Female Characters in Crisis - Things to Remember
I see a lot of posts highlighting examples of male writers getting descriptions of female characters wrong. Of male writers falling back on tired sexist tropes that place women as props in the male MC’s storyline. But in a world where it’s quite possible to read works only written by men… and I must stress here the importance of diversifying if you haven’t already… it can be difficult to know how NOT to do those things.
The world is ending. Again. So what role do your female characters play in a crisis and how can you avoid one of the most common male-written pitfalls out there? Once you read this, you will see it over and over again in movies and serialised dramas. It’s so prevalent it’s almost standard… and it’s about as far from reality as it’s possible to be.
I’m talking about the moment in the story when things are getting tense or the action is ramping up and the woman looks at the man and asks…
“What are we going to do?!”
The male character then answers the question and heroically steers them through the storm to safety.
Why should you avoid this?
This line scores highly on the bs scale. It’s lazy, inaccurate and damaging.
Lazy, because it’s a shortcut to heroism. Your male character is being handed the reins without having to prove himself worthy. She simply doesn’t know what to do! Ergo, any plan is better than no plan.
Inaccurate, because no woman alive will have zero clue as to what needs to be done in any situation. She will at least have valid ideas to share.
Damaging, because the prevalence of this line reinforces the idea that women are less qualified/capable to lead. This belief keeps women from crisis cabinets in governments around the world, making for less effective responses as a result.
So what can you do instead?
If your male character is the leader
Switch it up
If you’ve included this line already and need a quick fix you can make it about your male character and not about your female character at all.
“What are you going to do now?”
By swapping “we” for “you” you’ve given her autonomy. Her own choice is reserved until she’s heard his plan. At which point she can say: “Okay, let’s go.” Or she can say: “Fine, you do that, I’ll do this other thing that I deem far more important.”
Change one word and you’ve reframed the entire situation.
Make it a discussion
Another quick fix would be to replace the “What do we do now?!” question with a short exchange of ideas, where she challenges his assertions against knowledge/insights she has at her disposal:
“We need to reach higher ground,” Sarah said, closing the windows against the lashing rain.
Brian shook his head. “No, we need to stay here [insert your existing plan].”
Sarah frowned. “You really think that will work? The news said [insert pertinent information/warning].”
“Greg’s given me different advice and he’s a qualified meteorologist…”
“Can we really trust Greg with our lives?”
A gust of wind rattled the window pane. “Look, he’s an idiot but he’s also a damn good scientist. He has access to data the news broadcasters don’t.”
“Okay, but I’m getting an emergency kit together just in case.”
In this segment you’ve not only strengthened Sarah’s role as rational human being, but you’ve proven Brian’s wisdom to the reader. The result is the same, Brian’s plan is the one they’re going with, and you’ve set up further tension: will they need that emergency kit?
If you really want to up your game, her challenges should strengthen and/or add to his plan. Perhaps she points out flaws or suggests a contingency where part of it could go horribly wrong. In doing this, you’re also raising the stakes, making it clear that they’re taking a serious risk. By adding to her voice, you have the opportunity to enrich your narrative in multiple ways.
Is he really the best person for the job?
First, ask yourself why your male character is the leader. If he’s had to step up, was he really the best option? Or was he simply the only man present? If it’s the former, make sure his qualifications are known to the reader. If it’s the latter, think about giving him some credentials or experience points that will stack in his favour.
Alternatively, look at your characters and ask yourself who is the most qualified? If it’s a female character, make her the leader. You might be worried about doing her justice, but we’re writers, we do scary things every day.
If your male character acknowledges her skills and steps aside, or doesn’t even consider himself to be in her league, it doesn’t have to diminish him. Self-awareness and respect are very appealing qualities. Knowing when to let others take over is a major personality flex.
Some great examples:
Stepping into the role of leader in a crisis situation is difficult. Some are born to it, like Chrisjen Avasarala in The Expanse. She was raised in a political family, so she navigates the complexities of the political environment with ease and precision. She’s deeply familiar with the processes around managing conflict and exhibits shrewd reasoning in the face of escalating acts of war.
In comparison, Camina Drummer (The Expanse - Season 2 onwards) has earned her reputation one fight at a time. Throughout the series we see her grow from the capable right hand of Fred Johnson to a fully fledged commander in her own right, doing battle against rival leaders every step of the way.
Crossing into another franchise, Doctor Elizabeth Weir (Stargate Atlantis) is an international crisis negotiator. She has earned her stripes outside the military playing the role of mediator between world leaders in escalating situations. She finds herself in civilian command of a military operation and must navigate the challenges of leadership in an unknown galaxy. She is a fantastic example of a female leader who is qualified but lacks confidence and steps up to the role.
