7 Facts About Critique Partners (For Writers!)

So you think you’re ready to publish your story? Or maybe you’re not there yet. Maybe you’re just looking for an editor. Did you know even editors like the manuscript as polished as possible? (Deep down, we’re all lazy human beings…) Have you considered having a critique partner go over your story?

What is a critique partner, you might ask? Well, they’re usually fellow writers who can look at your story objectively. Not to be confused with editors or beta readers (who look over more polished drafts and have fewer responsibilities), critique partners have the mindset of a writer and are there to help you improve the structure and logic of your story. Here are just a couple of facts writers should know about critique partners, whether they’ve had them before and need a reminder or in case they’re considering taking some on.

1)      Critique partners do not have an initial emotional connection to your story.

For many writers, their story is like their child. Critique partners, usually other writers, are like teachers. If they don’t like one element of the story, many writers may take it as a personal attack. Please allow me to set something straight. Dear writer, your story is not a human being. You’re going to be okay even if somebody doesn’t like it.

Instead of treating critiques like a personal attack on your favorite pet, treat critiques like an editing exercise. Yes, it’s hard. No, I don’t have it mastered. When I’ve been getting critiques on my story, I often have to take a step back and remind myself it’s not a personal attack. It’s an exercise to build and improve my story. Sure, I vent to one or two of my writer friends if there’s a particular issue troubling me, but I can’t let it rule me.

Don’t let somebody’s critical comments rule you.

2)      Critique partners don’t like to read first drafts.

Nobody likes to read first drafts. Rough drafts are inconsistent word dumps. They’re messy. Why would you put somebody else through that?

Perhaps one of my favorite pieces of writing advice is to write your first draft just for you. Keep it secret. Keep it safe. Hone your story through at least one round of rewrites and edits. Then you can burn the original if you want.

You get back what you put in. If you don’t put a lot of effort into at least making your story readable, your critique partners aren’t going to put a lot effort into commenting let alone reading.

3)      Critiques are subjective.

Did you know, critique partners are human too? That means their word is not always law. Take what you need, leave what you don’t.

It’s like any book review. Take your top books for example. Maybe you gave it 5/5 stars, but you’ve seen a lot of 4/5-star and 3/5-star reviews, maybe even some 2/5 stars. It’s even more difficult when such a review comes from a friend or family member. How could they not obsess over the same book you do!?

Remember, everybody has their own opinions, likes, and dislikes. I don’t like romance, but that doesn’t mean all romance books are poorly written. They’re just not my preference.

So if you receive comments about how your critique partners didn’t like a certain element, it might be the reader.

4)      At least two critique partners are optimal.

A second opinion is great. A third opinion is better. Remember how I mentioned that critique partners are human too? Even they can miss things. Maybe your first partner is great at identifying character development and points out inconsistencies. But the second partner points out how you skipped over Sunday or that your protagonist hasn’t eaten in 48 hours.

Having more than two people look over your story can give you some well-rounded commentary.

But…

5)      More partners doesn’t always mean better.

Wait a second, didn’t I just claim at least two partners are good? True. But, if you have two or more people in a room, you’re going to have some disagreement. Try putting ten people in a room. Or twenty. Then ask them what they’re favorite color is and try to figure out why it’s not the same as yours. 

The same goes for your novel. You want to have as many well-rounded opinions as you can get, but you have to stop somewhere. The necessary number of critique partners can differ from story-to-story, but I would recommend two or three. After all…

6)      Critique partners might even disagree with each other.

Because I live in Europe, it’s hard to find fellow writers who speak English and have time to look over my stories. So I joined an online critique group, Critique Circle, where you can get feedback on your story and give feedback in return. And I was so excited for complete strangers to tell me what they thought. Until they started contradicting one another.

One reader would enjoy a particular chapter, saying they liked the description and the thought while another person would say they were bored. Wait, what? How was I supposed to make a story better if one person was happy with the chapter and another person was bored?

But such critiques were helpful. They taught me how to improve my story even more, identifying the weak bits and building on the strong ones.

I also learned that when two partners who tend to disagree with each other actually agree that something needs work, I better listen!

7)       In the end, it’s still your story they’re commenting on.

You can’t please everybody. While it’s important to consider others’ opinions to build and improve your story, it’s still your story. No story is perfect. So you might as well write the story for you. After all, who else is going to read it over and over again until they want to set it on fire? If you enjoy your story, you’re less likely to do so.

