WritingWithColor (Search results for: abused-black-woman)

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Am I approaching my evil-aligned, Black-coded woman character in my fantasy ttrpg with tact?

@truelexblue asked:

Hi, i’m playing as a character I created from a previous ttrpg and adapted for a pathfinder campaign. in this universe i’ve made her a Black-coded tiefling wizard (because tieflings are cool).
Since I’m inexperienced with writing villains, I made her neutral evil.

After her parents sent her to an academy with good intentions, my character’s mentors abused her talents. Due to their ruthless methods, the void fractured her mind. Now her core memories lie dormant, replaced with revenge and self-destruction.

I’m thinking about asking my dm if the rest of the party can help her with the power of friendship (so she doesn’t destroy herself and everyone else with her own everything bagel)

Am i avoiding harmful stereotypes of black women?

I’ll try my best to show how broken and unstable she became from her trauma behind closed doors. additionally, there doesn’t appear to be any parallels of real life systemic racism in the campaign’s setting. [ask slightly trimmed for brevity]

So this sounds interesting but with multiple pitfalls concerning the Strong Black Woman stereotype but also ableism. Intersectionality is important.

The power of friendship helps 

It’s great if the power of friendship could be a support for your character and allows her to be vulnerable from time to time. Especially when it comes to trauma, there could be this ingrained sense that she needs to keep herself together at all times and never show the messier sides of what trauma can do to you.

Portray the abuse mindfully

Given how the evil-alignment was literally forced on her with the abuse, you’ll need to be mindful of how she can be demonized for her mental health, doubly because of the Strong Black Woman stereotype, where people would have higher expectations of her keeping it together. 

There’d be respectability politics going on as well as she’d be demonized for showing symptoms and deemed dangerous. 

Self-destruction and the Black women feel less stereotype

Given her powers, that would go double. Another thing that comes to mind it that whole “Black Women feel less pain” bs which could also play a part if you lean into the self-destructive aspect of her story. I don’t only mean the physical aspects; there’s multiple and more subtle ways that can play out. 

But when it goes hand in hand with the Strong Black Woman stereotype, it could lead to: 

  • Downplaying of her suffering
  • Being overlooked, and
  • less compassionate responses from those around her.

Trauma shouldn’t be an excuse for her evil-alignment but it can lead to toxic coping mechanisms and ideas, especially since she seems maybe somewhat brainwashed by her mentors. 

If she’s forced to stop using her usual coping mechanisms and unlearning toxic behaviour and ideas, maybe by her friends, that would mean she’d also need to learn better ways. 

That’s a very messy process that isn’t linear and so those moments will be a quagmire in terms of how to perceive those mess ups:

  • Will she be demonized for it? 
  • Will those high expectations choke her process? 
  • Will she swing hard in the other direction and dig her heels in?

Her background of trauma

As for the traumatic background, it’s good to show the actual effects of trauma on a character and how it created an unsteady foundation for them as they grew up. That is something I see often attempted but also often poorly executed, so extra mindfulness and care on that part is warranted. 

Trauma doesn’t equate to becoming evil, but there are many messy aspects and chances for toxicity if not worked on/treated by said character. Cycle-breaking is a real, complex, and nuanced thing to explore.

The power of friendship can be a great support, but I’d warn against having that be the sole thing that heals them if healing is part of their story. Allow for relapses, and mess ups.

~ Mod Alice

Black women Black women stereotypes Strong Black Woman trauma Black villians Black antagonists asks

Am I handling the black woman character’s murder well?

@selfdxd2 asked:

Hello! My current project is a crime fiction set in KY, USA in which the instigating action is the death of a young black woman (W), with the first half being another young woman (L) investigating her disappearance and how it correlates with the disappearance of her close friend. That friend (P) is later found alive after having been kidnapped because he witnessed the crime, and is the POV character of the second half. He is also a white man, and him being white is relevant to other aspects of the story. My intention is for the “credit” for solving W’s death to go almost entirely to L (who is also a woman of color, specifically Romani), and for the tragedy to be centered around the unfair loss of life and the pain of her parents and others who knew W rather than how bad P feels about it.

My main cast also has two other prominent black women with arcs that extend outside this tragedy. All of this is intended to lend to one of the story’s major themes of social invisibility vs visibility. So does this exploration of that stray into harmful territory from the outset? I know successfully keeping away from any white manpain traps will take active caution while actually writing the story and I intend to get sensitivity readers as I work on it, but I wanted to get some feedback on my starting point before going too far down that road. Thanks so much for all you do!

It is important for us to know why this young Black woman was murdered to give specific advice. 

  • Was it racially motivated, gender motivated, or both? 
  • Wrong place, wrong time? 
  • Did someone take revenge?
  • Was she involved in something insidious? 
  • Was it truly an accident?

Depending on the reason, you should explore and acknowledge this violence and the existing societal problem behind it. For help, see the crime stats on violence against Black women.

…and for the tragedy to be centered around the unfair loss of life and the pain of her parents and others who knew W rather than how bad P feels about it.

Yes, give a voice to the people most affected by her death. Other Black women, people, and Women of Color. This will help further not make it about the feelings of a white man. He is absolutely a victim of the crime too, being kidnapped, so his trauma does matter and should be tended to. But ultimately, he gets to live.

On that note, his life being worth kidnapping vs. ending begs the question; why wasn’t he murdered while the Black woman’s life had to end? And for representation purposes, why couldn’t it be the other way around (Where the Black woman lives and witnesses the crime, and the white man dies)?

This is why knowing your reasoning for her death is so important. 

Otherwise, if she was thoughtlessly murdered, it does feel like her life was incredibly devalued in your story due to her being a Black woman. It’s a serious and true problem, so I’m not saying not to write this. This just needs careful exploring. If you’re choosing to bring this real life problem into your story, it deserves full and respectful acknowledgement. 

Please check out our resources on writing tragic material, Black suffering and abuse and avoiding exploitation. 

More readingtragedy exploitation tag

~Mod Colette

Death murder tw Black women Black person dies first Tragedy exploitation Black suffering

Black girl with Abusive Black Parents, Adopted by Black Fantasy Queens

@ratbastarddotfuck asked:

Hi, I’m white and trying to write a children’s fantasy book with a largely black cast (the book is not About race, it’s just incidental). My main character is a black 12 year old girl, and in the story she is teleported to a fantasy realm where the lovely, kind monarchs are two black queens, all of her friends are black magical fantasy tropes etc. It’s a found family book - she and her friends all end up essentially adopted by the queens in the end (who were already loving parents to one of the main cast).

My question comes with writing the MC’s parents - i want the book to end with her choosing to stay in the fantasy world, because her parents are cruel and abusive. But i am concerned that making black parents abusive will perpetuate negative stereotypes, regardless of the more positive rep featured more prominently in the story. I considered making the parents white and adoptive, but i also don’t want to keep pushing the “adoption=bad” stereotype. It’s necessary for the story that her parents be awful, but I’m not sure how to do it without reinforcing negative stereotypes.

