3 Of The Worst Story Beginnings (and How To Fix Them)

Poison list

While it's important to approach writing with creativity and imagination, it's crucial to prioritize responsible and ethical storytelling. That being said, if you're looking for information on poisons for the purpose of writing fiction, it's essential to handle the subject matter with care and accuracy. Here is a list of some common poisons that you can use in your stories:

Hemlock: Hemlock is a highly poisonous plant that has been used as a poison in various works of literature. It can cause paralysis and respiratory failure.

Arsenic: Arsenic is a toxic element that has been historically used as a poison. It can be lethal in high doses and can cause symptoms such as vomiting, abdominal pain, and organ failure.

Cyanide: Cyanide is a fast-acting poison that affects the body's ability to use oxygen. It can cause rapid loss of consciousness and cardiac arrest.

Nightshade: Nightshade plants, such as Belladonna or Deadly Nightshade, contain toxic compounds that can cause hallucinations, respiratory distress, and even death.

Ricin: Ricin is a potent poison derived from the castor bean plant. It can cause organ failure and has been used as a plot device in various fictional works.

Strychnine: Strychnine is a highly toxic alkaloid that affects the nervous system, leading to muscle spasms, convulsions, and respiratory failure.

Snake Venom: Various snake venoms can be used in fiction as deadly poisons. Different snake species have different types of venom, each with its own effects on the body.

Belladonna: Also known as Deadly Nightshade, Belladonna contains tropane alkaloids such as atropine and scopolamine. Ingesting or even touching the plant can lead to symptoms like blurred vision, hallucinations, dizziness, and an increased heart rate.

Digitalis: Digitalis, derived from the foxglove plant, contains cardiac glycosides. It has been historically used to treat heart conditions, but in high doses, it can be toxic. Overdosing on digitalis can cause irregular heart rhythms, nausea, vomiting, and visual disturbances.

Lead: Lead poisoning, often resulting from the ingestion or inhalation of lead-based substances, has been a concern throughout history. Lead is a heavy metal that can affect the nervous system, leading to symptoms such as abdominal pain, cognitive impairment, anemia, and developmental issues, particularly in children.

Mercury: Mercury is a toxic heavy metal that has been used in various forms throughout history. Ingesting or inhaling mercury vapors can lead to mercury poisoning, causing symptoms like neurological impairment, kidney damage, respiratory issues, and gastrointestinal problems.

Aconite: Also known as Wolfsbane or Monkshood, aconite is a highly toxic plant. Its roots and leaves contain aconitine alkaloids, which can affect the heart and nervous system. Ingesting aconite can lead to symptoms like numbness, tingling, paralysis, cardiac arrhythmias, and respiratory failure.

Thallium: Thallium is a toxic heavy metal that can cause severe poisoning. It has been used as a poison due to its tastelessness and ability to mimic other substances. Thallium poisoning can lead to symptoms like hair loss, neurological issues, gastrointestinal disturbances, and damage to the kidneys and liver.

When incorporating poisons into your writing, it is essential to research and accurately portray the effects and symptoms associated with them. Additionally, be mindful of the potential impact your writing may have on readers and the importance of providing appropriate context and warnings if necessary.

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Tips for creative writers:

1. Read widely: Read books, articles, and poetry across different genres and styles. This exposure to diverse writing will expand your vocabulary, inspire new ideas, and help you develop your own unique voice.

2. Write regularly: Establish a writing routine and stick to it. Set aside dedicated time each day or week to write, even if it's just for a short period. Regular practice is key to honing your skills and maintaining creative momentum.

3. Embrace creativity exercises: Engage in writing exercises or prompts to stimulate your imagination. Explore free writing, brainstorming, or visual prompts to spark new ideas and challenge your creative boundaries.

4. Edit and revise: Don't be afraid to revise your work. Editing is a crucial part of the writing process, allowing you to refine your ideas, improve clarity, and enhance the overall quality of your writing. Embrace feedback and be open to making changes.

5. Develop unique characters: Create well-rounded and believable characters by giving them depth, flaws, and distinctive voices. Explore their motivations, desires, and conflicts to make them relatable and engaging for readers.

6. Show, don't tell: Instead of telling readers what is happening or how characters feel, strive to show it through vivid descriptions, sensory details, and compelling dialogue. Engage the readers' senses and immerse them in your storytelling.

