#female characters

[morgangalaxy43]

I will defend Miles Morales, Kamala Khan, America Chavez, Jubilee or any other non white, female, queer or otherwise diverse comic book character that

[ebenelephant]

i can't find a better shot but we should have had more of margaret in this outfit

[leadjockey]

Quick Momo Ayase Fan-art…

[marshmellowed]

every time.

[noperopesaredope]

I wish we had more female characters like Eleanor Shellstrop. One of the most unlikable people you've ever met. Read a Buzzfeed article on most rude things you can do on a daily basis and decided to use that as a list of goals. Makes everyone's day worse just by being there. Dropped a margarita mix on the ground and tried to pick it up, only to get hit by a row of shopping carts which pushed her into the road where she was hit by a boner pill delivery truck, killing her instantly. Cannot keep a romantic partner despite being bisexual. Had a terrible childhood but will die before she gets therapy. Best employee at a scam company. Just the worst but also can't help but root for her to improve.

Absolute loser. Girl-failure. Bad at almost everything. Literally perfect female character.

[going2hell4everythingbutbeingbi]

things to ask yourself when designing a female character:

how much blood is she covered in

are her eyes filled with madness

can she rip things to shreds with her fingernails

[hacked-wtsdz]

You can’t win as a woman in fiction. Be too positive, you become a Mary Sue, have flaws and those flaws are why almost nobody likes you. Be moderate, you have wet-cabbage personality, be exuberant, you are an unrealistic example. Have strong morals, and you’re badly developed, be morally corrupt and you’re hated with such vigour fans will send hate mail to the actress who plays the character. Be kind and soft and in love, you’re a representation of sexism, be cruel, harsh and cold and you’re just a bitch. Be a complex, realistic, ambiguous character, and either your flaws or your positive traits will be ignored or blown out of proportion and into oblivion. There is no winning for female characters.

[queen-paladin]

I love you hated female characters. I love you female characters who are flawed. I love you female characters who mess up and try to do the right thing after. I love you female characters who get the undeserved vitriol from fans. I love you female characters who fans completely condemn because of one mistake they made. I love you female characters who fans completely condemn because of one mistake they made as a child. I love you female characters who people blame for ripping apart their ships instead of the larger forces that be. I love you female characters who get all the hate as the male characters who do worse in canon get absolutely none. I love you female characters who get hated on because they told a man “no.”

[suzannahnatters]

all RIGHT:

Why You're Writing Medieval (and Medieval-Coded) Women Wrong: A RANT

(Or, For the Love of God, People, Stop Pretending Victorian Style Gender Roles Applied to All of History)

This is a problem I see alllll over the place - I'll be reading a medieval-coded book and the women will be told they aren't allowed to fight or learn or work, that they are only supposed to get married, keep house and have babies, &c &c.

If I point this out ppl will be like "yes but there was misogyny back then! women were treated terribly!" and OK. Stop right there.

By & large, what we as a culture think of as misogyny & patriarchy is the expression prevalent in Victorian times - not medieval. (And NO, this is not me blaming Victorians for their theme park version of "medieval history". This is me blaming 21st century people for being ignorant & refusing to do their homework).

Yes, there was misogyny in medieval times, but 1) in many ways it was actually markedly less severe than Victorian misogyny, tyvm - and 2) it was of a quite different type. (Disclaimer: I am speaking specifically of Frankish, Western European medieval women rather than those in other parts of the world. This applies to a lesser extent in Byzantium and I am still learning about women in the medieval Islamic world.)

So, here are the 2 vital things to remember about women when writing medieval or medieval-coded societies

FIRST. Where in Victorian times the primary axes of prejudice were gender and race - so that a male labourer had more rights than a female of the higher classes, and a middle class white man would be treated with more respect than an African or Indian dignitary - In medieval times, the primary axis of prejudice was, overwhelmingly, class. Thus, Frankish crusader knights arguably felt more solidarity with their Muslim opponents of knightly status, than they did their own peasants. Faith and age were also medieval axes of prejudice - children and young people were exploited ruthlessly, sent into war or marriage at 15 (boys) or 12 (girls). Gender was less important.

What this meant was that a medieval woman could expect - indeed demand - to be treated more or less the same way the men of her class were. Where no ancient legal obstacle existed, such as Salic law, a king's daughter could and did expect to rule, even after marriage.

Women of the knightly class could & did arm & fight - something that required a MASSIVE outlay of money, which was obviously at their discretion & disposal. See: Sichelgaita, Isabel de Conches, the unnamed women fighting in armour as knights during the Third Crusade, as recorded by Muslim chroniclers.

Tolkien's Eowyn is a great example of this medieval attitude to class trumping race: complaining that she's being told not to fight, she stresses her class: "I am of the house of Eorl & not a serving woman". She claims her rights, not as a woman, but as a member of the warrior class and the ruling family. Similarly in Renaissance Venice a doge protested the practice which saw 80% of noble women locked into convents for life: if these had been men they would have been "born to command & govern the world". Their class ought to have exempted them from discrimination on the basis of sex.

