This is one of the reasons I and so many other writers resort to using fantasy as our mode of operation. We do not have to "ask permission" if we write about beings who do not exist in the real world, or who have over-vigilant formal and informal political organizations working on their behalf.
It is. Although it is also useful for confronting realistic social issues in a metaphorical back-door kind of way. So you can comment on these concerns without engaging with the political minefield mainstream literary fiction has become.
I enjoy the brave direct approach too. 'Overstory' by Richard Powers was outstanding and effective through gritty realism rather than fantasy - and I remind myself as I write that, that a main character heard the trees speaking to her - so maybe there was an element of fantasy - but it was rooted in biology, the 21st century discovery that plants speak to each other and behave 'in community' - I guess though, it was the gritty realism that impacted me most.
It’s so nice to get to read inside the mind of a published author and your thought process on what you write and how. Your perspective and opinions are super key. I also learned a lot from this. Thank you!
I love this! Also, that's so awesome that you're a film maker! Would you ever consider writing a post about that proccess and how you make a film? I would be super interested in that!
Interesting to read your take on permission, after seeing so many reactions to books like Yellowface and American Dirt for cultural appropriation. I think you are opening up an interesting topic for debate, one which will always be defended vehemently from both sides. Thank you for sharing your experiences.
Yeah, and I've seen both sides. But I am a bit of a purist when it comes to creativity. I think you should write (create) whatever you're able to imagine and it's up to readers to decide if it's any good. Anything else feels restrictive.
While I agree with you, as a white woman, I would feel uncomfortable writing protagonists from other racial backgrounds. I wouldn't feel that way about writing from a male POV, but I know I am very mindful of cultural appropriation. I don't see any issue with the reverse of this, however - my immediate thought is about the limitations placed on an author of colour if they didn't feel they had that "permission". This has really made me think - and I'm so interested to read other views. Thank you, again.
And I completely understand that discomfort. I just wish that wasn't the case, but there's a historical and cultural nuance that makes it more complicated than that so I get it.
This is interesting. I hear you Kay. I wrote a story from a male's POV and was warned about "cultural appropriation" from a friend who works for the Canada Council of the Arts. I wouldn't write about any character, of any race or gender, unless I felt I knew them inside out. But here is a thing... a character in one of my stories is based on my best friend who happens to be Tamil, and gay. Am I supposed to write him white and straight because I'm white and straight? I'm not directing this question to you personally Kay, but it is an artistic dilemma I'm very aware of. And to be honest, it makes me sad because when I think about my friend, the first thing that comes to mind is not his gayness, or the colour of his skin. These are definitely part of him, but his "identity" is so much richer, more interesting and generous, and I fear that with the best of intentions, we are focusing too much on these identity markers while we miss out on the bigger picture. And I think our literature, as well as our society misses out. (apologies for this heavy response)
I completely see your point on this, and I’m not sure why I feel uncomfortable, but that’s not how I feel seeing other writers do it. It doesn’t make sense to me, in that way, but I agree that limiting ourselves to only writing who we are would be ridiculous - I’m not sure my own thoughts on this are helpful, or why I only apply them to me. I do think these are brilliant questions for writers to share about - and it honestly fascinates me. Thank you for sharing your experience of this. 🙏🏼
I recognized the same discomfort in me, which is why I responded. I think you are absolutely right Kay: it is helpful for us to ask ourselves, and discuss openly and respectfully why this discomfort exists and if it is actually helpful. So I thank YOU Kay!
I really do agree that we should discuss this and ask it of ourselves, because all of us have instinctive feelings towards it, and discovering the 'why' might come from hearing other people too.
This is such a great post. I appreciate the points you outline so brilliantly. Most recently, I've found myself reflecting more and more on some of the themes you touch on here and especially the idea of not allowing others' expectations to limit the way how we tell our stories. After reading, I am both empowered and curious as to take those steps forward, and lean more into creating from a place that is less permission-seeking. Thanks so much, Kern.
'It took another ship to London for the first African-American author to publish a book of poetry.' What was her name though? This is a new story for me!
