#and saying f characters are badly written IS NOT MISOGYNY. when m characters are badly written its rarely bc they're m

[v-arbellanaris]

tbd later but i keep seeing people just try to go on and on abt how ppl are morally reprehensible or whatever for Not Liking f characters and i just wanna say there's definitely. ABSOLUTELY. some people in fandom that need to fuckign check their misogyny. there absolutely is and ive been talking abt it on various different blogs and things like that since '09.

but.... idk is that constructive? or helpful? to attach morality to the gender of the characters that you like? idk! this shit fucked me up bc i would like... deny that i liked m characters. like i used 2 feel soooo guilty for liking m characters???? for YEARS??? and i rly felt it was my moral obligation to Like f characters and it was SO forced... and the truth is that a lot of the time ppl write f characters with v little depth and v little intrigue bc they dont want to make Statements abt women overall bc every f character written is somehow supposed to Represent multiple someones and even when theyre """"problematic"""" or """villainous""" or whatever its in a way thats designed more for them to be unlikeable instead of morally complex or morally compelling. ppl who write m characters usually dont bother to think abt the Optics (esp when theyre white m characters) and so all of the lovely complexities come through and its clear from the story n narrative that its unrelated to their identity, or if it is related to their identity, its because of how they relate to it (rather than the relation between identity and action being that being x means you do y or that BECAUSE you're x you do y). in all honesty there's v few f canon characters that have that kind of complexity (part of the reason im always writing my own - ive been writing ofc x canon character fics for actual decades, long before i joined this fandom) and the v few f characters that do have tht complexity are probably side characters or characters not directly relevant to the plotline. and bc theyre so preoccupied w writing these characters as like... a stand-in for Minorities or whatever, they're so careful to strip any potential conflict or moral ambiguity from them in a way that leaves me feeling not v compelled to care - compared to, lets say, m villains who almost always still have that shred of humanity left to compel me to care so much about them bc i can see myself in them, f villains usually dont get that. there's exceptions to this - i can think of a lot of comics characters for e.g. - and i love those exceptions, but they're exceptions.

and idk i feel like we should also acknowledge that like... ignoring that these f characters are badly written or lack compelling (notice i specify COMPELLING here like its not rly enough for them to have a husband or a kid or whatever that's not compelling???) humanising moments because ppl treat f characters like they're supposed to Represent All Womens and 2. this makes them less compelling than m characters like 80% of the time and 3. that these critiques should be anchored in "FUCKING DO BETTER". what could we change abt how we write and engage with f characters? talk about that as much as the critiques or whatever that we have for f characters in the first place bc people are much more willing to give up on trying to write f characters if theyre told "this was shit" vs "this could use with some improvement - what abt this? or that?"

like idk i think there's a more productive way we could be talking abt this

[limeade-l3sbian]

That anon you got about straight women liking m/m content while ignoring m/f or f/f pairings... Where to even start...

First of all, I'm a straight woman who doesn't like yaoi/slash/bl/whatever it's called now and never have so I see where you're going. But I understand why so many women prefer m/m overall.

Many women say they enjoy m/m content because it's devoid of gender roles and misogyny. I understand this. I've consumed straight romance (sometimes against my will) and there's so much bullshit in it like I'm sorry. My sister asked me to watch this period drama with her and literally pretty much every pairing starts with the man being sexist or rude in some way to the woman. And they literally bicker most of the time but it's supposed to be "sexual tension" or whatever until at some point they kiss and I guess everything is forgiven. Yay? I don't know what's exciting or good about any of this. This drama somehow managed to make 1800s europe devoid of racism but not sexism, so pretty much every male love interest is sexist in some way. I don't get why women don't write more romance where the males are actually respectful of their gender as a whole. Or perhaps I do and here's comes my other point: many women cannot conceptualize a world where men are actually women-loving.

Seriously, have you ever seen the weird trend of refering to fictional male characters that are actually loving and respectful towards their gfs as male lesbians, or their het relationship "lesbian-coded"? When I was younger, it used to piss me off when women would say they didnt write or draw m/f pairings because they didnt want to deal with sexism and gender roles, I was like "then write a world where men and women are seen as equals!!" But then I started writing myself and it's incredible how fake it will appear to write a male character respectful and loving of his gf AND her gender as a whole. Now I write and draw for myself so I do whatever I want no matter how silly or fake it is, but I would never publish any of that because I don't wanna deal with people telling me "men really don't act this way, you dont know how to write male characters :/" or "Oh I love the male love interest, he's such a malewife!!".

And yes, many gay male romance has them dealing with homophobia, but that's basically them against society/the world. You can tell they are still in it together, and they will choose each other any time even if that means getting ostracized by everyone. With het pairing and sexism is more like man against woman. She has to deal and fight for this man to see her (and perhaps her gender) as capable and worthy of respect so they can have a better relationship. It doesn't seem like they're in it together and the woman has to put all the effort so her man can see the error of his ways.

Why do you think there are many people who joke about how a male character seems to have more chemistry and rapport with another male character (usually a friend or mentor) than his supposed female love interest? Because they're written as equals with interesting traits and a relationship that surpasses many trials, while the female love interest is written as "the woman" - writers will avoid giving female characters interesting traits because they dont think they look good on female characters or believe women dont or shoudnt act a certain way. And believe me, i'm saying this as a woman that's very attracted to female characters - the majority of shows and movies I consume have (a) female main protagonist(s) and I prefer shows that have a bigger female cast. I also get attached to female characters even if they're "badly written" or whatever the fandom says idgf. Ive even watched a lot of those animes and manga that only have female characters, because I have a preference for women in fiction (and real life I guess)

The f/f stuff is another whole issue that it's not very related to this. Most women producing m/m content are straight so they will want to see at least one male in their pairing. F/f can't provide that for obvious reasons. This is like asking straight guys why they don't consume gay male porn if they like lesbian porn so much. It literally makes no sense. These men give the answer of why they like lesbian porn usually as "one woman is hot, two women is DOUBLE the hotness". Think about it like that with women; now they have two men to ogle at.

I had much more to write, specifically about the sexual part (since fanfiction is usually very romance/sex centered) and m/m vs m/f and f/f, but this got too long. Perhaps i'll write a second part.

.

[lottiecrabie]

Oh I definitely agree. That’s just the reason people that write for omegaverse give 😭

I still think there is a lot to say as to why so many women write so much m/m fan fiction in general. I’ve always found it an interesting conversation bc like you said there’s hardly any f/f fanfiction when compared to the amount of m/m that exists

🪻

they are liarss….. like Not that it is not useful to queer stories But why must women be cut out…….

it really is a strange phenomenon. beyond the fetishism, i often hear that it’s because the female characters are badly written so it’s boring and uninteresting for people to write and engage with them, while the male characters are rich and complex and pairing them together makes for compelling dynamics. which is fair and true for many works, though sometimes there’s also the underlying impression that they dismiss female characters before even trying to like them. i think it’s all around a lot of misogyny from many different places.

