By Niharika
Women dominate the book business. So why is it that the age-old trend of shallow and repetitive female characters continues to reappear in today’s modern society, especially in a field dominated by women and whose main audience is also women?
According to the Office of National Statistics in 2024, 60% of authors, writers and translators in the UK are female. Yet, the majority of female characters, especially in modern novels, are often critiqued by readers as “two-dimensional and tropey”. An example of a character who suffers severely from these accusations is Bella Swan, from the popular young adult book series ‘Twilight’, who is described by readers as ‘dull and uninteresting, lacking hobbies, responsibilities and goals.’ This sentiment was only amplified after the series was adapted into a Netflix show of the same name. Historically, female characters were often depicted as love interests, a portrayal that still persists in modern media. Although this is less common in current literature as opposed to film and television, some female characters still appear one-dimensional, created solely to appeal to the male gaze without any depth or complexity. Despite an increasing number of books featuring female main leads, many of these protagonists can be easily categorized into tropes, with the most common one being the “girlboss”. This, along with the growing lack of substance in modern female characters, often results in them seeming like repeated caricatures of each other.
One of the largest limiting factors in literature’s women is their strict adherence to society’s perception of morality, or strongly the lack thereof. There is a noticeable absence of morally ambiguous female characters in relation to their male counterparts, which removes many opportunities for complex conflicts and rich characterization. So, why do authors hesitate to create morally grey female characters? In a psychological study regarding the enjoyability of morally grey characters, “the findings indicate that moral judgment may be less important to antihero enjoyment than ADT would predict, that previous exposure to an antihero narrative alters responses to similar narratives, and that moral disengagement cues impact the enjoyment process. Ultimately, the studies offer empirical evidence of how antihero narratives are enjoyed differently than their traditional hero counterparts.” (Shafer, Daniel M. and Arthur A. Raney. “Exploring How We Enjoy Antihero Narratives.” Journal of Communication 62 (2012): 1028-1046.) Their findings suggest our enjoyment of antiheroes may not hinge on traditional moral judgments as much as previously assumed, but is instead derived from the novelty and the variety brought by these characters into the roster. However, it appears that some authors believe that a more precise or gender-specific rationale is needed to justify a female character’s transition into villainy, as opposed to morally ambiguous male characters who are often motivated by fatal flaws like ambition, arrogance, and recklessness. Certain female characters in classic literature oppose this norm, such as Lady Macbeth who manipulates Macbeth into committing regicide in her quest for power, or Miss Havisham who harbours a misguided desire for revenge, consisting a tragic character arc where she realizes that her form of vengeance has not brought salvation, but has instead caused the misery of another. It seems that modern authors wish for their female characters to be ‘perfect’, or at least societally acceptable. This significantly narrows the breadth of morally complex female characters. Reluctance to illustrate their descent into moral ambiguity deprives these characters of the opportunity for impactful character arcs, which can diminish the emotional depth of the narrative.
The emergence of the ‘Not Like Other Girls’ trope marked a significant development in female literature. Characters embodying this trope, sometimes referred to as ‘Pick-Me’s, were portrayed as females who refuse to conform to stereotypical feminine traits like wearing makeup or jewellery, while actively disdaining these qualities and seeking male attention or validation in the process. This trope has since appeared in countless novels and book series, displaying a strong independent female protagonist who holds no wish to coordinate to the norms of her gender. While initially popular, particularly in fan communities where it sparked numerous discussions, the trope has become overused, resulting in an abundance of female characters who are all too similar in their ‘uniqueness’. Critics often view this trend as ‘one step forward and two steps back’. While it’s refreshing to see female characters breaking away from traditional gender norms, it’s equally important to have characters with depth. Moreover, ‘Pick-Me’ girls frequently exhibit internalized misogyny by putting down other women. This phenomenon is explained by Marsha in her response to the surge of the ‘Pick-Me’ trend on Tiktok, “the “pick-me girl” archetype highlights just how deeply embedded the idea of the gender binary still is in our society. No matter how it’s interpreted, the pick me girl archetype diminishes the personhood of individuals, who may possess identities and personalities that are a mixture of the feminine and masculine and continues to peg gender expression to sex.” (‘Why the ‘Pick Me trend is problematic’ Marsha Phoebe, Women’s Media Centre, April 11, 2023.) Jane Austen’s timeless classics continue to resonate with today’s audience partially due to her portrayal of societal criticism through her female characters. In “Pride and Prejudice,” all the female characters display traditional feminine characteristics and skills, yet they also express strong opinions and individual perspectives. The recent release of the movie “Barbie” has once again brought attention to a shift in societal attitudes, showcasing an appreciation for traditional feminine qualities. This shift has since cultivated a number of female characters with a blend of feminine and masculine traits, as well as unique and nuanced personalities.
With evolving ideals, there is hope for the future yet. While it’s undeniable that many female characters seem repetitive with unoriginal personalities, as more literature is created and more characters are introduced, a greater variety of substantial and diverse female characters will rise. As more writers find their place in this industry, we will see more strong and three-dimensional female characters in literature such as Inej Ghafa from ‘Six of Crows’, a Wraith who works in the criminal underground of a corrupt city while still clutching onto her moral values and faith. Protagonists like Katniss, from The Hunger Games, convey key messages about the direction of society and the importance of empathy. Meanwhile, Roald Dahl’s beloved children’s novel ‘Matilda’ showcases a compelling array of well-crafted female characters, including the bright protagonist Matilda Wormwood, her kind guardian Miss Honey, and the cruel antagonist Miss Trunchbull. Each character has their own distinctive goals, principles, and perspectives. While they may not fit the mould of “strong, independent girl bosses” by modern standards, what truly sets them apart is their portrayal as individuals capable of experiencing genuine emotions and evoking empathy from readers. There are four billion women on Earth, each with their own complex personalities and worldviews. Literature doesn’t need to feature multiple copies of the same woman with different names. Female characters do not have to be limited by norms of either gender; more diverse and well-written characters can inspire the girls of this generation. They can be anything, just like their male counterparts. The vast canvas of literature can accommodate more than a few templates for a female character. Rather than retracing the same outlines, it’s time we put the blank spaces to more use.