At this point I will say that if you haven’t watched The Expanse or the Stargate franchise, I highly recommend that you do regardless of your preferred genre. They are masterclasses in character development with varied casts all facing their own internal battles, making mistakes and overcoming adversity. We all watch shows to escape, but some are worth watching for the purpose of education - they’re also highly entertaining.
Not all people are leaders
Not everyone is a natural leader and it’s fine if your female character isn’t. However, just because she’s not doesn’t mean she won’t think critically when faced with adversity.
Always bear in mind that she will have priorities and a goal in mind. Your male character might be leading her from point A to point B, but if it looks like he’s going to veer off course and head for point C instead, she’ll probably have something to say about that.
An example:
Think about the female characters in The Walking Dead. Sure, Rick might be the leader, but that doesn’t mean anyone’s blindly following. He makes some dubious decisions and there’s always tension from both the men and women in the group when that happens.
Whenever choices are being made, make sure your female character makes a choice. Even if that choice is to keep following the leader, the act of choosing to do so is important. Simply put, it avoids the assumption that she is incapable of doing anything else. If you outline her reasoning, so much the better.
Transfer of power
Another fun way to explore leadership could be a necessary transfer of power. Perhaps your male character has assumed the role because he’s the man and, whether through delusion or pressure to step up, thinks that’s the only qualification necessary.
Consider the fact that under pressure he may go to pieces: a scenario that’s perfectly plausible and, dare I say, common. This could be the moment when your female character steps forward with a well-formulated plan and does what’s necessary to steer everyone through.
This doesn’t have to diminish him. If he rallies, picks himself up and follows her clear directive, he’s a solid character who’s grown through the experience.
Flawed people drive quality narratives. Your male character can still go on to save the day, while recognising her authority/competency.
What does she bring to the party?
If you’re writing a female character led by a male MC, think about the specific skills she has to offer. Think about how your male leader can rely on her for certain things and trust in her abilities. This is a simple way to give her autonomy and some level of authority while maintaining the dynamic.
For example:
Captain Samantha Carter in Stargate SG1 (who rises through the ranks to become Colonel) is a great example of a female character under male leadership. In the early seasons she lacks confidence in command, but is undoubtedly capable. Colonel Jack O’Neill is the most qualified and has not been handed the job by default. He nurtures Carter as a member of his team and under his leadership, she flourishes.
What’s essential to their dynamic is that she brings specific skills to the party.
Female crisis leaders
There is well documented research about female and male coded styles of leadership, but the important thing to remember is that female leaders often exhibit a highly effective flexible leadership style described as ‘transformational leadership’.
The best thing about ‘transformational leadership’ is it acknowledges that your female leader will simply do what needs to be done. If she needs to grab an AK-47 and defend the perimeter, she can do that. If she needs to establish resources to support a new settlement, while delegating a team to go and take care of the defences, she can do that too.
The best leaders, male and female, combine “command and control” style responses in a crisis, with open communication, transparency, and referral to sources of information/expertise. Think about this when writing your leader. A leader who simply tells people what to do and is never challenged, will appear weak. Strength comes from pivoting in the face of changing information/circumstances, or sticking with the initial decision despite opposition, if they deem it to be correct. Strength also comes from owning mistakes when things go wrong.
The important thing to remember is that there are a multitude of factors to consider in crisis situations. Your leader won’t just be thinking about inflicting damage on the enemy, they will also be issuing directives on resources and aide.
Some key areas to consider:
Delegation - first up, nobody can do it all, so give your leader a trusted person who can execute their directives
Providing support - signing off on support initiatives
Rebuilding societies - you have an outpost? Does everyone have a place where they can do their best work and make a solid contribution?
Mobilising communities - empowering others to do their job by trusting in their expertise, while outlining clear priorities
Fostering solidarity - making speeches to keep the population/community informed and confident in your leader’s abilities
For example:
The opening episode of Stargate Atlantis sees the expedition arrive in an alien galaxy. They have no idea what to expect and they face immediate unexpected delights and complications. Doctor Elizabeth Weir is instantly pulled in multiple directions as excited members of her crew want to share their discoveries. She prioritises.
The military forces set about establishing any immediate dangers. The scientists start working out the systems that control the environment. The medical team go in search of potential hospital facilities.
Soon after arriving, they face a crisis and Elizabeth transitions from democratic leadership to command, and the expedition survives.
Things to avoid
The carer
Don’t get me wrong, a female doctor is a great asset (Doctor Frasier - Stargate SG1 - Doctor Crusher - Star Trek: The Next Generation), but have you made the doctor female because women are automatically assigned caring roles, and that’s the only field in which you can imagine women having any authority in a crisis?
