Posts Tagged ‘diverse voices’
Writing Through The Pain: Facing the ‘Isms’ in Publishing for My Latest Column
Posted on: January 10, 2021
One of my writing joys in 2020 was producing a monthly column on creativity for the Chatham County Line. It’s always been a strong publication and great community resource, but under the recent leadership of Randy Voller and Lesley Landis it has flourished. The layout and design is fantastic.
In the summer, I began a three part series about how publishing and writing will change during this decade. The last installment of the series spotlights diversity and is now available. Documenting the ugly things about publishing and its lack of diversity was painful. For a while I had writer’s block (which is atypical for me) because I had to relive and remember the ways I’ve been affected by the cumulative effects of multiple ‘isms’ in publishing’s history. In the end, I found a way to strike a balance between talking about the structural obstacles and point to the tentative positive direction of change. That felt like a win as it gives the average reader a way to understand the issues without overwhelming them. And, I took some of the most charged parts of my experience out to explore in a future long-form essay, so that’s a win, too. Writing always leads to more writing!
You can read it (and parts 1 & 2) on the updated website. I look forward to writing more columns this year. And, if you’ve got a topic you’d like to see me explore, please let me know!
#WeNeedDiverseBooks: Writing and Publishing in the 2020s-Part 3
Coming of age in the 1970s and 1980s, I never read a commercial novel that featured a character that was anything like me: African American, female, wickedly smart, urban, and geeky. The children’s and young adult market was dominated by white heroes, white heroines and white authors. If I came across an African American character, they were typically described by the color of their skin (in contrast to white characters who were never described by skin tone) and simplistically rendered. They functioned as a sidekick, devoid of cultural experiences that connected them to the rich kaleidoscope of African American life. It wasn’t until college (!) that I discovered commercial (and literary) novels that reflected some of my life experiences back to me. This was a result of two factors. One was the success of small independent presses begun by second wave feminists that published new work by a diversity of women writers. The second was that by the mid-1980s traditional publishing briefly opened up to a few African American female writers, including Toni Morrison and Gloria Naylor.
Read the rest here
When I was asked by Nicole Givens Kurtz to contribute to her anthology about vampires and their slayers across the African diaspora, I was both thrilled and terrified. Thrilled in that I would get to pen a new story and be in a collection with many established and well-known writers in speculative fiction. Terrified in that I hadn’t ever written a story about vampires nor was I steeped in vampire lore. But, when you get a great writing opportunity, you always say yes!
SLAY: Stories of the Vampire Noire launches on Tuesday. SLAY includes twenty-nine stories, plus original illustrations. It’s a big book!
Here’s an overview: Few creatures in contemporary horror are as compelling as the vampire, who manages to captivate us in a simultaneous state of fear and desire. Drawing from a variety of cultural and mythological backgrounds, SLAY dares to imagine a world of horror and wonder where Black protagonists take center stage — as vampires, as hunters, as heroes. From immortal African deities to resistance fighters; matriarchal vampire broods to monster hunting fathers; coming of age stories to end of life stories, SLAY is a groundbreaking Afrocentric vampire anthology celebrating the rich cultural heritage of the African Diaspora.
SLAY has already received positive reviews from early reviewers!
I loved working on my story and digging into urban fantasy, a new genre for me. I knew that I wanted the story to center on contemporary vampires. My story “Blood Saviors” features a conflict between Fae, humans and vampires–and a virus to boot (I couldn’t help myself). It’s the first story I ever wrote where I began with a theme. I wanted that theme to resonate and I wanted the reader to feel the weight of the moral choices that confront the main character, Shonda. The story explores the question: What would someone be willing to do to save their own kind? Would they be willing to sacrifice another race to save their own?
This collection is important in a couple of different ways: SLAY will be a touchstone for readers of color who love horror and are aficionados of vampire stories but never really saw themselves reflected in mainstream narratives. It offers white readers something unique in the vampire subgenre because the anthology isn’t centered in white and/or male characters. It’s important for the genre in that until now no one has attempted to retell the vampire mythology through and about the experiences of people across the African diaspora.
Pre-order link for SLAY is here
Below is a sampler of AWESOMENESS about SLAY that includes my participation on Alicia McCalla’s Diverse Sci-Fi & Fantasy podcast. We had an outstanding time talking about my story, vampires and subverting conventional tropes in speculative fiction.
Milton Davis one of the contributors (and small press publisher in his own right) has been hosting many of SLAY’s authors on his blog for short interviews where we ‘SLAY 11 Questions’. They are fabulous. I have enjoyed reading more about the other contributors. You can check out my interview here and learn why I name Shori from Octavia Butler’s Fledgling as one of my favorite vampires.
Check out contributor John Linwood Grant’s excellent posts on ‘Black Vampire’ week on his Grey Dog Tales blog. He covers African vampires, movies with Black vampires and more.
I’d appreciate any signal boosting that you can do for this collection. Thanks in advance.
And, if you are a writer struggling with your productivity and motivation, you might like my ‘Ten Ways to Keep Connected to Your Writing Self during COVID-19’. Click here to receive it.
