From The Millions:
“A normal teenage girl…who is also a spy” was my favorite type of young adult fiction. The girl had to balance crushes and homework alongside solving international crimes and defeating bad guys. In this genre, authors emphasize the protagonist’s very normal teenage girl behavior juxtaposed with her super-sleuth espionage skills. For example: A few pages into the first book in Ally Carter’s Gallagher Girls series, I’d Tell You I Love You but Then I’d Have to Kill You, 15-year-old Cammie explains, “even though the Gallagher academy is a school for girl geniuses, sometimes the emphasis should be kept on girl.” Like, obviously! The protagonists were always super smart, highly trained in combat, and of course, also had to deal with their crush not liking them back. They were everything.
Nostalgic for these YA spy stories, I sought out contemporary spy fiction with female leads. The premise of Mick Herron’s This Is What Happened seemed promising enough: Maggie, the protagonist, is “just the kind of person MI5 needs to infiltrate the establishment and thwart an international plot that puts all of Britain at risk.” But as I started reading, about a quarter of the way through, it turned into not a spy story but an abusive-man-keeps-woman-hostage-and-gaslights-her-to-keep-her-prisoner-in-his-basement story. All I wanted was a strong female being sneaky, kicking ass, and thwarting the bad guys. Not another story of a victimized woman. Is that too much to ask? Not as a teenager.
Female spies populate young adult fiction and are nowhere to be found in contemporary spy fiction. This is for two reasons: One, female authors dominate YA—and female authors often write female protagonists. Two, YA spies are based on a fantasy (teenage spies don’t exist), not the reality of the intelligence world (as contemporary spy fiction draws from).
. . . .
Contemporary fiction does not have nearly the same number of women. The “great authors” of the contemporary spy genre are men who typically place male protagonists at the center of their novels. As Paul Vidich describes the genre at Electric Literature, “the spy genre, perhaps more than any other genre, has been the province of men, often men who once served in the intelligence community.” In “Bias She Wrote,” a 2010 analysis of the New York TimesBest-Seller List, Rosie Cima found that authors of spy/politics fiction best-sellers were 97 percent male and 3 percent female. Wikipedia’s list of notable writers in spy fiction includes 124 authors—only six are female.
Notably, among the few female contemporary spy fiction authors, there’s Stella Rimington. Rimington was the first female Director General of MI5 and held the position from 1992 to 1996 (she’s also rumored to be the inspiration for Judi Dench’s “M” in the Daniel Craig James Bond movies). After retiring, she began writing a fictional series about a female intelligence officer, Liz Carlyle; the first novel, At Risk, was published in 2004. Remington [sic] has now published nine Liz Carlyle novels. In 2015, Rimington told the Edinburgh International Book Festival that her goal was to “rescue spy stories from the blokes.” She went on, “When you think about it, all fictional spies are blokes, and spy writers when I started were chaps too. So I was certain that my character was going to be female. I wanted her to reflect accurately what a female does in my former service.” Rimington’s Carlyle is remarkable. In At Risk, she is at lunch with a rival and asks him why he joined the service. In response, he tells Carlyle, “Really, of course, it was the women. All those glamorous Foreign Office secretaries. I’ve always had a Moneypenny complex.” Carlyle coolly responds to his misogyny, “I don’t see many Moneypennys in here.”
Other female authors, like Gayle Lynds and Francine Mathews, worked in the field before turning to writing. Their intelligence backgrounds are notable; it is as if publishing houses only took them seriously in such a male-dominated genre because of their career experience. Mathews, who spent four years at the CIA before becoming an author, wrote in a blog post:
Women populate the clandestine landscape as thickly as men. But women are not always admitted to exclusive clubs, and even more rarely to the literature of spying. [John] le Carré‘s women are usually victims; [Ian] Fleming’s are always babes. They stumble in their high heels, arms outstretched, and die on the word James. Women are not the point of the safehouse and the glass of whiskey; they live on the fringe, in the bedroom and near the hearthfire. They are never in control. It’s hard to love spy fiction as a woman in America. The club doors are closed, and we’re all out in the cold.
Link to the rest at The Millions
Once again, PG is distressed to report on the misogynistic biases that have long permeated traditional publishing.
As he was considering the OP, PG wondered why the large number of successful female indie authors are not featured in articles and reports about women-owned businesses and women-friendly work environments.