…the use of the term Mary-Sue comes with an obvious assumption attached: if characters like this are simply unacceptable by definition, then there must be other types of characters out there that are OK. After all, not every single female character ever written can possibly be a Mary-Sue. Even the people who cling to the term Mary-Sue as if it was their long-lost twin would not dispute that.
The Mary-Sue is a ‘fake girl’. A plastic girl, an unrealistic girl, a perfect girl. Her opposite number in that case must be a real girl. A human girl. A realistic girl. An imperfect girl. Fictional ladies whose failures and flaws are right there on the page. Ladies who cannot be dismissed as ‘too perfect’ or ‘wish fulfilment’. Let’s call this type of character a Sarah-Jane.
Now, because Sarah-Janes are in total contrast to the Mary-Sue, defying all the traits that are supposed to make a Mary-Sue unacceptable, then the Sarah-Jane, by definition, must be acceptable. I mean, obviously they’re not as tightly defined as the Mary-Sue type, and because their major trait is that they’re realistic, they’re going to vary a lot. But they must be the kind of character that readers want to see. The kind that readers will embrace. The kind that they will at least give a chance.
Yeah. No. It turns out the vast majority of talk about Sarah-Janes - realistic, flawed, prominent female characters in fiction - *still* centres on what is wrong with them, and all the reasons they are SO ANNOYING for… not being perfect?
Zoë Marriott, “Real Girls, Fake Girls, Everybody Hates Girls”
This is just a sample of a long and thoughtful essay — check out the rest!