From A to Z: Writing Diversely in YA


From A to Z is an occasional series on that examines the nuts and bolts of the writing process.

Take a look at bookish Twitter, and you’ll see a hot topic in YA popping off nearly every day. Most YA authors are passionate about their work and their audience and it’s amazing. They care about their readers and want to get them books they will love and embrace.

However, one topic comes up more often than not, with good reason. Diversity in YA Literature is very near and dear to me as an #ownvoices author. In this post, I’ll break down some hard questions about this heated topic.

Why diversity in YA?

Picture it, Cleveland, 1986. Little me, reading book after book and enjoying those books… but wondering why my life didn’t match the life in those books. I TRIED to make it match, but I often got made fun of, like when I wore a fancy dress to a school dance in 7th grade and got laughed at because everyone else was wearing their regular school clothes. Maybe if I’d read about a school more like mine (predominately black, all honors students, 7th and 8th grades, teachers who were strict in the best possible way), with a girl like me (a black girl nerd with big glasses and light skin), I wouldn’t have looked like a complete idiot at that school dance.

My point: representation matters. And not just one type of representation (i.e. the tragic gay coming out book, or the black person living in the ghetto book, or the Indian dealing with arranged marriages book), but ALL kinds of representation. All those books have their place, and those readers deserve to see themselves… but there are many readers whose narratives don’t fit that at all. They deserve to see themselves as well, and they deserve not to be told their lives, their experiences, their realities are “unrealistic” or a “fantasy world”—unless of course, it is a true fantasy with dragons and magic and so on.

So many people are desperate to see themselves in books, little me (and “grown up” me) included. And we don’t only want to see ourselves in the narrow boxes that have become the default and accepted narratives. Why can’t a black kid have magic, go to a wizarding school, and be the hero of that story? Why not a Chinese girl having a swoony relationship while she finds herself? Or why can’t we have non-binary characters having adventures with characters in wheelchairs? Why are most of the highly imaginative stories, stories with happy endings, stories with swoony love, given mostly to white characters? Exactly!

Who should write diverse literature?

So OK. It’s been firmly established that diverse books are needed. Organizations such as We Need Diverse Books and Rich in Color are doing great work in getting this message out there.

Now, who should write the books? Who has permission to write these stories? My answer? People can write whatever they want, but they should ask why they want to write those stories. And then be willing to do the hard work to give the representation in those stories the nuances and fair rep that the readers deserve.

The main questions authors should ask themselves before deciding to write a marginalized character as the POV character:

Am I the best person to tell this story, and why? Is it about ego? About chasing a “trend”? About mixing up the cast because you think that’s what’ll sell? Or is it because this person’s story is burning, burning deep inside you and you must tell it? I get that. It happens.

This question is not just for white, cishet authors. It’s for anyone writing outside of their own experiences. Part of the fun of writing is exploring, right? In my opinion, people shouldn’t feel limited in who they write about… but they should be careful about writing it.

Say you’ve asked this question, answered it the best way, and you decide to go ahead and write the story. Now it’s time to ask yourself:

Am I willing to do the hard work to get this character right? This means research, research, research! Using resources such as Writing with Color, Writing the Other, or Disability in Kidlit. Getting sensitivity readers and listening to their feedback. Actually interacting with people from marginalized backgrounds, rather than allowing stereotypes to shape your character. You’ll probably still mess up, so taking critiques graciously and being willing to learn is important. And that’s just to start.

Is what I’m writing going to hurt someone? I don’t mean hurting someone’s feelings. I mean large scale hurt that can have deadly repercussions. Stereotypes that enforce negative feelings about certain groups. Those feelings causing people to act out around people of those groups. People dying because of hatred fueled by what some consider art, or freedom of expression. Except all it’s causing is pain.

This is a delicate topic. But if you’re writing for children, why would you want to hurt them?

Representation. Matters.

Now that you’ve answered those questions, are you still the right person for this story? If so, great. Now it’s up to you to do the hard work to get the representation of marginalized characters right, just as you would do the hard work regarding scene structure, plotting, and character arcs. Good luck!

Now I’ll answer a few more questions about Diversity in YA.

What is #ownvoices?

According to the Google machine: #OwnVoices is a hashtag/term coined by Corinne Duyvis, co-mod of Disability in Kidlit, for a book featuring a marginalized perspective authored by a person who shares that same marginalized characteristic.

You can read more about the hashtag, and its creator, here.

What’s so great about #ownvoices? 

