Mystery of the Rusty Keys

These rusty keys look like they've been sitting on this log a long time...

... beside this broken sign-post...

...at the edge of this cliff...

...beside the lighthouse...

...by the sea...

...in Rhode Island.

On the fatal shooting of a 12-year-old boy by the police.

This morning, a 12-year-old boy died in Cleveland of injuries he received yesterday when he was shot by a police officer.

The first news I saw of this was a tweet in which the twitterer expressed sympathy for the family and worried that "things could get ugly".

Those four words complete the circle. They explain what killed this American child. (These are our children, America.)

Faced with an appalling incident of white-on-black violence, the twitterer was afraid of what black people might do. The only white-majority nation ever to elect a black head of state is still terrified of black people.

The electorate is still capable of hearing about the violent death of a black child and worrying that... that... that someone might get hurt?

That the response might be anger?

It is.

If you've ever lost someone close to you, you know that anger is always part of the response, even if the cause was an incurable disease. (Why didn't someone cure it?!) Now imagine how angry you might be if someone killed your child because they were afraid of him.

(These are our children, America.)

The black community will be expected (by America) to grieve in a way that unnaturally suppresses anger. Any expression of anger that occurs will be magnified in the media, and the fear will be fed, and the cycle will continue.

And don't expect the media to forego the traditional demonization of the victim just because he was

Twelve.

So far what we've heard is that the assailant was a rookie cop. This is the second fatal shooting of an unarmed black person by a "rookie cop" in two days. We'll be asked to sympathize with his fear and inexperience.

Against the fear and inexperience of a child.

A mature media would ask the following questions. Since we don't have such a media, let's ask them of ourselves:

• Is something being said, officially or sub rosa, to trainee police officers that is making them afraid of black people?
• If trainees are already afraid of black people before their training, shouldn't someone else be recruited, someone who's not afraid of black people?
• Can prospective trainees be tested for a fear of black people? (Tests exist.)
• If "rookie cops" have an increased tendency to shoot unarmed people (something that may or may not be true, but that we're being tacitly asked to accept), should "rookie cops" perhaps go unarmed?

I don't know much about how police officers are selected, but I know how teachers are. And there is a winnowing that goes on at all phases of the process. Any discomfort with people of other races, religions, or nationalities is (ideally) identified, and addressed. When all else fails, it's addressed by taking the aspirant gently by the arm and leading him or her to the door marked EXIT.

It's time the same standard was applied to police officers.

A few tips on writing believable disabled characters.

So if you read my rant on the portrayal of disabled characters in middle grade fiction last week, you may have been left with the impression that it was safest not to write a disabled character at all. Sorry about that! Of course you should write MG characters with real believable disabilities who kick A and take names. We need more of those!

I realize that some of the tropes I described last week come, originally, from a place of compassion. An author thinks about the disability that s/he's given the character. And maybe as soon as s/he thinks about it, s/he wants to solve the problem for the character. And the easiest ways to do that are to deliver a miracle cure (trope #4) or a superpower (trope #5) or to pretend that the disability doesn't really matter (trope #6).

But a writer's job is to dig deeper.

Acknowledge that the disability is part of your character's life, probably a permanent part, and that it presents challenges which the character lives with every day. Show us that the character's life is good and meaningful.

Here are a few ideas.

Ask yourself how the character's disability affects the story

If your disabled character is the protagonist, what is different for him/her because of the disability? How does it change the challenges s/he faces? How does it change the ways s/he deals with the challenges? If the disability were removed, would the story change at all? (If the answer is "no", consider scrapping the disability.... or working on it some more.)

If the disabled character is not the protagonist, make sure s/he has a story arc of his/her own. S/he shouldn't be there just to teach the protagonist compassion, or to make the protagonist feel grateful not to be disabled.

Remember the "able" in "disabled"

What can your character do? What's s/he good at? The character needs the same complexities as a non-disabled character-- flaws, good qualities, the works. Hopes, dreams, things that annoy the hell out of her. And like the rest of us, s/he should have a special talent or two... one not related to the disability, please. She might be ace at manipulating a wheelchair in tight spaces, but consider making her ace at factoring quadrinomials as well. Or make him a train buff with an encyclopaedic knowledge of the US freight-rail system which proves useful when push comes to shove. Whatever suits the story.

