Bad Representation vs Tokenism vs Diversity just existing without justification like in the real world
Many authors can relate to the frustrating accusations of their characters and settings simply being the way they are for âdiversity pointsâ and writers are often scared of adding diversity out of fear of it being received poorly as a gimmick. Why does this situation exist?
Bad representation and gratuitous diversity are not the same thing and have to be addressed separately. The first one is a legitimate fear; the second one is exaggerated and has the dangerous potential to shut down legitimate representation. Thereâs so much diversity that you donât even notice it in real life.
You go shopping in a Korean and Black neighborhood, get directions from some Desi folks, hop on to a bus and sit behind the guy in the wheelchair lift. When you come home to crack open a book (after shopping in that same neighborhood and riding on that same bus), does seeing diverse characters make you or someone you know cry, âWAIT A MINUTE NOW. I AM THE GRAND WIZARD. I SAY THIS IS TOO DIVERSE?" Â
What is representation that ends up being harmful instead of supporting diversity?
âI need a tough drug dealer ex-boyfriend for my MC to be scared of. I know! Iâll make him Black and/or Latino.â
âMy MC is oppressed by her parents who want her to get married, have babies, and not major in anything that would threaten a manâs ego, when sheâd rather marry a girl and become a physicist. I know! Iâll make her Muslim, Hindu, or an Orthodox Jew.â
âMy MC is very sexually open and adventurous. I know! Iâll make her Latina because that sounds sexy.â
âMy MC has an older female boss who yells at him all the time, who heâs scared of. I know! Iâll make her East Asian.â
When choosing a characterâs ethnicity, if your logic flows like this â you have to work harder to free yourself from the white supremacist myths that permeate our everyday life.
This is not the same as âgratuitousâ diversity.
People have a way of accusing diversity that doesnât seem plot-relevant of being âgratuitousâ, but a character doesnât need a plot reason to be Muslim, Jewish, Black, Latina, in a wheelchair, trans, or anything else.
If you have a witness in a trial, and she wheels herself into the witness box instead of walking, you donât have to sit there justifying it. It doesnât have to mean anything. If you walk into a coffee house and ask directions from a cute barista in a headscarf, you donât have to work her ethnoreligion into the plot for that to be âallowed.â
Now, if you have actual significant characters who are diverse â and you should! â their identities should be incorporated into their characterization and not feel like theyâre wearing a series of nametags. There are plenty of ways you can do this â giving them names common to a group, mentioning a Black characterâs specific natural hairstyle, having them endure a microaggression, having a trans character experiment with presentation, having a gay or bi person mention a partner or a celebrity crush. You can also just say âHe introduced me to a tall East Asian man wearing a polo shirtâ or âthe new doctor was a Black woman with her hair in twists and glasses that looked like they could stop a bulletâ and just leave it there, since thatâs referencing a visible trait; if that looks pasted on or artificial to you, you may have unexamined prejudices, which is normal, but something to work on.
Remember that if youâre not in a group, your meter for determining whether or not diversity is âforcedâ is going to be unreliable. Donât assume that other writers whose works are diverse are trying to coast on diversity stats or that the diversity in their books is automatically unrealistic and forced just because itâs more diverse than the media you usually consume. The real world IS diverse and lots of people get erased by the way mainstream fiction is structured, most of all being people who are marginalized in multiple ways at once.
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