On Writing Strong (Female) Characters

Every once in a while, the question makes its way around the writing circles: how to write strong female characters?

Well, I’m a guy, so I probably shouldn’t be the first person you ask. In fact, definitely not. But, because I’m a guy, here comes my opinion anyway. (Right away with the gender stereotypes — buckle up!)

Often, some wiseacre will reference the acidic, sexist crack from Jack Nicholson’s character from the movie As Good As It Gets: “I think of a man, and I take away reason and accountability.” This is best used ironically, or not at all, as it’s not really constructive. It’s also wildly sexist. So there’s your example of What Not to Do, I guess.

Also on the list of smartass responses is this comic strip by Kate Beaton, which takes a swing at the tropes some writers seem to think make female characters strong, but actually really don’t. (I particularly like the lengthy justification of the boob armor, which I’ve seen in many an online argument about revealing superhero costumes.)

OH JOHN RINGO NO

If you look at your typical urban fantasy cover, the answer seems to be “crop top, big knife, and tattoos.” This is a pretty hoary complaint by this time, and I feel a little self-conscious even making it, but seriously, show me a bad-ass vampire hunter with her midriff covered, and, well… I’ll be mildly surprised. Not that this is a bad thing in itself, beyond being something of a cliché at this point. But it does seem to reinforce the idea that “violence = strength.” Not that I mind ass-kicking characters, but groin-punching is a behavior, not a personality trait. The most iconic modern-fantasy female of them all, Buffy Summers, much more going for her than just beating monsters senseless.

The question’s also been kicking around the blogosphere recently. Oh, I just said blogosphere. I’m sorry. Anyway, for example, “The Fantasy Feminist” by Fantasy Faction (say that five times fast), points out some of the most common gaffes in writing female characters:

These issues are, at their core, character issues. The problem isn’t the warrior or promiscuous personality in itself; rather, it’s the idea that to be a strong character, a woman must act like a man or shun feminine things or use her body to manipulate people or some other misconception. And even then, it’s really only a problem if the writer believes that the character must act that way to be strong. If the character believes it, then the writer has taken a first step toward creating a multi-layered person.

Michel Vaillancourt, author of The Sauder Diaries: By Any Other Name, relates how he carefully researched and constructed his female characters. Vaillancourt sums up the problem neatly: “Within our North American pop culture, we have built a mystic divide between the principle genders.” What’s most interesting about this post is the mixed reaction Vaillancourt got from female readers  — proving that there is no One True Way when it comes to writing characters, nor should there be.

My favorite answer to this question, however, came from a recent Google+ thread in which a writer asked, “how do you write female characters?” and someone answered:

1) I think of a character.
2) I make them female.

I love this answer, because I think it gets to the heart of the issue: gender plays very little part in what makes a good or strong character. So why start with gender at all?

What It Takes

So what does it take to make a (female) character tick?

1) Agency. The character makes things happen. They move the plot forward. They make choices — even if they are bad ones — that propel the story. They make a difference. They do not wait for the story to happen to them. They do not wait to be rescued. They do not let somebody else handle the hard stuff. If your character is sitting around the house gnawing their knuckles and hoping everything will work out okay, you need to punt them into the middle of the action.

2) Relatability. A character doesn’t have to be likeable, but they do need to have distinct goals and desires  — in short, the things that make us human. Female characters in particular seem prone to fall outside these boundaries — they’re presented as mysterious, otherworldly creatures, their actions random and without reason — basically, all the worst parts of some stand-up comic’s outdated “women want the toilet seat down” routine.

If you’re putting this kind of thing in your writing, please, for all our sakes, knock it off. Women aren’t magical creatures from another planet. Stop writing them like that. Give them human hopes, fears, and motivations. It’s not that hard. A female character shouldn’t be measured by her sexuality, or the cut of her clothing, or how many people she can wheel-kick in sixty seconds to prove she doesn’t need a man. Violence doesn’t make a character strong. Neither does sex. Not by themselves, anyway.

3) Integrity. Look at the list of characters in your latest work. Describe each character in a single, short sentence. If the words “love interest” appear anywhere in that sentence, chances are your character is a bit crap. Look, it’s nothing personal. I’m guilty of this. I’ve created the character who exists only to be dated, desired, or unceremoniously boinked. Is there a place for such characters in a story? Maybe — if, as Michel Vaillancourt says, they’re strictly a plot device. But you could probably do better. If your character’s sole motivation is to be someone’s girlfriend, you can’t pretend they’re well-rounded and still keep a straight face.