Remember why you started writing your story. Keep the essence if it’s important to you. Tell your story. The world is waiting to read it!

Let’s chat! Has your story been reviewed by any critique partners yet? How do you find them? Do you hunt them down in your local library and bribe them with chocolate or do you find them lurking in the woods?

Looking for a critique partner for your story? Look no more! Join a critique website or comment below if you want me to look over your story. Check out my Treasured Books page for a list of books I consider excellent. I look forward to hearing from you.

Write on!

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Similar posts: 6 Things I Wish I Knew Before I Got Published, 5 Ways Journalism Taught me to be a Better Creative Writer, and How Editing Flash Fiction Helped me Edit a Novel

Controversy in Fiction: Diversity

Welcome back to my mini-series, Controversy in Fiction. Each post can be read separately and in no particular order, as each one explores a different topic. This week, I’ll be discussing diversity (particularly racial diversity) and its place in fiction.

Originally, I wasn’t going to write about this topic because it intimidates me. Racial tension is such a drastic political issue in the United States right now that I find myself wanting to curl up with a book in a corner and pretend it doesn’t exist.

Seriously, how can people hate each other so much? It breaks my heart.

Then I found myself picking up more racially diverse books, from Outrun the Moon and Young Fu Of The Upper Yangtze to The Help and The Hate U Give. And I realized that since I’m writing a series on controversy in stories, I couldn’t be silent, even if I end up in a disagreement. Silence is a statement of sorts. So here goes. Brace yourself!

Disclaimer: This post may contain controversial opinions that are not necessarily the same as those of readers. While my personal experiences come from a Caucasian perspective, I have done my best to remain objective and mean no offense. Similarly, I do not claim to know everything, but I have done my best to present each argument with dignity and respect.

Having traveled throughout my life, I don’t know how a stereotypical white person is supposed to act. I don’t even know how your typical American is supposed to act. After all, I take my shoes off in my house like the Germans and the Japanese; I wear my hair down like the Hawaiians; I collect tea and look right before crossing the street like the English; and I am obsessed with recycling like the Europeans.

Then as an introvert, I wonder, “How do I even people?!”

Okay, so I’m being a little dramatic. But having been raised in a military culture and having lived overseas for a good portion of my life, I’m not familiar with the average American’s life. But I still thoroughly enjoy culture! I like figuring out where people come from; I strive for the overcoming culture shock; and I enjoy learning about cultural dos and don’ts.

Throughout my life, my main influences have been my faith (Christianity), my family (the military community!), and my books (mostly fiction). And books can be seriously influential. They can help you to see things from another person’s point of view. Words are a powerful thing!

What do I mean when I say a book is diverse?

Diverse books tend to represent racial minorities, particularly but not limited to those in the United States. To Kill a Mockingbird and Huckleberry Finn are two good examples of diverse—and often banned—books. But diverse books, particularly ones that are released today, are not limited to historical fiction. Diverse books come in many forms, from historical fiction to contemporary, and from science-fiction to fantasy. Likewise, these books feature various people groups, from the black community to the children of immigrants.

Today, the publishing industry is bursting with diverse books. It’s one of THE things to be writing and reading. While the publishing rage for diversity in fiction may not last forever, the books themselves shall remain and continue to be published.

Argument: Diverse Books Represent Minorities

Racially diverse books can give readers from that race characters to look up to and relate with.

Likewise, books in and of themselves can be so enlightening. Not only can they be a means of travel, taking you to places you’ve never been, but they can also be a means of communication, bringing you voices you’ve never heard before. Or maybe you have heard such voices before, but you want to understand them better. Books can help you do that.

The Hate U Give, set in contemporary America, reminded me that our justice system is biased. Inside Out & Back Again, historical fiction, taught me about immigration from Vietnam to the States and what it can be like for a child. Young Fu and the Upper Yangtze, historical fiction, taught me what life was like in the city in China during the 1920s. I could go on.

Reading racially diverse books is important because it can help readers break out of their comfort zone of things they understand. Aside from learning from the culture itself, what better way is there to research another culture than to read about it?

Argument: Forced Diversity Can Be Unrealistic

Diversity can be important, yes, but it’s not always accurate. Not every town you visit will have a diverse community. Some cities are more diverse than others. While small towns tend to have fewer differences, larger cities tend to have more diverse people groups.