Thankyou for any help you can offer!!

To depict abusive Black families in reality, and good Black parenting only in a fantasy realm, has problematic implications. If you can show some non-abusive Black parents from the real world, that would help. 

Also, please don’t make the Black parents the only horrible people in the story. It helps to have other not so good folks, even if they’re not prominently featured. And not just BiPoC either (unless there are no white people in the story at all). Still, try to balance it out by having non-abusive Black and other BiPoC, from both the real world and fantasy realm.

Another thing: be mindful of Black abused woman stereotypes. Not every Black character needs a history of suffering to be interesting, worthy and deserving of happiness.

~Mod Colette

abuse abuse tw black parents black family tragedy exploitation black abused black woman struggle novel

Black girl angel harshly judged and banished from a second chance at life

furryfaceandthefeelgoodfairy asked:

My MC is a black girl who, due to dying before her 18th birthday, is granted access to a child/teenage oriented afterlife for a second chance at life, the angels are granted elemental powers used to help mortals. However the angel leader fails to fully help the children in her care; she believes they must all be fully pure, and banishes any child who has committed any wrong doing or serious mistake in their mortal lives. These banished angels form their own gang; their specific leader is white. I don’t know what my MC did yet but I do know it will be a mistake she made when she was young that was not her fault, but is banished for it anyway. My MC sneaks back into angel land and the leader is so impressed by her intelligence that she let’s her stay, but gives her the “dangerous” power of fire as a warning to other angels to stay away from her.

My MC’s arc revolves around her eventually-found friends supporting her through the emotional abuse she has been through, and eventually accepting that whatever “wrong” mistake she made was not her fault because she was a child, the adults around her should have supported her, and escaping the abuse of the angel leader. She also learns to love her fire power and it aids her greatly on the story’s journey.

My main cast consists of 5 characters of colour and 4 white characters; the angel world and the banished angel world are full of different races, with a main angel character being mixed race and a main banished angel character being white. Are there any pitfalls you think I should avoid when it comes to writing this, in a way that makes it clear my MC is being unfairly judged for what she did as a child rather than because she’s black? Thank you.

Showing us that many young people of different races and backgrounds are unfairly judged is key. This way, you’re not singling out the Black character, judging her more harshly and as less innocent than her white and other counterparts, as they do in real life (criminalizing young Black kids, seeing them as more grown and less innocent, etc.) 

If you’re making a specific commentary, then sure, you could single her out. It should be handled intentionally and you’d want to make sure you’re equipped to write on such a complex, historically-rooted matter of discrimination.

You want to avoid those implications, it seems. So avoid it with purpose:

  • Show us how other angels have made mistakes on a similar or lesser level of “Bad” that has got them banished.
  • Show the pain and judgment that others experience so we know it isn’t just her.
  • Also: perhaps avoid gruesome details about her death (particularly if others don’t have theirs described / described in explicit details)
  • On that note, how does she die? A death with exceptional pain and suffering, compared to others, can fall into tragedy exploitation. 

You mention emotional abuse. 

  • Did she face this abuse as a human, or is she being emotionally abused by these angels? 
  • Are others experiencing abuse or hardships, or is she the only one who truly suffers in the story?
  •  Is the Black girl experiencing a higher level of pain and abuse than others?

Watch out if the answer is yes to those last questions, as again, you may be making a struggle novel with an abused Black woman. A tragedy exploitative narrative.

From the details you’ve given, though, it seems you’re on the right track. Just keep these things in mind. Sounds like an interesting story!

~Mod Colette

Black Black women abuse abuse tw emotional abuse tragedy exploitation pain and suffering Black pain struggle novel abused Black woman asks

Black Woman in Assassin Program, Black Father Killed her Mother

@ask-jeff-and-the-lads asked:

My story follows a bunch of criminals and one non-criminal who was kidnapped in a robbery gone wrong. The criminal group is a robot, an alien, a white woman, a white man, and a black woman. The two women were raised in an assassin program (like black widow but done better) until they defected as young adults. However, they both had early childhoods before being ‘selected’ and it could be problematic. The black woman’s story was that her father was abusive and eventually killed her mom. She bore witness to this, and attempted to later kill her dad with the same gun, in a ‘young child not really comprehending the gravity of things’ sort of way. I don’t want it contributing to the violent black man stereotype, and the non-criminal character is black and had a loving and supportive father. Everyone in the story pretty much has a terrible backstory to varying degrees, but should I change hers to have less outright violence? 

The white woman was neglected and physically abused by her single mother, and eventually locked her mom in a room and ran away, for comparison. They’re also mostly morally grey, but a central idea of the story is recovery and redemption, so they end up as better people after working through the violence they were forced to commit by the program.  

Fiction in which

  • Others inflict death and violence against Black women
  • Black men are violent, abusive or murderers
  • Black men perpetuate violence against Black women
  • Combos of the above

Requires you, the writer, in my opinion, to do the following:

Trace your logic

Why these particular scenarios out of all the other possible ones? I understand that all of your characters have violence in their pasts. Still, you the author choose these particular details for the history of your Black characters. Brutalized and murdered Black women and Black men / people being deemed violent are common, overplayed scenarios in media. You can give a character a tumultuous history without making Black people violent / victims of violence. Before jumping to this idea, brainstorm the many other possibilities.

Check if you’re the right voice

Now, it’s one thing to choose stereotypical, overgeneralized portrayals because that’s where your brain goes. It’s another to make intentional commentary on an issue. Violence against Black women and/or violence done by Black men towards Black women are all real issues. But note that you’re adding your voice to a topic in which you might never have been asked to speak on, and will not be openly embraced by all. If this is not your lived experience based on events in your life or community connections, your voice may not be welcome in the conversation, or able to capture nuance, avoid stereotyping, etc.

Do some hard work

Writing this sort of background requires research and work with the right beta or sensitivity readers to portray this well. This is the case even if the character’s background isn’t a large feature in the story. As long as you’ve written that in, it needs careful writing and potentially, revising.

Balance it out with non-stereotypical portrayals

Whenever you brush even the essence of a stereotype for BIPOC, it’s always a good idea to have a clearly non-stereotypical portrayal. You have a Black non-criminal character with a loving and supportive father, so that aspect is taken care of. Also, please include Black women who aren’t abused and murdered as well. Another thing: If the murdered mother is a dark skinned woman, while she’s not replaceable, please ensure there’s dark-skinned Black woman (who live, aren’t abuse) as well. It’s a whole different commentary to have an abused and murdered dark-skinned woman while light skinned Black women are allowed to avoid abuse and struggle.

