Quotulatiousness

March 24, 2015

Writing science fiction for the modern audience

Filed under: Books, Humour — Tags: , , — Nicholas @ 04:00

Frank J. Fleming thinks he’s found the magic formula for writing science fiction books that will appeal to today’s more sensitive, enlightened readers:

What makes good science fiction? Is it a fast-paced story? Interesting characters? Unpredictable twists and turns?

Unfortunately, I had those outdated ideas in mind when I wrote my first novel, Superego. But as we all know, the true purpose of science fiction now is inclusiveness. Entertainment is okay, I guess, but what we really need to focus on is making sure everyone feels cared for and included and that no one feels weird, no matter how weird they are.

This is difficult for me as a white, heterosexual, cisgender male. I’m basically committing a hate crime just by existing. I’m not even sure that in this day and age I should be allowed to write science fiction. Still, I decided to examine my novel to determine how inclusive it is.

I first used the Bechdel Test, as that’s a nice objective measure. I ran into a problem right away, though, because Superego is written in the first-person perspective of a male character. It’s like I didn’t even try. Still, there are a number of named female characters in the story, and a few times they do speak to each other. Most of the time, they’re talking about the main (male) character, but I did locate a short conversation between two women about one getting the other a chair.

Boom! Passed the Bechdel Test. It’s a very feminist novel.

January 3, 2014

It’s time to say goodbye to “strong female characters”

Filed under: Books, Media — Tags: , , , — Nicholas @ 10:08

No, I don’t mean get rid of strong characters … but lets move on from the patronizingly token “strong” female character who is just physically strong:

… Hollywood has taken our love of strong female characters and converted it into something dully literal. Strong female characters have become Strong Female Characters, a mutant sub-genus that has less to do with actual women than T-Rexes: physically intimidating, but mentally nonthreatening. But muscle strength isn’t all that interesting on its own — otherwise, Sylvester Stallone and Jean-Claude Van Damme would be where George Clooney and Brad Pitt are on the Hollywood A-list. As Sophia McDougall argued this summer in the pop culture feminist critique of the year, strength is too often a substitute for personality where female characters are concerned.

The Mary Sue points out in yet an interview with Neil Gaiman about — you guessed it, “Strong Female Characters,” because he and Joss Whedon are apparently the world’s only authorities on writing interesting women — that “strong female characters don’t necessarily have to have Hulk strength, they need to be strongly written.” Well, sure, we all want female characters to be strongly written, but the problem is no one knows exactly what that means anymore.

[…]

Like the Bechdel test, the “female characters with agency” solution is an imperfect one. But we humans really enjoy our one-stop solutions and easy fixes, and plot-driving female characters is the one we need right now. Because the problem with the representation of women on screen isn’t just that there are almost five times as many male characters as there are female ones, but also that the relatively few women characters who do appear are constantly reduced to roles of passivity and, thus, inconsequentiality.

Female characters don’t always have to win, but we’d like to at least see them try. The time has passed when we are satisfied with a woman character holding a gun or kicking butt as a cheap, insincere nod toward equality. We’re done with strength. Now we want to see the struggles.

H/T to @Elisabeth for the link.

November 10, 2013

Alison Bechdel on the revived popularity of the “Bechdel Test”

Filed under: Books, Media, Politics — Tags: , , , , , — Nicholas @ 00:01

You’d think, with all the social advances in equality for women over the last few decades that our media would more directly reflect that equality … but you’d be wrong. Quite some time ago, Alison Bechdel outlined a quick test you could use to determine whether a book or movie treated women as real people or just as foils for males:

The Bechdel test is used to identify gender bias in fiction. A work passes the test if it features at least two women who talk to each other about something other than a man. Commentators have noted that a great proportion of contemporary works fail to pass this threshold of representing women. The test was originally conceived for evaluating films, but has since been applied to other media.