[endearmint-moved]

[1ST IMG: Tweet by SailorPortia that reads, "People will offload the responsibility onto the text ('there aren't 2 female characters to ship'; 'the female characters aren't well-written') but there's no explanation for why the shipping for Among Us, a game with no canonically gendered characters, looks like this." END ID.]

[2ND IMG: Pairing counts from Archive of Our Own. M/M has 856 fics, Gen 819, Other 487, F/M 409, Multi 298, and F/F 265. END ID.]

[3RD IMG: Tumblr tags that read, "there is misogyny among us..........." END ID.]

[4TH IMG: Another Tweet by SailorPortia that reads, "I've been expected to believe that the only reason f/f isn't as popular as m/m is because there aren't enough female characters who talk to each other; here's how Genshin fics shake out when there's twice as many female characters as male, and the female characters interact more." Embedded is another pairing count from AO3, showing that M/M has 60,916 and F/F has 14,862 fics. END ID.]

[4TH IMG: Three more tweets by SailorPortia that read, "When blaming the text doesn't work, people will rely on individualist or anecdotal explanations, which don't exactly refute the idea that the problem is societal misogyny. / Like! We all have personal preferences, but I thought all we Queer Feminists TM agreed that prejudices affect our behaviour even if we don't realize it! Bias doesn't suddenly disappear when you log onto ao3! / A lot of excuses coming up in the discourse can be summarized as 'I would be a f/f shipper if it weren't for those mean lesbians' which like, don't act like m/m shippers are inherently morally superior to f/f shippers". END ID.]

[5TH IMG: Three more tweets by SailorPortia that read, "'Femslash fandom is full of terfs' well not to get anecdotal but I, a self-made woman in the transgenderly sense, have yet to encounter one, and I happen to know that 90% of the time fandom types say 'terf' they mean 'person who thinks proshippers are weird' / 'If you want more wlw fanfics write them yourself' 1) weird to assume we aren't already doing that. 2) weird to argue that systemic problems can be solved by individual action. / 'm/m is more popular because fandom is mostly women, who are mostly attracted to men' interestingly concedes that attraction (sometimes objectification/fetishiziation) is what drives shipping preferences rather than characterization or writing quality lol". END ID.]

[6TH IMG: Three more tweets by SailorPortia that read, "A huge problem I have with the rejection of misogyny as an explanation for fandom preferences is that it's not hard to find people who say the quiet part out loud about published fiction. When asked, they'll say that f/f is just written worse. / 'f/f fiction is badly written, it's tropey, it's fetishistic even when written by w/w, unlike m/m by (cis) women, pls don't ask me for any examples or look at what m/m fiction is popular' / Call me reductive, but if someone thinks that stories that revolve around women are bad but the same problems don't exist in fiction about men, they're a misogynist, plain and simple." END ID.]

im about to start screaming

[bylerly]

alright everyone. after my rush of emotions after that season, i’ve had time to decompress, and make an actually cohesive list of my thoughts about the season. as you could probably guess - MAJOR SPOILERS UNDER THE CUT!

first, let’s get the (much) shorter list out of the way. here’s what I enjoyed:

the acting. i want to mention how good millie was, because she was fantastic, but i almost feel like i shouldn’t, bc el took SO MUCH screen and plot time, that millie was given every opportunity to be good. she doesn’t really need any more special mention. otherwise - noah (with the little he was given) and sadie were particularly great. so were winona & david, but that goes without saying.

the elmax friendship. these two deserved it. and max bringing el out of her shell, showing her how to become her own person.... incredible. 10/10 i love them both

alexei. feels weird saying this, but he was probably the new addition I enjoyed watching the most. it would have been kind of cool to see him live past season 3.

an lgbt+ confirmed character. this one is a little.... tricky for me. as happy as I am that there is a queer woman written into the show... I feel like it’s a cop out to not have to confirm will’s sexuality. robin confirms her sexuality in less than a season, but after three with will, we still only get ~subtext~? still, this is a positive portion, so.... I guess that was something I was happy with

el moving in with the byers at the end. finally. this is one of the only things that is keeping me excited for s4. i guess i can only hope for there to FINALLY be some good willel interactions next season, but if this season has taught me anything, it’s not to get my hopes too high :-)

jancy ending s3 on a good note. parts of their storyline were fantastic, some were disappointing. but i really dug their dynamic, and the realistic struggle between the two of them, with nancy not really understanding jonathan’s class struggles, and jonathan not grasping the weight of the misogyny being thrown at nancy. their final moments at the empty byers house at the end were especially lovely.

el no longer being OP, and not being undefeatable. i love el. i really, genuinely do. i love her character, i love her traits, i lover her power. but the duffers were relying too heavily on her to constantly save the day with her powers, and it was happening too often. one of the faults of s2 was the constant thought of how easily el could’ve fought off all these threats if she was just there. i think it’s incredibly interesting to not only see her get completely worn out, but totally lose her powers. like mike said, i’m sure they’ll come back, but i want so badly for el to not just be defined by her powers.

a platonic m/f friendship. yes, one of them is confirmed queer, and they would’ve probably been romantically linked if she was straight. but i’ll take what i can get when it comes to this. platonic opposite sex relationships?? r i s e

now for the meat of my thoughts ~ what I didn’t like:

mike’s characterization. the writers completely made him into a dick this season. i get it, he’s a teenager, so he’s going to be an asshole sometimes. hell, in a recent post, I defended that, saying it’s good writing. but I underestimated just how awful he’d be, completely blowing off his friends for any chance for a second alone with el. I understand that he loves his girlfriend of course, but s1-2 mike loved his friends just as much. he was so utterly unlikable this season, that it seemed like he was a different character.

lucas as comic relief. this is so lazy, and i’m so angry for both the character and caleb, both of whom deserve so much better. he really had nothing to do if it wasn’t related to max, and the writers further reduced him down to a one-dimensional, kind of dumb, mediocre boyfriend, and that is not the highly intelligent, brave, kind lucas that i know and love.

will’s sidelining. god, this made absolutely no sense. noah fucking shined last season. he stole pretty much the entire thing. every critic, even those who disliked the season, had nothing but good things to say about his performance. furthermore, will has so much potential in so many different directions in so many aspects of his character. however, once he revealed to his friends that he was feeling the upside down/MF’s presence... they may as well have written out his character. he was sidelined almost to the point of background character. they gave him very little to do emotionally after that castle byers scene, and even fewer lines.

total lack of willel scenes. phew, if this wasn’t a bummer. will spoke a single line to el, and maybe one or two throwaway lines about her. if there is one thing most of the fans can agree on, it’s that will and el have the biggest connection to the upside down, the biggest unspoken connection, the most parallels, and the most intriguing potential relationship... and they really just said “fuck it” and didn’t have them interact at all. (that’s poor writing folks!) they better make up for this now that they’re living together.

