Dreame Writing Guides

Part 13 Writing Guide for Kickass Heroine Fictions

I. Definition of Kickass heroine Fictions

Kickass heroine fiction is female-centric. That is, the heroine is the main protagonist in the story. Every other character's narrative must revolve around and be dependant on the heroin's core narrative. In a kickass heroine fiction, the heroine should grow as a person. The story should focus on that growth and highlight the protagonist's strategy, struggle, and romantic relationships, etc.

II. Typical Features of Kickass heroine Fictions

(1) The heroine is the main protagonist

Examples of strong female protagonists can be seen in books such as The Scarlette Letter by Nathaniel Hawthorn, and Margarett Attwood's The Handmaiden's Tale.

(2) With a female-centric story, the heroine's growth is the most basic plot device. Without it, there is no story. Here is an example of a female-orientated plot that shows growth: a heroine might grow from an ignorant girl to a person with foresight and a mind of her own.

For is an example taken from Back to my devil billionaire by Isabelle Sweet. In it, the heroine is an ignorant but kind girl. After experiencing deception, betrayal, and losing everything, like a phoenix, she is reborn. In this new state, she gets revenge on her enemies, harvests love, creates a new career, and becomes a tough woman.`

(3) The leading heroes in kickass heroine fiction should always be second-tier characters. Their role is to assist the main protagonist in any way that he can. Typically, his assistance will help her grow. That being said, she should not have to rely on him.

One of the very distinctive features of the kickass heroine fictions is that the heroes in the story are always secondary. For example, in the book I'm Not Only A Beauty by zeole the story follows the heroine's career development. The heroine goes from an Internet celebrity to a company CEO, and then she becomes a diplomat. The heroine's life is enriched, and she achieves success in her career. As she grows, the hero accompanies her and encourages her, which gives her the spiritual encouragement and support that she needs to meet her goals.

III. Misunderstandings about Kickass heroine Fictions

(1) The success of the heroine is a derivative of actions taken by another (usually male) person. In a female-centric story, the protagonist should be able to stand on her own two feet.

In some works, the female lead is led from opportunity to opportunity. It a story like this, she never faces obstacles. Thus, even though she succeeds in the end, she has not grown as a person. A story like this would not be considered to be heroine oriented.

(2) The goal of the heroine's efforts is to obtain the love of a hero in a way that has nothing to do with her self-worth. This kind of heroine has no independence and is very self-conscious. Although she reaps the rewards of being in love, she gives up any sense of self that she might have had.

In some stories, the heroine must act passively to get the favor of the hero. This kind of passivity runs through the entirety of such a story. Outside factors plot the growth of the heroine. She has no clear plan for her life or transparent belief system.

(3) The heroine halo is overstated. The heroine easily breaks through many difficulties under the heroine halo.

In some works, it is often seen that whatever difficulties the heroine meets, she can easily resolve them. In such instances, her "quest" can be seen to be too easy, and, perhaps, boring.

IV. How to Write a Real Good Kickass heroine Fiction 

(Take " Girl power counterattack" writing contest" as an Example)

(1) Central idea

a) To combine the central idea with the primary pursuit of the heroine

The primary pursuit of the heroine should be relatable to readers. If a reader's dreams are similar to the protagonist's dreams, they are more likely to bury themselves in the story, and the heroine's success should arouse their sympathy. The heroine's pursuit of her dream should be beautiful and bright. If the reader cannot relate to the heroine in any way, they are less likely to pursue the story to its conclusion. 

