Get Some Diversity: Part One (ROYA #29)

Without getting political, it’s safe to say the world would benefit from a little more compassion and understanding right now. The rise in hatred and intolerance across the globe is hard to ignore. I believe Martin Luther King Jr. correctly identified lack of communication as the root of the problem. However, tackling such a gargantuan issue is daunting. It’s difficult to see how one person can make a difference. But we can. YOU can. And it all starts with something as simple as reading a novel.

“We must promote, persuade, and provoke our young readers to pick up those books that broaden and challenge our understanding of what it means to be another and to be ourselves.” 

---Alegria Barclay, excerpt from Building Empathy Through Reading  regarding Black Lives Matter 

Books have the ability to reach people and communicate ideas. Their influence is undeniable. Yet, for a long time there wasn’t enough accurate representation in fiction, particularly in books geared towards children and teens, to foster an empathetic outlook. Somehow the default settings in YA tended towards white, heterosexual, gender binary characters, often from middle-class backgrounds. I’m not suggesting stories with these characteristics aren’t or can’t be enjoyable, but constantly having to relate to them when you see nothing of yourself is tiresome. Moreover, if you do identify with some or all of these traits, failing to read stories about those who don’t can narrow your lens of perception. 

Can books really have such a huge influence on younger readers? Absolutely! Sometimes fiction can be a young person’s only route into experiencing the lives of others with whom they have little in common.  On the flip-side, some children and teens rarely see themselves represented in fiction, which poses another problem. When they’re continually presented with books in which people like them are secondary characters, or aren’t even there at all, they begin to perceive themselves as having the same relevancy. These youngsters don’t deserve to think of themselves as invisible or secondary characters in life. They have a right to see characters similar to them as the hero, adventurer, vanquisher of evil, and star in the spotlight. This isn’t purely for entertainment’s sake. It’s about giving kids a chance to feel as though they’re part of this world.

To see oneself in the pages of a young adult book is to receive the reassurance that one is not alone after all, not other, not alien but, instead, a viable part of a larger community of beings who share a common humanity.--- Michael Cart, Expert for children’s and Young Adult Literature, excerpt from The Value of Young Adult Literature 

Thanks to movements like We Need Diverse Books and Ramp Your Voice this is changing, and diversity-deficient fiction is counteracted with multiple constructive campaigns. Now it’s easier than ever to find books featuring a wide range of cultures and backgrounds, and work by authors of different ethnicities. All you need to do is get your hands on one, read it, and if it’s good, recommend it to people. If you have the urge to do more than that, why not gift a copy to a friend or family member? It’s that easy. By doing this, you spread awareness and subsequently contribute towards culturing compassion and understanding in society. You become a transmitter through which the book communicates with the world.

If you’re keen to take that extra step towards diversifying your reading, here’s an idea for how you might go about it. Your challenge, should you choose to accept it, is to ensure the next five books you read sit outside your usual scope. Avoid the temptation to select something from a genre you don’t read and instead look to switch-up the human element. For example, if you typically enjoy books by men, pick one by a woman. Find something by a transgender author. Choose a book with a POC protagonist if most of the characters you usually encounter are white. If you tend towards authors who are straight or gay, seek out work by openly bi, ace, or pan writers. Above all, actively hunt down work by writers from cultures and backgrounds that contrast with your own. These are just a handful of suggestions to which you are by no means limited. There are thousands of ways to diversify your reading, and the more you read and share, the greater your contribution to spreading compassion and understanding. In the meantime, if you’re unsure of where to start, check out this list on Mostly YA Lit. Or if you’re into sci-fi & fantasy, take a look at Diversity in YA’s list.

Next week, I’ll continue this topic by looking at how readers and writers can interrogate artistic decisions when it comes to diversity in fiction. Until then, happy reading!

5 Questions to Ask Yourself When Reading or Writing YA Historical Fiction (ROYA #25)

Greetings, Readers of Young Adult! 

Having recently devoured several historical genre novels, I thought I’d share my selection process for finding relevant, purposeful YA historical fiction. As it happens, it’s also how I sense-check any new writing projects I’m tempted to set in the past. So, for readers and writers alike, here’s my Sense-Check-List questions for getting the most from stories set in a historical context. 

1) Is the period crucial to the plot?

Or, simply, could the same story be set now? If yes, there’d better be a darn good reason why it’s not. When it comes to overall satisfaction, that well-deserved four or five star rating, stories which depend on perceived romanticism of bygone eras have a tendency to disappoint. Not in a hurl-it-at-the-wall-after-three-pages sort of way, but they often lack poignancy, something real history offers in abundance. I can sniff out a yarn that relies on corsets and fluttering hearts instead of an exciting plot. Usually from the cat-and-mouse romance slapped all over the blurb and the unmistakable whiff of misogyny from the male love interest. There’s nothing wrong with portraying rampant sexism and other uncomfortable realities of history. In fact, I’m all for it. But unless there’s something important the story aims to convey about the chosen era, there’s nothing to gain from a historical setting. Except, of course, the story contains an important message we might benefit from now or in the future. 

2) Is the historical setting significant now?

