aemondcito
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Latest Posts by aemondcito
Fantasy Guide to Royal Children - Heirs and Spares
The lives of Princesses and Princes are of interest to most fantasy writers, it's where many of our heroes, side characters and antagonists hail from. But what is there life like? Is it always ballgrowns and servants? Or something more?
A Strict Order of Precedence
The first thing to know about royal children and siblings is that there's a very strict precedence of importance. Is it fair? No. But this is a system, it doesn't have to be fair. The heir comes first without argument. They are the most important child, they are always greeted first, they are the one to stand next to the monarch or their parents at occasions, they literally go first - and this doesn't change with age, if the heir is the youngest, they still have precedence over their siblings. After the heir, order of predence goes by age and the order effects the life of the children. For example, the older sister will marry begore any of her sisters. This order of deference will be so engrained in your character's life that they will believe it the norm and rarely question it, it probably won't spark any in-fighting.
Accommodation & Staff
Royal children are usually raised one of two ways. Either they are raised at court, in the same Palace as their parents or they are raised away from court under the care of trusted servants. Being raised away from their parents isn't a sign of remoteness or dislike or terrible parenting, it was a way of break a child into the constraints of royal life while giving them freedom of scrunity or danger. Usually these children are raised in the countryside for their health, as cities are usually cesspits for disease. Their parents would come to visit them or allow them to visit them at court. Children raised at court are raised with a higher level of scrunity and attention. They will be in the public eye.
Royal children will always be surrounded by staff. There will be nurses to wash and dress them, nannies to discipline and direct them, guards to protect them and usually, a guardian known as a governess to run their household and care for their needs. Staff are not allowed to hit royal children and must obey their commands. Some royal children were very close to their staff:
Kat Ashley and Elizabeth I
Baroness Lehzen and Queen Victoria
Klementy Grigorievich Nagorny and the Tsarevich Alexei Nikolaevich
Lala Bill and Prince John
However, some royal children faced neglect from their staff. George VI was abused by his nanny, who would pinch him during important occasions, openly favour his elder brother over him and deny him food, which many have been a cause of his speech impediment. After the Russian Revolution, another of the Tsarevich's nannies proved less loyal than the other. Andrei Yeremeyevich Derevenko abandoned his charge, but not before ordering the boy around and insulting him.
Day to Day Life
Royal children would be educated withing their home by tutors. They would usually take lessons all together (the heir may take other lessons). A royal child would recieve an education in languages, arithmetic, geography, etiquette, dancing, music, sports such as riding and literature. Sometimes they would even share lessons with the children of trusted nobles or their cousins. Only the heir will be taught statecraft and how to reign. There is no rhyme nor reason a spare would learn how to rule.
Some royal children are taught the value of their position. Many royal children will be raised strictly to adhere to their social standing and their place in it. Some children may be raised in isolation, kept from mingling and raised to think of themselves as higher than those around them. Some royal families preferred to raise their children as "normal" as possible. The last Romanov children slept in camp beds, with no pillows and we're expected to tidy their own rooms and help the servants. They didn't even use their proper titles, they were called by their names and given a tight monthly allowance to spend. Alexandra of Denmark and her sisters used to make their own clothes. Some royal children could even be encouraged to play with the children of servants and staff as well as nobility (Kolya Derevenko and Tsarevich Alexei Nikolaevich, Winifred Thomas and Prince John). Companionship was a great honour for noble and common child alike as sometimes, they would be invited to live or be educated alongside by the royal children.
Royal children will not undertake royal duties until they are of age. Younger children be be present for large scale events such as jubilees but would not be expected to partake in any duties themselves. When they are of age, they will usually be granted an annual allowance, be invited to social events, invited to be patrons of charities and participate in royal duties.
Heir Vs Spare
Heirs have more responsibility, all the prestige, more power but they have less freedom, less room to explore their own lives and be expected to always be the epitome of perfect. Heirs will be given responsibilities in government, sitting in on state meetings or undertaking state duties.
Spares have little in the way of real power but have the ability to live less regimental lives and gave more agency in their personal lives. Spares may act as ambassadors to other nations or undertake state visits on behalf of the monarchy or even take positions in the army. Spares are encouraged to find positions to support themselves outside the family, either in a marriage or undertaking some service to the country. Spares who stay in the country, tend to act as unofficial advisers to their sibling when they become monarch.
All Grown Up
When royal children grow up, there are usually certain expectations and limitations.
Heirs will be married quickly, the lineage must be secure. Heirs will usually marry either as part of a political alliance or marry somebody suitable - from a good family, the right background, and able to fit into a certain mould (i.e malleable, amiable and loyal). They will be expected to focus on the country, it's needs and support the monarch at all times. Their social circles will be scruntised, their every move will be noted and remarked upon. Heirs will never gave to worry about funding their lifestyle, the Crown is their job and it supports them.
Spares can marry or remain single if they choose, (but if the monarch instructs them go marry they must). Spares can travel, they can be idle, they can even persue amusements not permitted for the heir. Spares can win glory on the battlefield and mix with all sorts of people. That isn't to say spares are useless, spares often occupy very important spaces in society and government. Spares will usually take these positions not for just status but also for the pay. This is why spares are granted royal titles such as dukedoms (they can make money off the lands, be able to build a dynasty for themselves and their heirs and gain status).
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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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
How do I describe a tired person? I got 'dark circles under the eyes' but it kind of stops there.
This is why your characters don't feel real
Here are the top reasons why your character could be feeling flat or unreal. What every author aims for is to make palpable realistic characters who feel like someone we could actually know.
They have no internal conflict(!)
You haven’t got a clue about their backstory.
Or about what their struggle/internal conflict is rooted in.
You write them to fit the plot, instead of letting them react the way they should in the given moment (even if this leads to a huge change in the story!).
You fail to think about their dynamics & backstory with each important character in their narrative.
You don’t give them a motivation/goal going into each scene.
There are so many factors that go into making a character feel real - and you might hear advice that this is because they don’t have an interesting personality, or a unique character voice, but honestly? These are surface-level reasons. These are not going to make or break your character.