~Mod Colette

tragedy exploitation Black Black women Black men Black tropes tropes violent moc violent black man black death abused black woman asks abuse abuse tw

tasmanianstripes asked:

Hello! So I am writing this kind of horror novel? And there's a black family that's like upper-middle class (not rich but well off, mother is a surgeror). So there's two parents and they have a son and a daughter, the son is kind of abusive and a bully which prompts the daughter to leave to live with her uncle and cousin. The son ends up killing both or one parent (still deciding) and then gets possessed by a monster which especially kills him and the monster uses him as a vessel (part 1/2)

(so with that out of the way; basically the son being a horrible person and at least one of the parents dying is very important to the plot but I want to make sure I do this tactfully. I can of course change things and dail it down if necessary. Also, if that’s any concern, the characters of colour aren’t the only ones suffering, it’s a generally dark book and pretty much everybody goes through some heavy shit. I can tell you more if necessary, and thank you in advance for your help! ♡

Evil Black Man becomes possessed by a Monster

You’ll have to be careful with this one. You seem to be portraying Black men as monsters, quite literally and also in a “inhumane” sense (betraying others, murdering his loved ones and abusing his Black sister). He also kills one parent, and depending on their gender, this has other implications. Their acts also feed into tropes of Black people being violent, particularly as more violent, with the target being other Black people. I will discuss these tropes more.

Violent Men of Color

Men of Color, particularly dark-skinned men with an emphasis on Black men, are often harmfully portrayed as aggressive, predatory and even animalistic. This is a harmful, dehumanizing trope and feeds into real life biases against Black men that gets these men killed. People assume MOC are just that much more violent and that they’re armed. This leads to overreacting to their presence and actions in fear, when really these men are just trying to live their life. Some even go out of their way to prove they are harmless to reduce the unearned panic their presence may cause (e.g. hands out of pockets, smiling brightly, making sure they’re visible so their presence isn’t a surprise, especially at night)

Examples of this trope in action:

  • The way “Karens” call the police on Black people at the drop of a hat with claims that they fear for their life or are being threatened. They’ll play on this stereotype for sympathy and to urge on a stronger reaction from police and others around them.
  • People locking their doors or crossing the street when a Black person comes near.
  • Police brutality and vigilantes that lead to murders when they
    • Falsely perceive a weapon / read into simple hand motions as reaching for a weapon
    • Assume BIPOC will get violent and treat them like a threat from the beginning

Note: You see this at play towards Black women too. I’m pretty sure every fellow Black woman I know, including myself, has had a white woman clutch their purse upon them passing by in a store, and / or has been accused of being too “angry” and aggressive when speaking their mind or showing emotion.

It really isn’t great to feed this narrative. The media is oversaturated with these portrayals already. 

“Black on Black” crime

As for this aspect, I can see some of that portrayed in your story. The reality of this phrase is rooted in anti-blackness and intends to make Black people out to be more violent compared to white people and other races. When used to justify others killing Black people, it’s a racist justification for their deaths. 

The truth: People tend to commit crimes against the people they know and in their immediate demographic and area. Black people tend to know Black people. In the same way white people tend to know white people, and so on.

Statistics:

- Rates of white-on-white and Black-on-Black homicides are similar and remain within 10 percentage points of each other, around 80% and 90%, respectively.

- Likewise, rates of Black-on-white and white-on-Black homicide remain within eight percentage points of each other, at around 16% and 8%. 

- And police kill Black people at disproportionate and much higher rates than they kill their white counterparts. 

(USA Today, 2020. Stats are from the U.S. Department of Justice) 

Now - this is not to justify violence and murder perpetrated by any race. However, it’s just incorrect to create a narrative of Black people being inherently more violent, particularly towards each other, when white offenders can be quite comparably as violent. Even still, you’re looking at just a portion of a population. These numbers don’t account for the everyday, non-murderous people going about their lives!

Solutions

This narrative, as is, is probably best handled by a Black author. In any case, a Black beta-reader or three should take a closer look. That isn’t to say this can’t be improved!

Here are some ideas to help improve upon this narrative:

  • Include positive representation. You absolutely should portray Black men of similar identities (for example, if he’s dark-skinned, not cis or straight, etc.) in a positive, non-stereotypical and non-violent way. Prominent positive and neutral representation is a must, in my opinion, to balance such harsh portrayals of Black men.
  • Clearly define the reason for his ways. It just being “the way he is” as if this level of violence and hatred is natural is not sufficient. 
    • Was he triggered or traumatized by something? 
    • Did someone or something make him this way? 
    • You’ve got elements of possession: You could definitely run with that being the evil influence over him vs. it having anything to do with his Blackness. Perhaps that demon was lurking around most of his life, influencing his personality and feeding and growing his negative emotions to the point that he was becoming a bad person.
  • Consider ways to make him “bad” that aren’t linked with violence. There are many socially unacceptable ways, both legal and illegal, that can make someone a menace. A villain does not always have to be flashy in his evil, aka a murderer. Think of the human ways that make someone unpleasant. They can be selfish, a cheater, a liar, condescending, disloyal and overall deemed “bad.” Someone can come across just as menacing on the pages without being violent.
  • Include violent characters of other races. And not just Men of Color, either. There should be white violent characters who commit crimes and brutalities as well. You also mention this story is “Dark” but that doesn’t excuse hyper focusing on violence when it comes to the Black characters and giving the other races different matters to deal with.
  • Or! Even better - give the violent ways to someone else. Or no one at all. As I mentioned “darkness” and evil does not always need to be connected to violence and murder. If you choose to still include it, that’s fine. I would still suggest considering if this plotline could go to someone else without diminishing the role of these Black characters in general.

I do want to add that Black characters don’t need to be perfect. I absolutely love a Black villain! Folks can appreciate a grim story as well. However, I believe most people prefer when that villain doesn’t feed directly into actively harmful tropes. We want to see serious narratives and horror done, minus the tired tropes. As always, it’s helpful when there are other Black characters of importance that help balance out the representation. 

~Mod Colette

tasmanianstripes Black men Men of Color Violent MOC Violent men of Color black on black black on black crime black death death death tw angry black man violent black man black women villains black villains Black stereotypes creator responsibility asks

Shapeshifting Black characters (Compilation)

Black person is a Black cat & witch

@toni4eyes asked:

Hi, I’m writing a story that involves a lot of Scottish folklore and I have a character that is Cat Sìth, which is a witch that can transform into a black cat with a white spot on its chest. I’m designing their human form and am considering making them black, but I’d like to check whether or not this would be okay first, especially since it’s from Scottish folklore?

Black people can be Scottish, so yes, it’s okay from that standpoint.

There’s no inherent poor associations with Black people and cats, at least that I know of. I think this is a cool idea! I instantly am picturing them with Black curls with a white streak!

As always, to avoid dehumanization implications, I recommend
Having other non-Black characters with the ability to turn into an animal. And not just other BIPOC in general, but white characters too (Since only POC turning into animals feels dehumanizing).
And/or another Black character (specifically of their identity) who does not turn into an animal.

~Colette

Dragon shapeshifts into Black woman

@multifangirl69 asked:

Hello! I have this idea for a fantasy story that is all about the romance between a Knight and a shapeshifting Dragon. The Dragon can shapeshift into a human black woman and I worry that this might come off as othering. Most characters in the story will be POC, including the Knight and a lot of other human black women. I really want to write this story, but I also want this to be a diverse fantasy story that isn’t about white Europeans. Is there anything I should be careful about?

