Crafting Gender-Inclusive Worlds: A Guide for Writers
Have you ever wondered why, in so many stories, there seems to be so much female nudity, so many female sex workers, and so much sexual violence directed at women?[1] Have you ever wondered why all too often the action revolves around male characters, with the female characters providing little more than set decoration? Have you ever wondered why being subjected to egregious sexual assault is the key event in the story arcs of so many female characters? Have you ever wondered why this is all too often the case, even in fantasy worlds? (Yes, Game of Thrones, I’m looking at you.
Have you ever wondered these things aloud only for some bright spark to pipe up, “but that’s what it was like back then.” Excuse me. Back when exactly? I wasn’t aware that huge dragons were considered totally normal in 1575. (To be clear, GoT are far from the only ones who have done this. We have even seen Disney do.)
Unveiling Heteronormative Patriarchy in Fiction: Challenging Conventional Narratives
Now, of course, there is a long and, at this stage, quite well-documented history of the persecution of women folk.[2] But that is not the only problem here. There is another quite glaring one… that is in fiction there is all too often a failure of imagination, a failure to conceive of anything else but a world in which heteronormative patriarchy is the dominant and default ideology.
It is striking that it appears easier to visualize a world where dragons exist than a world without the objectification, commodification, and violation of women. This reflects the pervasive influence of heteronormative patriarchy. Heteronormative patriarchy is a social system that prioritizes an idealized form of maleness and femaleness and enforces a specific type of relationship between the two.
The narrative of heteronormative patriarchy has become deeply ingrained and normalized, rendering it invisible to many of us. Our indoctrination runs so deep that even when we can see it, we can still struggle to conceive of alternative realities, whether they exist in the past, present, future, or fantasy.
Heteronormative patriarchy perpetuates a narrow narrative of idealized male and female characteristics, assigning greater value to its depiction of ideal maleness within the power dynamics of their relationship. However, let’s not kid ourselves; rigid definitions of a gender binary have detrimental effects on all genders even those is positions of privilege.
Dismantling Conventional Gender Ideologies: A Call to Action for Writers
Across decades, gender theorists have critiqued this narrative, addressing concepts such as gender performativity, toxic masculinity, compulsory heterosexuality, and intersectionality. Yet, the myth of timeless, universal traditional gender roles persists in many narratives, particularly within mainstream culture, though not universally.
Increasingly, writers are challenging the persuasiveness of this story in their fiction and are bringing to life different, more imaginative, and inclusive worlds.
Many of us are striving to be more inclusive in our storytelling, but sometimes it’s difficult to know where to start. Sometimes unconscious biases can sneak into our writing without us even realizing it. So, where do we start?
“Free your mind and the rest will follow” sang En Vogue. This is the single biggest thing that you can do to make your novel more gender inclusive. No, you don’t have to listen to En Vogue or any other ‘90s pop. But you can throw the assumption that your fictional world must have the same gender ideology as ours in the bin…
This is your world. You can decide. You can play with and change the ideology of the world you are building.
Considering the gender ideology informing your fictional world is an integral part of the overall worldbuilding. What does it look like? What are the genders in your world, and are they all accepted? Is it a patriarchal society, or is it not? How do families function within this framework?
Exploring Gender in Fiction: Examples and Approaches
To get a better sense of the possibilities available to us, let’s take a look at how some authors are approaching gender in their writing.
Do you want your characters to live in a world with a gender ideology that largely mirrors the one you live in? If so, your narrative can explore how the characters navigate the challenges, obstacles, and opportunities that arise in this context. This approach allows for a rich exploration of familiar gender dynamics and their impact on individual lives.
An example of this is Irish author Louise O’Neill’s Asking For It (2015) which is grounded in the social setting of a small town in Ireland and, at the same time, speaks to two key universally recognisable themes: how both rape survivors and perpetrators are treated in society; and the role social media now plays in assault and bullying.
We might also consider something like Suzanne Collins’ The Hunger Games Trilogy. Though set in a fantasy world with a multitude of female characters, including a “strong female lead,” the gender ideology is familiar and recognizable as similar to western culture. As the hunter and provide Katniss is atypical and subversive, foreshadowing the impact she will have through the games.
