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solutionlab · 2 years ago

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Summary Writing - Summarize - Text Summarizer - Summaries - Summarising

https://youtu.be/CJszLrjdXd4

Summary Writing - Summarize - Text Summarizer - Summaries - Summarising

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emberinmyheart · 6 years ago

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[ writing tips ]

( I am not the person who thought of all of these writing tips and ideas. Writing tips come from books such as Write Your Novel in a Month by Jeff Gerke, The First 50 Pages by Jeff Gerke, Writing Your Novel from Start to Finish by Joseph Bates and a tumblr account called @writingmastery . I do not take credit for any of this, this is just meant to help you.)

c h a r a c t e r s :

- making the characters

- what makes a good character/protagonist

- making the antagonist

- questions to ask about your protagonist

- things your protagonist must have

- supporting characters

p l o t :

- planning the plot

- theme

- outlines

d i a l o g u e :

- basic dialogue formatting

w r i t i n g s u g g e s t i o n s :

- how to get out of writer’s block

- how to get inspiration

[ c h a r a c t e r s ]

- making the characters -

1. Consider your character’s:

• Intelligence

• Natural gifts or talents

• Love language (how they express affection)

• Self-esteem

2. Consider your character’s physical traits, such as:

• Gender

• Age (at the time the story begins)

• Ethnicity

• Height

• Weight

• Hair style and color

• Eye color

• Complexion

• Teeth

• Eyesight

• Physical attraction

• Any deformities, handicaps or distinctive marks

• Facial hair (for male characters only)

• Clothing style (including sense of style)

• Accessories

• Jewelry

• Tattoos and / or piercings

• Contacts or glasses

or things such as:

• Hygiene

• Posture

• Vehicle they use (optional?)

because this can be a massive help when discovering a character’s personality. “How would your character’s personality be affected by the physical attributes you choose?” (Jeff Gerke, Pages 52, 53 & 54)

3. Consider your character’s background, such as their:

• Siblings — ages, names and relationship with hero

• Level of wealth or poverty

• Whether they lived in the city or the country

• Marital status of parents

• Culture

• Education

• Relationship with parent of the same gender

• Era

• Societal backdrop (war, famine, revolution)

• Country and region

• Parents — who are they? What do they do? What were their experiences with the hero in the past and present, and how have experiences with them molded the hero’s life? Are they alive? Are they dead? Rich? Poor? Alcoholic? Was the father a famous athlete the hero had to learn to be like, or never thought he could be like? Does this impact the hero’s relationship with their siblings, if they have any?

(Jeff Gerke, page 55)

- what makes a good character/protagonist -

1. Consider this for your protagonist/hero...

• The selfless hero. For example: “a single mother who works two jobs who works two jobs but still somehow manages to do homework with the kids and go out for ice cream once in a while, or a soldier who volunteers to stay behind to cover his buddies’ retreat, or the silent partner who lets someone else get the glory for the work that was actually shared.” (Jeff Gerke, page 36)

• The compassionate hero. “When someone reaches out in love towards another, it is considered a virtue. It follows that your reader will most likely resonate with a compassionate hero. Show them having mercy on someone when it was within their rights to condemn, or show them going through all kinds of trouble to get a crust of bread to eat, but then show them handing it over to someone who has even less than he does.” (Jeff Gerke, page 37)

• The generous hero. “We love the bighearted giver. Most of us wish we were in a position to be able to give like that, to support some person or cause we believe in. Show your hero secretly dropping a hundo into the subway musician’s tip jar or leaving a fifty dollar tip for the diner waitress or anonymously buying someone’s wares at auction to be sure he has money to live on.” (Jeff Gerke, 37)

• The charming hero. “If your character can make the reader laugh, you’ve got them. We all love charming, winsome people. They’re fun to be around. They make life a little less burdensome. Humor can be hard to write, so don’t stress if this isn’t the direction you want to go. But if you can create a protagonist that makes us smile, you have us.” (Jeff Gerke, 38)