So when it comes to fiction, not every story can represent racial diversity.

One summer, my friend Faith and I went to see Les Miserables in London. Although not a story known for its diversity, the role of Fantine was played by a woman who appeared to have Asian ancestry. Did you know, in the book, Fantine is blonde —like her daughter Cossette? But I fully support the casting decision. In theater and films, the best roles should go to the best actors—or in musicals, to the best singers. 

An ethnically accurate cast of Les Mis, on the other hand, would feature only French actors and would not be performed in English. Plays like Les Mis can be like movies in the sense that they are mere interpretations of the books. Yes, they’re best understood and grasped in their original language and form, but when it comes to adaptations, the part of the characters should, generally speaking, go to whoever can portray it the best, regardless of race.*

*Exceptions should be made for characters who, canonically, represent minorities. But I digress. I’m writing about books.

Argument: Diversity in Books Can be Offensive

Racial diversity can be a tricky thing to handle.

Not only are racially diverse books offensive to racists, but these books might also offend those who are the subject of such racism. Huckleberry Finn and To Kill a Mockingbird have been banned at one time or another for their use of the n-word, despite the way their authors actually portrayed racism as an issue rather than an ideal.

Then there’s the whole issue of fighting racism with racism, which doesn’t make a lot of sense, if you ask me. Not a lot of people actually talk about it (probably because it’s not politically correct), but racism isn’t strictly a white-vs-black issue. It’s a human issue. So whenever people decide to blame all racism on Caucasians for the acts of others or for the acts of their ancestors, that’s when I remember to take the advice of Leslie Burke to heart:

“You are who you are—not your parents.” (Bridge to Terabithia)

Argument: Diverse Books Can Improve Empathy

“You never really understand a person until you consider things from his point of view... Until you climb inside of his skin and walk around in it.” (Atticus, To Kill a Mockingbird)

 

Racially speaking, I’m not among any minorities, unless you count that tiny percentage of Native American going who-knows-how-many generations back. (My siblings got the good gene on that one: they tan; I burn.) So I can’t speak from the perspective of an American minority unless you throw me into a city or state where Caucasians are sparse.

I may not be a member of a minority, but I know what it’s like to feel like the odd-one-out. I may not be an immigrant, but I know what it’s like to live in a foreign culture. It’s so easy to relate with characters in books. And even if I can’t relate to a character, at least I can empathize with them. So when it comes to fiction, don’t just tell me I don’t understand a certain perspective. Help me understand. I’m listening.

If all the books were told from the same perspective, the world would be a pretty boring place. But it’s not! I’m all for diverse books. The more the merrier. When I pick up a book written from another person’s perspective (basically any book, really), it’s a risk, yes. But it’s a risk worth taking.

Let’s chat! What’s your take on diverse books? What are three diverse books you’d recommend? Do you have a particular perspective you like to read about, or do you enjoy them all?

If you happened to miss my last book giveaway—good news!— I’m running another. Tis the season for books. If you want to get in on this special offer, be sure to sign up for the Word Storm Newsletter! (And check out my post on Last of the Memory Keepers: the Five Races.) My next newsletter comes out this Friday (Dec. 15, 2017), and I’ll be giving away a signed copy of Last of the Memory Keepers along with a desert rose. Aren’t they pretty?* 

*Reindeer not included in giveaway.

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Similar posts: Larger than Walls: A Reflection on the Holocaust and Controversy in Fiction: Feminism and Female Authors, Christian Fiction, and Feminism and Female Characters

Film references: Les Miserables and Bridge to Terabithia

Literary references: Stacey Lee’s Outrun the Moon, Elizabeth Foreman Lewis’ Young Fu Of The Upper Yangtze, Kathryn Stockett’s The Help, Angie Thomas’ The Hate U Give, Harper Lee’s To Kill a Mockingbird, Mark Twain’s Huckleberry Finn, Thanhha Lai’s Inside Out & Back Again, and Victor Hugo’s Les Miserables

Poem: Snowfell

No, I did not misspell snowfall. The title is Snowfell on purpose. I like the thought of a quaint little town in the mountains, slick with a layer of ice, covered in a layer of snow, and dusted with another layer of loose flakes. Where its citizens bundle up in fur coats, sporting long scarves and colorful berets. This place is, unfortunately, fictional. But I did draw from some elements of a European winter. And I can dream. 

