Blog - Elise Carlson

September 14, 2024 / Elise Carlson / 0 Comments

Now ADHD meds have made it possible to focus on and complete one thing, then the next, instead of fighting high levels of distractibility to complete simple tasks… my autistic are more distinguishable from my ADHD. And I’m realising I’m also actually autistic.

When I first wrote the blog ‘Neurodivergent Self Diagnosis. ADHD? Autistic?‘, I had a sense of pitting ADHD and autistic tendencies against and using them to balance each other. I lost sight of that because when my long-covid induced brain fog cleared, I still had chronic fatigue from Fibromyalgia, which put my ADHD into overdrive.

Having struggled to settle into teaching with ADHD and Fibromyalgia diagnoses, and started medication that significantly lightens my cognitive load, reducing the strain ADHD places on my executive functioning, I’d like to revisit the above blog, identifying my autistic traits in it and adding more I’ve since recognised.

Neurodiverse Communication

Rehearsing Conversations

I’m guessing neurotypical people rehearse conversations in their heads when they’re giving a speech, or telling someone they really care about something that really matters to them. By the time I was around fifteen, I rehearsed ANYTHING and EVERYTHING I may like to say to my friends before saying it aloud. I would approach social situations with prepared topics and comments drafted in my brain and would be happy when I got to say them all.

Did I monitor the interest levels of people as I plunged through my pre-rehearsed topics? Not really. Sometimes when I’d finished talking I did. Knowing how much to say about a topic and not rambling on when the other person isn’t as interested as me is a life skill I am still refining, in my thirties.

This is an autistic trait common in adults.

What are You on About?

As a teenager, I routinely initiated conversations with peers because it was the easiest way to communicate. Even as an adult I find other people starting the conversation challenging. With people I don’t know well, the first thing I think they’re saying usually isn’t what they mean. I’ve developed a habit of listening, ignoring my first interpretation, and waiting until a second or third interpretation forms in my mind before I respond. Usually by then I’ve correctly identified the topic and their intended meaning. If I take too long, I comment on one aspect I’m sure I understand, to encourage them to say more, to give me more time to figure out what they’re talking about.

When I’m tired, I also struggle because I interpret things literally. I suspect that any other time I remember what I know about that person, or topic and do mental gymnastics to get from what they literally said to what they actually mean. That gets socially awkward because neurotypical people, especially adults in a professional context, tend to want immediate answers to their questions. But they don’t say what they literally mean, so I need processing time to do mental gymnastics before I can answer.

I suspect my main challenge with both of the above can be taking people more literally than they intend. Though my ADHD being challenged by information overload is also a close contender for that title. When the other person talks too much I start forgetting information they’ve said before connecting the pieces of it together and extracting meaning from them. Either way, the other person’s point can go completely over my head.

Taking people too literally? Classic autistic trait.

Why Can’t People Just SAY what they MEAN?

I am already using SO MUCH energy in conversations to: stay focused (because ADHD), not interrupt (because ADHD), read body language and tone (because autism), put effort into the above simultaneously (neurodivers e people tend to struggle with split-focus) while tracking what you mean AND responding swiftly. I have very few spoons left to dedicate to hunting mystical meanings you hide between your words. Just TELL ME what you want!

This wasn’t easy for me to recognise, because while I was swiftly frustrated with academics who waffle on at Uni (mostly in articles), and adults who beat around the bush; I work with kids. I’m always working with people who may be discussing things they are unclear on, and struggle to put into words. Teaching has me forever piecing together clues, filling gaps and actively supporting students to communicate more clearly/ effectively/ socially acceptably with each other.

I tend to recognise sarcasm and quite a few other things autistic people generally struggle with, perhaps because I’ve worked closely with twenty-something kids five days a week and adults after hours, for over ten years. Experience has positioned me to present as neurotypical, but when I get tired at the end of the day and someone in leadership gives an instruction that sounds like its giving me a choice but actually means ‘I want you to do x like y,’ I’m prone to mis their intended meaning and take them at their literal one. When I’m online and tired, sometimes I skip over posts because there aren’t enough contextual clues within them and I just don’t know what they mean.

I prefer to get directions at work from leaders who speak directly, even bluntly and keep to the point. That’s A LOT clearer to me, and a lot less effort to process.

I Say What I Mean

I lost track long ago how many times growing up my mother would joke ‘why don’t you tell us what you really think?’ Over the past year I’ve often deleted my posts about genocide in Palestine because I can’t express my feelings without swearing the house down and saying things I know could be inflammatory and not do any form of good.

But growing up, with close friends and family, I tended to just say what I meant, uncensored. Only in England did I learn to shut up at work, so I didn’t spend the entire day saying; ‘This system is on fire. Why are you teaching in it instead of trying putting out the flames?’ (Yes, this is a metaphor for the string of swearing I was actually thinking in).

Honestly, I think the downside of ‘polite society’ in an age where Trump is running for a second presidency and the phrase ‘you can’t make this shit up’ is common commentary on real life is an era in which MORE people need to be saying; ‘This shit is fucked up.’ I fear that being ‘polite’ and not bluntly calling things out normalises shit that absolutely SHOULD NOT be happening. *Points at genocide in Palestine*.

Again, the tendency to be blunt is an autistic one.

Tone

I had no idea that speaking more informally than is appropriate is an autistic tendency. (I was more familiar with the perhaps more common, or better recognised tendency to speak formally when it isn’t expected/ required). But both are autistic traits, and natural inclinations I learned to adapt at work. I did it as early as working in retail (where being tall, thin, blond and female presenting, speaking in a more formal, professional manner meant I was less likely to have to put up with people treating me like an airhead).

A more warm and welcoming professional tone also works well with parents as a teacher. And when I step into ‘professional communication mode’ I find it easier to make eye contact, ask other people questions and behave in what people consider a welcoming, professional way (which is of course a neurotypical way).

With adults at work, I also tend to tone down my excitement, and present in a calmer, more professional manner. Whereas with students I’ll be up pacing, gesticulating, and my tone will be full of enthusiasm on topics of interest, which is thankfully many within the expanse that is twenty-first century curriculum.

Leading Conversations

Having prepared my talking points in advance, I also like to lead conversations. When I start the conversation, especially a group conversation, its SO much easier to keep track of what we’re talking about and have clarity about the conversation. It also gives me the chance to ensure my particular interests feature strongly, which makes it much easier for me to follow and actively participate.

While struggling to follow group conversations is a classic ADHD trait, the desire to lead them is an autistic one. (This and other autistic traits being listed nicely in this article).

Reciprocity In Conversation

I have the ADHD tendency of ‘I just need to tell you these ten things, all at once, before I forget half of them.’ THEN I have the headspace to properly listen to and take in what that person is saying.

But when the other person asks about me first, I have to make a real effort to ask about them, because its what they expect, not my natural inclination. This is a more autistic tendency.

I loved an episode of the Aussie comedy FISK, where the autistic coded main character is being pretty much trained in small talk/ social niceties by a colleague, but needs to urgently leave. She’s trying to throw out, ‘How are you? And isn’t it a nice day? And what are your plans for the weekend?’ In a very rushed, and random order, because its what the colleague expects, but is clearly unnatural and awkward to the autistic coded MC.

What are Social Graces?

I’ve never been a fan of a few basic social conventions.

1. I don’t like eye contact.

This is a classic, obvious autistic trait but I was unconcious of it for quite some time. Because people look you in the eyes and insist you look back from childhood. So you make yourself do it and pretend it doesn’t bother you. Or you make eye contact so they know you’re listening but you keep finding excuses to look away.

They don’t notice anything. And you don’t want to notice how uncomfortable eye contact makes you, because God knows how often how many people are trying to make eye contact with you and you’re trying to uncomfortably meet it!

2. I don’t do small talk.

When you talk to people you’re supposed to ask how they are. When they’re strangers you’re supposed to do ice breakers, or ‘polite conversation starters’ like the weather, or —hell, I don’t know because I don’t do it. Why? Because I’m not interested. I’m interested in what I’m interested in. In a state of nature going to launch into whatever interests me n that moment with no names, greetings, preamble or niceties. No time wasting— lets get into it! (Yes the impatience is likely ADHD, though struggling with small talk period as an autistic trait.)

Again, I have had to spend lots of time learning and practicing asking how people are, or thinking of things that matter to them and asking how about those. I do care about the latter. If they start talking about it I will show interest in my responses. But its not natural for me to think what to ask about other people. I used to just assume that if something mattered to people they wouldn’t need an invitation to talk about it and would just say it, but I’m learning there are many exceptions to that.

Elise Carlson selfie, smiling, wearing glasses, a cap, with short curls poking out the sides, stripy top, river and mossy rocks in background. — Neurodiverse me, hiking in the Otway Ranges, March 2023.

I’m Thinking…

Hyper Focus

For me, hyper focus is a very important strategy that enabled me to have a teaching career and ADHD at the same time. What I didn’t notice in this section of the blog back in 2021 was how much I like hyper focusing on topics of particular interest, or special interests —a classic autistic trait.

What’s the Point?

Why be on time for class, so I can line up outside, wait for everyone else to enter and sit down slowly and get zero benefits for having got out of bed a bit earlier? If you want me to do something —tell me why. The fact you want me to do it doesn’t motivate me. The fact you were my parent or teacher and even now, the fact alone that its my boss asking doesn’t motivate me.

Intrinsic motivation for me is not conforming to other people’s expectations, their wants, being obedient or doing anything purely because someone asked. I care about, I want to understand, I am motivated by WHY. Tell me how it benefits people —students, colleagues, my boss, me —anybody— or how it makes my work more productive, or easier, or safer or whatever. That’s what motivates me. I don’t know anyone else so strongly motivated by being told why.

The most likely explanation I’ve found at this time for ‘why?’ being so important: the autistic tendency to excel at logical reasoning, which may be more important than or even compensate for intuition in decision making (source on this).

Logic and Decision Making

Deleting my Twitter account was initially an emotional decision, because I had so many friends and writer contacts there. But as the account with a violence against Jews handle was repeatedly reported and found to ‘not violate Twitter’s safety policies’, and the Australian esafety commissioner fined Musk for failing to meet minimum child protection standards, the site became increasing dysfunctional and un-usable, the word ‘cis’ was banned… how could anyone NOT delete their account? How could decent humans ignore reason and divorce their actions from their consciences like this?

Guess what? Turns out excelling at logical thought and reasoning, and a strong sense of social justice are autistic tendencies.

I’m coming to realise that for people choosing to stay on Twitter, its likely an emotional decision about not wanting to lose friends they have there. If only all my friends could leave based on logic and reason and then we could all have migrated together and not got separated! GAH!

(I understand people who chose differently on perhaps an intellectual level here, but as you can see my own emotional reasoning takes me in the opposite direction, because my emotions are a response to the logic of the situation, not an emotional, direct response to the situation itself.).

Why did you change that?

Earlier this year I was in casual teaching. Before doing so, I had to answer the question: are you prepared to be called in to work on the day, or only to be booked in advance?

I have (while living in England) woken up to a phone call, looked up how to access a school I’ve never been to before via public transport and rushed off to work. I can do that. But the relief I felt on being texted a list of dates, and comparing them to my (physical) calendar to check my availability and getting to text back with ‘Yes I am available on those dates’ in a text message?

That’s my autistic love of structure, order, routine. I like predictability telling me what will happen and when, giving me time to mentally adjust to the fact its coming. In this case I liked it to fit work days around medical appointments and moving house, and writing novels and socialising around work.

So heads up, if you know a neurodivergent person (especially someone who’s autistic): don’t spring sudden changes on them! Sudden change is stressful. It often needs to be processed faster than I’m capable of processing it. And if you’re the parents of an autistic child: always give them an idea of how long they can do that thing they love, that they must pack up in five minutes, in two minutes, now! Sudden change is bad!

Memory

Before Twitter became fascist zombie land, (yeah, being blunt is also an autistic tendency and sometimes I just think fuck sensoring my language into neurotypical, I’m calling this shit as I see it), I knew SO MANY writers by name. I recalled at least one genre SO MANY of them wrote. I did make lists to help me, and now do so on Bsky, but my memory was unusual.

Which is clearest when I tell you my ADHD hates making notes about my multi character, complex plot, epic fantasy novels. So I just edit whole novels multiple times. I do my consistency edits of 100k novels in three days, because reading them that close together lets me just remember compass points on their journey, or that character mentioned something seven chapters ago clashing with this chapter’s mention of it.

In some ways my memory is terrible: see ADHD’s impact on working memory. But in others its excellent, and the excellent ways tend to align with autistic tendencies.

Sensory Needs

Its Too Bright

I was once co-teaching and noticed that when the other teacher was teaching, I kept looking at the wall away from the children. That’s because it was blue, and calming and not cluttered with teaching charts. When that teacher went on leave and it became my classroom, I spent 45 minutes pinning A3 sheets of pastel purple over the lurid colours of the wall children sat beside, and took down most charts (I didn’t use them anyway).

That was the most obvious instance in my life of; dude, you have sensory issues! Certain colours, and brightness/ tone are so uncomfortable I don’t want to look at them (and yes, will spend forty five minutes covering them up).

Its Too Loud

The other obvious sensory issue my whole life has been sound. The number of times a repetitive noise has continued until it distracts and frustrates me and I verbally complain and no one else in the room can hear it…

Until getting chronically ill, I was a light sleeper. Possum lands on the roof? I wake up. Car drives over speed bump outside my house? Wake up. Someone walks down the corridor, opens a door, uses the shower in the bathroom next to my room… I bought earplugs when a housemate was getting up at 5.50am because I would wake when he open his door opened (it scrapped across his carpet) and not get to sleep until he shut the front door (it was deadlock only and impossible to turn quietly.)

Sensory sensitivity (which can also be to smell, taste and texture, all of which bother me a lot less) is another classic autistic trait.

Other Areas

Difficulty Maintaining Friendships & Holding Down Employment

This wasn’t an easy one to evaluate, because I move house (sometimes countries) every couple of years. I change work places just as often (these are classic ADHD novelty seeking behaviours). But I didn’t realise holding employment and maintaining friendships are also common autistic struggles.

The one year contract was my bane as a teacher. My ADHD swiftly got fed up with the same time-consuming, repetitive routine of annually re-applying for my job because my contract had finished. That made things hit harder, and is why I figured why not teach overseas? Employment is no longer enough incentive to go through several weeks of lots of work and stress to get the same outcome annually (employment). There’s your autistic logic, running away with the ADHD quest for novelty. My difficulty in spotting both is that at moments like these, they ran hand in hand.

Creativity

I was the ‘in their own world child.’ My author bio mentions ‘graduating from playing imaginary games to writing fantasy.’ This is very much true. While fascination with facts is known as a typical autism trait in children by teachers, it was news to me that an interest in fantasy worlds can also be an autistic trait.

What Now?

Since moving house, I’m selling off things I don’t use and have purchased matching crockery and glassware, to reduce visual sensory overload at home. I also de-clutter my classroom where possible. I ask clarifying questions when needed at work, to help me piece together the too-many pieces of information people are telling me and extract the speaker’s intended meaning from them.

I tell colleagues when I can’t keep up with the professional conversation and again ask clarifying questions as needed. Ultimately, in conversation and meeting sensory needs, I give myself space to be comfortable, my neurodiverse self –autistic and ADHD-istic– and to succeed as such.

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Engaging Readers (of Your Novel)

August 15, 2024 / Elise Carlson / 0 Comments

I’ve had a few reading experiences where I felt pushed out of the story. Where story ideas were interesting and I wanted to sink my teeth in, but the way the writer told the story and wrote the characters kept pushing me back to arm’s length (or further). So this blog aims to give examples of ways you can let your reader access your characters emotionally, logically, and enable the reader to properly join your characters on the journey your story takes them on. It aims to get you thinking about engaging readers more deeply in your story.

I’ll given advice on positioning your readers so they aren’t chasing after your characters asking, ‘WHAT?’ ‘WHY?’ and so your readers don’t find your characters every action unconvincing. I’ll try to help you show your reader how your characters feel, think and are developing. And to foreshadow events and build your story into a journey on which it makes and keeps satisfying promises to the reader.

Ground Zero

Characters & Status

There are a few simple ways to let the reader truly see and get to know your characters. First: show their emotions. Don’t only let the reader know what your character says to their boss. They can’t be their entirely honest, true self to the boss, they’ll be constrained by professionalism, their ambitions in their workplace, job insecurity, workplace politics etc.

So have your main character spend some time with a friend/ partner/ family member they trust, and can be completely honest with (throughout the novel –when possible). What your character shares of their thoughts and feelings, and how they express both in the presence of people they trust will show us things we cannot see when your character is at work.

Similarly, where relevant, show how your character interacts with people of higher rank, or possessing different and or greater forms of power (in any relevant setting to your story). Show when and how your character must hold their tongue, or restrain their emotions or reactions, or conform to others expectations because they lack position or power relative to others.

Who is your MC among their equals, their superiors and those less fortunate than themself?
All of those situations can reveal different aspects of your main characters to your reader.

Showing Feelings & Developing Feelings

Thoughts That Heighten Feelings

Don’t have your character make a single comment that suggests to the reader they’re angry, then have them punch someone in the face. Give us some internal thoughts (internally or via dialogue) to show the build up of emotion (unless you’re writing an emotionally unstable or extremely on edge character who goes from zero to ten on the temper scale in two seconds).

Example:

Why was it always Jorgen who got the nasty, most disgusting jobs? The ones that took the most effort and time to complete? While everyone else came in out of the cold early, put their feet up and got an extra serve of meat soup, Jorgen was shovelling shit and shivering in the cold.

The shovel in Jorgen’s hands stilled. He was falling behind in his studies. It was all the extra work. While he groomed the fine stallion nibbling straw opposite him, and mucked out its stables, his older siblings were racing ahead, towards better jobs. As each of them completed their studies and departed to jobs and lives of their choosing, who would be left behind, stuck doing extra chores in a life he increasingly resented?

