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sunnymusingsao3 · 1 month

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How Do I Make My Fictional Gypsies Not Racist?

(Or, "You can't, sorry, but…")

You want to include some Gypsies in your fantasy setting. Or, you need someone for your main characters to meet, who is an outsider in the eyes of the locals, but who already lives here. Or you need a culture in conflict with your settled people, or who have just arrived out of nowhere. Or, you just like the idea of campfires in the forest and voices raised in song. And you’re about to step straight into a muckpile of cliches and, accidentally, write something racist.

(In this, I am mostly using Gypsy as an endonym of Romany people, who are a subset of the Romani people, alongside Roma, Sinti, Gitano, Romanisael, Kale, etc, but also in the theory of "Gypsying" as proposed by Lex and Percy H, where Romani people are treated with a particular mix of orientalism, criminalisation, racialisation, and othering, that creates "The Gypsy" out of both nomadic peoples as a whole and people with Romani heritage and racialised physical features, languages, and cultural markers)

Enough of my friends play TTRPGs or write fantasy stories that this question comes up a lot - They mention Dungeons and Dragons’ Curse Of Strahd, World Of Darkness’s Gypsies, World Of Darkness’s Ravnos, World of Darkness’s Silent Striders… And they roll their eyes and say “These are all terrible! But how can I do it, you know, without it being racist?”

And their eyes are big and sad and ever so hopeful that I will tell them the secret of how to take the Roma of the real world and place them in a fictional one, whilst both appealing to gorjer stereotypes of Gypsies and not adding to the weight of stereotyping that already crushes us. So, disappointingly, there is no secret.

Gypsies, like every other real-world culture, exist as we do today because of interactions with cultures and geography around us: The living waggon, probably the archetypal thing which gorjer writers want to include in their portrayals of nomads, is a relatively modern invention - Most likely French, and adopted from French Showmen by Romanies, who brought it to Britain. So already, that’s a tradition that only spans a small amount of the time that Gypsies have existed, and only a small number of the full breadth of Romani ways of living. But the reasons that the waggon is what it is are based on the real world - The wheels are tall and iron-rimmed, because although you expect to travel on cobbled, tarmac, or packed-earth roads and for comparatively short distances, it wasn’t rare to have to ford a river in Britain in the late nineteenth century, on country roads. They were drawn by a single horse, and the shape of that horse was determined by a mixture of local breeds - Welsh cobs, fell ponies, various draft breeds - as well as by the aesthetic tastes of the breeders. The stove inside is on the left, so that as you move down a British road, the chimney sticks up into the part where there will be the least overhanging branches, to reduce the chance of hitting it.

So taking a fictional setting that looks like (for example) thirteenth century China (with dragons), and placing a nineteenth century Romanichal family in it will inevitably result in some racist assumptions being made, as the answer to “Why does this culture do this?” becomes “They just do it because I want them to” rather than having a consistent internal logic.

Some stereotypes will always follow nomads - They appear in different forms in different cultures, but they always arise from the settled people's same fears: That the nomads don't share their values, and are fundamentally strangers. Common ones are that we have a secret language to fool outsiders with, that we steal children and disguise them as our own, that our sexual morals are shocking (This one has flipped in the last half century - From the Gypsy Lore Society's talk of the lascivious Romni seductress who will lie with a strange man for a night after a 'gypsy wedding', to today's frenzied talk of 'grabbing' and sexually-conservative early marriages to ensure virginity), that we are supernatural in some way, and that we are more like animals than humans. These are tropes where if you want to address them, you will have to address them as libels - there is no way to casually write a baby-stealing, magical succubus nomad without it backfiring onto real life Roma. (The kind of person who has the skills to write these tropes well, is not the kind of person who is reading this guide.)

It’s too easy to say a list of prescriptive “Do nots”, which might stop you from making the most common pitfalls, but which can end up with your nomads being slightly flat as you dance around the topics that you’re trying to avoid, rather than being a rich culture that feels real in your world.

