage of all revenue minus expenses (with no audit or assurance that these numbers are actually based on anything). There’s another article here by a writer who almost joined this stable, chronicling his experiences.

In one incident in the second article, Mr. Frey tells the writer, while they are discussing a book concept, to think merchandising – in fact, to think Happy Meals.

Stables of writers working anonymously to create popular books are, of course, nothing new. (Nancy Drew, anyone?) Still, this level of commercialism astounds me. I’d almost be ready to shrug and say, “At least he’s honest about his intentions,” but honesty doesn’t make you immune from being a jerk. Naturally, no one forces writers to sign up for this endeavor, but the terms seem as contemptuous toward them as the whole enterprise seems toward, well, books.

Thoughts?

Unexpected Development!

Well, I’m still not actually participating in NaNoWriMo, largely because this development came a few days late and it is HARD to catch up on word count, but I was broadsided a few days ago by the need to work on a new project. This project combines a storyline I’d been tossing around for a year or so and a format I’m excited about.

I’ve kept a journal since 1996, and have often doodled in it to record what something looked like, or illustrate a sarcastic point, or show how I imagine something. I also once wrote a story in my sketchbook, with words and pictures together. These were always fun, but I didn’t take them seriously, and assumed no one else would, either.

Enter The Absolutely True Diary of a Part-Time Indian and Diary of a Wimpy Kid.

When I read The Absolutely True Diary of a Part-Time Indian, I filed away the interesting knowledge that hey, people besides me actually like this format. And I love it. I’ve seen these called “semi-graphic novels.” As with graphic novels, one key point is that the pictures are not just illustrations – they’re involved with the text. In these diary-style books, the conceit that the first-person protagonist actually drew the pictures is a powerful way to strengthen the connection between character and reader: “I’m not just going to tell you about this, I’m going to show you.”

(Also, pictures are fun.)

So I was happy to see that this kind of project was actually, you know, publishable, but I didn’t think much more about it until a few days ago, when that plot I’d been playing with tapped me on the shoulder and said, “Um, I could do that,” shortly followed by, “YOU WILL WRITE ME NOW.”

So that’s what I’m working on at the moment. It is more fun than should really be legal.

In closing, another fun thing combining books and comic-style graphics.