The shovel fell, as Jorgen roared and charged out of the stables, headless of the horse dung flicking up in his wake.

Non-Verbal Emotion Cues

This is important. A book lacking emotion cues can also keep characters at arms length from the reader. So show characters feelings with nonverbal cues. The way the oldest sibling rolls their eyes dismissively as Jorgen makes his case. The second eldest crossing their arms as they protest that washing up the dishes and foodscraps is also yucky. The way the third sibling eyes the hem of their immaculate clothes, not even bothering to look at Jorgen as they dismiss his protests with the statement ‘everyone does chores.’

Have Jorgen pause his shovel as he realises who’s got the short end of the straw. Have him drop it when he realises everyone’s using him, right now and always. Then have him charge out of the freezing stables and into the warm kitchen, where no one really listens or seems to care about him or his point of view. Then, having emotionally engaged the reader by showing them everyone’s feelings along the way, when Jorgen’s most arrogant sibling tells him “we all do things we don’t like, suck it up” the reader will totally understand why Jorgen punches the arrogant snot in the face (and quite possibly cheers him on as he does so).

Side Character Agenda

Don’t reserve agendas for the MC and major players in the plot. While the agents of the Intergalactic Police confront a crime wave of chemical weapon sales (and potential attacks), you can still have the MC’s little brother searching for his missing cat. Why knows, maybe the cat is onto something, and in finding the cat, the little brother will lead their older agent sibling to a major clue in locating the lab that produces the illegal weapons, bringing him that much closer to said criminals and shutting down their illegal trade?

Giving your side characters goals gives them the opportunity to grow and develop independently of the role they play in helping your MC. By giving them a life outside of the MC’s bidding, and in making side character’s more fully rounded people, you make your story richer, more authentic and a more enjoyable experience for readers.

Character Internal Development

Please be very aware of the emotional and mental state in which your MC (and supporting cast) begin the story. Of the skills they possess, their social and technological and any other relevant competencies they have. Be aware of how these things and their relationships with other characters grow and change for the MC (and supporting cast) to achieve goals and solve the story problem.

Track these things throughout the story (especially when editing, if like me you’re a pantser). This isn’t just to show the reader how your character strives to change for the better or to strengthen their relationships to the solve the plot problem. Its not just about positioning the reader to share the character’s inner journey and cheer them on and provide the reader with a sense of payoff when the characters finally succeed in their goals. Showing the reader how characters and relationships develop also helps you avoid sudden, unexplained leaps in confidence and ability. Sudden changes (even inconsistencies) in character can confuse the reader, make characters seem implausible to them and ultimately pull the reader out of the story.

Story Foreshadowing & Tension

If you’re writing SFF, Thriller, Crime or Historical in particular, and don’t bother much with foreshadowing —you are killing your story’s tension. As a reader, I want to know what could happen next. My favourite authors, like Robert Jordan and Steve Erikson will suggest via world building and character interactions that two different events could unfold. Then they will lead me down a third path I never saw coming and I will love them for it.

But when a writer tells me there’s a spaceship that a side character can repair for everyone to escape in, then at the twelfth hour characters discover a secret tunnel and everyone escapes through it.. I wasn’t expecting that. I had no sense of anticipation, so I couldn’t be satisfied when my anticipation was fulfilled. I didn’t even know that was an option, so I may be initially confused, instead of satisfied by the way a story problem has suddenly and unexpectedly been solved (in a pulling-me-out-of-the-story way).

As a reader of primarily SFF, the bare minimum I want is Granny built a secret tunnel and no one has seen her for months. So when she does appear, having extended her secret tunnel into the prison cell just before everyone’s execution, her appearance doesn’t pull me out of the story. But if you want me to be really excited to see Granny, show me her struggles to dig fast enough. Let me hear her worries the tunnel exit will come out in the wrong place. If you do that alongside characters fretting as they probe a cell with no possibility of escape and the execution is at dawn and the pale grey of first light is creeping across the cell floor like the ax that’s about to chop off their heads… now I’m feeling the tension!

Tracking Foreshadowing

This is also important. Because if you mention Granny vanishing in chapter one, rumours she’s digging a mysterious tunnel no one quite know’s where in chapter six, then she breaks into the cell to save the day in chapter thirty two… by then I forgot this story had a granny. I’ve forgotten where she is and what she’s doing (unless nothing much happened in chapters seven to thirty two).

So when you’re doing a structural edit, take note of how early you show the reader story facts that will be crucial later. Notice how often you remind the reader of those facts. And check in with your critical readers if they recalled those facts, and the foreshadowing did prepare them for what was coming, and help them enjoy it, even if like Jordan and Erikson you manage to take the story down that third path, making a use of those facts beyond your readers anticipation.

Character Foreshadowing

This is something I’ve enjoyed in films in the last decade or so. I’m noticing more films where a side character has what seems to be a random hobby, and that interest or skill turns out to be crucial to assisting the MC in the finale. So again, if you have side or unlikely characters playing crucial roles in the end, track when and how often you incidentally remind the reader of their skills/ knowledge. When it helps the MC save the day, you want the reader to feel rewarded for paying attention and not pulled out of the story by a side character doing something they didn’t realise the side character could do.

Third Party Development In Stories

This might be an organisation in a contemporary or historical story, or a city, race or empire in SFF. As with your side characters, be wary of under-developing your third parties. I don’t just want to know Sarah’s Sewing repairs clothes. I’d like to know she has access to rare and expensive fabrics no other seamstress has, which may have come from the black market.

As a reader of my own book, I wouldn’t be satisfied if the book just showed the Zaldeans as toxically masculine warmongers. Given that the lead warmongers betray their peace-loving king by trying to manipulate him to war; I want to know what drives them. What does war give them other than the promise of glory? It gives them the opportunity for governorships —political power, and personal estates —wealth. It gives middle ranking men the chance to trade with new markets, where their goods are rarer, and they can charge more and make more money.

Don’t just tell me what the head of the third party/ organisation/ country wants. Show me what’s in it for everyone. Show me what lengths these contagonists or antagonists are prepared to go to, to further their own goals. Show me why its so important to them to achieve their goals.

Why? Because letting me as the reader see what drives the baddies and the characters who get in the way as well as I see the ‘goodies’ ramps up tension. It makes me get more emotionally invested in the story.

I confess, I did laugh reading one of Brandon Sanderson’s characters in the Stormlight archives answering the question, ‘How did all this start?’ with something like, “Other people had stuff and we wanted it.” Yes, in war that’s often what it boils down to. But the more layers you give the agendas of characters on all sides of any conflict, the more tension there is, the more emotionally invested the reader is; the more emotional pay off we get when the story problem is resolved!

LGBTQIA+ Visibility

Writing Diverse Characters LGBTQIA+ will cover; general advice on referring to humans’ gender and romantic/sex lives in a queer inclusive way, that doesn’t perpetuate the myth of heteronormativity. It will offer suggestions on writing that queer rep that is visibly inclusive of a range of LGBTQIA+ identities, avoiding erasure, and some tips on writing authentic LGBTQIA+ representation.

Inclusive Language

As a child, I assumed books referring to ‘humans’ were talking about men, women and children. By around age eight (in the 1990’s), I became aware that history was mostly written about men, by men, for men. Meanwhile most news was about men and lo and behold, men were the usual main characters in fiction. I grew up in a world that frequently ignored, omitted and when it got away with it, excluded women, let alone the entire LGBTQIA+ community.

Now I write as a nonbinary, asexual, aromantic person who mostly encounters fiction which ignores, excludes and appears mostly oblivious to the existence of my gender and sexuality. This is why I want writers to make conscious word choices, which allow people of any gender or sexual orientation to see themselves in your writing and to perceive themselves as belonging in the world of your fiction. So I’ll start there, before looking at writing specific queer identities.

Gender Inclusive Phrasing

In How Not To Write Diverse Characters, I mentioned the inherent bias and prejudice of the world in which we have all been raised. In relation to perceiving gender in books, there’s the still the chance readers will assume your use of the words; ‘doctors’, ‘police,’ ‘lawyers,’ ‘scientists,’ ‘soldiers’ and jobs in historically male-dominated fields refer to men. Conversely, they may assume your ‘teachers’ and ‘nurses’ are women and that no term refers to nonbinary people.

To get around this, I suggest also using gendered nouns when referring to people whose job title readers may assume refer to men. In my Ruarnon Trilogy, the umbrella term for nonbinary genders is ‘midlun.’ So when referring to soldiers, I refer to ‘men, women and midluns’. In our world, you could refer to ‘men women and nonbinary people.’ Explicitly mentioning nonbinary people has the added bonus of implying that ‘men’ and ‘women’ both very much include trans men and trans women.

LGBTQIA+ Sexuality Inclusive Writing

This is simple. A character mentions having a crush on someone, dating someone, finding someone attractive or having a partner. Do you have other characters respond using gender neutral language, until they know the pronouns/ gender of the love interest/ partner?

This is not just gender diverse inclusive by not assigning gender on the basis of names. Its acknowledging that people of any gender can be attracted to any gender and that gay, lesbian, bi and pansexual identities exist and it challenges the idea that cis/heterosexual is the ‘norm.’

Your characters use of gender neutral language in reference to, and their interest in the love interest/partner suggests and normalise those characters acceptance of gay, lesbian, bisexual and pansexual relationships. A small gesture from you as a writer, that can mean a lot to readers within the LGBTQIA+ community.

Everyday Situations to Show Gender Inclusion

Gendered Bathrooms & Clothes Shops

If you’re a cis, binary gender writer, you may not yet feel ready to (having researched us), include nonbinary characters in your cast. But you can acknowledge the existence of nonbinary people, and help the world realise we exist without doing that.

Little things, like having a toilet with an icon of a person half in a dress and half in pants to signal a gender neutral toilet. Or including ‘Mx.’ as on option for titles in paperwork your characters fill in. Hell, you could go wild and have a department store with a gender neutral clothing section instead of Ladies-wear and Mens-ware only! (I would LOOOOOVVVVE this! Why on earth does clothing almost ALWAYs ‘have’ to be sold by binary gender? GAH!)

Gender Inclusive Character Introductions

Again, even if you have no trans or nonbinary characters, when characters meet new people in your fiction, have them mention their pronouns as well as their names. Having someone say, “Hey, I’m Tom, he/him” acknowledges that just because Tom’s biological sex is likely male doesn’t mean he is therefore, necessarily male. And when you stop assuming that, you signal the possibility that trans and nonbinary people exist. Suddenly we’re no longer invisible in the world of your writing.

Not Being Exclusive

Gender Roles/ Gendered Jobs

Try to be conscious of situations where characters take on gender roles, or are divided and required to act by gender. I don’t just mean go beyond sexist, heteronormative tropes like dad is the breadwinner, and mum is stay at home housewife (cue vomit). Be conscious of fields and jobs in our world (like front line soldiers, or in the Australian conservative political party, cabinet ministers) where women tend to be excluded and men to dominate.

If you’re going to have female sex workers, have male ones. Female strippers? Where are the naked men? Housewife? Where’s the house husband? Why are all the presidents men? Write more male teachers, nurses and happy, healthy fathers! Write women soldiers/ crime bosses, presidents etc. Have nonbinary characters do literally any job under the sun; because if we’re out, we’re not going to let biological sex get in our way!

Bottom line; consciously avoid limiting roles by gender! (Unless its your plot/ historical, BUT some people have ALWAYS defied binary gender norms –look at women pirates of the 19th and 20th centuries, for eg.)

Gender and Traditional Culture

In My Big Fat Wedding 3, there’s a scene where the bride asks women to line up on one side of the room and copy her dance, and the groom asks men to line up on his side and copy his dance. And I thought, but what will the nonbinary character do?

First they danced with the men and did the men’s dance. Then they switched to the women’s side and did the women’s dance. The other dancers were visibly fine with this. Its a great example of how characters in your story may adhere to traditional gender norms, but there can still be a place for gender nonconforming characters.

So if you have traditional gender roles in your writing, how will you create space for nonbinary and gender nonconforming people to exist in your fictional world?

Gendered Magic Systems

I’m a BIG fan of Wheel of Time and well aware it was written before it occurred to nonbinary people such as myself that we needn’t accept ill-fitting binary pronouns, nor conform to binary norms, nor had even heard the word ‘nonbinary’. So I don’t feel left out when women wield Saidar, and men wield Saidin and nonbinary people don’t seem to exist in the world the wheel weaves. But if you’re writing now, and planning a gendered magic system —don’t forget to think carefully how you’ll include gender nonconforming people!

How I Included Gender Diversity in Magic Orders

In my third novel (War in Sorcery’s Shadow), magic and its wielders live in hiding. Children who can wield magic are taught by secret organisations. Sorcery being first mastered during a sexist age, and used in violence against women, Luvaras Priests (Luvaras being god of sorcery) teach boys magic, and Luvaras Priestesses created a safe space to teach girls magic separately.

But if magical education is binary gendered, and gendered behaviours are encouraged because of the gender segregation of magical learning, what about kids who aren’t binary male or female? Who teaches them? So came a third order, The Devoted, adults of various nonbinary genders who educate children of similar identities. Unbound by binary notions of gender, these tend to be the most flexible, and some of the most highly skilled sorcerers on Umarinaris. (Also because many of them are neurodiverse, and or physically disabled).

My point being: consider situations where a scene may divide your characters by gender, and consciously create a space for nonbinary and gender nonconforming characters to be present as their authentic selves.

Situations where people relate to one another, select their clothes and otherwise behave according to binary gender ‘norms’ are when I feel most like a bystander, a visitor passing through (yes, I relate to Dr Who in this) in life and fiction. Its a big disconnect I’ve felt my whole life. And spending a moment to phrase a sentence gender inclusively, or mention a minor character’s nonbinary existence in passing can easily change that disconnection for your gender-nonconforming readers to a feeling of inclusion.

Writing Visible Trans Characters

I assume if you’re still reading, I assume you disagree with US states legislating gender diverse people out of existence and are concerned about respectfully representing trans people in your fiction. I’ve spoken to writers who’ve said, ‘I write my trans woman as a woman, because she’s a woman, but how do I show that she’s trans?’
If you don’t indicate she’s trans, let alone show it clearly, there’s every chance she’ll be cis-washed by cis readers who assume she’s yet another cis woman.

Trans Visibility

If your character has socially (and perhaps medically) transitioned and is living their best life presenting as their gender identity, how do you indicate that they are indeed trans? How do you respectfully let trans readers see themselves on the page and acknowledge and normalise the existence of trans characters in your writing? How do you do so in a way that feels natural to the story and doesn’t come across as forced?

It could be as simple as a pronoun slip. A character refers to your trans/ nonbinary character by the wrong binary pronoun, then apologises and corrects the pronoun. If the pronoun change occurred in recent years, you could even have another character comment about, ‘we’re all learning’, to indicate that characters are still adjusting to the trans character’s social transition.

What if you want to be more explicit, and ensure that trans presences in your work are indeed seen, and not cis-gender washed? You could go further, as Dr Who did with Donna’s trans daughter Rose. In a scene where boys are teasing Rose as she enters her house, Donna’s mother says to Donna, ‘They didn’t pick on him when he was– sorry.’ Thus Rose’s trans identity is explicitly shown, in a respectful manner.

For more on writing trans characters, see this great advice by Charlie Jane.

Nonbinary Visibility

This can also be as simple to reveal as a pronoun slip. When my nonbinary character Ruarnon meets a foreign dignitary who refers to Ruarnon as ‘he’, Ruarnon’s advisor says, ‘their Benevelonce uses they.’ For people who are ‘up’ with pronouns, its clear we’re dealing with a nonbinary character.

The catch is, I came out as nonbinary in 2020 and had a complete stranger politely respond to my public request to be referred to as they/them by saying, ‘I’m not sure what that means.’ This amounted to, ‘I don’t know what ‘nonbinary’ means.’ My family and colleagues response was pretty much, ‘We like/ love you, but we don’t really get what nonbinary is.’

So how can writers explicitly and respectfully signal that a character is nonbinary (and perhaps what that could mean)? And how will this be relevant to the story?

Nonbinary Visibility and Inclusive Language

This is where inclusive language choices come in. When you are referring to a crowd, consider how you refer not just to ‘men and women’ or ‘ladies and gentleman.’ In my Ruarnon Trilogy, I invented a word for nonbinary (midlun) and when naming genders I state; men, women AND midluns.

If there’s a show, consider ‘ladies, gentlemen and friends beyond the binary,’ or if you’re North American, ‘guys, gals and nonbinary pals.’ Consider, ‘colleagues,’ ‘friends’, ‘folks’, ‘people’ or a gender inclusive term instead of ‘ladies’ when its a group of women and one nonbinary person, or vice versa with men. (Every time people at work address me and female colleagues as ‘ladies’ I have to remind myself that they include me in that term, because I’ve never seen myself in it and would otherwise feel excluded by it).

Beyond that, if your they/them has a beard and is wearing a dress, or doesn’t wear make up when everyone else expects them to, or pairs a ‘men’s’ top with a ‘women’s’ skirt or makes gender ambiguous clothing choices —we’ll get the picture. Especially with gender inclusive language and nonbinary pronouns in use (whether it be they/them pronouns or neo pronouns like ne/nir).

Asexual Visibility

Again, I’m flagging this individually as a lesser known queer identity, in this case one the asexuals I know often feel writers get wrong. A common mistake seems to labelling a character as ‘asexual’ and then having them behave like an allosexual person. If you want to write an asexual character, the first thing you need to do is know that asexual (like ‘nonbinary’) is an umbrella term and will present in different ways for different asexual people.