• The sympathetic hero. One of the main ways to engage your reader is to make them relate and bond with your character until they’re attached. Characters can bring back your memories and trigger the release of feelings you’ve got pent up in your head and can help you navigate your own issues. “If you can cause your reader to feel sympathetic towards your protagonist, you’ve won. When you show that gaping hole of pain or loss, the reader leans in, rushing forward with compassion into that person’s life like air filling a vacuum. When we feel your hero’s loss or grieve with them as they fail once again to achieve a noble goal, we build an instant connection. Make us feel like this is someone who we would like who has just been dealt a terrible hand— but who nevertheless keeps trying— and you’ll have us.” (Jeff Gerke, 41)

• The unlikable hero. Some characters in best-selling books are unlikable characters, but they have something redeeming in them trying to get out. It’s the good that makes us tolerate them and even come to like them. Your heroes can be unlikable or have a lot of flaws, but they have to be somewhat likable enough for the hero to be attached to them and their story.

• The winsome hero. “One reason why readers can engage with these characters is that they find them endearing. They’re good souls, they make you laugh, and they’re gentle with others. Characters can be flamboyant and outrageous, but they’re delightful to be around. To make your reader attached to them in the first few pages, you’ll need to reveal this winsomeness to the readers somewhere in the first fifty pages.” (Jeff Gerke, 73)

• The smart hero. “Another way to make readers engage with your character is to make them smart, resourceful, clever or mentally agile. We value characters who can see straight through the smoke to the thing the smoke was meant to conceal. We delight in seeing a resourceful hero trying to climb to that pile of puzzles to tell us what they see from there.” (Jeff Gerke, 73)

“The way you can tell if characters are weak is by reading about fifty pages of a novel. If by then you can’t tell the characters apart aside for cosmetic things like gender, age, role, office, species, attitude or goofy accent, there’s a problem. If you could switch the names around in a dialogue scene and nothing seems out of the ordinary, the characters are weak. If the only difference between your characters is that one’s always mad and the other is always talking dirty, your book is doomed.” (Jeff Gerke)

- making the antagonist -

What does a antagonist need to become a good villain?

A good antagonist, or villain, usually has to:

• Be strong. “A strong villain makes for a strong hero. When a hero overcomes a weak villain, they’re not going to seem very epic to the reader. But have them overcome a galaxy-destroying psychopath with an army of flesh-eating undead giants under their command, and you might just have yourself a hero of legend.”

• Make the hero go through several stakes. When you look back at all of the notes you’ve made for your story so far, you may have a clear idea of what the stakes are. What might be the “OR-ELSE” stakes you can set for your book? According to Jeff Gerke (a very useful source for writing tips), “the stakes can be related to a goal, a relationship, safety or anything else. They can be objectively large (if the hero fails, Earth will be destroyed) or small (if the hero fails, the team won’t win the first game of the season), so long they are important to the hero— and thus the reader”. (Jeff Gerke, page 79)

- questions to ask about your protagonist -

When creating and rounding out your protagonist, there are some questions you must ask yourself first:

1. Who is your protagonist? “The events in your novel are only meaningful for the reader in terms of how and why they’re meaningful for a protagonist. The protagonist is the lens through what we see, and interpret, everything in the book.” (Joseph Bates, page 22)

2. What does your protagonist want, and why is it important to them? “A protagonist must have a clear goal in the book, as well as a clear motivation for wanting to achieve it... not just what they’re after, but why they’re after it, so that the reader feels a sense of personal stakes.” (Joseph Bates, page 22)

3. What stands in the way of the protagonist? “Which is to say, what conflicts will the protagonist face? As with motivation, these conflicts will sometimes be external, plot-level conflicts and at other times, personal ones.” (Joseph Bates, page 22)

