We Need Diverse Books

Who has the right to tell what stories?

“Stories are the universal language of humanity.” – LeVar Burton, former host of Reading Rainbow

A bit of housekeeping 🧹

How is the book going for you so far? Don’t worry if you haven’t started reading it yet; you have plenty of time. I’ll be sending out book discussion questions on the 22^nd, and you’ll have until the 26^th to share your answers. I’ll be featuring reader responses in the podcast at the end of the month, so if you’d like your voice heard, be sure to send in your thoughts by the 26^th.

Even if you aren’t reading the book this month, you’re still welcome to take part in the discussion!

Also, keep an eye out next week for a poll for our April book club pick. Your vote matters!

Represent! ✊

“If you are not in the literature of a society, you don’t exist.” – Walter Mosley, author of Devil in a Blue Dress

(Dramatic soap opera announcer voice) Previously on The Globetrotting Bookworm…

We’ve been discussing various challenges in publishing including labels and translation. Today, I’d like to dive into diversity and representation as it pertains to literature. I’ve gained a lot of insight into this topic through the writing classes I have taken on Masterclass, and I would like to share with you a little bit of what I’ve learned.

In Walter Mosley’s Masterclass, Fiction and Storytelling, he emphasizes the importance of representation in literature, stating that if people do not see themselves in the literature of their society, it's as if they don't exist. Literature serves as a mirror to society, reflecting the importance of all people existing within that reflection.

But who has the right to tell what stories?

Some authors will give the advice: write what you know. But that’s no fun. As a writer of fiction myself, I feel that only writing what I know limits my creativity. So, men write women characters, rich authors in modern day U.S. write about impoverished Chinese peasants in the early 19^th century, straight cisgender people write characters from the LGBTQIA+ community, boomers write Gen Z coming of age stories, neuronormative writers create a character who is neurodivergent, and so on and so forth.

Cool. No problem.

Or is it?

While diversity in storytelling is important, should identity always matter when it comes to who tells which stories? Michael Jackson sang, “If you’re thinking of being my baby it don’t matter if you’re black or white.”

But if you’re thinking about writing a novel, does it?

Some might argue that representation should transcend identity, while others may insist that lived experience brings irreplaceable authenticity. How can authors ensure they remain respectful and present an accurate representation of people with different backgrounds from their own?

Writing the “other” ✍️

“Using one’s voice is a radical act of humanity, because the first thing one does in trying to dominate and enslave, is to take away a person’s voice.” – LeVar Burton

In N.K. Jemison’s Masterclass, Fantasy and Science Fiction Writing, she states that when authors from the majority write about minority groups, it's crucial to do so with sensitivity and to seek out sensitivity readers to ensure accurate representation. She recommended the book Writing the Other: A Practical Approach” by Nisi Shawl and Cynthia Ward. Shawl argues that avoiding writing diverse characters out of fear of getting it wrong is an easy way out. Instead, she and Ward offer guidance on how to write responsibly across differences.

Jemisin urges writers to avoid cultural appropriation and be mindful of power dynamics in storytelling. She stresses the importance of responsible representation through research and sensitivity readers. Ultimately, she says it is possible to write about the “other” without stealing their voices. At the same time, it’s important to keep in mind that when majority writers dominate narratives about marginalized groups, it can overshadow authentic voices, making it harder for those communities to tell their own stories.

To address this, Jemisin advocates for amplifying marginalized voices and addressing systemic issues of racism and sexism in publishing, where decision-makers often lack diverse representation, leading to underrepresentation and misrepresentation.

For an example of how poor representation can be harmful, check out this article about how American Dirt, a novel about Mexican migrants written by a non-Mexican author, sparked controversy.

Jemisin also makes clear that if we don’t start showing various types of people (i.e. not cishet, not white, not able-bodied) as worthy of empathy in novels, we’ll find it harder to empathize with these people in real life.

In her Masterclass, Writing for Social Change, Roxane Gay also talks about the importance of amplifying the voices of the marginalized rather than speaking over them. She advocates for authenticity and responsible representation in writing.

Both Jemisin and Gay emphasize that while anyone can write diverse characters, it’s essential to do so responsibly—through research, sensitivity readers, and a commitment to amplifying rather than overshadowing marginalized voices.

It is my hope for this book club that we can create space for those voices to be heard and use this platform to highlight a variety of stories and perspectives.

WNDB 📚

“Imagine a world in which all children can see themselves in the pages of a book.” – diversebooks.org

It’s imperative that diversity and representation remain a priority in publishing and not just in adult literature.

When I was a child, one of my favorite TV programs was Reading Rainbow. It encouraged children to read and learn about different cultures, it featured underrepresented authors, and it had a diverse group of hosts. I attribute my love of languages, cultures and travel in large part due to this show and reading books.

We Need Diverse Books is an organization dedicated to promoting children’s books with diverse characters. This book club is focused on reading about experiences different from our own, and perhaps in the process, finding similarities where we might not have expected to find any. But for children, who are still learning and growing and discovering their place in the world, it’s essential that they see characters they can relate to, to see how they handle various life situations. It’s also just as important for children to see characters who aren’t like them, to see children of different colors, sizes, and physical abilities.

Compassion, empathy, understanding, and kindness must be cultivated at an early age. Diversity and representation in literature matter. Diversity and representation matter, period.

For more information on WNDB, or how you can get involved in their mission to bring diverse books to young readers, check out their website.

Call to action 📣

Feel free to answer one or all of these questions:

1. Have you ever read a book where you felt truly seen? What was it, and why did it resonate with you?

2. On the flipside, have you ever read a book where representation felt inaccurate or harmful? How did that impact your reading experience?

3. Do you think an author should only write about experiences they’ve personally lived? Why or why not?

4. How does representation in literature shape our real-world perceptions of different communities? Can you think of examples where books have influenced societal attitudes?

Happy Reading!

Morgan