Screenwriting : Racial sensitivity by Marcella Steele

From what you said, Marcella Steele, I don't see a problem. They're an interracial couple, so it makes sense for the issues of discrimination and the added pressure being from different races to come up in the script (unfortunately).

I don't see a problem with addressing the issues of an interracial relationship to be sensitive, but just make sure that those moments tie into the bigger narrative in an organic way so that they don't feel out of place or forced

I would have to read it to be sure, as the "note behind the note" could actually be "this is unnecessary exposition", but it would be irresponsible to take it out all together if 1) this is part of this character's response to situations - he/she/they brings up the race issue whenever it tries to hide (much like the lead in BLACK-ISH who sees everything as being racist, even when it is not - a great strength/flaw) and 2) this is part of this character's reality/wound - meaning this character could be triggered into bringing it up.

So, GENERALLY - if it's not part of the character's strength/flaw/wound, then consider why it's in there. I love using CW's The Flash as an example of when to bring something up and when not to - it's not an issue (a conflict or complication), until it is, and then don't hold back because by that point, it's part of the story. Check it out when you get a chance!

My question for you: how do other characters is the story react to the relationship ad are there children involved? If the relationship is an issues for family and/or friends, then it will have to be addressed (in what depth is up to you). If there are other mixed couples, it probably doesn't matter. Geography and generational differences also matter. For example, if the black grandparents want the children to attend an AME church, but the wife is Jewish, there may be friction. If the couple and their children live with the wife's parents in Israel, the issue will come up; if there is no extended family around and the people live in Seattle. where no one cares, then the issue may not have to be addressed.

Thanks to all for the helpful comments. Generally, it sounds like I should address the race issue only where it impacts potential conflict for the couple, or touches on a core wound. Got it!

It's easy to make this a story issue when the consultant may be looking at things from a marketing standpoint.

The fear of offending or wearying industry members is palpable right now. Pretty much any form of politicisation, never mind how minor, has the potential to either polarise people or cause them to bury their head in the sand. The cautious approach is, if the point doesn't need to be made to tell the story, why risk turning readers off and killing a script in its tracks?

To give you an idea of how scared people are, I know of producers who don't even want leather referenced in a script, just incase it lands in the hands of a particularly militant vegan!

If this is the case, your consultant should be putting your own career aspirations in context. Is this the kind of script that could find a home at the likes of Hallmark? Is that where you'd like to build your brand as a writer? If so, even the slightest mention of political topics is likely to be an issue as that's an entertainment platform where people go to get away from them.

Now myself, I like the gritty, I like the controversial, I feel stories should make statements about life and the statements I want to make cross over into the political realm. Therefore, as much as it keeps trying to pull me in, and despite how lucrative it could be for me, I stay my ass out the family-friendly world, because to work within it would be like choosing to wear a gag over my mouth.

I hope that makes sense. Perhaps a candid conversation with your consultant about who you are as a writer, you voice, and where you want to build a career is in order, because that's vital when it comes to providing direction.

Hard to say what's right and wrong without reading script and knowing the intent, or tone of your romantic dramedy.

""Hitch" is a popular movie and I dont remember race being an issue Hitch dating a hispanic woman. Lol he was just rich.

And I recently rewatched A Bronx Tale, where the main character dates a black teen but he is worried about his hood Italian Friends' attitudes towards Blacks. Also the relationship ties into the main plot; the girl's brother is fighting with his Italian friends.

End of the day it is about craft and execution, how themes tie to story. The best writers somehow make complex ideas & themes simple.

This is not an easy decision but... I don't think the issue of race should be mentioned unless it is pertinent to the story. Interracial couples in a story/scene should not be the "elephant in the room". It does not have to be acknowledged. I have seen several recent movies when some of the couples are interracial. There was no mention of race because it was not part of the story. They were just another couple like the others. I found it refreshing.

You're welcome, Marcella Steele.

M LaVoie You're essentially saying that if we're from a certain culture, we should sound like we are from that culture. That sounds like stereotyping so I'll respectfully disagree.

I'm full on Hispanic but you wouldn't know it if we spoke on the phone. The fact that I don't have a Latin accent shouldn't be annoying. How I speak is how I write Hispanic characters - no accents.

I'm of the mindset that if it doesn't move the story forward, don't include it.