Based off the latest snowfall in my own little town, the following poem features an early winter. 

Snowfell

The crunch of snow underboot
is quite unlike the rub of
some cotton ball, though they both
send a shiver down my spine.

Her aroma tickles my
nose, her pale flakes make me sneeze;
some breeze whirls the strays like grains
of sand on this lived in land.

Mistletoe hangs green on these
bare branches now cradling
white blankets, green parasites,
like some love is born of death.

Fog fills lungs, bitter iron
touches my tongue, eyes water,
souls soak, sweat freezes, smoke blows
on this here autumn morning.

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I’m also running a giveaway for my novelette series. So be sure to add it on Goodreads and enter to win one of three free signed copies of Last of the Memory Keepers series!  (Offer ends Dec. 8, 2017.)

Let’s chat! What’s autumn like in your hometown? How about winter? What’s your favorite thing about snow? 

Similar poems: Weird Winter Weather, In Season, and The Crow and the Heron

Character Types: The Socially Awkward Cinnamon Roll

I admire characters who can spew forth witty dialogue, characters who are dashing and brave, but I’m still drawn to those who don’t know how to handle social interaction. As an introvert with a touch of social anxiety, I can totally relate. Seriously, I’d rather deal with a 2,000-pound horse, a dragon, or a bookshelf, than a 140-pound human being.

When it comes to a lot of socially awkward characters, I want to shout, “My people!” Then go stand by them awkwardly, pull out a book, and read in silence until I can work up the courage to make eye contact.

Why cinnamon roll, you might ask? For those unfamiliar with this term, such characters are precious and fun and must be protected at all cost.

Bilbo Baggins from The Hobbit

Bilbo: *as four dwarves start rearranging his kitchen, his doorbell rings again* Oh no. No. There’s nobody home! Go away, and bother somebody else! There’re far too many dwarves in my dining room as it is. If this is some cluthead’s idea of a joke, I can only say, it is in VERY poor taste!
*He opens the door, and eight dwarves fall in a heap in front of him*
(The Hobbit: An Unexpected Journey)

Bilbo Baggins is a homebody. He likes the comforts of a good book, his armchair, and his garden. But he’s also an adventurer who relishes the excitement of the road, which he gets from the Tookish side of his family. In many ways, I can relate. Like Bilbo, I enjoy a good cup of tea with some peace and quiet, and often it takes another person, not necessarily a party of dwarves, to drag me out of the house.

Hiccup from How to Train Your Dragon

Gobber: See, now this right here is what I'm talkin’ about!
Hiccup: It, it... mild calibration issue, I...
Gobber: Don’t you... no, Hiccup! If you ever want to get out there to fight dragons, you need to stop all... this. *gestures to all of Hiccup*
Hiccup: But you just pointed to all of me!
Gobber: Yes! That’s it! Stop being all of you!
(How to Train Your Dragon) 

Hiccup is awkward when it comes to conversations and handling himself. Yet he’s brilliant at engineering, having been an apprentice to a blacksmith. That and he’s empathetic, willing to take the time to understand dragons while everybody else just wants to kill them. He’s both relatable and admirable.

My sister and I recently re-watched the first movie, and I realized how resilient Hiccup is. How many characters could take such a slew of insults from friends and family and still want to save them? Then again, he is a Viking. They have stubbornness issues.

Auri from The Kingkiller Chronicles

“She felt the panic rising in her then. She knew. She knew how quickly things could break. You did the things you could. You tended to the world for the world’s sake. You hoped you would be safe. But still she knew. It would come crashing down and there was nothing you could do right. And yes. She knew she wasn’t right. She knew her everything canted wrong. She knew her head was all unkilter. She knew she wasn’t true inside. She knew.” 
(The Slow Regard of Silent Things)

Auri isn’t quite like the other characters in The Kingkiller Chronicles, as she lives underground and isolated from most of humanity. The protagonist of the main books, Kvothe, theorizes that she was a former student at the University and the stress drove her to madness, but her backstory isn’t definite. She’s a little eccentric but rather sweet, believing that many objects have their own personalities, thoughts, and place in the world.

Gil from Pandora Hearts

Now I’m really getting obscure! But I can’t help but mention one of my favorite characters from a graphic novel series I’ve gotten into lately. Gil likes his personal space, but he’s incredibly devoted to protecting his friends and his master, ensuring their safety and happiness. Unlike Hiccup, he knows how to carry himself, but he doesn’t know how to handle a bunch of girls fawning over him at a social event. It’s kind of adorable.

