Part 1
A Writer Goes on a Journey calls Twilight clichéd, and considering the sexist views throughout the series, it’s not hard to see why. The story revolves around a helpless heroine who is constantly in need of rescue by supernatural men. She has no sense of self outside of her relationship to them. Given the demographic—teenage girls—the popularity is disturbing, or at least revealing. It did make me wonder though: How is speculative fiction representing gender? Are we writing brave new worlds of equality or reinforcing more traditional roles?
A quick way to assess gender bias is to give the protagonist a sex change and see if the plot still holds. I tried this on my first love, LOTR. (I am a huge Tolkien fan. I actually leaned Elvish when I was a teen so I could write in my diary without fear of discovery!) However, when Frodo becomes female, the story just doesn’t work. Tolkien wrote in a masculinist hegemony, and it shows.

Eowyn, the maiden of Rohan, has to disguise herself as a man ...
He portrays women via the male gaze—maidens with flowing hair, long dresses, and male protection—fathers, brothers or husbands controlling their lives. Eowyn, the maiden of Rohan, has to disguise herself as a man to ride into battle and kill the Nazgul lord. She must reject her feminism and lie to achieve her goals. This tells us something about the gender constructs of Middle Earth.
In the Shire, we don’t meet any females aside from Sam’s Rosie, who gets a few paragraphs, and Bilbo’s hostile aunt, who gets perhaps less. The temptation is to assume the females are in the role of child rearing, bread-baking and other domestic tasks. If Frodo were ‘Froda,’ he wouldn’t make sense as the ring bearer without reconstructing gender norms in the Shire—a full rewrite.
For example would we find ‘Froda’ living sequestered with bachelor Bilbo for all those years, and later living alone with her faithful servant Sam? Although a homosexuality is not implied when these figures are male, heterosexual complications arise with the gender switch. We have no model for it in the present ‘life in the Shire’ and to avoid jarring the reader the ‘feminist’ qualities of hobbits would need more development.
To remain consistent to the work—where females must become like males to have an impact—hobbits might have to be written as an androgynous race (much like the Dwarves). In this way female hobbits would lose the feminine identity and gain effectiveness. Another possibility is to give them ‘higher powers’ as in the race of Elves.

How many parts of Lord of the Rings would change if the main character changed gender?
Conceiving that female hobbits could be rewritten to accommodate ‘Froda’ as ring-bearer, Smeagol the Gollum would have to switch gender as well. As a shadow figure—the dark side of the psyche that knows nature’s ways and the hidden paths yet is damaged and twisted by life—Gollum’s gender must match the ‘light’ figure’s as they do in myths, dreams and fairytales. Again, more rewriting.
What do you think? Is speculative fiction widening our views of classical gender roles or reinforcing traditional ones? Does your favourite hero or heroine withstand a gender switch without confusing plot or meaning? Does it matter? I’d love to hear your comments!
Kim Falconer is the author of the Quantum Enchantment series, beginning with The Spell of Rosette, and continued in Arrows of Time. She is currently working on a second trilogy, and yet has the time to also run Falcon Astrology!