I think a lot of people underestimate the power inherent in children’s cartoons. When they hear the word “cartoon,” they picture something light, fluffy, and utterly vacuous, filled with loud noises and sight gags. Or they might think of the painfully awkward and cheerfully grating tones of newer “edutainment” shows, most of which are not nearly as good as classics like The Magic School Bus or Wishbone. (Or maybe that’s just the nostalgia talking.) Either way, cartoons tend to serve as a kind of temporal placeholder to keep little kids occupied while the grown-ups go do important grown-up-things.
This woefully misrepresents and denies the kind of narrative impact that cartoons can possess. After all, cartoons are a staple of childhood, often giving kids their first real taste of serial storytelling. Obviously different age groups will be drawn to different types of shows; one can’t expect a two-year-old to have the same attention-span as a six-year-old. And to be fair, there is a place for cartoons comprised of stand-alone episodes and humor, both physical and verbal, like Looney Tunes, Rocky & Bullwinkle, or Tom and Jerry. Such cartoons don’t require a viewer to invest a lot of time in order to get the payoff, and with no over-arching plot to worry about, it’s very easy to introduce newcomers to the show. But I do believe that longer forms of story-telling can and should be presented to children at a young age so they can come to appreciate the art in all its forms. Unfortunately, animated story-telling gets ignored because a lot of people still think that anything drawn, and in some cases even CGI, as a “cartoon” and therefore “just for kids.” I have heard people refuse to watch Avatar: The Last Airbender, one of the greatest TV shows ever made (in any style) simply for the sin of being animated. And that’s a real shame. Continue reading →
Okay, right off the bat, we have a problem. Actually, I suppose it’s a problem with how we’re approaching the problem. Read the title of this entry again: “Writing Ethnic Characters.” It’s making the assumption that most readers (or listeners) for this entry will be white writers trying to figure out how to create and describe characters who are not white without relying on stereotypes, over-used cliches, or offensive terms. It also could be said that it makes the implicit assumption that white is the “default” while everything else is “other” or “ethnic.”
Unfortunately, I’m not sure how else to segue into a discussion of this challenge that white writers face. While writing All’s Fair, I found that I had to research how to describe certain characteristics of people who are not white since I have had very little contact with people of color in real life. (A slightly embarrassing example is my search to find out what black people look like when they blush. They might feel their cheeks heat or burn, but what does that look like to someone who is watching them?)
This is something I’ve started to struggle with now that I’m aware of how lacking in diversity many of my stories have been. I don’t want to have token non-white characters, but I also want to take advantage of how many variations there are in the colors, sizes, shapes, and looks of humans. It’s easy to describe non-human characters; usually your protagonist will be a human and if they are encountering elves, orcs, or dragons for the first time, they are going to notice how they look. But how do you work in descriptions for characters without waving your arms and shouting, “Hey! Look! Here’s a black person, and Asian person, and a Hispanic person! Hooray for diversity!” Continue reading →