4. What familiar genres or tropes are suggested by premise, and how will your novel both play with or against those expectations? “Every story idea will automatically get you thinking of certain genres the story borrows from. Finding ways to make these tropes seem new and unexpected will be much more enjoyable for you to write and for your reader to read.” (Joseph Bates, 23)

5. How does the world of the novel that your protagonist is in— its setting, rules, everything related to the book’s tone— help reveal or illuminate the protagonist’s quest? “A story’s world helps build a reader’s understanding of the character’s quest, meant to find a understanding of motivation, conflict and stakes. World-building is often one of the first aspects that’ll pop into our heads when we think of a new novel idea, and it’s very easy to get stuck into the world-building stage. But the world can only come into sharp focus when we see it as an extension of the character and conflict. We don’t build a world and then drop a character into it. We build the world according to our understanding of story and character.” (Joseph Bates, 23)

6. What personal, everyday questions or problems arise within the premise that you connect with and will explore over the course of the novel? “This is something that you’ll likely have to discover in the process of writing, not necessarily something you’ll likely know from the start, but it’s the everyday that allows the reader to connect with the protagonist and see something of themselves in the protagonist’s plight. As the everyday questions or problems begin to show themselves and repeat in the book, you’ll see themes emerge, which will help support and structure in the book.” (Joseph Bates, 23)

7. What is your character’s internal motivation; What do they really want? “Again, this might particularly be a question to ask of a flat protagonist, the result of a main character who seems motivated by nothing but plot-level or external circumstances; remember that your hero is also a person, like you or me, and consider what we’d feel in a similar situation. But don’t forget that even minor characters have motivations, and lives, and even arcs, of their own.” (Joseph Bates, 42)

8. How might you locate a character’s internal motivation and conflict if these may seem absent? “If your character’s motivation seems purely external, perhaps as part of their obligation as a job— if you’re writing a detective novel, and the character has simply taken on a new case— try to consider what it is about the change personally, that informs their professional work, how it influences their ability to do the job, or speaks to the reason they entered the profession in the first place. Also consider how this particular job is different from yesterday’s job, or tomorrow’s, or last year’s. Presumably part of what makes this job or case different that is personally different, there’s something personally at stake. How might that be the case?” (Joseph Bates, 43)

9. Are you playing both with and against type? “No character is 100% good or evil, kindhearted or callous, capable or clueless, so consider not only how to set up our expectation of character, but also how to subvert that expectation, how to complicate our view of a character.” (Joseph Bates, 43)

10. How is the heart of the character, the motivation, evident in a work you admire? “Consider this with any novel or work that means something to you, no matter the genre. Try looking back at the main character you find compelling and play armchair psychologist a bit, looking at how the external and internal motivation and conflict play with, or pay off of, each other.” (Joseph Bates, 43)

- things your protagonist must have -

1. A protagonist must be active and questioning. “The protagonist can’t merely be acted upon in your novel. Your protagonist has to engage the world instead of observing it. Too many beginning novelists tend to trade character development for world building. Once you fully grasp your character’s want, and why they want it, you can set them down a path of actively pursuing it.” (Joseph Bates, 36)

2. Your protagonist must evoke a connection with the reader. A reader’s relationship to a protagonist is generally one of sympathy, empathy or it’s because the reader sees their own life in the protagonist’s life. “In other words, we see something of our own lives, experiences and struggles related to the protagonist.” (Joseph Bates, 37)

3. The character must be connected to everything in the story. All those other aspects in the story are connected to the reader, too. The character should be bound to those other elements of the story. Theme, mood, description should all be focused through the prism of character. For some reason, readers want to see our characters be punished, destroyed and wounded, but these things aren’t as satisfying until they’re rewarded and end up triumphant in the end.

4. Tell us what the character (protagonist) wants. It is critical to know what a character wants from the start of the book. The character may not know what they want, but the readers and audience must have that information in order to read more of the story. Maybe, for example, she wants revenge, or freedom from oppression, or their child returned to them, or true love, or anything else that can be seen as a motivation— the reader must know what the character’s motivations are as well, because the readers need to know how far your character has come, what stakes are on the table and what obstacles are between them and their final path.