So when it comes to actually showing an asexual character, you might show them date someone and become very emotionally attached before showing any signs of being sexually attracted to them (demisexual). You may have a character who will read/ view a sex scene but expresses disinterest in having sex with another person (aegosexual). You may write a character who expresses no interest in sexual or romantic relationships and is perfectly content with the platonic relationships in their life (*waves in aromantic asexual*).

If you don’t know much about asexuality or writing asexual characters, The Asexual Awareness and Education Centre is a good place to start.

Bi and Pansexual Visibility

To step out of my lane for a moment, don’t be the heterosexual writer who writes ‘bisexual’ or ‘pansexual’ characters who only ever demonstrate attraction to, or interest in, the opposite biological sex. Absolutely, your bisexual or pansexual character could be a woman in a long-term, monogamous relationship with a man, or vice versa (and yes, still totally bi/ pan). But if you only write that character attracted to or showing interest in people of the opposite biological sex (and their life isn’t endangered by demonstrating queer attraction); you’re mislabelling a heterosexual character ‘bisexual/ pansexual’/ or just plain misrepresenting bi/pansexual people.

Writing outside your identity means writing outside your personal life experience. It means questioning every assumption and thing you personally consider ‘normal’. For queer identities, this can mean throwing everything you know/ assume/ have personally experienced about gender, sexual and romantic attraction out the window. Don’t forget to step out of your shoes, before trying to step into those of a character from a different identity to yours.

Queer Character and Relationship Visibility & Queer Normative

If you haven’t explicitly decided whether settings in your book are going to be queer normative, queer positive or trans/homophobic, now is the time to decide. Will it be safe for recognisably queer couples to engage in public displays of affection? Will your same-sex couples dance intimately together on the public dance floor? Will they kiss at sunset on the beach? Will you have a same-sex married couple(s) or marriage?

What spaces are publicly out trans and nonbinary people seen and known to occupy? Which positions and which institutions are trans, nobinary and recognisable characters of all LGBTQIA+ identities employed in? The level of LGBTQIA+ normativeness/ acceptance etc can be clearly indicated by these things. (Same can be asked and shown of women characters and levels of sexism in your society).

Queer Normative Representation in Speculative Fiction

If you’re writing speculative fiction, this is where you can say ‘yes’ to all of the above. Heck, you can write a world where whenever a character mentions being attracted to someone or having a partner, no one makes assumptions about that person’s gender.

You can write a world in which no one refers to a child using binary pronouns until that child has decided and articulated which pronouns fit them (and in which everyone respects that child changing their mind, because its for the individual to identify their gender, not for society to impose gender on anyone).

If only the heterosexual couple get to kiss, you’ve normalised that, but are you also normalising the idea that queer couples don’t (or shouldn’t) display affection for each other? Or are you writing a queer couple in a way that homophobic readers can easily interpret as ‘just friends’, thus erasing their queer identities?

If you genuinely want to write inclusively I’m sure the above is not your intention. The problem is the above interpretations align with age-old prejudices and are easy for readers to make, if there is a double standard in how you present marginalised vs. non-marginalised sexualities. So be conscious of times when you treat a marginalised character differently (in anyway, full stop), how you’re treating them differently and clear on your purpose in doing so.

Inclusive Fiction Examples

My Big Fat Greek Wedding 3 has a nonbinary mayor who is the epitome of queer joy, and a perfect example of letting a character be their authentic queer self and other characters being cool with it.

Umbrella Academy (Netflix) has a trans and a nonbinary pansexual main character, who just happen to be two of seven siblings at the centre of the world’s destruction. Its also in the ‘be gay, do crime’ genre, trans Victor being very troubled and destructive, and Klaus a (recovering) drug addict. This is a great example of how when characters just happen to be marginalised, they can also happen to be anything else. (Fall of the House of Usher takes ‘be gay, do crime’ to even greater extremes, though serious dark horror warning on that one).

Imperfects (Netflix) does double duty with an asexual character whose sexuality is initially shown through her taste in skin-covering, not-too-clingy clothing, who’s romantically attracted to women.

People To Help You Write The Other

Find Sensitivity Readers or Editors

Bisexual/ Pansexual/ Fluidity Sensitivity Readers Spreadsheet (lists emails of 100+ sensitivity readers, courtesy of @saltandsagebook).

As with other marginalised identities, post on whichever social media you use, and or search posts for sensitivity readers (I’ve seen a few offering their services on Bsky).

Writing Diverse Characters (3): LGBTQIA+ Incusivity

Challenges -Distraction & Focus

Neurotypical brains produce enough dopamine to allow them to filter out excess sensory information, subconsciously. Apparently, they don’t wander into the classroom and immediately think of five different things they should be doing, and actively try to push four of those things away so they can focus on and complete one thing at a time. And they don’t check their email, and get distracted by a random email that isn’t important right now, or check the digital notice board and get distracted by another non-urgent thing. And interrupt setting up their Reading session with setting up their Writing session. Then get distracted getting a resource for an individual child, then get distracted by packing up something they forgot to put away yesterday, then get distracted by asking a colleague a question, etc.

My entire work day is me using vast amounts of energy trying to push all the non-urgent things clamouring for my attention away, so I can attempt to focus on and complete one thing that needs to be done now at a time. You know what requires even more of my energy? Not forgetting everything I’m not doing in that moment but do need to do sometime, and keeping track of it until I actually do it. This is made harder by the fact I can remember a thing, fully intend to do it right that moment, then get completely distracted by something else and not remember whether I actually did it or not (half the time I didn’t).

Related Challenge: Keeping Track

Diaries and calendars and apps are no good, because if I can’t see everything I need to be doing in front of me at all times; I forget to check the reminder and half the things its reminding me of, for up to a few days. So at work and at home, every incomplete digital task that needs doing in the next two weeks is an open tab (I always have the max number of tabs open). Everything I can’t do right that moment at work gets written down.

I often don’t have the time or headspace to check if I already wrote it down, and sometimes the mere idea of checking what I have recorded is stressful because I’m already overloaded. So there are multiple to do lists, some things duplicated across them, others not yet recorded.

Welcome to the world of hyper active and inattentive ADHD! (Unmedicated).

Challenges -Noticing and Meeting Basic Physical Needs

With all the above going on, who has room in their brain to notice incidental things, like being hungry, tired, needing the bathroom or being sick or in pain? Other writers are doodling their characters and making Spotify playlists for their works in progress, meanwhile I forget multiple characters names, where my characters are or what they’re doing.

I’m also running out of clean clothes because I haven’t noticed the washing basket is overflowing. There’s a small pile of clutter building on the side of my bed, because if I interrupt whatever it is I’m struggling to remember I should be doing to clear that pile, I’ll forget that thing I can hardly remember I’m supposed to be doing.

Challenges: Urgency and Never Stopping

Everywhere I walk at work and in my house, I’m clinging to memory of multiple things I should be doing but haven’t written down yet. Meanwhile sights, sounds and people talking about other things are all around me, clamouring for my attention, all day, every day. And while I struggle to batter away everything that isn’t essential, and at the top of my to do list, all the less essential things that still need doing keep itching to be done.

This is why I was often found at school, half an hour after most of my colleagues had left, rushing around my classroom completing literally five end of day pack up, and next day set up tasks at once. This is why my to do list had to be a physical piece of paper on top of my (messy) desk in a bright colour that screamed for my attention and no other form of task management worked.

The tendency to be distracted, to interrupt my own thoughts, let alone my own task completion created a sense of ongoing urgency. I need to do this —right now—before I forget. Then I need to do this right now —before I forget. And all the other things visually, or auditorily distracting me? I need to urgently block them out to urgently get anything done.

Challenges: ADHD Brain Jam

I assume its somewhere around here that fellow humans with ADHD work too hard, too long on something and experience burn out. I’ve rarely, if ever experienced ADHD burnout. But I’ve had days at work where I’ve taken in so much information that I forget what I learnt today, what I knew yesterday and pretty much everything I need to be doing is melting out my ears. A point where I simply can no longer hold onto or process information. The only solution I have found is drop everything (usually between 4-5pm), and take the rest of the night off.

I started having multiple days of brain jam/ cognitive overload in a row, worrying about meeting deadlines, and just plain feeling far too tired and drained on an ongoing basis in 2023. That’s because I don’t just have ADHD, I also have a chronic illness (courtesy of long covid in 2022). Fibromyalgia was steadily eating my stamina, and ramping up my chronic fatigue, pain, and in hindsight; brain fog, by the end of all four 2023 teaching terms.

This is the point that made me re-evaluate my 2020 decision not to get my ADHD diagnosed because it was clear my ADHD does impact me significantly at work and was making my life harder; possibly A LOT harder.

Neurodiverse me, hiking on Mt Macedon, 2023.

Diagnosis, Medication & Clarity

Having waited six months for my appointment, and another two for the follow up, and another two to see a psychiatrist to back up the GP, I got diagnosed with ADHD early in 2024. Only with that diagnosis, only with the psychiatrist explaining to me how lack of dopamine impairs an ADHD brain’s capacity to filter out excess information, only after starting medication did I have the clarity to write the above.

For a contrast of my clarity prior to both, read the jumble that is my blog of ‘I Think I’m Neurodiverse, ADHD? Autism?’ I tried to put it some kind of order, in a way that meaningfully sequenced the content, but having written and edited it before starting meds, I kept losing track and wasn’t sure if I succeeded in sequencing and structuring it well.

Want to hear the really interesting part? I’m writing this blog having not taken my meds for two days. Because after four days on a helpful dosage; I have the clarity to clearly, meaningfully organise and structure my thoughts. This is the clearest my head has ever been while writing. The only other thing that can trigger a state of mental clarity like this, as opposed to chaotic, highly distractible chaos, is the two or so hours after running 4 kilometres (which I still do daily, because even with ADHD meds, it still helps).

I’d like to take this moment to tell people in the US claiming the number of people taking ADHD meds is a ‘problem’ to educate themselves and stop talking shit.

Medication: The Journey

My doctor gets his patients to start ADHD medication gradually, with written instructions on how to mix the powder inside the capsule and water to get 10mg (the starting dosage) up to 70mg. Its a trial and error process with guidelines, where you figure out what works best for your brain and body (and consult your doctor if problems arise).

Day One: Dosage 10mgs, Notable Difference

My mother noticed hardly anything on a low dosage. I noticed a difference within one hour. I could pause the big thing I was doing to do other small things, like make a phone call or brush my teeth. Then I could return to what I was doing.

This is BIG. I can easily forget to reply to emails, messages or phone calls for a few days. Then I can wait hours after feeling hungry before dragging myself off for food. I often run of an evening when I’d rather run by daylight during winter.

This is because it takes me hours to focus my attention on big things, like writing or editing novels. If I’m nearly focused, I don’t want to give up the hours I spent getting nearly focused to interrupt myself (writing at home lunch ‘breaks’ can last three hours due to distraction). So if I was kind of focused, I’d opt to be hungry for an hour or two as I tried and get something done.

I also found I could choose when to get off social media and just get off it. I didn’t need the dopamine I always need it to provide to help me focus.

After three hours: I could switch off and zone out. That’s something I normally manage perhaps every few weeks, even months and am TERRIBLE at as an adult. My ‘holidays’ are as busy and jam packed as work days, they’re just fun and adventure busy instead of work busy. The ability to mentally switch off is HUGE.

Day Two: Dosage 20mgs, Again, Good Differences

I was more aware of hunger and needing the bathroom. My brain wasn’t fighting off umpteen other distractions, so it was becoming possible to do that thing neurotyoicals apparently do all the time: listen to my body.

Started my day eating breakfast at the kitchen table so I could talk properly to a housemate. I NEVER do this. I always chat briefly, then rush off to finish the thing I don’t want to loose focus on. Not only could did I focus on the conversation for over an hour, at the end I still remembered to bring in the clothes horse I’d noticed mid-conversation was outside. Normally I’d have to fix the thing I notice so I don’t forget it, and can then focus on the conversation.

The other difference is, instead of urgently rushing to start the day’s proof reading (the clock was ticking, I had to upload a finished novel to online bookstores soon), I was able to take stock. Clear some dirty dishes and put a few things away, instead of zoning out everything but today’s big task.

This was the beginning of a less cluttered, less messy, calmer and nicer environment to live and work in. Again -not a small thing!

Day Three: Dosage 20mgs; Inconclusive —External Factors

My doctor’s advice was if you think its having an effect, stay on that dose for three days. So I took twenty milligrams again. This was the day we learnt our landlord was selling the house and we’d have to move out in two months. It was hard to tell if it was the meds that had me so hyper focused I couldn’t get off my computer to exercise, and so agitated I had to run to calm down. I got none of my main task done this day.

Also, my whole body and heart rate were slowing down so much that that night I went to sleep easily despite not exercising. Only when I’m sick or with chronic-illness-levels of fatigue can I normally do that.

Day Four: Dosage 30mgs: Meh!

In hindsight I should have gone back down to 10mgs, but I wanted to get past the wonky I was feeling, so I went up. I felt like I could focus, but lacked the spark and impetus to do anything. Only listening to music got me editing my novel, and I soon became distracted.

I also felt very flat. I’m normally full of energy, smiling and on the go. But that day I just sat there, not feeling like doing anything, just kind of watching the hours tick past. I had to wait for the meds to wear off and go for a run before I got some of the day’s big task done (starting at 9pm, not ideal).

Day Five: Dosage 40mgs: I’m Me AND Focused!

The ADHD urge to rush on to the next thing was strong, so I went up to 40mg. That was when the magic started. My heart rate picked up, my energy levels reset to normal and I felt more like me. I also read the opening chapters of my novel aloud to proof read them, something I have NEVER previously found the patience to attempt. This marked another significant increase in focus, and interestingly; focus on something that normally bores me (which usually requires vast amounts of discipline to attempt, and is usually completed with impatience and frustration).

Time was the other big thing. In the weeks before starting medication I was highly distractible, often staying up to between 2am and 4am. During the day the hours would rush past and I had no idea what I was doing in them. Now, I was focused enough that I was getting the main task done, and looking up to see it had only been tens of minutes, not hours that had past. Time had slowed RIGHT down, which made me feel much more in control of my day.

Day Six: Dosage 50mg ???

Whoops. This should have been day two at 40, followed by day three at 40. All I noted was that I felt settled within 15 mins, much faster than other days.

Day Seven: Dosage 60mg; Brain Jam Unlock

Oh dear. I was now 20mg’s up what I should have been on because it had become too many days in a row to A. re-read dosage instructions, and B. do so correctly.

And yet, before I even took my meds that morning, I was remembering and noting the sort of things my brain jam normally locks up until that blessed ten seconds of quiet when I turn out the lights at night, then recall multiple things I forgot to do. My brain was decluttered of its usual excessive information input overload, and functioning better than usual as a result.

And yet, my heart rate was too fast. I was becoming more distractible throughout the day, didn’t get much done until after my evening run and then still had trouble sleeping. Oddly, my distractibility seemed to be getting worse, to the point it kept me awake until I think 3am. This dosage made my ADHD worse overall.

Day Eight: Dosage 50mg; Not So Good

I remembered myself here and dropped back 10mg, helped by the fact my heart was still beating too fast. It continued to beat too fast and I remained somewhat distractible and didn’t get much of the main task done until after running again in the evening this day.

Day Nine: Dosage None

Having hardly slept the night I uploaded my novel, I wasn’t in a good state to accurately mix meds, so I skipped them.

Day Ten & 11: Dosage 50mgs -Not Right

My heart was still beating too fast for someone sitting still. My focus wasn’t as good as the meds had made it earlier. The next morning, I still didn’t like my heart rate (long covid wreaked havoc with it for weeks and I suspected high dosages of AHD meds were an issue because of this). So on day eleven, I took a break to ensure the incorrect dosage was fully out of my system.

Day 12: Dosage 40mgs -Might Be Good?

This was another day of big external factor. My book was live at online stores, I was posting on all my social media and my friends were congratulating me on getting the whole 360k trilogy out into the world, despite long covid and the chronic illness it caused throwing spanners between book 1’s release and book 3’s.

I let myself make quality launch day graphics, splurge on social media, drank wine, ate chocolate pudding and had a good day. And despite all those other dopamine factors, my heart rate seemed more settled, and I felt better overall.

Day 13 & Beyond: Dosage 40mgs – What is This Magic?

Often when I finish a big project, like the end of a school year or releasing a book, I take time out, take stock, do some cleaning. The strange thing about releasing my third book was; I was up to date with housework, and grocery shopping, and cooking and baking.

But I forgot what else I needed to be doing, so I made a To Do List in a Google doc. Then I attempted the most boring thing I ever do, successfully, for hours. I deleted 500 screen shots from my desktop. Then I organised every file on my desktop into folders, combining four different folders for book files into one. (My computer files haven’t been this organised since since I graduated from high school in 2004, and maybe 90% of the files on my computer now didn’t exist then).

The next day I deleted all duplicate images from my downloads, and sorted images I will reuse into my folders. Then I went through my third party inbox, my personal inbox and cleaned out nearly 1,000 emails from each. I even organised receipts into a folder for this year’s taxes (never done that before).

Then I filled in forms left on open tabs and closed half my many tabs.

30 Mgs

Things were going MUCH better, but I was still hyper focused on organising things and not stopping to eat meals or exercise as often as I wanted throughout the day. And my resting heart rate was still fast. So I went down to 30mgs. This time, I had a good enough handle at 30mg on my focus, not getting distracted and still had energy. I made a call and headed and headed back to work; casual teaching.

I can’t quite focus as well on boring organisational things at this dosage, but my overall focus and organisation are quite good, and distractibility is down. There’s now a calendar with all my pre-booked teaching days, days and times I’m inspecting houses to rent and multiple appointments. I’ve NEVER had the headspace, calmness or clarity to put some much on a calendar.

What Did the Meds Change?

My dopamine levels were now at a stage where my brain filtered out excess information, letting me focus on what I chose, even when the task was so boring (aka so dopamine depriving) I wouldn’t normally attempt and would never otherwise succeed at it.