M LaVoie I was born in The Bronx and lived there for some years before we moved so I understand what you're saying. I also grew up in Florida where in some circles, there are no accents. I don't think it's strange (or wrong) when I turn on a show and there's a Hispanic guy with no accent. That's me, my sister, my daughter. I don't identify with thick accents. Just as much as an accent does exist, there are instances where it doesn't. But again, it all goes down to relevancy in story. What I'd like to see is a father with a thick accent (as mine had) who speaks (in Spanish) to his son who responds in English. That's normal to me and something I always thought of as hilarious. The closest I've seen that is "Fresh Off the Boat" albeit in Chinese. Great show.

Regarding the topic of homogenized voices, that's the issue with having the creative arts confined to certain schools, locales, and social classes. Here in the UK, almost the entire film/tv industry (particularly the talent agency side) is situated in London and the domain of the middle class, thus most people you see on screens over here, regardless of skin tone, all sound the same (like characters in Love Actually), because a person's accent is something that's easily changed to blend in.

When you go ahead and shoot a project, you typically have to chose a base and that base will dictate who you have available to cast in the area. For most productions, thats going to be the likes of London, LA, NYC, and Vancouver. It's yet another reason why allowing the industry to become too regionalised is ultimately a bad thing, because it becomes less representative of people as a whole the more inaccessible it is.

My screenplay listed on S32, The Old Master, is about the first African American world champion, and race is central to the story, because it takes place during the Jim Crow era. Most of the S32 pros with which I've communicated have been awesome, and S32 is an ingenious platform that I adore, but I paid $265 for a phone consult with one "pro" that I immediately regretted purchasing. He had obviously not read my script, for he didn't even know my first plot point, when my protagonist is fighting for the world championship but his hopes and dreams are dashed because his eye gets knocked out of his socket and dangles on his cheek, temporarily blinding him, on page 27... I mean, come on, don't tell me you read it; but, what bothered me most is when he told me that I shouldn't have written the story because I'm white and my protagonist is black, so nobody will make it for that reason. Are we only supposed to write within the confines of our own skin color and culture? As artists, it's our job to step into the skin and culture of varied characters. By the way, I've been a USA boxing coach for years. My two kids grew up in gyms as I coached inner-city youths, who were 95% black, and my son is a Golden Glove champ. I appreciate everything RB and the S32 staff do for us, because screenwriters have no better friend, so I didn't complain, but it pissed me off until forever.

CJ Walley Agreed. It's the same in Puerto Rico. There are folks of all different skin tones there (my step brother is blond/white and my grandmother is black) but they all sound the same. Great points!

"Are we only supposed to write within the confines of our own skin color and culture? As an artist, it's our job to step into the skin and culture of varied characters. I definitely agree, Anthony Murphy. And if a writer feels like things are off about another race or culture in their script, they can do research to make sure those things are accurate, and they can ask friends of other races and cultures to read the script.

Maurice Vaughan Would you look at my screenplay if I emailed it to you? I very much value your opinion. If you are too busy I understand, but if not, I will reciprocate and read something of yours.

I have some scripts to read and give feedback on, Anthony Murphy, but I can let you know when I'm catch up.

Maurice Vaughan That's ok, Maurice. I know you are busy. Thank you.

Anthony Murphy I am one who doesn’t feel that folks shouldn’t be able to write about other races. It’s about doing the research and being authentic. How can we claim to champion diversity if we limit the writers. Another thing that many forget is that there is diversity within races too. BOYS IN THE HOOD is often said to portray the Black experience. Great movie. It didn’t reflect my experience at all.

I stopped reading at "white supremacy".

You're welcome, Anthony Murphy. I'll message you when I'm caught up.

Maurice Vaughan Thank you, my friend.

It all depends how it's worked in and if it derails the script... if they are derailing what you're writing, then cutting it out isn't a bad idea. It all depends how you're using them..

Leonardo Ramirez Exactly. I had one S32 producer/director, a great guy, that I had a 1st ten page review done by, tell me that he loved my writing(he even called me), but that his one complaint was that my protagonist, Joe Gans, was too well spoken, when in fact, Joe was very well spoken, and, as a matter of fact, the press often commented on how well spoken the champ was . Even though he went to work at the Baltimore fish market at age six to help support his family, his British Guyana born adoptive mother always stressed proper English and always read to and with her children, no matter how poor they were. I have one scene in the Old Master where Maria, Joe's adoptive mother, is reading Huck Finn to Joe's two children to illustrate Joe's upbringing, where his son asks Maria if she read Huck Finn to Joe when he was a child, and she answers, Yes, this very book.

Martin Reese That's it, Martin. Well said. And thank you for the network request.

You're welcome, Anthony Murphy.

Anthony Murphy Your character (and his mother) resonates with me. After my 2nd year of college, the economy (and our lives) bottomed out. I did manual labor as a ditch digger alongside laborers fresh from the border and spoke as well as I do today. So in the eyes of some, if that were a movie, it'd be seen as unrealistic. Yet it happens. Again, relevancy to story. Yours sounds like a good one, John. Keep moving forward brother.

