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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.

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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!!

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Patreon Post: The Mage's Gift

Photo of a dangerous woman.
You can find “The Subtler Art,” featuring The Dark and Tericatus, in Blackguards: Tales of Assassins, Rogues, and Mercenaries.
The is the fourth Serendib story I’ve done. The others are: “The Subtler Art,” also featuring The Dark and Tericatus, which appeared in Blackguards: Tales of Assassins, Mercenaries and Thieves; “Call and Answer, Plant and Harvest,” which should appear in the science fantasy issue of Beneath Ceaseless Skies tomorrow; and “The Owlkit, the Beekeeper, the Brewer, and the Candymaker,” which appears in forthcoming collection, Neither Here Nor There.

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The Mage’s Gift

This is a story of Serendib, the origami city where dimensions intersect and where you step between worlds as easily as turning down a new street to hear the stars singing overhead or the clanging steps of automata on patrol or centaur hoofs clattering over concrete. Everyone that comes to Serendib has a story, and sometimes those stories continue well after they’ve come to stay.

Once she’d hopped the glass-edged wall using gloves made of fish-leather from the deepest deeps, it had been easy enough to defeat the bloodsucking ivy and the centipede hounds contained in the first set of barriers. After that, she paused to change gloves to a new set, this time made of technology stolen from ancient Atlantis, made of ebon clay and silver circuitry.

The Dark rarely stooped to thievery nowadays but it was how she had started her professional life, long ago in a city whose name she had deliberately forgotten.

There she had been a child born to both privilege and indifference. At fifteen, she had left the school where her parents had deposited her and sauntered off to make her own living. This took the form of burglarizing her parents’ friends, at least those whose estates and townhouses she’d had occasion to reconnoiter in earlier years.

This was not as novel a revolt as it might have been, for that city accepts its criminals to the point of licensing them. The true revolt manifested in flouting paperwork until she came of age at sixteen.

Nimble, fearless, and adept in unexpected strategy, she did quite well by this. Well enough that she was able to spread the largesse to many of those less comfortable than her victims, and in doing so, became known as “The Dark Angel.”

When, thirteen months later, the infamous guild of assassins that had noted her exploits came to recruit her, they demanded she rename herself (for licensing purposes, since murder was as strictly regulated as theft), which she did by truncating the former name to the alias she had gone by several decades now.

She had kept that knowledge to herself as, over the course of those decades, she’d met any number of unusual characters, including her spouse for two of those decades, Tericatus the alchemist-mage; her sometime-enemy, sometime-friend Chig the Rat God; and quite a few fellow thieves and assassins who often failed to live up to the high standards she held when it came to both of her professions.

Of that group, only Chig knew of her thiefly beginnings. The Dark had kept meaning to tell Tericatus, but he did not come from a city where burglary or murder were government-sanctioned and so held a number of different opinions on such matters. In her secret heart, The Dark found her spouse a trifle sanctimonious at times and preferred not to give him license to pontificate.

She had retired from assassinations ““ aside from the occasional wager-related killing ““ some time ago. And now she returned to thievery not so much for entertainment but also because she was impelled by the yearly conundrum of a suitable anniversary present for a man who could, literally, conjure almost anything his heart could imagine.

The next wall was made of fricklebrick, which sounds amusing but involves a number of razor-sharp edges shifting frequently and somewhat randomly in their orientation.

She held her hands near the wall, palms in parallel to let the gloves sense the vibrations of the bricks and adjust themselves to countershift accordingly in a gentle grinding born of magic and machinery.

Casting a glance upward to make sure none of Serendib’s possible moons hung too high in the sky, she thought about Tericatus’ imagination and ““ not the for the first time ““ contemplated her luck in a mate who had long ago grown blasé with outer appearances and preferred inner qualities of fierceness and determined loyalty.

She wriggled upwards, features smeared with coalblack to match the midnight shadows around her, a silver box bumping on her hip. This year, she planned to snare something lovely that could not be bought. Her philosophy of presents was that such things were far better assembled when by effort than by coin.

This garden, located on one of the great terraces built along the mountain slope bordering the city to the north, belonged to a recent arrival to Serendib, a merchant/scientist whose name The Dark kept having tremendous difficulty remembering. This spoke of certain magics laid upon the name to avoid notice, and that was intriguing. More intriguing yet were the rumors of the contents of the innermost garden, center of three sets of walls, which held a worthy anniversary gift.