So, tip #1 for writing medieval women: remember that their class always outweighed their gender. They might be subordinate to the men within their own class, but not to those below.

SECOND. Whereas Victorians saw women's highest calling as marriage & children - the "angel in the house" ennobling & improving their men on a spiritual but rarely practical level - Medievals by contrast prized virginity/celibacy above marriage, seeing it as a way for women to transcend their sex. Often as nuns, saints, mystics; sometimes as warriors, queens, & ladies; always as businesswomen & merchants, women could & did forge their own paths in life

When Elizabeth I claimed to have "the heart & stomach of a king" & adopted the persona of the virgin queen, this was the norm she appealed to. Women could do things; they just had to prove they were Not Like Other Girls. By Elizabeth's time things were already changing: it was the Reformation that switched the ideal to marriage, & the Enlightenment that divorced femininity from reason, aggression & public life.

For more on this topic, read Katherine Hager's article "Endowed With Manly Courage: Medieval Perceptions of Women in Combat" on women who transcended gender to occupy a liminal space as warrior/virgin/saint.

So, tip #2: remember that for medieval women, wife and mother wasn't the ideal, virgin saint was the ideal. By proving yourself "not like other girls" you could gain significant autonomy & freedom.

Finally a bonus tip: if writing about medieval women, be sure to read writing on women's issues from the time so as to understand the terms in which these women spoke about & defended their ambitions. Start with Christine de Pisan.

I learned all this doing the reading for WATCHERS OF OUTREMER, my series of historical fantasy novels set in the medieval crusader states, which were dominated by strong medieval women! Book 5, THE HOUSE OF MOURNING (forthcoming 2023) will focus, to a greater extent than any other novel I've ever yet read or written, on the experience of women during the crusades - as warriors, captives, and political leaders. I can't wait to share it with you all!

[writeaboutit]

I LOVE WHEN FEMALE CHARACTERS SPIRAL AFTER GRIEF AND BECOME UNHINGED AND EVIL🗣️🗣️🗣️

[stevienick]

girls + massive attack

[twistedshipper]

MERLIN 5.01 Arthur's Bane

[dalliancekay]

Aziraphale, misogyny and the female character treatment

I don't know if anyone wrote a post about this but I see from time to time comments to this end - that Aziraphale is treated like the female leads in films often are, obviously especially romantic films. So I'm gonna try to point how I see this. I welcome further insights of course.

Say we take a basic premise of a romantic film: A girl is wooed by a bad boy for example. And she is a good girl, from a good, proper family and everything so she refuses his advances. This goes on through his various ploys to entertain and romance her, do things for her etc etc and frustrates us as the audience because we can see the bad boy is actually good, her family is oppressive and holding her back and that she (deep down) cares for him (if only she was brave enough to admit it to herself) and so we want her to open her eyes and say she is actually in love with him cos her life will be so much better should she (finally) give in and run away with him.

Familiar? Reasons Aziraphale is not her and the analogy does not fit (but that I so often see in metas and takes about her):

Aziraphale always knew her family is shit. Or at least longer than Crowley did. She was already anxious in Before the Beginning about what she thought Angel!Crowley could and could not say or do without getting into trouble.

She knows Crowley is good. She never doubted him. Whatever he says or does or pretends to do or must do for his job. Aziraphale knows he's inherently good and would always do good if he can.

She knows she's in love - I mean we can argue about when each realised this and also when each realised the other loves them back just as fiercely, but they both know. And they both love. And they both long to be together. Aziraphale is not ashamed of her feelings nor hiding or suppressing them for fear they are wrong or immoral or other BS like that.

Aziraphale doesn't need to overcome her love for her family/employer and finally make the leap to be with Crowley. They simply can't leave their bosses without punishment. Neither of them. They live in a dictatorship with nowhere to go. And just because Crowley experienced both sides, doesn't give him some huge insight that Aziraphale completely lacks. Both places are awful. Their separation isn’t about fear of societal judgment (or Aziraphale's unwillingness to give up Heaven, being seen as good, being an angel - and to what end, to Fall? I really don't know what takes like this want from her, it would not work anyway), it’s about survival in a system that won’t let them be together.

Aziraphale doesn't want to change Crowley. She never did. She asked for Crowley to come to Heaven as an angel because that was THE ONLY option she had for them to be together in any capacity at that point. It was NOT an attempt to “fix” him—it was a desperate bid for a way they could be together at all.

One thing I don't see as much anymore is the call for Aziraphale to change. Obviously she's pretty but she would be prettier if she lost those century old clothes maybe and started listening to something made after 1950? Be more cool to match Crowley? Less stuffy?

These kind of film premises are already pointless, offensive and make me roll my eyes, but to stick them all over Aziraphale and huff cos she doesn't do what the clever sexy man in dark clothes and sunglasses says she should - well that makes me angry.