Please see my Black cat answer above. No unfortunate implications based on what i’m reading. You’ve got other human Black women, so that’s good. It’d be great if there were other shifters of different races and not just BIPOC, but since you have the other human Black women component, it’s okay.

There are dragons in many cultures, but I’ll just say be sensitive to that and avoid appropriation and do your research. 

~Colette

P.S. Hit me up when your stories come out; I’d love to read them! 

Black animal shifter prefers animal form as her default

@mkfshard asked:

I’m writing a Fantasy story that heavily features themes of transformation, and I want to make sure I’m not falling into the fantasy trope of PoC being confined to animal forms. One of my main trio is a young Black woman with this ability, who uses it to perform acts of heroism. At a young age, she was abused to encourage her to use this power to the exclusion of her human body, and has developed an aversion to being human and therefore ‘vulnerable’. She can return to human form at will, but chooses not to. She treats her non-human form as her 'default’ form, and easily enjoys being that way, scorning the fear of those who see her as a monster. The non-human form does not affect the mind in any way, and while she is very outgoing, outspoken, and a competent fighter, I’ve made sure her personality is not depicted as 'overly aggressive’ or 'animalistic’. I’ve tried hard, but I know I have massive blindspots. Have I made any glaring mistakes here?

The animal transformation is not a problem in itself, as long as there are other non-Black people who can transform into animals, and preferably not all BIPOC only. The Black woman being more of an “animal by default” does feel dehumanizing to me.

You’ve made your Black woman character more in touch with being an animal than human, afterall. On top of that, she was abused. 

Questions to ask yourself:

  • Trace your logic - why does this character, out of all of them, have this characterization? 
  • Are there other Black characters who are non-transforming humans and/or do not default to animal form? Particularly, Black women characters.
  • Are there other characters that prefer their animal forms as well? Preferably white ones as well and not just BIPOC?
  • Would it make sense for the past abuse to have made her feel more comfortable staying in the human form instead? And more aversion to the animal form (in order to separate herself from what she was told / forced into)?
  • Furthermore - how is her past of abuse addressed in the narrative aside from to explain her feelings towards her animals and human forms? It’s the topic that influences her identity and should handled with respect.
  • Is her life balanced between acts of heroism and having a life of her own? Is she the only one who uses her powers to save others, thus placing herself in harm’s way? 
  • Is she allowed physical and mental weaknesses, vulnerabilities, and shown to be someone worth protecting? Do people care for her and protect her and show it?

~Mod Colette

Black Black women compilation shapeshifter shapeshifters dehumanization othering trace your logic asks

flyboyypoe asked:

hi 👋🏼 the MC of my fanfic is black. she’s involved with two white men who are in a relationship with each other. they eventually would be in a polyamorous relationship together. however, in the setting of a boarding school, and their country (a highly anti-gay country), when she finds out they’re not-straight, one boy threatens to harm her physically (he chokes her) if she spills their secret but he does it out of fear. does it perpetuate the stereotype of black women being abused/threatened?

Black woman attacked, in relationship with the abuser

To me, you’re facing different problems here, the stereotype of Black women being abused being one of them. But let’s start with that one : I don’t think the Black woman being abused is a good idea, let alone the fact that she will be in a relationship with her abuser. I’m all for “rivals/enemies to lovers” tropes, but when violence is involved, it’s to be taken with precaution. You should meditate about the message you’re sending when you’re writing, especially regarding domestic violence (because that’s where it is for me). The red line not to be crossed in relationships is definitely brutality, and if you don’t intend to denounce that, I advise you not to write this story this way.

Also, is your MC the only Black character ? Are there others ? Based only on what you sent, it feels weird for her to be in a relationship not with one, but with two White men. It can seem like she’s a token of some sort, with her being part of their relationship after they started as a couple.

- Lydie

I agree with everything Lydie said here.

I really wonder why you made the choice to have her fall in love AND get into a relationship with someone who physically assaulted her. Seems like a very unhealthy precedent in their relationship. 

There are several thoughts that come to mind for me when I read this:

  • Your MC has a history that informs this choice, such as (domestic) abuse, low self-esteem, depression, and other such conditions that make her feel like she deserves this treatment or that it’s not a big deal.
  • Violence against Black women at the start of relationships is okay (according to this),
  • These two white men have some racist notion about Black women and see her as a plaything, fetish, or something of the sorts, which leads to this abuse.
  • This relationship is forced for plot/story reasons.

I mean, it’s one thing to have your characters react with aggression due to fear for their lives but to have them get romantically involved afterwards doesn’t sit right with me for a healthy romantic relationship.

Why must this relationship be with both men? If you want polyamory and this complicated thing in their past, why not have this be a Vee relationship? Being metamours with one of the men while in a romantic relationship with the other would be complicated enough?

~ Mod Alice

Commentary

@everythingofcolor said:
Yeah, this really feels like both men are fetishizing her, not to mention the fact that you plan on him ??? literally abusing her??? 

- coming from a black polyamorous girl

@frogs-from-bogs said:
@flyboyypoe Does the black MC need to be direct victim? If you want to keep this ‘enemies to lovers’ dynamics and show how fear could drive an overall good person to violent behaviour, maybe let her witness how her future love interest is choking someone else? This is enough to feel threatened, but at the same time makes their future relationship more likely and less toxic.

@soupcowboy said:
I wanna say something, and I know im not black so just know Im not trying to interrupt yall on that subject.

There are A Lot of different ways this dude could tell MC not to spill their gay little secret Without being violent. Especially if youre going to have them be in a relationship later on. Thats just gross.

Even if the character is sort of a hardass, you could have him sternly tell her not to tell anyone. Have him beg her, the only physical contact during which could be him grabbing her hands or arms, but not in a violent way. In a pleading, desperate way.

Why do you need him to threaten her with violence. It sounds completely unnecessary and in bad taste. And to have em in a relationship later on? Change it. Thats icky.

flyboyypoe Black women abuse domestic violence domestic violence tw polyamory vee relationship vee abused Black woman tragedy exploitation asks

Black woman saves and houses abused white woman and child

@dykecalianna asked:

Greetings! I follow this blog whenever I can and I recently came out with something in my story that I wanted to inquire about:

There’s a white woman in her late 30s, let’s call her “Vicky”, who (along with her daughter) is a victim of domestic abuse, and another character, a Black woman, “Cherry”, is made aware of this after a change encounter the two have at a café. She helps Vicky flee from her husband and lets her stay in her home - later, the two fall in love and get together.

I’m very aware of the White Saviour trope, and do my best to stay away from it. This is nothing like it, but does this fall under some sort of negative stereotype for Black women, like “saving the fragile white woman”? I should note that Cherry and Vicky are the exact same age, only Cherry is single and living alone. She is described by many as being very cute, and she is also secretly a well-renowned writer (she uses an alias when writing, so she kind of feels like a super heroine, which then ties with her storyline about Vicky). Also, I think it’s pretty clear, but the abusive husband is also white like Vicky.