Pretty low hurdle, yet a vast number of books and movies fail to meet even this minimal standard. Recently a Swedish theatre chain decided to use the Bechdel Test to evaluate the movies they were showing (with Bechdel’s blessing), which has revived interest in the test itself. Bechdel talks about this on her blog:

I said sure, that sounds awesome, go for it.

So they did, and the Guardian ran an article about it on Wednesday. Which prompted a flurry of emails from radio programs who wanted to talk to me. I spoke to Marco Werman at PRI’s The World, and got to join in his conversation with Ellen Tejle, the director of the participating cinema in Stockholm. I also did a background interview with the NPR program Here and Now.

Yesterday I got a lot of other requests from other media outlets but I’m ignoring them. I feel bad about this. There seems to be something fundamentally wrong about not seizing every possible chance for publicity — if not for myself, then at least for the brave Swedish cinema consortium, not to mention the cause of women everywhere.

But inevitably in these interviews I say simplistic things, or find myself defending absurd accusations — like that the formal application of the Test by a movie theater is somehow censorious.

I have always felt ambivalent about how the Test got attached to my name and went viral. (This ancient comic strip I did in 1985 received a second life on the internet when film students started talking about it in the 2000′s.) But in recent years I’ve been trying to embrace the phenomenon. After all, the Test is about something I have dedicated my career to: the representation of women who are subjects and not objects. And I’m glad mainstream culture is starting to catch up to where lesbian-feminism was 30 years ago. But I just can’t seem to rise to the occasion of talking about this fundamental principle over and over again, as if it’s somehow new, or open to debate. Fortunately, a younger generation of women is taking up the tiresome chore. Anita Sarkeesian, in her Feminist Frequencies videos, is a most eloquent spokesperson.

April 3, 2013

A “Bechdel Test” for writing about women in science

Filed under: Media, Science — Tags: , , , — Nicholas @ 13:52

If you haven’t heard of the original “Bechdel Test“, here’s the gist:

The Bechdel test is used to identify gender bias in fiction. A work passes the test if it features at least two women who talk to each other about something other than a man. Commentators have noted that a great proportion of contemporary works fail to pass this threshold of representing women. The test was originally conceived for evaluating films, but has since been applied to other media.

Have you ever noticed that articles in the media about female scientists always include details they would never have if the article was about a man? In too many cases, these details predominate over the actual scientific work of the person being profiled. Christie Aschwanden suggests that we adopt a variant of the Bechdel test for science writing:

It’s time to stop this nonsense. We don’t write “Redheads in Science” articles, so why do we keep writing about scientists in the context of their gonads? Sexism exists, and we should call it out when we see it. But treating female scientists as special cases only perpetuates the idea that there’s something extraordinary about a woman doing science.

So Finkbeiner has adopted a new approach. “I’m going to cut to the chase, close my eyes, and pretend the problem is solved; we’ve made a great cultural leap forward and the whole issue is over with,” she says. “And I’m going to write the profile of an impressive astronomer and not once mention that she’s a woman.” In other words, “I’m going to pretend she’s just an astronomer.”

It’s a fine idea. In the spirit of the Bechdel test, a metric that cartoonist and author Alison Bechdel created to measure gender bias in film, I’d like to propose a Finkebeiner test for stories about women in science. The test could apply to profiles of women in other fields, too.

To pass the Finkbeiner test, the story cannot mention

  • The fact that she’s a woman
  • Her husband’s job
  • Her child care arrangements
  • How she nurtures her underlings
  • How she was taken aback by the competitiveness in her field
  • How she’s such a role model for other women
  • How she’s the “first woman to…”

Here’s another trick. Take the things that are said about a female subject and flip them around as if they were said about a male. If they sound ridiculous, then chances are good they have no business in the story. For instance, in his Guardian profile of preeminent physicist Lisa Randall, John Crace writes, “No matter how much she bends time, there’s no escaping the fact that she’s just turned 43 and that if she wants to have kids she’s going to have to get on with it soon.” No one would possibly write such a thing about a man of her age and status.

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