inkywellsquill

[inkywellsquill]

Braving Diversity: How to Write Yourself (and others) out of your Story

How to Write Yourself (and others) out of your Story

Last week was just the introduction to the series about preparing yourself for writing diverse characters. 

This week’s post doesn’t necessarily count as “writing” advice per se, but it does seek to unpack why writers might be hesitant to write about diverse characters. There are so many asks that have come into the Writing with Color mailbox from other people of color who are afraid to write about their own cultures. Heck, I fell into this trap because when I actually had a more diverse cast, people criticised me for it. Before I get into the nitty gritty of actually writing diverse characters (and fixing mistakes), I want to unravel why and possibly how we fall into the trap of writing ourselves (People of Color) out of our own stories or also why white people exclude People of Color from stories.

It’s always interesting when you see a TV show that takes place in a diverse area and all the main characters are white. The occasional Person of Color makes an appearance but is not included in the main cast. And of course, there's the stereotyped token character.

It’s incredibly easy to write people out of their own stories, even to write yourself out of your own story. What does that mean exactly? It refers to a story that should conceivably have a diverse population of characters, but tends to only feature white characters. This can happen consciously or unconsciously, but it happens and this blog entry may be a little snippet of how it does happen.   

Keep reading

[inkywellsquill]

Writing with Color: Description Guide - Words for Skin Tone

We discussed the issues describing People of Color by means of food in Part I of this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!

This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.

So let’s get to it.

S T A N D A R D  D E S C R I P T I O N

B a s i c  C o l o r s

Pictured above: Black, Brown, Beige, White, Pink.

“She had brown skin.”

This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.

Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.

C o m p l e x  C o l o r s

These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.

Pictured above: Umber, Sepia, Ochre, Russet, Terra-cotta, Gold, Tawny, Taupe, Khaki, Fawn.

Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.

For example: Golden brown, russet brown, tawny beige…

As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.

“He was tall and slim, his skin a russet, reddish-brown.”

Comparisons to familiar colors or visuals are also helpful:

“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”

M o d i f i e r s 

Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.

D a r k - D e e p - R i c h - C o o l

W a r m - M e d i u m - T a n

F a i r - L i g h t - P a l e

Rich Black, Dark brown, Warm beige, Pale pink…

If you’re looking to get more specific than “brown,” modifiers narrow down shade further.

Keep in mind that these modifiers are not exactly colors.

As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker, deeper brown. I turn a pale, more yellow-brown in the winter.

While best used in combination with a color, I suppose words like “tan” “fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.

Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)

U n d e r t o n e s

Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.

Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.

As shown, there’s a difference between say, brown skin with warm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).

“A dazzling smile revealed the bronze glow at her cheeks.”

“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”

Standard Description Passage

“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”

-From my story “Where Summer Ends” featured in Strange Little Girls

Here the state of skin also gives insight on character.

Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.

Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.

C R E A T I V E  D E S C R I P T I O N

Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.

I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.

Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-prose-like, so do what feels right for your writing when and where. Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.

Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.

N A T U R AL  S E T T I N G S - S K Y

Pictured above: Harvest Moon -Twilight, Fall/Autumn Leaves, Clay, Desert/Sahara, Sunlight - Sunrise - Sunset - Afterglow - Dawn- Day- Daybreak, Field - Prairie - Wheat, Mountain/Cliff, Beach/Sand/Straw/Hay.

Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.

When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.

So consider your character and what you see fit to compare them to.

Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.

“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”

“She had a sandy complexion, smooth and tawny.”

Even creative descriptions tend to draw help from your standard words.

F L O W E R S

Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose

It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists. 

You’ll definitely want to avoid purple-prose here.

Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.

“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”

A S S O R T E D  P L A N T S &  N A T U R E

Pictured above: Cattails, Seashell, Driftwood, Pinecone, Acorn, Amber

These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.

At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone." 

I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.

"Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”

I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.

I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.

W O O D

Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash

Wood can be an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.

Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.

“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”

M E T A L S

Pictured above: Platinum, Copper, Brass, Gold, Bronze

Copper skin, brass-colored skin, golden skin…

I’ve even heard variations of these used before by comparison to an object of the same properties/coloring, such as penny for copper.

These also work well with modifiers.

“The dress of fine white silks popped against the deep bronze of her skin.”

G E M S T O N E S - M I N E R A LS

Pictured above: Onyx, Obsidian, Sard, Topaz, Carnelian, Smoky Quartz, Rutile, Pyrite, Citrine, Gypsum

These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.

If you use these, or any more rare description, consider if it actually “fits” the book or scene.

Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.

“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.” 

P H Y S I C A L  D E S C R I P T I ON

Physical character description can be more than skin tone.

Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.

Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.

How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…

G E N E R A L  T I P S

Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.

Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.

Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.

Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).

PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please. 

Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.

Want some alternatives to “skin” or “skin color”? Try: Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.

Skin Tone Resources

List of Color Names

The Color Thesaurus

Things that are Brown (blog)

Skin Undertone & Color Matching

Tips and Words on Describing Skin

Photos: Undertones Described (Modifiers included)

Online Thesaurus (try colors, such as “red” & “brown”)

Don’t Call me Pastries: Creative Skin Tones w/ pics 3 2 1

Writing & Description Guides

WWC Featured Description Posts

WWC Guide: Words to Describe Hair

Writing with Color: Description & Skin Color Tags

7 Offensive Mistakes Well-intentioned Writers Make

I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!

~ Mod Colette

[inkywellsquill]

the garden

so i had to do an assignment. it was supposed to be a 10-12 sentence children's story. and i handed this in and the characters dont even have names-

this wasnt even for English i am so gonna fail this but i thought, hey, lets put this on the internet.

anyway its about Person A, Person B, and Person A’s vegetable garden

Person A lives at the edge of town in a little house made of red bricks surrounded by trees. They have a swing on their porch and a vegetable garden in their backyard. But lately, Person A has had a problem. Animals from the forest keep eating Person A's vegetable garden.

Not knowing what to do, Person A goes to the library. They get a book on gardening to take home.

The gardening book suggests building a fence to keep animals out. To build a fence, Person A needs to get wood, so they go to the store.

On the way back from the store, they see Person B, who is holding grocery bags.

"Hey, Person A!" Person B calls out. "Can you help me carry these groceries to my grandmother's house?"

"No, I have to work on my garden." Person A replies. "Sorry."

"It's okay. See you later!" Says person B.

"Bye," Says Person A.

That night, when Person A goes to bed, they know no animals will eat their garden.

-

Person A looks at their garden, upset; animals have eaten it overnight despite the fence. So, Person A goes to look at the gardening book again.

In the book, it suggests planting things that animals don't like to eat, like marigolds and daffodils.

Know knowing how to stop animals from eating their garden they go to the nursery to buy plants, only a little bit frustrated. On the way back from the nursey, Person A hears Person B call out to them.

"Hey, Person A, do you want to do [blank] today?" Person B calls out.

"No." Person A answers, "I have to go work on my garden."

Person B frowns, "Surely it can wait? Just for a little while."

"No, it cant." Returns Person A hotly.

"Oh, okay, maybe next time then?" Person B gets no response.

That night, when Person A goes to sleep, they know no animals will eat their garden. And they think, that just maybe, they were a little mean to Person B.

-

Person A looks at their garden, mad; animals have eaten it overnight despite the fence and plants. So person A goes to look at the book again and it suggests getting a scarecrow.

Scarecrows these days have motion sensors to detect movement and then spray water or make a noise to scare away animals.

So Person A goes to the store and buys a scarecrow that sprays water. On the way back They run into Person B.

"Hey, Person A, do you have a minute to talk?" They inquire.

"No, I have to work on my garden." Person A snaps.

"Yeah, okay. That scarecrow is probably heavy too, so ill let you be on your way." Says Person B placidly. Person A doesn't respond.

That night, when Person A goes to sleep, they know no animals will eat their garden. And they think that Person B should stop annoying them.

-

Person A looks at their garden, mad; animals have eaten it overnight despite the fence, plants, and scarecrow. So, Person A goes to look at the gardening book again and it has one more suggestion: get a cat or dog to scare away animals.

The problem is, that Person A doesn't want to get any pet at all. Not knowing what to do, they go to the library. It doesn't help. So Person A goes out to buy more plants the animals don't like; marigolds, daffodils, peonies, and mullein. They make sure their fence is tall, strong and deep. Person A even makes sure their scarecrow haw water.

That night, before person A goes to sleep, they pray that no animals will eat their garden.

-

At this point, Person A is desperate. In the morning they had checked their garden only to find it eaten. That's why they're at the pet store right now.

As Person A looks up and down the rows of cages they decide they don't want a pet. They decide to head home to fix up what thee animals ruined in their garden.

On the way home Person A hears Person B call out to them. "Hey, Person A, are you free today?"

"No, I have to work on my garden."

"Are you sure?" Person B asks.

"Yes." Person A responds shortly.

"Do you need any help with it?"

Person A pauses, surprised by Person Bs question. "Yes, I do need help. Animals keep eating the vegetables in my garden. I've tried a fence, and I've tried planting things animals don't like. I even have a scarecrow now! Nothing works." Person A complains.