amount of eleven scenes. i love her so dearly. i really do. and i’m so happy she grew into her own, not through mike or hopper. but the amount of el plot and screen time this season was actually difficult to watch. every other scene centered around her. so many characters and so much of the story went undeveloped, while she got way, way more than was necessary. additionally, take any kid’s plot (other than dustin), and guaranteed, it revolved around el. people were starting to catch on that the show was favoring her character more than even most shows’ mains.... and this season took it to a level i actual didn’t think it would.

the comedy. it was so awkwardly written. so much of it threw off the pace of the show. it seemed forced, and just... not very stranger things-esque, where the comedy was typically well-written and blended into dialogue.

the baddies. this was a huge letdown, too. i understand that the monster was large, but it was far less menacing to me than, say, the MF’s physical form. it had gore points, sure. it felt incredibly boring and predictable. in the same vein, i thought the ‘zombie’ style storyline of heather & co. would be deeper than that, but that was literally all it was. again... not interesting to me. billy was a rehash as well. the russians definitely had potential, but even that plot wound up being incredibly one-dimensional.

billy’s screentime. this was one of the things i was absolutely furious about. he got more screentime than the party (minus el) combined. they wanted for us so badly to empathize with him, to humanize him... i’m sorry, but you wrote a character that almost killed a boy for being black, that abuses his sister, and is a misogynistic asshole. abuse doesn’t excuse that, and it’s insulting to abuse survivors to say that billy inevitably became this way because of his dad, and that he deserves our uwus for it... and actually got el’s. he took screen time away from characters who desperately needed it, and that’s something i will never look at the duffers the same way for.

the scoops troop. I wanted to love erica... but i feel so indifferent to her. she was way too much this season. and robin. again, i love that she’s confirmed queer. and i dug her character more. but even then... i don’t know. i would have rather never had her introduced, and allowed established characters to have been better developed. and as a whole, the whole storyline of the troop was just what I feared: underwhelming and awkwardly placed.

high steve & robin. won’t elaborate on this too much, bc there’s not much to elaborate on. it just felt so wildly out of place and unnecessary.

that dustin/suzie number. what the hell was that? what could have been a 20 second joke was stretched out WAY too long and was bizarrely placed. just because you have an actor from broadway, doesn’t mean he needs to sing. and even if he does sing... you couldn’t have found a better time or situation? i literally was just staring at my screen in disbelief as that whole thing happened. entirely unneeded.

the amount of flashbacks. i understand most casual viewers wouldn’t remember certain things because of how long it’s been. but they literally put a recap at the beginning of the season. that’s what it’s for. and there were also plenty from like.... the episode before??? the amount they included took away so much time, that it almost just seemed like they didn’t have enough footage, and they had to fill their time stamp somehow. at some point, it just becomes insulting to the audience’s intelligence.

the overall tone. this season did not feel like stranger things in the slightest. off the top of my head, the castle byers scene and the byeler scene in mike’s garage were the exceptions. the first few episodes did have some moments. but overall... it kind of felt like some weird, high budget commercial or something. the charm, distinct aesthetic, and nuance of seasons 1 and 2 was non-existent.

the post-credit scene. there was some last-minute hype up in the reviews for this. was that supposed to be shocking in some way? i suppose this is more the fault of the reviewers who hyped it, but... really? a demodog? we’ve seen that before... i guess more the point was to show that the russians officially have some kind of technology for this. but still, an underwhelming reveal. more intriguing to me, was if hopper was the american in the cell he mentioned at the start of it. or maybe brenner?

the neutral:

that ending. on one hand, it was incredibly predictable. they literally placed an obvious shot of it in the trailer (easy to deduce that the byers had moved out, and that it was fall, so it was an epilogue scene). i was convinced that there would be a twist element they weren’t showing us, but nope. on the other hand, i thought some things were done beautifully (which wasn’t exactly a trend this season). as i mentioned, i loved the jancy moments. i really did like the hopper voiceover, although it was a little trope-y and heavy-handed... i still got a little emo, ngl. those goodbye hugs were somethin’. and, as i said before... el! moving in! with the byers! gimme

so uh... that’s it, i guess. no one really asked, but i needed to get my thoughts out. what did you guys think of the season?

[addictedforbooksquad]

P I C K (S)  O F  T H E  M O N T H: A P R I L

The Bride Test by Helen Hoang

London Celebrities series by Lucy Parker

Warbreaker by Brandon Sanderson

Meet Cute by Helen Hunting

Wicked Beautiful by J.T. Geissinger

Unmarriageable by Soniah Kamal

The Bride Test by Helen Hoang

Genres: Romance, Contemporary, New Adult

Synopsis:

Khai Diep has no feelings. Well, he feels irritation when people move his things or contentment when ledgers balance down to the penny, but not big, important emotions—like grief. And love. He thinks he’s defective. His family knows better—that his autism means he just processes emotions differently. When he steadfastly avoids relationships, his mother takes matters into her own hands and returns to Vietnam to find him the perfect bride. As a mixed-race girl living in the slums of Ho Chi Minh City, Esme Tran has always felt out of place. When the opportunity arises to come to America and meet a potential husband, she can’t turn it down, thinking this could be the break her family needs. Seducing Khai, however, doesn’t go as planned. Esme’s lessons in love seem to be working…but only on herself. She’s hopelessly smitten with a man who’s convinced he can never return her affection. With Esme’s time in the United States dwindling, Khai is forced to understand he’s been wrong all along. And there’s more than one way to love.

Why we love it:

Esme and her journey and growth throughout the book

diverse and well-written characters

romance and love story that builds up slowly

intriguing side characters that we want more of!

Trigger warnings: mentions of xenophobia and racism

London Celebrities series by Lucy Parker

Genres: Romance, Contemporary, New Adult

Synopsis:

This just in: romance takes center stage as West End theatre's Richard Troy steps out with none other than castmate Elaine Graham Richard Troy used to be the hottest actor in London, but the only thing firing up lately is his temper. We all love to love a bad boy, but Richard's antics have made him Enemy Number One, breaking the hearts of fans across the city. Have the tides turned? Has English rose Lainie Graham made him into a new man? Sources say the mismatched pair has been spotted at multiple events, arm in arm and hip to hip. From fits of jealousy to longing looks and heated whispers, onlookers are stunned by this blooming romance. Could the rumors be right? Could this unlikely romance be the real thing? Or are these gifted stage actors playing us all?

Why we love it:

book series full of our favourite tropes like enemies to lovers and fake dating

yet so refreshingly non-cliché

sharp writing, witty dialogues, layered characters

focus on characters’ individual storylines as well as on romance

no “love fixes everything” trope

realistic approach to sex in smut scenes

makes you giddy and happy as you read it

Trigger warnings: sexual assault (book 1), mentions of suicide (book 1), mentions of sexism/misogyny

Warbreaker by Brandon Sanderson

Genres: Fantasy, High Fantasy, Adult

Synopsis:

This is the story of two sisters, who happen to be princesses. Theirs is a world in which those who die in glory return as gods to live confined to a pantheon in Hallandren's capital city. A world transformed by a power based on an essence known as breath. Using magic is arduous as breath can only be collected one unit at a time.