I’m grateful for the opportunity to explore my feelings and relationship to the term ‘Afrofuturism’ in this recent essay for the online quarterly magazine South Write Large: Stories, Arts and Ideas for the Global South. Is this a term that you have heard a lot about? How do you engage with Afrofuturism?
My Unlikely Path to Afrofuturism
Afrofuturism is everywhere these days. From the staggering success of Black Panther to the revival of Octavia Butler’s works, especially the prescient Parable of the Sower written in 1993, to the award-winning novels by N. K. Jemisin, these books have ushered in a new moment. We’re not just talking about literature or film, but music, fashion design, visual arts, and social activism as well. What often gets lost or flattened, however, when a phenomenon enters the mainstream, is the nuance, history, and multiple viewpoints on said phenomenon. Read the rest of the essay here.
Writing Sci-Fi Noir and Exploring Characters’ Contradictions: Author Interview with Michael G. Williams
Posted on: December 1, 2019
My writing community and life became infinitely richer when in 2015, on the suggestion of a writer friend, I attended illogicon, a local sci-fi convention. Michael G. Williams was one of the featured panelists that year (and many years since). Michael was just being himself on those panels and he probably didn’t know he was inspiring a lot of us in the audience with his candor, humor and deep knowledge of the genre. I was also inspired by the fact that he writes across several genres. He’s kind and encouraging of new writers. He’s also a vocal and visible advocate of diversity in gaming, geekdom, and speculative fiction and media. Fast forward many years later, I feel lucky to have appeared on several panels with him.
His recent book A Fall in Autumn is one of my favorite books that I have read this year. It’s sci-fi noir and unlike anything I have read before. The world-building is amazingly complex and I really loved the voice of Valerius Bakhoum, the main character. You can read a sample chapter here.
Michael G. Williams writes wry horror, urban fantasy, and science fiction: stories of monsters, macabre humor, and subverted expectations. He is the author of three series for Falstaff Books: The Withrow Chronicles, including Perishables (2012 Laine Cunningham Award), Tooth & Nail, Deal with the Devil, Attempted Immortality, and Nobody Gets Out Alive; a new series in The Shadow Council Archives featuring one of San Francisco’s most beloved figures, SERVANT/SOVEREIGN; and the science fiction noir A Fall in Autumn. Michael also writes short stories and contributes to tabletop RPG development. Michael strives to present the humor and humanity at the heart of horror and mystery with stories of outcasts and loners finding their people.
I wanted to hear more about the influences that helped shape his writing. I’m so delighted to welcome Michael G. Williams to The Practice of Creativity.
-Tell us about your new book, A Fall in Autumn? What’s in store for readers?
A Fall in Autumn is a far-future science fiction detective story about Valerius Bakhoum, a washed-up private eye taking what he expects will be his last case. It’s got the voice of a hard-boiled detective story but the setting and characters of the more fanciful end of science fiction: human-animal hybrids, genetically modified people, and golems (which we would call androids).
It’s set far enough in the future – 12,000 years from now – that from Valerius’ perspective you and I are living in Atlantis. They know that people were alive in our time, and they know there are stories of a highly advanced society, and they know there are stories of that phase of human civilization completely wrecking the planet and destroying itself in its hubris, but Valerius and his contemporaries aren’t totally sure any of that is actually true.
At the time of the story, humanity’s technological forte is genetic manipulation and genetic engineering. In theory, the Vrashabh Empire – the dominant political entity, and the nation of which Valerius is a citizen – is a completely egalitarian society, in which all citizens are equal. In practice, the 25% of the population who are what Valerius calls “floor models,” designed from scratch or upgraded or otherwise genetically enhanced, are the ruling elite. The rest of humanity is overwhelmingly human-animal hybrids purpose-built for various roles in the economy, from manual labor to specific “white collar” jobs. There’s a very thin slice, maybe one percent of one percent, socially situated in the middle. These are Artisanal Humans, people who were made the old-fashioned way by people who are likewise unmodified. They’re considered a sort of “backup copy” of the human genome, and are supposed to live in genetic preserves where they have fewer exposures to environmental mutagens. Valerius is one of the Artisanal Humans, and so finds himself simultaneously fetishized as admirably pure and reviled as a grotesque throwback.
-What did you like to read growing up and/or as a young adult and are there any of those influences in your work?
I read boatloads of mysteries, horror, and science fiction, and those are definitely influences on what I write now!
My household had a ton of the yellow-bound Nancy Drew novels, and I really envied her lifestyle. She had her own car, an absentee parent, and a couple of friends to get into trouble with her. Who needs more than that? Dracula was one of my favorite books of childhood for the same reason: this deeply personal tale of a group of friends and lovers overcoming evil by trusting in one another and fighting bravely for one another despite the world’s refusal to believe what they’re experiencing? That seemed like exactly what I needed as a gay kid in the middle of nowhere.
I read classic sci-fi, tie-in novels for Star Trek by the wheelbarrow-load, Stephen King, and anything else I could find. But I also read a lot of classic literature, and Wuthering Heights remains one of my favorite books of all time. Given where and when I grew up, and how I grew up – specifically, being raised by evangelicals in isolation from a lot of pop culture – I wanted every book I could beg, borrow, or steal, and I read constantly.
