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The internal monologue of a "girl-very girl" character is central to the plot. Overthinking, analyzing text messages with friends, and mapping out emotional futures are treated as valid, narrative-driving actions.

Here is the radical secret at the heart of the "girl-very girl" genre: the heterosexual romantic storyline is often a decoy. The true, enduring, soul-shaking love story is between the girls themselves. Think of The Sisterhood of the Traveling Pants , where the boyfriends come and go, but the pants—and the bond between Lena, Tibby, Bridget, and Carmen—remain. Think of Sex and the City , where the core question is never "Will Carrie end up with Big?" but "Will the four of them still be having brunch tomorrow?" The romantic hero is a catalyst for the heroine’s growth, but the female best friend is the mirror, the anchor, and the happy ending. hot girl-very hot girl- very hot sex.flv

Female friendships are not sidelined for the romance. The main character’s friends act as a sounding board, analyzing every development in the relationship, which reinforces the communal nature of modern girlhood. The Impact on Modern Media and Literature The internal monologue of a "girl-very girl" character