Research your character's disability

The external manifestation of a character's disability usually occurs to us fairly quickly. The character has a visual or hearing impairment, or wears a leg brace, or has one arm, or uses a wheelchair. But what caused the disability? A genetic syndrome, a disease, an accident?

Is the disability you've given the character one that actually exists? (It's surprising how often this comes up!)

What are the less-visible aspects of the genetic syndrome, disease, accident, etc? What treatment was required, is required now, will be required? Is this going to get better in the future? Or worse?

When you're researching the disability, you may discover things that you wish weren't true. Resist the urge to change the facts. You don't have to use all the facts in your story... but don't rewrite science.

Once you've done your research, of course, you should treat it like any other research you do for fiction, ie apply it with a very light touch. After all, if your readers wanted to read a treatise on osteogenesis imperfecta (or the Battle of Agincourt, or gemstone cutting) they'd go do the same research you did. Remember, the story is king.

Research is a vassal.

Try it yourself

Avoid the common authorly tendency to have characters scale Mount Everest in a wheelchair. (That's only a slight exaggeration.) To give yourself a sense of what your character will and won't be doing, try it yourself. When an author has experimented with wearing a blindfold or earplugs, or using crutches or a wheelchair, or avoiding using his/her hands, the details come through much more clearly and realistically in the book.

Experiment with due regard for your own safety and that of others! Don't walk around upstairs with your eyes closed, or try to cross streets in a wheelchair if you're not a skilled operator of same.

When you use this experience in your writing, be sure to think about whether your character's disability is new or old. If new, the character is likely to have the same difficulties and reactions that you had. But if it's old, the character will be used to some things and may not give them much thought. S/he may be skilled at tasks you found difficult (like carrying a cup of hot tea while on crutches) but stymied by others (like taking said cup of hot tea up a spiral staircase).

Consider the Mechanics

Humans make many things, and the things humans make are generally imperfect. Leg braces chafe, break and malfunction. They also weigh several pounds. Prostheses can cause sores and ulcers. Wheelchairs are as subject to breakdowns and damage as are other conveyances.

Figure out which aids your character uses, and research them. Make sure you consider the aid in the context of your story's setting. Will your character move easily on a ship, a sandy beach, a steep cliff, an icy lake? If your setting is historic, what aids would your character have used during your novel's time period?

Sensitive Language

Whether you're writing a disabled character or not, be aware of words and terms that are outdated and/or offensive. Such words and terms should be avoided in the authorial voice. If they're used in dialogue, they should be dealt with as an issue.

These include:

- cripple, crippled, and crippling (including figurative use, eg "A crippling blow" or "The crippled ship limped into port")

- retard, retarded (including figurative use, eg "A retarded idea")

- former medical terms that have become insults, eg mongoloid and spastic (also avoid "spaz")

- slang nicknames, eg "Pegleg"

- Disabilities used in a figurative sense. ("What a lame excuse," "He's blind to her faults." )

- "confined to a wheelchair" (a wheelchair is not a cell)

Consider the social aspects of the disability

Your character's interactions with others will be affected by the disability. The ways in which people-- children and adults-- react to disabilities are myriad, many-faceted, and bizarre. You may have seen and experienced this in your own life. If not, watch for it.

I started out to write a long list of examples here, but I've gone on long enough, and it will be more useful to you as a writer to make your own observations.

(In R.J. Palacio's Wonder, the social aspects of the protagonist's disability are the main focus of the novel. And kids love it.)

Anyway. I hope the above will prove useful to writers who want to write stories with well-rounded, multi-faceted characters with disabilities. Please do! We need more of them.

What's this disabled character doing in this MG novel? Probably about what they were doing in 1910.

Hello. I want to share a few thoughts about the portrayal of characters with disabilities in middle grade novels. There's the good:

• Mary in the Little House books. While there's usually little for diversity advocates to cheer about in this series, Mary's blindness is very matter-of-fact and realistic. It affects her life and her family's lives. And it doesn't ruin them.
• Wonder by RJ Palacio. What can I say that hasn't been said already?
• Handbook for Dragon Slayers by Merrie Haskell. A MG fantasy – yes, a fantasy!-- in which a protagonist with a disability goes on a journey of discovery without encountering a miracle cure.

