post/734733274896809984/do-you-ever-worry-your-own-writing-might-come-off that makes sense. i was asking because i'm afraid of accidentally writing misogyny myself and i kind of admire what you do
Hmm... I wish I had better advice to give you on this front, but honestly, the only thing I can tell you is to consider the perspective of your female characters.
Women are people. They have thoughts and feelings of their own, so like... just let them have their own arcs. A lot of the worst misogyny in WC comes from the way that the writers just don't care about their girls (or, in the case of tall shadow, actually get undermined and forced to rewrite entire chapters), so they're not curious about their lives, or WHY they feel the way they do or what they want, or any direction for their character arcs.
Turtle Tail as an example. She'll often just end up feeling whatever Gray Wing's plot demands. She's gotta leave when Storm dumps him to make him feel lonely. She shows up again to love him in the next book. Lets her best friend Bumble get dragged back to Tom the Wifebeater, but is sad enough about her death to be "unreasonably angry" with Clear Sky, and then calms down and accept Gray Wing is right all along.
And then she dies, so he can have his very own fridge wife.
In this way, Turtle Tail's just being used to tell Gray Wing's story. They're not interested in why she would turn on Bumble, or god forbid any lingering negative feelings for how she didn't help her, or even resentment towards Clear Sky for killing her or Gray Wing for jumping to his defense. She isn't really going through her own character arc.
She does have personality traits of her own, don't misunderstand my criticism, but as a character she revolves around Gray Wing.
So, zoom out every now and then, and just ask yourself; "Whose story is being told by what I wrote? Do my female characters have goals, wants, and agency, or are they just supporting men? How do their choices impact the narrative?"
But that's already kinda assuming that you already have characters like Turtle Tail who DO have personalities and potential of their own. Here's some super simple and practical advice that helped me;
Tally the genders in your cast. How many are boys, how many are girls, how many are others?
And take stock of how many of those characters are just in the supporting cast, and compare that to the amount you have in the main cast.
If you have a significant imbalance, ESPECIALLY in the main cast, fire the Woman Beam.
It's a really simple trick to just write a male character, and then change its gender while keeping it the same. I promise women are really not fundamentally different from men lmao. You can consider how your in-universe gender roles affect them later, if you'd like, but when you're just starting to wean yourself off a "boy bias" this trick works like a charm.
Also you're not allowed to change the body type of any girl you Woman Beam because I said so. PLEASE allow your girls to have muscles, or be fat, or be old, or have lots of scars. Do NOT do what a cowardly Triple A studio does, where the women all have the same cute or sexy face and curvy body while they're standing next to dwarves, robots, and a gorilla.
Or this shit,
If you do this I will GET you. If you're ever possessed by the dark urge, you will see my face appear in the clouds like Mufasa himself to guide you away from the path of evil.
Anyway, you get better at just making characters girls to begin with as time goes on and you practice it. It's really not as big of a deal as your brain might think it is.
Take a legitimate interest in female characters and try not to disproportionately hit them with parental/romance plots as opposed to the male cast, and you'll be fine. Don't think of them as "SPECIAL WOMEN CHARACTERS" just make a character and then let her be a girl, occasionally checking your tally and doing some critical thinking about their use in the story.
(Also remember I'm not a professional or anything, I'm just trying to give advice)
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for the promts: z (zoo trip gone wrong) with adam shiro and younger keith?
Kids have too much energy. Shiro knows he would’ve passed out five times by now if he was doing what Keith is.
The ankle biter in question is practically vibrating in place with happy stimming, staring through the glass at the hippopotamus enclosure.
“Never seen him so happy,” Adam muses beside Shiro, tucked against his side.
“Yeah, he’s really into hippos.”
“I can hear you,” Keith grouches, but he still looks excited. “Hippos can have twelve inch long canines. That’s a whole foot of teeth. How are you not into that?”
“Well I didn’t know that, that’s cool as hell,” Adam says easily.
“Language,” Shiro remarks.
“He’s eleven, that’s old enough for hell.”
“Definitely don’t say it like that.”
“Woah,” Keith says, drawing their attention again. He’s not watching the hippos anymore, instead watching the path they’re standing on, where a ten foot long snake is slithering past them. It’s muddy brown and heavy looking but moves with ease, and Keith crouches to watch it with wide eyes.
In a flash Adam is gripping Shiro’s shoulders and hiding behind him, using his boyfriend as a shield to a snake that doesn’t seem to care about them. He says, “What the fuck?”
“Language,” Shiro says again. “I’ve heard of zoos letting animals wander, I just didn’t know this was one of ‘em. The reptile exhibit is right by here.”
“You sure?” Adam asks. Keith takes the disposable camera he was given and snaps a picture of the snake.
“That thing’s huge,” Shiro says, “there’s no way they wouldn’t see it missing. And if it did escape, they’d be making a big deal of it.”
“Okay. Okay, yeah, that makes sense,” Adam says, but still has an iron grip on Shiro’s shoulders. Okay, his boyfriend has ophidiophobia, noted.
They all watch it slither away, either entertained or terrified. It isn’t long before Keith is back to the hippos, pointing out and describing their behaviors to Adam and Shiro, who listen with interest.
“Wow, looks like we have an expert here today!” a voice says, drawing the trio’s attention. She’s an employee, judging by the uniform she’s got on. No one willingly wears a tan polo with tan khakis and a chunky walkie talkie. Either way, she’s adopted a “talking to kids” tone and is addressing Keith with a big smile. “I take it you’re fond of hippos?”
Keith nods. The woman responds, “That’s lovely. Our friends here are real happy to have such smart visitors!” She gestures to the hippos, who seem more interested in napping than humans with trivia, by Shiro’s guess. But he commends this woman for trying to befriend Keith “hates strangers” Kogane-Shirogane. He’s been there.
Speaking of, he’s awkwardly nodding along to what she’s saying, before his attention is grabbed by one hippo diving into the water in the corner of the huge enclosure. The woman is then ignored entirely, and she finally turns to Shiro and Adam.
“He’s one smart cookie,” she says in that quiet, conspiratorial, “talking about kids right in front of them” tone. “Y’all must be having fun today.”
“Oh yeah, he’s been begging to see this exhibit,” Adam says, “We’re having fun too, but he’s overjoyed.”
“Yeah, plus it’s really cool that you let the snakes wander like that,” Shiro says.
“Not that fun,” Adam grumbles, and Shiro chuckles.
“I’m sorry?” the woman asks, concern beginning to take over her bright smile.
“We just saw a snake crawling around,” Shiro clarifies. “Is that… not a thing here?”
The woman blanches. “…Please excuse me,” she says before speed walking away and hurriedly hissing into her radio.
Shiro, wide eyed, turns to Adam, who looks two minutes away from a panic attack.
“Okay Keith time to go,” Shiro says.
Oblivious to the entire conversation that just occurred, Keith whines, “Five more minutes?”
From the direction they saw the snake go, a scream rings out.
“Now,” Shiro says, and Keith doesn’t protest any more. The three of them promptly start hauling ass.
[prompt alphabet - send a letter!]
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