What IS going to make them interesting is internal conflict —> a struggle which we meet them in, a story of overcoming the struggle that we get invested in, and a root cause for the struggle in the character’s backstory.
Would you like to learn more about crafting realistic character who lead the plot FOR you? 🤯
You might want to give my 6-month group coaching program a go! It's designed specifically to help overcome this issue and teach you how to plot ANY story with ease. It uses a mix of writing their classes, with group coaching sessions to work specifically on YOUR project.
The first group kicks off Feb 11th, so grab your spot now!
Find out more through [the link here] or below!
https://www.novlr.org/the-complete-novel-coach
War, Battles and Sieges: Causes of War
War is a staple of any fantasy or historical book. War is often at centre of plot. So in these set of posts, we will be discussing the different areas and aspects of writing war and battles. (If there are any other areas I do not cover, feel free to send a suggestion to the ask box.)
Wars in any genre must have a starting point and reasons leading up to the initial conflicts. These can be numerous. In this post we’ll discuss the eight accepted reasons for a war. These are as follows:
Economic Gain
Territorial Gain
Religion
Nationalism
Revenge
Civil War
Revolutionary War
Defensive War
1. Economic Gain
Some wars are often fought for money and assets. Really if we would break every war down to basics, money is always a factor. Countries, kingdoms and factions have been battling over gold, cattle and other things that equal wealth for centuries. Even today, wars for wealth and economic gain can be summed up in a single reason: oil.
Examples
First Anglo Dutch War (1652): The English states wanted a greater control their trading routes and their growing colonies. The Dutch wanted to keep control of their ports in and Portugal, allowing them to hold onto their emerging commercial power.
Anglo-Indian Wars (1766-1849) – These wars were were fought between the British East India Company, a trade conglomerate, and different Indian states. These wars were fought to bring India under English rule, to gain the vast wealth of India.
First Opium War (1839-1842) - The British Empire had issue with trade with China as they wanted to import more exotic items such as silk, porcelain and tea which had become more and more on demand and China preferred to keep foreign trade to a minimum. After the East India Company sold off a large amount of Opium to other trade partners, China shut down trade with British Empire including seizing assets and arresting merchants.
Finnish-Soviet War or “The Winter War” (1939-1940) – The Soviets wanted to mine Nickel in Finland, which would turn a profit. However the Finnish refused the offer leading the Soviet Union to declare war.
2. Territorial Gain
Dreams of Empire have long been the aim of many combatants in war. Invasions and Acquisitions are always numbered as the most popular causes of war and conflict.
Examples
Campaign of Gaul (58-50BC): This was the wars fought by Caesar as he invaded Gaul. This war was seen as an “illegal” war as the Senate did not approve of it. The main aim of the war was the acquisition and maintaining of Roman rule in Gaul.
Arab-Israeli War or “Six Day War” (1967-1988) – Israeli invaded the territories of the West Bank, including East Jerusalem, taking them from Jordan which led to the lengthy war.
Mexican-American War (1846-1848) – This war began shortly after annexation of Texas, where Mexico was forced to release the state of Texas to American hands. Mexico fought for the return of Texas but were defeated.
World War II (1939-1945): This war might have begun for a number of reasons but the inciting point was Hitler’s invasion of Poland and other surrounding nations.
Serbo-Bulgarian War (1885-1886) – After an act of nature, the river which marked the border between the countries of Bulgaria and Serbia was moved. After this, the two nations went to war over a disputed border town.
3. Religion
Wars have always been fought over who has the “real” god/s and who is in the right when it comes of values and customs. Wars of such have been fought for as long as men first found differences between different religions and believed themselves “righteous”.
Examples
The Crusades (1095-1291) – These wars were sanctioned by the Catholic Church in the middle ages. Popes and Kings alike all dreamed of retaking the Holy Land of Jerusalem. They wished to spread Christianity, destroy Islam and Judaism and win the land they believed theirs. The effects of these brutal wars can be felt today
The Troubles (1968-1998): The Troubles were a series of attacks and skirmishes between Protestants and Catholics in the North of Ireland. The two sides battled bloodily in streets and in attacks, claiming thousands of lives including the innocents.
Lebanese Civil War (1975-1990) – The Lebanese Civil War was fought between the Sunni Muslim, Shiite Muslim and Christian Lebanese populations.
Second Sudanese Civil War (1983-2005) – This war was caused by the predominantly Muslim government imposing sharia law on all residents including those who were non-muslim.
4. Nationalism
Nationalism can be addressed as attempting to prove that your country is the greatest by invasion or harsh subjugation. The war is often a declaration of power, a “look at us, look how strong we are.” Look at the British Empire. Ancient Rome. America.
5. Revenge
This reason often walks hand in hand with Nationalism. Revenge is a common reason for war even if it doesn’t always take the top rung on the ladder of reasons.
Examples
World War II (1939-1945) – The rise of the Nazis and the Germanic invasions of Europe all culminated because of the Treaty of Versailles, which was written in such a way to prevent Germany ever reaching full power which crippled growth and led to a poverty stricken state.
War on Terror (2001- Present) – After the devastating attack on the World Trade Center, President George W. Bush declared war Iraq. These wars, which some argue as pointless, still are being fought.
The Third Punic War (149 BC – 146 BC): The third of these wars was enacted as revenge for the waste that the famous general Hannibal inflicted on Rome during the Second Punic war in retaliation for the First war. The Third however led to the utter destruction of the city of Carthage, ending the cycle of revenge.
Troy vs Greece (Unknown date/undecided reality): Though the famous war between the Trojans and the Greeks is well known, no historian can confirm it happened. The inciting event of this war was the elopement of the Spartan Queen Helen and the Trojan Prince Paris. The Greeks followed them, leading to a 10 year war and the annihilation of Troy.
6. Civil War
Civil wars are fought between two powers of the same land for control over the country. These wars are always the most devastating for the people of the land and often end by planting the seeds for the next conflict.
