I will say now that to write a “good heroine” goes beyond the bonds of complexity. What is meant by that is that a female character should be direct only ever in the telling of her tale. For a male character will create the complexities for her, though the female character will simply represent the truth for whats she is, at heart. She may be the confusion, the agonies for the novel, the pain and everything that merges in it, though to what the reader screams at her to do, turns her towards that clearness for her truth. All should understand what a female character must do, command her to do, even when her mind is toiled by the story’s conflict.
For we understand of a female character, of all the insecurities of a woman, that for her to do or for us to show her what to do, creates that clearness.
We comprehend what she must do, where she must go, or where she must remain, for that portrays a good female character, for her truth.
A good female character is, therefore, a comprehension of what is complex, only within the tale, as we immediately understand what’s needed for her relief. A good female character demands attention onto her, so that we comprehend what solves her conflict. We understand, as a reader, perhaps are even spoiled before it is shown to us, that what will ease her pain, her worries, has been known by our offered attention.
We are not distracted from the female character, for it is our direct attention upon her that creates her direct choice for what is needed. What is needed, to relieve her conflict, makes us follow her along as though she is the very truth of the whole story.