-Much of your published work employs vivid first person narration. What draws you to use that point of view?
I love to get inside a character’s head and really unpack what makes them tick. For me, as a writer, nothing is more interesting and more motivating than the chance to sit with a character’s take on the world and learn their strengths, their weaknesses, the scars they bear from past wounds, and the secret wells of principle within them. Good characters constantly surprise us, and I want to give the perspective character the maximum opportunity to effect that surprise. With Valerius, the more of him I wrote the more complexity I find in his perspectives and attitudes. The story would not have been the same from a third-person perspective. It would have been significantly weaker.
Compelling stories are driven by characters making choices we can fully understand. That’s what drives both the horrifying inevitability of tragedy and the cathartic triumph of a hero overcoming her foes to claim victory. Learning a character inside and out is a great way to build our skills for empathy, too, and I think increasing empathy may be the only way we have to prevent the social, economic, and political downfall that destroyed our world in the fictitious history of Valerius’ future.
-While reading A Fall in Autumn one can’t help but ruminate on questions of memory, identity and personhood. Have you tackled these or similar concepts in your other work, or is this fresh territory for you?
Every single one of us struggles with the tension between how others see us and how we see ourselves. Ultimately, that’s at the root of every conflict between two people: a parent and their rebellious teen, two co-workers who both think they should be in charge, two spouses who disagree with how one or the other spent their money or their time, and so on. I think the only truly universal experience is of finding out someone else does not see us the way we see ourselves. And that’s certainly been at the heart of the greatest struggles of my personal life. I grew up gay in a remote mountain town, surrounded by people whose sets of acceptable outcomes for my life turned out to have almost no overlap with who I actually was. Who I am today is partly who I actually am and partly a reaction to others’ prejudiced demands and incorrect assumptions about me – and that’s true for everyone. I call A Fall in Autumn “queer sci fi” in part because Valerius is an explicitly queer character and in part because it’s a story about the power of identity to drive who we are, and how others see us, and the way a conscious examination of our own identity may close off certain paths for our life but it opens up other ones, new futures in which we get to be much more honest, much more authentic. That, more than anything, is the modern queer experience: that of people discovering who we are and choosing to lead lives that honor our self-revelation rather than obscure it.
My now-completed vampire series The Withrow Chronicles (which starts with Perishables) absolutely centered around those, as Withrow found himself over and over again confronting the difference between who he thought himself to be, who others thought him to be, and who he needed to become to survive that story. Throughout those books Withrow repeatedly assures us – in the course of trying to assure himself – that he’s a monster now, not a person, and that “person rules” don’t apply. Even in my urban fantasy series SERVANT/SOVEREIGN (which starts with Through the Doors of Oblivion), the heroes’ biggest personal questions are around how they are perceived by others versus how they perceive themselves, and what that says about how much they value the people and places they’re trying to save.
The same is very true of Valerius, who is constantly running into other people’s conflicting ideas of who he should be, how he should behave, and what’s “acceptable” for him. He occupies a place in society that some consider privileged and others consider reprehensible, and I really wanted to play with what it does to a person to get it from both sides like that. I think in many ways that’s very typical of the current queer experience, in which straight people watch RuPaul’s Drag Race in sports bars and right-wing politicians write dehumanizing laws intended to keep us marginalized and afraid.
-What is one area of craft that you knew you were weak in (or just OK), when you started writing that you rock now? How did you get there?
Different characters having different voices, probably. No, wait: real emotional depth in the characters’ perspectives and experiences.
No, scratch that, planning and editing.
No, wait, can I just list myself as being weak in everything? I’m not yet convinced I rock any of them. 🙂
(But seriously, I think I used to really stink at giving different characters their own voices and now I’m at least OK at it.)
– What’s your best writing tip that you’d like to share?
Don’t worry about genre. Don’t think about where the book would be shelved in a bookstore or what categories it would have on Amazon. Those are important, sure, sort of, but they’re not as important as writing a story that makes you excited to tell it. It doesn’t matter what your book is about as long as you’re enthusiastic when you try to pitch it to others. If you have an idea that you love, and you think it might blend things together too much or be too “all over the place,” guess what: readers love that. Readers want to see an explosion of big ideas. Readers want you to lean in close and give them the elevator pitch of their lives: gay werewolves in space! Gothic romance but no one realizes everyone else is a secret vampire, too! Friday Night Lights but also they’re hedge wizards! I have had people walk away from my books because they were cross-genre, yes, but I’ve had many more drawn to my books because mixing things up and blending things together leads to the exceptionally pleasant experience of novelty.
Michael G. Williams is a prolific and award-winner writer. He writes novels across multiple genres and likes to subvert and mashup genres from time to time.
Michael is also an avid podcaster, activist, reader, runner, and gaymer, and is a brother in St. Anthony Hall and Mu Beta Psi. He lives in Durham, NC, with his husband, two cats, two dogs, and more and better friends than he probably deserves.
Find out more about him here.
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