“Missing You Comes In Waves And Tonight I Am Drowning.”

A Brief Guide to Writing British Nobles

>>By @writerthreads on Instagram

*note that different eras have different rules. This post is quite general, so research more specific details if you’re focusing on a certain period of time!

The following titles are under a Peerage, where peers were people who would hold one or more title(s) of duke, marquess, earl, viscount and baron. They swore an oath as a servent of the monarch in exchange for land or money.

Sovereign

The Sovereign holds the most power in the country, although they do not have the power they used to in England as there is a now the Prime Minister. But if we’re talking about the olden ages, they would be the King or Queen. Typically, the Queen would be married into the royal family, and be beside the King, unless the King only had daughters, in which, (depending on the era for women were not allowed to rule for a time period a few hundred years ago) they would then be Queen.

Duke/Duchess

A duke outranks the other noble titles, namely the earl, marquess, viscount and baron. There are two types of dukedoms: royal and non-royal. Royal dukedoms can only be inherited if one is a member of the royal family and are hereditary.

Most princes become dukes when they’re married and their wife will be referred to as a duchess. (If you were not a member of the royal family but your parents were the duke and duchess you’d still inherit that title.) Non-royal dukedoms are titles given to a person by a king or queen. A duke is a ruler of a duchy, which is basically a large area of land, a territory. A duke is typically addressed as “Your Grace”.

Marquees/Marchioness

This title outranks the rest except for the duke and sovereign. This title is quite rare nowadays. The Marchioness is the wife of the Marquees. Marquees were the owners of a march which was on the border of the country, which meant that they were responsible for defending against anyone who tried to intrude or attack England. (FYI: a Count would typically be the owner of a county, which was more inland)

Marquees and Marchioness are addressed as “My Lord” or “My Lady” in speech, and “Lord/Dear Mannerisms” in social writing, where the atmosphere is less formal.

Earl/Countess

Earls are ranked below the Marquess and above the Viscounts. They were royal governors and had the authority to rule lands and judge courts in their provinces. Along with that they’d collect taxes, earning a third of the total. Over the years, their power decreased and increased depending on who was ruling England, and nowadays, they do not hold much power in their hands.

The Countess would be the Earl’s wife, and by the general population, be referred to as “My Lady” while the Earl would be addressed as “My Lord”. His eldest son would be called the Viscount.

Viscount/Viscountess

In Great Britain, people would use Viscount as a title for the heir of an Earl of Marquess as courtesy, but other than that, (depending on the time period) they were not hereditary in fear of a rebellion, and instead, titles were given by the Monarch. They would also collect taxes from people.

They’re also referred to as “My Lady” and “My Lord”.

Baron/Baroness

The baron was a land-holding nobleman and is one of the lowest ranks of nobility, and the lowest in a peerage. In the Middle Ages, they ruled over large areas of land (fiefs) and would report to the king. They’d also maintain the country’s army. “Baron” quite literally means “man”, so they were “men of the king”.

The rank of Baron is often hereditary although the first Barons were given the titles by the monarchy. In formal settings, they’d be addressed as “The Right Honourable The Lord/Lady”, but in social settings, “Lord/Lady”.

Knight/Dame

A knighthood is a title given to a man for his service to the country, and would be referred to as “Sir”. This would give them the status of the knight, in which they would be expected to learn how to fight and serve his liege lord in the Code of Chivalry. Being a knight came with great benefits: they were often given a piece of land to govern, and would collect taxes from the people. Only men were typically knights, though the title Dame is given to the wife or daughter of a lord, or a woman of knighthood.

Knighthood is not hereditary.

“You must go on adventures to find out where you belong.”

— Sue Fitzmaurice 

The course of true love never did run smooth.

William Shakespeare

Scene vs. Summary & When to Use Which

When I was a young writer, I didn’t fully understand what a scene was and what a summary was. Later, when I understood the difference, I wasn’t always sure when to use which. These days, I occasionally help writers with the same things. They may use summary for what should have been a scene, or they may write a whole scene for what really should have been summary. Understanding the difference and when to use which can be key when writing a successful novel.

Sure, some of it is subjective.

But what might be surprising to some, is that most of the time, one is more … “correct” than the other.  

Scene

A scene is a structural unit that tends to have these qualities:

- Happens in Real Time

A scene will largely happen in real time. This means we “watch” the characters move, act, and talk, as if it were happening in real life.

- Dramatizes (Shows > Tells)

A scene dramatizes. It uses showing more than telling. If a character is angry with a friend, we see that anger in action and conversation. We may witness her yell or kick a rock, for example. It’s like watching a stage play.

- Concrete

Because it is dramatized, a scene will usually be more concrete. It will more likely appeal to our senses and the physical world and experience.

- Characters Acting in a Specific Location

A scene will have characters in a location (in some very rare cases, the setting or society may act as characters). They might be talking on a train ride, or exploring a cave, or dueling in the snow.

Scene Examples

(Because a full scene often lasts pages, these examples are passages from specific scenes.)

