--- title: Beauty and the Beast Writer: Why Belle Is a Feminist Hero description: "Beauty and the Beast" screenwriter Linda Woolverton fought hard to ensure that Belle would be a feminist princess, breaking Disney's mold. canonical: https://time.com/4344654/beauty-and-the-beast-linda-woolverton/ author: Eliza Berman article:opinion: false article:content_tier: free article:published_time: 2016-05-23T15:28:52.000Z article:modified_time: 2026-06-24T06:57:06.888Z article:section: Entertainment og:title: How the 'Beauty and the Beast' Screenwriter Made Belle the First Feminist Disney Princess og:description: Linda Woolverton reflects on the making of her 1991 animated hit og:url: https://time.com/4344654/beauty-and-the-beast-linda-woolverton/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt81c784a897314459/69889460cd1bbacc4d700cb3/beauty-and-the-beast.jpg?branch=production&width=1440&quality=75&auto=webp&crop=16:9 og:image:width: 1200 og:image:height: 675 og:image:alt: beauty-and-the-beast og:type: article twitter:card: summary_large_image twitter:title: How the 'Beauty and the Beast' Screenwriter Made Belle the First Feminist Disney Princess twitter:description: Linda Woolverton reflects on the making of her 1991 animated hit twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt81c784a897314459/69889460cd1bbacc4d700cb3/beauty-and-the-beast.jpg?branch=production&width=1440&quality=75&auto=webp&crop=16:9 ---  # How _Beauty and the Beast_'s Screenwriter Shaped Disney's First Feminist Princess > Sponsored content. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account. ## Video: This Video Is No Longer Available [Watch (HLS stream): This Video Is No Longer Available](https://cdn.jwplayer.com/manifests/fKodeUO6.m3u8) (0:10)  _Published 2026-06-23. As Disney prepares to release the live-action version of the fairy tale next year, Linda Woolverton reflects on the making of her 1991 animated hit_  by [Eliza Berman](https://time.com/author/eliza-berman/)  ## Eliza Berman Berman is a senior editor at TIME. May 23, 2016 3:28 PM UTC  by [Eliza Berman](https://time.com/author/eliza-berman/)  ## Eliza Berman Berman is a senior editor at TIME. May 23, 2016 3:28 PM UTC Disney just released the first teaser for its live-action reboot of [_Beauty and the Beast_](http://time.com/3822701/beauty-and-the-beast-emma-watson-cast-photo/), which stars [Emma Watson](http://time.com/3682451/emma-watson-disney-beauty-and-the-beast/) and hits theaters in March 2017\. It’s the latest in a tide of [live-action](http://time.com/4308042/disney-pipeline-live-action-fairy-tales/) reimaginings of Disney’s animated classics, from [_Maleficent_](http://time.com/136170/maleficent-movie-review-angelina-jolie/) (2014) to [_Cinderella_](http://time.com/3743894/cinderella-review-disney-live-action/) (2015) to [_The Jungle Book_](http://time.com/4293583/review-jungle-book-jon-favreau/) (2016). But even as we come to expect the live-action treatment for every princess ever dreamed up, there’s one person monitoring the 3-D-ification of [Belle](http://time.com/3682630/emma-watson-belle-beauty-and-the-beast/) with more than a passing interest: [Linda Woolverton](http://time.com/2798136/maleficent-beauty-beast-writer/), the screenwriter responsible for the quirky bibliophile who came out singing in Disney’s 1991 animated hit, which was, not incidentally, the first animated feature to be nominated for an Oscar for Best Picture. Woolverton is not involved in the reboot, and when asked how she felt when she heard it was being revived, her response was “curious.” And then, reconsidering: “Belle is so close to my soul and my heart. So yeah, I’m honestly very protective.” And with good reason. Woolverton’s fight to shape Belle into a new kind of Disney heroine was just that—a fight, every step of the way. The first woman to write an animated Disney film, she worked closely with Howard Ashman, the movie’s lyricist, to create a female character who could see beyond the end of her hairbrush, “one that isn’t based on being kind and taking the hits but smiling all the way through it,” she says. “I just didn’t feel like that’s the message that we wanted to move into the next century with. And that’s the Disney heroine that I grew up with.” Steeped in the ethos of the women’s liberation movement, Woolverton set to work on a script that reflected her self-directed mandate to move women and girls forward. “They didn’t know what they were dealing with when they brought me on,” she recalls. “Seriously, they had no idea.” But rather than rewriting the script on the Disney princess, she found that her own script was subject to repeated, regressive rewrites. In one scene, for example, Woolverton wrote Belle sticking pins into a map of all the places