Is your Strong Female Character just window dressing? Are you telling your audience that she is independent and a bad ass without showing them anything to back up that claim? Think of a character you have written (or are thinking to write) and answer the following questions:
After being introduced, does your Strong Female Character then fail to do anything fundamentally significant to the outcome of the plot? Anything at all?
If she does accomplish something plot-significant, is it primarily getting raped, beaten, or killed to motivate a male hero? Or deciding to have sex with/not have sex with/agreeing to date/deciding to break up with a male hero? Or nagging a male hero into growing up, or nagging him to stop being so heroic? Basically, does she only exist to service the male hero’s needs, development, or motivations?
Could your Strong Female Character be seamlessly replaced with a floor lamp with some useful information written on it to help a male hero?
Is a fundamental point of your plot that your Strong Female Character is the strongest, smartest, meanest, toughest, or most experienced character in the story—until the protagonist arrives?
…or worse, does he enter the story as a bumbling fuck-up, but spend the whole story rapidly evolving past her, while she stays entirely static, and even cheers him on? Does your Strong Female Character exist primarily so the protagonist can impress her?
It’s nice if she’s hyper-cool, but does she only start off that way so a male hero will look even cooler by comparison when he rescues or surpasses her?
Is she so strong and capable that she’s never needed rescuing before now, but once the plot kicks into gear, she’s suddenly captured or threatened by the villain, and needs the hero’s intervention? Is breaking down her pride a fundamental part of the story?
Does she disappear entirely for the second half/third act of the film, for any reason other than because she’s doing something significant to the plot (besides being a hostage, or dying)?
If you can honestly answer “no” to every one of these questions, you might actually have a Strong Female Character worthy of the name. Congratulations!
(Taken from THIS ARTICLE which is an interesting read in it’s own right - covering the recent trend of creating SFCs who are introduced as strong and independent, but are usually completely useless when it comes to taking an active role in the plot.)
Horror stories about Muslim misogyny have long been used by western patriarchs to justify imperialism abroad and sexism at home. The Guardian’s Katharine Viner reminds us about Lord Cromer, the British consul general in Egypt from 1883. Cromer believed the Egyptians were morally and culturally inferior in their treatment of women and that they should be “persuaded or forced” to become “civilised” by disposing of the veil.
"And what did this forward-thinking, feminist-sounding veil-burner do when he got home to Britain?" asks Viner. "He founded and presided over the Men’s League for Opposing Women’s Suffrage, which tried, by any means possible, to stop women getting the vote. Colonial patriarchs like Cromer … wanted merely to replace eastern misogyny with western misogyny." More than a century later, the same logic is used to imply that misogyny only matters when it isn’t being done by white men.
Why is it that people are willing to spend $20 on a bowl of pasta with sauce that they might actually be able to replicate pretty faithfully at home, yet they balk at the notion of a white-table cloth Thai restaurant, or a tacos that cost more than $3 each? Even in a city as “cosmopolitan” as New York, restaurant openings like Tamarind Tribeca (Indian) and Lotus of Siam (Thai) always seem to elicit this knee-jerk reaction from some diners who have decided that certain countries produce food that belongs in the “cheap eats” category—and it’s not allowed out. (Side note: How often do magazine lists of “cheap eats” double as rundowns of outer-borough ethnic foods?)
Yelp, Chowhound, and other restaurant sites are littered with comments like, “$5 for dumplings?? I’ll go to Flushing, thanks!” or “When I was backpacking in India this dish cost like five cents, only an idiot would pay that much!” Yet you never see complaints about the prices at Western restaurants framed in these terms, because it’s ingrained in people’s heads that these foods are somehow “worth” more. If we’re talking foie gras or chateaubriand, fair enough. But be real: You know damn well that rigatoni sorrentino is no more expensive to produce than a plate of duck laab, so to decry a pricey version as a ripoff is disingenuous. This question of perceived value is becoming increasingly troublesome as more non-native (read: white) chefs take on “ethnic” cuisines, and suddenly it’s okay to charge $14 for shu mai because hey, the chef is ELEVATING the cuisine.
"If you really believe in standing up to those threatening the Christian way of life," Hills said on his UK television program "The Last Leg," "how about putting your money where your mouth is, taking a direct flight to Iraq and picketing the people threatening to behead Christians if they don’t convert?"
Hills then took his suggestion a step further by making a generous offer. “I will personally pay for every member of the Westboro Baptist Church to fly to Iraq right now. I’ll even fly you first class and pay the carbon offset.”
I maintain that this is one of the most beautiful, haunting songs I have ever heard… and yet I hardly see anyone singing the praises of Billy Boyd. So here is an appreciation post for him. You have a lovely voice, sir.
EDIT: I’ve learned from many of you since posting this that Mr. Boyd actually wrote the melody to this song himself. One more reason to appreciate his amazing talent! Thank you to those who taught me something new. ^_^