I think it’s touching that Cherry saves this woman and her child from this abusive situation. I would like to discuss some areas that may help you explore if there’s a mammy / strong black woman / sacrificial negro dynamic here.

The chance encounter

Did Cherry (Black woman) meet Vicky (white woman) for the first time and instantly decide to get involved? I feel that it’s a bit sacrificial for Cherry to place herself in the middle of what could be a potentially deadly situation, as domestic abuse too often leads to, for a perfect stranger. 

This level of involvement would not align with how much one might put on the line for someone they do not know at all. Cherry is now at risk of retaliation from Vicky’s abuser if he finds them, or Vicky allows him back into their lives and lets them know where her home is / they make up and he learns about Cherry’s involvement etc. 

Their relationship prior to Cherry helping Vicky

The risk might feel worth it for someone you know, but it’s a lot to ask of a stranger. In the case of a “chance encounter becomes savior” situation, she also doesn’t know anything about Vicky and is letting a perfect stranger into her home. Of course, everyone is different and based on her personality and experiences may be willing to assume these risks. The child being involved might also influence that. Cherry might be one of those people, but it’s worth acknowledging as a big undertaking in the narrative. Her actions should not be brushed aside as nothing or just “her duty”. Too often servitude is just assigned as natural for Black women. Their own lives take a back seat and to take care of other people / ensure their well being comes first.

Suggestion: built a history between the women

A better fix might be to develop some level of a relationship between the two before Cherry risks so much to save them. They could even just be acquaintances. It helps if they know each other on some level,  at the least. Even if it’s strangers that see each other often at the cafe and strike up small talk all the time but never speak outside of that, old high school classmates that ran in different groups, friends of friends. This creates some sort of relationship where Cherry feels she knows Vicky “enough” to assume the risks, especially as a child is involved. 

Without knowing the exact circumstances, I’ll pose a few scenarios and explore the pitfalls.

If she witnesses the abuse

  • Witnessing the abuse and getting involved as she sees it happening - I wouldn’t fault her for that. I’d instinctively get involved too!
  • If something happens in the public eye, it would help if other bystanders get involved too; Cherry just happened to take it to another level and offered her sanctuary.
  • Again I’m still having a hard time figuring out why Cherry has been placed in this situation before proper authorities, women’s shelters, etc. if she doesn’t know her at all. As I’d suggested, it might be best if they had some sort of relationship prior, no matter how subtle.

The escape from the abuser

What role does Cherry play in the escape?

Physical strength / sacrifice 

Is she expected to use brute force aka be “Strong” to physically save Vicky or fight off her abuser? I would avoid that, as you will have a Strong Black Woman on your hands.

Must Cherry put herself in direct danger with the abuser to save Vicky and the child?

It’s asking a lot for Cherry to storm into the home, potentially get harmed or die for a stranger in a domestic abuse situation that she does not know a lot, if anything, about. For example, what if  there’s deadly weapons in the house? 

Could Cherry involve others to help?

Maybe Cherry could call authorities and possibly show up alongside them.

If authorities aren’t involved, perhaps she waits outside to drive the getaway car as the friend and child escapes (I’m 100% inspired by Enough with Jennifer Lopez). Even better, if she could bring along someone else, preferably non-Black, who could help in the situation.

Emotional strength 

The Strong Black Woman is often about being forced into emotional labor.

  • Is Cherry allowed to react with fear, sadness and anxiety about the situation? Or must she keep it together for the sake of the White woman? Perhaps it’s triggering based on her past; she should be allowed to process that.
  • Allow Cherry to deal with her own wave of emotions. Even better if she has an outlet for that. She might not lay them on Vicky, but she also shouldn’t be expected to be a perfectly composed rock whose purpose is to comfort and support Vicky. 
  • Vicky shouldn’t rely completely on Cherry for emotional support. She needs other sources to expel her own fears and emotions. Whether a therapist, parent, other friends, chat forums, journal, or a dog!

Mammy (dynamic between Cherry and the white woman and child)

Given the other factors in the story, I would stay away from Cherry being asked or offering to care for the child. Vicky should take primary care for her child or get help from others besides Cherry or other Black women, as this would give their dynamic mammy and servitude vibes. 

Same applies to Cherry physically taking care of and serving Vicky - avoid it. Also, once Vicky is up for it or she has the means, they can split the chores or Vicky does the majority or contribute to housing expenses (again, if she has the means) but in some way she should pull her weight, so all the domestic care does not fall on Cherry. 

It’s all about avoiding putting Cherry, the Black Woman, in the position as savior of white woman and child + servitude role any further than the implications the first incident creates. Initial comforting and support is fine, but the rest of the white woman and child’s world shouldn’t continue to rest on the Black woman’s shoulders.

Explore Cherry’s life outside of the white people

A very important aspect that will keep this away from SBW and Mammy tropes; give Cherry her own life. Cherry absolutely needs to have a plot line that does not revolve around Vicky and child. She needs to talk to other people, and about other subjects, besides those two. Her main problems, drama, and highlights of her life shouldn’t revolve around them. 

Give her emotions, weakness, and vulnerabilities. She needs other friends and/or family, interests, and a little romance absolutely helps too. She is this amazing writer, so you’ve got something to work with right there! Ultimately, she needs her own life, things going on that have nothing to do with them.

Good luck with your story!

Colette

Black women BWWW Friendships power dynamics mammy Strong Black Woman sacrificial negro abuse abuse tw domestic violence domestic violence tw domestic abuse domestic abuse tw asks

Subverting tropes: Black woman protector with happy ending

@allianceblue asked:

Hi there! I’m writing a dragons-and-magic fantasy story, and am concerned my Black protagonist falls into the Strong Black Woman / Mammy stereotype. She was bullied and excluded as a child for her “weird” interests (alchemy, engineering) and as an effect of that undealt-with trauma, felt pushed to protect other outcast kids from that same fate; essentially trying to “save” the young girl inside her who was never protected through protecting others.

She was also forced into even more of a “protector” role by her family. She was burdened with the role of caring for her mother and siblings when their father passed away. All this has lead to my character repressing things like her hobbies, her scared/sad side, small stuff like her use of a sword and shield when she would rather use a bow & arrow—she feels like the shield is more useful to keep others safe, etc.

I try to show how much this role of “Independent, Unfeeling Protector” she’s been forced into has hurt and worn her down, and how it isn’t a good thing. Her overall arc is about learning to be cared for by her family, expressing her emotions, reconnecting with her buried interests, and letting herself fall in love. Her love interest is a kind, emotionally open Black woman, and she has friends who are PoC that are varied and aren’t protector/independent types.

My concern is that I’m still perpetuating that stereotype of the Strong Black Woman who takes care of everyone—even if it’s caused by trauma and loss. I don’t know what the line is between dismantling a trope or perpetuating it and what my role is as a white writer is, and was wondering if you had any thoughts on this. Thank you so much!