Oh I love this piece! As a writer yet to publish that first novel (still a work-in-progress though close to the finish and another round of editing), there's a place between learning craft and executing in your own voice and style - and all the 'contemporary rules' we keep being reminded of - and it's always exciting to read a book that's bold and confident and encourages us to keep being ourselves in our writing, even while paying attention to craft. I'm nearly through the delightful read that is 'Americanah' and it's been that kind of book for me. 'A Brief History of Seven Killings' is still sitting on my shelf, waiting its turn - but it's one I'm looking forward to when the time comes.
Great post. Reminds me of some advice Gordon Lish used to give writers in his classes: “No one is chosen. One chooses one’s self.” No one owes any debt of attention to be paid to you; there are a million people just like you clamoring to be heard. Do not wait your turn — take your turn, take everyone else’s besides. Do you dare to “piss with the big dogs”? Who told you you could? Who told you you could not? Bite their cocks off and spit them back in their faces; tell them, ‘I am here, in town and on the page, and I’m not here to piss with the big dogs, I’m here to piss ON the big dogs.’
(Courtesy of the Gordon Lish notes on Tetman Callis's website)
"In my own writing, I questioned the reaction of publishers and readers to me writing female leads in my novels. In subsequent interviews, it was the point that most interested interviewers. Although they praised my execution, they wanted to know why I thought I could pull it off, or if I ever worried that I might be treading dangerous waters because I am a man and how could I possibly get inside the head of a woman deep enough to create a believable character? Essentially, they were politely asking who gave me permission."
Which is funny because, as I recently posted, three new big women authors with Best Novel in 2024 categories, wrote from a MALE POV. No one questions that. Did they pull it off? Partly.
Thank you for such thoughtful defiance, Kern. I do sense less rigidity in publishing now than in recent years, or is it that I have become more detached from it? I have written Black, Brown, Asian, gay characters, characters with addictions, with religious and cultural affiliations I do not possess. I cannot, will not, write only straight, White, female characters because that is not the world we live in. The irony of silencing ourselves because we fear the backlash is that we silence those voices, too. It's my responsibility to portray all of my characters with authenticity, but if I manacle my stories to the desk of What's Safe, I'm out. But yes, the fear of being cancelled is real. Still. These conversations are so important in facing that fear, and the those who would instill it, with clarity and conviction.
Love the discussion in the comments. I've never read A Brief History of Seven Killings by Marlon James but I have added it to my list. It sounds very intriguing from a stylistic sense. I like how you used that as your jumping point to discuss the broader topic of permission.
On the one hand writing is like a finger print of the author. It's hard to put a finger print in a box like the one drawn for us by people lost to the ages. The sacred rules of writing that are always being broken.
As for permission outside of that, exploring what one can and cannot write about. I ask myself this frequently. How will it be perceived if I am the one writing this? Does it dilute the message if I'm the one giving it? How does my identity affect how I can or what I can write? My only answer has been to be mindful of my characters and how I can respectfully create them.
Again really appreciated the article. I'll be thinking this over for awhile.
I love that you are "breaking the rules," because let me tell you something: I am completely ignorant about the supposed "rules" of art. And about race? Why can't you write about characters who come to you? Who is anyone to say that you don't have authentic access to those characters? I think the best stories are the ones that beckon us to tell them, to bring them to life. If you are doing this, and it seems you are, then, yes, I second what you said: "fuck permission."
Great discussion. It’s so hard to know when someone says something experimental isn’t working, if you should take that at face value and trash it or carry on. As far as who is allowed to tell what stories- another fascinating conversation, but as a white writer I am very concerned with not getting cancelled and will therefore play by the rules as best I can. Yellowface was the stuff of nightmares. No one wants to be the next Jeanine cummins.
Ha! The dear of being the next Jeanine Cumins is so real. I hate that there is this fear, even though I understand it. It just feels like such an impediment to creativity and to a "good" society in general.
This is one of the reasons I and so many other writers resort to using fantasy as our mode of operation. We do not have to "ask permission" if we write about beings who do not exist in the real world, or who have over-vigilant formal and informal political organizations working on their behalf.
Never even considered that, David. Enlightening point. We often talk about reading to escape but this sounds like writing to escape.
It is. Although it is also useful for confronting realistic social issues in a metaphorical back-door kind of way. So you can comment on these concerns without engaging with the political minefield mainstream literary fiction has become.