Not quite atop the wall, she used a mirror-tipped steel strand to survey the territory. She frowned. She had expected to deal with golems, their lips lined with acid spitters, armored in Tesla coils, but they lay scattered about. Someone had preceded her.

Her lips firmed in an uncharacteristic surge of temper. She had throttled back anger since, as a young thief, she had first accidentally-on purpose knifed someone as they grappled.

Not a death she regretted more than any other. The young man (he and his twin sister had been her schoolmates) had followed her to blackmail her. His death had been very painless, very swift. She prided herself that every subsequent kill had also fallen in that category.

But still ““ she had learned not to give way to impulse.

And it was not as though she had been able to lay claim to this place. Serendib has no organized institutions of thieves. Indeed, it is one of the few forbidden things, and so there was no established way of marking a place as being the target of someone very dangerous to cross.
Sparks from the farthest golem’s body still smoldered, sending up bitter smoke, from the felted leaves, which meant that her predecessor had beaten her by moments. She moved across the space with assurance, still clinging to the shadows, careful of the snarls of razor-edged grass, ornamental and deadly, lining the pathway.

The stones of the inner wall were cemented with soul stuff, and she had never been good with that magic, so she relied on a wholly technological approach, letting a wand of phlogistonic radions spill its lavender light out along the pink-veined surface, soothing it, till she could climb without complaint.

She saw no sign of the intruder as she came into the garden’s inner heart. That was a very good thing, because it was such a pretty place that it stunned her momentarily, a phenomenon that rarely happened to the phlegmatic and sometimes a little cynical woman.

Here in the lambent center, lit by living lanterns, a thousand flowers swelled and bloomed, silky petals dappled and daubed with iridescence, each sending out great invisible clouts of perfume, each different, dizzying with its intensity: cinnamon and carnation, musk and mossrose, vanilla and vetiver.

Mechanical dragonflies and bumblebees, hummingbirds and hovering moths, flitted from one great head-sized blossom to another, posing for seconds in the scented depths as the biomagnetic fields recharged its visitor, letting them continue to dart about on patrol.

Crouched at the wall’s foot, The Dark lost no time setting the contraption she had carried at her belt on the ground and touching an ivory dial on its side. It unfolded spindly legs and began to totter about, looking like a walking cage made of silver wire and light, staggering towards a flowering bush circled by whistling bees.

She ignored it and looked for tracks, searching over the soft earth. As she moved, flying creatures sensed her and veered, but as each neared with tiny laser-lit eyes flashing and razor sharp mandibles and stings at the ready, it swung away, disoriented and warded off by the complicated magnetic field of The Dark’s earrings, fashioned of rare and subtle earth magics by her husband for their last anniversary, who had intended his gift protection rather than pilfering.

The Dark knew how to read subtle signs: a bent leaf, a displaced butterfly, a flower turned to an unnatural alignment. Whoever it was, they were of a certain height, and a certain weight, and wore a robe that flickered out just so”¦A frown grew on her face, and each time the moonlight licked her mouth, her lips were turned further down.

By the time she found the intruder, standing to watch carp seethe beneath the surface of a tiny pond, she knew enough to say, her tone irritated, “But I was getting a present for you.” And then, “You always have said thievery is a base form of art.”

“Well, that is true enough,” her husband said in a mild tone intended to smooth the rasp from hers. “But you must admit that you are very hard to find presents for.”

“Hrmph,” she said. “Well, enough, let us collect what we haVE come for and return home to exchange gifts a trifle early.”

He inclined his head.

But when they reunited some moments later in the garden’s center, The Dark held her walking cage, twisted and rent asunder by some force, and Tericatus had scraps of similarly shredded mist, smelling of ozone, clinging to a handful of glowing threads. The Dark eyed that device curiously, for it was not a spell that had occurred to her, but she said only, “Someone else is here, and they do not mean us good.”

“Two thieves for the price of one,” a voice fluted, “but I am only interested in the one. Man, you may go now, if you leave swiftly and without interference.”

The figure that stepped from the shadows was hard to see, for the mechanical insects whirled and fluttered around the slim form, not as though to attack, but to protect. It was a face that the Dark had forgotten, but she realized now she had remembered it all her life, for it was that of the young man who had been her first kill.

