On gender and worldbuilding

This is not a review of Everina Maxwell’s Winter’s Orbit, or at least I don’t intend to tag it as one. That said, it’s as close as I’m going to come, and you’ll have a pretty good idea of what I thought about the book by the time I’m done writing anyway. And we should definitely take a moment and stare at that outstanding cover, which is the best thing about the book.

Also, note that the two silhouettes at the top are both pretty gender-neutral, as that’s gonna be a thing.

Let’s talk for a second about how we assign gender to people we haven’t met. Typically this is a thing that happens so fast as to be nearly automatic, to the point where if we aren’t able to immediately assign someone to “male” or “female” it’s immediately noticeable and, for a lot of people quite stressful. (I’m leaving the discussion of whether that’s okay aside, for the record.) But here’s what we do: a quick visual scan for secondary sexual characteristics, right? Prominent breasts, facial hair, hips, then things like clothes and hair length, and sometimes we’re in situations where one thing will trump another. I can’t be the only guy in the world who used to have long hair and has been addressed as “ma’am” by someone behind me who hadn’t seen my face yet, and not one of those people didn’t immediately change their mind and get apologetic the second I turned around and they saw my beard. Never-not-once did anyone think “Wow, that lady has a beard!” Similarly, as a fat guy, while I’m not exactly proud of this, the fact is I’ve dated women with smaller breasts than me. Nobody’s ever looked at my chest and decided I was a woman.

Transgender and nonbinary people have become a lot more broadly socially accepted in the last few years, and the notion of asking people what their pronouns are (or explicitly noting them in, say, an email signature, or a sticker on a name badge) has become something that people are much more likely to do now. This is what happens when those secondary sexual characteristics fail us; sometimes we misgender people, and people making their pronouns clear from the jump has become a good way to avoid making that mistake. There’s still no good way to visually identify someone as nonbinary, though, because people who are nonbinary may still initially scan as feminine or masculine (and people who do present as ambiguous aren’t always nonbinary) so if someone uses they/them as their pronouns (or anything, really, other than he/him/she/her) there’s no immediate way to find that out other than asking, if the person doesn’t do something to make it clear to other people.

In my Benevolence Archives, elves are nonbinary, to the point where displaying visible secondary sex characteristics is viewed as a birth defect. Elves use xe/xir as pronouns, and everyone just knows that, because that’s how elves work. How do elves reproduce? Dunno, I haven’t decided yet. But I decided early on in building the universe that each of the major races would approach gender roles and gender differences a little differently as a culture. For elves, it’s irrelevant. Other cultures range from dwarves, which are a strict matriarchy, to the strict patriarchy of the ogres, to the slightly softer gender role differences of gnomes and humans.

One more side path, and then I’ll circle back to Winter’s Orbit. Feel free to pop over to this post about Sarah Gailey’s novella Taste of Marrow real quick. In short, my main issue with Gailey’s book was one character, named Hero, who uses they/them pronouns, and it becomes very clear over the course of reading the book that Hero is not so much a character as a little game that Gailey is playing with their (Gailey also uses they/them pronouns, although I don’t think they were doing that when Marrow came out, which makes me wonder if I should go back and edit it) readers. Hero is never physically described at all, either by their clothing or their body, and Gailey goes so far as to make sure that Hero never has to talk to anyone other than the core group of characters so that there is never a situation where someone might meet them and guess at their gender. Making things somewhat more annoying is that the book is set 100 or so years ago, making everyone’s open acceptance of whatever is actually going on there slightly less realistic than the central story tenet of the book, which is cowboys riding hippos.

I’m happy to read books with trans or nonbinary characters. And this isn’t so much a complaint about “I don’t know what’s in this person’s pants!” as I have no idea at all what this character might look like, and that’s annoying. Give us something! Nonbinary characters shouldn’t be in your book just so that you can have one character that your audience is endlessly digging for clues about just to figure out how to picture them.

(This can be tricky, of course, and I’ve also read books that made sure you knew characters were trans by doing things like having scenes where a trans woman character more or less loudly announces I SHALL NOW GO URINATE WITH MY PENIS IN THE LADIES’ ROOM, which also sucks because it’s character development via bludgeon. I have a minor side character in BA who I have known was gay since the jump but it’s never made it on the page because I’ve not been able to come up with a way to make it not sound forced in. But that’s a separate conversation.)

So. This book.

Winter’s Orbit began in a way that caught my attention immediately. The book begins with the Emperor (note: male form of the word) summoning her grandson and commanding him to marry a man whose husband has just died, because it is essential that this bond of marriage between the two families be maintained. In going over the grandson’s qualifications for said marriage, he is described as “not gender-exclusive.”