I enjoy the brave direct approach too. 'Overstory' by Richard Powers was outstanding and effective through gritty realism rather than fantasy - and I remind myself as I write that, that a main character heard the trees speaking to her - so maybe there was an element of fantasy - but it was rooted in biology, the 21st century discovery that plants speak to each other and behave 'in community' - I guess though, it was the gritty realism that impacted me most.
It’s so nice to get to read inside the mind of a published author and your thought process on what you write and how. Your perspective and opinions are super key. I also learned a lot from this. Thank you!
Glad you're enjoying the voyage!
I love this! Also, that's so awesome that you're a film maker! Would you ever consider writing a post about that proccess and how you make a film? I would be super interested in that!
I have actually, but wasn’t sure it would be interesting enough for people. I’ll move it up the priority list now though. Thanks, Sarah.
Interesting to read your take on permission, after seeing so many reactions to books like Yellowface and American Dirt for cultural appropriation. I think you are opening up an interesting topic for debate, one which will always be defended vehemently from both sides. Thank you for sharing your experiences.
Yeah, and I've seen both sides. But I am a bit of a purist when it comes to creativity. I think you should write (create) whatever you're able to imagine and it's up to readers to decide if it's any good. Anything else feels restrictive.
While I agree with you, as a white woman, I would feel uncomfortable writing protagonists from other racial backgrounds. I wouldn't feel that way about writing from a male POV, but I know I am very mindful of cultural appropriation. I don't see any issue with the reverse of this, however - my immediate thought is about the limitations placed on an author of colour if they didn't feel they had that "permission". This has really made me think - and I'm so interested to read other views. Thank you, again.
And I completely understand that discomfort. I just wish that wasn't the case, but there's a historical and cultural nuance that makes it more complicated than that so I get it.
Thank you - it's not a topic I feel I would tackle, but I'm really interested in it.
This is interesting. I hear you Kay. I wrote a story from a male's POV and was warned about "cultural appropriation" from a friend who works for the Canada Council of the Arts. I wouldn't write about any character, of any race or gender, unless I felt I knew them inside out. But here is a thing... a character in one of my stories is based on my best friend who happens to be Tamil, and gay. Am I supposed to write him white and straight because I'm white and straight? I'm not directing this question to you personally Kay, but it is an artistic dilemma I'm very aware of. And to be honest, it makes me sad because when I think about my friend, the first thing that comes to mind is not his gayness, or the colour of his skin. These are definitely part of him, but his "identity" is so much richer, more interesting and generous, and I fear that with the best of intentions, we are focusing too much on these identity markers while we miss out on the bigger picture. And I think our literature, as well as our society misses out. (apologies for this heavy response)
I completely see your point on this, and I’m not sure why I feel uncomfortable, but that’s not how I feel seeing other writers do it. It doesn’t make sense to me, in that way, but I agree that limiting ourselves to only writing who we are would be ridiculous - I’m not sure my own thoughts on this are helpful, or why I only apply them to me. I do think these are brilliant questions for writers to share about - and it honestly fascinates me. Thank you for sharing your experience of this. 🙏🏼
I recognized the same discomfort in me, which is why I responded. I think you are absolutely right Kay: it is helpful for us to ask ourselves, and discuss openly and respectfully why this discomfort exists and if it is actually helpful. So I thank YOU Kay!
I really do agree that we should discuss this and ask it of ourselves, because all of us have instinctive feelings towards it, and discovering the 'why' might come from hearing other people too.
This is such a great post. I appreciate the points you outline so brilliantly. Most recently, I've found myself reflecting more and more on some of the themes you touch on here and especially the idea of not allowing others' expectations to limit the way how we tell our stories. After reading, I am both empowered and curious as to take those steps forward, and lean more into creating from a place that is less permission-seeking. Thanks so much, Kern.
So glad you feel that way, Alexandra. More freedom and less permission seeking is certainly the way forward!
'It took another ship to London for the first African-American author to publish a book of poetry.' What was her name though? This is a new story for me!
Phyllis Wheatley.