Why we love it:

interesting magic system

Lightsong is one of the funniest characters ever

Viviena has a beautiful arc and it takes her in unexpected places

soft character that is super powerful

mysterious and engaging

political intrigue

Trigger warnings: violence, gore

Meet Cute by Helen Hunting

Genres: Romance, Contemporary, New Adult

Synopsis:

Talk about an embarrassing introduction. On her first day of law school, Kailyn ran - quite literally - into the actor she crushed on as a teenager, ending with him sprawled on top of her. Mortified to discover the Daxton Hughes was also a student in her class, her embarrassment over their meet-cute quickly turned into a friendship she never expected. Of course, she never saw his betrayal coming either... Now, eight years later, Dax is in her office asking for legal advice. Despite her anger, Kailyn can't help feeling sorry for the devastated man who just became sole guardian to his thirteen-year-old sister. But when her boss gets wind of Kailyn's new celebrity client, there's even more at stake than Dax's custody issues: if she gets Dax to work at their firm, she'll be promoted to partner. The more time Kailyn spends with Dax and his sister, the more she starts to feel like a family, and the more she realizes the chemistry they had all those years ago is as fresh as ever. But will they be able to forgive the mistakes of the past, or will one betrayal lead to another?

Why we love it:

romantic comedy style

enemies to lovers trope, our fave!

relatable characters that develop through the story

light and funny story

very much a lovely read

Trigger warnings: mentions of depression, minor character death

Wicked Beautiful by J.T. Geissinger

Genres: Romance, Contemporary, New Adult

Synopsis:

A ruthless businesswoman and the playboy who dumped her long ago find themselves embroiled in a high stakes game of love, lies and revenge. Life coach and best-selling author Victoria Price has it all: a successful career, fabulous friends, a fantastic penthouse in Manhattan. What she doesn’t have—and doesn’t want—is a husband. Fifteen years ago her high school flame broke her heart so badly she swore she’d never love again. Now she makes millions teaching other women how to be just like her: a ruthless bitch. Drop-dead sexy restauranteur and infamous playboy Parker Maxwell has only three rules for the women he dates: no questions about his past, no expectations for the future, and no spending the night. When he meets Victoria, however, he’s willing to break his own rules if it means sating the explosive desire she arouses in him. What he doesn’t know is that the alluring Victoria Price used to be the mousy Isabel Diaz, the girl he deflowered and dumped long ago. Presented with a perfect opportunity for revenge, Victoria decides the game is on. But when her connection with Parker proves more than just skin deep, she has to make a choice: continue with her plan for payback, or risk her career, her reputation, and her heart by taking a second chance on love?

Why we love it:

Lovers to enemies trope

second chance at love trope

interesting pairing - ruthless woman and “playboy” man

overall this entire series is worth reading

Trigger warnings: n/a

Unmarriageable by Soniah Kamal

Genres: Retellings, Romance, Contemporary, Adult

Synopsis:

In this one-of-a-kind retelling of Pride and Prejudice set in modern-day Pakistan, Alys Binat has sworn never to marry--until an encounter with one Mr. Darsee at a wedding makes her reconsider.

A scandal and vicious rumor concerning the Binat family have destroyed their fortune and prospects for desirable marriages, but Alys, the second and most practical of the five Binat daughters, has found happiness teaching English literature to schoolgirls. Knowing that many of her students won't make it to graduation before dropping out to marry and have children, Alys teaches them about Jane Austen and her other literary heroes and hopes to inspire the girls to dream of more.

When an invitation arrives to the biggest wedding their small town has seen in years, Mrs. Binat, certain that their luck is about to change, excitedly sets to work preparing her daughters to fish for rich, eligible bachelors. On the first night of the festivities, Alys's lovely older sister, Jena, catches the eye of Fahad "Bungles" Bingla, the wildly successful—and single—entrepreneur. But Bungles's friend Valentine Darsee is clearly unimpressed by the Binat family. Alys accidentally overhears his unflattering assessment of her and quickly dismisses him and his snobbish ways. As the days of lavish wedding parties unfold, the Binats wait breathlessly to see if Jena will land a proposal—and Alys begins to realize that Darsee's brusque manner may be hiding a very different man from the one she saw at first glance.

Told with wry wit and colorful prose, Unmarriageable is a charming update on Jane Austen's beloved novel and an exhilarating exploration of love, marriage, class, and sisterhood.

Why we love it:

Pakistani version of Pride and Prejudice

interesting characters

storytelling is lit!

it tackles issues women face in Pakistani society

calls out misogyny

Trigger warnings: n/a

[bulldagger-bait]

I don't think it's misogynistic in the traditional, aggressive sense, and I don't think it's "excluding females for the sake of males" (that is needlessly inflammatory) but it is worth examining WHY M/M is 6 times more popular than F/F in fandom spaces.

I think in part it is because there are fewer lesbians in fandom compared to other demographics. There is also the age old fandom problem of fetishising M/M relationships... but thats not the only reason.

I think, quite simply, its just because male characters are more popular. They're better written. They're more interesting. Their emotions and motivations are better explored in media. They're nuanced. They're easier to connect and relate to. Overall the characters are just better.

But why are they better?

Well, the root cause is that female characters are not given the depth or complexity that male characters are. It's just a fact that you will see fewer women in media, and it's rare for them to be well developed. They're given less screen time and they're often tropey or maligned. That's a structural problem in writing that, yes, stems from misogyny.

That doesnt mean someone is a bad person for enjoying male characters, or shipping them, or writing/consuming slash content. That doesn't make someone a misogynist. There is, however, bias at play and ignoring that structural misogyny has any part in why there is such a disparity in fandom would be reductive.

I'm not saying that you have to suddenly only like female characters or F/F, I'm just saying that there's reasons behind why things are they way they are. I mean, why is it so hard to find well-written female characters? Why is it so hard to find TWO well-written female characters that one could feasibly ship? Saying that misogyny is responsible for why things are the way they are doesnt make an individual person minding their own business a misogynist or a bad person. It just means that this kind of stuff is systemic.

And, I'm gonna be honest, as a gay woman I don't have that many favourite female characters. When it comes to shipping i engage with far more M/F & M/M content than F/F. That's because I find male characters easier to relate to; I find them more compelling. Thats not because I think female characters *arent* its just that so many of them are badly written. Like, really badly written. Flat. Uninteresting. In fact, in order to have as many favourite female characters as I do I have to completely disregard canon, or create depth for them that their writers didn't bother with.

Misogyny isn't always violent and in-your-face. A lot of the time it's subtle. I mean, it's the oldest form of oppression there is, and because of that it leaves fingerprints everywhere.

It doesn't hurt to think critically about this stuff and talk about it every now and again. That being said, don't be a dick about it. Don't harass people over their favourite character or what kind of ships they enjoy. Fandom is supposed to be fun. Don't be entitled, and don't be an arse.

*This poll was submitted to us and we simply posted it so people could vote and discuss their opinions on the matter. If you’d like for us to ask the internet a question for you, feel free to drop the poll of your choice in our inbox and we’ll post them anonymously (for more info, please check our pinned post).

