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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random sunday afternoon thoughts but i think the thing with writing advice isn't only that it's just that -- advice -- but also that most of the time it's really just an intro to some kind of craft theory. like you can see a post about how to write better prose for example and it can give beneficial ideas -- show don't tell, specific language, utilise the senses -- all of these are good as theories on craft but with any theory there are exemptions, there are ways to bend it. you also have to ask why this is a theory in the first place, what idea of good prose does this theory come from? but ultimately the thing is no writing advice can tell you how to work that advice into your writing voice/specific story. so seeing these posts as examples of craft theory rather than advice helped me out a lot because instead of wondering which advice to take on for a story, if i "knew" enough about this writing thing to make that call, i was seeing these posts as an intro to a theory on craft, and then i'm asking myself what i can do with this theory, what can this theory do for my story? where does this theory come from? what kind of story/writer does it consider, what kind does it not?
atm i'm writing a flash in 1st person present which is not a POV i use a lot and before i would read as many resources on 1st person present as possible -- which in itself isn't bad, resources exist for a reason! -- but i'd always get stuck because in my attempt to learn as much about "how to write" something as possible, i would forget the only person who can teach me how to write something in my story is me. those resources do help, but the answer is in my story. and that answer will look different in the next 1st person present story i write. there's a garth greenwell quote i love about drafting that says "if anything i try to forget all considerations of craft or technique, to work from a place as near to ignorance as I can manage". i think part of taking in writing "advice"/craft theory is also understanding the gaps in it that are filled in by your story, what will strengthen and what will weaken it. and understanding writing advice as just craft theory helped me because it's just that -- theory, possibilities with craft -- and isn't meant to answer specific questions about how to write a specific story, and you will also learn a lot more if you let yourself lean into the unknowing that is a natural part of writing. because you don't need to know craft to write, you just need to know what your story needs, and a lot of advice and "rules" are really just intros to craft theory that can help you start to know where to look for your story's answers, rather than giving the answer itself. tldr most writing "advice" and "rules" is just craft theory, and instead of trying to shape your writing to fit "advice/rules" you should be thinking about the ways you can shape theory to fit your writing
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Always raise an eyebrow when people say they hate the totk Zora story like it's one of three reasons:
1. They genuinely think the characters were underdeveloped and needed more time to get the messages of the storyline across for it to work (this is my reason except I don't hate the story I just wish there was more.)
2. They were one of the people who wanted Sidon to have more depth as a character and then got mad when he had more depth as a character by showing his weaknesses and how he is in fact not perfect (this destroys the Tumblr sexy man version of Sidon they made up in their head.)
3. They hate women. Elaborating, they're pissy because Yona came out of nowhere and ruined their ship even though there's a billion other characters that came out of nowhere yet they're only mad about Yona (she gets in the way of the Temu yaoi which is a massive crime.)
It's usually the 2nd and 3rd.