Characters must also have integrity of motivation — not from stereotypical gender expectations. A common example of this is Ripley going back to save the cat in Alien. I’ll be the first one to say that while Ripley in Aliens is a great example of doing a female character right, the first Alien drops the ball in a few places. Do you think Hudson or Hicks or one of the other badass space marines would have gone back for the cat? Yeah, me neither. Chances are they wouldn’t strip down to their underwear in the final reel either, but whatever. My point is, characters should make decisions based on their character — it doesn’t matter if they’re bad decisions, so long as the reasoning isn’t “well, she’s a woman and women are so crazy so she did the crazy thing.”

Is That All?

Well, no.  Because I won’t pretend for one second that there’s one true formula for writing characters of any gender. People are different. And, like it or not, while men and women might not be from other planets, they’re not identical either. They process emotions differently. They’re shaped by different societal forces.

There’s a danger in writing against stereotypes without going deeper than just defying the stereotype. A female character can ask her boyfriend to open the pickle jar, or hate taking out the trash, or follow her intuition when her brain is telling her a different story. That doesn’t magically make a character weak. What makes them weak is defining them only by that sort of thing. But take that too far in the other direction, and you may end up with a bunch of stereotypical male traits… the proverbial “man with breasts.” You’ve essentially traded one set of cliches for another at that point.

So, as usual, the answer is somewhere in the middle. The most memorable female protagonists (the ones that come up constantly in conversations like these: Buffy, Ripley, etc.) show us that they can feel terror and charge into peril anyway. That they can love, or grieve over love lost, without pining forever in their room. That they can hold their own without being invincible.

“Strong” does not mean “flawless,” because invulnerable people with no weaknesses are the most boring characters imaginable. There’s a big difference between characters flaws and a character who’s just written poorly. To quote from the blog 42nd Wave Feminist:

I think many of Mr. Whedon’s critics think that because he is a professed feminist who supports Equality Now and has been honored by them, and because he enjoys writing strong female characters, that somehow every female character he writes should fit some sort of feminist ideal. I think that’s a ridiculous expectation and would most likely result in colossally boring television.

This is a complicated issue, and I could probably go on for several more paragraphs, but I’m not going to. In short, if you want to write good characters, then start with character — not with gender. Write human beings, not stereotypes or sex object. It’s not rocket science.

Your turn. Tell me your thoughts. I’d love to hear them.

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Writing at the Speed of WTF

Ripley's 0059
Ripley’s Believe It or God Will Spear You in the Face With a Metal Pole, I Swear I Am Not Kidding

For me, being a writer is sometimes akin to being a submarine commander — long stretches of inactivity punctuated by moments of sheer panic.

I’m not a Type A writer by nature. There are days when I’ll do just about anything to get out of writing. I’ll clean my desk. I’ll clean the toilet. I’ll clean the house. Hell, I’ll clean the neighbor’s house, while they’re not there, and then enjoy the panic and outrage that ensues from such well-meaning vandalism. Officer, someone came in here and tidied up and I can’t find anything! Good heavens, Miss Sakamoto!

The madness doesn’t end there. I’ll alphabetize my DVDs. Or my books. Do you have any idea how many books I have? Well, you’re reading a writing blog, I guess you probably do. Chances are you’re nodding your head right now, thinking of your own bookshelves and saying “yeah, you poor dope, better you than me — oh wait.”

I’ve considered buying a bicycle just so I could blow the tire on it, and then say to myself, hey, I’d love to write but I got this bicycle tire and chances are it ain’t gonna change itself. And then I’ll have a cup of coffee or two and watch the tire, just in case it does change itself and I have to call Ripley’s Believe It or Not. And I spend some time looking up the number for Ripley’s Believe It or Not, since I’m nothing if not well-prepared. I also look into some means of arming myself, should the now-sentient bicycle tire be out for vengeance. And so I construct a rudimentary lathe–

Well, the point is, some days I try to avoid writing.

Most writers know how that goes, even the disciplined ones. The myriads of whys and hows barely matter; unless you get some words on the page in the allotted time, you’ve flunked your daily test as a writer. And I will not chide you. Not today. If you can relate at all, I’m sure you’ve devised much more scathing criticisms than I could possibly level at you. You lazy bum. How much Ace of Cakes can one person watch? Do you call that research? Do you? Yeah, whatever, I’ve got my eye on you.

But then there are those other days, the ones few talk about. The days when you cannot possibly write enough.

I don’t mean the jacked-up rush of inspiration mode, where you chug three Red Bulls and stay up for forty-eight hours, writing until you can physically see the arc of your plot like a luminous vibrating parabola. I don’t recommend that anyway. It hurts. I mean the days where feel the keen sting of procrastination and what it’s cost you.