7. Pay attention to pacing: Balance the pace of your writing to maintain reader engagement. Mix moments of tension and action with quieter, reflective scenes. Vary sentence length and structure to create rhythm and keep the narrative flowing.

8. Create compelling dialogue: Craft dialogue that is realistic, purposeful, and reveals character traits. Use dialogue to advance the plot, reveal conflicts, and deepen relationships between characters.

9. Embrace constructive feedback: Seek feedback from trusted peers, writing groups, or mentors. Constructive criticism can help you identify blind spots, refine your writing, and grow as a writer.

10. Stay inspired and curious: Maintain a sense of curiosity about the world around you. Seek inspiration from art, music, nature, and everyday experiences. Keep a journal to capture ideas, observations, and inspiration that may fuel your writing.

Happy writing!

Some quick tips for writing sexual tension in your novel:

1. Establish strong chemistry: Develop the characters' attraction to each other through meaningful interactions, shared interests, or a deep emotional connection. Their chemistry will lay the foundation for the sexual tension to build upon.

2. Use body language and non-verbal cues: Describe subtle gestures, lingering glances, or the way their bodies react in each other's presence. These non-verbal cues can heighten the tension and create a sense of anticipation.

3. Utilize dialogue: Employ flirty banter, double entendres, or suggestive remarks to create verbal sparring between characters. Clever wordplay can add layers of subtext and amplify the sexual tension.

4. Slow down the pace: Build tension by slowing down the pacing of scenes involving the characters. Emphasize their awareness of each other, the anticipation of physical contact, and the longing that grows with every passing moment.

5. Explore internal thoughts and desires: Give readers insight into the characters' internal dialogue, their secret desires, and the fantasies they have about each other. This adds depth and intensifies the sexual tension.

6. Employ the power of touch: Describe the impact of a brief brush of hands, accidental contact, or the lingering sensation left by a gentle touch. These tactile sensations can evoke a heightened sense of awareness and anticipation.

7. Create obstacles and conflicts: Introduce obstacles or conflicts that prevent the characters from acting upon their desires. These challenges can fuel the sexual tension, making the eventual release even more satisfying for both the characters and the readers.

8. Use sensory details: Engage the readers' senses by describing scents, sounds, or textures associated with the characters' proximity or potential intimacy. Sensory details can intensify the atmosphere and enhance the readers' experience of the sexual tension.

9. Play with power dynamics: Explore power dynamics between characters, such as a power imbalance or a push-pull dynamic. This can create a magnetic pull and increase the sexual tension as the characters navigate their desires and boundaries.

10. Employ the element of surprise: Introduce unexpected moments or situations that catch the characters off guard and heighten the sexual tension. These surprises can lead to spontaneous or forbidden encounters, increasing the anticipation and desire.

Remember to balance the sexual tension with the overall tone and genre of your novel, ensuring it aligns with your intended audience and fits organically within the story. With these tips, you'll be able to craft captivating scenes that sizzle with sexual tension, leaving readers eagerly turning the pages for more.

Happy writing!

Fantasy Guide to Royal Households and How they Work

When I say Households, I mean the entourage that follows around the royal family. The household went everywhere with them to care for their needs from the people who would empty their chamber pots to their noble companions. Most royal households are basically the same as noble ones, only on grander scale. Every royal had a household and an entourage as well as every noble at court.

Palace Personnel ~ The Commons

The commons were an intregal part of every household. They made up perhaps 80% of the work force. Royal courts were often on the road and never spent more than a few months at every palace. The court was constantly moving. Some positions were not permanent, meaning certain servants did not travel with the court because they were employed at the palace only. They would be paid by the Monarch's paymaster.

Scullion: The scullion was a relatively easy position to fill so they were often changed as the court went from palace to palace. They would be responsible for scrubbing and cleaning the servants quarters and the kitchens. They would scrub floors with lye, scour pots with sand, sweep put the fireplace and clean up after the other servants. They were the first to rise in a castle and tasked to light all the fires in the kitchens. Scullions would just be employed to the palace and serve a multitude of chambers

Laundress: The laundress was responsible for the cleaning of anything made of fabric in the household. Since they are handling unmentionables, they knew what happened behind closed bedchamber doors. They knew when the King visited the Queen or hadn't, they knew when marriages were consummated or not and they knew when the Queen and royal women were not pregnant. They often sold secrets to pad their pockets. Laundresses might be permanent staff but sometimes not.

