Writing International Characters: Emily in Paris and the Problem with Passport Fiction

Stereotypes and clichés works for satire or stories where we get to experience a different culture from the perspective of a foreigner abroad like Emily in Paris, but not so much if you want your readers to enjoy a story with a specific setting. When writing international characters it's smart to either take a light approach (like a friend or neighbor from another country), or to do your research if you really opt for a main character with a different nationality or cultural identity than yours.

Emily in Paris works well as passport fiction because it's a dreamy, escapist version of Paris that caters to an outsider’s fantasy rather than a deeply authentic cultural experience. The show romanticizes French stereotypes and just has a lighthearted tone. The show focuses on fashion, food, and flirts and is a rather digestible version of cultural exploration that doesn’t require deep knowledge or critical engagement. It's entertaining. It also highlights the fine line between fun cultural immersion and reinforcing clichés.

As you may know, I am an author of German new adult books and the German book market has seen a boom in stories about characters abroad. In some books, Germans go abroad as au pairs (Lilly Lucas's New Beginnings), in other stories the charaters are not German at all (Mona Kasten's Maxton Hall series or Carolin Wahl's Crumbling Hearts series). It's an interesting trend and probably has a lot to do with wanting to explore the world and escape to places other than one's home country.

RESEARCH

If you haven't been to the country, maybe do so as part of a research trip. Understanding a character’s cultural background requires more than surface-level knowledge. Otherwise, at least read books, watch films, and, if possible, talk to people from that culture. Of course, it's fiction, so not everything has to be perfectly realistic. If your characters use an app that they normally wouldn't in that country, who cares. But there are some things that might confuse readers. Like Austrian characters that say Brötchen and Tüte instead of Semmel and Sackerl. You might need a reason for that.

I think the reason is that people first get excited that their own culture or their favorite travel destination is in a novel but disappointed when things just not making sense.

ONE-DIMENSIONAL TRAITS

Stereotypes reduce individuals to a single trait—such as the “nerdy Asian,” the “fiery Latina,” or the “Eastern European gold digger” (I always think of Irina and Gabrielle in Desperate Housewives). For well-written stories we need well-rounded characters with unique personalities, aspirations, and flaws. No one person embodies an entire culture.

CULTURAL NUANCES

Language, traditions, mannerisms, and social norms vary widely even within a single country. It's best to avoid generic depictions. There are differences in regional dialects, socioeconomic backgrounds, religious beliefs, and personal experiences. A single person cannot represent an entire country or culture. But that also means you can focus on your character apart from their country and culture as well. Weave cultural elements into the story through dialogue, traditions, food, and interactions. This makes the character’s background feel lived-in rather than artificially inserted.

EXOTICIZATION

Present characters as individuals. Writing about international characters should not focus solely on their “otherness” or use their culture as a plot device. Instead, integrate their background naturally into the story. Don't try to force it and don't make them the odd one out.

TROPES & STEREOTYPES

Some cultural tropes are deeply ingrained in media—such as the sassy Black best friend, whose sole purpose is to support the white protagonist with witty one-liners, the promiscuous French lover, the Indian tech-worker, the loud, overbearing Italian family (again, Desperate Housewives), or Indigenous characters as being in perfect harmony with nature but lacking complexity or individuality.

These stereotypes flatten entire cultures into predictable, one-dimensional roles, reducing characters to clichés rather than allowing them to be fully developed individuals.Challenge these by showcasing characters with diverse perspectives and experiences rather than defaulting to outdated archetypes.

Emily in Paris and Desperate Housewives tropes and stereotypes and so can you but the format and genre matters a lot.

Desperate Housewives can pull off characters like Russian Irina because the show is designed to be a satirical, over-the-top portrayal of suburban life, where exaggerated traits and cultural quirks are part of the humor and drama. Like the crazy Ex of Tom Scavo or Linette Scavo as the career woman turned housewive of many (five?) kids.

The show thrives on embracing the absurd, and characters like Irina, with her exaggerated Russian accent and gold-digging tendencies, are presented in a comedic light rather than as fully realized, authentic representations. In this context, stereotypes are used as broad, easily recognizable shorthand to push the story forward or create a punchline, rather than as an attempt to offer a nuanced or realistic portrayal of a culture. Viewers are in on the joke, so they don’t take the stereotypes too seriously.

SENSITIVITY READERS

If you are writing about a culture outside your own, consider working with a sensitivity reader from that background. They can help identify unintentional biases and ensure authenticity in your portrayal.

When it comes to writing international characters, tropes and stereotypes can work in certain contexts, like satire or stories told from the perspective of a foreigner abroad. But when you’re aiming for authenticity, they can easily alienate readers. By doing your research, being mindful of cultural nuances, and challenging outdated stereotypes, you can create characters that resonate with a global audience.

It's about respecting the culture you’re portraying and offering readers an experience that feels real and genuine. Whether your characters are from a neighboring country or halfway across the world, investing in their authenticity will always make your story stronger.