Inclusive Writing—Crafting Fiction that Welcomes Everyone

Photo by Alexander Suhorucov – Pexels

In the writing world, inclusivity is more than just a trend. It’s a necessity, and especially considering the current political climate we’re faced with. As writers, it’s important to give serious thought to what we bring to the world through our words. Because words have power and the effects of our stories can be far-reaching.

Creating stories that reflect our diverse world and offering readers from all backgrounds the opportunity to see themselves on the page is essential to evolving as storytellers so we can do our part to make the world a better place. But what does inclusive writing mean, and why does it matter? Let’s take a look at the principles of inclusive writing, why it’s essential, and how you can integrate it into your work.

What Is Inclusive Writing?

Inclusive writing is the practice of consciously crafting language, characters, and narratives that represent a broad spectrum of human experiences. It seeks to avoid biases, stereotypes, and exclusion while representing different identities, abilities, cultures, and perspectives with accuracy and respect.

This approach, of course, applies across various forms of writing, from fiction and nonfiction to marketing materials and academic writing. At its core, inclusive writing is about being intentional and thoughtful in the words you choose and the stories you tell. For this post, the focus is on fiction.

Some key aspects of inclusive writing include:

Diverse Character Representation—Creating characters from different racial, ethnic, gender, and ability backgrounds without reducing them to stereotypes. 

Respectful Language—Using words that align with how groups self-identify and avoiding outdated or offensive phrasing.

Accessibility Considerations—Taking care to use language that is clear, readable, and available in formats that accommodate people with disabilities.

Avoidance of Harmful TropesSteering clear of clichés or oversimplified portrayals that misrepresent or diminish certain groups.

Why Inclusive Writing Matters

Political correctness, respect, and compassion are only part of the reason behind the need for inclusive writing. It’s also about authenticity and responsibility. Inclusive writing strives to do the following:

Reflect the Real World

The world is diverse, so the stories we tell should be too. Readers connect deeply with stories that acknowledge and celebrate different identities, experiences, and perspectives, especially when they see and live them every day, whether through their own lived experience or in the experiences of those around them.

Encourage Empathy and Understanding

Stories have the power to shape perceptions. When readers encounter characters and narratives that differ from their own experiences, they’re presented with an opportunity to learn and develop a greater understanding of others.

Create a Wider Audience

Writing inclusively broadens your readership. When people see themselves accurately and respectfully depicted on the page, they are more likely to engage with and share your work.

Challenge Harmful Norms

Literature has historically been shaped by dominant narratives that exclude or misrepresent marginalized groups. Inclusive writing helps to dismantle these outdated perspectives and structures and push for more equitable storytelling.

Enhance Creativity

A commitment to inclusivity encourages richer, more complex storytelling, which will both push you as a writer and make your stories better. It will also allow you to explore new perspectives, settings, and conflicts that you might otherwise overlook.

Examples of Inclusive Writing

To put these principles into action, here are several ways to make your writing more inclusive:

Use Gender-Neutral Language

Instead of defaulting to masculine terms, opt for gender-neutral alternatives.

Instead of Mankind, use Humanity or Humankind

Instead of Chairman, use Chairperson or Chairwoman

Instead of He or she, use They (when applicable)

Develop Well-Rounded Characters

Avoid tokenism by ensuring that diverse characters have depth and agency. A character’s identity should be an integral part of who they are, but not their only defining trait.

Example: Instead of a one-dimensional LGBTQ+ character whose entire personality revolves around that identity, create a fully fleshed-out individual with hobbies, relationships, and personal struggles beyond their sexuality or gender identity.

Example: Instead of a flat, cardboard character of color who serves only as support to enhance the white protagonist’s quest, write them as a well-rounded human being with capabilities, likes and dislikes, and desires found in anyone, and give them equal time, energy, and importance in the story and its outcome.

Be Mindful of Cultural Representation

When writing about cultures different from your own, research thoroughly and avoid exoticizing or appropriating elements without understanding their significance.

