... Skip to content

Author: Brad Johnson

Brad Johnson is an author and blogger who helps writers discover their niche, build successful habits, and quit their 9-5. His books include Ignite Your Beacon, Writing Clout and Tomes Of A Healing Heart. For strategic content and practical tips on how to become a full-time writer, visit: BradleyJohnsonProductions.com.

How to Fact-Check an Article You Wrote — Like a Pro

Fact-checking has always been an essential part of the reporting, writing and publishing process, but with so much misinformation floating around, it’s more important now than ever to submit and publish accurate information.

Unfortunately, many of us full-time and freelance writers and bloggers don’t have the luxury of hiring a personal fact-checker. Even newsrooms, magazines and digital publications have been forced to cut budgets, squeezing out dedicated fact-checkers and researchers.

That leaves us, the writers, to fact-check our own work. This can be tricky — stepping away from your own work and scrutinizing every detail from a new perspective — but it’s not impossible.

How to fact-check an article you wrote: a 5-step guide

When I was in grad school studying journalism, I spent a good portion of my life fact-checking. Back then, it felt taxing and tedious.

But now I understand the importance of fact-checking, and possessing the skill has pushed me to become a better reporter and writer in not only my full-time role, but also my freelance assignments and side blogging project.

Now, do I do an in-depth fact-check of every single thing I post to the internet? Not necessarily. If I’m writing a listicle for my blog about things I do to sleep better, I won’t go through this entire process. However, if I’m submitting an article for a well-known publication on a fairly divisive or complicated topic, I’ll definitely sink time into fact-checking.

So, in an effort to eliminate misinformation, angry commenters and embarrassing correction notes, here are some steps you can take to fact-check your own work before submitting it to an editor or clicking “publish.”

1. Step away from the keyboard

Fact-checking is a lot like self-editing. When you’re so engrossed in a piece of content, it’s often difficult to step back and spot errors and inconsistencies. You’re too close to the work.

That’s why, if you aren’t working under a tight deadline, it’s ideal to put some time between writing and fact-checking. I’m talking about physically stepping away from your computer.

Go eat lunch, watch an episode of your favorite TV show or, even better, get a good night of sleep. Putting that space between you and your content will help you approach it through the lens of a fact-checker — not a writer.

2. Ctrl+P your article and grab your most colorful pens

If you have access to a printer, print your article before tugging on your fact-checking hat.

This might sound a little old-school (it’s definitely something I learned from newspaper and magazine veterans), but viewing your work through a different medium — AKA not your screen — will help you look at it from a different perspective.

Once you’ve got a hard copy in hand, grab some highlighters and colorful pens because it’s time to get busy. Here’s what I do:

  • Highlight each proper noun.
  • Underline each fact. If I have facts from multiple sources, I like to use different colors of pens for each. For instance, I’ll use a red pen to underline facts from Source 1, a green pen to underline facts from Source 2 and a blue pen to underline facts from Source 3.
  • Circle every number. (Numbers always trip me up, so I like to triple-check these!)

Chances are, your article will quickly become covered in colorful highlights, underlines and circles. That’s perfect. Now it’s time to really dive in.

P.S. It’s not the end of the world if you don’t have a printer. You can still underline and highlight text in a Word or Google doc — you just might have to slightly modify. This is all about finding your own system, so do what works best for you!

3. Verify facts and claims

When fact-checking, it might feel most natural to just start at the top and work your way down. That works just fine. However, if I’ve interviewed or cited multiple sources for an article, sometimes I will fact-check by source. Again, as you do this more and more, you’ll find what works best for you.

To start, I check each proper noun. For a source’s name, I’ll ask them to spell it for me. For other proper nouns I’ll confirm the spelling through reputable online sources. As I confirm the spellings, I put tiny check marks over each letter. This forces me to pay close attention.

Then, I’ll dive into the facts and numbers.

Just a quick sidebar: In the reporting and writing process, you’ll want to make sure you’re citing information from legitimate expert sources. For instance, Help a Reporter Out (HARO) is a useful tool, but you might not always find the most qualified or unbiased sources. Really research your sources and cited materials upfront, so you can make sure you don’t have to go back to the drawing board during the fact-checking process.

If you’re fact-checking information from someone you’ve interviewed, follow up with an email or a phone call. To verify their statements, ask them open-ended questions like, “How do you know that?” or “How did you come to that conclusion?” You can also ask them questions to confirm particular details like, “Can you describe the car again?” or “Do you mind explaining the process one more time?” You can also refer back to the interview recording or transcript, if you have it.

If you’re fact-checking information you got online, double-check those sources to ensure what you write is accurate and that the site is reputable. Remember: it’s important to get as close to the original source as possible. If a website cited The New York Times, that’s great, but it’s best to find the original article.

4. Keep a close eye on… 

As you fact-check your work, here are a few things you’ll want to pay close attention to:

  • Ages: If you’re including someone’s age, ask if they have a birthday coming up. It could be they’re 32 now, but in two weeks, before your article is published, they’ll turn 33.
  • Numbers: Pay close attention to any numbers you cite. Triple-check your math, the database or your sources.
  • Superlatives: If someone says something is the “first,” “only” or “top,” that should set off your fact-checking alarm bells. Unless you can absolutely verify this claim, use softer language (e.g. “a well-known restaurant”) or attribute the claim to its source (e.g. “The owner, Earl, says this is the first restaurant of its kind.”).
  • Conclusions: If you’re making any sort of conclusion ask yourself: How did I get there? Make sure you didn’t make any jumps. As a writer, when you’re deep in a story, it’s easy to make assumptions, but as a fact-checker, it’s your job to connect all the pieces and ensure they’re accurate.

5. Do a gut check

At the end of the day, if you’re struggling to verify a claim, do a gut check. Does something feel off?

I usually play by the rule, “When in doubt, throw it out.” If you absolutely can’t verify something, it’s better to get rid of it — no matter how enthralling or “clicky” it is — than to risk publishing inaccurate information.

You can also always go back to the drawing board. It’s not ideal, but you can ask your sources who else you should speak with and get second and third opinions. Sure, it’ll take time, but fact-checking your own work will make you a better, more credible writer, freelancer and blogger — and your editors will love you.

Got your own fact-checking strategies? Share them in the comments below!

Photo via Andrey_Popov / Shutterstock 

The post How to Fact-Check an Article You Wrote — Like a Pro appeared first on The Write Life.

10 Books That Feel Like Going to a Bar

In some states the barflies have migrated back to patios and beer gardens, but it’s going to be a long time before a night out feels normal again. If you miss sampling expertly crafted cocktails in elegant lounges, sinking into happy hour conversations with coworkers after the office closes, or playing spirited rounds of pub trivia with your friends, consider turning to one of these ten books set in bars to tide you over until it’s safe to gather at your favorite local watering hole.

Ordinary Hazards by Anna Bruno

Bruno’s debut novel follows Emma, a hedge fund manager and MBA professor with a passion for story structure, as she sits in her local bar in upstate New York, drinking whiskey and descending hour by hour through her grief and guilt about the recent breakdown of her marriage. Why is she here when she has to be up before the markets open, or even upstate at all instead of on Wall Street? Why do her friends keep texting, trying to get her to come over? How far will she go to punish one of her ex’s friends who confronts her at the bar that night, and what will it cost him? How has Emma’s story become so broken?