Research and feedback are key

I do appreciate that the narrative is addressing these stereotypes to subvert, as opposed to “Embracing” the Strong Black Woman and Mammy roles as acceptable characterization. Allowing her to break free from this role and have her happy ending is great as well. 

However, this seems like a deep undertaking of trauma that you absolutely need to be equipped to write. Your subject matter goes beyond just stereotypes, but forced parenting. 

Mod Norma adds “Definitely agree that parentification is a real form of abuse.”

So, as always, please do your research on such subject matter and have the appropriate sensitivity readers take a look at your story. 

Cue your audience on what’s to come

Something to also note is that, while you are subverting the tropes, some BIPOC readers just 

  1. aren’t interested in subverting as representation
  2. would prefer to read such stories from those who are of that identity and/or have direct experience with the topic(s)

To quote Mod Elaney from the mod representation wishlist

“Lastly, I personally do not want these tropes to be explored and subverted by people, I want them to be avoided entirely because I feel that normalizing positive representation rather than commenting on negative representation is far more beneficial and validating to the people these works are supposed to help and represent. We don’t need sympathy, we need empathy!”

With an extra layer of abuse as a subject matter, that could also make things less palpable to some. 

That isn’t to say you “Can’t” write these subjects of course. Simply check your motivations. Write this because this is a topic you want to address and will heavily research and gather proper feedback on.

I (personally) have to be in the right mood for novels that address Black women going through abuse and oppression. Knowing it isn’t all about that and there’s a bright future for her does soften the blow, though. If there’s any way you can clarify to readers that this isn’t a book simply about “The struggle” and there is a hearty balance of hope and happiness for her, then that makes all the difference.

~Mod Colette

Additional advice

This sounds like a story that could potentially deconstruct the Strong Black Woman and/or Mammy Tropes. If your intention is to show how harmful these roles can play out and how your character is much much more than those roles, showing how she may first seem that way due to suppression of herself, then I think it will be a hard book to write, but a very good read when you succeed.

That said, this story needs to be written by someone who really knows what they’re doing in regards to these tropes, the portrayed identities/representation, and the mentioned trauma and abuse. These are incredibly complicated and hard to do respectfully and properly and even when you’re able to use your own experiences, you’ll need to do a lot of deep research. Especially given the amount of trauma here, this can easily become trauma-porn as well.

~ Mod Alice

More reading

Strong Black Woman Mammy Subverting tropes Black Black women representation black representation abuse tw abuse parentification asks

platypan asked:

I'm writing an AU of a movie that takes place in the 1880s USA, where a travelling white character and a Jewish character are waylaid by Native Americans, who they befriend. Probably because it was written by and about PoC (Jews) the scene actually avoids the stuff on your Native American Masterpost, but I'd still like to do better than a movie made in the 1980's, and I feel weird cutting them from the plot entirely. I have a Jewish woman reading it for that, but are there any things you (1/1)

2/2 1880s western movie ask–are there things you’d LIKE to see in a movie where a white man and a Jewish man run into Native Americans in the 1880s? I do plan to base them on a real tribe (Ute, probably) and have proper housing/clothes and so forth, but right now I’m just trying to avoid or subvert awful cowboy movie tropes. Any ideas?

White and Jewish Men, Native American interactions in 1880s

I am vaguely concerned with how you only cite one of our posts about Native Americans, that was not written by a Native person, and do not cite any of the posts relating to this time period, or any posts relating to representation in media. 

Sidenote: if you want us to give accurate reflections of the media you’re discussing, please tell us the NAME. I cannot go look up this movie based off this description to give you an idea of what my issues are with this scene, and must instead trust that the representation is good based off your judgement. I cannot make my own judgement. This is a problem. Especially since your whole question boils down to “this scene is good but not great and I want it to be great. How can I do that?”

Your baseline for “good” could very well be my baseline for “terrible hack job”. I can’t give you the proper education required for you to be able to accurately evaluate the media you’re watching for racist stereotypes if you don’t tell me what you’re even working with.

When you’re writing fanfic where the media is directly relevant to the question, please tell us the name of the media. We will not judge your tastes. We need this information in order to properly help you.

Moving on.

I bring up my concern for you citing that one—exceptionally old—post because it is lacking in many of the tropes that don’t exist in the media critique field but exist in the real world. This is an issue I have run into countless times on WWC (hence further concern you did not cite any other posts) and have spoken about at length. 

People look at the media critique world exclusively, assume it is a complete evaluation of how Native Americans are seen in society, and as a result end up ignoring some really toxic stereotypes and then come to the inbox with “these characters aren’t abc trope, so they’re fine, but I want to rubber stamp them anyway. Anything wrong here?”. The answer is pretty much always yes. 

Issue one: “Waylaid” by Native Americans

This wording is extremely loaded for one reason: Native American people are seen as tricksters, liars, and predators. This is the #1 trope that shows up in the real world that does not show up in media critique. It’s also the trope I have talked about the most when it comes to media representation, so you not knowing the trope is a sign you haven’t read the entirety of the Native tag—which is in the FAQ as something we would really prefer you did before coming at us to answer questions. It avoids us having to re-explain ourselves.

Now, hostility is honestly to be expected for the time period the movie is set in. This is in the beginnings (or ramping up) of residential schools in America* and Canada, we have generations upon generations of stolen or killed children, reserves being allocated perhaps hundreds of miles from sacred sites, and various wars with Plains and Southwest peoples are in full force (Wounded Knee would have happened in 1890, in December, and the Dakoa’s mass execution would have been in 1862. Those are just the big-name wars. There absolutely were others). 

*America covers up its residential schools abuse extremely thoroughly, so if you try to research them in the American context you will come up empty. Please research Canada’s schools and apply the same abuse to America, as Canada has had a Truth and Reconciliation Commission about residential schools and therefore is more (but not completely) transparent about the abuse that happened. Please note that America’s history with residential schools is longer than Canada’s history. There is an extremely large trigger warning for mass child death when you do this research.

But just because the hostility is expected does not mean that this hostility would be treated well in the movie. Especially when you consider the sheer amount of tension between any Native actors and white actors, for how Sacheen Littlefeather had just been nearly beaten up by white actors at the 1973 Academy Awards for mentioning Wounded Knee, and the American Indian Religious Freedom Act had only been passed two years prior in 1978. 

These Native actors would not have had the ability to truly consent to how they were shown, and this power dynamic has to be in your mind when you watch this scene over. I don’t care that the writers were from a discriminated-against background. This does not always result in being respectful, and I’ve also spoken about this power imbalance at length (primarily in the cowboy tag).

Documentaries and history specials made in the 2010s (with some degree of academic muster) will still fall into wording that harkens Indigenous people to wolves and settlers as frightened prey animals getting picked off by the mean animalistic Natives. This is not neutral, or good. This is perpetuating the myth that the settlers were helpless, just doing their own thing completely unobtrusively, and then the evil territorial Native Americans didn’t want to share.