My To Do List was getting added to, then rearranged into priority order, then subdivided by topic. It was double the length I would ever normally write down, because brain jam and being overwhelmed weren’t holding me back anymore, because they stopped! In other words, I can record and effectively keep track of EVERYTHING I need to be doing, for the FIRST TIME in my life, without being stressed or completely overwhelmed on a regular basis.

I’m also less frustrated by technology. Slow loading pages used to stress me out, because by the time the bloody things loaded I’d thought of three other things I could be doing and had no idea why I was on that page. Now, I can wait. Stay on the slow page, get the job done, move on the next.

Time has slowed. I can take breaks, pause, take stock, tidy things, not just rush through the day with hours flying by, barely getting that day’s main thing done and not touching most others. I feel much calmer, more focused and actually in control. This means I don’t have to go side ways, or risk leaping ahead or involuntarily falling behind as was common when everything was too much to track and process. I can actually keep up with other people in life. Maybe even get ahead, something I rarely aspire to, let alone achieve, for more than a day, or a week.

I feel like a different person. One whom life has become MUCH easier for!

What Didn’t Meds Change?

Initially, this almost put me off diagnosis. I’m a sociable, bubbly, energetic and creative person with lots of ideas. What if medication changed those things? As you may have noticed, for me a too low dosage did suppress those aspects. A too high dosage also mucked them up.

But my goldilocks dose of 30-40mgs leaves me energetic, still sociable when I choose to be (as opposed to permanently too often on social media) and as prone to smile as I normally am (which is a lot more than the average person). I still feel like me. I just have this drastically increased ability to organise and focus.

Going running has been fascinating. I’ve added around three plot ideas to my novels, or three marketing ideas for my books to my list on multiple runs recently. Its like my brain, which was in recent years struggling with the strain of teaching and life to have new ideas, is now having FAR MORE ideas for novels. Because its no longer straining with the effort of compensating for its partial information input filtering and accompany severe distractibility and resulting forgetfulness.

On the whole, I feel far more organised and able to keep track. I have more ideas and feel more creative than ever. I’m still energetic, upbeat and my old self. And I can’t wait to start writing my fourth fantasy novel with the benefit of ADHD meds!

Sustainability & Cross Posting Problems

I know, especially with the Twitter Writing diaspora (no this post isn’t dated, I reject the name change), its easy to get FOMO. To wonder about creatives and people you’re not connecting with or reaching on other social media platforms. So some people use an app to schedule posts on multiple social media, more than they have time or energy to interact on, which has its own problems.

I hope you don’t use an app which auto-posts: ‘I just posted on Insta’ or ‘just pinned (whatever) on Pinterest…’ because I’ve unfollowed people for that. If I follow you on Blue Sky (Bsky) or Mastodon, its because I want to see your Bsky or Mastodon content.

Then there’s the issue of audience differences. I prefer to manually post on Bsky/ Mastodon and Facebook. My FB is mostly people I’ve known personally from all walks of life, including far less people from the diverse communities I interact in on Bsky. So if I scheduled the same posts for Bsky and Facebook, they would resonate with my Bsky community, but not my FB contacts, or vice versa, OR compromise too much and not resonate with either.

And that’s not the biggest problem.

Sustainability Becomes Rockstar Status/ Snobbery

Sure, there will always be those kind people who like and comment on your post, even when you don’t reply or even like their comments (I’ve seen it happen).

The problem with posting and running is it feels like rockstar status. Like you’re saying, “I’ve got things to do (as if my followers don’t). I want engagement from you and I’ll give you nothing/ little in return.” Alternatively “I think my time is worth more than yours.”

I don’t expect any writer/ creative to be Neil Gaiman on Bsky (how much that guy posts but also interacts with other people’s posts is AMAZING! When does he even write?!) But when Neil Gaiman interacts with his followers and others don’t (I don’t just mean life gets busy so you disappear or are hardly present for a bit, I mean post and run is your modus operendi) it feels like snobbery.

If people comment on your posts and you don’t reply, it will feel to them that you’re not really there. Like you’re talking at them, but not listening to them. You’ve taken the ‘social’ out of social media. So why follow you on that platform?

Building Loads of Social Media Followings: does it Actually Work?

Which brings me to, if you’re on more platforms than you have time to connect with others on, if all you’re doing is posting and running… does that build a following?

Sure, there are people who post frequently, have interesting things to say and gain lots of followers. I follow one on Blue Sky who posts multiple times a night on multiple topics, in such a way that many people feel a connection to him. He’s also entertaining and has an unusually large number of followers for Bsky. (And I bet its his main platform, which he gives most of his social media time and energy to).

But most of us don’t present in ways lots of people frequently feel so connected to. Its people who feel like they know me who tend to regularly interact with my social media posts. And while they may feel that from reading my posts often, they get to know me far better if we talk to each other. That’s what gets me the most engagement.

So if you’re posting and running, do people feel like they know you on that platform? Do they connect with what you’re saying? Do they interact with you? Or are you shouting into the void? And if so, would letting those accounts go dormant (or deleting them) lose anything? Or would it gain you time and energy/ spoons for other things?

What’s your Preferred Mode of Operation?

As an indie author, I took the advice to be where my readers are. I tried to post there more often than once in a blue moon when it wasn’t somewhere I didn’t have the motivation, time or spoons to interact. And I learned that reciprocity is important to me not just as a writer and author, but as a social media user.

I don’t want to post and run. I don’t want to be that person who’s always taking and never gives anything back. Who wants engagement and interaction but never returns it.

Learning this about myself made it much easier to decide to let my Tik Tok and Instagram accounts become dormant, to only use my Pinterest to pin a link to my latest blog and to mainly interact on my Blue Sky and Mastodon accounts. I just have a Facebook profile for anyone who isn’t on the former two (because I hate the fan-style set up of FB pages).

But if you are comfortable interacting only with those who reply to you or posting and running…

Are You on the Right Social Media For You?

This can get overlooked among the ‘be where your readers are’ advice and the temptation to be everywhere to ‘reach as many readers as possible’.

Boundaries: Use-ability

This is a simple way to cut down your platform presence.

At one point I had writer groups on Facebook. It was clunky and disorganised. Posts didn’t display in chronological order. The display order of posts kept changing. It wasn’t easy to organise by topic. I found myself not wanting to interact in FB groups I created, because every time I did they frustrated my impatience to interact swiftly and effectively.

So when Facebook shut down Australian community groups without warning during a 2020 lockdown and I moved my writer groups to Discord and found it had ten times better functionally, I all but stopped using Facebook to interact with writers.

When it comes to usability, is there a platform where the notifications, functionality, layout, the way posts are organised (or totally disorganised) frustrates you? That makes things more time-consuming to use?
How much frustration does it cause you or how much of your time does it take up across a day, a week, a month? Is it worth it?

(On these grounds alone, Twitter was a monumental waste of my time by mid 2023 and its dis-functionality was right up there with its antisemitism in driving me to Mastodon and Blue Sky.)

Boundaries- Ill Fitting Platforms

I liked the idea of Instagram. I enjoy travel and nature photography and sometimes write poems. Its also popular with the target audience of my YA Fantasy books: fifteen to forty-somethings (I don’t think YA readership stops at forty, though I know far less fifty-something+ are on Insta). In theory it was a good place to promote my writing and have a social media presence.

But Insta never worked out for me. Posts were bigger and took longer to scroll than my preferred text-based platforms. The algorithms showed me populist posts instead of people I actually knew socially, or fellow writers. The relentless plague of bots commenting on my bookish posts and spamming my inbox was ANNOYING. And I’m still convinced half my followers are men treating Instagram as a dating app…

Then Insta started imitating Twitter with blue tick offers, increased ads and populist post and follow suggestions clogging my feed. This was a feed I wasn’t going to interact on because it just didn’t fit me. It was my post and run platform. And every time the algorithms changed, my posts got seen by less people and slowly dropped from an average of 40 likes to around 15.

I thought, what’s the point? I’m not going to reach readers here anyway. I could use the time and energy I spend on Insta writing my newsletter or blog… even my books! So I let my Insta go dormant.

Avoiding Social Media Burnout (For Writers/ Creatives)

Do you have a platform you feel the same way about? What could you achieve for your books/ art/ newsletter/ blog/ business if you ditched that platform?

Boundaries: Personal Comfort (In my case ND comfort!)

Sometimes, the place your readers/ viewers/ customers hang out ISN’T a good place for you. I don’t just mean you find it tricky or aren’t too sure how the platform works. I mean you’re there because you feel you ‘should’ be and are fighting that little voice in your head telling you ‘this is UN-comfortable.’

For me, this is Tik Tok. I write YA Fantasy. Book Tok sells books. I ‘should’ be on Tik Tok. But my Tik Tok feed is to my ADHD like someone running their nails down a blackboard nonstop. Its audio and visual sensory overload. Its also constant change and unpredictability because every few seconds its a different person/ place/ colours/ sounds/ music/ volume level etc. Tik Tok is sensory HELL for my neurodiverse needs.

Because of the above I have zero desire to interact on Tik Tok. I could just post book promo videos there. Maybe a few author friends would be generous and interact with me even though I never interact with them. Maybe on the right hashtags and with the right sounds my videos would sell some books.

I did make a few personal videos (because I hate just being salesy anywhere). I paid my cover artist to make one animated book cover and reviews video. Then I lost interest, motivation, spoons, time and didn’t go back.

If you’ve got that account your readers hang out on and you ‘should’ be on but you don’t feel comfortable or dislike the platform, maybe the best thing for your comfort/ energy levels/ not spreading yourself too thin is to let that account go.

Boundaries: Ethics

If you don’t approve of hate speech, you wouldn’t want to give it the thumbs up by having an account on a social media platform that enables hate speech, would you?
So have you deleted your Twitter yet?
If not, please read ‘Delete your Twitter’ below. (Yes, its more sympathetic than what I wrote above).

You may also want to consider social media platforms where misinformation is rife, given how that can fuel social division, the climate crisis, maintain the status quo by keeping marginalised communities and people marginalised, etc.

Tik Tok may give you pause because of its Chinese ownership and China and human rights…

For more on my personal stance on Twitter, Facebook (and KU/ Amazon) ethics, see Author Ethical Dilemmas.

Maximising Social Media: Integrating Interests

I assume you were on social media before you had books/ art/ products to sell. That you partly use social media to interact with friends and family, with fellow creatives and possibly with groups who share your interests or facets of your identity. So in this next section I’ll talk about social media spaces that meet your social, personal AND indie needs. Those are the ones I suggest prioritising with most of your time and energy/ spoons.

Other Communities & Special Interests

Let’s say for example you’re a SciFi nerd and you’re on Tumblr for that. Or you love bird watching and follow FB groups for that. Or like me you’re queer, neurodiverse, chronically ill or otherwise disabled. Let’s say sharing life experiences in those communities is affirming, informative and beneficial to your wellbeing.

But communities and interests can be on different platforms, which spread you thin and can wear you out. So where can you integrate your interests, social groups and personal interactions?

Facebook

The Old School option was Facebook profile to interact with friends/ family, and FB groups for writers, other communities and your interests plus your author Facebook page. As I’ve mentioned, I’m not fond of Facebook functionally or ethically. Technically I’m still in FB groups for writers (I almost never look at them) and Wide for the Win as an author (I always mean to look at that more —on its own platform).

But if you are a FB user, it does integrates lots of groups and interests in one space (and likely a lot of your personal contacts if you’re Gen Y or older.) Limiting yourself to it (and few others) is an effective way to avoid social media over-stretching and burn out (and time suck).

Blue Sky

I love Blue Sky because I can connect with writers, get and give writerly and authorly advice, help others AND do the same things as a neurodiverse, queer and chronically ill person. I can check in on the latest news, the latest archaeological discoveries, find historical articles, its all there in one place. Individual posts are even organised topically so I can browse feeds by topics that interest me. And it hosts Twitter’s writer chats (see my Bsky Newby guide for details).

Bsky can integrate your interests and communities (in my opinion with better functionality and organisation than Facebook) —and without Musk or Zuckerberg! These are some of multiple reasons its my favourite social media.

From what I understand, Reddit is another good option to engage with particular interests and topics. It also categorises posts and includes categories you can share shorts, poetry etc in to build your audience on social media.

Hashtags, Instagram & Mastodon

Yes, you could browse Twitter or Instagram, or Mastodon or I don’t know what else by hashtags to explore your interests. In my experience (of Twitter) people often forgot to use relevant hashtags in their posts, or they overused them (especially on Instagram) and this is not nearly as effective in connecting with your people as Facebook groups, Blue Sky Feeds or what I’ve heard of Reddit.

But if Instagram or Mastodon are where you personally connect with people, your creative community (via Mastodon prompt hashtags or Instagram challenges), and where your other interests and communities are; by all means connect there by hashtag. And make either your main social media base that gets most of your time and energy (bonus if it fits where your readers hang out!)

Pick ONE Creative Community

In the author interviews I’ve done (all linked on this page), ‘build your writing community and do it early’ or ‘I wish I’d done it sooner’ is something writers say A LOT. So in prioritising social media platforms, the first question I suggest you ask is; where is my creative/ writing community?

If it’s always been in Facebook groups or on Instagram, this is easy to answer, and I’d stay active in your community. But if your community used to be Twitter…

Delete Your Twitter

The time has long passed to beat around the bush about this.

I had 16k Twitter followers. I introduced writers to each other by genre. I critiqued pitches, ran query letter and Pitch Party DM groups. Then I started an Author Platform DM group, an SFF one, a Querying Writers DM (then moved them all to Discord).

Twitter’s #WritingCommunity was my home and I knew literally hundreds of writers by name and could tell you off the top of my head what genre tens of them wrote. But everything I loved about Twitter’s #WritingCommunity was already dying when Musk started breaking Twitter.

Its not 2022 Anymore

We’re not uncertain what kind of transphobia-promoting, fascist-enabling hellhole Twitter could become. [Twitter’s safety measure cuts are now documented, as are statistics on hate speech tweets not being removed and people not being banned for tweeting them. Spoiler, the latter statistic is ZERO)]. We’re also in no doubt how many staff will be sacked and how dysfunctional and unusable the site will become.

Twitter is dead.

True, by leaving, I lost friends (who didn’t go to Blue sky/ Mastodon/ Facebook/ Discord) and that’s sad. I hope they’ll become active on Blue Sky or Discord one day. But I haven’t regretted deleting my account or departing a discrimination-enabling, rage-bating platform once.

Let it go and move on —preferably before fascists start seeing your continued presence as support of their beliefs.

Choose ONE Twitter Alternative

By now you’ve either settled into algorithm-less Mastodon, or found it not a close enough clone of Twitter (writers, check out #WritersCoffeeClub if you’re still settling there -that’s where the #WritingCommunity is!). Or you’re feeling more comfortable on algorithm-less Blue Sky or on Threads. Or you’ve settled on Discords or into Instagram’s creative communities.

Have you noticed how hard it can be settling into one creative/ writing community? Building connections among creatives in one space? This is why I suggest sticking to ONE main creative community on ONE platform. Go there with your experiences, questions, learnings, random thoughts, memes —everything. Let fellow creatives get to know you and get to know them. Make friends and build ONE proper creative community.

Ideally, do it on the social media with your queer community, your bird watching community, your BIPOC community, your personal contacts —to minimise your platform spread, build strong connections and get the most out of the time, energy and spoons you invest in social media.

Exception: Communities Its Effortless to Pop in and Out Of

I’m active almost daily on Blue Sky AND Mastodon. Its do-able because Mastodon’s writer prompts give me a topic to talk about and other people’s responses to interact with on the same hashtag. It makes getting to know and meaningfully interact with a group of writers effortless (and when time’s short I skip Bsky that day or do two day’s Mastodon prompts the next day).

Discord or Facebook may be like this for you. You go in to the group —and on Discord go to the topically relevant channel— ask your question and get it answered. Or you look at what other people are saying (again on specific topic channels that interest you on your choice of Discord servers) and reply —when it suits you to do so.

If you get what you want from the platform quickly and easily, as rarely or as often as you want WITHOUT putting much time, effort or energy into it, you may find Mastodon/ Discord/ FB Groups sustainable —on the side of your main creative community.

How Many Social Media Platforms are you Active on Now?

Ideally you’ve got ideas on where you can interact as an author/ artist/ other creative and person and with your creative community and potential readers/ viewers/ consumers on one or across two, possibly three platforms.

I’m not saying necessarily delete everything else (exception Twitter). Consider what I did on Instagram: say you’re going elsewhere, leave links for people to find you and let the account go dormant. That way anyone who finds it can connect with you where you’re maximising and integrating your social media presence.

And if they don’t?
I wonder how many more people you’ll reach on the few platforms you make your online homes, by being present, by effectively connecting and being a part of the community. Good luck!

Publishing Paths, a Multi-Author Interview

March 7, 2024 / Elise Carlson / 0 Comments

Like many writers, I liked the sound of working with a literary agent, receiving editorial feedback and signing with a (big) traditional publisher, who would help with marketing. The dream was write full time and earn a living from it. But with the pandemic, the publishing industry catching fire, supply chain issues, the great resignation hitting editors etc, let’s just say 2020-2021 was a particularly bad time to be querying.

What about small presses? Many querying authors only query literary agents, so the competition would be less extreme. I wouldn’t have to pay out of pocket for cover art or editing and they may still offer marketing advice. But querying was such a passive, SLOW experience for me, and as an active person whose ADHD has two speeds (FAST and sleeping) querying was a terrible match for me. And so I began my indie authoring journey. I’m two books in, with book 3 of my trilogy on preorder. I haven’t had time (or the health) to promote or sell many books yet… though I still love being indie.