[nannyfeline]

Women, BBC Sherlock, and Misogyny(?)

There was an ~*~*~ UnPoPuLaR oPiNiOn~*~*~ thread on twitter and I had thoughts that were too big for 280 characters, so I wanted to address everything more fully here, but you can find the twitter thread at this link.

The female characters on BBC Sherlock are SO BADLY WRITTEN. This came up in a discussion of mystrade shipping when someone (perhaps rightly) complained that the two biggest(?) ships are m/m, when at least one of those characters was in a m/f relationship, and questioned why we don’t pair the male characters with female.

There are a lot of reasons for this that have a lot to do with a history of slash fandom in general and that being sometimes the only way a lot of queer fans had to work out an understanding of their own identity, especially female-assigned fans. A lot of women in media are written badly. They’re uninteresting and often annoying. They’re usually bland and unidimensional. If we’re meant to think of them at all, it’s as foils for the male characters. So a lot of us historically ended up shipping the male characters with each other. Even when there were plenty of women around. Because the men were cool, and the women weren’t.

Looking at BBC Sherlock specifically, again, the female characters are SO BADLY WRITTEN. I want to like Sally, but I can’t, because she’s written as a harpy who does nothing but screech at the protagonist. Anderson is at least marginally more likable, because he’s given an opportunity for redemption. We can forgive Anderson his pettiness, because at least he understands, he GETS IT, he tries to atone for his part in Sherlock’s fall. Sally is never given that.

Then there’s Molly, who is so dear, and sweet, and such a lovely doormat. I had hoped maybe she had moved own and grown up and found a life outside of Sherlock. She showed every sign of understanding his bullshit and having developed armor against it, and then s4 destroyed all of that. This is an incredibly intelligent adult woman with a profession and so much else going for her, and she is stuck on a boy, like a middle schooler. No, I refuse to like this character. I love her in a way, and I just want to take her by the hand and maybe just forward her the Wikipedia article on co-dependence, but I can’t like her, and I internally cringe whenever she’s on screen.

What about Irene, I hear you say. Well, what about her? Irene Adler is a character who in every adaptation I’ve seen produced prior to the 2000s has saved herself. (I can’t remember what she’s up to the Ritchie films.) The last time we see her in the Granada series, she is literally sailing away from Sherlock Holmes’s bullshit. She’s the strong, I-don’t-need-no-man character who Holmes becomes obsessed with, not the other way around. In BBC Sherlock, she falls in love with him, becomes obsessed with him, can’t leave him alone. She discovers new dimensions to her own sexuality because of her all-encompassing devotion to Sherlock Holmes. And, by the way, she’s a pawn of Moriarty and Sherlock has to rescue her. Yeah, nah, I’m good.

Someone at one point mentioned Anthea. Antha-who? How often do we see her? She’s gotten like a grand total of maybe 15 minutes screen time, and all of it has been fetching and carrying for Mycroft. That’s not a character. She’s a nonentity. Fandom has done far better by her than Mofftiss ever did.

And that brings us to Mary. If you like Mary, I don’t blame you. She’s kind of badass. She’s also a lying assassin who shot Sherlock. Mary did so many about-faces, I got whiplash. And here’s the thing about Mary: she was always destined to die. Every moment she’s there she needs to either service the plot or she’s wasting time. The marriage of John Watson and Mary Morstan happens in canon because it makes sense for a wedding at the end of A Sign of Four, but she is hardly mentioned again. By the time Holmes returns in The Empty House, she has apparently already died. (The only thing Mary ever really does in canon after ASoF is send Watson to search for Isa Whitney in the opium den in The Man With the Twisted Lip where he finds Holmes (paralleled in HLV).) Like a lot of mystery series, Sherlock Holmes has a formula, and that formula depends on the Holmes and Watson relationship. Mary is surplus to requirements. 

All that is with the big ol’ caveat that this is my opinion of Mary. I had looked forward to Mary and had a lot of hopes for her, because I wanted a female character to like. I wanted to like Mary. I just think the male showrunners and writers did a terrible job with her. If you disagree (with this or anything else I’ve said), that’s okay. Especially when it comes to Mary, I can see her appeal, I can see how someone could love her character.

But it’s not misogyny, internalized or otherwise, if fans of BBC Sherlock have a real problem liking the female characters. They don’t have to interrogate why that is. They can just recognize they aren’t good characters and move on. We can and should expect better in female characters. Our fave is problematic and really dropped the ball when it came to representation of women.

[aikainkauna]

Fic mehm

This was shortish, so might as well post it here. Snurched from the lovely @trelobita .

-What is your total word count on AO3?

-1 421 808. That little?!? I thought I would've gone past the 2 million mark a long time ago. What with Connie whipping me on the way he does.

-How often do you write?

-When the right mood/inspiration comes, and when I'm healthy enough (both mentally and physically) to be in writing condition. Which is not often enough; I hate it when I do want to write, but brain fog and/or physical fatigue mean I can't keep my brain going or my body upright. That's mostly for fiction, though. I can type bloggity waffle like this, and could just about proofread a sex toy review today despite it being a brainfog/tireded day. The deadline for the review was today, so I did it under duress and must've left something out or fucked up some grammar as consequence. Finnish conjugations are hell when your memory is shot to pieces; English is much easier to write because you don't have to remember how to conjugate a word to denote it's in the past tense for a plural with a conditional towards place A, signifying inclusion. No, I'm not joking. Sauvallanikinkos? ("Also with my wand, too, maybe?")

-Do you have a routine for writing?

-My body isn't good with routines and schedules, so no. The only pattern I have is to try and get 1000 words done at least and then to email myself the latest draft after I've finished writing.

-What are your favourite tropes?

-Have you got a month? (This question foolishly asked about your favourite kinks and tropes and pairing types all in the same question, BTW, so I split it up into three questions, because... c'mon.)

Tropes:

-Flawed characters who are still somehow understandable and appealing; not the typical Asshole Protagonist or antihero thing so much but more of an... well, I guess it's just good characterisation I prefer, in the end. Not that kind of squickily obvious macho power fantasy sold as "grittiness" just for the sake of being an asshole (funnily enough, that kind of crap usually comes from the kinds of people who have too much privilege in the first place). So, yeah, good characterisation that's still got some shreds of humanity left is my jam.

-Telepathic lovers. Exactly because it hurts so much when the person who's supposed to love you the most and to understand you the best doesn't, and vice versa. So that's a big RL trauma and squick I prefer to fix, because in fic, I CAN.

-That's a major one, actually. Fix-its not so much on a plot level but on a human level. Especially sexism/gender bullshit-breaking fixes. Fix-its get a bad rap, but that kind of thing, just like the bashing of romance and fanfic, sets off my "ah, this wouldn't be the devaluing of something considered empathic and female/feminine again, now would it?" alarms.

-This overlaps with the pairing thingy, but the Depraved Bisexual is my favourite character type to write. All the Connies, Tennant!Peter Vincent, Captain Renault, Zainab, Laura, etc... YES.