O’Neill uses a more realistic setting whereas Collins’ is working with a dystopian world, however, both are using gender structures that are familiar to us in ways that highlight the limitations and challenges of patriarchy.
In Mia P. Manansala’s Tita Rosie’s Kitchen series, the world also feels very similar to our own, however, there is a small, but significant upgrade. Queerness is part of this world. That means that none of Manansala’s queer characters encounter discrimination. Yes, this means that the focus of the story isn’t on the very real discrimination that queer people routinely face in our world. Yet, far from being “unrealistic,” it is a refreshing take on what is possible. It shows us the answer to the question, “wouldn’t it be great if…”
There is, however, nothing to say that you can’t imagine and create a radically different gender ideology. If this is the path you choose, consider what gender relations in that world might look like.
Is it going to be an allegorical critique of patriarchy that draws on a world that looks more like Gilead. O’Neill does this quite successfully in her dystopian novel, Only Ever Yours (2014) set in a world where women exist only to become wives.
Alternatively, you might imagine a world where patriarchy does not exist and all the possibilities that come with that. The Wayfarer Series by Becky Chambers is an example of this. It is a sci-fi series set in an imagined distant future that includes humans and alien species. Chambers thinks creatively and builds a world beyond gender binaries and heteronormative patriarchal nuclear-family structures. She even invents her own pronouns that are part of the culture of the GC (Galactic Commons).
Taking time to reflect on the gender ideology at play in your novel—how it is structured and how it operates—will not help you keep a consistent internal logical, it will also make your characters experiences in that world more believable and relatable fostering a deeper sense of connection with your readers.
Intersectionality in Writing: Creating Multidimensional Characters
Once you have decided roughly on what sort of gender ideology informs your world, you can start to engage and captivate your readers. The trick is to think intersectionally!
Intersectionality “was coined in 1989 by [P]rofessor Kimberlé Crenshaw to describe how race, class, gender, and other individual characteristics ‘intersect’ with one another and overlap.”[3] The term “intersection” comes from the idea of an intersection or junction on a road and it’s a useful vehicle to help us understand how people are differently impacted by the same social structures.
For writers and editors of fiction, insectionality is a valuable tool for creating rich, multilayered worlds that the reader can really buy into and engage with. Thinking intersectionally gives us insight into how all our characters move through and experience the world of our novels in ways that are genuine, believable, and relatable. Is it difficult and challenging to write this way? Yes. Will we make mistakes along the way? Also, yes. Is it worth it? Absolutely, yes!
So, let’s get started. Here are some tips and resources to kick-start your journey.
1) Question Your Characters Gender Identity
Think about a character in your current project. How might their gender identity or expression influence their experiences and interactions in your fictional world? Experimenting with gender identity can open up new dimensions in your storytelling. Consider using non-binary, gender-neutral, or even invented pronouns to reflect your character’s unique identity. This not only challenges traditional norms but also enriches your narrative by providing a fresh perspective on how gender shapes experiences. By thoughtfully integrating diverse pronouns, you start to create a more inclusive and imaginative world for your readers.
2) Think About Identity as Intersectional
In Writing the Other: A Practical Approach, Nisi Shawl and Cynthia Ward recommend using the acronym ROAARS—Race, (sexual) Orientation, Age, Ability, Religion, and Sex—to fully develop your characters. Additionally, consider incorporating class into this framework, even though ROAARCS may not roll off the tongue quite as easily. This comprehensive approach ensures that your characters are multidimensional and reflect the diverse realities of human experience.
3) Develop Well-Rounded Characters Beyond Stereotypes
Once you’ve considered each character’s ROAARCS, delve deeper into their development to avoid tokenism and stereotypical representation. Use ROAARCS as a starting point, not an endpoint. Think about unique traits, interests, life experiences, or hobbies that make your characters distinctive. Specificity is key.
For example, instead of creating a one-dimensional gay best friend who only loves drinking cocktails and watching RuPaul’s Drag Race, develop a character with diverse interests: a gay best friend who enjoys cocktails and Drag Race but also plays football and loves surfing. Their job as a software engineer at a start-up offers them flexible hours, allowing them to pursue their passion for surfing. They maintain a close relationship with their Catholic family, who are no longer practicing and live nearby. This level of detail makes your characters more believable and engaging.
