#OWNVOICE: Writing characters with disabilities with derek mcfadden


Tell us about yourself.


My name is Derek McFadden, and I've been writing since I was very young. Of course, I am also very lucky, because without computers and modern technology I wouldn't be able to write at all. I'm not skilled at writing by hand, though I am improving with practice. So a computer allows me to tell my stories. For years, I served as a Western Washington poster child/ambassador for The March Of Dimes. Now I write, and I'm also a reader for an agent based in California. That's the basics. Oh, I have cerebral palsy, which is why I can't write well by hand. I am also legally blind. Because God has a sense of humor sometimes. And sometimes that sense of humor is a tad sarcastic. LOL

Can I just say how excited I am to be talking to you? In my blog, I talk about fearless writers, or writers who push past obstacles, rejection, self-doubt and all sorts of other things in order to keep writing. But I think you are in a category all of your own.


You said you've been writing all your life. Was there a moment you can remember when your writing journal really began, and what inspired you to do it?

Truth be told, I had a dream at six years old that I would be a writer. It isn't unlike the dream my MC, Terrence, has in my novel, What Death Taught Terrence. I woke up from that dream and told my dad I would write books. Dad is a writer himself, so he always encouraged this. But people sometimes assume I write because my dad writes, and that's just not the case. I write because I need to, and it is quite helpful that I come from a family who understands creativity.


The first thing I actually wrote-wrote truly-would have been a dictated Berenstain Bears story that I dictated to a teacher's aid. From there, I knew I loved making up stories. When I saw, after reading widely, that, in my opinion, the handicapped were deeply misused as characters in literature. They are either the saintly side-character who teaches the able-bodied how to live, or they're too broken to matter–I knew I could do better. I took it as my duty to do so. Those of us who are handicapped who retain our voices must use them.


And thank you! I am so glad you asked me to do this. Talking about these things is good for me!


Wow. What an inspiring story. I hear you and absolutely agree that characters with

disabilities are underrepresented and poorly used. I understand why it's important for that to change, and I love that you're trying to do that. But I want to hear more about what this is like for you. As someone living with CP, can you elaborate more on how the current representation of characters with disabilities makes you feel and why it's so important to you that it changes? Sure! First thing to know is: I feel normal. Because C.P. is my normal. It's not like I had what you would call a "normal" body and then it was taken away from me. This is what I know. So it's normal to me. Which goes to explain why it's so important current representations of the disabled/differently abled in literature must change. Handicapped experiences are different for all handicapped. There isn't one or two ways to be handicapped, so why then are there only one or two ways that the disabled/handicapped/differently abled are portrayed in literature?



This has to do, I think, with authors being afraid. An able-bodied author who writes a handicapped character might–and I stress might–be afraid to write in anything besides the two stereotypes I mentioned because it's what they know, and they don't wish to offend anyone, least of all the handicapped. But when you write not to offend, it's kind of like playing not to lose in sports. In this analogy, the sports team who doesn't play for the win but instead not to lose will almost certainly lose, and whether they want to or not, the author writing not to offend will almost certainly offend by the variety they inadvertently omit. Does that make sense?

That is so beautifully put and makes total sense. I know I really want to promote diversity in my writing, and it's important. But you hit the nail on the head. I'm afraid to get it wrong.


Sure! It's not surprising. Writers write to communicate something, but we are human, too. And many writers have extra empathy within them. So the fear of offending is real for us. Absolutely. And sometimes, as a nurse, I feel like I feel it doubly, because I'm been in some hard moments with people from all different walks of life. I know how beautiful they are as people and how beautiful their lives are, and I'm scared not to do that justice. But you put it in an amazing way of why authors can't let that stop them, and that it's actually more harmful that way.

What do you want writers to know about writing characters with disability? Or what advice would you give for accurate portrayal of characters? I didn't worry so much about getting it wrong, in this case. In the case of my novel, I knew the only way for me to get it right was to write my truth. Yes, it is more harmful. Look, writing is hard. It's hard if you're writing fairytales. But it's SO hard when you're trying to tell the truth in writing, and you're not sure you know how to.

Think about what an actor does when they research a role. How a historical novelist might spend years just researching before they put pen to paper. I'm not saying don't write the things that scare you. In truth, I'm saying the opposite of that. But always write while informed. If you have a friend of a friend of a friend who's handicapped, and you've been thinking about writing a handicapped character, talk to them. Spend time with them. Note their habits, how they do things. If you don't understand why they do something, ask! We'd much rather have you ask us why we do this or that as opposed to the more popular but less useful long, confused stare. Writers have resources out there to write better characters. Don't be afraid to use them.

That is great advice. As a scifi and fantasy author, I toy with how to make diverse characters fit within that genre. Is there any particular plot lines you crave to read? Like, I really want to see -- I don't know -- a person with disabilities saving the world from a deadly curse? Or something?

Personally, I love sci-fi/fantasy. But I've never gravitated to the super hero movies or the saving the world genre because there are days when I don't feel all that super. I'm just me, you know? I have never been good at manual labor. Building things. The kinds of jobs that a certain segment of society sees as manly. I have always been good at triva. Your Jeopardy-type games. Your movie/TV trivias and the like. I would love to see a character like me who is celebrated for his smarts. Not "Oh, he's handicapped, and yet he's smart." I'd love to see, "He's smart, and he also happens to be handicapped." I love that you make that distinction, and I just want to emphasize it. You have to make sure that the most important thing about diverse character is not that thing that makes him unique. Just like you said, you can't write a character that's handicapped. You have to write a character who is smart and has goals and dreams and fears, because of course, people are so much more than just one thing.


I mean, think about this: If an author wrote: "He was normal. His life was just like your life in every sense. He woke up every day and ate cereal and went to work like you do." I don't need to read that. I live that. Give me some intrigue and diversity. At the same time, do the diversity right, because I promise you, do it wrong it rings just as false as my "normal" bit there.



You've really quite elegantly demonstrated the need for better representation. And I know you're not just talking about it. You've actually addressed it within your own writing. Can you tell us about your writing process? My writing process is long. I wish it wasn't quite as long. I'll often get a scene in my head that I need to write, and I'm best at dialogue. So that comes first. Hemingway always said to let the characters tell the story wherever possible. This is dialogue. But once you have the basics of the scene, you have to fill in the details because characters can't just be floating heads talking in a void. You're gonna have to set the scene.


Since I'm legally blind and I have my physical challenges, I'll do my best here on details and what I feel must be in the scene to make it work. I think what you'll find at draft's end is that the thing that helps you most (the thing that certainly helps me most) is constructive criticism. Critique partners. Writing groups. Do not be afraid to ask someone who's life experience differs from yours, "Does this detail ring true to you?" And if their answer is, "Not exactly," listen to them. They might have a way to tackle your writing whale.


I'm not saying pay attention to all criticism because some is mean and awful and not worth your time. But don't shut yourself off to the constructive kind. A writer who thinks they know all about their subject is a writer who most definitely has blind spots to watch out for in their work.


Once I'm happy with a draft, I take it to an editor. Then I draft some more. For my novel, I worked tirelessly to get the work exactly where it needed to be. I see my writing process as a mountain. When I think