As first five pages go … yeah, my attention was captured pretty quickly. And finding out a few pages later that the two main cultures in this book both identify gender by, effectively, clothing accessories was, if nothing else, not something I’d seen before. One planet, if I’m remembering correctly, identifies men with wooden jewelry and women with crystal jewelry, and if you’re not wearing either you’re nonbinary and use they/them. The other planet apparently uses knots in scarves as a gender identifier, to the point where one character doesn’t recognize a knot and has to be corrected by another when he misgenders someone.

At one point the main character is asked about his ancestry, and he names two “primaries,” and then says for the rest of his genetic mixture the person asking would have to go check his records, so while this is the only detail we get about childbearing (and there are no children whatsoever in the book) one can assume that giving birth is no longer something that half the population is expected to do.

You may already see my problem. In this book, use of “he” or “she” tells you absolutely nothing about what someone looks like, and not only that, there’s not any correlation between gender and societal role– the Emperor and at least one general are both “she,” for example, and suddenly “not gender-exclusive” makes more sense than “bisexual” might have, because in this world there’s no connection at all, as far as I can tell, between someone’s body and their gender. So this book is getting a lot of attention for gay representation, but there’s actually nothing to let us know that Kiem and Jainan both have penises, or more to the point, since they both identify as male, that there’s any concept of homosexuality that can be mapped to this world in the first place. In fact, having read the book, I think there are a couple of hints that Jainan has XX chromosomes and a body we’d call a woman’s; he is described several times as smaller than Kiem, has long hair, and– more telling– there is a scene where he takes his shirt off in front of Kiem and Kiem turns around to give him privacy, which seems slightly unlikely if there aren’t female-presenting breasts under that shirt.

The book explicitly talks about their skin color– both are shades of brown, with one darker than the other– and Jainan’s long hair comes up a couple of times, but other than that they are given no physical description at all. They actually have sex at one point in the book without the author giving any details about what they’re actually doing. I don’t expect this book, which is YA, to flirt with being porn or anything like that, but … come on.

For that matter, if you’re going to posit a world where physical characteristics don’t tell you anything about a person’s gender, relegating those to external pieces of jewelry or knots in scarves, for crying out loud, and where different genders don’t have any particular societal role … why are we still bothering in the first place? What, precisely, makes Kiem a “he” other than that the author is calling him that? What does “he” or “she” even mean in this world? Can Kiem change jewelry tomorrow and expect people to start calling him “she”? Is there any societal weight at all to one’s choice of gender? How does nonbinary even make sense as an option when your gender doesn’t actually, like, do anything? In our society, saying that you don’t buy into the male/female dichotomy has some implications. In a world where gender is meaningless, what does nonbinary mean?

How do you tell someone’s gender if that person is naked?

Do people with uteruses still get pregnant? Clearly this one character has tons of different contributors to his genetic makeup, but he’s royalty; is that true for commoners as well? If we’re still doing political marriages, does viability for producing offspring matter, or can any two people create a child?

The book gets into none of this, which I find immensely frustrating, because frankly the implications of this simple decision about how gender works are the single most interesting thing about the book to me. And that’s a damn shame, because if you’re going to make fiddling with gender a part of your worldbuilding, you owe it to your readers to explore the implications of what you’ve decided to do. And that’s before we have to carefully avoid giving any useful description of anyone in the book– it goes without saying that no one ever has facial hair, for example– so that your setup can even work.

I don’t think it’s asking for much to expect authors to put as much thought into their worldbuilding as the reader will within the first fifteen pages. I dunno; this piece is 1800 words or so long so maybe I’m displaying some sort of hangup on my part, but c’mon. Do better.

In which your book sucks and you probably do too


Here’s how to write a book I’m not going to like:

  • Start with what sounds like a promising premise.  No, really– I’ll not like your book more if I originally thought I was going to enjoy it, and I have to start reading your book before I can realize how bad it is.  So you actually need to do something cool with at least the basic setting of your book to get me to pick it up in the first place.  Don’t worry– I like lots of different kinds of things, so “interesting setting” isn’t actually that high of a bar to clear.  Alternatively, have someone I like and/or respect recommend your book, or even just catch me in the right mood and I’ll start reading.
  • Once you’ve got your basic setting, don’t do any more thinking about it at all.  It may be that bits of your setting don’t quite make basic sense.  That’s okay!  People who like for their fantasy books to hang together coherently are few and far between, and besides, why would you want to overthink things?  Just say whatever you want.  So long as it’s badass, it’s okay, right?
  • Women don’t read books, and neither do men who like women, so there’s no reason to pay any attention to your female characters, make them realistic, or really use them as anything other than sex objects and/or punching bags.  Sometimes at the same time!
  • Rape is Realistic, which means it’s okay to have it in your book all the goddamn time.  Pay no attention to the part where “realism” is not demanded in any other aspect of your writing.  Women Back Then had to worry about being raped, so the male characters in your book should all be rapists and the women should all worry about rape all the time– unless they’re sluts, in which case it’s impossible to rape them anyway.