Then another step forward and she realized ““ not him, but his sister, who the Dark had known but little, and last remembered seeing at the very uncomfortable funeral.

“Alas,” Tericatus said, and his tone was still mild, but this time steel flowed beneath it. “I do not choose to leave my wife behind.”

“Your wife!” the lady exclaimed. The Dark remembered her curls as dark as her own, but now silver threads outmatched the ebon ones, vanquishing, and age and disapproval thinned the once-plump lips. “Not just a thief, but a killer, and a noted one, fattened on her murders over the years. I see that crime treats you well enough.”

“In all things,” the Dark said, “I have always acted within the boundaries of the law.” She glanced at Tericatus.

“That does not matter,” the sister, whose name The Dark still could not quite recall ““ Elissa? Alyssa? Elison? Whoever she was, she thrust her clenched fist out, tight knuckles upward, and let her fingers fly open as she slapped downward a few inches, releasing an alarming number of gnarly black tentacles that plunged for seconds then writhed upward with a swordblade’s swiftness, flashing up at the pair.

By mutual accord, they separated, stepping simultaneously in opposite directions. The Dark vanished into the shadows beneath a tree’s outgrasping branches while Tericatus thumbed three vials open with practiced swiftness, vapors from the first two combining to solidify around him while the third released a thimbleful of glittering motes that swarmed to halo his head.

But the tentacles moved unerringly only for The Dark, altering course and somehow picking up speed in the process, perhaps assisted by the mother of pearl moths, their wings edged with perilously sharp flakes of crystal, orbiting her head in paths that curved in to slash at her cheek, then shoulder.

Tericatus stepped forward, striking the tentacles with a lacy golden blade that shimmered with sunlight, but they ignored him.

“They only judge those who are truly guilty!” The noblewoman laughed, the sound high-pitched, relief achieved after decades.

Tericatus said, “My wife is not guilty. She tells the world she stepped down from her path for love of me, but I know it was because things weighed on her too heavily. She has worked to atone, and anyhow who are you to judge her and pronounce her fate?”

He moved between the Dark and the tentacles as he spoke, and they fell away from him as the sparkling motes danced over them, becoming more and more sparks in the process.

“I have been told of her misdeeds, over the years,” the woman said, and glittering beetles danced in time with her words, fever-quick. “She learned nothing from killing my brother, has gone on to kill again and again. I have spoken to her comrades, her companions of the blade.”

“Perhaps you had a particular informant,” The Dark said, coldness counterbalancing the fire. “Perhaps they were narrow of face and dark of hair.”

“That could describe many,” the noblewoman said.

“Much like myself, they dressed in blacks and greys, with the occasional touch of silver.”

The noblewoman shrugged. “That is a style, like any other.”

“And possibly from time to time, when you glimpsed them from the corner of your eye, they appeared to have”¦ whiskers.”

The woman wavered. “That,” she said, “is both idiosyncratic and true.”

“Chig,” The Dark said without intonation, but her husband muttered it under his breath in a very different tone.

“You are a pawn,” Tericatus said and glanced at his wife, “in a game that has been playing for a very long time, and which I thought was over.”

“If so,” The Dark returned, “and I am neither confirming nor denying such things, I would have anticipated such a contingency but would, as welcome your sage advice on the subject of my imprisonment.”

“Given my knowledge of magic, I would suspect that the things holding you might be dispelled by truths.”

“Or magic of one variety or another,” The Dark suggested, feeling the tentacles tighten around her.

But as he sighed and readied two new vials, she said, “My dear, the truth of it is that I began my working life as a thief, and I have never told you that because I thought you would think the less of me.”

Tentacles withered and fell. The woman gaped, and somewhere from the deepest shadows came a murmured curse, the slither of a great tail and a plomph of displaced air that might signify a rat god vanishing.

“I personally would count that truth a gift, but perhaps you might remove one of the flowers and several of its attendant insects for our garden, as I had intended, as a token for our trouble. Take your present, my dear, and go ahead,” The Dark said. “I’ll be along in a little while.” She eyed the woman.

When she caught up with Tericatus at the outermost wall, he said, “An assassin who had repented might stay their hand from killing someone who they thought might pose a future danger sometime.”