“This won’t take long, Andrew,” said the doctor. Ender nodded. “It’s designed to be removed. Without infection, without damage. But there’ll be some tickling, and some people say they have a feeling of something missing. You’ll keep looking around for something, something you were looking for, but you can’t find it, and you can’t remember what it was. So I’ll tell you. It’s the monitor you’re looking for, and it isn’t there. In a few days that feeling will pass.” The doctor was twisting something at the back of Ender’s head. Suddenly a pain stabbed through him like a needle from his neck to his groin. Ender felt his back spasm, and his body arched violently backward; his head struck the bed. He could feel his legs thrashing, and his hands were clenching each other, wringing each other so tightly that they arched. “Deedee!” shouted the doctor. “I need you!” The nurse ran in, gasped. “Got to relax these muscles. Get it to me, now! What are you waiting for!” Something changed hands; Ender could not see. He lurched to one side and fell off the examining table. “Catch him!” cried the nurse. “Just hold him steady–” “You hold him, doctor, he’s too strong for me–” “Not the whole thing! You’ll stop his heart–” Ender felt a needle enter his back just above the neck of his shirt. It burned, but wherever in him the fire spread, his muscles gradually un-clenched. Now he could cry for the fear and pain of it. “Are you all right, Andrew?” the nurse asked.

- Ender’s Game by Orson Scott Card

Mrs. Reed occupied her usual seat by the fireside; she made a signal to me to approach; I did so, and she introduced me to the stony stranger with the words: “This is the little girl respecting whom I applied to you.” He, for it was a man, turned his head slowly towards where I stood, and having examined me with the two inquisitive-looking grey eyes which twinkled under a pair of bushy brows, said solemnly, and in a bass voice, “Her size is small: what is her age?” “Ten years.” “So much?” was the doubtful answer; and he prolonged his scrutiny for some minutes. Presently he addressed me—“Your name, little girl?” “Jane Eyre, sir.” In uttering these words I looked up: he seemed to me a tall gentleman; but then I was very little; his features were large, and they and all the lines of his frame were equally harsh and prim. “Well, Jane Eyre, and are you a good child?”

- Jane Eyre by Charlotte Brontë

Summary

A summary has these qualities:

- Condensed Time

Summaries condense time. They may cover a month in a single sentence. They may talk about recurring events over a time period, within one paragraph. They may relay a past event (or in some cases, a future event) within a brief moment. They don’t happen in real time.

- Explains through Telling

Since the moment isn’t happening in real time, the audience is told more than shown what happened. This gives summary a stronger, guiding, narrative hand. Rather than experiencing the passage like the character, it’s more like the audience is being guided by a storyteller (generally speaking).

- More Abstract

For those reasons, telling is more abstract. It’s more likely to express ideas and concepts, rather than specific experiences.

- Characters and/or Setting may Change Swiftly (or Maybe Not Even Be Present In Some Cases)

A summary may not focus on a specific character or stay in the same setting. It may move quickly through settings or may not even mention a specific setting.

Summary Examples

Mother came home and commiserated with Ender about the monitor. Father came home and kept saying it was such a wonderful surprise, they had such fantastic children that the government told them to have three, and now the government didn’t want to take any of them after all, so here they were with three, they still had a Third … until Ender wanted to scream at him, I know I’m a Third, I know it, if you want I’ll go away so you don’t have to be embarrassed in front of everybody. - Ender’s Game by Orson Scott Card

John had not much affection for his mother and sisters, and an antipathy to me. He bullied and punished me; not two or three times in the week, nor once or twice in the day, but continually: every nerve I had feared him, and every morsel of flesh in my bones shrank when he came near. There were moments when I was bewildered by the terror he inspired, because I had no appeal whatever against either his menaces or his inflictions; the servants did not like to offend their young master by taking my part against him, and Mrs. Reed was blind and deaf on the subject: she never saw him strike or heard him abuse me, though he did both now and then in her very presence, more frequently, however, behind her back.

- Jane Eyre by Charlotte Brontë

When to Use Which

Most novels are better written with more scene than summary. Scenes dramatize the story, so that the audience feels like they are experiencing and participating in it. Scenes are more impactful. Scenes are more likely to stir emotions. Because they are more concrete, they are more likely to stick in the reader’s memory.

However, this is not to say all novels are better with more scene than summary. You can indeed find successful books with more summary. This can be particularly useful in books with huge casts and many viewpoint characters, books that take place over a long period of time (such as a character’s entire life), or books with powerful, present omniscient narrators. Not all books that rely on summary more than scene are bad.

But most books are better told largely through scene than summary.

And pretty much all novels need some of both.

So when do we use which?

Sometimes I edit passages that are weakened because they are summarized instead of dramatized. Other times I read scenes that offer very little dramatic value and should have been summarized.

Scenes

A good rule of thumb is the more significant the moment, the more likely it needs to be rendered as a scene.

Big turning points and climactic moments should almost always be a scene–whether that turning point relates to character arc, plot, or theme.

This means that the climactic moments of the beginning, middle, and end, should almost always be a scene.

Anything we’ve been building up to in the primary plotline related to the arc, events, or theme, should probably be a scene.

Weiterlesen

“I can’t stand it to think my life is going so fast and I’m not really living it.”

— Ernest Hemingway

“Everything you say should be true, but not everything true should be said.”

— Voltaire (via quotemadness)

“Forget all the reasons why it wont work and believe the one reason why it will.”

— Unknown