Minstrels: The minstrel was a commoner hired to play an instrument or sing for the entertainment of the royal. A royal might staff a few at a time but they would always have one on hand. The minstrel would likely come with their masters as they travelled. The minstrel might serve the main royal household but a royal might retain their own.

Cook: The cook was one of the most important servants in the household. They would have the task of overseeing the running of the kitchens and keeping supplies in order. They would likely be on call at all times. Henry VIII's cook was often woken in the night because his royal master wanted a midnight snack. The cook was a valued member of the household and would have been highly sought after if they were a very skilled cook. They would have travelled with the joint. Cooks were apart of the greater royal household but often royals retained private cooks for their own use.

Maidservant: The maidservant cleans the castle. She would sweep the floors, scrub them, empty the chamberpots, get rid of the ashes from the fire and ready the fire for later. She would make up the bed or strip it for the laundresses. She would wash anything that needed washing including furniture and ornaments. She was likely not a travelling servant and would be strictly employed at a single palace.

Jester: The jester was the hired entertainer. Working under the master of revels, the jester had the daunting task of making the monarch and their family laugh. They would tell jokes, tell stories, cause havoc in the court for laughs and lighten the mood. The most successful jester of all time was Will Somers, jester to Henry VIII. Will broke bad news to the infamously bad tempered monarch and got away with things that would have sent others to the block. Will survived most of Henry's reign, his head intact. Jesters would be apart of the main household though each royal might have one of their own.

Positions within the Royal Household ~ Noble

Nobility were always welcomed at court. They eat at court, slept at court and were cared for by the monarch. Some nobles had to sing for their supper and most were hired as royal servants. They weren't exactly scrubbing floors and would be paid handsomely with land that would generate wealth for them

The Steward/Seneschal: This person was the head of the royal's staff. They would have the task of running the lands and servants their master or mistress. The steward served as a backup and assistant in all the tasks even representing their master or mistress when they were unavailable. Would be a high ranking noble. Each royal household would have them.

Treasurer of the Household: The treasurer was the accountant and pay master. They would be in charge of ensuring debts were settled, wages were paid and the household was running within the budget. This was a coveted position because it gave the treasurer insight into the financial situations of the royals. Such info was wroth its weight in gold. Each royal would have one.

Usher: The Gentleman Usher would be in charge of escorting guests into the royal chambers and into the royal presence. They would act as a go between their royal master/mistress and the guest often going back and forth with messages. It was just as coveted as the position of chamberlain but with less responsibilities.

Master of Horse: The Master of Horse was in charge of seeing to the horses of their master. They would oversee the grooms or the stableboy/hands who were employed at the stables to actually care for the horses. The master of horse would ensure that the stables were in order and the horses were up to parr in order to bear royalty across the kingdom. Each royal would have one but there would a main one who acted as overseer.

Master of the Wardrobe/Mistress of the Robes: These are the nobility who are employed to look after the clothes of the royal they serve. This would mainly involve a managerial position, overseeing the inventory of the royal wardrobe (a warehouse like building that housed the clothing) and placing orders for new clothes. It was a tidy job that rarely involved getting the hands dirty. Each royal would have one.

Chamberlain/Valet: The chamberlain is employed to look after the Lord's bedchamber. This was the most sought out position as they effectively were the gateway into the royal presence. Their main task was making sure their boss was comfortable and happy. Could be a well born commoner or a noble. Each royal would have one.

The Page: All royal households had pages. They would be a young noble boy about seven years old sent to their royal master. He would be in charge of tidying up after the lord, carrying messages to other servants and occupants of the castle and serving him at meals. Unlike others on the list, the page would not be paid. His experience was his payment as he would learn the running of a court and how to be courtier. Each royal would have one.

Squires: Squires were like pages though they only served the men. They would accompany their royal master to battle, look after his armour and mail, ensure that his lord's horse was saddled, caring for their master's weapons. The squire would always be a young nobleman on the cusp of becoming a knight.

