Perspective

An interesting point of discussion that was raised in multiple sessions was that of perspective; reading the views of others, and writing your own. Sam Cooney, of The Lifted Brow, mentioned how reading had allowed him to step into the shoes of an African American woman living in New York City. He touched upon a literary debate of whether you should ‘write what you know’, or whether you should be free to write whatever you want. Now, there shouldn’t be restrictions on writing, especially fiction. There’s an assumption from the reader that it’s not real, and you’re writing imaginary characters in an imaginary setting. However, fiction on its own, even well written fiction, is not necessarily good fiction.

The best writing should be able to connect with a reader, whether if that reader is reading about anthropomorphised animals or fantasy creatures or real historical figures or teenagers facing unrequited love. The best way to get an emotional response from a reader is to hit on realities, on truths. The best literature also expands the view the of the reader by the end of the story. Myself, as a white guy from regional Victoria, is absolutely allowed to write as a minority character in an urban setting. I’ve read enough of this experience to have an understanding of what that would be like for my character. However, it probably wouldn’t be as good as the writing of a person who has lived that situation. Nor would it be very truthful writing.

Jaclyn Moriarty writes fantasy novels, having created an entire world filled with characters and customs foreign to Earth. However, she said in her panel with Di Morrissey that all the locations she’s created have come from the cities and landscapes she has visited, just fitted with a new name and history. Di Morrissey, on the other hand, visits real locations and then uses those literal locations in her fictional novels. Writing obviously takes inspiration from real life. Di Morrissey describes the world she is familiar with that she has studied, giving it an authentic feel when you read it. Jaclyn Moriarty’s world of Cello has that same authentic feel, even though it doesn’t exist, because she is drawing on a reality that she and the reader can both relate to.

Good literature tells us the truth (or at least presents us with some version of a truth), while also telling us something we don’t already know. It lets us enter a world beyond our own. This is not to say that all writing should be autobiographical, even on a subtle level, or that you should not write characters that are other genders, races, sexualities, or even in situations you haven’t experienced firsthand. A good writer should be able to exhibit a range of different views from their characters. What's important is making sure you are not taking away the voices of those who are living what you’ve made for your characters. Speak with others, but don't speak over them. And by all means, listen. Read these experiences, walk in their shoes. Creating diverse characters are important, but reading from diverse writers is more important.