Examples
American Civil War (1861-1865) - The American Civil War divided America North and South over the issue of slavery. The war was the most bloody in American history, the total of deaths outweighing even the portion of American soldiers that died during WWII.
Russian Civil War (1917-1923) – This war was caused by the successful Russian Revolution. It was fought by the Red Army and the White Army who were battling over the future of Russia and its people.
English Civil War (1642-1651): This war was fought between Parliament and the Crown. The war eventually brought down the Monarchy, lost Charles I his head and left the Purtian Dickhead Oliver Cromwell in charge. (More on this CUNT person later)
Spanish Civil War (1936-1939) – The Spanish Civil War was fought by Republicans loyal to the left-leaning Second Spanish Republic, and the Nationalists led by Franco.
Wars of the Roses (1455-1485): After Henry IV lost is mind, Richard of York decided that he would be king. This begun a chain of battles between York and Lancaster which culminated in a victory headed by a rank outsider.
7. Revolutionary War
When a faction rebels against the control of another, we get a revolution. Glorious or not, all revolutions end in in blood and spark major wars. Revolutions are popular in fictional wars and can be set off for many reasons such as tyranny or an excessively harsh ruling class or colonialism.
Examples
Russian Revolution (1917-1918)- After suffering through the harsh WWI and the reign of the well meaning yet incompetent and woefully unprepared Tsar, the people rose and overthrew Tsarist Russia. This revolution claimed the lives of thousands including all of the Tsar’s children, himself and his wife.
Portuguese Restoration War (1640-1668) – The Portuguese revolution ended the 60-year rule of Portugal by Spain.
American Revolution (1775-1783) – The American Revolution was incited by sugar taxes laud on by England. The American colonies fought for independence from the British Empire.
French Revolution (1789-1799) – The French Revolution occurred because of another incompetent monarch and a large and lavish aristocracy. The starving underclasses rose up and began slaughtering the rich and the noble and set about building a new France.
Haitian Revolution (1791-1804) – This revolution saw slaves rising up against their ruling class and masters and setting the groundwork for the foundations of the first free black republic the world has ever known.
Ireland (1169-Present?): Ireland was invaded by Henry II of England (a douche tho I stan his wife and mom), on invitation from an idiot king. Since then Ireland has been under English rule. Ireland has fought rebellion after rebellion, revolution upon revolution to save the land and her people the invaders who forbade our traditions and killed our language and literally starved half the population to death and forcing us to leave our homes, which we have never recovered from. Some say our rebellions are done, perhaps they are. But the spirit is always there. I think this line sums it up best. For 800 years, we fought you without fear and we’ll fight you for 800 more.
8. Defensive War
A defensive war is a war fought before one can be started by the enemy. Or to put it simple terms: Imma punch that guy sitting over there before he can punch me. This may seem a strange concept. It is.
Examples
Cold War (1947-1991) – This war, if it can be called a war, was fought between Soviet Russia and America over nuclear weapons and where they ought to be placed. The American invasion of Cuba can be classed as a defensive war strategy.
List of Names
A list full of names you can use for your stories.
Fantasy Names
Fantasy Names II
Dark Academia Names (Girls)
Dark Academia Names (Boys)
German Names (Girls)
German Names (Boys)
German Names (Genderneutral)
Random Names Part I
Random Names Part II
Random Names Part III
Random Names Part IV
Random Names Part V
Random Names Part VI
Random Names Part VII
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3 of the worst story beginnings (and how to fix them)
Big no-no’s for story openers!
Now, don’t get me wrong - every type of story beginning can come out really well if you write it well, a skilled writer can make your typical wake-up-morning-routine-with-the-hero sound super interesting, but 9 times out of 10, this is not the case.
Especially if you are JUST starting out on your writing journey, I’d highly recommend to test out an unexpected opener for your story instead. Think of what makes your hero different, and HOW their normal is different than someone else’s.
#1 Waking up
Your protagonist wakes up to their alarm, tries to turn it off and drops the clock or breaks it. They get up and get ready for their day, typically while describing themselves in the mirror and telling us about their daily routine. Yawn. Pun intended.
✔️ The fix: If you’re going to start with a character’s wake-up routine, show us why it’s interesting. What’s different about their routine that could take your readers off-guard? Do they get up in the middle of the night? Inside a bunker? A submarine? If their routine is just like everyone else’s, there’s no reason to show it.
#2 Traumatic flashback
As soon as we open the book, we’re thrown into some kind of important and emotional moment of your protagonist’s life that happened years ago. The problem? We aren’t familiar with the protagonist yet, so we’re not going to care what happened to them.
✔️ The fix: Save the big important flashbacks for later. If you immediately hit with the biggest punch, then what is there to work up to? If you’re starting with a flashback, make sure it’s one that paints the character’s internal conflict well and makes us root for them.
#3 Exposition
Commonly found in prologues and first chapters, when we learn all about the story world, its history, the relationships between the characters in this scene, and their backstories. Also known as a surefire way to bore your readers before they’ve even started reading.
✔️ The fix: Subtext. Train yourself to think through subtext, and trust that your readers are smart enough to pick up on it. When we start the story we don’t care about the fascinating things of your world and complex backstories. We want to get to know who the characters are, and let them slowly reveal all the puzzle pieces through the book.
My final piece of advice is to focus on creating questions for your readers to wonder about, and resist the temptation to answer those until later chapters.