Last Call at the Nightshade Lounge by Paul Krueger

Last Call at the Nightshade Lounge by Paul Krueger

In Krueger’s light contemporary fantasy, recent college grad Bailey is living with her parents and bartending with her old high school hookup friend while trying to figure out her future. After killing an attacking demon, she discovers a deep history of monster-fighting bartenders and that certain magically mixed cocktails can give her temporary powers of super strength, telekinesis, and the ability to blast elemental energy to fight the demons. Her race to stop a series of gruesome deaths and navigate the shadowy world of bartenders is punctuated with 14 recipes from an ancient book of cocktail lore.

Devil in a Blue Dress by Walter Mosley

Walter Mosley’s 1990 debut novel introduces us to reluctant detective Easy Rawlins, a Black World War II vet recently laid off from a defense production plant. When a white mobster hires him to track down a French femme fatale who has disappeared with $30,000, Easy must track her through one bar and jazz club after another in 1948 Los Angeles.

Hysteria by Jessica Gross

The unnamed millennial narrator of Gross’s debut novel lives too close to her parents and can’t seem to escape their shadow. A sex addict, she stumbles drunkenly from one encounter to another, from her psychiatrist’s parents’ colleague to her roommate’s brother. When she encounters a sympathetic bartender at local Pilz Bar who looks just like Sigmund Freud, she imagines them into a client-therapist relationship and begins to sort through her complex feelings for older men. The book is like “if Ottessa Moshfegh and Phoebe Waller-Bridge painted the town red together,” according to Courtney Maum’s front cover endorsement.

The Bar Stories: A Novel After All by Nisa Donnelly

Donnelly’s 1989 collection revolves around lesbian bar Babe’s in Oakland, California, and the many women who cross paths there. After shattering her leg in a roller derby accident, Babe Daniels rescues her partner and her partner’s baby from a shelter for unwed mothers and begins working in the bar she will one day buy. At her bar, we meet a prize-winning photojournalist who left her lover and drove across the country to document the lesbian nation, as well as members of the Dykeball Losers softball team, Babe’s ex, other roller derby players, and more. This collection won a Lambda Literary Award for Lesbian Fiction in the second year of the awards.

Smile by Roddy Doyle

Smile by Roddy Doyle

After splitting from his beautiful wife Rachel, Ireland’s television sweetheart, Victor Forde moves back to his hometown and spends his nights at Donnelly’s, the local pub. There he runs into an old schoolmate, Fitzpatrick, who seems to know more about him than anyone but Victor has any right to know. Victor can’t seem to remember the man, but their encounters in the pub kick up Victor’s memories of his Christian Brothers school teachers (at least one of whom sexually assaulted him once), his career as a rock critic and political journalist, and finally some shocking revelations about his relationship with Fitzpatrick.

2 A.M. at The Cat's Pajamas by Marie-Helene Bertino

2 A.M. at the Cat’s Pajamas by Marie-Helene Bertino

In Philadelphia, two days before Christmas, a fifth-grader whose mother recently died and whose father has withdrawn into drug-numbed grief dreams of becoming a jazz singer. After her principal, who always resented her mother, unfairly expels her, she sets off across town to find a jazz club called The Cat’s Pajamas. The club’s owner has been threatened by police with a shutdown if there are any more code violations, but he’s promised his talented underage son a chance to play in the house band that night. As the hours progress, the storylines of these and other characters finally converge at The Cat’s Pajamas.

Young Skins by Colin Barrett

Barrett’s debut collection of six short stories and a novella are all set in the fictional town of Glanbeigh in County Mayo, Ireland. The lives of its young men revolve around the local pub, as they sit at the bar over drained pint glasses and recount their failures to one another. The protagonists are often people on the fringes of society whose lives are occasionally punctuated with violence, their stories with world-weary wisdom.

Jazz Moon by Joe Okonkwo

Ben grows up in a poor, rural Black community in Georgia during the Jim Crow era but decides to run away to Harlem. Despite being attracted to boys, he agrees to marry Angeline, a girl he meets on the train north. The two arrive in Harlem and get jobs, but one night in a hot jazz club, Ben falls for another man, an abusive and controlling trumpeter from South Carolina who lures him away to jazz clubs of Paris.

When All is Said by Anne Griffin

In Griffin’s debut novel, octogenarian Maurice plans a night of drinking in a hotel bar in his native County Meath, Ireland. He raises five stout-and-whiskey toasts to four deceased loved ones and a son who has left to work in America. Through his memories of the five, we learn about his boyhood working in the manor house that became this hotel, his later successes in business, and the lasting repercussions of his youthful theft of a valuable coin.

The post 10 Books That Feel Like Going to a Bar appeared first on Electric Literature.

10 Ways Writers Can Overcome Impostor Syndrome | Writer’s Relief

Our Review Board Is Open!

Submit Your Short Story, Poetry, or Book Today!

DEADLINE: Thursday, October 22nd, 2020

10 Ways Writers Can Overcome Impostor Syndrome | Writer’s Relief

Maybe you’re unpublished, so you don’t consider yourself a “real writer.” Or perhaps you have had some publishing success, but you’re still convinced your writing isn’t great—and that you’ll soon be exposed as the fraud you think you are. Even well-known published authors can experience this creeping self-doubt. At Writer’s Relief, we know that doubting your abilities despite having proof otherwise is called impostor syndrome and it affects many writers. If you’re telling yourself you’re not a writer, it’s time to stop! Whether you’re a new writer hoping to get published, a writer who isn’t interested in publication, or a published pro, here’s how every writer can overcome impostor syndrome and stand confident and proud!

How Writers Can Overcome Impostor Syndrome

Say it with us: You ARE a writer. If you’ve been published…you’re a writer. If you’ve been sending out submissions but haven’t received an acceptance from a literary journal or a request from a literary agent…you’re a writer. If you’re in the beginning stages of writing and editing your first short story, essay, poem, or book manuscript, guess what…you’re a writer. You are putting pen to paper, typing on a keyboard, researching details, proofreading, and writing, and that makes you a writer, no matter what anyone else says.

Build a “hype squad.” Who can help you defeat writer-related impostor syndrome better than other writers? Gather a squad of writer friends, mentors, and critique partners who can offer advice and much-needed support. Having members of your writing group give you positive feedback and applause for your publications can help drown out any negative thoughts you might have and boost your confidence. At Writer’s Relief, we make a point of being our clients’ biggest cheerleaders! Yay, writers!

Embrace criticism. Instead of feeling crushed by critique and seeing it as a sign your writing is hopeless, think of it this way: Your writing is good and can be even better! Whether criticism is coming from a writing group member, an agent, or an editor, they usually do have your best interests at heart. And remember, the final decision to make any changes to your work—or not—is entirely up to you.

Fake it till you make it. Even if you don’t feel like a writer, you can ACT like one. Attend writing conferences (online writing conferences count!), join a writing group, send out submissions on a regular schedule, give readings—do all the things “real” writers do. After a while, you may suddenly realize you’re no longer acting like a writer, but are actually being a writer.

