Author, Novelist, Scholar ·
Patricia Leavy, PhD is a best-selling author, book series creator and editor, and an internationally recognized leader in research design and arts-based research. She is widely considered the world’s most visible proponent of arts-based research as a means of making research publicly accessible. As an author, Dr. Leavy has earned critical and commercial success in both nonfiction and fiction.
“Leavy’s bravest novel, dealing with issues sparked by the current #MeToo Movement… will resonate with any reader. Her characters help us all realize that we only really see shades of people, tips of icebergs that often hide deep wells of pain… Use this novel in your Social Work, Communication, Film, Women’s and Gender Studies, Sociology, and Capstone courses.” – U. Melissa Anyiwo, Ph.D., Curry College
I began my career in sociology studying women’s lives and media culture. My research methods were fairly conventional. I conducted content analysis research on media representations and collected in-depth interviews with hundreds of women. I learned so much and wanted to share this knowledge with others who could benefit from it. Surely the cumulative insights I gained might be of use to other women. After nearly a decade of sharing my work through peer-reviewed journal articles, conference presentations, and nonfiction academic books, I had a life-changing realization: no one was reading this stuff. My research wasn’t helping anyone. Journal articles are completely inaccessible to the public. They’re loaded with discipline-specific jargon and circulate in university libraries. People don’t have reasonable access to them. Even if they did, would they want to read them? Academic writing is usually dry and formulaic, lacking the qualities of good and engaging writing. Let’s face it, even academics don’t want to read this stuff. The vast majority of journal articles have less than ten readers. That’s bleak.
Fed up with the limitations of traditional academic publishing, I turned to fiction. I’ve published five novels and a collection of short stories all intended to communicate sociological themes. The benefits of doing so have been tremendous. I’ve been able to get at issues that are otherwise out of reach and I’ve been able to reach audiences both inside and outside of the academy. Not only are novels accessible and enjoyable to broad audiences, but neuroscientific research shows we engage with fiction more deeply than nonfiction prose with the effects lasting longer (you can read a summary of this in my blog “Our Brains and Art”).
I’d like to describe my new novel, Film, in order to illustrate how sociology can be seamlessly incorporated into fiction. I should disclose that Film is my personal favorite of my own novels--it’s both the one I wish I read on a beach years ago and the novel I always wanted to use in classes.
In recent years I’ve become especially interested in what the pursuit of dreams looks and feels like for American girls and women, and the underside of those dreams in a culture in which we’re not all on an even playing field. Here’s a synopsis of Film:
Film follows three women who moved to Los Angeles to pursue their dreams. Tash Daniels aspires to be a filmmaker. Her short film was rejected from festivals, she has a stack of rejected grant proposals, and she lost her internship at a studio when her boss harassed her, forcing her to take a job as a personal shopper. Lu K is a hot deejay slowly working her way up the club scene, but no one is doing her any favors. Fiercely independent, she’s at a loss when she meets Paisley, a woman who captures her heart. Monroe Preston is the glamorous wife of a Hollywood studio head. As a teenager she moved to LA in search of a “big” life, but now she wonders if reality measures up to fantasy. When a man in their circle finds sudden fame, each of these women is catapulted on a journey of self-discovery. As the characters’ stories unfold, each is forced to confront how her past has shaped her fears and to choose how she wants to live in the present. Film is a novel about the underside of dreams, the struggle to find internal strength, the power of art, and what it truly means to live a “big” life. Frequently shown bathed in the glow of the silver screen, the characters in Film show us how the arts can reignite the light within. With a tribute to popular culture, set against the backdrop of Tinseltown, Film celebrates how the art we make and consume can shape our stories, scene by scene.
There are four primary sociological themes underpinning the novel.
First, Film is written from a feminist perspective and has undertones of the #MeToo movement and Time’s Up initiative. The three female protagonists have each experienced sexual harassment and other gendered trauma. Connections to other status characteristics, such as sexual orientation, are also rendered visible. These experiences are not a part of the unfolding action, but rather they occurred in the past and we only learn of them through flashbacks. These scenes illustrate the routine, pervasive nature of these experiences for girls and women and how deeply they may be affected, emotionally and professionally. Building on the latter point, the characters in Film also show the career advantages boys and men receive which simply don’t happen for girls and women. One of the main characters, Lu, concludes early in her life that “a girl with a dream is on her own in the world.” In some ways this line is the fulcrum for the novel.
Second, Film illustrates Erving Goffman’s “dramaturgy.” Students often find theory difficult to grasp because it’s so, well, theoretical. Through the characters in the novel, readers see how people present themselves “front stage” and the struggles they may be contending with “back stage.” There are simple techniques commonly used in fiction that make this possible. In Film, flashbacks and interior dialogue (what a character is thinking) allowed for a sociological analysis of the “front” and “back” stage. These strategies, used throughout the novel, dismantle the “appearance” of who these characters are, and instead explore what lurks behind the scenes and how that impacts the public personas the characters develop. For example, in one scene the protagonist Tash acts like the “it girl” at a club, drinking and flirting, but because we are exposed to the behind-the-scenes struggles she’s dealing with, we understand the pain this behavior is masking.
Third, pop culture plays a significant role in Film. A carefully curated selection of movies, television, music, and visual art serve as signposts throughout the narrative. When you try to teach students how the media they consume helps shape who they are, you get nothing but resistance, as if each individual is somehow immune, or as if the implication is necessarily negative. The novel format makes this easier to tackle. In order to make the socialization process come to life, characters are routinely shown experiencing pop culture. In several scenes they are literally imaged in the glow of the silver screen.
Finally, and perhaps summarizing these other points, the novel format allows for the crystallization of micro-macro links. This, “the sociological imagination,” is arguably the heart of our discipline. Sociology courses are often less about teaching specific content, and more about teaching a perspective--giving students a lens through which to view any number of phenomena. This is both the promise and challenge of sociology. Fiction makes it easier. Readers learn about the characters’ lives and can clearly see how their lives are shaped by the time and culture in which they live.
My hope is that general readers can enjoy Film, perhaps reflecting on their own lives, and that professors will incorporate it into their classes, and students may reflect on how culture shapes the characters, and vice versa. To facilitate its use in a wide range of courses, the novel includes further engagement for book club or classroom use (discussion questions, creative writing, research, and art activities). As many sociology professors know, it can be challenging to teach students to look at things they’ve long taken for granted with a new sociological perspective. The same is true teaching anything from a feminist perspective. We often only reach those students already positioned to agree and understand, and battle with those who can’t yet apply this new framework. How can we actually engage those students? Lecturing is rarely effective because it relies heavily on telling. However, fiction relies primarily on showing. Students may be more open to learning these new and challenging ideas when presented in this format. Moreover, they may actually have fun. As they identify with or develop empathy for characters, they may be better able to grapple with the larger issues the characters’ journeys reflect. At least that’s the hope.