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Random, but a really handy way to make things seem creepy or wrong in horror is to make them incongruously neat or clean:
In the middle of a horrific battlefield, you find one corpse laid aside neatly, straightened and arranged, its arms crossed neatly across its chest
As you walk through the garden, you gradually realise that the oddness you’ve been noticing about the trees is that they are all perfectly symmetrical
As you move through the abandoned house, you realise that suddenly that there’s no dust in this room, no dirt or cobwebs
You hear hideous noises coming from behind a locked door, screams and pleas, and visceral sounds of violence. When you manage to break down the door, there is no one there, and the room is perfectly spotless
In the middle of a horrific battlefield, a hollow full of churned mud and blood, you find five corpses cleanly dismembered, each set of limbs or parts neatly laid out in their own little row
You witness a murder, a brutal, grisly killing that carpets the area in blood. When you return in a blind panic with the authorities, the scene is completely clean, and no amount of examination can find even a drop of blood
You run through the night and the woods with a comrade, pulling each other through leaves and twigs and mud as you scramble desperately towards freedom. When you finally emerge from the forest, in the grey light of dawn, you turn to your companion in relief, and notice that their clothes are somehow perfectly clean
You hand a glass of water to your suspect, talking casually the whole while, and watch with satisfaction as they take it in their bare hand and take a drink. There’ll be a decent set of prints to run from that later. Except there isn’t. There are no prints at all. As if nothing ever touched the glass
You browse idly through your host’s catalogue, and stop, and pay much more attention, when you realise that several items on a dry list of acquisitions are ones you’ve seen before, and it slowly dawns on you that each neat little object and number in this neat little book are things that belong (belonged?) to people you know
Neatness, particularly incongruous neatness, neatness where you expect violence or imperfection or abandonment, or neatness that you belatedly realise was hiding violence, or neatness that is imposed over violence, is incredibly scary. Because neatness is not a natural thing. Neatness requires some active force to have come through and made it so. Neatness implies that the world around you is being arranged, maybe to hide things, to disguise things, to make you doubt your senses, or else simply according to something else’s desires. Neatness is active and artificial. Neatness puts things, maybe even people, into neat little boxes according to something else’s ideals, and that’s terrifying as well. Being objectified. Being asked to fit categories that you’re not sure you can fit, and wondering what will happen to the bits of you that don’t.
Neatness, essentially, says that something else is here. Neatness where there should be chaos says that either something came and changed things, or that what you’re seeing now or what you saw then is not real. Neatness alongside violence says that something came through here for whom violence did not mean the same thing as it does to you.
Neatness, in the right context, in the right place, can be very, very scary
And fun
Fantasy Guide to A Great House (19th-20th Century) - Anatomy of the House
When we think of the Victorians, the grand old Gilded Age or the Edwardians, we all think of those big mansions and manors where some of our favourite stories take place. But what did a great house look like?
Layout
All great houses are different and some, being built in different eras, may adhere to different styles. But the layout of certain rooms usually stayed somewhat the same.
The highest floors including the attic were reserved the children's rooms/nursery and the servants quarters.
The next floor would be reserved for bedrooms. On the first/ground floor, there will be the dining room, drawing room, library etc.
The basement/cellar would be where the kitchens and other food related rooms would be. Servants halls and boot rooms may also be down here too along scullery, where sometimes a maid would clean.
Rooms used by Servants
Boot Room: The Boot Room is where the valets, ladies maids, hallboys and sometimes footmen clean off shoes and certain items of clothing.
Kitchen: The Kitchen was usually either in the basement or the first floor of the house, connected to a garden where the house's vegetables were grown.
Butler's Pantry: A butler's pantry was where the serving items are stored. This is where the silver is cleaned, stored and counted. The butler would keep the wine log and other account books here. The butler and footmen would use this room.
Pantry: The Pantry would be connected to the kitchen. It is a room where the kitchens stock (food and beverages) would be kept.
Larder: The larder was cool area in the kitchen or a room connected to it where food is stored. Raw meat was often left here before cooking but pastry, milk, cooked meat, bread and butter can also be stored here.
Servants Hall: The Servant's Hall was where the staff ate their meals and spent their down time. They would write letters, take tea, sew and darn clothes. The servants Hall would usually have a fireplace, a large table for meals, be where the servant's cutlery and plates would be kept and where the bell board hung. (these bells were the way servants where summoned)
Wine Cellar: The wine cellar was where the wine was melt, usually in the basement. Only the butler would be permitted down there and everything would be catalogued by him too.
Butler's/Housekeeper's sitting rooms: In some houses, both the butler and the housekeeper had sitting rooms/offices downstairs. This was were they held meetings with staff, took their tea and dealt with accounts.
Scullery: The scullery was were the cleaning equipment was cleaned and stored. The scullery may even also double as a bedroom for the scullery maid.
Servery: The Servery connected to the dinning room. It was where the wine was left before the butler carried it out to be served. Some of the food would be delivered here to be carried out as well.
Servant's Sleeping Quarters: All servants excepting perhaps the kitchen maid and outside staff slept in the attics. Men and unmarried women would be kept at seperate sides of the house with the interconnecting doors locked and bolted every night by the butler and housekeeper. If the quarters were small, some servants may have to share rooms. Servants' bathrooms and washrooms would also be up there, supplied with hot water from the kitchens.
Rooms used by the Family
Dining room: The dining room was where the family ate their breakfast, lunch and dinner. It was also where the gentlemen took their after dinner drink before joking the ladies in the drawing room.
Drawing room: The Drawing Room was sort of a living/sitting room. It was mainly used in the evenings after dinner where the ladies would take their tea and coffee before being joined by the men. It could also be used for tea by the ladies during the day. The drawing room was seen as more of a women's room but any of the family could use it. The drawing room was a formal room but could also be used for more casual activities.
Library: The library is of course where the books are kept. The family would use this room for writing letters, reading, doing business with tenants and taking tea in the afternoons.
Bedrooms: The bedrooms would take up most of the upper floors. The unmarried women would sleep in one wing with bachelors at the furthest wing away. Married couples often had adjoining rooms with their own bedrooms in each and equipped with a boudoir or a sitting room.
Nursery: Was where the children slept, usually all together until old enough to move into bedrooms. They would be attended to be nannies and nursemaids round the clock.
Study: The study was a sort of home office where family could do paperwork, chill and write letters.
Dressing room: Dressing Rooms where usually attached to bedrooms where the family would be dressed and their clothes would be stored. The valets and ladies maids would have control of the room.
Hall: The hall was where large parties would gather for dancing or music or to be greeted before parties.