Remember why you write. All writers have days when they want to throw in the towel due to another rejection, more needed edits, an unnecessarily harsh critique, or writer’s block. When this happens, remind yourself why you write. Reconnecting with your writing muse will help you power through periods of uncertainty and get back on track mentally.

Celebrate the little things. Writing success rarely happens overnight. Rather, it’s made of many individual milestones—from finding the right adjective, to getting published in a literary journal, to signing with an agent, to holding your book in your hands. Instead of feeling like you’re not a real writer because you don’t have a pile of publishing credits, embrace the small successes along the road and see how far you’ve come!

Toot your own horn. Most writers are introverts and have trouble bragging. But if you’ve won a contest or an award, or received an acceptance or a request from an agent, that’s worth a bit of humble bragging! Post links to your published works on your social media, and be sure to add your latest accolades to your author bio. When you see the likes on your post and see your accomplishments listed in your cover or query letter, it will be easier to think of yourself as a bona fide writer.

Don’t compare yourself to other writers. Every writer is a different person on a different journey. You can’t compare yourself to the success of other writers, even if their work is similar, or they have the same agent or publisher as you, or they belong to the same writing group. Comparing yourself to others only steals the joy from your life and leads to feelings of inferiority.

The only comparison you should make is where you are now to where you were before. Are you working to improve your writing skills? Sending out submissions on a more consistent schedule? Building your publishing credits one acceptance at a time? Carefully researching the best markets for your work? Remember, there’s no deadline for success, and you’ll get there at your own pace.

Take a break. Sometimes the best way to get over any feelings of inadequacy is to briefly step away from your writing. If you’re unable to create the right edits for your WIP, don’t jump to the conclusion you’re just not a good writer. Instead, put the work aside for a day or two and come back with fresh eyes. Another rejection? Brush it off, take a walk, watch a movie—and then start planning where to send your work next.

And the best way to get over Writer Impostor Syndrome…

Get publishing help from the experts! At Writer’s Relief, our experts will research and target the best markets for your work to boost your odds of getting published. And our strategists will help you stick to a consistent submission schedule so your work is out there circulating and getting into the right hands. Find out how we help writers get over impostor syndrome: Submit your short stories, essays, poetry, or book to our Review Board today!

 

Question: Writers, how do you fight impostor syndrome?

Writing Fantasy Lets Me Show the Whole Truth of Disability

The first time I saw deaf people in mainstream storytelling was in the Freeform family drama Switched at Birth. Switched at Birth is a TV show where two young women learn that, as babies, they went home and grew up with the other’s family. Almost two decades after the switch, they meet their biological families and get to know them. 

One of the women, Daphne, is deaf. When we meet her in the pilot episode, she both signs and speaks, “it’s nice to meet you.” She wears hearing aids.

The show aired in 2011, when I was on the cusp of entering my senior year of high school. I devoured the first season—it was a lifeline for me. I was the only deaf person both in my family and my school district. My deafness felt like a veil between me and everyone else, one I couldn’t tear down. I found solace in the existence of a TV show that featured deaf people, people like me. 

I couldn’t find anything that reflected my real experience. What I found instead was horror and fantasy.

When the second season came around, I wasn’t the only deaf person in school anymore. There were other deaf students at my university, and we’d found each other. My signing had improved. I had learned the difference between Deaf (a cultural label) and deaf (a medical label), and I was starting to claim my Deaf identity and affirm myself under that label, within that community.

I stopped watching Switched at Birth because I was preoccupied with the Deaf people I met in real life. But there was talk about the ninth episode in the second season, “Uprising,” which would be presented in only sign language. We all decided to watch. 

When I watched that all-signed episode, I felt my heart plunge into disappointment. It was no longer the lifeline it was in high school. The signing is stiff, the characters are stereotypical. Apart from the presentation, the episode is standard teenage drama, the plot of a Deaf school’s shutdown buoying romantic conflicts. It felt like a faint shadow of a culture and a community that I now knew was richer than what was on the screen. I was disappointed.

I tried to find a replacement for a show I’d outgrown. I wanted to find representation, something that could comfort and validate me as I move through a world that doesn’t accommodate me. I couldn’t find anything that reflected my real experience.

What I found instead was horror and fantasy.

Instead of real-world dramas like Switched at Birth, I started watching darker fare like Hannibal and Teen Wolf. Even though I couldn’t relate specifically to lycanthropy or hyper-empathy that borders on telepathy, I related with the emotional arcs these shows presented; both shows follow their protagonist trying to find their place in a world that either persecuted them or paid them little attention. I found myself rapt at the way they presented identity and community. Both Hannibal’s blood-soaked surrealism and Teen Wolf’s paranormal fantasy hit harder—and felt more relevant to my experience—than any realistic portrayal of deafness I found.

Paranormal fantasy hit harder—and felt more relevant to my experience—than any realistic portrayal of deafness I found.

Horror and fantasy let me see my struggle when I couldn’t find any other representation. Teen Wolf, in particular, has moments where the protagonist, Scott McCall, struggles with the demands that being a werewolf places on him; he is asked to be responsible, to assimilate, to go through the world without causing trouble. He clings to human friendships and resents the werewolf bonds he builds. He claims his identity as a creature of the night while struggling with a werewolf’s bloodlust. I understood his frustration, because I wanted to be part of a community without losing parts of myself that aren’t directly tied to Deafness. When I watched Teen Wolf, I almost felt like Scott too, part of a community that was both visible and yet hidden to the world at large.


Whenever I read disabled characters in literary fiction, I feel the same thrill of validation I initially felt with Switched at Birth, often followed by the same kind of disappointment. Often, authors sideline disabled people in literary fiction. Narrators or authority figures see them as unfulfilled, powerless, or saints. They are in need of saving either by God or by another person who might move through society with fewer barriers. This viewpoint upon disabled characters persists in work from decades past to contemporary work today, from novels like Carson McCullers’s The Heart Is a Lonely Hunter to Lara Vapnyar’s story “Deaf and Blind.” Seeing people like me with little agency or autonomy tells me that fiction does not recognize that disabled people can gain, wield, and enact power in a narrative. As a result, I don’t feel represented in those stories, even if the characters are superficially like me.

As someone who wants to write about deafness and disability, reading weak disabled characters frustrates me. It’s a trope that just doesn’t match my experience; I’ve never met a disabled person who hasn’t clawed their way past ableist gatekeepers and barriers alike to get to where they are. When we face ableist barrier after barrier and work harder than our abled counterparts, we don’t deserve to be represented in literature as just weak. 

When I transferred my loyalties from Switched at Birth to Teen Wolf, I already wanted to write disabled characters without this conventional weakness. But writing away from the traditional tropes of disability both excited and scared me. I didn’t know what to write—I only knew what I didn’t want to write. There were more touchstones to avoid than there were destinations to journey toward.

