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“Many stories about the Wild West depict it as a white place. Hollywood Westerns feature white lawmen, white outlaws, white cowboys, and white women. But the true Wild West was a place of rich diversity, and Black heroes made up an important part of its fabric.

In present-day Oklahoma, California, Texas, and other places, Black Americans lay down the law as 

  • deputies
  • delivered the mail as fearless postwomen
  • and roamed the Plains as cowboys

Many were born enslaved and searched the West, like their white countrymen, for freedom.

Below, discover the stories of Black Wild West heroes like Bass Reeves, the fearless deputy of Indian Territory, Buffalo Soldiers like Cathay Williams and Mark Matthews, and indomitable women like Mary Ellen Pleasant.”

Read the article

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WWC Recommended Resources for USA: Race in LA

  • What is it like to be a Black woman in the 1950s rejected from a hospital job for the color of her skin?
  • How does a Latina cope with assimilation?
  • What does it feel like to be racially profiled?
  • How does growing up brown during America’s War on Terror shape a person’s beliefs?
  • What is it like to be East Asian during the pandemic?  
  • How does growing up mixed race feel when labels are all everyone else sees?

We get many questions on WWC asking how to portray racism and experiences with race for BIPOC in America. Many of our followers are understandably curious about experiences of which they have no personal knowledge. However, there is a limit to what our small team of moderators can tell you because race is personal. It is a phenomenon transformed by the prism of individual memory and environment. To that effect, we often recommend that people consume media about race from a wide variety of perspectives.

Speaking as someone from Los Angeles, a diverse city with many diaspora, a large mixed-race population and numerous complex stories about race and identity, I often find that while my personal story on race may overlap with others, but is never quite the same. Thus, I would like to recommend for your reading pleasure from Southern California Public Radio’s LAist: Race in LA

Prompted by the Texas El Paso Shootings in 2019, this weekly essay series contains the stories and histories of ordinary Los Angeleno residents as they talk about how race and racism continue to impact their lives despite living in an American city known for its diversity and visibility in popular culture. The series was launched after the murder of George Floyd in the spring of 2020 and is ending its run this summer. The current archive contains 58 essays.

Though specific to a city in the United States, I believe these essays can facilitate conversations on race that many of us will never hear because our social circles are often restricted to those we resemble. More importantly, these are real stories written by real people and vetted by real journalists.

For authors looking expand their understanding of the human experience, I hope you find it useful.

- Marika.

This post will be added to our resources list later this summer.

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““I have to make sure my hands are not ashy before I sign,” Nakia Smith, who is deaf, explained to her nearly 400,000 followers.

In one of the dozens of popular videos she posted to TikTok last year, Ms. Smith compared her habit of adding a quick dab of lotion to her hands before she starts signing to the sip of water a hearing person takes before beginning to speak.

Since Ms. Smith created her account last April, the small ritual has caught millions of eyes, drawing attention to a corner of the internet steeped in the history and practice of a language that some scholars say is too frequently overlooked: Black American Sign Language, or BASL.

Variations and dialects of spoken English, including what linguists refer to as African-American English, have been the subject of intensive study for years. But research on Black ASL, which differs considerably from American Sign Language, is decades behind, obscuring a major part of the history of sign language.

About 11 million Americans consider themselves deaf or hard of hearing, according to the Census Bureau’s 2011 American Community Survey, and Black people make up nearly 8 percent of that population. Carolyn McCaskill, founding director of the Center for Black Deaf Studies at Gallaudet University, a private university in Washington for the deaf and hard of hearing, estimates that about 50 percent of deaf Black people use Black ASL.

Now, young Black signers are celebrating the language on social media, exposing millions to the history of a dialect preserved by its users and enriched by their lived experiences.

Nuances of Black ASL

Users of Black ASL are often confronted with the assumption that their language is a lesser version of contemporary ASL, but several scholars say that Black ASL is actually more aligned with early American Sign Language, which was influenced by French sign language.