Furnishings and Decor
Most of these Great Houses were inherited which means, they came with a lot of other people's crap. Ornaments from anniversaries, paintings bought on holiday, furniture picked out by newly weds, all of it comes with the house. So most of the time everything seems rather cluttered.
As for Servant's Quarters, most of the furnishings may have been donated by the family as gifts. Most servants' halls would have a portrait of the sovereign or sometimes a religious figure to install a sense of morality into them.
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!
10 ideas for character personalities
Creating unique and interesting characters is essential to any good story. Here are some ideas for character personalities to help you develop your own characters:
The Rebel: A character who defies authority and rules, often causing conflict but also inspiring change. Stubborn, working for a greater cause, but often ignores those closest to them.
The Optimist: A character who always sees the bright side of things, even in the darkest of situations. They might be the comic relief, and they’ll tend to be naive in dangerous situations and often put themselves at risk of heartbreak because they see the best in people.
The Pessimist: A character who always expects the worst, often bringing down the mood of those around them. They might be very sarcastic, witty, and grumpy, and they can only be handled well by certain characters - they match well with softer, laidback personalities.
The Perfectionist: A character who strives for perfection in everything they do, often to the point of obsession. They’ll never really be satisfied with anything they achieve, no matter how good it is, and they have trouble with friendships and relationships.
The Joker: A character who uses humor to cope with difficult situations, but may also use it to mask their true feelings. They often feel a lot worse than they let on, and they put others ahead of themselves.
The Loner: A quiet character who prefers solitude and may struggle with forming connections with others, though they tend to be quite emotionally smart and observant.
The Leader: A character who takes charge and inspires others to follow them, but they can get carried away with the power in their hands. They’re confident and they know it, and they often end up hurting people with their behavior.
The Follower: A character who prefers to take direction from others and may struggle with making decisions on their own. These are often very passive characters who rely on help from others - typically from one specific protector.
The Nurturer: A character who is caring and compassionate, often putting others' needs before their own, and making sure that everybody else is happy. They have people-pleasing tendencies and will hide their own opinions if they find it might upset others.
The Adventurer: A character who is always seeking out new experiences and challenges. They may be impulsive and thrill-seeking, but also courageous and resourceful.
These are just a few ideas to get you started. Remember, the key to creating memorable characters is to make them unique and multi-dimensional, beyond the archetype of personality that they fit into!
The Character Bible and my two other Writer’s Toolboox are dropping in just 8 days! They’ll have masses of resources, materials, character theory and even customizable character sheets.
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.
Hello! I have been looking for a word for "grandfather" and "grandmother" in HV, but can't find it. In the 'family tree' there is for cousins but not grandsires :(
Also, I don't know if you have explained, but how does the name change in HV?
Thank you!
So HV has two:
Mumuña = mother's mother
Muñāzma = father's mother
Kekepa = father's father
Kepāzma = mother's father
And I don't know what you mean by your question, I'm afraid. :(
On the anniversary of her birthday…
A Comprehensive Guide for Writing Advice
Sometimes, despite enjoying writing so much, something is not working for you. Maybe your well of ideas has run dry. Or your WIP has hit a corner and you can't find your way out to the end of the story. Or you need to go back to your finished draft and see if there are any kinks to clear up.
Fortunately, everyone at Writeblrcafé has experienced such, and to help you out, we have a bunch of links to helpful posts by fellow writers to help you along on your writing journey as well as some helpful links to other websites, resources and software.
General:
WHY IS WRITING IS SO FUCKING HARD? (@writers-hq)
Writer Block First Aid Kit (@isabellestone)
Websites for writers (masterpost @2soulscollide)
Writing advice (masterpost @theliteraryarchitect)
Writing resources (masterpost @stinastar)
One look thesaurus (a reverse dictionary where you can enter words or concepts)
Coming Up with Ideas:
97 Character Motivations (@theplottery)
Character Flaws (@fantasyfillsmysoul)
Character Profile (@mistblossomdesigns)
Characters Unflawed (@emptymanuscript)
Why Theme is More Important than Plot (@theplottery)
Weekly writing prompts on Reedsy
Drafting:
3 of the worst story beginnings (and how to fix them) (@theplottery)
Cheat Sheet for Writing Emotion (@myhoniahaka)
Creative Writing for Writers (@writerscreed)
Describing Physical Things (@wordsnstuff)
How to Craft a Natural Plot (@theplottery)
How to Write a Story? (masterpost @creativepromptsforwriting)
How to write: ethnicity & skin colour (@youneedsomeprompts)
What the F is Show Not Tell (@theplottery)
Writing advice from my uni teachers (@thewritingumbrellas)
First Draft: story outlining template meant to help with planning your next big writing project (@fauxriot)
The wonder/ discovery arc (@evelynmlewis)
How to structure a chapter (@theplottery)
How to pace your storytelling (@charlesoberonn)
How to write and research mental illness (@hayatheauthor)
Seven Blogs You Need To Read As An Author (@hayatheauthor)
Editing/Revising:
Eight steps in making the editing process of your book easier (@joaneunknown)
Kill Your Darlings (@tibodine)
Self editing tips (first pass) (@projecttreehouse)
Publishing:
Chill Subs: biggest database for literary magazines and small presses; track your submissions and get your writing published!
5 steps to get your novel ready to self-publish (by @nanowrimo)
Resources for finishing and publishing your novel (masterpost by @nanowrimo)
For self-publishing: this page gives you the exact pixel count of a book spine based on its page count, and/or a template you can use for the correct width/height ratio.
Software:
Scrivener: one time payment of $60 or 70€ (macOS/windows), $24 (iOS; no Euro listed for iOS); used by professionals, many tools to write and organize your novel
Bibisco: free and "pay what you want" version; multilingual, world building, character profiles, writing goals, story timeline, mind maps, notes and more templates to write a novel.
Manuskript: free open source-tool; outliner, novel assistant, distraction-free mode
Ghostwriter: a free and open alternative which has a decent interface with some interesting features, like Hemingway Mode, which disables one's backspace and delete keys, emulating a typewriter.