To paraphrase Batman: if I had a week I couldn’t explain all the reasons that’s wrong.

How were these characters waylaid by the Native population? Because that answer—which I cannot get because you did not name the media—will determine how good the framing is. But based on the time period this movie was made alone, I do not trust it was done respectfully.

Issue 2: “Befriending”

I mentioned this was in an intense period of residential schools and land wars all in that area. The Ute themselves had just been massacred by Mormons in the Grass Valley Massacre in 1865, with ten men and an unknown number of women and children killed thanks to a case of assumed association with a war chief (Antonga Black Hawk) currently at war with Utah. The Paiute had been massacred in 1866. Over 100 Timpanogo men had been killed, with an unknown number of women and children enslaved by Brigham Young in Salt Lake City in 1850, with many of the enslaved people dying in captivity (those numbers were not tracked, but I would assume at least two hundred were enslaved— that’s simply assuming one woman/wife and one child for every man, and the numbers could have very well been higher if any war-widows and their children were in the group, not to mention families with multiple children). This is after an unknown group of Indigenous people had been killed by Governor Brigham Young the year prior, to “permanently stop cattle theft” from settlers. 

The number of Native Americans killed in Utah in the 1800s—just the number of dead counted (since women and children weren’t counted)—in massacres not tied to war (because there was at least one war) is over 130. The actual number of random murders is much higher; between the uncounted deaths and how the Governor had issued orders to “deal with” the problem of cattle theft permanently. I doubt you would have been tried or convicted if you murdered Indigenous peoples on “your” land. This is why it’s called state sanctioned genocide.

This is not counting the Black Hawk War in Utah (1865-1872), which the Ute were absolutely a part of (the wiki articles I read were contradictory if Antonga Black Hawk was Ute or Timpanogo, but the Ute were part of it). The first official massacre tied to the war—the Bear River Massacre, ordered by the US Military—places the death count of just that singular massacre at over five hundred Shoshone, including elders, women, and children. It would not be unreasonable to assume that the number of Indigenous people killed in Utah from 1850, onward, is over a thousand, perhaps two or three.

Pardon me for not reading beyond that point to list more massacres and simply ballparking a number; the source will be linked for you to get an accurate number of dead.

So how did they befriend the Native population? Let alone see them as fully human considering the racism of the time period? Natives were absolutely not seen as fully human so long as they were tied to their culture, and assimilation equalling some sliver of respect was already a stick being waved around as a threat. This lack of humanity continues to the present day.

I’m not saying friendship is impossible. I am saying the sheer levels of mistrust that would exist between random wandering groups of white/pale men and Indigenous communities wouldn’t exactly make that friendship easy. Having the scene end be a genuine friendship feels ignorant and hollow and flattening of ongoing genocide, because settlers lied about their intentions and then lined you up for slauther (that’s how the Timpanogo were killed and enslaved).

Utah had already done most of its mass killing by this point. The era of trusting them was over. There was an active open hunting season, and the acceptable targets were the Indigenous populations of Utah.

(sources for the numbers: 

List of Indian Massacres in North America
Black Hawk War (1865-1872)
)

Issue 3: “Proper housing/clothes and so forth”

Do you mean Western style settlements and jeans? If yes, congratulations you have written a reservation which means the land-ripped-away wounds are going to be fresh, painful, and sore.

You do not codify what you mean by “proper”, and proper is another one of those deeply loaded colonial words that can mean “like a white man” or “appropriate for their tribe.” For the time period, it would be the former. Without specifying which direction you’re going for, I have no idea what you’re imagining. And without the name of the media, I don’t know what the basis of this is.

The reservation history of this time period seems to maybe have some wiggle room; there were two reservations allocated for the Ute at this time, one made in 1861 and another made in 1882 (they were combined into the Uintah and Ouray Indian Reservation in 1886). This is all at the surface level of a google and wikipedia search, so I have no idea how many lived in the bush and how many lived on the reserve. 

There were certainly land defenders trying to tell Utah the land did not belong to them, so holdouts that avoided getting rounded up were certainly possible. But these holdouts would be far, far more hostile to anyone non-Native.

The Ute seemed to be some degree of lucky in that the reserve is on some of their ancestral territory, but any loss of land that large is going to leave huge scars. 

It should be noted that reserves would mean the traditional clothing and housing would likely be forbidden, because assimilation logic was in full force and absolutely vicious at this time. 

It’s a large reserve, so the possibility exists they could have accidentally ended up within the borders of it. I’m not sure how hostile the state government was for rounding up all the Ute, so I don’t know if there would have been pockets of them hiding out. In present day, half of the Ute tribe lives on the reserve, but this wasn’t necessarily true historically—it could have been a much higher percentage in either direction.

It’s up to you if you want to make them be reservation-bound or not. Regardless, the above mentioned genocide would have been pretty fresh, the land theft in negotiations or already having happened, and generally, the Ute would be well on their way to every assimilation attempt made from either residential schools, missionaries, and/or the forced settlement and pre-fab homes.

To Answer Your Question

I don’t want another flattened, sanitized portrayal of genocide.

Look at the number of dead above, the amount of land lost above, the amount of executive orders above. And try to tell me that these people would be anything less than completely and totally devastated. Beyond traumatized. Beyond broken hearted. Absolutely grief stricken with almost no soul left.

Their religion would have been illegal. Their children would have been stolen. Their land was taken away. A saying about post-apocalyptic fiction is how settler-based it is, because Indigenous people have already lived through their own apocalypse.

It would have all just happened at the time period this story is set in. All of the grief you feel now at the environment changing so drastically that you aren’t sure how you’ll survive? Take that, magnify it by an exponential amount because it happened, and you have the mindset of these Native characters.

This is not a topic to tread lightly. This is not a topic to read one masterpost and treat it as a golden rule when there is too much history buried in unmarked, overfull graves of school grounds and cities and battlefields. I doubt the movie you’re using is good representation if it doesn’t even hint at the amount of trauma these Native characters would have been through in thirty years.

A single generation, and the life that they had spent millennia living was gone. Despite massive losses of life trying to fight to preserve their culture and land.

Learn some history. That’s all I can tell you. Learn it, process it, and look outside of checklists. Look outside of media. 

And let us have our grief.

~ Mod Lesya

On Question Framing

Please allow me the opportunity to comment on “are there things you’d LIKE to see in a movie where a white man and a Jewish man run into Native Americans in the 1880s?” That strikes me as the same type of question as asking what color food I’d like for lunch. I don’t see how the cultural backgrounds of characters I have literally no other information about is supposed to make me want anything in particular about them. I don’t know anything about their personalities or if they have anything in common.

Compare the following questions:

“Are there things you’d like to see in a movie where two American women, one from a Nordic background and one Jewish, are interacting?” I struggle to see how our backgrounds are going to yield any further inspiration. It certainly doesn’t tell you that we’re both queer and cling to each other’s support in a scary world; it doesn’t tell you that we uplift each other through mental illness; it doesn’t go into our 30 years of endless bizarre inside jokes related to everything from mustelids to bad subtitles.