So, here are some questions to ask, to create your nomadic people, so that they will have a distinctive culture of their own that may (or may not) look anything like real-world Romani people: These aren't the only questions, but they're good starting points to think about before you make anything concrete, and they will hopefully inspire you to ask MORE questions.

First - Why are they nomadic? Nobody moves just to feel the wind in their hair and see a new horizon every morning, no matter what the inspirational poster says. Are they transhumant herders who pay a small rent to graze their flock on the local lord’s land? Are they following migratory herds across common land, being moved on by the cycle of the seasons and the movement of their animals? Are they seasonal workers who follow man-made cycles of labour: Harvests, fairs, religious festivals? Are they refugees fleeing a recent conflict, who will pass through this area and never return? Are they on a regular pilgrimage? Do they travel within the same area predictably, or is their movement governed by something that is hard to predict? How do they see their own movements - Do they think of themselves as being pushed along by some external force, or as choosing to travel? Will they work for and with outsiders, either as employees or as partners, or do they aim to be fully self-sufficient? What other jobs do they do - Their whole society won’t all be involved in one industry, what do their children, elderly, disabled people do with their time, and is it “work”?

If they are totally isolationist - How do they produce the things which need a complex supply chain or large facilities to make? How do they view artefacts from outsiders which come into their possession - Things which have been made with technology that they can’t produce for themselves? (This doesn’t need to be anything about quality of goods, only about complexity - A violin can be made by one artisan working with hand tools, wood, gut and shellac, but an accordion needs presses to make reeds, metal lathes to make screws, complex organic chemistry to make celluloid lacquer, vulcanised rubber, and a thousand other components)

How do they feel about outsiders? How do they buy and sell to outsiders? If it’s seen as taboo, do they do it anyway? Do they speak the same language as the nearby settled people (With what kind of fluency, or bilingualism, or dialect)? Do they intermarry, and how is that viewed when it happens? What stories does this culture tell about why they are a separate people to the nearby settled people? Are those stories true? Do they have a notional “homeland” and do they intend to go there? If so, is it a real place?

What gorjers think of as classic "Gipsy music" is a product of our real-world situation. Guitar from Spain, accordions from the Soviet Union (Which needed modern machining and factories to produce and make accessible to people who weren't rich- and which were in turn encouraged by Soviet authorities preferring the standardised and modern accordion to the folk traditions of the indigenous peoples within the bloc), brass from Western classical traditions, via Balkan folk music, influences from klezmer and jazz and bhangra and polka and our own music traditions (And we influence them too). What are your people's musical influences? Do they make their own instruments or buy them from settled people? How many musical traditions do they have, and what are they all for (Weddings, funerals, storytelling, campfire songs, entertainment...)? Do they have professional musicians, and if so, how do those musicians earn money? Are instrument makers professionals, or do they use improvised and easy-to-make instruments like willow whistles, spoons, washtubs, etc? (Of course the answer can be "A bit of both")

If you're thinking about jobs - How do they work? Are they employed by settled people (How do they feel about them?) Are they self employed but providing services/goods to the settled people? Are they mostly avoidant of settled people other than to buy things that they can't produce themselves? Are they totally isolationist? Is their work mostly subsistence, or do they create a surplus to sell to outsiders? How do they interact with other workers nearby? Who works, and how- Are there 'family businesses', apprentices, children with part time work? Is it considered 'a job' or just part of their way of life? How do they educate their children, and is that considered 'work'? How old are children when they are considered adult, and what markers confer adulthood? What is considered a rite of passage?

When they travel, how do they do it? Do they share ownership of beasts of burden, or each individually have "their horse"? Do families stick together or try to spread out? How does a child begin to live apart from their family, or start their own family? Are their dwellings something that they take with them, or do they find places to stay or build temporary shelter with disposable material? Who shares a dwelling and why? What do they do for privacy, and what do they think privacy is for?