Example: Instead of depicting an Indigenous character as a mystical guide, explore the nuances of their lived experiences and traditions with depth and accuracy.

Example: Rather than leaning on stereotypes, put characters of cultural backgrounds different from your own in real scenarios—a Latina character pursuing a cure for a disease while attempting to maintain difficult family ties, a Black character as a successful entrepreneur with a case of imposter syndrome, or an Asian character pursuing a career as a ballerina who also has a chronic illness.

Represent Disabilities Accurately and Respectfully

Characters with disabilities should not be defined solely by their conditions, nor should they be used as inspirational props.

Example: Instead of portraying a blind character as having “superhuman” hearing, depict them as an individual navigating the world in a way that aligns with real-life experiences.

Example: Rather than write a storyline wherein a disabled character “overcomes” their disability to be “normal,” write a story showing the character’s perseverance in getting the accommodations they deserve, with the world bending to meet them, rather than them being required to “fit in,” or a storyline of a sought-after attorney who requires a wheelchair, with the story being about their expertise and success in winning cases, not about their physical ability.

Avoid Harmful Tropes and Stereotypes

Be conscious of overused and damaging portrayals of marginalized groups. Some common pitfalls to avoid include:

The “tragic queer” trope (where LGBTQ+ characters are doomed to suffer or die)

The “magical minority” (where a character of color exists only to guide the white protagonist)

The “inspiration porn” approach to disability (where a disabled character exists solely to inspire able-bodied characters)

Final Thoughts

Inclusive writing is an ongoing process of learning, unlearning, and refining your craft. It requires openness, research, and a willingness to engage with feedback. By striving for inclusivity, writers can contribute to a literary world where more people feel seen, valued, and understood.

Whether you’re writing a novel, a short story, or a screenplay, taking the time to consider inclusivity improves your work and helps you create stories that resonate with a diverse and evolving readership. Start small, stay curious, and keep learning. Your words have the power to shape a more inclusive world.

Help me build a list of novels that clearly include inclusivity. Tell me in the comments!

Sending you mad writing mojo…

Happy writing!

The Epistolary Novel: 180 Examples

After working with college students for 20 years and more recently in the past few years with clients, I’ve seen, time and again, the resistance to—and more importantly, the fear of—writing.

This fear is often deeply embedded due to past experiences, some of which come from childhood. Sometimes the fear is of not feeling capable of taking on something so seemingly daunting as writing a novel due to the mass of information that needs to be understood, compiled, reconciled, and of course, written.

It recently occurred to me that, maybe, approaching novel writing with an epistolary approach—a story told in letters (and a variety of other mediums)—which can be, in theory, bitten off in smaller pieces.

Of course, we still need to achieve the overarching story arc and character arcs expected in novels, but thinking about writing a novel one letter at a time just might take the pressure off for some.

If this sounds appealing or intriguing to you, take a look at this list of 180 epistolary examples. Maybe check a few of them out, see how they’re done, and start one of your own.

Below the list, you’ll find one of my most recent YouTube videos about the epistolary novel.

(Note: Almost all of the titles listed below link to Amazon.com. This is in no way an endorsement of Amazon, nor is it a suggestion that you buy any of these titles from Amazon. It was simply the most convenient place find the titles and provide a synopsis so you can see which titles interest you. If, like me, you prefer to support local bookstores, you can always find titles that interest you here and buy them elsewhere. Also, this statement is in no way meant to be a critique of people who choose to buy from Amazon. To each, their own.)

