In the first blog in this series, we explored plot-induced issues, such as plot-induced intelligence/stupidity and strength/weakness. The next story problem has to do with characters, namely perfect characters—those characters who drive readers and audiences crazy with their flat arcs and larger-than-life existence. These characters are known as Mary Sues and Gary Stus.
What Is a Mary Sue/Gary Stu?
While there is some debate about the definition of one, it is universally accepted that Mary Sues are perfect in whatever they do. They possess skills at an unusually high level with little or no effort required to acquire those talents. They never have to try and never fail. They are the “chosen ones” or the best at what they need to excel in their world or story. They are beloved by all for no obvious reason. They are simply desired. They are attractive, but lack personality in most cases. But they do have power even if they don’t have to work to achieve their goal.
Though many will argue which characters deserve the Mary Sue designation, there are a few that are mentioned a lot: Bella Swan from Twilight, Rey from Star Wars, Anastasia Steele from Fifty Shades of Gray, Mulan from the live action film (not the animated version), Katniss Everdeen from Hunger Games, and most versions of Wonder Woman. They represent wish-fulfillment for the author, representing those types of people the author wishes existed in real life, but don’t. They are the perfect hero for a love story. The most kick-ass action hero on the planet with a great grin and sense of humor. The savior of the world.
But they aren’t real or even close to resembling a real person. They are ideals and faulty ones at that.
Mary Sues lack character growth and development. They are written from their superficial traits and overpowered skills compared to their training or knowledge. Their development is hollow, based on nothing but hyperbole.
Mary Sues are not alone. There is a male counterpart, called a Gary Stu or Marty Stu.
The Gary Stu/Marty Stu
Though less common, Gary Stus are less maligned or called out than the female versions. They are cool badasses. They are the definition of an action hero. They are gorgeous, sexy, and able to do anything. Gary Stus have all the skills with zero flaws. They have the looks, skills, and goals. They are not deep characters, but they have charm and a great smile going for them. Sometimes they work out, but if they do it’s with extreme focus and insane amounts of time and training methods. It’s no regular gym for this guy. But despite their training regimen (or lack thereof), they are popular and great lovers. They are the alpha—the top at what they do, even if they have to gain new powers without effort or obvious means to stay on top.
Gary Stus lack consequences for their actions or laugh them off as nothing. They are male perfection. They are dangerous and exciting. If they don’t possess a special weapon, they are masters of some fighting method.
Mary Sues and Gary Stus come in a wide variety of types. Their defining characteristics in whatever field or category they fall into (action hero, geeky, romantic lead, etc.) is always perfection or skill without flaws or struggle.
Some oft-mentioned examples of Gary Stus include: certain versions of James Bond, Superman, and Harry Potter.
The Problems of Using Mary Sues/Gary Stus
It might not sound so bad to write characters who are perfect or idealistic. In some cases, it might not be so bad, such as comedies. But you can only take a Mary Sue/Gary Stu so far. Hollow characters don’t offer anything for the reader or audience to relate to in the story. Without connection, you can’t evoke emotion, which is critical when writing an effective story.
Ways to Avoid Writing a Mary Sue/Gary Stu
Make Your Characters Human
Give them flaws. Add insecurities. Reveal a non-perfect side to balance the beauty and skill. No one is perfect in real life, even the ones who appear to be from the outside. Go deeper into your characterization and fill in those traits and habits that will make your character more relatable, especially if that character is destined for greatness in the story. The more heroic the character will be, the more deeply they need to be drawn to make them more lifelike and likable. Balance the skills and positive traits with inner conflict and flaws that need to be overcome to succeed.
Show Growth and Effort
One of the biggest complaints about Mary Sues/Gary Stus is that they gain their skills without effort. They don’t train (or overtrain to the point of impossibility) but can do more than masters who have dedicated their lives to perfecting their skills. Show their struggle to learn or grow. Or give them a background that explains why they are able to do a specific skill. How did they get where they are? Why do they possess these talents? Is there a reason? Are the unique or the product of their world? Explore why and how the character can do what they can do and build those reasons and explanations into the story so it makes sense within the context of their character arc. Readers get upset when characters can do things without any reason for their proficiency.
Test Your Characters
Don’t let your characters skate through the story. Test them at every opportunity. Force them into circumstances that push them or force growth or adaptation. Do not, however, make them purposely lose in the beginning without showing why. There’s nothing more trite than having the hero lose, or almost lose, the fight only to overcome the enemy at the last moment with a skill that could have been used in the beginning to avoid the fight entirely. Readers see this as contrived because it is. If your hero needs to lose in the beginning, show the reader why that loss happens and why it doesn’t later on. Show the why.
Ground Them
Villains are not all bad. Heroes are not all good. They need to be human. Grounded in the real world. Give them real lives and motivations. Show why they do what they do and make the decisions they make. Show their progress in a logical way. Even if they are idealized versions of characters, show how they arrive at their skills and thoughts. Villains can’t just be evil. They need to have a reason for why they behave as they do. They need to show a bit of good or a bit of reason to make their actions sensible. Think Loki in the Thor films. He wasn’t all bad. He was conflicted about his role in the family, his origin and destiny. He loved his brother, but allowed jealousy and his trickster ways to derail him. He let his greed for power obscure his love for family. But he still loved. That’s what makes a character deep. You can see what drives them. You can understand how they are rationalizing this actions, even if you don’t agree with their rationale.
Dig deeper into your characterization. That’s the trick to avoid writing Mary Sues/Gary Stus. If there is something in their person that is relatable and that can evoke empathy, they cannot, by definition, be a Mary Sue/Gary Stu. If you can see their character growth, that cannot fall into that category.
In our next blog, we will explore the final story-induced issue—establishing or writing according to your story’s canon.