I found a new direction in speculative fiction. I read Karen Russell’s story “St. Lucy’s Home for Girls Raised by Wolves” in a fiction workshop, and the story stayed in my consciousness long after I’d moved to other readings. In that story, a group of werewolves are brought to a school to learn how to be human women. The werewolves felt pressure from the human nuns to erase their werewolf selves; the pressure to assimilate from the overseeing class, even as it was wrapped up in metaphor, resonated with me. I had read speculative fiction before, but never stories that negotiated ideas of identity so urgently and efficiently.

Speculative fiction gave me insight on how to write disability in ways that defied the convention of the weak disabled person.

There has been plenty of speculative fiction that shows systematic oppression in all its different forms, or, alternatively, that makes the invisible visible. Modern writers like Rivers Solomon and Helen Oyeyemi have highlighted systemic racism through science-fiction and fairy tales, respectively; Carmen Maria Machado and Leni Zumas have explored gender equality and gender expectations using surrealist and dystopian frameworks. In years past, writers like Octavia Butler and Angela Carter snuck revolutionary ideas and sensibilities about race and gender into science fiction, fantasy, and fairy tales.

When I read those writers, I saw ways to center disability in speculative fiction. I saw frameworks and tropes that could springboard conversations I wanted to have about disability. I felt the same emotional tug to “St. Lucy’s Home for Girls Raised by Wolves” as I did to Teen Wolf years ago. I could connect to these stories because speculative fiction allowed main characters to not only be human beings, but also otherworldly creatures. In speculative fiction, humans and creatures alike are given the same space to feel a wide range of emotions and to struggle against limiting decrees and ideas—instead of being weak or helpless. As with Teen Wolf, the struggles and emotions the werewolves face in Russell’s story were feelings I felt as someone trying to fit in a hearing society. Even today, I struggle with hearing people’s expectations of a Deaf person. Speculative fiction allows me to parallel my experiences in a hearing, ableist society with a werewolf’s struggle to fit in a human world. Speculative fiction gave me insight on how to write disability in ways that defied the convention of the weak disabled person. 


When I write about disability, I want to show the real experiences of people like me without having to lay out all the societal pressures and oppressions. I want that situation to be accessible to anyone. I don’t want to explain disabled experiences. I want to show them.

If speculative fiction let me, as a reader, overlay Deafness onto werewolf characters, I wondered if the reverse could work as well. Instead of lycanthropy in a human world, we could talk about disability in an ableist society, rendered with the same doubt and uncertainty. Deaf people could be seen as ghosts and aliens, existing outside of our current reality and following a separate kind of logic. 

I don’t want to explain disabled experiences. I want to show them.

By borrowing those genre tropes in my discussion of disability, I could give disabled people power with more efficiency and impact than was possible in realism. I could see disabled people haunting abled people or demanding correspondence with an abled leader. This use of horror and fantasy felt like a way of occupying a disabled experience without exploiting it, without making the disabled characters weak or ashamed. 

Speculative fiction gives me an efficient route in showing disabled frustration and struggle, without lengthy set-up and exposition. When we use speculative fiction to talk about disability, we allow the reader, regardless of their ability status, to feel the frustration a disabled person feels, rather than just intellectually understanding that ableism exists. Instead of explaining, we can go to another world or reality and show how an apparition or an alien can be equivalent to disability and struggle. We can talk about our situations within speculative fiction frameworks with more urgency and efficiency than most realistic situations allow.


If we can highlight the systems of oppression within speculative fiction, then we should also be highlighting change. We can show disabled characters in our reality, but there is only so much power in showing how ableism wears people down. If there is an acknowledgment of ableism, there should be an undermining of it too. Otherwise, it pushes the abled viewpoint onto us. A story that recreates ableism without undermining it is not a story for disabled people. 

I am not the only writer to have noticed this. In her book Disfigured: On Fairy Tales, Disability, and Making Space, Amanda Leduc writes, “[We] support and perpetuate a culture where the emphasis is on the cure rather than societal change—where the aim of the narrative is to eradicate the disabled life rather than change the world so that the disabled life can thrive. The stories we tell need to be different.”

Many writers use literature as an avenue to push for a better way of thinking and being in the world. Speculative fiction allows us to imagine situations not bound to our rules, and the next step in this literature is to take the opportunity to imagine change, whether on a personal level or on a societal level. In speculative fiction, this change doesn’t have to be bound to our rules either.

Speculative fiction gives us space and elasticity to envision or imagine how any one person might move through society.

Speculative fiction gives us space and elasticity to envision or imagine how any one person might move through society. Deaf and disabled people deserve to be seen, acknowledged, and imagined in a space that understands them. Instead of spaces where they are only seen as marginalized and weak, there should be spaces where they have the power to push back. There should be spaces where disabled people can feel safe and where we can thrive, as Leduc says.

I love being represented and seeing Deaf people in literature and media today. I love seeing disabled people take on challenges and overcoming them. But, as a reader, what I love more is people like me being seen as someone full of possibility and full of power. When I am given space to speculate about people like me, it makes me feel included. That kind of inclusion makes me feel proud to be myself.

The post Writing Fantasy Lets Me Show the Whole Truth of Disability appeared first on Electric Literature.

For Sale: Spacious 2BDR, Great Views, Ornery Ghost

“Advice for the Haunted” by Rachel Swearingen

Any other couple would have thrown away the former owner’s things and moved in, but two months after buying the apartment at auction, Nick and I were still using it as a playhouse. The former owner’s name had been Natalia. We had “inherited” all of her possessions, her pantry and freezer stuffed with food. Under the couch, she had wedged bottles of cheap red wine. Nick joked that we could survive at Natalia’s forever. “It’s like our own private fallout shelter,” he said, as we peeled back her bedspread and crawled under the sheets. We didn’t concern ourselves with the circumstances of her death. We were young and in love, and the misfortunes of others had nothing to do with us.

The flat had one bedroom, an office, and a narrow kitchen that opened into a long central room. Heavy drapes shut out the city view. The furniture was outdated; the Persian rugs, threadbare and stained. The ceilings and walls had recently been spackled, leaving bone-white spots. On the buffet, next to the dining table, were stacks of postcards of paintings, many of them torn or chewed at the corners. We found a half-used bottle of anti-anxiety pills in the medicine cabinet, a glass accordion in a folded tablecloth, a baggie of foreign coins in a boot at the back of a closet. In a rickety piano bench, we discovered faded Polaroids of two girls at what looked like a family picnic.

We were still paying rent for our own apartments and rarely talked of the future. At Natalia’s, we’d spend entire weekends pretending we were the last two people on Earth. We liked to camp it up. “Zombies?” I’d say.

“Meteorite.” He’d tear off his tie. “It’s at least three miles wide.” Sunlight would be breaking through the drapes. “Do you see how dark it’s getting?”

“What will we do?” I’d say, unbuttoning my blouse.

We ransacked her cupboards, pulled out soapstone animals from Africa. We placed the rhinoceros and giraffe in compromising positions. We played like children, pillaging her closets. Then we learned from the downstairs neighbor that Natalia had been a recluse who hadn’t left the apartment in years. Something had happened to the sister who brought her supplies, and Natalia had started venturing into the hallway. One day she left the building with a suitcase and somehow plunged to her death from the L platform just two blocks away.

