Five Ways
Subscribe to my newsletter and get a free story!
Share this:

Guest Post from Anne Leonard: Writing "Strong Female Characters" in a Patriarchal Secondary World Fantasy

Cover of Dorothy Dunnett's book CheckmateIn Dorothy Dunnett’s sixth book, Checkmate, we get this passage:

She had been led into behaving like a female. And she was being dismissed as a female. But she had charge of his good name, although he might not know it; and she had work to do, although, like a fool she had lost sight of it.

Here we see the character of Philippa Somerville in all her complexity: determined, strong, imperfect, aware of her role in her culture and refusing to be limited by it. Philippa is a prime example of the “strong female character” existing in a patriarchal world, and although the novel is historical rather than fantasy, it and its companions have a lot to teach about writing strong women without giving up the conventions of a patriarchal social structure.

Yes, this is another post about writing “strong female characters.” I am coming to this issue from the position of someone who likes traditional epic fantasy with pseudo-medieval (or at least pre-industrial) cultures. This is my comfort read, and it is what I like to write. This is partly because that was what I grew up on, partly because I’m enough of a romantic to still have a soft spot for heroes, and partly because I like to interrogate that social structure. For me, interesting female characters are the ones who have to face social oppression ““ the same social oppression I do ““ and who fight against it within the limitations of their own beliefs about their roles. Feminist fantasy with matriarchal or egalitarian societies isn’t as interesting to me as a writer because it avoids the very problems I want to get my teeth into ““ what is a woman to do when oppressed? What if she doesn’t know she’s oppressed?

Agency

One of the problems faced by fantasy writers who consider themselves feminist but like to write about secondary worlds based on historically patriarchal cultures is the disconnect between the oppressive culture and the strength of the female characters. This disconnect is why people tend to fall into the assumption that a strong female character has to be a Brienne of Tarth, acting like a man.

That assumption leads to the argument that a strong female character is not historically accurate. Under this logic, because there aren’t lots of historical episodes of women going around acting like epic heroes, there’s no need for a strong female character in epic fantasy. Aside from the silliness of saying fantasy has to be historically accurate, the problem with this argument is that there are lots of different kinds of strong women in history. What makes a woman a strong character is not her physical prowess (though it could be); it’s her agency. The character’s agency is where the clash between oppression and strength is negotiated.

Consider The Handmaid’s Tale; most of Offred’s narrative is describing how she is being subjugated in Gilead and remembering what it was like before. She’s not fighting back or leading a revolution. No one would say she’s not a strong female character, though, because she has voice, feelings, thoughts, memories, and choices. Her agency is internal, in how she responds to the situation in which she is caught. (And if you haven’t read The Handmaid’s Tale, why not? Go read it!) Even if the character accepts the stereotypically gendered roles of her culture, she has to make decisions, and these decisions have to have consequences. This is almost a basic rule of writing, regardless of the character. Something needs to be at stake to move her story forward.

Examples

Some of the best examples of dealing with the disconnect between a patriarchal power structure and a strong female character are historical novels about real women with real power. The Lymond Chronicles (6 books, beginning with The Game of Kings) by Dorothy Dunnett are far and away my favorites.

Set in Scotland, England, France, Turkey, Russia, and some other places during the period between Henry VIII’s death and Elizabeth I’s accession to the crown, Dunnett’s books are amazing for their historical detail, storytelling, intelligence, and characters. In the fourth book, Pawn in Frankincense, Dunnett writes one of the most devastating scenes that I have ever read, leaving George R.R. Martin looking cuddly by comparison. (The books can be read individually, but the reading experience will be much richer taking them in sequence.)

The women’s stories include the growth of Philippa Somerville, a gentleman farmer’s daughter, from child to adult; the consequences of a love affair 30 years past; estrangement between a mother and her son; the unhappiness of a young merchant woman who despise herself and the people around her; and a woman who endures abuse because of her devotion to the cause of an independent Ireland. One woman is a courtesan who has considerable power over powerful men. Several women are queens or courtiers. These books show how women with power wield it (the mother of Mary Queen of Scots is described as having “the thick oils of statesmanship” oozing through her veins), and they also present women who don’t necessarily have political or legal power but have power of personality and rich, complicated lives.

