Tag: ownvoices

ownvoices

From Kellye Garrett

This is my week to manage the Miss Demeanors blog, yet I’ve found myself struggling to find words. Or the right words. Yesterday I read this post by Agatha, Anthony, Lefty and IPPY award winning author Kellye Garrett. I thought it so profound, and she was kind enough to say that I could repost it. My Guide for Non Black People Upset about Racism and Prejudice in America. This is all my opinion. I don’t represent all black people. I guarantee there will be black people with a different opinion. So I’ve been getting a few messages of support from nonblack people. And though I know you’re doing it with good intentions, there are other ways for you to handle what’s going on and deal with your own feelings about it. I’ve been black in America for almost 42 years now. Assume I’m upset about what’s going on and feeling overwhelmed. If you truly are upset and truly want to see change, instead of apologizing to your black friends, there are things you can do to truly help. Speak up. This happens to me personally a lot when I speak up on crime fiction issues. I get people who privately […]

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To Thine Own Self Be True

Writers make a lot of choices. We make conscious decisions about if, when and how we integrate our own experiences into our characters. Throughout early drafts, I had a vision about the hero of my latest book. I knew her. Beta readers loved the character and hope she anchors a series. So did I.

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My Art Deco Crime Fighters of Color & Today’s Crime Writers of Color

Featured 1930s Crime Fighters of Color In my 1930s Art Deco Mystery Series, it’s been an absolute joy to highlight marginalized people in history who fought to change the world when discriminatory laws were in place and the odds were stacked against them in a multitude of ways. One of my main characters is Mayor Fiorello La Guardia – New York’s three term mayor who was half-Italian and half-Jewish. It had only been about 40 years since Italians were allowed on the police force, not to mention the anti-Semitic views he endured. I loved adding Sam Battle to the cast of characters, the NYPD’s first black officer who saved lives, stopped a riot pretty much single handedly, and changed the force’s divides in powerful ways (Langston Hughes wrote a manuscript about him (!!!) and the book One Righteous Man: Samuel Battle and the Shattering of the Color Line in New York by Arthur Browne was written from it. Highly recommend).  Jane Bolin makes an appearance and will have future highlights. She was the first black woman to graduate Yale Law School, the first to join the NYC Bar Association, and the first to join the NYC Law Department. In 1939, Mayor La Guardia appointed her as the […]

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Oh, to be a Unicorn

 I’m sharing  Kellye Garrett’s Facebook post as my guest post today. Hop over to her Facebook page (or  Missdemeanors’ Facebook page) to join the discussion. Graphic design by Leslie Lipps. She’s awesome. “Alexia had this made. My original plan was to post it with one of my trademark smart aleck comments like “my crew is more talented than yours.” But then I took another look at this ad and realized what it represents:

Seven extremely talented black women who love mystery novels enough to say “I’m going to write one and do everything I can to get it published in an industry that often refuses to acknowledge my existence besides being a victim or a sassy best friend.”

And somehow, some way, there is a little black girl out there right now who is going to see this and it’s going to make her write a book.

#blackgirlmagic for real.

I love my fellow unicorns.

P.S. My crew is more talented than yours.”   https://m.facebook.com/story.php?story_fbid=10156064468627945&id=546517944 

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To Query or Not To Query: Alternative Ways to Find an Agent

