When I look at the body of my work and the body of other people's work, what I care about most is that I/they:
1. Give women meaningful, fleshed out plot lines (or subplot lines) that are involve the female character dealing with some internal/external conflict that is meaningful to that character.
2. Make sure that female characters in major roles are not purely in service of advancing a male character's plot line and if the female character is acting as a contagonist or guardian for a male character (aka, is potentially serving only as plot vehicle for the male character), that female character deserves her own personal subplot (with internal/external conflict) unless there is a really damn good reason for not giving her one.
no subject
When I look at the body of my work and the body of other people's work, what I care about most is that I/they:
1. Give women meaningful, fleshed out plot lines (or subplot lines) that are involve the female character dealing with some internal/external conflict that is meaningful to that character.
2. Make sure that female characters in major roles are not purely in service of advancing a male character's plot line and if the female character is acting as a contagonist or guardian for a male character (aka, is potentially serving only as plot vehicle for the male character), that female character deserves her own personal subplot (with internal/external conflict) unless there is a really damn good reason for not giving her one.