Other notable Socially Awkward Cinnamon Rolls include Newt Scamandar from Fantastic Beasts and Where to Find Them, Barry Allen (The Flash) from Justice League, Caitlin from Mockingbird, Peter Parker from the Spider Man movies, and Finn from Star Wars: The Force Awakens.

Let’s chat! Who’s your favorite Socially Awkward Cinnamon Roll? Did I leave any of their attributes out?

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Similar posts: Character Types: The Bookworm, Christ Figures, and The Best-Friend-Turned-Evil-Villain

Film references: The Hobbit: An Unexpected Journey, How to Train Your Dragon, Fantastic Beasts and Where to Find Them, Justice League, the Spider Man movies, and Star Wars: The Force Awakens.

Literary references: J. R. R. Tolkien’s The Hobbit, Patrick Rothfuss’ The Kingkiller Chronicles, and Jun Mochizuki’s Pandora Hearts. 

Character Development vs. Character Roles

If you’ve been following my blog for a while, you might have guessed I like to categorize things. If this is your first time here, surprise! I like to organize, to categorize, to figure out how things work. Such categories apply to character too. (This year I even started a collection of some of my favorite character types.)

The only problem with categorizing characters is that they’re supposed to be like people, and if you’ve ever met one, you may have discovered people are hard to put in a box. Trust me, I once tried to put my sister in a box, but she did not like that. I even hid in a box, but within the first ten seconds, I was getting awfully sweaty. Okay, so you can put an actual person in a box, but they don’t belong there. Moral of the story: you can’t always categorize characters.

Today, I’m here to write about the difference between developing a character and assigning them a role. 

I did something different when I plotted out my last novel. Instead of going with notecards to plot out my story—which is incredibly time consuming to say the least—I wrote out the plot in a notebook. I discovered the plot and the characters as I went along and because I was writing everything down instead of typing it up, I discovered my characters as they appeared in the story rather than throwing them in there.

This gave each character a little more freedom to be themselves. One character turned out to be a bookworm who lugged around a backpack full of books, and another turned out to be obsessed with coffee and music. Come to think of it, I don’t think I labeled any of my characters “villain”, and I definitely didn’t include “love interest” in my plotting like I usually do. That isn’t to say these types of characters didn’t appear in the story, but that I allowed them to establish their personalities before they revealed their roles. It was as much of a discovery process for me as it should be for readers.

Character Development: What is it, and why do writers need it?

          “Who are you?”
          “No one of consequence.”

          “I must know.”

          “Get used to disappointment.”

          (The Princess Bride)

Character development is the way writers make their characters seem more human. Writers give their characters dreams and aspirations, heartbreak and vices just like in real life. Typically, the best developed characters are the protagonists and their allies, but you’ll occasionally come across a well-developed villain.

Writers need character development because it helps readers connect to the story. If a character is poorly developed or “flat”, readers won’t care about them.

Have you ever connected with a piece of paper?

How about a paper airplane, each crease pressed by the fingers of a five-year-old who dreamed of flying?

Which example did you connect with? You can make people care about your story if you take the time to choose the right words.

There are many ways to get to know your characters, and they’re not unlike getting to know people. You have their appearance and general small talk questions—their name, hometown, age, etc. Then you have my personal favorites, the deeper questions—their philosophies, passions, and motivations.

Some people like to jot down the basics, and others like to interview their characters, asking them questions they can answer for themselves. Personally, I like to throw my characters into a situation and see how they react. Maybe they’ll freak out, maybe they’ll strike up a conversation, or maybe they’ll turn into a dragon and blast somebody with fire. It’s a tossup.

Character Roles: Again, what is it, and why use it?

“‘Inkheart.’ Fenoglio rubbed his aching back. ‘Its title is Inkheart because it’s about a man whose wicked heart is as black as ink, filled with darkness and evil. I still like the title.’” (Inkheart)

Most stories have a protagonist and an antagonist, at least when it comes to adventure stories. Identifying these characters typically isn’t too hard. But a well-developed character should transcend character roles and their stereotypes. Not all protagonists (the main character) are heroic, and not all antagonists are villainous.