-Male character gives up some masculine privilege he doesn't fancy anyway for the sake of love and empathy/female character gives up stereotypical female things she doesn't fancy anyway in order to be herself and free herself as much as she can from society's chains. Give Torsten all the pwetty dwezzez he wants and for Falcon!Yassamin to remain childfree, dammit!

-Man cuddles and medicates woman during her period and actually empathises/feels how awful it is. As I was saying about the fix-its...

-Funny banter, even if I can't write it as hilariously as I'd want to.

Favourite kinks?

-Poetic prose and Romanticism. It's word porn or nothing, baby.

-Historical detail, accuracy preferred but depends on how the story wants to go (the Barmakids DON'T get butchered horribly by Harun al-Rashid in 803, TYVM).

-Anal! That's almost too obvious to mention.

-Androgynous, genderbending, sex-bending, femme men. Why do you think Connie is the love of my life?

-Lots of arousal-drippage.

-Some way for the bottom to see themselves being banged. Mirrors or telepathy or magic or video camera projecting it before their eyes or whatever. Unfff.

-Orgasms. Always orgasms to complete satisfaction. Orgasm denying or writing it badly or so vaguely that characters/readers can't get any catharsis/release for the arousal is a huge squick. That's a hard limit. Fuck characters who tease and don't let someone get off.

-Psychological/emotional depth. That's such a no-brainer it shouldn't even be necessary to mention (although in these days, it seems to be, because apparently wanting that is now a repressed sexual minority instead of normal human, especially female, sexuality. Oh, fuck off). Yeah, these memes do bring out the pet peeves about internalised misogyny, don't they? Especially the sort that manifests itself in sputter-inducing ignorance. Even my medieval characters and their somewhat dated and essentialist ideas of sex and gender are ahead of Tumblr in the very basics, FFS.

-BDSM that's based very much on extreme care and healing, the sort that uses the intense sexual activities/sensory overload as a kind of way to heal the sub's anxieties and to help the sub let go, achieve catharsis and release. And for the top's love to be the guiding, ravishing, then healing and comforting force that contains the sub and the sub's anxieties in a fiercely loving and protective way and absolutely, so that not a drop spills over. So, yep, BDSM as therapy is my kink in both RL and in fic. Not so much a desire to humiliate or to be humiliated, but on the contrary, to value and to honour the other half. The top finds strength and validation through being the healer, through their power being able to do something good (instead of tearing someone down and having power over them through that). Yes, I know that's not everyone's idea of BDSM, but it's mine and that's what you'll get if it's a healthy relationship I'm trying to portray. (The Barrings and Zainab and Fadl don't have the healthiest ideas of sex, anyhow; Jaffar/Pwinzezz usually do.)

And I'm leaving out so many. You only have to look at my Ao3 pages to see the recurring themes:p

Favourite pairing types?

-Experienced Depraved Bisexual Character/Less Experienced and/or Repressed Character, GIMMIE. Fucking love that shit.

-Similar: Older, More Experienced Man/Younger, Horny Woman.

-Horny couple, usually M/F, seduce someone into a threesome. The Rosesverse and Devilry are full of this, so might as well admit it.

-Do you have a favourite fic of yours?

-I do have a soft spot for the first two fics in the Falconverse. As if you didn't all know that already! They do have some noticeable flaws here and there, especially the first one (I still insist that weird lube choice was HIS and not mine; I do know better and yelled at him at the time), but they still contain my deepest and most profound writing both erotically (and I mean that in the widest sense of the word, encompassing all things Love) and spiritually and character-wise. Defy Not The Stars also turned out better than I expected, considering I had never attempted so much plot and a traditional historical romance novel before. But I guess that Roses, what with its length, has allowed me to explore more aspects of the characters and their lives than anything else I've written. And of course, considering Devilry is my most-read saga ever, I do have a soft spot for that pile-up of a car crash. If only for the sheer intensity of the ride; I was just thinking yesterday how it really was aghori sadhana done through writing. Meditating in a graveyard is for wimps; try spending months in Torsten Barring's fragrant boypussy.

-Your fic with the most kudos?

To no one's surprise, Because The World Belongs To The Devil, at 234 kudos.

-Anything you don’t like about your writing?

-I suck at pacing sometimes. The sex scenes tend to run overlong if I write them in several sessions instead of just one go. It's not that the characters want to try different sex acts and shag more than once during a night, but more that the tension is spread out unevenly ("JFC, why did they change position again? I want them to just fucking come already, damnit!") This is obviously a result of how many things *I* see in my mind's eye during a wank; it's always more of a clipshow of different sex acts and pairings and orientations than one straightforward scenario. I'll be more mindful of that in the future and have been watching out for it in the past few fics already; I don't think the shags in The Guardians of Samarkand overran, for example.

-And sometimes my kinks get too obvious and repetitive for me, too, the way any porn gets tedious and repetitive. But on the other hand, I know very well that fanfic *is* about us imposing our kinks on our darlings, no matter how much we may go on about our dedication to characterisation and such. I've said it before, and I'll say it again: what's key is to get away with your kinks *but* in such a way that they can also engage the reader and that they become interesting and enjoyable not just for you, but for the readers, too. And you need good characterisation for that, and it's a really delicate balance to juggle your kinks and believable characterisation.

-Something you *do* like about your writing?

-I can write immersively and deeply and engage all the senses (sight, touch, scent...) in rich detail, as well as go deeply and profoundly into the emotions. And write some fucking hot porn ;) Those are the things I've had praise for, at least. Maybe my spiritual bits aren't as relatable or something, because people hardly ever remark on those (interestingly, my mum is the only one to have taken up those bits! But I skim over the sex scenes when I read the fics to her, so she only gets the gen). Or then it's the fact that most of the time it's Thief of Bagdad fic, and thus in an Islamic context, and most readers aren't familiar enough with, say, Sufism, to feel like they're qualified to comment without making arses out of themselves. But of course I like my spiritual bits; I'm an ex-religions major!

This had a taggity thing at the end, but I hate doing those because it always puts pressure on them even if you say they don't have to (come, now. The pressure is there, the moment you mention someone by name). I don't own the meme or you, so, as always: do what thou wilt.

[femslashrevolution]

On Experience and Scarcity

This post is part of Femslash Revolution’s I Am Femslash series, sharing voices of F/F creators from all walks of life. The views represented within are those of the author only.

First and foremost: the subject of this essay has been banging around my mind for a long time, but trying to put it into words turned out to be difficult. It wasn’t until I read Holyfant’s’s excellent essay, towards a “darker” femslash, that I found my starting point. Even so, I often struggle to find the right terms and language to describe my own personal experience, so I’m going to ask for a little leeway here.