Significantly, the women are not all likeable. (Nor are the male characters, for that matter.) Mary Tudor comes off as rather pathetic, Margaret Douglas is scheming and power-mad, the Dame de Doubtance is a creepy astrologer without a shred of empathy. The younger Philippa is at times frustrating to read because she is absolutist who makes some bad decisions with significant consequences. The strong female character doesn’t have to be the heroine. She doesn’t have to be perfect. But she does have agency, and her choices matter.

These women also aren’t the sixteenth century equivalent of suffragettes or bra-burners. They don’t question the sexual double standard, they don’t don armor and go to battle, they don’t talk about being oppressed or fight overtly against it. (And yes, in one sense it’s kind of absurd to talk about a queen being oppressed ““ but on the other hand, it’s quite clear that no one is very comfortable with power lying in a woman.) While some of them engage in activities that don’t fit our idea of what women did in the sixteenth century, that’s only a part of them. They are living full and complex lives within the patriarchal society, rather than rebelling. A strong female character can, like Philippa, be aware of being “led into behaving like a female” and put that behind her without questioning her internalized conception of being a female. A strong female character is something feminist readers want, but the character doesn’t have to be a feminist to fit the bill.

Dunnett is not the only writer of historical fiction with strong and interesting female characters. Here are a few recent other books which should satisfy anyone looking for “historical accuracy” in trying to decide what role women should play in epic fantasy:

Cover of "Hild" by Nicola GriiffithHild, by Nicola Griffith. This is based upon the life of the woman who became St. Hilda of Whitby. Set in 7th century Britain, the book is thick with historical and physical detail. It presents the life of women who are family of the Anglo-Saxon kings, including slaves and women of lower rank. Hild is a mystic who both does women’s domestic tasks and leads men in battle. She is bisexual; she is listened to by men but is forced into a marriage; she has complicated relationships with the people around her.

shadowonthecrowncoverShadow on the Crown and The Price of Blood, by Patricia Bracewell. These two books are about Emma of Normandy, who in 1002 was married as a teenager to AEthelred the Unready and became a queen of England. In many ways Emma does not have power compared to the men around her, but she fights for what she can get and she uses it. She is a survivor — she was a Queen of England for over 30 years, to two different kings.

Theodora ““ Empress, Actress, Whore and The Purple Shroud, by Stella Duffy. These two books chronicle the life of Theodora from her childhood as a sex slave to her death as the Empress of Byzantium in 548. The title The Purple Shroud refers to a speech made by Theodora which is said to have inspired Justinian to put down a revolt rather than to flee Constantinople. Theodora is an interesting character because of how she rises through the social ranks and because of her forceful personality.

wolfhallcoverWolf Hall and Bring Up the Bodies, by Hilary Mantel. Although these books are largely the story of Thomas Cromwell, advisor to Henry VIII, they include as characters Catherine of Aragon, Anne Boleyn, Jane Seymour, and Cromwell’s wife and sister. They depict the ways women interact with powerful men. The relationship between Cromwell and his wife Liz is nicely drawn, and Liz, like Dunnett’s Philippa Somerville, is a good example of a woman on the fringes of political power who has her own agency.

Sharon Kay Penman has written too many historical novels about English royal families for me to list here, but her first, The Sunne in Splendour, is notable for its portrayal of Anne Neville, wife of Richard III, which is almost 180 degrees from Shakespeare’s portrayal of the same. Edward IV’s wife Elizabeth Woodville is also a strong ““ and unlikeable – character. Penman’s novel When Christ and His Saints Slept is about Matilda of England (Empress Maude) and her war to gain the English crown in the early to mid 12th century.

In sum, the writer of epic fantasy can keep full-blown patriarchal power structures and ideologies as part of the world-building. But history is rife with stories about women in such worlds who also have power, agency, and complex lives. Putting such characters into the epic fantasy world is only going to enrich and deepen it.