5. You must prove that your protagonist is worth your audience’s time.

- supporting characters -

1. Supporting characters either help or hinder the protagonist in meeting their goals. Some supporting characters can even end up being villains. “For example, some of the most well-meaning people in our lives try to help, and claim to have our best interests at heart, yet their well-meaning help sometimes ends up hurting. Likewise, people who stand in our way, even those who actively oppose us, can end up pushing us to do or be better. They have motivations of their own, and most supporting characters try to be helpful, but ends up complicating what the other characters are trying to do.” (Joseph Bates, 41)

[ p l o t ]

- planning the plot -

Your hero’s inner journey should have several stages.

These are some things you need to remember when planning out the plot of your story:

1. The hero must start with a problem. A inner journey starts with the hero’s problem. What is wrong in the character’s life? For example, “self-centeredness is often the “sin” chosen for heroes in modern stories. The hero is stuck on themselves, and this selfishness causes no end of problems for them. It deprives them of the life they could have if they weren’t so impressed with themselves. Other popular character problems are bitterness, ambition, pride and a desire for vengeance and/or vindication. But the primary problem that all heroes have is fear. Any from the array of fears and anxieties can propel your hero through a wonderful character arc. Fear of being hurt, or abandonment, or failure, or disappointing others, or loss, or being alone, or losing control, and of meaninglessness, not to mention neurotic fears (arachnophobia, agoraphobia, etc.), anger (which is fear in disguise) and depression (fear and anger turned inwards).” (Jeff Gerke, page 61)

2. The plot is about how the hero must notice their issues, wrestle with their issues and finally deal with their issues. It’s the hero’s chance to change themselves into a better person, from start to finish. “The plot is the stage upon which your hero undergoes their inner journey. Whatever the two forces battling it out inside your hero’s heart are, they’re probably invisible. When you’re thinking of plot structure, your starting point is your hero’s inner journey. Whatever it is they’re dealing with on the inside, that’s what the whole plot will be about.” (Jeff Gerke, page 87)

3. There are several stages in a plot. Examples of this would be events such as: we meet our protagonist, we see the location where the place is going to take place, we understand the protagonist’s goals, and we meet the villain. Beginning, middle and end are good starts for understanding the concepts.

4. In order for the hero to be shown the error of their ways, the author must show them a better alternative, first. Usually, the positive alternative future is the opposite of the negative possible future. What would be a healthy outcome for your hero?

5. There is always going to be an inciting incident in your character’s life. Something unwelcome is going to crash into your hero’s dysfunctional life— this is the inciting incident. Without it, your hero would keep plodding along towards their unhappy ending and go towards the ending you don’t want them to go. The inciting incident doesn’t have to be negative, although it usually is— sometimes, it can be a good thing that changes the character’s life completely. Of course, the character could see it as a blessing, but not while it’s happening. The inciting incident could be something that the character does welcome, but it ends up taking them to places they didn’t want to go. For it to work in the novel, the inciting incident must be powerful and must take the hero on their inner journey throughout the entire book. Our hero won’t immediately embrace the change, or else there would be no inner journey. They have to reject it at first.

6. Your character must have their own, inner journey. “In fiction, a inner journey starts off with a character in need of a significant change in their current life. The journey will then lead the protagonist directly to their moment of truth, which is the moment where the protagonist realizes they’re out of balance and must decide whether they’re going to stay with the imbalance or make the change that will reveal to them what their true self should be.” (Jeff Gerke, page 126)

7. There must be a escalation in the story. “The escalation happens between the inciting event and the moment of truth. This is the internal struggle in which the hero tries to hold onto their old, unbalanced way of living, while the new alternative begins presenting itself as a way back into love. During the escalation, your hero will be pushed and pressed and knocked about because they refuse to embrace the change that will result in their inner healing.” (Jeff Gerke, page 127)

8. You have to combine all of these aspects of the hero’s inner journey together to make the reader truly attached to the story. The cycle that all of these stages go through is starting off with the hero’s unbalanced situation. After the unbalanced situation, which is the hero’s initial condition, there is the inciting event, which is the one event that crashes into the hero’s life that leads to their moment of truth. Between the inciting event and the moment of truth is the escalation.