The difficulty with categorization comes if one considers the adage “each character is the hero of their own story.” In other words, when writing characters, writers shouldn’t just treat one character like the love interest and another like the villain. If characters are to seem more human, they should be treated like people, not chess pieces. 

To Steal Walk in a Character’s Shoes

“Don’t judge a man until you have walked two moons in his moccasins.” (Walk Two Moons)

Funny story, in my latest novel, I actually stole my main character’s shoes wrote a couple chapters where she had to go barefoot. Writers, even if your character has to go without shoes, put yourself in their place and try to understand their perspective. I’m not saying your protagonist has to think and act exactly like you, but it’s always interesting to get into the heads of your characters. Once you establish who your character is and what they think about, it’s a lot easier to write about them.

Who before what.

           “I’m Agatha Jordan.”
           “What does that mean? Who are you?”
          I’m the daughter of divorcees, a part-time mechanic, and a high school graduate who has no idea what to do with her life. Who am I? I don’t even know. But I’m not about to say that.
          (Just Breathe)

When I took journalism in college, they taught us when conducting an interview to focus on “The Five W’s and an H”, also known as who, what, when, where, why, and how. When it comes to developing your characters, whether or not you choose to conduct a character interview, make sure you establish who your character is before that what role the character plays. Just as the who comes before the what in the Five W’s and an H, so the development should come before assigned roles.

Give your characters a chance to be human before you try to shove them into a box. Focus on writing about people. Supersede stereotypes. And your characters just might surprise you and your readers.

Let’s chat! Which do you work on first, character development or character roles? How do you develop your characters? Do you interview them or just jot down the basics? Which is your favorite character type to write about?

Want to get it on more offers and updates for writers? Be sure to sign up for the Word Storm Newsletter! Next newsletter coming Dec. 15. 

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Similar posts: 5 Ways Journalism Taught Me to be a Better Creative Writer and 3 Methods for Outlining Your Novel

Literary references: William Goldman’s The Princess Bride, Cornelia Funke’s Inkheart, and Sharon Creech’s Walk Two Moons. 

Controversy in Fiction: Feminism and Female Characters

Welcome back to my mini-series, Controversy in Fiction. Each post can be read separately and in no particular order, as each one explores a different topic. This time last year, I posted on Feminism and Female Authors, and today, I’m here to continue the discussion, addressing issues that I didn’t review before.

Part 1 Summary:* Is feminism necessary within fiction? Some female authors still use pseudonyms today to help their books sell better (or to preserve their identities). Most classical writers are males, but most YA fiction today is written by women. Both genders fall into stereotypes. The world of fiction has come a long way over the centuries, progressing in equal representation between men and women.

But what is feminism today? And how does it apply to fiction, particularly to female characters?

* I would like to add to part 1: Female writers may be more numerous than they were in history, but they tend to receive more criticism than male authors. I follow lots of authors on Twitter, and one co-wrote a book with another author—one author was male, one female. They conducted an experiment where he took on her e-mails for a week and can confirm that all the negativity for the book was solely directed at the female writer. This bias needs to stop.

Disclaimer: This post may contain controversial opinions that are not necessarily the same as those of readers. While I have done my best to avoid stereotypes, some of my points are generalizations and may not apply to every situation and person. I have done my best to write objectively and mean no offense.

What is feminism?

Feminism (noun): 1) the doctrine advocating social, political, and all other rights of women equal to those of men. 2) an organized movement for the attainment of such rights for women. (Dictionary.com)

Going by the dictionary definition alone doesn’t sound like something so controversial. But words are often more than their mere definitions, so I’ll give a brief overview of the waves of feminism in the United States:

1^st Wave Feminism (Late 1800s, Early 1900s)

Emphasis on empowering women in politics, particularly allowing women the right to vote (suffrage).

2^nd Wave Feminism (1960s-1990s)

Emphasis on anti-sexualization of women and anti-“oppressive” female objects (e.g. bras).

3^rd Wave Feminism (Mid-1990s-Present)

Emphasis on typical “feminine” beauty and intelligence. Draws from Postmodernism.

4^th Wave Feminism (Present)

Mostly undefined but current transition from 3^rd Wave. Emphasis on gender equality and inclusion of women and men.

Please take into consideration that the above summaries are greatly simplified. Any mistakes are my own. For further reading on the waves of feminism, check out Martha Rampton’s “Four Waves of Feminism”.

How does feminism apply to fiction?