We continued to rearrange her furniture and tchotchkes. We still pretended we were secret agents or a strange new semi-human species that had survived the apocalypse. Entire weekends passed before we left the apartment or ate a real dinner, but we studied her photographs more closely now. We invented roles for Natalia in our games: captor, hostage, aunt.

Once or twice a week, Nick and I met at Natalia’s during my lunch break. We were soaking in Natalia’s tub. Nick handed me a mug of wine. “Don’t look at me like that,” he said. “You know you’re not going back to work.”

We thought it was a shame Natalia had had to bathe alone in such a wondrous tub. The guy beneath us had said that the morning of her death, she said hello to him in the hallway. “But she was all strange and spacey. Really happy, you know. The kind of happy people get before they jump.”

“But the suitcase,” I said to Nick. “He said she was carrying a suitcase. Why would she, if she was planning on ending it all?”

He pulled a long leg out of the water and slung it over the edge of the tub. “She should have never left,” he said. “She had everything she needed right here.”

I stood and reached for a towel. I’d been hearing noises, and what I heard then was the sound of a wrench knocking against metal inside the bathroom walls. The door creaked open and cold air rushed in. I hopped out of the tub and shut it, but as soon as I turned around, it opened again.

Nick crossed his arms over his chest and in a rich falsetto said, “Natalia, stay out. We’re naked.”

I laughed out loud, but then came a sound like steel marbles rolling across the ceiling. I think even Nick had the feeling we weren’t alone. He handed me his mug. “Hold this,” he said, and when I reached, I slipped on the tile and struck my head.

Nick got out and examined my forehead. “It’s not that bad,” he said. “Barely a scratch, but you’re going to have a goose egg.”

“Natalia did it,” I said. I was only half-kidding.

We tightened our towels and made our way to the kitchen. I took a box of crackers and a jar of peanut butter from the cupboard. “I don’t know what it is about this place that makes me so hungry,” I said.

Nick dug into the peanut butter with a spoon. “It’s that we didn’t buy this food ourselves.”

“No, it’s like it’s not real. Like there’s no world out there.”

“Precisely,” he said. He pulled me close. “Let’s never leave.”

We joked about turning the apartment into a private country, a micronation like Christiania in Denmark. We’d call it the Republic of Natalia and design our own special stamp.


The next morning, I noticed an imprint in the bedding, as if someone had been sitting there watching us. Nick was in the kitchen paging through one of Natalia’s books, and he showed it to me. “Classical mathematics,” he said.

“No wonder she didn’t have any friends.”

“I thought you liked math.” He filled one of the miniature cups from her china set with coffee and put it down in front of the extra stool at the breakfast bar. “Good morning, Nat,” he said. “How’d you sleep?”

“She’s grumpy in the morning,” he said to me. “Doesn’t like to talk.” He winked.

“I think it’s time to tell Oscar and Joelle,” I said. “About the apartment, I mean.”

Oscar and Joelle were our closest friends. They were the reason we were together. And Oscar believed in ghosts. He was a sort of amateur ghost hunter. I wanted to get his read on the place. “Let’s have them over, for dinner or something.”

“You know how Natalia feels about company,” Nick said. “Besides, they don’t have visas yet.”

“I’m going to be late,” I said.

Nick put the book aside and got up to make another pot of coffee. “We don’t start before ten in the Republic of Natalia.”

“Too bad I don’t work for the Republic. If I keep this up, we won’t be able to afford to live in the Republic anymore.” I had intended the words more lightly.

“I never asked you to put up the down payment,” he said. “It didn’t need to be that large.”

So far we had managed to mostly avoid talking about the purchase or my paying more toward the mortgage. I was in the middle of several large acquisitions at work, and any conversation about interest rates and balloon payments was likely to turn into an argument about corporate greed in the face of famine and war.

I left Nick in the kitchen and went to Natalia’s closet to look for something to wear. We almost never stayed overnight during the week. I was traveling more for due diligence, always to other cities in the Midwest or the South. I was constantly shuttling between airports and hotels, between my own apartment, Natalia’s, and my office downtown. I felt disoriented, and my excuses for leaving work were growing absurd.

Most of Natalia’s clothes were outdated. I recognized a purple dress from a photograph of a much younger Natalia in front of a fountain with a boyfriend somewhere in Europe. We had propped the photo against a lamp on her dresser, and I looked at it again as I changed into the dress. The boyfriend had a goofy grin and thick hair that stuck up in a cowlick, and Natalia threw her head back to laugh. She must have been healthy then.

I searched her underwear drawer with dread, wishing I had brought an overnight bag. All of Natalia’s undergarments were plain white cotton, many with frayed elastic. I reminded myself that Natalia was dead and wouldn’t care if I wore something of hers, but I rejoiced when I found a lacy pair of silk panties that still had a price tag. I wondered when she had bought them, and why just one pair. I put them on and for a moment I was Natalia, untouched for too long.

At Fullerton, I waited on the platform for the Red Line. I checked my email on my phone, only partially aware of a pack of unruly school kids horsing around. One of them slammed into me. I stumbled toward the tracks, and an enormous woman grabbed me and pulled me back. I thought little of this until I was standing in the compartment and the woman pointed at my phone and said, “That thing’s gonna be the death of you.”

I squirmed against the sensation of the silk against my skin. “I’m wearing the underwear of a dead lady,” I wanted to confess.

I arrived at work late for yet another meeting and made up an excuse about a mechanical problem delaying my train. It was a harmless lie, but I had told so many by then I had the uneasy feeling I would be fired.

After work that evening I went out to meet my running club. They were a rugged group that ran even when temperatures dipped below zero. I wanted to be like them. At the waterfront, I tried to keep up. Lake Michigan frothed, and gulls struggled against the wind. The man in front of me lagged too. He kept wiping his arm across his brow. He tripped and regained his balance, and then his legs buckled under him.

At first I thought he had simply slipped, but he wasn’t moving and several other runners gathered around him. “I don’t think he’s breathing,” a woman said. I stood looking on with the crowd, and then sirens sounded and before long a paramedic was pushing us back, saying, “Give us some room, folks.” The others turned back, but I jogged another mile or two. I didn’t know the man, and that’s what I told myself all along the lake. He’s just a stranger. You don’t know him. This sort of thing happens every day.

I didn’t want to be alone, so I called Nick and went to Natalia’s. I pulled off my wet clothes and filled the bath. The refraction of my hands underwater made them appear broken off and reattached at the wrong angle. I ran my fingers over the welt on my forehead. I had fallen or almost fallen twice in less than 24 hours, and then, directly in front of me, a man had collapsed and probably died.

I got into bed, but not before putting the soapstone animals away in Natalia’s dresser, not before turning on the bedside light and making sure my phone was within reach. I couldn’t stop seeing the man at the lake, his legs giving way. I turned my face to the pillow and tried not to think of Natalia drooling into the same feathers.

Then Nick was standing in the bedroom doorway. He held his arms out and made his eyes dull, and I said, “Yes, please. Bring on the zombies.”