Ms. Smith, whose sign name is Charmay, has a simple explanation of how the two languages differ: “The difference between BASL and ASL is that BASL got seasoning,” she said.

Compare ASL with Black ASL and there are notable differences: Black ASL users tend to use more two-handed signs, and they often place signs around the forehead area, rather than lower on the body.

“Here you have a Black dialect developed in the most oppressive conditions that somehow, in many respects, wound up to be more standard than the white counterpart,” said Robert Bayley, a professor of linguistics at the University of California, Davis.

As white deaf schools in the 1870s and 1880s moved toward oralism — which places less emphasis on signing and more emphasis on teaching deaf students to speak and lip-read — Black signers better retained the standards of American Sign Language, and some white sign language instructors ended up moving to Black deaf schools.

According to Ceil Lucas, a sociolinguist and professor emerita at Gallaudet University, many white deaf schools were indifferent to Black deaf students’ education.

“The attitude was, ‘We don’t care about Black kids,’” she said. “‘We don’t care whether they get oralism or not — they can do what they want.’ And so these children benefited by having white deaf teachers in the classroom.”

Some Black signers also tend to use a larger signing space and emote to a greater degree when signing when compared with white signers. Over time, Black ASL has also incorporated African-American English terms. For example, the Black ASL sign for “tight” meaning “cool,” which comes from Texas, is not the same as the conceptual sign for “tight,” meaning snug or form-fitting. There are also some signs for everyday words like “bathroom,” “towel” and “chicken” that are completely different in ASL and Black ASL, depending on where a signer lives or grew up.

The same way Black hearing people adjust how they speak “to meet the needs” of their white counterparts, Black ASL users employ a similar mechanism depending on their environment, according to Joseph Hill, an associate professor at Rochester Institute of Technology’s National Technical Institute for the Deaf.

As one of the first Black students to attend the Alabama School for the Deaf, Dr. McCaskill said code switching allowed her to fit in with white students, while also preserving her Black ASL style.

“We kept our natural way of communicating to the point where many of us code-switched unconsciously,” she said.

Ms. Smith said she noticed that others communicated differently from her around middle school, when she attended a school that primarily consisted of hearing students.

“I started to sign like other deaf students that don’t have deaf family,” said Ms. Smith, whose family has had deaf relatives in four of the last five generations. “I became good friends with them and signed like how they signed so they could feel comfortable.”

Remarking on how her relatives sign — her grandfather Jake Smith Jr. and her great-grandparents Jake Smith Sr. and Mattie Smith have all been featured on her TikTok — Ms. Smith notes that they still tend to use signs they learned growing up.

Generational differences often emerge when Ms. Smith’s older relatives try to communicate with her friends or when they need help communicating at doctor’s appointments, she said, exemplifying how Black ASL has evolved over generations.

Much like any Black experience, Black deaf people’s experiences with Black ASL vary from person to person, and seldom neatly fit into what others expect it to be.”

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Support these authors, their books, and let’s celebrate them together! This list will feature debuts, new series, standalones, etc. As always my post will feature a mix of contemporary, fantasy, sci-fi, magical realism, historical fiction, and more!

While release dates and covers for some of these have yet to be finalized, I really wanted to get these books on your radar because I definitely think they need more buzz!! Join me in discussing and gushing about these reads from AOC’s we are getting so very soon.

Enjoy today’s list and let me know if your looking forward to these Young Adult releases as well or have more recommendations of your own!

https://24hryabookblog.wordpress.com/2020/12/04/2021-ya-books-from-authors-of-color-to-add-to-your-tbr/

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Self-expression is the core element of ACNL; it’s a feature embedded into every aspect of the game. You choose the colour and style of your clothes and the location and architecture of your dream house, and since there are no pressing time constraints like other social simulators, you even choose what you do all day, every day. It’s a game about freedom. I was so incredibly excited when I picked it up, but that feeling dwindled fast. There were no options to have black skin colour or any black hairstyles. A game all about freedom and customization refused to let me be me. It was beyond alienating; out of all the things that could have been excluded, why those things?