But I’m just one person. We all bring different life experiences, skill sets, brains (mine being neurodiverse), temperaments, personalities, needs, expectations and goals to the process. How can you be sure which publishing path is right for you (or for a particular project)? I pursue that by interviewing 5 authors on different publishing paths about why they chose that path, how it meets their needs, why it’s working for them and what turned them off alternatives.

Which publishing path are you on?

Head and shoulders shot of Adam in a red shirt, smiling, seated on a couch with a house plant in the background. Adam had short brown hair, a short beard, blue eyes and is caucasian.

Waist up shot of Maggie wearing a purple, blue and pink scarf wrapped around the lower half of her face, black glasses and her light brown hair half out, half tied back.

Black and white portrait of Megaera in a coloured, checked shirt, short hair combed to the right, wearing dark lipstick, with pale skin contrasting with the black background.

Adam J
Currently pursuing traditional publishing; I have queried once, in 2021 (unsuccessfully), and plan to query another book this year.

Maggie Stone
Pursuing traditional publishing. I only sent a few queries for my first book before pulling back to retool, then switched genres and landed an agent with my second book.

Megaera Lorenz
I’m publishing traditionally with a small press, CamCat Books. I sold my debut novel to them without an agent about a year ago.

Head and shoulder shot of Joyce (caucasian) wearing a blue brimmed hat, glasses, blonde hair tied back and a bright blue shirt.

Mara Lynn Johnstone

I’m going the indie route for the foreseeable future.

Joyce Reynolds Ward
I am a hybrid writer. While I’m not actively on submission at the moment, I have published around thirty short stories in various anthologies and magazines. My novels, however, are strictly self-published. I had one minor flirtation with small press publication and…it did not go well. I was fortunate enough to get reversion letters for both books before the publisher crashed and burned.

What Appeals Most About Your Publishing Path?

Querying Agents

Adam J: I like the notion of having a team to work with (an agent, editor, cover designer, publicist) with experience in the publishing industry, who can guide me and my books forward. Also, there is a certain repute in having your book chosen by the various gatekeepers of publishing. While I realize that’s mostly bunk — the true judges of any book are its readers — there’s still that little voice in my mind that says I want my book to be good enough to make it through those gatekeepers.

MS: Echoing everything Adam said. I’m not equipped to do this myself, either in skill or in financial resources. Being in a team, a network, gives me the drive to keep going instead of growing anxious over the small details.

Small Press

ML: love the collaborative, personalized nature of working with an indie press. The CamCat team has been very supportive. They’ve worked with me closely or at least gotten my input on just about every aspect of the publication and production process, including developmental and line editing, finalizing the cover design, creating a marketing plan specific to my book, and even selecting an audiobook narrator.

Indie Author

MLJ: I like being able to take my books from idea to finished product at my own pace, without having to wait years for other people to decide they’re worthwhile. And I also like having the final say over my own covers.

JRW–Short stories can gain a lot of visibility for any novelist, depending on the market. Novels are where I really turn myself loose to write what intrigues me.

What do you find most challenging about it?

Querying

Adam J: As much as I’d like to say it’s always the quality of the book that makes it worthy of traditional publication, a major element is luck, whether that’s with timing, finding the right person, or hitting the right trend (and sometimes, sadly, luck supersedes quality). There is also a massive time investment often with very little return, and it can be quite a mental struggle to overcome the sheer volume of rejection.

MS: Again, Adam’s beaten me to what I would say. Having a good book isn’t good enough. You have to have a good book that fits what a publisher is looking for now – not that you have to write to a publisher’s specifications, but if they’ve recently acquired (e.g.) two workplace romcoms, they might not be looking for another one right now. Rejection is bad. You can help mitigate it with the right support group, but it’s still going to hurt.

Indie Author

MLJ: Definitely getting the word out. Building an audience is slow when you don’t have a publisher’s advertising budget.

JRW–Market churn for both the short stories and self-published novels. I tend to say that marketing changes every quarter–that is definitely true for self-publishing, and sadly these days it seems like the magazine market is much the same way.

Which Skills or Life Experiences Help You On Your Chosen Path?

Querying Agents

Adam J: I’ve worked both as a professor at a large institution and as a government consultant, so I’m used to things moving far slower than they really need to (oh, bureaucracy) and I’m also used to rejection, as in consulting you don’t win every contract you bid on. I suppose these impart upon me a certain measure of patience and a thicker skin, both necessary survival traits for the world of traditional publishing.

MS: Also a government person and used to things moving slowly. But I also had a previous life as a musician, so balancing love of creative arts with the (unpleasant) practical aspects of that life (rejection and whatnot). Also, dealing with mental health issues for decades means I’ve built a library of coping mechanisms for when rejections come.

Small Press

ML: I have a lot of professional experience writing educational copy for a general audience, which is an advantage when putting together succinct, snappy pitch materials (such as query letters, blurbs, synopses, and elevator pitches). I’m good at boiling complicated concepts down to their essentials.

Indie Author

MLJ: I’m good at organizing and planning, all that meticulous stuff that’s stereotypically not always part of the artist brain. I’m very glad that I can keep track of everything that needs doing! And my secondary interest after writing has always been visual art, so I’m working on levelling up my skills to where I can reliably make my own spectacular book covers. I’m getting there.

JRW: A couple of years working as a complex securities litigation paralegal as well as ten years of special education case management has helped with the organizational piece.

Why did you prioritise this path?

Querying Agents

Adam J: Admittedly, when I started writing, it was the only way I knew existed. I’ve learned much since — including that marketing kidlit through indie publishing is one of the hardest paths to take (kids don’t buy books online). As I write middle grade, I’m sticking with traditional publishing for now.

MS: This path, if successful, would be most compatible with my skills. I’m not a marketing expert/business manager. Obviously, even with traditional publishing, there’s housekeeping stuff I’d have to take care of, but traditional publishing puts me in a network with shared resources, and has a wider distribution network than I’d be able to establish on my own.

Small Press

ML: I prioritised traditional publishing as opposed to self-publishing because I knew it would help me a lot to have the support of a team that understands how the industry works. I’m a good writer, and I enjoy certain parts of the marketing process, but I have very little business acumen and almost no budget for things like advertising, hiring a professional editor and cover designer, and so on.

Indie Author

MLJ: My original plan was to get an agent, and seek fame and fortune in traditional publishing. But after fifteen years of querying, with multiple novels and many near-acceptances, I finally decided that I was better off self-publishing the many books I’d written in that time.
The current state of the publishing industry made it an easy choice: I’d been active on Twitter at the height of publishing activity there, and I saw firsthand how many editors got laid off from the big publishing houses during the pandemic, how many agents had to leave the industry due to burnout or unsustainability, and how many trad pub authors weren’t getting any more support from their publishers than the average indie writer got from their friends. Self-publishing is a far more viable option than when I first started querying.

JRW: While my short stories have found homes, my books generally received rejections along the lines of “love your voice, love your work…can’t sell it.”

If you haven’t already said, why did you choose against
alternative publishing paths?

Adam J: I’d love to make writing my full-time job, but I know I still have a lot to learn. I also know that the best way to make money (as any kind of author) is with a back catalogue to build a following on. If I go for indie publishing now, and fail, my chances of making it into traditional publication are even less, and I don’t have many books to market. But if I go for traditional publishing first, and fail, I’ll have a back catalogue of books that I think are publishable to turn around and market as an indie author.
I’ve set myself a milestone: if I write ten publisher-ready books and still can’t get a publishing deal, then I’ll turn to indie publishing.

ML: Mostly due to the reasons I mentioned above. However, I was always open to alternatives if the traditional path didn’t work out. I had a three-part plan: try querying agents first, then go directly to small presses that accept unagented material, then do self-pub if the other options didn’t work out. I’d been querying agents for about six months when I saw that CamCat was having a pitching event on Twitter, and I decided on the spur of the moment to toss my pitch into the ring. They liked it, I sent them a query, and a couple months later I had signed with them. I couldn’t be happier with how it worked out.

MLJ: I found that the support I’d been hoping to get from an agent and a publishing house wasn’t likely to live up to the hype, while I could get similar support from a network of writer friends. Better, in some ways!

If you haven’t already said, what do you see as the main advantages of querying agents, querying small presses, self-publishing or a mix?

Querying Agents

Adam J: There used to be more that traditional publishing could offer over indie publishing, but it’s fairly balanced now. One of the nice things about traditional publishing is that your primary investment is time — even if you don’t get a large advance, you still do not have to pay people to edit your book, design your cover, or (sometimes) run a marketing campaign.
And there are still connections to bookstores, school visits for kidlit, or major conferences that traditional publishers can get, which indie publishers may find more difficult. However, with indie publishing, you have full control, and everything can happen much faster: when you are ready to publish your book, it gets published.

MS: A benefit of having an agent is that I no longer have to focus on a sub list. She reaches out to editors, checking in with me on the way to see if I have input, and handles all that. It takes a load off of me so I can focus on writing, and leaves open the possibility of landing a contract that will be more financially beneficial to me.
Small press, while it means me still handling my own subs, has a faster turnaround time. There are also smaller advances (or sometimes no advances), but the contracts are often one-book, meaning you can easily change your mind after your first book if the experience doesn’t work for you anymore. Indie gives you complete control, if that’s what you’re looking for.

Small Press

ML: The main advantage of working with an agent is that they help authors navigate the complexities of the publishing process and also give them opportunities to get their work in front of publishers and editors who wouldn’t otherwise look at it.

Querying small publishers directly cuts out the middleman and spares authors the agony of finding an agent (not just any agent, but the right agent), which really is a brutal slog. For books that don’t necessarily fit the mould of whatever mysterious marketing trends agents are currently looking for, this can also be a good alternative.

Self-pub gives authors the most control over every aspect of the process, from book design and editing to income from sales.

Indie Author

MLJ: Agents can (hopefully) get you a contract with a big publisher, who will (theoretically) spend a lot of money on making your books famous. Small presses are more likely to accept your manuscript than the big publishers. Self-publishing gives you all the control you could ever want over your own work: you can publish a book any time you want, with no gatekeeping in the way. Doing a mix of both can get you the best of both worlds.

JRW: mixing both provides me with more visibility and flexibility.

Again, if you haven’t already said, what do you think are the cons of querying agents, small presses, self-publishing or a mix of both?

Querying Agents

Adam J: The downside to traditional publishing, aside from there being so much luck involved, is the timescales. Querying will take months, then subbing may take months after that, then your book must be slotted into a publishing schedule, and maybe your book comes out two years after you actually decided it was ready to publish.
I exaggerate a little, and certainly smaller presses who accept unagented submissions can move faster, but the timescales are still quite long.
For indie publishing, the biggest downside is the huge investment in both time and capital required. That’s not to say you can’t get lucky and become a runaway success, but if you truly want to make money, you need to put money in, for a good editor, cover designer, marketing campaign, and anything else you feel would give you and your books a boost in such a crowded market.

MS: I accidentally put a couple of cons in the last question, but really Adam hit a lot of what I’d say. I’ll add for agents that if after you sign with an agent, you decide you want to write something that’s outside of what they represent, you could find yourself looking for supplementary representation, or possibly looking for a new agent, which takes time you could spend writing.
Smaller presses can also sometimes be a total unknown, or collapse after years of success if the wrong person leaves.
Indie can be a huge gamble, particularly if you don’t have a good support network to guide you away from bad decisions that are marketed as easy solutions.

Indie Author

MLJ: Agents have more writers clamoring for their attention than they could ever take on, and your odds of getting an acceptance are low, even if you do everything right.
Small presses have a smaller reach and smaller budget than the big publishers; sometimes all they’re saving you is the hassle of putting the book together into a final product yourself.
Self-publishing comes with no one to tell you no – for good or ill. If you publish a book full of errors with a terrible cover, because you didn’t get enough feedback from others (or didn’t listen to it), that’s all on you.
Going the hybrid route can be both time-consuming and tricky to orchestrate, with far more balls in the air. Best of luck, everybody! Make your choices with eyes open.

Small Press

ML: Querying agents is a slow, agonizing process that requires a lot of time and mental/emotional energy. Even if you do get a yes from an agent, they might not be the right fit for you or your book. I’ve known several authors who went through multiple agents before finding a good match. As gatekeepers in the publishing industry, agents are also going to filter out books that they don’t think they can sell easily in favour of whatever they see as marketable and on-trend. This means a lot of interesting and innovative books will never make it out into the world if querying authors decide to shelve them instead of trying alternative paths.

Working with small presses directly can have pitfalls for authors who don’t have access to legal knowledge or resources. Without an agent, you’re more likely to end up signing an unfair contract. (I strongly recommend using the Authors Guild’s contract review service if you go this route.)
And of course, small presses have more limited resources than the larger publishing houses that agents tend to work with. That translates to smaller advances and less of a marketing/production/distribution budget for your books. However, not all small/indie presses are created equal in this regard! Some of them offer an impressive amount of support for their authors in all those areas.

Self-pub requires a ton of time and business smarts that not all authors necessarily have (looking significantly at myself, here). If you want professional editing, cover design, advertising, etc., you’ll need a significant budget, too. Some of the horror stories about Amazon pulling the plug on KDP authors and holding their earnings hostage for inexplicable reasons also give me pause, although I know KDP isn’t the only player in town when it comes to self-publishing.

Indie Author

JRW: The effort required to stay current with recent publishing trends in both magazines and self-publishing is not very different, and striving to gain visibility without spending my life on social media is sometimes a challenge.

Has ‘marketability’ of your writing influenced your publishing path?

Adam: You can get: ‘amazing book, wonderful, but too different and we don’t know what to do with it.’
If you don’t fit the definition its very hard to market. If you have runaway success they all want it because there’s a market for it.

JRW: I have run into this with indie competitions. ‘Excellent writing, different take on this concept, we’re cutting it in the first round.’
These are the competitions dealing with reviewers. They don’t seem to be interested in stuff that’s all that different from trad pub.

Do you identify as marginalised and has that influenced your publishing path?
Does the level of innovation in your writing influence your path?

MLJ: I write my characters inclusive to resonate with everyone as much as I can. I don’t have to care if an agent resonates with it.

JRW Gay couples, lesbian couples, bi couples, throuples, I write them all.

Adam: The fun of writing fantasy is you get to just play and be as representative as you feel like. This is the yellow civilisation, this is the green civilisation —we don’t have to do this anymore. My first book had a female lead and people said ‘you can’t do that.’ -doesn’t apply now.

Have Publishing Industry changes impacted your choice of publishing path?

MLJ: I self published because I gave up on that long list of agents. Everything I’m hearing about the industry now is not what I was told it would be previously. So I’ll self publish while all that is going on and wait till things change.

Adam: I started querying in 2020, first book, so I don’t know any different.

JRW: I started in the 90’s. You could directly query a lot more publishers. I did nonfiction for local journals, just before electronic submissions kicked in. Still the same thing, ‘love your voice/ work/ can’t sell it.’ Jamie Ford sat me down at a workshop and said, “You’re 90% there. You should be trad publishing.” I was going to query, but it was 2020 and we know what happened next.

ML: I came into this right before Twitter fell apart, summer 2022. Started to establish myself in Twitter #WritingCommunity, was finding all these agents and writers, then it crashed and burned. I slid in right before that happened, finding my publisher through a Twitter contest.
A friend was doing one pitch contest on Discord -DVPit- but it was impossible to keep up with and it sounded terrible.

JRW: That’s the element of luck. I was all set to do a big break through reading. A few day’s before the ceiling of the bookstore fell. There is such an element of luck.

Did any Other factors influence you?

JRW: I went to an editor panel with several friends, small press, self pub, all in between, all middle aged ladies at a convention in 2012. We walked out at the end going, “New York does not want us” in 2012.

Were there any surprises on your publishing path? Good? Bad? Did they affirm your choice, or did you stick to your guns despite them?

MLJ: I was a little surprised how hard it was to get an agent since everyone was saying I was doing everything right. I was surprised how little support publishers were giving.
The promise was you would have more people on your side who would make you more successful. Then a big book got 4k for a year to get by and I thought really? That’s not the dream I was promised! So maybe its not that different to go it myself.

JRW: If you can crank out two books a year, in the 90’s, it was a nice living. A friend’s joke was, “Oh that’s Conan the Hot tub. That’s Conan (elsewhere).”
A friend of mine was part of a group of later, middle-aged women midlist writers who reliably turned out 2-3 books a year and hit their deadlines. In about 2008 they decided to form an indie co-op that became the Book View Cafe in order to promote their work. Shortly after Kindle, Smashwords, and then Draft2Digital kicked in. That was when self publishing really took off.

MLJ: All those new indie options made it professional and easy at the same time. Before all the authors had to be on Tik Tok or whatever. Nowadays even the trad authors are pressured to self-promote just like the indies, so the publishers can save some money.

MS: Now if your book is indie its no longer true its dead to trad. If its not identical to 90% of what’s out there -women’s/ romantic comedy- they won’t take it. Most people don’t have the money to make a self pub book popular enough to be taken on by trad publishers.

JRW: Some are spending 9k to make 10k. That’s the deep dark secret of 20BooksTo50k.

MLJ: Amazon does prioritise books that sell better to show up more in ‘you may also like.’

Adam: Its never been easy. Entrepreneurship has always been hard. Some paths will cost money and be better than others but there are paths.

Querying: what is or would be your limit of queries sent before you shelve a book? Is that a factor for you? Or is how many books you shelve a factor?

Adam: ‘10 books. If I have 10 books that haven’t made it, I have 10 books to publish.

MLJ: I didn’t have a limit because 15 years ago I thought that was the way to go. So I didn’t consider change till I heard how the industry was changing.

MS: I don’t have a set number for sub. When I’m done I’m done.

MLJ: I never had a set limit for querying, since the plan was to keep going until I got there. I sent out hundreds of queries, for multiple novels. It was only in the pandemic era when the publishing industry started visibly changing that I decided to switch gears and throw all my efforts into the indie side of things.

What advice would you give on choosing a publishing path for a particular book/ series?

