Friday 31 August 2012

Black or white in black and white

An interesting thought arose when I was working on my new book and introducing a new character.  If my first description of him read ‘Vincent was a tall guy with a shaved head’, what image does that put in your mind? 

Now a trickier question.  What colour skin do you imagine he has?

Does a white person automatically see a white character unless told otherwise?

What if I say, ‘Vincent was a tall, black guy with a shaved head’?

Does that change your perception of Vincent?

But I wouldn’t ever think to say ‘Vincent was a tall white guy’, unless the book was set somewhere that you’d expect the characters to be black, which mine isn’t.

That’s where I started to ponder this question more deeply.  Do we visualise characters to fit our own ethnic groups unless told otherwise?  What colour do you see characters? 

I suppose if you’re reading a book like The Colour Purple, you automatically know what colours the characters are.  But my book is set in Brighton, and has nothing to do with race issues, I just wanted to have a representational cast of characters, and some people in Brighton are black.  It’s no big issue. 

The key bit of information that is constantly drummed into any writer is to ‘show not tell’.  If Vincent was unhappy I could describe his posture and actions to illustrate this.  But how do I show that he just happens to be black?  We do use ‘tell’ words to give a mental picture of a character. 

But is this something that’s an issue for readers who aren’t white?  Is Western literature filled with white characters, and do other races only appear when a political point is being made?  Where are the black heartthrobs in romance?  In fantasy, are all the good guys white?  Are black people over represented in thrillers and crime novels?

This is an issue that I’m still pondering.  Be brave and dive in with feedback or comments.

Thursday 2 August 2012

Why release a second edition?

Wasn’t the first edition ready to release? 
Well yes, but the first edition was written the way an agent asked me to write it.  Against my gut instinct I did what she asked – who’s going to argue with a top agent when they say ‘do this and I’ll represent you.’  It took me three months to do the rewrite and although she liked the rewrite she decided that the book wasn’t quite her thing after all.  Aargh!
Another agent said ‘I enjoyed your chapters – you write fluidly with a well conceived idea that’s dark and intriguing.  But could you make your central character sixteen and resubmit to our children’s department.’  The opening chapter has a woman travelling to Corfu after the death of her mother, and in the following chapters there is quite a lot of sex!  I declined to do that particular rewrite.
I have now written a version that I feel uses the best bits of the rewrite I did for the first agent, but holds on to the structure that the readers from the RNA really liked.  I’m really happy to release this version, and would love to hear from any readers with your feedback.
You can read the new opening and find links to the new edition on my website