And so do takes and mischaracterisations that ignore Aziraphale as silly, her worries as pointless, sometimes excessive - maybe she's just hysterical, you know? The one time she shows more emotion, in F15, she is so often completely ignored in her obvious distress just because Crowley is trying to confess his love at the same time and seemingly 'not getting through,' because Aziraphale is not reacting the way everyone expects. So many takes that always assume Crowley is right, no matter what. Even when he calls Aziraphale an idiot. If Crowley says that, it must be true. No matter that the book spells out in Terry's voice that the angel is extremely clever.

Aziraphale’s charm lies in her kindness, her love for books and knowledge, her whimsy, and her quiet courage. These qualities don’t make her naive—they make her resilient. She often hides how she truly feels, hides her grief, her pain, her true desires, hides what she really thinks; always always to protect herself and her beloved. She is often forced to say stuff she doesn't mean. Again. To keep the one she loves and their fragile relationship safe. But where people seem to catch on with that on Crowley's side, they don't with Aziraphale. She is fierce when pushed and will defend the defenceless (humans) and the ones she loves (Crowley) to her last breath (whether she needs to breathe is irrelevant right now okay).

She loves her bookshop. She built this home, full of knowledge for herself and her demon and you can take this HC from my cold hands. That she was forced to leave it, only emphasises how little choice she had in Final 15. Good Omens has two main, equal characters; who are both gorgeous and complex and deep and neither is right or wrong or in need of saving or learning some huge lesson to get to their goal and be together. What needs to change is the world, the system they live in. And they will change it.

Just look at her!! Anyway. I love her. P.S. Just to add, many, many (if not all) bad takes on Aziraphale are also bad takes on Crowley. They mischaracterise and misunderstand just how deeply and unconditionally he loves Aziraphale. How he adores her and understands and accepts her just as she is. He does not expect or want Aziraphale to change in any way. He knows why they are not together. And it's not Aziraphale's fault, it's because of circumstances, not because of her choices. Crowley would never ever want Aziraphale to suffer, he wouldn't expect her to come back from Heaven saying how sorry she is for what happened, how stupid and blind she was and how he was always right. That's just not going to happen. ------------------------------------------ @tenok I simply must highlight the awesomeness you put in hashtags!! EVERYBODY please read:

Thank you sm for this!!

[violetumbrellalover]

Victim of war Princess Rhaenys and her Balerion 🐈‍⬛

[georgescitadel]

I often get the question, “How do you write women?” or “How do you write a dwarf?” Some of that can be resolved by research or talking to people. I had a correspondence with a fan when I was writing the first and second books, long ago, who was a paraplegic, paralyzed from the waist down, and he gave me a lot of valuable insight about how to write Bran and what it would be like. That kind of information from other people, you can never duplicate.

- George R.R. Martin, Ideas At The House (2013)

There are things we all go through, but there are experiences that I haven't had, and when I'm writing about one of those, I try to talk to people who have had that experience. When I first had Bran crippled by his fall from the tower, I had one fan who was paraplegic, and he and I exchanged a number of emails about what it was like to be paraplegic because I could try to imagine that, but I don't actually know it. When I wrote the scene where Sansa has her first period, I talked to a number of women and asked, “What was it like to have your first period? Was it scary? Was it nothing? Was it painful? Tell me about it!” I got about 16 different stories that varied very widely. People who have actually been in combat, I talk to before the combat scenes, and that too varies widely. That's sort of interesting, and, of course, I've read a lot about that. There are some experiences that only women have had in our society, and when I tackle them, I try to consult with women.

- George R.R. Martin, NIFFF Masterclass (2014)

You do have to research the things that can be researched, and sometimes that involves books; sometimes it actually involves talking to people. Those are the trickiest things, if it's a human experience. I'll give you a couple of examples from Game of Thrones. When Bran gets thrown out the window and paralyzed. I'm not paralyzed, I don't have any close friends who are paralyzed, but I wanted to try to get that as accurate as I could, so I did a fair amount of reading about that. I also had a couple of fans who corresponded with me through email about the problems of someone who was paralyzed from the waist down and what it would be like. I also have a scene where Sansa, who is engaged to Joffrey but hasn't flowered yet—hasn't had her first period—so she can't be married by the traditions of Westeros, then has it and is eligible, by medieval standards as well as the standards of Westeros, to be bedded and wedded and bred. Of course, she reacts to that with considerable panic. But I also wanted to know what it is like, and that led to a number of embarrassing conversations with women I knew about: “When did you have your first period? What was it like? Was it painful? Tell me about it!” What I discovered was a wide variety of different stories. It's not always the same thing, so I had to try to make sense of that and do something that had authentic truth to it. Hopefully, I did, but human experience is variable. No matter how much you research, there will be somebody out there who had a different experience, and then they'll write you an annoyed email saying, “You got that all wrong. You don't know anything about that.” Well… okay. But I tried.

- George R.R. Martin, Author Event Series: Featuring Marlon James (2019)