“That is true,” The Dark said, cleaning some substance from a silver stiletto. “And it is also true that even such a one might think it best to avoid future trouble if it might affect others that one cared for.”

“That is indeed another truth,” Tericatus said and reflected, not for the first time, on the value of growing blasé with outer appearance and preferring inner qualities of fierceness and determined loyalty in a mate.

-THE END-

Let me know what you thought! Shall I keep writing Serendib pieces, go back to Tabat, or venture elsewhere?

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Teaser: More from Laurel Finch

Illustration to accompany steampunk snippet by speculative fiction writer Cat Rambo
Interested in learning how to get opportunities to interview writers and publish the results as well as has to conduct yourself in an interview? I've got a one hour class coming up on just that, on February 19, 7-8 PM PST.
This is the steampunk world (Altered America) I’ve been writing in lately, and I’m pleased to say Beneath Ceaseless Skies just took another of the stories set in it, “So Little Comfort.” The title of this story is “Laurel Finch, Laurel Finch, Where Do You Wander?”

She was awake. She jolted upright, disturbing Laurel, who said something drowsily. Jemina stroked her hair with her right hand, settled the child back into her lap. Her heart still hammered uncomfortably.

She looked out the window into the darkness and could see only the reflection of the car’s interior for a moment. Then as her eyes picked out detail, she saw the stars hanging far overhead, the blaze of the Milky Way, a curdle of starlight spilling over the plains that rolled out as far as the eye could see.

Chuggadrum, chuggadrum, the sound of the wheels underfoot, the everpresent vibration working its way through her body as they hurtled through the night towards Seattle.

They’d promised her a laboratory of her own. A budget. Assistants.

Things she could do without interference. That was worth a lot, for a woman in a field that held so few other of her sex.

“I have nightmares sometimes too,” Laurel said.

Jemina’s hand sleeked over the curve of Laurel’s skull, cloth sliding over glossy hair.
“We all do.”

“What are yours about?”

“The war. What about yours?”

Laurel lay silent so long that Jemina thought she had gone back to sleep. But finally she said, “How my parents died.”

Jemina’s fingers stilled as though frozen. She waited.

“We were in the house and they came,” Laurel said. “My uncle said they were supposed to stay on the battlefield and no one knew they went the wrong way.”

Her voice was subdued, thoughtful.

“It would have been all right, but papa heard them at the door and he went and opened it. That was how they got in.”

Jemina saw in her mind’s eye, despite her attempt to force it away, the scene: the man mowed down, devoured with that frightening completeness that zombies had, before they moved on to the rest of the house…

“How did you get away?” she asked.

“I jumped out the window and ran away. I tried to get my brother first, but it was too late, so I ran.”

“Your brother?”

“He was just a baby. He couldn’t run.” Laurel moved her head in slow negation. “Too late.”

Jemina closed her eyes, feeling the story wrenching at her heart.

These things happened in war. They were sad, yes, but unavoidable.

The wheels screeched as the train unexpectedly slowed. Both of them sat up to look out the window.

“Whose are those men?” Laurel asked.

“I don’t know.” But she suspected the worst, given the fact that the group had their bandanas tugged up around their faces, that many had pistols or Springfield rifles in their hands.

“They’re bandits!” Laurel’s voice was excited.

“Yes,” Jemina admitted.

They waited. Around them, everyone was abuzz, but stayed in their seats.

The front door of the car swung open and two men entered, both holding pistols, red cloth masking everything except their eyes. Both were hatless, their stringy hair matted with dust and sweat.

“We’re looking for a fellow name of J. Iarainn,” one called to the car at large. “You here, Mr. Iarainn? If not, I’m going to start shooting people one by one, cause according to the manifest, you’re in this car.”

Jeminia held up a hand. “I am Jemina Iarainn.”

Her gender astonished them. They squinted at her before exchanging glances.

“You’re headed to Seattle and the War Institute to work? Some kinda necromancery?”

“Yes to Seattle, yes to the War Institute. No to necromancy. I hold joint degrees in medicine and engineering, specializing in artificial limbs.”

Exasperation kept her calm. Why should these dunces not believe a female scientist could exist? And necromancy — she was, by far, tired of that label. She worked with devices for the products of such technology, but she wielded the forces of science, of steam and electricity and phlogiston.

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