>> I remembered the proposal that people write about neurovariant characters so they aren't an 'other' or a 'burden' to their loved ones. <<
That can help, yes.
>> I guess the only thing that's stopping me is that I'm worried about writing a stereotype or accidentally making some poor character the comic relief when they shouldn't be, or making them 'super-powered' as 'compensation'. <<
It can be challenging to write outside what you know. The best technique I've found is to get direct input from people with that trait, either live or by reading things they've written. An Army of One has drawn heavily from prompts by neurovariant folks along with their friends and family members. More official sources were much less accurate.
>> Then again, I have two gender-variant characters who are definitely not murderers or sex workers. Well, they are dead, but nearly every other character in the setting is already dead. Sure, one of them does hate her body, but she's very self-critical about herself in general, and will be spending most of the plot helping someone else, so hopefully not a 'victim' any more than anyone else. After many people, including her, have gone through a lot of trouble, she'll finally realise that she may actually be as worthwhile as her loved ones say. <<
That makes sense.
>> My other character has a more 'typical' experience as rising with a body aligned to his true gender after death, but remembers his life and is one of the few willing to talk about it. I may have more of a problem with making sure he doesn't come across as 'camp': he's a French theatre critic who loves his male partner, fine clothes and his gold watch but I would say he's more cultured. <<
*chuckle* I think camp has its place. I've got a couple of flamboyantly gay characters, Backdraft and Flambeaux ... but another of my high-camp one is Savoir Faire, who as far as I know is straight.
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dancing_serpent
Thoughts
Date: 2015-04-10 03:35 am (UTC)That can help, yes.
>> I guess the only thing that's stopping me is that I'm worried about writing a stereotype or accidentally making some poor character the comic relief when they shouldn't be, or making them 'super-powered' as 'compensation'. <<
It can be challenging to write outside what you know. The best technique I've found is to get direct input from people with that trait, either live or by reading things they've written. An Army of One has drawn heavily from prompts by neurovariant folks along with their friends and family members. More official sources were much less accurate.
>> Then again, I have two gender-variant characters who are definitely not murderers or sex workers. Well, they are dead, but nearly every other character in the setting is already dead. Sure, one of them does hate her body, but she's very self-critical about herself in general, and will be spending most of the plot helping someone else, so hopefully not a 'victim' any more than anyone else. After many people, including her, have gone through a lot of trouble, she'll finally realise that she may actually be as worthwhile as her loved ones say. <<
That makes sense.
>> My other character has a more 'typical' experience as rising with a body aligned to his true gender after death, but remembers his life and is one of the few willing to talk about it. I may have more of a problem with making sure he doesn't come across as 'camp': he's a French theatre critic who loves his male partner, fine clothes and his gold watch but I would say he's more cultured. <<
*chuckle* I think camp has its place. I've got a couple of flamboyantly gay characters, Backdraft and Flambeaux ... but another of my high-camp one is Savoir Faire, who as far as I know is straight.