He vaulted into bed and got under the covers, and I jolted at his cold hands. “You’re so warm,” he said. “God, you feel good,” and then he was kissing me, we were turning together, the covers off now, tangled around our legs. I was kneeling in the middle of the bed, the two of us reflected in the mirror above the dresser. The drawer seemed to open a little more. Nick’s arm tightened around my waist. He kissed the back of my neck.

The apartment walls were mere skin. The patched spot on the ceiling seemed to pulse. I closed my eyes to make it stop. Nick’s breath was in my ear, and when I opened my eyes Natalia was there, hovering at the end of the bed. She was a blur, then her ashen face appeared, her mouth opened as if to scream, only it was me screaming, throwing Nick off me, and wrenching the covers to my chin.

“Who’s there?” Nick said. He stared in the direction of the dresser for several minutes and then crept back into bed. We huddled together and slept.

We said nothing about what had happened until the next morning when Nick teased me about my pushing him off the bed.

“But you saw her. I know you did.”

“I didn’t see anything. I thought someone broke in. You’re the one who screamed.”

“Then why didn’t you check the apartment? Why didn’t you check the door?”

He didn’t answer, just waved me away and went into the bedroom with his laptop to work.

He had canceled our meeting with a general contractor about the apartment remodel, claiming he had a deadline. He worked for an international relief organization and spent much of his time drafting reports and making overseas calls. Earlier in the year, two of his colleagues had been killed in a bombing, another taken captive. He had stopped reading the news, and when he mentioned work at all now it was to complain it was meaningless. I couldn’t be certain, but I thought there were new cans of soup in the cupboard, that he was secretly adding to Natalia’s stash and replenishing the store of wine under the couch. I found him staring into the mirror in the hallway talking to himself and thought I caught Natalia’s name. I worried she had worked her way into him, that if we didn’t do something soon, he’d be afraid to leave the apartment too.

What we needed was the company of friends, so I called Oscar and Joelle, and we met them at a nearby restaurant. It was almost like old times, the two of them telling such good stories. They were animated, flushed with life. They had a seven-year-old named Lucy and lived west of the city, and we hadn’t seen them in months.

“We bought a condo,” I blurted. “In Lincoln Park. Can you believe it?”

Nick pinched me under the table.

“It’s about time,” Joelle said. I noticed she wasn’t drinking and suspected she was pregnant again. They had been trying for several years to have a second child, going through fertility treatments, suffering one loss after another.

“It’s not official yet,” Nick said, glancing at me. “Even if we do get it, it could be months before the whole thing’s finalized.”

“You couldn’t pay me to live in Lincoln Park,” Oscar said.

“It’s small. Two bedrooms, one is barely big enough for an office,” I said, trying to downplay how expensive it was.

“It’s not that small,” Nick said. “Whole families live with less.”

“The woman who lived there killed herself,” I said, and Nick buried his face in his hands. “It went into probate. All her stuff is still inside.”

“How’d she do it?” Oscar asked.

Nick looked up at Oscar. “Don’t even go there. It didn’t happen in the apartment. And she didn’t kill herself. She fell in front of a train. She tripped or something.”

Oscar tore off another piece of bread and seemed to ponder it before wedging it into his mouth. “If you buy it, I’m bringing my equipment.”

“I’m telling you, it’s not haunted.”

“Does this mean there might be a wedding?” Joelle asked.

“Not if Natalia has her way,” I said.

“Natalia?” Oscar said. “You mean you knew this person?”

“No,” Nick said. “Like I said, we’re just thinking about buying it.”

Nick barely spoke the rest of the evening and was silent as we walked back to the apartment. When we got inside he said, “Are you happy now?” He gestured all around. “Now Natalia’s is going to be just like everywhere else.”

“It is like everywhere else, Nick. It’s just an apartment. You didn’t have to lie to them.”

“I can’t believe I didn’t see it.”

“See what?” I asked. “Do you know how much money we’ve been wasting?”

“Yes,” he said. “It’s always about money, isn’t it?”


The next morning I flew to Des Moines for work. When I tried calling Nick, he wouldn’t answer. I returned to the apartment several days later, and the place was littered with plates of half-eaten pasta, crumpled paperwork, Natalia’s CDs and albums. The carved animals marched in a parade down the hallway. The air smelled musty. All the drapes were pulled shut.

I opened the bedroom door and found Nick in bed, buried under a pile of blankets, a pillow over his head to block the light, the curtains blowing in cold air from the open window. I could just make out his whiskery chin. The armchair from the corner of the room was next to the bed, as if someone had been watching over him. The hair on my arms stood on end.

I pulled the pillow away and Nick blinked at me. “Hey,” he said.

“Hey,” I said, crawling under the covers. “Are you OK?”

“I can’t sleep,” he said. “The lights keep going on and off.”

“They’re probably doing electrical work somewhere in the building.”

“Maybe,” he said. “But what if Oscar was right? What if she’s here?”


We called Oscar and by evening the apartment was rigged with cords and computers, with sensors and blinking red lights.

Oscar had taken photos of Nick that showed a pinkish-red orb above his head. “See that?” he said. “Ectoplasm. You’re definitely haunted, Nicky. But not as much as this place.”

He found nothing in his photos of me. “Sorry, friend,” he said, patting my arm. “Don’t take it personally. The women have always had a thing for Nick.”

Nick and I slept at my apartment that night, and when we returned the next morning Oscar led us from room to room, indicating places of high activity. He was giddy with excitement. He showed us charts of energy fluctuations on his computer. “This is from the bedroom,” he said, pointing to a jagged line of temperature shifts he found disturbingly erratic.

I wondered about cell towers, but said nothing. Then Oscar played a series of recordings of thumping and rattling and what sounded like someone opening and closing cupboards.

“We’ve heard that before,” Nick said. “It’s an old building.”

“Then what do you make of this?” Oscar played a recording of a hollow, raspy voice saying what sounded like “Are you there?” and a second one that said, “Hurry. Hurry.” Or maybe “Hurray. Hurray.”

“Tell me you engineered that,” Nick said.

I expected Oscar to laugh, but instead he looked at us gravely and said, “You started this, dudes. The lady’s confused. You’ve got to get rid of her stuff. Every last thing. Throw her a going-away party or something. You’ve got to tell her it’s time to leave.”


It snowed the Friday of Natalia’s party, the first major storm of the season. We had cleaned the apartment and made a spread of her food and drink. Nick was more energized than I had seen him in months. He talked about refinishing the floors. He talked about a lead on a new job with a better NGO. We poured bottles of Natalia’s booze into an enormous punch bowl we found in her storage space in the basement, still in its original box. “If we’re going to do this, let’s really do it,” Nick said. He filled each room with light from Natalia’s emergency candles, and he made an altar of photos and figurines on the breakfast bar. He even went out and bought flowers for her, white chrysanthemums and roses.

“That’s what I love about this guy,” Oscar said. “He wants to make even the ghosts feel special.”

He and Joelle had left Lucy with Oscar’s mother and were staying overnight. Friends we hadn’t seen in ages arrived, and we stood around drinking, catching up, looking at Natalia’s photos. Oscar told ghost stories as he led them on a tour of the apartment.

