I’m not sure many people think about the gender of their book while they are writing it, but when I began The Earl of Brass as an undergraduate, it crossed my mind. While reading other steampunk novels, I was rather surprised by how the books seemed to either be very masculine (G.D. Falksen’s Blood in the Skies) or very feminine (Gail Carriger’s Soulless). I wanted to write a book that was androgynous, that had no defining gender for itself or its audience.
As part of my research for writing The Earl of Brass, I read through Sir Arthur Conan Doyle’s The Lost World as well as Charlotte Perkins Gilman’s Herland in order to better understand Victorian and Edwardian adventure novels. There again, I found the gender gap. In Conan Doyle’s novel, the men leave their women at home and go on an adventure full of dinosaurs and savages, and while Gilman infused her work with feminist ideals, it was very much an us-versus-them mentality with a muddled ending where the women and men fall in love and go back to America. Continue reading