If you're thinking about food - Do they hunt? Herd? Forage? Buy or trade from settled people? Do they travel between places where they've sown crops or managed wildstock in previous years, so that when they arrive there is food already seeded in the landscape? How do they feel about buying food from settled people, and is that common? If it's frowned upon - How much do people do it anyway? How do they preserve food for winter? How much food do they carry with them, compared to how much they plan to buy or forage at their destinations? How is food shared- Communal stores, personal ownership?

Why are they a "separate people" to the settled people? What is their creation myth? Why do they believe that they are nomadic and the other people are settled, and is it correct? Do they look different? Are there legal restrictions on them settling? Are there legal restrictions on them intermixing? Are there cultural reasons why they are a separate people? Where did those reasons come from? How long have they been travelling? How long do they think they've been travelling? Where did they come from? Do they travel mostly within one area and return to the same sites predictably, or are they going to move on again soon and never come back?

And then within that - What about the members of their society who are "unusual" in some way: How does their society treat disabled people? (are they considered disabled, do they have that distinction and how is it applied?) How does their society treat LGBT+ people? What happens to someone who doesn't get married and has no children? What happens to someone who 'leaves'? What happens to young widows and widowers? What happens if someone just 'can't fit in'? What happens to someone who is adopted or married in? What happens to people who are mixed race, and in a fantasy setting to people who are mixed species? What is taboo to them and what will they find shocking if they leave? What is society's attitude to 'difference' of various kinds?

Basically, if you build your nomads from the ground-up, rather than starting from the idea of "I want Gypsies/Buryats/Berbers/Minceiri but with the numbers filed off and not offensive" you can end up with a rich, unique nomadic culture who make sense in your world and don't end up making a rod for the back of real-world cultures.

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sunnymusingsao3 · 4 months

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alright im calling this done!! he's dancing to thrash unreal by Against Me!

thank u @sunnymusingsao3 for letting me use ur script for this i leanred a Lot from doing this <3

#CHCKAHAKAHJSHXJSJSJKF i want this in my VEINS

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sunnymusingsao3 · 4 months

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More wip continuation from this fic...The full draft is complete, so now it's just a matter of revisions................ the longest part of the process 😫

Pray for me lol. Maybe I'll actually get this polished enough to post...

#timlonnie #dc fic #dc comics #my fic #wip tag #my writing #lonnie machin #wip #dc #tim drake #comic fic

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sunnymusingsao3 · 4 months

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How can non-Jewish writers include Jewish characters in supernatural stories without erasing their religion in the process?

Anonymous asked:

I have a short story planned revolving around the supernatural with a Jewish character named Danielle (who uses they/them pronouns). Danielle will be one of a trio who will be solving the mystery of two brides' deaths on the day of their wedding. My concern with this is the possibility of accidentally invalidating Danielle's religion by focusing on a secular view of the afterlife. At the same time, I don't want to assume that Jewish people can't exist in paranormal stories, nor do I want to use cultural elements that don't belong to me. So, how do I make sure that Danielle is included in the plot without erasing their Jewishness?

Okay so to start with I think we need to ask a question about the premise: what is a secular afterlife? I’m not asking this to nitpick or be petty, but to offer you expanded ways of thinking through this issue and maybe others as well.

A Secular Afterlife

What is a secular afterlife? To begin with, I get what you mean. The idea of an afterlife we see in pop culture entities like ghost media owes more to a mixture of 19th-century spiritualist tropes drawn from titillating gothic novels than to anything preached from the pulpit of an organized house of worship. Yet those tropes--the ominous knocking noises from beyond, the spectral presences on daguerrotype prints, the sudden chill and the eerie glow, all of those rely on the idea of there being something beyond this life, some continuation of the spirit when the body has ceased to breathe. For that, you need to discount the ideas that the consciousness has moved on to another physical body and is currently living elsewhere, and that it was never separate from the body and has now ceased to exist. Can we say that this is secular?