I read a LOT of YA. Not as much as some people (like librarians) but I try to plow through as much as I can in a given year. My first choice is contemporary, but I’ve been branching out. And this is what I’ve been noticing about #ownvoices books: They have rich layers that give readers a nuanced glimpse into a world they may not have been exposed to. Small things that an outsider wouldn’t notice or include, but those small things (and big things) make #ownvoices books special.

What can I do to uplift #ownvoices and marginalized authors, including those who may be getting passed over in favor of dominant “more relatable” voices?

The fact is that published books about marginalized groups, especially POC, are very few. Too few. And that number goes down when factoring in books BY those groups of people. Now, I’m not saying there is a quota in publishing, but when I hear of people saying their book was passed over because “we already have a [insert marginalization] book on our list for this year”, it’s hard not to think along those lines.

Look, I get it. Publishing is hard for everyone. The amount of rejection can be soul crushing. I’m still in the query trenches myself. All the layers to go through, and you’re still not even guaranteed a place in a bookstore. It’s rough out there. But there are groups who have it decidedly worse than others, and we all need all the support we can get. This can be mentoring, or beta reading, or critiquing. Referring them to your agent. Promoting their books when they finally make it past sales and marketing. It’s going to take all of us to get more diverse books on the shelves and into the hands of our kids, but the hard work will be worth it.

Who’s with me?

I want to read more diversely. Can you recommend some diverse books and authors?

Yes! There is a Diverse Reads 2017 Challenge, which lists loads of diverse books for you to check out. Click here to find out more.

Diversity in YA is very, very important to me, not just as a writer, but as a reader. Art can and does change lives. And writing diversely, with care, is an amazing way to do so.


This post is brought to you by Ronni Davis at


From A to Z: Negotiating with Your Muse

From A to Z is an occasional series on that examines the nuts and bolts of the writing process.

teaThere are days when my vocabulary and creativity slip through pores in my skin, leaving me a thin, hollow husk of a writer. There are days like these and, sometimes, these days stretch into a week, two weeks, longer.

For me, worse than facing a blank page is facing a half-full one. An empty page leaves me alone with my thoughts—an unfinished one presents perfect rows of words I must’ve written in another life, all of them taunting.

Before I know it, my ideas are dusty and stale. Then the guilt settles and becomes, itself, suffocating. That’s when chores, errands, and freelancing start to feel like a balm. Anything to avoid the blinking cursor.

I’ve found a few tricks that moderate this slide into writer’s block, and I hope they might be helpful to you, too. For me, the hardest part is taking the first step:

Forgive yourself. Don’t let this turn into “I forgive myself for not writing today, and I’ll start tomorrow,” as I certainly have. Instead, make a quick-but-special treat (a fancy tea in a fancy cup is one of my favorites), sit down in front of your closed notebook or computer, and acknowledge that you’ve come further than the day before. Then forgive yourself for taking the time needed to get here, open to the waiting page, and get started.

If thirty minutes later the words still aren’t coming, I switch up my tools. Personally, I find writing longhand lets me be less critical of the words coming out, so sometimes I’ll power down the computer and give myself the freedom to write total crap and the pleasure of scratching it out and trying again.

For advanced stages of writer’s block, I get a change of scene. This is great to do on any given day, but can be especially helpful when you’re struggling to write. Take a brisk walk and think only about your story or character, or pack it all up and go to your favorite coffee shop. Exercise can also get creative juices flowing, and I’ve found hitting the gym for an hour helps relieve frustration and anxiety while sparking new ideas.

For truly advanced stages, I’ll bribe my muse. After 500 words I get to take a 15 minute break and read blogs, watch Netflix, or tidy the kitchen.

Finally, there’s one method that always works for me: Set up a brainstorming date with a friend whose opinion you trust—preferably someone who knows something about writing, editing, and/or work in your genre. Before you meet, take the time to summarize your project. Explain the things you hope to achieve and the questions you want to answer. Explain, also, the loose threads and worries that are swirling in your brain and keeping you from writing. You’ll untangle some things for yourself while doing this preparation, and will untangle many others thanks to your excellent friend.

Go into the conversation with an open mind and no ego: be willing to change anything in the project, to kill off a character or erase a plot twist—to start from scratch if you really have to. As you talk, jot down the specific points that get you excited about the project again. Collect your changes or next steps in one place and reiterate them at the end, treating them like a deliverables list that closes out a business meeting. Talking through your hopes and worries will help you see the project more clearly, give you new ideas you wouldn’t have thought of on your own, and lay out specific steps for moving forward.

I try to treat conversations with my muse like a negotiation, since I’ve personally never had luck with bashing through writer’s block by forcing myself to put down words. Everyone is different, though—if you have other tried-and-true tactics, please share in the comments!


This post is brought to you by Anna Waggener at