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This is an amazing article about the last survivor of the transatlantic slave trade.

Some facts from the article:

  • Her name was Matilda McCrear.
  • Matilda was captured at 2 years old and enslaved in Alabama, USA along with her mother and sister (1860). 
  • Her father had passed, and her two brothers were left behind in West Africa.
  • The family escaped the plantation but were recaptured.
  • After slavery was abolished (1865), the family still worked on the plantation as sharecroppers.
  • Matilda changed her name from Creagh (the slaver’s name) to McCrear.
  • Matilda had a common law marriage with a white German man, also believed to be Jewish. They had 14 children. 
  • She passed in 1940 at 83 years old (in Selma, Alabama).

Please visit the article to read more about her life.

-Colette

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Really wish there was information under these images about the women, but here are some fancy historical Black Ladies of Color to inspire your stories. 

For example, one of the images from the link:

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Mrs Eleanor Xiniwe (née Ndwanya) of the [South] African Choir, 1891. Photographed by London Stereoscopic Company studios.

We definitely recommend seeking out the sources to any images you’re interested in to find out background.

-WWC

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On Representation, Diversity, and “have characters of color just don’t write about the experience of being a person of color”

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Alright. I’m gonna piss a bunch of people off and also confuse a bunch of well-intentioned white people because I don’t think that you can write about a character of color without talking about the experience of being a person of color of a certain culture.

Seriously. There’s so many conversations celebrating how people have narratives where it “doesn’t matter” that one of their characters is a person of color and that their characters’ identity as a person of color “doesn’t affect the storyline” or whatever.

I’m going to cut right to the chase here: as a reader and storyteller of color, I’m not a fan of narratives where race doesn’t affect the story.

My race and culture and ethnicity ABSOLUTELY impact the way I perceive the world around me! For instance, many South Asian families bond with lively debates and discussions and lovingly roasting their family members. The way that I develop positive relationships, often with a solid dose of conflict and loudness and argument, is therefore fundamentally different from the way a white person would develop relationships; in fact, many white people are intimidated by how loud South Asians like myself are. We’re dramatic and loud and love jokes with wordplay! That’s just how it is and it means I form bonds with people differently.

I also have different values. White people are often more individualistic in culture, with more weird distant formal bonds with their parents (shit like referring to their parents by first name or, on the other end of the spectrum, calling their dads “sir”???) as opposed to the more comfortable and closer bond I have with my parents, where my family is all up in my shit literally all the time LMAO.

Literally white families are SO DISTANT to the point where white people consider practices like co-sleeping with your young child, something very common in South Asian families, to be child abuse?? Like, as if keeping your baby in a crib in another room where they’re not close to you and it’s harder to hear them isn’t dangerous but apparently suffocating a child while sleeping (which is very rare especially since co-sleeping is a practice that has gone on for MILLENNIA) is the bigger threat here??

White kids might perceive that as invasive or a violation of their privacy; I don’t perceive it that way because of the way South Asian families are structured. There’s a stronger emphasis on closeness with family. Of course, there are situations of kids being estranged or difficult family relationships or child abuse in South Asian families as well, but family is more valued in my culture.

The plants I put in my garden are different because of my identity; flowers like bela (Arabian jasmine) and bougainvillea and roses and gladiolus and marigolds and such things are what I’m fond of because of biases based on what my parents and grandparents like. I even once grew nenua (a type of squash). (I’m gonna get my hands on a raat ki rani soon I hope!!) And, of course, not every South Asian is partial to these flowers, but there’s definitely a cultural aspect as to why I personally like them!

The colors and patterns I gravitate towards are also different! I’m not a big fan of western “neutrals” and I find bright colors more appealing, especially because hey, those vibrant shades look better on brown skin! And GUESS WHAT, part of why the western world gravitates towards neutral colors in formalwear is because of colonialism and a disdain for the vibrant colors and dyes that colonized countries used. I love wearing jhumka earrings and statement necklaces and bright, vibrant jewelry as well. Now, obviously, this isn’t the case with every South Asian, but there is certainly some level of impact on these choices from my culture and upbringing.

