That is to say, about those who are subject matter experts on different forms of marginalization in society, who writers can recruit to help them bring verisimilitude to the portrayal of marginalized characters in fiction.
The use of sensitivity readers is a growing trend in fiction as more and more stories about marginalized characters are being published – particularly since more and more of these sorts of stories are being written by writers who themselves are not marginalized.
Fiction writers have always employed the advice and experiences of subject-matter experts to help bring authenticity to their stories.
Sensitivity readers, as it happens, are subject-matter experts on experiences with different types of marginalization in mainstream society.
The historical fiction shelf you won’t find in most bookstores and libraries
The problem with historical fiction is that it’s not actually genre.
Not the way romance or mystery or thriller are genres.
There are no defining characteristics – no genre conventions – of historical fiction other than the story taking place in a non-contemporary time period in which the manners, social conditions, and other details of the era are clearly depicted.
Benedict Cumberbatch in Star Trek: Into Darkness, playing the role of an important non-white character from the Star Trek universe
I’ve always had a fondness for stories about female warriors.
Among my favourites is Hua Mulan, the legendary subject of an Ancient Chinese epic poem about a young woman takes her aged father’s place in the military by disguising herself as a boy.
In the 1998 Disney cartoon, Mulan, she is shown exhibit bravery, ingenuity, and honour, and succeeds in helping save China from invaders.
There was an unsuspecting evolution that led to me reading a work of male/male original slash fiction.
It started when an online friend of mine recommended a book to me through Goodreads: Uprooted – a beautifully written, dark fantasy fairytale by Naomi Novik.
My friend I discussed this book extensively via Goodreads as I read it, and when I finished, I suggested we next read the same book simultaneously so we could discuss our reactions to it in real time.
**No movie spoilers**
A long time ago on a blog that’s now far away from a regular posting schedule, myself and a buddy had a debate about predictability versus surprise in fiction.
Quite unwittingly, this discussion arose on the heels of an entirely different examination of pantsing versus plotting.
(For the record on that account, I like to know where my story is going before I start and to rough out as much of the journey as I’m aware of up front, but I’m in no way wedded to it, nor do I subscribe to the notion that plotting will rob a story of the joy and magic of actually writing it. But you can read more about all that yourself.)
When it comes to books and words and the creation and consumption of both, although I write nearly every day, I’ve always considered myself a reader first while only second am I a writer.
Of course, there is factual truth to this statement: I literally learned and continued to read stories before I started writing them (although the timing for both is close; I clearly recall writing my first “novel” in grade two).
Even now as an adult, my almost-daily reading occurs earlier in the day (dinner time) than does my almost-daily writing (after dinner, the last thing before I go to sleep).