NaNoWriMo: an international contest to encourage writers to finish writing their novel with many events, groups for exchange with fellow writers, helpful writing advice and help for self-publishing and publishing traditionally.
Campfire Writing: website, desktop app, and mobile app, with tools built in to help manage characters, magic systems, research, etc. It has a great free option, plus monthly, annual, and lifetime purchase options. It also has built-in NaNoWriMo compatibility and a catalogue of tutorials and writing advice videos (suggestion by @harfblarf)
Websites And Writing Apps Every Author Needs In 2023 (@hayatheauthor)
Let us know in the comments if there are any links we could add to it! Reblog this post to help a fellow writer.
Support our work by buying a cup of coffee on KoFi.
most of y'all probably already know about this website, but if you're a writer and you're looking for names for your characters (especially ones that fit a particular theme) might i recommend magic baby names?
you can enter one (or multiple) names and it'll automatically generate names that are thematically similar to the one(s) you gave them, which can be SO HELPFUL when you're looking for inspiration
Different ways to describe Blue eyes
1. Bright, azure eyes: Referring to the brilliant, vivid shade of blue reminiscent of a clear sky.
2. Deep sapphire eyes: Comparing the color to the rich, dark blue of a sapphire gemstone.
3. Clear cerulean eyes: Describing a pure, bright blue hue akin to the color of a clear cerulean sky.
4. Sparkling turquoise eyes: Likening the color to the shimmering, greenish-blue tones found in turquoise gemstones.
5. Icy blue eyes: Describing a pale, cool blue shade reminiscent of ice or winter.
6. Piercing cobalt eyes: Suggesting a striking, intense blue color akin to cobalt metal.
7. Dreamy cornflower eyes: Comparing the color to the soft, delicate shade of cornflower petals.
8. Electric blue eyes: Referring to a vibrant, intense blue hue that appears to be charged with energy.
9. Oceanic blue eyes: Describing a deep, alluring blue color reminiscent of the vastness of the ocean.
10. Steel-blue eyes: Likening the color to the cool, steely hue of metal.
11. Aquamarine eyes: Comparing the color to the soft, bluish-green tones of the gemstone aquamarine.
12. Gentle baby blue eyes: Describing a light, soft blue color similar to the eyes of a newborn.
13. Enchanting cerulean eyes: Suggesting a captivating, magical shade of blue.
14. Cool periwinkle eyes: Referring to a soft, light blue hue with a touch of lavender.
Fantasy Guide to Noble Titles & What they Mean
So I get a lot of questions about what nobles actually do or how much they own or why a certain title is higher than another. Understanding the complexities of nobility and their hierarchy can be a bit of a head twister but hopefully this will help you out. Just for the moment we will be focusing on European Titles because I can't fit all the titles into one post. Forgive my shitty doodles. The diagrams mark out where the particular noble would rule.
Archduke/Archduchess
These titles have two meanings. In the latter half of the Austrian Empire, it was used to denote senior members of the Royal family such as children and siblings. It is also a non Royal title given to someone who rules an archduchy, a large portion of land with in the kingdom. They are in charge of the archduchy, ensuring it runs smoothly. They are referred to as Your Grace.
Grand Duke/Grand Duchess
The Grand Duke is probably the trickiest of all these titles as there is a dual meaning. A Grand Duke can rule a state as a sovereign like in Luxembourg or they can rule a Grand Duchy (a large portion of land within a kingdom) like the Grand Dukes of Russia. The Grand Duke was below the Archduke and their lands may be smaller. They are in charge of ruling their Grand Duchy, upholding the monarch's laws in their name. They are referred to as Your Grace.
Duke/Duchess
The Duke is the highest rank in most European nations. The Duke rules a large portion of the kingdom- called a Duchy- which you can think of as a county/state. The Duchies are often awarded by the monarch to their children who are not the heir. The Duke is charge with running that portion of land by order of the monarch, handling the over all business of that piece of the Kingdom. Dukes are referred to as Your Grace. There was only one Duke per Duchy.
Marquess/Marchioness
A Marquess is the next rung down from Dukes. The Marquess is in charge of a portion of land within a Duchy which is called a Marsh which lays near a border. The Marquess is solely responsible for the running of that portion of land. The Marquess is called The Most Honourable (Insert name), the Marquess of XYZ. There could be multiple marquesses in a Duchy if it was near a large border.
Earl/Count/Countess/Compte/Comptesse
An Earl/Count Rules over an Earldom, which is a section of a Duchy but it has less importance than a Marsh ruled by the Marquess. The Earl/Count is the third highest ranking within the Duchy. Often it was the subsidiary title of the heir of the Dukedom, so the eldest son/daughter of the Duke would be the Earl. The Earl/Count of X is addressed as Lord X for example, the Earl of Grantham, is called Lord Grantham. There could be multiple Earls/counts per Duchy.
Viscount/Viscountess/Viscompte/Viscomptess
Viscounts are the Earl/Count's second in command, ruling a portion of land with the Earldom. They handled the judiciary matters of their lands and their barons. Viscounts were addressed as the Right Honourable (insert name) Marquess of XY. Viscounts can also be used as a subsidiary title for the son of a Earl. When Thomas Boleyn was made Earl of Wiltshire, his son George was made Viscount Rochford. There might be multiple Viscounts in a Duchy.
Baron/Baroness
The Baron is the lowest of ranks in the nobility pyramid. Before the mid-medieval period, almost all nobles were labelled as Barons. They ruled over a portion of the land under the Duke, the Earl and Viscount. There were always a huge force of barons with in the Duchy. They handled the minor local disputes of their lands, collecting taxes and monies owed. If they faced a larger issue or crime, they would pass it up to the next ranking noble the Viscount and then it could travel all the way up to the Duke. The Baron of Townville were referred to as as Lord Townville.
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.
How to write a negative character arc
Here’s the simplest way to break down the building blocks of a negative character arc in your novel!
Here’s the A-Z on negative character arcs
It’s totally possible to pull off a negative character development, for ANY person in your story, whether that’s a side-character, villain, or the protagonist.
