Choosing a Character’s Ethnicity When the Plot Doesn’t Dictate It

Writers often get stuck on a surprisingly common question: If a character’s ethnicity doesn’t affect the plot, how do I decide what it should be?

It’s a fair concern. You want to avoid stereotypes, tokenism, and unintentional erasure — but you also don’t want to treat ethnicity like a checkbox.

This is a craft decision. Treat it like one.

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🌍 Start with the story’s world, not a spreadsheet

Even when ethnicity isn’t plot‑critical, it is part of world‑building. Consider:

• Where the story takes place
• Who naturally lives, works, or studies there
• What communities would be present even if identity never becomes a theme

This keeps representation organic rather than bolted on.

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🧩 Consider the character’s function in the story

A character’s ethnicity doesn’t need to be plot‑relevant to be story‑relevant. Think about:

• Their role (mentor, antagonist, friend, rival)
• Their social circles
• Their environment or profession
• Their implied backstory, even if it stays off‑page

This anchors the choice in narrative logic instead of external pressure.

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🎨 Use ethnicity as texture, not a theme

Not every story needs to explore identity. But ethnicity can still add:

• Naming conventions
• Family or cultural details
• Food, holidays, or casual references
• A sense of lived‑in reality

These touches enrich a character without turning it into a subplot.

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🔍 Avoid the “default character” trap

If you don’t choose intentionally, it’s easy to default to whatever you’ve seen most often in media. That’s how casts end up unintentionally homogeneous.

A simple pause — Why this choice? Why not another? — is often enough.

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🌱 Let representation grow naturally

Once you have a cast list, step back and look at the whole:

• Does it reflect the world of the story
• Does it feel lived‑in
• Does it avoid tokenism
• Does it avoid erasure

This isn’t about quotas. It’s about coherence.

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🧘 Don’t overcorrect into anxiety

Writers sometimes freeze because they’re afraid of “getting it wrong.” Fear flattens characters.

A steadier approach:

• Choose intentionally
• Research respectfully
• Avoid stereotypes
• Let ethnicity be one facet, not the defining feature

You don’t need to write a cultural deep dive every time you assign an ethnicity. Sometimes it’s a name, a detail, or a reference — and that’s enough.

Using Developmental Feedback Effectively

You’ve received your editorial letter. Maybe it’s 10 pages long. Maybe it’s 3. Either way, your stomach drops. You open the file. You skim the comments. And suddenly, your manuscript feels like a house of cards.

Take a breath. This is where the real magic happens.

Developmental feedback isn’t a verdict—it’s a roadmap. Here’s how to use it without losing your voice (or your mind).

📖 How to Read an Editorial Letter

Don’t dive in with your red pen. Start with two passes:

• Emotional first pass: Read it like a reader, not a writer. Let the feedback wash over you. Notice your reactions—defensiveness, excitement, confusion—but don’t act on them yet.
• Analytical second pass: Now read it like a strategist. Highlight key issues. Note patterns. Separate structural concerns from stylistic suggestions.

If your editor included margin comments or tracked changes, review those after the letter. They’re meant to complement—not replace—the big-picture analysis.

🧩 Making a Revision Plan

Developmental edits can feel overwhelming. The key is triage.

Here’s how to break it down:

• Identify the big rocks: Major plot holes, character arc issues, pacing problems.
• Group related fixes: If your protagonist’s motivation is unclear, that might affect multiple scenes.
• Set priorities: What’s mission-critical vs. nice-to-have?
• Stage your revisions: Don’t try to fix everything at once. Work in layers—structure first, then character, then polish.

Use tools like spreadsheets, sticky notes, or revision maps to track changes. Whatever helps you stay organized.

🎭 When Feedback Conflicts with Your Vision

Not all feedback will resonate. That’s okay.

Here’s how to handle it:

• Push back respectfully: If a suggestion feels off, ask your editor to clarify. They might be flagging a symptom, not the root cause.
• Adapt creatively: Can you address the concern in a way that fits your voice?
• Seek a second opinion: If you’re truly torn, ask a trusted critique partner or beta reader.

Remember: You’re the author. The editor is your guide—not your ghostwriter.

📞 Working with the Editor Post-Feedback

Some editors offer follow-up support. Take advantage of it.

Options might include:

• Follow-up calls: Talk through the feedback, ask questions, brainstorm solutions.
• Revision reviews: A second pass after you revise, often at a reduced rate.
• Transition to line editing: Once the structure is solid, you may move into sentence-level refinement.

Clarify what’s included in your original agreement—and what’s extra.

📝 Final Thoughts

Developmental editing is a journey. It’s messy, emotional, and transformative. But if you approach it with curiosity and clarity, it can take your manuscript from promising to powerful.

You don’t have to implement every suggestion. You don’t have to revise overnight. But you do have to engage—with the feedback, with your story, and with your own creative instincts.