Holyfant’s essay mentions three main reasons why people hesitate to write femslash. If I can (roughly) paraphrase: the first reason is the fact that compared to M/M fic, F/F is a niche fandom with relatively little feedback opportunities; the second is a  lack of interesting female characters and F/F relationships in canon; and the third is the feeling of responsibility that comes with writing less-than-perfect women. Holyfant focuses on the third point, which is an issue all of its own (and one that’s also echoed in havingbeenbreathedout’s “On the personal as normal; on the normal as political”.) But personally, I’ve always felt like I’ve been more influenced by the second reason. The consequences of what we write, the fear of the way we write a character having widespread consequences – that’s something I am, in a way, already a little used to. I’ve written a lot of what I’d call dubious shit; I’m used to dealing with the fear of consequences of writing things that could be generalised. Whether it’s women who are less than perfect or relationships seriously veering into the abusive, I’m always of the opinion that my audience is smart enough to see nuance and not to generalise. My own main problem isn’t really the political repercussions of writing femslash, if you can put it that way.

My problem is the canon material.

I’m speaking from my own experience here– I have no way of knowing how widespread this particular problem is. On the other hand, I’ve seen enough people write musings and reactions about similar issues to suspect I’m not just the only person struggling with this.

Anyway. Let’s start with my backlog of fic. AO3 tells me that right now, I have twice the amount of M/M fics compared to F/F fics. Looking at it by wordcount, it gets even worse. The longer ones, the intense ones, are always inevitably male/male ships.

This used to annoy me a lot. I couldn’t understand why I kept going for the male pairings. Had I really internalised this kind of misogyny so badly, that I couldn’t see the potential of female characters? Was I a Bad Feminist for ignoring the stories about women and focusing on men? I was a little disturbed at this clear trend in my own writing, yet I couldn’t really find a way to fix it – because I couldn’t find any femslash pairing that really inspired me enough to write about in great depth. But why? Why did female pairings fail to intrigue me? Was this really just internalised sexism?

Well, maybe. But there were other factors at play here too, ones that took me a while two discover. Two things helped me find them.

The first was genderswapping. The second was Person of Interest.

Genderswapping – shorthand in this context for taking a canon cis male character and creating a cis female version of him, also known as spectrumslide – is something that I find really interesting. I know there are a lot of people who are opposed, who see it as a way to drive out actual canon women in favour of male characters, never mind the gender change. But for me, there is no better tool to challenge the way you think about gender and personality and relationships, and how they’re all subconsciously intertwined.

When I read genderswapped stories, I often got annoyed at how far the female versions were from their male counterparts. Traits that I enjoyed were changed, or warped, or erased altogether. These stories didn’t appeal to me at all. On the other hand, some other writers created characters that did appeal to me, massively. Because they weren’t like others I’d read about before, because they possessed the same traits that attracted me to their male counterparts. Genderswapping offered me female characters unlike any I’d seen before in mainstream fiction. Rough around the edges. Unemotional. Violent. Aggressively sexual. Bitterly sarcastic. Nasty women, if you will. Women that seem to be the opposite of everything that’s traditionally associated with femininity.

(It’s probably important to note at this point that my type of character tends to be a villain, or at the very least somewhat of an anti-hero. Relatedly, the relationships I get inspired by are invariably damaging, unhealthy, possessive, power-unbalanced or twisted – relationships that almost seem non-existent between fictional women. But I’ll come back to that later.)

It got me thinking. In my head I started playing around with character stereotypes. A hard-drinking emotionally blunt promiscuous violent man as James Bond, for example. What do you get when you take those characteristics and put them in a cis woman? The hardboiled noir detective, the knight in shining armour… Can those exist in female versions? While keeping the essence of their character, their personality intact?

I started to challenge my own views on gender, feminity, and masculinity. What do I associate with “woman” as an abstract concept? When I create OC’s as side characters, why do I choose to give them one gender and not another one? Why do I automatically give a character this or that trait just because of their gender?

There were a whole lot of ugly subconscious connections I laid bare like this, and I found it was pretty confrontational. It’s not fun, discovering how biased you really are.

So, the logical next step was to try my own hand at genderswapping. Pure hypothesis-testing, that: if it really were just the characters’ personality and interpersonal dynamics that attract me, that should work just as well if I swapped out one gender for another one, right? And I suppose it did. But it took some work.

Like Holyfant mentions in her excellent essay: it’s very easy to fall into stereotyping when writing women. You’d think that taking a male character’s personality as a starting point might be a solution to that, but it isn’t quite that easy. For example: what is unnerving and aggressive sexuality in a man can become, in a woman, that boring old cliché of the femme fatale – if you don’t pay attention, that is. This isn’t made easier by the fact that there aren’t many examples of fictional women like the ones I want to write. To create something on your own, without a blueprint to fall back on… It’s tricky.

Then there’s the fact that you can’t just transpose characteristics from men to women. Mind you, I’m not saying that women are fundamentally different than men or any shite like that. But the way society looks at women and men -  here there are radical differences. On the whole, society’s reaction to certain traits is vastly different depending on if it’s a man or a woman doing it, which also means that the character themselves is going to look differently at that. A physically strong, violent woman is considered an anomaly, a freak; a physically strong, violent man is an action hero. Or, the other way around: a gentle, caring man is considered weak, while a gentle, caring woman is an example of traditional womanhood. So if you write a woman who’s violent, you’re going to have to take into account that society as a whole tends to condemn that. And if a whole society condemns a character’s personality, that’s going to have an effect on the way a character sees herself, too. it really is a bit more complicated than just swapping around the pronouns and calling it a day.

It takes work, it takes practice. That much had become painfully obvious to me. If I reread my first attempts at genderswapping now, I cringe a little. Not that they’re bad, per se. It’s just that they’re not exactly original. There’s a giggling lipstick-wearing short-skirted seductress, there’s lean-but-not-muscular assassins for hire… It isn’t what I’d call groundbreaking – and even at the time, it wasn’t quite what I wanted either. I just didn’t know how to make what I wanted, at first. It took a pretty long while before I finally had my first genderswapped character that actually felt like a real, original, complex flesh-and-blood woman.

So. What I learned by genderswapping is 1) it’s bloody difficult to write a female version as nuanced and complex and original as the male original, 2) clichés are always lurking, ready to pounce, but 3) in the end it really is someone’s personality and relationship that makes me interested.

Those points can just as easily be applied to non-genderswapped female characters: for me, at least, women are harder to write interestingly than men, at first. It’s less practiced. But – the positive thing I’d learned – I really do have a type regardless of gender. Meaning that if I wanted to write more (non-genderswapped) femslash, I merely had to look for two or more fictional women with the same traits as the male characters I enjoyed, and then squish ‘em together.

Problem was… They didn’t really seem to exist?

Most relationships between fictional women, if they’re explicit, are shown to be soft! And gentle! And good and pure! Tara and Willow in Buffy The Vampire Slayer, for example – oh, there was a lot of fucked-upness going on there but the essence of their relationship was tenderness and open, honest love and mutual support. Which is great! But not what I want to write about. Even a pairing like Black Sails’ Max and Anne – both morally ambiguous, three-dimensional, and in Anne Bonny’s case stereotype-defying – are portrayed as essentially a gentle, healing, deeply caring relationship. Those unhealthy relationships I like to write about, the mutually destructive ones… They didn’t seem to show up in fiction.