Eg." Girl power" writing contest II theme is counterattack. Every person's dreams are different. When writing, consider the idea that the feelings a person has about their dream might be similar to that of a person with a completely different goal. In this way, a girl who is being bullied in school could relate to a princess who is being harassed in a castle.

b) To combine the central idea with the behavior style of the heroine

The behavior style of the heroine determines the plot obstruction you set. We can see that in many works, the heroine's goal is often achieved too easily, making the story dull. Success makes people proud, but only if they had to work hard to achieve it. Obstructions should be designed to reflect the protagonist's character. Every obstacle should serve a purpose. Eg. In " Girl power counterattack" writing contest" ,If your heroine is brave and decisive, you should think about what kind of obstructions will enhance your heroine's natural strengths.

c) Keep to the point

When regarding the central idea, be concise and keep to the point. Thes are among the basic requirements of a good story. A scattered theme is the last thing you should want. When determining a theme, you should learn to lighten the burden. A fictional story cannot carry too many themes. One is enough. For example, In new “girl power”----heroine counterattack contest, some writers may make the process of the heroine's career fightback their subject. Secondary to that, the author might investigate the heroine's emotional life.

d) To make the novel's theme

If the theme is popular but not novel, the story is unlikely to be any good. To understand what is meant by that, consider the type of urban revenge story that includes a reborn protagonist (for example, Come back as a bad girl, Back to my devil billionaire,); a situation where a rookie in workplace turns into an elite businesswoman (for example, The Devil Wears Prada), or an academic loser turns into a top student (for example, Her billionaire assistant).

(2) The character set of the heroine

a) The hero and the heroine in a kickass heroine fiction can have unequal identities but be equal in their spirits. The heroine should be self-aware and independent. She should have a strong personality, and the same responsibilities and tendencies as men do in other stories. For example, if the story includes a war, and a counterattack is required, then the heroine must be confident. If she is not confident in the early stages of the story, she may be perceived as being inferior to the men around her. Furthermore, she should gradually build up more confidence as the story goes on. 

Here is a precise example from the classic Korean film 200 Pound Beauty. It involves a fat girl who longs for love. Because of her inferiority complex, she has cosmetic surgery and changes her name. However, becoming a beauty does not make her confident. She is always afraid that her past will be known someday. After experiencing a variety of conflicts, suffering, and a series of emotional pains, she eventually confronts her true self and accepts her imperfections. In the end, she declares, "I'm not Jenny. I'm Hanna. I've had plastic surgery, but I'm still Hanna!"

b) The heroine's character should change and grow in a kickass heroine story. A timid character might learn to be brave. She might experience a spiritual awakening or change her way of thinking. These changes help the heroine grow, pursue her goal, and actualize her ideal self. In the end, the heroine's life should be very different from what it was when the reader first met her. 

Let's look at an example: in the classic movie, Legally Blonde, to win back her boyfriend, Elle studies hard and manages to get into Harvard Law School. However, she suffers from discrimination from her classmates. In the end, when Elle wakes up, she no longer seeks the love of her ex-boyfriend, and she can study without distraction. Elle ditches the ex-boyfriend and becomes a good lawyer.

c) The protagonist in a kickass heroine story should have her own beliefs and goals. Her growth should not be related to that of the heroes. Instead, it should be an expansion upon her true self, her yearnings, and her dreams. 

The "Girl power counterattack " fiction contest requires that the fight-back sequences should present the heroine's growth. The male characters in the story may assist the heroine in her growth, but she should not need to rely on him to achieve success. The direct driving force behind the heroine's success should come from her own desires, her ability to grow, her pursuit of faith, and her spiritual self-improvement.

d) The heroine halo may be weakened to show her human nature. No one is perfect, and a protagonist in a kickass heroine story shouldn't be an exception. It is okay to expose the female's vulnerability and embarrassment, so long as it is done in a proper way, a way that presents the heroine's desires, and reminds the readers that the heroine is fallible. The heroine wanted by the "Girl power counterattack " fiction contest is not necessarily perfect or indestructible. She could be fragile sometimes, so as to set off a later stage of growth. 

For example, Mia, in the film Princess Diaries, keeps trying something she isn't good at. In the beginning, she is too afraid to try. Finally, she overcomes her cowardice and is able to make good speeches.

                                                                                                                                                                                  BY Aura