How Not To Write Female Characters
by Lucy V Hay
But how should you approach your female characters? That’s the million-dollar question … After all, women in real life are complex, varied and flawed. Knowing where to start in creating three dimensional female characters for your story is extremely difficult.
So … perhaps it’s easier to figure out how NOT to write female characters?
Script editor, novelist and owner of the UK’s top screenwriting blog http://www.bang2write.com, Lucy V Hay has spent the last fifteen years reading the slush pile. She has learned to spot the patterns, pitfalls and general mistakes writers make when writing female characters – and why.
In How Not To Write Female Characters, Lucy outlines:
•WHO your character is & how to avoid “classic” traps and pitfalls
•WHAT mistakes writers typically make with female characters
•WHERE you can find great female characters in produced and published content
•WHEN to let go of gender politics and agendas
•WHY female characters are more important than ever
Lucy is on a mission to improve your writing, as well as enable diverse voices and characters to rise to the top of the spec pile.
REVIEWS FOR LUCY V’S WRITING ADVICE:
‘A timely guide to creating original characters and reinvigorating tired storylines. ‘
– Debbie Moon, creator and showrunner, Wolfblood (BBC)
‘Lucy V. Hay nails it’
– Stephen Volk, BAFTA-winning screenwriter: Ghostwatch, Afterlife, The Awakening
‘Packed with practical and inspirational insights’
– Karol Griffiths, development consultant and script editor, clients include ITV, BBC, Warner Brothers
‘A top-notch, cutting-edge guide to writing and selling, not just practical but inspirational. Lucy’s distinctive voice infuses the entire journey. Quite brilliant. Here’s the woman who’ll help you make things happen.’
– Barbara Machin, award-winning writer & creator of Waking the Dead
‘Delivers the stirring call to arms that writers must not only write, but take their work to the next level themselves, making sacrifices and taking risks if they want to see their stories on screen.’
– Chris Jones, Filmmaker, Screenwriter & Creative Director at the London Screenwriters Festival
‘Writing and Selling Thriller Screenplays is a must-read for any writer, producer or director looking to create (or in the process of creating) a thriller production. It could also be immensely useful for those generally curious about the genre or looking to learn more.’ – Film Doctor
‘Lucy V Hay explains what a script reader and editor’s role in filmmaking, tells you to work on your concepts and that dialogue is the last thing to work on in her new book.’ – Brit Flicks
Search “strong female character” online and you’ll typically get 400K+ results. Audiences want flawed, complex female characters more than ever and it seems *everyone* is talking about them. Audiences – particularly women – are making it clear they’re BORED with “the usual” characters they see on screen and in fiction generally. They’re demanding more varied role functions and representations in fiction for female characters … And what’s more, they’re getting them!
In novels, we’ve been treated to female protagonists like Jane in CL Taylor’s bestseller The Lie; or Jenna in Clare Mackintosh’s Kindle number one, I Let You Go; there’s also uber-antagonist Amy Dunne in Gillian Flynn’s modern classic Gone Girl. Active female protagonists have exploded onto the silver screen such as Ryan Stone in Gravity; Mallory in Haywire; or Luc Besson’s heroine of the same name in Lucy.
Women of colour are finally leading TV drama, such as Olivia in Scandal and Cookie in Empire; plus transwomen like Sophia in Orange Is The New Black and Judy in BBC’s Boy Meets Girl have appeared in comedies, not just “worthy” Oscar bait dramas like Dallas Buyers Club. There have even been TV shows in which the entire storyworld is a matriarchy, like The 100.
So, after an extended period in which female characters were seemingly samey or even sidelined altogether, audiences are finally being treated to the female characters we deserve in movies, TV, novels and more. Whilst there’s still some way to go, it’s definitely a step in the right direction!
Yet even with all this GREAT recent output, writers are still struggling with female characters in their DRAFTS. But why? Well chew on these reasons for size and discover how NOT to write a female character … Enjoy!
Lucy V. Hay is an author, script editor and blogger who helps writers via her Bang2write consultancy. Lucy is the producer of two Brit Thrillers, DEVIATION (2012) and ASSASSIN (2015), as well as the script editor and advisor on numerous other features and shorts. Lucy’s also the author of WRITING AND SELLING THRILLER SCREENPLAYS for Kamera Books’ “Creative Essentials” range, as well as its follow ups on DRAMA SCREENPLAYS and DIVERSE CHARACTERS.
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A useful guide that outlines the pitfalls of writing characters – especially female ones – without considering why that character exists and without falling back on clichéd stereotypes. With modern-day references to prove her points as well as her ‘in a nutshell’ summary of the key issues, the author gives us a quick read, worthy of notice by anyone wishing to write a good story with well-rounded characters.
Notably, what I gleaned from reading this, and it’s something the author repeats constantly, is that it’s about GOOD WRITING! Good female characterisation is about the STORY; it includes the emotional as well as the physical, and depends on well-researched information.
This is a quick read, but packed with useful information delivered in a concise fashion, and despite being aimed at female characters, the advice herein could – and should – be considered when creating any well-rounded, three-dimensional character.
As the author says:
Your female characters can be absolutely anything you choose – just choose wisely! Not for the sake of politics, agendas, box-ticking or femcrit, but for the sake of your STORY.
Any author – male or female – will take something from this book that helps them to create stronger, more memorable characters. Knowing the pitfalls outlined here will form a great addition to the writer’s toolbox.