she wished to travel. By the time it got to storyboarding, Belle had been rewritten into a kitchen, decorating a cake. Woolverton protested, and the compromise that was reached had Belle with her nose in a book, a pastime at first considered too passive to be compellingly animated, which is why she always walks as she reads. Woolverton didn’t win every battle, but each victory meant a better chance of sending a positive role model for children, and especially young girls, into the world. And in a culture in which the social impact of Disney’s female characters continue to be fodder for academic research, playing the engineer behind those princesses is no small burden. “I feel an enormous responsibility, and I always have from when I wrote Belle,” she says. “If you depict girls and women in these roles that we’ve never seen before, then it becomes an assumption for younger generations,” says Woolverton, who applied this principle not just to Belle, but to her version of Lewis Carroll’s Alice, two decades later, who in 2010’s _Alice in Wonderland_ rejects marriage and requires no rescuing—indeed she, as Woolverton’s story goes, is the rescuer—as well as in its sequel, [_Alice Through the Looking Glass_](http://time.com/4101320/alice-through-the-looking-glass-trailer/), out Friday, in which Alice works as a sea captain. So as Woolverton looks to the live-action treatment of the feminist princess around whom she built a career—she also won a Tony for the Broadway adaptation of her own screenplay—all she can do is hope that Belle’s integrity has survived the quarter-century since she was born. “I don’t even hope that it goes further,” she says. “I just hope that it reflects the original.” ```json [{"@context":"https://schema.org","@type":"NewsArticle","@id":"https://time.com/4344654/beauty-and-the-beast-linda-woolverton/","mainEntityOfPage":{"@type":"WebPage","@id":"https://time.com/4344654/beauty-and-the-beast-linda-woolverton/"},"headline":"How Beauty and the Beast's Screenwriter Shaped Disney's First Feminist Princess","datePublished":"2016-05-23T15:28:52.000Z","dateModified":"2026-06-24T06:57:06.888Z","description":"As Disney prepares to release the live-action version of the fairy tale next year, Linda Woolverton reflects on the making of her 1991 animated hit","url":"https://time.com/4344654/beauty-and-the-beast-linda-woolverton/","keywords":["movies","feminism","Disney","Feminist","Beauty and the Beast"],"thumbnailUrl":"https://static.time.com/v3/assets/bltea6093859af6183b/blt81c784a897314459/69889460cd1bbacc4d700cb3/beauty-and-the-beast.jpg?branch=production&width=1200&quality=75&auto=webp&crop=1200:675&height=675","author":[{"@type":"Person","name":"Eliza Berman","jobTitle":"Berman is a senior editor at TIME.","url":"https://time.com/author/eliza-berman/"}],"articleSection":"Entertainment","image":[{"@type":"ImageObject","url":"https://static.time.com/v3/assets/bltea6093859af6183b/blt81c784a897314459/69889460cd1bbacc4d700cb3/beauty-and-the-beast.jpg?branch=production&width=1200&quality=75&auto=webp&crop=1200:675&height=675","width":1200,"height":675,"headline":"beauty-and-the-beast","caption":"Beauty and the Beast","creditText":"Disney/MovieStillsDB","representativeOfPage":true}],"publisher":{"@type":"Organization","name":"Time","url":"https://time.com/","logo":{"@type":"ImageObject","url":"https://time.com/images/logo.png","width":528,"height":156},"foundingDate":"March 3, 1923","sameAs":["https://www.facebook.com/time","https://www.instagram.com/time/?hl=en","https://twitter.com/time","https://www.pinterest.com/timemagazine"]}},{"@context":"https://schema.org","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"/section/entertainment/","name":"Entertainment"}},{"@type":"ListItem","position":2,"item":{"@id":"/tag/movies/","name":"movies"}},{"@type":"ListItem","position":3,"item":{"@id":"https://time.com/4344654/beauty-and-the-beast-linda-woolverton/","name":"How Beauty and the Beast's Screenwriter Shaped Disney's First Feminist Princess"}}]},{"@context":"https://schema.org","@type":"VideoObject","name":"This Video Is No Longer Available","description":"As Disney prepares to release the live-action version of the fairy tale next year, Linda Woolverton reflects on the making of her 1991 animated hit","thumbnailUrl":"https://cdn.jwplayer.com/v2/media/fKodeUO6/poster.jpg?width=720","uploadDate":"2026-06-23T15:00:44.000Z","contentUrl":"https://cdn.jwplayer.com/manifests/fKodeUO6.m3u8","embedUrl":"https://time.com/4344654/beauty-and-the-beast-linda-woolverton/","duration":"PT10S","potentialAction":{"@type":"SeekToAction","target":"https://time.com/4344654/beauty-and-the-beast-linda-woolverton/?jw_start={seek_to_second_number}","startOffset-input":"required name=seek_to_second_number"}}] ```