More so: Gothic literature, as the name suggests, draws heavily on Catholic imagery, even when it avoids explicit references to Catholicism. Aside from the architectural imagery, Catholic religious symbols permeate the genre, as well as the larger horror and supernatural media genres that grew from it: Dracula flinches from a crucifix, priests expel demons from human bodies, Marley’s Ghost haunts Ebenezer Scrooge in chains. The concepts of heaven and hell, and nonhuman beings who dwell in those places, are critical to making the narratives work.

The basis also draws from a biblical story, that of the Witch of Endor. The main tropes of Victorian spiritualism are present: Saul never sees the ghost of Samuel, only the Witch of Endor is able to see “A divine being rising” from wherever he rises from, and her vague description, “I see an old man rising, wearing a robe,” evokes the cold readings of charlatan mediums into the present (Indeed, some rabbinic sources commenting on this assert that this is exactly what was going on).

While neither of these views of its origin define the genre as the sole property of Catholicism--or of Judaism for that matter--it would be hard exactly to categorize them as secular.

A Jewish Perspective on ghosts

However, it’s not the case that ghost media is incompatible with Jewishness, assuming that it doesn’t commit to a view of heaven and hell duality that specifically embraces a Christian spiritual framework.

Jewish theology is noncommittal on the subject of the afterlife. The idea of a division between body and soul in the first place is found in ancient Egypt, for instance, earlier than the earliest Jewish texts. In Jewish text it’s present in narratives like the creation story, in which God crafts a human body out of earth and then breathes life into it once it’s complete. It also appears in our liturgy: the blessings prescribed to be recited at the beginning of the day juxtapose Elohai Neshama, a blessing for the soul, with Asher Yatzar, expressing gratitude for the body, recited by many after successfully using the bathroom.

Yet it’s not clear that this life-force is something separate than the body that lives beyond it, until the apparition of the Witch of Endor. The words we use to describe it, whatever it is, evoke the process of breathing rather than that of eternal life: either ruach (spirit, or wind) or neshama (soul, or breath): neither is a commitment to the idea that it does--or that it doesn’t--go somewhere else when the body returns to the earth.

Jewish folklore, however, leans into the idea of ghosts and other spiritual beings inhabiting the earthly plane (and others). Perhaps most famous is the 1937 movie The Dybbuk, in which a young scholar engaging in kabbalistic practices calls upon dark forces to unite him and his fated love, only to find himself possessing her body as a dybbuk. It appears that he is about to be successfully exorcized, but ultimately when his soul leaves her body, hers does as well.

More relevantly to your story, a Jewish folktale inspired the movie The Corpse Bride. In the folktale version, a newly-engaged man jokingly recites the legal formula he will soon recite at his wedding, and places his ring on the finger of a nearby corpse--a reference to a time when antisemitic violence is said to have gotten worse not only at Jewish and Christian holidays as it does still to this day, but around Jewish weddings as well. The murdered bride stands up, a corpse reanimated complete with consciousness, and demands that the bridegroom honor his legal obligation.

In the movie, the bride gives up her demand willingly: her claim on him is emotional rather than legal, and she finally accepts that he has an emotional connection with another person, that he doesn’t love her. In the folk tale, the dead woman takes him to court to decide whether their marriage is legal, since he spoke the legal words to her in front of witnesses as is required, and the court rules that the dead do not have the right to make legal demands on the living. In this version, the moral of the story is that a legal formula is an obligation; that when he jokingly bound himself to the corpse, he not only disrespected the dead but also the legal framework that structures society, and by so doing risked being obligated to keep his side of a contract he never intended to enact.

