A racial question

I’ve been messing around with an idea for a novel for a couple of years. At its core, it’s a thriller with paranormal elements. Think Dean Koontz, though, more than Stephanie Meyer. No vampires in this one, no young hunk (or heroine) as the lead.

From his inception, I’ve thought of the character as having a psychic talent... and as biracial (black* and white, in this case). He’s not John Aleron, if you’ve read that character’s stories. This is someone new.

Now, I’m starting to wonder if this is such a good idea. One reason: most of the paranormal and thriller readers I’ve met over the years have been white in overwhelming numbers. Would publishers even consider a story centering around a biracial male character? I’m not saying all white readers are horrible racists who hate blacks… but publishers might be afraid that the reader base might not 'connect' with the character.

A second reason: how many quirks should I give this character? My spouse tells me that a mistake she often sees are authors who make a character quirky in so many ways that getting a ‘handle’ on them is difficult for the reader. Is paranormal + male + biracial too much?

A third reason: I am neither black nor biracial. My character would be raised in a predominantly white environment for various reasons, including the income of his family. The more money your family has in the USA, the more likely you are to be living around white people. Would black readers find my writing this character offensive? I was exposed to the poorer segment of the black population when I was a kid, but there is a big difference between knowing black people and knowing what it’s like to 'be black'.

At Magna Cum Murder in 2008, I had the pleasure of meeting Austin Camacho. He sat on a panel that dealt with writing characters who are unlike oneself in many ways. Austin is African-American and male. The character he was discussing was female and Irish. I pointed out that this was a character who differed from him in gender, race, nationality, and possibly religion as well. She was also an ex-jewel thief, but I don’t know what Austin’s past hobbies may have been.

Austin explained that a character could be very unlike his or her author in some ways, but share experiences that the author was quite capable of describing and exploring. My character, being biracial and older (around fifty years of age), would have been confronted daily with the same situation I had while growing up: not fitting in. I was an intellectual living in a significantly illiterate state, a liberal among conservatives, a lesbian and a Pagan among fundamentalist Christians. My hero would have some of these social disadvantages as well, plus the additional difference of being biracial. Someone like me could hide personality differences  by keeping my mouth shut, but racial heritage is usually self-evident.

To me, the notion of a psychic who would not only feel the ‘usual’ emotions of the people around him, but also the attitudes towards his race, is very compelling. We have been educated to ‘not see race’ in this day and age, but when we meet someone of another race in real life we often stumble over the baggage of our upbringing. My hero would be aware of that stumbling on a regular basis. Is this patronizing on my part?

What do you think?

* I use the term 'black' instead of 'African-American' because the latter is a) long, and b) acknowledges that there are black people beside African-Americans. I refer to Austin as an African-American because I'm comparing him to an Irish jewel thief. 

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Those Naughty, Naughty WIPs

The Writers Who Kill put a rather provocative post up yesterday: "I Hate My WIP". For those of you not familiar with writing jargon, WIP stands for "Work in Progress". I found a great relief in reading this article and realizing that I was not alone.

I hate my WIP up till the first draft is done. Then, it's: "OMG! I finished it! I did it! How wonderful! Yippee!" Dancing around.

Unfortunately, this is followed by revisions. Maternal adoration turns to diaperish (?) disgust. "There's a lot of crap in here! Yecch! PLEASE don't make me touch it! No! It's ugly! Ugly and full of crap! I can't send this ANYWHERE!"

Eventually (years later?) I have the WIP cleaned up and dressed nicely (i.e. I followed the submission guidelines). I send it out into the world, only to receive a note from the teacher: "Rejected." I search WIP/child for more crap; I know it's in there somewhere. That's the problem with babies, literary or physical.

After a few more rejects: WHAT'S WRONG WITH MY WIP? Isn't it cute enough? Maybe it should be blonde with a frilly dress. I don't think I can dress it like that, it would bite me. By the time I got it into that pink outfit, I'd need to update the technology in the story again (this has happened to me more than once). I detest my WIP; no one wants it. It's too gangly and funny-looking to be loved.

So, now, I have a freakish orphanage in my house (or, at least, my memory stick). My WIPs meep and chirp and drive me nuts. Periodically, though, one gets adopted. I send the lucky child off with relief and joy, but there's always that nagging feeling that I could have done better with it. Therein lies the true problem: the WIP stays a WIP until it's published. You will never be through with it.

So, once it becomes a true 'work', why do we want it back to make one last change?

There's rejection, and then there's Rejection!

I am happy to report that I've never gotten as harsh a rejection letter as the ones in this book. The young woman featured early in the video doesn't understand that rejections to writers are best done via letter, because slush pile readers get stalked sometimes (check out pages 2 and 3 of this article). Let's be honest, some writers are whack jobs. More of us would be if it weren't for the invention of psychotropic medications.

My wife specializes in receiving 'nice' rejection letters - you know, the ones that tell you what a wonderful writer you are, but your story doesn't fit for whatever reason. She didn't know whether to be flattered or frustrated as hell. Fortunately, she recently received the most important acceptance of all and her first novel is on sale.

When I get rejected, I get form letters. When I don't get form letters from an editor, it's because they take issue with something in my story. Yes, I know that I should take these to heart and correct my mistakes. I do correct those mistakes, but there isn't enough Lexapro in the world to salve the pain of a writer who takes rejection to heart. No wonder writers are famous for drinking.

Have you ever gotten an exceptionally vile rejection letter?