Screenwriting : Cultural vetting by David Bass

I'd say not to sweat bout entering cultural/ethnicity/race specifics into so early as spec stage if it's not crucial for the story (say doing a history piece on MLK)...

In Oliver Stone's original script for "Platoon" Sgt. Elias's character was Native American for the reasons known only to Stone, not crucial for the story...he was later replaced by a stoner/free-spirited Elias, played by Dafoe.

If interested over the other story/character basics yes, I can provide feedback, contact me via DM for details

Go to the actor lounge and ask there. Actor are the best assessor of character and they are also aware of crap characters they are asked to perform.

Talking in general here. No third party can get into the mindset of any particular culture more than someone living in that culture. In past I chatted to people in a remote village. I could have googled, asked intellectuals their view or told an actor "give me your take." Obviously not everyone can travel for scripts but find a community wherever you live.

As a child growing up in the projects of New Orleans, it all depends on what type of "elderly Black woman" you want to represent in script or film, which depends on the role you've written. Is she funny? Maternal? Stern? Suburban or urban lingo? Examples: My grandmother (part Cherokee/African American) was a stout, no-nonsense, rule-by-the-switch or branch woman (lol) who would sit on the porch and "mother" other children in the neighborhood. She had 15 children. Two of my Aunts were "bible-thumping holier than thou" women that Eddie Murphy so hilariously portrayed in his stand-up routine. Another Aunt was a drug dealer. My youngest Aunt was "gangsta Aunti" and my Mom was the bookworm (PhD in Theology, Bachelor's in English/ Social child development, and GED instructor) She never swears or curses. IS this character an in your face, tell it like it is personality, OR is she that naturing, Jesus loves you, and everything going to be alright personality. It's all about the nuances.

DD Myles many thanks for these comments. Of course there is no such thing as a "universal Black woman" any more than a "universal [any other identity group]." I'm looking for consistency within the nuances, within the character. Is her dialogue and how she relates to other characters consistent with who she is? Do all the parts of her personality, demographics and other attributes fit together into a complete puzzle? What pieces are missing?

BTW, the majority of the story is set in New Orleans, with the remainder in Atlanta. The protagonist is portrayed as an Atlantan, but she makes new friends who are Crescent City natives and how she relates to them is important too.

Thanks to other commenters as well. Kiril - the culture dynamics are definitely important to the story. Craig - I've posted in the actor lounge too. Great suggestion! Debbie - I'm finding community where I can and so far have received some excellent guidance, mostly easy fixes so far.

What Debbie says is very true. I'm out in the NorWest US. I've tried writing stuff for the UK and Australian markets - no can do. It's reported that we all speak English, but not so! I may speak English but I talk American. I really don't understand what those Australians are talking and not real clear about those writers in the UK. My general advice is to write in your comfortable tongue. Or bring in a native language writer.

David Bass , reinforcing what Debbie Croysdale @ddmyles and Doug Nelson say, S32 recently did a webinar [1] where seasoned pros Guillermo and Diego made an interesting comment re “diversity within diversity” implying you need someone with deeper experience. Also, a recent Seed&Spark YouTube seminar [2] with sensitivity readers may be helpful, all of whom, including the youngest one on the panel clearly knew and do a ton on the topic. All of them are reachable.

[1] https://www.stage32.com/lounge/directing/Stage-32-State-of-the-Industry-...

[2] https://youtu.be/uV-mVN_67AY

These are all GREAT points, everyone & I agree with Doug's advice about writing in your comfortable tongue. It's a necessity, really and truly. And to Craig's point (and speaking from personal experience) any actor will smell stilted dialogue from a mile away, so if you want to get a handle on making your voice in particular more conversational, let's say, then chatting with actor/writers is an incredibly smart way to go. (Fantastic that you've moved to that lounge, too!)

If, however, you're looking to include a voice in your story that is culturally unlike your own, then I do think that the only real choice here is to seek someone out whose voice is authentically that. 1000%. And ABsolutely build in the nuances as DD suggested, but simply make sure that you're collaborating with someone who has any of that experience already built into their voice.

Thanks @Angela

Best advice I can give you is to study the films of Tyler Perry, who's Madea character portrays the typical older black woman to perfection in a funny way. If your protagonist can't measure up to Madea in a meaningful way, better start a new script.

I don't see how writing about a black woman IS a problem. You could write about any race you wish. We're all one.

Hi Dave, I would love to help you. Just DM me a snippet of one of her scenes or interactions that shows her personality, and I'll help you with the nuances. It's all about the nuances! I'm sitting with my Aunt right now. She's laughing about that "elderly Black woman thingy" lol.