Governess: The governess is a noblewoman woman employed to oversee the Monarch's children's household. She would be the first teacher a royal child would have and would oversee the nursemaids who would have care of the physical person of the child. She would be appointed when the child was four or five. Notable governesses include Katherine Swynford (wife of John of Gaunt and mother to the Beaufort line), Margaret Pole (wife of Tudor Loyal Sir Richard Pole, sister of the last York heir Edward of Warwick, daughter of George Duke of Clarence and niece to King Edward VI and Richard III), Kat Ashley, Margaret Bryan, Madame de Maintenon and Baroness Lehzen. Most unmarried Princesses retained their governesses while Princes generally outgrew their governesses after they were breeched.

Gentlemen of the Privy Chamber: They were the male companions of a King or Prince, sort of like ladies in waiting but manly. They would accompany the King or Prince everywhere they would go and shared duties with Groom of the Stool (royal toilet paper dispenser) and the Chief Gentleman of the Chamber (overseeing the staff and maintaining the chamber). They would help their master get ready, serve him at the table and organize hunting and games to keep him entertained. Gentlemen and companions where often chosen for their connections as well as their master's own opinion. Henry VIII's gentlemen included: Sir William Compton (ward of Henry VII and heir to rich lands), Sir Henry Norris (the grandson of William Norris who fought with Henry's father at Stroke and a relation to the Yorkists Lovells), Sir Anthony Denny (son of Sir Edmund Denny Baron of the Exchequer) Sir Michael Stanhope (brother in law to Edward Seymour, Duke of Somerset), Charles Brandon (ward of Henry VII and son of Tudor Loyalists)

Ladies in Waiting and Maids in Waiting or Maids of Honour: These are the female attendants to the Queen or Princess. Ladies in Waiting were married while the Maids were unmarried. They would have to attend their mistress wherever she went, help her get ready, keep her chambers in order, write letters for the Queen and maintaining her honour. They were chosen for their connections. Using Katherine of Aragon as an example, her Ladies in Waiting included: Maria de Salinas (daughter of Juan Sancriz de Salinas secretary to Isabella, Princess of Portugal and a Spanish courtier in the service to Katherine's parents, wife of Baron Willoughby de Ersby), Elizabeth Howard (the daughter of Thomas Howard, 2nd Duke of Norfolk, sister to Thomas Howard, 3rd Duke of Norfolk and wife to Thomas Boleyn, ambassador to France), Anne Hastings (daughter of William Hastings, 1st Baron Hastings, wife to George Talbot, Earl of Shrewsbury and Lord Steward.), Agnes Tilney (wife to Thomas Howard, Earl of and 2nd Duke of Norfolk.), Elizabeth Scrope (wife of John de Vere, Earl of Oxford, a loyal Tudor lord), Margaret Scrope (wife of Sir Edmund de la Pole, Earl of Suffolk cousin to the King), Anne Stafford (sister of the Duke of Buckingham, married Sir George Hastings, Earl of Huntington and daughter of Henry Stafford, 2nd Duke of Buckingham (cousin to the King) and Lady Katherine Woodville (sister of King Henry VIII's grandmother and his great aunt by her marriage), Elizabeth Stafford (sister to Anne Stafford wife Robert Radcliffe, Lord Fitzwalter and Earl of Sussex around). Their connections are what got them their places and you can see why they were chosen.

Accommodation

Accommodation can be a difficult thing to sort both as a writer and a steward. You might have a palace of 200+ bedchambers in which you must house a staff of 500-/+, a varying amount of nobles, the royal family (of a varying amount) and their own households. When assigning rooms it is best to think of a Russian nesting doll. Start from the inside and work your way to the outside.

The best rooms go to the monarch, their consort and their children/siblings/parent(s). These chambers would include the bedroom, a drawing room/ common area, a privy, a closet (a small chamber that can be used for prayer or work). They would be furnished with the best cloth, the best candles and whatever furniture brought by the resident since most royal courts travelled from palace to palace. They will also have chambers for their personal servants such as ladies in waiting and grooms.

The second best set of rooms would go to the highest ranking nobles/people in the court. These rooms would be less fancy and a little smaller. These would be given to from titled nobility descending from those of Ducal rank (Dukes/Duchesses) or even members of the council such as Thomas Cromwell in Tudor times.