Here’s something no one tells you, but it’s actually fundamentally simple.
You can do this with a very easy formula. Typically, a positive arc means that you set out with one main character flaw/issue, which that character overcomes by the end of the story.
So all you need is:
a flaw your character NEEDS to overcome
a goal they WANT to achieve
For a positive arc, they’d succeed at their NEED. Then maybe their WANT as well. For a negative, they simply never fulfil their NEED.
This means they never overcome the flaw they are supposed to face. In fact, they ignore it so confidently, it becomes a PROBLEM. They will never truthfully own up to their mistakes.
This is where you can let it get worse, let it develop into fatal flaw, and let more issues arise from it. As for their WANT? They’ll usually put their external goal above everything else, and dig themselves even deeper into personal disarray, where they won’t recognize themselves any longer.
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Vivid verbs to use instead
Instead of say:
Ask, enquire, reply, answer, state, hiss, whisper, mumble, mutter, comment, bark, assert, shout, yell, holler, roar, rage, argue, implore, plead, exclaim, gasp, drawl, giggle, whimper, snort, growl, scream, sing, stammer
Instead of run:
Sprint, dart, bolt, canter, gallop, trot, zoom, hurry, speed, jog, saunter, scamper, hurtle, rush, scramble, spring, swing, swoop, dive, careen
Instead of walk:
Stroll, hike, promenade, saunter, march, amble, stride, tread, pace, toddle, totter, stagger, perambulate
Instead of look:
Observe, glance, stare, examine, peek, study, notice, see, glare
Instead of go:
Leave, depart, shift, take off, move on, quit, exit, take a hike, travel, drive, proceed, progress, run, walk away
Instead of eat:
Pick at, nibble, munch, chew, gobble, devour, consume, demolish, gulp, swallow, scarf, wolf
Instead of hold:
Grip, clench, grasp, seize, reach, embrace, clamp, clench, clasp, grab
Instead of give:
Provide, offer, present, hand over, deliver, contribute, furnish, donate, bequeath, pass over, pass to, extend, assign, allow, lend, bestow, grant, award, confer
Instead of let:
Allow, permit, authorise, agree to, consent to, accede to, give permission for
Instead of put:
Place, set, lay, position, settle, leave, situate, locate, plant, deposit, plonk, plunk
Instead of pull:
Yank, heave, haul, draw, cart, lug, hump, drag, tow, jerk, attract, pluck, wrench
Instead of move:
Progress, transfer, shift, topple, change, redeploy, refocus, relocate, prod, nudge, induce, cause, budge, stir, lead, encourage, propose, induce, slink, scamper, careen, zip, ram, drift, droop, heave, edge, stalk, tiptoe, creep, crawl, plod, waddle, drag, stagger
Sensory verbs / quiet:
Sigh, murmur, rustle, hum, patter, clink, tinkle, chime, whir, swish, snap, twitter, hiss, crackle, peep, bleat, buzz
Sensory verbs / noisy:
Crash, thunder, clap, stomp, beat, squawk, shout, yell, explode, smash, detonate, boom, echo, bark, bawl, clash, smash, jangle, thump, grate, screech, bang, thud, blare
Instead of tell:
Order, command, instruct, dictate, require, insist, warn, caution, decree, mandate, charge, direct, dominate, lead, rule
Instead of like:
Love, adore, yearn, treasure, worship, prefer, idolise, cherish, admire, enjoy, be fond of, be keen on, be partial to, fancy, care for, appreciate, hold dear
Instead of want:
Desire, crave, covet, yearn for, aspire to, envy, fancy, require, wish for, hanker after, need, lack, miss, aim for, choose
Instead of cover:
Bury, wrap, conceal, mask, veil, hide, cloak, shroud envelope, obscure, blanket, curtain
Instead of throw:
Toss, lob, chuck, heave, fling, pitch, shy, hurl, propel, bowl, cast, drop, project
Instead of surprise:
Confuse, puzzle, bewilder, baffle, bamboozle, disconcert, flummox, perplex
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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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.
Soft Prompts for Couples Not Yet Together
1. "Fleeting Encounters": Picture this - two strangers who consistently find themselves in the same crowded places. There's an unexplainable connection, a sense of familiarity that leaves them wondering if the universe is trying to tell them something.
2. "Whispers of the Heart": Every conversation they have feels like a sweet symphony. The world around them fades into the background, and it's just the two of them, sharing intimate moments that make them wonder if friendship could turn into something more.
3. "Shy Smiles and Silent Longing": Across a room filled with people, their eyes meet, and it's like time stands still. Shy smiles are exchanged, hearts beating in synchrony. They both yearn for the courage to take that first step towards something extraordinary.
4. "The Bond of Late Nights": Late-night conversations become their sanctuary, a space where they open up and share pieces of their souls. Little do they know, their hearts are already entwined, silently falling for each other.
5. "The Serendipitous Crossings": In a whirlwind of missed opportunities, they keep crossing paths. Is it mere coincidence, or is there a higher force conspiring to bring them together? They can't help but wonder what destiny has in store for them.
6. "Confidants in the Dark": A shared secret or an unexpected vulnerability brings them closer. They become each other's confidants, weaving a bond that goes beyond surface-level connections.
7. "Passion's Connection": A shared hobby ignites their souls, their passions intertwining as they explore a world of common interests. But what they don't realize is that their connection extends far beyond the shared activity they love.
8. "The Glance that Changed Everything": Their eyes meet, and something shifts in the air. It's as if the universe pauses to witness their undeniable chemistry. In that moment, they both know that their lives are about to change forever.
9. "Teasing Fate": Friends playfully tease them about the palpable chemistry between them. But little do they know that deep down, they can't ignore the growing spark between their hearts. The question lingers: will they finally take that leap of faith?
10. "Melodies of Love": Music becomes their language, notes carrying the unspoken words they're too afraid to say. The rhythm of their connection dances to the beat of their hearts, a secret language of affection.
