Tina Connolly versus The Heroine Question

Posted on July 22, 2015 by

Tina_Connolly-author-headshot1-colorTina Connolly is the author of the Ironskin trilogy from Tor Books, and the Seriously Wicked series, from Tor Teen. Ironskin, her first fantasy novel, was a Nebula finalist. Her stories have appeared in Women Destroy SFLightspeed, Tor.com, Strange Horizons, Beneath Ceaseless Skies, and many more. Her narrations have appeared in audiobooks and podcasts including Podcastle, Beneath Ceaseless Skies, John Joseph Adams’The End is Nigh series, and more. She runs the Parsec-winning flash fiction podcast Toasted Cake.

She is originally from Lawrence, Kansas, but she now lives with her family in Portland, Oregon.

Is there a literary heroine on whom you imprinted as a child? A first love, a person you wanted to become as an adult, a heroic girl or woman you pretended to be on the playground at recess?

Oh, totally. Some of my favorites: Aerin of Robin McKinley’s The Hero and the Crown, Anne and Emily from L.M. Montgomery’s books, several of the theatre-loving girls in Noel Streatfeild’s series (particularly Sorrel from Theatre Shoes), and Menolly in Anne McCaffrey’s Harper Hall trilogy.

What it was they did or what qualities did they embody that captured your imagination?

Sometimes they knew what they wanted, and sometimes it was more an inchoate yearning to do something. Stubborn. Anne having to deal with floods of emotion when struck by beauty (what is it, how do you transmute it into something). But despite being a lovely person, she didn’t particularly do anything with her creativity, not lasting, anyway, which made me end up identifying more with Emily, even though I didn’t want to be a writer as a child. The artistic heroines of Streatfeild’s books learn that you have to work at your craft, which was always a valuable lesson.

Aerin has to deal with a wild sort of magic running through her, and figure out how to make it useful, to help her country. (Not to mention the stubbornness of going through the scientific process, trying a billion different tweaks to her fireproof ointment till one works.) Menolly has to make music, and when she can’t, she runs away, not so much out of a well-thought out plan, just that the urge to create drives you on.

How do these women compare to the female characters in your work? Are they your heroines’ literary ancestors?

That is a really interesting question, because I don’t think I’ve written a heroine (in my books, at least) driven by the creative process yet (though I keep saying I want to write one.) All my heroines are stubborn, yeah. I was thinking it through and so far all my book heroines are driven by the urge to help, to set something right. There is something that they identify with, something that makes it personal.

In my newest book, Seriously Wicked, heroine Cam is stuck living with a *seriously wicked* witch.

When the witch summons a demon, he accidentally gets into the new cute boy at school. So Cam is determined to help the boy in distress, since it’s a little bit her fault, and even more it’s just flat-out empathy for someone else getting roped into the same awful things she’s roped into every day. So she’s stubborn, like me, and like my favorite heroines. I was realizing the other day that another trait we share is that Cam is certain she can juggle it all, keep all the balls and plates spinning. Stop the witch’s schemes and still get an A in Algebra.

I do want to write a creative-process-driven heroine, though. I just need to find the right SF-nal setting for it….

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Tina Connolly’s website is here, and you can find her on Twitter and on Facebook.

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About this post: The Heroine Question is my name for a series of short interviews with female writers about their favorite characters and literary influences. Clicking the link will take you to all the other interviews, with awesome people like Jane Lindskold, Gemma Files, Caitlin Sweet, and Jessica Reisman.

 

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