The next set would be considerably smaller, perhaps minus a closet or a drawing room. Given to lower nobility.

The next level of chambers would be smaller perhaps only the bedroom and a common area given to minor nobles.

The last set of rooms would be small and only hold enough room for a bedroom. Servants would have to sleep on the ground on pallets beside their masters.

Any other guests at court would have to stay at off-site locations around the palace in the city. Some nobles at houses around major palaces just in case they arrived late or were kicked out of court.

Different Ways to Describe Green Eyes

-> feel free to edit and adjust pronouns as you see fit.

He had eyes like the fields after a sweet summer rain.

Their eyes reminded her of the forests at night.

Her green eyes were like leaves with golden sunlight shining filtering through them.

Green eyes— usually a symbol of grace— had never held such a look of hatred.

She had eyes the same color as the bottle of poison tucked away safely in the inside pocket of her jacket.

He stared deep into her green eyes and saw forever reflected in them.

Their eyes were the same color as the moldy piece of bread he found under the couch a couple days ago.

She bit into the apple— the same color as her sour green eyes— and flashed him a wicked grin.

He stared at the green walls of his childhood bedroom, but it only made him think of [Name’s] eyes that always teased him.

Their eyes reeked of danger, the color of acid and a threat.

Her eyes were the color of the woods at twilight.

His green eyes kept a lifetime of secrets locked away behind them.

Their eyes reminded him of a cat’s: mischievous and quick to chase.

She had eyes like spring and the memory of a childhood summer.

His eyes matched the emerald ring he wore on his finger.

They had heard the saying “the grass is greener on the other side” their entire life, but after seeing her eyes? They finally thought it might have some truth to it.

Her eyes made him think of germs. It wasn’t the most colorful of metaphors, but he thought it went well with the way it made him feel. Sick.

His eyes were as green as the potions that lined the shelves in their glass bottles.

Easiest ways to add conflict to your novel

If you’re unsure whether your story is utilising all its sources of potential conflict, have a read through this post! It’s so easy to lose ourselves in our stories, and miss opportunities to create more interesting and tense situations that help our characters grow.

When we get too deep into our story, it’s difficult to see whether it’s falling flat in conflict. Here are 4 ways you can make sure you’re keeping it interesting!

Start from the character

Internal struggle is always the best place to start introducing conflict into your story! What is that misbelief that holds your character back achieving what they’re meant to? Can they have a flaw or struggle that directly interferes with them achieving their goal?

The side-characters

They shouldn’t always be helpful. Or if they’re meant to be, maybe they shouldn’t start out that way. Scenes where there is no conflict of interest or at least some source of tension often fall flat and feel boring.

So if there’s ever a chance to add a layer of tension into a scene with a side-character, take it.

Make them work for it

Your protagonist should rarely ever succeed at what it is they want, at least until the end of the story. Whatever big break-through of success they do have should feel like a reward that they’ve actually failed at achieving before, or have had to take lots of steps to grasp onto it.

And sometimes, when they do get it, it’s immediately taken away or undermined.

Raise the stakes

Whatever your character is chasing, give them a strong reason as to why they HAVE to get it. What happens if they don’t? Whatever it is, to them it should feel like the end of the world. And then your readers will also feel that there is no other way for this character, and are likely to be more invested in their goal.

Find it through the [link here] or below!

the-plottery.mykajabi.com

Writer's ToolBoox

The Writer's ToolBoox is a pack of 3 extensive E-books that cover the areas of: character craft, world building, and plotting. It comes with

How to think of a meaningful plot when writing fanfiction?

A lot of advice on plot structure starts with determining an inciting incident or a change to the world, but in a fanfiction context most of that real estate is already spoken for by the canon itself. I've always struggled a lot with finding *things to write about* when I want to go beyond small "plotless"/fluff fics. How do you figure out an original plot that manages to fit "in between" the existing canon in a way that still feels cohesive?

Fan-Fiction: Figuring Out a Plot

If you want to write plot-based fan-fiction of your favorite canon source, there are lots of ways to do that...

1 - Mimic Canon Conflicts - What type of conflicts are at the heart of the canon story? For example, let's say you're writing fan-fiction for your favorite legal drama. Canon conflict probably mostly revolves around trying legal cases. So, creating your own legal case for the team to solve would be a good option.

