Why Is Your Younger Self Perceived As Your Better Self?

Last night, as part of the upcoming online Romance Writers of Australia conference, I sat on a panel of romance authors and editors who were also academics and scholars in romance fiction. We talked about our experiences as doctoral students and the challenges some of us faced when we submitted proposals to critically investigate romance fiction, a genre that was, for far too long, not taken seriously or considered less-than worthy of study. Things have gotten better in academia. We academic types and scholars studying the genre are being taken seriously now, more seriously than women over the age of 40 appearing as lead characters in romance novels are.

Reminiscing with the panel, and my frustration with the ongoing sexist ageism in the romance genre, reminded me of a conversation I once had with another romance fiction author about my romance novels being taken seriously. We talked at a conference for writers, back when I was a fledgling grad student and author on the cusp of being published. Our discussion focused on the age of romance heroines and how they have traditionally been young women, usually under 35. At the time, this author assured me that my writing was good, but she was adamant about two things: romance readers wanted to read about younger women because the springtime womanhood bloom of love was an essential part to the fantasy of romance, and a fundamental part of the traditional structure of romance fiction. She said that, if I was serious about being published, if I wanted to sell lots of books, I’d need to make my heroines younger.

The idea that younger women were essential to the romance fantasy, the ‘springtime’ issue of a female’s fertility being fundamental to falling in love (sorry for the alliteration), was an issue I addressed in my masters and doctoral work. I’m still addressing that notion now. We know fertility is not fundamental to falling in love. The only fundamental here is risk-averse publishers telling authors that books outside the ‘traditional’ parameters of romance “won’t sell”, or that no one wants to read granny sex, y, or z.

The panel, recollecting what that author and a few romance fiction editors have said about younger being essential to the romance novel, reminded me about a blog post I once ready by author Fay Weldon, best known perhaps for her novel The Life and Loves of a She Devil.

Have you ever seen She Devil, the Meryl Streep/Roseanne Barr adaptation? It’s kind of fun and at the same time not fun. It’s basically a story of revenge. What’s fun and not fun for me in the film, is how Meryl is a pink-wearing romance novelist prone to flouncing and histrionics—you know, that glorious Barbara Cartland-eque stereotype of romance novels and writers that still gets volleyed about, which, of course, adds to the genre not being taken seriously. Meryl, as usual, does a stellar job and makes a shallow, self-absorbed, horrid woman more than a caricature in frothy pink, but back to Weldon and all the recollecting. I went and dragged out my resource files, also known as Ageist Shit That Pissed Me Off and I Will Write About Someday.

Obviously, that someday is today.

Weldon, who teaches creative writing, has a section on her website that offers writing tips for authors. One particular post asks What Age Are You Characters? The piece mentions that if you want to be publishable it is important to keep the age of your characters in mind because, as Weldon states,

“readers come in all sizes, sexes, shapes and ages, but all prefer their novels to feature young women rather than old.”

ALL? Really? Ooooh! I love a good sweeping generalisation as much as I love flouncy pink-clad stereotypes of romance authors, don’t you? Stereotypes and generalisations always seem to go hand in hand with ageism and romance fiction, don’t they? Weldon also gives this advice:

“Get your juvenile lead on the front page: lure the reader in. 25 works better than 35, 35 than 45 – after 50, forget it.”

Which is quite similar to what the author said to me at the writers’ conference, but the thing in Weldon’s post that really chaps my hide is how she believes readers…

“…prefer to identify with themselves when young, not as they are now, in the days when they were sexually active, agile of limb, and not afraid of adventure.”

Okay then. I prefer to see myself as I am, to identify with characters who are of a similar age to me, not younger than me. Personally, I am affronted by the notion which assumes that, as I age, I will no longer be adventurous or that I will be afraid of something new. I fully expect to still be curious and adventurous about a range of things as I get along in years, despite how poorly ageing is portrayed and presented in advertising, film, and fiction that favours younger people as better. Why, I continue to wonder, is your younger self perceived to be your better self? I don’t want to be 25, I don’t want to watch or read about characters who are 20 very often, and I don’t think my 20s were my best days—they were far from my best anything. This notion that gold-plates your 20s also shoves down our throats the notion that women over 40 have ‘seen better days,’ that her best days are behind her. Might this be because, as Weldon notes,

“Publishers, who these days tend to turn away novels by middle aged women about middle aged women on the grounds that they are depressing, are probably wise to do so.”

Are older women depressing? Are their stories depressing? Or are women middle-aged and older just written that way? Frankly, when you read a lot of books and watch a lot of films and TV, you notice that older women are absolutely written that way. Younger women are viewed happy and as essential, while older women are constantly cast and represented in roles that are negative, that are depressing, frightening, secondary, non-essential.