Unleash Your Inner Vampire: Tips for Writing Vampire
1. Study Vampire Legends and Lore: Immerse yourself in vampire mythology and folklore from various cultures. Familiarize yourself with popular vampire tales, historical references, and the diverse interpretations of these immortal creatures.
2. Immortality and Eternal Life: Explore the themes of immortality, longevity, and the consequences that come with eternal life. Delve into the existential questions, moral dilemmas, and emotional complexities that arise from living through the ages.
3. Supernatural Abilities and Weaknesses: Define the unique set of supernatural abilities and weaknesses your vampires possess. Consider powers such as superhuman strength, speed, heightened senses, and the need for blood as sustenance. Establish the vulnerabilities, such as sunlight, garlic, holy symbols, or wooden stakes, that can be used against them.
4. Bloodlust and Temptation: Portray the powerful and primal urge vampires have for blood. Describe the inner struggle to maintain control, resist temptation, and reconcile their predatory nature with their humanity. Explore the psychological and moral conflicts that arise from their insatiable thirst.
5. Immortal Society and Clans: Create a complex social structure and hierarchy within the vampire community. Develop vampire clans or covens, each with their own traditions, rules, and relationships. Explore the dynamics between older, more influential vampires and newly turned ones.
6. Nighttime Environments and Atmosphere: Craft a vivid portrayal of the vampire's nocturnal world. Describe the allure of moonlit nights, mysterious gothic settings, and the ethereal beauty that accompanies their existence in the shadows.
7. Vampire Origins and Transformations: Establish the origins and methods of vampiric transformation in your story. Explore the lore behind their creation, whether through a bite, a curse, or a supernatural event. Consider the physical and emotional changes that occur during the transformation process.
8. Hunting and Feeding Rituals: Delve into the rituals and methods vampires employ when hunting for blood. Describe their seductive charm, mesmerizing allure, and the art of choosing and mesmerizing their prey. Showcase the duality of violence and sensuality that accompanies their feeding.
9. Humanity and Redemption: Allow your vampire characters to grapple with their lost humanity and the possibility of redemption. Explore their desires to reconnect with their past, form meaningful relationships, or find purpose beyond their existence as predators.
10. Vampire Hunters and Threats: Introduce conflicts and adversaries that challenge your vampires' existence. Include vampire hunters, rival factions, or other supernatural creatures that pose a threat to their secrecy and survival.
Remember to infuse your writing with atmospheric descriptions, emotional depth, and explore the complexities of the vampire's existence. Let your imagination soar as you delve into the captivating world of vampires.
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!
How to finish your novel in 1 year
Writing a full book is a really huge task! Most writers don’t understand how overwhelming it can get until they try it. Here’s my ideal guide of what it would look like to finish your full novel in one year.
Here’s a time-scheduled formula to succeed in finishing your book in just one year.
Spend some time on pre-writing (Month 1)
Take time to plan out all the most important parts of your novel before you jump in! This will keep you grounded and organised, so you don’t lose track of what you’re trying to achieve.
But don’t get stuck in it.
You should know your:
Character goals and story arcs
The thematic question of your story
Your biggest plot points
Don’t wait until you’re confident about everything to start writing!
The first draft (Months 2-7)
Think of your first draft as a chance to tell the story to yourself, and to find out what works and what doesn’t.
Do not think of it as something that needs to be complete on the first go!
The important part here is to just keep writing, even if you make a mess along the way.
A chapter overview (Month 8)
If possible, take a few weeks away from looking at the project before you do this!
Once your first draft is finished is when you should take a step back and make sense of the story again. It’s likely that a lot will have changed by the time you finished it, so creating a bird’s eye overview of your chapters will help you tackle the second draft.
The rewrite (Months 9-12)
Time to jump into that second draft!
This is where your project will come together, so enjoy this part of the process! Dedicate more time to your prose and the details.
And after the second draft is done?
Time to get some other eyes on your manuscript and jump into line and copy edits!
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Otherwise, I have two other amazing coaches you can try.
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Tips for creative writers who want to write about fantasy:
1. Build a rich and immersive world: Create a detailed and imaginative fantasy world with its own history, geography, cultures, and magical systems. Consider the rules and limitations of your world's magic to ensure consistency.
2. Develop unique and compelling characters: Craft memorable characters with distinct personalities, strengths, flaws, and goals. Explore how their backgrounds and abilities shape their experiences and interactions within the fantasy realm.
3. Weave in elements of magic and mythology: Introduce mythical creatures, mystical artifacts, and ancient legends into your storytelling. Use them to add depth, mystery, and wonder to your fantasy world.
4. Embrace world-building details: Pay attention to small but significant details in your world-building, such as food, clothing, customs, and languages. These details will enhance the believability and richness of your fantasy setting.
5. Create a compelling conflict: Develop an engaging conflict or quest that drives your story forward. This conflict could involve a battle between good and evil, a personal journey of self-discovery, or a struggle for power and redemption.
6. Blend familiar and unique elements: Combine familiar fantasy tropes with fresh and inventive ideas to create a unique reading experience. Balance the comfort of the familiar with the excitement of the unknown.
7. Use vivid and descriptive language: Paint a vivid picture with your words, using descriptive language to transport readers into your fantastical world. Engage all the senses to bring your settings, creatures, and magic to life.
8. Establish consistent rules and logic: While fantasy allows for imagination and magic, it's important to establish rules and logic within your world. This will ensure that readers can follow and invest in the story without feeling confused or disconnected.
9. Include themes and depth: Explore deeper themes and messages within your fantasy story. Address topics such as power, identity, morality, and the human condition to add layers of depth and resonance to your narrative.
10. Read widely in the fantasy genre: Immerse yourself in a variety of fantasy novels to familiarize yourself with different styles, world-building techniques, and storytelling approaches. Analyze what works and doesn't work for you as a reader and apply those insights to your own writing.
Remember, fantasy writing is an opportunity to unleash your imagination and transport readers to extraordinary realms. Have fun, be creative, and let your passion for the genre shine through in your storytelling.
Happy writing and happy adventures in the realm of fantasy!