In the kitchen, Joelle caught me staring at her drink.

“Two solid embryos. I really thought it was going to happen this cycle,” she said. “Oscar wants to see a different doctor, but I think I’m done.”

I tried to hug her, but she pulled away.

“This party must seem a little ridiculous right now,” I said.

“Yes,” she said. “But we could use a little ridiculousness.”

Most of our guests were like Oscar and Joelle, exhausted parents unused to staying out late. We stood around sipping from plastic cups. Then more people arrived, and the mood grew lively. We celebrated until midnight, when Oscar positioned himself behind the makeshift altar. He waved Natalia’s rhinoceros in the air and whistled loudly. Then Nick yelled, “Listen up, everyone. Let’s at least give this a shot.” Someone handed Nick a shot of whiskey, and he knocked it back and said, “Seriously, guys. Gather round.”

Oscar asked Nick and me to remove the hallway mirror, and then he encouraged everyone to hold something of Natalia’s. Someone placed a hand on the coffee table. Someone else, on the small oil painting Natalia must have gotten from a street vendor in Paris before she became ill. Joelle wrapped her hand around a floor lamp. A friend of Oscar’s grabbed the photo of Natalia before the fountain.

“I ask you,” Oscar said. His voice caught as he glanced at Joelle. “To silently help our friend Natalia let go of this world.”

One of Nick and Oscar’s old college pals said, “Oscar, you should have been a priest,” and there was laughter, and then the room quieted again.

“It’s time, Natalia. We’re going to close the gateway now.”

We held the mirror up facing the room. Oscar moved a candle closer and someone said, “Look,” and everyone gasped, and I knew they had glimpsed her reflection.

Oscar held up his hand. “Be calm, everyone. Don’t frighten her,” and just then the floor lamp turned on and Joelle screamed and jumped back, and one of Oscar’s friends yelled, “This is so staged.”

“Natalia,” Oscar said. “Stay with us. We’re here to help you.” He nodded at Nick and me to follow him to the sink. We carried the mirror like a coffin and rested it over the basin. Everyone crowded into the kitchen, and no one said a word. Nick filled his cupped hands with water and let it run over the surface.

“Tell her you’re letting her go,” Oscar said. “Tell her to cross over.”

Nick looked up at everyone. “Wow,” he said. “I can’t believe I’m doing this.” His voice came out soft at first and then louder as he said, “Natalia, can you hear me? There are a lot of people here for you.”

Oscar nodded at him to continue. “Come on, Nicky. Tell her.”

Nick said a few more words. He seemed flustered, and then resigned as he said, “I want you to look for the light and go into it. Don’t be frightened.” He stepped aside, and Oscar wrapped the mirror in a towel and set it next to the door to be gotten rid of with everything else.

“That’s it,” Oscar said. “Portal’s closed. She’s gone. I think.”

Then he burned sage, and people coughed, and some went out to the balcony, and others to the bedroom to find their coats and leave.

Nick and I pressed pots and pans into people’s arms. “Everything that’s left is getting donated or thrown out. You want something, take it,” we said.

We propped open the front door, said goodnight to those who were leaving, coerced them into taking extra dishes and trinkets. Furniture was hoisted and bumped down the stairs. The rugs, the postcards, the menagerie of animals, it was as if Natalia herself was being scattered throughout the city.

The downstairs neighbor came up to ask us to turn down the music, and we tried to give him a stack of old CDs. “No way,” Oscar said, snatching them back. “Too close to home.” The last of our guests left. A few lingered to talk in the stairwell. Then the apartment grew still. We had made up the bed for Oscar and Joelle, and Joelle stumbled to the bedroom to sleep. Oscar sat down on the floor, his equipment all around him. He had his digital recorder running again, attempting to pick up any lingering voices from the beyond. Nick and I bundled up and went to the roof to look out at the city. “It will be better now,” I said, and he said, “It’s weird, isn’t it? To think of this as ours?”

When I woke that morning on the pullout couch, Oscar, Joelle, and Nick were already awake and in the kitchen eating doughnuts from the bakery down the street. Joelle handed me a cup of coffee in a paper cup. Oscar stood at the counter, playing part of a recording from the night before. “That,” he said. “You didn’t hear that? Listen again.”

“I hear static, Oscar,” Nick said, biting into a doughnut. “Just static.”

Outside, rain turned to sideways sleet. We had scheduled a Salvation Army pickup for the next morning and had much to do. We threw the trash from the party down the garbage shoot. We set to work on the kitchen, emptying and cleaning the shelves and pantry, boxing the extra food. In the bedroom, we dismantled the bed and finished bagging the clothes.

“The mirror,” I said, pointing to the one over the dresser. “We forgot this one.”

Oscar looked alarmed. “Not to worry,” he said. “We’ll put it outside.”

We lifted the dresser out the door and down the stairs to the curb. The sky had cleared. People hurried past on their way to the L and were momentarily reflected in the mirror. We said goodbye to Oscar and Joelle as we made our way back. I was sorry to see them go, even sorrier once we were back in the near-empty apartment. Without the rugs in the living room and hallway, every footstep on the wood floor echoed. The windows rattled. If anyone had looked up into our apartment just then, they would have seen us standing in a vacant room, lovers perhaps, on the verge of moving in or out. We were suddenly tired, and we went to the bedroom. We had yet to remove the curtains there, and Nick closed them. We spread blankets on the floor, kicked off our shoes and lay down. I tucked my head into Nick’s shoulder, and we listened to the wind, to a helicopter whirring above the building on its way to the hospital.

“It’s almost like she was never here,” Nick said.

“Yes,” I said, but it wasn’t true.

We talked about the bright new things we would buy, the renovations we’d make. “I can’t wait to tear out those soffits,” I said. Nick shut his eyes, but I could tell he wasn’t sleeping. I stared at the spackled spot on the ceiling, at the dull walls, and tried to imagine the room in a shade of yellow or blue. Tomorrow we’d go grocery shopping. We would only stock as much as we needed to get through a week or two, never more. We wouldn’t hoard like Natalia had. We would throw parties and go out with our friends and never prepare for unknowable disasters. It would become an incantation, a theme song for the coming years. To never be like Natalia. To take the train downtown each morning. To never be afraid.

The post For Sale: Spacious 2BDR, Great Views, Ornery Ghost appeared first on Electric Literature.

There’s a Better Way to Write Queer Romance

All relationships exist on a continuum, especially those between queer women. In Emily Hashimoto’s debut novel, A World Between, a chance encounter in a college dorm elevator sends Eleanor Suzuki and Leena Shah on a thirteen-year ride as girlfriends, roommates, best friends, crushes, exes, dating app matches, and more.

A World Between is a romance between two queer women of color, told from both of their perspectives, that spans their formative years. Eleanor and Leena spend days walking around their cities, sharing moments of their lives, having sex, eating dinner, and hanging out with partners and friends. Queer narratives too often still feel mired in idyllic ideas of relationships and healing, and too often feature extremely happy endings or extremely unhappy ones without much nuance. But what sets this book apart isn’t just the romance itself, but how it ends. Their relationship, with many comings and leavings, is crucial but in some ways a decoy for the ways they learn about themselves.