9. After all of these stages, your hero must have their final state. At the end of every journey, your hero must rest and face the result of her consequential decisions. The final state isn’t whether your hero won or lost, it’s the condition of your hero now that their inner journey is over. However, if your hero chose the wrong way, then the final state is something that is not peaceful or the right way to go. The final state will be good or bad, depending on the hero’s choices.

- theme -

1. Brainstorm a dozen ways to show off primary, secondary and opposite facets of your theme, and see how many of them you can elegantly work into those opening spreads. “You don’t have to cram them all in— you’ve got over three hundred pages to explore your theme, after all— but be sure you’ve begun planting those seeds early on. Such things make rereading a novel especially fun, because the second time, knowing where the book is going, you see things the author was doing to set us up for it, though we couldn’t see them the first time. Imagine it being like a film— in the early section of the film, the filmmakers would plan so many things that would have come to importance later. It’s a testimony to their prowess as storytellers that they were giving us the theme from the outset.” (Jeff Gerke, 207)

- outlines -

1. Outline your story with a beginning, middle and an end. “Each should have an emotional arc for your characters. I’m not talking about a synopsis of what happens, but more of what do they (the key characters) feel when it’s happening. This doesn’t mean that you have to know everything that is going to happen, but you need an arc. Point A leads to point B, then to point C. One thing people forget to do when they outline is define emotional growth, and therefore they forget that the story must include the emotional arc.”

2. Character outlines. “Who is the hero? Who is the heroine? Why do they fit your hero and help them be a better hero? Or vice versa? It is often the hero that helps the heroine and helps her find her way to the other side of a battle. Thus, he becomes a hero for her. Knowing your characters helps shape their responses and the external conflict.”

[ d i a l o g u e ]

- basic dialogue formatting -

There are different types of formatting, such as:

1. Dialogue silos. “In dialogue scenes, keep a character’s words and actions in the same paragraph. The reader understands that, when you change to a new paragraph, a new person is talking. The paragraphs take turns in line with the characters taking turns as they exchange lines of dialogue. Let each paragraph in a dialogue be a little character silo into which only words and actions from that character may be placed.” (Jeff Gerke, pages 138 & 139)

2. Beats. Beats are tools to manage the pacing of your scenes and to tether the scene to the setting. Just as you have to include rests in music, so you have to write beats into your novel, and you have to use beats of varying lengths to create those pauses for the readers. When you want something to proceed without a pause, take out all the words that come first. Without beats, your dialogue scenes are rushed and clumsy, and they become detached to the setting. Beats show us what’s happening in the setting of the scene. They give us the viewpoint character’s thoughts and perceptions, too. A beat implies a pause— if you want to imply a long pause, write a long beat. Short beats equal short pauses. (Jeff Gerke, page 25 & 27)

[ w r i t i n g s u g g e s t i o n s ]

- how to get out of writer’s block -

1. Have a word count goal each day. If you want to write more often than usual, you can set up a goal to write 1,666 words a day or more, depending on how much you want to challenge yourself.

2. Write wherever you go. Having a notebook or a iPad will come in handy when your mind starts wandering to scenes that you might forget later. You can take notes in your notebook or iPad (or any other device you can write or type your ideas down on), email them to yourself and then copy and paste when you get home.

3. Make multiple backups. When your notebook, iPad (or the thing you write down on) crashes or anything that makes you unable to use it, you may need to make backups so you can write on other things. Save it everywhere, or at least on three backups so that you can write whenever, wherever without a problem.

