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Me, Myself, and I: Fan Fiction and the Art of Self- Insertion Keidra Chaney Raizel Liebler

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Me, Myself, and I: Fan Fiction and the Art of Self- Insertion Keidra Chaney Raizel Liebler From the SelectedWorks of Raizel Liebler 2006 Me, myself, and I: Fan fiction and the art of self- insertion Keidra Chaney Raizel Liebler Available at: http://works.bepress.com/raizelliebler/14/ m myself & i By Keidra Chaney and Raizel Li ebler • ILlustration by Jesse Lefkowitz lt's a secret rite of passage for many girls, Writers and readers of fan fiction know her as Mary Sue, and she's one of the most loathed entities in fan rulture. An original particularly those who are aspiring authors: female character displaying unrealistically positive characteris­ penning imaginative, often unspeakably bad tics, Mary Sue is the enviable alter ego-part supermodel, part fiction starring unrealistically perfect heroines. rocket scientist-of the writer who can't help but insinuate her fantasy self into the lives of existing characters. You don't have to You know the type-if you haven't written her, look far to find Mary Sue-she's all over fandom. Even a casual you've read about her: the brave and beautiful search of fanfic published on the intemet will reveal a multitude of attractive, headstrong but feminine characters with "creamy princess/ ballerina/ cowgirl who slays white skin," "curly jet-black ringlets," and "bright-blue eyes that dragons/ becomes president/marries a movie reflect the moonlight." She's Buffy's beautiful, whip-smart star. Sometimes she has her own story to tell, cousin who's a Slayer and a grad student in biophysics-that is, when she's not fronting her own rock band. She's the spunky, but frequently she worms her way into existing headstrong sister/daughter/girlfriend of Harry Potter or Lord of tales. She tends to bear an uncanny the Rings' Legolas, the only one who can single handedly save Hogwarts/Middle earth from destruction- and she does so while resemblance to her creator - ..,)t\lL Y boasting fabulous clothes and hair. s;~RO~'JIGF.R" Vt!~ir!ER- Stt;UER,. You can find an equal number of websites devoted to identifying, FR!!i!f~DUE~l ~U ~D '~·~f!l'niOU'I" critiquing, and openly mocking Mary Sue and her creators, along with a variety of definitions-sometimes contradictory-of what Tt-ME GLASS~$ JU~!O GJ\D Sf·UI~l constitutes a Mary Sue. The Mary Sue Society Avatar Appreciation Website (wwwsubreality.comfmarysue.htrn), for instance, which is dedicated to both celebrating and poking gentle fun at Mary Sue, describes her as "any original or deeply altered character who rep­ resents a slice of hisfher creator's own ego; sfhe is treasured by hisfher creator but only rarely by anyone else. More negatively, a Mary Sue is a prima donna (usually but not always badly written) who saps life and realism out of every other character around, tak ing over the plot... to serve hisfher selfish purposes." 52 bitch ISSUE NO. 31 Certainly, not all examples of self-insertion in fiction of the Rings to HBO prison series Oz-feature male are so idealized, and not every exceptionally pretty, characters running the show. smart, and prominently featured female fanfic character Some writers champion Mary Sue without shame, is a refection of the author's ego. And although Mary defending the tropeas a way for fanficwriters-and fiction Sue is a creation of contemporary fan culture, echoes of writers in general-to include their own most positive her are found across the centuries and across mass traits in the story, making themselves a major character, if media, wherever idealized female characters and thinly not the true star of the show. It's equal parts ego-tripping disguised author avatars pop up-but we're getting and wish fulfillment: After all, what fiction writer doesn't ahead of ourselves. secretly yearn to see him or herself as the center of the What commonly definesa Mary Sue is not simply the action? But it's also part and parcel of the writing process appearance of positive characteristics, but rather the for many authors, particularly novices. exaggeration of those traits to an unattainable ideal: Where exactly did Mary Sue-or at least her official She's not just smart, kind, quirky, or pretty, she's name-come from? As with so many other trends in fan smarter, nicer, quirkier, and prettier than any other culture, in the beginning there was Star Trek. Though the female around-and her creator will allow no one to for­ future as defined by the early incarnations of Star Trek get it. Mary Sues always display some unique ability-a was racially diverse, its gender outlook was less progres­ latent magical power, exceptional intelligence, or tech­ sive: Female characters tended to be either alien