Hell, even the food I eat is different! I drink chai in the evenings. I gravitate towards spicier dishes and better seasoning. I don’t eat meat other than fish/seafood and chicken and occasionally turkey because of cultural stuff, though ofc lots of South Asians are vegetarian and on the flip side lots of South Asians DO eat red meat and stuff.

And this isn’t even universal to ALL South Asians by any means, because my parents are specifically Hindu and from northeastern India and I’ve grown up in California! And there’s so many other details I could go into but for the sake of not writing a twelve-page essay I’m stopping here. 

Basically, my point is, I don’t want representation where race “doesn’t matter” to the story. Race impacts so many aspects of my life and how I perceive and interact with the world around me.

It’s ridiculous to me how so much “representation” is basically just starting with a default of a white character, making her brown, avoiding the stereotypes, and that’s….it. It doesn’t feel real. It doesn’t feel authentic to take away cultural impacts on your characters. People start with white western archetypes and tropes and try to mold them to fit characters of color, instead of starting off with an authentic character of color, and it really, really shows.

Especially because Tumblr and writeblr are such white spaces, and also because culture is usually picked up from the environment as opposed to online, the conversations centered around “representation” are always about “don’t do x stereotypes” as opposed to how to actually learn about other cultures and actually….write a character of color. So many of y’all only know how to NOT write a character of color as opposed to how to ACTUALLY write a character of color.

I see so many lists of tropes and things to not include in stories, and not enough things about values and family structures and food and fashion and ways of developing relationships and all that fun stuff that will shape who you are as a person.

And some of y’all don’t even TRY to, I dunno, engage with the culture of your character of color to actually write them. For instance, if you’re writing a South Asian character, go explore South Asian cinema! Go make South Asian friends who can tell you little details about their lives as they, y’know, exist and are your friend! In general, explore the movies and literature and music and dance types and food and drink and whatnot of the culture your character is from! Form relationships with people of those cultures; it’s the internet! I know this is a super white space but there’s PLENTY of poc on here! Make an effort, not just to avoid harmful stereotypes, but to write a character of color whose identity actually MATTERS.

When I’m reading escapist fantasy/sci-fi/romcom/etc. literature where characters aren’t being hurt by racism, I don’t want a story where RACE doesn’t exist, I want a story where RACISM doesn’t exist. I want cultural understanding, empathy, and compassion!

I don’t want a role a white character would play just switched out with a character of color.

For instance, in the movie To All the Boys I’ve Loved Before, Lara Jean’s identity as East Asian is reflected in her fashion choices; book author Jenny Han lent inspiration for this. The Yakult drinks she likes, inspired by Korean tastebuds, plays a role in the story, too. These are details that don’t necessarily heavily impact the plot; it’s a fake-dating high school romcom. But they make a more real, fleshed-out character. They’re little details, little in-jokes and references, showing that the character’s race and culture actually MATTER to the story.

There’s a part in Pacific Rim where Raleigh Beckett, a white man, is frustrated with Mako Mori, a Japanese woman, for not going against the wishes of her father figure, Pentecost. When he tells her she doesn’t have to obey him, she responds, “It’s not obedience, Mr. Beckett. It’s respect.” This depicts her cultural understanding of family and respect; her relationships and her responses to things are impacted by her culture.

This is what I’m talking about! In order to write an actual character of color, you MUST write about their experiences to a certain extent. Of course, don’t make your characters of a certain culture a monolith in terms of personalities and responses and all that, but understand how they may be similarly impacted by their identities.

Now, don’t write a whole damn novel about a character coming to terms with their racial identity and coping with racism, but you absolutely MUST holistically incorporate their identity into your narrative.

Otherwise, it’s not actually representation. It’s you essentially writing a racebent white character. It’s you using a white default and trying to adapt it to totally different experiences.