4. Use a timer. Time yourself, and then write down as many ideas or words as you can. See if this helps your inspiration and ideas grow into more complex ideas, and if it does, continue to use it. Surprisingly, most people tend to write faster when they’re being rushed. See if this relates to you, and if not, there are always other solutions.

5. If a scene isn’t working, delete it. Sometimes, a scene is much less forced if you simply let it drag you in the direction that it’s most likely to go. Just keep moving forward, instead of procrastinating by deciding what to write next!

6. Take breaks. Even though you have no time to lose, take a break if you need to. Step away from the phone and do something mindless. Sometimes, the gears in your head overwork themselves, pushing you too far down the rabbit hole, which is why you need to take a break every now and then to get rid of these little moments so you’re not tugging at the strands of your hair in agony when you get to a dead end.

#character design #writing #writing tips #writers #character tips #plot #dialogue tips #dialogue #books #character #character development #theme #antagonist #protagonist #outlines #writing inspiration

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x-queen-of-disaster-x · 6 years ago

Text

You would love the Pretty Cure franchise. Groups of different girls kicking ass each season. @writingmastery

20 things I want more of in fiction: strong female characters

To quote TheMarySue.com, strong female characters are rarely strong and rarely characters. Strong Female Characters™ are leather-clad, emotionless, “independent,” defined by their relationships to men, and often have a tragic backstory (often involving abuse at the hands of men). More often than not, they are portrayed to be just as powerful or even more so than male protagonists, but in the end are relegated to fighting the secondary villain(ess).

So here is my list of 20 things I want to see in strong female characters.

Strong female characters who are girly: Not “feminine,” girly. They don’t wear tight leather bodysuits, they wear pink dresses and curl their hair and are excited when Sephora comes out with a new blush product.

Strong female characters who are funny: I mean, come on. I can count on one hand the number of strong female characters who could be comedians.

Strong female characters who support other women: Don’t make them hate the girls who have sex or wear makeup. Don’t support the idea that femininity is weak.

Strong female characters who are not traditionally attractive: Make them fat. Give them acne. Maybe they have bushy eyebrows. Who knows?

Strong female characters who fall in love and remain strong: If she can lift a truck at the beginning of the story, getting the man will not change that. Being strong is not undesirable.

Strong female characters who are not physically strong: Why do they need to lift a car to be strong? Women can be mentally and emotionally strong too. Example: A WWII nurse who has to deal with recent amputees and vets with PTSD. Do you know how much strength that would require?

Strong female characters who are tomboys/manly: Be cautious with this one. There is a whole list of harmful tropes surrounding this idea. For more information, see TV Tropes’ Tomboy page.

Strong female characters who don’t use long-range weapons: Let them be the smasher for once. I want to see them throw punches.

Strong female characters who become stronger on their own accord: Have them want to do more, and train to become better or strive to learn more. BUT (and this is a big but) don’t make them do it because they were abused. Don’t.

Strong female characters who are LGBT*QIA: Enough said.

Strong female characters who are POC: See above.

Strong female characters who are older and not hardened by war: give me an prankster grandma or a general who is known as “mom.”

Strong female characters who have feelings: Please stop making them emotionless or merely snarky/sarcastic. I mean, have you ever met anyone who was only sarcastic and nothing else? People like that don’t exist.

Strong female characters who are strong because of women: Maybe their moms taught them how to fight. Maybe they were inspired by a warrior queen. Stop giving them five older brothers. Seriously.

Strong female characters who aren’t lone warriors: Give them a badass crew (bonus points if they’re all women) whom she considers her friends. Real people have friends.

Strong female characters who have a family: They need at least one family member that they love and want to protect. Stop making them estranged from their parents or orphans.

Strong female characters who cry: Please, let them have feelings.

Strong female characters who aren’t defined by men: Don’t give them emotion only when they fall for the male protag. Don’t make their backstory all about when they were abused by a man. Don’t give them mentors who are all men. Don’t attribute her abilities to men.