MLJ: I’d tell my earlier self to seek out more writer friends earlier, and do more networking. I didn’t have writer friends. I didn’t know there was a writer club in town until I’d published my first book. The friends I have now across the internet would have been so helpful earlier on. Yes you’re good at writing. But getting someone else’s feedback is always helpful. There will always be people who know stuff you didn’t realise you needed to ask and who have suggestions you wouldn’t have thought of.

Adam: Read more. Read 50 books a year. I did it last year, MG books. If you don’t read you will not know what works and what doesn’t work. I’ve seen a marked improvement in my writing since reading those books. Like a lot of people I thought I’d read them all. I read all the genres.

MS: One piece of advice that always make me cringe a little bit is read widely in your genre. It gets pushed so hard the genres collapse in on themselves. You can tell when you’re reading a romance book by someone who only reads romance books and they always sound alike. I would say its equally important to read outside your genre and to be aware of your genres conventions.

JRW: Ask yourself what you really want–and decide which path is most likely to provide that option

ML: I would say to start by checking out resources like this that break down the different paths so you know what the different options really entail before you get started: https://janefriedman.com/key-book-publishing-path/.
And be cautious about some of the advice that’s out there in the various writing communities online, which can be misleading. For instance, one thing I come across a lot is this notion that getting an agent or going self-pub are the only viable options. Hardly anyone is talking about the route I went, selling directly to a small press.

Adam’s website

Maggie’s Website

Megaera’s website

Mara’s website

Joyce’s Website

Twitter: JoyceReynoldsW#1

Blue Sky

Stay In Your Lane -Defined by Vaela & Micah

Every book should have diversity. Every book that shows our world or a world like ours, should have it. And that’s why it’s important to distinguish between – writing a marginalized character vs – writing the struggles of a marginalized character.

Basically, write your Black or Indigenous characters, but don’t write their oppression and their struggle against it unless you are a member of that group. If you haven’t experienced that struggle, it is not your place to portray it as though you know it. You don’t.

You might know what their oppression looks like from the outside, but don’t try to tell stories that quite literally aren’t yours. That’s not diversity, that’s appropriation.

Even when simply putting marginalized characters into your books, it’s a good idea to hire a sensitivity reader of that character’s community. Sensitivity readers can stop glaring flaws and offensive depictions, and can enrich and add to a marginalized character with their own experiences and input.

Research is of course always important. And here it’s necessary that it’s not a matter of “how much research is enough,” but rather that research is a process. Learning about other identities is a continual process, and one that is usually never finished. But it’s well worth it.

You can read Vaela and Micah’s full thread here.

Know Why You’re Writing This Marginalised Character

Before we dive into the writing of diverse characters, I think its important to be clear about which diverse identities you’re including and why. Intent gives you purpose, and guides how you go about completing a task. So consider: are you writing a marginalised identity to:

Have people in your story world resemble the diversity of humanity in real life?

Have marginalised readers pick up your book and see themselves on its pages? And realise this isn’t yet another book about other people, its actually about them too?

To spread awareness (of any particular?) marginalised people’s existence and or to normalise their presence in fiction?

To give non-marginalised people the chance to emotionally connect with/ relate to/ sympathise with marginalised people they may not interact with in real life? (This is easier when you’re writing own voices, but likely if you’re an empathetic writer, though I’d recommend a sensitivity reader if this is part of your purpose or inclination.)

To subvert, challenge or destroy stereotypes with more rounded, more authentic representation of a certain identities? (Great, though again I suggest a sensitivity reader to help you with the ‘authentic’ part).

Write Inclusively

When you first plan characters, think outside the box of your own identities, life experience and upbringing. Every character who sets foot on the page is an opportunity for diversity. That assistant might use speech to text technology to make notes because they’re dyslexic. That autistic side character may hesitate to join the party because bright lights, loud music and crowds make them deeply uncomfortable. The friend your MC confides in may bounce from one topic to another at great speed in conversation, because they have ADHD or are in a hyper stage of bipolar.

Job one on my writing diverse characters list is: look for opportunities to incidentally reveal that a character is in some way a marginalised person. If you do this for multiple identities, you could tick the ‘writing a world as diverse as our own box’ —even if only minor characters in your story are diverse. You’d also be raising awareness of and normalising the existence of people with these identities, and letting marginalised people glimpse themselves on the page. Sure, this is surface and entry level stuff, but if you’re new to writing diverse characters, this is all it takes to get started.

Writing Inclusive, Non-alienating Descriptions

To ensure you do write inclusively, its good to monitor if there are any times in your story when a marginalised character is singled out or alienated from the other characters (or the reader). Some of these times may reflect prejudice, bigotry and or discrimination in the world of your story, as you intend. But some may not.

For example, describing the appearance of people of colour and not white characters. Not commenting on white characters accessories, but being sure to point out the character wearing a turban or hijab. Or not describing what the white kids eat at lunch time, but mentioning the ‘strange’ meats in sauces and green or purple, crumpet-like bread the African kids are eating.

If you only describe the appearance and culture of characters who aren’t like you, you’re positioning them so its obvious how ‘other’ and ‘different’ and ‘not like us/ the other characters’ the marginalised characters are. You’re positioning them to be isolated from fellow characters and the reader the moment you introduce them. So when it comes to describing marginalised characters, try to evade double standards in what you do and don’t mention about appearances and culture.

Write Fully Rounded Diverse Characters,
Not Defined by their ‘diverse’ identity

Focus on the big picture of your ‘diverse’ characters —initially. Consider their family, friends, foes, hopes, dreams etc. Don’t let what makes them different define the way you write them. Give them strengths, weaknesses, backstory, aspirations, fears, loves etc —like your other characters. And don’t let how they are ‘different’ define their aspirations, fears, backstory etc. Let characters exist beyond the manner in which they are marginalised.

What this Means (in part) for Disabled Characters

Yes, if your character is disabled/ neurodiverse, this may mean researching assistive technology and or strategies/ adjustments/ treatments that enable your characters to pursue their dreams despite the limitations of their disability. Don’t just write them off because they’re vision impaired, or ‘its too crowded for an autistic person to function’ or ‘all soldiers must depend solely on brute force to survive battle’ —must they?

I would love to see more disabled characters finding ways to work with/ around their disability, at the heart of stories action. So often in action movies, fantasy, SciFi even in romance you see the muscular man. The thin woman. Physically ‘attractive’ people with 20-20 vision, all of their limbs and senses functioning at full capacity, unimpeded by chronic illness or disability, their brains mostly co-operating with them.

There’s a saying, ‘you can’t be what you can’t see’. And I’ve seen so few fictional characters readers with disabilities can aspire to be. So please include disabled characters in your books! (But not to inspire or motivate other characters/ the reader. There’s a lot of issues with that, explored unapologetically in this article by a disabled author.)

Write Your Diverse Adult Characters as Adults

Certain marginalised identities get infantilised. My open, honest expression of ADHD excitement and impulsivity often leads people to view me as 15-20 years younger than I am. Sure, I can be a big kid by nature (and enjoy doing so). I also hold the views of the highly educated, extensively life experienced adult that I am. But people who stereotype me because of my ADHD, or mistake my unfiltered ADHD behaviour for lack of intelligence, are oblivious to my adult capacity.

Asexual people can also be infantilised. Like they aren’t ‘grown up enough’ to want to have sex with other people, or to be sexually attracted to other people. Just in case anyone is confused: having sex with other people is not a milestone of maturity that must be crossed to claim adult status. A tiny minority of the population do not experience sexual attraction to other people (or don’t unless they’re already emotionally intimate) and may not wish to have sex with other people *waves in asexual*.

Then there are disabled people or older people, particularly those dependent on carers to, for example, get in and out of the shower. Just because a person’s physical capacity is reduced does not mean they lack the maturity, life experience and knowledge —the intellect— of the adult they are. (Alzheimer’s and Dementia being more variable, grey categories here).

Then there’s white characters longing to save poor, ‘helpless’ people of colour —the white saviours I warned you to avoid writing in my diverse characters big don’ts blog. I suspect all white saviours are infantilising people of colour.

So even if your marginalised character appears to you ‘child-like’ in some way, don’t lose sight of the knowledge, experience and intellectual capacity they also have as an adult —and write it.

Know the Specific Identity
& Write It Authentically

Stop assuming (anything). Step out of your shoes. Put yourself in your character’s shoes. This is where you start researching the particular identity/ marginalisation you’re representing.

What May be Normal for That Identity?

Once you’ve tried to step out of your life experience and the expectations it and your upbringing, culture etc have given you, its time to research what may be normal for the diverse identity you are writing, so you can imagine their world. I stress ‘may be normal for that identity’ because as they tell us in teacher training, ‘if you have met one person with autism, you have met one person with autism.’ People’s experiences will vary, even among people with the same diverse identity, especially if that person/ character is marginalised in multiple ways.

Possible Examples of Marginalised Identity ‘Normal’

-always eating with your hands (some people of colour).

-using assistive devices to read/ write/ view/ move (some disabled people).

-carefully pacing yourself with physical activities and balancing them with rest every day. And avoiding prolonged standing or sitting (disabled people with chronic/ invisible illness, particularly chronic fatigue and long covid).

-a preference for uncluttered, neutral coloured, quiet living, working and digital spaces (actually autistic and ADHD people).

-a predisposition to assume they have done something wrong, or their company is unwanted (some forms of anxiety).

-struggling to get out of bed or perform physical activities because you’re so weighed down by the pointlessness of everything (one experience of depression).

-characters buying and wearing clothing and accessories irrespective of their biological sex (many trans and some nonbinary people).

-being attracted to and dating people of the opposite or multiple genders or being in a romantic/ sexual relationship with more than one partner (LGBTQIA+).

-not being sexually or romantically attracted to anyone, period (some asexual spectrum people).

How Might A Marginalised Identity
Not Conform to Majority Expectations?

As marginalised characters live different versions of ‘normal’ than non-marginalised characters, there are times when marginalised will not behave the same way as other characters. They may not even behave in ways many people expect, or defy other character’s (and the reader’s) expectations. So in showing each diverse person, consider the contexts in which they may present/ feel/ think/ behave differently to non-marginalised people.

A Disabled example of Nonconformity

Your characters attend a public event where everyone is expected to stand. It may be a person in a wheel chair who remains seated. Or maybe its someone with an invisible illness like long covid, chronic fatigue syndrome or fibromalgia limiting their stamina and making prolonged standing (more than a few minutes) painful, uncomfortable and or impossible. (I really should have got medical exemption from yard duty and standing during assembly when I had long covid).

A Gender Diverse Example

Its a special occasion. Men are wearing suits and women are wearing fancy dresses. But do all women want to wear dresses? And what are nonbinary people wearing? Are there feminine and masculine suits? Suit jackets with skirts? Is the gender of everyone’s formal clothing matching their biological sex (assigned at birth)? And as a nonbinary person, let me tell you that gender diverse people’s clothes may not fit their figure as well as cis people’s —where our gender identity expression and biological sex don’t match.

Asexual Spectrum Example

Your characters are teenagers and everyone is gossiping about their boyfriend, girlfriend or whoever they have a crush on. Except the asexual, aromantic character. They don’t seem to ‘like’ anyone in the same way people ‘like’ them or that their friends ‘like’ people of the opposite/ same sex/ both. (*waves in asexual aromantic*)

First Nations’ People Example

Its the characters national country day. Everyone is celebrating the public holiday with family meals. Except the country’s First Nations people, who are holding a national day of mourning and commemorating being invaded and colonised. (*jabs finger at Australia and tells their country to get its shit sorted*).

ADHD Example

Technology is being a nuisance in your characters office. Everyone is logically trying to problem solve it, aside from the wildly impatient ADHD character. They keep leaping between multiple solutions, forgeting what they’ve tried, why it didn’t work or what to do next. And get frustrated because tech is moving so slowly they’ve forgotten why they had that tab open and the three things they planned to do after it. Because when things move slowly they swiftly become bored, then distracted by multiple other things. (*waves in ADHD*)

Mind Your Words

Two Wrong Words about a Nonbinary Character= BAD

Without context and knowledge, you can incidentally, needlessly slap marginalised readers in the face. I experienced it in a review of my debut. The reviewers clearly, sincerely wanted to encourage nonbinary main characters. But in reviewing my book, they criticised the ‘gender reveal’ of my nonbinary MC.

If you know anything about current transphobia, you’ll know that since 2008, ‘Gender Reveal Parties’ have celebrated how a baby’s biological sex ‘reveals’ their gender identity. You’ll know such a perspective erases the existence of trans and nonbinary people and recognise ‘gender reveal parties’ as the transphobic practice they are. But if you didn’t know this -words matter, history matters and context matters.

I can give you additional context here too. No-one ever refers to the ‘gender reveal’ of a male or female character. Because we know the character will be male or female. We expect it. Its ‘normal’. And sometimes we forget nonbinary people exist, and they’re never main characters, so when we come across one as a main character its like, ‘Oh yeah! Nonbinary people exist (and can be characters, even main characters). I forgot! What a revelation!’

Here I am, being referred to by the wrong pronouns (by people who know my pronouns) and mis-gendered by strangers everyday in my real life. And people are reminding me in writing that most people forget I exist.

That’s how easy it is as a non-marginalised person, ignorant of context, to blunder in and accidentally slap a marginalised reader with a mere two terrible word choices.

Research Your Words

So if you’re about to describe a marginalised character… stop.
1. Did you research respectful terms to describe them first?
You’ll find plenty in White Writers Writing POC and for not using ableist language; (after the list ableist terms) this list of better alternatives.

2. Did you Google the adjective you’re considering describing a marginalised identity by and that identity’s name together? This is a simple way to get context you may lack from not having lived as a marginalised character, or not belonging to the same communities as they do.

Inclusive Fiction Examples

Shallan (PTSD rep) and Renarin (autism rep) in the Stormlight Archives. These are interesting because they are point of view characters, and Brandon Sanderson didn’t write either as own voices. He did however do his homework and wrote both the impact of Shallan’s experience of PTSD and Renarin’s autism sensitively.

Lupin (Netflix) has a male main character who’s black. He’s French (as is the show), street smart (tough upbringing), charming, clever, highly capable and a loving (ex) husband and father, countering many negative stereotypes of black men.

Locke & Key (Netlix) has a secondary character who is a double amputee. Yet how he lost his feet isn’t mentioned, because this isn’t a story about his experience as a disabled person. Its a fantasy story in which he ends up playing an important role.

People To Help You Write The Other

Listen To People

Your writing community (on whichever social media/ Discord servers you talk to writers) is a good place to listen to people marginalised in the same way as your characters. Try searching hashtags like: #neurodiverse, #actuallyautistic, #ADHD, #ChronicIllness/ #longcovid, #disability, #BLM etc.
On Blue sky, hear what life is like from posts by people living it on; neurodiversity, chronic illness, disability, LGBTQIA+, BlackSky.

If you’re a children’s fiction author, you may be able to talk to marginalised people by submitting a form to Inclusive Minds, a paid service connecting children’s book authors to marginalised people, whose experience and advice can help you write their identities authentically.

More Resources to Help You Write Neurodiverse Characters

Writing Diverse Characters Part 1: Big Don’ts

Writing Diverse Characters Part 3: LGBTQIA+

I Think I’m Neurodiverse (ADHD?)
Managing my Neurodiversity —ADHD

List of Neurodiverse Definitions and some behaviours by Best Resources for Achievement and Intervention re Neurodiversity in Higher Education.

Writing Characters With Autism by Disability in Kidlit.

Salt and Sage Books Incomplete Guides book series on writing asexual, black and autistic characters, fat positivity and sexual assault, written by own voices authors.

Writing ‘Diverse’ Characters 1: How Not To

January 8, 2024 / Elise Carlson / 0 Comments

I assume you’re here because you’re interested in writing diverse characters and inclusive books that represent the human diversity of our world. You probably aim to write a range of identities and character backgrounds sensitively, respectfully and in a way that prompts diverse readers to be thrilled to see themselves in your book’s pages (as opposed to hurt by offensive, ignorant, prejudiced representation). This two part blog, written by a white, nonbinary, aromantic, asexual, neurodiverse, chronically ill/ disabled author, aims to introduce you to or help you evaluate your knowledge of common pitfalls in diverse rep. It contains many links to further reading (by more qualified authors in the case of BIPOC rep) along the way.

Why Write Diverse Characters? -My Identity Reasons

I first drafted this blog around 3 years ago, thinking, ‘I’d like to write more diverse characters. I’d like to not perpetuate the myth that ‘everyone’ is white, and cishet, able-bodied and neurotypical in my books —by only writing those characters. I need to educate myself about many marginalised identities.’

Guess what? As a 90’s child, where ‘queer’ meant gay, lesbian or ‘transexual,’ and ADHD and autism were ‘boy things’, it turned out the world I grew up in was so ignorant and devoid of diverse representation that it hadn’t allowed me to recognise my own diverse identities.

I am one of many people who grew up knowing they had ‘quirks’, which I later realised neatly fit under ADHD. Who thought the differences between ‘man’ and ‘woman’ are vastly over exaggerated and mostly mythical —easy to think when you’re nonbinary). And who thought most adults are obsessed with sex and fixated on romance —easy to think as an asexual who doesn’t experience sexual attraction and an aromantic who’s never been ‘in love’.

I grew up almost NEVER seeing who I was in ANYONE else. To such an extent I didn’t have the words or labels to articulate to other humans who I AM. To this day, many people are mystified by the fact I don’t have a romantic partner. I’m the first nonbinary person most people I’ve met have met. And people frequently underestimate the extent to which my ADHD and, courtesy of long covid, my chronic illness (fibromaylgia) impact my life on a daily basis. This is why I think it would be awesome to see more diverse characters in books.

