Recently, I’ve been reflecting on how my past social work experiences have had an influence on my story writing and I’ve begun to use the term ‘social work fiction’. I quite like it, enough to even include it at the top of my website.
It’s hardly an established genre, obviously nothing like crime fiction, science fiction or literary fiction, but a quick scout around the internet does reveal that the phrase is being used. Well, it’s being used a tiny bit. At any rate, it’s working for me. I think it has a nice easy flow to it. Social work fiction. It almost sounds like an established genre.
So what kind of writing might one expect when referring to something as social work fiction? What fictional ideas or images does the term summon up for potential readers?
A few rather overused social worker images spring to mind. Such as the well-meaning ‘do-gooder’ (I hate that expression, by the way, how did there come to be a derogatory term for people who do good?). She is a woman, probably blonde, young and attractive, and she works at a downtown (read New York) charity of some kind, and she ultimately needs rescuing by a worldly-wise, gritty man. I seem to recall a few 70s films with romantic subplots like this. Probably all starring Clint Eastwood.
And then there’s the other kind of social worker image found in fiction, probably even more common. An older, middle-class woman in a dowdy outfit (perhaps a twin-set outfit, pearls and glasses). She’s a ‘busy body’ – well-meaning (again) but misguided. And she raps on the door of a troubled family’s home only to worsen their plight by attempting to remove the children and place them into the black hole of government foster care.
And I can think of a third kind. A woman again (well, it is a female dominated profession) and she sits silently in a windowless room, watching while two policemen interview a wayward child or teenager.
Beyond the cliches, there are also some quite oddball representations. Lilo and Stitch is one film that immediately jumps to mind. The social worker is a man for starters (hooray for me), he’s ex-CIA and he goes under the name Cobra Bubbles. But of course, he still wants to place Lilo into foster care. At least he’s a little different to look at.
A social work fiction story with a marvelous difference is the horror flick from 1971, The Baby. This film is bizarre. A social worker investigates the ‘Wadsworth family’ – a mother, two daughters, and an adult son who behaves like a baby. Literally like a baby. ‘Trapped by three women with no way out,’ goes the pitch. The trailer is well worth checking out. It’s on IMDB here.
Happily, recently I’ve witnessed more respectful and inventive portrayals of social worker characters in fiction: competent care workers conducting supportive interventions to create positive change and secure social justice for their clients. But then of course, as drama demands, there’s an upheaval of some kind – a gruesome murder, perhaps – which upturns things and gets the story rolling.
While mostly documentaries, the blog site A Small Good Thing provides an interesting list of 23 powerful films ‘that shed light on social work, social workers, and the important themes and issues that social workers devote themselves to every day’.
Putting all of this to one side, for me, use of the term social work fiction is a personal thing. It’s a way for me to describe what I am writing and something I can fit alongside the more recognisable genre I might be writing in. For example, young adult fantasy. Social work fiction, for me, is a mindset. It’s a part of my writing voice.
So ultimately, that’s what I mean by social work fiction. It’s the lens through which I’m looking at the world I’m creating. For me, social work fiction stories are not just stories that happen to include a social worker in some way.
For example, my latest completed draft novel, Christopher Reuben and the Curious World beneath His Garden, is about a 14-year-old boy with a strange new illness who escapes into an extraordinary world beneath his garden – a world that is under attack by a deadly weed, just as his own body is under attack by a deadly virus. Besides fantasy stories such as Neil Gaiman’s The Graveyard Book (Gaiman’s take on Kipling’s The Jungle Book), Alice in Wonderland and Wizard of Oz, to write the story I drew on the humbling experiences working as a social worker in HIV/AIDS and now cancer.
In my first, traditionally published book, EleMental, I explore addiction. Set in 2050, a group of kids play a virtual game deliberately designed to be highly addictive (it’s meant for asteroid miners, to prevent them from wanting to go on leave back to Earth). As they play the deadly game, their perceptions of when they are in a game and when they are in the real world because hopelessly blurred until they find themselves trapped in the game world. While writing the story, I draw on my time working with those recovering from alcohol and drug addictions. It’s quite a complex book for a young adult novel.
The latest project I’m still busily working on does happen to feature a social worker. He is the main character, and it’s a novel for adults for a change. Set in the eighties, it’s about a group of social workers (and one in particular) struggling to be effective within the turmoil of a busy infectious diseases hospital that’s caught in the grip of the AIDS epidemic.
My social work identity makes up an important part of my writing voice, no matter what kind of story I end up writing. Sci-fi, fantasy, reality… It’s not deliberate, it’s just a part of me, as your experiences are an important part of you.
In recent times I have come to enjoy finishing my posts with some recent photos.
A palm tree that once lived near me…
An orchid in my back garden is still going strong. It was a gift to my wife 15 years or more ago…
Lastly, two pics of Robert De Niro’s T-shirt from the fabulous New York, New York film.
Here it is, in the film…
So long for now. 🙂