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Properly Coded: Creating Characters of Color (Part 4)

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Diversity makes stories better, plain and simple. This year, we’ve partnered with the good folks at Writing With Color to get some advice on how to write stories populated with people of all racial and ethnic backgrounds. In the fourth part of her sub-series “Properly Coded,” Alexa White talks about a few mistakes to avoid when writing characters of color:

We are finally making characters.

You should have an idea of their frames of reference, their backgrounds, and the world they inhabit. You should also use tools like WWC’s Research Chart to help you flesh out the character.

Except even with all that work, you’re probably still caught up in a few little things that you need to work through in order to really be respectful.

Keep reading

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So you’re gearing up to write some exciting, diverse stories. With all that research under the belt, your sights are set on getting it right. It’s a good mindset to have and absolutely do your best! Still, expect to overlook or misrepresent some aspects of your Characters of Color.

Maybe you included a universally accepted no-no, such as comparing a Person of Color’s skin color to food instead of more favorable words for skin tone. It could be nuances missed by not being in the group. Perhaps it’s something more subjective that some have an issue with, but others don’t mind.

How to avoid mistakes (in the first place)

Ideally, you’ll avoid making huge missteps if you’ve prepared on the front end.

Before you write:

  1. Research - Know the dos & don'ts, associated stereotypes, & culture
  2. Read stories by the groups you’ve included. How do they represent themselves?
  3. Practice - Start with small-scale projects. Get out the goofs before the stakes are high.
  4. Plan - Build a profile & backstory for your Characters of Color.
  5. Worry - Some fuss is good. It makes you double-check your story for sound representation
  6. Write, gather feedback, and write again.
  7. Oh, and don’t forget to describe those characters so we know their background!

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“If you’re familiar with the dynamic of a Hispanic household, you know that straight hair is good hair and wavy, curly, or kinky hair is ‘pelo malo,’ or bad hair. Nowadays, things are changing for the better. 

However, textured hair has yet to be accepted as 'normal.’ "Eso es la moda ahora,” or “that’s the style now” is everyone’s favorite line when asked why my hair is so big and curly. My hair is not a fashion statement; it is a part of me in the most literal and figurative way possible.“ — Janibell Rosanne

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"I had an instance where I walked into a fitness studio after having my hair blown out. Immediately, my instructor insisted on touching my hair in awe. Although it was a harmless gesture, I felt as if I were a pet. I’ve been left feeling as if my identity is embedded in my hair. In my best India Arie voice, I want people to know that I am not my hair.” — Mominatu Boog 

Read on:  30 Women of Color Share Their Most Personal Natural Hair Stories

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Now that we’ve covered how to research to create your characters, it’s time to work on creating the appropriate character backstory. If you don’t spend the time figuring out how a person’s upbringing shaped their worldview, you’ll end up writing yourself in a different wig every time.

You can’t just assume that people will have come out of the same experiences the way you did. You have to account for how their demographics shaped the perception of those around them, which in turn shaped their perception of the world.

You should have some idea of how this cycle from your research (covered in part 1). If you don’t feel like you have a general sense of it, work through these exercises and do more specialized searching.

1: Fill out their frame of reference

“Frame of reference” is a fancy way of saying what they expect to happen in any given situation. It’s basically what your lived experience tells you will happen, what to expect, and how people will generally treat you.

Spoiler: it’s going to include expecting microaggressions.

However, you want to do things other than include microaggressions. You’ll want to create things like what’s comforting, their most familiar communication style, their idea of good and evil, and a whole bunch of things. You basically want to create a unique-to-them lens that they see the world through, while also acknowledging that their lens will be made of what was around them.

Were they a Black family in an almost-all-white neighborhood after a generational climb to the middle class (a la Fresh Prince)? Indigenous in a cultural center with freedom to practice traditions? Seventh generation in the country they call home, but still seen as outsiders because of a white default? All of these will shape how they see the world, and you should research accordingly.

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