I sometimes wonder if readers know or even care what I
look like. I don’t think you can tell from my writing. Hannibal Jones has a
mixed racial heritage. Felicity O’Brien is Irish while her partner, Morgan
Stark, is African American. BEYOND BLUE has an ensemble cast whose members are
white, black, Pacific Islander, black/Puerto Rican and Japanese/British. These
characters did not arise out of some socially conscious design, but rather they
grew organically out of the storylines. Nonetheless it is true that I purposely
work with a diverse cast of characters. Here’s why:
First, I want my fiction to reflect the real world. Where
I live, in the national capital region, I encounter every type of person every
day, and often hear languages I can’t identify when walking through the grocery
store. I know that the world is a rich and complex tapestry of cultures. The
natural friction between those cultures creates conflict and conflict is the
basic ingredient of storytelling. I love to exploit it
But beyond that, if you only write about one kind of
person you limit yourself as a writer. I
have to stretch when I write about people not like myself. When I wrote my
first gay character, in COLLATERAL DAMAGE, I had to force myself to think like
that character, to get his voice, his mannerisms, and his feelings right. I
also learned how my other characters felt about him. In some cases that wasn’t
a very flattering view of them, but I had to keep it real. So I learned more
about my other characters, and got a view of what that character (and his
real-life counterparts) faced on a daily basis. Writing people not like myself
has certainly deepened my ability to create realistic characters.
Finally, I will admit to a cultural motivation.
Readers like to see people like themselves. So authors who write about only
black characters can count on African American readers, but they face a
challenge reaching a broader audience. I
want to reach a broader, more universal readership. And if I do it right, I
might just help some of those readers better understand the characters who are
not like the people they spend most of their time with. Because the most
important thing you learn - as a man writing female characters, or an African
American writing whites, or even a Democrat writing about Republicans – is that
humans have a lot more commonalities than differences. While I never preach,
and never let that fact get in the way of the plot, I’ll admit that subtext
does give me a good feeling.