Writing ‘The Other’ Complications

Our challenge as writers is having been raised in a society built on foundations of racism, white supremacy, ableism, sexism, misogyny, homophobia and transphobia. A multi-generational hangover of deep-seated prejudices makes it so easy (and likely) for us to have internalised unconscious, ignorant bias. And because of that, we’re at risk of perpetuating harmful stereotypes and of alienating and hurting the people we’re trying to include in our stories.

Be concious of how, when and why you set diverse characters apart. I assume we arrived at calling people of colour, first nations, queer and disabled people (including chronically ill, neurodiverse, and people facing mental health challenges) ‘diverse’ because they’re ‘different’ or ‘other’. Different to what? To white, heterosexual, cis and binary gender, able-bodied, neurotypical; aka ‘normal’ people?

Historically to be ‘diverse’ was to be ‘abnormal’, to have something ‘wrong’ with you. Enter white supremacy, sexism, ableism, homophobia etc and prejudice-packed, lying narratives they spawned, like supposed superiority of white, male, cishet, able-bodied, neurotypical people. If you leave diverse your characters out, or highlight their traits -but not those of ‘normal’ characters- or treat diverse characters differently, could prejudice could be in play? What do your critical readers think?

On top of that, you may never have had a face to face (or digital) conversation with one (let alone a group) of individuals sharing many identities you’d like to include in your books. Even if you have, you may never have heard them share, with uncensored honesty, their personal experiences as a ‘diverse’ person.

And while focused on diversity and not representing people offensively, you could fall into the trap of losing sight of that character as a fully rounded human -not limited to and defined by their diverse identity- and fail to write them as that fully rounded human.

How Do You Begin Writing A Marginalized Person Whose Identity You Don’t Share?

Every stereotype we don’t notice, every prejudiced or biased view that was ‘normal’ and ‘mainstream’ when we were growing up is at risk of perpetuating itself in our writing. So what do we need to know to avoid that?

Learn What Problematic Rep Looks Like,
—then don’t write it

Physical ‘Abnormalities’ Are ‘Evil’
Sexism, Ageism, Fatphobia & Ableism

Be conscious of traits you give human antagonists. Consider that in fairytales the villain is often an ugly old witch —and you NEVER saw kindly, wise, older women who were positive characters. Or the villain was wicked, jealous stepmothers —so much so I’ve had primary school students ask me why fairytales portray all stepmothers as evil. And nowhere do such stories comment on the systematic sexism and misogyny that disempowered and made women vulnerable historically, and so often the hero is a man. The message in these tales seems to be, ‘any woman with power is evil’ and ‘all good rulers are men.’

What sort of message does your villain tell readers? If the message is ‘being an arsehole is bad’ —you’re fine. But if the villain is the only person of colour, the only older woman, neurodiverse, disabled or the only plus sized character? (See Dudley and Vernon Dursley for fatphobia). What does that say about those identities, traits and people?

Be especially conscious of traits. Have you noticed how often baddies in films have skin defects, physical ailments or other forms of disability? And until very recently other disabled characters tended to be non-existent in fiction? Looks like a pretty clear message that disabled people are bad.

Have you ever seen villains who move their hands, feet or engage in other rhythmic, repetitive ‘weird’/ ‘scary’ movements? (Especially in cartoons). My (autistic) mother recently pointed out to me that this is stimming, a behaviour autistic and sometimes ADHD people use to regulate our emotions and or bodies when we’re under or over stimulated. So don’t make your only stimming, and by extension, your only neurodiverse character the villain!

(For disability stereotypes to avoid, see this post from the Disability History Museum.)

Marginalised Characters as Villains

If you’re worrying you can’t make marginalized characters villains, please don’t. I’d like to see a lot more neurodiverse and disabled characters represented at all —let alone as main characters— before I feel the world is ready for us as villains (without continuing to stigmatise us).

But if you have neurodiverse/ disabled characters as baddies AND gooddies AND neutral characters and the character who’s technically good but also kind of an obstacle? And you’re representing all your (quite a few) marginalised characters as fully rounded identities? —It follows that some of them may be villains, like Desire in The Sandman (a nonbinary character whom I as an enby viewer loved).

Or you may write deeply flawed/ morally grey characters who also happen to be marginalised. For example, Klaus in The Umbrella Academy, who’s initially a barely functional drug addict, but I LOVE them too. And they’re also a hero —again, balance matters. Or Victor in the same show, again, a deeply flawed character who (spoilers) the world, and also happens to be trans.

Just be careful that ARE writing villains who HAPPEN to be queer/ POC etc. NOT villains because they are gay, or black or a (woman). And this needs saying because writers are STILL getting it wrong. Take the 2016 film Split for example. Mental health challenges make you a serial killer? No, they fucking don’t! LOADs of people combatting a whole range of mental health challenges are NOT murderers. Please don’t blame extreme violence in your writing on ‘mental illness.’ Which leads to the next section.

Mad = Bad & Ableism

How many times have you heard opinions you vehemently object to in recent years and called the person, ‘mad’, a ‘lunatic,’ ‘blind’ or ‘deaf’? Sorry, you’re guilty of ableism 101, differentiating between you and people you disagree with by implying those you disagree with are disabled (I’ve also been guilty of this). I know, it’s so tempting to call Trumpists and TERFs crazy and stupid, and blind to the way the hands they worship bite, rather than feed us all. But it isn’t maddness, and it isn’t blindness. These people are NOT disabled. There’s nothing neurologically different in their minds (with the exception of Trump and narcism).

The difference is that covid minimizers, climate change deniers, TERFs etc are wilfully ignorant. They choose not to know. They choose not to believe. But when we call them ‘mad’ alongside ‘bad’… we’re insulting everyone and anyone who’s ever genuinely struggled with their mental health. We’re insulting people who fight their own mental health to function, by lumping them in the same category as people who are too cowardly or too lazy or too gullibly believing Murdoch media to bother facing reality.

So when your characters describe or respond to your book’s equivalent of MAGA characters, please don’t write them doing so in a way that insults actual disabled people.

Ableist language is still rife in the western world, so for a list of common ableist adjectives to avoid and for more accurate, non-ableist adjectives and terms, see this list from Augsberg University. And for how to respectfully write neurodiverse and disabled characters, see part 2 of this blog series.

Bury Your Gays/ Sad Gays

There’s a history of that one token gay character dying in chapter/ act one, while the cishet characters live on. (For details of a bunch of problematic gay and lesbian rep see ‘Bury Your Gays‘ on TV Tropes, a useful resources for identifying tropes, stereotypes and among them, harmful ones).

If you have a minor character who’s going to die quickly —don’t make them gay. Don’t make them your only queer (or otherwise marginalised )character either.

Yes, a book in which loads of people die and some of them are queer can be fine —provided you DON’T kill off ALL the ONLY queer side/ main characters/ couples. Some of them need to survive, just as some of the cishet ones will —see Bury Your Gays for why this is historically and contextually important.

And don’t just write the ‘sad gay’ who’s sad because of ‘the struggle to be queer’. In looking for competitions I could enter my book in, I was astounded that I, queer author of a queer MC didn’t fit the criteria of an LGBTQIA book competition because… I wrote a civilisation (in an epic fantasy) in which being queer is normal and queer joy is a thing! Life can be shitty for LGBTQIA+ (especially trans) people in the real world. Can you give us some queer joy in fiction?

Queer Rep Resources

For why Queer rep is needed, why queer struggles need to be shown in literature but also why queer people like myself want to see some queer joy, this article on Queer Rep in Media is a good (and brief) summary.

More resources with details of problematic queer tropes:
No Bisexuals and Hide Your Lesbians from TV Tropes.
You’ll also find problematic tropes mixed in among common, unharmful queer stereotypes (all linked to explanations of each trope on the list) on Tv Trope’s Queer As Tropes and Homophobia Index.

Part 3 of this Blog: Writing LGBTQIA+ Characters

White Saviours & Racism

While reading to clarify my understanding of ‘white saviour’ for this post, I came across an article (Content Warning on this one!) about a real life white saviour. A story about a modern white person so convinced of their own good will and superiority that they decided to administer medical treatment to Ugandans (via a charity), despite not having any medical qualifications. Yes, their actions killed patients as well as ‘saving’ them. No, this white ‘saviour’ faced no legal ramifications.

In the articles I browsed, white saviours seem to have in common the desire to help BIPOC, often via charity/ foreign aid (as much to make themselves feel better as to benefit others). This may not be a problem, if white saviours didn’t also believe in their ‘superior’ ability to help BIPOC, whilst ignoring how being heirs of white colonialism and supremacy benefits white people on one hand and failing to see how systems built on both systematically disadvantage BIPOC on the other (as mentioned in this article.)

My current thoughts on white saviours is their racism and white supremacy corrupts, can impair and severely limits their capacity to ‘do good’. So if you’re writing a white person who wants to help others… be careful you don’t unintentionally write a white saviour.

(For more examples of how white saviours may present, see an extensive list of them on Wikepedia.)

White Saviours & Racism Resources

As a white writer living on the land of the Wurundjeri people, land that was never ceded and always was and always will be Aboriginal land (aka as an heir of racist colonialism), this is where I point you to BIPOC people to tell us how to represent them.

But first, if you’re unsure, unclear or feeling ambivalent about how racism may have tainted the perspective you’re writing from, I highly recommend the book White Women, Everything you already know about your own racism and how to do better by Regina Jackson and Saira Rao. (Men and nonbinary people, this book will also give you insights into sexism from a cis women’s perspective, which I found educational as a nonbinary person).

For many resources citing potential pitfalls of white people writing POC, see White Writers Writing POC.

For racial stereotypes (and advice on positively writing POC), see Writing With Colour.

Next in This Blog Series

Writing Diverse Characters Part 2: Gives advice on and provides more resources about how to naturally, respectfully and authentically include neurodiverse and disabled and some POC characters, with inclusive language.

Part 3: will focus on Writing LGBTQIA+ characters, and be published in April.

Cozy/ Comedy Fantasy

Dragonbirth

Genre: cozy epic fantasy set in pre-medieval times.

Cast: Asexual spectrum rep (ownvoices). and gender non-conformity.

Major themes: blind fear & hate vs. good, love and friendship in day-to-day life.

Short Blurb: in a world where dragons & their riders are feared & killed, the life of one devout village huntress is changed forever when she meets a dragon hatchling.

Series info: book 1 of 3, all out now.

Goodreads: link

Book cover
Title: DragonBirth
Image: young woman kneels before grey baby dragon, between two broad trees in a forest.

Dexter & Sinister : Detecting Agents

Genre: Victorian Steampunk

Cast: includes black & queer characters, variable socio-economic backgrounds, a talking cat.

Major themes: capitalism, equality, and societal expectations.

Short Blurb: Solving crimes is hard enough with secret societies and criminal chocolatiers to contend with, but add to that Dexter the talking mechanical cat, and it’s safe to say John Sinister is not having a good day.

Series info: stand alone, out now.

Goodreads: link

Book cover
Title: Dexter & Sinister, Detecting Agents
Image: grey and white cat wearing goggles on its forehead and a green scarf sits looking up and out at the viewer, on a red background.

Duckett & Dyer: Dicks for Hire

Genre: Scifi/ Mystery/ Comedy -recent past Earth & alternate dimensions.

Cast: bi main character.

Major themes: friendship, maturity, growing older.

Short Blurb: They’re not detectives, but they have to become detectives in order to figure out who’s telling people that they’re detectives.

Series info: book 1 of 3, all out now.

Goodreads: link

Book cover (mostly blue toned)
Title: Duckett & Dyer, Dicks for Hire
Image: one detective raises an arm to their neck and looks uncertainly at the other, who thumbs up's the viewer with a crooked, uncertain smile Between them stands a dark, yellow eyed bull flanked by hands with eye balls instead of finger tips.
Bellow the title, a gun shoots a blue squiggle and sparks.

YA Fantasy

Manipulator’s War

Genre: epic, portal, YA fantasy with beginnings in Australia, but mostly set in an alternate world (Umarinaris).

Cast: nonbinary and aromantic asexual leads (ownvoices), other queer, neurodiverse and BIPOC characters.

Major themes: found family, friendship, optimism and visionary leadership vs. adversity and war.

Short Blurb: King Kyura doesn’t want to invade Tarlah. Heir Ruarnon doesn’t want their people invaded and Aussie Linh has no desire to visit another world. But this book isn’t about getting what you want, it’s about people doing their best under exceptionally challenging circumstances.

Series info: book1 of 3 (1-2 out now, 3 on pre-order till April 2024 release).

Goodreads: link

The Call of the Rift: Flight

Genre: YA fantasy alternate history set in 1600s Viking and Spanish settled Canada.

Cast: First Nations / Indigenous rep, queer rep (after book 1 including ownvoices bi rep and lesbian, gay, trans, ace/aro rep.)

Major themes: anti-colonialism, anti-racism, climate change, elemental/ nature-based magic, people’s lives diverging within parallel worlds diversity.

Short Blurb: A rebellious heroine faces a colonial world coming unstitched: in a region tainted by prejudice and on the brink of civil war, 17-year-old Kateiko has to decide what’s worth dying – or killing – for.

Series info: book 1 of 4, all out now.

Goodreads: link

Book cover
Title: The Call of the Rift, Flight
Image: A teenage girl walks alone through a dim, misty rainforest, carrying a spiked flail and magically lifting tendrils of water from a creek. The girl has brown skin, long brown hair blowing in the wind, and an arm tattoo of a bird and flowers. She wears a brown belted tunic, green leggings, tall fur-lined boots, leather bracers, and an embroidered red cloak. A line at the top says, 'The wind dies a thousand deaths, and still it returns.' "
and thanks so much, by the way!

Adult Dark SFF

My Lord (first in series)

Genre: gothic horror/dark fantasy-ish set in 13th century Eastern Europe in the fictional country Tristanja.

Cast: Bi & pan rep, demiro, polyam, and PTSD (ownvoices for the queer rep/polyam and PTSD).

Major themes: overcoming/healing from PTSD, rediscovering your sexual self after sexual trauma.

Short Blurb: Meya is Lord Deminas’ latest chambermaid and favourite source of blood to drink. To avoid being his next servant to vanish, she must uncover all of Castle Tristanja’s dark secrets.

Series info: 1 of 2 related books, both out now.

Goodreads: link

Book cover
Title: My Lord
Image: naked young woman kneels in a bare stone room, strange red markings on the floor around her, a gold goblet before her, her hands raised and long, dark red hair flowing over her pale skin.

Everything Is Wonderful Now

Genre: dark urban fantasy set in modern times (the 90s-present years) in small American cities.

Cast: includes a trans man, mental illness/ disability and DID rep (ownvoices).

Major themes: religious trauma, reversing the light vs dark narrative (dark’s good, light’s evil), angels & demons.

Short Blurb: Follow a trans man trauma survivor from childhood to adulthood as they face not only an evil angel, but also a sinister entity in their own head.

Series info: book 1 of 2 out now.

Goodreads: link

Book cover
Title: Everything is Wonderful Now
Image: upwards angle at a stone statue of a bare chested man, one hand raise to stone, wind blown locks, eyes wide, mouth open to cry out.

Dead Lake (Dark Adult SFF)

Genre: Dark Paranormal Fantasy set a few 100yrs from now in a post-apocalyptic world.

Cast: includes a lesbian and many POC characters.

Major themes: simple living, with money, rulers & religion no longer tolerated.

Short Blurb: An eviction. A stolen gemstone. A hidden network. Will retrieving her precious obsidian get Tricky killed.

Series info: book 1 of 2 out now.

Goodreads: link.

Book cover
Title: Dead Lake
Image: wooden slatted side of a house before golden, sunlit lake waters, a thin tree rising on the right.

YA SciFi

The Goodbye Kids

Genre: YA sci-fi Futuristic setting near future (2165)

Cast: A plus size Jewish protagonist (ownvoices).

Major themes: a morally gray hero, how where we grow up influences our choices and perspective.

Short Blurb: Jorden Lund isn’t the chosen one, he’s the guy who volunteered. His suicide mission: build a bomb, destroy a space ship and save the world. Falling in love was not part of the plan. Now completing his mission means sacrificing the girl he loves.

Series info: book 1 of 2 out now.

Goodreads: link.

Book cover
Title: The Goodbye Kids
Image: space background, planet in sky, silhouette of girl and boy leaning towards each other in foreground, with full body silhouettes of them running hand in hand across a platform, a burning ship in space beyond them.

Adult Fantasy /- SciFi

Gathering of Four

Genre: Scifi/Fantasy set in the US – 2,000 years from now.

Cast: Black, Latino and queer leads.

Major themes: accepting oneself/found family, bringing down corrupt govt/upsetting the status quo.

Blurb: In the distant future, the United States is long gone… the Realm stands in its place… and one peasant woman will become the catalyst for a revolution. The Serrulata Saga is a speculative dystopian sci-fi adventure you won’t want to miss.

Series info: book 1 of 5 out now.

Goodreads: link.

Book cover
Title: Gathering of Four
A young black woman with short hair stands in a red dress, her hands raised either side, flames burning from them. A young woman stands with a revolver raised in her right hand on the left, two men standing on the right, one holding a raised sword.

Kotov Syndrome

Genre: Dystopia/Sci-Fi World/Era: Near future Earth and alternate universe intersecting with it.

Cast: mental health rep (own voices), lesbian lead.

Major themes: What is a human? How much impact can one person have on the world? Bigotry & othering.

Short Blurb: Local dumpster fire has her ex come back into her life. Plot twist — the ex is an android.

Series info: book1 of 2 out now.

Goodreads: link.

Book cover
Title: Kotov Syndrome
Image: a young woman's face, anime cartoon-ish style, her face framed with a long brown fringe on both sides and over her nose, her eyes glowing red, her mouth tiny and open.

The Flying Tiger: Mortal Engine

Genre: urban fantasy/Sci-Fi set in the multiverse.