Ask yourself this. You may choose to keep the character either way, but being aware of your subconscious bias will help you to avoid the assumption in future cases.
If possible, introduce an additional female character not in a caring role. This will counter the assumption and provide better representation. If you really want to score points, have both women talk to one another about something other than a male character. Then you’ll be passing the Bechdel Test.
The practical as tedious in crisis situations - mothers
Mother characters are often bogged-down with the practical and portrayed as “stopping the fun”. It’s a trope that needs to die. Think about Malcolm in the Middle. Lois is a fantastic character, but she is often seen as the one trying to hold the domestic together while Hank is allowed to get up to mischief. Marge Simpson (The Simpsons), Sharon Marsh (South Park), Monica in Friends is seen as mother-material because she enforces structure and rules - she explicitly says: “rules are there to control the fun!”
If you’re portraying a mother, firstly, good. Mother characters are usually killed off in speculative fiction, so you’re already winning. However, try to avoid portraying his actions as necessary and heroic, and her actions as tedious and frustrating.
If she’s stopped to pack a bag before running for the door, if she’s insisted on changing clothes after crossing a river to avoid hypothermia, if she’s stopping for a conversation with people instead of keeping her head down and getting to the next plot point, give these moments credence.
Make sure her efforts are rewarded in the narrative.
Otherwise his dismissive frustration will be justified. If she packed a bag, make sure the contents are revisited and used. If she does stop to talk to people, what does she learn?
If you kill her off, ask yourself why you’re doing this and how framing the event reflects on her character. Was she independently heroic, or was she exhibiting incompetence by taking an unnecessary risk? Was she knowingly sacrificing herself to save another (selfless caring role)? Tragedies happen, but make sure you think about these things when writing about her death. Make it plausible. Make it strong.
A good example:
Doctor Janet Frasier (Stargate SG1) is killed in action. She’s a military doctor who goes into a conflict situation and doesn’t make it out alive. It’s sudden and it’s heartbreaking and it’s utterly plausible. She’s doing her job and exhibiting extreme competence. Soldiers are killed in battles, we know this, but the loss is palpable, for the other characters and the audience.
Following up on the event with your surviving male character talking about how it could happen to anyone… perhaps a bit of survivor’s guilt and solid respect for what she was doing at the time. All of this will help to contextualise her loss.
Putting her “in her place”
A common and painful trope is the female character who tries to lead and ends up needing to be rescued. Female characters who fall into the ‘headstrong, independent and badass’ category, often fall foul of the ‘in way over her head and in need of rescue’ plot point.
Your badass female character has survived adversity thus far. To be plausible, we have to see her surviving. We have to see her succeeding. If the first thing she does is fall on her face, it doesn’t matter how many people tell us she’s awesome, we’ve seen no evidence to support it.
But what if rescuing her is the only way he can prove his worth?!
It isn’t the only way. I assure you, there are alternatives.
Can they both rescue something/someone else? Can your male character find himself in need of her help instead? Asking questions, listening to answers and moving forward from a place of greater understanding is the basis of a strong partnership. There are many ways for your male and female leaders to join forces without sapping her of all power and credibility in the process.
If your female leader must be rescued, what led to her to that point? If she’s smart she will have been aware of the risks and the stakes should support and justify her actions. Perhaps she was going after rare resources - medications for example - and there was always a strong possibility the mission would fail. Whose life was at stake? Was there an alternative? Did betrayal lead to her capture? No woman is just a damsel in distress. Always provide the context of her crisis.
Has he earned his position?
If your female character is looking to him for leadership by default… you’re making it easy for him.
If your female leader needs to follow him, but in order for that to happen you strip her of all power and credibility… you’re making it easy for him.
If you want people to trust him, so you make her deliberately untrustworthy/frustrating by comparison… you’re making it easy for him.
Why are you making it easy for him?
Is it because he won’t stand up to scrutiny? Is it because any line of questioning will shoot holes in his plan/personality and prove that he’s an idiot? Is it because by himself he’s just a bit plain and boring?
Well if these are your concerns, your male character needs work. Get him to the point where he can demonstrate genuine leadership qualities without diminishing the women around him.
Increase his potential rather than cutting her down until his average abilities look impressive.
Conclusion
Crisis situations are hard for everyone, but it takes all kinds of people to get through them. For your fictional women to be plausible, make them key players. Keep their goals in mind and understand that as a leader or a follower, your male and female characters can be just as strong.
Read more:
Writing Female Characters: Things to Remember
Writing Female Villains: Things to Remember
How Women React to Men - Female Characters: Things to Remember
Special thanks to Caroline Mersey, Ida Keogh and Janet Forbes for your thoughts and contributions.