For me, those days usually come after I get some sort of great reader feedback, or attention from someone whose opinion I  value, or even a  great blog comment. Also, when one of my fellow indie authors releases a new book. There’s a sudden rush of activity in my email and on Goodreads and Twitter and suddenly I’m thinking: what am I doing? Must write faster! And then I throw the sandwich I’m eating out the window, because I’m a hardcore writer of writerliness and who has time to eat? Only to discover I didn’t actually open the window, and there’s now an apocalyptic Rorschach blot of turkey and mustard sprayed across the glass, and I’m back to cleaning the house.

Don’t throw food, is the moral there. It does not make for good writing, except for this one anecdote just now, which is too good to be true anyway. I’d never throw away a good sandwich like that.

Writer's Block 1
Photo credit: OkayCityNate

But dubious and fictitious food-hurling farragoes aside, there is very real danger to the “all or nothing” approach to writing. It can make you impatient. It can make you skip things like editing, proofreading, or devising an ending, or finding out what happened to that missing character you added in Chapter Fourteen. I think we all know at least one indie writer who has clearly released a book before it was ready. No one wants their Amazon reviews to be all about how they misspelled “reprobate”. No one is fooled by re-releasing your own novel with “2.0” or “Director’s Cut” slapped on the cover. Pump the brakes and finish it right the first time. A sloppy, half-finished book is a great way to ensure your readers turn tail and never come back. A good reputation can take months or years to build, and a handful of typos to ruin. Don’t blow it.

The need to see some sort of progress, right now, to write All the Books — well, it can lead to burnout and bad decisions. So I guess it’s more like being a drunk than a submarine commander. Or, possibly, a drunken submarine commander. Which, incidentally, is the subject of my next book. I’m trying to come up with a killer title, perhaps Land Whoa!

And that’s why you slow down and think before acting on your impulses.

Finally, thank you to everyone who left such awesome comments on the previous entry. You guys are truly wonderful.

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Be Inspired Blog Hop

Cover by Tracy McCusker at http://scienceofdeduction.org/

I’ve been tagged by Bullish Ink to participate in the Be Inspired Blog Hop by Vicky Orians. I’m a little late to the party on this one, but I hope you’ll enjoy reading anyway. Here are the rules:

1. Answer the following ten questions about a book you’re working on or have completed.

2. Tag five other writers, making sure you put links in your blog post so we can all hop over and see their answers.

3. Thank the writer who tagged you. (Thank you, Ruth!)

I’m going to pass on tagging five other writers, because I think the writers I most want to hear from have already participated. That, and I feel a bit like I’m coming in with the appetizers after the party’s broken up and everyone’s gone home.

The questions:

1. What is the title of your book?

Orison.

2. Where did you get the idea for the book?

I was on a heist-movie kick (Ocean’s Eleven and the like), and I wanted to write a “fantasy heist” novel. That isn’t really the novel I ended up writing, but that was the seed of the idea. The good news is, I can still use that “heist” angle in the future, although I’m not sure I actually ever will.

3. What genre would your book fall under?

Fantasy. Or sword-and-sorcery, if you like.

4. Who would you choose to play your character(s) in a movie rendition?

Story – Emmy Rossum. She does “scruffy” very well. She also does “fearless” quite well, and I think she’d convey Story’s boldness.
Mar Dunnac – Temuera Morrison. He needs more ass-kicking roles, and Dunnac’s a mercenary soldier.
Wrynn – Martin Freeman. I’d watch him read the phone book, and I think he’d fit Wrynn’s intelligent but slightly hapless nature very well.

5. What is the one-sentence synopsis of your book?

Oh gosh. I’m terrible at these, I’m afraid.

In a city ruled by unstable magic, six rivals struggle over an artifact that could shift the balance of power — not just in the city, but the world.

6. Is your book published or represented?

Nothing’s signed yet, but I’ve had an offer.

7. How long did it take you to write?

A month for the rough draft, several more months for the edits.

8.What other books within your genre would you compare it to?

That’s a tough one. Probably Matthew Stover’s Heroes Die or Blade of Tyshalle. Maybe the Mistborn books, although I’ve only read the first one.

9. Which authors inspired you to write this book?

Again, I’d probably have to say Matthew Stover. I think he’s a criminally underrated writer. He’s done some of the most hard-bitten, fast-paced fantasy out there, and I wish his books were more widely read. Also, Glen Cook. The Black Company series informed a lot of Orison‘s voice.

10.Tell us anything else that might pique our interest in your book.

While Orison started out as a “heist” story, it eventually became about power — what it does to people, and how different personalities handle the ability to change the world around them. I think I’ve created six distinct, colorful characters and I had a wonderful time setting them into conflict with one another.