Cast/ Major themes: include Dissociative Identity Disorder, Autism, kink/body positivity, and being transgender/queer by a trans, neurodivergent POC author with DID.

Short Blurb: Years after a senseless murder, an autistic transgender man and his young teen nephew hope to finally find closure. Instead they are whisked away into the vast multiverse where a mentally unstable robot is set to activate the Mortal Engine.

Series info: book 1 of 2 out now.

Goodreads: link.

Book cover
Title: Mortal Engine
Image: a man with glowing red skin and a black beard stands with fanged mouth open, swathed in a bright blue, interior glowing red cloak, with neon lines waving around him.

A Swift Kick to the Thorax

Genre: Future, alien planet

Cast: LGBTQA+ main characters (except the gorilla, though apparently no one’s asked him 😉 ).

Major themes: good vs bad, interplanetary culture clash.

Short Blurb: When space poachers release Earth animals on an alien world, threatening a fragile new alliance, they anger the wrong people: a veterinarian, an accountant, and a furious sign-language-fluent gorilla are coming for them.

Series info: stand alone, out now.

Goodreads: link.

Book cover
Title: A Swift Kick to the Thorax
Image: floating manuscript pages over outer space background, pen floating below, bite mark in bottom right corner of pages.

Amazon, Libraries & No Thanks Kindle Unlimited

When you’re an emerging Indie Author and readers don’t know you from Adam, entering your book in Amazon’s Kindle Select program (into Kindle Unlimited -KU) is very tempting. It has lots of readers, your book is discoverable and you will get some page reads (even if you don’t market much or aren’t very good at it). Conventional author wisdom seems to be that its a wise financial and discoverability move for a first time author. But my books are not in Kindle Select (despite that at the time of writing I’ve only published 2/3 of my debut trilogy).

Growing up, I was the child of a single parent. Money was tight. We got most of our books from the library. I like libraries. I like that they’ve always made access to books, digital resources, the internet, printing and apparently now recording studios, an equitable experience. So when I published my first book I wanted libraries to have access to print AND digital copies. But no library could have digital copies in their catalogue if my ebook was in Kindle Select (KU).

No matter what research I did, or advice I considered, for me it was the ethical point that got stuck in my head. I’m a full time teacher and can pay off a home loan on my own salary (which is great because I don’t have a partner and am not inclined to want one). I’m privileged enough not to depend on writing to earn a living. Which is awesome, because as a debut author breaking even financially is a challenge. So I’m in a financial position to stick to my ethical guns and make my ebooks available to libraries.

Non-Amazon Stores

Then there’s stores. I don’t like Amazon. When I got long covid, I got banned from having books available on pre-order on there for a year. That’s because Amazon’s highest priority is customer experience (read ‘profits’). Authors don’t matter to them. I’ve heard of authors having their accounts deleted, their books taken down (before I left Twitter, more on that below). It doesn’t have authors’ backs.

So I researched bookstores and looked at alternatives. I discovered (I’m Australian so neither of these is really a thing here) that Barnes & Noble have a reader subscription service (Nook) and Kobo has Kobo Plus, and unlike Kindle Select (KU), neither of those subscription services is exclusive. So you can have your ebook on Nook, and Kobo Plus AND in libraries.

And there are so many other (non-exclusive) ebook subscription services online (Scribed & Hoopla for example). Sure, these services don’t make your book as visible as Kindle Unlimited, but they have less books for yours to get lost competing among, so I figured why not?

Cover of fantasy book Manipulator's War, purchase icons for ebook: Kindle, Apple, Nook, Kobo, Booktopia, Scribd, Vivlio, Smashwords, Indigo, S24, Thalia, Bucher De, Angus & Robertson.Paperback purchase icons: Barnes & noble, Waterstones, Booktopia, Angus & Robertson, Bucher De.

The above isn’t all the digital stores my first book is on, its just the main ones. If I was in Kindle Unlimited, you’d only see the first two ebook icons. That’s quite a few stores of difference.

Eggs in One Basket

I also don’t like a ‘put all your eggs in one basket approach’. Not just in terms of one basket, but also an American and far from global basket. Of the icons above, the blue icon is a French store. 24S is a Spanish owned subscription service. Thalia and Bucher De are German, and the green Rakuten Kobo is Booktopia, Australia’s biggest online bookstore. Not everyone will choose to buy from an American company when they can support stores in their own country and not everyone is fond of Amazon.

But the biggest problem of putting all your eggs in one baskets is it leaves me vulnerable, should the basket break. Which leads me to Twitter.

Goodbye Twitter, Hello Mastodon & Blue Sky

Perhaps a pressing author ethical dilemma for many authors of late has been the demise of Twitter. Twitter’s #WritingCommunity was my first social media home as a writer. Privately I was on Facebook (which I’ve never liked). On Twitter I found a space to network with, befriend, learn from and help my fellow writers. It grew beyond that. When I identified as both queer and neurodiverse, I saw great overlap between the writing community and those communities.

Twitter was a space where I could listen to voices I’d never heard before. Among them were, black people in America, BIPOC the world over, people with chronic illness, mental illness, neurodiverse and gender diverse people. It was a fabulous space for both professional growth as an author and personal growth as a person. Then Musk bought it.

True, algorithms always made your visibility and how easy it was to find friends on your feed variable. But Musk’s take over mostly made me feel more invisible than ever and made a concerted attempt to banish familiar faces from my feed. Familiar faces and good friends started leaving or stopped tweeting. The TERFs, transphobes, Trump supporters, and raging anti-science tribes started sounding louder. Twitter seemed to be competing with Truth Social to become the leading social media hate space.

Time To Go

I thought it would be transphobia and homophobia that drove me off Twitter. I’m the kind of person whose inclined to tell people where they can stick their shitty opinions. And I didn’t want to go on Twitter to be outraged or get angry or to argue. But that wasn’t the final straw.

A tweet about who was profiting from every fifth tweet (now a paid ad tweet) on our feeds stopped me tweeting. Fund the alt right? Fuck that! Sure, you can get an ad filter (which I did -and it helps a lot as someone with ADHD and visual sensory issues). But as Twitter became more like what I imagine Parlour or Truth Social stands for? I didn’t want to be associated with that place or its owner.

Hate Site

Since then and before publishing this blog @GasTheJews was revealed to be an entirely acceptable Twitter handle, when it was reported for hate speech multiple times, and Twitter claimed it wasn’t breaking any of their rules. Because did you know it isn’t hate speech if its in your Twitter handle instead of a tweet?

Text from tweet by Elliot Malin: Account @gasthejews6969 has not broken @X's safety procedures because 'gas the Jews' notably is not 'threatening violence against someone or a group of people' and definitely isn't 'celebrating or praising violence' whatsoeverAnd @ElonMusk wonders why advertisers left.Screenshot of Twitter's reply to a reported account: Hello, After reviewing the availible information, we want to let you know gasthejews6969 hasn't broken our safety policies.

The Kid’s Aren’t Safe

Then came the move (nearly two months after I ceased using my account), which persuaded me to delete it, cutting off multiple friends I don’t see on any other platform. My country’s Esafety Commissioner concluded that Twitter doesn’t have even the most basic child safety measures in place, to prevent not only child abuse but also child sexual abuse from occurring on it, and our Esafety Commissioner fined them accordingly.

Australian's ESafety commission fines Elon Musk's X $610,500 for failing to meet anti-child-abuse standards

Worried its only a matter of time before child abuse material is circulated on Twitter (if it isn’t happening already), and disgusted that every type of marginalised adult AND children don’t matter enough to Twitter (or its reputation) for them to even pretend to be doing anything to ensure user safety on the site, I deleted my account.

The Dilmena

How is Twitter being a hate site a dilemma? People seem to be staying because they personally aren’t attacked or aren’t witnessing marginalised people being attacked. People seem to be making decisions based on their personal user experience. And or indies are reluctant to give up sales from the site, when many of us indies struggle to even pay the costs of our business with our earnings, let alone MAKE any money (my cover art and editing costs are several thousand dollars more than I’ve earned so far as an indie author).

As for me, I had ten thousand followers on Twitter. I’d welcomed newbies, done threads to connect writers. I made lists, and gave extensive feedback on pitch party pitches over two years (and wrote this blog on writing a good one, still my most popular post.) That was my community. I had good friends on that platform who weren’t anywhere else, and dm groups -writer, author, queer and ND support groups that as a group didn’t want to move. Leaving meant losing my community and my platform as a budding indie author.

What’s an Author’s Place?

There was an interesting prompt for October on Mastodon: should writers post about politics or avoid it to avoid controversy? Should we publicly interact as if we are part of the world, or act like Ents, tending our books? Predictably, people who thought politics wasn’t an author’s place were white, cishet, neurotypical, able-bodied authors oblivious to their own privilege. They didn’t seem to notice that for others, eg. First Nations, Black, Asian, Queer, Neurodiverse, Chronically Ill, or Disabled people -existing IS political. (I’ll be blogging about writing diverse casts in Jan 2024 ????).

To me, a nonbinary, a-romantic, asexual, neurodiverse, chronically ill white person living in a cishet, ableist world, ‘should writers speak publicly about politics’ translates as, ‘should writers shut up and put up?’ My answer is ‘no and did I mention fuck no?’ I agree with writers who said they are part of this world, impacted by it and am writing my identities into a world that barely knows we exist and or doesn’t understand and or accept us.

My Place

As part of this world, how could I tacitly support for example, the idea that @GasTheJews as a Twitter handle is acceptable, by retaining my Twitter account or using the platform? If you think I’m going too far in saying that not deleting your account is publicly signalling support of Musk and all he and his bootlickers stand for, I’d refer you to Mene Wyatt, who said, “Silence is violence. Complacency is complicit.” (Source, a powerful monalog on the Australian Aboriginal experience, worth watching).

I’d also point to the blog one of a nazis who greeted Posie Parker (a UK TERF) on the step’s of my state’s parliament house with a nazi salute. In his blog, he referred to most people as ‘normies’ and presumed he and his neo-nazis were acting on behalf of ‘normies’. People like him can’t claim shit like that if you publicly signal that you DON’T support them and they DON’T speak for you.

So I see removing all association with Twitter as a way of making my disapproval of Musk and everyone and their hatreds he shelters and promotes undeniably clear. Do I value that over money and even friendships? Yes.

Mastodon

So where does a writer, author, and a queer, neurodiverse person seeking all of those communities go? Mastodon had the greatest appeal. It’s similar in terms of functionality. The main difference is the whole platform isn’t the plaything of a single dick who can screw it up any which way every time he throws a temper tantrum. Or persecute minority groups wholesale because he’s angry at one individual in his personal life, who happens to be marginalised in a particular way.

Each Mastodon instance has a different admin. Hashtags can display toots on hashtag feeds that bridge instances (#WordWeavers and #WritersCoffeeClub being my favourites). And the Fediverse has toots from every instance your instance hasn’t blocked. This means Mastodon can’t be destroyed by a single white man who scores zero points on the diversity scale and doesn’t give a shit about marginalised people. I also like that there’s no advertising or algorithms, just humans interacting, as opposed to glaring ethical concerns.

Blue Sky

The issue with your single greatest social platform turning to shite is that the communities and contacts you’ve made there aren’t all migrating to the same place. They’re scattering to the winds. Spoutible and Post as well as Mastodon and Blue Sky and I don’t know where else. But writers in the DM groups I was in (DMs being about the only reliable space on Twitter to talk to people I knew at this stage) seemed keen on Blue Sky. Created by the man who created Twitter, also without algorithms or paid ads (yet) and most importantly, not controlled by Musk or Zukerburg or other bastards, as ethics would define them. (For more about Blue Sky, see my Blue Sky Newby Guide.)

The above is how I traded my largest social media account of 10,600 followers to 100 (and slowly counting) on Mastodon and 500 (also climbing) on Blue Sky. Not a decision you make to get publicity for yourself or your books. Not a smart financial decision, at this time. But why stay on a poisoned, sinking ship where decent people are leaving (or hiding in dms), when I could build a small community on platforms far better aligned with my values? Not to mention where people like me can interact publicly and safely, without constantly blocking those who hate us for not being cishet/ neurotypical/ able bodied or in other people’s cases: white?

Goodbye Facebook Page!

Before Musk blew up Twitter, Zukerberg was the bad name in social media. I cracked it at Facebook, (at the height of the Pandemic in 2020) when without warning they blocked Australian community groups (including emergency service warnings that literally save lives), without warning. (We passed some law, I think around journalism, that pissed Facebook off). So I closed the writer Facebook groups I’d made (I’d liked having publicly discoverable groups for writers) and moved them to Discord (all four are described here.)

Facebook rebranded as Meta, but I’d never liked the platform (I find it primitive now, especially the limited functionality and clunkiness of Facebook Groups compared to Discord) and I hated it for its lack of ethics. Yet all the indie author advice seems to recommend that if you want to minimise time wasted on social media and make more time to actually write books; at least have a Facebook Page. In fact, you can’t run ads on Facebook (or Instagram) without one. So de-activating yours is directly a financial and business decision.

But I deactivated mine. I hate the platform. It doesn’t have a great demographic for my books anyway (that demographic being educated, lefty/ liberal minded, teen to forty-ish or young at heart allies or queer folk -Mastodon/ Blue Sky seem most likely for them). I could still advertise on Amazon (yeah, that doesn’t appeal either -again, ethics, eggs, one basket- no thank you.) But having just a Facebook Profile (for over 50’s in my family and the few Gen Y people who actually post there) and inviting anyone wanting to follow me as an author also keeps my writing Facebook private from students. And technically I’m still on ‘the world’s biggest social media’. It’ll do.

Can You Be Ethical & Still Make Money Writing?

Now I’ve abandoned my biggest social media platform, deactivated my Facebook Page and not put my books in the easiest place for the biggest number of readers to find, read and review them, how do I make money as an author?

You may sell the occasional book directly via social media, but I’ve been watching this for over a year. It seems you either push hard with ‘buy my book posts’ that I feel must annoy people, or you sell to friends via conversations, small scale. Its seemed to me for quite some time (and yes, the authority on making money as an Indie Author, the Facebook Group 20BooksTo50K agrees), that you make money selling books by spending money, mostly on advertising, though in-person events like conferences can be great too.

There is one big advertising option I’ll consider ethically: Bookbub. Their features cost hundreds, but are well worth it. You have to apply and they’re hard to get. But like Facebook and Amazon, they also have ordinary paid ads, which I plan to start experimenting with. And their adds reach readers who purchase from many stores, in many countries, which I also like.

What About Community?

Having left the platform my online communities were on, I’m rebuilding, a little on prompt hashtags on Mastodon, a lot on Blue Sky and on my Discord servers. I’ve just created a Discord for Queer, and or Neurodiverse, and or Chronically Ill and otherwise Disabled Writers, which is getting as much interest on Blue Sky as my writing, and indie authoring Discords once got on Twitter. (More about my discords for writers here). I’m making new friends, staying in touch with the few old ones still on platforms I use, and rebuilding my writerly, queer and disability communities.

Elise Carlson

Neurodiverse Communication

Rehearsing Conversations

What are You on About?

Why Can’t People Just SAY what they MEAN?

I Say What I Mean

Tone

Leading Conversations

Reciprocity In Conversation

What are Social Graces?

1. I don’t like eye contact.

2. I don’t do small talk.

I’m Thinking…

Hyper Focus

What’s the Point?

Logic and Decision Making

Why did you change that?

Memory

Sensory Needs

Its Too Bright

Its Too Loud

Other Areas

Difficulty Maintaining Friendships & Holding Down Employment

Creativity

What Now?

Further Reading

Engaging Readers (of Your Novel)

Ground Zero

Characters & Status

Showing Feelings & Developing Feelings

Thoughts That Heighten Feelings

Non-Verbal Emotion Cues

Side Character Agenda

Character Internal Development

Story Foreshadowing & Tension

Tracking Foreshadowing

Character Foreshadowing

Third Party Development In Stories

Further Reading

LGBTQIA+ Visibility

Inclusive Language

Gender Inclusive Phrasing

LGBTQIA+ Sexuality Inclusive Writing

Everyday Situations to Show Gender Inclusion

Gendered Bathrooms & Clothes Shops

Gender Inclusive Character Introductions

Not Being Exclusive

Gender Roles/ Gendered Jobs

Gender and Traditional Culture

Gendered Magic Systems

How I Included Gender Diversity in Magic Orders

Writing Visible Trans Characters

Trans Visibility

Nonbinary Visibility

Nonbinary Visibility and Inclusive Language

Asexual Visibility

Bi and Pansexual Visibility

Queer Character and Relationship Visibility & Queer Normative

Queer Normative Representation in Speculative Fiction

Inclusive Fiction Examples

People To Help You Write The Other

Find Sensitivity Readers or Editors

Further Reading/ Resources Linked Further Above

Challenges -Distraction & Focus

Related Challenge: Keeping Track

Challenges -Noticing and Meeting Basic Physical Needs

Challenges: Urgency and Never Stopping

Challenges: ADHD Brain Jam

Diagnosis, Medication & Clarity

Medication: The Journey

Day One: Dosage 10mgs, Notable Difference

Day Two: Dosage 20mgs, Again, Good Differences

Day Three: Dosage 20mgs; Inconclusive —External Factors

Day Four: Dosage 30mgs: Meh!

Day Five: Dosage 40mgs: I’m Me AND Focused!

Day Six: Dosage 50mg ???

Day Seven: Dosage 60mg; Brain Jam Unlock

Day Eight: Dosage 50mg; Not So Good

Day Nine: Dosage None

Day Ten & 11: Dosage 50mgs -Not Right

If you haven’t already said, why did you choose against
alternative publishing paths?

Do you identify as marginalised and has that influenced your publishing path?
Does the level of innovation in your writing influence your path?

Write Fully Rounded Diverse Characters,
Not Defined by their ‘diverse’ identity

Know the Specific Identity
& Write It Authentically