There are many ways. In historical fiction, you might have female characters who dream of taking on jobs that are not considered feminine or who advocates for women’s rights. In science fiction, you might have a revolutionary or a warrior who fights alongside her brothers in arms.

Feminism in fiction can relate the progression of women’s rights in history and it can empower female readers today.

Of course, constantly reading stories with male-dominant societies can be annoying, even for feminists. Readers don’t just want stories about the way the world is, they also want stories about the way the world can be. That isn’t to say that all stories have to be utopias, but they don’t all have to reflect a patriarchal society. On the other hand, writers should consider that a matriarchal society is not simply replacing the male characters with female ones. 

What’s the big deal with the Strong Female Character trope?

If any of this sounds familiar, it is. I briefly touched on Strong Female Characters in my last post on feminism in fiction, but here I’m going to go more in depth.

One misconception about strong female characters is that they all have to be not just equal to men but better than them, in brains and physical strength. And in this sense, nothing about gender stereotypes has changed. Not really. Instead of the women being classified as weak, now men are classified as stupid.

This misconception is really annoying.

Not only is it hard to relate to a Strong Female Character with all the emotional range of a teaspoon, but it’s also hard to admire a girl who can only lead a revolution. Drat, you mean I have to be able to lead a revolution in order to be admirable? Forget that. I’m going back to my garden to read a book! Never mind that it’s freezing outside…

Females can be physically strong, yes, but not all Strong Female Characters have to be. Many types of strength exist—physical, mental, spiritual, you name it.

Some great examples of Strong Female Characters include but are not limited to Valka from Among the Red Stars, Maerad from The Books of Pellinor, basically any of the women in Code Name Verity, Lila Bard from A Darker Shade of Magic, Mimi from Full Cicada Moon, Amani from Rebel of the Sands, Dri from The Remnants trilogy, and Puck from The Scorpio Races.

Let’s chat! Where do you stand on feminism and fiction? Who’s your favorite strong female character? Do you think gender discrimination is a problem that still needs to be addressed in the publishing industry and the world of fiction?

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Similar Posts: Controversy in Fiction: Feminism and Female Authors and Book Reviews: Rebel of the Sands and Full Cicada Moon

Literary references: Gwen C. Katz’s Among the Red Stars, Alison Croggon’s The Books of Pellinor, Elizabeth Wein’s Code Name Verity, V. E. Schwab’s A Darker Shade of Magic, Marilyn Hilton’s Full Cicada Moon, Alwyn Hamilton’s Rebel of the Sands, Lisa T. Bergren’s The Remnants trilogy, and Maggie Stiefvater’s The Scorpio Races. 

Poem: Lost as a Leaf

Do you ever feel like you’re stuck in a loop? Like your routine stays the same day after day while everybody else seems to be passing you by? Maybe you’re a student who feels like you’ll never be done turning in homework. Maybe you have a job and life seems like it’s the same from one day to the next. 

Sometimes I get such feelings.

I can’t say my life has ever been normal let alone boring. I haven’t lived in the same house for more than three years. But I still find similar routines popping up while it seems like most of my friends are progressing. Friends of mine have gotten engaged. Others have gotten married. Some of my friends have even gotten their dream jobs. And here I am still in school.

Don’t get me wrong—I’m not complaining. It’s just the way my life is for now. I’m in that loop of uncertainty. I keep finding myself confronted by that pestering question “What happens next?” Perhaps it’s a question that will never leave me, and that’s all right. I’m learning to live with the uncertainty. The following poem is a mix of life’s uncertainty mixed with inspiration from autumn imagery.

Here’s to the soon-to-be and recent graduates looking for a job. Here’s to the high schoolers wondering whether or not they want to go to college. Here’s to those confronted with a career change. Here’s to the Lost.

If you find yourself asking “What Now?”, this poem is for you.

[Lost as a leaf]

Lost as a leaf in the rivulet

scattered from schools of branches—

first sprung from seeds of imagination,

then grown in the hills of the mind

until creativity drifts down

                        down

            down

down to the stream,

caught in the current

spun round in the whirlpool,

in the gorge while the rest of the leaves

pass by—

in shades of orange,

in lights of gray—

from dust to dust,

lest you take hold,

shall fade away.

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Let’s chat! What season inspires you the most? Do you ever find yourself facing uncertainties in your life? What kind?

Similar poems: Magpie, Pile of Words, and Shadows