  1. Love Letters between a Nobleman and His Sister by Aphra Behn (1684)
  2. Pamela by Samuel Richardson (1740)
  3. Letters from a Peruvian Woman by Françoise de Graffigny (1747)
  4. Julie or the New Heloise by Jean-Jacques Rousseau (1761)
  5. The Expedition of Humphry Clinker by Tobias Smollett (1771)
  6. Evelina by Frances Burney (1778)
  7. Les Liaisons dangereuses by Pierre Choderlos de Laclos (1784)
  8. Aline and Valcour by Marquis de Sade (1795)
  9. Hyperion by Friedrich Hölderlin (1797)
  10. The Sorrows of Young Werther by Johann Wolfgang von Goethe (1799)
  11. The Wild Irish Girl by Sydney Owenson (1806)
  12. Persuasion by Jane Austen (1817)
  13. Letters of Two Brides by Honoré de Balzac (1841)
  14. Poor Folk By Fyodor Dostoyevsky (1846)
  15. The Tenant of Wildfell Hall by Anne Brontë (1848)
  16. The Woman in White by Wilkie Collins (1859)
  17. Lady Susan by Jane Austen (1871)
  18. Dracula by Bram Stoker (1897)
  19. The American Diary of a Japanese Girl by Yone Noguchi (1901)
  20. The Kempton-Wace Letters by Jack London (1903)
  21. Daddy Long Legs by Jean Webster (1912)
  22.  Letters From Skye by Jessica Brockmole
  23. Dear Enemy by Jean Webster (1915)
  24. You Know Me Al: A Busher’s Letters by Ring Lardner (1916)
  25. Zoo, or Letters Not About Love by Viktor Shklovsky (1923)
  26. Givi Shaduri by Mikheil Javakhishvili (1928)
  27. Farthing Hall by Hugh Walpole and J.B. Priestley (1929)
  28. The Documents in the Case by Dorothy L. Sayers and Robert Eustace (1930)
  29. Anne of Windy Poplars by Lucy Maud Montgomery (1936)
  30. Screwtape Letters by C.S. Lewis (1942)
  31. I Capture the Castle by Dodie Smith (1948)
  32. Short stories about the Glass family by J.D. Salinger (1953)
  33. Houseboy by Ferdinand Oyono (1956)
  34. The Key (Kaji) by Jun’ichiro Tanizaki (1956)
  35. Kagi by Jun’ichiro Tanizaki (1956)
  36. Flowers for Algernon by Daniel Keyes (1959)
  37. Short stories about the Glass family by J.D. Salinger (1961)
  38. Short stories about the Glass family by J.D. Salinger (1963)
  39. Up the Down Staircase by Bel Kaufman (1964)
  40. Harriet the Spy by Louise Fitzhugh (1964)
  41. Herzog by Saul Bellow (1964)
  42. Up the Down Staircase by Bel Kaufman (1965)
  43. Silence by Shusaku Endo (1966)
  44. The Feverhead by Wolfgang Bauer (1967)
  45. Ada by Vladimir Nabokov (1969)
  46. 84, Charing Cross Road by Helene Hanff (1970)
  47. Go Ask Alice by Anonymous (1971)
  48. Carrie by Stephen King (1974)
  49. Letters of Insurgents by Sophia Nachalo and Yarostan Vocheck, as told by Fredy Perlman
  50. A Woman of Independent Means by Elizabeth Forsythe Hailey (1978)
  51. Letters by John Barth (1979)
  52. Shikasta by Doris Lessing (1979)
  53. So Long a Letter (Une si longue letre) by Mariama Bâ (1981)
  54. The Color Purple by Alice Walker (1982)
  55. Dear Mr. Henshaw by Beverly Cleary (1983)
  56. The Adrian Mole Diaries by Sue Townsend (1985)
  57. Letters to Alice: On First Reading Jane Austen by Fay Welden(1985)
  58. The Jolly Postman by Allan Ahlberg and Janet Ahlberg (1986)
  59. Black Box by Amos Oz (1986)
  60. Juletane by Myriam Warner-Vieyra (1987)
  61. Memoirs of an Invisible Man by H.F. Saint (1987)
  62. The Facts by Philip Roth (1988)