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(Really long ask ahead i’m sorry!) I think your thoughts on dick and his similarities vs differences to bruce are so interesting! Personally i’m wondering how much of NTT played an influence on this kind of characterization bc i’ve never fully finished ntt but i read like nearly all the pre-80s batman 1940 issues lol and dick very much was portrayed as more idealistic than bruce in some ways while more no-nonsense (? For lack of better word) in other ways, like when it comes to batman easing up a little on selina for romance reasons LOL. Though ofc dick totally turns into - well, a dick - in team books, as i grow older i find myself far more compelled by a potential story of an 18 yr old who seemed to have the whole weight of the world on his shoulders (by his own perception) and breaking under his own impractically strong sense of duty and sky-high expectations for others, then realizing as he grows older that it doesn’t have to be that way esp after seeing the perspectives of characters like kory, wally, joey, roy, etc. Like personally as someone who never really had a huge interest in NTT anyway, i’m surprised at how desperately people want to hold on to the characterization of dick when he was 18-19 and never letting him grow past that, like it’s so difficult for me to believe that at age 25 he would be the same uptight controlling kid that he was at 19. Maybe i’m biased though bc i was like one of those insufferable INTJ internet stereotypes as a teenager, and while that worldview did bring me achievements i’m proud of like the fact that i’m in med school rn studying what i love, i still know that at age 22 i have changed SO much from when i was 18 and i can’t imagine any reasonably mature or normally-functioning person (let alone someone high-functioning like dick) not doing the same lol. Especially since dick is the kind of person who would literally die if he’s not constantly growing and evolving past his faults bc of his insufferable perfectionism, idk how he’d be willfully blind to the negative effects of his worldview in early NTT and refuse to grow from there. He even has a quote that’s like “i’ve spent years as a student of my own behavior” which i always found highly encouraging bc i know he really does want to improve himself even at his worst. It reminds me of that Marcus Aurelius quote: “if someone can prove me wrong and show me my mistake in any thought or action, i shall gladly change. I seek the truth, which never harmed anyone; the harm is to persist in one’s own self-deception and ignorance.” But what are your thoughts? (Thank you for reading all this 🥹)
oh i absolutely agree! i cannot tell you how many times i think about the person i was a couple years ago and who i am now like i cringe so much omg.. maturity is an ever persistent process even if we don't recognize its effects immediately and it absolutely is crazy to think that anyone would remain in such a static state of mind for several years on end. esp when like you said dick is someone who wants to be better! so despite his several hypocrisies it is nonetheless in his best interests to look internally and analyze and evolve. and i feel like that very much could have happened had there been any actual segue between dick's breakup with kory and his re-entry into the batfam. i don't think there was much of a connection between these two sets of writers at all and so what you got is what felt like two very distinct parts of dick's life that didn't necessarily reveal a bridge point. so it's not entirely unrealistic that dick may grow to be the person (at least to some extent) that bat canon portrayed him to be in the years that followed but i certainly think as it stands it felt unearned and like all of his issues explored in ntt were conveniently swept to the side without any semblance of closure (albeit i do think some of these issues are addressed in outsiders '03 but in that dickheaded way that winick explores things generally. so i'm not sure it's the kind of closure people actually want). it's very sad and ig that's what people cling to more than anything. it's not that they're opposed to him growing to be a better person but that they're opposed to a version of dick who feels like he sprung out of nothing
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Beautiful thing happened today: the guy doing headshots had these brilliant nautical tattoos and I, a known ship nerd, pointed them out and said I thought they were brilliant. And he launched into how for 12 years he worked on a tall ship at one point as the captain. He got all excited telling me about it and asked if I was working on any ships. I said no, but I’d love to, have wanted to ever since I was a kid; he asks if I know so-and-so, to call him and even just being a passenger will get you credit with skippers. And at this point I’m grinning and laughing and I really want to talk more about sailing and historical stuff with this guy. He goes “Right tilt your head this way, you wanna look warm and approachable yet tough for any skippers!” Probably the best headshots I’ll ever get, those smiles were sincere. Then he recommended me his favourite book - its 700 pages and it’s 300 years of historical fiction called “We, The Drowned” which I’m checking out asap because it sounds brilliant
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Was thinking about how I would write a Suicide Squad book if I got the chance to post (hypothetical) Absolute Power and like... I would totally rock this guys
Won't go totally into it here I don't think because time and also feeling pumped about the idea so may write something for it (which I have an AWFUL track record for finishing, but also if current Waller appearances piss me off enough who knows) but anyways it would have Amanda Waller and Ben Turner (Bronze Tiger) as dueteragonists, (especially for the first few arcs, although moving to a greater Waller focus [at least for a bit] around issue 10? 15? When she really starts to do things). Anyways the main story (at least at the beginning) would follow Ben Turner as he leads the squad both in the field and at home (essentially acting as the "Waller" along with his normal field leader duties) while secretly having Waller herself in residence at Belle Reve pretending to be a prisoner.
Early issues would focus on Ben saving the world (and keeping the squad in check) while also struggling to hide Waller from the government, heroes, and the rest of Belle Reve (save an accomplice or two). This of course works great, until it doesn't
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