Ladies and gentlemen, let’s list the sins of Peter V. Brett’s The Warded Man:

  • It’s actually pretty well-written on a sentence-by-sentence, paragraph-by-paragraph level.  This actually ends up being critical to getting me to hate it, because had it been poorly written in addition to being crap (let’s assume for the sake of argument that we can actually treat these as being separate characteristics) I would have abandoned it much earlier and thus it would not have had the chance to piss me off as much as it did.
  • The setting is thus:  There are demons in the world, called Corelings, and they come up out of the ground every night to wreak havoc on the world and Kill All Humans!  The world is thus very dangerous to everyone, and human society is more or less on the brink of extinction.  The Corelings are winning, in other words. The sun drives them off, so daytime is safe, but being outside after dark is basically fatal.  Corelings can be driven away by use of a set of magical symbols called Wards, but Wards can be fragile (step on one, and it loses its magic, for example) and making them correctly is difficult.  This is actually a decently intriguing setup for a novel and got me about halfway through the book.  However?
  • He didn’t put a single damn second of thought into it beyond that.  You know what every human habitation would have if the world worked like this?  Walls.  You’d build the walls before you put buildings inside them, and you’d carve your wards into something as permanent as possible and put them on the walls.  Portable rope-and-board warding circles exist, so if you were trying to build a settlement at Point B you could put most of the wall together at Point A and then transport it so that you could get them set up quickly.
  • Clothing would have wards on it– if wards couldn’t be worked into cloth for some reason, people would be wearing more permanent garments– helmets, for example, or maybe bracers of some kind– that could have wards carved into them.  The author appears to have never thought of this idea, which I started wondering about maybe twenty pages into the book.  The idea’s really obvious, honestly; you’d think he’d at least have had a sentence or two where he explained why this can’t work.
  • Corelings can’t rise through worked stone.  This would tend to suggest that most towns at least have a central area with cobblestones so someplace is safe from them.  They don’t.
  • “Hey, what about tattoos?” you might be thinking right about now, having learned about this scenario two minutes ago.  It apparently took hundreds of years of being constantly killed by these things before one of the main characters comes up with the idea of actually tattooing a ward onto himself.  Which not only works, but turns him into a demon-fighting ninja straight out of a Rob Liefeld comic book from 1995.  And a thoroughly dislikeable one, too, even though previously he was an interesting character.  Sadly, HIS PARENTS ARE DEAD!!! which means he smolders with generic rage.
  • In addition to the defensive wards (one of which, by the way, inexplicably hardens glass to be like steel, even though every other ward does something to demons) there are offensive wards that you can put on weapons to help you fight demons; otherwise, they’re basically invulnerable.  They were lost, though– all of them, so long ago that many people don’t believe they existed, even though none of the defensive wards were lost.  This is both possible and makes sense… somehow.  Until the main character finds a spear in a tomb, cracks the wards, pledges to start making weapons with those wards for everyone, and then… just doesn’t, for some reason, in favor of becoming Tattooed Demon Batman.
  • There are three main characters.  One is Tattooed Demon Batman.  The other is boring.  The third is a girl, with big tits, who spends the entire book avoiding rapists– like, literally, at one point she surreptitiously doses a guy’s food with some sort of impotence drug because she’s traveling with him (not a lot of room in a tent inside a portable ward ring) and she knows he’s going to rape her.  He’s real open about it– if she needs his help, she’s giving up some nappy dugout.  Charmingly, after spending the entire night trying to fuck her and being unable to get it up, he tells her he’ll kill her if she tells anyone about it.  This doesn’t stop her from considering asking him to help her again later on in the book.
  • With about a hundred pages left, she’s brutally gangraped.  For no fucking reason at all other than apparently Peter Brett figured something awful needed to happen to her.  Did I mention she was a virgin?  Because of course she was.
  • Ten pages after that (maybe not exactly, but close enough) she fucks Tattooed Demon Batman, who she’s just met, because that’s what rape victims do.  Tattooed Demon Batman and Other Boring Dude kill two of the three rapists by stealing their warding circle (roll with it) but the book makes sure to mention that the big scary one of the three rapists doesn’t appear to be among the bodies.
  • Throw in several chapters of slut-shaming, too, and three mothers– one a cheating, emasculating harridan and two whose purposes in the narrative are to die horribly so that their sons can feel bad about it.  The only semi-positive female character is a Wise Old Crone.  No, really, I’m serious.

This book fucking sucked and you should not read it, and Peter V. Brett should feel bad for having written it.  The worst bit is that I could easily keep complaining for another thousand words but the boy just woke up so I have to go.