Strong female characters who don’t define men: Stop having her strength be the measure that the male protagonist must surpass. Stop having her death give motivation to the male characters. This must end.

Strong female characters who weren’t abused: Having rape/abuse as a motivation is a disgusting cliche. Stop it. Just don’t.

Read more about strong female characters:

Geekfeminism

The Mary Sue

TV Tropes

Huffington Post

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wrt261 · 5 years ago

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A (not so) hyperbolic comic, “Show of Strength.” Image Source: writingmastery

So now that we’ve seen what a mess the “strong” in Strong Female Character is, let’s look at the definitions of the term itself. I've seen SFC defined as a “a cinematic cliché, the opposite of the damsel-in-distress stock character, or a character whose gendered qualities have been removed” (via Wikipedia).

These “gendered qualities” refer predominantly to stereotypical feminine qualities like emotion, especially those other than anger (seriously what's up with emotion being classified as a feminine quality? Oh right I forgot, men are just unfeeling robots).

This definition has come around because SFCs™ have been designed so that their gender comes before their humanity. Their lack of femininity is what is perceived to be strength, and this is exactly what has created the recognizable trope of boring, 2-dimensional female characters (with weapons!!), and perpetuates harmful stereotypes about femininity.

In the words of Sophia McDougall, movies that feature SFCs™ as the hero’s love interest boast that “normal women are weak and boring and can’t do anything worthwhile. But this one is different. She is strong! See, she roundhouses people in the face.”

Bijhan Valibeigi offers further insight into the reason these have become the definitions of the trope, stating that an SFC is “a character whose exterior qualities and achievements are designed to stand in contrast to her inner feminine vulnerability. She is given value because of her masculine traits; she is kept from being the protagonist because of her feminine traits.” This definition speaks to the issue that people generally do not automatically respect female characters. She must earn their respect, and her title of “strong”, through displays of masculinity.

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ginnyzero · 6 years ago

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Not All Strong Female Characters are Warriors: Pt 2

Honestly, as I write this blog, I never know what is going to make an impact in my spaces. (Facebook I accept is pretty much dead right now.) But my Sunday Okami post made a bit of a splash (at least for me) over on Tumblr. As I was catching up with my weekend dashboard, I ran across this post of Writingmastery's back from June 2016 about "Strong Female Characters."It's a list blog post about the type of female characters he'd like to see, girly, funny, supportive of other women, queer, POC, women who define men instead of the other way around and so on. It was an interesting list for me as I tried to check off those against the female characters I have in my head.

And this weekend at the Cannes Festival, Jessica Chastain made a powerful speech about the female characters she saw in today's movies. (Because let's face it more people watch movies than read books.) Calling it "disturbing" with a "few exceptions." And she hopes that with more female storytellers will come more female characters like she sees in her everyday life, female characters that are more proactive with more agency that don't just react to the men around them. "They have their own point of view." Unfortunately, I can't find a video of JUST the speech on YouTube. Here is a link to my tweet on Twitter with the video. It's very moving.

I've talked about strong characters before and how Hollywood in particular associates strong characters with the male traits of being stoic, unemotional (except when they are using it to fuel righteous vengeance,) aggressive and with low tolerance for authority. And how that these characters technically aren't strong because they don't grow. Their flaws aren't really seen as flaws.

But the title of this post is that Strong Female Characters don't have to be warriors. Even though there aren't a lot of strong warrior characters on the big screen either, with Wonder Woman coming out this weekend we can hope that Hollywood may get the message that if you give us a good story about a female superhero, people will watch it.

Now this may feel a tad hypocritical of me to be talking about. My female main character in the Lone Prospect is Savannah and she's a fighter of sorts. (She's a Vice President of a Motorcycle Club and a mercenary/private security operative. She can throw a punch if she needs to.) And Roxana in the Dawn Warrior is yes, a warrior Princess. She's got a sword, she fights evil magicians and tries not to bash the heads of clueless princes. But I hope in my stories that there is a lot more to them than just throwing a punch.