Oh, and the book has a female protagonist who doesn’t wear scanty clothing, doesn’t get captured, doesn’t fall in love, doesn’t get rescued by a man, Because I think we need more of that sort of thing.

Enhanced by ZemantaThanks again for the opportunity, Ruth!

Are You Starting New Writing Projects to Avoid Finishing Old Ones?

Image of a modern fountain pen writing in curs...
(Photo credit: Wikipedia)

If you haven’t been reading Ava Jae’s blog, this is a great time to start. Ava posted a great piece on what it takes to finish writing your novel, a struggle every novelist knows all too well.

One passage in particular from Ava’s piece stuck out to me:

You need to understand that if you really want to be a writer, you’ll need to go through this process many many times. And sometimes you’ll get tired. And sometimes you’ll get bored. And sometimes you’ll wonder if you’re wasting your time with your current WIP and if you should start on something else or if you’ll really be able to survive a couple rounds of revision.

In the past, I’ve been rather infamous for starting new writing projects mid-stream. I’d start a story, get to the middle act, then find something new. I’d finish a draft, then let it sit while I started something else. As recently as this year, I’ve found myself vacillating between projects, trying to decide which one was “right,” starting new things, while finishing nothing. Eventually, all forward momentum ground to a halt while I waffled so hard you could have poured syrup on me and served me at iHop. For cannibals. Serving meat waffles. I used to play bass for the Meat Waffles. Look, nevermind.

A Problem of Perspective

Sometimes there are perfectly valid reasons for abandoning a writing project. Often there are perfectly valid reasons for swapping that project out for a new one. But if you find yourself creatively stalled while you try to juggle two or more projects in the air, maybe it’s time to stop and think about why you’re juggling and not, you know, writing.

Finishing is Fear-Inducing

Finishing a novel can be scary as hell. Yes, there’s the rush of satisfaction and accomplishment you get from writing THE END, too often followed by crushing doubt and insecurity. Finishing closes a door. It makes a commitment. It says “okay, that’s the best I can do” — whereas shoving an unfinished piece of writing in a drawer says “well, maybe I can do better later.” And that’s perfectly valid, assuming later ever comes.

But an unfinished work can take on its own sort of romance, if we let it. A mediocre book is just a mediocre book, but an unfinished, unwritten work of unalloyed genius, well, that’s a joy forever, isn’t it? But if you’re serious about being a writer, I suspect you don’t want your body of work to consist entirely of imaginary books.

Starting is Sneaky

On the other hand, starting a new writing project is often its own kind of rush. It can become an addiction. A new project doesn’t have the plot snarls, impenetrable character motivations, structural issues, and glaring flaws of that work-in-progress. Sometimes, when we find ourselves facing a mountain of difficult work, it can be so much more appealing to just go build another mountain, convinced that Mount Totally-Awesome won’t face those same problems.

Maybe that’s the right decision. Maybe you get midway through a book and find out it’s truly unworkable — but maybe you’re just being lazy. In case no one’s told you (today), writing is hard work. Writing a novel can be a true-blue bitch-kitty. Abandon a story if you truly feel you must, but don’t do it to dodge the work.

Perfection is Persnickety

As writers, we thirst to have our writing soar, to transcend, to change lives. No one sets out to make a dull and mediocre book — we set out to make the best damn book we can write (or at least, I sure hope so). Facing down a book’s flaws can be nerve-wracking.

Sometimes it’s easier to put a book away, hoping that it will somehow sort itself out while it’s sitting in the drawer. You know, you’re sleeping soundly, and all of a sudden the little pages start coming to life, marching across your desk while Night on Bald Mountain plays and sentient fountain pens scrawl heartbreaking passages in flawless calligraphy. How’s that coming along for you? I can’t seem to get it working no matter how much peyote I take.

Nothing’s perfect. Your novel’s going to have flaws. And ultimately, that’s for the best. Because if it didn’t, that’d mean you’re either as good a writer as you’re ever going to get, or it’s all downhill from here. And who wants that? Embrace imperfection. Face it. Accept it. Do the best work you can.

Leave that unfinished book in the drawer for awhile if you need to, but do so with the knowledge that its problems will still be right there when you return.

Resist the Resistance

Not all works-in-progress are reedeemable. Some deserve to be abandoned. Maybe they’re flawed in ways too big to fix (or ignore). Maybe a better idea really has come along. Maybe you’ve decided you don’t want to tell that particular story after all. These are all fine and good. If you’re going to abandon an existing project for a new one, just make sure you’re doing it for the right reasons.

Don’t let fear stand between you and finishing.

 

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