2 - Explore Off-Screen/Implied Events - Sometimes characters reference events that happened in the past or off-screen. These can be great sources for a conflict. For example, maybe two characters are sent to a prison to interview a potential witness, but this happens off-screen and is only referenced when they return. Maybe someone asks how it went and one of the characters says, "Don't ask." Maybe it's because they didn't get much information, but this could be a fun place to explore something more happening. What if there was a lockdown when they were at the prison? What if their car broke down on the way home and they ended up in a weird situation? What if their interview with the potential witness led them on a wild goose chase to track down another potential witness or some source of information? Lots of possibilities in off-screen/implied events.

3 - Explore Character Backstory/Personal or Professional Life - Characters usually have interesting back stories and sometimes interesting lives beyond what's explored in canon. The team in your favorite legal drama all had lives before they joined that legal team, and they all have personal lives, too. These can be great places to look for potential conflicts/plot ideas.

4 - Explore Character Relationships - Character relationships are a fun source of conflict. Are there two characters who don't get along? Maybe it'd be fun to see what happens if they get snowed in at the office together for a weekend. Are there two characters who have good romantic tension? What happens if they get sent on a dangerous errand together?

5 - Take an AU Approach - Sometimes it's fun to take canon events and flip them upside down as though they occurred in an alternate universe. Maybe there's a high profile case the team almost lost, which would have been disastrous, but they ultimately won. So, explore what would have happened if they'd lost. Or, what happens if a different character led the case? What happens if a character makes a different decision than they did in canon? These are all great possibilities for conflict.

There are lots of other possibilities, of course... crossovers, genre flips, introducing original characters, and so much more. But hopefully this list will give you some good places to start.

Have fun with your story!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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12 Writing Tips From Flannery O’Connor

Flannery O’Connor was an American author. Here are 12 writing tips from her writings.

On the anniversary of her birthday…

When writing about childhood trauma in a novel, it's important to handle the topic with sensitivity and nuance. Here are some quick tips to consider:

1. Research and understand: Take the time to research and understand the specific type of trauma you're addressing in your novel. This will help you portray it accurately and respectfully.

2. Show the impact: Explore how the childhood trauma has shaped the character's thoughts, emotions, and behaviors. Illustrate the long-lasting effects it has had on their development and relationships.

3. Use flashbacks sparingly: Utilize flashbacks strategically to reveal key moments from the character's past that contribute to their trauma. Ensure that the flashbacks serve a purpose in the narrative and provide deeper insights into the character's experiences.

4. Depict coping mechanisms: Show how the character has developed coping mechanisms to deal with their trauma. This can include avoidance, dissociation, or seeking control in certain areas of their life.

5. Allow for healing and growth: Give your character opportunities for healing and growth throughout the story. Show how they confront their trauma, seek support, and gradually find ways to overcome the impact it has had on their life.

6. Avoid sensationalism: Handle the portrayal of childhood trauma with care, avoiding excessive graphic or gratuitous details. Focus on the emotional journey of the character rather than relying solely on shocking events for impact.

7. Show support systems: Include supportive relationships and resources that aid the character in their healing process. This can involve therapists, friends, or mentors who offer understanding, guidance, and empathy.

8. Highlight resilience: Illustrate the character's strength and resilience in the face of their trauma. Show how they find ways to persevere, grow, and rebuild their lives despite the challenges they have faced.

9. Offer hope and redemption: Provide a sense of hope and the possibility of healing for your character. Allow them to find moments of redemption and transformation, demonstrating that healing is attainable.

10. Approach with empathy: Approach the topic of childhood trauma with empathy and compassion. Treat the characters' experiences with respect, acknowledging the complexity and individuality of each person's journey.

Common Occupations in the Middle Ages

Almoners: ensured the poor received alms.

Atilliator: skilled castle worker who made crossbows.

Baliff: in charge of allotting jobs to the peasants, building repair, and repair of tools used by the peasants.

Barber: someone who cut hair. Also served as dentists, surgeons and blood-letters.

Blacksmith: forged and sharpened tools and weapons, beat out dents in armor, made hinges for doors, and window grills. Also referred to as Smiths.

Bottler: in charge of the buttery or bottlery.