Bio: Anne Leonard has been writing fantasy and other fiction since she was fourteen and finally, after a career with as many detours as Odysseus, published her first novel, Moth and Spark, in 2014. She has a lot of letters after her name that are useful when trying to impress someone. She lives in Northern California. Her website is www.anneleonardbooks.com. She can be found on Twitter at @anneleonardauth and on Facebook at https://www.facebook.com/anneleonardbooks.

Want to write your own guest post? Here’s the guidelines.

Enjoy this writing advice and want more content like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

33 Responses

  1. You listed two of my favorite authors, Dorothy Dunnett, and Sharon Penman. I also loved the bits about Philippa Summerville, my favorite heroine!!

Leave a Reply

Your email address will not be published. Required fields are marked *

Get Fiction in Your Mailbox Each Month

Want access to a lively community of writers and readers, free writing classes, co-working sessions, special speakers, weekly writing games, random pictures and MORE for as little as $2? Check out Cat’s Patreon campaign.

Want to get some new fiction? Support my Patreon campaign.
Want to get some new fiction? Support my Patreon campaign.

 

"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."

~K. Richardson

You may also like...

Kindle version of Tales From the Fathomless...

Kindle version of Tales From the Fathomless Abyss is now up! And got a nice review.

Amazon.com: Tales From The Fathomless Abyss eBook: Mike Resnick, Jay Lake, Cat Rambo, Mel Odom, J.M. McDermott, Brad Torgersen, Philip Athans: Kindle Store

Amazon.com: Tales From The Fathomless Abyss eBook: Mike Resnick, Jay Lake, Cat Rambo, Mel Odom, J.M. McDermott, Brad Torgersen, Philip Athans: Kindle Store

...

Dryad's Kiss

There once was a mage named Leaf, who studied at the College of Mages in the sea port of Tabat. He had been a simple village boy with a talent for gardening, who was found by a Scout of that College. Within its ivied walls, he learned, and excelled, and when it came time for him to choose between that world and the larger one, he stayed there, content, and became one of its instructors.

He loved learning and pursued it like a drunkard ardently chasing an ale mug. His chamber shelves dripped with books and notes, and whenever new knowledge came to the college, whether in the form of an old map or a bard’s tale, he was there.

In his peerlessness, he had only one flaw. He loved to give advice, on anything and everything, and the less he knew about the matter, the more he spoke.

In time, he came to be known as a great expert on Romance, although he’d kissed neither girl nor boy, preferring the pages of his books. This had been remarked on, for he was a beautiful man, with dark curls and smooth skin on which the shadow of his beard lay like the coming of dusk. But he had no interest in romance, preferring to spend his days reading or pursuing arcane and outlandish experiments, such as how to color a flame purple or most efficiently bargain with an undine.

Still, he would sit in the tavern of an evening and pontificate on the whys and wherefores of women to his comrades, who eagerly accepted his advice.

His counsel, for the most part, was well-intentioned. But one thing he repeated over and over to his audience. “You must begin,” he would pontificate, taking another sip of ale to create a dramatic pause. “As you intend to go on. Decide how you want the relationship to go from the start, and she’ll get used to it. Otherwise, you’ll find yourself wrapped around her finger and dancing to her tune.”

Of course he fell in love.

He went head over heels in the classic manner after glimpsing her in a crowd, a flash of green eyes, a tilted chin, and hair as brown as autumn leaves. He tried to follow her, but she slipped away in Minnow Square, and there he stood, bewildered, scanning the faces in the crowd.

He haunted the Square for a week before he despaired, and took to wandering the streets near it. The Square lies in the southern edge of town, and is inhabited by streets of ancient brick buildings, and of course, the Piskie Wood, where young folk go to hunt a brace of piskies, now and then. The Duke pays a bounty of two coppers a head for the creatures, and it’s a point of pride for many a youth to buy a round in the tavern with their hunt’s profits.