Emily Hashimoto and I covered writing a queer feminist romance, who gets to tell queer stories, the many ways queer love—and self-love—rendered across time and space can look, and how it’s never too late to figure out who you want to be.


Carolyn Yates: A World Between begins with an epigraph from Adrienne Rich: “The connections between and among women are the most feared, the most problematic, and the most potentially transforming force on the planet.” What drew you to open with this? 

Emily Hashimoto: I was a women’s and gender studies major in college and spent a lot of time with Adrienne Rich and Audre Lorde and so many other feminists. I think the book comes from a lot of places, but one is directly from my women’s studies education—perhaps strangely, for a book of its kind. I was thinking about her essay “Compulsory Heterosexuality,” where she talks about the lesbian continuum and how women can exist on different parts of it during the course of their life, and that it’s about the intimacy between women. I wanted to pay homage to that. So for me, there’s this mostly fun book about two women over the course of thirteen years, and it has this theoretical feminist underpinning. 

CY: The idea of the continuum comes across at various points, and that fuller landscape of possibility just felt so true and yet is so rarely seen. I’m curious about how you balanced what you’ve mentioned was a desire to write a fun queer romance during a personal rough patch in your relationship with this completely non-idyllic and very real rendition that spans this whole range.

EH: It really started from a place of wanting to go to a simple time. What ends up on the page is not that simple, but for me, in my mid-30s and thinking about college and how different things felt—and speaking now, and then, as a middle-class person of privilege—college was simple. I think it’s not that for everyone, but it certainly was for me. For me, I was foolish and obsessive about crushes and wrote diaries full of so much emotion, and wanting that time of something simple before the definition set in. 

What I learned is that it’s never too late to keep hacking away at who you want to be and who you don’t want to be.

What I learned is that it’s never too late to keep hacking away at who you want to be and who you don’t want to be. But it’s that time, maybe before your first serious job, when you’re learning so much and when you’re still so much in formation, and I was really interested in starting there.

CY: Eleanor and Leena have such different ideas about self-knowledge, especially as they come more into themselves, and at one point as Eleanor talks about already knowing her job is not right for her, Leena thinks, “a year wasn’t enough time to accurately calculate feelings.” Leena tends to weigh all the options and outcomes and risks, and Eleanor is more decisive and also more impulsive. What role does this tension play in the periods of their relationship and in the times when they’re apart?

EH: Some of the magic of writing this and of spending basically five years with these two, the thing that I managed to carve out is that it felt really real. How they plan, how they don’t plan, how they make decisions, or don’t. Something I wanted is that ability to see people and how they change through a decade plus.

They start where they start, exactly as you painted it. But in the end, they grow out of themselves and into other people. I was interested in watching them pass each other in those ways. It’s not explicit, but I’d like to believe that they sort of rub off on each other a little bit, and both come to some sort of good middle ground, somewhere in between.

CY: The perspective switches between Eleanor and Leena across their relationships through time and space. What moved you to take that alternating approach?

EH: It wasn’t always that way. When I originally started sketching it out, I was going to go through one of them or the other. I knew I didn’t just want to gallop through time. Originally when I would talk about this book—and it certainly departed—I would call it quote, lesbian, whatever, nostalgia, unquote. I was interested in picking up with people after a few intervals. 

I formalized the structure more because eventually we find ourselves at Leena’s sister’s wedding. And I felt the measure of discomfort at writing from the perspective of Leena at her sister’s wedding, because while there’s so much research that I’ve done and I am very lucky to have a lot of really close relationships in my life with Indian American women, it’s a different experience to be that outsider, I think, because I have been that. So that’s when the structure started to really take shape.

CY: To talk about a different type of switching, the sex scenes feel really embodied in a way that still doesn’t really come up very much in queer literature. What was important for you to show?

EH: I appreciate the word “embodied,” I think that’s just sort of a real 3D feeling of it, because I think sometimes it’s very soft, and metaphoric about lushness, and then it’ll just cut away. Or worse, the cut away even happens before there’s a lushness metaphor. I wanted to stay on them a little bit, and I think my women’s studies background was creeping in, thinking about who tells stories about women together having sex. I take very seriously being a queer woman creating scenes between queer women. 

I take very seriously being a queer woman creating scenes between queer women.

In my mind I was thinking, what feels really real? Early on, when Leena wants to be intimate but has her period and doesn’t know how to say it, I wanted it to feel real. I wanted it to feel sexy, I wanted it to feel like a conversation between the two of them. The whole book is them walking around, talking to each other, and I think in many ways the sex scenes mirror that.

CY: You’ve mentioned that “this is the book that little Emily would have wanted to read as a young woman, and I wrote it for her.” Tell me more about that.

EH: I’ve been thinking a lot about what other books are out there in this space, and I haven’t found that many in this kind of middle territory where it’s not soapy but not so serious or dealing with issues of huge gravity, while there are still serious topics.

The other piece is I haven’t seen many biracial characters, and to be able to represent that experience of intersectionality—feeling like you’re in a few places at once, not always feeling like there’s a perfect fit, a perfect home—was something I wanted to read and see, and see out there. 

Another piece of it is thinking about Eleanor and Leena’s community and who the characters are beyond them. What I’m used to in my own life is folks with different backgrounds of race, ethnicity, economics, folks who are trans, folks who are not trans, queer, not queer. I haven’t seen that a ton, and it was definitely wanting to show that, and that comfort, without tokenizing. 

Little Emily would have been intrigued by this and would have had a lot of questions after. That’s who I had in mind. I want so many people to enjoy this book, but someone who hasn’t seen themselves represented? I’m interested in that.

CY: One of the most incredible moments for me was the ending. Were you conscious of this ending as you were writing, and what can you tell me about it?

EH: I didn’t write what happens after, but it has a choose-your-own-adventure ending. People approach it from what they know, what they want, what they hope for, what they are nervous about. People come in with what they have. 

People approach it from what they know, what they want, what they hope for, what they are nervous about. People come in with what they have.

I certainly wrote many versions. There was a very draft-y draft where there was running through the airport, so this is a little different than that. I wanted to end with something that felt really fair to where they were in the moment. I think if I kept writing—and in some ways I think it’ll always feel unfinished—I don’t know. I’m happy where it ends. It felt good to put them where I put them because it’s sort of a feminist love story, and in that way they’re both happy and they both really love themselves in the moment where we leave them, and that feels pretty satisfying. It feels like a good place to leave them. And what happens after that? I have some thoughts, but I don’t know. 

CY: That’s beautiful. I’m like, wow, how much damage did I bring to this interview that that’s how I read it when other people read it a different way? 

EH: I don’t even think it’s that. I think it’s more, what do you expect of them? How have you read them? I think yours is a fair reading. Really objectively, not as their creator, I don’t know that they should be together, but I think they should be in each other’s lives. There’s history between them, there’s love between them, and I just want them to be happy, whatever that might be.

The post There’s a Better Way to Write Queer Romance appeared first on Electric Literature.

Seraphinite AcceleratorOptimized by Seraphinite Accelerator
Turns on site high speed to be attractive for people and search engines.