Sometimes, a story is set in the past for the purpose of drawing parallels to present major happenings. These stories are important. All too often we humans fail to learn from our own history. As George Santayana said, “Those who cannot remember the past are condemned to repeat it.” Similarly, there are subjects a contemporay audiene is reluctant to consider, but which provoke engagement when presented in a historical context, like Yongla by Guy Lane. There are also situations where readers and writers are restricted from tackling certain subjects and must settle with symbolic representations of current events. Anyone familiar with Arthur Miller’s only historical play, The Crucible knows what an allegory is. When Miller wrote The Crucible, Senator Joseph McCarthy lead a witch-hunt for communists hiding in the government, education, and the arts. To avoid risking persecution – which he didn’t – Miller fictionalised the Salem witch trials to exemplify the absurdity of convicting people without concrete evidence. However, these days writers can create with impunity, and readers can enjoy pretty much anything without fear of imprisonment. Without a valid reason to use a historical context to highlight a contemporary issue, what reason is there to set a story in the past? Why not just read or write about what’s actually happening now? Unless, of course, your reason for choosing historical fiction is personal.

3) Are you avoiding technology?

For many, reading YA is an escape from reality, especially those who dislike the societal effects of continued technological advancement. It goes without saying that smartphones have dramatically altered the way we communicate. Some adults find comfort in reading about a time before mobile phones and the internet. And that’s okay. For those too young to remember, it can provide insight into a world unknown. However, it’s a thin premise on which to build a story and would likely prove a dull book. As a writer, I’ve learned to embrace tackling technology in fiction, but it can be daunting for those of us who were born before the 90’s. Nevertheless, a story has a better chance of being understood by a wider audience if it’s told in a context relevant to when it’s released. Declaring yourself a Luddite is no excuse. There has to be a stronger reason for a story to be set in the past, something the reader can emotionally invest in.

4a) Dear writer, is it the era you grew up in?

If so, here's something to consider. Like many writers, this July I was hooked on P.S. Literary agent Maria Vicente’s #100Queries on Twitter. Ms. Vicente tweeted her responses to the queries in her inbox, providing insight into how agents view submissions. One particular tweet caught my attention.

Maria Vicente: “YA Contemporary. Unnecessarily (it seems) set in the recent past. Write for teens today, not for teenage you. #100Queries”

Last year I finally got around to reading Rainbow Rowell’s Eleanor & Park. I’ll admit to having mixed feelings. Although I loved the book, I couldn’t help wonder why it was set in the 80’s and assumed it was based on the author’s life. I mean, the comics are still in print, playlists are the new mix tapes, and as far as I’m aware, school buses still run in the states. There’s even a solution to why one of them wouldn’t have a phone or access to the internet. So I kept wondering - Who’s the story for? It’s the same question I ask myself when it comes to my own work. Rainbow Rowell is able to break the rules because, well, she’s Rainbow Rowell. As for the rest of us, we need to remember who we are writing for, because if it’s for yourself, I’ve got news for you. It’s unlikely it’ll get picked up by an agent unless you can argue the case for how the reader will benefit. And if you self-publish, you may find your readership struggles to connect with your story. Then again, some readers will identify because it’s set during the period in which they grew up. .

4b) Dear reader, is it the era you grew up in?

If it is, that’s hunky-dory – we all like to reminisce. But you still want to read a compeling story, right?  Sure, it’s great to remember giving out phone numbers on the backs of bottle labels that can easily be lost - plot twist! Date hairstyles, clothes, general use of cigarettes and casual sexism – I get it. BUT, it’s not enough. Trust me. Even the shallowest reader needs that payoff at the end, and it’s never going to happen if the story holds nothing stronger than a hairdo set with Brillcream. Often, a visit to Goodreads for a scan of the reviews will give you an idea of whether or not the book you’re interested in has substance. Because, even if you’re in it for the nostalgia, you might want to ask yourself…

5) Is it purely for cosmetics?

Yep. Some stories rely on cosmetic novelty. If you’re familiar with the Indie Publishing scene, you’re probably no stranger to this concept. We all know we’re not supposed to judge a book by its cover, but if I see a picture of a fashionably beautiful girl with HD brows and a tan wearing Tudor garb, I’m out.  Just because a story is set in Ancient Rome, the Inca Empire, or the Tang Dynasty, the plot doesn’t suddenly become interesting. Sure, I can imagine the attractive people, picturesque landscape, and glorious weaponry. I don’t want to read about the same visuals repeatedly, though, like being reminded of a character’s eye colour on every other page. It happens. In these instances, it’s perfectly acceptable to hurl the book at the wall after three pages and start another story. When I pick up a book promising historical tales, I want the author’s research to seep into my mind through the gaps between the words from the first page.  If I find I’m reading description after description instead of gaining a sense of time an place from the language, narration, and characters, I grow tired and move on. Good historical fiction doesn’t rely on long descriptions, gimmicks, or fancy costumes.


Sadly, a lot of guff gets punted about because it’s titillating, and titillation sells. If you’re happy reading or writing that, then good on you, there’s no shame in liking what you like. However, if you appreciate, or are interested in finding captivating, historical fiction, YA or otherwise, then the above check-list should steer you on the right path. As for you writers, I hope what I’ve shared makes sense. If you have any further thoughts or questions, please comment below.