If a young heroine is seen by many as an essential aspect in romance, and, as Weldon suggests, other forms of genre fiction as well, I’m gonna throw this a random thought. Could it be that, perhaps, one reason romance fiction may not have been taken seriously is not only because it is often written by women, and therefore a lesser form of writing, but it is also due to heroines having a long history of being overwhelmingly young women? Young women are often not taken seriously due their perceived lack of life experience. At the same time, older women cease to be taken seriously due to their experience, end of fertility, and depressing natures. Ageism swings both ways when you are female.

I understand fledgling writers want advice, fledgling writers take creative writing courses, undertake postgraduate degrees, attend conferences, search the web for guidance, and take heed of what successful writers and writer-teachers have to say. And lots of author-teachers have stuff to say. Here’s where I mention that, in my undergrad days, I had a creative writing teacher who had a one very successful book that lots of high school kids had to read and had been made into a well-received film. His big serious advice was to tell us all A writer must to suffer to write well.

I withdrew from his class because I wasn’t into suffering as much as I was using my imagination to tell a story.

My point is, it’s time to toss out shitty advice like suffering to be a good writer, time to retire ageist advice that demeans, time to take women of all ages seriously—as we have finally begun to take seriously the romance genre and the academic-scholar types who choose to study it.

Thank you to PhD candidate, Rachel Bailey, Dr Laurie Ormond, Dr Amy T Matthews, and Dr Michelle Douglas for inspiring this ranty post.

 

Weldon, F. (2020).What age are your characters? https://fayweldon.co.uk/writing-tip/what-age-are-your-characters/ Retrieved 21 July, 2020.

 

 

 

Discrimination, Diversity, Ageism, and Romance Fiction

AthenaIf you haven’t noticed, discrimination against older women is now a ‘thing,’ a topic of ongoing discussion –thanks to Hollywood, Russell Crowe (we’re getting a lot of mileage from you, Rusty), the fashion industry, and the BBC, but where’s the discourse on mature-aged women in the world of publishing fiction, particularly genre fiction?

Yes, romance fiction. I am looking right at you.

The 19 January 2015 Daily Mail UK has Sandra Howard suggesting that Selfridges (A UK department store) ‘Bright Old Things’ ad campaign is not a “nod to the older generation” or even directed to an older generation, but more of a tactic to sell clothes to the young.

If you missed it, on 16 January 2015, Holly Watt at The Telegraph reported that the BBC was shown to have an “informal policy” of discriminating against older women, and that this “imbalance” in the media shaped “social norms…” While similarly aged male counterparts have advanced or remained as reporters, presenters, and experts, older women have been under-represented as broadcasters. This lack of representation of older women feeds the cult of youth that privileges younger women, and renders older women as invisible, which is often something mature-aged women feel is their reality.

All this ‘discussion of age’ serves to highlight the discussion of diversity, which is another current hot issue. The Academy of Motion Picture Arts & Sciences (AKA the Academy Awards) have been accused of ‘whitewashing’ the 2015 Oscar nominations. As The Wall Street Journal’s Ben Fritz reports, from 16 January 2015. Oscar Nominations Stir Up Controversy for being the least ethnic and racially diverse group of nominees in something like 17 years.

I want the inclusion of ethnicity, race, sexuality, religion, and gender in film, TV, and fiction, particularly romance fiction. That is why this 16 January 2015 article in The Guardian is good: The Six Hottest African Romance Novels for 2015. Yes, that’s African, not ‘African American.’ Ankara Press is “bringing African romance fiction into the bedrooms, offices and hearts of women the world over.” Ethnic diversity and colour diversity. Real life romance has no colour, but if you look at romance fiction you’ll discover how very white most of it is.

HeraThere is one thing that concerns me in the conversations on age discrimination and diversity. Although it is wonderful that ageism and the lack of diversity in the media is topical, age is seldom included in the discussion of diversity of fiction and genre fiction. There is no discussion of the discrimination against mature-aged women in publishing. That is, there is no discourse regarding the representation of women of age in genre fiction, particularly with how they are seldom or not at all represented in romance fiction.

 

 

 

 

Don’t Fall For the Brainwashing

Don’t believe anti-aging advertisements or the getting old is bad propaganda. Stop buying into the crap about 30 spelling the end to your youth, or that hitting forty sounds the death knell for your love life and sex life, or that 50 means frumpy.

Honestly, is that how you really feel?

I for one, get pretty cranky when someone tells me I’m supposed to dress or act, or think a certain way just because I’m well over 21. Don’t you? I like to colour with crayons. I get excited about new movies (Hello, Skyfall!)and new book releases. I squee and sing at the top of my lungs (Brag brag brag…I can carry a tune rather well), and dance in my seat when I drive as much now as when I was 17–well, actually maybe more now because it’s MY car and not my Dad’s.

Hi. I’m the champion for women who feel invisible. Trust me here. You’re not invisible. I see you.