 Once upon a time, if a writer wanted to find an agent, they’d have to send a query letter—in the mail at that! Although querying is still by far the most popular way to get a mentor, I’m happy to say that it’s not the only way. Now, to the joy of everyone—except maybe the Post Office—you can also find your agent through online mentoring programs and even Twitter! In fact, New York Times Bestselling authors like Angie Thomas and Tomi Adeyami both got their agents through these untraditional methods. Angie pitched her agent on Twitter and Tomi was a 2016 mentee in a mentoring program called Pitch Wars. Here’s a list of several fun alternatives to finding your agent through querying, including a couple I’m thrilled to say I help organize. Pitch Wars What is it? An annual program that pairs more established writers—aka mentors—with mentees, aka those emerging writers still looking for an agent. If selected, the mentors and mentees spend months polishing the mentee’s manuscript for the Agent Showcase—where, after reading a pitch and first 250 words, agents comment requesting more pages I was a 2014 Pitch Wars mentee and got my agent, Michelle Richter from Fuse, from the contest. In addition, my Pitch Wars novel was actually Hollywood Homicide (though under a different name), which was released last year by Midnight Ink. I believe in Pitch Wars so much that I’m Managing Director this year.  When is it? Our Mentor Blog Hop, where mentors share exactly what type of books they’re looking to mentor is going on now. Our submission window runs from August 27, 2018 through August 29, 2018 at 10 PM EDT. Where can you find more info? PitchWars.org or visit the #pitchwars hashtag on Twitter.    #PitMad What is it? #PitMad is a pitch party on Twitter where writers tweet a 280-character pitch for their completed, polished, unpublished manuscripts. Agents and editors make requests by liking/favoriting the tweeted pitch. It’s run by the same committee that puts on Pitch Wars. When is it? Our next #PitMad is September 6, 2018 from 8 AM – 8 PM EDT Where can you find more info? http://pitchwars.org/pitmad/ #DVPit What is it? A two-day Twitter pitch even for marginalized authors and illustrators. Like with #Pitmad, agents and editors can like/favorite pitches they want to see in their inbox. It’s hosted by super-agent Beth Phelan. When is it? You’ll have to check the site to find out the dates of the next event. Where can you find more info? http://dvpit.com/ Nightmare on Query Street What is it? As the name suggests, it’s a Halloween themed contest run by Michelle Hauck, Michael Anthony, and usually another agented/published writer. Mentors help unagented writers revise their query letter and first 250 words of their manuscript for agents to requests. Sticking with the theme, contestants must answer a Halloween-themed question in their submission. When is it? October! Obviously! Where can I find more info? Visit the website: https://michellehauckwrites.com/contests/nightmare-on-query-street/ or check #NoQS on Twitter Query Kombat What is it? Another amazing contest from Michelle Hauck, Michael Anthony, and company. It’s such an interesting concept that I’ll just paste from the site: “Query Kombat is a bracket style competition where 64 query letters and first pages are matched against each other until only one is left. There are six rounds of competition that last the entire month of June and our expert judges leave notes and determine the winners. Agents request from the entries between the 1st and 2nd round, but there’s a catch. No agent requests are revealed until an entry is knocked out of the competition. Entries are known by their fun nicknames. Surviving entries are allowed to revise twice over the six rounds.” When is it? They just wrapped their 2018 contest. Submissions will probably open around May of next year. Where can you find more info? You can find more info on Michelle’s site here: https://michellehauckwrites.com/contests/query-kombat/ #AdPit What is it? Much like #PitMad and #DVpit, #AdPit is a Twitter pitch event—except it’s just for Adult and New Adult manuscripts. When is it? You’ll have to check the site but the most recent #AdPit was in April.  Where can I find more info?You can find more details on Heidi Nerrod’s blog here: https://heidinorrod.wordpress.com/adpit/  Kellye Garrett writes the Detective by Day mysteries about a semi-famous, mega-broke black actress who takes on the deadliest role of her life: Homicide Detective.  The first, Hollywood Homicide, won the Agatha, Lefty and Independent Publisher “IPPY” awards for best first novel and is nominated for Anthony, Macavity, and Barry awards. The second, Hollywood Ending, released on August 8, 2018 from Midnight Ink. Prior to writing novels, Kellye spent eight years working in Hollywood, including a stint writing for Cold Case. She now works for a leading media company and serves on the Board of Directors for Sisters in Crime as the organization’s Publicity Liaison.  You can learn more at KellyeGarrett.com and ChicksontheCase.com.        