Consultants are not the end of the line authority. When at their best they bring a fresh set of eyes and a sense of what the current climate is in the industry. They should also be able to look at material objectively from a pure story structure and tonal perspective. These should be commonplace traits, but sadly they often are not met (on any site or service). There is no test or licensing requirement for script consultants (don't get me started on contest readers). I am both of these, and to Anthony Murphy 's point, the fact that not everyone meets this basic parameter pisses me off to no end. There's a popular meme going around that is a pizza with things like candy, cake, and lobster on it -- the message is about what happens when you follow notes from consultants on your script. Again, I am one, and it's like being a good lawyer -- no one believes it. It also makes it extremely difficult for me to get notes on my own projects because I can tell instantly if they have done their job properly. In the current climate, everyone is picking up these services as side hustles.

That said, it is extremely difficult (today) to get something to move up the ladder if it does not feel in touch with the times. My advice is, craft an answer to why it isn't addressed specifically, don't be afraid to push back on a note. Stay true to what the north star of your theme is and tell a good story. Unless you get three or more people giving you feedback that it does not feel realistic or logical TO YOUR STORY, don't address it. If the actors come on set and make a suggestion that will bring more authenticity -- that is a creative evolution and that is how all films get made.

There isn't one answer to that because everyone, biracial or not, has different sensitivities. I get frustrated when people are put in boxes, like just because I am biracial doesn't mean my thoughts represent every single person who is black or mixed ethnicity. As a story writer, I feel as long as it moves the story forward and is important to the characters themselves in the story, then it's fine. Like if your biracial character has been dealing with issues in the story and has a background story of racial troubles then that works.

Leonardo Ramirez Thank you, Brother Leonardo. You are always encouraging, and it means a lot to me. I have faith in the Old Master and I know I will find the right producer. I promised Joe that I would get his story told, because he deserves it.

Valid points. If ethnicity (100 plus colors) is important, include it. I’m now dealing with the fact that I didn’t include much about race in Searching for the Perfect Place. (See my project page.). The positive is when I cast it, I can be flexible.

Can't wait to see it, Anthony Murphy !

I want to clarify that the S32 "pro" who told me I shouldn't have written a biopic about Joe Gans because I'm white and that my screenplay wouldn't get made because of that is a white manager, not an African American. As a matter of fact, an African American manager recently requested The Old Master after I pitched him. Also, the title, The Old Master, is not a reference to slavery. Joe Gan's lived from 1874 until 1910, and it was his boxing contemporaries—boxers, trainers, and sports writers—who called him The Old Master even when he was in his early 20s because his boxing technique was head and shoulders over everyone else's. Joe was a thinking boxer, a pugilistic genius, and is regarded as the father of modern boxing. Many think the heavyweight Jack Johnson was the first African American world champion, when in fact Joe Gans, a lightweight, was, and Joe even taught Jack Johnson the higher art of the sweet science.

No worries, Anthony Murphy. It may be because I'm a martial artist but the first thing that popped into my mind was a master in the sport. We use Sensei (my title), Master and Grandmaster so that's what my brain immediately went to.

CJ Walley's second comment struck a chord, don't disagree at all. There is a lot more variation of accents in British theatre.

Marcella Steele are you using race (the difference of the characters) as writing tool or your voice. If it is one of your characters injecting race into the dialouge as conflict, stakes, or theme(for or against a character) then it is a well crafted scene.

If it is a universal theme (racial inequality) in a RomCom, is it still a RomCom and diloes that change your intended Audience?

But if race isn’t a concern, then race isn’t a concern. If you shoehorn it in, it may feel glued on which is insulting from a different angle.

It would be like having a female character and having to add a misogynist into the story. We can have females that are just super competent and they don’t have to struggle against male oppression.

Ooo, this thread is giving me LIFE! Thank you all for jumping in!

I think it may be a sign you havent been specific enough about the world you are in. Is this a post-racial world the way Schitts Creek did post homophobia and it is a nonissue for the couple? In Schitts Creek that meant it was all very personal - just internal interplay between these vibrant layered characters. It was progressive to depict them as free of the realities of bigotry. Or, is this Girls? Is this a world where relationships play out against the struggles and challenges of their realistic context? Is that part of the romance and comedy? I say go deeper into what you want to present or dont go there because it could end up conveying privilege by being performative.

This right here needs to be featured in neon lights.

Dan Guardino I'm with you. I sure will not again.