love nical acumen-that is required at a pivotal point in the interests for Captain Kirk, or support staff like narrative. Often appearing on the scene carrying some Lieutenant Uhura (whose portrayer, Nichelle Nichols, deep, dark secret-she's an unknown relative, say, or described the character as a "glorified switchboard oper­ long-lost lover of another established character-she is ator"). The desire for more involved female characters intricately tied in some way to the major plot and char­ led many fans to write their own Star Trek stories, posit­ acters of the story. ing that if they were on the bridge of the Enterprise, Mary Sue often performs a technical service to her cre­ things would have turned out differently. Many of these ator as well, acting as a deus ex machina or a chameleon­ early fanfics attempted to condense all of the female esque character actor able to play any role required of attributes they wanted to see on the show into one her. She's the glue that holds a story together, comment­ female character, and Mary Sue was born. ing on perceived flaws in a plan, uniting lovelorn char­ acters who "belong together," transforming a villainous K 1 character into a virtuous one by the power of her love, E�'t,mit ,;,111c:llibll[� IT'YfP1E i�tPtmsrtE�n� m1�1 fJl��i llif':;' Hf""'!]"P.!l'"i.l!fi\.ffl '=r'!i:� Ji"1 �<t. m1tn:�·1�,f\!l!:})II!:� �ii'1�,m11;� !fJH It/� nr�; bringing together major characters in a shared adoration ill IIP-::,!il !.: l1r·&z �=--e1 � LI t!:rnbl�\Jl 1\��)w bbr:il:b:il.! �.:*-'i'Hi'�!&::1 "�"- ill1il: 1 l.1 111uri��Hl1..#, of her. A Mary Sue is frequently deployed to "correct" ///\,,, 1!"�1it/:U)t1i\li:::,er�w r "· !.\\"'" "Mary Sue" was formally named afterthe problems that fans see in the original text: She becomes main character in Paula Smith's 1974 Star Trek parody, the beautiful, alternate-universe daughter of Buffy and "Trekkie's Tale." In Smith's story, Lieutenant Mary Sue, a Spike who visits from the future to ensure her birth by beautiful and resourceful half-Vulcan, saves the reuniting her parents. She's Rory Gilmore's gorgeous Enterprisefrom destruction by using a hairpin, and then twin sister separated at birth, natch-who returns to dies tragically, "surrounded by Captain Kirk, Mr. Spock, Stars Hollow to mend the rift between her mother and Dr. McCoy, and Mr. Scott all weeping unashamedly at the grandmother. She's the tough, skilled-and don't forget loss of her beautiful youth and youthful beauty, intelli­ hot!-female Jedi who rescues Star Wars' Qui-Gon Jinn gence, capability, and all-around niceness." This urtext is from being killed by Darth Maul. reprinted in Camille Bacon-Smith's book Enterp1ising In short, Mary Sue makes the story all about her. She Women: Television Fandom and the Creation of Popular may not be the main character, but she is almost always Myth, in which Bacon-Smith describes Mary Sue as "the the unifying factor. While this narcissistic aspect of most universally denigrated genre in the entire canon of Mary Sue is often criticized, it can also be viewed as an fan fiction." Over time, Mary Sue became the gendered expression of agency by female authors-creating exemplar of annoying self-inserted perfection, expand­ female characters who embody everything that their ing her infuence to fan works of all genres. writers see as good and desirable and making the story But while her name may be a modern creation, Mary turn out just right. The desire to insert take-charge Sue-like qualities fit into a larger historical and literary female characters especially makes sense considering context. In a 1999 article, "Too Good to Be True: 150 that the source texts for so much fan fiction-from Lord Years of Mary Sue," scholar Pat Pflieger references the 54 bitch ISSUE NO. 31 use of proto-Mary Sues as far back as the 19th century, historical ideal of the perfect heroine has evolved and describing these creations as persisted over time-despite the fact that multifaceted female characters exist. Mary Sue is the modem version ·supergirls: multitalented females who have everything, do of the pretty princess who can do no wrong. everything, and outshine everyone ... : The Mary Sues who die While Mary Sue is a fanfic archetype, the term has in the 2.oth century are anything but pure and fragile, but their begun to make a jump from describing only fun-created plot pattern draws from this image of 19th century perfection. characters to describing original female characters as they [They) are an inspiration to the (other) characters... , an image of appear in other forms of mass medir-though the use of nobility and beauty that can become an icon of perfection. the term "Mary Sue" in these contexts further complicates its multiple and conflicted definitions within fun culture.
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