  63. Fair and Tender Ladies by Lee Smith (1988)
  64. Sorcery and Cecelia or The Enchanted Chocolate Pot by Caroline /Stevermer and Patricia Wrede (1988)
  65. The Trick of It by Michael Frayn (1989)
  66. Absolutely Normal Chaos by Sharon Creech (1990)
  67. So Long a Letter (Une si longue lettre) by Mariama Bâ (1990)
  68. Letters from the Inside by John Marsden (1991)
  69. Possession by A.S. Byatt
  70. Griffin and Sabine by Nick Bantock (1991)
  71. Nothing but the Truth by Avi (1991)
  72. Letters from Rifka by Karen Hesse (1992)
  73. Parable of the Sower by Octavia E. Butler (1993)
  74. “Manners of Dying” (short story) by Yann Martel (1993)
  75. Youth in Revolt by C.D. Payne (1993)
  76. Microserfs by Douglas Coupland (1995)
  77. The Prestige by Christopher Priest (1995)
  78. Two Solitudes (short story) by Carl Steadman (1995)
  79. Zenzele: A Letter for my Daughter by J. Nozipo Maraire (1996)
  80. Bridget Jones’s Diary by Helen Fielding (1996)
  81. The Pull of the Moon by Elizabeth Berg (1996)
  82. Going Solo by Hope Keshubi (1997)
  83. Freedom and Necessity by Emma Bull and Steven Brust (1997)
  84. The Fan by Bob Randall (1997)
  85. Jazmin’s Notebook by Nikki Grimes (1998)
  86. Parable of the Talents by Octavia E. Butler (1998)
  87. Last Days of Summer by Steve Kruger (1998)
  88. Speak by Laurie Halse Anderson (1999)
  89. The Perks of Being a Wallflower by Stephen Chbosky (1999)
  90. Ender’s Shadow Saga by Orson Scott Card (1999)
  91. Inconceivable by Ben Elton (1999)
  92. The Fox Woman by Kij Johnson (1999)
  93. Home Thoughts by Tim Parks (1999)
  94. Feeling Sorry for Cecelia by Jaclyn Moriarty (2000)
  95. House of Leaves by Mark Z. Danielewski (2000)
  96. The Princess Diaries by Meg Cabot (2000)
  97. e by Matt Beaumont (2000)
  98. The Plant by Stephen King (2000)
  99. Tarzan’s Tonsillitis by Alfredo Bryce Echenique (2001)
  100. Ella Minow Pea by Mark Dunn (2001)
  101. Mr. Mee by Andrew Crumey (2001)
  102. P.S. He’s Mine! By Rosie Rushton and Nina Schindler (2001)
  103. The Boy Next Door (#1) by Meg Cabot (2002)
  104. La silla del águila (The Eagle’s Throne) by Carlos Fuentes (2002)
  105. The Year of Secret Assignments by Jaclyn Moriarty (2003)
  106. We Need to Talk about Kevin by Lionel Shriver (2003)
  107. The My Dearest Letters by Rodger Morrison (2003)
  108. The Egyptologist by Arthur Phillips (2004)
  109. Love, Rosie by Cecelia Ahern (2004)
  110. TTYL by Lauren Myracle (2004)
  111. Gilead by Marilynne Robinson (2004)
  112. Boy Meets Girl (#2) by Meg Cabot (2004)
  113. Ibid: A Life by Mark Dunn (2004)
  114. Almost Like Being in Love by Steve Kluger (2004)
  115. Cloud Atlas by David Mitchell (2004)
  116. The Grand Tour by Carolin Stevermer and Patricia Wrede (2004)
  117. The Historian by Elizabeth Kostova (2005)
  118. Upstate by Kalisha Buckhanon (2005)
  119. March by Geraldine Brooks (2005)
  120. Every Boy’s Got One (#3) by Meg Cabot (2005)
  121. Bloodline by Kate Cary (2005)
  122. Who Moved My Blackberry? by Lucy Kellaway (2005)
  123. The Book of Renfield by Tim Lucas (2005)
  124. World War Z by Max Brooks (2006)
  125. Where Rainbows End by Cecelia Ahern (2006)
  126. Eleven by David Llewellyn (2006)
  127. The Beatrice Letters by Lemony Snicker (2006)