One night he thought he glimpsed her through the black wrought iron fence that surrounds the trees there. He spent the evening hunting her up and down its damp green aisles, listening hard and hearing only the soft hooting of the piskies or the occasional thwip of an arrow and then quick footfalls. At length he came out of the Wood and sat there on a bench by the gate.

It was a misty evening, filled with a fine drizzle, and after he had sat there for an hour or so, beads of water collecting on his cloak, he felt a presence behind him. It was like a cold shadow.

“Come sit, if you’ve a mind to,” he said sullenly. “Or go on standing . either way, I don’t care.”

After a moment, another girl came around the side of the bench. Tall and skinny, she was pale and the chill that came off her white skin told him that she was undead. But she was very beautiful, nonetheless, with eyes like blue ice, and hair like silver waves.

Neither of them spoke, and they sat there another hour, during which no-one passed. Finally a party of late-night hunters came stumbling out of the wood, smelling of spiced brandy, and each bearing a brace or two of piskies at their belts, the little corpses limp as birds.

One of them waved cheerfully as he passed the bench, and then the group was past, sputtering into laughter and quick whispers and then more laughter. Leaf leaned back and sighed.

“Am I not beautiful?” the undead girl said, speaking for the first time. Her voice was cold and slow, like water dripping underground.

“You are, but I am in love with someone else.”

“The brown-haired, green-eyed girl.” She sniffed in contempt.

He shifted his weight forward. “Do you know her?”

She shrugged, a faint motion beneath the dark-webbed silk of her cloak.

He persisted. “Do you know her name?”

She looked at him with eyes like mirrors, moonstones, clouded white with spiritual cataract, and said indifferently, “Her name is Winter’s Ivy, I suppose it best translates to.”

“What language is it in?”

Her lips curled scornfully, and she stood. “I’ll leave you to find that out.” She stared over his shoulder at the black limbs of the wood and said “You’re halfway there, it seems like, already.”

And then she was gone, as though she had never been there.

He went to bed.

#
In the morning, the cries of the gulls outside his window woke him. He put his head out and scanned the street. Lowering coins in a basket, he received a round of fresh bread in return, its surface ridden with a smear of sharp white soft cheese, and a skin of fresh water. He ate the food on his balcony, watching the street.

In the sporadic sunlight that flickered between the clouds, the memory of the ghost girl thinned and vanished. All he could see in his mind was a line of nut-brown curls.

Looking over his balcony as he chewed at a ferocious bite of bread, he half-choked on it as he spotted those curls outlined against the chilly cobblestones.

He spat out the bread and shouted “Hoy! Hoy!” down at the street. He pointed at her as she and a handful of other people stopped, looking upward.

“Don’t move,” he shouted. “Not until I get down to the street! Please, miss, don’t move.”

He flung on his magister’s robe on his way out the door and scrambled down the stairs to arrive breathless at her feet. Her face had dimples in the pale brown skin as she laughed at him.

“And what is all this about?” she asked.

“Please, madam, if you please, I would ask your name,” he said, trying to draw himself up, ignoring the fact that the words were punctuated with little pants.

She studied him. “My friends call me Ivy,” she said.

“May I count myself among them? My name is Leaf.”

“Very well,” she said. “Are you coming with me to carry packages?”

And he did, an entire morning spent following after her with a basket, filling it with papers of needles and two pots of rouge, and a pair of embroidered gloves.

“May I buy you lunch?” he said when the sound of the Duke’s great clock chiming the noon hour echoed across the city.

She glanced up. “The time!” she said. “Where does it go? I must say goodbye.”

“How will I see you again?” he asked.

She smiled at him. “If it’s meant to be, it will be,” she said. And stepping backward with her basket, she vanished into the crowd, as though swept away by a river’s current, a flash of sleeve and then nothing.

#
He ate his meal in morose silence in a corner of the tavern. As he pursued a chunk of fish with his spoon, one of his fellows from the College slid into the seat across from him.

“You look gloomy,” he said.

Leaf looked up and shrugged. He did not remember the man’s name, nor did he want company. He stared back down into the murky depths of his stew and felt the other man’s eyes upon him.

