This post is inspired by an article in the LA Times, May 7, 2017 written by Meredith Blake. The character was seeing a blur where the man’s groin was. Blake. She’s finishes her opening story with, “I wanted the audience to see what she would be seeing.”
Generalizing women see differently than men. There are plenty of women who love the visual side of life. Be they photographers, artists, directors... There are men who are introspective.
Most men assess a female stranger in terms of their looks. Most women see that, for sure, but tend to see meaning to a possible relationship. Hence the blur as their minds go inward into the world of creation. It’s a woman’s job to decide the future of the human race. It’s the man’s job to insure it happens.
The lA Times writer, Meredith Blake, goes on to say, “...a growing number of shows are turning women into the subject of the action rather than the object of desire.” Of course, the Times writer is also stating the preferences of women in the audience as to what they prefer to see on the screen. I believe, whether male or female we want to feel—not merely see.
Here’s where I part from the article, not in spirit, but in intent.
Writing a scene through the “eyes” of a woman must be different than through the eyes of a man. But, how to do it? It’s easy to say he notices her perfect curves, lovely face and wants her. It’s harder to say she notices his body, face etc. and wonders about what kind of man he is. That’s code for will I be heartbroken and/or miserable after night one of their dual fantasy of making love. [I had never felt that way. With me, what was most important was the possible union and let the rest take care of itself.]
Do you need to write that her vision of him blurs while she considers the consequneces? Your choice. The richness in writing comes from varying as long as it fits the arc and the true nature of the character.
It is alright to write male domination into a scene because it will only make your readers invest in and root for the heroine as she sheds her shackles and teaches a lesson.
The Times article concludes with, “—use narration, direct address and subjective fantasy sequences to convey the heroine’s unfiltered point of view directly to the (TV or movie) audience.”
I’ll let Dusty Springfield chastise women for doin’ what they do around men that get them nowhere near his heart. Of course that’s just griss for our mill.
Wishin’ and Hopin’ by Dusty Springfield 1964. I strongly recommend the artwork in this video, in that it pictorially evokes what might become words while writing the heroine’s pov.