Because: “white”, “Jewish”, and “Native American” aren’t personality words. You can ask me what kind of interaction I’d like to see from a high-strung overachieving woman and a happy-go-lucky Manic Pixie Dream Girl, and I’ll tell you I’d want fluffy f/f romance. Someone else might want conflict ultimately resolving in friendship. A third person might want them slowly getting on each other’s nerves more and more until one becomes a supervillain and the other must thwart her. But the same question about a cultural demographic? That told me nothing about the people involved.

Also, the first time I meet a new person from a very different culture, it might take weeks before discussion of our specific cultural differences comes up. As a consequence, my first deep conversations with a Costa Rican American gentile friend were not about Costa Rica or my Jewishness but about things we had in common: classical music and coping with breakups–which are obviously conversations I could have had if we were both Jewish, both Costa Rican gentiles, or both something else. So in other words, I’m having trouble seeing how knowing so little about these characters is supposed to give me something to want to see on the page.

Thank you for understanding.

(And yes, I agree with Lesya, what’s with this trend of people trying to explain their fandom in a roundabout way instead of mentioning it by name? It makes it harder to give meaningful help….)

–Shira

platypan genocide native american North America america history american history media representation asks

Black characters with white hair: the “Special Snowflake” Compilation

Is it problematic to give my Black MC white hair?

@roseoholic asked:

Is it problematic to give my black mc white hair? In my story, if someone dies and comes back to life, their hair turns white. Her origin is that she’s a reincarnation of an escaped soul, and took the place of the stillborn fetus in her “mothers” womb. I am pretty flexible in her design still, so I am willing to change if it’s a bad idea. Thank you if you answer! :)

I think we’re all aware that Black people can have white hair naturally, whether it’s due to

  • Aging
  • Hair that turns gray/white early in life
  • Albinism
  • Genetics - Black person (mixed race or no) who have very light or white hair.

Obviously, Black people can dye their hair white as well.

image

Photo above: Black models Diandra forrest and Nyakim Gatwech posing. They both have pale blondish-white hair. Source: Essence.

The question being asked is if it’s okay for Black characters to have white hair by conscious choice of the author.

Answer: 

On its face, it’s okay to have Black characters with white hair. This is especially true if how the white hair comes about is a natural occurrence in your story that likely affects other races too. Motive is an important factor.

What is the reason for their hair being white? 

That reason could and should be everything but to make them seem special or more likeable. This isn’t aimed at you specifically, OP, but there are creators who feel compelled to give Black characters uncommon, rare or unusual features due to an aversion to feature Black people with more common features (dark and brown hair, skin, eyes etc). 

When aversion to Blackness is the motive, it shows. 

It’s in the way the narrative exalts this character over other Black people in the narrative, treating them more favorably and giving them more of an arc over other Black characters. This is sometimes known as making them a “Special snowflake” which isn’t a term I particularly love, as it’s sometimes used to devalue real struggles people face. However, It does serve to categorize the trope. (See: TVTropes Special Snowflake)

Signs you’re treating your white-haired Black character better over other Black characters, aka the “Special Snowflake”

  • Stronger characterization and arc, more importance and “Screen time” than other Black characters (even when they’re not the main character)
  • Unique features are overemphasized and described at every chance (fetishized)
  • Better treatment in the story compared to other Black characters. They’re also less likely to face suffering and abusive narratives. Good things happen to them more than other Black people.
  • Shown to be more deserving of love, affection and romance over other Black characters; may have a love interest while others don’t.

Takeaway:

You can have Black characters with white hair. However, do not use light or unique features to exalt or set your character apart from your Black characters as “better.”

That is, not without an explicit social commentary, since yes these folks tend to be treated better by society and media in real life. 

It also helps to have other Black characters with more common features who are treated well and have a fully developed character arc. These other Black people’s lives also should not revolve around just supporting white or the white-haired character, either.

Black Girl, Snow White Retellings

@morganadelacour​ asked:

Hi there,

I (a white woman) would like to write a re-telling of Snow White and make her a Black girl with white hair. Snow White would be under the impression, that her stepmother (a white woman) is evil, when in fact, she only tried to protect herself and Snow White from Snow White’s father (a white man). The story would be told from both perspectives, probably first from Snow White’s perspective, then from the queen’s. In the end, both women make peace, Snow White understands the queen’s actions and the queen apologizes and tries to make up for her actions that hurt Snow White. Do you see a problem with any aspect of this outline and/or are there certain things I have to keep in mind?

Thank you so much for all the work you do with this blog and for your efforts to educate.

@corbeaudelys​ asked:

I’m writing a science fiction variant of Snow White with a protagonist that has dark skin with white, 3C hair and brown eyes. I read a post that said magic white hair, dark skin, and European features was a bad trope; would it still be bad even if I made it clear that she has no European features and her hair’s not magical?

See “Is it problematic to give my Black MC white hair?” which answers the core of this question. Motive truly is the main factor in if it’s okay or not, and the resulting treatment of that character and other Black characters that may exist in the story. I have a Black Snow White in one of my retellings, too! 

The motive is clear here: you’re retelling Snow White with a Black girl and want to keep it relevant by assigning the white feature to hair instead of skin. It’s also a story where Snow White is intentionally meant to stand out as the “fairest of them all” so the exalting does have plot relevance. 

As noted before, I would caution against making her beautiful to mean that other Black women are not beautiful or are unworthy. 

I would like to make special mention that you can also do retellings where Snow White goes the other direction, and her compelling dark features make her the “fairest of them all”

Black woman dyes hair white, problematic symbolism?

@tlking-heads-moved said:

hi! i have a story with two black women protagonists: 

1.) leader, strong and loyal, with very curly dark hair (usually pulled back) 

2.) part of the group, elegant and refined, with light pink braids (or other protective styles).

Towards the end of the story, both of their hair changes styles, the second character dyes her hair white.

I am afraid that the character with the styled, pink/white hair will come off as “purer” or “better” than the character with the natural, dark hair, because of their personality + appearance differences. should I change either of their usual hair styles or their personalities?

These seem like stylistic choices. As the girl already had a pink braided style, hair color changes seems like something she likes to do and does not have to be symbolic of anything. Your use of color throughout the story could help avoid implications of white as more pure, if this is something you’d like to avoid:

See more about Color symbolism in our Color Symbolism Guide

Also, going from pink to white, which both have connotations of femininity and softness (according to a Western Lens) doesn’t come across as a stark difference. Without knowing the full details of these personality changes the girls undergo, I’m personally not getting that impression. Again, the full narrative will inform this and you may want to pay mind to your use of color throughout.

Now, do avoid making the dark-haired one a Strong Black Women character. You specifically called her strong, which doesn’t necessarily mean she’s a SBW, but please see our several related posts to ensure she is not one.

I hope this helps!

~Mod Colette

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