"You can try making a fake garden." Person B offers. "Plant some of the plants that are eaten most away from your garden. Then the animals will have their separate garden to eat from and leave yours alone!"

"That's a great idea, thank you!" Person A exclaims excitedly, followed by a shyer, "Would you like to help me?"

"I would love to." Person B smiles.

-

In the garden, Person B looks around to see the sights.

"That's a very nice fence," they say, "It adds to the gardens aesthetic. The flowers are very nice too."

"I only added the flowers and fence to stop the animals from eating my vegetable garden." Person A says.

"But they still look nice." Person B argues.

"The scarecrow is an eyesore." Person A protests.

Person B stops to look at the scarecrow. "I think it just needs a little something." Person B then takes off his hat and places it firmly on the scarecrows head. "Perfect! Hey, Person A, if your scarecrow sprays water doesn't that mean it can water the plants for you?"

"That would be useful." Person A and Person B spend the rest of the afternoon in similar conversations.

That night when Person A goes to sleep, they pray that no animal will eat their garden.

-

The next morning Person A looks at their garden happily for its completely untouched by animals.

Person A goes to return the gardening book and on the way back from the library sees Person B.

"Hey, Person B, do you want to do [blank] today?"

"I would love too!" They smile.

[inkywellsquill]

not the crunchy kind

"Can you see sound?"

A conversation in cafe nowhere about colours.

Also on AO3

my first fic and may I just say Ive never felt so attacked for spelling colour with a U untill posting this.

Sometimes, Nice sits back and just listens to those around him. He watches the colours of their voices ebb and flow. Half the time he doesn't even know what those nearby are talking about.

Nice just watches and listens.

Watches Master dark plum voice interact with Konekos bright green. Listens to Ratio and his sky coloured voice try to talk Birthday and his electric blue out of mowing lawns by tying the lawnmower to the back of his bike and driving across lawns. Hajime is eating the last of Nice's paycheck away, meaning her coral isn't making an appearance.

Murasaki slides into the seat next to Nice. "You've been strangely quiet," he says, "What are you thinking about? It's not something dangerous, is it?"

Nice frowns, absolutely not pouting. "You act like every thought I have is a bad one."

"I have yet to see otherwise," Murasaki responds drily. "But seriously, you look serious right now. What's up?" The concern in his voice also shows a bit on his face. Nice sighs lightly, only a bit exasperated, "You worry too much. I'm just thinking about the colours."

"What colours?" Asks Koneko, who wasn't doing a very good job of pretending she wasn't listening in. "Y'know, the colours." Nice waves a hand to show the general room and colours the quiet noise causes.

"No, I don't." Murasaki doesn't look like he's joking, Koneko looks concerned, Hajime is now watching him out of the corner of her eye. Master looks as if he's deep in thought or trying to remember something. Its clear everyone has no idea what he's talking about. Weird

Sensing the mood change, Ratio and Birthday turn to watch the counter.

"I guess none of you see sound then. Sucks for all of you." Nice shrugs. It really does suck for them, being unable to see sound must make life so dull and colourless. Nice watches his surroundings, like always, sees Hajime tilt her head slightly in confusion, the slight furrow in Ratios brow meaning he's deep in thought, and Birthday- "You can't see sound, you hear it!"

Nice turns to look at Birthday head-on. "Your voice is electric blue." "Huh?" Is what he gets in response. "Did you hit your head? maybe you have a concussion." Koneko adds in uncertainly. "But what if," Ratio mumbles to himself, "Maybe..."

"Ah," Master says, "If I remember correctly, I think what you have is synesthesia, Nice. When you hear sounds you see colour, right?" "Mhm." Nice nods.

"Synesthesia," Hajime repeats to herself. 

"It is a neurological condition in the brain where the sensory paths lead to other parts of the brain. It's estimated that one in 2,000 people have it and it's more common in women than men." Ratio informs.

"So he's fine," Koneko says, mainly reassure herself of that fact.

"So wait, I sound electric blue to you? Not yellow, or red, or something cooler?" "What colour is cool to you?" Murasaki asks Birthday.

"What colour is my voice?" Koneko asks, chatty as ever. "Bright green, like spring grass. Ratio's is winter sky blue, and Master has a dark plum voice. Hajime's pale coral." 

"Can you eat coral?" "I don't think so, Hajime." "Hmph."

"What's my colour?" Murasaki asks.

"Smooth peanut butter brown, not the crunchy kind."

"Peanut butter!?" Says the comforting and familiar brown of Murasaki's voice. It's a calming colour Nice gets to see every day.

"Electric blue is way better than peanut butter!" Birthday cackles and Nice finds himself snickering along too, feeling happy immersed in the rainbow of his friend's voices.