And I try to pepper my stories, at least the Heaven's Heathens with other types of female characters. One of my favorite characters is Esme. Esme is the "den mother" of the Club. She's in charge of making sure everything runs socially and emotionally smoothly. She has an important job of keeping the club socialized, offering advice and mentoring and emotional support, and figuring out which fights need to be smoothed over and which fights need to be fought. Hope is a Doctor. Brier owns a day spa and can't fight for beans. Dakota and Flossie own their own businesses. Yes, I have a lot of female warriors that range from perky, to cranky, to bubbly and girly, to stoic and sporty. I also write action adventure stories.

Strong female characters can be a broad range of personality traits and occupations. I love Evie from the Mummy because she's smart as a whip. In the first movie, she couldn't throw a punch, but it didn't matter. She's the one with the knowledge to defeat the Mummy. Sure, Rick threw a lot of punches. Without Evie, he'd still be fighting the monster.

I love Angela Montenegro from Bones. She's an artist, a dreamer. She understands human relationships and she is there constantly supporting Temperance. She has her own story and her own dreams and there are a lot of times she questions the work she's doing at the Jeffersonian and if she should be there or out pursuing a free artistic life. She makes her peace with her decisions though and finds happiness where she didn't expect it. (Angie and Hodgins is one of my favorite love stories.)

I like Maura Isles from Rizzoli and Isles. She's logical and analytical and once again, smart. But she makes bad man choices and isn't exactly socially aware. But she's there for Jane and for Angela, Jane's mother. She's a good manager and yes, she has a bad habit of diagnosing herself. (I know that last season arc was controversial with Maura and Kent trying to treat her. Doctors should not diagnose themselves. Period.) I also loved that when Maura tried her hand at something new, like writing, she didn't always get it right off the bat. It was refreshing.

I have mixed feelings about Elle Woods from Legally Blonde. She's a strong female character who became a lawyer who stopped caring about getting into Harvard to get back the boy and instead cared about the profession as a whole and the people she was representing. (Mostly, I dislike the way they stereotyped her as a 'fashion' and 'sorority' person. I'm a fashion designer, those stereotypes make me cringe because yeah, fashion school is not like that!) She was unashamedly girly. She wore pink as a power color. She liked shopping. She grew as a person through the movie.

I loved all the women in Hidden Figures. They had families. They had to struggle to be taken seriously. They were smart women working on an important project and they didn't get the credit they deserved. But through their gracefulness they were able to influence the minds of those around them at NASA and change came. There were obstacles and they overcame them. They were also not all the same body type! (I know this shouldn't have to be pointed out in this day and age, but it's still another problem in the movie industry and the fashion industry.)

I love all the women in Chocolat, Vianne fighting against the spirit of her mother and how hard it is to live a nomadic life. Eventually, she breaks down and admits how horrible things are and how she hates it and wants to stay in one place. Josephine struggling to stand up against abuse and how Vianne helps her. Armande choosing to live the last of her life as she wants it, drinking hot chocolate and having a party, standing up to the mayor of the town just by being herself. I even love Caroline, who is trying so hard to do the right thing and have the proper image that her family is slipping away from her even as she tries to hold onto them.

These are the strong female characters that I can think of off the top of my head that aren't warriors in media. They are there in our lives, they are doctors, nurses, scientists, mathematicians, linguists, artists and yes, lawyers. They are mothers, daughters and sisters with their own hopes, dreams and opinions.

I don't know if more female voices in the film industry or in the book industry is really going to give us more strong female characters. I can hope that with more female voices, there would be a larger breadth of female experience and more attention paid to female issues in media.

Female characters don't have to throw punches and hold in their emotions to be strong.

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solutionlab · 2 years ago

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solutionlab · 2 years ago

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