“You’re in love!” the nameless man exclaimed in astonishment and, despite himself, Leaf’s cheeks flushed with embarrassment.

“It’s about time,” the man said. “Now you will be more realistic with what you prescribe for others. .Begin as you intend to go on’, indeed.”

Nettled, Leaf exclaimed, “But it’s true! You must begin as you mean to proceed and not let yourself be wrapped around her finger.”

“Ha, and is that what you’ve been doing?”

“We haven’t gotten that far yet,” Leaf said stiffly. “But when we begin, be assured I’ll let her know who’s calling the tune.”

The other man only laughed.

#
The zombie girl was perched on his balcony, leaning on the railing. It would have been a more charming sight if she wasn’t in the process of devouring an unwary pigeon. She wiped at her cheeks, feathers tumbling from her cloak and away into the wind at the gesture.

“What is your name?” she said, speaking into the breeze as it wove her hair into silver netting.

“Leaf. And yours?”

“Zuelada. She’ll be no good for you.”

“How do you know?”

“I know her,” she said. She regarded him with her uncanny silver gaze. Overhead clouds scudded across the moon like wisps of torn lace. “I would treat you better, much better. Trust me?”

He couldn’t help himself; he laughed, and one of the cloud shadows moved across her face.

“You don’t understand,” he said. “I am a magister of the College of Mages, and trusting in the word of an unsummoned undead . no matter how beautiful or charming . would be seen as very foolish indeed.”

She smiled. “Beautiful and charming?”

But thoughts of the brown-haired girl kept him from following up the flirtation, and they stood for a handful of minutes in uncomfortable silence.

She sighed and stepped backward and away from him, and was gone again.

#
He was walking along the street, carrying an armful of books he meant to trade at the bookseller’s, when Ivy slipped her slim hand through his elbow and bobbed at his side, smiling.

“It must be meant to be,” she said mysteriously.

He felt a giddy surge of delight as he smiled back at her.

“It must be,” he said.

#
All that the ghost girl said on the third occasion was “I’ve told you she’ll be no good for you” before vanishing.

The next morning he followed Ivy into the Piskie Wood, giddy and giggling as any besotted adolescent. She slipped between the trees, and her hair blended with the bark, there in the shadowy silence. Overhead a piskie hooted mournfully. She paused, gazing up a trunk, and held a hand up, signaling him to motionlessness. He stood watching as the small brown humanoid crept down the trunk towards her hand, rubbing its face against her skin like a cat yearning to be petted.

As she stayed still, it emboldened, and insinuated itself along her arm, plucking at the fabric of her sleeve. It grimaced, sniffing the air as it looked at him, and he glimpsed its sharp, ivory teeth only an inch away from the tremor of her neck.

His breath caught at that, and the thing hopped back to the tree.

“I’m sorry,” he said. “I startled it.”

She waited, looking up, but the piskie had vanished.

“No matter,” she said. Moonlight touched her hair to silver. She took his hand and tugged at it. “Come this was, where the clearing is.”

They entered the clearing in the center of the wood. Gnarled trees, a medley of oak and thorn and graying apple, surrounded it, along with a thicket of wild roses, a few petals glazed with ice.

She led him to a vacant spot in the line of trees.

“Here,” she said. “I’ve chosen it for you.”

“What do you mean?”

She gazed at him with that faint, enigmatic smile. “Do you love me?”

“More than anything else in the world,” he said.

“Even your College?”

“Of course,” he said, looking at her slender, heart-shaped face.

“Then we might as well begin as we intend to go on,” she said to him as his roots began to spread into the ground and winter’s chill touch fell on his heart. “You’ll get used to it after the initial shock.”

His arms lifted, arching painfully.

“You’ll get used to it with time,” she said. From the edge of the clearing, he could see the zombie girl watching, and he tried to shout out something but could not speak as Ivy wrapped her frosty leaves around him and carried him away into stillness.

(This story originally appeared in the summer 2005 issue of Gryphonwood. It is a Tabat story.)

...

Skip to content