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Creating Multi-Ethnic Characters and Landscapes in American Crime Fiction… (Alt. Title: Can Crime Fiction in America Be Post-Racial?)… A True Story

 “What are you?” Growing up in small town New Jersey in the 1990s, I stared down that question on a near-weekly basis. Parents, teachers, strangers at the mall—all would ask shortly after requesting my first name. “Catherine” didn’t reveal enough about me. It was too generically biblical. Every land to ever encounter a missionary doled out the moniker like a Christmas fruitcake. The name defied easy categorization. And, back then–as like now–seemingly everyone needed racial classification. I’d often answer, “American. Born in Queens.” My stock response invariably frustrated my interrogator. Here I was, a plain-old Catherine, with olive-skin and dark curls that, incongruously, could not speak Spanish. My straight nose, which hooks when I smile, had been keeping plastic surgeons employed across cultures since the invention of rhinoplasty.  And, now, I was telling someone—attempting in as PC-a-way as possible to figure out my race—that I’d been born in one of the most diverse cities in America.  “No, but what are you? Are you Black or White?” My usual follow-up sounded even more insolent. “Both.” The answer had the virtue of being true. Nearly all my paternal relatives trace their history back to Europe, specifically Ireland. My maternal ethnicity is more complex. A Jamaican-born US immigrant, my mom is primarily the descendant of West Africans brought to work sugar cane plantations in the Caribbean. Her ancestors mixed with Carib Indians, originally hailing from South America, Desi diaspora, and European indentured servants. There are members of my mom’s family with skin the deep brown of a carob pod and others as fair as ground nutmeg. Everyone is American, either U.S. born or naturalized. And everyone is considered Black.  I was and am proud of my racial heritage and all the people that had to exist to, eventually, make me. And I was (and am) always happy to share my family history. What I didn’t want to do in answering the what are you question was to adopt someone else’s idea of me based on their concept of what it meant to be Black or White American.  Back in the 90s, I was particularly sensitive to the stereotypes associated with being Black or White. Many of them had come from popular movies and music videos, which often reduced ethnic characters to caricatures. Jamaicans were all pot smoking Rastas. Black people were, by and large, good at sports and poor at academics. White people were the inverse. Blah blah blah… bull crap.  To me, my family members weren’t statistics or representatives of a particular racial group. They were individuals. And, individually, they’d always bucked the flawed assumptions most often made about their respective races. To this day, the family member best at math is a Black cousin on my mom’s side that went on to get an advanced engineering degree at Columbia University. The family members best at sports are my half-Irish, half-Jewish cousins on my dad’s side that started on a Division I baseball team and collegiate basketball team, respectively. My mother—the Jamaican-born Black woman—never smoked pot until my father—the 1970s White hippie—gave her a joint. Saying “both” was my way of asserting the truth and simultaneously refusing to be defined by another’s idea of Blackness or Whiteness.  Few wanted to hear my answer, though. Once a teacher told me in front of my entire class that saying “everything” was unacceptable. “This is America,” she said. “In America, you have to choose. Are you White or are you Black? Pick one.” “I’m both. I’m— “Well, what will you write on the SAT? There’s no checking all that apply.” After hearing this line of thought so often I acquiesced for a long time and began self-identifying as only Black. I thought the category was most likely to include me. America’s history of discriminating and enslaving people with any African ancestry meant that folks with less Sub-Saharan blood than myself were classified as Black. Therefore, to my thinking, I clearly belonged in the Black category.  As a Black woman, I wrote Black characters. When I penned my first book, Dark Turns (Crooked Lane Books, Sept. 2015), I made my protagonist a Black American ballerina. One of the antagonists was a White American student. There was a Hispanic American ballerina in the book. Just as I had been told that I had to identify with Black or White, I felt that my main character had to share my racial background in order to be believable. Everyone else had to be in a neat box.  As I matured, both in my writing and personally, I began to reject the idea that I couldn’t check all the racial boxes that applied to me. I moved to a diverse, suburb of Manhattan where many of the families near me were also mixed race, either because the couples married outside of their racial group or because the adults themselves were multi-racial. Living among so many multicultural families, I realized that I, too, could claim my varied heritage. And, if I could, why not my characters? Why couldn’t I create multi-racial characters? Moreover, why not create ethnic characters that, like myself, would be influenced by their cultural heritage but not defined by a racial identity?  