  128. The Mislaid Magician or Ten Years After by Caroline Stevermer and Patricia Wrede (2006)
  129. The Absolutely True Diary of a Part-Time Indian by Sherman Alexie (2007)
  130. Book of a Thousand Days by Shannon Hale (2007)
  131. The Gum Thief by Douglas Coupland (2007)
  132. The White Tiger by Aravind Adiga (2008)
  133. The Guernsey Literary and Potato Peel Pie Society by Mary Ann Shaffer and Annie Barrows (2008)
  134. From A to X: A Story in Letters by John Berger (2008)
  135. Dear Everybody by Michael Kimball (2008)
  136. The Letters by Luanne Rice and Joseph Monger (2008)
  137. Overqualified by Joey Comeau (2009)
  138. Voss by David Ives (2009)
  139. Treehouse: A Found E-mail Love Affair by Joseph Alan Wachs and Jason Alan Franzen (2009)
  140. Richard Yates by Tao Lin (2010)
  141. Life Form by Amélie Nothomb (2010)
  142. Super Sad True Love Story by Gary Shteyngart (2010)
  143. Attachments by Rainbow Rowell (2011)
  144. The Antagonist by Lynn Coady (2011)
  145. Why We Broke Up by Daniel Handler (2011)
  146. The Islanders by Christopher Priest (2011)
  147. Frances & Bernard by Carlene Bauer (2012)
  148. Code Name Verity by Elizabeth Wien (2012)
  149. Aeternum Ray by Tracy R Atkins (2012)
  150. Dear Mr Knightley by Katherine Reay (2013)
  151. Where’d You Go Bernadette by Maria Semple (2013)
  152. A Tale for the Time Being by Ruth Ozeki (2013)
  153. Permission by SD Chrostowska (2013)
  154. The Closeness That Separates Us by Katie Hall and Bowen Jones (2013)
  155. September Ends by Hunter S Jones (2013)
  156. Texts from Bennet by Mac Lethal (2013)
  157. Love Letters to the Dead by Ava Dellaira (2014)
  158. Gabi, a Girl in Pieces by Isabel Quintero (2014)
  159. To All the Boys I’ve Loved Before by Jenny Han (2014)
  160. Dear Committee Members by Julie Schumacher (2014)
  161. Texts from Jane Eyre by Mallory Ortberg (2014)
  162. Vanessa and Her Sister by Priya Parmar (2014)
  163. The Divorce Papers by Susan Rieger (2014)
  164. Every Blade of Grass by Thomas Wharton (2014)
  165. Illuminae by Amie Kaufman and Jay Kristoff (2015)
  166. The Martian by Andy Weir (2015)
  167. The Devourers by Indra Das (2015)
  168. Dear Mrs. Naidu by Mathangi Subramanian (2015)
  169. Everything, Everything by Nicola Yoon (2015)
  170. The Incarnations by Susan Barker (2015)
  171. Bats of the Republic by Zachary Thomas Dodson (2015)
  172. How to Party With an Infant by Kaui Hart Hemmings (2016)
  173. Sleeping Giants by Sylvain Nèuvel (2016)
  174. Not a Self-Help Book: The Misadventures of Marty Wu by Yi Shun Lai (2016)
  175. The Boy is Back (#4) by Meg Cabot (2016)
  176. Dracula vs. Hitler by Patrick Sheane Duncan (2016)
  177. Gemina (Illuninae Files #2) by Arnie Kaufman and Jay Kristoff (2016)
  178. The Rise and Fall of D.O.D.O. by Neal Stephenson and Nicole Galland (2017)
  179. Obsidio (Illuminae Files, #3) by Arnie Kaufman and Jay Kristoff (2018)
  180. This is How You Lose the War by Amal El-Mohtar and Max Gladstone (2019)

If you know of other epistolary novels not mentioned in this list, please leave them in the comments below, and I’ll add them to the list.

Sending you mad writing mojo…

Happy writing!

Johnnie
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