And then there's the not-so-good. Below are six tropes that encompass many of the portrayals of disabled characters in MG fiction. Each of them can be found in recent work as well as older books, though I'm only going to name older books.

I've given each trope a cute name even though they're not really very cute.

1. Paging Dr. Strangelove

In these books, the disabled character is a villain. His/her mind is as twisted as his/her body, get it? In case you don't, sometimes it's spelled out. Blech. In one MG book I read, there was an attempt to soften this (I think?) by having the villain turn out to be faking his disability. The image remains.

A venerable example of disability-conflated-with-badness is The Secret Garden (1910). When Mary arrives from India, she's sickly and unlikable. As she becomes more physically able, she turns into a better person. Then she arranges the same transformation for her bedridden cousin Colin. The message is clear.

2. God Bless Us, Every One

Like Tiny Tim in A Christmas Carol, the disabled character in some MG books is only there to gauge the protagonist's moral growth.

3. Exit Little Eva

In the 19^th century, one of the primary tasks of children in books was to die, preferably after a long illness and some edifying moral reflections. Although a few of these kids' books are still in print, like The Birds' Christmas Carol (1887), this one has mostly, er, died out.

Zombie-like, though, this trope rises again in the form of the character-too-badly-injured-to-survive. He tends to show up in action, pursuit, and battle scenes. He gets one injury, and then another, and things proceed to the point where he would be disabled were he to survive. So instead he's provided with yet another injury that enables him to die heroically. Sigh. As soon as the disabling injury was delivered, you knew this character was toast.

4. It's A Miracle!

The protagonist has a disability, but it's cured by the end of the book, often as a reward for something the protagonist has accomplished. While this is essentially what happens in The Secret Garden, and appears in rather bizarre form at the end of Johnny Tremain, it's also very common in fantasy novels.

5. He's Blind, But He Sees So Much More Than We Do
In these books, the character's disability is an undisguised blessing. It gives him/her powers that the abled characters can only dream of. If the protagonist in one of these books had a brain injury, it would be more likely to result in telepathy than in seizures.

This sort of book is satirized in the play Butterflies Are Free as "Little Donny Dark". In the Little Donny Dark books written by the protagonist's mother, the blind boy has no trouble flying a plane, because his other senses are so highly developed.

6. You'll Find My Disability on Page 16

These are books in which the protagonist has a disability which does not affect his/her life in any way. It might be a disability that, in real life, would take some serious managing (new skills to learn, trips to specialists, hospital stays, etc). The book, however, will mention the disability only once. Neither the protagonist nor the reader ever has to think about it again.
 

Oh dear. I hope my rant hasn't scared writers off from including disabled characters in their MG novels. Because we need more, not fewer. We need fully developed, complex characters whose disability is one aspect of their lives, one that matters but doesn't mean there's less for us to know and find out about the character. In a future post, I'll talk about some approaches for writers.

About those million words.

There is a saying, and it is mostly true, that you have to write a million words before you're ready to be published.

A million words is between three and four thousand double-spaced pages.

Most of the authors I know sold their fourth or fifth attempt at a novel. Me too. That means we had three or four trunk novels before we sold. Of course, we didn't write them to be trunk novels. We wrote them to be bestsellers. But we were learning. We're still learning, and we still sometimes produce trunk novels.

Recently I ran into a writer who said he knew he had to write a million words before he'd be publishable, and he figured it would take him 18 months at 2000 words a day. This reminds me of my approach to a PhD. See, I was once in this PhD program for some reason. And I kept calculating how quickly I could get out of it. And people who had been through it looked at me in dismay and said, "You're missing the point."

I didn't get the point till I ran into that writer.

The point, in any learning we do, is the process. Not the product.

I think we learn more from revision than we do from the initial writing. If we merely crank out a million words without stopping to look at them, analyze, recognize where we've gone wrong and what we need to do to fix it, we'll end up not much better off than when we started.

The million words are incidental. A means of trying to quantify just how much there is to learn. Unless we're present in the moment, fully focused on the process, on recognizing our errors and learning from them, we're not going to learn at all.

If you're new to writing and are planning to do NaNoWriMo, go for it! You'll be 50,000 words on your way. And once you've spent a year revising and re-rewriting your NaNoWriMo project, you may well be 250,000 words on your way.