In my second thriller, The Widower’s Wife (Crooked Lane Books, Aug. 2016), my main character is a bi-racial Brazilian American whose undocumented parents are deported. Her culture, gender, and race influence her–and impact how some secondary characters relate to her–but the most salient part of her backstory is that her parents were taken away. That is what creates her primary motivation to keep her family together at all costs.  In my latest suspense novel, Lies She Told (Crooked Lane Books, Sept. 2017), my primary character makes clear her amorphous ethnic identity and my supporting cast hails from a variety of multi-ethnic backgrounds as well. There’s a British transplant to America of African descent, a freckled Ginger-haired woman based on a high school acquaintance of Jewish and African American descent, and a Trinidadian American. The cast is diverse because they live in a diverse city and my fiction reflects the world that I know. In some sense, they are all post-racial because their racial identity is less relevant to their story than their jobs, their personal histories, the state of their marriages and their mental health… There are some that would argue no minority character can be post-racial, particularly in crime fiction given the unequal application of law based on wealth and perceptions of race. Moreover, critics might say, race is still a defining characteristic in American society today. To have multi-ethnic characters that don’t “choose one” or don’t relate to their world constantly aware of their racial identity is somehow disingenuous.  To these critics, I’d say that I write from my experience, not ignorance. I agree there need to be stories that address racism (past and present) and the legacy of racism. Jesmyn Ward’s Sing Unburied Sing is a beautiful and current example of literature that does this.  But, I would also say that there needs to be American stories where the cast is ethnically diverse and multi-ethnic without the story being about their ethnicity–especially today. And I think that American writers of all ethnicities and races should endeavor to include some diversity in their stories to accurately reflect what America looks like. It’s not as segregated as our art often indicates.  And it’s definitely not as segregated as some segments of the population would like. In the past couple years, I’ve become painfully aware of the ongoing backlash against multiculturalism in America and concerned about the renewed racial tribalism that I see in 2018. After years of feeling comfortable identifying as multiracial,  I hear the echo of calls to “choose one” in political rhetoric that refers to individual Americans by their perceived races before identifying them by first name. And I see a demand to check one box when watching video of White nationalists waving flags from a time when miscegenation was illegal. Recently, I read that White nationalists were using DNA tests from 23andMe to prove the “purity” of their Caucasian ancestry. Some posters on message boards envisioned a world where nationality would be determined by such tests. As my own little protest against this idea, I recently sent off a vial of my saliva to 23andMe. According to the company, my DNA is from five continents. There’s Irish, Caribbean, British, Sub-Saharan African, and South East Asian, with likely some East Asian and American Indian thrown in a long time ago. I shared the results wherever I could on social media along with three hash tags: #multiracial #American #me.  I have a diverse family. I live in a multicultural, multiethnic area. And I ardently believe that I can reflect that experience in my work. Moreover, I believe that I can create ethnic and multi-ethnic characters that know their backgrounds without it being the most important thing about them or how they relate to the world.  Sometimes, I will write a scene in which a character’s ethnic and racial heritage becomes relevant to the way they are being treated by another character. Just as, sometimes, in my own life, my ethnicity (or the question of what I am) becomes particularly relevant.  More often, though, my characters’ races simply influence what they look like as the move through their story, more concerned with, say, the possibility that their neighbor is a murderer.  I hope that, by writing American characters from diverse heritages and having them all interact, I can encourage a broader idea of what it means to be American. There are so many hyphenated-Americans now that, perhaps, we should all stop hyphenating. Moreover, some of us have too many hyphens to possibly do it.   I don’t need to check one box. And I believe that, as a writer, I can develop relatable American characters that defy easy racial classification and any corresponding stereotypes. The people in my books are individuals. They have cultural backgrounds and they are influenced by them. But they are also just themselves. And I think that, in 2018, I can leave them be.                    

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