Oh I love this piece! As a writer yet to publish that first novel (still a work-in-progress though close to the finish and another round of editing), there's a place between learning craft and executing in your own voice and style - and all the 'contemporary rules' we keep being reminded of - and it's always exciting to read a book that's bold and confident and encourages us to keep being ourselves in our writing, even while paying attention to craft. I'm nearly through the delightful read that is 'Americanah' and it's been that kind of book for me. 'A Brief History of Seven Killings' is still sitting on my shelf, waiting its turn - but it's one I'm looking forward to when the time comes.
Love that photo. You always write so well.
I enjoyed this thanks for sharing
Great post. Reminds me of some advice Gordon Lish used to give writers in his classes: “No one is chosen. One chooses one’s self.” No one owes any debt of attention to be paid to you; there are a million people just like you clamoring to be heard. Do not wait your turn — take your turn, take everyone else’s besides. Do you dare to “piss with the big dogs”? Who told you you could? Who told you you could not? Bite their cocks off and spit them back in their faces; tell them, ‘I am here, in town and on the page, and I’m not here to piss with the big dogs, I’m here to piss ON the big dogs.’
(Courtesy of the Gordon Lish notes on Tetman Callis's website)
Joe P., Orca Literary
One chooses oneself is such a good line that actually means something and directs you to action. Love the big dog energy!
"In my own writing, I questioned the reaction of publishers and readers to me writing female leads in my novels. In subsequent interviews, it was the point that most interested interviewers. Although they praised my execution, they wanted to know why I thought I could pull it off, or if I ever worried that I might be treading dangerous waters because I am a man and how could I possibly get inside the head of a woman deep enough to create a believable character? Essentially, they were politely asking who gave me permission."
Which is funny because, as I recently posted, three new big women authors with Best Novel in 2024 categories, wrote from a MALE POV. No one questions that. Did they pull it off? Partly.
Here's my piece: https://michaelmohr.substack.com/p/good-material-by-dolly-alderton
Thank you for such thoughtful defiance, Kern. I do sense less rigidity in publishing now than in recent years, or is it that I have become more detached from it? I have written Black, Brown, Asian, gay characters, characters with addictions, with religious and cultural affiliations I do not possess. I cannot, will not, write only straight, White, female characters because that is not the world we live in. The irony of silencing ourselves because we fear the backlash is that we silence those voices, too. It's my responsibility to portray all of my characters with authenticity, but if I manacle my stories to the desk of What's Safe, I'm out. But yes, the fear of being cancelled is real. Still. These conversations are so important in facing that fear, and the those who would instill it, with clarity and conviction.
Love that you're being bold, Julie. Write those characters and write them well! That is your creative right!!
Love the discussion in the comments. I've never read A Brief History of Seven Killings by Marlon James but I have added it to my list. It sounds very intriguing from a stylistic sense. I like how you used that as your jumping point to discuss the broader topic of permission.
On the one hand writing is like a finger print of the author. It's hard to put a finger print in a box like the one drawn for us by people lost to the ages. The sacred rules of writing that are always being broken.
As for permission outside of that, exploring what one can and cannot write about. I ask myself this frequently. How will it be perceived if I am the one writing this? Does it dilute the message if I'm the one giving it? How does my identity affect how I can or what I can write? My only answer has been to be mindful of my characters and how I can respectfully create them.
Again really appreciated the article. I'll be thinking this over for awhile.
Thank you so much, we have wonderful discussions here every Sunday. Come back and join us.
Kern,
I love that you are "breaking the rules," because let me tell you something: I am completely ignorant about the supposed "rules" of art. And about race? Why can't you write about characters who come to you? Who is anyone to say that you don't have authentic access to those characters? I think the best stories are the ones that beckon us to tell them, to bring them to life. If you are doing this, and it seems you are, then, yes, I second what you said: "fuck permission."
I love that you are "ignorant" to the rules, Jeannie. Means you don't need to worry about all the hoopla.
Thank you and keep on
Great discussion. It’s so hard to know when someone says something experimental isn’t working, if you should take that at face value and trash it or carry on. As far as who is allowed to tell what stories- another fascinating conversation, but as a white writer I am very concerned with not getting cancelled and will therefore play by the rules as best I can. Yellowface was the stuff of nightmares. No one wants to be the next Jeanine cummins.
Ha! The dear of being the next Jeanine Cumins is so real. I hate that there is this fear, even though I understand it. It just feels like such an impediment to creativity and to a "good" society in general.