4) Avoid Linking Physical Characteristics to Value Judgements or Traits
Be mindful not to associate physical traits with inherent value or character qualities. For example, if all your admirable cisgender male characters resemble Disney’s Hercules—with their exaggeratedly large muscles, chiselled jaws, and straight noses—and your desirable cisgender female characters look like Meg, with their unrealistically tiny waists and flowing hair, you may be perpetuating harmful stereotypes.
Recognizing this tendency is crucial, as it often stems from unconscious bias. By diversifying the physical appearances of your characters, you create a richer and more inclusive narrative.
5) Research and Seek Help to Avoid Preventable Missteps
Read widely and thoroughly research historical and cultural contexts to avoid obvious and offensive mistakes in your writing. Don’t hesitate to ask for help—recruit an editor who understands these nuances and consider reaching out to authenticity readers. While they may not represent their entire group, their insights can provide valuable perspectives that enhance the accuracy and sensitivity of your work.
Remember that like gender itself, gender inclusivity is not a binary. This means that if you’re feeling overwhelmed, the good news is that you can start by making small changes and grow those changes as you learn more. The most important thing, as Judith Butler says, “is to accept the invitation to revise our ways of thinking.”[4]
Ready to transform your writing? Start by challenging one gender stereotype in your current project. Whether it’s reimagining gender roles in your fantasy world or creating more nuanced characters, every small step counts. Together, we can build worlds that reflect the diversity and complexity of human experiences and imagine a better future.
Resources for Writers: Tools and Insights to Enhance Gender Representation
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity, New York: Routledge, (1990) 2007.
Cho, Sumi, Kimberlé Williams Crenshaw and Leslie McCall. “Toward a Field of Intersectionality Studies: Theory, Applications, and Praxis.” Signs, Intersectionality: Theorizing Power, Empowering Theory, Vol. 38, No. 4, Summer 2013: pp.785-810.
Connell, R.W. Masculinities. Berkeley: U of California P, 1995, 2005.
Coontz, Stephanie. The Way We Never Were: American Families and the Nostalgia Trip, New York: Basic Books/Harper Collins, 1992.
Davies, Angela Y. Women, Race and Class. London: Random House, (1981), 2019.
Federici, Silvia. Witches, Witch-hunting and Women. Oakland: PM press, 2018.
Fine, Cordelia. Delusions of Gender: The Real Science behind Sex Differences. London: Icon, 2010.
hooks, bell. Feminist Theory: From Margins to Centre. 2nd Edition. London: Pluto, (1984) 2000.
Laqueur, Thomas Walter. Making Sex: Body and Gender from Greeks to Freud. Cambridge, MA: Harvard UP, 1990.
Moraga, Cherríe and Gloria Anzaldúa (eds). This Bridge Called My Back: Writings by Radical Women of Color. 4th Edition. New York: SUNY UP, 2015.
Morgan, Cheryl. “Writing Better Trans Characters,” Strange Horizons, 28 September 2015.
Serano, Julia. Excluded: Making Feminist and Queer Movements More Inclusive. Berkeley, CA: Seal, 2013.
Shawl, Nisi and Cynthia Ward. Writing the Other: A Practical Approach. Seattle: Aqueduct, 2005.
Yin, Karen. The Conscious Style Guide: Gender, Sex & Sexuality. Website.
Audio and Visual
Judith Butler on Gender Theory
Kimberlé Crenshaw: on Intersectionality and Gender Equality; on The Urgency of Intersectionality
Witch Please Productions (Marcelle Kosman and Hannah McGregor): Material Girls and Gender Playground podcasts.
NOTES:
[1] I am, as always, using trans-inclusive definitions of woman and women which welcomes all those who identify as female.
[2] If you are interested in reading more on this topic, I highly recommend Silvia Federici’s book Caliban and the Witch (New York: Autonomedia, 2004) or Witches, Witch-hunting and Women (Oakland: PM Press, 2018).
[3] https://www.vox.com/the-highlight/2019/5/20/18542843/intersectionality-conservatism-law-race-gender-discrimination
[4] Judith Butler on Gender Theory (The Big Think)