This speaks to the ways that a Jewish outlook can differ from a Christian-influenced “secular” one. Christian-influenced cultural ideas can often focus around feeling the right thing, while Jewish stories will often center on doing the right thing. Does the Corpse Bride leave because she realizes she is not the one he loves? Because she--or he--learned a valuable lesson? Or because she loses her court case? It’s not that the boy’s emotions are irrelevant to the story--the tension, the suspense, the horror of the story takes place primarily within the boy’s emotional landscape--but emotions on their own are not a solution. The question “should he marry her” can be answered emotionally, but “has he married her” can only be answered by a legal expert, and once it has been the deceased bride may not have changed her emotional attachment to him, but she no longer has legal standing to pursue her claim.

Centering legal rectitude over emotional catharsis isn’t a requirement for having Jewish characters in your story, but it’s worth thinking about what is and isn’t universal, what is and isn’t actually all that secular.

Meanwhile, back at the topic:

Where does any of this place Danielle?

Well, unless you’re positing a universe in which Christian or other deities or cosmologies are confirmed to exist (See Jewish characters in a universe with author-created fictional pantheons for more on that topic), there’s no reason why they shouldn’t be perfectly fine interacting with whatever the setting you’re building throws at them.

My wishlist for this character and setting runs more to the general things to consider when writing fantasy settings with Jewish characters:

Don’t confirm or imply that Jesus is a divine being. That means no supernatural items like splinters of the cross, grails, nails, veils, etc. There’s nothing particularly powerful or empowering about this one guy who lived and died like so many others.

Don’t show God’s body and especially not God’s face, or confirm that any other gods or deities exist, whether that’s Jesus, Aphrodite, or Anubis, or someone you made up for the context.

Don’t put Danielle in a position where they’re going to play into an antisemitic trope like child murder, blood drinking, world domination, or financial greed. If you have to, name it and let Danielle express discomfort with or distaste for those actions both because Jewish values explicitly oppose all of those things but also because Danielle as a Jewish character would be painfully aware of these stereotypes as present and historical excuses for antisemitic violence.

Do consider what Danielle’s personal practice might look like. What does Danielle do on Shabbat? What do they eat or refrain from eating? What are their memories of Jewish holidays and how is their current holiday observance different than their childhood? I know I say “Jewishness is diverse” on every ask, but it is, and these questions--which also underscore how very much Judaism is rooted in one’s actions during this life--will help you develop how Judaism actually functions to inform Danielle’s character, even if you don’t spell out the answers to each of these questions in text.

Do let Danielle find joy, comfort, and identity in their Jewishness not just in contrast with Christianity but simply because it’s part of the wholeness of their character. I know the primary representation of Jewishness is a snappy one-liner in a Christmas episode followed by the Jewish character joining in the Christmas spirit, blue edition, but make room for Jewishness to inform how Danielle approaches the events of your story, or why they decide to get or stay involved.

-Meir

Hi it’s Shira with some Jewish ghost story recs written from inside–

When The Angels Left the Old Country by Sacha Lamb (deliriously good queer YA Jewish paranormal, mainstream enough that it’s got a good chance of being at your local library and won all kinds of awards)

The Dyke and the Dybbuk by Ellen Galford (sorry for the slur, warning for a paragraph of biphobia in the book but it’s an older book. I read this right before my divorce so my memories are super fuzzy but it’s about this modern day lesbian who gets possessed by the ghost of a different lesbian from hundreds of years earlier in Jewish history.) Nine of Swords Reversed by Xan West z’L of blessed memory - another queer Jewish paranormal.

The general plot is that two partners are struggling with how to be honest with each other about the effect disability is having on them. It’s got a very warm and fuzzy cozy vibe but kink culture is central to the worldbuilding so if that isn’t your vibe I didn’t want you to go in unaware.

The Dybbuk in Love by Sonya Taaffe. I don’t remember the details but I remember loving it, it’s m/f and romance between possessor and possessed.

I wrote a really short one called A Man of Taste where a gentile vampire woman and a Jewish ghost/dybbuk get together.