Then I started watching Person of Interest.

Person of Interest has Root, a major villain-later-turned-hero. As far as female characters go, she’s sort of midway. She’s still flirty and seductive, and later openly emotional and caring – far more traditionally female than any of the male characters in the series. But she’s a hacker, she’s aggressive, she’s independent, and her plotlines give her agency. She’s original. She’s got an edge beyond the stereotype.

Person of Interest also has Shaw. And this is where things get very, very interesting.

Shaw is blunt. She’s unemotional. She’s aggressive, likes guns, likes violence. She avoids romantic relationships – not because of some painful deep trauma that gets healed in the end by the ‘right person’, just because that’s who she is. She’s sexual, but in a rather forthright, dominant, taking-what-she-wants-without-complications way you tend to only see in men. And right from the start, her interactions with Root are decidedly sexual. Their very first interaction is laced with BDSM-implications, and when they start interacting more – once Root has come over to the good side –, every exchange between them is full of barbs and barely-concealed aggression and power play. When Shaw at a later point describes a potential relationship between her and Root as a four alarm fire at an oil refinery, she isn’t lying. And when they finally end up having sex (it’s a dream, sort of, but shush) it looks more like a wrestling match than like “making love”, each one tearing at the other one and refusing to back down, not afraid to use punches or kicks in between the kisses. Miles away from the smiling-laughing-cuddling-vanilla sex Tara and Willow have.

It still doesn’t quite work for me, on the whole. Root, although Amy Acker does her damn best to give her life, still fits the traditional model too much for me to connect. She feels more like an idealised version of a woman than a real one. Especially in the later seasons her reactions are far more emotional, sentimental, than I’d really expect or want from her – again, traditionally feminine (in contrast to Shaw, who remains her gruff self). And of course Root and Shaw (spoiler alert) don’t really end up together. It’s very much implied that they would end up together, but then – in fine queer fictional woman tradition –  Root goes and dies before they can get there. It’s a shame, because flirting is one thing, but an actual relationship between those two would’ve been something I’d kill to see.

Still. Here was an example of the dynamic I like, but between two women. It does exist, it is possible. And seeing that gave me a starting point, a sort of blueprint to use for my own writing.

So. Where does that leave me, and my 2:1 ratio of M/M versus F/F fics?

The way I see it, there’s a dual responsibility. Part of the lack of interesting, flawed, complex,  ugly female characters in fiction has to do with the lack of material in canon – not just that there are very few female characters to start with, but also that this trend means fanfic writers have so few examples we can base our own work on. We still have to carve out our own model, here.

But another part is my own responsibility. Writing flawed women, unsympathetic women, women with ugly personalities or traits – that takes more work and effort. It doesn’t come quite naturally to me yet, which means it’s harder to write, which means I tend to avoid it in favour of easier things – which in turn, means there’s fewer ‘dark’ femslash in the word, and thus lesser examples to work from.

It’s a vicious self-perpetuating circle. But it’s starting to get its dents. In the form of Root and Shaw, of Gillian Anderson’s fingerlickingly complex Stella Gibson, in everything Sally Wainwright has written. And in our own work, of course. Story by story, we chip away at the block and create images and thoughts about the full complexity in relationships between women.

About the author

Pasiphile is a fanfiction author who mainly writes for Sherlock, but their work also includes Discworld, Attack on Titan, Luther and a heap of other fandoms. They have also co-edited two anthologies of original erotica under the name of Alex Freeman. You can find them on tumblr and AO3.

[heavensenthearty]

Wanna bet that it was actually ATLA in itself what got them to think this way?

All people, even full-grown adults, grasp messages from fiction. Some of them are more impressionable than others or simply haven't addressed themes like the ones presented to them, so they assume the person doing that presentation knows best. ATLA and TLOK's portrayal of female and LGBTQIA characters and relationships is very revolutionary for the standards from the past years, but the problem is that there weren't very high standards in the past years. There was still a lot of space to make a lot of mistakes. Mistakes that were made while being presented as the cusp of representation, and that are regarded as such up to this date.

How many times do you hear Katara — the main female protagonist, who is a brown girl — address K@t@@ng as a relationship she's remotely interested in having?

Two.

And those are the time when she and Aang were surrounded by riddles telling them to literally kiss or die, and the time when she was telling Aang that she wasn't interested in a romantic relationship at all. Right before he kissed her without her consent.

How many times do you hear Aang talk about his crush on Katara and other people telling him "hang in there and she'll come around"? All. The. Show.

And at the end, she does.

What does people learn from this? That it really, truly doesn't matter what young, brown girls say. (And it is that much specific as a message.) It doesn't matter what they feel or what they think is best for them, because the character designed to be the audience's self-insert will always know what's best for them and for the world. That's why it is so easy for antis to mock and diminish female Zutara fans and call us slurs if we are brown/non-white to top. That's from where the "Katara as your self-insert" argument comes from, and no matter how many critical arguments brown female fans give about their reasons to ship Zutara, no matter how much critical thinking they use to analyze any other aspect of the show unrelated to the romances, antis will assume it'll be like they saw on screen: we just haven't gotten to the point when we go outside to the balcony and see the light 🥺...

😒😒😒

As for the LGBTQIA issue, let's face it: that kind of rep wasn't even a pin in the writers' radar back in 2005-2008, and they didn't think about it until 2014 when Korra's Book 3 was airing, but it is a kind of representation many people looked for during those years and what they look for now. ATLA is considerably better written and developed than TLOK, so many people will feel more drawn to it and its characters because they are better constructed and they go through universal experiences of all kinds that fans can identify with. And because nobody thought it was necessary in the early 2000's, the characters don't have their sexualities or gender identities specified, so people can headcanon them as whatever they want to see themselves even more reflected in them. The problem is that some of the characters' relationships in the show didn't include much interactions with people of their same gender and age, and that makes it more difficult to picture them in not m/f romantic scenarios. That's why people clings so hard to the few same-gender interactions that they see, or they mark a character as straight without thinking it twice.

That's why Z*kka shippers have a field trip with two episodes alone and why they yell "Straight, homophobic Katara" every two days.

Neither Zuko or Katara spent much time with friends of their own gender and age, and we already talked about the sexism and misogyny within the fandom for how badly Katara was treated by the narrative and what antis think goes on in Zutara shippers' "girly heads" 🙄. It's easy for them to disregard the female character who nobody took the bother of giving a steady female support and her fans.

Don't get me wrong, I'm not blaming the show for all the evil in the world, I'm saying that the bad things were there and nobody acknowledged them, and the people that put them there in the first place did so with a proud face and have never done anything to recognize or regret their mistakes since then, and the people that looks up to them like they hung the moon (no pun intended) are doing their best to put those harmful teachings into practice.

It is alarming how many of my fellow Zutarians have gotten asks regarding their sexual orientation today. It’s none of your business. So stop asking!