(By which I mean not that you should write a 250,000 word novel-- you shouldn't!-- but that the writing done in revision is part of the million words.)

For Authors, About Reviews

Every now and then an author reacts online to a bad review. And I wish I could give him or her the best piece of advice I ever received about reviews. It was from science fiction author James Gunn.

It was this.

"Read the last line first".

Simple and effective.

The last line tells you whether the reviewer liked the book or not. Then you know. Whether you actually read the review after that is up to you. I know several authors who don't read their reviews at all. Not even the glowing ones.

If you do choose to read a bad review, then read it, shrug and move on. If the reviewer goes in for an ad hominem attack, you can smile while you shrug. That's not a reviewer to take seriously.

Don't respond. You'll be seen as "hitting down". This always sounds bizarre to authors, many of whom reside well below the poverty line, but there it is. There's a widespread perception that we all have castles in Scotland.

Bad reviews are not fatal, to you or your book.

Just remember to read the last line first.

How to Plan for NaNoWriMo, part 4: Index Cards

Hi! Over the last couple weeks I've shared some of my favorite tricks for planning a story, bubble-mapping and drawing. Both of those are strategies I use for brainstorming and planning a story. This next strategy focuses on organizing your ideas so that you're ready to write.

Equipment required: Colored pens, index cards*, and tape.

It's likely that as you've thought about your story, some of the story's moments have become very clear in your head. Examples: Your hero meets her mentor. Your hero steals a golden apple. Your villain hacks into the NORAD computers, and thinks he's undetected.

Write each of these idea-moments on a separate index card.

Notice that I've used two colors on this card. Each major character has his or her own color. That way, when I organize the cards, I'll be able to follow each of their storylines and see any gaps. (When a major character is offstage, as, for example, the wizard Simon is in parts of the Jinx books, you still need to know where s/he is and what s/he's doing.)

Now look at your bubble-maps. (See last week's post.) Read through them carefully. Identify anything in your maps that looks like it should be a scene or a story-moment.

Make a separate index card for each of these story moments.

Keep making index cards till you run out of scenes and story moments.

(Note: If I have a lot I want to write on a card, I sometimes start out with a Sharpie, but finish with a ballpoint pen.)

Now, it's time to play with your cards.

Sort through them. You'll notice that some of the scenes clearly belong at the beginning of the story, others near the end. Lay them out on a flat surface, in the order in which you think they might occur. The beginning of the story goes at the top, the end of the story at the bottom. If two or more ideas seem like they should happen at the same time, put them side-by-side.

Keep moving them around till you think you've got them where you want them.

You'll probably find some of your cards don't fit in anywhere. That's okay. It may be that those scenes don't actually belong in the story, or it may be that you'll figure out a place for them later.

You may also find gaps. Don't worry about that right now either.

When you think you have all the cards in the right order, tape them to the wall.

In the picture above, I have the scenes taped to the wall in order, top to bottom, but there are things missing. There are some thin spaces at the top. At the bottom, just before the closing scene, there's a gap that goes right across... I've got nothing. It's possible you'll have similar gaps in your own story. (Example: your hero is captured by the evil villain, and then she is welcomed home. But you're missing the escape scene.) 
Now it's time to fill in those gaps.

Take some more blank index cards. Think about what scenes you might use to fill in the gaps. Jot them on the cards, and add them to the wall.

Read through what you've got.

Now look at the storyline for each of your main characters. (Just follow his or her color-code down the wall.) Do any individual characters have gaps? It's okay, for now, if they do. They may end up having gaps in the story. Just remember that you've always got to know where the major characters are, and, if they leave the story in the middle, you have to know what became of them. If a major character is left hanging, fill in an index card to show what he's doing.

When your wall of cards is finished, you're ready to write.

You can start writing your novel directly from what's on the wall.

Or you can divide your wall into chapters, hanging a slip of paper with the chapter number on it next to each section on the wall. (I've done that in the last picture above.)

Or you can use your wall display as a basis for a traditional written outline.

I've tried all of these, and they all work.

And there you have 'em, as Casey Kasem used to say. My three main strategies for pre-writing a novel. I hope you find them useful for planning your own.

Good luck!

*Some writers use sticky notes instead of index cards. I like the index cards because they're sturdier, easier to rearrange, and cheaper.