Butler: cared for the cellar and was in charge of large butts and little butts (bottles) of wine and beer. Under him a staff of people might consist of brewers, tapsters, cellarers, dispensers, cupbearers and dapifer.

Carder: someone who brushed cloth during its manufacture.

Carpenter: built flooring, roofing, siege engines, furniture, panelling for rooms, and scaffoling for building.

Carters: workmen who brought wood and stone to the site of a castle under construction.

Castellan: resident owner or person in charge of a castle (custodian).

Chamberlain: responsible for the great chamber and for the personal finances of the castellan.

Chaplain: provided spirtual welfare for laborers and the castle garrison. The duties might also include supervising building operations, clerk, and keeping accounts. He also tended to the chapel.

Clerk: a person who checked material costs, wages, and kept accounts.

Constable: a person who took care (the governor or warden) of a castle in the absence of the owner. This was sometimes bestowed upon a great baron as an honor and some royal castles had hereditary constables.

Cook: roasted, broiled, and baked food in the fireplaces and ovens.

Cottars: the lowest of the peasantry. Worked as swine-herds, prison guards, and did odd jobs.

Ditcher: worker who dug moats, vaults, foundations and mines.

Dyer: someone who dyed cloth in huge heated vats during its manufacture.

Ewerer: worker who brought and heated water for the nobles.

Falconer: highly skilled expert responsible for the care and training of hawks for the sport of falconry.

Fuller: worker who shrinks & thickens cloth fibers through wetting & beating the material.

Glaziers: a person who cut and shaped glass.

Gong Farmer: a latrine pit emptier.

Hayward:  someone who tended the hedges.

Herald: knights assistant and an expert advisor on heraldry.

Keeper of the Wardrobe: in charge of the tailors and laundress.

Knight: a professional soldier. This was achieved only after long and arduous training which began in infancy.

Laird: minor baron or small landlord.

Marshal: officer in charge of a household’s horses, carts, wagons, and containers. His staff included farriers, grooms, carters, smiths and clerks. He also oversaw the transporting of goods.

Master Mason: responsible for the designing and overseeing the building of a structure.

Messengers: servants of the lord who carried receipts, letters, and commodities.

Miner: skilled professional who dug tunnels for the purpose of undermining a castle.

Minstrels: part of of the castle staff who provided entertainment in the form of singing and playing musical instruments.

Porter: took care of the doors (janitor), particularly the main entrance. Responsible for the guardrooms. The person also insured that no one entered or left the castle withour permission. Also known as the door-ward.

Reeve: supervised the work on lord’s property. He checked that everyone began and stopped work on time, and insured nothing was stolen. Senior officer of a borough.

Sapper: an unskilled person who dug a mine or approach tunnel.

Scullions: responsible for washing and cleaning in the kitchen.

Shearmen: a person who trimmed the cloth during its manufacture.

Shoemaker: a craftsman who made shoes. Known also as Cordwainers.

Spinster: a name given to a woman who earned her living spinning yarn. Later this was expanded and any unmarried woman was called a spinster.

Steward: took care of the estate and domestic administration. Supervised the household and events in the great hall. Also referred to as a Seneschal.

Squire: attained at the age of 14 while training as a knight. He would be assigned to a knight to carry and care for the weapons and horse.

Watchmen: an official at the castle responsible for security. Assited by lookouts (the garrison).

Weaver: someone who cleaned and compacted cloth, in association with the Walker and Fuller.

Woodworkers: tradesmen called Board-hewers who worked in the forest, producing joists and beams.

Other medieval jobs included:

tanners, soap makers, cask makers, cloth makers, candle makers (chandlers), gold and silver smiths, laundresses, bakers, grooms, pages, huntsmen, doctors, painters, plasterers, and painters, potters, brick and tile makers, glass makers, shipwrights, sailors, butchers, fishmongers, farmers, herdsmen, millers, the clergy, parish priests, members of the monastic orders, innkeepers, roadmenders, woodwards (for the forests). slingers. Other Domestic jobs inside the castle or manor:

Personal atendants- ladies-in-waiting, chamber maids, doctor.

The myriad of people involved in the preparation and serving of meals- brewers, poulterer, fruiterers, slaughterers, dispensers, cooks and the cupbearers.

By Lise Hull READ MORE