#need to finish reading this when I'm home but this is very educational so far!#writing advice

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sunnymusingsao3 · 4 months

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I was trying out a rewrite of an as yet unnamed comic (I'm not sure this is actually gonna pan out so I don't wanna get anyone's hopes up) but good god trying to use the canon dialogue in it was making me break into hives. I'm gonna have to remove that parameter from this rewrite or else I won't survive 😩

#reblogged this to the wrong blog my bad lasjdfklsa #wip tag #lonnie machin #jason todd #dc fic

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sunnymusingsao3 · 4 months

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#wip tag

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sunnymusingsao3 · 5 months

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getting comments on ao3 makes me go so power hungry like. oh yeah you read the thing?? you read the WHOLE thing and even took time out of your day to give your WRITTEN INPUT on it???? make out with me.

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sunnymusingsao3 · 5 months

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Last line game!

Rules: in a new post, show the last line you wrote (or drew) and tag as many people as there are words (or however many you like).

From my untitled timlonnie fic:

Tim Drake continued to work, pulling a skillet from a cabinet and then dropping sesame oil onto it, heating it up. Then came the bits of chicken, and while that worked, his gaze flicked to his television screen.

Tagged by: @sidhewrites

Tagging: @sleepyspeedster and anyone else who wants to!

#wip #my fic #my writing #wip tag #tim drake #dc #dc fic

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sunnymusingsao3 · 8 months

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Did I daydream this, or was there a website for writers with like. A ridiculous quantity of descriptive aid. Like I remember clicking on " inside a cinema " or something like that. Then, BAM. Here's a list of smell and sounds. I can't remember it for the life of me, but if someone else can, help a bitch out <3

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sunnymusingsao3 · 8 months

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the fear of sharing your work not because you're worried people will hate it or mock it or think it's terrible...but instead that it will elicit nothing from them. that it will be unremarkable. that it won't matter to anyone but you

#god.

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sunnymusingsao3 · 9 months

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Get to know your fic writer!

Do you prefer writing one-shots or multi-chaptered fics?

Do you plan each chapter ahead or write as you go?

Describe the creative process of writing a chapter/fic

Where do you find inspiration for new ideas?

Do you like constructive criticism?

Do you have your work beta'd? How important is this to your process?

How do you choose which POV to write from?

Do you prefer the beginning, middle, or end of a story?

Do you comment on stories you read?

Cltr+f "blinks" on your WIP & copy paste the first sentence/paragraph that comes up

Link your three favorite fics right now

how does receiving or not receiving feedback/support impact you?

what’s a common writing tip that you almost always follow?

how do you write emotional scenes? Do you ever feel what the characters feel? Do you draw from personal experiences?

How do you write smut scenes? Do you get very visual or detailed? How important is it to be realistic?

How many fic ideas are you nurturing right now? Share one of them?

What do you do when writing becomes difficult? (maybe a lack of inspiration or writers block)

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Best writing advice for other writers?

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Which of your fics would you call your wildest ride?

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Name three of your favorite fanfic writers.

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Five years from now, where do you see yourself as a writer?

What is one essential thing to remember when writing a villain?

How do you write kissing scenes?

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Share a snippet from a WIP

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Thoughts on cliffhangers?

Something you hate to see in smut.

Something you love to see in smut.

Tell us about what you’re most looking forward to writing – in your current project, or a future project

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What work of yours, if any, are you the most embarrassed about existing?

When asked, are you embarrassed or enthusiastic to tell people that you write?

When it comes to more complicated narratives, how do you keep track of outlines, characters, development, timeline, ect.?

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You’ve posted a fic anonymously. How would someone be able to guess that you’d written it?

What scene in [Fanfic Name] took the longest to write? What was difficult about it?

Did you have any ideas that didn’t make the final cut of [Fanfic Name]?

Do you have a favorite scene you’ve written from [Fanfic Name] story/chapter?

#omg yesss

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